Review / La Grande Chapelle vindicates Tomás Luis de Victoria
05/02/2026 Ritmo. Simón Andueza
Some names in the history of music occupy a privileged place on their own merits. They are undisputed legends, earning their place in the pantheon of composers through their own achievements. Tomás Luis de Victoria (c. 1548–1611) is arguably the most highly regarded Spanish composer of all time, as acknowledged by the vast majority of scholars, musicologists, and performers. However, none of his magnum opus has been fully recorded by a Spanish performer, and his pieces are rarely performed in our most renowned concerts and cycles, except in passing. This is why the evening organised by the National Centre for the Dissemination of Music (CNDM) is worthy of praise for several reasons. Firstly, it offers several concerts in León and Madrid of this programme. But what is perhaps most noteworthy is the opportunity to hear some of Tomás Luis de Victoria's masterpieces performed exclusively by a celebrated Spanish ensemble.
The programme, entitled Salve Regina, focused on the sumptuous Salve Regina (1576) for eight voices in two choirs. This piece inspired one of the composer's greatest masses: the parody Missa Salve Regina (1592), which is identical to the original in terms of the number of voices and choirs. This demonstrates the popularity and quality of the original Salve, based on a plainchant cantus firmus, as well as the enormous Marian devotion achieved in Victoria's time.
Not only were we able to enjoy these compositions, but the concert also featured a selection of some of the most exquisite pieces from the Ávila-born composer's body of work.
La Grande Chapelle performed on stage in the chamber hall of the National Auditorium with a cast of eight singers and seven instrumentalists, in addition to their conductor. The programme was organised around two choirs of eight singers, the first a cappella and the second accompanied by four wind instruments (cornets and sackbutts), joined by a basso seguente of three instrumentalists. After the first three pieces in this arrangement, the concert changed its timbral colours in the different motets that followed.
In the four-part pieces, the distribution of one singer per part plus the basso was combined with other arrangements. One example is the luminous interpretation of Ne timeas, Maria, sung by a soprano accompanied by the organ and theorbo, which developed the other voices. This splendid composition highlighted the text's special meaning, symbolising Mary's feelings towards the Annunciation.
In terms of its interpretation, the most significant movement of the mass was the Credo. This piece can often seem long and monotonous due to its length, but paying attention to the different afectos of its text made its performance enjoyable, lively and expressive.
Special appreciation must be shown for the superb interpretation of the motet Vadam et circuibo civitatem, written for six voices. The singers performed the poetic text from the Song of Songs and the prodigious music with which Victoria expressed it with great love.
The piece that concluded the concert, the Magnificat primi toni (1600), was a truly magnificent finale to the evening, both for the communicative effort of the ensemble members and for the beauty of sound achieved in its glorious tuttis and its delicate, more subtle sections.
Each and every one of the performers who made up La Grande Chapelle on this occasion demonstrated their professionalism, harmony and balance of sound in pursuit of Tomás Luis de Victoria's creation. This can only be understood within the context of the group's concept, which culminates in the glorious sound of his creative genius. However, I would like to highlight the individual talents of these musicians.
In terms of vocals, soprano Irene Más demonstrated exceptional expressive commitment and a beautiful, pure tone. For his part, countertenor David Sagastume gave ample proof of his extensive experience, proving himself to be a solid and versatile presence in that intermediate voice register with its complex nature. Similarly, Andrés Montilla-Acurero performed with relentless stability and pitch in that same tessitura, displaying a beautiful timbre. Among the lower voices, baritone Hugo Oliveira demonstrated solid intonation in plainchant, while successfully navigating the challenging role of baritenor in the first choir. He also displayed ample volume in the lower register during the final cadences. Bass Renaud Delaigue provided solid, resounding harmonic support with his powerful voice.
We must praise the power and beauty of the brass section, and the ensemble formed by basso seguente, organist Jorge López Escribano, theorbo player Christoph Sommer and Marta Vicente on the violone was truly cohesive and confident.
Albert Recasens, the driving force behind this project and founder of La Grande Chapelle, displayed a genuine love for the music of Tomás Luis de Victoria. He offered a carefully studied interpretation of each work through its text, paying close attention to expression and phrasing. His constant commitment and concentration resulted in a fitting tribute to the masterpieces left by the composer from Ávila.
The audience remained respectfully silent throughout the concert, only breaking into applause after the final piece. The performers received a warm ovation, resulting in an encore of the final beautiful section of Salve Regina, O Clemens.