The Saint John Passion
It was interesting to compare our performance of the St John Passion with the one I had been to the night before, especially with the band. We had proper baroque woodwind, for example, while the other one, in Blackheath Halls, had excellent players for their double bass and cello continuo but they were playing modern instruments.
We were able to have our Evangelist, Ruairi Bowen, sporting his new ponytail, and really letting us have it as far as the story is concerned, and Will Thomas’ sonorous real bass, positioned behind the small choir – whereas in Blackheath the soloists sat in a decorous row in front, with the orchestra and the perilous-looking tiers of the choir behind them. The one touch at Blackheath, however, which I do think worked well was that, when Pilate was addressing the company, he was allowed to turn a bit towards them.
All our ladies had their turn with a solo aria, and they also made a charming study of the black concert dress. It was slightly confusing, however, also with the ensemble men, as to who was who because we had several replacements.
I am sure any outfit conducted by Geoffrey Webber feels confident and that he is so obviously enjoying it must make them enjoy it too. A chamber organ really is necessary, and we had one. And a warm welcome back to Alison Bury, once more leading the orchestra.
There were cheers at the end, and well deserved.
And if anyone wonders why on earth I went to hear two versions two nights running – well, if Blackheath chooses to fetch over a British baritone (as Staatsoper Hamburg keeps on referring to him), and following a postponement from 2020, it’s my duty and my pleasure to be there.