Charles Darwin wouldn’t be the least surprised by the evolution of early music performance practice. After emerging from the post-romantic brine with proto feet and oh-so-strict ideas about how things must sound, the species now displays an elegance of balance and sensibility that may have brought us to the pinnacle of the art form.
Les Voix Baroques is an ensemble of young voices with a remarkable ability to create startling colours in ensemble passages. Only artful listening can make this happen – obviously something the members of Les Voix do extremely well. These four Carissimi oratorios have far less chorus than solo material, so the shift in texture from solo passages to harmonically rich part singing is dramatic and highly effective.
The singers’ solo work also merits comment. We’ve placed much value on straight tone (vibrato-free) singing for early music repertoire, and there’s certainly plenty of it in this recording. Unusual, however, is the freedom for individual singers to move into a vibrato at specific points in phrases. This contrast between vocal styles gives emphasis to key moments in a text or musical line. It’s a wonderful effect and feels quite natural.
Particularly lovely is Suzie Leblanc’s “Plorate filii Israel”. Her vocal style is immediately recognizable and exquisitely captures the anguish of the plaintive text.
The eight member instrumental ensemble is superb in its supportive role and relishes its several orchestral moments. They are remarkably consistent in their early music tuning (temperament) teasing us with harmonic intervals placed just slightly askew of where our modern ear expects them to be.
A very satisfying disc… Viva Les Voix Baroques!