À propos de nous
|Sony Classical||Media &
à la carte
|Chœur du TEM|
La mission du Theatre of Early Music est de devenir un incontournable dans la redécouverte des musiques anciennes.
N’utilisant que des instruments anciens, voire de fidèles copies, le TEM s’attache à reproduire les œuvres dans
leur contexte original utilisant les pratiques d’interprétation et les techniques vocales appropriées.
Le style distinctif de l’ensemble, joint à l’expertise et l’enthousiasme du directeur artistique M. Daniel Taylor,
mènent à des lectures captivantes d’œuvres magnifiques, trop souvent négligées.
Bienvenue dans le monde du Theatre of Early Music
Basé au Canada, le Theatre of Early Music (TEM) est au départ composé de jeunes musiciens dont le style distinctif, joint à l’expertise et l’enthousiasme de Daniel Taylor, conduit à des lectures captivantes d’œuvres magnifiques mais souvent négligées. Le Theatre of Early Music est motivé par le profond désir de communiquer d’une façon distincte le texte et la musique à notre auditoire. L’ensemble explore les profondeurs et la substance de cette littérature chorale et instrumentale en partageant ses idées et sa passion. Le Chœur et l’Orchestre du TEM sont composés des meilleurs musiciens de notre génération partageant une passion toute particulière pour la musique ancienne. L’ensemble s’est formé autour de l’aspiration commune des instrumentistes et des chanteurs à trouver des occasions de laisser dévotion et dévouement pénétrer au coeur même du processus créatif.
En formations diverses, les musiciens les plus réputés de ce domaine profitent de la tribune offerte par le Chœur et l’Orchestre du TEM pour se produire lors des séries régulières de concerts dirigées par Daniel Taylor à Montréal, Ottawa et Toronto. Les activités de l’ensemble ont aussi un rayonnement international grâce à des tournées et des enregistrements. Le TEM donne une trentaine de concerts par année, s’étant récemment produit en France, en Argentine, au Brésil, en Angleterre et en Chine. Au calendrier 2012-2013 : collaborations avec Dame Emma Kirkby, concerts des Hymnes de couronnement de Handel et de musique ancienne allemande, ainsi que des tournées dans l’est canadien, aux États-Unis et en Amérique du Sud.
Les artistes invités du TEM incluent Nancy Argenta, Robin Blaze, James Bowman, Benjamin Butterfield, Michael Chance, Charles Daniels, Alexander Dobson, Karina Gauvin, James Gilchrist, Michael George, Peter Harvey, Dame Emma Kirkby, Suzie LeBlanc, Daniel Lichti, Carolyn Sampson, Michiel Schrey, Stephen Varcoe et Deborah York.
Le premier enregistrement du TEM sous étiquette BIS, Leçons de Ténèbres de Couperin, avec Taylor et Blaze, est paru en 2005. Les critiques furent très élogieuses : "Beauty of this recording bows to no other (la beauté de cet enregistrement ne s’incline devant nulle autre)." Ce disque acclamé a été suivi de l’enregistrement d’un programme original d’oeuvres de la Renaissance, Love Bade Me Welcome, paru sous étiquette BIS en février 2006 et mettant en valeur l’acteur Ralph Fiennes récitant de la poésie de même que des duos des contre-ténors James Bowman et Daniel Taylor. Les critiques ont unanimement louangé "the legendary countertenor James Bowman in magical duets with the remarkable young star Daniel Taylor (le légendaire contre-ténor James Bowman dans des duos magiques avec la remarquable jeune étoile, Daniel Taylor)." En 2009, le TEM a aussi fait paraître sous étiquette BIS le Stabat Mater de Vivaldi, avec l’adaptation du Stabat Mater de Pergolèse par J.S. Bach avec la soprano Dame Emma Kirkby et Daniel Taylor.
