'Christmas Oratorio' is one joy after another

By Richard Storm
For the Register-Guard

The Oregon Bach Festival did what it does best Sunday evening, presenting a joyful and moving performance of the six cantatas that make up Johann Sebastian Bach's Christmas Oratorio.

In this enormous work, the composer tells the Christmas story from the birth of Jesus to the adoration of the wise men on Epiphany. While this is a narrative of immense spiritual importance, it is also the tale of a humble birth under inhospitable conditions. It prefigures both the conflict of the rest of Jesus' life and the serenity and love it aimed to provide humankind.

Bach begins the celebration with a glittering fanfare of trumpets and tympani, followed by a joyful choral outburst: "Extol what the Lord hath done this day."

The energy implicit in the written notes is seldom expressed with such force as it was in this performance by the Bach Festival chorus and orchestra, along with four vocal soloists, and conducted by Helmuth Rilling. Crisply placed consonants and sparkling vocal tone made the music glow, setting the emotional tone for the good news to follow.

The various episodes of the story, much of it based on texts found in Luke's Gospel, are linked by narrative sung by the Evangelist.

Tenor Lothar Odinius produced tone of melting beauty and dramatic force as he moved the story along, from the stressful arrival of Mary and Joseph in Bethlehem to the charming domesticity of the manger setting. Despite the three-hour length of the oratorio, Odinius never faltered, never failed to communicate with masterful musicianship.

As the story unfolds, various solo voices are employed to reflect on the philosophical importance of the events. Although the concepts are high, the language in which they are expressed embody everyday concerns, matters that everyone listening can understand.

For example, alto Anne-Carolyn Schlüter's aria, "Prepare Thyself, Zion," casts the birth of Jesus as the arrival of a long-awaited bridegroom, bringing love to the world. Later, she sings a hushed lullaby, "Sleep, My Beloved," in which the newborn is told to rest now, so that he may watch over the good of all later.

The essential contradictions embodied in the concept of a king born in a stable are heard in the majestic bass aria, "Great Lord and Almighty King," sung with rich tone and rhythmic authority by Klaus Häger.

To the soprano most often goes the gritty dramatic comment, especially in her denunciation of King Herod's attempt to trick the wise men into revealing the location of the baby. The tightly focused tone of Christine Brandes, although occasionally hard-edged and severe, proved ideal for this aria and for her duets and trios with the other soloists. In fact, the diverse character of their voices served to emphasize the nearly operatic character of these cantatas. This is music drama without an ounce of padding.

A performance such as this one tempts the writer to indulge in long lists of superlatives. On the other hand, it is almost impossible to do otherwise when considering the work of both orchestra and chorus under the masterful hands of Rilling, the Bach Festival's artistic director.

Conducting, as always, from memory, he provides nearly superhuman attention to detail, guiding his large forces through every moment of an enormous enterprise. Tonal clarity is uppermost, carefully balanced between choral and orchestral resources; vocal soloists are given precise direction when necessary, freedom when appropriate. Orchestral soloists shine out beautifully without violating the precise balance of orchestra and chorus that Rilling has established.

When the trumpets rang out in the final chorus, it was clear that we had all been touched by genius and joy.

Richard Storm is a classical music reviewer for the Sarasota (Fla.) Herald-Tribune.