A program of music by Monteverdi, including Il Ballo Dello Ingrate, and several shorter pieces, was given Tuesday and Wednesday evenings in Fogg Museum. The depth and versatility of the Renaissance master was displayed in music covering a wide stylistic and emotional range, varying from poignancy, to austerity, to an ornate light-heartedness.

Beautiful and sad, the Lamente Della Ninfa, sung by Sarah-Jane Smith, the Nymph, and a supporting Chorus including Malcolm Ticknor, John Crawford, and Thomas Beveridge. Miss Smith interpreted her plaintive melodies very expressively, while the deep-voiced Chorus provided rich contrast. The form of this work, that of a Greek Play in miniature, is truly Renaissance, but the feeling is so direct and unrestrained as to anticipate later eras.

Phyllis Kinney-Evans and Helen Raisz sang the light and exuberant duets, "Chiome d'Oro" and "Chime, Dov'e Il Mie Ben," with stylistic insight. The dramatic interplay of three instrumental choirs distinguished the song, "Con Che Seavita," tastefully sung by Miss Kinney-Evans.

A different side of Monterverdi's personality emerged in the opera, Il Ballo Delle Ingrate. The melodies are often dry and austere, and occasionally uninteresting, as when a series of syllables are uttered in monotone.

The two leading characters, Venus and Amor, were well portrayed by Malama Providakes and Miss Raisz, and the Souls of the Heartless Women were acted by members of the Radcliffe Dance Group. The ballet was rather unsteady and hesitant, although thoroughly charming, while Venus and Pluto were not relaxed enough in their stage bearing. These imperfections, however, were outweighed by the general excellence of the production: the competent singing, the fine instrumental support, and the brilliant costumery, designed by Anne Hollander--all under the apt direction of Robert Beckwith. The setting, moreover, was very appropriate: the antique statuary and columnwork of the Fogg Courtyard blended well with the archaic twang of the harpsichords, the delicate timbre of the lutes, and the Renaissance line of Monteverdi's melody--austere, exuberant, or poignant.