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, 1^st 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

Music and Artistic Director:   Rita Paczian

2023-Concert No. 4

Johann Sebastian Bach, Christmas Oratorio BWV 248, Parts I – III

Sunday, December 10^th, 2023

Auckland Town Hall

Soprano: Joanna Foote

Countertenor: Stephen Diaz

Tenor (Evangelist): Iain Tetley

Bass: James Harrison

Conductor: Rita Paczian

REVIEW

Bach Musica NZ farewelled our difficult year of 2023 with

Johann Sebastian Bach’s Christmas Oratorio, parts I-III, depicting the

Birth of Jesus Christ according to the Gospel of Luke. This was Bach’s 3^rd major work, composed in 1734 – therefore, after his St John and St Matthew Passions, composed in 1724 and 1727 respectively.

Bach Musica NZ’s Christmas Oratorio concert was performed in the original German language. Rita Paczian conducted in part from the harpsichord.

At the time of his Christmas Oratorium’s creation still in his 40s, Bach channelled exuberant energy into the oratorio’s opening chorus “Jauchzet, Frohlocket”. It comes across like a solid ‘baroque-portal’ to the proceedings that follow. Mentally superbly prepared by conductor Rita Paczian, the chorus immediately embarked on a relentless fortissimo blast. The immediate Tsunami-like onslaught by a superbly voiced Bach Musica NZ chorus, where tenors and basses were particularly expressive, interpreted the underlying words so overwhelmingly, that their invitation to the audience to be joyful and to rejoice was ultimately compelling.

The mighty entry-chorus was stunningly and impeccably penetrated by solo-trumpeter Orson Paine, whom, on account of a sudden illness-cancellation, Rita Paczian had secured only in the very last moment.

Thus, the standard was set for an oratorio-performance of the highest calibre.  The immediate question was: will the soloists match that standard?

The initial answer was provided by Countertenor, Stephen Diaz, Alto, who decidedly took charge with his recitative “Nun wird mein lieber Braeutigam” – and immediately thereafter with his aria “Bereite dich Zion”. His assured voice was strong, dominant and of distinct clarity and beauty. His insightful collaboration with Alison Dunlop’s oboe provided an early concert-highlight. The undoubted competency of his performance was further enhanced by his brief part III recitative “Ja, ja, mein Herz” – a gemstone in this concert.

As he repeatedly did: Bach borrowed from his other compositions – and as in this case from his St Matthew Passion with the chorale “Wie soll ich dich empfangen”. In contrast this chorale was now most sensibly provided by the chorus and led to the introduction of Evangelist-tenor, Iain Tetley. Previously referred to as currently the best Bach-Evangelist in this country, he immediately stamped his authority on proceedings and provided an immaculate tenor-narrative in his recitatives and a convincing example of his beautiful, sustained voice within the difficult realm of Bach’s aria. This he extensively demonstrated in his “Frohe Hirten, eilt, ach eilet”, ably supported by Rita Paczian’s harpsichord and the solo-flute of Catherine Bowie.

Bass James Harrison had his noted introduction with his poignant aria “Grosser Herr, o starker Koenig”. He immediately provided another concert-highlight not only on account of his resonant and cultivated voice, but also on account of his voice’s doubtless authority.  Particularly notable also was his glorious collaboration once again with Orson Paine on piccolo-trumpet and the luscious support by the orchestra’s strings and woodwind. Simply breath-taking!

The chorus’ exuberant and glorious interpretation of the oratorio’s part II “Brich an, o schoenes Morgenlicht” chorale would easily make us believe that we were actually witnessing the beginning of a new day. Their confident and rigorous attack of one of the most difficult choruses in ‘musica sacra’, “Ehre sei Gott in der Hoehe”, was simply outstanding!  Rita Paczian provided no reprieve in her enduring tempi, energy and watchful eye. The chorus’ projection of the German language was excellent!

The soloist with the smallest workload was Soprano Joanna Foote. However, she did not need much exposure to demonstrate the distinct quality of her light soprano voice. Her brief ’Fuerchtet euch nicht’ announcement to the shepherds in part II was most convincing.

This was further endorsed by her part III aria in duet with James Harrison’s bass “Herr, dein Mitleid, dein Erbarmen”, passionately supported by Alison Dunlop and Alison Jepson oboes d’amore, Philip Sumner, bassoon and Michael Steer, double bass. Here, Joanna Foote leaves us in no doubt about her inherent musical intuition and the strength and encompassing beauty of her cultivated soprano voice.

The Bach Musica NZ orchestra once again came up to the highest performing-standard. Each orchestra-sector produced glorious music “from their hearts”. A special mention is deserved by Catherine Bowie and Christine Kim, flutes, Gemma Pilchen and Josh Webster, English horns, Orson Paine, Peter Reid and Matthew Verill, trumpets, Philip Sumner, bassoon, and by Michael Steer, the solitary double-bass. The unobtrusive but very important contribution of Caleb Goldsmith’s timpani should also be highlighted.

Rita Paczian once again had a lucky hand in retaining her orchestra-leader, on this occasion Miranda Hutton of NZ Barok fame.  She and her entire string-sections of 1st and 2nd violins, of violas and celli provided the final gloss.  Miranda Hutton herself shone in her solo-accompaniment of Stephen Diaz in his alto-aria “Schliesse, mein Herze”, superbly supported solo cellist Paul Mitchell and the chamber-organ-continuo of Elizabeth Lau.

A difficult year with Covid aftermath, Cyclone Gabrielle, life-style existential pressures, the political demands of a General Election and war in the Middle East has come to an end. We need moments of total respite and being brought in touch with avenues, leading us again to inner peace and the regaining of inner strength.

It can be suggested that Bach’s Christmas Oratorio and Bach Musica NZ’s performance of this beautiful music provide this momentary pathway at the doorstep to Christmas.

Responsible for enduringly providing this pathway is Bach Musica NZ Musical Director Rita Paczian, who next year in 2024 is approaching the 30^th anniversary of her amazing association with this outstanding ensemble.

                                                                        Rainer W. Buhmann

By 

William Dart

Countertenor soloist Stephen Diaz . Photo / Peter Jennings

The opening chorus of Bach’s Christmas Oratorio represents High Baroque splendour at its most electrifying. On Sunday night, it was a spectacular launch for Bach Musica NZ’s final 2023 concert, offering the first three parts of this Yuletide masterpiece.

A spirit of celebration filled the hall, a fitting tribute to the dynamic Rita Paczian who, for decades, with her loyal and well-disciplined musicians, has provided the city with an astonishing range of choral music, featuring some of the very best local singers as soloists.

Inevitably it was her 45 choristers who first caught the ear on this occasion, returning after interval to thrill us again, replacing uninhibited shouts of joy with scurrying contrapuntal pleas. Throughout the evening, their succession of chorales, each deftly individualised by Paczian and some with telling instrumental traceries, intensified the momentum to this Christmas narrative.

Bach Musica NZ at the Auckland Town Hall with conductor Rita Paczian. Photo / Peter Jennings

Iain Tetley, as Evangelist, was the storyteller par excellence, guiding us on Bach’s journey in buoyant, shapely recitative and breaking into glorious song for his aria Frohe Hirten, graced by Catherine Bowie’s lithe and finely articulated flute obbligato.

Bach was extremely specific in his instrumental colourings for this score. The eloquent pairing of Alison Dunlop and Alison Jepson’s oboes d’amore exerted a telling presence. Particularly when, over Philip Sumner’s sprightly bassoon, they accompanied Joanna Foote and James Harrison for one of Bach’s most demanding duets.

Soloists Stephen Diaz countertenor (left) and Iain Tetley as Evangelist in Bach Musica NZ’s final 2023 concert. Photo / Peter Jennings

Instrumentally, the star of the evening was trumpeter Orson Paine, called in at short notice and injecting the requisite celebratory blaze into proceedings. He was a memorable sparring partner for Harrison in the bass’ swaggeringly confident first aria.

Amongst the soloists, Stephen Diaz stood out as one might expect with a man who made musical history in this country as the first countertenor to carry off the New Zealand Aria Award and come runner-up in the Lexus Song Quest.

Diaz emanated the coolest of assurance throughout, characterising each of his three arias with consummate professionalism, effortlessly projecting a warm and burnished tone throughout the hall.

