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Monteverdi: A Boldogságos Szűz vecsernyéje [Gardiner] [ ÉLŐ ]
Monteverdi: Vespro della Beata Vergine [Gardiner] |
| Claudio Monteverdi (1567-1643) |
| Ann Monoyios (szoprán), Marinella Pennicchi (szoprán), Mark Tucker (tenor), Nigel Robson (tenor), Sandro Naglia (tenor), Michael Chance (kontratenor), Alastair Miles (basszus), Bryn Terfel (basszus), His Majesties Sagbutts and Cornetts (kamarazenekar), London Oratory Junior Choir (gyermekkórus), Angol Barokk Szólisták (kamarazenekar), Monteverdi Choir (vegyeskórus), Sir John Eliot Gardiner (karmester) |
| 91 perc |
| Koncert |
| (2003)
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DVD video |
| 5.601 Ft
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| 1. | Vespro della Beata Vergine
(A Boldogságos Szűz vecsernyéje)
Ann Monoyios (szoprán), Marinella Pennicchi (szoprán), Mark Tucker (tenor), Nigel Robson (tenor), Sandro Naglia (tenor), Michael Chance (kontratenor), Alastair Miles (basszus), Bryn Terfel (basszus), Angol Barokk Szólisták (kamarazenekar), His Majesties Sagbutts and Cornetts (kamarazenekar), London Oratory Junior Choir (gyermekkórus), Monteverdi Choir (vegyeskórus), Sir John Eliot Gardiner (karmester)
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John Eliot Gardiner's production of "Monteverdi's Vespro made very good television: the architecture of St. Mark's, Venice, was used to spectacular advantage, with singers and their accompanists isolated at some distance from the main choir and orchestra." Gramophone, London (David Fanning).
Standing out among the excellent soloists like Ann Monoyios, Michael Chance, Mark Tucker and Alastair Miles is the young Bryn Terfel.
VESPERS IN VENICE
In recent years John Eliot Gardiner's name has been linked more than any other to a huge upsurge of interest in Monteverdi's extraordinary Vespers of 1610. Bewitched at his first hearing of the work as a child, he went on to conduct it as a Cambridge undergraduate. For that first performance of the then almost unheard-of Vespers, Gardiner formed The Monteverdi Choir, which today enjoys a considerable international reputation in the performance of a wide range of music. In all of their performances over the last twenty-five years the choir has been accompanied by The English Baroque Soloists, also founded by Gardiner (in 1978). It is these forces, together with His Majesties Sagbutts and Cornetts and the London Oratory Junior Choir, which perform the Vespers in St. Mark's.
While the Vespers were published three years before Monteverdi took up his post as maestro di cappella of St. Mark's, Gardiner believes the work may well have been written to attract the attention of the Venetian authorities. For, although a highly successful court composer in Mantua, Monteverdi was deeply unhappy there and would have seen Venice as likely to be more appreciative of his talents. (Indeed, he stayed in Venice for the remaining 30 years of his life and enjoyed there the eminence and fortune which he considered his due.) In his introduction to the performance, Gardiner produces evidence from the Venetian State Archives to suggest that it may have been the Vespers which were performed at Monteverdi's audition for the St. Mark's job.
In fact the origins of the Vespers are shrouded in mystery - and it is not even known where or whether they were performed in Monteverdi's lifetime. Nevertheless, it is, as John Eliot Gardiner contends, a work that fits the architecture and resonance of St. Mark's perfectly. As the composer of L'Orfeo, Monteverdi was a man of the theatre par excellence. Musically, the Vespers are L'Orfeo's twin and form a highly theatrical work which seems to find its natural stage in St. Mark's. Although much of Gardiner's performance takes place on a central platform, he also positions singers, at different times, in pulpits, galleries and archways, creating an extraordinary visual and acoustic effect.
In recent years the Vespers have been the subject of considerable speculation. Some academics have argued that the Vespers as published do not constitute a liturgical or musical entity. The interweaving of the psalms and the sometimes remarkably sensuous motets, in place of the traditional plainchant and antiphons, is the cause of much controversy. Gardiner is far from dismissive about this speculation but emphasizes that it is not more than that - pure guesswork. He remains impressed by the structural balance and unity of the Vespers as published - and that is how they are performed here.
Jonathan Fulford |
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