This was a mesmerising performance, the emotional impact of which lingered after the final note sounded, and long into the warm and enthusiastic applause. There was an immediacy to the drama that made the penultimate chorus hard-earned and well-deserved. The effect was harrowing and poignant. Necessary.
Part One saw performers on stage need to adjust slightly. The chorus was a little strident in the
But strength was found in Evangelist James Gilchrist who shone throughout the performance combining shapely contours and a pristine tone, with a touching humble presence.
Making his UK debut was US baritone Cody Quattlebaum with a delectably deep rich voice that belied his age and pinned us to the wall. The melisma of
Cody Quattlebaum is a gratifyingly hot ticket. It’s rare I get excited by singers. He is on my special list.
Counter-tenor Iestyn Davies – silky and smooth – appeared to be holding back slightly in Part One. But like the chorus, he returned to the stage for Part Two with a much-appreciated clarity and a slightly less demonstrative presence.
Mary Bevan who stepped in for originally billed Lydia Teuscher a clear blue tone and
If the chorus had experienced mild-difficulties in Part One these were, like the tonal consensus amongst the soloists, ironed out in the second half. At times as though we were hearing a different chorus – a tighter more alert ensemble. Ware
The chorus’ best was saved until near the end
A performance that touches will last beyond the auditorium. Rare things. This was one of them. A deeply moving experience on a special day.
James Gilchrist features on the Academy of Ancient Music's recording of St John Passion directed by Richard Egarr. It's available to stream on Spotify.
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