KEY POINTS:
There was much to admire in Bach Musica's St Matthew Passion on Sunday, in particular the ever-energetic choristers and the ever-loyal audience base.
Bach's opening chorus was certainly impressive; conductor Rita Paczian's beat was sure and there were premonitions of tragedy to come as choral and instrumental lines clustered in on one another.
The Kristin School Ripieno Choir let their chorale tune ring out with conviction.
Henry Choo's neatly-sung Evangelist and Grant Dickson's weathered but moving Jesus then initiated the well-known narrative.
However, as the work progressed, Choo did not engage as dramatically as one might have hoped. The affability which was an asset in last year's Elijah was not so apt and Dickson was often saddled with grim string intonation behind him.
Alto Kate Spence was fortunate in having the more melodious flutes for her first recitative and aria, reaffirming what a rare gift she has in penetrating Bach's often tortuous lines and making them sound natural and effortless.
While Gina Sanders' dress seemed a little frivolous for the occasion, her soprano was clear and reliable, apart from a momentary strain in Er hat uns allen wohlgetan.
In 2007, Hans-Georg Wimmer was the central force in Bach Musica's St Luke Passion. The German bass-baritone has a full command of this idiom, which could be heard in the expert phrasing of Erbarm es Gott.
While the valiant divided orchestras of Bach Musica had the spacious cathedral acoustic working in their favour, intonation and ensemble were not always secure.
Along with the reliable playing of musicians like Luca Manghi and Alison Jepsen, not to mention idiomatic continuo from James Tibbles on organ and Paczian herself on harpsichord, there were some regrettable solo turns.
The obbligato parts for violin in Gebt mir meinen Jesum wieder and viola da gamba in Komm, susses Kreuz were simply inadequate for what was required.
On this occasion, no one seemed to have worried too much about cutting the big tenor aria Geduld Geduld. Perhaps a few other judicious excisions could have been considered, obviating musical embarrassments and making an evening that ran at almost three hours without interval a little shorter.
What: Bach Musica
Where: Holy Trinity Cathedral
Reviewer: William Dart
