The fact that the Matthäus-Passion is Bach’s largest and greatest choral work has encouraged many a conductor to produce performances in large scale, especially in the context of symphonic halls. When we come to the subject of the original forces under the composer’s supervision, it is difficult to be precise of what is large and what is small in terms of number of people involved. The experience of hearing it in the Thomaskirche in Leipzig convinced me that a choir as big as the one used today would be impractical in the church’s resonant acoustics.
But this afternoon’s concert took place in the Sala São Paulo and the orchestra at hand was the OSESP. Under these circumstances, conductor Nathalie Stutzmann must be praised by the reasonable decisions made for these events. First, she has not tried to emulate period-instrument sonorities and yet was able to keep it lean and clean. Second, that did not prevent her from adopting a dance-oriented approach, with sharply defined rhythms, firmly bass-rooted. Things did not run always smoothly: O Mensch bewein dein Sünden groß was a bit all over the place and the orchestra sounded challenged with the (at the fast beat chosen by the conductor ) sprightly figures in the strings in Mache dich.
Although sopranos and altos lacked tone, the OSESP chorus acquitted itself quite well, crystal-clear articulation was a bit beyond the possibilities allowed by the context of these concerts. What is remarkable is Ms. Stutzmann’s ability to inspire the chorus to give the chorale numbers a wide expressive palette.
Finding the right Bachian singers for a large hall is always tricky, and this evening was not an unmitigated success in this particular. The usually reliable Martina Jankova, for instance, sounded here brittle and not truly capable of floating her high-lying lines in Aus Liebe. Aude Extremo’s mezzo is more substantial, her low notes rich and well-connected, but the faulty intonation compromised her delivery of Erbarme dich. Robin Tritschler’s Evangelist benefited from exceptional ease through the passaggio and a crispy delivery of the text. Mirko Ludwig would have been ideal in the tenor arias if his voice did not acquire such pronounced nasality from a high f on. Stephen Powell’s Jesus was a bit on the operatic side and Leon Kosavic’s forceful baritone lacked a bit of Innigkeit to produce the right effect.