Monteverdi’s Vespers Presents Some Challenges

It would have been criminal to pass up the opportunity to experience a rare live performance of one of the monuments of the Baroque, Monteverdi’s Vespers of 1610, a heady mixture of liturgy, hymnody, futuristic harmony and the timeless sensuality of the Song of Solomon, some of whose most evocative passages are woven into the text.

One can understand the temptation on the part of choral societies to put their enthusiasm to work in behalf of Monteverdi’s colossal inspiration. But it’s ultimately a doomed venture for all but the most experienced vocal ensembles, as was made clear on Sunday in St. Andrews Church in Pasadena, with a presentation of the Vespers by Pasadena Pro Musica under Edward Low’s direction.

Utilizing Denis Stevens’ 1961 edition was wise, considering its employment of a small ensemble of tractable, modern instruments with simple organ continuo. Which is not to say that the presence of cornets and a varied continuo (which we’ve become accustomed to via recordings) wasn’t missed. What did prove to be insurmountable obstacles to carrying off the perilous venture were Low’s unincisive beat and penchant for slow tempos, resulting not only in a long evening but a good deal of tentative choral work.

Two individual contributions do, however, merit favorable attention, those of bass Norman Goss and tenor Daniel Plaster, distinguished veterans of the local church music scene, Goss leading the intonations vigorously and sonorously, Plaster winding his way through the tortuous fioritura of “Audi Coelum” with practiced professionalism.

It should be noted that the score’s most virtuosic number, the vocal concerto “Duo Seraphim,” was, simply, omitted.