Baroque & Roll Bradford Style!

Theatrically speaking the Bradford performance scene has seen some ground-breaking additions this week. First it was Ellen Kent’s topless version of Rigoletto – Verdi has been spinning in his grave more than turning – and now there is the reintroduction of 17th century instruments at the Grammar School’s Price Hall.

However, the latter has been a welcome addition to the once famous textile city (though few have criticised Miss Kent’s joy of the flesh), thanks to Thomas Leech’s decision to introduce the splendour of the Baroque period to his audience of stalwarts, via the wonderful 100-strong choir that is the backbone of the Bradford Festival Choral Society.

The coiffured, elegant world of gentile 17th century London and the musical dexterity of Monteverdi’s Venice, existed at a time in history when improvisation was considered de rigueur for musicians working at the highest levels of society.

Their talents were exemplary, hard to argue with when you consider that it would be the best part of 200 years before Edward Elgar would vaguely challenge Henry Purcell as one of the greatest composers spawned by England.

So, it was an excellent choice by Bradford Festival’s Musical Director, Thomas Leech, to not only blow the dust from some of the 17th century’s most prized manuscripts, but to also use the excellent Northern Baroque Ensemble to authenticate this most engaging of evenings.

Accompanied by a raft of 17th century instruments, including baroque violins and virtuosi Cornetti players - a brass instrument dating from before the invention of the trumpet – the audience of stalwarts was treated to a programme of masterpieces from Purcell, Giovanni Gabrieli and Claudio Monteverdi.
e brilliance of these musical masters is a given, however, the equal brilliance is how Leech works with his 100-strong choir to achieve amazing vocal outcomes, despite, in this instance, the harmonic complexities of the Baroque period.

There was the intensity of Purcell’s Hear my prayer, O Lord, the wonderful rendition of Monteverdi’s Agnus Dei (Messa a 4 da capella) and the sonic magnificence of Gabriel’s Jubilate Deo. Offering seamless support to the evening was melodic soprano Katy Kelly and the up-and-coming bass, Sam Gilliatt.

Having witnessed Ellen Kent’s topless Rigoletto cast bare all for their art at the Alhambra just a few days ago, I fear the snow may have scuppered wider plans for an encore by the Festival chorus. Nevertheless, this was a performance to warm the heart on a snowy evening, and another triumph by this talented group of individuals, rallied, of course, by an equally talented man at the helm, Signor Thomas Leech, now Bradford’s Baroque and Roll Master!