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Issue 15

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A PERFECT TRIO AT EARLY MUSIC GUILD

A PERFECT TRIO AT EARLY MUSIC GUILD
by Rod Parke - SGN A&E Writer Sometimes the first notes of a concert announce that a good time is about to be had. Such was the case with Trio Mediaeval at the Early Music Guild's final event in its International Series. The three women from Norway immediately filled Town Hall with such a warm yet pure sound that any doubts about a totally a cappella evening were erased. Beginning with anonymous songs from 13th century England, these women seized our attention and never let it wander. They did this with three vastly different kinds of music: 13th century pieces, modern works (some composed specifically for Trio Mediaeval), and Norwegian traditional tunes. Somehow they all worked together very well indeed. What made it all so engaging was not only the personalities of the singers but also the absolute perfection of their voices. Effortless and graceful, each of the women produced a gorgeous tone in all registers. Their blend was likewise perfect. Most of the singing was almost totally free of vibrato, but when they used it, the effect was stunning. Sometimes they separated from each other on stage or dispersed to far distant parts of the auditorium. Such "effects" always served to clarify the music and added variety to an already fascinating program. Each singer also had a solo. The redhead had a slightly "edgy" voice that suited the folksy moments especially well. The brunette sang the lower parts but had no trouble with higher notes. And the blonde matched the beautiful radiance of her skin with one of the most attractive voices I have heard in a long time. She could do anything, including gorgeous soft high notes. So, three very different voices, yet when they sang together, they were like one. Their anonymous 13th century music came from Italy and England. Because nothing in the whole program was familiar to this listener, it was harder to get inside the music and discern nuances and differences. Thus, the early music was more pleasant than exciting. But the modern pieces were fascinating because of daring harmonies. In less perfect singers these would have sounded like mistakes. But with Trio Mediaeval the intervals were utterly clear and effective. Perhaps the most engaging of all were the traditional songs from Norway. These appeared late in the program in two groups, separated by yet another 13th century "Lauda.," which rather cleansed the pallet for the greater complexity of the folk songs. These latter were arranged beautifully by Tone Krohn and one of the singers. The singers, by the way, were Anna Maria Friman, Linn Andrea Fuglseth, and Torunn Ostrem Ossum. One can hope for them to return to Seattle. Reviewer Rod Parke can be reached at rod@sgn.org.