Performance Pieces:
Domine ad adjuvandum me festina RV593
Beatus vir RV597
Stabat Mater RV621
Magnificat RV610
Performers:
Soloists: Sara Macliver, Madeline Gibbs, Michael Burden, Shannon Leonard
Brisbane Chamber Choir: 26 choristers
Brisbane Chamber Players: 14 musicians
Alright, folks, brace yourselves for my first venture into classical music reviews! I entered the QLD Conservatorium Theatre ready to be swept away by the sophisticated grandeur of sacred choral music. While I may not be a scholar of Vivaldi's polyphony, I do recognise quality music when I hear it—and a little Latin never hurt anyone (thankfully, the program had translations). And look, I’ve heard plenty of Vivaldi in my time—usually through tinny laptop speakers on a “Vivaldi for Studying” playlist—but experiencing it live, performed by musicians of this calibre? That’s a whole different ballgame.
The acoustics of the QLD Conservatorium Theatre provided the perfect resonance for the lush choral textures, allowing each harmonic shift and instrumental nuance to stand out in an expansive yet intimate way. The orchestra—small but mighty, with ten string players, two oboes, and two organists—was beautifully balanced, wrapping the audience in a rich, immersive soundscape.
The Brisbane Chamber Choir, led by the esteemed Dr. Graeme Morton (whom I actually know from my alma mater, St Peters Lutheran College—small world!), delivered exactly what I anticipated: utter excellence. The four soloists seamlessly blended into the choral fabric of the Brisbane Chamber Choir, stepping forward as required. Renowned soprano Sara Macliver radiated elegance, countertenor Michael Burden’s ethereal tone was hypnotic, and both Madeline Gibbs and Shannon Leonard showcased remarkable tone and agility in their solos.
A Bit of Context (for Those of Us Without a Latin Degree)
Since I am but a humble reviewer and not a Vatican-certified Latin scholar, I'll discuss the four pieces in the sequence they were performed, concentrating on the music and presentation, rather than the lyrics. What’s important to know is that these selections showcased Vivaldi’s development—from his earlier sacred compositions to the grand, full-bodied pieces of his prime, where complex vocal lines and expansive orchestration reigned supreme.
For those of us less familiar with sacred choral traditions (guilty), Vespers is an evening prayer service marking the setting of the sun. In the Western Christian tradition, it was the only daily sung office where polyphony was permitted—allowing composers to experiment with harmonies, counterpoint, and choral textures. Antonio Vivaldi composed extensively for the foundling girls of the Ospedale della Pietà in Venice, shaping a rich and expressive choral sound that it still captivates audiences centuries later.
Act 1: The Opening Song of Glory (Domine ad adjuvandum me festina RV593)
The concert kicked off with this vibrant piece from Vivaldi’s flamboyant middle period (the 1720s—yes, composers also have "eras" like Taylor Swift). This composition showcases polychoral writing; meaning two orchestras and two choirs bouncing off each other like a well-rehearsal musical tennis match.
Act 2: The Marathon Masterpiece (Beatus vir RV597)
This one was a workout. Based on Psalm 111, this piece was truly Vivaldi flexing his compositional genius. With eleven movements and a structure that frequently revisits its opening chorus, Beatus vir is a work of grandeur and complexity. The interplay between the two choirs and orchestras resulted in an elaborate and dramatic display of vocal and instrumental brilliance, with conductor Graeme Morton masterfully juggling all the complex counterpoints as if he had four arms!
The 26 choristers of the Brisbane Chamber Choir were truly in their element, performing in Latin as if it were their native tongue. Each time the refrain was repeated, it felt like a moment of collective triumph as the choir took the spotlight. The duet between Sara Macliver and Madeline Gibbs was especially heavenly; I'm pretty sure I momentarily ascended. Their melismatic runs were so agile and smooth that I might have shed a tear into my program out of pure envy. Then there was Michael Burden, whose countertenor voice (a rare and extraordinary talent) was so ethereal that I half-expected a divine beam of light to descend upon him mid-performance. And spare a thought for Shannon Leonard, whose tenor aria demanded Olympic-level vocal dexterity as he sang about the wicked. (No, not that Wicked—though I’d love to hear Vivaldi’s take of Elphaba’s big number.)
I'll also take a moment to appreciate the organs—especially the mischievous little interlude with a carnival-esque flair. Who knew church music could sound so playful? Vivaldi, you brilliant mastermind. What struck me most here was not just the musical skill on display but the emotional journey it took the performers and the audience on—truly an act of sacred storytelling through sound.
Act 3: A Study in Solemnity (Stabat Mater RV621)
Ah, yes, the mood shift. Stabat Mater is all about sorrow, suffering, and lamentation—Vivaldi’s mournful reflection of Mary’s grief after the crucifixion. As his earliest surviving sacred work, it serves as a profound meditation on the anguish of Christ’s mother, with the intensity increasing throughout its nine movements.
Michael Burden was the featured soloist for this piece. There’s something devastatingly beautiful about a lone voice carrying so much weight. Both delicate and powerful, Burden embodied the lamenting figure of Mary. Vivaldi's minimal use of instrumentation here, combined with Burden's unique tone, created a haunting intimacy, demonstrating that sometimes, less is more in musical storytelling. The unrelenting minor key sustained the tension, which was only resolved in the concluding ‘Amen,’ where a solitary major chord alluded to Easter's promise of redemption.
Act 4: A Triumphant Conclusion (Magnificat RV610)
And just like that, we returned to joy! The performance concluded on a triumphant note with Vivaldi’s Magnificat, a jubilant celebration of Mary’s miraculous pregnancy. Unlike most versions of the Magnificat composed for female choirs, this arrangement featured a full choral spectrum, enriched by deeper male voices. The audience's resounding applause was thoroughly deserved after 90 minutes of Vivaldi without a break. As a delightful surprise, the ensemble treated us to a snippet of Spring from The Four Seasons as an encore—a fitting way to end a show devoted to Vivaldi’s genius.
Final Thoughts
Vivaldi’s world was filled with sacred music—echoing through churches, orphanages, and the homes of the elite—but also one of Camerate, where musicians gathered to revel in the sheer joy of music-making. The Brisbane Chamber Choir and Players' Vivaldi Vespers transported us straight into that world, delivering a performance brimming with polyphonic beauty, endurance, and masterful musicianship.
As a season opener, it was both ambitious and triumphant. With a world-class choir, a finely-conducted orchestra, and exceptional soloists, the performance was dramatic, moving, and unexpectedly exhilarating! A huge thank you for my ticket to my first Brisbane Chamber Choir concert—you can bet it won’t be my last.
Upcoming Concerts
Use the code ‘VESPERS’ to receive $10 off the next two concerts:
Reincarnations – 25th April
Transcendence – 4th July
Comments