Gabrieli Consort

“The recital's radiant heart is Sheppard's Media Vite, but there are more highlights to come, including an outstanding reading of Holst's Nunc Dimittis, the flowing textures of Harris's Bring Us, O Lord and Howells's Take Him, Earth. Tavener's Song for Athene is very moving, fits the concept of the album well and is beautifully performed.” BBC Music Magazine, August 2007 *****

“The artfully resonant recording rings the singers with a translucent halo without quite dispelling the sense of virtuoso voices in concert.” Gramophone Magazine, July 2007

“Bach purists might baulk at the use of solo voices for choruses. Here, however, the matchless talents of vocalists and instrumentalists validate this choice.” BBC Music Magazine, August 2007 ****

“Kozená has one of those voices that seem to go straight to the heart” (Gramophone)

“In the distinguished performance history of the Great Passion, this is a dynamic and powerful reading. What we have here, primarily, is a compelling directorial vision, a dramatically cohesive whole. The only 'controversial' aspect is the use of single voices in the chorus, thereby applying the research presented in the last two decades by Joshua Rifkin and Andrew Parrott.
However, as it happens, Paul McCreesh sees this option as a flexible way of enhancing the rich expressive possibilities of the St Matthew, a means to a somewhat greater end, thankfully, than joining the band of zealots who seek world domination in Bach vocal performance. And there can be no denying that McCreesh uses the single voices to great and encouraging effect.
The warm intimacy of expression in the chorales is often spellbinding, the lucid realism of the madrigalian commentaries touchingly palpable and the crowd scenes almost crazed, as if you were among the mob. McCreesh's pragmatism also ensures that his quality singers produce a rich tonal body rather than a pushed, squawking consort.
There's some outstandingly characterised singing to be heard here, and a few missed opportunities too. Deborah York sounds somewhat al dente in her soprano arias, a limited emotional range partly accentuated by the colour and subtlety of expression of Magdalena KoOená's 'Buss und Reu' as well as the enraptured and troubled 'Ach, nun ist mein Jesus hin!'. Mark Padmore's Evangelist is highly charged and responsive: at times he hovers, regaling the facts of the matter with disarming poise; at others he becomes agitated, even manic. He seems somehow implicated in Peter's denial in a tableau performed with quite remarkable dramatic power, setting up KoOená's 'Erbarme dich'. Hers is one of the most painfully beautiful performances in years, even if the violin obbligato bulges rather too much.
Of the two basses, the Christus of Peter Harvey conveys neither gilded halo nor testosterone- fired ruddiness but he remains an effective and constant companion. Stephan Loges is rhetorically imploring in timbre, unafraid to take risks and a singer you listen to attentively.
There's yet to be a clear leader in St MatthewPassion recordings, even if that were desirable.
The quality of the production is mainly firstrate, though there are the usual dips and troughs you expect from such a challenging undertaking.
'Können Tränen' is a scrappy and flat affair with a strangely below-par Susan Bickley, and the strings aren't always universally impressive.
Overall, if not as culturally resonant as Harnoncourt's remarkably mature and poetic reading, McCreesh's interpretation has an unremitting singularity of purpose, as aesthetically Protestant as Harnoncourt's is Catholic. A memorable and vitally conceived account.” Gramophone Classical Music Guide, 2010

“Though Paul McCreesh uses minimum forces for Bach's masterpiece, with one voice per part, the result has the sharpest dramatic impact, thanks not only to the incisiveness of the performance but also to the vivid immediacy of the recorded sound.” Penguin Guide, 2010 ***