Theatre of Early Music (Chœur et Orchestre) enregistre maintenant exclusivement pour Sony Classical Masterworks. Son premier disque sur étiquette Sony, The Voice of Bach, a été chaudement salué dans Gramophone Magazine : "serious music-making of the highest order (une solide production musicale de tout premier ordre)". Il a reçu 5 étoiles de BBC Music Magazine, 5 étoiles de Classic Music CD, a été présenté dans le cadre de l’émission "Desert Island Discs" de la BBC et acclamé entre autres dans le Times (Londres), le Globe and Mail (Toronto), le New York Times, le Guardian (Londres) et La Scena Musicale (Montréal). Leur plus récent disque récital, intitulé Come Again, Sweet Love, est paru le 1er juin 2011, et a aussi récolté des critiques favorables.
Le TEM est devenu une organisation sans but lucratif en 2002 et un organisme de bienfaisance en 2004.
Festival des musiques sacrées de Québec.
Nomination au prix Juno pour
21 Dec 2016:
Le dernier disque sous étiquette Sony.....
La Scena Musicale
Kiersten van Vliet
1 février 2017
Its conspicuous release before Christmas is no accident, like the 2015 release of Four Thousand Winter, The Tree of Life is a selection of a capella Christmas pieces. Unlike the previous album, The Tree of Lifeis curated to lead the listener on a journey where stillness and silence are equal players to the music of Mouton, Tavener, Britten, Elizabeth Poston, Robert Parsons, and Pärt. On this disc, leading Canadian countertenor Daniel Taylor is joined by soloists Jeremy Budd (treble), David Clegg (alto), Nicholas Pritchard (bass), and Ellen McAteer (soprano), as well as esteemed choristers from the Tallis Scholars, the Gabrieli Consort and the Monteverdi Choir, not to mention the same UK-based production team led by Nicholas Parker.
Estonian composer Arvo Pärt’s Seven Magnificat-Antiphons is the conceptual centre on which the album hinges. Paradoxically, whereas the Pärt reaches out to the celestial unknown, the more familiar mainstays in Catholic services by unknown composers that bookend the album "Puer natus est" (Christmas Day introit) and "Veni, Veni Emmanuel" (a plainchant Antiphon from Vespers) form the earthly foundation from which the remaining selections take flight. It would be easy to wax poetic about the superior blend Taylor et al. achieve beneath the venerated rafters of St. Augustine’s Anglican Church in Kilburn, London, but for brevity’s sake I will only mention my favourite moments here: the plaintive, yet refined Hymn to the Virgin by Britten; the gloriously simple homophonic Jesus Christ the Apple Tree by Elizabeth Poston; the overwhelming waves of sound in Tavener’s Hymn to the Mother of God; and, of course, the Pärt, but then again, I am always pro-Pärt.
Far from merely a seasonal disc, you could have selections from this album on rotation year-round, especially if you are in the business of making playlists of exceptional choral music; as a whole, it is an aural pilgrimage for even the most agnostic among us.
FINANCIAL TIMES, UK, Dec 22 2016
The Tree of Life - review
An atmosphere of spiritual calm pervades a programme embracing a range of simple and rapt choral favourites
The running theme of this disc is the Seven Magnificat-Antiphons by Arvo Pärt, written for the seven days leading up to Christmas Eve. They bestow an atmosphere of spiritual calm that pervades a programme embracing a range of simple and rapt choral favourites, Tavener’s "The Lamb", the youthful Britten’s "Hymn to the Virgin", and Elizabeth Poston’s lovely "Jesus Christ the Apple Tree".
Daniel Taylor gets first-rate singing from The Trinity Choir. Looking at some of the names in its ranks, the quality of the choir’s sound and ensemble is hardly surprising.
