Christine Gevert, the indefatigable choral conductor, early music specialist, harpsichordist, and composer, consistently makes her mark in producing unusual and meticulously prepared theme-centric vocal concerts. In the past, we’ve heard rarities of the Mendelssohns (Felix and Fannie), a U.S. premiere of Telemann’s impressive oratorio the Hamburische Kapitänsmusik, and tonight, an exotic syncretism of indigenous Latin America culture and seventeenth-century western European Christianity.
A beautiful, warm, late-autumn Sunday afternoon in the peaceful village of Bedford, New York was disrupted by some cracklingly energetic performances of Hispanic vocal and instrumental music performed on period instruments by Ensemble Rebel and guests. The title of the program was misleading; there was nothing that referred to the political powers that shaped the cultures from which this music came. This raises the question: how should such a program be billed? As “Spanish and Latin-American Music from the Baroque Era” or “Baroque Music from Spain and the New World?” The difference has to do with the way you like to categorize such unruly experiences.