St. John's Church resounded on Saturday night with the sounds of Tafelmusik.

Playing on authentic period instruments, the Canadian ensemble, directed by violinist Jeanne Lamon, gave a thrilling performance of baroque music from France, England and Italy. With a superb all-Bach programme scheduled for this evening the Festival forecast is bright! For most 17th and 18th century musicians, the usual way of earning a living was to work for an employer in Church or at Court. Marin Marais, a student of opera composer Jean Baptiste Lully, was one of the most famous instrumentalists at the court of Louis the Fourteenth, where the dance suite was highly popular. It was with the orchestral suite from "Alcione'' by Marais that Tafelmusik chose to begin their programme.

Conducted, as was the custom, by the leader of the orchestra, in this case Jeanne Lamon, this was stylistic playing at its most refined. Evocative and dramatic, particularly in the stormy movement "Tempeste'', the orchestral texture was rich, and the playing vigorous and robust. Given the historical implications of authentic baroque instruments, one was made happily aware of the possibilities for warmth and colour which existed over two hundred years ago.

From the time of Henry Purcell who died in 1695, having lived a lamentably short 36 years, nothing much happened in England musically until the 20th century. There were, of course, many composers of limited reputation working away diligently, but they have been relegated to, sometimes not entirely deserved obscurity. Such was the case with English composer Charles Avison and his Suite in D major. Transcribed from a harpsichord sonata by Domenico Scarlatti, this is a miniature gem of a work. Resurrected by Tafelmusik, this was very much enjoyed -- precision playing at its best.

Anna Monoyios was an elegant soloist in excerpts from Purcell's "Fairy Queen'' with which the orchestra chose to close the first part of their programme. She has a lovely vocal quality and a great command of style.

Confident and serene, her warm personality shone through the lyrical "Fairest Isle'' and "When I have often heard'' while her beautifully controlled "Hark the echoing air'' gave an early indication of technical mastery.

One of the most dramatic improvements in Festival presentation has been the instigation of elevated staging for musical groups. Acoustically excellent, St. John's Church has nevertheless suffered as a venue in the past because of severely limited visual impact. Now, not only can we see what is going on, but with sound waves traveling over, rather than into, audience mass, the aural quality is so much better also.

Antonio Vivaldi wrote over 600 concertos, many of them for his famous "all girl'' orchestra of the Ospedale della Pieta in Venice. The Pieta was an orphanage at which gifted students received extensive musical training. To play these works, not simple, the girls had to be accomplished musicians.

After the intermission, with the remainder of the programme devoted to Vivaldi, Tafelmusik presented Concerto for strings in G minor, a very lively opening with some beautifully balanced orchestral playing, and the sparkling Concerto for two oboes in D minor with soloists John Abberger and Washington McClain. The tone quality of the baroque oboe is surprisingly round and mellow. Relaxed, and clearly enjoying themselves, both soloists displayed throughout the three contrasted movements a combination of dexterity, sensitivity and finesse. This was one of the highlights of the evening.

In concluding this superb evening of music making, Tafelmusik stopped short of its commitment to authenticity by presenting the radiant Anna Monoyios as soprano soloist in the sacred motet "In turbato mare irato''. Since women were not allowed to participate in church services in the time of Vivaldi, this would have been sung by a male castrato. Boy trebles were also employed , of course, but in this instance the technical demands would have required a quite exceptional youthful performer and adult participation was more likely.

But as one of the orchestral players observed without much regret on the subject of Castrati .... "We couldn't find a volunteer!'' It would be to our great advantage if the Festival Committee had the foresight to issue translations of scheduled vocal compositions, especially when extended works are involved. Fortunately Miss. Monoyios saved the day with a clear outline of the text.

"In the tumult of the angry sea sweet peace is ship wrecked'' .... the theme until the final Alleluja appropriately maritime for the Bermudian audience.

In the tradition of the time, the florid motet demands the ultimate from the singer in terms of agility, embellishment and breath control. Miss. Monoyios proved herself more than equal to the task and with a sympathetic orchestral accompaniment and some fine continuo playing from Christina Mahler and Charlotte Nediger, delighted the audience with a wonderful re-creation of baroque vocal style.

I would strongly urge those who have not heard Tafelmusik to do so.

MARJORIE PETTIT BEAUTIFUL BAROQUE -- Courtesy of the talented Tafelmusik.

THEATRE REVIEW REV