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St. John at St. John’s. That was the gist of an exceptional production of Bach’s St. John’s Passion at the Cathedral of St. John Friday night, repeating this afternoon. Roughly a year ago Maxine Thévenot directed a most impressive Easter version of the Messiah, and this weekend she equals that effort, teaming her own Polyphony: Voices of New Mexico with the New Mexico Philharmonic and an array of crack vocal soloists.
Forever in the shadow of its younger brother, the expansive St. Matthew Passion, the St. John is a more manageable length, but nonetheless full of heart-rending music. It tells John’s version of the crucifixion story through an inventive interplay of chorus and soloists, beginning with the arrest of Jesus in dramatic fashion.
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If you go WHAT: Bach’s St. Matthew Passion. New Mexico Philharmonic; Polyphony: Voices of New Mexico conducted by Maxine Thévenot WHERE: Cathedral of St. John, Gold at 4th WHEN: Today, 2 p.m. HOW MUCH: $25 – $55 www.nmphil.org/music-in-new-mexico/2012-2013-neighborhood-concerts/ http://holdmyticket.com/event/119820 |
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Two large choruses bookend the work, impressively beginning and closing the performance, each fully demonstrative of Bach as the supreme master of counterpoint. Thévenot paces the work with illuminating design, allowing the story to unfold naturally with power yet flexibility.
Beautifully-sculpted choral singing remains present throughout the work. She gives a lilt to the many chorales, avoiding any sense of “four-square,” just as Bach with his many unexpected harmonic twists, never sticks to conventional patterns. The chorus turns into a mob mid-way through the story singing with an impeccably-controlled chaos (oxymoron though that be).
Given the lion’s share of the solo singing, tenor Steven Caldicott Wilson as the Evangelist is outstanding. He ranged from commanding pronouncements to colorful commentary to moving personal expression (Simon Peter’s “…and wept bitterly.”) He is placed at the front of the ensemble while Edmund Connolly as Jesus sings from behind the ensemble giving his words an especial gravitas. (From Too Much Coffee Man to Jesus in one season? What can be next for this versatile singer?)
Tenor soloist Lawrence Jones gives an arresting lyrical intensity to his aria “Erwage, wie sein” (Consider how his blood-tinged back) with an impelling clarion focus in “Mein Herz” (My heart). Baritone soloist Christopher Herbert also doubles in the character role of Pilate, his dictatorial interrogation contrasting with a gentle solemnity and calm authority in his aria “Betrachte, meine Seele” (Ponder, my soul).
Countertenor Jeffrey Freuler, stepping in as a replacement, gave an admirable account of the two alto arias, especially the emotional centerpiece of the work “Es ist vollbracht!” (It is accomplished) in partnership with the solo viola (Kimberly Fredenburgh. Soprano soloist Paula Swalin with graceful counterpoint from flutists Valerie Potter and Sara Tutland creates the lighter mood of “Ich folge” (I will follow you likewise).
Led by concertmaster Phil Coonce, the instrumental playing was exquisite throughout, with masterful playing from the winds–flutes, oboes (Kevin Vigneau, Rebecca Ray, and bassoon (Stephanie Przybylska.
