NOTE! This site uses cookies and similar technologies.

Like most websites, we use cookies to facilitate online booking and to ensure we give you the best possible experience on our website. If you continue without changing your settings, we'll assume you're happy to receive cookies. You can learn more about changing your settings in our Privacy Policy.

Accept & close
September 2017
9:00 PM
University Church of the Blessed Name of Jesus
plac Uniwersytecki 1, Wrocław
Monteverdi – Vespers

Jean Tubéry – artistic direction
Ensemble La Fenice


Claudio Monteverdi Vespro della Beata Vergine SV 206

La Fenice / fot. Bertrand Pichene

The occasion for which Claudio Monteverdi wrote his Vespro della Beata Vergine (Vespers of the Blessed Virgin) is not known, nor what most of the scoring was like at its conception, or even where and when it was first performed. The conductor must determine the orchestration for much of the piece, deciding whether to double voice parts with instruments, which instruments to use where and when they are not specified, and whether to assign some passages in the choral movements to vocal soloists. The Vespers first appeared in print in Venice in 1610, while Monteverdi was engaged at the ducal court in Mantua, and had yet to win the prestigious post of maestro di cappella at the Basilica of St. Mark’s. Nonetheless, this epic composition has long been accepted as the elegant bridge between the austere Late Renaissance church style and the more expressive religious music that culminated with Bach’s Passions.

In its own time, Vespro della Beata Vergine was unprecedented. No other surviving work from this period is written on such a grand scale. Monteverdi mandates seven vocal soloists, as well as a chorus that must be large enough to be divided into anywhere from four to ten voice parts, at times even into autonomous choirs. The piece includes a sonata, as well as non-liturgical motets interposed between the psalms. The orchestration includes many unique and obligatory instruments which are used in daringly modern and virtuosic manners. A more typical Baroque orchestra would have been fashioned around a central string section with an addition of various solo winds, Monteverdi's orchestra however, consists of three more or less equal sections, the string section (less their bass counterparts), the winds, and the continuo, filling in the bottom and improvising the harmonic accompaniment to the more constructed upper voices. The most noteworthy feature of this massive composition is found in the way Monteverdi has chosen to unify it, building all his major movements, the psalms, the sonata, the hymn and the entire Magnificat upon traditional Gregorian chants. As a result, Vespro della Beata Vergine offers a capricious range of textures and sonorities, brilliant instrumental writing and lavish choruses, as well as poignant arias and duets.


Alixandra Porembski, English Language Annotator

  • VIP
130 PLN
zone I
  • Normal Ticket
  • Reduced Ticket
110 PLN
90 PLN
zone II
  • Normal Ticket
  • Reduced Ticket
70 PLN
50 PLN
  • Dostawki
20 PLN
Bilety na to wydarzenie nie podlegają zwrotowi. / Tickets for this event are not refundable.


The 52nd International Festival Wratislavia Cantans 2017

The National Forum of Music, plac Wolności 1, 50-071 Wrocław, co-managed by the Minister of Culture and National Heritage, City of Wrocław and Lower Silesian Province, registered in Rejestr Instytucji Kultury run by the City of Wrocław as RIK 38/2014.


Wdrożenie e-usług w Filharmonii im. Witolda Lutosławskiego we Wrocławiu - etap 2 współfinansowany jest przez Unię Europejską ze środków Europejskiego Funduszu Rozwoju Regionalnego w ramach Regionalnego Programu Operacyjnego dla województwa dolnośląskiego na lata 2007 - 2013 oś priorytetowa 6. Wykorzystanie i promocja potencjału turystycznego o kulturalnego Dolnego Śląska (Turystyka i Kultura), działanie 6.5. Działania wspierające infrastrukturę turystyczną i kulturową.