“This large-scale live recording (Gardiner's second) was made in Venice's St Mark's Basilica. It captures the drama as well as the ceremonial aspect of the work, despite sometimes cloudy recorded sound.” Gramophone Classical Music Guide. “Gardiner's second [recording of the Vespers], spectacularly recorded live in St Mark's, has a punchy choral sound, near-operatic solo singing (Bryn Terfel and Alistair Miles are among the basses), emphatic enunciation, big contrasts and deliberate exploitation of the building's spaces. Its outright theatricality sets it apart from other performances.” Gramophone Magazine.
Rinaldo Alessandrini's brilliantly realized recording of Monteverdi's Vespers is an intimate, slightly pared down version of the early Baroque masterpiece. Working in the warm acoustic of Rome's Palazzo Farnese, he employs just one singer per part, and eliminates instrumental doublings in the choral movements except where they are expressly indicated. The result is a compact, richly haloed sound that won't ever knock you out of your chair, but which flatters the more intimate solo and duet movements that can sound anemic in grander productions; with the sound gap between the biggest and smallest movements closed, each holds its own within the overall structure of the piece…
This is one of the best of the contemporary recordings of the Vespers, with an 'Italian' sound which is far more appropriate to the music than its 'Northern' competitors. It captures some of the ecstatic quality of the music, but is no match for the old Corboz Erato recording (reissued on CD and perhaps still available) with Tappy and Cuenod, which, in spite of its faults, is in a league of its own in this music.
A flamboyant manifesto of the Baroque Revolution. In autumn of 1610 Monteverdi dedicated a luxuriant collection of religious music to Pope Paul V, of which the "Vespers of the Blessed Virgin" is by far the most prodigious work. A spectacular synthesis of Franco-Flemish polyphony and Italian innovations, this impressive monument imposed itself as the standard-bearer of the Monteverdian revolution. But the real miracle is his ability to reconcile solemnity and suavity with the most genuine fervour.