The performances of the St. Matthew Passion, presented by the Munich Bach Choir and the Collegium Vocale Gent, are convincing. But only one ensemble gets raves.
A harmoniously dimensioned altarpiece on the one hand, and the Calvary itself on the other. The performances of the St. Matthew Passion, which are also attracting Bach disciples to the Isarphilharmonie this year, are convincing, but only one encourages ovations. Florian Helgath organizes the Munich Bach Choir and Orchestra with clear gestures. But what Philippe Herreweghe achieves with his Collegium Vocale Gent borders on the inexplicable. Without any recognizable striking technique, but through the use of elbows, fingertips and eyebrows, Herreweghe achieves a rare state of visualization. The Munich ensemble’s Exordium rises to lament in dance-like movement, while the Collegium Vocale Gent lets the “Come on, you daughters” sound as if it had already begun before and was only audible at this moment, seething and dark. Every year on Good Friday, Herreweghe reaps the fruits of decades of making music with the ensemble that he founded himself.