Bach: St John Passion (Concert Review - Metro, 2004)

Opera and Lent oppose each other. Opera is frivolous, extravagant, indulgent, irreverent; Lent is austere, abstinent, modest, devout. An awkward moment arose at the opening night of Deborah Warner's production for English National Opera of Bach's Lenten masterpiece, the St John Passion, when a lamb, which had been brought on for the final scene, began to bleat more loudly than the chorus could sing. This pathetic innocent was supposed to enhance the solemnity of the moment but while the cast maintained sombre faces, the audience just laughed. It takes more than a dose of religion to move an opera crowd.

The cast are in dowdy modern dress. The bare stage is strewn at the curtain with bouquets, some unwrapped, as if Christ were the victim not of crucifixion but of a road accident. The backdrop screen shows close-ups of baritone Paul Whelan's darkly authoritative Jesus bleeding, hanging on the cross, or looking worried that he might have gone too far. Evangelist Mark Padmore has the perfect light, powerful tenor for his role. He picks off the top As with effortless brilliance but sadly overacts. His narrator breaks down in tears to be comforted warmly by the aria tenor Barry Banks who sings with fine clarity. Alto Catherine Wyn-Rogers is a little unfocused, bass Michael George is a rough disciple and soprano Natalie Christie's love for Jesus is more of a girlie crush. The chorus sound as big and bosomy as the Huddersfield Choral Society.

The period instrument orchestra is propelled along vibrantly by the excellent Stephen Layton. Members of the audience who joined in the chorales did so bashfully.

Rick Jones