Celebrating its golden anniversary this season, the Orchestra of St Luke’s returned to Carnegie Hall – where it has performed more than any other orchestra since its 1983 premiere there – with Bernard Labadie leading a resplendent rendition of Bach’s St John Passion. Following critically acclaimed appearances conducting Bach choral masterworks in previous seasons, this concert concluded the maestro’s seven-year tenure as the OSL’s Principal Conductor.
Of the five Passion settings written by Bach, only two, the St John and the St Matthew, have survived complete. Two others are lost and all that remains of the St Mark is the libretto. The first large scale work Bach composed in his position as Thomaskantor in Leipzig, the St John was first performed there in 1724. A dramatic rendering of John the Evangelist’s account of Jesus’s trial and crucifixion, drawn from biblical passages and other sources, it has become a concert staple of the Lenten season. While shorter and less celebrated than the St Matthew, it is an emotionally powerful work – straightforward musically and strongly focused on the fiery, dramatic narrative.
With superb choral singing, an excellent team of soloists and fine orchestral contributions, this was a deeply affecting account. The 30 choristers of La Chapelle de Québec, a chamber choir founded by Labadie in 1985 and directed by him ever since, offered full-toned, richly expressive singing throughout. Arranged in a semi-circle around the orchestra, their voices projected clearly as they delivered their theatrical moments with virtuosity. Stunning in the spaciously flowing opening chorus, “Herr, unser Herrscher”, they were jarringly vehement in their cries “Kreuzige, krueuzige!” (Crucify, crucify!), and tremendously moving in the transcendent “Ruht wohl, ihr heiligen Gebeine” (Rest well, you blessed limbs).
The remarkable team of solo singers demonstrated a strong affinity for the sacred text. Taking on the crucial and demanding role of the Evangelist, the narrator of the story, Canadian tenor Andrew Haji displayed admirable clarity of diction, his lovely lyrical instrument consistently unforced and flexible. As Jesus, French-Canadian bass-baritone Philippe Sly revealed a resonant timbre, dispatching his verses with graceful dignity. British bass William Thomas was in excellent form in his recitatives as Pilate and made a strong impact in his arioso “Betrachte meine Seel” (Contemplate, my soul). Soprano Joélle Harvey, excelled in “Ich folge dir gleichfalls” (I follow you likewise), accompanied by exceptionally fluent flute-playing. The aria “Von den Stricken meiner Sünden” (From the knots of my sins) benefited from mellifluous oboes interwoven with British countertenor Hugh Cutting’s lustrous sound. As Peter, voicing his regret for having betrayed Jesus, British tenor Samuel Boden was uncommonly poignant in his aria “Ach mein Sinn” (Alas, my conscience).
Under Labadie’s baton, the singers were superbly supported by the orchestra of 33, a mixture of period and modern instruments, equally adept at all times. Without exception, the instrumental obbligati accompanying the various arias were expertly handled. Overall this was a thrilling performance that drew the audience in from the start and left a lasting impression.
