Her caresses are startlingly physical, almost sexual, and yet every gesture embodies something in the music. It's Padmore that the Czech alto Magdalena Kozena, as the Mary Magdalene figure, tries to comfort. Instead of simply telling the story, the extraordinary British tenor Mark Padmore acts out in his own body the torments of Jesus, while Jesus, German baritone Christian Gerhaher, stands apart on one of the stage balconies - an image of isolation. One of Sellars' most powerful innovations lies in the way he characterizes the Evangelist, the Gospel writer who serves as the narrator of the Passion. The DVD is available only from the Berlin Philharmoniker's online shop

This is a Passion in both definitions of the word: suffering, especially the suffering of Jesus, and the complex and intense emotions, passions, that this suffering arouses in us. Since the chorus represents the community - us - they are expressing our pain and grief, our hope and doubts. Sellars treats each singer in the chorus as an individual. They look at each other, hold hands, even hug, and actually sing to each other. The individual members are now filing in through the orchestra to the center of the stage. The chorus isn't standing as usual, grouped at the back of the stage singing from their scores. He calls it a 'ritualization.' It's without scenery or costumes, but the moment the music starts, something startling happens. Matthew Passion, this one is staged, and by the brilliant and controversial American opera director Peter Sellars. Sir Simon Rattle was tackling this piece for the first time, leading the Berlin Philharmonic Orchestra, Berlin Radio Chorus and half a dozen admirable international singers.īut what makes this even more engaging is that, unlike most performances of the St.

A new DVD recorded in 2010 at Berlin's great concert hall, the Philharmonie, would be of major interest under any circumstances. And it can be not-good in various ways: either too solemnly pious or too much an exercise in musical style rather than emotional drama. But it's a long haul, and if it's not a good performance, well, I'm stuck. It's a great work, profound in its humanity and spirituality, with sublimely beautiful music. Matthew Passion, I often feel a combination of anticipation and dread.

Alisa Weilerstein: Playing Bach With The Fishes Feb.

La opera st. matthew passion