Filed under: Uncategorized | Tags: academy of ancient music, classical music, period instruments, sumi jo
MUSIC REVIEW: Academy of Ancient Music and Sumi Jo (16 and 17 May)
I should begin by introducing newcomers to Baroque music that there are several schools of thought on performance practice mostly hovering around the use of instruments and instrumental techniques such as the application of vibrato, rhythmic alterations and tuning. Discussions over these topics can be polemic and there remains no consensus, but all agree that a historically-informed performance is most conducive to the intention of the composer.
The Academy of Ancient Music presented two contrasting programme on their last leg of the Asian tour, covering South Korea, Taiwan and Singapore. The band is a top-notched ensemble of European musicians directed by the very knowledgeable Richard Egarr, who gave a pre-concert talk and answered tough questions at the post-concert dialogues so brilliantly. For their debut in Singapore at the Singapore Arts Festival, they were honoured to accompany the South Korean diva soprano Sumi Jo in operatic arias by Vivaldi, Handel and Purcell.
For their first evening in Singapore, the players displayed a well-balanced camaraderie with meticulously-sculpted melodic lines sitting atop the throttle of period instruments forming the basso continuo. However, this energy appeared less reciprocal of the director’s beck-and-call. It could very well be the repetitious performance of the same pieces that resulted in, say, the lack of sparkle from the soloists in Albinoni’s double oboe concerto.
The addition of Sumi Jo did not help the situation as her bellismo singing style stood in contrast to the asceticism of Baroque performance practice. Depending on your musical taste, one could witness the mismatch of the otherwise superb musicians. Sumi Jo’s interpretation and diction were immaculate, yet what might have caused the falter of a certain brilliance could be the necessity to sing at a baroque pitch (A=415). The agility of her coloratura upper registers was not given the opportunity to dazzle this evening as it should have been in the case of Purcell’s Music for a While.
As a result, the ensemble’s switch from terraced to tapered dynamic devices betrayed their alliance with period instructions and smaller performance spaces, such as the Wigmore Hall. Their presentation on the second evening was much more persuasive to this reviewer. Perhaps it was an informed familiarity with the Esplanade Concert Hall and certain twitching of its acoustics, that there was renewed confidence from the Cambridge-based ensemble. Maestro Egarr stood in as MC for the entire evening sharing with the audience interesting anecdotes and trivia such as the personification of the lead violinist as Corelli and the double bassist as ‘his boyfriend’.
The star on the Vesak Day evening must be the soloist Ursula Leveaux in Vivaldi’s Bassoon Concerto. Her delicate scalic pecks brought out the dark subdued tone of her period replica. Her delivery was of sincere intent and achieved the power of the Baroque sublime. If there were any flaws for the band, it would have been logistical: one being the absence of the baroque flute, whose rounder timbre would have been preferred for the works of Bach and Handel. We await the return of this internationally-acclaimed ensemble… and their flautist please.