The word "monumental" was conceived to describe a work like Beethoven's "Missa solemnis" -- and the performance of it that the Minnesota Orchestra is giving it this week. Under conductor Osmo Vänskä, there is a unity between the liturgical, symphonic and spiritual demands of the work.

Although originally conceived for liturgical use, its grandeur is really more appropriate for the concert hall. But Vänskä approached this mass as more than just a work of art. He is clearly a man of faith, pouring his soul into explicating the text that Beethoven infused with his own idiosyncratic spirituality.

At the same time, Vänskä proved perfectly cognizant of Beethoven's symphonic architecture, for instance, successfully managing the varying tempos of the Gloria. This was a fast-paced reading, at times a little rushed. But that only served to heighten the drama and the sense of celebration.

The orchestra, evidencing its long experience performing Beethoven with Vänskä, responded to his every gesture. The affirmation of the resurrection in the Credo was forthright and uncompromising.

How fitting that in her final appearances as concertmaster, Jorja Fleezanis would have the opportunity to play a moving solo. This passage in the Sanctus found her at her most expressive and eloquent. She ended her two-decade tenure on a real high.

The true star of the evening, though, was the Minnesota Chorale. The work imposed incredible demands and its members demonstrated real virtuosity throughout. They delivered impressive fortes, but were most amazing in the more difficult pianissimos. And in the Credo's statement of faith, they sounded like they believed every word.

Because of cutbacks at the orchestra, the chorale will perform with them next season only in holiday and Sommerfest concerts. They will be sorely missed.

With a clarion tone that rang through the house, tenor Roy Cornelius Smith took pride of place among the quartet of excellent soloists. Soprano Christine Goerke soared through the final fugue of the Credo, while bass-baritone John Relyea and mezzo Jill Grove were particularly heartfelt in the Agnus Dei's pleas for mercy. The quartet blended effectively, developing into a tight ensemble.

Vänskä ended the work with a strong sense of serenity and reassurance. On his manuscript, Beethoven wrote, "From the heart -- may it go again -- to the heart." This performance more than fulfilled that desire.

 William Randall Beard is a Minneapolis writer.