A flash of Bachian colour to see out the EIF’s Queen’s Hall season

By Simon Thompson, 24 August 2019

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Reviewed at Queen's Hall, Edinburgh, Edinburgh on 24 August 2019

Bach, Geschwinde, ihr wirbelnden Winde - Cantata, BWV201

Bach, Der Zufriedengestellte Aeolus - Cantata, BWV205

Dunedin Consort

John Butt, Director

Matthew Brook, Bass-baritone

Dominic Barberi, Bass-baritone

Nicholas Mulroy, Tenor

Samuel Boden, Tenor

Jess Dandy, Contralto

The Dunedin Consort Messiah remains a welcome seasonal speciality

David Smythe, 18th December

The Dunedin Messiah, a speciality with Baroque instruments, is given with soloists Nardus Williams, Lotte Betts-Dean, Joshua Ellicott and Dingle Yandell in Perth, directed by John Butt.

****1

Leipzig 300: Dunedin Consort explores the Thomaskantor shortlist

David Smythe, 7th February

The Dunedin Consort explores the 1723 Thomaskantor shortlist: Georg Philipp Telemann, Christoph Graupner and Johann Sebastian Bach in a programme directed by John Butt.

****1

Troubled times reflected in Songs of War I Have Seen

David Smythe, 13th October

Composed for Baroque and modern players with Gertrude Stein’s spoken text, Heiner Goebbels Songs of War I Have Seen in an intriguing performance conducted by Ellie Slorach.

***11

An especially memorable Messiah from the Dunedin Consort

David Smythe, 14th December

John Butt directs the Dunedin Consort and a top team of soloists in St Mary's Cathedral for Handel's seasonal favourite.

*****

Authenticity and enjoyment in Dunedin Consort's Acis and Galatea

David Smythe, 22nd June

Rachel Redmond is a sweet voiced Galatea in the Dunedin Consort's performance of the Cannons version of Acis and Galatea in Perth.

****1

Evangelical fervour: Dunedin Consort's St Matthew Passion

Roy Westbrook, 12th April

Tenor Nicholas Mulroy directs a one-voice-to-a-part account of Bach's St Matthew Passion, featuring some splendid singing.

***11

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Simon Thompson

Simon lives and works in Edinburgh, and teaches History and Modern Studies at a local high school when he is not writing about music. Born an Irishman, he is an enthusiastic adopted Scot, and has lived in the capital for fifteen years since university days, making the most of its many avenues for classical music. He spends his spare time enthusing about music, theatre, art and literature to anyone who will listen, including his long-suffering students, who have no choice.