Bach Musica NZ choir and orchestra. Photo / Peter Jennings

Auckland Town Hall, 17 September 2023

Schubert Symphony No 8 “unfinished”
Vanhal Bassoon Concerto
Schumann Requiem

Rita Paczian Conductor
Philip Sumner Bassoon
Elizabeth Mandeno Soprano
Charlotte McDonald Alto
Lachlan Craig Tenor
Joel Amosa Bass

For their 3^rd concert in 2023 Bach Musica NZ and their Music and Artistic Director, conductor Rita Paczian, had courageously chosen a programme, that is seldom performed:  Johann Baptist Vanhal’s Concerto for Bassoon in C, Franz Schubert’s Unfinished Symphony No. 8 in b-minor and – as a New Zealand premiere and major work – Robert Schumann’s Requiem Op148 in D-Flat Major.

Vanhal’s Concerto for Bassoon and Orchestra proved to be an excellent choice for a concert-opener. The work’s lively and melodious profile had distinct Haydn-esc – if not Mozart-associated elements. Vanhal composed his bassoon-concerto during Haydn’s and Mozart’s lifetime. Endearing soloist Philip Sumner portrayed his art of a superb concert-interpretation and an assured mastering of severely demanding solo-parts on his 1929 Heckel bassoon with remarkable virtuosity – the bassoon being an instrument, which very seldom appreciates full concert-exposure. Whilst leaving generous space for the soloist to bring his parts to full, glorious fruition, Rita Paczian kept proceedings at a brisk and energetic pace – this to an eventually, heartfelt acknowledgement by an appreciative audience.

Franz Schubert’s Unfinished Symphony No. 8 in b-minor had its dramatic, somewhat foreboding pianissimo-entry, provided by the orchestra’s celli-section and the solitary double-bass of Michael Steer. It quickly emerged into one of the symphony’s glorious Leitmotivs, poignantly contrasted by the beautiful play of solo clarinettist Donald Nicholls and solo oboist Alison Dunlop.

Under the established prowess of concertmaster Yanghe Yu, the   Bach Musica NZ orchestra then exceeded with a most dramatic – yet luscious rendition of Schubert’s great work. At the podium, Rita Paczian, being fully immersed in the Symphony’s score, physically expressed every nuance and mood in respect of the work’s profound drama, romanticism and structure. Here, she was ably supported by Shane Currey’s timpani. It is respectfully acknowledged, that Rita Paczian conducted the Schumann Requiem without score, therefore memorising this extensive work in every detail.

She brought the symphony to its finale with the haunting pianissimo of the orchestra’s exceptional strings, woodwind and brass, thereby delivering another example of superb, sensitive music-making.

There are only two movements to this symphony.  Initially, several attempts were made in the music-world, to create a posthumous, generic third movement – but to no avail. In the end it was decided, to leave Schubert’s symphony ‘unfinished’- as it is – a status, which was inherently endorsed by Bach Musica NZ’s powerful and gripping concert-performance.

Robert Schumann’s Requiem Op 148 in D-Flat Major was composed in 1852.  It is therefore another most significant work of the ‘Early Romantic’ era, amazingly yet never before performed in this country.  Contrary to Schubert’s Symphony, Schumann’s Requiem is predominantly the domain of Bach Musica NZ’s once again exceptional chorus.

The Requiem’s beginning, its contained, almost romantic ‘Requiem aeternam’, moves quickly into the solemn and evocative ‘Te decet’,   to be followed by a dramatic and somewhat lamenting ‘Dies irae’.   The Requiem’s ‘Liber scriptus’ introduces us to the concert’s excellent four soloists, who add another dimension.

In ‘Cum vix justus’ Elizabeth Mandeno once again excels in her remarkable, clear soprano. Her beautiful voice has seemingly no limitation. Lachlan Craig thoroughly convinces with his steely and assured tenor and Joel Amosa adds strong foundation with his sonorous, authoritarian bass. Charlotte’s McDonald alto, an outstanding component in the ensemble’s delightfully performed ‘Cum vix justus’, shines particularly with her voice’s soulful timbre in her solo-aria ‘Qui Mariam absolvisti’.

A short, delightful dialogue between the trombones and the chorus in the Requiem’s ‘Domine’ to the words of  ‘Sed signifer sanctus Michael’  deserves a special mention.

The force, romanticism and passion of this work, exceptionally and forcefully transformed by Rita Paczian into the moulding of this impressive concert-performance, initially stands as an animated reflection of the composer’s happy marriage to his devoted wife Clara Schumann. But otherwise it disguises completely the on-going, health-related vagaries and challenges of his tormented life.

Rita Paczian ends this significant and eminently insightful performance of Schumann’s Requiem with the orchestra’s pianissimo-haunting of ‘Dona eis requiem’ and the momentary, total silence by a packed Town Hall audience.

                                                                        Rainer W. Buhmann                  

Auckland Town Hall, 25 June 2023

Poulenc Gloria
Rodrigo Concierto de Aranjuez
Vivaldi Guitar Concerto
Bramah Kai Pothio Kai Maomai (world premiere)

Rita Paczian Conductor
Barkin Sertkaya Guitar
Katherine Winitana Soprano

Photographs by Peter Jennings and Hans Weichselbaum.

William Dart, NZ Herald

Before a note had been sounded, Bach Musica NZ’s chairman, Peter Rowe, pointed out that tonight’s concert had suffered more than many through pandemic and other perils. Yet, in performance, under the indefatigable Rita Paczian, what followed was a most enjoyable evening.

Guitarist Barkin Sertkaya offered two concertos in the first half.

If he seemed slightly under-amplified, then perhaps it made us focus more closely on the rippling textures of Vivaldi’s D major Concerto, and then surrender to the melting translucence of its classic Largo.

Rodrigo’s Concierto de Aranjuez offered more scope for flamboyance, even if Sertkaya did not quite attain a triple forte after his beautifully sculpted cadenza. Throughout, Paczian’s customary energy kept orchestral colours bursting forth.

Tonight’s centrepiece was the premiere of Kai Pothio Kai Maomai by New Zealand composer Oliver Bramah. This was an ambitious setting of the ancient Greek poet Sappho, acknowledging LGBTQ+ politics in its programme notes, its flowing textures revealing Bramah’s interest in Hindustani classical music.

Listening to his atmospheric sonorities – Baramah, a member of this choir, certainly knows how to write for voices – one could not but feel spiritually uplifted. Mid-piece, florid exchanges between violinist Yanghe Yu and flautist Catherine Bowie brought in a touch of the dramatic, and the choral reprise, with full orchestral, was eminently satisfying.

Poulenc’s Gloria is a magnificent example of a composer finding joy in his faith, with dancing rhythms, piquant dissonances and lyrical melodies that languish in harmonic lushness.

Even with slightly cut-back orchestral forces, this was an exhilarating finale. Choir and orchestra fearlessly navigated the constantly changing time signatures that may well have inspired some particularly zesty body moves from Paczian.

The remarkable Joanna Foote took on its demanding soprano solo with only two days’ notice. Superbly and effortlessly projected without any sacrifice of sweet tone, this was a performance that would have given great joy to its composer as it did to tonight’s audience.

Rainer W. Buhmann

Last Sunday afternoon Bach Musica NZ’s Chairman, Peter Rowe, could not help but introducing Bach Musica NZ’s winter concert with the foreboding message, that because of winter- and pandemic related adversities, this concert had almost disintegrated.

Instead, orchestra and chorus emerged brightly, and their seemingly “indestructible” Musical Director, Rita Paczian, forged ahead – clearly supported by the loyalty and enthusiasm of orchestra and chorus.  An afternoon of challenging, captivating and beautiful music followed.

With Rita Paczian directing from the harpsichord, this afternoon’s solo-instrumentalist, classical Guitarist, Barkin Sertkaya, took the stage, performing Antonio Vivaldi’s Concerto for Guitar in D-Major (RV93).  Vivaldi’s reflective music prouced an expressed mellow blend between Sertkaya’s virtuosi mastery of his instrument and an equally responsive sound by the accompanying string players.

