“A special excitement comes from encountering a familiar work reborn into a new form. And that thrill of discovery is only heightened in a transformation handled as skillfully as the Henry Purcell Society of Boston did in “A Restoration Macbeth” Saturday night at the Cathedral of St. Paul in Boston.”

““The First Musick showed the energetic ensemble of eight players to be well-tuned, well-inflected and able to make enough sound for the space. Conducting from the harpsichord, Ian Watson cast a genial spell over the proceedings. Susannah Foster’s violin star glowed brightly in a leading role throughout the two hours. Doubling on theorbo and early guitar, Paula Chateauneuf, made essential contributions, accompanying variously with stately elegance and folkish glee. Caroline Giassi’s oboe solos struck gold, and her recorder duets with Roy Sansom sounded glorious.””

““…Purcell’s airs, choruses, and recitatives—always set with fine attention to the natural text rhythms of English poetry—projected with clarity. Trumpet fanfares and excited shouting and waving of swords simulated battle scenes, while brief projected titles kept us abreast of the ongoing action. The ensemble of period instruments, located to the left just below the chancel, was headed by violinist Aisslinn Nosky, with continuo provided by Alice Robbins, viola da gamba, and Simon Martyn-Ellis, alternating between theorbo and guitar. Virtuoso playing was heard from Robinson Pyle and Jesse Levine on natural trumpets, and Ian Watson, conducting persuasively from the harpsichord, held it all together, occasionally even wielding a tambourine to add percussive spice to rustic dances.””