Esther in the Age of Rembrandt

The early music ensemble Acronym recently presented a concert that illuminated the biblical story of Esther through compositions from the 17th century. This performance coincided with the Isabella Stewart Gardner Museum’s exhibition, "The Book of Esther in the Age of Rembrandt," which centers on Rembrandt van Rijn’s 1632-33 masterpiece "A Jewish Heroine (Possibly Esther)." The painting, on loan from the National Gallery of Canada, depicts Esther as a stately auburn-haired figure adorned in rich red velvet and glittering jewels that catch the light.

Drawing on the cultural and historical ambiance surrounding Rembrandt’s work, Acronym curated an evocative program featuring music by composers such as Elisabeth Jacquet de la Guerre, Marc-Antoine Charpentier, and Giacomo Carissimi. This repertoire included vocal and instrumental pieces that narrate Esther’s courageous acts, performed by a mix of acclaimed local and international early music vocalists, including Amanda Forsythe, Teresa Wakim, Aaron Sheehan, Jesse Blumberg, and Kim Leeds.

The concert’s storytelling unfolded in three dramatic musical retellings of Esther’s narrative. Amanda Forsythe's portrayal of Esther in Jacquet de la Guerre’s 1708 work stood out for its regal poise and delicate vocal expression, supported by a continuo ensemble delivering profound depth through violone, cello, theorbos, and harpsichord. Forsythe’s costume echoed the sumptuousness of Rembrandt’s portrait, with intricate white and gold embroidery enhancing the evocative atmosphere.

Marc-Antoine Charpentier’s 1677 "Historia Esther" was brought to life by Teresa Wakim’s plaintive and persuasive singing, conveying Esther’s fearful yet resolute plea to King Ahasuerus. Jesse Blumberg contributed with a versatile bass voice embodying various roles, while the ensemble’s continuo accentuated the tension leading to the jubilant finale, "Jubilate."

In a contrasting portrayal within Giacomo Carissimi’s mid-17th-century "Regina Hester," Wakim shifted to the antagonist Haman, capturing his malevolence with commanding vocal presence. Forsythe returned as Esther, delivering radiant and triumphant passages that celebrated deliverance and unity, accompanied by the full ensemble including violas and violins, creating a richly textured soundscape.

The concert also integrated instrumental works highlighting lesser-known composers connected to Jewish heritage and 17th-century European courts. Among these were pieces by Leonara Duarte, a Jewish woman composer from Antwerp, and Salamone Rossi, a Jewish musician affiliated with the Gonzaga court. Additionally, Johann Heinrich Schmelzer's dance suite for the 1667 Viennese Carnevale provided a lively interlude. This suite, infused with comedic character sketches reminiscent of Purim festivities, portrayed a variety of social archetypes through spirited movements, ending with an ironic "Grand Ballet of those who have come to their Senses."

The performance culminated in an encore featuring a lyrical love duet from Handel’s "Esther," with Forsythe once again embodying the queen’s regal charm alongside Aaron Sheehan as the enamored king. This finale underscored the enduring emotional resonance of Esther’s story through centuries of musical adaptation.

The concert experience was enriched by the surrounding exhibition, which showcased an array of 17th-century artifacts including Persian tapestries, sacred scrolls, silver ritual objects, and archival materials that contextualize Esther’s cultural significance. The juxtaposition of Rembrandt’s portrayal with period music allowed audiences to engage with the historical and artistic milieu of the story.

A particular highlight within the exhibition was Rembrandt’s self-portrait at age 23, displayed nearby. This intimate work, with its subtle play of light and shadow and a youthful gaze, offered a glimpse into the artist’s early vision and the broader artistic environment of the era.

As noted by classical-scene.com, the collaboration between the visual arts and early music in this setting provided a powerful reminder of the capacity of historical art forms to convey timeless narratives. The concert’s blend of scholarly insight and passionate performance invited contemporary audiences to reconsider Esther’s narrative not only as a religious or literary figure but as a symbol of courage and resilience that resonated across cultures and epochs.