Caricature of Vivaldi by P.L.Ghezzi,
Rome (1723). From Wikimedia
Commons.

by Stephen Brophy

The Handel and Haydn Society had a powerful opening on October 9 in Symphony Hall. The new artistic director, Harry Christophers, introduced a concert of some lesser known Baroque classics, mostly by Antonio Vivaldi, conducted by Jean-Christophe Spinosi. The director was joined by counter tenor Andreas Scholl, who proceeded to astonish his audience with the power and flexibility of what is basically a falsetto voice. This program, which includes Vivaldi’s first masterpiece, Stabat Mater, will repeat on Sunday, October 11 at 3 p.m.

Spinosi and Scholl both specialize in Baroque music. This music, along with similarly inspired architecture and art, dominated the culture of late 17th-early 18th Century Europe, representing the peak of an aristocratic power which was to gradually give way to the revolutionary bourgeois culture of the later 18th Century. Working for the wielders of this power, Vivaldi and Handel, represented in the program by two pieces, both composed equally well for Church and court, as this evening’s concert demonstrates.

Vivaldi, whose work dominates the program, grew up in Venice and became a priest, although he had received training from his father as an itinerant musician; taking holy orders very likely opened up doors to him in the musical profession. He became the composer and conductor for one of that city’s most famous orchestras, one attached to an important orphanage and composed mostly of women who had been raised in the institution. Hearing Scholl on the Symphony stage, we can imagine earlier performances conducted by the composer in St. Mark’s Basilica in Venice.

Scholl seriously impressed his audience with the range of his voice as well as its force and suppleness. These qualities were admirably underscored by the rest of the ensemble, composed entirely of strings, under Spinozi’s baton. The expected driving quality of the motoric music was there, but so also was a delicacy that could render the tones of weeping as well as those of joy. Scholl’s performance excited a few ‘bravos’ from his audience, and the entire concert was greeted by a standing ovation at its conclusion.

The Handel and Haydn Society has quite an impressive history, and will be coming to its bicentennial in 6 years. While it can attract the participation of world-class artists like Scholl and Spinozi (Scholl is apparently the Michael Jackson of countertenors), it also employs the talents of local artists worthy of similar esteem. To name just one example, concertmaster Daniel Stepner, who has been the Society for 23 years, is widely viewed as one of the world’s best violinists working in the Baroque repertoire. Stepner is also associated with the Museum of Fine Arts, and his working visits to our neighborhood underscore just how lucky we are to live in the Fenway.