Baying for blood

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And yet in other ways, the tradition has been admirably rejuvenated. Performances are now with period instruments - this year again the Florilegium - while the edition used is that of Neil Jenkins with a new English translation.

The choir's traditional use of an English singing version may run counter to modern practice, but to me seems eminently sensible. The whole point of the Lutheran Passion narrative was that it should unfold in the vernacular: in Bach's time the audience may well have joined in the chorales.

The massed ranks of the Bach Choir packed a powerful punch when they rose in a sea of black and white, baying for blood. Chorales of pious introspection made a dramatic contrast and David Hill's fleet direction gave the narrative striking immediacy.

Christopher Gillett's vivid if slightly dry Evangelist and Paul Whelan's bluff Christ responded well to his direction, as did an excellent team of soloists.
The soprano and countertenor, Sophie Daneman and Iestyn Davies, were deeply expressive, tenor Allan Clayton rising effortlessly to his high notes, with Neal Davies outstanding for his diction.

Bach St Matthew Passion
Royal Albert Hall
Kensington Gore, SW7 2AP