I ventured up to Manchester (
again) yesterday to hear Bach's St. Matthew Passion in the
Bridgewater Hall sung by
It was a long drive there but I found the car park without any trouble. As I was early, I walked to the cathedral before returning for a quick meal to
TableTable which is 1 minute away from the hall.
In the first half I couldn't see my daughter as her half of the choir was on my side; I moved after the interval and it was interesting to hear the music from two places.
I had gone purely to enjoy the concert and not with a critical ear although there was hardly anything to criticise. The orchestra was superb especially the woodwind; the oboes were divine, particularly one oboe obbligato which
Rachael Clegg stood to play.
Richard Boothby's Viol da Gamba playing was simply amazing. Throughout, the phrasing, shaping, articulation and idiomatic playing [which betrayed a deep understanding of the music from all players and the conductor] was nothing less than joyous. It was spot-on, beautiful intensely lyrical when it needed to be. I felt the balance between and choir orchestra was slightly in favour of the orchestra but the overall effect was not one which left one feeling disappointed.
The narrator,
James Gilchrist, did a brilliant job. He told the story with emotion as though he was actually there and he took us on a journey with him. He has a voice to die for, making his part sound not only terribly easy (which it isn't) but beautiful and effortless. Many singers can make it sound easy (as Rogers Covy-Crump does on the CDs I have) but James brought an intensity to the role which was completely genuine, unaffected and utterly convincing.
Although I am used to hearing
Emma Kirkby sing the soprano role this does mean that any other singer has to win my affection before I enjoy the performance. Before long
Elizabeth Weisberg had done this as had
Clare Wilkinson. It must be very hard for the male soloists to sit and wait for their numbers to come up and I felt a tad disappointed with
Stephan Loges [the programme spelt his name as Stephen!] as "Mache dich, mein Herze" didn't cut the mustard for me. However, I was tired by this point and the piece comes right at the end. Also one is used to a CD having been corrected for balance. It isn't easy to project the lower notes of the vocal line over a 'strong' orchestra.
It may sound an odd thing to say, but I was struck by how in tune the soloists were. Not only was their intonation good but they all hit every note smack in the middle. If I haven't commented on somebody it doesn't mean they were in any way weak. Part of the art of a performer is to be so good that the music speaks through you and your technique isn't even noticed. Thus it is that I almost forgot to look up
Matthew Hargreaves to see if I could find him on line. Central to the story, as Jesus, he remained in the same place throughout whereas the 4 other soloists came of from the side. It's just me I guess, but I take this an an expression of the humility of Jesus at his Passion.
The continuo was cleanly played and the lutenist,
Lynda Sayce, was more than a match for the task.
The
cathedral choristers only sang in the first half and reinforced the chorale melodies (canti firmi) here and there. Of the 16 present only 7 were boys. Can Manchester not field more than 7 boys who can sing treble? What a terrible indictment of 21st century Britain where it is so 'uncool' for boys to sing. Some cathedrals maintain both a boys and a girls choir; I admit I am uneasy about mixing the genders in a choir because it is apt to upset the traditional hierarchy in that a boy is unlikely to be a Head Chorister, in this situation, because girls' voices last longer [as they do not break]. However, this is tricky issue I shall not discuss here.