CONSIDERED OPINION OF THE APOLLO'S FIRE CONCERT OF 3/31/07

Johann Sebastian Bach: St. John Passion, BWV 245. (Ian Honeyman, Evangelist; Jeffrey Strauss, Jesus; Jolle Greenleaf, sop.; Kirsten Sollek, mez.-sop.; Marc Molomot, ten.; Jeannette Sorrell, cond.)

Sometimes scientists understand things about art that elude even expert musicians. One of the more interesting science stories of 2004 concerned a study at San Diego’s Neurosciences Institute which analyzed the patterns of rhythm and pitch in typical spoken English and French, and then performed a parallel analysis on the music of English and French composers. Lo and behold, the differences between musical works from the two countries matched up with the differences between their tongues.

To be sure, then, the interweaving of music and text is an intricate thing, and should be accorded a fair amount of respect. No one should be in a better position to appreciate this than period instrument ensembles—which are, at least in part, predicated on the notion that the interweaving of music and instruments deserves similar respect. So it’s rather surprising that Apollo’s Fire performs Bach’s St. John Passion in a politically-corrected English translation. In an age of supertitles, it’s a difficult decision to justify—especially when you’re performing a religious oratorio, in which everyone knows the plot and there’s not much to see.

Not much, that is, except for the bizarre stage mannerisms of Ian Honeyman, who appears here as Bach’s Evangelist—though Honeyman’s manic demeanor might seem more reminiscent of the occasional Televangelist. Given the twitchy excitement with which Honeyman reports the run-of-the-mill news that “Simon Peter followed Jesus from afar,” you know you’re in for quite a display when you reach, say, Jesus’ scourging. It would all be easy enough to accept if the mannerisms didn’t infect Honeyman’s singing. But you’d know with eyes closed that the tone of his performance clashed with the Gospel writer’s style.

Saturday evening’s Jesus, on the other hand, was close to ideal. John’s is the most unearthly Jesus in the four canonic Gospels, and baritone Jeffrey Strauss brought a natural authority to the part. Sorrell’s supporting soloists were also by and large satisfactory, though tenor Marc Molomot blustered his way through the aria “Ach, mein Sinn.” The solos of mezzo-soprano Kirsten Sollek were attractively lucid, if not always emotionally convincing. Soprano Jolle Greenleaf’s version of “Zerfließe, mein Herze” was at once restrained and heart-wrenching—the highlight of the evening. And once they warmed up following a slightly sluggish opening chorus, Apollo’s Singers gave a memorably crisp and energetic performance.

And Music Director Jeannette Sorrell? Her conducting this season has been as good as I’ve ever heard it—precise, lively, and largely free of the theatrical affectations of years past. With just a few minor changes—a little restraint on Ian Honeyman’s part and the use of the original German text—this St. John Passion could be one of the highlights of the musical season. As it is, we have to hope that Sorrell doesn’t follow her theories on the vernacular to their logical conclusion—in which case an Apollo’s Fire version of Jesus Christ Superstar could well be in the offing.

Jerome Crossley for WCLV 104/9.

Considered Opinions is WCLV's program that reviews performances by Cleveland-area music ensembles. Commentator Jerome Crossley offers an informed and witty perspective on performances by groups that include the Cleveland Orchestra, Opera Cleveland, and Red {an orchestra}. Considered Opinions typically airs at 9.45 a.m., 12.20 p.m., and 5.20 p.m. the Friday following a Cleveland Orchestra concert, and it repeats at 9.45 a.m. on Saturday. Other air-times depend on the schedule of the ensembles reviewed.

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