Monteverdi Vespers for the Blessed Virgin

Can you tell us about the commission you received from the Opéra de Monte-Carlo? How did this collaboration begin?

We were discussing with Cecilia Bartoli a collaboration between the Opéra and the Printemps des Arts, of which I am the artistic director. The idea was to perform Monteverdi's Vespers of the Blessed Virgin in concert. Then, the question arose of adding a complementary piece, something that could perhaps offer a contemporary perspective on this 17th-century masterpiece. It was at that moment that Cecilia Bartoli suggested I write a short introductory piece.

The creation of any work means an artistic challenge. What were the most stimulating or difficult aspects of this project for you?

I love writing for a cappella choir. I’ve created a lot in this field, notably for the Accentus Chamber Choir and Laurence Equilbey. To fill the space of the Monte-Carlo Cathedral, I divided the choir into two symmetrical groups, which will create an antiphonal effect.

Is there a particular emotion or message you wish to convey through this work?

The Opéra de Monte-Carlo wanted a Venetian theme to be present in this work. I immediately thought of Rainer Maria Rilke, who described Venice in a particularly sensitive way.

Did you collaborate with any specific artists for this work, such as a librettist or conductor, and if so, how did this collaboration unfold?

I’m happy that this work will be conducted by Gianluca Capuano, who is doing a fantastic job in the Principality. But composition is primarily a solitary act. Sharing one’s solitude with Rilke is not an entirely unpleasant experience!

In any vocal piece, the link between music and text is essential. How did you approach this relationship in your creation, which moreover is a cappella?

The text is sometimes completely unintelligible, and other times very present. Its structure is crucial in shaping the work. Moreover, its sonorities are the initial music in this piece. I like to think that poetry already contains a form of musicality within itself.

What would you like the audience to take away from this work after experiencing it?

One cannot control or predict how the audience will perceive a work. By the way, who is the audience? There is no single type of listener. Each person comes with their own way of appreciation and their own culture… Ultimately, writing is a selfish act: I write for the audience I am. But I must admit that I am very happy when others embrace my intention and enthusiastically join me in listening to my music!

In Monaco, particularly during the 16th and 17th centuries, the musical life there was closely associated with Italian musicians and with St Nicolas Church, the ancestor of the present Cathedral. What are your thoughts on the idea that one of the masterpieces of that period, dedicated to the Virgin Mary, will be resounding in this holy place that is specifically consecrated to her?

Indeed, the first preserved mentions of musicians in Monaco are associated with the parish life of St Nicolas Church during the 16th and 17th centuries. These high-quality events, both artistic and spiritual, are like the historical foundation stones of all the events to come. I am personally very moved to see that even today Monaco Cathedral is perpetuating this vocation in the exact same place where so many wonderful works were performed. It is significant that our programme is proposing Monteverdi’s Vespro della beata Vergine. Since the beginning of the 20th century and the inauguration of the Cathedral, now dedicated to the Immaculate Conception, the Virgin Mary watches in a very special way over the Rock and our Principality. Furthermore, on December 8th each year, the people of Monaco take great joy in expressing their gratitude and trust in her.

Do you believe that a musical work performed in this holy place acquires a different dimension?

Yes, insofar as it encounters there its natural performance space. The intention of composers of sacred music consisted essentially of serving the Church’s most important moments of prayer, for mass celebrations as well as the liturgy of the hours (such as vespers).

Like many holy places, our Cathedral is not a performance hall, but a place whose purpose is to elevate the soul and provide openings to spiritual life. It is rich in the prayers and hope of all those who went before and those who continue to come together every day.

What is the role of singing (and music) in the Catholic liturgy? Does it provide assistance during  your church services?

Whatever the liturgical traditions are, singing and music have always held a vital place in the Church celebrations, not as an ensemble of decorative elements brought in from outside. Rather, they make it possible to enter into the spiritual profoundness of the words that are expressed and the acts that are accomplished. Liturgical music is full of meaning when it  opens the ears and heart of the listener, thereby  opening God’s path to man, and man’s path to God.