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Review: King Arthur: Gabrieli Consort & Players

It is a rare treat to see one of Europe’s most highly regarded ensembles performing in the intimate setting of Adelaide’s historic Elder Hall.
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Saprano Anna Dennis. Photo via gabrieli.com.

Gabrieli Consort & Players are rightly renowned for their fine interpretations of period music played on authentic instruments.   

For this performance, they were led by conductor Paul McCreesh, who is also an accomplished musician of the Renaissance and Baroque periods. He made a very lively and hands-on conductor, even singing along in some of the ensemble pieces. 

Audiences have few opportunities to see Henry Purcell’s ‘dramatick opera’ King Arthur, a grand work that is rarely performed.  This is one of the great patriotic operas of the seventeenth century, unashamedly British and full of rousing sentiment. The poetry of John Dryden never sounded so good.

At its heart, the work celebrates the birth of Britain and King Arthur’s triumph over the marauding Saxons. First performed in 1691, the work is replete with fairies and magic, enchantment and romance. There’s even a demonic gnome! And you know it must be British because the entire Second Act is dedicated to talking about the weather. Indeed, the well-known “cold song” is always regarded as one of Purcell’s most vivid and imaginative scores. And in a delightfully oblique touch, the eponymous King is nowhere to be seen. This is a story about the King, not of the King.

King Arthur is more often performed as a semi-opera combining dance, songs, music and prose. This edition, by Gabrieli’s McCreesh and Christopher Suckling, is staged more as a recital, the musicians gathered behind the singers who are sitting or standing. There is very little acting and virtually no dialogue. And even though it is sung in English, it can be difficult to follow the narrative. Some handy surtitles would have definitely been appreciated by many in the audience.

But it is all about the music, and on that there can be no complaints. The work is full of elegant music and beautiful songs, even the overture is a delight. The 17 musicians and nine singers were all superb and the intimacy of the setting was enhanced by the swathes of black drapes. Jean-Francois Madeuf made beautiful music with the distinctive sounds of his valveless trumpet.  The doubled theorbos were entrancing under the skilled hands of Paula Chateauneuf and Eligio Quinteiro. It was a pity the harpsichord was rather hidden from view, but its sound was impressive, played with the lightest touch by Jan Waterfield.

The audience in Adelaide was small but enthusiastic, applauding warmly and showing their genuine appreciation of these masterful players.

Rating: 4 ½ stars ★★★★☆ 

Purcell King Arthur

Featuring

Gabrieli Consort & Players

Conductor: Paul McCreesh

Anna Dennis and Mhairi Lawson sopranos
Hugo Hymas and James Gilchrist tenors
Marcus Farnsworth and Ashley Riches baritone/bass

18-19 February 2019

Elder Hall, Adelaide

 

Dr Diana Carroll
About the Author
Dr Diana Carroll is a writer, speaker, and reviewer based in Adelaide. Her work has been published in newspapers and magazines including the SMH, the Oz, Woman's Day, and B&T. Writing about the arts is one of her great passions.