Antonio Vivaldi, responsible for converting the solo violin concerti of the time into an established and structured art-form within the tempi-framework of Allegro-Largo-Allegro, composed his Concerto for Guitar around 1730.  His Largo resonated most deeply with the Town Hall audience on this wintry afternoon, as appropriately it was the winter-theme from his ‘Four Seasons’ violin-concerto, composed ten years earlier, which he simply must have borrowed and inserted into his later composition.

For the second programme item the orchestra’s string players were joined by the woodwind section, horns, and trumpets and, under the impeccable leadership of concertmaster Yanghe Yu, adopted a greater scope of colour and vitality:

Spanish composer Joaquin Rodrigo’s Concierto de Aranjuez, once again featuring Barkin Sertkaya as a guitar soloist.

Virtually blinded from his 3^rd birthday, the composer created his work in 1939, acknowledging through his composition the beauty, graces, and splendours of the Gardens of Aranjuez – to his senses only partially accessible. The work has a melancholic stigma throughout, exquisitely brought to the fore by Sertkaya’s sensible and reflective guitar playing and the orchestra’s caring response!

The Concierto de Aranjuez is immediately identifiable by its contemplative second movement, widely adopted by contemporary and film music – and in this concert featuring a tender dialogue between Sertkaya’s guitar and the haunting Cor Anglais of Alison Jepson.

The concert’s 2^nd half was devoted to the World Premiere of NZ composer Oliver Bramah’s ‘Kai Pothio Kai Maomai’ and to the  ‘Gloria’  of French composer Francis Poulenc.

Featuring Oliver Bramah’s ambitious work is another example of Rita Pazian’s pronounced effort for diversification and inclusiveness.

In rather captivating tonal structures Bramah’s composition revolved around the teachings of Greek author Sappho, blended with Hindustani classical music.  The resulting work is ambitious and engaging, its melodious conclusion interspersed with a poignant dialogue between violinist Yanghe Yu, flautist Catherine Bowie and an engaged orchestra.  Oliver Bramah, a long-term chorister of Bach Musica NZ, accepted the audience’s sustained applause with great modesty and some bewilderment, as if he had not expected such enthusiastic response.

French composer Francis Poulenc’s “Gloria”, composed in 1959, can widely be regarded as a continuation of French choral tradition, going back to Camille Saint-Saens, Gabriel Faure, Oliver Messiaen and Maurice Durufle.  In his “Mass of six Movements”, Poulenc allows the diverse traits of his personality to find their full expression. Tonal structures range from the ‘rousing exuberance’ as in “Gloria in excelsis Deo”, some mischievous dissonances and staccato patterns of Carl Orff connotations to sublime majesty.

The dialogue between Chorus and Soprano in “Domine Deus, Rex Coelestis” is exquisite – the dialogue in “Domine Deus, Agnus Dei” unashamedly dramatic.

Outstanding soprano, Joanna Foote, took on her demanding and responsible solo-part with just 2 days’ notice, as the originally cast Katherine Winitana unfortunately had to withdraw on account of sudden illness. 

It was the assuredness and authority of Joanna Foote’s accomplished soprano, which added another element of depth to this Poulenc Gloria performance.   The work’s tonal might and majesty were clearly evident, when from an initial ‘fortissimo’ in “Qui sedes ad dexteram Patris” the dialogue ultimately remained in the hands of Soprano Joanna Foote, who concluded the work with her barely audible “Amen”, sung in a compelling ‘pianissimo’.

Bach Musica NZ once again delivered a concert to its loyal audience,

which was a triumph, a demonstration of unparalleled performing strength by its orchestra and chorus – underpinned by the uncompromised tenacity and commitment of its gifted Musical Director.

                                                                        Rainer W. Buhmann

Clare Martin

Cross-genre exoticism was the programme presented by BACH MUSICA NZ on Sunday evening at the Auckland Town Hall. The programme spanned sixteenth century Baroque to a New Zealand work written in the last few years drawing on Hindustani classical music. The cornerstone of the evening was Francis Poulenc’s Gloria, a partly self-taught French composer whose sound was both traditionally Catholic and irreverently modern.

Two well-known works led the way, our hearts won over by the opening – Antonio Vivaldi’s Concerto for Guitar in D Major. Soloist Barkin Sertkaya’s supremely eloquent tone was at times subdued by the scale of the Town Hall acoustic. The orchestra played with elegance, warmly led by the leader of the orchestra, violinist Yanghe Yu and artistic director Rita Paczian on the harpsichord.

The second work, Joaquin Rodrigo’s Concierto de Aranjuez burst into life with vibrant colours. The more robust Spanish style gave clarity and volume to the guitar sound. Here was a wonderful opportunity to hear an international-level soloist – Sertkaya’s performance abounded with beauty and flair. Cor Anglais player Alison Jepson led the ensemble into the Adagio section with exquisite tenderness.

Bravo to artistic director Paczian for championing young composers. After an interval, the half-full house heard the debut performance of Oliver Bramah’s Kaì Pothío Kaì Máomai. Based on ancient Greek Sappho’s poetic fragments, sung in modern Greek, this was a sensual work. An hypnotic chorus led into some beautiful lovers’ dialogues between flutist Catherine Bowie and violinist Yu. At times the excellent Bach Musica Choir’s voices were somewhat overtopped by orchestral writing in the same pitch-range. Intriguingly, the Hindustani classical tonality reminded me of Vaughan Williams’ Lark Ascending. Bramah’s impressionistic style captured an eternal yearning for love. The composer himself stepped out of the choir ranks with Paczian’s enthusiastic encouragement to take a bow.

The angular drama of Poulenc’s most celebrated work, his Gloria was next. I would guess some audience members found this a less accessible work. But it is a piece of sheer originality and energy and this was captured by Bach Musica. Despite smaller orchestral forces, Paczian drew expressive playing from the orchestra, leading off the Laudamus te section at an exciting clip.

The misterioso/other-worldly quality brought in the soprano’s Domine Deus part of the work. Soloist Joanna Foote stepped in with only two days’ notice to perform with astonishing assurance. Her upward rising phrases of “Domine Deus” were pitch perfect and shimmered with gold. Here Paczian drew out sorrowful depths from the ensemble. The evening was crowned by the triumph of the final movement Qui sedes ad dexteram Patris with an excellent blaze of brass sound and energetically-articulated text from the choir.

This evening has been a long time coming – the Pandemic had often interrupted Bach Musica’s performance schedules. But we were glad to have such a rich programme. The Auckland Town Hall rang with passionate sounds spanning five centuries and as many cultures.

Sunday 2nd April 2023, Auckland Town Hall

Rita Paczian Conductor

Alexandra Francis Soprano
Cecily Shaw Alto
Sid Chand Tenor Arias
Henry Choo Evangelist
Sam McKeever Christ
James Ioelu Bass

Rainer W Buhmann, NZ Opera

PASSIO SECUNDUM JOANNEUM,  Johann Sebastian Bach’s St John Passion, was performed last Sunday at the Auckland Town Hall by the Bach Musica NZ Orchestra and Chorus, conducted   –  at times from the harpsichord  –  by its Music Director, Rita Paczian. The work was sung in the original German language.

Ambitiously conceptualized and composed by Bach as his first major work, following his appointment to the position of Cantor at the Thomaskirche in Leipzig, it was premiered on Good Friday 1724. It therefore preceded his even more ambitious St Matthew Passion by 3 years.  At the time, Bach was in his prime. He was 39 years old.

In their respective formats, both Passions, St John and St Matthew are absorbed with the humiliating demise of Jesus Christ  –  initially in the court-proceedings chaired by Pontius Pilatus, when at first he renders Jesus Christ as innocent, but then ‘succumbs’ the coercion of the people, wanting some action  –  and finally during an extended period of unimaginable suffering, whilst nailed to the cross.

In both passions the chorus personifies both the raging crowd, accusing and terrorizing Jesus, as well as the philosophical onlookers from heaven with their grieving humility and empathy.                   

Bach’s St John Passion is a significant and complex work, requiring total commitment, responsibility and above average performing skills from orchestra and choir.

