{"id":30732,"date":"2022-11-16T13:46:50","date_gmt":"2022-11-16T02:46:50","guid":{"rendered":"http:\/\/soundslikesydney.com.au\/?p=30732"},"modified":"2022-11-16T13:46:50","modified_gmt":"2022-11-16T02:46:50","slug":"review-bach-akademie-australia","status":"publish","type":"post","link":"https:\/\/soundslikesydney.com.au\/?p=30732","title":{"rendered":"Review: Grazie in Grazia\/ Bach Akademie Australia"},"content":{"rendered":"\n
\n

Grazie in Grazia\/ Bach Akademie Australia<\/em><\/p>\n

City Recital Hall,<\/i><\/p>\n

14 November 2022<\/em><\/p>\n

Before Johann Sebastian Bach there was his German compatriot Heinrich Sch\u00fctz, a century earlier; and before them, Claudio Monteverdi and the other Italians, Tarquinio Merula and Giovanni Gabrieli. The Bach Akademie Australia directed by its founder, Madeleine Easton comprising a vocal ensemble of eight and two dozen instrumentalists playing period instruments, contrived a happy confluence of music by these composers in its program <\/span>Grazie in Grazia<\/em>, which ascended through the music of Bach\u2019s predecessors, culminating in his festive cantata <\/span>Christen, \u00e4tzet diesen Tag<\/em> BWV 63.<\/span><\/p>\n

It was an evening of outstanding music-making, marking the debut of the ensemble at Sydney\u2019s City Recital Hall, leaving me with the unenviable task of translating this sublime experience into words. The concert was one of the best in programming and performance by the BAA that I have attended, warmly endorsed by the audience.<\/span><\/p>\n

The two-part program of <\/span>Grazie in Grazia<\/em>, featured music by the Italians followed by the music of the Germans. Monteverdi\u2019s <\/span>Messa a quattro voci da cappella<\/em> from the <\/span>Selva morale e sprituale, <\/em>was the centrepiece of the first half, interspersed with instrumental amuse-bouche by Gabrieli and Merula, the entire \u2018invention\u2019 \u2013 to use one of Bach\u2019s terms \u2013 flanked by two fanfares from the highest loggia above the stage.<\/span><\/p>\n

Rich with dynamic contrast in the opening fanfare, the brass and timpani led us to the Introitus, Kyrie and Gloria of the mass with accompanying chants and an organ interlude by Nathan Cox. The introits sung by tenor Koen Van Stade and bass Andrew O\u2019Connor were seamlessly blended and the choir delivered Monteverdi\u2019s brilliant writing in strict polyphonic style encompassing his variety of patterns, rhythms and other devices. A sombre <\/span>Kyrie<\/em> and a gently phrased and beautifully blended <\/span>Christe eleison<\/em> paved the way for a contrasting <\/span>Gloria,<\/em> brimming with laughing lines, the choir\u2019s insistent repetition of which conveyed a sense of fervent and joyous release. It is traditional to omit the <\/span>Gloria<\/em> during Advent but we are not quite at Advent yet and it\u2019s a Gloria that is too good to miss.<\/span><\/p>\n

Enter the brassy delight of La Serenissima with Gabrieli\u2019s <\/span>Canzona due a quattro 1608<\/em> as an instrumental interlude. Monteverdi\u2019s mass resumes with an interpolated <\/span>Credo<\/em> by another Venetian of the time, Giovanni Rovetta\u00a0influenced by Monteverdi, and maes<\/span>tro di capella<\/em> at St Mark’s Basilica in<\/span> Venice between Monteverdi and Cavalli.<\/span>\u00a0 Four of the lower voices, alto Stephanie Dillon, tenor Andrew Goodwin, Von Stade and O\u2019Connor presented an achingly beautiful <\/span>Crucifixus<\/em> written in descending chromatics before the uplifting <\/span>Et Resurrexit<\/em> sung by soprano Susannah Lawergren and Brianna Louwen. Von Stade delivered a very polished <\/span>Unam sanctam catholicam<\/em> followed by the tutti <\/span>Confiteor.<\/em><\/p>\n

