Early Music Now's 'Mediterranean Christmas'

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Photo credit: Early Music Now

Boston Camerata

For many years Early Music Now has been a reliable series for hosting the most interesting Christmas concert in town. The Boston Camerata returned to St. Joseph Chapel on Saturday, this time collaborating with SHARQ Arabic Music Ensemble for “A Mediterranean Christmas.”

The high vaulted ceiling of the chapel creates wonderfully warm acoustics particularly flattering to the voice, and there was no shortage of beautiful singing. The mostly medieval music came from various cultures around the Mediterranean, and from different traditions that share some of the same ancient stories. The sung texts were a cosmopolitan mix of languages: Judaeo-Spanish, Latin, Occitan, Arabic and Italian. The concert was mind-expanding in considering Christmas from unconventional perspectives.

A commonality in the music of the region is a florid vocal style. The singers were outstanding and up to the many challenges of bringing this old music to life. Camerata artistic director Anne Azéma sang with the presence of a great actress, making everything spontaneous and captivating. Boujemaa Razgui gave voice to a fascinating Bosnian chant. Mezzo-soprano Deborah Rentz-Moore was deeply moving in a lament about the slaying of baby boys that was commanded by Herod. Soprano Camila Parias’s clear voice was a constant pleasure. At the point in the story when the baby Jesus is laid in a manger, Aboud Agha sang an engaging Arabic lullaby that brought freshness to a familiar scenario.

Besides singing, various instruments were played, constantly changing the colors of sound, often as simple accompaniment, but sometimes taking the center of attention. Karim Nagi brilliantly showed the possibilities of a riqq (Arabic tambourine) solo, adding arm movements with the flair of a star dancer. It reminded me of jazz masters when Beth Bahia Cohen (vielle and violin), Steven Lundahl (recorders) and Agha (oud) were riffing along, playing complicated melodies in unison.

The mood ranged from solemn and profound to rhythmic and nearly rowdy, with the audience happily clapping along. The final ovation was a lovefest. It is a wonder that Early Music Now has so expertly cultivated such a large, appreciative Milwaukee audience for medieval music.