Review of Cantiga! Cult of the Virgin
Early-music singers perform impeccably
By Wilma Salisbury, Music Critic
The Cleveland Plain Dealer, October 13, 2004
The Renaissance repertoire and glorious sonorities of the Rose Ensemble transported listeners to the ancient cathedrals of Portugal, Spain and Italy Sunday afternoon at the Cathedral of St. John the Evangelist.
The concert, "Cantiga! The Cult of the Virgin," could have been excessively esoteric. The program book, with its scholarly explanations and lengthy text translations, looked formidable. But the program was so flawlessly performed and smoothly structured by the ensemble from St. Paul, Minn., that the audience was mesmerized.
The music initially floated from the rear of the cathedral, where the group's nine singers lifted their voices in 16th-century polyphony that unfolded effortlessly. The fluid phrases in an unfamiliar language evoked the feeling of a solemn prayer sung by reverent monks and nuns.
What a surprise, then, to see a group of young Minnesotans dressed in chic black processing slowly down the aisle. It was surprising, too, to read the text, translated from Galician-Portuguese, and to learn that the serene music by Spanish composer Juan del Encina was concerned with conquering armies and terrifying battles.
The two-hour program featured songs about the Virgin Mary, prayers for her protection and stories of her miracles. Rhythmic and nonmetrical choral pieces alternated with exquisite solos and duets. Colorful stories were narrated in English translation. One cantiga was gracefully acted out, with the singers alternating in narrative and dramatic roles.
Some songs were accompanied by period instruments, including vielle, harp, psaltery, hurdy-gurdy and hand drums played by several singers and a versatile musician. Everything was performed from memory in the style of troubadours telling tales, reciting poetry, leading prayers and expressing emotions.
Led by founder/artistic director Jordan Sramek, the singers achieved beautiful balance and blend. Their voices sounded pure. Their intonation was flawless. When they stepped out as soloists, however, they revealed a remarkable range of vocal types: a rough-voiced basso profundo, an operatic bass-baritone, a superb counter-tenor, a soprano with clarion high notes, another soprano with a childlike timbre.
Because of the beauty of the music, the variety of the voices, the liveliness of the personalities and the improvisatory support of gentle instruments, the performance was engaging from beginning to end.
The artists received a standing ovation, then greeted audience members and sold recordings in the narthex.
Founded in 1996, the ensemble has made five independently produced albums and toured nationally. Though not yet famous, the group performs at an artistic level comparable to that of world-class early-music ensembles.