Christmas Gift Ideas from the Bach Choir and Friends
Posted on December 18, 2016
The Blog of The Bach Choir of Bethlehem, by choir member David Ruhf
Also, another dear friend of The Choir, our beloved countertenor soloist, Daniel Taylor, has been working on a few recording projects for Sony with his new Trinity Choir, an assemblage of frightening talent from the highest echelons of choral performance. The two discs they’ve released, thus far, have both been of Christmas music. Four Thousand Winterwas released last year, and the follow-up disc is entitled Tree of Life. Both discs are absolutely stunning, and have at their centers large works of renaissance polyphony (Tallis’ Videte Miraculum in the former, and Jean Mouton’s especially-glorious Nesciens Mater, in the latter). Filling out the programs on both discs are smaller works, both ancient and modern, with the unifying link of unusual spiritual and intellectual depth. The engineering and sonics are fabulous (both were recorded in churches with exceptional acoustics in London), and the performances are tears-in-your-eyes revelatory. Particular favorite tracks are Matthew Martin’s Adam Lay Ybounden, John Joubert’s There is No Rose(unknown to me before the recording, now a reliable moment of transcendence), and all of Arvo Pärt’s Seiben Magnificat-Antiphonen. The Antiphons are particularly evocative, and Daniel’s group is my new reference recording, not least in part because of the inextricable and achingly complementary relationship between performers and acoustics in these works. No digital or electronic tinkering can outshine a fantastic choir in a fantastic room. If you need an escape from all of the holiday clatter, you could hardly do better than these recordings, which are available from Amazon and on iTunes.
11 Décembre 2016, CBC Radio 2 In Concert:
Paolo Pietropaolo en vedette The Tree of Life comme son CD de la semaine.!
hbdirect.com - Dec 2016
Having already released successful recordings for Sony Classical over the past decade, top Canadian and world-renowned counter-tenor and vocal music director Daniel Taylor follows up on his highly successful and critically acclaimed Four Thousand Winter album with another stunningly beautiful release of incredible vocal music. The Tree of Life includes stunning a cappella vocal performances by The Trinity Choir in a beautiful juxtaposition of poignant 20th century works with early music gems, all realized with Daniel’s dedicated attention to detail and creative expertise. The repertoire includes Arvo Pärt’s Magnifcat-Antiphonen, John Tavener’s The lamb and Hymn to the Mother of God and Benjamin Britten’s Hymn to the Virgin amongst others. The pure voices of The Trinity Choir include the best singers from the UK’s most lauded choirs and the best Canadian soloists of today.
Matthew Parsons - CBC Nov 2016
When Daniel Taylor's Trinity Choir released its 2015 Christmas album "Four Thousand Winter", it impressed even the committed scrooges here at CBC Music. And now, a year later, the choir has returned with a record in a very similar mould. Like its predecessor, "The Tree of Life" features music spanning two millenia: from chants dating back to the earliest days of Christmas celebrations, to contemporary works by Arvo Pärt and John Tavener. But this new album has a concept and a goal of its own.
"The Tree of Life takes the listener on a spiritual journey" wrote Daniel Taylor in the album’s liner notes, "guiding us through the notes to the moments of silence between them: here we remember, reflect and give thanks." The album is structured around Pärt’s Seven Magnificat-Antiphons, a collection of gloriously straightforward settings of sixth-century sacred texts. Around the scaffolding of these seven short pieces, Taylor and his choir build a meditative musical experience that’s a far cry from the standards-and-sleigh-bells approach to Christmas music. Tavener’s setting of William Blake’s "The Lamb" is so static, you might find yourself slipping into a trance by the end of its brief running time. Robert Parsons’s placid "Ave Maria" will immediately purge your mind of more familiar settings by Schubert and Gounod. And Benjamin Britten’s "Hymn to the Virgin" (written when Britten was only 16) cuts straight to the part of you that recognises beauty - regardless of what sort of spiritual journey you may personally be on.
Most of the words you’ll hear sung on this album are not from our time, or any time resembling it. They come from bygone societies, practising bygone versions of Christianity. But like Pärt and Tavener before him, Taylor finds contemporary resonance in them: "The Antiphons are the cry of a wounded people who have known loneliness and the loss of dignity," he wrote of the sixth-century texts in Pärt’s piece. "We need look no further than our own society to witness this loneliness. There is a lack of understanding, an ’othering‘ of the vulnerable and disabled, which denies those who live through the actions of their hearts and which blatantly overlooks the vulnerability in each of us." For Taylor, these ancient cries for help are as necessary today as ever. Perhaps this record can offer solace.
