American Classical Orchestra: An Inspiring Holiday Showcase of Musical Discoveries
On Thursday, December 14th, at Corpus Christi Church, American Classical Orchestra (ACO) conducted by its Founder and Artistic Director, Thomas Crawford, presented a special holiday program featuring members of the ACO Chorus. The concert offered rare works: Antonio Bencini’s Christmas oratorio, Gesù Nato, rediscovered in the Vatican archives, as well as Antonio Gianettini’s Magnificat and psalm settings. This performance of Bencini’s Gesù Nato was likely the modern premiere of the full work. The lost manuscript is thought to have been used for the 1742 premiere in Bologna before it was shelved at the Vatican Library for three centuries. Thursday’s performance was a co-production of the ACO and the Academy of Sacred Drama, an organization founded in 2013 by ACO violinist and scholar Jeremy Rhizor and dedicated to Baroque oratorio that draws its stories from biblical tales and the lives of saints.
Gianettini’s Psalms are written for four-part chorus with string accompaniment. His version of the Magnificat, also known as the Canticle of Mary, is a prayer of praise to God found in the Gospel of Luke. Frequently used in the daily prayers of various Christian traditions, it has been set to music by numerous composers.
As the program began in paced majesty and unfolded into rising canons, the immediate thrill came from the pristine blend of voices of the eight singers cradled by exquisite playing from the orchestra. The Magnificat offered the voices solo opportunities that showcased their individual qualities. In “Quia respexit humilitatem ancillae” Dominic Inferrera displayed a beautiful, flexible bass voice. He was followed by Guadalupe Peraza whose warm, earthy alto sculpted phrases adorned with ornaments and effective musical accents. Peraza’s voice mingled stunningly with soprano Amaranta Viera’s limpid tones in “Deposuit potentes de sede.” Another lovely fusion of voices followed, resplendent in both harmony and contrast: Tommy Wazelle’s bright tenor with Peter Becker’s resonant bass in “Susceptit Israel puerum suum.” Gianettini’s Magnificat ended with “Gloria Patri, et Filio,” sung by Viera and Linda Tsatsanis whose splendid voice resounded brilliant and pure.
Tsatsanis infused Bencini’s Gesù Nato with that same combination of brilliance and roundness in her well-placed soprano, displaying evenness in legato albeit occasional jagged high notes. One would have wished for a bit more precision in her coloratura and smoothness in jumps between certain intervals. Overall, Tsatsanis gave a strong, nuanced, glowing performance as Salomino. One of the moments that stood out was the second-part aria, “Deh mirate”; here, Tsatsanis’s coloratura was at its best as she succeeded in alternating power with flexibility and delicate staccati, creating one of the most exciting moments of the evening.
Kate Maroney endowed the part of Osea with her warm, expressive mezzo in tender colors and flowing legato, never letting her sound become too dark or opaque, but maintaining a light-filled quality throughout. Her tones mixed superbly with Tsatsanis’s voice; one such notable example was in “Tu solo sei l’oggetto.” What detracted a bit from the beauty of Maroney’s singing was her diction. In a wordy piece like this where the text provides ample opportunities for expressive colors, the Italian diction should be impeccable. Too often, Maroney allowed an American accent to creep into the language, especially obvious in the t’s and d’s, and in the sonority of certain vowels. A more profound and attentive mastery of Italian pronunciation would go a long way in transforming her performance here from great to exceptional.
The best grasp on diction of the evening belonged to tenor Alex Guerrero who sang Labano. His sunny and suave voice instantly brought to mind the ideal qualities for Rossini and Bellini roles, qualities he displayed throughout. The only aspect missing from his solid performance was infusing certain phrases with a little more nuance in dynamics. His is a wonderful voice that makes one want to hear him in bel canto operas and in solo recitals.
Under the direction of Maestro Crawford, American Classical Orchestra was stellar as always. From brisk to stately to glorious to shimmering and tender, ACO made the music and the stories of these two works come vividly alive, supporting the singers, and transporting the audience into a musical and spiritual dimension at once specific and ageless. It felt like stepping into the eighteenth century to celebrate Christmas while also paying homage to the uplifting and timeless appeal of this music.
Photos: Courtesy of American Classical Orchestra
American Classical Orchestra’s next concert will be J.S. Bach’s Mass in B Minor at Alice Tully Hall on Thursday, March 7, 2024
