San Francisco Classical Voice

Steadily, however, the group seemed to gain confidence. With the second psalm, Confitebor tibi, the singers took greater command of their virtuosic material. A uniformly impressive agility in these passages, with only occasional lack of clarity, contrasted with more graceful unison sections in which earlier blend and intonation problems worked themselves out. A stately opening to the third psalm, Beatus vir, yielded to an array of textures ranging from the joyous “Exortum est in tenebris” (A light is risen up in the darkness) to the simple homophonic declamation, “In memoria aeterna erit justus” (The just shall be in everlasting remembrance), handled with nimble dexterity.

Such dramatic impulses came into increasingly clearer focus over the program's course, reaching their apex in the climactic Magnificat. An imposing chordal opening statement of the word “Magnificat” leads to a panoply of moods, as Mary proclaims her happiness at being chosen to bear the Son of God. Here Magnificat hit its stride; the breathless changes of pace between verses were confidently dispatched, duets leading seamlessly to vigorous ensemble sections and moments of quieter reserve. The closing doxology “Gloria Patri” began with rollicking spirit, after which sopranos Catherine Webster and Jennifer Ellis brought charged intensity and effective dynamic contrasts to the closing “saecula saeculorum,” which the choir answered with its own proud declamation of this text.

The omnipresent solos and duets in Rovetta's music gave each of Magnificat's singers a moment in the sun. Webster and Ellis have divergent vocal qualities – Webster's sound is tinged with a distinctive brightness, while Ellis's voice is more classically pure – but the two blended seamlessly in their numerous duets. Alto Daniel Hutchings sang with appealing gentleness, especially in the closing verse of the psalm Laudate pueri, which if not always secure in intonation was nonetheless delicately crafted.

Robust-voiced bass Hugh Davies brought a magisterial presence and luscious tone to his solos, from the fluid agility of the “Memor erit” (He will be mindful) verse in Confitebor tibi to the insistent, repeated low notes on “non commovebitur” (He shall not be moved) in Beatus vir. Several duets between tenors Scott Whitaker and Wolodymyr Smishkewych were capably delivered, while bass Tim Krol added an elegant, genteel quality.

A series of Venetian canzone and sonatas, substituting for the regular repetition of chant antiphons after each psalm, focused the spotlight on Magnificat's instrumentalists. Some of these pieces were more distinguished than others; highlights included Massimiliano Neri's Sonata Prima a 3 from the Sonate Op. 2, featuring nice passagework from John Dornenburg's violone, and the Sonata Terza a 3 from the same collection, distinguished by its more daring character contrasts and overall vivacious melodic writing. Violinists Rob Diggins and Jolianne von Einem have mismatched tone qualities, Diggins' piercing sound often overwhelming von Einem's more reserved playing, though they compensated with fine overall passagework and coordination. Flawless accompaniment from organist Hanneke van Proosdij and theorbo player David Tayler held everything together.