Classical review: Spiritual themes resound

Very Old Hits Make Engaging Concert

By William Randall Beard, special to the Star Tribune
April 11, 2005

A historically accurate presentation of a medieval "mystery play" complete with original instruments might seem so esoteric it would appeal to only a small coterie of aficionados. But the Rose Ensemble's stellar performance of "Visitatio Sepulchri: The Dublin Mystery Play" was emotionally committed and moving enough to attract a broad audience.

"Visitatio Sepulchri," written in the early 15th century, is one of a long tradition of liturgical dramas that celebrate the Easter story by depicting the visit of the three Marys (Mary Magdalene, Mary Jacobi and Mary Salome) to Christ's tomb. The manuscript is particularly rich, including specific stage directions and costume suggestions that the early-music practitioners of the Rose Ensemble followed to give their performance historical authenticity.

The play itself is only 20 minutes long. To fill out the 75-minute program, liturgical pieces and traditional Irish music from the 10th to the 15th century were interspersed among the scenes. The pieces were well chosen, intensifying the drama and adding the character of the Virgin Mary to the story. Unfortunately, the introduction of modern dance by Matt Jenson's New & Slightly Used Dance lessened the impact.

There were also three world premieres, pointing to the ensemble's eclectic programming.

The evening started out with a procession of monks, establishing a solemn, spiritual atmosphere. The entire program was chanted, an acquired taste, but the Rose Ensemble did everything possible to invite audiences into the rarefied world. Jeff Bartlett's simple lighting, particularly the projection of church windows, was especially evocative, as were performances by Ann Heymann on the Gaelic harp and Ginna Watson on the vielle (an early predecessor of the violin).

The soloists, all from the ensemble, were always competent. The rapture of the three Marys -- Kathy Lee, Kristine Kautzman and Heather Cogswell -- at news of the resurrection was especially moving. In a class by himself was Eric Betthauser as a particularly ecstatic angel.

The story, for all its emotional punch, was essentially static. The introduction of dancers seemed a misguided attempt to provide visual interest; the choreography proved more distracting than revelatory, drawing attention from the exceptional musical performances.

The world premieres by composer Abbie Betinis fit effectively into the musical palette and added to the drama. She set period texts to music and while she used contemporary sonorities, she did so with such sensitivity that they were still of a piece with the rest of the program.

This was one of the most elaborate productions the Rose Ensemble has attempted, and one of the most winning. If it was not entirely successful, it was a powerful spiritual statement of the Easter season.

William Randall Beard is a Minneapolis writer.