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MOSTLY MONTEVERDI FROM GREEN MOUNTAIN PROJECT

ClassicsToday

Church of St Jean Baptiste, New York, N.Y.; January 4, 2012

Ever since glowing reports of the Green Mountain Project’s performances of Monteverdi’s Vespers of 1610 began to flood in two years ago and then again last year, I have been anxious to hear their work. The opportunity came when they presented two evenings of a “reconstructed” Vespers service at the Church of St Jean Baptiste on 76th Street in Manhattan.

And, indeed, they were worth waiting for. Consisting of 13 instrumentalists playing violins, cornettos, sackbuts, theorbos and chamber organ as well as nine solo singers and a back-up (and occasional soloist) of five more, this secure, tonally refulgent, energetic group is terrific. Leading from the first violinist’s chair (with his bow, when also playing) was Scott Metcalfe, the music director. For this year’s program, the group has put together what could have been a Vespers service from around 1640, centering on the Feast of the Immaculate Conception. They’ve taken various works from Monteverdi’s output, included antiphons suited to the occasion (and chanted from various locations around the church) and added a couple of works by Giovanni Gabrieli and one by Chiara Margarita Cozzolani. The textures varied greatly: A grand “Dixit Dominus” for the entire ensemble was followed by a tenor solo sung by Zachary Wilder (complete with marvelous “goat trill” or “trillo,” a rapid repetition of the same note) with nothing but theorbos and organ as backup. The same continuo accompanied a “Sancta Maria” sung by two sopranos, Jolle Greenleaf (the group’s artistic director) and Molly Quinn, whose accuracy and bright tremolos delighted. “Laetatus sum,” with its showy violin solo and sopranos noodling above, was an exercise in virtuosity and a lovely motet (“Exultent caeli”) praising the Virgin, was handsomely intoned by two tenors and a baritone – Jason McStoots, Marc Molomot, and Jesse Blumberg, respectively. The descending chromatic line of “Lauda Jerusalem” for five voices was chilling.

More interested in massed sound than in decoration and counterpoint, Gabrieli’s “Maria Virgo,” was highlighted by cornettos, sackbutts, and a tenor solo to start, to which a pair of sopranos and male alto were soon added. Gabrieli’s more densely textured sound closed the program as well, with a huge Magnificat for the entire ensemble.

The placement of singers and players changed from piece to piece, altering the textures and effect. Tasteful, unobtrusive embellishments were added to the works, both instrumentally and vocally; Monteverdi’s “Ave maris stella,” taken quite slowly, was glorious with added twists and turns. All of the players and singers are to be commended, with Kiki Tollaksen on cornetto, Julie Andrijeski on second violin and Avi Stein’s self-effacing underpinning on the chamber organ particularly effective. Do not miss this group when they perform again.–Andrew Farach-Colton

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