Culture Magazine
The experience of the vocal and instrumental ensembles in working together under Labadie, and the enthusiasm all parties involved seemed to share in doing so, contributed to a strong sense of the piece's overall shape, unifying the richly detailed movements. The opening of "Herr, unser Herrscher" was given more dynamic ebb and flow than sometimes, and it gave me chills. The musical form and textual richness of the choral work were both beautifully displayed. The soloists in this admirably integrated performance contributed similarly thoughtful work. Hanno Müller-Brachmann brought a dark bass-baritone of impressive sonority (and, in "Mein teurer Heiland," impressive agility) to the roles of Petrus/Pilatus. Nicholas Phan was a luxury as the tenor soloist, with exquisite sweetness in "Erwäge, wie sein blutgefärbter Rücken." Countertenor Damien Guillon showed sensitive phrasing throughout; I found his voice slightly light for "Von den Stricken meiner Sünden," but his elegant, silvery tone was an interesting fit for the intensity of "Es ist vollbracht." The power of Karina Gauvin's voice live was a stunning discovery. She was equally impressive in "Ich folge dir gleichfalls" and the anguished "Zerfließe, mein Herze," combining purity of tone with impressive richness and power. Another welcome discovery was the warm, expressive bass-baritone of Neal Davies, who brought beauty of tone and depth of feeling to the part of Jesus. The role of the Evangelist is often sung with declamatory solemnity, partaking in a tradition of remote gravity deemed suitable for sacred text. Ian Bostridge, on the other hand, sang it with an edgy, anguished immediacy. The narrative of the Johannespassion is, after all, one of frequently shocking brutality, and it was this on which Bostridge focused, with fearless use of dynamic effect, and the vivid word-painting at which he excels. A hushed account of the chorale "Ach Herr, lass dein lieb Engelein" brought a powerfully involving performance to a moving close.
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