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HomeOperaAsya Fateyeva and Lautten Compagney Berlin on the Dresden Track Pageant

Asya Fateyeva and Lautten Compagney Berlin on the Dresden Track Pageant

Asya Fateyeva (Photo Marco Borggreve)
Asya Fateyeva (Picture Marco Borggreve)

Baroque is going Pop: Henry Purcell, Lennon & McCartney; Asya Fateyeva, Lautten Compagney Berlin, Wolfgang Katschner; Dresden Track Pageant at Martin-Luther-Kirche

A outstanding night time filled with superb sounds and hues as Baroque and fresh mix with creativeness and musicality

Travelling to Dresden for the Dresden Track Pageant‘s manufacturing of Wagner’s Das Rheingold, I took good thing about my presence within the town to catch some other pageant live performance. Now, I’ve to confess that my variety used to be in keeping with eagerness to listen to the duration tool ensemble Lautten Compagney Berlin in a programme of Purcell. It used to be most effective later I realised that the soloist wasn’t a soprano, however a saxophone participant.

So, on Tuesday 13 June 2023, I used to be on the historical Martin-Luther-Kirche in Dresden’s Neustadt for Asya Fateyeva (saxophones) and Lautten Compagney Berlin, directed from the lute via Wolfgang Katschner in a programme interleaving track via Purcell with songs via the Beatles. Asya Fateyeva is a Ukrainian born, German resident saxophonist who studied in Moscow, Cologne, Paris and Hamburg.

The Purcell alternatives concentrated at the theatre track, King Arthur, The Fairy Queen, The Indian Queen, Dido and Aeneas, Distressed Innocence, Bonduca, and Abdelazar plus the funeral track for Queen Mary. The Beatles alternatives integrated widely recognized pieces akin to The previous day, Blackbird and Norwegian Picket, along side the no longer so widely recognized akin to Being for the Advantage of Mr Kites, As a result of and Any other Lady.

The instrumental line up used to be a-historical, no longer simply the presence of the saxophone, however along a string quintet, recorder, lutes (3 plucked tools), harp, harpsichord and organ we had cornett and percussion. This would possibly sound reasonably abnormal, however the impact of listening to Fateyeva’s soprano saxophone duetting with a cornett in Purcell’s ‘One fascinating night time’ from The Fairy Queen used to be natural magic.

We started with Lennon & McCartney’s Any other Lady (from Assist), with recording, strings and percussion growing a virtually South American really feel, then Fateyeva including her fluid saxophone line floating excessive. Two Purcell pieces adopted, ‘Aeolus Air’ from King Arthur and ‘Thus the gloomy international’ from The Fairy Queen. The primary, speedy and unfastened, an overly trendy tackle Purcell with moments the place saxophone and cornett duetted. The second one, a delicately intimate account for recorder and strings with out a saxophone.

The manner various, however necessarily this used to be the combination for the night time. With 3 avid gamers on a mixture of lutes, Baroque guitar and theorbo, plus harp and harpsichord, there have been various plucked string textures along side the opposite tools, giving us a large color palate that used to be used with nice creativeness.

Fateyeva, whether or not taking part in soprano, alto or tenor saxophone (and now and again she alternated in a single quantity), had a seductive, fluid tone that used to be pretty. She may sing a line with nice purity or get down and grimy. Now and again this feeling of freedom went too some distance. ‘The Chilly Track’ from King Arthur had such a lot happening that it felt self-indulgent, while Lennon & McCartney’s  The next day By no means Is aware of (from Revolver) moved nearly into unfastened jazz territory.

However there have been moments of magic too – an not going melding of Lennon & McCartney’s Norwegian Picket (from Rubber Soul) with Greensleeves, an account of Lennon & McCartney’s Lady (from Rubber Soul) with a virtually Purcellian accompaniment, and moments when Fateyeva merely sang a natural Purcellian line over the ensemble, such because the act tunes from Abdelazar and Bonduca.

We ended with a model of Purcell’s ‘3 times glad fans’ from The Fairy Queen which moved from the discreet simplicity of saxophone, harpsichord and bass to the whole ensemble in attractive South American mode. Natural magic.

Martin-Luther-Kirche is without doubt one of the few church buildings in Dresden to flee the conflict in large part unscathed. Additionally it is massive and a close to capability target audience used to be maximum enthusiastic. We had been handled to 2 encores. First, the ensemble returned to ‘One fascinating night time’, however a unique association this time which melded into Lennon & McCartney’s Penny Lane – not going, but it surely labored. Then Lennon & McCartney’s I need to grasp your hand with an overly Purcellian floor bass.

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