REVIEW – The FULL MONTEVERDI
Performed by I Fagliolini

Lancaster International Concert Series
The Great Hall, University of Lancaster
Thursday 19 January 2006

An unusual but ravishing and sensual evening

Well, the title certainly sounds sexy enough to twenty first century ears, and we were not disappointed. What we got was a complete performance of the Fourth Book of Madrigals (Il quarto libro de’madrigali) of 1603 by Claudio Monteverdi (1573 – 1643).

Sounds dull? Not a bit of it. The evening was one of the most spectacular and unusual concerts I have ever attended. For a start, the usually formal or drab Great Hall (depending on your point of view) was laid out with tables for eight, with candle light, wine and nibbles. The main lights went down, and…

They started singing. Five of them -- one of each, soprano, mezzo, tenor, baritone and bass. Sat at the tables and interspersed across the dimly lit hall. And the acting began too; six actors miming the narratives of the 20 unaccompanied madrigals that make up Monteverdi’s milestone Book Four.

The composer selected poems from among the greatest Italian writers, including Ottavio Rinuccini, GB Guarini and Torquato Tasso’s wonderful and epic Gerusalemme conqustata.

The poetry and music of these wonderful madrigals form a distinct narrative on -- guess! -- the journeys, tribulations and ecstasies of love. Here is but one example, no 19, Anima del cor mio:

Delight of my heart,
As you are leaving poor wretched me,
If you want to ease my pain in any way,
Let me at least follow you with my sighs alone,
And but remind you,
That I shall live -- in pain and dreadful agony -- as the paragon of a faithful lover.
(translation © MPN)

Like the words to some of Schubert’s songs, or to some English Elizabethan madrigals, this may sound like doggerel. But in the hands of a supreme master of matching text to voice, Monteverdi is arguably unmatched by anyone till the eighteenth century.

The voices of the singers of I Fagiolini not only are wonderful in their own right (we sat near the bass and the soprano), but also blended seamlessly together to make a finely-tuned, delicate and versatile ensemble.

Now jubilant, now penitent, now angry, now petulant, each and every emotion in the verse was sensually delivered. The actors demonstrated the drama of the poetry visually, from close embrace, lascivious looks and gestures to storming out of the building.

Yes, the music was sung in the original Italian. No, there were no surtitles. And again, no, this wasn’t a problem because, amazingly, the 'plot' of the emotional and amorous drama were entirely visible and immediately palpable. We didn’t even get the programme till after the event: what was going on needed no explaining.

In a dimly lit hall, sipping wine and nibbling olives, listening to this gloroius music whose meaning was, sensually and imaginatively presented, it was as if we had been transported into another world some four hundred years ago, experiencing and sharing emotions that are as strong and powerful today as they have ever been. We were a universe away from the cold sixties concrete outside.

This was an off-the-wall, wacky event. But it was also a totally ravishing and ultimately a sexy evening, and one I shall not forget for a very long time. I hope we shall see I Fagliolini in Lancaster again ere long.

Copyright © 5 February 2006 Michael Nunn