The Dunedin Consort gave an exciting, visceral efficiency of Monteverdi’s Vespers on the Lammermuir competition a couple of years in the past. For this yr’s look, the ensemble returned to the composer, however in this instance it was once for an exploration of the secular aspect of his output.
Monteverdi’s paintings straddled the end of the Renaissance and the beginning of the Baroque. It is stuffed with tortured chromaticism that paints the emotion expressed in texts filled with sighs and moans. It’s no surprise musicians aware of the modernism of the 20 th century took his track to their hearts throughout its rediscovery.
On this competition programme, carried out with standard consideration to element and rock forged tuning (no imply feat in a few of these works), the Dunedin Consort juxtaposed works for unaccompanied voices from the sooner books of madrigals with extra declamatory items from the composer’s landmark ultimate quantity, Madrigals of Conflict and Love.
Actually, the austere, stony grandeur of St Mary’s is most certainly higher suited for the sacred aspect of Monteverdi’s output – you consider the madrigals had been carried out in a posh digital camera in a ducal palazzo in some Italian town state, and the vaulted environment lend a rather ecclesiastical really feel to those unashamedly secular works. But what the venue lacks in suitable atmosphere it makes up for within the readability of its acoustic, and right here the strategic placement of displays intended the target market close to the again of the nave had the chance to peer the performers up shut.
With the madrigals interspersed with instrumental works through Monteverdi’s contemporaries and a vocal paintings through Barbara Strozzi, this was once a fascinating, imaginative programme delivered to lifestyles in a shiny efficiency from the singers and instrumentalists of the Dunedin Consort.