First
Baptist Church
April
27
Bright, effervescent takes on Haydn and Mozart. |
It
would not be quite correct to say that Apollo’s Fire saved the best
for last in this season’s concert series. But it’s tempting,
after seeing Amanda Forsythe sing with the ensemble in a closing
program of opera arias and symphonic works by Haydn and Mozart.
Interestingly,
Forsythe starts her professional bio with her 2007 European debut (at
the Rossini Festival in Pesaro, Italy), skipping her training at the
New England Conservatory of Music and early work in New England,
where she was a vocal fellow at Tanglewood and regular performer with
Boston Baroque. Over the past six years she has built an impressive
career on both sides of the Atlantic, appearing at prestigious
European venues such as Covent Garden and Théâtre
des Champs-Élysées, and with a variety of period ensembles in the
U.S.
A delicate, graceful voice. |
Forsythe’s
lyrical soprano has been rightly praised for its agility and
delicacy, and her style and delivery are well-suited for early music.
She sings with grace and understated expression, relying on clarity
and purity of tone to convey emotional impact. A hint of
vulnerability in her voice adds passion and longing, and her
technical skills are superb, as she had a chance to demonstrate in
some challenging Mozart coloratura passages.
The
first came in a pair of arias from the early opera Lucio
Silla (1772). Forsythe
started small and controlled with “Fra i pensieri più funesti,”
using color and ornamentation to gradually build and carry the
emotional swell to a dramatic finish. Her expression blossomed in
“Parto, m’affretto,” with notes of anguish giving way to a
burst of well-enunciated coloratura runs, notable for their precision
and craftsmanship.
Forsythe
seemed stronger and more self-assured after intermission, opening
“Fra un dolce delirio” from Haydn’s L’Isola
disabitata in fuller
voice and hitting some beautiful crystalline high notes. Segueing
immediately to the “Alleluia” from Mozart’s Exsultate,
Jubilate, she spun off
another glittering series of coloratura lines that brought the
audience to its feet. Her encore, “Voi che sapete” from The
Marriage of Figaro,
was not as radiant, lovely in tone but less compelling in content.
The
same might be said for much of the musical program, which opened with
the overture to Mozart’s La
Finta Semplice. Music
Director Jeannette Sorrell conducted a full chamber orchestra with
her usual flair, eliciting the light, airy sound that characterizes
Apollo’s Fire. The frothy approach adds wonderful zest and energy
to confections like the La
Finta overture, but
works less well in pieces like Haydn’s Symphony
No. 44 (Mourning). Two
selections from that called for dramatic notes and darker tones,
which never got very dark. The ensemble is almost incessantly bright,
and for these was not able to develop much contrast and depth until
the final bars.
Haydn
fared better in the second half, with a sturdy, even solemn rendering
of the overture to L’Isola
disabitata, paced by a
measured tempo that added definition to the sound. Forsythe came back
and left before the ensemble played the closing selection, Mozart’s
Symphony No. 33.
It seemed a bit anticlimactic after the singer’s encore, and an odd
choice for the program, a relatively conservative work that reflects
the composer’s unhappy situation in Salzburg. The piece started a
bit choppy and never delved much below the surface, which was
elegantly played but failed to develop any dynamics.
The violins,
however, were gorgeous, as they had been for most of the night.
Whatever else the ensemble is or is not doing, Apollo’s Fire always
features heavenly, heartfelt violins.
For
more on Amanda Forsythe:
http://www.amandaforsythe.com/
For
updates on Apollo’s Fire: http://www.apollosfire.org
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