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"But the choir is the thing in the B minor Mass, and here the Orpheus covered itself with glory."
John Button, Dom Post
Review of Bach's St John Passion
Review Excerpt
ORPHEUS CHOIR and VECTOR WELLINGTON ORCHESTRA
J.S.Bach – St John Passion
Nicola Edgecombe (soprano) Ellen Barrett (alto), Gregory Massingham (tenor) – Evangelist, Hadleigh Adams (bass) – Pilate Daniel O’Connor (baritone) – Jesus * Choir of the Wellington Cathedral of St.Paul, Douglas Mews (organ) * Michael Fulcher (conductor) * Wellington Cathedral of St.Paul * Sunday 29th March 2009
Review by Peter Mechen, writing in Middle-C (Bridging the Critical Gap), an emailed broadsheet.
When preparing to go with a friend to hear the Orpheus Choir’s performance of Bach’s St.John Passion with the Vector Wellington Orchestra, late on the afternoon of March 29th of this year, I failed to take into account the choir’s following among concertgoers and the interest generated in Bach’s great choral masterpieces by a number of splendid performances of them over recent years here in Wellington. Consequently, when we arrived at the Cathedral we were greeted by vast queues of people on the steps in front of the church; and when we were able to get into the building there were a few seats left in the very back row, which we were grateful to get. The Orpheus Choir organisers must have been gratified by such a splendid turnout, because every available seat seemed to be filled, and the church was bristling with the most pleasant sort of expectation (fuelled by the delay in starting while seats were found for everybody).
From what I could make out, the choirs (the Cathedral Choir and the Orpheus Choir) along with the Wellington Orchestra seemed to be revelling in Michael Fulcher’s forthright direction. At the very opening the wind lines sang upwards and outwards, while the strings, with tones far less penetrating, took on a kind of feathery ambience up high and a throbbing engine-room-like insistence down below. The choral entries were stunning on single notes, the cries of “Herr!” in that opening chorus resounding through the building, though the succeeding vocal polyphony then proceeded to envelop itself in a cornucopia of tones, from which a line would occasionally extrude before being overtaken by its own resonance and brought back into the latticework again. It was obviously going to be a performance that would give us ‘back-seat’ listeners plenty of atmosphere, sweep and colour, rather than a lot of fine detail.
The two choirs divided the work, the Cathedral choristers sometimes taking the chorales alone and sharing others, while the Orpheus Choir took the choruses and the crowd participations in the story. In the slower chorales the effect of the Cathedral’s spaces on the beautiful singing was near-celestial, the Chorale immediately beginning the Second Part Christus, der uns selig macht (Christ who brings us joy) being particularly lovely. And, despite the acoustic, the bite of the dramatic exchanges between the crowd and Pilate still came across – the Orpheus’s attack with Wir haben keine König denn den Kaiser (We have no King but Caesar) was scalp-prickling, following on from the contrast of the Chorale Durch deine Gefängnis, Gottes Sohn (Your imprisonment, Son of God) with the savagery of Lässest du diesen los (If you let this man go). No wonder Bach was criticised by some of his contemporaries for presenting “opera in church”!
Michael Fulcher … kept both orchestra and choruses focused on the task throughout, getting singing and playing from his massed forces that carried the day, the final choruses appropriately having the last say, with a beautifully rapt Ruht wohl (Rest well) and a majestic, sonorous and valedictory Ach Herr, lass dein lieb Engelein (Oh Lord, send me your angels), sending us away from that massive church with the sounds of eternity ringing in our ears.
