THE all-singing, some-dancing Barokksolistene – fiddles, lutes, riotous percussion and song, led by Bjarte Eike – took York’s National Centre for Early Music by storm on a cloudy Monday night.

They dismantled stale concert-going conventions in a joyously irreverent hoedown, with vibrant story telling, body percussion, ad-lib improvised vocal solos, and irresistibly theatrical interpretations of Purcell’s recitatives.

Like vocal ensemble I Fagiolini, this brings early music vigorously to life. The group’s own freely imaginative – and often extremely liberal – arrangements saw works by Purcell (notably, songs which are still often rendered almost sterile elsewhere) complementing other maritime and drinking songs, snapshots of barn-dance and blues – even hints of the Beach Boys.

Comic timing was faultless in the deliciously dramatised seduction duet, from Purcell’s Faerie Queen, between Corydon (sung by Thomas Guthrie) and Mopsa (less ‘sung’ than blown out of the water by violinist Per Buhre).

The audience were encouraged to clap, stamp, shout and cheer along (and who hasn’t ever suppressed similar urges for the sake of the sometimes repressively reverent atmosphere at classical concerts?).

The sheer abundance of colourful personalities, which might have felt a little overwhelming, was united by fun-loving camaraderie. Despite much drinking, laughing, falling about, good cheer and near relentless humour, the players still commanded pin-drop silences in moments of expressive stillness. By the concert’s end, the audience were singing along with the a cappella encore, fully embracing the invitation to engage with old but ageless music on another level.

Review by Claire McGinn