On Saturday night we were treated to a truly breathtaking performance of Bach’s timeless St John Passion in the work’s tercentenary year. Alexander Hamilton conducted the choir and orchestra with great poise and sensitivity in what was a profoundly moving concert. From the initial impact of the opening chorus Herr, unser Herrscher, the Choristers excelled themselves, delivering a committed and passionate performance that drew high praise from all those assembled, including members of the excellent period Réjouissance Ensemble, who have performed this work many times before with many other choirs, and who were extremely impressed with the Choristers’ singing.
The Chorister assembled before the performance with soloists Kieran White (former Wells Head Chorister) and Neal Davies (WCCT Patron) and Director of Music, Alexander Hamilton
It was a real highlight to welcome back tenor Kieran White, a former Wells Head Chorister, who sang the part of the Evangelist. The exquisite clarity of his voice brought the story to life and he held the audience throughout the performance with his effortless dexterity and impassioned communication of the narrative. Renowned Bass-Baritone and Patron of the WCCT, Neal Davies sang the role of Christus with a real sense of gravitas, his rich sonorous voice filling the Nave. Kieran and Neal were joined by Vicar Choral William Drakett as Pilate, and he in turn sang with wonderful fullness but sweetness of tone.
The solo arias were all sung by members of the Choir. Choristers Estella and Petra were astounding as they delivered their complex arias with a maturity of performance beyond their years. Thomas deserves great credit too for his step-out role. The audience were clearly captivated by them all.
Vicars Choral Natalie Manning and Simon Clulow performed the two alto arias; Alexander Jenkins (current Choral Scholar) and Oscar Golden-Lee (a returning former Choral Scholar, now a busy professional singer with Apollo 5 and other groups) sang the tenor arias; Lukas Russell (current Choral Scholar) delivered the part of Peter; and William Drakett sang the bass arias. Each throughly deserved the heartfelt applause they received at the end of the concert.
Having given the soloists due praise, it must also be said that other highlights were often the many expressive choral moments, the Choir performing their various parts with powerfully characterful singing. As an ensemble, they moved from convincingly playing the part of the mocking, taunting and angry crowd or mob – singing with appropriate nastiness in choruses such as Weg, weg or when mocking Jesus in Sei gegrüßet – to singing with harrowing beauty in the final chorus Ruht wohl, in which every line was exquisitely shaped. All this is no doubt testament to Alexander Hamilton’s careful rehearsal and direction.
The performance ended with a profound silence before an outpouring of rapturous applause from the audience gathered under the Peace Doves exhibition that is currently installed in the Nave. Bach chooses not to end his Passion with the tragic beauty of the final chorus but on a note of tremendous optimism with a chorale which, in the troubled times in which we live, must have resonated with many in the audience: “Wake me then from death, so that my eyes see you in all joy.”
With many thanks for Jason Bryant for the extra photos
