Photo Courtesy of Early Music Now
Of all the holiday music events in town each December, I most look forward to Early Music Now’s concert. That was especially true this year with the return of Anne Azéma, one of the most prominent figures in the field. She was joined by soloists of the Boston Camerata in two concerts this weekend at the remarkable St. Joseph Chapel at the School Sisters of St. Francis. I attended the Sunday afternoon performance.
The first half of the program featured European Medieval selections, including Gregorian chants, on themes of advent. This was artfully put together, with a flow that propelled persistent interest. Besides a cappella singing, many selections were deliciously accompanied by various instruments. Because musical notation of that period was limited, each piece is an educated guess at all aspects of the style, rhythm, tempo, dynamics and instrumentation. The fascinating arrangements throughout the program showed highly evolved knowledge, creativity and taste.
After intermission came an innovative rendering of the Christmas story told in Medieval and early Renaissance music from Western Europe. The music was often spelled with readings delivered with captivating elocution by each of the speakers. The audience was called on to join in a robust account of “In dulci jubilo.”
This was a performance of the highest, world-class standard. What sets Azéma apart as an artist is her theatrical flair, combined with the purist of voices. She commands the room with the authoritative presence of a master actress. Azéma was joined by the clear soprano of Camila Parias and the rich, round tone of mezzo-soprano Deborah Rentz-Moore. Each voice was individually distinctive but in combination were a sophisticated blend of ensemble. All the singers have unusually good breath control, allowing for extraordinarily long phrases. The exceptional acoustics of the chapel delivered a combination of warmth and clarity in the sound.
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Allison Monroe played the vielles (early violins) with grace and imagination. Christa Patton showed immense versatility and expertise on harp, bagpipes, recorders and shawm (a trumpet-like early oboe). The continually changing diversity of masterfully played instruments was an indispensable ingredient of the performance.
