Evelyn Tubb and Anthony Rooley
At the age of 12 Evelyn was already a seasoned performer: singing, dancing, playing the trumpet, and always willing to entertain. Her assured performances are legendary: always stylish, full of pathos or humour, leaving the audience sometimes gasping at either her boldness or her delicacy. Her singing is wholly individual. Whilst obeying the best information on historical style she transcends any ‘early music’ definition of how the voice should be in this or that repertoire, and proceeds with an assured deftness to make the music her own, from within and heartfelt. Commitment is perhaps the best word to describe her impassioned ululation.
In recent years her work as Voice Professor at the famous Schola Cantorum in Basel, Switzerland, has attracted an ever-rising level of singing student, attracted by her warmth and understanding of the human dimension of singing and performing, as much as her considerable facility in teaching technical aspects. Words like ‘support’ take on new meaning in Evelyn’s hands.
A life-long belief in the power of performance as a ritual of great force and beauty has been the central philosophy in Anthony’s practical work. This has informed all aspects of his endeavour: performing, teaching, directing, research work, and writing. And the love affair with the lute remains a constant source of pleasure, which continues to feed his imagination.
In working with others, both professional and student, it is this element of fantastical inspiration which communicates; and which seems to help liberate others to find a new, higher level of performance. Ideas about exploration of forgotten repertoires abound, some of which may see light of day in the near future.
Anthony Rooley is of course perhaps best-known as founder-director of the Consort of Musicke, which has been described as one of the seminal groups of the early music movement, and one of the dominant forces of the performance of Renaissance music from the 1970s onwards.
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Evelyn Tubb, Ulrike Hofbauer (sopranos), Sumihito Uesugi (countertenor), David Munderloh (tenor) & Lisandro Abadie (bass)
Chor der Schola Cantorum Basiliensis & La Cetra Barockorchester Basel, Anthony Rooley (direction)
During the course of the Age of Enlightenment a rather special, indeed unique, occasion took place (on July 6, 1750, to be exact) with the first performance – in Oxford as part of a University celebration there – of a composition by William Hayes to a well-known humanist text: The Passions, An Ode for Music (written in 1746 by William Collins). Anthony Rooley is responsible for the rediscovery of this significant work and here leads a performance with soloists and ensembles closely linked with the Schola Cantorum Basiliensis, in the first release of a new collection directed by Glossa and the Swiss establishment, the leading educational and research centre in the field of early music.Anthony Rooley is responsible for the rediscovery of this significant work and here leads a performance with soloists and ensembles closely linked with the Schola Cantorum Basiliensis, in the first release of a new collection directed by Glossa and the Swiss establishment, the leading educational and research centre in the field of early music.
available from Presto Classical