They attended and appreciated classical concerts at the Hopkins Center but sought additional experiences, particularly with baroque music. After Filippo Ciabatti assumed the directorship of the Handel Society, the three found themselves in an ongoing conversation that raised a question: would it be possible to create an ensemble for baroque music here in the Upper Valley? The initial idea may have been modest. “I envisioned something like 10 singers and a quartet,” says Allan, “and then Filippo—as the founding artistic director—had a bigger vision.”

Difficulties and Opportunities

Proximity to a music hub like Boston was a plus, but there were challenges. The group, which would be called Upper Valley Baroque, was new, untested, and located in a rural area. And they were trying to organize their brand-new project during the height of COVID, which meant masks, vaccines, and social distancing. While the epidemic presented difficulties, it also brought opportunities. The auditioning musicians had endured the worldwide closure of performance venues, and travel restrictions meant they had been without performance opportunities for too long; they were unexpectedly available. Some were attracted to the project because they specifically wanted to work with Filippo Ciabatti. Many were excited at the prospect of forming something from the ground up.

The first concert took place in Hanover, New Hampshire, with the newly assembled musicians, along with some singers from the Upper Valley. The audience was masked, vaxxed, and seated pod-style. A soloist lost her voice the morning of the inaugural concert; her part was expertly covered in less than one full day by another. After the last note sounded, the audience, as deprived of music for as long a period of time as the musicians had been, stood and cheered.

Creating a Community Around the Music

Upper Valley Baroque concerts are played using period instruments from the Baroque era. They produce a softer sound and replicate what the composer—Bach, Handel, and others—actually heard when they were composing their music. Because they are different from conventional instruments, they often require exceptional skill to play. Some of the instruments are antiques that have survived from the time of their original creation. Others are modern replicas. Allan spoke of listening to a cello built in 1681 alongside an identical one that was five years old. Which sounded better? The original 1681 version. No doubt.

As the fourth season of Upper Valley Baroque is about to begin, Jo and Allan are reflecting on how well the company has achieved its goals. Filippo Ciabatti expresses what has been “real joy in working with such highly skilled and collaborative musicians.” But the idea was never just to put together a handful of concerts; it was also “to create a community around the music.” UVB has done that among the musicians, who have come to share their passion for this project; many return to the Upper Valley with each new season. They have succeeded also in weaving UVB into the life of the community. Artists are hosted in people’s homes. Meals are communal. Musicians sometimes recruit their colleagues, describing UVB as among the “hottest gigs in the Northeast.” Filippo has stressed the beauty and the role of the Upper Valley, where people have supported, financially and otherwise, the dream of building this top-tier musical organization. 

Venue is part of the community-building mission. Upper Valley Baroque doesn’t have a single home venue.  It has performed in the acoustically acclaimed Chandler Center for the
Arts in Randolph, Vermont; the newly renovated Lebanon Opera House; and
several area churches. Jo wants to ensure that UVB reaches out to include locations that are underserved when it comes to classical music. And wherever the location, UVB offers free tickets to students.

When asked about the upcoming fourth season, scheduled to begin in September 2024, Filippo pauses to look back for just a moment, “astounded at the magnitude of the project” over the past three years. He sees its past success as a reason to carry forward the structure—now two chamber concerts and three larger “masterworks” performances. He is always searching for highly skilled soloists, more creative ways to present, and new venues, as UVB branches out from the central Upper Valley. Concerts are likely to include works familiar to the audience, like Bach’s “Brandenburg Concertos,” or perhaps something equally compelling but less well known. Of particular note is this season’s third concert, which will present Handel’s “L’Allegro, il Penseroso ed il Moderato,” a dramatic setting of texts inspired by John Milton and William Shakespeare.

For more information and tickets,
visit Upper Valley Baroque at
www.uppervalleybaroque.org.