This was the most fun I’ve had at a concert since the epic minimalist concert ...in August 2013.
Then as now I believe we were seeing Toronto Summer Music Artistic Director Douglas McNabney
pushing the envelope of what’s possible in a concert.....But this time I believe we were engaging in genuine research, Daniel Taylor’s Theatre of Early Music
(TEM) challenging us to see and hear in a new way. .....
.......I loved this concert that ventured into different territory beyond performance. We were re-enacting a public ritual from long ago, and I say "we" because the audience weren’t merely passive viewers. Whether it was McNabney or conductor Daniel Taylor who conceived & curated this event, they changed the usual ground-rules for a concert.
The evening was organized into a service: re-enacting a coronation, with a few modern pieces added.
Bill Coleman silently portrayed King George II, while Alan Gallichan played the Archbishop.
During Zadok the Priest, in the long gradual build-up of tension, we saw the Bishop put a crown upon
the King’s head, and then the two advanced towards us (the congregation?), leading to the shattering climax
as the chorus came in. The orchestra was a nice size to work with that fabulous chorus,
comprised of a string quartet, two oboes, two trumpets, drums and organ.
This wasn’t any old chorus, as Taylor looked out upon a small ensemble of some of the best singers in the city, namely the Theatre of Early Music (TEM). The magnificent chorus included Ellen McAteer (fresh from Friday night’s Rape of Lucretia) Asitha Tennekoon (heard in Tapestry Opera’s Rocking Horse Winner), Alex Dobson, and Toronto Masque Theatre’s Larry Beckwith.......
I was struck by the sentiments stirred up at this concert. We heard wonderful music including "Worthy Is the Lamb", but also participated in singing Parry’s "Jerusalem", admittedly an anachronism that served to personalize the event. I wonder, would the crowd in the 18th Century have cried out "God Save the King" along with the chorus in "Zadok the Priest"? Listening to this performance, I have to wonder. .... But notice that it’s not wrong to be sentimental, not in this case. This isn’t a piece of art, it’s a practical composition for an event, intended to stir up our feelings. When they sing "Alleluia" ....it’s a genuine prayer, not just a bit of singing....
...It’s a coronation anthem meant for an event like what we saw re-enacted tonight....Wow!
Publié le 27 juillet, 2016 par Barczablog
Revue de concert originale: https://barczablog.com/2016/07/27/the-coronation-of-king-george-ii/
La Vallée des Pleurs / The Vale of Tears1. Praetorius: "Hört auf mit Weinen und Klagen"
Schütz: Musikalische Exequien, Op. 7
2. Concerto in the form of a German Requiem Mass
3. Motet: "Herr, wenn ich nur dich habe"
4. Canticle of B. Simeonis: "Herr, nun lässest Du Deinen Diener"
5. Praetorius: "Mit Fried und Freud ich fahr dahin"
J.S. Bach: O heilige Geist- und Wasserbad, Cantata BWV 165
6. Aria (soprano): "O heilige Geist- und Wasserbad"
7. Recit. (bass): "Die sündige Geburt verdammter Adamserben"
8. Aria (alto): "Jesu, der aus großer Liebe"
9. Recit. (bass): "Ich habe ja, mein Seelenbräutigam"
10. Aria (tenor): "Jesu, meines Todes Tod"
11. Chorale: "Sein Wort, sein Tauf, sein Nachtmahl"
Schola Cantorum et le The Theatre of Early Music:
Daniel Taylor, Chef
La Scena Musicale, Montréal, Novembre 2015
"De toute évidence, Daniel Taylor adore la voix humaine. Le choix méticuleux des chanteurs qui l’entourent est admirable. Il apporte à ces merveilles vocales une direction sensible, un sens musical empreint d’une profondeur indéniable. Cette vallée des pleurs se transforme en rivière dont la coulée atteint son but, près d’un siècle plus tard, avec la cantate BWV 165 de Bach. La cantate, axée sur le baptême du croyant, se termine sur une exécution limpide et pure, sans doute la plus belle interprétation de cette œuvre discrète du grand Bach.
