The Amen of the Magnificat died away, the rapt audience remained completely still and conductor Erin Helyard paused a moment before bowing. Not to us, but to the musicians and by association to Monteverdi. It was a profoundly moving gesture towards a marvellous group of singers and players who had given a performance that will live long in the memory – led, of course, by the protean Helyard.

Pinchgut Opera’s Vespers. Photograph © Lando Rossi

Helyard presents the Vespers with one voice to a part, entrusting the work to just eight singers and an instrumental ensemble of 14, including himself on chamber organ. In line with current thinking on historical performance, it results in a transporting level of communion. Anyone used to the majesty of a large-forces Vespers will find this approach intriguing and intensely satisfying. With the singers – two sopranos, two altos, two tenors and two basses – standing in a line behind the players, the separate voices can be heard weaving between and around each other’s and one can see the performers’ exchanged glances as they negotiate the score’s complexities. The personal and the intimate are here privileged over what...