Bach, J S: St John Passion, BWV245
Charles Daniels (Evangelist), Joshua Hopkins (Christus/'Betrachte, meine Seele'), Tyler Duncan (Pilatus/'Eilt, eilt'), Shannon Mercer (soprano), Matthew White (countertenor), Jacques-Olivier Chartier (tenor arias)
Portland Baroque Orchestra & Cappella Romana, Monica Huggett
The opening chorus is the animated - and fastest - I've heard on disc, and the crowd can hardly wait to interrupt the Evangelist in the trial scene. Charles Daniels's narration is focused on...
Bach, J S: St John Passion, BWV245
Charles Daniels (Evangelist), Joshua Hopkins (Christus/'Betrachte, meine Seele'), Tyler Duncan (Pilatus/'Eilt, eilt'), Shannon Mercer (soprano), Matthew White (countertenor), Jacques-Olivier Chartier (tenor arias)
Portland Baroque Orchestra & Cappella Romana, Monica Huggett
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The opening chorus is the animated - and fastest - I've heard on disc, and the crowd can hardly wait to interrupt the Evangelist in the trial scene. Charles Daniels's narration is focused on...
About
Monica Huggett directs the Portland Baroque Orchestra, 12-voice choir Cappella Romana, and tenor Charles Daniels as the Evangelist, in an ear-opening version of J. S. Bach’s St. John Passion.
Monica Huggett has produced numerous best-selling and acclaimed recordings for Avie, notably the Grammy®-nominated Bach Orchestral Suites (AV2171) which made the Top 10 of Billboard’s Traditional Classical Chart. This remarkable version which – Monica claims – restored Suite No. 2 to its original instrumentation, placing the solo line with oboe rather than the more commonly-heard flute. She makes a similar case with her new recording of Bach’s St. John Passion, placing oboes where we typically hear flutes, arguing convincingly that Bach’s original score was produced during his early years working in Leipzig where flutes were unavailable to him.
Once again, Monica is aided and abetted by baroque oboist Gonzalo X. Ruiz, who states, “The omission of flutes gives the St. John Passion a less galante feel for Bach’s music that developed in the mid-18th century and restores a trim sound, in line with most orchestral music of the time. It retains, however, an undeniable richness of orchestration owing to the uncommon string instruments in the arias.”
Monica continues, “There have been many scholarly discussions about the forces originally used for the St. John Passion, including the suggestion of performing it with one voice or instrument to a part. The most satisfying performances in my personal experience have been those involving a small chorus matched with a small orchestra. I have chosen, therefore, to have about an equal number of instrumentalists alongside a group of twelve singers capable of both solo and consort singing, as Bach would have had in Leipzig.”
Monica leads the Portland Baroque Orchestra, the fourth-largest period-instrument ensemble in the US, where she has been Artistic Director since 1995. Joining the orchestra is Portland-based choir Cappella Romana and baroque specialist, English tenor Charles Daniels as the Evangelist.
Contents and tracklist
- Charles Daniels, Shannon Mercer, Matthew White, Jacques-Olivier Chartier, Tyler Duncan, Joshua Hopkins, Cappella Romana
- Portland Baroque Orchestra
- Monica Huggett
- Charles Daniels, Shannon Mercer, Matthew White, Jacques-Olivier Chartier, Tyler Duncan, Joshua Hopkins, Cappella Romana
- Portland Baroque Orchestra
- Monica Huggett
Awards and reviews
May 2012
The opening chorus is the animated - and fastest - I've heard on disc, and the crowd can hardly wait to interrupt the Evangelist in the trial scene. Charles Daniels's narration is focused on meaning rather than vocal lyricism, and the harpsichord accompaniment emphasises the theatrical quality of his role...a distinctive contribution to the St John Passions on disc.
March 2012
Charles Daniels weaves his narration with beguiling eloquence and Tyler Duncan sings 'Eilt, ihr angefochten' with poised agility...Huggett's astonishingly quick pace for the opening chorus 'Herr, unser Herrscher' does not prohibit a smooth line from Cappella Romana
July/August 2012
Charles Daniels proves a communicative and consistently musical narrator...in the choruses this is audibly a small choir rather than an augmented consort. The chorales are given a detail-heavy presentation, with run-ons, dynamics and articulations carefully worked out.
May 2012
This is a 'compact', contained, close and appropriately intimate account...There is less declamation, more narration. Although there are places where the singing has to be described as imperfect, on the whole it's convincing and pleasing...Jacques-Olivier Chartier is spontaneous, alive and with every effort to be 'real' and immediate, rather than oratorical.
11th March 2012
a clean reading that, despite being on the pacy side, feels informed with a certain spirituality. The players of the Portland Baroque Orchestra give a stylish account of themselves. The Evangelist, Charles Daniels, delivers his lines with authority and intense dramatic involvement