Music Reviews

May 31, 2009 - The Reno Baroque Ensemble presents another of its impressive concerts at Reno's Trinity Episcopal Church

By Jack Neal

Impressive is just the right word for what the Reno Baroque Ensemble is up to. And one of these days, when the planets align perfectly, this starry-eyed ensemble will produce a concert that falls celestially into all it should be.

In spite of its near miss from "all that it should be" the Reno Baroque Ensemble was impressive in concert Friday night (5-30-09) at Reno's Trinity Episcopal Church. However, at 75 minutes the concert’s first half – as lovely as much of it was – left one a bit overwhelmed for what might follow. And since I had a night-club act to catch and could not be late (people were waiting), I missed Vivaldi’s Gloria Mass featuring mezzo-soprano Olivia Hakel and soprano Susan Horst. That was unfortunate. It’s superb music. The singers, including the RBE singers, are worth hearing.

Conductor Eric Gault is the power that makes this special group perform so well. He has an affinity for projecting small-scale works in intimate settings. The chorus of 23, impeccably prepared by Gault, is precisely groomed and sings as heavenly as one expects for a church setting, especially one as lovely as Trinity Episcopal Church.

Friday night’s audience was large and appreciative and for good reason. Brahms’s “In Stiller Nacht” was gorgeously brought off. Morley’s madrigal, “My Bonny Lass She Smileth,” was joyous and articulate. “Deep River,” a spiritual for all times and seasons, was hauntingly managed. P.D.Q. Bach’s “My Bonnie Lass She Smelleth” provided ice-breaking comic relief. Antonio Estevez’s “Mata Del Anima Sola” was exquisitely presented with elegant solo work by Eric Gault and superb ethnic singing by Sergio Massardo.

Adding Vivaldi’s “The Four Seasons” to the above works does, however, make for a long first half. It seems even longer when too much of these four celebrated Vivaldi concerti were in need of more rehearsal. There was an overriding inspired intent that pleased, and violinist Martin Davids and cellist Elisabeth Reed played with assurance, but their playing intertwined with an uneven orchestral collaboration, was not enough for true success.

Davids is a devoted Baroque artist and performer of considerable note. Vivaldi was a brilliant violinist and wrote demanding violin music. It was a pleasure to hear Davids in person. He’s an exciting musical presence, has extensive virtuosity and leaves Baroque affectation for lesser talents. His playing is immersed in the kind of charm Vivaldi himself brought to his performances. Reed also brings wonderfully nuanced playing to what seems to be an intuitive Baroque style honed by study and discipline. To hear both of these excellent musicians on the same program was very special.

This ambitious program was created and conducted by Eric Gault who seems to have put together an organization designed to last. It should. Gault is a sensitive, hardworking musician with much to offer. His passion, the Reno Baroque Ensemble, appears destined to blossom into one of Northern Nevada’s finest musical treasures.