Concert Review | Vivaldi’s Gloria, Ensemble Caprice

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On Sunday afternoon, October 15^, 2023, a packed Maison Symphonique welcomed Mathias Maute’s Ensemble Caprice in “Vivaldi’s Gloria”: a concert celebrating the reputable baroque ensemble’s 35 years.

The ensemble collaborated with the Ensemble ArtChoral and members of the Jerusalem Baroque Orchestra (JBO), Israel’s first baroque orchestra. Maute shared the podium with Maestro David Shermer, conductor and founder of the JBO, who played continuo on harpsichord and pump organ. Maestro Maute presented and welcomed his guests, and thanked the members of the JBO, performing despite distressing international circumstances.

Ensemble Caprice (Photo by Tam Photography)

The concert opened with the performance of a text by poet, author, songwriter, and columnist, Yehonathan Geffen, set to music by Matti Caspi, a leading voice in Israeli popular music. Soprano Keren Motseri blended popular and classical singing in her performance of A Place of Worry, accompanied by the orchestra. “I can sing Vivaldi anytime,” says Motseri, “but to me, that song was the centre of the concert.” The poem speaks of a land far away, filled with sadness, worry, and wildflowers. God sits, watching over his creation, and worries to no end.

The heartfelt rendition plunged the audience into a sombre, reflective mood, before the ambiance was shifted by Vivaldi’s In exitu Israel and Laudate Dominum.

The orchestra found its pace during their performance of Vivaldi’s famed L’estro armonico. Fabulously led by Noam Schuss (1^st soloist) and Luci Ringuette (2^nd soloist), the ensemble was invigorated by Susie Napper’s (1st cellist) energetic playing and the engagement of all the players. Unfortunately, in the Adagio e spiccato movement Schuss was not given enough room by the ensemble to breathe and phrase spontaneously.

With that being said, the ensemble demonstrated drive, emotion, and expressivity. The extraordinary fluidity, energy, emotion, and virtuosity of the players and singers from the three different ensembles came together in a perfect symbiosis. Expertly framed by Maute’s intuitive conducting and Shemer’s strong presence and leadership, Ensemble Caprice delivered fully on its reputation as a premier baroque orchestra and a compelling voice on the Canadian contemporary music scene.

Ensemble Caprice (Photo by Tam Photography)

Dutch-Israeli soprano, Keren Motseri, captivated the audience with her flexible, nuanced, and highly expressive voice, on display in Vivaldi’s Motet In furore iustissimae irae. Her breathy high notes were sometimes reminiscent of Cecilia Bartoli, perhaps Baroque music’s greatest diva. Motseri’s expressive and technical mastery of the motet was a highlight of the concert. In the Magnificat, she was joined by Canadian soprano Janelle Lucyk and Quebec mezzo Marie-André Mathieu, two collaborators who complemented and stood their own next to Motseri. Lucyk’s tone blended perfectly with the ensemble and choir, and maintained clarity and distinctiveness. Mathieu’s timbre, meanwhile, brought depth, support, and the richness of lower frequencies to the piece.

In the D minor Concerto, all three pairs of instrumental soloists delivered: from the virtuosity of Mrs. Ringuette (1^st violin soloist) and Noam Gal (2^nd violin soloist) to the sophistication and flexibility of Karim Nasr (1^st oboe soloist) and Amanda Kitik (2^nd oboe) to the vivacity of the recorder players, Ensemble Caprice’s artistic co-directors Sylvie Larivière and Matthias Maute. The choir and three vocal soloists joined the orchestra in Vivaldi’s masterful, bright Gloria in D major. The performance was riveting. At once focused and spontaneous, all the members of the ensemble contributed to a sense of musical drive. Lucyk’s angelic and inspired rendition of Domine Deus, rex coelestis stood out.

Ensemble Caprice (Photo by Tam Photography)

The Gloria was a powerful ending to the concert, and received a standing ovation from the audience. The performance exhibited the landmark characteristics of baroque music in phrasing, expression, timing, and ornamentation. Overall, the concert was refreshing and brought comfort these distressing times.

Matthias Maute noted that the joint performance of the Ensemble Caprice and the Jerusalem Baroque Orchestra is the largest such baroque musical collaboration between Canada and Israel. Judging by the success of last Sunday’s concert, one hopes for many more fusions between the two ensembles and their soloists.