Sacred and secular songs by Henry Purcell
Ensemble Unmeasured, Julia Doyle
Deux-Elles DXL1183. 62’42
Ensemble Unmeasured takes its name for the unmeasured preludes and toccatas of the 17th century “but also refers to the magic of music itself, which cannot be measured or quantified”. In this debut disc, they are joined by soprano Julia Doyle, one of the finest singers of early music around for an exploration of Purcell’s ravishing and intense music. Continue reading
Fitzwilliam & Friends: Purcell + Pergolesi +
Fitzwilliam String Quartet, Julia Doyle, Clare Wilkinson
Kings Place. 29 September 2016
Music by Purcell, Marcus Barcham Stevens, Jackson Hill, Rachel Stott, and Pergolesi’s Stabat Mater
Kings Place’s 2016 ‘Baroque Unwrapped’ series continued with a fascinating combination of musical styles performed by the period instrument Fitzwilliam String Quartet together with their ‘Friends’, soprano Julia Doyle (pictured) and mezzo Clare Wilkinson, two of the finest singers around, with Laurence Cummings, harpsichord and organ. They opened collectively with three groups of pieces selected from Purcell’s Fairy Queen, King Arthur, and Dido and Aeneas. Julia Doyle and Clare Wilkinson were outstanding soloists in piece such as If Love’s a Sweet Passion’, The Plaint, Fairest Isle and Dido’s Lament. I was particularly impressed with Julia Doyle’s beautiful singing and her excellent use of ornaments: she is one of the few singers who can manage a proper trill, rather than just relying on vibrato.
With the departure of the ‘friends’, the Fitzwilliam Quartet continued with Purcell’s Fantazia 7 followed by three of the specially commissioned Continue reading
Spitalfields Music: B’Rock
Rodolfo Richter director/violin, Julia Doyle soprano
Christ Church Spitalfields. 11 December 2015
Corelli: Concertos grosso Op6/4 and Op6/8 ‘Christmas Concerto’; Handel: Gloria; Arvo Pärt arr Frank Agsteribbe: Fratres; A Scarlatti: Cantata ‘O di Betlemme altera’
Making a spectacular Spitalfields Festival debut, the Belgian group B’Rock gave one of the finest concerts I have heard in a while. It is easy for reviewers to overdo superlatives or, indeed, to run out of new ones to use; and I am always wary of writers whose every concert seems to be the ‘best they have heard’. But this really was something special.
The opening chords of Corelli’s Concerto grosso in D (Op6/4) demonstrated B’Rock’s ability to create enormous contrast out of a sparse musical text, in this case of just nine chords. Under the inspired direction of violinist Rudolfo Richter, they Continue reading
‘Women in Baroque Music’
St John’s, Smith Square & Westminster Abbey, 18/19 May 2015
I couldn’t get to the lunchtime concert on day 3 of the festival, but it was given by soprano Rowan Pierce and the young group Medici, under the title of ‘Future Baroque’, with music by Handel, Bach, Royer, Telemann, Corelli and Vivaldi. Unless I have missed something, this was another event that seemed to bypass the festival’s theme, although it did include as its final work Agitata da due venti, a surviving fragment from Vivaldi’s opera L’Adelaide and later also included in his Griselda, composed for the virtuoso soprano Margherite Giacomazzi.
‘Leçons des ténèbres’
Julia Doyle & Grace Davidson, sopranos,
Jonathan Manson, bass viol, Steven Devine, harpsichord, organ & director
The Monday evening concert (St John’s, Smith Square, 18 May) Continue reading