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I saw Corelli today…

yes! conducting his big orchestra. Distorted face, looking like he is dying on stage, rolling eyes, jumping, making everybody move … as he moves, breathe … as he breathes, jump … as he blinks, cry … as he raises his eyebrow… and does magic with his bow. He goes by the name of Enrico Onofri these days. His orchestra today was called the European Union Baroque Orchestra: a bunch of very talented young musicians, enjoying playing together, playing with the Master, feeling privileged because they got to do so; moving everyone. A great program, the big star was Geminiani’s Follia, also played as the second (yes!) encore. A mostly Italian program, it nevertheless included a deliciously French-sounding Muffat Sonata (from Armonico Tributo); well, French-sounding most of the time, except for that bit near the end of the breathtaking Chaconne (it seems it is called Passagaglia, but as everyone knows …) where they went all Italian, making it sound like a completely (and disconcertingly!) different piece. What else can I say? Absolute mastery of pretty much everything: bow, left hand, expression, imagination, baroque experimentation… in a word (or two): “pure” Baroque.

Not a bit less good was yesterday’s concert, where Onofri conducted the Imaginarium Ensemble, seconded by the also amazing Alessandro Tampieri — a genius of the violin, the lute and the viola, who plays like an angel (or perhaps like a devil?) and looks like this mischievous kid who’s just been caught and is putting his best disconcerted face. A very comprehensive program of Italian Baroque from Cima to Vivaldi, two astonishing virtuosi having fun on stage playing together, two good friends enjoying playing (and dancing!) together. All passion, (ok, and technique, if somewhat “unorthodox”, from the way they hold the violin to their bowings, to … ), all “mezzo-niente”. Both very BIG (as virtuosi and also as in Big Italian Gestures ;-). A very well chosen and beautifully played “finale”, Vivaldi’s Follia, made a usually shy British audience roar and shout “bravos” and “encores”; it made me feel like I was, well … levitating (while dancing it, that is!). Giles said I looked like I was going to go backstage and hug someone — and I guess I could have done, if I hadn’t been made aware of it ;-)

The end of this year’s Lufthansa Festival of Baroque Music (Top Marks for this edition!), and The Best of The Best.

Posted 23 May 2010 † Lola § Events § Our music ‡ Comments (0) °

Dancing Bach

After the great concert by Hantaï last Sunday, I couldn’t help ordering some of his CDs… Besides his Scarlatti Sonatas and Bach’s Le Clavier bien tempéré and Goldberg variations (all heaven!), I got his version of the Bach Suites 1 & 4 (with him conducting Le Concert Français): a masterpiece, and hard to refrain from actually *dancing* them (still badly, in my case ;-)

Posted 20 May 2010 † Lola § Dance § Recorded music ‡ Comments (0) °

More Lufthansa Festival: The afternoon concerts “chronicle”

As a Madrilian, I heard a lot of Scarlatti music when I was living in my home town. Unfortunately most of it badly played (lots of it on the piano), sounding bland, dull, and cheesy. That put me off Scarlatti for a very long time. Pretty much until today. I am deeply grateful to Pierre Hantaï for completely changing my idea of Scarlatti’s music this afternoon. I had no idea such intensity and color was possible in Scarlatti’s music, or in harpsichord music indeed (normally I am not a big fan of it). Bravo, maestro!

Another big surprise was yesterday’s afternoon concert (mostly 17th Century Italian music “in stil moderno”) by Baroque Fever. The name of the band, their photo, and the description on the Lufthansa Festival brochure made it a good candidate for a concert that could be missed. The more detailed description on the program made me change my mind, and I am really glad I did. It was a true (and high quality) “Baroque jam session” from beginning to end: the way the musicians introduced themselves, how they interacted among themselves and with the audience, how they supported the others as well as each of them having had their “moment of glory” (i.e. solo), how 1st and 2nd violin swapped places halfway through the concert (I had *never* seen that before!). They made us share their music, their joy, the emotion. I couldn’t help thinking that’s how music “in stil moderno” might have been played back then. It also confirmed once more how close Baroque and Jazz music seem to be, how many things they share.