Un disque essentiel que l’on garde près de son cœur. "
Theatre of Early Music, Schola Cantorum, Dan Taylor, The Vale of Tears
Article posted on CBC web site by Robert Rowat - Sept 2015
On the heels of their Juno-nominated 2014 album The Heart's Refuge, the Theatre of Early Music, Schola Cantorum and director Daniel Taylor are back with another exciting release on the Analekta label, The Vale of Tears.
The Theatre of Early Music is Taylor’s collective of early music specialists committed to reconstructing music for historical events, and that’s exactly what we have in The Vale of Tears. Here, the event in question is a funeral for Heinrich Posthumous Reuß, a member of the noble class in Dresden where another Heinrich, Schütz, was Kapellmeister. Schütz composed his Musikalische Exequien in 1635 to honour Reuß, and it is has endured as his most famous work. It’s complemented on The Vale of Tears by J.S. Bach’s cantata O heilige Geist- und Wasserbad, which draws on some of the same texts and chorale sources as Schütz’s work and two hymns by Michael Praetorius that were performed at Reuß’s burial service. It’s a substantial choral program for Schola Cantorum, a vocal ensemble comprised of students from the Univeristy of Toronto’s faculty of music, where Taylor is head of historical performance. But in the few years since he established the group, it has blossomed into a virtuosic choir capable of tackling the most challenging baroque repertoire.
We reached Taylor by email to find about more about his most recent project.
Music from the early baroque period doesn’t get as much attention as music from the high baroque. Why is that?
It could be said that, aside from Monteverdi, many of the composers from the early baroque period have been neglected. Perhaps until recently, ensembles have not taken risks in their programming, so often it’s Fireworks or the Brandenburgs, in part because of the reduced funding provided by the federal government to the arts. The Theatre of Early Music made its first effort to remedy that with our Juno-nominated album dedicated to early German composers including Kuhnau and J.C. Bach. Kuhnau was a composer I first brought to the Quebec and Canadian public thanks to Christopher Jackson’s invitation to direct the Choir of the Studio de musique ancienne de Montréal. In many ways, Christopher proved to be a mentor and inspiration to me and my work that would follow. It’s encouraging to see groups such as Arion now programming Kuhnau, it is a compliment to my musicians and to their dedication as well as to Christopher’s unerring commitment to early music.
This album gives us a faithful representation of the kind of music we’d hear at a solemn occasion in 17th-century Germany. Does this sort of historic immersion drive your projects with the Theatre of Early Music?
Absolutely. My interest in liturgical reconstructions is driven by my belief that the art itself is already perfect in form; this, to be clear, this is not about having a "brand name" or leaving my own fingerprints all over the scores, but in allowing the original beauty of the work to be shown. It must be like the feeling of revelation that they had when they restored the frescoes of the Sistine Chapel, this is very much a sacred process guided by the musicians.
You’ve been directing U of T’s Schola Cantorum for three years now. What are the challenges you face making music at a professional level with a student ensemble?
There is a moment that I usually wait for in each rehearsal, that moment during which I see the students singing with joy (priority number 1!) suddenly realize that I am going to make very specific professional artistic demands of them, they are, after all (as one of the reviewers noted recently) an ensemble of the elite singers in this country, and with opportunity comes tremendous discipline and very, very hard work. Their first concert was with the greatest choir in the world, the Tallis Scholars, and since then they have appeared with members of the Monteverdi Choir, the Gabrieli Consort and the Kammerchor Stuttgart. Combined with the rich array of courses offered through the University of Toronto’s choral program developed by Dr. Hilary Apfelstadt, our program is unrivaled in Canada.
Tell us what the recording sessions were like.
