Esplanade
Concert Hall
Friday (4 April
2014 )
This review was published in The Straits Times on 7 April 2014 with the title "Passion concert moves hearts and souls".
Leading
up to the season of Lent, the Singapore Symphony Orchestra is to be lauded for
not presenting an umpteenth reading of Handel’s Messiah but instead a rare performance of Johann Sebastian Bach’s St John Passion. First performed in Leipzig in 1724, this was the earlier of two
surviving passions, a setting of Jesus Christ’s crucifixion and death as told
in the Gospel of John.
The
passion and sacrifice of Christ are central tenets of the Christian faith. Bach
was to colour the dramatic events in the most vivid and explicit musical
language possible, with an aim to reinforce devotion and fervency in the
believer, and instil pity and awe in everybody else. This was evangelism 18th
century style, with the German composer as a most persuasive proselytiser.
Although
the SSO is by no means a period performance ensemble, certain aspects of
authenticity were observed by Lim Yau, Artistic Director of the Singapore
Symphony Chorus, who conducted this evening. He employed a small group of
strings (twelve violins, two cellos and one bass), obliggato flutes and oboes,
bassoon, harpsichord, chamber organ, and a delightful surprise: viola da gamba (played by Jennifer Eriksson) and theorbo (an ancient fretted instrument strummed like a lute, played by Tommie Andersson).
The
orchestral textures were light and transparent even when loudness in volume was
called for. Five vocal soloists were balanced by a 90-strong choir, hand-picked
from the Singapore Symphony Chorus, Hallelujah Chorus and Nanyang Academy of
Fine Arts Chamber Choir. The opening chorus Herr,
unser Herrscher (Lord, Our Master)
projected a rapt and gripping intensity, establishing the reverent tone from
the outset.
The
heavy-duty role of the Evangelist and narrator was by helmed by tenor Steve
Davislim, whose clear ringing voice was a consistent pleasure. For those who do
not understand German, surtitles in English were helpfully provided. Opposite
him were bass Jan-Hendrik Rootering in a sympathetically portrayed, gravitas-laden
Jesus, and baritone Martin Snell who commanded Pontius Pilate and the arias for
low male voice.
While
the triumvirate was rock solid in carrying the action, the lady soloists whose
roles reflected the convictions of believers, had bit parts. Alto Lucia Cervoni’s
pivotal moment was in the aria Es ist vollbacht!
(It is Finished!), where the pall of
death turns into triumphant victory. Soprano Nadine Lehner struggled in the
highest registers of Zerfliesse, Mein
Herze (Dissolve Then, My Heart),
her dominance being usurped by excellent accompanying duo of flautist Evgueni
Brokmiller and oboist Veda Lin Wei.
The
two-hour epic was wisely performed without an interval, one which would have
ruined its continuity. Tireless throughout was the chorus, which distinguished with
the ability to readily switch modes and moods. The gentle chorales were
“simple” reassuring affirmations of faith, contrasted with the mob scenes and
hypocritical high priests, represented by “complex” chromatics and fugal
passages. The fickle Jews come off badly; perhaps here also lies the roots of
German anti-Semitism.
Whether
believer or not, this was a well-judged performance that moved hearts and
souls, not just by the music but also the care of its preparation. Surely,
Bach’s greater and longer St Matthew
Passion cannot be too far away in the horizon.
 |
| Singapore Symphony Chorus soprano Patricia Teng plays the wordless part of Mary Magdalene, here showing some flesh and a cross big enough to scare off vampires. |
1 comment:
Dear Dr Chang - thank you for the considered and thoughtful review of the St John Passion. My name is Jennifer Eriksson and I was the viola da gambist in the performance and my colleague Tommie Andersson was the theorbist. We have played together for more than 25 years and have appeared in many Passions. This was a very special performance though and Lim Yau's leadership was outstanding!
Post a Comment