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Vespers. The word means darkness and incense. Fortunately, it is an opportunity for Christians to celebrate the end of the day at sunset, but its roots are deep, dating back to first-century Judaism. His name, from the Greek Hesperus, suggests a dark heathen. This slow-paced concert found Vespers as it would have been heard in Vivaldi’s Venice, amid the ancient Mediterranean culture.
Entering with the ringing of bells, the audience was seated on both sides of the platform. On the other side there were string players from Pictureclassical music group, led by Frederick Waxman. On the other side was protester Iestyn Davies, a troubled man staring at a laptop and lighting it with a single candle. As he puts on the headphones, Kyrie from another world descends from the balcony. The voice belonged to the Idrîsî Ensemble, a choir known for Old Roman chant, the music of the early Christian Church in Rome. It was a haunting sound, open-throated and beautiful, the grapes were tinged with spice.
Following the hour-long program was Vivaldi’s Nisi Dominus, a lively, moving version of Psalm 127 for alto, strings and chamber organ. These words show that all human efforts – whether building a house, protecting a city or struggling for wealth – are worthless without God’s blessing. Davies’ unflinching voice brought a sense of joy and resonance to these sophisticated songs, even as a troubled man searches for deeper meaning in his ordinary life.
At the heart of Sam Rayner’s success was a fascinating clash of cultures. Approaching the platform, Isadora Pulman reunites with the world-weary Davies with Morenica, a traditional Sephardic song about a woman who playfully refuses the invitations of the sailors waiting for the prince’s son. Accompanied by a Balkan flute and a Middle Eastern zither, and light emanating from his ears and throat, Pulman’s voice seems to suggest that those looking for a better future could do worse than to emulate the inexorable past.
