Festival visitors Profeti della Quinta: Among 17th-century maestri, cross-cultural influences thrived

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As soon as the five men of Profeti della Quinta raised their voices, something extraordinary filled the air at the Indiana History Center  Sunday afernoon as the Indianapolis Early Music Festival presented its last June concert in its 60th anniversary season. 

The singers of Profeti, with theorbo player Ori Harmelin (holding instrument)
The immediate blend of  two countertenors, two tenors, and one bass as "From the Synagogue to the Palace" began, made clear the point of bringing to wider recognition the achievement of Salomone Rossi (1570-1630?) as a Jewish musician enjoying special privileges while affirming his identity in a diaspora minority group constrained by law and custom. 

Formed in Israel and now resident in Switzerland, Profeti della Quinta (Prophets of the Perfect Fifth) presented a program that made a rare point: despite the  reduced status of Jews in Italy 400 years ago, Rossi was honored in both Mantuan communities, repeatedly crossing the divide from the synagogue to the palace. Ducal favor allowed him the privilege, which rested on his wide-ranging musical achievements, including what has been considered the invention of the trio sonata.

He set Jewish liturgy to music written in the style of the day, which was controversial among the rabbinate, and wrote madrigals fully conversant with the secular Italian mainstream. His psalm settings honored his heritage as well as that of Renaissance polyphony. Suppression of Jewish artistry and overall freedom about the probable time of his  death also buried his posthumous eminence.

Deserving special mention in this well-honed ensemble, under the direction of bass Elam Rotem, is Doron Schleifer, a countertenor of unusual radiance and, when appropriate, something close to the clangor of the most robust female singers in his vocal range. Moreover, his firmly controlled sound was  mostly free of vibrato, which meant that his voice sat on top of his fellows' suitably, crowning the group's uniform manner of vocal production and phrasing. 

Pieces for four voices were just as splendid: "Elohim hashivenu" (God restore us) has the special glory of well-sustained melismatic phrases concluding two lines that highlight the saving and restorative power of God. As the piece gradually left behind the sacred muse of Rossi, there was a side trip to his earlier contemporary Luzzascho Luzzaschi, of which the second piece "Morir non puo'l mio core" was particularly impressive for the singers' well-shaped dynamic contrasts.

From the secular sphere there was Claudio Monteverdi's extended "Lamento della ninfa" (The nymph's lament), which explored a more intimate texture, with two tenors and bass accompanied by theorbo (bass lute) to start with, then with Schleifer entering to articulate the nymph's complaint: "Where's the fidelity that the deceiver promised?" Soon the tenor and bass are commenting, Greek-chorus-like: "Poor her! She cannot bear all this coldness!" The program concluded with several Monteverdi pieces, with a solo spot midway  reserved for theorbo player Ori Harmelin, who offered his own dignified, intense "Passacaglia."

My main regret about the experience was the difficulty of following the printed texts with the house lights dimmed in a manner more appropriate for instrumental music. I guess we owe the concert practice of keeping stage lighting prominent while plunging the audience into relative darkness to the emergence of the solo recital in the 19th century. I think the custom should be interrupted, even allowing consultation of printed program notes without eyestrain. Modern lighting allows for all sorts of gradations; it's unlikely anyone has to worry about forgetting  what the performers look like. 




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