This is the third year I’ve attended Christmas Revels at Harvard’s lovely and historic Sanders Theatre; not only did I really enjoy the performances the past two Decembers, but my niece is again singing in the chorus (she also helped with Italian language coaching and translations).  I don’t like driving in the city and trying to find parking, so I decided to take the T from Alewife, which was the right decision.  Shortly before the 3 pm curtain time, I took my seat in the mezzanine, Row H Seat 7, and looked out at the crowd — it was another sold-out performance.

In his introduction to the program, Artistic Director Paddy Swanson emphasized the role of Renaissance Venice as a crossroads:  “merchants from the East are rubbing shoulders with artists from the West.”  Musically, the schools of the Basilica San Marco embraced diverse traditions, and in keeping with this spirit, the repertoire chosen for these Revels included pieces not just from Venice but from Campania, Cataluña, Corsica, Sardinia, Turkey, Croatia, and even beyond.  I wasn’t surprised when in an inspired bit of stagecraft Englishmen made an appearance!

Presiding over all of Venice’s social, commercial, and political activity is the Doge, the head of the city-state, the Most Serene Republic.  This year’s story begins as the Feast of the Seven Fishes, also known as The Vigil, approaches.  The Doge, played by actor Richard Snee, wearies of his responsibilities and disappears into the watery city, leaving his dour and decidedly humorless second-in-command to deal with the restive crowds as they, together with a troupe of disreputable actors and comedians, pursue pleasure and entertainment.

Led by Music Director Megan Henderson, this year’s production included traditional dances, instrumental pieces, carols, games, and drama. The cast this evening included Master of Ceremonies David Coffin, singers Gideon Crevoshay, Lysander Jaffe, and Sophie Michaux,  and Mark Jaster, Noni Lewis, Sabrina Mandell, and Billy Meleady as members of the rogue acting troupe in search of someone to play “Il Dottore” for one of their scenes.  Rounding out the participants were the Coro San Marco, the Revels Ragazzi, the Pinewoods Morris Men, the Orion Longsword, and the Cambridge Symphonic Brass Ensemble.  The set was designed by Jeremy Barnett; lighting design was by Jeff Adelberg; costumes were by Heidi Hermiller.

I would be remiss if I didn’t mention the musical instruments here.  At one point in my life, I played in a recorder ensemble, so I thought I knew a bit about Early Music, but the instruments we heard and saw tonight were largely unknown to me and quite amazing: the theorbo, cornetto, ciaramella, shawm, zampogna.  The program lists many others:  baroque guitar, djembe, bodhran, tenor gemshorn, plectra lute, riqq, doumbek, frame drum, tabor, ocarina.  I can’t begin to describe them — you’ll have to search the Internet for images and maybe even sound clips.

Part 1 of the program included sacred choral works, traditional folk songs from Italy and other eastern Mediterranean countries, hymns, children’s songs, games, dances, madrigals, and the ever popular Lord of the Dance.  After a short intermission, Part 2 included more carols, dances, games, folk songs, instrumental pieces, the Commedia dell’ Arte play, and a recital of the poem The Shortest Day.  In Part 2, we in the audience, together with the cast, sang Il Coprifuoco, the round Dona Nobis Pacem, the Calabrian sea chantey Tonnaroti, and the Sussex Mummers’ Carol.

As was the case in the past years, I would be hard-pressed to pick any favorites.  I did enjoy the Commedia Dell’ Arte play with its happy ending.  I can’t pick a favorite song this year, though if I were forced to, I would choose O Sanctissima, a traditional Sicilian hymn.  The song is familiar to me, but it seems unlikely I learned it at church, as we were raised in the Protestant tradition and would not necessarily have appreciated the rich musical heritage of a traditionally Roman Catholic region.