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PAPA HAYDN ...the four vocal soloists - soprano Sarah Davis & bass Kevin Deas joining Kidwell & Garner - sang efficaciously.
- Noteworthy, Chestnut Hill LOCAL 11/06/09 by MICHAEL CARUSO.
CD RECORDING REVIEWS OF JUDAS MACCABAEUS
... The recording preserves in good sound an enjoyable live February 2009 performance by unstarry but worthy Philadelphia-based forces. Romanian born Valentin Radu paces the able Ama Deus chorus increasingly well and elicits generally solid results!...Timothy Bentch is incisive as to phrasing and diction, showing good coloratura and breath control, with dynamic play in the voice...Soprano Andrea Lauren Brown (Israelite Woman) offers a pretty, clear timbre with very little vibrato; most of what she does - and hers is the most substantial solo role - is very enjoyable,...Richard Shapp handles the Messenger's two recits capably.
- Opera and Oratorio ONLINE, October 2009, by DAVID SHENGOLD
... Both the Handel and Vivaldi albums are excellent buys. Handel's "Messiah" is so overwhelming and popular a masterpiece that it has overshadowed many of his other compositions. "Judas Maccabeus" may not approach the flawless so closely as does "Messiah," but its telling of the story of the ancient Israelites' rebellion against their Syrian oppressors is thrillingly relayed in arias, ensembles, choruses and instrumental music. The performance is energetic, stylish and resonant. Radu wisely balanced audiences' familiarity with the four concerti of Vivaldi's "Four Seasons" by including on the CD the Flute Concerto in A minor, the Concerto for Two Violins in A minor and the Concerto for Two Trumpets in C major. Both CDs feature exemplary playing in the continuo of Roxborough harpsichordist Bronwyn Fix-Keller.
- Noteworthy, Chestnut Hill LOCAL 09/03/09 by MICHAEL CARUSO. | |
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THIS MONTH'S HOLIDAY CONCERTS!
Be sure to brighten the holidays with these three distinctly different concert experiences: Renaissance Noel, Messiah, and Baroque Christmas!
First up: this Friday, December 4, the Vox Renaissance Consort is offering its very special Renaissance Noel at a new location, the beautiful Church of St. Martin-in-the-Fields in Chestnut Hill.
This choral concert, which delighted audiences last Christmas season, will also be presented two more times: at our traditional venue of St. Katharine of Siena Church in Wayne this Sunday, December 6 (no ticketing for this event; free-will offerings accepted at the door), and, if you miss this weekend, we have a repeat concert at another new venue, the charming Old St. Joseph's Church in Olde City Philadelphia next Saturday, December 12.
RENAISSANCE NOEL
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NEXT WEEK: HANDEL'S MESSIAH!
Would the Holiday be the same without the magnificence of the incomparable Handel's Messiah?
Come join the AMA DEUS ENSEMBLE as they perform the 1749 Covent Garden version accompanied by an authentic baroque instrument orchestra!
First composed in 1741 during a period of a mere twenty-four days, the oratorio Messiah features expressive recitatives, bravura solo arias and magnificent choruses, with the choir playing a major role in conveying the Story of the Season. The premiere performance took place on April 13, 1742 in Dublin and became an immediate hit. The all-male choir for that first performance was made up of about 32 men and boys. The orchestra was comprised of a string band reinforced occasionally by oboes and bassoons, trumpets and timpani.

Distinguishing these December 11th and 13th performances of Messiah by Valentin Radu and the Ama Deus Ensemble will be the oratorio's performance on original Baroque instruments and at the Baroque pitch of A-415...a half-step lower than the A-440 used by most American orchestras and choirs. Under Maestro Radu's direction, the choral and orchestral musicians of the Ama Deus Ensemble will recreate the authentic sound and performance practice as was heard by London's Covent Garden audiences in 1749 when Handel conducted his last live concerts, with King George II in attendance. Tradition informs us that His Majesty rose to his feet during the magnificent Hallelujah Chorus, obliging the rest of the audience to immediately do the same...a practice many audiences observe to this day. The precise reason why His Majesty rose to his feet has been lost in the mists of time. Amongst the various explanations, one is that the King was so moved by the glorious music he rose in awe. Or others have suggested that perhaps gout bothered His Majesty just at this moment and that he needed to take a Royal 7th-inning stretch. Whatever the reason, this is a tradition that Maestro Radu encourages the audiences of Vox Ama Deus to enthusiastically respect! |
CHRISTMAS WEEK: BAROQUE CHRISTMAS!
