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Sydney Opera House Concert Hall was packed to the rafters for the joyous return of Jordi Savall, a living treasure and protector of ancient Western music in our fast changing world. With the stage set very simply, the musicians of his ensemble Hespèrion XXI filed on, tuned together and began with a most civilised, gentle series of tunes perfectly in alignment with each other.

 

Many of Savall’s musicians have been with him for decades, equally dedicated to the preservation and exploration of mostly European music dating from the early 1500s to mid 1700s. One new addition, who was not with him on his last visit to Australia, is Lixsania Fernández, a young Cuban born viola da gamba player performing on a very beautiful tenor viol. Dressed in solid chunky boots, a finely layered translucent dress and topped with a wild purple cloud of curly hair, she sat in high contrast to the more conservative male players around her. Fernández enlivened the stage with a couple of impromptu dances in her own modern Cuban style demonstrating this music is not just for listening and needs no “rules” as to how you are allowed to physically enjoy it. Indeed, the musicians all were fully feeling the music, often throbbing together in their body movements emphasising the up beat as is in keeping with the genre.

The audience were completely entranced throughout the concert, nary a cough nor whisper. Even at the arrival of the musicians to begin the concert they offered warm generous applause for several minutes, such was their respect for this musical master and his wonderful players. It’s been a while, we all said, and it’s lovely to see them live in front of us once again.

The audience were littered with Sydney musicians there to enjoy such a special concert too including Madeleine Easton, Artistic Director of Bach Akademie Australia, Jenny Eriksson, electric viola da gamba player and Director of The Marais Project and concert pianist Gerard Willems.

With the refurbishment of the Opera House Concert Hall, the sound quality is much improved so no amplification was necessary for these ancient – and reproduction ancient – instruments. With the perfectly behaved crowd, the most subtle hues and quiet harmonies could be enjoyed throughout the hall. The quality of the instruments in expert hands meant the tones were pure, ringing and outstanding in a class of their own.

Percussionist David Mayoral has perfected the volume and emphasis required to lightly enhance much of the music, occasionally breaking out to lift the group into a livelier section of music.

Savall himself is still on top of his game with incredibly difficult embellishments flitting over the top of the rest of the group. There were several fugues very easy to follow around the semi circle and several call and answer pieces including a delightful one with Savall opposite fellow treble viol player Philippe Pierlot.

The program was split into 4 main groupings so applause was kept to a minimum. Percussion or guitar/ theorbo (via the very skilled Enrike Solinís) were frequently used to bridge the gap between items and create more flow. The works were diverse, ranging from spiritual and contemplative through to party music where you can easily picture yourself raising your goblet “Salut!” or picking up your skirts to gallop in the round with your friends and family.

Savall is often focussed on music from his own country Spain which is a wonderful treat. There are ample European ensembles performing music from France and Italy – the countries considered the leaders of fashion and musical styles in those days – so there is very rarely any likelihood we would get to hear the Spanish composers if it weren’t for Hesperion XXI.

Savall’s concerts are not just a cultural experience. The music he offers is literally good for you, in high contrast to modern music. The harmonious chords, high vibes and settled feel, alternating with Spanish rhythms which bounce around like a loose ping pong ball keep both sides of the brain engaged, yet feel peaceful and joyous. You literally feel good for days afterwards, even if you don’t remember the specific tunes.

Celebrating their 50th year of performing, Sydney cheered loudly demanding 2 encores and standing ovations. First encore was a delightful little piece, a ballet for horses written for the Versailles birth of Louis XIII complete with coconut shell horse hoofs. Second encore was a mixed work in tribute to the victims of the violence in Ukraine starting in a sombre manner and ending with Fernández dancing.

Thank you Maestro Savall for your magnificent contribution. We look forward to seeing you again.

Jordi Savall’s official website: https://www.alia-vox.com/en/artists/jordi-savall/