Classical Review: Gloria

A review of Jerusalem Baroque Orchestra’s concert Gloria

Violin player (illustrative photo) (photo credit: INGIMAGE)
Violin player (illustrative photo)
(photo credit: INGIMAGE)
Glorious about the Jerusalem Baroque Orchestra’s concert last week were its program’s three works entitled “Gloria,” by Monteverdi, Handel and Bach (the second movement of his Lutheran Mass), donating their title to the entire program – “Gloria.”
Despite the similarity of titles and form, and the proximity of period, there was considerable diversity of style and mood between the various works. Monteverdi’s Gloria conveyed the spirit of worshiping the Lord with almost secular-sounding joy, while Handel’s Gloria sounded almost operatic and Bach’s Mass concluded the concert on a solemn religious note.
What came close to glorious, in this impressive concert, was its performance. Einat Aronstein and Adaya Peled’s radiant sopranos soared over the orchestra with fresh, youthful, enchanting voices and, in Handel, admirable, brilliant, effortless, typically Handelian coloraturas.
Conducted by Yizhar Karshon, the orchestra sounded excellently rehearsed, transparent even in intricate polyphonic passages, wide awake, and in uncommonly high spirits.
Bach’s Gloria, as an encore, sent the audience home with a pleased smile.