And on everyone's list of favorite chamber orchestra groups is the CAMERATA AMA DEUS, which will perform its charming Baroque Christmas selections featuring baroque masterpieces, including works by lesser known Italian and English composers, at St. Paul's Episcopal Church on Saturday, December 19, and then return to Bryn Mawr College's Thomas Great Hall on Sunday, December 20!
Tickets $10 - $25. Secure your seats today! |
Introducing some GREAT HOLIDAY GIFTS: CD Collection Gift Satchels!
Vox Ama Deus now offers these music collections for sale online and at all our December concert venues! Each collection comes packaged in an elegant gift bag satchel.
Baroque Christmas Collection:
$25 (regular price $35)
$60 (regular price $90)
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The Chestnut Hill LOCAL's Michael Caruso reviews VIVALDI...and see what online Amazon.com customer's are saying about MESSIAH, and JUDAS MACCABAEUS!
Camerata Ama Deus' performances of Vivaldi's "The Four Seasons" and three other concerti are captured "live in concert" on their CD, "The Four Seasons & More..."
VIVA VIVALDI
Although no one is likely to rate Vivaldi superior to either of his baroque contemporaries Bach and Handel, his music nonetheless retains a freshness that has assured its popularity not just within the ranks of classical music lovers but out and beyond into the wider world of music listening. And of all Vivaldi's works, none is more popular - or deservedly acclaimed, for that matter - than his set of four violin concerti, "The Four Seasons." That's why this album by Valentin Radu and the Camerata Ama Deus, "The Four Seasons & More...", is such a treat. Alongside the four concerti of the title you get the Concerto for Flute in A minor, the Concerto for Two Violins in A minor, and the Concerto for Two Trumpets in C major.
Most interesting of all is the fact that the album was recorded "live in concert" on April 17, 2009, in the Kimmel Center's Perelman Theater. As all local classical music lovers know, both the smaller Perelman Theater and the larger Verizon Hall (the "home" of the Philadelphia Orchestra) have been disappointments regarding both their appearances and their acoustics. The former is irrelevant here, but the latter isn't. Verizon Hall simply does not provide the Philadelphia Orchestra with a hall suitable for finely heard concerts let alone state-of-the-art recordings, both of which were the premise for its design and construction. While the Perelman is no beauty nor does it offer fabulous acoustics, it's at least attractive and its acoustics are good if not great for smaller ensembles.
And yet, the Camerta Ama Deus sounds great on this compact disc. The tart twang of period instruments is surprisingly resonant as well as bracingly clear. And Radu has elicited some fine playing from his musicians, one of the most prominent of which is Roxborough harpsichordist, Bronwyn Fix-Keller, whose sparkling and vibrant playing is heard in all seven concerti.- Excerpts reprinted with permission. Noteworthy/Local Life, 11/26/2009 by Michael Caruso, Chestnut Hill LOCAL

Excerpted Amazon customer reviews:
[Handel's Messiah, Ama Deus Ensemble] Magnificent, March 28, 2000
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Andre Donnell(Ohaupo, Waikato New Zealand) |
The Messiah has been a favourite of mine for over 20 years. I decided to try this recording on the basis of the first reviewer's comments, and I was not disappointed. The choral singing is crisp and clear throughout, as is the orchestral accompaniment, and the soloists are great. The exceptional clarity and attack of the chorus and orchestra means the music is delivered with unusual verve and dramatic power. For me, this is most evident in 22 (Surely he hath borne) and 23 (And with his stripes). Yet the gentler tracks are delivered with matching sensitivity too. Radu has produced a credible, coherent and unified interpretation.
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[Handel's Messiah, Ama Deus Ensemble] Energy, voices, text, May 28, 2008
In general I'd just like to echo Mr. Zinkl's spot-on review. I'm so tired of Handel's vision being far too much for weedy voices with mangled, precious diction. Here we have vibrant, present voices that sing the words with passion. Why haven't I heard of tenor David Price? (Probably because I live in the UK, the Land Without Tenors.) Just sample his "Thou Shalt Break Them" - great. |
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[Handel's Messiah, Ama Deus Ensemble] One of the GREATEST performances of the Messiah ever!, December 15, 2002
I would classify this as one of the greatest Messiah's ever, on a piece by piece basis.
The Overture-Masterfully executed...thought the first reviewer thought the orchestra too small...I believe this is exactly what Handel had in mind. "Comfort Ye" and "Every Valley"- Mr. Price executes these pieces masterfully, and the harpsichord work is amazing!
