Johannes-Passion album review – Pygmalion is razor sharp in the new theatrical recording | classical music

forHe never came closer to writing an opera than he did with The Passion of Saint John. A leaner cousin to the more expansive Saint Matthew, it responds to incisive leads and singers with a nose for drama, both of which this new recording has in spades.

Raphael Pichon tears up the meat-grinding opening chorus with agonizing cries of despair, and later drives his singers mad as they demand the release of Barabbas and demand the crucifixion of Christ. Pygmalion is razor-sharp throughout, including a strong engagement with reflective choral texts.

Of course, the Passion of St. John is no Opera, relies on the evangelist to tell most of the story. Pichon is lucky with German tenor Julian Pregardien. Experience shows that the voice rises to an angry cry when he declares Barabbas a murderer, blooming painfully recalling the bitter tears of Peter.

Huw Montague Rendall brings tonal richness and unflinching dignity to the role of Jesus, while Christian Imler’s agitated Pilate sways back and forth like a tortured weathervane. In a brilliant lineup of soloists, Ying Fang’s purity contrasts wonderfully with Lucille Richardot’s otherworldliness, completing one of the most theatrical St Johns pieces in the catalogue.