In this riveting new account of Bach’s masterwork, Raphaël Pichon and the members of Pygmalion take nothing for granted except the dramatic intensity of the St John Passion to plumb the depths of the human condition and move listeners profoundly. 

From the first note of the opening maelstrom which so strikingly signals tragedy, malevolence and supplication all at once, the listener knows this will be no ordinary performance. Entering with devastating precision, like nails into the cross, the chorus’s first chords also signal the passionate dramaturgy of Pichon’s vision.

Apart from the keenly sensitive orchestra and chorus, Pichon has gathered a lineup of soloists that combines experience and youthful brilliance. Julian Prégardien as the Evangelist is a vivid storyteller, unafraid to use a huge range of expression and pacing to animate the narrative. His recounting that Barabbas was a murderer is more like a horrified shout, yet when he recalls Jesus’ silence before Pilate there is actually a prolonged pause. Peter’s weeping is also one of many moments to treasure. Prégardien’s truly chameleonic qualities suit him perfectly in this pivotal component of the whole. 

Bass Christian Immler is an experienced Pilate, tellingly bringing out his vulnerability and conflicting emotions. Betrachte, mein Seel has an engaging tenderness contrasting with the animation of Eilt, ihr angefochtnen Seelen. 

Pichon also calls upon young British talent, using baritone Huw Montague Rendall as Jesus and tenor Laurence Kilsby. Montague Rendall brings a mellow gravitas to his role, interacting well with the Evangelist, Pilate and the crowd. Kilsby has a lithe, attractive instrument and brings plenty of anguish to Ach, mein Sinn while navigating the challenging, long phrases and often high tessitura of Erwäge with thoughtful grace. 

The female soloists also contribute rewarding performances. Metropolitan Opera principal soprano Ying Fang brings a soft bell-like quality to Ich folge dir gleichfalls and the more plaintive Zerfliesse, mein Herze, matching the obbligato instruments sympathetically in both cases. Lucile Richardot’s distinctive alto demonstrates impressive versatility in the lyricism of Von den Striken while evoking utter desolation in Es ist vollbracht! 

What is particularly striking about this account is Pichon’s determination to exploit light and shade at every turn. Chorales are not treated as totemic statements but coloured with considerable attention to the text. The crowd scenes, one of Bach’s most striking innovations, are carefully characterised, often with a wry commentary on the senseless mob mentality or the cunning political machinations of the Jewish leaders. 

Furthermore, Pichon does not see historically informed performance as some sort of sealed hermeneutic but is alive to how Bach’s genius subsequently influenced the course of music history. In a strong sense, this is an unapologetically post-HIP reading of the John Passion, starting with baroque practice but unashamedly deploying operatic and romantic elements as needed.

No one artist will ever have the last word on this masterwork, but Pichon’s fresh, re-envisioned approach helps us contemplate it from a different angle and in a different light. Such a compelling commitment to this famous score commands attention and rewards repeated listening.

Composer: Bach
Work: St John Passion
Performers: Pygmalion/Raphaël Pichon
Label: Harmonia Mundi HMM90277475 (2CD)