Image: ©️ Wouter Maeckelberghe
This is the third performance of the Johannes-Passion Philippe Herreweghe and the Collegium Vocale Gent have recorded. The first, form the mid-1980s, was a lovely attempt on period instruments performance, that used bigger forces in the choir parts and was altogether more naive in nature, maybe documenting a group that hasn’t yet established a distinct style and character. The group’s second 2001 recording (both were released by Harmonia Mundi) presented a similar style and approach to what we have in this new recording, only Herreweghe chose to perform the early 1725 version in the earlier attempt, a version with different opening choral and some additions or omissions of arias. The current version gets back to the most often performed canonic version, established as a hybrid of the four documented performances made by Bach.
Generally speaking, Herreweghe didn’t dramatically rethink his approach to the Johannes-Passion in the 20 years since the previous recording. It is still an intimate performance, one that tries to impress with lean focus rather than with forced grandeur. The choices of soloists are also similar in style – Evangelist Maximilian Schmitt and Jesus Krešimir Stražanac are both lyrical, modest narrators that perform their roles with touching reserve, as Mark Padmore and Michael Volle did in the previous recording (Howard Crook and Ulrik Cold in the first version were efficient but rather one-dimensional). One noticeable advantage this new recording has over its predecessors is the arias, where soloists and orchestra work in much closer collaboration. Star Alto Andreas Scholl was impressive as always in 2001, but Damien Guillon’s dialogues with his accompanists are noticeably more attentive. A special nod should be given to Robin Tritschler, who gives an emotionally charged rendition of the tenor arias.
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- Review: Bach – St. Matthew Passion – Bach Collegium Japan – Suzuki (2020)
- Review: Handel – Brockes Passion – AAM, Richard Egarr
- Review: “Passions” – Les Cris de Paris, Geoffroy Jourdain
As for the choir and orchestra, a handful of singers and players remain in the ensemble from the 2001 version, which can explain the remarkable consistency of sound and color of the veteran Collegium. The choir is more uniformed in their delivery this time over, and that can be good or bad – the 2001 version had a couple of soprano and alto which protruded over their groups. This brought some uneasy listening experience at times, but also gave the crowd scenes and some of the chorals some additional dramatic effect. The crowd scenes in the new recording are more restrained and chorales more delicate, but which delivery works better will be a matter of taste.
Judging this new Johannes-Passion in its own right, you’d find a flowing, deeply felt and superbly executed period instrument performance by choir, orchestra, and soloists. The main objective seems to let the music be heard as naturally as possible, letting the listener fully appreciate the unfolding story without intrusive musical decisions. If you’re looking for a more “original”, dramatic or even divisive versions, try some of the alternatives listed below. The recording, made in March 2018 at deSingel, Antwerp, is excellent.
Bach – Johannes-Passion
Maximilian Schmitt – Evangelist
Krešimir Stražanac – Jesus
Dorothee Mields – Soprano
Damien Guillon – Countertenor
Robin Tritschler – Tenor
Peter Kooij – Bass
Collegium Vocale Gent
Philippe Herreweghe – Conductor
Phi / Outhere Music, 2 CD’s LPH 031
Bach – Johannes-Passion – Recommended Comparisons
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