Of one thing we can always be certain, and it's that performances directed by Frans Bruggen are never dull. His recording of Bach's B minor Mass a while ago (2/90) was, in some respects, a fascinating reversal of traditional roles in that it yielded the impression of being treated as an orchestral piece with accompanying voices. The effect was one of extraordinary lightness—not lightweight in the pejorative sense, but light-textured and lightfooted. To some extent this is true of the new St John Passion, though happily the Netherlands Chamber Choir has a more imposing presence than it had in the Mass.
At once striking in the St John Passion is the softly spoken, lightly articulated continuo whose manner permeates all the remaining parts, both instrumental and choral. The result is enlivening, especially in the large choral movements where Bruggen shapes the music with sensibility, introducing quite a wide dynamic range. The opening chorus fares well, clear-textured, eloquently phrased and liberated from those heavy continuo gestures which so often encourage excessive sentiment and laboured declamation. This was, for me, a good start but happily Bruggen continues in much the same illuminating manner, keeping the drama moving at a brisk but not hurried pace.
The solo vocal cast is impressive but it seems an unfortunate oversight to omit their names from the title pages of the booklet which does, however, list the name of every single member of the orchestra and choir. In order to find out who they are you must either turn to the publicity photographs on pages 35-40, or look on the reverse side of the box. Nico van der Meel is an effective Evangelist. His declamation is clear, his intonation mainly dependable and his technique agile and secure. The contrast between him and the fuller, pleasingly resonant voice of the bass, Kristin Sigmundsson, as Jesus is a rewarding one. The singers entrusted with the arias also acquit themselves well. Christoph Pregardien and Peter Kooy, at present seemingly indispensable to any Netherlands recording of Bach's Passions, oratorios or Mass, are both first-rate, as is the countertenor James Bowman whose appearance in this company is welcome; his ''Es ist vollbracht'' is poignant and beautifully controlled. Annegeer Stumphius was new to me; her two arias come over well though I felt she was a shade uncontrolled in some high-lying passages of her music.
The Netherlands Chamber Choir is on stronger form than I have sometimes found in previous recordings and the Orchestra of the Eighteenth Century is admirably sympathetic to the voices. Bruggen joins the increasing number of Bach interpreters who make free use of a lute as a continuo instrument though it is, of course, confined to arias and, perhaps, choruses though I cannot actually hear it. In matters of tempo Bruggen settles for a pacing similar to that of Andrew Parrott (EMI); that is to say, by-and-large brisker than Sigiswald Kuijken's version (Deutsche Harmonia Mundi).
Making a clear choice between all the available versions is difficult. As so often, I feel that British choirs offer a more fervent, technically assured account of these works. Yet there are exceptions, and both the Vienna Boys Choir/Chorus Viennensis version under Harnoncourt (Teldec) and the present one are certainly among them. Bruggen's overview of the St John Passion makes considerable appeal and few listeners will be disappointed either by his interpretation of the opening chorus or by his feeling for the music's poetry. Obbligato playing is not always impeccable and there are one or two sour woodwind entries, yet this hardly spoilt my enjoyment of the performance. As I said at the outset, this account is full of interest, spontaneously lively and affecting for the apparent naturalness of Bruggen's approach. The bass aria with chorale ''Mein teurer Heiland'' (CD2, track 12) is an instance of the sensibility of Bruggen and his artists to the music.
Fine recorded sound and a booklet which contains full texts, translations, and essays by four different hands, but in four different languages.'