United Kingdom Marc-Antoine Charpentier, Leçons de Ténébres: Les Arts Florissants / William Christie (director/organ) with Ilja Aksionov (tenor) and Padraic Rowan (bass-baritone). Wigmore Corridor, London, 16.4.2025. (CC)
I overheard an usher advising a patron to learn the textual content whereas they will; the efficiency was to happen in dimmed lighting. And so it did (not fairly so darkish as to preclude the studying of the texts, although). This was an atmospheric night shot via with magnificence; the setting solar did what, in a liturgical context, would absolutely be affected by the systematic snuffing out of candles.
The choice of Charpentier’s Tenebrae Classes and Responsories was properly chosen; texts are from ‘Lamentations of Jeremiah’ (with the Responsories taking theirs from Ardour narratives).
The concept to start with the Prélude to the ‘Kyrie’ from Charpentier’s Missa Assumpta est Maria was impressed; it begins with a single line, blossoming into two and on to a full instrumental texture. Heard with one to a component, it really works fantastically (distinction to one of the crucial latest Château de Versailles releases, which options your complete Mass, there with the full-strength Ensemble Marguerite Louise).
The Troisième Leçon de Ténébres du Mercredi Saint, H141 is for a solo bass and ensemble; fascinating how bass-baritone Padraic Rowan emerged from the instrumental texture to provide the opening phrases, ‘Manum suam misit’ (‘The adversary hath unfold out his hand’). His assertion of ‘Jerusalem, Jerusalem convertere’ (‘Jerusalem, Jerusalem, return’) was properly sturdy, however actually it was the workings Les Arts Florissants revealed that was most fascinating.
Tenor Ilja Aksionov was much less constant, maybe, taking time to settle within the Premier répons après la première leçon du second nocturne du Jeudi Saint, ‘Tamquam advert latronem’.
The timing of the live performance was excellent; as darkness fell exterior, we have been drawn ever into Marc-Antoine Charpentier’s stunning world, on one degree static, on one other all the time transferring. Totally different shades of darkish, one may say; and the Second répons après la seconde leçon du second nocturne du Jeudi Saint ‘Tenebrae factæe sunt,’ H129 takes us to one of many music’s darkest areas, typically low-pitched and together with probably the most exceptional chromaticisms and dissonances on approaches to cadences; William Christie and his gamers made no apologies for these toe-curling scrunches (those that know Il Seminario Musicale’s recording on Erato Veritas, with Gérard Lesne is likely to be stunned by Christie’s efficiency). Rowan declaimed the textual content fantastically.
The vocal works have been interspersed by instrumental items as interludes; the night was given as one 80-minute span with out interval. The primary was the ‘Prélude’ to Orphée descendent aux enfers, H471 (1683), stunningly stunning with sterling work from Emmanuel Resche-Caserta, significantly, on violin.
The viola da gamba of Hugo Abraham featured within the tenor Seconde leçon de Ténèbres du Mercredi Saint, H138. Right here, Aksionov was on far finer kind (simply his diction suffered somewhat, significantly compared with Rowan’s contributions). Once more, although, Charpentier’s setting of a line heard earlier ‘Jerusalem, Jerusalem, convertere’ was an actual excessive level. It was the Troisième répons après la troisième leçon du Mercredi Saint, ‘Unus ex discipulis’, H132, which defined the selection of soloists, Rowan and Aksionov’s voices completely complementary as thy entwined round one another. Declamatory and dramatic, the efficiency was an actual excessive level of the night, complemented by the darkish Troisième répons après la troisième leçon du second nocturne du Vendredi Saint, ‘Ecce quomodo’.
The Symphonies pour un reposoir, H515 was composed for a Fête-Dieu, or Corpus Christi, accompanying a procession within the streets of the Holy Sacrament. The second half, a ‘Pange lingua’, was virtually unbearably touching on this efficiency by Les Arts Florissants. Imitations have been joyous at occasions; this was way more than an interlude.
Penultimately, the Troisième leçon du Vendredi Saint, ‘Incipit oratio’ discovering each soloists once more working supremely properly collectively, a second of sudden drama all of the simpler for its rarity. Lastly, the Second répons après la seconde leçon du premier nocturne du Mercredi Saint, ‘Tristis est anima mea’, voices conjoining fantastically with devices.
This was an ideal choice of Charpentier’s works, fantastically carried out.
Colin Clarke
Charpentier –
Missa Assumpta est Maria, H11: Prélude
Troisième leçon de Ténèbres du Mercredi Saint, H141
Premier répons après la première leçon du second nocturne du Jeudi Saint ‘Tanquam advert latronem’, H133
Second répons après la seconde leçon du second nocturne du Jeudi Saint ‘Tenebrae factæe sunt’, H129
Orphée descendant aux enfers, H471: Prélude
Seconde leçon de Ténèbres du Mercredi Saint, H138
Troisième répons après la troisième leçon du Mercredi Saint, ‘Unus ex discipulis’, H132
Troisième répons après la troisième leçon du second nocturne du Vendredi Saint, ‘Ecce quomodo’, H131
Symphonies pour un reposoir, H515
Troisième leçon du Vendredi Saint, ‘Incipit oratio’, H95
Second répons après la seconde leçon du premier nocturne du Mercredi Saint, ‘Tristis est anima mea’, H126
