by Robert Rollin
On Friday, October 5, the Baroque string band ACRONYM presented The Battle of Vienna in Youngstown’s Ford Family Recital Hall on Youngstown State University’s inaugural Donald P. Pipino Performing Arts Series. The program was a mélange of inventive 17th-century works employing novel techniques brought by Italian composers to the German-speaking lands, including Venetian polychoral effects. ACRONYM’s consistently fine intonation and exceptional ensemble were nothing short of amazing all evening. [Read more…]
Start with the second track of this excellent survey of George Frideric Handel’s expertise in writing for the soprano voice and its realization through the supple vocal chords of Amanda Forsythe. “Geloso tormento,” from Almira, the 19-year-old composer’s first opera, shows how ravishingly Handel and Forsythe can depict both rage and lament in the course of a single aria. (The soprano stunned audiences with such vocal prowess in the role of Edilia in the same opera during the 2013 Boston Early Music Festival.)
The challenge for any group that takes on The Four Seasons is to “make it new,” as the poet Ezra Pound enjoined his fellow modernists. Performed and recorded time and again, Vivaldi’s most famous pieces are in perpetual danger of being played (and heard) as baroque elevator music. Apollo’s Fire, with soloist Olivier Brault, met the challenge head-on in a dramatic, fresh interpretation of these Venetian masterpieces. 
There were no horses in the parade, but the procession that brought the musicians of Les Délices onstage at the Bop Stop Saturday evening hinted at the military origins of the stirring French baroque music to come. 