"The Portuguese Empire" programme was electric, bright, tight and energising. I think I sat bolt upright from the first note, tapping my toes on the floor and remained so for the rest of the night.
The opening number "Afuera, Afuera Que Sale" was bright and strong and set the pace of the night. It was great to have Mitchell Cross introduce the players and their instruments and then follow with "Tieycantimo Choquillay"; a work that shared the melody between everyone, letting us hear each instrument distinctly and making everyone a soloist. These instruments are very hard to play and the lyrical lines from Director Danny Lucin on the cornetto and mute cornetto were just incredibly amazing. Wow, can that guy control his breath.. and tone...and phrasing all at once.
This happened throughout. It was avery refreshing to have the ensemble, not as a continuo or accompaniment to a prominent instrument or vocal line, but each taking the spotlight in turn, demonstrating tone, power, warmth and the word i just kept coming back to all night... lyrical. So lyrical. But do not think the music was wafting and floaty and light by any means. This is music from the very powerful and rich 16th C. Spanish court. It's syncopated, galloping, strong, confident, complex and slightly arrogant. La Compania approached much of the ensemble sections o with sharpness, clarity and clear attack; without either phrases or notes resulting in being clipped or too staccato.
Siobhan Stagg's beautiful soprano line stood out or blended in as appropriate within the ensemble. Her voice is bright and clear and light, but then with surprising strength when called for. She employs a very pure early music tone, and will decorate at the end of a note with a very light, feminine flutter (vibrato is too strong a word) to remind us that she's not a boy and not attempting to be one. Moods of gaiety, sorrow, patriotism and plaintiveness were similarly evoked and contrasted through the programme by the full ensemble providing excellent contrast and the audience's continued attention.
The highlight for the audience was the instrumental break in "Nao Tragais Borzeguis Pretos" which employed castanets, lots of percussion and Rosmary Hodgson and Denise Close tapping/hitting/slapping their renaissance guitar and cavaquinho creating a fabulous build of tension, met by thunderous applause from the audience at the resolution.
A very dynamic programme. For those new to early music La Compania programme high quality and accessible works for their recitals. Programme notes and the little chat from Mitchell help de-mystify the instruments. The contrast of works and the order put together by Danny Lucin allows each peice to stand on its own and also have good context in the order of the night.
For the early music experts, La Compania select their performance repetoire well, chosing lesser known works, providing something a bit different and giving strong playing and historical context to their work. What do these guys need to work on? Getting wider coverage.
http://www.lacompania.com.au/
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