The Boston Early Music Festival (BEMF) has gained acclaim as a significant event celebrating early music artistry, showcasing a range of repertoire through various performances.
This year’s festival featured renowned ensembles and soloists, each bringing their unique interpretations to the stage, understanding the historical context of early music while also embracing modern artistic freedoms.
A highlight of the festival was the distinguished Tallis Scholars, a celebrated vocal ensemble from the United Kingdom, under the direction of Peter Phillips since 1973.
Known for their commitment to unaccompanied sacred music from the Renaissance, the ensemble’s recent program at Emmanuel Church included a compelling mix of Palestrina masses and standalone pieces, including the famous “Miserere” by Gregorio Allegri.
The ensemble’s performance of “Miserere” featured a captivating arrangement, with singers distributed throughout the venue, creating an immersive experience that engaged the audience intimately.
The mastery of the Tallis Scholars brought to life a music style that has reverberated through centuries, resonating in the beautiful acoustic setting.
The contrasting encore of Purcell’s “Hear My Prayer, O Lord” further showcased their artistic expertise, leaving the audience with a hauntingly memorable rendition.
However, not every performance met the same standard.
The Monday evening concert at Jordan Hall, featuring the English Cornett and Sackbut ensemble, started strong with a powerful rendition of Lassus’s “Omnes de Saba,” but did not maintain the same energy throughout the evening.
After an intermission that seemed excessively lengthy, the audience was left waiting before the brass and wind instruments returned for the final pieces of the concert.
Despite the quality of the performances, there were concerns about the pacing and structure of this program.
Late-night performances offered a more exclusive atmosphere, with concerts starting at 10:30 p.m., promising unique playlists for night owls.
The first such program featured tenor Aaron Sheehan and festival co-artistic director Paul O’Dette, who treated the audience to lute songs themed around women and wine.
The evening’s highlight was the emotionally charged “In Darkness Let Me Dwell” alongside a collection of delicate instrumental pieces.
Tuesday’s late-night entry brought Stephen Stubbs and his West Coast-based Pacific MusicWorks to the stage, presenting a program titled “Murder, Mayhem, Melancholy and Madness.”
However, audience expectations leaned more towards excitement than the evening’s predominant melancholy, though soprano Danielle Reutter-Harrah’s interpretation of Purcell’s “Bess of Bedlam” provided a captivating counterbalance.
Earlier that same evening, Boston Camerata premiered “A Gallery of Kings,” an eclectic mix of medieval power struggles, featuring a blend of male singers, instrumentalists, and storytelling through song.
Directed by soprano Anne Azéma, this program elegantly navigated the trials of both historical and fictional kings, with standout performances such as bass-baritone John Taylor Ward’s emotionally potent portrayal of King David.
The seamless musical arrangements showcased both the talent and versatility of the performers, although some critics noted the thematic focus felt a bit scattered.
A standout performance was delivered by Oslo-based Trio Mediaeval, celebrating a near-30-year legacy with founding members still at the helm.
Their combination of Hildegard von Bingen’s praises and English composer Leonel Power’s polyphony, alongside the 14th-century Tournai Mass, highlighted the richness of the early music repertoire.
The group’s use of various instruments, including a hurdy-gurdy and Hardanger fiddle, contributed to the atmospheric sound, though some of the instruments postdated the repertoire they sang.
The Trio’s performance contradicted strict historical accuracy, illustrating instead a spirited interpretation that resonated deeply with the audience.
With their distinct voices blending into a cohesive sound, Trio Mediaeval’s philosophy of “love abounds in everything” shone through their performance.
The festival continues through June 15 at various venues across Boston, inviting audiences to immerse themselves in the enchanting world of early music.
For those keen on experiencing the expansive range of early music and its extensive history, BEMF is a treasure trove of auditory delights, with performances that transport audiences across time and space.
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