I Fagiolini review – startlingly intense surround-sound baroque

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"I Fagiolini Explores Orazio Benevoli's Choral Works in Surround-Sound Performance"

I Fagiolini review – startlingly intense surround-sound baroque analysis cover image The Guardian 8.7
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Original Article Source: https://www.theguardian.com/music/2025/may/26/i-fagiolini-review-st-georges-bristol
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AI Analysis Average Score: 8.7
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TruthLens AI Summary

I Fagiolini, a small yet innovative vocal ensemble led by director Robert Hollingworth, has continued to push the boundaries of choral music with their recent performances. Their 2023 recording of works by 17th-century composer Orazio Benevoli has garnered acclaim, and they are now delving deeper into his compositions, particularly exploring his masses for multiple choirs. The setting for their latest performance at St George's in Bristol was particularly fitting, with the church's gallery providing an immersive environment that enhanced the experience of the music. The performance featured Benevoli's Missa Angelus Domini, which was performed by three choirs of four voices each, allowing the intricate interweaving lines of the music to stand out clearly. The ensemble's singing was characterized by a robust quality that prioritized expressive delivery over overly polished refinement, allowing individual voices to shine through the rich texture of the choral sound. The inclusion of two chamber organs and a theorbo added subtle yet impactful details to the overall soundscape, enriching the listening experience.

The concert's thematic focus on Pentecost was evident, with Palestrina's motet Dum Complerentur setting the stage for Benevoli's Missa Dum Complerentur, which involved four choirs and four doubling choirs. The arrangement involved the I Fagiolini voices being divided across the stage and gallery, creating a surround-sound experience reminiscent of the antiphonal exchanges common in the works of Venetian composers like Giovanni Gabrieli. Benevoli’s modernist approach to choral composition sought to create new auditory effects, and the magical exchanges between the choirs were a highlight of the performance. Hollingworth also interspersed works by other composers, including Monteverdi and Infantas, which further showcased the ensemble's commitment to highlighting lesser-known repertoire. The dramatic solo performance by Greg Skidmore and the intense experience of Infantas’s piece underscored the ensemble's dedication to bringing fresh and engaging interpretations of choral music to the forefront of contemporary performances.

TruthLens AI Analysis

The review of I Fagiolini's performance provides an insightful glimpse into the world of baroque music, particularly focusing on the works of Orazio Benevoli. It highlights the group's innovative approach and their exploration of complex vocal arrangements, aiming to engage audiences with the intense experience of surround-sound baroque.

Artistic Ambitions and Community Engagement

The review emphasizes I Fagiolini's ambition to push the boundaries of traditional choral music. By showcasing the intricate interweaving of vocal lines and the innovative use of space within St. George’s, the performance seeks to create a more immersive experience for the audience. This suggests an intention to elevate the appreciation for baroque music and to foster a deeper connection between the performers and the community.

Cultural Significance of the Performance

The choice of works centered around the theme of Pentecost, alongside the inclusion of compositions by Palestrina, indicates an effort to bridge historical context with contemporary interpretations. This not only highlights Benevoli's contributions to the baroque era but also seeks to position his works within a modern framework, potentially attracting a wider audience. The review implicitly encourages a reassessment of Benevoli's relevance in today’s musical landscape.

Perception Management and Public Discourse

While the review is largely positive, it may also serve to elevate the profile of both I Fagiolini and Orazio Benevoli by presenting them as vital contributors to the choral tradition. By emphasizing the uniqueness of their sound and the beauty of the compositions, the article aims to cultivate a favorable public perception, potentially influencing ticket sales for future performances and recordings.

Comparative Analysis with Other Performances

In contrast to other contemporary reviews of classical music performances, this piece stands out by focusing not just on the technical aspects but also on the emotional resonance of the music. The emphasis on surround-sound effects and antiphonal exchanges suggests a shift from merely passive listening to a more active, engaging experience, which is a trend seen in modern classical music reviews.

Potential Societal Impact

The review might influence societal views on classical music, suggesting that it remains relevant and capable of innovation. This could encourage increased attendance at classical music events and a broader embrace of historical compositions, thereby enhancing the cultural fabric of the community.

Target Audience and Support Base

The language and content of the article appear to target classical music enthusiasts and those interested in cultural events, particularly within academic or artistic circles. This demographic is likely to appreciate the technical nuances and historical context presented in the review.

Economic and Market Considerations

While the review itself may not have direct implications for stock markets or global economies, its influence on cultural attendance and the promotion of classical music could indirectly support related sectors, such as arts funding, music education, and local economies surrounding performance venues.

Relevance to Current Events

Although the article focuses on a niche area of the arts, it can reflect broader cultural trends. The emphasis on community and engagement through music resonates with contemporary societal movements aiming for inclusivity and appreciation of diverse cultural expressions.

Use of AI in Writing

There is no clear indication that artificial intelligence was employed in crafting this review. However, if AI were involved, it might have influenced the structure or language used, ensuring clarity and engagement. The review's descriptive style and emotive language suggest a human touch that aims to connect with readers on an emotional level.

In conclusion, the review of I Fagiolini's performance is a thoughtful piece that aims to elevate the appreciation of baroque music, particularly the works of Orazio Benevoli. It serves to engage the community and foster a deeper connection to classical music, highlighting its ongoing relevance and potential for innovation.

Unanalyzed Article Content

Source URL: https://www.theguardian.com/music/2025/may/26/i-fagiolini-review-st-georges-bristol

IFagiolini may be a small vocal ensemble, but their directorRobert Hollingworththinks big, always pushing boundaries in an imaginative way. Their 2023 recording of music by the 17th centuryOrazio Benevoli– a leading composer in Rome’s post-Palestrina era – was much admired and they’re now exploring more of Benevoli’s masses for multiple choirs. Bristol’sSt George’s, whose gallery runs on three full sides of the former church, offered an excellent setting.

In Benevoli’s Missa Angelus Domini for three choirs of four voices – a single voice to each part as was the usual practice – the complexity of the interweaving lines emerged with clarity, the singing gutsy rather than overly refined. Individual voices were free to come through the texture with colourful flourishes when appropriate, the primacy of the text paramount and the two chamber organs and theorbo added subtle detail.

This programme’s overall theme was the feast of Pentecost, with Palestrina’s motet Dum Complerentur – the mighty rushing wind of the Holy Spirit reflected in graceful ascending phrases – preceding Benevoli’s Missa Dum Complerentur for four choirs, plus four doubling choirs. I Fagiolini voices were now divided into two choirs on stage and two choirs above them on either side, with the four further choirs – theBristolUniversity Singers, schooled by Hollingworth – strategically positioned around the gallery, surround sound baroque-style. Familiar as this might be in Venetian composers such as Giovanni Gabrieli, Benevoli’s more modernist approach clearly sought new effects. The choirs’ antiphonal exchanges were striking, with the lines where entries in close imitation by the four doubling choirs moving round the auditorium sounding quite magical. The cumulative wonder of the Credo’s final Amen alone felt like justification, were it needed, for Benevoli to be better acknowledged.

In both these masses, Hollingworth interpolated a different composer between the Gloria and the Credo. Greg Skidmore was the dramatically expressive soloist in Audio Coelum from Monteverdi’s Vespers, the echoing voice at the back of the gallery giving the spatial dimension here. Infantas’s Loquebantur Variis Linguis for eight voices was a startlingly intense experience, again underlining how refreshing and welcome I Fagiolini’s advocacy of such less well-known repertoire is.

At theStour festival, Kent, on 22 June

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Source: The Guardian