Bach St Matthew Passion, BWV244. Guy de Mey (ten) Evangelist; Peter Kooy (bass) Christus; Barbara Schlick (sop); Kai Wessel (alto); Christoph Pregardien (ten); Klaus Mertens (bass); Breda Sacraments Choir; Netherlands Bach Society Choir; Amsterdam Baroque Orchestra / Ton Koopman.

Erato (Full price) (CD) 2292-45814-2 (three discs: DDD). Text and translation included.

Ton Koopman has summoned a notably impressive gathering of baroque specialists for his new recording of Bach's St Matthew Passion. With versions by Philippe Herreweghe (Harmonia Mundi), John Eliot Gardiner (Archiv) and Gustav Leonhardt (Deutsche Harmonia Mundi) among the comparatively recent period-instrument performances in The Classical Catalogue, it must have been that much more difficult for Koopman to draw up a solo team significantly different from those of his predecessors. That he has not entirely succeeded in so doing perhaps underlines not so much the small dimensions of the pool from which voices appropriate to this performance style are drawn—for there are certainly other excellent singers around whom nobody has yet used in the Bach Passions—as the high standing of a well-tried elite. Thus Barbara Schlick and Peter Kooy are used both by Herreweghe and Koopman, Christoph Pregardien and Klaus Mertens by Leonhardt and Koopman. Each subsequent conductor, it should be added, has been careful to allot the men singers in question a different role from that which they had previously sung.

Among the brightest constellations in Koopman's St Matthew Passion is the tenor Guy de Mey (Evangelist) whose lightly articulated, comfortably produced sound and narrative style bring the role to life in the manner of a good story-teller. Peter Kooy on the same high interpretative level gives a sensitively shaded, clearly projected account of Christus. Barbara Schlick is warmly expressive, as almost invariably, and her vocal timbre seldom displeases. At first I was not sure whether the countertenor Kai Wessel was a happy choice in this vocal company; but, though I found some of his solo work a shade over-assertive his ensemble singing as, for instance in his duet with soprano, "So ist mein Jesus nun gefangen", is effectively controlled. Christoph Pregardien sings his arias fluently though perhaps without distinction, but Klaus Mertens, in spite of sensitive phrasing and light articulation is less even. I was less taken by Koopman's choirs. The Netherlands Bach Society Choir is seldom wholly convincing and this becomes apparent in their somewhat lame declamation of the great opening chorus. As the movement progresses the singing improves but even so it compares unfavourably with Herreweghe's Collegium Vocale, Ghent, or Gardiner's Monteverdi Choir. And I was concerned by the lack of tonal focus in "Sind Blitze, sind Donner in Wolken verschwunden". Perhaps the very resonant acoustic—too resonant for my ears—has something to do with the blurring of choral sound for, in this respect, at least, the more confined resonance of the competing versions allows the listener to hear greater detail.

As we have come to expect from Koopman's Amsterdam Baroque Orchestra the standard of playing is uniformly high, with fine solo contributions from the leader Andrew Manze, Wilbert Hazelzet (flute), Marc Ponseele (oboe) and Jaap ter Linden (viola da gamba/cello). In summary, this recording is something of a mixed success. Koopman paces the drama in a lively and engaging manner and, as I have already indicated, there are many individual contributions of merit. But the variability of the choral singing was a disappointment; at its best, in sections such as "Weissage uns, Christe", for example, the results are effective both for the way in which Koopman shapes and colours the phrases and for clean, incisive ensemble. Chorales too, by and large come over in a controlled, unhurried way; but too often, in the larger movements, the entries are weak and the sound poorly sustained. So while I did enjoy Koopman's concept of Bach's Passion, my first recommendations remain Herreweghe or Leonhardt. Gardiner's Monteverdi Choir, on the other hand surpasses them all and, in a work of this kind, it's a major consideration. Difficult choices, but I know I shall want to hear Koopman's "Aus Liebe will mein Heiland sterben" many times over. The collaboration of Schlick, Hazelzet, Ponseele and Michel Henry (oboe da caccia) makes this beautiful movement one of the most memorable sections of the entire performance.

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