“Gemma New’s HPO aces Brahms” Reply

Review by Danny Gaisin
Saturday’s Hamilton Philharmonic Orchestra’s opening 2018-’19 season epitomizes the old “A-Team” slogan about a plan coming together. The works performed; the guest soloist and the published list for the rest of the season were, & are – terrific.
The opening work was Beethoven’s Leonore Overture No. 3; (of four). It initiates the opera Fidelio in which the main character uses the title as her pseudonym in order to become a prison guard and thus help her beloved escape. Maestra New’s interpretation had a slow and understated introduction so dramatic as to have me close my eyes to thus enhance the aural drama being experienced.

Crozman & New’s HPO interpreting Elgar’s cello concerto

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Hammer Baroque offers THE REZONANCE ENSEMBLE Reply

Review by Danny Gaisin
The REZONANCE (sic) ENSEMBLE are a five-piece chamber quintet whose interest and emphasis is the post-Renaissance period of the 17th century. Among the stars of the era were Telemann, Corelli, Scarlatti, Pergolasi and a certain J.S. Bach.. For their Hammer Baroque concert at Melrose United, they and soloist Vania Chan selected work by Frederick Handel whose compositional lifetime spanned the first half of the eighteenth century.
Soprano Chan opened the afternoon with Morgana’s aria ‘Tornami a vagheggiar’ from Handel’s “Alcina”. Morgana is the sister of the eponymous character and is a desert temptress out to capture Ruggiaro’s heart.

Chan & the ensemble l-r Richards,Onen-Lapointe,Podgorski,Morton & Antal

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Hamilton’s Festival of Friends; No. 42 Reply

Review by Danny Gaisin
We Gaisins have been Hamiltonian for a decade, but studiously avoided attending our city’s annual ‘Festival of Friends’; having erroneously thinking it was a Quaker religious retreat!. Nope, no affiliation with the 17th century Anglican offshoot started by George Fox. Instead, its an opportunity for neighbours to meet outdoors and have free access to music, creative arts, food, drink, and political candidate or organizational affiliation booths. One group of regulars even mentioned that back in their dating dates, it was a super ‘pick-up’ opportunity!
For us, this was an occasion to get out the tandem and bicycle over…something we old farts are usually looking for excuses NOT to utilize.

Sunday in the park…in Hamilton!

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‘Folly in Love’; Hammer Baroque’s Art Week contribution Reply

Review by Judith Caldwell

As part of Hamilton Arts Week, Hammer Baroque presented an in-concert version of Alessandro Scarlatti’s opera “Folly in Love”, Alessandro is now less famous than his son Domenico, but back in the day he was celebrated as a major composer of opera in the period before Handel and Gluck.  His ‘Gli equivoci nel sembiante’ was composed in 1679 when he was only 18 years old,  it is a pastoral comedy of love and yearning, a mischievous and jealous sibling and a long lost brother who looks just like our hero.

The HAMMER BAROQUE ensemble musicians

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‘Israel in Egypt’; Handel’s oratorio – by Bach Elgar Reply

Review by Judith Caldwell

Handel’s Israel in Egypt is rarely performed because it is such a formidable undertaking requiring a double choir of 80 voices at the very least; an accompanying orchestra, six soloists and a very courageous conductor.  The Bach Elgar Choir teamed up with The Grand River Chorus to make a double choir of 110 voices which was accompanied by a 25-member orchestra who managed to sound much bigger than their numbers suggested.  Originally Handel wrote a 45 minute opening act of lamentation for the death of Joseph, but this was not well received by his first audience.

The combined performers for Handel’s ‘ISRAEL in EGYPT’

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Bernstein; & kudos for the HPO’s Percussion section Reply

Review by Danny Kert-Gaisin
According to the Gershwin’s ‘Crazy For You‘, the ‘Great American Folk Song is Rag’. I beg to differ- It’s the Western Theme song. Think of ‘The Big Valley’; “Gunsmoke”; ‘Davey Crockett’; High Noon” or ‘Bonanza’ and I’ll bet that the melodies pop immediately to mind. So, opening a Hamilton Philharmonic concert dedicated to USA’s musical icon Leonard Bernstein with Aaron Copland’s Rodeo is a super choice. The friendship between these two admirers lasted from 1932-until their deaths sixty-seven years later. This writer’s admiration for both was, and is, diverse but palpable. Copland taught at Rochester’s Eastman when cousin Barbara studied there;

Porthouse; New; & Iadeluca stage front with the H.P.O.

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