Bach allows only 17 bars of an insightful and somewhat foreboding introduction, when the Bach Musica NZ chorus bursts on to the scene with  “Herr, unser Herrscher”  –   At that very moment the audience receives an immediate reassurance that all will be well !  The chorus’ overwhelming authority and quality of sound eliminate any doubts. This experience is further heightened by the Evangelist, the story’s narrator,  sung by outstanding Australian tenor, Henry Choo, who superbly mastered a part that is fiendishly difficult.

From here-on in, Bach Musica NZ’s St John Passion grows from strength to strength.  In the alto aria,  “Von den Stricken meiner Suenden”, there is beautiful and captivating ensemble-playing by Alison Dunlop and Alison Jepson, oboes, and Craig Bradfield, bassoon, this in support of the refined alto of Cecily Shaw.  –   This is followed by the happily disposed, young soprano Alexandra Francis in “Ich folge dir gleichfalls mit freudigen Schritten”, for whom the higher ranges of her ‘cascading voice’ appear to be without limit.

The compelling aria “Erwaege, wie sein blutgefaerbter Ruecken”, powerfully sung by the young, engrossing tenor Shiddharth Chand was sensitively supported by the superb ensemble-playing of concertmaster Miranda Hutton and Joella Pinto (violins),  Paul Mitchell (cello) and Rita Paczian (harpsichord).

Amongst other undisputed highlights there is finally the heart-wrenching aria “Es ist vollbracht”, most convincingly presented by the warm and sensitive alto of Cecily Shaw,  poignantly supported by the beautiful viola-da-gamba-playing of Polly Sussex and the unobtrusive and dependable chamber organ accompaniment of organist Michael Bell.

Bach Musica NZ’s  St John Passion  received further support by the line-up of first-class soloists.

Once again: Henry Choo’s captivating and strongly assured tenor in the role of the Passion’s Evangelist clearly stood out.   His strength and stamina in leading the listeners through a massive work never wavered.  The varied shading of his voice, especially required in the compelling and gritty statement of lasting consequence: “Jesu von Nazareth, der Jueden Koenig !” was spine-tingling ! His pronunciation of the at times difficult ‘old’ German word was impeccable.

Soprano Alexandra Francis arrives at the oratorio-scene with ease and with the confidence of being able to contribute greatly. Her light, splendorous voice represented a considerable counterweight to the sadness and darkness of the passion’s proceedings. She justifies considerable expectation.

Cecily Shaw’s alto came to the fore in her second major aria rendition “Es ist vollbracht” .  Here, her warm voice sensibly reflected the sad conclusion of a devastating ‘human tragedy’.

Samuel McKeever’s  ‘Christ’  was equally dependable. His bass-baritone was strong and authoritative. His voice-projection, however, could at times perhaps have been more in line with the gentle and tolerant nature of the suffering Jesus Christ.

James Ioelu, bass,  convincingly sang one of the work’s most difficult arias (“Eilt”),  as his soulful rendition was repeatedly challenged by the choir’s continued interspersion with the question “Wohin ?”.    For this he must be duly acknowledged.

Arthur Adams-Close’s portrayal of the traitorous disciple Peter was believable and note-worthy.

Bach Musica NZ’s orchestra once again rested in the capable hands of concertmaster Miranda Hutton. And once again, it excelled !  Every orchestra section deserves genuine praise for skilful, committed and sensitive playing.  –   Michael Steer, the solitary double bass player, must be mentioned, and also flutists Christine Kim and Anna Cooper, adding a distinct glow to the soulful, concluding chorus:  “Ruht wohl, ihr heiligen Gebeine.”

And of course an equal measure of praise must go to the Bach Musica NZ Chorus  –  the bearer of an expressed responsibility.

There is no let-up in the chorus’ sound-quality and its phrased singing with strength and authority. From the utterly sensitive rendition of the heart-wrenching chorales to the fortissimo and ‘in-your-face’ rendition of the final chorale: “Ach Herr, lass dein lieb Engelein ….”  –   Bach Musica NZ’s orchestra and choir are simply amazing !

A humongous measure of acknowledgement and respect must go to Bach Musica NZ’s Music Director and Conductor, Rita Paczian. The chorus’ and orchestra’s notion, to grow beyond themselves, is clearly initiated by Rita Paczian’s artistic influence, her profound understanding of the music, her motivation and hard work.  The way she leads her artists when conducting goes beyond signs and signals.  Music takes hold and instigates an entire, physical immersion.  Within this process probably resides the Conductor’s ability to inspire and to extract from the artists more than they imagined being capable of.

The passion’s final chorale left the audience in momentary, stunned silence.  There is credence to the statement of one emotionally challenged, departing audience member, who said to his partner that to him this concert represented a very special   “star-hour”  in the history of Auckland’s performing arts  –  and that he was glad to have witnessed it !

                                                                        Rainer W. Buhmann

William Dart, NZ Herald

In 2014 Bach Musica NZ opened its season with Bach’s St John Passion and tonight the same
work launched this year’s concerts — which sign off in December with the same composer’s
Christmas Oratorio.
The audience’s enthusiasm was captured from the opening chorus, in which Rita Paczian
made it clear that this would be an evening of high energy and drama.
The choristers, singing in German, dealt out a succession of immaculate chorales and brought
a real emotional sway to Bach’s final moving chorus.
They were also integral participants in the work’s drama, with their gripping choral responses
to the beautifully paced and pointed narrative between the Evangelist, Pilate and Jesus. This
sequence was also heightened by the shift from terse continuo accompaniment for recitatives
to full Baroque orchestral splendour, which Paczian’s orchestra is well able to deliver.
Some in the audience may remember tenor Henry Choo as a mighty Evangelist six years ago.
Tonight, one felt that the Australian very much lives with this role, fine-tuning every
inflection and nuance of what is, perhaps, the ultimate Storyteller.
James Ieolu, as Pilate, impressed with his subtle, almost conversational involvement in the
musical dialogue, while also acquitting himself with fluency and style in two demanding
arias.
demanding arias.
Rita Paczian. Photo / NZME
Paczian is to be commended for bringing in young singers, recent graduates from our music
schools, on the brink of international study and making their names on the competition
circuit.
Bass Samuel McKeever as Jesus, used his considerable vocal resonance as an effective foil to
the more theatrical Choo.
Tenor Shiddharth Chand who just a few weeks ago was in the cast of NZOpera’s Unruly
Tourists, combined shading and showmanship in his arias, set against some of Bach’s most
imaginative instrumental backdrops.
Soprano Alexandra Francis brough a winning brightness to her “Ich folge dir gleichfalls”
whilst alto Cecily Shaw needed a little more projection for her finely phrased and considered
singing to be fully appreciated.

Sunday 11 December 2022 Auckland Town Hall

Bach Magnificat
Bach Jauchzet, frolocket from Christmas Oratorio
Bach Violin Concert in E
Bach Flute Concerto

Rita Paczian Conductor
Yanghe Yu Violin
Luca Manghi Flute
Elizabeth Mandeno Soprano
Wendy Dawn Thompson Alto
Lachlan Craig Tenor
James Harrison Baritone

Rainer W. Buhmann’s review

Bach Musica NZ’s last concert ‘Best of Bach’ saw Rita Paczian back at the helm and introduced two soloists:  the Bach Musica NZ concertmaster Yanghe Yu and the orchestra’s Principal Flautist, Luca Manghi.

An early concert highlight was Yanghe Yu’s performance of J.S. Bach’s Concerto for Violin and Orchestra in E-Major (BWV  1042).  He gave a truly masterful and captivating display of solo violin playing.  His soulful interpretation of the concert’s three movements was extremely sensitive and of great musical insight.

Displaying superb violin-technique, his irresistible and powerful rhythmic approach was astonishing, and his crisp semiquavers and sweeping arpeggios were captivating.  A special mention also goes to the delightful hesitancy in his sensitive approach to the final chord – thus, for a brief moment, committing the audience to a deafening silence and complete submission to his and the orchestra’s masterful music.

A fitting continuation was the first movement of Bach’s Christmas Oratorio (BWV 248) ‘Jauchzet, Frohlocket!’  It allowed Bach Musica NZ’s chorus to make its initial powerful mark.  And this it did – with its usual musicality, energy, joyfulness, and attention to detail.

