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Kansas City's Online Journal of the Performing Arts

Just like everyone else on this planet, I had heard about the impressive volcanic eruption in Iceland hindering travel in and out of Europe. Since I have no upcoming plans for international travel, I did not imagine that it could impact me here in Kansas City. However the Venice Baroque Orchestra's appearance on The Friends of Chamber Music's series last Friday night came very close to not happening. The VBO made a convoluted journey to the United States, with multiple awkward layovers (Italy to Munich, to Los Angeles, to Denver, and more) before finally arriving in Kansas City - sans some lost luggage for some members. Thankfully everyone had their instruments and sheet music, and the group was able to deliver a charming concert... despite a few t-shirts and jeans.

The all-Italian program began with two short, spirited works: Albinoni's Concerto in G Major for Strings and Continuo, Op. 7, No. 4 and Vivaldi's Concerto in G Minor for Strings and Continuo, RV 152. The violins were notably impressive from the start on these works, with excellent intonation, matching trill speed, and visible energy and with nary a note or rhythm out of place. I was immediately enveloped by the opulent sound of the violins, which meandered between unison lines and layered harmonies. The lute was unfortunately overtaken here (and for much of the concert), most likely due to its small body, although it was able to project its occasional improvised, almost percussive embellishments. The first violinist had a number of sparkly and smooth solos in these works as well, and the low strings were allowed to shine a little with some accompanying lines.

Geminiani's Concerto Grosso in D Minor ("La Follia") was a perfect balance of slow and fast tempi and, I felt, the prominence of first violin and cello solos made this an appropriate prelude to the final two works on the program. The very fast lines traded between the first violin and cello, while active and surely difficult, included a few slight intonation imperfections and uneven cut-offs. The middle section played by first violin, viola cello, and lute was particularly lovely and expressive.

Cellist Daniele Bovo was featured on Vivaldi's Concerto in A Minor for Cello and Strings, RV 419 to close the first half of the concert. While Bovo has a warm tone, endless energy and impeccable technique, his instrument lacked a certain depth and projection; it didn't quite fill the hall. Playing in the traditional style on gut strings and without an endpin most likely are the reasons. This was certainly forgivable given the nature of the group. However the second movement was plagued with intonation issues that drove me to distraction; Bovo was consistently off-pitch which was such a shame since his technique was impeccable. I was surprised since he had been playing in tune the whole concert until this point. The third was by far the best movement of this piece, and showcased Bovo's extremely dexterous fingering and breakneck bow speed. The ensemble's soft pizzicato ending was superb.

The concert concluded with a very special treat: Vivaldi's masterpiece The Four Seasons in its entirety. Spring's playful violin bird calls were delightful, and violinist Massimiliano Tieppo was sensitive and expressive in his solo throughout, if a bit stiff in the beginning. Violinist Gianpiero Zanocco took over the solo part for Summer, which suffered a somewhat hesitant opening and the accompaniment of the second movement was not quite wholly together, however the third movement was more active and confident. Tieppo returned as soloist for Autumn and was much more engaging and comfortable this time around; his nimble arpeggios in the third movement were especially dazzling, and the harpsichord had a deliciously mysterious solo during the second movement. Winter featured Zanocco once again, and he was stronger here than on Summer. The ensemble moved together with well-controlled dynamics throughout, but again missed the mark on unified ending cut-offs. I am inclined to forgive some of these minimal issues due to the fact that The Four Seasons was a last-minute program change due to Giuliano Carmignola's, the virtuostic guest violinist, illness; they may not have had the piece directly under their fingers.

Both jovial and regal in its sound, the Venice Baroque Orchestra clearly takes pure pleasure in what it does and has a deep respect for Baroque music. They play with vigor and exuberance, sometimes to their detriment, yet there is no question that this is an exceedingly talented group of musicians. The Four Seasons was an especially wonderful ending for The Friends of Chamber Music's concert season.

 REVIEW:
The Friends of Chamber Music
Venice Baroque Orchestra
Friday, April 23, 2010
Folly Theatre
12^th and Central Streets, Downtown, Kansas City, MO
www.chambermusic.org

By Kristin Shafel Omiccioli

Editorial Assignments Executive Editor; Traditional and New Classical Contributor

Kristin Shafel Omiccioli, a native of Madison, WI, holds composition degrees (M.M., B.M.) from the UMKC Conservatory of Music and Dance. Kristin's compositions have been performed at national and regional new music festivals and conferences throughout the United States. During her time at UMKC, Kristin also focused on double bass performance and arts administration. She was a student leader and performer in many of the Conservatory's student organizations and ensembles, including Musica Nova, Composers' Guild, the Conservatory Student Association, the orchestras, and Wind Symphony. Her composition instructors were James Mobberley, Paul Rudy, Zhou Long, and Chen Yi, and her bass instructor was Sue Stubbs. Formerly a guitarist, Kristin performed with big bands and her own jazz combo in Madison, WI, having studied jazz guitar and theory with Roger Brotherhood in Madison and jazz voice and theory with Hal Melia in Kansas City at UMKC.

Kristin enjoys being active in the performing arts community. She has volunteered with the Chamber Music Society of Kansas City and Charlotte Street Foundation, and has played in the bass section of the Northland Symphony Orchestra, among other bass gigs around the metro. Kristin currently serves as principal bass for the Kansas City Civic Orchestra and Heritage Philharmonic, and is a section bassist for Kinnor Philharmonic. She joined the writing staff of KCMetropolis.org in February 2010 and has been KCM’s executive editor since July 2011. Read her blog at mylittleheartmelodies.com.