'Passion' exciting, stunning

By Marilyn Farwell for The Register-Guard.

In recent months, most Americans thought of "The Passion" as a Mel Gibson film rather than a musical masterpiece by Johann Sebastian Bach. Eugene was probably the exception thanks to 35 years of the Oregon Bach Festival. On Friday night, the Festival opened this year's program with its 10th presentation of Bach's "St. Matthew Passion." Helmut Rilling led the combined forces of his own Gachinger Kantorei, the Festival Chorus and Orchestra, and the Oregon Festival children's choir, along with some distinguished soloists, in an exciting, even stunning, version of this work.

Bach's "Passion" was first presented at a Good Friday service in 1727 as a profound act of worship. Bach sets St. Matthew's account of the last days of Christ, including the violent scourging and crucifixion, to extraordinarily moving music. Mel Gibson presents these scenes in raw realism, which earned his film a place on a horror movie Web site. But with the mark of true art, Bach's music allows us to face the sadness and horror that might otherwise overwhelm us.

On Friday night, Rilling's hallmark intensity illuminated this paradox of beauty and pain. He created a vivid drama, even an opera, by his swift pacing of the numbers. Although his fast tempi in Part One were at times frenetic, sacrificing pathos to drama, in Part Two, the momentum slowed, letting the pathos through without wallowing in it. Overall, the dramatic pacing created the linear tension which made the over-three hours fly by. The brilliant soloists added to this dramatic atmosphere.

Lothar Odinius deftly sang the long, arduous role of the Evangelist. His narrative delivery moved from rapid statements, to aching sweetness, to whispers, to loud outbursts. He also sang the tenor solos where his sweet lyric sound caressed many of the lines. Sebastian Noack interpreted the role of Christ in a novel way. Usually, with the strings creating a serene halo effect, the implacable Christ figure confronts betrayal and death. Noack, however, reacted to each situation in the story with intensity. In the end, it was a powerful portrayal.

The three other soloists comment on these proceedings, usually expressing anguish, guilt, and, at the same time, hope for redemption. Most magnificent among these three was Ingeborg Danz, a returning favorite.

Her rich and seamless voice and her unfailing legato made her solos the highlight of the evening. When Danz teamed up with the exquisite violinist Kathleen Lenski for the famous "Erbarme dich," they made magic together. Sanford Sylvan's powerful and elegant bass-baritone voice was also capable of finesse, especially evident in his last solo. His impressive work was marred only by overly articulated running notes. The soprano Kirsten Blase had the right kind of bright soprano for these solos, but lacked the ability to portray the appropriate emotions.

Both the orchestra and the adult and children's choruses were excellent.

The instrumental soloists were all superb, and the minor soloists sang vividly.