Vivaldi Vespers

If you never attended Catholic school, the title Vivaldi Vespers may have you imagining Baroque composers zipping about on Italian scooters. Those who know their Hail Marys from their Anima Christis can tell you, however, that in this sense, Vespers is a type of Catholic liturgical prayer that includes an opening song, a chanted psalm or Old Testament canticle, and the singing of the Magnificat.

Vespers is traditionally performed at sunset as a way of giving thanks for the day. You really couldn’t ask for a more uplifting way to give thanks than with the sacred choral compositions of Vivaldi. After all, not only was he a composer, but Vivaldi also trained as a Catholic priest.

In the lovely Queensland Conservatorium theatre, under the masterful direction of Dr. Graeme Morton AM, the combined talents of the Brisbane Chamber Players and the Brisbane Chamber Choir delivered a performance of remarkable artistry and precision. The program showcased four exquisite and dynamic works — Domine ad adjuvandum me festina, Beatus vir, Stabat Mater, and Magnificat — each rendered with depth, clarity, and emotional resonance.

The ensemble demonstrated an innate understanding of the music’s shifting moods, seamlessly balancing lyrical grace with stirring intensity. The performance was further elevated by four extraordinary soloists: two sopranos, a countertenor, and a tenor, each offering performances of remarkable poise and emotional nuance. Countertenor Michael Burden’s voice, in particular, possessed an ethereal purity, lending a haunting beauty to Stabat Mater, while the sopranos Sara Macliver and Madeline Gibbs and tenor Shannon Leonard brought effortless agility and warmth to their respective roles. The interplay between singers and instrumentalists was nothing short of sublime, with the orchestra’s period-informed articulation lending the performance both crisp precision and vibrant immediacy.

Vivaldi’s music is renowned for its vigorous string writing, demanding both precision and vitality from its players, and the string section rose to the challenge with remarkable dexterity. The violins, viola, cello, and double bass navigated his intricate passagework with impressive clarity and cohesion, maintaining an unrelenting energy that propelled the performance forward. Their articulation was crisp, their phrasing expressive, and their dynamic control masterful, capturing both the fiery intensity and the more delicate, lyrical moments of the score. 

Adding to the richness of the ensemble’s period-authentic sound were the organs, played with finesse by Philip Gearing and Andrej Kouznetsov. Their presence on stage was a delight, lending warmth and depth to the continuo, and their interplay with the strings provided a foundation that was both robust and expressive. The balance between the instrumental forces was beautifully maintained, allowing the intricate textures of Vivaldi’s writing to shine. 

Particularly noteworthy was the exquisite contribution of oboists Even Newsome and Vivienne Brooke in Magnificat. Their playing was both poised and expressive, weaving seamlessly through the orchestral fabric with a tone that was at once rich, resonant, and full of character. The oboe lines, which can so easily become overshadowed in grand choral works, instead stood out with a refined elegance, adding layers of colour and warmth to the overall sound. Their ability to balance virtuosity with sensitivity ensured that this performance of Magnificat remained not just technically assured but deeply moving.

Brisbane Chamber Choir and Brisbane Chamber Orchestra delivered a concert where technical brilliance met heartfelt interpretation, resulting in an experience that was as intellectually satisfying as it was profoundly moving. The ensemble’s evident reverence for the repertoire, coupled with their assured and sensitive execution, made for an afternoon of choral and orchestral excellence.

Kitty Goodall

Photographs by Morgan Roberts Photography