Recording sessions were intense and yet the singers and I found them to be greatly rewarding. For some of these young people, this was their first professional recording yet instead of hearing doubt or hesitation, you can hear their excitement. To be sure, the Musikalische Exequien is a complex piece and there were certainly times when I asked myself why I had set such a monumental task before all of us. However, they answered this challenge by lifting the music to a higher level.
Weill Recital Hall
15 novembre, 2011
Musiciens du TEM :
Cynthia Roberts, violon
Edwin Huizinga, violon
David Miller, alto
Amanda Keesmaat, violoncelle
Reuven Rothman, contrebass
Eric Milnes, clavecin
David Jacques, guitare baroque
The Theater of Early Music, a Canadian period-instrument and vocal ensemble led by Daniel Taylor, the countertenor, expands and contracts
to suit the project at hand. Mr. Taylor brought a compact version to Weill Recital Hall for a Handel program on Tuesday,
and though he was listed in the program book as both countertenor and conductor, there was no conducting to be done.
When the instrumentalists had the spotlight -in trim, zesty accounts of a passacaglia (from HWV 432) and the
"Giulio Cesare" Overture - Mr. Taylor left them to it.
The evening was mostly devoted to arias and duets from Rinaldo, Tolomeo, Giulio Cesare and Rodelinda, in which Mr. Taylor split the spotlight with the soprano Deborah York. They were well matched. In the ebullient Scherzano sul tuo volto (I look in your beloved eyes) from Rinaldo, Ms. York’s bright, tightly focused timbre perfectly complemented Mr. Taylor’s velvety tone, and when Ms. York darkened her sound in the mournful duet Io t’abbraccio (I embrace you) from Rodelinda, the blend was just about perfect.
On her own, Ms. York was at her best in Bel piacere (It is a great pleasure) and Lascia ch’io pianga (Let me weep), both also from Rinaldo. In Bel piacere, Handel demands an athletic series of barely prepared leaps, which Ms. York handled so gracefully that she made her ornamentation of the top notes sound natural and comfortable if not necessarily easy. In Lascia ch’io pianga, one of several tragic arias that gave the program its emotional richness, she sang with a wrenching dynamic suppleness.
Mr. Taylor matched that quality in several pieces, most notably the lustrous Dove sei (Where are you) from Rodelinda, where his tone was at its most fully burnished. .......
By Allan Kozinn, NY Times, 16 novembre, 2011
Photo : Karsten Moran pour le New York Times
....the performance in Weill Recital Hall gave modern audiences a glimpse into how Handel’s audiences would have consumed this music in coffee houses,
concert halls, and in the home. The one-on-a-part ensemble may have left some in the audience yearning to hear a larger group of players to realize Handel’s sumptuous string parts.
However, the balance between the players and singers was perfectly suited to the size of the sold-out Weill Recital Hall, and created a robust
continuo - which contained more than half of the players!
Arias from three of Handel’s most popular operas in modern revival, Giulio Cesare, Rinaldo, and Rodelinda were featured in the program. But the true gem of the evening was the aria Se il cor ti perde from Tolomeo sung by Daniel Taylor (countertenor). The opera itself was little known even amongst the most experienced Handelians in the audience. For this piece, Taylor gave a charming introduction and explained some of his artistic choices. This helped add to the intimacy of the evening.... In the aria, he mixed his falsetto and baritone wonderfully for dramatic effect, and literally let his hair down in order to match the affekt of the crazed aria. His cadenzas were bombastic, chilling, and downright ferocious. One could really hear and see the rage of the character Tolomeo, who in the aria threatens his sister Cleopatra.
...Taylor and his colleague Deborah York gave fresh interpretations to these old favorites. Taylor’s delivery of Cara sposa from Rinaldo was particularly wonderful, and his entrance on the B natural held for more than four full beats was exquisite. A similar effect is written into the aria Dove sei from Rodelinda, and Taylor let his audience relish in his gentle messa di voce, beginning softly and then slowly swelling both in volume and vibrato. In all of his arias, Taylor showed remarkable restraint in his use of vocal embellishments and cadenzas. The result made his choices to alter the music in da capo repeats highly noticeable and effective.
