J. S. Bach: «Johannespassion» - Zürcher Kammerorchester, Zürcher Sing-Akademie, soloists Jams Gilchrist e.a., dir. Sir Roger Norrington Royal Albert Hall, Proms 12, 26 July 26 The Guardian, 27 July 2014: The evenings chief glory was the choral singing, beautifully controlled, wonderfully committed and admirably clear in a notoriously difficult acoustic for counterpoint. The Telegraph, 27 July 2014: However, the good things were really good. The Zurich Chamber Orchestra boasted some wonderful soloists (especially the cellist in Es ist vollbracht), and the Sing-Akadamie produced a startling range of colour and sound, from the rude shout in favour of Barabbas to the immaculate, ironic lightness of the chorus where the soldiers decide to divide Christ’s raiment by lot. Bachtrack, 27 July 2014: One of the great paradoxes of Christianity in general and the crucifixion story in particular is that it is impossible to unalloy the natural grief and despair at Christ’s death from the true believer’s overpowering joy at the salvation it implies. Nowhere is this better expressed than in the penultimate number, the chorus “Ruht wohl, ihr heiligen Gebeine, die ich nun weiter nicht beweine” (rest well, holy remains, for which I weep no longer). The words on their own go some way to expressing the wonder of eternal peace and rest mixed with the immensity of sympathy for the suffering. But when they are overlaid with Bach’s extraordinary music and an outstanding choral performance, the words acquire phenomenal power, creating a rush of emotion. The final chorale which succeeds them relaxes the tension in its whole-hearted exhortation of God to welcome the sinner on judgement day. It closed the performance with a passage of sublime transcendence. The Arts Desk, 27 July 2014: Baritone Jonathan Sells, stepping out from the Zürcher Sing-Akademie’s ranks to sing the role of Pilate, gave a sense of the calibre of the individual singers that generate the 40-piece choir’s power and flexibility. Founded only in 2011 and on its first Proms visit, it certainly impressed. It was also a reminder of the Proms’ great strength in showcasing not just the best of Britain but also providing rare opportunities to hear top international groups on these shores (that said, Sells himself and the choir’s artistic director Tim Brown are both Britons). The group’s range – and Norrington’s control of it – was perfectly illustrated in the final chorale, beginning in a tender lullaby and ending in joyful triumph (and followed by grateful applause).
Posted on: Mon, 28 Jul 2014 23:51:44 +0000
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