Congratulations, you did it again! Our faithful audience… was introduced to a completely new repertory and loved it. Not a soul left at the intermission, as far as I could see—now there’s a tribute!

A number of new singers, after an exodus of long-timers to California, Oregon and Germany, made an already challenging French repertory even more difficult. But it all came together splendidly on the night, which is the way it should be! Every singer had solos, great and small, all well done, and the constant interplay between the excellent orchestra players and the many solo and tutti vocal passages was pure delight for me in the audience. It is a particular feature of that French repertory, where the orchestra as we know it today was born. The continuo playing was also very special. Every piece was a highlight in its own way, but the Couronne de Fleurs proved to be a real winner and colorful, high energy finale.

Special thanks to Scott Fikse for his incredibly hard work and great leadership in pulling together all the diverse talent, while also contributing his own fine voice. You might like to know that the former long-time President of Early Music America and a friend of ours was visiting from Seattle and in the audience. She was thrilled, and amazed that we could do such a challenging and varied repertory so well.

Thanks to you all, singers and players alike!

The person Ian was referring to in connection with Early Music America was Maria Coldwell, who was in last night’s audience. It was her husband, Charles, though, who used to play baroque flute and recorder regularly with the harpsichordist and organist, Jieun Kim Newland, when she lived in Seattle, along with baroque violinist Cecilia Archuleta (“The Obbligato Players”)

Another triumph for Early Music Hawaii!