San Francisco Classical Voice

The opening double chorus (with the soprano and alto soloists singing the chorale tune) was taken at a deliberate pace that gave rise to false fears that this might be a tedious evening. On the contrary, this was an intentionally measured, pensive introduction to what turned out to be a very thoughtfully paced approach to this monumental work.

The chorus of twenty-four youngish singers (most appearing to be in their twenties) did superb work, with exquisite tuning and admirable unity within each section. Their overall tone can be said to be of the collegiate type, as opposed to the more mature sound of some professional groups.

Suzuki's overall approach was one of contemplative examination of the events of the Passion story, rather than an intensely dramatic reenactment. Some of his most interesting work was with the numerous chorales, each of which was carefully varied and articulated so as to make these familiar hymns seem new, although he sometimes sacrificed legato elegance in favor of a punched delivery bordering on staccato. Suzuki had good success at bringing out pictorial details, like the lashing dotted-note figures in the violins that depict the scourging of Jesus in the alto recitative “Erbarm es Gott” (“Have mercy, God”).

Suzuki had assembled an especially good team of soloists, many of whom can be heard on his recordings. The Evangelist was German tenor Gerd Türk, whose performance was expressive and flexible, despite a tendency to glide through the text too lightly, using a feathery tone that bordered on precious, and a slightly bottled quality at the top. Nonetheless, Türk executed this key role with great assuredness and finesse, and was particularly effective later in the evening as he skillfully described Jesus' trial and crucifixion. As Jesus, the Dutch bass Peter Kooij displayed a sonorous, darkish-toned voice and gave a moving and dignified performance.

Top honors among the aria singers go to German baritone Jochen Kupfer (who also sang the roles of Judas and Pilate). Here is a first-rate artist with a richly-hued instrument who knows how to exploit the text as riveting dramatic tool, while at the same time producing a steady stream of tonal warmth and beauty. His aria “Gebt mir meinen Jesus wieder” (“Give me back my Jesus”) proved to be the most interesting singing of the evening, full-bodied and gripping. Kupfer also made splendid work of the tricky “Komm süsses Kreuz” (“Come, sweet cross”), ably abetted by the viola da gamba of Hiroshi Fukuzawa, whose virtuoso work made this notoriously fiendish obbligato seem effortless.

The alto solos were sung with distinction by the English countertenor Robin Blaze, whose appealing and sizable voice carried well in Zellerbach Hall. His heady sound encompasses a sweet-sounding middle range, with stylish control of dynamics. He often allowed his voice to float lightly over the phrases, but can also sink into the line with admirable force. Blaze artfully shaped the tortuous lines of “Buss und Reu” (“Penance and repentance”); his moving “Erbarme dich” (“Have mercy”) was expressive and heartfelt without being lugubrious, with concertmaster Ryo Terakado's violin obbligato finely spun and eloquent.

Makoto Sakurada, a Japanese singer trained in Italy, sang the tenor arias with clarion ring and engaging commitment, letting top notes bloom with a sense of stylistic ease that was a pleasure to hear. His “Geduld” aria (contemplating Christ's patience in the face of mockery) was touchingly emphatic without forcing, and was capably accompanied by Fukuzawa's appropriately brusque gamba obbligato.

Least effective of the soloists was soprano soloist Yuraki Nonoshita, whose attractive sound was compromised by a languid and lackluster delivery and a consistent neglect of consonants. In her duets with the alto, Blaze's countertenor dominated noticeably. The long-breathed phrases of “Aus Liebe” (“For love”) found Nonoshita struggling to infuse life into a performance that seemed listless and brittle.

Any performance of the Matthew Passion is a challenge, and the Bay Area has had its share of very fine efforts in recent years. But it will be some time, I expect, before this Japanese group's stellar debut performance here will be eclipsed from memory.