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Bach: St John Passion (Concert Review - The Times, 2008)
Whenever you're in the presence of the vocal ensemble Polyphony and their conductor Stephen Layton you begin to understand what authenticity is really about. And it has little to do with period performance. Their St John Passion certainly was historically informed - and they sang with the period instruments of the Academy of Ancient Music. But the authenticity here went deeper, to the core of Bach
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 sin
Bach: St John Passion (Concert Review - The Independent, 2003)
St John's, Smith Square, saw Stephen Layton and Polyphony offer their London version of the piece, on Good Friday. Layton brought out the intense emotion and drama from the start – the sublime opening chorus was shattering – and he pushed the story on almost breathlessly. The occasional tempo verged on the manic, but the effect was gripping. A fresh face on the British scene, the Swedish tenor And
Bach: St John Passion (Concert Review - The Scotsman, 2002)
Real Passion on display Bach's St John Passion is often considered to be the poor relation of the later and more substantial St Matthew Passion. But it was clear from this enthralling performance by the Scottish Chamber Orchestra, SCO Chorus and a stellar line-up of soloists that thereís nothing second rate about this dramatic but intimate setting. Part of the great appeal of the Passion is the el