Monteverdi’s Vespers

In last night’s performance of Monteverdi’s Vespers there was, from every musician in the choir and orchestra, energy, conviction, enthusiasm and joy. It was a phenomenal, amazing evening for all those privileged to be there.

Monteverdi’s Vespro della Beata Vergine, composed in 1610, might be seen as his response to the then ongoing argument concerning the role of text as opposed to the perfection of counterpoint and the beauty of correct harmony in any composition. None of this debate concerns us now. What the Pygmalion Choir and Orchestra created in St Peters Cathedral was a thrilling, emotionally charged performance where text and music were in absolutely in agreement.  

The essence of Ensemble Pygmalion is not just that they are excellent singers and players of baroque instruments. Their use of this expertise, under the guidance of the conductor Raphaël Pichon, sets them apart. The performance was carefully choreographed. Sometime singers were at the back of the Cathedral, their voice, or voices sounding clear and resonant. The cathedral seemed, then, to be filled with sound, creating a sense of another time and world. For a short moment I thought I had died and gone to heaven. Only the hardness of the pews brought me back to earth. 

 In the combination of psalms, concerti, hymns and the final Magnificat these Vespers call on a full choir at times, but also solos and in this the strength of the ensemble is shown. Each and every one of the solo singers were first rate, but special mention should be made of the tenor Laurence Kilsby, who handled every challenge with ease. 

The amazing musicians in the orchestra must also be acknowledged for their part in this wonderful performance. It was one to remember as a highlight of the Adelaide Festival.