Author: Ben Weaver
Saturday March 25th, 2023 - J.S. Bach’s Matthäus-Passion, composed around 1724-27 (and revised through 1742), is arguably Bach’s greatest composition. Personally, I'd place it in the top ten greatest works of Western music. The NY Philharmonic performs it infrequently; the last time was in 2008 under the baton of Kurt Masur. Running at roughly 2:45 hours, the Matthäus-Passion is a work filled with passion and drama...more drama than most church music. Anyone mocking Verdi’s Requiem as being more opera than mass perhaps should take a closer look Bach’s greatest work. Verdi was following in Bach’s mighty footsteps. I was very glad to see it on the program this year, finally! I quite literally got chills as the work started and the chorus (Musica Sacra) sang the opening words: “Kommt, ihr Töchter, helft mir klagen.” Alas, the thrills did not last; I was sadly disappointed with tonight's performance.
Tenor Nicholas Phan sang the very difficult part of the Evangelist, who narrates the story of Jesus’ arrest, the debate over what his fate should be, his execution, and its immediate aftermath (the Passion ends before the resurrection.) Much of the drama of the work flows through the Evangelist’s words. Mr. Phan managed the difficult music very admirably, but the part can be a trap dramatically: there are many proclamations like “And Jesus said unto him.” How does one make each one sound fresh? I don’t have a clear answer. I suppose if it was easy, anyone would be able to do it.
Bass-baritone Davóne Tines’ Jesus (Mr. Tines was the only person on stage wearing a costume: a white, sleeveless robe) possesses a large voice; but it's a voice with a guttural quality, which seldom opens or blooms.
Mezzo-soprano Tamara Mumford, a favorite at the Metropolitan Opera across the Plaza, sang nicely. “Buß und Reu” in Part I was vocally steady and clear. But in Part II, Maestro Jaap van Zweden robbed Ms. Mumford and concertmaster Frank Huang of an opportunity to give their all in “Erbarme dich”, perhaps the Passion's most famous aria; certainly its most emotional and devastating piece. Written for solo voice, solo violin, and orchestra, this breathtaking music has the ability to stop time. Alas, Maestro van Zweden took it at a preposterous Allegro tempo; he absolutely wrecked it by turning it into a cabaletta. If your tempo is faster than John Eliot Gardiner’s, Nikolaus Harnoncourt’s, Trevor Pinnock’s, and Gustav Leonhard’s - you may consider looking at the score again.
Soprano Amanda Forsythe (above), making her Philharmonic subscription concert debut with these performances, was sublime. Her ability to float pianissimi high notes was indeed spine-tingling. The aria "Aus Liebe will mein Heiland sterben,” which also includes a flute solo by Robert Langevin, was the highlight of the evening.
The Philharmonic's Principal Associate Concertmaster, Sheryl Staples, had a chance to shine in "Gebt mir meinen Jesum wieder,” with a difficult solo. Unfortunately, bass Philippe Sly, making his Philharmonic debut with these performances, had pitch difficulties which offset Ms. Staples fine playing. Tenor Paul Appleby was superb all evening, the high tessitura of the aria “Geduld” presenting no difficulties for him.
The Choral group Musica Sacra was in excellent form all evening, from the Chorales to dramatic exchanges representing specific characters. The Brooklyn Youth Chorus sang the opening and closing choruses of Part I, but did not return for Part II. Can’t say if that was intentional or if something kept them from returning.
I do hope the Matthäus-Passion returns to the Philharmonic again soon - under a more caring conductor.
~ Ben Weaver