Good Friday St John Passion with Ex Cathedra, Symphony Hall Birmingham, 29 March 2024. 4✩✩✩✩ Review: David Gray & Paul Gray.
Good Friday St John Passion with Ex Cathedra, Symphony Hall Birmingham, 29 March 2024.
4✩✩✩✩ Review: David Gray & Paul Gray.
“A compelling and atmospheric reading of this mighty work.”
Chorale Prelude ‘O Haupt voll Blut’ improvised by Rupert Jeffcoat
Hans Leo Hassler/Johann Hermann Schein – O sacred head surrounded
Alec Roth – Verlass uns nicht
JS Bach – St John Passion Part I
Chorale postlude on ‘O Lamm Gottes unschuldig improvised by Rupert Jeffcoat
JS Bach – Chorale Prelude on ‘Herr Jesu Christ’
Anon – Lord Jesus Christ, be present now
Sermon – Texts by Dietrich Bonhoeffer
JS Bach - Chorale Prelude on ‘Christus der uns Selig macht’
JS Bach St John Passion Part II
Jacob Handl – Ecce quomodo moritur justus
Chorale prelude on ‘Nun danket alle Gott’ improvised by Rupert Jeffcoat
Johann Cruger – Now thank we all our God
Ex Cathedra has a taste for framing the works they perform. This sometimes takes the form of theatrical use of space or, as was the case in their performance of Bach’s ‘St John Passion’, using other musics to create a quasi-liturgical setting.
It is a device that can work very well by creating new inroads to and fresh perspectives on the main work being performed. At other times, it can perhaps engender a suspicion that the work does not stand on its own inherent merits.
The Bach ‘St John’, while not being the longest example of the genre, is nevertheless a substantial work which demands concentration and stamina from its audience. So there is an argument that the additional music and words used in this instance as a framing device might have been dispensed with to greater effect.
It is a work dominated by recitative and very many chorales interspersed with a handful or arias and some dramatic choruses. In James Robinson, the performance boasted an exemplary ‘Evangelist’. This is a role that carries the weight of the extensive recitative on its shoulders. Robinson has a flexible, lyrical voice and sang with expression and range of colour. It was a performance that captured and maintained attention and penetrated deep into the heart of the drama.
Other main recitative soloists were equally impressive. Themba Mvula sang the role of Jesus with presence and commitment. Lawrence White was a commanding ‘Pilate’. Bach’s arias demand a lot from the singer, who must integrate a plethora of technically demanding detail while not losing sight of the of overarching vocal lines, the structural whole, and above all, the meaning.
Soprano soloists, Margaret Lingas and Katie Trethewey, alto Gabriella Liandu, and tenor Daniel Marles, all managed to do this convincingly and with emotional conviction. Elsewhere, some of the less experienced, young soloists perhaps lacked sufficient vocal presence or allowed the detail to take over so that the overall effect got rather lost. However, a good outing for these younger voices who clearly have a world of potential.
Ex Cathedra Choir was in exceptionally fine voice. The Chorales were impressively detailed with crisp diction and eloquent shading. Conductor, Jeffrey Skidmore managed the dramatic choruses perfectly so that they flowed seamlessly in and out of the recitative. The orchestra delivered incisive playing and some exceptionally fine obligato duetting.
This was over all and atmospheric and compelling performance.
Ex Cathedra Choir, Baroque Orchestra, and Academy of Vocal Music
Jeffery Skidmore – Conductor
Lucy Russell – Leader
James Robinson – Evangelist
Thamba Mvula – Jesus
Lawence White – Piltate
Margaret Lingas, Katie Trethewey – Soprano
Merce Bruguera Abello, Gabriella Liandu – Alto
Tim Burton, Daniel Marles – Tenor
Tom Lowen - Bass