A 3D, surround sound, high definition Vespers for the 21st Century: Monteverdi's Vespers of 1610 from I Fagiolini at Kings Place

Monteverdi: Vespers of 1610 - I Fagiolini, English Cornett & Sackbut Ensemble, Robert Hollingworth - Kings Place (Photo: Monika S Jakubowska)

Monteverdi: Vespers of 1610; I Fagiolini, English Cornett & Sackbut Ensemble, Robert Hollingworth; Kings Place
Reviewed by Florence Anna Maunders, 29 September 2023

Clarity and virtuosity in spectacular polychoral combination

Monteverdi: Vespers of 1610 - I Fagiolini, Robert Hollingworth
Kings Place (Photo: Monika S Jakubowska)

There is a long and varied performance tradition behind the 1610 Vespers of Monteverdi. Consisting of a collection of psalm settings, sacred songs, a sonata, a hymn and a complete Magnificat, each item calls for a different number and type of singer and instrumentalist.

The specialist baroque ensemble I Fagiolini are no strangers to the music of Monteverdi, and this wealth of experience and talent was fully evident in this luxurious production. In this performance at Kings Place on 29 September 2023, Director Robert Hollingworth marshalled an extensive and varied cohort of performers, including a large and colourful continuo section, the brilliant sounds of the English Cornett & Sackbut Ensemble, I Fagiolini's own 6-part string ensemble and an ensemble of solo voices, performing the choral movements one-to-a-part almost throughout. Utilising the full space of Kings Place, including the stage, galleries, off-stage rooms and even the back of the hall directly behind the audience, this was a 3D, surround sound, high definition Vespers for the 21st Century, representing not only exceptional musicianship but also the latest academic research into the performance practices of the early 1600's.

This was an evening filled with inspired solo contributions, in which practically every musician on (and around, and behind) the stage had their moments in the spotlight, whether in the sacred songs and duets, or within the more complex scoring of the psalm settings and the glorious closing Magnificat. Particularly striking was the supple, yearning voice of tenor Nicholas Mulroy, who delivered the aria Nigra Sum with limpid beauty and theatrical vocalisation, and a gift for lifting from a quasi-parlando into soaring lyricism. Equally ravishing and sensual was the pairing of Julia Doyle and Clara Hendrick, whose vocal interplay was inspired, seeming almost to melt together at points, before spiralling off in sequential cascades delivered with casual perfection of intonation and ensemble. Another glorious duet moment came from tenor Matthew Long and Nicholas Mulroy, whose angelic tones were set against the most delicate of continuo accomplishment. Monteverdi intended this music for the private chapels of princes, and the intimacy this implied was present in every note of the simply beautifully delivered Duo Seraphim.

Owing to Hollingworth's one-to-a-part approach, the five colossal psalm settings never felt like choral singing, but instead like the biggest, most glorious and radiant chamber music. It was clear that Hollingwood trusts his singers to find their own expression and interpretations, and to inhabit the lines of the music in their own way. The result, with each singer and instrumentalist taking full responsibility for their own performance, was truly remarkable, totally fresh, and possibly very close to Monteverdi's original conception for the Vespers.

Alongside the vocalists, there was a significant contribution to the splendour of the evening from the opulent and extravagant instrumental ensembles. Alongside some outstanding and attentive accompaniment duties, Harpist Aileen Henry contributed an inspired, elegant and mesmerising solo interpolation which was very much in keeping with the practice of the period, while baroque violin specialist Kinga Ujszászi led a robust, flexible (and highly mobile) string band, working at times almost as a second conductor, and delivering an absolutely incredibly virtuosic duet with her colleague Naomi Burrell in the Sonata. Nor can I resist a mention for the characterful and colourful bass lines and obbligati from the woodwinds (dulcian and recorders) of period instrument stalwart William Lyons.

Monteverdi: Vespers of 1610 - I Fagiolini, English Cornett & Sackbut Ensemble, Robert Hollingworth - Kings Place (Photo: Monika S Jakubowska)

The reaction at the end from the sold-out capacity audience was tumultuous – a sustained standing ovation for surely one of the most impressive performances of these pieces so far this century. Like Napoleon's "army of generals" this consort of soloists, this orchestra of individuals, I Fagiolini (and friends) conquered all before them at Kings Place.

Reviewed by Florence Anna Maunders

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