Bennett is among the finest Evangelists I have ever heard. His excellent diction and musical sensibility made every utterance completely convincing. Though the Evangelist is mostly known as a simple narrator, Bennett maximized the emotional appeal of the role. The best example was the famous denial of Peter, where the Evangelist relates how Peter went out and wept when the cock crowed. A tortured chromatic line with a broad range expresses Peter's bitter crying; Bennett's interpretation squeezed tears out of my eyes.

Park's Jesus was also emotionally wrenching. His velvety baritone perfectly envoiced the patient, suffering Son of Man. Accompanied for the most part by a halo of strings, Park's lines communicated everything from the frustration of Jesus with his sleepy followers to his distress at his commission, to his ultimate acceptance and torturous death. His arioso sections were particularly affective, as were his famous seven last words.

The aria soloists each added something special to this performance. With so much music, I will stick to the absolute highlights, with the first set of laurels going to tenor Thomas Glenn. From the moment he took the stage with the recitative “O Schmerz!” (O pain) it was clear that here was a voice of the highest dramatic caliber. Glenn's approach to this wrenching recitative detailing Jesus' nighttime struggle before his trial was compelling, to say the least. His expression was perfectly appropriate to the mood and served well as a prelude to the fine aria “Ich will bei meinem Jesu wachen” (I will keep watch with my Jesus). Glenn's performance was augmented by the fine singing of a small choir drawn from the UC Chamber Chorus.

Choir and soloists also united felicitously in the duet “So ist mein Jesus nun gefangen” (So is my Jesus now captured). The ethereal soprano of Ann Moss and the corporeal alto of Paul Flight perfectly embodied the spiritual and physical struggles of Jesus. The interjections of the chorus were powerful and moving in this lovely duet, the only one in the passion.

Instrumental contributions were also central to the aria performances. Mezzo-soprano Katherine Growdon gave a moving performance of the famous aria “Erbarme dich” (Have mercy Lord). Her earthly tone and lovely sustained notes portrayed the weeping of this aria most effectively. The gorgeous violin of Kati Kyme provided a fitting counterpart to Growdon's weeping, symbolizing comfort and sympathy.

Violinist Tekla Cunningham shone in the mini-violin-concerto of “Gebt mir meinem Jesu wieder” (Give me back my Jesus), proving a stellar counterpart to outstanding bass Jeremy Galyon, whose delivery of the aria's demand sparkled, as did Cunningham's flurry of notes in the intricate violin solo.

Other standout instrumental performances included Farley Pearce on the viola da gamba for “Komm sußes Kreuz” (Come sweet cross), flautist Stephen Schulz in “Aus Liebe” (Out of love), and Marc Schachman and Michael Dupree on the funereal oboes da caccia in “Sehet, Jesus hat die Hand” (See, Jesus has his hand). The continuo group was also outstanding, and they do work hard throughout this piece.

After nearly three hours of passionate music, I was entirely worked up by the time that Galyon returned to sing my favorite aria, “Mache dich mein Herze rein” (Make yourself, my heart, pure). He did not disappoint. I found myself with tears streaming down my cheeks from the sheer beauty of his voice and genuineness of his interpretation. He glowed with the dedication and promise of the aria.

Needless to say, I was a wreck by the time the choir started up with the final chorus, “Wir setzen uns mit Tränen nieder” (We seat ourselves down in tears). The power of this group was nowhere more apparent than here. In fact, I will give the crown in this performance to director Marika Kuzma, for the choruses were divine. This is an extremely difficult piece for the chorus, yet every nuance, every character shift was absolutely there. The beautiful contribution of the Piedmont Children's Chorus directed by Robert Geary was also not to be missed.

Such a performance is a monument to Kuzma's skills as conductor and organizer. She assembled a stellar group of soloists, a fine orchestra, and an outstanding vocal ensemble, who together gave an overwhelming performance of this outstanding work. In the words of Professor Davitt Moroney, who introduced the concert, I was a believer from the first note to the last.