"And the Glory"-this first taste of the choir is absolutely immaculate! gives away just enough of the power of the choir to make you wait for the later choruses Ms. Lane's performance of "But who may abide", "Behold a Virgin" and "O though that tellest" are absolutely hair raising the "Unto us a child is born" strikes the balance between choir and orchestra, which is crucial in this piece, better than any I know of. The alto/soprano transition in "He shall feed" is stark, amazing in it's contrast...just as I believe Master Handel would have had it the violin opening to "Behold the Lamb", followed by the almost ghostly rising vocals makes one nearly fall to his knees then and there...and we still have 50 minutes until the "Halleluia" chorus!
That great chorus, the "Halleluia" is perhaps the only downfall on this CD. it feels some how rushed, and seems to jerk through several speed changes between "HALLELUIA!" and "FOR THE LORD GOD OMNIPOTENT REIGNETH" to the "FOREVER! AND EVER!" section. Following this great climaxis, there are a set of pieces which are rather less than great (excluding "The trumpet shall sound")...though I attribute this more to Mr. Handel than to any performance group.
After the shattering melody of Ms. Baird's "If God be for us" we are left emotionally tattered, and more than vulnerable to what follows. The great ringing opening "WORTHY IS THE LAMB" is one of the preeminent pieces in all of music, and this is perhaps one of the great recordings of it. It is followed by the "Amen", and I do not for a moment hesitate to call this THE greatest recording of the closing "Amen", I only wish it was on it's own track. -Thank You. |
[Judas Maccabaeus, Ama Deus Ensemble] Another Superb Period Instrument Oratorio Recording from Lyrichord, November 18, 2009
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John X. Pena(danbury, CT) |
At a time when American record labels are either in drastic retrenchment mode or have folded their tents altogether, this adventurous smaller label is somehow managing to turn out fine new product.
In the case of Lyrichord's recent Haydn Seasons, the sponsoring organization appears to have been its excellent community chorus whose members, one presumes, banded together and made it happen. The label's more recent oratorio recording, Handel's brilliant Judas Maccabaeus, features what are almost certainly all fully professional performing forces. There is a crack period-instrument orchestra; the choristers---no matter how wonderfully trained (and they are here)---cannot possibly be volunteer singers. Just have a listen to those rich male voices, especially the tenors, and the gorgeous sound of the women.
Anyhow, whatever angel (or angels) made this CD set possible is/are blessed. The CD profits from its "live" recording: conductor Valentin Radu evinces energy and verve throughout, but also finds charming lyricism too. The [Perelman] hall at the new Kimmel Center on Broad Street is appropriately chamber-sized, just right for a baroque approach, and nowhere do audience noises intrude on the proceedings. In a bunch of places, though, you can sense them wanting to explode into applause. This is, after all, the musical source of "See, the conquering hero comes" and any number of grand arias, duets and choruses.
Mr. Radu's Judas, Timothy Bentch, offers a heroic blend of ardent, trumpet-like airs, tender quiet moments and impressive coloratura. He's as fine a tenor Judas as I've heard, avoiding the effete approach of some better-known British tenors, yet stylish too. His singing alone is worth the price of the set.
So, hats off to the Lyrichord people and this fine Philadelphia group---they are called Ama Deus!!---for keeping our American listening market alive and very well, thank you. A worthy effort. Handel well-served. |
SPOTLIGHT on...
Period Instruments and the Oratorio:
Explaining The Lesser Known Musical Instruments Featured During
Vox Renaissance Consort Performances
The Harpsichord is a forerunner of the modern piano and like the piano it is played by means of a keyboard. The piano produces sound when the player's fingers depress any of the 88 keys on its one keyboard to activate padded "hammers" which "strike" tuned strings. The smaller harpsichord usually has between 56 to 60 keys, but may have one or two keyboards. "Flemish" harpsichords have one keyboard; their "French" cousins have two. In comparison to the piano, the harpsichord produces a delicate, distinctive tinkling sound when a "quill" attached to the key mechanism "plucks" a string when the key is pressed. The harpsichord was widely used in late Renaissance and Baroque music, and even into the time of Mozart (ca. the late 1700s). However, during the late 18th century it gradually disappeared from the musical scene with the rise of the louder, stronger and more expressive piano. The enhanced keyboard mechanism of the piano permitted the performer to play a wide range of dynamics-from soft (piano) to loud (forte). The mechanics of the harpsichord did not offer this dynamic flexibility. In the 20th century the harpsichord experienced a renaissance of its own and was employed in historically informed performances of older music, in new classical compositions and in popular music, such as in Beatles songs!
