Reviews and Features
Libby Hansen, KC Studio
July 27, 2019
“Kansas City Baroque Consortium’s summer concert series, now in its third year, is elegant and intimate, and growing into a must-attend event.
These concerts are more than just satisfying collages of Baroque era music, though the players strive for authentic-as-possible performances on period instruments. They also set the music in historical context, bringing to light the overarching social forces, both artistic and political, that shaped the music and how those aspects are considered today.”
Paul Horsley, KC Independent
August 2018
“Kansas City Baroque Consortium, which includes Trilla and her violinist husband, Monty (as well as other musicians as needed), is a summer series at this time, although early successes suggest that it could someday expand. On August 17th the Consortium presents the final program of its second season, The Sun King’s Court, devoted to lavish music from the 72-year reign of Louis XIV. This follows two programs earlier in the summer, one devoted to music and Shakespeare “in the original pronunciation” (Shakespeare Goes HIP-OP) and the other focusing on the Classical-period fortepiano (Outside the Baroque Box).”
Patrick Neas, KC Star - KC Arts Beat
August 17, 2018
"Tonight’s concert by the Kansas City Baroque Consortium, ‘Music from Versailles: The Sun King’s Court,’ was a beautiful reminder of what a special place Kansas City is for music. How many other cities the size of Kansas City can boast a period instrument ensemble that could perform the highly refined music of the French Baroque with such authority? This was music of the highest order.
After an hors d’oeuvre of instrumental music by Couperin, sopranos Sarah Tannehill Anderson and Hannah de Priest sang “Four Verses on a Motet” by Couperin, a duet made even more lovely by the warm sound of wooden Baroque flutes. “Florete prata” by André Campra followed, sung by Jay Carter, whose rounded countertenor was a total pleasure for the ears.
The first half of the concert concluded with a newly commissioned work, “I Am Silent” by Anthony Maglione. Base on a poem by Rumi, it was a lovely complement to the other works on the program. Maglione combined the unique sound of the baroque instruments with vocal writing to perfectly express Rumi’s intense mysticism. The work at times was spare and others gently propulsive minimalist. It was a totally unique sound that makes me look forward to hearing more of Maglione’s music.
The second half began with a short work by Marais that, in a just world, would be as well known as Pachelbel’s Canon. The string members of the Consortium beautifully conveyed “The Bells of St. Genevieve.” It was a delightful way to lead into the main work of the evening, Rameau’s “Quam dialect tabernacula.” Rameau’s Grand Motets are as great as any sacred music composed in the Baroque era. To hear this work sung by a chamber choir comprised of some of Kansas City finest singers was a rare delight. The singers and musicians had such confidence and assuredness, that they were able to let go and also capture the ecstasy of Rameau’s motet. It was a glorious conclusion to a glorious evening of music." — Patrick Neas