Some concerts are ones you look forward to, but you also approach with a certain dose of realism. This afternoon was one of those moments. As a die-hard Monteverdi fan, I headed to Lier for an integral performance of the Monteverdi Vespers of Mary at the Holy Heart Church. The performers were Chamber Choir Helicon, Carpe Ventum Ma'Go and La Penserosa, all under the direction of Jan Van Elsacker and Geert Hendrix.
“God come to my aid" followed by "Lord hasten to help me"—the majestic opening of the vespers hit the mark immediately. A convincing phalanx of singers and a spirited instrumental ensemble (winds and strings) set the tone for two hours of Venice. The church's space lent itself perfectly to this. Singing took place at different locations in the church and with eyes closed, you could imagine yourself in San Marco.
The cast consisted of a strong mix of professionals and amateurs, often barely distinguishable from one another. Special mention should be made of the sopranos Sojeong Im and Edilsa Samanez, who with their bright voices commanded the space.
The power of Monteverdi's music remains astonishing. He manages to blend mysticism with opera, liturgy with fireworks, and translate ancient texts as poetry into music. This came across beautifully in Dark am I and Fair art thou, brilliantly performed by Jan Van Elsacker. From memory, he painted the musical picture that emanates from the texts.
After the performance, someone from Helicon told me that this repertoire was actually outside their comfort zone. Listening to their interpretation of the sometimes multi-voice psalms, I had quite a different impression. Helicon sang with conviction and visible enjoyment. The sound was homogeneous, rich and sustained, without any audible weaknesses. Several times during the concert I had that rare feeling you only experience at truly excellent performances. The choir, under the direction of Els Vrints, radiated continuous credibility: you believe what they sing.
My personal benchmark is Praise Jerusalem: a double-choir psalm with powerful accompaniment, plenty of text and expression. Helicon, Carpe Ventum and La Penserosa joined seamlessly with my favorite performances, not least thanks to the skillful continuo accompaniment of Nicolas de Troyer.
They also convinced in the silences. The beautiful sonata with the angelic voices, the hushed moment in the Magnificat where the instruments carry the story around a single-voice tenor – everything was just right.
I suspect Jan Van Elsacker played a major role in the concept of this concert. He sang the vespers for the first time as a young man in his twenties and has performed them countless times since, recording them with La Fenice and L'Arpeggiata. You can literally feel his connection to Two Seraphim and the passing on of "Omnes" in Hear O Heaven.
Perhaps what moved me most: although it was a concert, each psalm was preceded by the correct Gregorian antiphon. This gave the vespers the liturgical value they deserve. This was further underlined when immediately after the last, beautifully sung Amand from the Magnificat the Salve Regina followed. As it should be in a vesper service. For what word is more fitting to conclude these vespers with than: Maria?
