BACH MUSICA NZ
2024 Concert No 4
J.S. Bach: Christmas Oratorio 4 – 6, BWV 248
Joanna Foote – soprano
Jessica Wells – alto
Henry Choo – tenor (evangelist & arias)
Jonathan Eyers – baritone
Sharon West – echo soprano
Rita Paczian – Music & Artistic Director
Sunday, 1st December 2024
Town Hall, Auckland
REVIEW (for NZ Opera News)
Last Sunday, Bach Musica NZ gave us a rousing farewell to their 2024 season with a stellar performance of a work by their patron-composer, J.S. Bach: his Christmas Oratorio, parts 4 – 6.
Following their memorable performance of the oratorio’s first three parts last year, there was considerable expectation as to whether orchestra and chorus could maintain the dynamic energy and precision so convincingly demonstrated in 2023. However, Bach Musica NZ’s artistic director and conductor, Rita Paczian, made absolutely sure of this and last Sunday’s performance was as sharp and powerful as ever. It was sung in the original German language with Rita Paczian directing, in part, from the harpsichord.
Bach composed his Christmas Oratorio in 1734 after his St Matthew and St John Passions. By that time, he was almost 50 years old. His Christmas Oratorio in its entirety is a dramatic work, telling the biblical Christmas story over 6 parts (cantatas). The first 3 parts refer exclusively to the Christmas days, an event that is joyful and evocative and which is reflected in their music. Parts 4 to 6 deal with the events following Christ’s birth and their music is accordingly more thoughtful and intricate, requiring expressed insightfulness from the performers.
Rita Paczian accomplished this shift of musical mindset superbly. The work’s opening chorus ‘Fallt mit Danken, fallt mit Loben’ in the quietly consoling key of F-Major, was a convincing testimonial fully supported by the glowing flugel horns of Peter Reid and Matthew Verrill. In the final chorale of part 4 with ‘Jesus, richte mein Beginnen’, the chorus reminded us of their superb choral sound and extraordinary phrasing and discipline. Rita Paczian directed the chorus, as if she was playing an instrument.
Quiet intensity and drama were superbly picked up by Australian tenor Henry Choo. He assumed the important role of the Oratorio’s evangelist – effectively its storyteller. With his strong voice and his clear German diction, he raised the performance-standard even more.
The opening chorus of part 5, ‘Ehre sei dir Gott gesungen’, sung in a light A-Major key and driven throughout with breath-taking speed by relentless semi-quavers and quavers, was another highlight! Despite the tempo, the choral sound, the chorus’ precision and connection with the conductor were admirable. The difficulty of the music here required everything each chorus member had to give in terms of capability and musical intelligence, and the choristers clearly succeeded in this! This chorus was accompanied by equally ‘ferocious’ and impeccable strings and received a further special impact by the superb oboes d’ amore of Alison Dunlop and Alison Jepson. Their memorable play was superbly and sensibly rounded by Philip Sumner’s cultivated bassoon.
In the final chorus of the Christmas Oratorio, ‘Nun seid ihr wohl gerochen’, Bach borrows from his St Matthew Passion. It is sung in a glowing D-Major key, and its broad and jubilant structure conveys a message of hope and reassurance – now, all is good. Jubilation and passion were convincingly expressed by the choir and the glowing orchestral accompaniment with great support from the trumpets of Peter Reid and Matthew Verrill – and most certainly by the astonishing virtuosity of Orson Paine’s solo-piccolo-trumpet.
In its dramatic story-telling the chorus was eminently assisted by a line-up of equally superb soloists. Soprano Joanna Foote, who also sang in Bach Music NZ’s Christmas Oratorio concert last year, employed all the nuances of her beautiful and stylish voice, putting her own mark on last Sunday’s concert-performance. Her famous ‘Echo-Aria’ ‘Floesst, mein Heiland, floesst dein Namen’ – the echo hauntingly provided by soprano Sharon West – was sublimely executed. Undoubtedly, Joanna Foote created one of the concert’s highlights.
Jessica Well’s alto was very appealing. In her role as Mary, mother of Jesus, the warm timbre of her cultivated alto-voice was very reassuring. To a degree, it was also authoritative, as she demonstrated in her dialogue with the chorus in “Wo ist der neugeborne Koenig?”
Tenor Henry Choo, evangelist and storyteller, gave an outstanding performance. Continuously challenged by difficult recitatives and arias, he led the listener through the oratorio’s underlying story with great strength, clarity and precision. His superb voice equally displayed power and lyricism. These attributes were particularly evident in his recitative ‘So geht! Genug mein Schatz’ – and the following aria ‘Nun moegt ihr stolzen Feinde schrecken!’
Bass Jonathan Eyers equally displayed a very stylish and authoritative voice with profound refinement, its quality coming convincingly to the fore in his aria ‘Erleucht’ auch meine finstre Sinnen!’
This superb level of vocal performance would not have been possible without the orchestra’s most competent support. Concertmaster and Baroque violinist Miranda Hutton excelled in delivering an orchestra of the highest calibre. The strings were outstanding, as were the woodwind and brass. Oboist Alison Dunlop was probably the busiest solo-instrumentalist of the evening. Michael Steer’s sole double-bass stood out as did did Phillip Sumner’s refined bassoon, David Kelly’s unobtrusive organ and Caleb Goldsmith’s poignant and precise timpani.
In the tenor aria ‘Ich will nur dir zu Ehren leben’ violinists Miranda Hutton and Joella Pinto displayed stylish virtuosity in their solo-accompaniment, sensibly supported by Paul Mitchell’s excellent cello and the harpsichord of Rita Paczian.
And finally, it was Maestra Rita Paczian, who seized the evening’s moment, with the overall proceedings tightly in her capable hands. Once again, she reigned supreme, with outstanding musicality, great energy and precision. She knew when to allow broadness or utmost sensitivity and when, in contrast, to inject ‘ferocious’ energy and joy!
This was another most memorable Bach Musica NZ concert, and one can only hope that many more of such remarkable evenings will follow!
Rainer W. Buhmann