Concert Review: Auckland Philharmonia Orchestra, Auckland Town Hall

The star of the evening was conductor Roy Goodman. Photo / Supplied

The fact that the St Matthew Passion was created by a man instilled Aldous Huxley with hope for humankind. Leonard Bernstein hailed it as one of the "divine dozen" masterpieces of all time.

On Thursday, the Auckland Philharmonia Orchestra was rewarded with a full house for its presentation of Bach's ultimate masterpiece, probably occasioned by Teddy Tahu Rhodes appearing as Christus.

While Rhodes was at his sonorous and authoritative best, favouring the stern over the tender, the star of the evening was conductor Roy Goodman.

Goodman's abiding love for this score came through in every note - from the immaculately articulated weave of the opening chorus.

The University of Auckland Chamber Choir brought welcome, youthful vigour to the occasion, with firm solo turns from its singers. Chorales were exquisitely finessed, phrase by phrase, echoing the poetry in the English texts projected above the stage.

Thanks to Goodman, this orchestra that, only a fortnight ago, was storming through Wagnerian seas, was transformed into a convincing Baroque band.

Alongside the alert and stylish continuo of James Tibbles and John Wells, orchestral musicians also contributed moments to cherish. Dimitri Atanassov's solo in Erbarme dich was ravishingly lovely and the oboists, with a formidable array of instruments, were outstanding.

Mezzo Susan Bickley instilled confidence with the finely realised lines of her first aria, soprano Rebecca Ryan was relaxed and buoyant in the florid writing of Ich will dir meine Herze schenken and tenor Paul McMahon effortlessly lyrical in Ich will bei meinem Jesu wachen.

If bass Conal Coad occasionally lacked tonal focus in his arias, there was compensation in his dramatic portrayal of Pontius Pilate.

Ian Honeyman quivered and gesticulated as the Evangelist, swooping his voice from Sprechtstimme snarl to the purest head tones, making a convincing argument for this work being considered as Bach's opera manque.

Finally, how nice to be reminded, by the wonderful Laura Vaughan, who gave us French Baroque music with Goodman and the APO a few years ago, that Bach's demanding viola da gamba parts are eminently playable.


What: Auckland Philharmonia Orchestra.

Where: Auckland Town Hall.