In the second Bach concerto, the Concerto for Flute and Orchestra in e-minor (an assembly of BWV 1059 and BWV 35), Rita Paczian again conducted from the harpsichord.  Bach Musica NZ’s Principal-Flautist, Luca Manghi, was the soloist – a very gifted musician, with an assured, silvery sound.  He entranced the audience – at times literally showering it with glittering demi quavers – a musical feast!

Bach’s powerful ‘Magnificat in D’ (BWV 243) made up the second half of the concert. Bach Musica NZ’s chorus continued from where it left off earlier, now supported by four accomplished soloists. Elizabeth Mandeno’s soprano, augmented by the brief appearance of soprano and guest singer Sophia Young, was a delight.  Her voice is rich and soulful and in the higher ranges there appears to be no limit.  She displayed this especially in her solo aria ‘Quia respexit humilitatem’, accompanied superbly on Oboe d’amore by Alison Dunlop.

Mezzo soprano Wendy Dawn-Thompson demonstrated the rich timbre of her soulful voice, particularly in her aria ’Et exultavit spiritus meus’.

Lachlan Craig’s delightful and assured tenor voice and James Harrison’s authoritative bass-baritone in his aria ‘Quia fecit mihi magna’ gave this Magnificat performance a particular edge.

The chorus’ rendition of Bach’s Magnificat was an absolute gem!  As ‘Jauchzet, Frohlocket!’, the singers displayed their usual decisive attack, their expressive musicality, and a total mastery of the avalanche of semiquaver-runs, especially in the explosive ‘Fecit Potentiam’. The ensemble’s utterly liberating and fortissimo ‘Gloria Patri’ was an unequivocal concert highlight.

Bach Musica NZ’s orchestra under the leadership of Concertmaster Yanghe Yu fascinates time and time again with its high standard and professional competency. Whilst every orchestra member deserves individual focus, in this concert the crisp trumpets of Josh Rogan, Peter Reid and Hiro Kobayashi clearly stood out.

A huge vote of thanks goes to Rita Paczian for her sheer determination in overcoming all the 2022 impediments and for repeatedly bringing to her audience such phenomenal, musical delights of international standard!

                                                                                              

William Dart’s Review

Bach Musica NZ’s Best of Bach gives reason to rejoice. It carried with it an underlying theme of rejoicing, climaxing in the composer’s mighty Magnificat.

Two concertos on Sunday night featured soloists from the orchestra, with concertmaster Yanghe Yu giving us Bach’s E major Violin Concerto while Rita Paczian conducted from the harpsichord.

This was a compact performance, nicely measured at Paczian’s usual crisp pace. Yu’s phrasing was sensitively drawn, the occasional rushed awkwardness more than compensated for by his restrained but effective ornamentation.

A particular delight came in the Adagio, in which both eye and ear could enjoy the interplay of cello and harpsichord.

Bach’s E minor Flute Concerto, patched together from earlier works, has never totally convinced me. However, on Sunday night, its irresistible momentum coupled with Luca Manghi’s effortless cascades of notes made a most convincing case for it.

Punctuating these two concertos, an exuberant opening chorus from Bach’s Christmas Oratorio, primed us for what lay ahead after interval.

Bach’s Magnificat is one powerhouse of a piece, introduced with full ceremonial splendour. Its opening chorus was appropriately spectacular, with Josh Rogan’s trumpet riding atop the orchestral wave, and the sheer energy of the choristers bursting out into the hall; an energy that did not dissipate a whit in subsequent numbers.

The four soloists enjoyed Bach’s engrossing and challenging arias. Soprano Elizabeth Mandeno moved gracefully around Alison Dunlop’s oboe d’amore obbligato and, from her first aria, Wendy Dawn Thompson exerted her own authority, even if occasionally one wanted more naturalness in the musical flow.

Thompson’s duet with tenor Lachlan Craig was a highlight, harmonised against the sweet tones of Peter Watts’ chamber organ, as was Craig’s relaxed solo turn. Baritone James Harrison, in just a few minutes, provided models of both sculpted line and a confident low register.

The year 2023 looks to be a promising one for Bach Music NZ, with its December presentation of Bach’s Christmas Oratorio giving us the opportunity to hear its opening chorus in dramatic context.

Sunday, Sept. 18th, 2022, Auckland Town Hall

Astor Piazzolla: Adios Nonino and Escolaso
Gabor Tolnay: Symphonie 2019 (World Premiere)
Maurice Durufle: Requiem Opus 9

The highlight of Bach Musica NZ’s spring concert on September 18th
at the Auckland Town Hall, Maurice Durufle’s Requiem, was preceded
by the two somewhat contrasting concert items of Astor Piazzolla’s
Astor Nonino and Escolaso and the world premiere of Hungarian
composer Gabor Tolnay’s ‘Symphonie 2019’.
With this critic’s mind-set fully prepared for the complexities of
Durufle’s seldom performed Requiem, the preceding works were
therefore anticipated with some apprehension.
These hesitations were, however, quickly removed by Stephanie
Poole’s distinct Accordion-virtuosity. The assured mastery of her
instrument melting with the rich sound of the orchestra ensemble
was something of a revelation! The music plausibly conveyed the
‘joie de vivre’ and passion of the South American mentality – as it was
in the sensitive hands of Stephanie Poole, who – following the
completion of her concert-item – then took her place in the alto section
of the Bach Musica NZ Choir.
The world premiere of Gabor Tolnay’s Symphonie 2019 also came
initially across as a bit of an enigma. Now in the hands of the full
orchestra, its forceful musical expression, however, quickly attracted
the audience’s full attention. Its compository lines demonstrated
urge, purpose and beauty. Intelligently built around Franz Liszt’s
adaptation of Fantasy and Fugue on the theme of B-A-C-H, its rich
and rather unique ‘major’ chords sometimes even evoked Wagnerian
connotations. The composer, present at the launching of his work,
was rightfully thanked by the audience with sustained applause.
Maurice Durufle’s Requiem is often brought into connection with the
Requiem of his French countryman, Gabriel Faure, as both works are
the creation of formidable French composers and organists with
their distinct styles of composition and rhetoric. There are almost 70
years between the emergence of both works – Faure’s Requiem in
1880 and that of Durufle in 1948 – and this initially as an organ version.
Their side-by-side existence is often explained along the
lines that Durufle’s work is considered a modernised descendant of
Faure’s creation, leading the listener into the 20th century of French
choral composition.
As an icon of its relevant era, the Durufle Requiem stretches from the
‘mortalite mystique’ of its ‘requiem aeternam’-introduction via its uninhibited
outcry of ‘libera eas’ and ‘hosanna in excelsis’ to the
peaceful and all-concluding ‘in paradiso’ – an emotional ‘tour de force’

• a work calling out for outstanding interpreters, who are up to the
  task.
  Such musicians once again were found in Bach Musica NZ’s artists on
  Sunday afternoon. The Choir embraced this difficult work with
  bravura and sensitivity, with perception, skill and distinct musicality.
  A profound understanding of the work underpinned the variances of
  the Choir’s rich sound – in fortissimo as well as in their hushed
  pianissimo.
  Similar standards apply to the excellent Bach Musica NZ orchestra,
  once again under the assured leadership of concertmaster Yanghe Yu.
  The orchestra impeccably expressed and underlined the everchanging
  emotions of this demanding work, whose calibre of
  performance could only have been augmented by the inclusion of a
  Grand Organ, for which organist Maurice Durufle would obviously
  have made provisions in the original score. Undoubtedly, this
  instrument would have added to the work’s mysticism. Economics
  may, however, have forced Bach Musica NZ to choose an orchestral
  version.
  Robert Tucker’s cultivated baritone gave ‘hostia et preces’ a very
  believable, insightful expression. Elisha Hulton’s soulful and lyric
  mezzo-soprano provided a significant and restful pause from the
  work’s dramatic pace.
  Elizabeth Lau, Bach Musica NZ’s Deputy Music Director, stood in for
  Rita Paczian. She delivered a memorable concert-performance of the
  highest calibre. In guiding orchestra and choir through three
  contrasting works, Ms Lau demonstrated her own versatility and
  flair. Her secure guidance and generous artistic license provided for
  orchestra and choir, thus enabling them to give unrestrained and
  powerful renditions.
  Briefly returning to the Durufle concert-highlight, it has been
  established, that the composer dedicated his work to the memory of
  his father. His adoption of themes from the ‘Gegorian Mass for the
  Dead’, therefore establishes a link between his Requiem and the
  inevitable, eventual end of the human life – also highlighted by soloist
  Elisha Hulton’s haunting ‘Pie Jesu Domine’.
  With their concert-programming Bach Musica NZ therefore has
  unintentionally given a fitting and decidedly reverential tribute to the
  sad passing of Queen Elizabeth II.
  Rainer W. Buhmann

