The Opera Tattler

* Notes *

Philharmonia Baroque Orchestra and Chorale presented a program entitled Jewish Nightlife: Hebrew Poetry, Kabbalah, and Coffee (ovation pictured) last night at Congregation Emanu-El. This evening of chamber music, led by Maestro Nicholas McGegan, was jaunty and charming.

Scholar-in-Residence Francesco Spagnolo took us through the rationale for including the various pieces and conversed with McGegan. It was an exploration of Jewish communities utilizing nighttime to reflect, resist, and renew, all very timely sentiments.

A chamber ensemble formed by seven members of PBO played, including McGegan on harpsichord. The two instrumental pieces were both evocative, Luigi Boccherini’s La musica notturna delle strade di Madrid was sprightly and Antonio Brioschi’s Sinfonia in G Major (from 1733 Casala Monferrato Hebrew cantata) was vivid.

The rest of the recital included much singing, including soloist Yair Harel, who also played a Middle Eastern frame drum for certain songs and the Philharmonia Chorale Quintet whose members included a soprano, a mezzo, two tenors, and a bass-baritone.

It was clear all the singers were carefully selected, they all sounded distinctive but blended beautifully. Harel has a light, bright voice with much sweetness that is just right for this space. The quintet supported him nicely.

Of the Piyyut, the Hebrew sacred poetry from the Mediterranean and Middle East, Achot qetanah (Little Sister) had a particular clarity.

Salamone Rossi’s Hashkivenu (Cause Us to Lie Down) was very lovely and his Pargoletta che non sai (Little girl, you don’t know) was funny and acted well.

Cantata Ebraica in Dialogo (Hebrew Cantata in Dialogo) by Carlo Grossi was buoyant and rounded off the performance. There were cookies and coffee served afterwards.

* Tattling *

It was so nice to hear theorbist Adam Cockerham in this program, as he lives on the East Coast. I was surprised and pleased to run into him, his wife, and my date for the evening chatting in the lobby just before the performance.

The audience was extremely attentive and well-behaved. The only extraneous noise heard was one door to the stage that was shut loudly during Dodi ‘arad le-gano.

McGegan is a humorous presence, his conversation with Spagnolo was engaging and cute. The maestra managed to summon the violins for the Rossi by snapping his fingers.