A member of the "lute" family and predecessor of the guitar, the Theorbo is a string instrument that is plucked or strummed by the player's fingers. Throughout Europe it was also known as the chitarrone (Italian for large guitar). Visually, it is distinguished by its very long neck and 14 to 18 strings. Theorobos were developed during the late 1500s in response to a demand by composers for an instru-ment that had a deeper bass range than was generally available. This was especially useful in the "pit orchestras" (to use a modern term) that accompanied the "new" art form of "opera." The long neck of the therobo, and the long strings on it, created the lower notes composers craved...such as its lowest "G" that was used as a sustained note called a "drone."
The Recorder is a hollow woodwind instrument of the flute family and was popular at least since the Middle Ages. Unlike the recorder's well known descendant, the transverse flute (the flute we see in bands and orchestras), the mouthpiece of the recorder is placed into the performer's mouth, similar to playing a clarinet. Next the player blows air into the recorder. The air goes down the hollowed-out wooden shaft of the recorder and out its open bottom. To play the different notes of a melody the player places her/his fingers over a combination of seven holes that are drilled through the wood. During the 18th century, the soft and sweet sound produced by the recorder declined in popularity for use as an orchestral instrument.
So ...What Is An Oratorio?
Harvard Dictionary of Music (2nd edition, 8th printing) defines an Oratorio as, "A composition with a long libretto (e.g. book or text) of religious or contemplative character that is performed in a concert hall or church without scenery, costumes, or action, by solo voices, chorus and orchestra. This definition applies to most but not all oratorios." The origin of the word "oratorio" itself (according to the Oxford University Press) is derived from Italian, and specifically from the musical services that were held in the Church of the Oratory of St. Philip Neri in Rome. An "oratory" is defined as a room or small building that is used for private prayer or worship.
There are famous examples of such presentations even today. But now back to Handel..."Royal Fireworks" or "Water Music" orchestral suites, or his oratorio Messiah, and/or the totally misunderstood aria from his opera Serse, "Ombra mai fù" (a.k.a. The Largo). Probably many of his devotees are not aware that Handel was a tremendously important composer of Italian operas...42 being an accepted number.
Handel was born on February 23, 1685, in Halle, Germany. At about age 20, Handel sojourned in sunny Italy. There he soaked in the artistic atmosphere and successfully composed for the operatic stage. In 1710, he moved to England, permanently. In London, Handel composed and mounted (sans super titles) new Italian operas for London's predominantly non-Italian speaking high society...proving that some things never change. But in time this elite public's appetite for Handel's lyrically beautiful, but dramatically rather stagnant operas, waned. Handel went bankrupt as an opera producer, and by the late 1730s, he "turned mainly to oratorio writing after becoming dissatisfied with opera" (H.D.M., but emphasis is this writer's; I'd have chosen blunter phraseology).
The English language librettos for many of his oratorios contained vivid depictions of life and death struggles, some with contemporary relevance to Handel's audience...like Judas Maccabæus (which Vox Ama Deus performed and recorded last season). Fascinatingly, the thrust and energy of the librettos for these "religious" works often were far more theatrically dramatic than those for his operas! And the paying public, which included members of less-than-high society, loved them.
Thus it was that a German immigrant to England, whose command of the "King's English" until his dying day on April 14, 1759, was far from fluent, created the English oratorio. For as long as great music is played in this world, arguably Handel will be remembered, honored and regarded by many as a most quintessential English composer! More than a century later when Sir Arthur S. Sullivan needed music that resonated with deep-rooted English pomp and circumstance, he often paid homage to Handel by emulating an unmistakable Handelian style that his Victorian audiences instantly comprehended.
-This month's Spotlight written by Richard Shapp, Vox Ama Deus Director of Public Relations
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EASY ONLINE ACCESS TO OUR NEWEST CD's & DONATIONS PAGE
Thank you for your continued and renewed donations! The wonderful programs of Vox Ama Deus are only possible with your support.
VIVALDI: THE FOUR SEASONS and More with Baroque Instrumental Soloists: Thomas DiSarlo, Thomas Jackson, Colin St. Martin, Elin Frazier, and Daniel Orlock.
 Vivaldi's greatest orchestral masterpiece, the Four Seasons, brilliantly performed by Thomas DiSarlo, our own genius concertmaster - this CD also features three other "more" concerti: two doubles (violin & trumpet) & a single (flute). A true collector's item! Recorded live at the Kimmel Center on April 17, 2009. You can buy our CD's and make donations online easily and securely. Our prior release, Judas Maccabaeus, is now available.
Did you know this Lyrichord release is so exceptional that there is serious talk that it might be nominated for a Grammy? Get your copy today!
Click here to purchase CD's and/or make a secure online donation, or simply call us today at 610-688-2800! | |
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