Word: carissimi
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...Carissimi's popular 'Historia de Jepthe' (1645) brought the program to a well-tailored conclusion. Major soloist for the evening, Marguerite Paquet (alto) gave the traditionally tenor Historious part an impressively smooth and certain performance. Mr. Sorenson again delivered a fine solo...
...that communicated pathos and feeling rather than pride and firmness. As Tiresias, Bentley Layton had warmth and resonance, too, but made the jagged melodic line too fluid. Lacking great vocal strength, he presented a too apologetic Tiresias. The result of both solos was closer to the personal expressiveness of Carissimi's Jeptha than the square, forthright objectivity of Stravinsky's score...
While unusually skillful in difficult modern styles, the singers gave the early music somewhat second-hand treatment. Two choruses by Schutz and Sweelinek exhibited some of the worst tenor tone the Glee Club has ever offered. The sound of Carissimi's Jepthe seemed much richer, but it was still only a routine performance of a routine oratorio. The program's success, despite Baroque appendages, lay principally in the stimulating compositions of our own time...
Jean Lunn took on an ambitious task in three recitals of baroque vocal music at Paine Hall Wednesday. In such Italian works as those of Carissimi, Caccini, and Monteverdi, she presented some of the earliest samples of the "new music," a dramatic vocal style evolving during the latter 16th century. In works by Bach, Buxtehude, Couperin, Rameau, A. Scarlatti, and Maurice Greene she traced some of the greatest developments of this style during the following century and a half. The programs were discriminately chosen and revived much music of historical interest and great beauty...
Speaking in Paine Hall, Ghisi will discuss "Italian Avs Nova Music" Tuesday at 4:30 p.m., and "Festivities and Shows in Florence During the Rennaissance" Wednesday at 8 p.m., Friday, October 10, also at 8 p.m., he will speak on "The Sacred Stories and Oratories of Giacomo Carissimi...