The article deals with textual and musical symbols, as well as with the historical context of the creation of the Missa and Vespro published by Claudio Monteverdi in 1610. The publication is treated as a single and integral theological concept, which enunciates both the Christian Marian doctrine and the specific views of the part of the medieval Catholic Church; the latter in future took the form of dogmas of the Immaculate Conception and of the Virgin Mary’s bodily Assumption into heaven. The composer reflected these views presumably under the influence of the consistent immaculatist position of the Gonzaga family; most explicitly they are declared in the motet Audi coelum. According to accomplished analysis, the narrative of Vespro is represented by two parallel developing “stories”: the life of the Mother of God as part of the eternal plan of Redemption, in the motets, the history of the people of God rising into Heavenly Jerusalem, in the psalms. The Virgin Mary’s image as the porta orientalis (according to the prophecy of Ezekiel) is of key importance for the theological content of Vespro. Rising to Heaven and shining as the guiding star (maris stella) the Virgin Mary turns to the gates of Heavenly Jerusalem. After healing from sin mankind is to be passed through these gates, but the enemies will never be able to penetrate through them into the strong heavenly fortress, the inhabitants of which keep and observe the Word of God, just as the Theotocos took the Divine Logos into her womb.
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