Very Impressive
LUCAS BALL reports from Worcester Festival Choral Society's recent St Matthew Passion
To perform Johann Sebastian Bach's St Matthew Passion is quite a feat. There are the German words in this near-to-three-hour long work undertaken by the Worcester Festival Choral Society (WFCS), the logistics of soloists coming on and off podiums (before and after singing the plot convincingly), the Ripieno Choir having to come on and off (before and after singing), and the orchestral contribution from the Meridian Sinfonia are all part of the integrated whole. These attributes in this mighty work obviously needed to be thought about carefully beforehand and then implemented.
Poster for the WFCS St Matthew Passion
The 'chorus' is, of course, divided into two in the score and there are moments – for instance 'Ja nicht auf das Fest' (Not indeed, during the Festival) - when they echo one another and this adds to the sense of acting as the 'crowd' in the unfolding plot. Coordinating this must again have taken some preparation for the WCFS. Very impressive.
Members of Worcester Festival Choral Society performing J S Bach's 'St Matthew Passion' in Worcester Cathedral on 22 March 2025.
Photo © 2025 Michael Whitefoot
The rather out-of-this-world tone of countertenor Tom Lilburn conveyed the intricacies of the Lutheran text with intervals in his line handled with apparent ease. It is easy to enjoy Tom Lilburn's runs as well. On occasions when a character's input was somewhat brief - Judas to name one example - this, nevertheless, added an extra necessary layer to the plot.
The big role of the Evangelist - remarkably sung here by tenor Sebastian Hill - is, at times, interspersed in Bach's score - 'Und Joseph nahn den leib' (And Joseph took the body), for example - with the choruses again acting as the 'crowd', and it again felt very well-coordinated. The 'chorus' numbers had some intervals in their lines that may have taken some getting used to. These were handled with apparent ease – their lines being anything but easy.
From left to right: Miriam Allan, Tom Lilburn, Ruairi Bowen, Richard Bannan, Samuel Hudson, Sebastian Hill and David Shipley. Photo © 2025 Michael Whitefoot
In 'So ist mein Jesus nun gefangen' (Thus my Jesus is now captured), the chorus was also very incisive in contrast to the lamenting sentiments from the soprano (sung by Miriam Allan) and countertenor.
Worcester Festival Choral Society and Meridian Sinfonia (rear) with (front, from left to right): Miriam Allan, Tom Lilburn, Ruairi Bowen, Richard Bannan, Samuel Hudson, Sebastian Hill and David Shipley. Photo © 2025 Michael Whitefoot
Although 'Mein Jesus schweigt zu falschen Lügen stille' (My Jesus is silent at false lies) had the tenor soloist Ruairi Bowen coming to the foreground, special mention ought to be given to the solo cello contribution for their supportive playing of dotted rhythms. Violins managed to produce a similar feel during their dotted rhythms in 'Komm, süßes Kreuz' (Come sweet Cross) to the 'Mein Jesus schweigt zu falschen Lügen stille'.
There were also glorious violin solo moments in the aria 'Erbarme dich, mein Gott' (Have mercy, my God), interweaving with the countertenor. Any shaky moments in the orchestra during the evening were redeemed by these very special moments.
The mastermind behind this reading of the St Matthew Passion was Samuel Hudson, who, from the moment he walked onto the podium to conduct, made it look as if it is the easiest thing in the world to coordinate the WFCS, soloists Sebastian Hill, David Shipley (singing Jesus), Miriam Allan, Tom Lilburn, Ruairi Bowen, Richard Bannan, the Ripieno choir and Meridian Sinfonia.
Samuel Hudson conducting on 22 March 2025. Photo © Michael Whitefoot
But easy it is not!
Copyright © 28 March 2025
Lucas Ball,
Worcestershire UK
