"American Idol" has exposed us all to the horrors of the diva-inspired vibrato and those monstrous stretches of crooning that run through more pitches than Major League Baseball announcer's play-by-play.
This weekend offered a break for those lucky enough to be seated in Rollins Chapel, where the Trio Mediaeval gave two performances unadulterated by pop "virtuosity" or distracting dramatics. Instead, the three Scandinavian sopranos that comprise the group -- Anna Maria Friman, Linn Andrea Fuglseth and Torunn Ostrem Ossum -- strictly adhered to a same-tone method befitting their medieval repertoire.
Granted, a repertoire over 800 years old, alternated with commissioned pieces by contemporary composers, may not be overwhelmingly exciting. But the melodic lines that Frimin, Fuglseth and Ossum wove together into a beautiful polyphonic wall of sound were far more engaging than I initially expected. These aren't just higher pitched Gregorian chants, the likes of which Monty Python sends up in "The Holy Grail." Instead, the show featured a wide range of songs, from Italian spirituals, or "Laude," to a compelling Latin hymn over a folk song ostinato in "Dou way Robyn/Sancta Mater." While the religious nature of most of the repertoire found a natural (if predictable) home in the stained glass-lit apse of Rollins, the show was as light and airy as the spring weather outside rather than conjuring images of truly dark ages.
Certain characteristics of the music's historical roots remained, however. Medieval music is linear and in church modes rather than tonic -- no key changes here, nor the final cadences audiences are so accustomed to hear. The Pavlovian response to those more modern endings, applause, was here halting and unsure. Were they done singing? Is it okay to clap? With a few seconds of silence to confirm an end to yet another beautifully arranged and executed piece, listeners were all too eager to reward the trio for the studied exertion of their vocal cords.
The commissioned pieces by Sungji Hong, Gavin Bryars and Andrew Smith added some modern sensibility while retaining a centuries-old musical style. The extraordinarily high register of each gave the performers a chance to truly showcase their talents, given that much older music would have a much more circumscribed range. The effect was at times goosebump-inducing, especially when dissonances were introduced -- yet another modern musical characteristic. These three pieces -- "Missa Lumin de Lumine" by Hong, "Ave regina gloriosa (Lauda VIII)" by Bryars and a set of three Marian pieces by Smith -- highlighted the unique talents of both composer and singer, each able to expand upon an ancient musical style, bringing it into the 21st century without sounding antiquated and without resorting to cheap, crowd-pleasing modernizations.
The show ended with Norwegian hymns for which the trio is also famous. This was a change to the set program, and a welcome one for those of us who wanted to hear something even more exotic. The pride on the three women's faces was clear as they brought their local traditions back to Hanover. This is the Trio Mediaeval's second trip to New Hampshire after they made their American debut here four years ago.
While the content of the show was unique for the arts at Dartmouth, the quality was as high as it has ever been. The three women of Trio Mediaeval bravely stood in front of Rollins with no instrument except their pure, strong voices to entertain and move a very appreciative and captive audience.
