Monteverdi Vespers
View record and artist detailsRecord and Artist Details
Composer or Director: Claudio Monteverdi
Label: Deutsche Harmonia Mundi
Magazine Review Date: 2/1990
Media Format: CD or Download
Media Runtime: 93
Mastering:
DDD
Catalogue Number: RD77760
Tracks:
| Composition | Artist Credit |
|---|---|
| Vespro della Beata Vergine, 'Vespers' |
Claudio Monteverdi, Composer
Claudio Monteverdi, Composer Cologne Musica Fiata David Cordier, Alto Frieder Bernius, Conductor Gillian Fisher, Soprano John Elwes, Tenor Monique Zanetti, Soprano Nico van der Meel, Tenor Peter Kooy, Bass Philippe Cantor, Tenor Stuttgart Chamber Choir William Kendall, Tenor |
Composer or Director: Claudio Monteverdi
Label: Astrée
Magazine Review Date: 2/1990
Media Format: CD or Download
Media Runtime: 96
Mastering:
DDD
Catalogue Number: E8719
Tracks:
| Composition | Artist Credit |
|---|---|
| Vespro della Beata Vergine, 'Vespers' |
Claudio Monteverdi, Composer
Claudio Monteverdi, Composer Daniele Carnovich, Bass Gerd Türk, Tenor Gianpaolo Fagotto, Tenor Guy de Mey, Tenor Jordi Savall, Conductor Livio Picotti, Alto Maria Cristina Kiehr, Soprano Montserrat Figueras, Soprano Padua Centro Musica Antica Choir Paolo Costa, Alto Pietro Spagnoli, Baritone Roberto Abbondanza, Baritone |
Composer or Director: Claudio Monteverdi
Label: Deutsche Harmonia Mundi
Magazine Review Date: 2/1990
Media Format: Cassette
Media Runtime: 0
Mastering:
DDD
Catalogue Number: RK77760
Tracks:
| Composition | Artist Credit |
|---|---|
| Vespro della Beata Vergine, 'Vespers' |
Claudio Monteverdi, Composer
Claudio Monteverdi, Composer Cologne Musica Fiata David Cordier, Alto Frieder Bernius, Conductor Gillian Fisher, Soprano John Elwes, Tenor Monique Zanetti, Soprano Nico van der Meel, Tenor Peter Kooy, Bass Philippe Cantor, Tenor Stuttgart Chamber Choir William Kendall, Tenor |
Author: Tess Knighton
Of all the rediscoveries of 'ancient music' this century, the vesper settings by Monteverdi have probably been most rapidly assimilated into our mainstream musical culture: an unprecedented, unmatched work from the early baroque to put alongside later masterpieces of the period such as Messiah or the B minor Mass. Just how established a part of the repertory the Vespers have become is reflected in the spate of recent recordings, with, apparently, still more to come. Since Andrew Parrott's 1984 version on EMI, most have tried to reconstruct in some way the original liturgical context for the music of Monteverdi's 1610 publication, although some of the riddles posed by this collection still remain to be answered. Cologne Musica Fiata broadly follow Parrott in taking the liturgy for a major Marian feast (though Bernius's reconstruction is neither as complete nor as convincing as in the earlier version), while Savall and La Capella Reial go for the Santa Barbara theory advanced by Graham Dixon and already realize—again more fully— by The Sixteen on Hyperion. Basically, the liturgical context element on both these new recordings is confined to a few plainchant antiphons, and is hardly likely to be a dedsive factor one way or the other.
You might well be tempted to listen to Savall's version simply because it was actually recorded in the basilica of Santa Barbara in Mantua: how authentic can you get (that is supposing the Vespers were ever perfommed there)? Yet while it may have added a frisson of excitement to the sessions (the spirit of Monteverdi is hardly likely to hover benignly in a place where he felt so frustrated and underrated), and it would be fair to say that the sound is more 'atmospheric' than the ''slightly metallic'' quality JM noted in Parrott's recording, the balance is not entirely satisfactory, the textures not as clean. The Italian choir used on the recording is adequately disciplined, but curiously sounds no more Italianate than the Stuttgart Chamber Choir, or, for that matter, the Tavemer Consort for Parrott, whose projection of the words is exemplary by comparison.