Deborah York’s most stunning aria, perhaps, was Cleopatra’s Tu la mia stella sei from Giulio Cesare. Her da capo ornaments, more so than in her other arias, were subtly chosen and highlighted her vocal agility. The gorgeous and expansive Se pietá, another aria for Cleopatra in Giulio Cesare received thunderous applause from the audience.
True to the ensemble’s name, Theatre of Early Music, all of the music was presented in a theatrical manner,....Taylor, for example, never stood in the center of the stage during introductory ritornelli. For all of his arias, he made a dramatic entrance from stage left. Often, he even began singing facing away from the audience, singing to the players...... The style of dramatic presentation also contributed to its authenticity.
Stephen Raskauskas, 17 novembre, 2011
.....all the listener heard was glorious singing, supported by a committed group of instrumentalists. Cynthia Roberts was superb in the role of first violinist,
playing with flare and with an awesome technique. The other instrumentalists were also right on with every note,
including David Jacques who played the Baroque guitar.
Cara Sposa, the best known piece on this program, was touchingly sung by Mr. Taylor. He has an angelic demeanour which well suits songs of lamentation, and he performed this one effortlessly. Se il cor ti perde, a duet from Handel’s Tolemeo, is very similar in style to Schezano sul tuo volo. both duets weave the voices in, out and around each other: the harmonizing is ethereal and almost other-worldly.
The second half of the program opened with the overture to Giulio Cesare, Ms. Roberts and her group put so much spirit into their performance that it seemed as if a full orchestra was on stage. Tu la mia stella sei followed, a difficult aria that York tossed off with ease, reaching up to the highest vocal register without undue strain or thinning out.
The group returned to Rodelinda and a more familiar aria performed by Daniel Taylor, Dove sei, a lament made poignantly touching by Taylor’s attention to each word and meaningful but not overly-emotional gestures. This led into a wonderful and difficult aria, Se pieta di me non senti from Giulio Cesare. Built on a chromatically descending triplet played repeatedly through the entire piece, with Ms. York’s impassioned voice doubled or echoed by the strings, this was certainly the most moving aria in the concert, and the considerable applause that followed was appropriately long.
Taylor then took the stage and graciously thanked the New York audience for giving him the opportunity to play in Carnegie Hall. It was thrilling to him, but even more so to his mother, who was in the audience. He stated that his natural voice was that of a baritone and that he was able to use this range in this next aria, Domero la tua fierezza. Loosening his ponytail as he took on the role of the mad Tolomeo, he tackled this wild aria with all its jumping notes and wide intervals. If there was any question whether this angelic countertenor could belt out dramatic arias, it was answered here. His exaggerated gestures and emphatic holding of the low notes was tremendous fun after so many rueful songs.
Taylor dedicated the final duet from Rodelinda, Io t’abbraccio, to a deceased friend. Appreciative applause continued until the ensemble returned to do an encore of their first duet Scherzano sul tuo volto.
Photo : Nan Melville (C) 2011
Taylor and York form a wonderfully complementary duo ..
York sings with a focused, pure sound, making sparing but effective use of vibrato and executing perfectly timed ornaments with absolute grace. She brings great musical depth and a tremendous range of colors and dynamics to her musical interpretations, creating a subtle sense of drama in the process. Her soulful, pristine deliveries of arias such as Lascia ch'io pianga from Rinaldo on Saturday’s program were exquisite.
Taylor has a bigger, more dramatic sound than York, which is remarkably warm and relaxed for a countertenor. He uses vibrato liberally and is not afraid to color outside the lines of a perfectly refined sound from time to time for musical effect....
Those differing sounds and styles combine to create musical magic in duets. The two singers work together with a remarkable musical intimacy based on a combination of great musical instincts and the ability to listen and respond to each other.
They give their duets the feel of extremely personal conversations.
