Review: Bach Musica at Holy Trinity Cathedral

Claudio Monteverdi may be generally acknowledged as the father of modern music but, for many, he is simply a name in a history book or at best, on a CD label. Live performances are lamentably scant, considering his historical importance and the astonishingly perceptive emotions that his music delivers.

Rita Paczian and Bach Musica deserve full credit for setting up the Auckland premiere of his Christmas Vespers to close their season for the year.

We were transported into Monteverdi's world with beautifully measured plainsong; within minutes, the shifting textures of the first psalm setting, Dixit Dominus, revealed Paczian's skill in reconciling such a fragmented score, thanks to remarkably solid singing from her choristers.

The choir maintained focus through to the end, a full-voiced Sicut erat in principio, so spectacular that it was repeated as a welcome encore.

Section by section, Paczian's singers responded to the composer's demands, with dance-like articulation for Confitebur Tibi, rich and dramatic chords in the Laudate Dominum, and providing resonant cantus firmus lines under the elaborate solos.

The orchestra, with organist James Tibbles, was supportive with individual instrumentalists giving us attractive concertato work, particularly from flutes and a group of violins led by Yid-Ee Goh.

Alas, as happened when Bach Musica tackled the composer's 1610 Vespers five years ago, soloists were problematic. Jayne Tankersley was a model of style and musical acumen, even if she seemed to be over-projecting to compensate for the unfriendly performing space. Her vivid and daring ornamentation was in keeping with the drama of the occasion, while her duets with Emma Roxburgh's clear and buoyant soprano were moments of grace and wonder.

While David Griffiths' authoritative presence was appreciated, other soloists failed to make the impact needed, particularly regrettable in the case of the two important tenor parts. Yet the sheer vitality of Monteverdi's mercurial conception maintained interest, with much of the success being due to Paczian knowing that the pathway to the heart of this music is through spruce and well-sprung rhythms.