On Friday evening, April 21st, we went to the Charles Allis Museum to hear a concert by the Madison-based Wisconsin Baroque Ensemble. The group this evening consisted of soprano Mimmi Fulmer; Brett Lipshutz, taverso (transverse flute); Nathan Giglierano, baroque violin; Eric Miller, viola da gamba and treble viol; Sigrun Paust, recorder; Anton TenWolde, baroque cello; and Max Yount, harpsichord.

The first part of the program consisted of the Quartet for two traversi, recorder, and basso continuo, TWV43:d1, by Georg Philipp Telemann; Pieces de violle, suite #3, by “M. de Machy”; “Lasciatemi qui solo,” by Francesca Caccini; and Sonate en trio for two traversi and basso continuo, opus 13, #3, by Jean-Baptist-Quentin. All these pieces were played and sung beautifully. All except the Telemann were new to us, and we were particularly interested by the solo suite for viol da gamba by de Machy, and the song by Francesa Caccini.

The second half included “Interrote Speranze,” by Johannes Hieronymous Kapsberger; Sonata a trio for recorder, violin, and basso continuo, by Johann Cristoph Pepusch; Telemann’s Nouveaux Quators, #6 in E-Minor; and “Odi, Euterpe,” by Giulio Romola Caccini. In this set, again, the pieces featuring the viol da gamba were particularly interesting, since the viol parts could almost be described as “sprightly,” which is unusual for this instrument. The final piece, which featured Ms. Fulmer accompanied by the complete ensemble, was quite beautiful.

This was a very interesting and enjoyable concert. We look forward to the company’s November concert.
On Friday evening, March 24th, we went to hear Great Lakes Baroque’s first concert of the year, featuring mezzo soprano Suzanne Lommler, cellist Paul Dwyer, and founder and harpsichordist Jory Vinokur.

Besides being a wonderful singer and operatic performer, Ms. Lommler also demonstrated that she is a real trouper, showing up despite having one foot in a cast, and standing up to sing all her pieces

In the first half, she gave us lovely renditions of “Amanti, io vi so dire,” by Benedetto Ferrari, and “L’Eraclito amoroso,” by Barbara Strozzi, whose proto-fado, proto-blues music we particularly enjoy. Then, Mr. Vinokur soloed on the Handel Suite in E Major, HWV 430 (“The Harmonious Blacksmith”) which displayed his virtuosic level of skill on the harpsichord.
Then, Ms. Lommler gave us a very passionate rendition of Handel’s La Lucrezia, wherein we got a good sample of her operatic skills in song, expression, and gesture. The cantata adopts the same classical story as Shakespeare’s “The Rape of Lucrece,” and the portion in which Lucrezia curses her attacker, Tarquin, is truly fiery.

Mr. Dwyer accompanied La Lucrezia also, and did a beautiful job of it. The singing tone of the cello was truly a duet with the human voice.

In the second half, Mr. Vinokur moved to a fortepiano, to accompany Ms. Lommler on first, a set of songs by Franz Joseph Haydn, which set to music “She Never Told Her Love” (Shakespeare), “The Mermaid’s Song”(Anne Hunter), “O Tuneful Voice” (Anne Hunter), and “Cupido” (G. Leon).
This was followed by a second set of songs set to music by Mozart: “As Luise Burned the Letters of her Unfaithful Lover” (Gabriele von Baumberg); “In A Dark and Secluded Wood” (Antoine Houdart de la Motte); “Contentment” (Christian Felix Weisse); “Evening Thoughts” (Joachim Heinrich Campe); and “To Chloe” by Johann Georg Jacobi.

After a rapturous ovation, all three performers joined in an encore, also a Mozart piece that I did not catch the name of.

Pretty much all this music was new to me, and I very much enjoyed it all.

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