Posted 16 May 2010 † Lola § Events ‡ Comments (0) °

Paolo Pandolfo

Just got back from seeing Paolo Pandolfo improvise on the viola da gamba at the London Baroque Festival. He was jaw-droppingly good; I’m not sure I can pick out any of it as the high point — it was all high points! — but if forced, perhaps I could pick on the ciaccona after one by Marin Marais.

As soon as we got home, it was time to get hold of some recordings by him. There’s some interesting stuff on Amazon, but the intriguing-sounding recording he did of the Bach Cello Suites arranged for the viol was £87, second hand! Luckily it turns out that the record label has re-issued it, even if Amazon don’t have it, and you can get the new issue here for a much more reasonable £21.

Posted 14 May 2010 † Giles § Events § Recorded music ‡ Comments (0) °

Fountain of the Baroque, keep running, please!

The first concert of this year’s Lufthansa Baroque Festival: La Venexiana enchanted the audience with a truly extraordinary performance of the Vespers, such an amazingly beautiful piece that opened 400 years (so far ;-) of Baroque music. Thank you, Monteverdi!

The concert was recorded by BBC Radio 3 and will be broadcast in “Performance on 3″ at 7pm on Tuesday, June 1.

Posted 13 May 2010 † Lola § Events ‡ Comments (0) °

Teatro d’Amore by L’Arpeggiata

Although this is not a new recording, I just came across it following up on links to the astonishing countertenor Philippe Jaroussky. Mesmerizing music (by Monteverdi), mesmerizing voice, mesmerizing performance, don’t miss the video they have on their website.

Posted 12 March 2010 † Lola § Recorded music ‡ Comments Off °

Some viol photography

(Sorry, couldn’t resist it.)

It’s taken a year to get round to it, but finally I’ve managed to rent a bass viola da gamba and arrange lessons:

Viola da Gamba in its case

One lesson so far, with Liam Byrne; it’s both easier and harder than I was expecting. Easier because the tuning and the frets feel familiar from my teenage years noodling away on electric guitars, harder because I keep trying to play it like a cello and it doesn’t like that.

Of course, the cello’s staying — no way I could give it up. Here’s a joint shot of both of them:

Cello and viol

They seem to get on well together. The cello is named Charles, the viol has no name yet.

Posted 11 March 2010 † Giles § Musical instruments ‡ Comments (1) °

2010 Spring Music and Summer Dance in the UK

The programs of the 2010 Lufthansa Baroque Music Festival (May) and the 19th Consort de Danse Baroque International Summer School (August) are out: have a look!

Posted 10 February 2010 † Lola § Dance § Events ‡ Comments (0) °

Weekend Baroque dance classes (London) start this weekend (October 3/4)

Philippa Waite’s weekend Baroque dance classes in London start properly this weekend, Saturdays in Barnes, Sundays in Camden. Also ongoing classes on Mondays and Tuesdays. If interested in receiving news about Philippa’s dance classes in London or other UK locations, you can subscribe to the Consort de Danse Baroque’s feed.

Posted 02 October 2009 † Lola § Dance § Events ‡ Comments (0) ° Tagged:

Truly amazing Baroque dance Summer School by Philippa Waite

Yes, truly amazing it was. My first time to attend this international Summer school organized by Philippa Waite and the Consort de Danse Baroque, now in its 18th edition, that took place in Cardiff on August 21-31 (http://www.ukbaroquedance.com/summer/course.html). Divided in three 3-day modules, all of them open to all levels—from the complete beginner to the advanced and professional performer—it ended with a party open to the general public on the 10th day, which unfortunately I could not attend, where Baroque country and court dances (including Purcell’s beautiful Chaconne from The Fairy Queen that I so much enjoyed dancing at the school) were performed in period costume. Extremely well organized, very knowledgeable, welcoming and enthusiastic teaching staff, very friendly atmosphere, every student received personalized attention and the right training and amount of “challenge” for their level. I definitely look forward to next year’s edition and, in the meantime, to Philippa’s regular Baroque dance classes in London (http://www.ukbaroquedance.com/classes). She also teaches in other locations in the UK (as well as in the US and occasionally in other countries), and styles from the 12th to the early 20th century (which I haven’t tried but I would expect to be just as good). I strongly recommend her classes.

Posted 03 September 2009 † Lola § Dance § Events ‡ Comments (0) °