“Let there be no-one who, in despair, gives himself up to grief, though at times it may powerfully assail us and darken our lives.” The Shepherds’ message, delivered with deliberate irony early in Orfeo yet summarising its final moral, might also have been Monteverdi’s private mantra as he suffered indignity after indignity at the hands of Vincenzo Gonzaga, Duke of Mantua. For over 20 years the Gonzagas paid him late, ignored his personal tragedies, and treated him in all practical terms with cruel contempt. Monteverdi, nevertheless, created extraordinary music in the Gonzaga court (before moving, at last, to Venice in 1613, where he would soon be properly appreciated): and top of the list of his Mantuan achievements must come the groundbreaking Orfeo, his favola in musica (musical fable), often called the first ‘true’ opera. Hope may abandon Orpheus at the gates of hell, but Monteverdi’s constant sense of invention shows that the many frustrations of his Mantuan life could never entirely dominate his creative spirit. Sir John Eliot Gardiner presided over a superb Orfeo for the Proms which made the most of Orfeo’s experimental aspects – and deliriously beautiful score.
With sharp drumbeats and a trembling tambourine, the Monteverdi Choir made their way onto the Royal Albert Hall stage in dramatic procession to form a crescent on steps behind the orchestra, the shepherds in black shirts and trousers, the nymphs in simple but jewel-bright block-colour dresses. John Eliot Gardiner had divided the English Baroque Soloists into two halves, creating a stage-like gap at the centre of the instruments in which nymphs could come forward to dance and principals could sing in fully-acted character. As the evening unfolded, the action spilled out into the Prom pit and even the amphitheatre, keeping the audience on their toes: you never quite knew from where the next solo might suddenly spring. Monteverdi’s experiment was alive.
Gardiner’s English Baroque Soloists looked a forlorn, tiny band in comparison to the musical army amassed by Donald Runnicles for Verdi’s Requiem, but they created an expansive, vivid Baroque sound which soared easily around the hall. The sumptuous timbre of their Baroque instruments, and John Eliot Gardiner’s brilliant touch for Monteverdi, gave the music an indulgently authentic feel. The Monteverdi Choir were in fabulous voice, singing with festive joy in pastoral scenes, polished serenity in their supernatural incarnations. As shepherds and nymphs, their clapping and dancing for “Lasciate i monti, lasciate i fonti” had such gusto it almost drowned all other playing: a brave decision which added a certain crazy life to the stage, but unforgiven by the Royal Albert Hall’s petulant acoustic.