Rossini: Petite messe solennelle

Rossini’s Petite messe solennelle
Monteverdi Choir, Orchestre Révolutionnaire et Romantique, Jakob Lehmann,
Robyn Allegra Parton, Natalie Lewis, Petr Nekoranec, Bogdan Talos
Alexandra Palace Theatre, 18 October 2026


This event was a musical revelation! Billed as “the first performance in modern times on period instruments” of the orchestrated version of Rossini’s Petite messe solennelle, this concert made it abundantly clear why it is so important to hear music played with the sound that the composer and early audiences would have heard. On this occasion, it was the orchestral forces of the appropriately named Orchestre Révolutionnaire et Romantique with the Monteverdi Choir, brilliantly led by the very knowledgeable conductor Jakob Lehmann who had very obviously done a lot of research into the score and the musical background and performing conventions of the time. The venue was the enormous theatre in the Alexandra Palace complex with a surprisingly good acoustic for these musical forces, all enlivened by the sparse remains of some delightful wall decorations, all in a state of arrested decay.

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Le coucher du soleil

Le coucher du soleil
A Weekend of Excessively Good Taste. Music of the French Baroque – 1
Instruments of Time and Truth, Edward Higginbottom, Robyn Allegra Parton
Kings Place, 25 November 2016

F Couperin: Sonate: La Pucelle, Première Leçon de Ténèbres, L’apothéose de Corelli;
Jacquet de La Guerre: Pièces de clavecin
Clérambault: Cantate Abraham
Leclair: Violin Sonata in C Major, Op 2/3
Mondonville: Pièces de clavecin avec voix ou violon: In decachordo psalterio, Regina terrae, Benefac Domine;
Rameau: Deuxième concert from Pièces de clavecin en Concert

The Kings Place year-long ‘Baroque Unwrapped’ series of concerts drew close to its end with a ‘A Weekend of Excessively Good Taste’, devoted to music of the French Baroque in a period where bon gout was the watchword. The concert by the Oxford based Instruments of Time and Truth, directed by Edward Higginbottom (an acknowledged expert on French music) looked at the increasing influence of Italian music after the rather musically insular period of the reign of the Sun King.

The concert opened and closed with François Couperin. His first trio sonata, La Pucelle (c1692), was written under an Italian pseudonym. His concluding L’apothéose de Corelli, was his more open attempt to show how the disparate Italian and French styles could, and should, be combined. The programme note quoted several comments from the time expressing the differences between the styles, including a reference to a lady of the Court of Louis XIV fainting with delight or terror at hearing an Italian inspired violinist playing his ‘rapid passages’. Louis XIV’s response to such Italian virtuosity was to invite a simple melody from a French violinist with the comments that ‘That is my taste’.

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Handel: Alcina

Handel: Alcina
Ryedale Festival Opera, Orchestra of the Age of Enlightenment
 ‘Experience Scheme’
Oriental Club London, 29 July 2016

After two performances during the Ryedale Festival (16 and 18 July), Ryedale Festival Opera brought their production of Handel’s Alcina to the courtyard of the Oriental Club in London. In collaboration with eight young instrumentalists from the Orchestra of the Age of Enlightenment’s ‘Experience Scheme’, conducted from the harpsichord by Ian Tindale, this was a staged and impressively costumed production, but with minimal props and no sets or scenery, and given an impressively light directorial touch from Nina Brazier.

Like Handel’s operas Orlando and Ariodante, the story is based on a tale from Ariosto’s Orlando furioso, the epic early 16th century poem of knightly chivalry and fantasy set amidst the wars between Christians and Saracens in the time of Charlemagne. Continue reading →