This particular aspect proves crucial in the large-scale psalm settings in which the choral singing should come into its own. Neither the Padua Centre for Ancient Music Chorus nor the Stuttgart Chamber Choir are incisive or sustained enough here, though the former sound a little less laid back about the whole thing and avoid the relentless swell of the Gemman choir that inLaudate pueri threatens seasickness. They are not helped by generally slow tempos (although Savall's Nisi Dominus bubbles along quite nicely) and a lack of sense of pacing on the part of both directors: the results are too often amorphous— the Stuttgart choir is strangely unenergized, strange because it is hard to imagine such a response to this music—and the grandeur of these settings shines out only patchily. Both their readings are, however, preferable to Corboz's rather erratic account on Erato/WEA.
Where both these recordings fare better is in the solo items, many of which are sung expressively and with a good feeling for style. Interestingly, they have still more in common in the shared continuo team of Stephen Stubbs (chitarrone) and Andrew Lawrence-King (harp), whose contribution is considerable in both versions: their playing is imaginative, sensitive and stylish and often seems to provide the momentum for the soloists they accompany. The tenors Gian Paolo Fagotto and John Elwes both tum in expressive readings ofNigra sum; I felt that the fommer judged the climax on the word ''veni'' even better than Nigel Rogers on the Parrott version. Bernius's sopranos are quite well matched, more so certainly than Savall's. Who could blend with Montserrat Figueras's distinctive sound and highly idiosyncratic singing style? Here her dark Catalan vowels and sudden fadings—an inability to sustain might be another way of looking at it—will test even her most ardent supporters.
Where Savall's recording does score, however is in the instrumental playing, much of which is excellent and strongly characterized. I particularly enjoyed the ritornellos in theMagnificat and the Sonata is full of good things: suddenly, without the full choir to control, Savall slips into his element. Bernius's instrumentalists are perfectly able, but display less flair when the occasion demands. Ultimately that sums up my position on these two recordings: both are of a high standard technically and have something to offer, but Savall has the edge if only just—when it comes to drama. That is what the Vespers are all about: declamation and contrast, neither elements being exploited to the full here.'
You might well be tempted to listen to Savall's version simply because it was actually recorded in the basilica of Santa Barbara in Mantua: how authentic can you get (that is supposing the Vespers were ever perfommed there)? Yet while it may have added a frisson of excitement to the sessions (the spirit of Monteverdi is hardly likely to hover benignly in a place where he felt so frustrated and underrated), and it would be fair to say that the sound is more 'atmospheric' than the ''slightly metallic'' quality JM noted in Parrott's recording, the balance is not entirely satisfactory, the textures not as clean. The Italian choir used on the recording is adequately disciplined, but curiously sounds no more Italianate than the Stuttgart Chamber Choir, or, for that matter, the Tavemer Consort for Parrott, whose projection of the words is exemplary by comparison.
This particular aspect proves crucial in the large-scale psalm settings in which the choral singing should come into its own. Neither the Padua Centre for Ancient Music Chorus nor the Stuttgart Chamber Choir are incisive or sustained enough here, though the former sound a little less laid back about the whole thing and avoid the relentless swell of the Gemman choir that in
Where both these recordings fare better is in the solo items, many of which are sung expressively and with a good feeling for style. Interestingly, they have still more in common in the shared continuo team of Stephen Stubbs (chitarrone) and Andrew Lawrence-King (harp), whose contribution is considerable in both versions: their playing is imaginative, sensitive and stylish and often seems to provide the momentum for the soloists they accompany. The tenors Gian Paolo Fagotto and John Elwes both tum in expressive readings of
Where Savall's recording does score, however is in the instrumental playing, much of which is excellent and strongly characterized. I particularly enjoyed the ritornellos in the
Monteverdi Vespers
Monteverdi Vespers
Monteverdi Vespers
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