The Lives of George Frideric Handel more than accomplishes its goals. Well-written, richly documented, and colorfully presented, David Hunter’s unique spin on what we know about Handel, or thought we knew, is a valuable addition to the early-music library.
It was not without a small dose of trepidation that the Boston Camerata accepted a tour engagement in July 2016 in one of the most remote and least developed regions of Brazil — the sub-equatorial Nordeste. The area is noted for its hot, humid climate, elevated levels of poverty, and relative isolation from the booming, populous cities and regions further south.
In “La Mascarade,” the Norwegian theorbo player and baroque guitarist Rolf Lislevand gives us a personal statement that mixes not only two composers but also two instruments: theorbo for the music of Robert de Visée (mostly taken from the 1699 Vaudry de Saizenay manuscript) and baroque guitar for the music of Francesco Corbetta.
If there is such a thing as a typical person who makes bassoons from scratch, Leslie Ross would not be it. She does not make modern bassoons, which first were developed in the late 19th century, are made strictly from maple, and have an interior lining of hard rubber. Ross makes replicas of historical bassoons of older baroque, renaissance and classical design, using maple, boxwood and fruit woods for her instruments. – from the Bangor Daily Press.