Gender discrimination has been a significant issue during the past thirty years. When it comes to creative artists, women writers in recent times have been prolific, but women composers have been few and far between. As far as the general musical public is concerned, only a few women composers' names come immediately to mind: among them Clara Schumann, Cecile Chaminade and Mrs. H.H.A. Beach, all of whom gained fame during the past 100 years.
The Carmel Bach Festival's Twilight Concert No. 2 at the Church in the Forest at the Robert Louis Stevenson School added to our knowledge of some important (and successful) women composers in the 17th and 18th centuries. This concert consisted of works by Francesca Caccini, Barbara Strozzi, Isabella Leonarda and Elizabeth Jacquet de la Gučrre. I have to say in all humility that I had never heard of any of these composers, but they are significant composers who have created works of great charm.
Although I have heard soprano Rosa Lamoreaux in major concerts during the Bach Festival, this is the first time I have had an opportunity to hear her in an intimate recital situation. And she was fabulous! In addition to the wonderful clarity and purity of her voice, she uses her instrument well - always in the service of the music, and never for gratuitous display. In Elizabeth Jacquet de la Gučrre's
Semele: Cantata avec Simphonie, an energetic and vital work which achieved a powerful cumulative effect, Ms. Lamoreaux sang naturally and effortlessly, displaying a strong personality and beguiling charm that proved to be a powerful asset to the music.
Mezzo soprano, Catherine Robbin, whom I was also hearing for the first time in intimate surroundings, made a strong impression in the two arias by Francesca Caccini,
Maria, dolce Maria and
Che t'ho fatt'io. Earlier in the program, we had heard her in duet with Ms. Lamoreaux in Barbara Strozzi's aria
Che dolce udire where she sang an alto part with ease and flair. But in the higher tessitura of the Caccini arias, her voice opened up and revealed what a wonderful artist she is. The
Maria Dolce turned out to be a particularly moving aria and Ms. Robbin gave it a suitably intense performance.
In another two duets by Strozzi,
Anima del mio core and
Mercé di voi, Lamoreaux and Robbin once again charmed us with their charming performance.
The afternoon's recital also showcased the artistry of violinist Nina Falk who played with ease and a nice sense of style in de la Gučrre's Sonata No. 6 in A Major and Leonarda's Sonata for Violin and Continuo. Op. 16. Also, we have to admire the excellent continuo support during the entire concert by Douglas McNames playing cello (actually although he was playing a modern cello, he was gripping and bowing it like a gamba) and John Butt at the harpsichord, who was playing the continuo part with his own inimitable ornaments, embellishments and riffs.
This concert will be delay broadcast on KUSP-FM 88.9 on Wednesday, August 5 at 10 a.m.
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