Besides being a wonderful singer and operatic performer, Ms. Lommler also demonstrated that she is a real trouper, showing up despite having one foot in a cast, and standing up to sing all her pieces
In the first half, she gave us lovely renditions of “Amanti, io vi so dire,” by Benedetto Ferrari, and “L’Eraclito amoroso,” by Barbara Strozzi, whose proto-fado, proto-blues music we particularly enjoy. Then, Mr. Vinokur soloed on the Handel Suite in E Major, HWV 430 (“The Harmonious Blacksmith”) which displayed his virtuosic level of skill on the harpsichord.
Then, Ms. Lommler gave us a very passionate rendition of Handel’s La Lucrezia, wherein we got a good sample of her operatic skills in song, expression, and gesture. The cantata adopts the same classical story as Shakespeare’s “The Rape of Lucrece,” and the portion in which Lucrezia curses her attacker, Tarquin, is truly fiery.
Mr. Dwyer accompanied La Lucrezia also, and did a beautiful job of it. The singing tone of the cello was truly a duet with the human voice.
In the second half, Mr. Vinokur moved to a fortepiano, to accompany Ms. Lommler on first, a set of songs by Franz Joseph Haydn, which set to music “She Never Told Her Love” (Shakespeare), “The Mermaid’s Song”(Anne Hunter), “O Tuneful Voice” (Anne Hunter), and “Cupido” (G. Leon).
This was followed by a second set of songs set to music by Mozart: “As Luise Burned the Letters of her Unfaithful Lover” (Gabriele von Baumberg); “In A Dark and Secluded Wood” (Antoine Houdart de la Motte); “Contentment” (Christian Felix Weisse); “Evening Thoughts” (Joachim Heinrich Campe); and “To Chloe” by Johann Georg Jacobi.
After a rapturous ovation, all three performers joined in an encore, also a Mozart piece that I did not catch the name of.
Pretty much all this music was new to me, and I very much enjoyed it all.
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