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Justin Taylor’s concert at Capriccio captivates the audience & receives glowing review

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Justin Taylor’s ‘Bach in Italy’ performance at Capriccio Baroque on March 18, 2023, led to multiple standing ovations from a highly appreciativ audience and garnered an exceptional review from Charles Downey of the Washington Classical Review. The virtuosic, demanding program included a selection of Italian concerto transcriptions made by Bach and works composed by Bach himself in the ‘Italian Style’. For the concert Justin performed on a two-manual harpsichord built by English early keyboard builder and harpsichordist Colin Booth after an extant original instrument by J.C. Fleischer dated to 1710.

Read the full review at

https://washingtonclassicalreview.com/2023/03/19/harpsichordist-taylor-takes-audience-on-a-lively-and-illuminating-italian-tour-for-capriccio-baroque/

Capriccio’s concert featuring Jean Rondeau rated a 2022 Top Ten Performance

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Jean Rondeau’s October 26, 2022, performance of J.S. Bach’s ‘Goldberg Variations’ at Capriccio Baroque is rated a 2022 Top Ten Performance by the Washington Classical Review. Given this young French harpsichordist’s mastery this comes as no surprise. Here’s what the Washington Classical Review has to say about this performance:

‘The best thing about a performance of an ultra-familiar work is if it surprises you. The French harpsichordist, who has made two recordings of this Bach masterpiece, surprised over and over again in this dynamic live performance …from an improvised intonato as prelude, through some extravagantly ornamented repeats, to a stripped-down return of the opening Aria.’

Read the Washington Classical Review’s full story at https://washingtonclassicalreview.com/2022/12/21/top-ten-performances-of-2022/

Yoann Moulin’s ‘Stylus Luxurians’ – compulsive listening!

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Yoann Moulin’s spectacular recording ‘Stylus Luxurians’ focuses on 17th century German harpsichord music by Weckmann, Froberger Ritter, Tunder, and Scheidemann. This was the period in which German music began to reflect elements of the French style after earlier adoption of elements of the Italian style. The result: simply gorgeous, luxurious music. This exquisite, crystal-clear recording of brilliantly played music makes for compulsive listening. Released under the Ricercar-Outhere label.

“Definitely worth a listen!” – Lillian Gordis’ new ‘Bach’ album

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Lillian Gordis’ latest double-disk album ‘Bach’, released under the Paraty label, is a feast for the senses. Comprising her personal selection of Partitas, English Suites and Preludes and Fugues from the Well Tempered Clavier, this is a technical tour de force with the most compelling interpretations.

Qobuz and Pierre-Yves Lascar: “Without doubt, this is well worth a listen.” “These two musical hours are breath-taking in every sense of the word…”

Delights from the Cape Town Baroque Orchestra, South Africa

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At the tip of Africa the Cape Town Baroque Orchestra drives a newly flourishing Early Music Scene under Artistic Director Erik Dippenaar. The Orchestra includes some of South Africa’s finest musicians and vocalists who mainly perform music of the 18th century. Here are two recent recordings by the Orchestra. In the first, the Orchestra plays William Hayes’ (1708-1777) delightful, joyous Harpsichord concerto in G major with Erik Dippenaar directing from harpsichord. The second recording is one of a series in which Orchestra members explore early repertoire originally written to be played and sung at home – Lynelle Kenned (Soprano) and Erik Dippenaar (Early Keyboardist) perform.

Rave Review for Jory Vinikour’s Capriccio Concert

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Capriccio’s Saturday, Sept. 18, 2021, concert ‘La joie de vivre’ featuring Jory Vinikour aimed to lift the audiences’ spirits after a prolonged and bleak period when concert halls have been shuttered. Jory more than delivered! The Washington Classical Review’s Charles Downey showered the performance with praise, describing it as “…a sensational evening”. Jory Vinikour’s exceptional technique and bountiful musicality shone in a program packed with “effervescent and devilishly challenging pieces” full of “…finger-twisting calisthenics…” (Charles Downey) by Byrd, Bull, J.S. Bach, D. Scarlatti, Rameau, L. Couperin, and Royer. Read the full review here: https://washingtonclassicalreview.com/2021/09/19/capriccio-baroque-series-reopens-with-versatile-vinikour-at-the-harpsichord/

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We’re giddy with delight as we launch our 2021/2022 Season featuring exceptional harpsichordists in extraordinary live!! and virtual concerts. We’ve have a wonderful line-up of harpsichordists who’ll be performing diverse and compelling programs.

While we very much hope the Season will proceed as planned, we must make provision for possible interruptions. This means we’ll open ticket sales for a concert 4 to 6 weeks out from the concert date. On the day we open ticket sales for a concert we’ll send our Subscribers an email announcing this. If you’re not already on the subscriber’s list, do complete one of the sign-up boxes on this website so you are kept informed and don’t miss out on tickets. We’re sorry to announce that we’ll not offer our popular Subscription Packages this Season because of the continuing uncertainties.  We request patrons’ understanding on these measures; our intention is to avoid disappointment and a cycle of ticket refunds. 

We so look forward to welcoming you back in person to – very hopefully! – a full Season of extraordinary concerts!

Justin Taylor’s recent album: “La Famille Rameau”

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Justin Taylor’s liquid-mercury technique and exquisite touch are fully evident in this spectacular album recorded on the Harpsichord Donzelague c. 1730 and, for one cut, an Erard 1891 piano. The album features a gorgeous mix of works by members of the Rameau family – Jean-Philippe, Claude, Claude-François, and Lazare – complemented by works of two composers inspired by Jean-Philippe Rameau, Jean-François Tapray and Claude Debussy. This recording is rightly being showered with laudatory reviews from the critics.

Jean Rondeau releases “Melancholy Grace”

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Here’s a new and quite different album from Jean Rondeau. Recorded on a Philippe Humeau 2007 harpsichord, and a polygonal virginal (arpicordo) attributed to Francesco Poggi, c. 1575, this is a very special album indeed. The instruments’ voices alone are enough to stop you in your tracks. But Jean’s performance of the works featured in the album – by G. Frescobaldi, J. Sweelinck, B. Storace, O. Gibbons and J. Bull and more – most certainly will. One of Jean Rondeau’s most engaging albums to date.

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Carolyn@CapriccioBaroque.org