In an innovative performance at the neo-gothic Stone Nest, the period-performance ensemble Figure showcased a unique blend of classical and contemporary works. The evening began with Vivaldi’s Concerto for Strings in D minor, performed with striking intensity and precision. The musicians then transitioned seamlessly to modern compositions by Caroline Shaw, Freya Waley-Cohen, Edmund Finnis, and Joanna Ward. This juxtaposition of old and new highlighted both the ensemble's versatility and its ambitious vision. Despite some technical hiccups and less-than-polished introductions from co-artistic director Frederick Waxman, the concert was a testament to the group's remarkable talent and commitment to creating immersive musical experiences.

The performance kicked off with a powerful rendition of Vivaldi’s Concerto for Strings in D minor. The musicians played with an intensity that brought out the raw energy of the piece. Each bowstroke was deliberate, creating a sense of urgency and tension. The absence of vibrato added a starkness to the sound, emphasizing the dissonance within the harmonies. In the faster sections, the ensemble moved together like a well-oiled machine, transforming Vivaldi’s intricate passages into a whirlwind of dynamic vigor. The seamless transitions between movements demonstrated the group’s exceptional cohesion and timing.

Following this intense start, the musicians quickly switched from baroque bows to modern ones, setting the stage for Caroline Shaw’s Punctum. This contemporary work engaged in a dialogue with Bach’s St Matthew Passion, creating a slow-motion resonance that gradually accelerated into a frenetic pace. The performance was marked by its stylish and sharp execution, effortlessly shifting between moments of intense dissonance and direct quotations from Bach’s original score. The contrast between the two styles was not only intriguing but also deeply moving, showcasing the ensemble’s ability to bridge the gap between past and present.

The program continued with pieces by Freya Waley-Cohen and Edmund Finnis, as well as the world premiere of Joanna Ward’s commissioned work. These contemporary compositions were interspersed with baroque concertos by Handel, Geminiani (after Corelli), and Unico Wilhelm van Wassenaer. The rotating leadership among violinists added variety to the performance, each bringing a distinct flavor to the music. Characterful solos emerged from various parts of the ensemble, demonstrating the depth of talent within the group. Every musician seemed ready for their moment in the spotlight, contributing to the overall richness of the performance.

The Stone Nest, a former church turned nightclub, provided an atmospheric backdrop that complemented the music’s haunting quality. The venue’s neo-gothic architecture and lingering dungeon vibe created an immersive experience that enhanced the emotional impact of the concert. Musically, Figure is undoubtedly impressive, with a sound that is both invigorating and captivating. However, the performance was marred by occasional practical issues and somewhat disjointed introductions from Waxman, which detracted from the otherwise spellbinding atmosphere. To fully realize its mission of creating immersive musical experiences, the ensemble must address these elements, ensuring that every aspect of the performance aligns with the high standards set by their playing.