The 25th anniversary of The Four Nations Ensemble—Krista Feeney (violin); Loretta O’Sullivan (cello); Daniel Swenburg (lute and guitar); and Andrew Appel (director and harpsichord )—was celebrated with great panache at the decidedly un-concert-hall Metropolitan Room. “When Handel came to London, he played in a beer hall,” quipped Appel. (True)

In a terrifically imaginative pairing of the literally Baroque (Purcell, Biber, Handel, Geminiani) and metaphorically baroque (Cole Porter, Rodgers & Hart, Stephen Sondheim) the classical quartet, joined by talented soprano Ann Monoyios and iconic singer/pianist Steve Ross (pictured), who co-developed the piece, showed things haven’t changed much in 200 years. Witness “Wunderbar,” one of several sparkling duets by Monoyios and Ross. The subject was love.

From pristine, stylish, essential interpretations of Porter (many out of Kiss Me, Kate) to such as Robert Johnson’s “Where the Bee Sucks” and Purcell’s “If Love’s a Sweet Passion,” we hear hey nonny nonnies, nine-syllable words (even from Ross!) rolled Rs, classical instrumentals, and then “Were Thine That Special Face.” Ross’s singularly moving rendition of “Falling in Love with Love” (Rodgers & Hart) beginning in 2/4 and segueing into 4/4 time, the pastiche “Pro Musica Antiqua” (Tunick/Vinaver) charmingly offered by Monoyios (who can act as well as sing) and “Sonata in F for Violin and Continuo” featuring the remarkable Krista Feeney and the ensemble, were highlights.

The musicianship was superb, the cross-pollination surprisingly rich and effective. Performers and many in the audience alike had a wonderful time. Lighting and sound designer Jean-Pierre Perreaux worked miracles.

Alix Cohen
Cabaret Scenes
April 20, 2011
www.cabaretscenes.org