Georg Friedrich Handel
Oratorio SAMSON
Bach Musica NZ Concert Performance, Auckland Town Hall,
Sunday July 3rd, 2022
REVIEW
When Georg Friedrich Handel completed his immortal Oratorio “The Messiah”
after an utterly exhaustive spell of creativity in barely three weeks – and after
hardly having recovered from a stroke in 1737, the protagonist of Opera and
Oratorio at the time were convinced, that Haendel would now withdraw for a
while – or even retire completely, being almost 60 years old – and rest on his
laurels.
Instead – in 1743, and only one year after his “Messiah’s” rapturous success –
he was back. Now, he surprised the world once again with seemingly
undiminished energy and creativity – and his Oratorio “Samson”.
The Oratorio’s libretto is by Irishman Newburgh Hamilton, and it is based on the
Bible’s Book of Judges, Chapter 16. It delivers a somewhat static plot, as it
revolves entirely around the ailing Israelite Judge Samson, who has deceitfully
been robbed of his super-human powers by his Philistine wife Delilah. During
Samson’s sleep she cuts of her husband’s long hair – the source of his
enormous strength. Subsequently being overwhelmed by his enemies, Samson
has also lost his sight and has been imprisoned. He now laments his atrocious
situation, the awful deprivation of his vital sense – the platform for Bach Musica
NZ to inject what ever life possible.
Their initial steps into this difficult territory appeared to be cautious and
hesitant. It is not quite clear, whether Choir and Orchestra either sympathised
with Samson’s ordeal – or attempted to finding their feet again after a Covid enforced
hiatus of almost two years. A loyal Bach Musica NZ audience would
have received their answer a the latest with the Choir’s “Awake the trumpet’s
lofty sound !” Here, they were back again with their musical prowess, precision
and energy – ably supported by an equally capable and determined Orchestra.
The scene was set for the attentive audience to be entranced by musical
splendour.
Tenor Andrew Grenon in the difficult role of Samson was responsible for
opening the dialogue. He quickly lost his initial shackles of nervousness and
proceeded to dominate the scene with his steely and assured, fine voice. With his
“No sun, no moon” he demonstrated great emotional versatility and with
considerable energy and phrasing he convincingly portrayed Samson’ s ordeal.
As Samson’s father, Joel Amrosa’s , Bass, provided a very tender contrast. He
also very convincingly demonstrated his role of a loving father. His thoughtfully
presented “For thee, my dearest son” articulated a lyric side to his voice, which
was especially soulful in its lower registers.
In her Soprano-part as Dalila, Joanna Foote immediately took a convincing hold
of her demanding role. With her light and cultivated Soprano she articulated an
additional musical dimension and forcefully sailed towards her Samson identifying
aria “Let the bright Seraphim” , sensibly supported by Trumpeter
Stephen Bemelman , where she re-kindled “Kiri Te Kanawa-connotations” from
1981.
Katie Trigg as Micah took on her Alto-part on short notice, following the illness related
cancellation of Kate Spence. Also having to overcome initial nervousness,
this, however, did not deter her from eventually unfolding her substantive and
commanding Alto-voice, providing an intriguing and dramatic contrast to the
dialogue. As a persuasive tenderness in her voice is also an ingredient, this
emerged almost as an unexpected surprise in “Ye sons of Israel” !
As Samson’s jailor, the Philistine giant Harapha is by nature aggressive and evil.
Samuel McKeever , Bass-Baritone, characterises these attributes with great
authority. His powerful and dramatic voice, coupled with a distinct ability of
seemingly limitless phrasing, points at a great future for this young singer.
Rita Paczian’s ability to fill brief cameo-parts convincingly from within the choir
(Emma Roxburgh and Herman Theron) , is testament to its super-standard.
It appears, that in his Samson, Handel cannot entirely shed his distinct Opera background
from his “Italian years”. Therefore, it has been widely accepted, that
Samson represents an Oratorio, with distinct operatic elements – but at the time
written and presented in its current format, therefore successfully passing the
strict verdict of the Church of England.
Bach Musica NZ’s Orchestra under Concertmaster Miranda Hutton once again
rose to the occasion, providing Soloists and Choir with an outstanding and
dependable platform. A second double-bass for the Orchestra fell probably
victim to difficult times. The Chamber Organ’s high register producing a
recorder-like sound to restfully underpin Samson’s funeral-march, provided a
distinct highlight !
A huge vote of thanks and praise for Bach Musica NZ’s Maestra, Rita Paczian,
who in parts conducted Choir and Orchestra from the Harpsichord. Her
determination in keeping alive Choir and Orchestra during this destructive
Covid-pandemic, what in the meantime can surely be described as a Cultural Icon
here in Aotearoa New Zealand, must elicit utmost respect, acknowledgement and
gratitude !
At this memorable concert’s finale, Bach Musica NZ’s Choir and Orchestra shone
once again exuberantly with “Let their celestial concerts all unite” –
a demonstration of choral superiority and reverence to the composer.
The concert ended to a momentarily stunned audience and their standing
ovation in an almost booked-out Auckland Town Hall.
Rainer W. Buhmann

A night of opera choruses and arias performed live in the wake of the peak of Omicron was the miracle delivered by Bach Musica NZ at St Matthew-in-the-City, Tamaki Makaurau/ Auckland. A miracle because choral singing has proven to be a super-spreader of Covid and was avoided like, well, the plague. Almost exactly two years ago to the day of this concert, Aotearoa first went into level four lockdown. And for almost two years Bach Musica NZ and groups similar have had to cancel programmes and attempt to reschedule when it was safer, knowing that they need a minimum audience to break even. With all income kneecapped, performing arts groups fell into serious jeopardy.

But in order to weather these storms, Bach Musica devised some shrewd strategies. Down-sizing from the usual Auckland Town Hall to the smaller but amplifying acoustic of St Matthew-in-the-City would have cut a chunk of costs, I’m sure. Saturday night was without the usual orchestral forces and therefore those extra costs were saved too. One feels for the pockets of the missing instrumentalists, but we had the full range of colour supporting the voices from the deeply impressive pianistic and artistic skills of Lindy Tennent-Brown.

With the programme being mainly carried by the operatic soloists and Tennent-Brown on piano, we didn’t have the usual generous dose of the very excellent Bach Musica NZ choir. But this is understandable given the scarcity of rehearsal opportunities in recent months. And the choruses we had were sung with the choir’s hallmark pliable musicality. “Andiam! Andiam!” from Leoncavallo’s I Pagliacci was a sparkly choice for an opener even if there wasn’t an operatic-sized sound. The choir was lively and engaged when accompanying a charming Alexandra Francis in Die Fledermaus’ “Mein Herr, Marquis”.

A shining gem of the evening was the highly technical “Glitter and be Gay” from Bernstein’s Candide. It was sung with exquisite extravagance by soprano Amelia Berry. Wonderful to hear Berry’s voice again since I last heard her in La Boheme with NZ Opera in 2018. Her tone has filled out without losing her extraordinarily brilliant top notes. And a nicely paced duet from Verdi’s La Traviata with the pleasing voice of tenor Taylor Wallbank makes me wonder when Berry will get an opportunity to prepare the role of Violetta.

This evening would not have been possible without the tenacity and talent of artistic director and conductor Rita Paczian. Bringing an event together in these times was gold-medal worthy. Together with pianist Tennent-Brown, Paczian designed a programme that didn’t fall into the sugar-trap of classical bon-bons but included pieces we often don’t get to hear performed in Aotearoa. The excerpt from Benjamin Britten’s Peter Grimes maybe didn’t work as well, being cauterised from its context but it gave opportunity to hear Amanda Atlas’ powerfully emotional soprano voice. Despite Tennent-Brown’s ability on the keyboard, I really missed an orchestral uplift to give wings to the Trio from R. Strauss’ Der Rosenkavalier. Nevertheless, it was sung with poise by Atlas, presence and line from mezzo Sarah Court and Berry once again.

