Choirs ‘impressive"

Press, 18 April 1981, Page 6

Choirs ‘impressive"

BY

ALLAN FRANCIS

Under the sympathetic guidance of Don Whelan, the Cathedral Choir and Orchestra presented the St John Passion of J. S, Bach in the Cathedral of the Blessed Sacrament last evening, thereby providing a striking alternative to the St Matthew Passion given earlier in the week. Although a close relation of the St Matthew Passion, the St John Passion is regarded by some as being a lesser statement, on the assumption that it was composed in 1723, some six years before the St Matthew, and therefore the blueprint for the mature thoughts of what was to be Bachs culminating masterpiece in 1729. It is an intensely dramatic setting,. nevertheless, ■ which needs a first rate Evangelist, and Neville Paris filled this role witfi distinction; his experience added a convincing note to the part and set the pattern for the whole performaftce. The' six -soloists, all articulated? well so that any muddiness from such a large

group was avoided skilfully. Credit here must go the the choirs’ conductor, Margaret voh Biel, whose control gave a professional grasp of the variety of range with which she had to cope.. The Colleges’ Chorale from St Bede’s and St Mary’s showed marked tendencies towards the authenticity of Bach’s intentions although still retaining the mixedvoice choir.

The important role of Jesus was taken by Howard Harvey, whose bass was noble yet veering towards a baritone quality. The lightness did not detract from the sensitive dignity required, nor indeed did the performance as a whole fall into the trap of being overdramatised.

Rhythms were brisk and nicely judged, the dialogue between Jesus and Pilate (Richard Cooper) being a masterly cameo of martyrdom and reluctant condemnation, where every nuance of that situation was fully explored.

Peter’s remorse was poignantly conveyed by Peter

Williams, who managed the difficult aria. “Ah, My soul,” particularly well, as did the so-;.ano in the equally demanding aria, “I Follow in Gladness,” with its long, sweeping phrases.

Credit must be given to Anthony ■ Ritchie’s adept playing .of the main organ and of the smaller organ by Chris Archer? A telling ’cello solo by Ellen Doyle added an appropriate greyness to the grief-laden atmosphere, M. Lawrence played the harpsicord with accuracy and flair. The alto, Raeleen Donald, made the most of 'her one recitative, “All is Forgiven,” late in the work, her rich contralto filling the hall with its resonant quality. The Cathedral, too, made a vital contribution with those wonderful acoustics lending a frission to the sound quality-

The performance was a

fine tribute to the conductor, Mr Whelan, who marshalled his forces in formidable style. Under these circumstances the St John Passion was most impressive.