Spiritual ‘rock star’ of baroque opera
Handel and his English contemporaries... William Hayes, Thomas Arne, William Boyce. Ainslie’s recital at St Andrew’s Presbyterian Church, Somerset Rd takes place on Wednesday at 8pm.
Ainslie, described by the New York Times as becoming a “rock star of baroque opera with his impressive, yet deeply, spiritual countertenor”, is supported by Camerata Tinta Barocca, led by recently appointed artistic director and harpsichordist Erik Dippenaar.
Ainslie had only arrived the day before I met him rehearsing at St Andrew’s with five Camerata Tinta Barocca string players and Dippenaar on harpsichord. The night was bitter and when he reached for his scarf to wind around his neck, I wondered how he looked after his voice, with all the climate changes and air-conditioning his extensive travelling to engagements involves.
When I posed this question Ainslie smiled: “That’s a good question. Over and above everything else I try to keep physically and mentally fit. That’s my voice’s best protection. So I meditate, practice yoga, am learning not to be affected by and to deal with stress. I run, climb and when conditions are right, surf and snowboard. However when flying, I wear a humidifying mask, known as a ‘flight bubble’. This has transformed my flight experiences. It keeps my whole body hydrated by preventing the dehydration that is caused through the mouth and nose.”
Ainslie, whose repertoire stretches from the baroque era through the classical period to contemporary works, sings from church recitals, oratorios to opera. He’s sung J.S. Bach’s Saint Matthew Passion BWV 244 with Barry Smith’s St George’s Singers, as well as under Laurence Cummings at London’s Handel Festival. He’s performed the Weihnachts Oratorium in Moscow. Recently he premiered the title role in 18th century Thomas Arne’s rediscovered opera Artaxerxes.
Regarding as a leading exponent exploring technical possibilities of the countertenor voice I asked Ainslie what technical adjustments, if any, he required between rehearsing in an empty venue then performing in one filled to capacity.
Erik Dippenaar He agreed “the “feeling” is different. “But I project my voice the same way. Even when performing in a 150-seater venue or in Covent Garden seating 2 256 people, my technique remains constant. You see, if you think you need to ‘shout’ to reach people in the top tier, the voice strains, loses contact, resonance and above all value.”
Ainslie’s favourite venue is London’s Wigmore Hall. “At capacity Wigmore Hall accommodates 545. But acoustics are so marvellous the hall is regarded as being “the city’s chamber music jewel box.”
Ainslie, who, in 2005 swopped paper notes as a chartered accountant for tonic sol-fa ones as a professional countertenor, prefers taking time to rehearse. “It does not matter how often I’ve sung a work, the musicians around me are constantly changing. Each recital requires connecting to a new group. Nothing must ever become routine. Last year working with blind lutinist Matthew Wadsworth at the Wigmore Hall, the hours we spent studying together, gaining indepth insight to our music made our performance rewarding for all concerned. As a musicologist Erik is a perfectionist. He won’t permit an incorrect note or phrase to slip past. That’s how I like working. There’s security in knowing nothing is left to chance.”
Married to dress designer Emily Rosenberg, Ainslie is happy her commitments permit her to travel with him. He’s delighted to be back in Cape Town to see his family who will attend his concert.
In 2004 violinist Quentin Crida founded Camerata Tinta Barocca. Like everyone else, musicians do eat. However, as sponsorship diminished, Crida, (rightly) assumed that musicians existed who were prepared to play for the sheer joy of it and split a fee from door receipts. His theory proved correct. On this basis in 2014 Camerata Tinta Barocca celebrated its 10th anniversary and is on its way to another decade. Said Dippenaar “a challenge about such an ensemble is achieving a cohesive unified sound between the 5 to 14 ad hoc players required to play our baroque repertoire – which occasionally dips into the classical era.”
Asked about using period instruments Dippenaar responded, “we’ve systematically been working towards playing on period instruments, and instrument maker Kotie van Soelen kindly sponsored a set of instruments. Otherwise, players request an exact copy of some historical instrument they want/need.
“Making these is obviously a highly skilled art. But through museums and, of course the Internet, materials and exact measurements are accessed. Thus instrument makers are able to produce that marvellous, almost indefinable magical baroque sound. What isn’t always appreciated is that playing a period instrument isn’t just a case of swopping a “trade” one for a “period” one. The learning cycle is equivalent to learning a completely new instrument. This is what gives Camerata Tinta Barocca its unique sound.”
Said Michael Maas (publicity and fund raising officer), “Built in 1828, St Andrew’s as a historical building with it’s good acoustics has a rather venerable atmosphere. It’s this singular blend between periods that will give Ainslie and Camerata Tinta Barocca a distinctive frame at Wednesday evening’s concert.”
Ainslie’s programme includes two arias from Handel’s Agrippina – Voi che udite il mio lamento and Tacero. He also performs the Mad Scene from Handel’s Orlando and Al lampo dell’armi from Giulio Cesare in Egitto. As well as Thomas Arne’s Fair Semira from Artaxerxes. Other items Camerata Tinta Barocca play play include Symphony Nr 1 by Boyce; Hayes’ Harpsichord Concerto in G Major; Geminiani’s Cello sonate nr 5 in F major and Handel’s Recorder sonata in D minor (HWV 367a).
A treasure of a singer and programme not to be missed.
Tickets at the door R90 and R100.