Antonio Vivaldi, Gloria, RV 589 and other Baroque Music at the St. Michael’s Parish in Toronto

Antonio Vivaldi, Gloria, RV 589 and other Baroque Music at the St. Michael’s Parish in Toronto
I attended the Gloria Concert of St. Basil’s Parish in Toronto on 28th September scheduled between 7:30 and 8:30 pm. The concert featured Musicians in Ordinary Orchestra and the St. Michael’s College Schola Cantorum led by Christopher Perrette and Michael O’Connor respectively (Edwards, John). The concert was organized with an aim of honoring the great day of St. Michael Feast. The concert also featured Soprano Hallie Fishel as the soloist. I have been closely following the progress of Vivaldi’s church music since the early stages of the 18th century. Fortunately, the twentieth century Christians have not yet forgotten Vivaldi’s sacred music. Research on Vivaldi proved that he was a great composer and violinist. Being a free admission event, the concert was demanding and welcomed parties from various diverse fields to enjoy the melody and rhythm accompanying the performance.
Musicians in Ordinary Orchestra were introduced as the most promising singers and lutenists dating back from the Stuart Monarch era. They open the stage in style with an early solo song which is intertwined with vocal chamber music. The hall was silent and in a gloomy mood since the audiences were eager to listen to the melody of the violin and other sets of musical instruments. There were low murmurs as the audience discussed what they were expecting from the teams of Ordinary Musicians setting up their gadgets (Edwards, John).

However, the front stage was well lit, and I had the best view of the performers. They started with a very low opening tempo, but the rhythm gradually rose where all audiences applauded. The first bunch of instruments which majored on orchestra encompassed the first violin, the second violin, viola, double bass, cello, continuo, trumpet, and Oboe. Every pair of solo viola had to be accompanied by a pair of solo violins to achieve chambers music. Christopher, a frequent soloist, and the Orchestra leader led the first group out of the stage as the second troupe ensued the stage.
Hallie Fisher was the Soprano leader whom I always envied due to his perfect soprano sound. John Edwards played continuo, and he was commended alongside Hallie Fisher for being the most outstanding music performers in Toronto. The second and last bunch of instruments which majored on voices included two sopranos, mixed chorus, alto, bass, pianist and the tenor. They aroused and brightened the mood of the hymn to an allegro melody that graced the whole hall. The sound and vibration of the string instruments reached every end of the hall and echoed back as reassurance that the musical effect was arousing. Despite being delivered in Latin; the performance was impeccable since I had rehearsed the hymn severally. The notes were well woven with the pitch of the voice and thus giving a masterpiece.
The entire presentation was masterly and well organized. I felt a sense of fulfillment since I always hoped to witness a live performance of Antonio Vivaldi’s Gloria. The audience thunderously applauded as proof that they were also thrilled by the performance. The performers instigated emotions of the audiences due to the intertwining notes, rhythm and melodies (Edwards, John). Everyone in the hall was content with the performance as they all stood to applaud the team of performers as they left the stage. The audience were thrilled by the performance and the emotional attachment linked with the hymn. Moreover, the rhythm and notes of all musical instruments were harmonized. The culmination of the performance is overwhelming and magical. Musicians in Ordinary Orchestra and the St. Michael’s College Schola Cantorum showcased their prowess as they combined the attributes of voice and orchestra in a baroque piece.
Work Cited
Edwards, John. “Musicians in Ordinary”. Musiciansinordinary.Blogspot. Nl, 2016, http://musiciansinordinary.blogspot.nl/.