Elaine Schmidt, Journal Sentinel, 20 novembre 2011
Countertenor Daniel Taylor, who sang from Handel operas Saturday on an Early Music Now program, is the best (countertenors)
I’ve ever heard. His voice is big, beautiful, rich and agile. He guides it with unerring feel for the sentiments of the words and
the direction of the phrase. He ornaments brilliantly and with a historian’s sense of style. ...
They sang and played selections from Rinaldo, Giulio Cesare and Rodelinda, ...The singers and players understood and fully realized them....
This music is also extravagantly virtuosic for the singers. Both York and Taylor negotiated fleet scales and arpeggios with ease and applied the most astonishing ornaments when Handel instructs them to repeat a section.....
Taylor took ornamentation a step further in Domero, from Giulio Cesare. He dropped out of countertenor guise and into his natural baritone for certain words, to startling effect. A couple of critics have taken him to task for the inauthenticity of such a stunt. They have a point, as this would not have occurred in Handel’s time - castrati don’t develop baritone ranges. But this music is first about amazing voices doing amazing things. In spirit, Taylor adhered to Rule No. 1 of late Baroque opera performance practice: If you’ve got it, baby, flaunt it! ....
... A near-capacity crowd applauded the Theatre of Early Music with gusto....
Tom Strini, 19 novembre 2011
Concert très bien reçu par les délégués du International Congress of Human Genetics,
If this is Baroque, please don’t fix it!
Approximately 800 attendees of the 12th International Congress of Human Genetics were treated to a selection from Handel operas
in the magnificent setting of the Notre Dame Basilica. Daniel Taylor, Suzie Leblanc and the Theatre of Early Music delivered a
musical experience that will not soon be forgotten.
Mr. Taylor is touted as Canada’s star countertenor and, while not having had the opportunity to hear from the rest of the field, it is hard not to believe that this is a case of damning with faint praise. Demonstrating extraordinary control of his instrument Mr. Taylor conveyed the emotional gamut of the selections, from love and passion to despair and most memorably insane rage (with the requisite flying hair). It is hard to imagine a more devoted interpreter of this repertoire.
As fine as Mr. Taylor’s performance was, for me the revelation of the evening was the soprano, Suzie Leblanc. With a rich, pure tone of crystal clarity, Ms. Leblanc evokes the voice and style of her mentor, the great English Baroque soprano Emma Kirkby. Indeed, in this listener’s opinion Ms. LeBlanc’s vocal quality has infinitesimally more color while matching the unparalleled musicianship of the former. I am looking forward to exploring her discography not only to hear her perform the Baroque repertoire, but to enjoy performances of Acadian folk song.
The band, using authentic Baroque performance technique, was sensitive in its support of the singers and was given the opportunity to shine in two overtures. While all of the musicians were exemplary and the ensemble impeccable, two were especially noteworthy (pun intended). The 1st violinist Chloe Meyers was given ample opportunity to interact with the vocalists and was their equal in the antiphonal give and take. The obvious delight in the interplay of ornamentation between the soloists and violinist consistently put a smile on my face. Contemporary jazz musicians could take a thing or two from these musicians to employ the next time they are trading fours. Praise is also due the oft neglected member of most ensembles, bassist Reuven Rothman. With such a small group it is almost impossible for the bass not to dominate when it is playing, yet the blend with the other instruments was perfect, well done!
Perhaps the finest compliment that can be paid to all the performers was the reaction of the audience. Having attended a number of these events in the past has conjured nightmares of performing before a ‘gabble’ of geneticists who are absorbed in their quatrain of A, C, T and G to the apparent neglect of the 12 glorious notes between A and G. Indeed, at the outset, applause was polite if a bit perfunctory, but by the end the assembly erupted in a standing ovation that testified to the connection between the performers and the audience. Truly one of the finest performances I have attended and the highlight of the meeting. Thanks to the organizers, particularly Judith Allanson, Secretary-General of the ICHG for their work in arranging this wonderful concert.
Marc S. Williams, MD, Director, Clinical Genetics Institute, Intermountain Healthcare, Salt Lake City, Utah