| A candle-lit First United Church
proved an embracing locale for Wednesday evening's exquisitely
atmospheric concert by IU's Pro-Arte singers and Baroque Orchestra, one
inspired by Psalm 130, often referred to as "De Profundis," the first
two words of its text in Latin. In English, the first line of the Psalm goes, "Out of the depths I cry unto You, O Lord; Lord, hear my voice." Conductor Mark Brennan Doerries took that theme, which speaks of hopelessness and a search for uplift, and constructed of it a powerful musical articulation. He used Gregorian chant to voice the Psalm itself and added two Baroque masterpieces that express profoundly our need and grasp for hope: 'Ionas' (Jonah), an oratorio by Giacomo Carissimi, and a Bach cantata, "Aus der Tiefen, rufe ich, Herr, zu dir" ("Out of the depths I cry, Lord, to you"). The Carissimi is set to a nonbiblical text of the biblical story about Jonah and the whale and stresses the greater truth that being devoured by this monster of the deep was God's way of protecting him from the storm and that Jonah's faith was his means to deliverence. The score provides Jonah with an emotion-soaked aria, in which he recounts his harrowing experiences and begs forgiveness for his sins. Soloist William Hudson, given that central role on Wednesday, captured the terror and supplication masterfully. Four additional soloists, tasked to narrate Jonah's dilemma, selected from the ranks of the Pro Arte Singers, added significantly to the performance, both vocally and dramatically. They were soprano Arwen Myers, mezzo Lindsey Lang, tenor Matthew Wells, and bass Thomas Florio. All showed excellence in vocal agility. Myer's voice deserves special mention: its clarity and flexibility were a joy to hear. Chorus and orchestra honored Carissimi's always theme-reflective and often absolutely gorgeous music. Tenor Wells and bass Steven Eddy were given solo assignments in the Bach cantata and acquitted themselves quite nicely, as did - most assuredly - two instrumentalists from the Baroque Orchestra, oboist Alexandr Fester and cellist Hilary Glen, they having taken on the demanding expressive responsibilities assigned these instruments in Bach's score. Again, the whole of the Pro Arte, as partnered by the orchestra, infused Bach's anguish-laden music with drama and beauty. All the sorrow, the pleading for forgiveness, the striving for redemption were much in evidence. Of coursem a major reason for that - as well as for the compelling nature and the lofty quality of the entire concert - was the leadership of conductor Doerries. He planned an event of noteworthy merit, and he carried out his intentions famously. |
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