All photography by Peter Jennings

A treat to hear Patrick Power’s tenor tones. Singing “E lucevan le stelle” from Puccini’s Tosca with such tenderness from a veteran was inspiring. Performing a lesser-known Puccini aria – “Questo amor, vergogna mia”, baritone James Harrison sang with a warm and secure tone.

And to finish the evening, Paczian brought the choir to its feet to perform one of the most beautiful choruses ever penned – “Regina Coeli” from Mascagni’s Cavalleria Rusticana. Along with warmly received compering from Murray Shaw, this book-ended the evening beautifully. With the soloists adding operatic gusto to the choir, here we had a real taste of an opera gala with united voices rising to the heights of St Matthew-in-the-City’s stone arches. And with a touching encore of Va Pensiero dedicated to the people of Ukraine, it was almost rude to be spilled out into the night of the City with its traffic and sirens. I can’t wait to hear more from these very alive voices. You can catch Bach Musica NZ again when they perform Handel’s Samson later this year.

St. Matthew Passion (BWV 244)
Performed by ‘Bach Musica NZ’
Music, Artistic Director and Conductor: Rita Paczian
Auckland Town Hall, Sunday, April 11th, 2021

Rainer W. Buhmann, Auckland/Orewa

It was in 1723, when Johann Sebastian Bach applied for the position of Director of Music (Kantor) at the Thomaskirche in Leipzig. Other applicants were Georg Phillip Telemann, Hamburg, and Christoph Graupner, Luxembourg, a renowned composer and harpsichordist at the time. The City Councillors openly conceded their preferences, and it was not Johann Sebastian Bach.

Telemann’s Hamburg-employers, however, significantly increased his salary, which could not be matched by the Leipzig City-fathers, and Christoph Graupner was not freed from his employment-obligations.

By default, the choice therefore fell on Johann Sebastian Bach, who at the time was a lowly regarded court-musician at the Principality of Coethen. The Leipzig City-fathers openly declared defeat – and that under duress they had settled for ‘mediocrity’.

Bach had to accept employment conditions such as agreeing to writing compositions, which were not too long and most certainly remained within the realms of established church-musical tradition. His compositions were also not permitted to venture into opera-inspired vanity and glamour.

How Bach interpreted such constraints in his own way, became noticeable by the performance of his official ‘trial-composition’, performed in Leipzig’s Thomaskirche on Good Friday 1723: the St John’s Passion.

It dawned then on Council-officials and parishioners, that with the demonstrated musical depth and prowess of their new Kantor they might be confronted with Church-music thus far unknown – but most certainly not containing the elements of mediocrity.

The pettiness and small-mindedness of his superiors continued in Bach’s employment. He was, however, undeterred. He demonstrated his unbelievable strength and resourcefulness by composing a new Cantata for almost every Sunday. Between 1725 and 1729 he quietly worked on larger projects, including another Passion.

The unsuspecting Leipzig City-fathers, the Thomaskirche-congregation, and his own followers he surprised with a completely new creation. On Good Friday 1729 he premiered the very Oratorio, which we were privileged to hear last Sunday (11.4.2021) at a packed Auckland Town Hall: Johann Sebastian Bach’s St Matthew Passion.

​And what a privilege it was! With their first concert in 2021 Bach Musica NZ under their Music- and Artistic Director, Rita Paczian, and with their first bars of the rendition, immediately – and once again – expressed their musical prowess, their competency, energy and authority, leaving their audience in respectful silence.

The Bach Musica NZ choir and orchestra demonstrated a deep knowledge and understanding of the work, which clearly enabled them to give a most knowledgeable and memorable performance – and this in the original German language. A tribute to Rita Paczian for this decision, as Bach would clearly have been influenced by the German word, when he composed his music.

For the performance of his monumental work the ambitious Bach had decided on two choirs and two orchestras, possibly guided by the architecture of Leipzig’s Thomaskirche – but creating a tight situation on stage at the Auckland Town Hall.

The preparation of this 3 ½ hour concert would, under the prevailing circumstances of Covid-19, not have been without organisational challenge or drama. For a start: the soloist in the role of Christ had to be replaced on super-short notice. The saviour was bass-baritone Paul Whelan, Christchurch, and with his introit “Da Jesus diese Rede vollendet hatte… “ the audience knew that they could put their trust and confidence into this fine soloist with his sonorous opulence and authority.

In his St Matthew Passion Bach exposes in part the frailty of the human mind versus the overpowering effect of the masses’ will, as this is demonstrated by Pontius Pilate. He engages his choirs by equally being Jesus’ accusers and defenders. Bach has touched on a phenomenon that is still prevalent more than 2000 years later.

To explain the intricacy of such a phenomenon, that required an untiring narrator, an Evangelist, who would be capable of plausibly telling the story over the entire duration of the concert. He was found in Iain Tetley. On account of his vocal strength and versatility he advanced to one of the evening’s super-stars. Initially relying on the expressed lyrical side of his fine tenor-voice, he suddenly introduced urgency and ‘steal’ in “Und er kam und fand sie aber schlafend” – and thus the audience had become fully aware of Iain Tetley’s full versatility.​ To overcome the fiendishly difficult tonal and emotional mood-swings of his part, this required the sustainability of an outstanding vocal artist, capable of delivering the subtleties of his narrative under pressure and with tonal beauty and persuasion. Ian Tetley was able to demonstrate both, and conceivingly he can currently be regarded as New Zealand’s finest Evangelist.​

​Paul Whelan deserves a second mention as an outstanding and believable Christ, who with the tonal generosity and fullness of his voice significantly added to the enormous impact of this performance.

Elizabeth Mandeno was another bright star of the evening, as she delighted with her clean and assured soprano, to which the upper register appeared to be without limit. In the well-known “Ich will dir mein Herze schenken” Miss Mandeno demonstrated remarkable tonal beauty and agility. Her collaboration with Flute and Oboe in “Er hat uns allen wohlgetan” and “Aus Liebe will mein Heiland sterben” was one of the evening’s highlights. Quite apart from being successfully involved in NZ Opera, Miss Mandeno could clearly present herself as one of New Zealand’s finest baroque specialists.

The mezzo-soprano of Catrin Johnsson provided additional delights to the evening. Her vast experience in the fields of opera and baroque were evident. Her entries into the higher regions of her mezzo-soprano were taken with greater ease, than those into the lower register. Her “Du lieber Heiland du” and “Buss und Reu knirrscht das Suendenherz entzwei “were very convincing, Her aria-interchange with the choir. “Ach, nun ist mein Jesus hin”, as well as her recitative “Erbarm’ es Gott” were believably mournful, and her duet with the soprano, “So ist mein Jesus nun gefangen” was simply captivating. Her aria in the 2nd part, “Erbarme dich” – accompanied by the exquisite solo violin of Miranda Hutton was simply spellbinding.​

Lachlan Craig left a significant mark as First Priest. With his lyrical tenor-voice he made a notable contribution, to the ensemble and to the evening. His interchange with the choir “Ich will bei meinem Jesu wachen” provided clear evidence of a distinctly promising artist.​

In his baritone-contribution as Second Priest and Pontius Pilate William King made the audience pay particular attention. Another promising young artist had justifiably been given soloist-responsibility by Bach Musica NZ, and the soloist discharged this responsibility with style. His Pilate was believable and authoritative – yet slightly troubled, owing to Pilate’s arbitrary handling of his situation. Another unquestionable highlight of this evening was his assured rendition of the most demanding aria “Gebt mir meinen Jesum wieder” – accompanied by the incredible solo-violin of Joella Pinto – an artistic collaboration of the highest order. A beautiful bass-baritone voice with warmth and persuasion. William King – a young artist seriously in the making.

Bach Musica NZ’s choir was augmented by a large Ripieno-Ensemble, the Auckland Girls’ Choir (Director: Gina Sanders). This young choir brought distinct brightness to the evening – but this with an element of timidness.
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Already with their commanding introduction “Kommt ihr Toechter, helft mir klagen,” the concert-goer was once again left in no doubt about the choir’s
quality and competency – as well as of an obvious harmony in the communication between choristers and conductor. Superb tonal quality, emotional phrasing, rhythmic precision and agility and confident ‘attacks’ at
every choral entry were abundantly evident. The choir expressed total cohesion and became an instrument in itself – and this in the hands of their energetic and exemplary conductor. Conductor and choir were on top of the situation! It was a masterpiece!