The second instrumental interlude was the <\/span>Canzon decima settima \u2018La Monteverde\u2019<\/em> from the <\/span>Canzoni da suonare<\/em>, <\/span>Book 4, opus 1, <\/em>another Monteverdi inspired cameo starring supremely virtuosic playing by violinist and leader of the instrumentalists Matthew Greco matched by Neal Peres Da Costa at the harpsichord and Daniel Yeadon cello.<\/span><\/p>\n

The choir returned to end the mass with a mystical <\/span>Sanctus<\/em>, its undulating lines leading to a discreetly joyful <\/span>Hosanna<\/em> and a rather subdued <\/span>Agnus Dei,<\/em> bursting into a closing arpeggiated fanfare from above.<\/span><\/p>\n

There was more of Monteverdi\u2019s brilliance in the short but very appealing <\/span>Cantate Domino<\/em>, a blithesome multi-metric motet for 6 voices (SSATTB) and basso continuo. Four introductory voices exhorted us to make music in praise of God, swelling to the full ensemble. Imitative thirds, spinning dance rhythms, syncopation, tempo changes, hemiolas and onomatopoea with a near-delerious piling on of imitative lines created the magic of this piece.<\/span><\/p>\n

By programming the music of Sch\u00fctz, Easton traced a line from Gabrieli who taught Sch\u00fctz in Venice, and who in turn learnt from Lassus, when he was kapellmeister<\/em> in Munich. Sch\u00fctz continued the influence of Italy in the German canon, evident in his motet <\/span>Alleluia: Lobet den Herrn<\/em>, with German text but indisputably written in the intricate Venetian style including the use of <\/span>cori spezzati<\/em>, which divided the musical forces into musically, and spatially distinct groups.\u00a0<\/span><\/p>\n

Finally, the jewel in the crown, JS Bach\u2019s cantata <\/span>Christen, \u00e4tzet diesen Tag BWV 63<\/em> its 7 movements constructed in the shape of an arc kicking off in inimitable, heady style with Simone Slattery leading the orchestra. We had the jubilation of Bach\u2019s dance rhythms, the glory of the natural trumpets, the throb of the timpani, the elaborate <\/span>recitativi stromentati<\/em>, the beautiful colours of alto Hannah Fraser, Adam Master\u2019s oboe the third voice in the superb ensemble with Lawergren, riding the high tessitura with plenty of space and O\u2019Connor resonant in the lower register but so much more vibrant in the higher range. Andrew Goodwin transfixed with his delivery of the most important element of the cantata. The recitative for tenor solo, though short is at the pinnacle of the piece, Bach placing the word <\/span>Gnaden<\/em>, (grace), at the exact mid-point of the movement, and therefore, of the whole cantata.<\/span><\/p>\n

This sumptuous and sophisticated music, accompanied by Easton’s comprehensive program notes gave ample opportunities for the singers to perform in solo, in small configurations and <\/span>tutti<\/em>, calling for different presentations and blends of the voice. The choir was so mesmerising it was too easy to take for granted the excellence of the instrumentalists. Compliments also to the stage crew whose set up for the Bach cantata was a work of art.<\/span><\/p>\n

Easton has arrived at a point where she has a handpicked ensemble of players and singers who have a record of rehearsing and performing together regularly. To me, these are the best BAA voices that I have heard in their sound and narrative ability. The instrumentalists as ever were exceptional.<\/span><\/p>\n

Shamistha de Soysa for SoundsLIkeSydney\u00a9<\/em><\/p>\n

Read our review of BAA’s last concert In Bach’s Orbit.<\/a><\/p>\n

Image credit Noni Carroll<\/em><\/p>\n<\/div>\n\n\n","protected":false},"excerpt":{"rendered":"

The best Bach Akademie Australia voices that I have heard in their sound and narrative ability. The instrumentalists as ever were exceptional.<\/p>\n","protected":false},"author":1,"featured_media":30733,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[37],"tags":[],"sls_format":[],"class_list":["post-30732","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews"],"acf":{"deck":"","is_featured":false,"media_type":"standard","audio_embed":"","video_url":""},"yoast_head":"\nReview Bach Akademie Australia<\/title>\n<meta name=\"description\" content=\"Bach Akademie Australia's Grazie in Grazia was an evening of outstanding music-making marking its debut at the City Recital Hall.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/soundslikesydney.com.au\/?p=30732\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta 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