South Florida Classical Review

Violinist Chouchane Siranossian performed with the Venice Baroque Orchestra Friday night at the Sanctuary of the Arts. Photo: Nikolaj Lund

While there are many period instrument ensembles, only a few reach the highest standards of performance. 

The Venice Baroque Orchestra is one of the best. On Friday night, the 13 string players and conductor-harpsichordist Andrea Marcon gave a perfectly pitched demonstration of stylish affinity and instrumental brilliance at the Sanctuary of the Arts in Coral Gables, presented by RK Cultural Productions. The players were joined by violinist Chouchane Siranossian for a program titled “A Venetian Duel of Bows,” contrasting the works of the leading violinist-composers of the era.

Utilizing gut strings, Baroque bows and specially constructed instruments that replicate those of the 17^th and 18^th centuries, period string ensembles typically produce a warmer, more mellow corporate sound. The problem with many such groups is that they easily stray from pitch, since the effects of humidity and environment are even more problematical than with modern instruments.

No such issues affected the playing of Marcon and his Venetians. Throughout the two-hour concert, their intonation was secure and their unity of ensemble impeccable. From the first bars of Vivaldi’s Concerto for Strings in G minor, there was urgency and brio galore. The score’s Largo finds the Red Priest at his most eloquent and the players imbued the inspired paragraphs with nobility. A brisk and incisive concluding Allegro was infused with the spirit of the dance.

Siranossian joined the orchestra for the remainder of the program, a virtual Baroque violin recital with strings and harpsichord. She is one of Europe’s top period players who combines mastery of technique with pristine musicianship. 

Siranossian shaped the melodies of the opening Allegro of Vivaldi’s Concerto in G minor (“Il Favorito”) with grace and depth of feeling. Her tonal warmth embellished the Andante, an arietta sparkled with variegated colors in an almost vocal manner. The strings’ brilliant articulation set the tempestuous aura of the final Allegro but Siranossian’s phrasing emphasized elegance amidst the fireworks.

The Sonata in D minor by Francesco Maria Veracini is a tour de force for solo violin, backed by harpsichord and bass continuo. Siranossian’s robust attack in the initial Passagallo was striking and she brought sophisticated verve and charm to the lively finale in which her bow bounced on the strings to felicitous effect. Her violin soared in the sanctuary’s resonant acoustic, bringing out the darkness of the Largo. The violinist’s burnished sonority was perfectly balanced with the deeper tones of Irene Liebau’s cello. Marcon’s patrician harpsichord artistry provided solid underpinning.

The Concerto in A Major by Giuseppe Tartini is more classically proportioned and Siranossian captured the work’s formality while avoiding heaviness. The beautiful melody of the Largo andante approaches unearthly inspiration and Siranossian’s straightforward rendering allowed its sublimity to shine. Violin and strings blended winningly in the joyous Presto finale. The violin’s pyrotechnics suggest the high-jinks of Paganini a century later and Siranossian dashed them off with devilish verve.

Pietro Antonio Locatelli was one of the Baroque era’s most inspired melodists. His Concerto in C minor is unusual in form with two andantes framing a central Largo. Siranossian spun the twists and turns with canny musicality, bringing finesse as well as fire to the cadenza at the score’s conclusion. Her sound remained clear and pure even in the instrument’s upper reaches.

Returning to Vivaldi, the composer’s signature imprint proved immediately recognizable in the robust opening of the Concerto in D Major (“Grosso Mogul”). Siranossian surpassed herself in the rapid fiddling that seemed like an 18^th century version of country music. The typical echo effects between soloist and ensemble players were dispatched to perfection. A second movement Recitativo/Grave is an extended solo, backed only by harpsichord and cello. Siranossian pitched the florid writing in broad singing lines, without allowing mere display to upend structural clarity. She assayed Vivaldi’s own cadenza in the final movement, capturing the wit of the flourishes, with animated facial expressions.

Standing ovations and repeated curtain calls brought Siranossian and Marcon back for encores of the opening movement of “Spring” and the final Allegro of “Winter” from Vivaldi’s Four Seasons. Beyond  smoothness and precision, the musicians brought to these most played of Baroque concertos a freshness and sparkle that seemed like they were discovering the works for the first time.

RK Cultural Productions presents Ruckus with flutist Emi Ferguson and violinist Rachell Ellen Wong  7:30 p.m. at the Sanctuary of the Arts in Coral Gables   rkculturalproductions.org

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