As mentioned before – assuming both the roles of Jesus’ accusers and defenders (“Weissage uns Christe” versus “Wer hat dich so geschlagen!”) the choir mastered all emotional nuances in admirable tonal diversity and ferocious precision. Examples are: “Lasst ihn, haltet, bindet nicht!” and “Sind Blitze, sind Donner in Wolken verschwunden!” Their expression of unadulterated hatred as in “Barabbas!” was simply arresting and chilling!
The choir’s subtle, but conscious ‘ritandardos’ at the end of the Passion’s famous choruses and as directed by Rita Paczian, were particularly thoughtful and sensitive.

The artistic depth of Bach Musica NZ’s choir was further demonstrated by the fact, that no fewer than five soloists emerged from their ranks to cover minor principal roles in admirable fashion.

It is a masterpiece in itself, that Rita Paczian manages time and time again to assemble an orchestra of skilled, competent and virtuoso musicians equal to those qualities in the choir. Whilst the combined orchestras I and II under the leadership of Concertmaster Miranda Hutton rose to a remarkable performance, her beautiful solo-accompaniment of the alto’s “Erbarme dich” warrants a special mention – as does the previously mentioned violin-virtuoso accompaniment by Joella Pinto in “Gebt mir meinen Jesum wieder”. Her impeccable rendition of demi-semi-quaver notes at lightning speed, but by maintaining sensitivity and artistic integrity to the content of this mournful aria throughout her rendition, were simply outstanding.

Also mentioned must be the oboes of Alison Dunlop and Alison Jepson and the players of their sections, the flutes in both sections, the unobtrusive and dependable organ-continuo of John Wells and Philip Sumner’s bassoon. The cello of Raeul Pierard and his forlorn solo quint during a ‘tacet’ of the entire orchestra and as an acknowledgement of Jesus’ death on the cross were decidedly arresting. The Bach Musica NZ orchestra’s amazing competency, its dedication and tonal beauty must clearly and gratefully be emphasized once again!

Not only was Maestra Rita Paczian the guiding heart and soul in this Oratorio-performance, she also brought to bear her own virtuosity in taking on the

​harpsichord-continuo for the Evangelist and the choir when she directed from the instrument. With her seamless, impeccable, and energetic guidance ‘from the podium’ Miss Paczian show-cased in addition, that in musical terms she is in a class of her own.

The St Matthew Passion was meant to be Bach Musica NZ’s first concert at the same time last year. The Coronavirus prevented the go-ahead at the time. We must be grateful to choir and conductor, to orchestra and soloists, that they maintained their artistic focus and energy to bring to their audience a remarkable work in an outstanding performance even one year later.

It is conceivable, that when Bach premiered his immortal work in Leipzig almost 300 years ago, that the quality of his concert would have been eclipsed last Sunday by that of Bach Musica NZ‘s rendition – and this in remote New Zealand!

Rainer W. Buhmann, Review

“Conductor and Choristers, suitably adorned with colourful bird-feather-accessories, displayed a compelling commitment and enthusiasm for the work, which were equally demonstrated by the four Soloists. Jessica Wells’ assured and soulful Mezzo presented a rewarding partnership to the narrator’s lyrics. Dilys Fong’s Mezzo, Harry Grigg’s Tenor and Angus Simmons’ Baritone provided authoritative and expressive interpretations of the work’s content, apart from convincingly demonstrating their own artistry: emerging, spirited and talented young artists with obvious potential.

A word of acknowledgement and praise also to Bach Musica NZ’s Choir and Orchestra: As could be expected, they continued to showcase their class and provided an absolutely reliable foundation for the performance of the two ‘diverse works’ and for that of the contributing soloists. Predictably, Choristers and Orchestral Musicians superbly demonstrated their outstanding individual musicianship under Rita Paczian’s energetic and demanding leadership from the podium.”

Clare Martin, Radio 13

“Rita Paczian and Bach Musica NZ gifted us a timeless expression of grief and triumph from the stage of the Auckland Town Hall last night… Performing Bach is not for the faint-hearted musician, it is technically as tough as it gets, Bach Musica NZ rose to the occasion with a huge depth of resonance and expressiveness.”

Rainer W. Buhmann, Review

“Bach Musica’s declared disciples have become accustomed to Rita Paczian’s astonishing music-making of the highest order. It is in this frame of mind, that her loyal audience would have paused in anticipation of the performance of the b-minor Mass, a musical creation almost beyond the realistic borders of the human mind and comprehension and stretching the capabilities of the performers… What followed was a spell-binding rendition of a work, interwoven with great energy, vibrancy, tenderness and beauty – an immortal work, for ever leading to new discoveries and insights.

Rita Paczian’s alert, sensitive and understanding leadership from the podium and the harpsicord clearly supported her musicians in this sublime process – thereby lifting their horizons. The tonal intricacy, the almost incomprehensible composite structure of ‘Cum Sanctu Spiritu’ was spell-binding and a true demonstration of the Bach-Genius. It was performed by Bach Musica NZ as the great Master would have wanted it done.”

William Dart, New Zealand Herald

“Bach Musica NZ’s Christmas Surprise concert delivered delights above and beyond seasonal expectations… For almost 20 minutes, one was spellbound by Snell’s navigation of Wagner’s merciless melodic manoeuvres and thrilled by O’Neill, singing without score and adding a palpable theatrical dimension. After the saturated palette of Wagner, Gounod’s St Cecilia Mass was almost transparently clear, a delicate French watercolour beside Wagner’s rich Teutonic oil. It was the perfect vehicle for Paczian’s very able choir and orchestra, from the firm, clarion harmonies of the Kyrie eleison to the striding confidence of the Credo.”

Clare Martin, Radio 13

“Bach Musica delivered a veritable box of Christmas bon-bons last Sunday night at Auckland’s Town Hall. At the centre of the selection was an excerpt from Richard Wagner’s Parsifal in an evening that had something for everyone.

Paczian coaxed sweetness from the strings at a perfect tempo. Even though this orchestra was playing Bach at a modern concert pitch on modern instruments, it still had the light touch and elegance of a baroque sound.

At this point, Paczian showed her dazzling ability with orchestra…for not only did she switch into Wagner in the middle of the programme, but she had undertaken her own arrangement of this scene in order to suit the smaller band. No mean feat on either score. She drew such warmth and colour from the orchestra, proving that a small instrumental force can give due gravitas and depth to Wagner, normally performed with large orchestral numbers.

There is no need to pause for thought if you want to try a classical concert… next time Bach Musica is performing, go! Whether you’re a Wagner fan or not… or don’t know a Gounod from a body part… here is vocal and instrumental playing of New Zealand at its finest under one of the finest conductors. Try and you will not be disappointed.”

Rainer W. Buhmann, Review

“Having grown to approach any Bach Musica NZ Concert with high expectations, in Sunday’s Christmas Surprise Concert, this formidable choir, orchestra and their conductor raised the bar yet again… With international NZ star tenor, Simon O’Neill, as soloist, it clearly embraced the Christmas spirit. By this time the audience was equally drawn into this spirit and opened their hearts and minds to choir, orchestra and an almost mesmerizing conductor: Rita Paczian.

Charles Gounod’s Messe Solennelle offered a happy and transparent contrast to Wagner’s ‘broody deliberations’. Gounod’s joyous music now provided choir and orchestra with a solid platform to demonstrate their extensive musical prowess in total and credible exuberance! And so we were privileged to listen to a choir, whose tonal projection and rhythmic interpretation, whose clarity, diction and sensitive dynamics were second to none and easily on par with the great Baroque-Choirs of Europe.

Supported by exuberant orchestra-playing and choral-singing the soloists trio, comprising the glorious soprano of Alexandra Gandionco, the assured and aspiring tenor of Manase Latu and the sonorous bass of Martin Snell, invoked a spirit of happiness within the audience, and a satisfying acknowledgement, to have such superb musicians in town!”