Bach Akademie Australia | Bach’s Christmas Oratorio
8 November 2024, City Recital Hall, Sydney, NSW
ARTISTS
Director – Madeleine Easton
Evangelist – Andrew Goodwin
Soprano – Susannah Lawergren (soloist), Bonnie de la Hunty (soloist),
Brianna Louwen, Amy Moore
Alto – Hannah Fraser (soloist), Olivia Payne, Elizabeth Cooper
Tenor – Timothy Reynolds (soloist), Andrei Laptev, Jack Jordan
Bass – David Greco (soloist), Thomas Flint (soloist), Andrew Fysh
Violin 1 – Simone Slattery, James Tarbotton, Isaiah Bondfield
Violin 2 – Rafael Font, Michele O’Young
Viola – Karina Schmitz
Cello – Daniel Yeadon
Double bass – Pippa Macmillan
Keyboards – Nathan Cox, Neal Peres Da Costa
Flute – Mikaela Oberg, Jessica Lee
Oboe – Adam Masters, Kailen Cresp, Fiona McMillan, Stephen Robinson
Bassoon – Jane Gower
Corno – Michael Dixon, Gergely Malyusz
Trumpet – Richard Fomison, Leanne Sullivan, Simon Wolnizer
Timpani – Brian Nixon
After graduating in 1999 from the Sydney Conservatorium of Music with first-class honours, and winning many competitions, Madeleine Easton moved to Europe and garnered huge experience with many of the most renowned orchestras including (amongst many others) the English Baroque Soloists, the Orchestra of the Age of Enlightenment and the Academy of Ancient Music. No doubt, she could have continued her career there indefinitely, but she came back to Australia. Much to our delight, in 2016 she founded the “Bach Akademie Australia”, drawing on Sydney’s ever-growing pool of specialist baroque musicians, always playing on period instruments. From small beginnings, guided by her passion and vision, the “Akademie” has gone from strength to strength.
The BAA performances of cantatas, concertos and other smaller works have always been impressive, but this performance of Bach’s huge Christmas Oratorio marks a culmination of their achievements. It is one of the most joyful works in the entire classical repertoire, and the dedication and commitment of all the musicians made this an especially wonderful event. Rarely have I seen an audience so riveted to a performance, maintaining an unwavering focus throughout the entire three-hour duration, with not a cough or fidget or dropped program. And the final applause was explosive.
From the very first chorus, all the performers converged in a singularity of purpose; akin to a concerted single organism. The bright, joyful sound burst forth with energy and momentum.
Hannah Fraser’s alto voice has developed significantly over the years. Her aria “Bereite dich, Zion” was rich and warm, with clean melismas and rising easily above the orchestra. And the lullaby “Schlafe, mein Leibster” was tenderness itself.
While on matters Baby Jesus, one could not help but notice that at least three of the artists were, like Mary, schwanger (pregnant). What an experience it must be, particularly for the unborn babies of singers, to participate viscerally in the sound, vibrations and breathing of their mothers in this stunning music. During private practice would be wonderful enough, but then to be joined by an orchestra… It is well-understood that children learn a great deal prenatally, and it is not hard to imagine that they would be profoundly affected by such a rich cultural environment. Lucky them!
Andrew Goodwin is deeply immersed in the German musical tradition (he sang one of the finest Winterreise I have ever heard), delivered a faultless performance as the Evangelist. His expression conveyed deep understanding, compelling the audience into the story. Singing tenor can be a dangerous thing, but his vocal tone was even and strong throughout his range, always safe and secure.
The orchestra consistently maintained a lively and well-balanced ensemble throughout the performance. Some impressive solo instrumental performances deserve special mention. Speaking of dangerous, natural trumpets must top the list, but Richard Fomison, Leanne Sullivan and Simon Wolnizer were nothing short of perfection; not a single compromised note the entire night, and all was lively and rhythmically accurate. In the opening and closing choruses of the third part, “Herrscher des Himmels”, the trumpets burst out with joy, making the heart dance and sing.
The duet “Frohe Hirten” between flute (Mikaela Oberg) and tenor (Goodwin) was taken at a cracking pace, and the fiendish runs led us along like a flowing river of inevitability.
Simone Slattery’s violin solo in “Schließe, mein Herze” was tender and delicately played.
The soprano aria “Flößt, mein Heiland” had the echoes performed from the back of the hall rather than off-stage, and this was very effective. The oboe playing of Adam Masters was wonderful as always; what a musician this man is. And Susannah Lawergren’s echo was perfection; she exactly matched both the tone quality and the intensity of Bonnie de la Hunty’s vibrato. This aria was a real delight.
Masterton was equally impressive in the bass aria “Erleucht’ auch meine finstre Sinnen” with David Greco’s robust voice, always with well-supported and sustained tone.
There are so many other aspects of the performance worthy of mention, but suffice it to say that the whole experience of this performance was ecstatic. Pure delight.
On a practical note, rather than relying on printed translations which can be problematic for all sorts of reasons, BAA provided excellent English surtitles. This was a great enhancement to the experience.
In many European cities, two of Bach’s monumental oratorios are performed annually, the Christmas Oratorio and at Easter, the St Matthew Passion. There are considerable financial constraints to establishing such a wonderful tradition in Australia, but with this Christmas Oratorio I can feel Easton and BAA nudging in that direction. Here is hoping. Get out there you philanthropists!
Finally, we must thank and congratulate Easton and her entire band of musicians on what was an extraordinary and joyful experience.
Photo Credit: David Hooley
