Music to bring out the Passion
Associated Newspapers, Tom Sutcliffe
6th April 2000

Is something lost, when religious paintings are massed in a museum, or church music ends up in the concert hall? ENO with Bach's St John Passion treads similar ground to the National Gallery's Seeing Salvation. This music was never ordinarily liturgical. It's so overwhelmingly theatrical it almost short-circuits on the Coliseum stage. The astonishing revolving phrase on the words "wept bitterly", where the Evangelist (the sublime Mark Padmore) describes Peter's betrayal, became almost unbearably painful as Deborah Warner's theatrical collage showed him cradling and comforting Peter while the chorus, having sketched the scene round the fire, drew back as if the character were unclean.

Theatrical expression is so overt. Warner can manipulate the intensity, meaning and focus in a variety of ways simultaneously with her stageful of actors and singers in ordinary clothes. Setting Bach's great work in operatic context for once may get closer to the imaginative discussion and contemplation he intended. Pilate in a light blue shirt straightening his tie before dealing with the latest business or Pilate wiping his face with a towel (a theatrical echo of the Mass) are similar language to Peter Sellars's brilliant Glyndebourne treatment of Handel's Theodora. I like the hints of this Pilate's almost-conversion.

Operatic singing in Bach is also a rare treat.

Barry Banks's aria beside the scourging of Jesus is compellingly passionate. Catherine Wyn-Rogers sounds thrillingly committed, standing in before singing the alto "It is fulfilled" for the three Marys beside Dali-like slabs of wood that stretch into the flies (Calvary crosses). Voluntary choruses in the boxes lead the audience (sometimes) in the marvellous congregational chorales.

Stephen Layton's conducting encourages unrestrained emotional fibre in the instrumental playing. This music is meant to move us. Video extracts on the backcloth: a drop of blood rolling off the crown of thorns on Paul Whelan's forehead as Jesus, and his breast and agonising crucifixion visage viewed from a steep angle, may be more controversial. Warner takes risks, moving from restrained subtle chorus parades to a laying of flowers and real bleating lamb in Padmore's arms at the end – sweetly relaxed anticipatory images.

© Associated Newspapers Ltd., 06 April 2000

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