Monteverdi left no score for the Marcian Vespers, so what Alessandrini
gives us here is a reconstruction; but what a reconstruction. He details
some of his meticulous research in a very accessible booklet note which puts
the music on this disc into context and explains some of the choices he
made. One of the key things that influenced him was the way Monteverdi would
use the acoustic space of St Mark's Basilica to increase the dramatic
impact of his work, something that has already been demonstrated on several
occasions, including, most notably, Gardiner's seminal recording of
the
Vespers of 1610. Alessandrini uses the space of Mantua's
basilica of Santa Barbara itself a place of historical significance for
Monteverdi's pre-Venice days to perfectly judged effec. He eschews
acoustic separation, saying that it's only really effective if
you're listening
in situ, but brings out the fresh, exciting
aspects of Monteverdi's musical drama. The opening
Deus in
adiutorium, for example, hits the listener right in the solar plexus
with its bright, resonant brass interacting with the fresh, clean singing of
the small choir: only two voices per part. Size seems to matter little here,
though: Alessandrini has drilled his players so successfully that they carry
all the power of a chorus at full steam combined with the virtuosity of a
quartet. They sound particularly sprightly in
Cantate Domino, which
concludes with a marvellously resonant finish, revelling in the textures and
the echo.
Alessandrini reveals his skill with this music by realising all of it with
just the right amount of atmosphere, allowing it to come alive. The
Confitebor, for example, has a real spirit of the dance to it, as
does the famous
Beatus Vir, which finishes with a pleasingly
resonant tutti. There is never drama for its own sake, though, but to eke
out the musical as well as the spiritual impact of the text.
Christe
adoramus te has an air of poignant supplication to it.
The wind instruments, so important to the concept are brilliantly played,
with bright, laughing cornetts and dark, chewy trombones underpinning the
whole texture poverty effectively. The
sonata a 8 (track 10) shows
them off particularly well.
The disc culminates in a glorious performance of the concluding
Magnificat, which sees everyone at their best. The chorus are the
embodiment of clarity and precision, with a marvellous bite at
Fecit
potentiam, and the different instrumental groups, both strings and
brass, give of their all while Alessandrini shapes the various sections and
multiple tempi with a very convincing sense of direction and musical
purpose.
There is also a DVD included in the package, but its not much to write
home about. In fact, its a rather random assortment containing some useful
things, such as seeing them play the music in Santa Barbara, and some very
peculiar things, such as a discussion about 17
th century cuisine
and lots of shots of Alessandrini looking thoughtful while walking slowly
around the possible locations of the first performance of
Orfeo.
Never mind that: buy this for the CD which is, in short, a marvellous
achievement, and an exciting addition to the discographies of both
Alessandrini and Monteverdi himself.
Simon Thompson
