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Reviewer: James
A. Altena When I requested this, I was all set upon receipt to settle in for what I was sure would be an unconditional rave review. I think Suzuki’s Bach cantatas cycle is easily the best integral set available, and his splendid DVD of the St. John Passion is a mainstay of my collection. Instead, I am deeply disappointed. Yes, the orchestra is wonderful; all the soloists are very good to excellent, both vocally and interpretively; the recorded sound is to the usual high standards of BIS; the clamshell box includes a booklet with a complete libretto; and the performance is conveniently fit onto just two CDs. What, then, is the problem? Shockingly, the choral singing, while technically immaculate, is at times utterly inexpressive. Interpretively, this is a candidate for the worst recording of “Kommt, ihr Töchter” I have ever heard. To say that it sounds as if listings are being recited from the telephone book would be unduly to compliment this utterly uninflected, meaningless series of vaguely pleasant noises. I have no idea what Suzuki thought he was trying to accomplish here, because this doesn’t sound the least bit reverent, mystical, or even objective; indeed, it doesn’t sound like anything at all. One would think it would take an almost diabolical skill to make this chorus so unrelievedly boring. I’ve listened to this multiple times over a few weeks to make sure my reaction isn’t just a momentary mood, and if anything this gets worse with repeated hearings. I’m still shellshocked and dumbfounded. Elsewhere, some of the chorales are similarly dull, but whenever the chorus portrays the disciples or bloodthirsty crowd it suddenly finds more life, though not as much as it should. The conducting is precise, but also more clinical than expressive. While the soloists here are better than in Suzuki’s previous recording from 2000, the chorus there is far more involved and expressive. My advice, then, is to audition “Kommt, ihr Töchter” from this set and see what you make of it. If you think I’m totally off-base in my assessment, then by all means buy this, because almost every other aspect is excellent; otherwise, sigh regretfully and turn elsewhere. As mentioned in my other St. Matthew Passion review in this issue, on period instruments I recommend Harnoncourt’s third recording, from 2000 on Teldec. There you will get all the good points of this version in spades, and everything it lacks as well.
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