CHOIR AND ORCHESTRA OF THE CATHEDRAL OF THE MADELEINE, Johannes-Passion, Cathedral of the Madeleine, March 23

In J.S. Bach’s immense oeuvre there are a few works that stand out for their sheer magnificence and emotional power. Among them are the two passions (St. John and St. Matthew) and the Mass in B minor. These are milestones in sacred music that have never been surpassed. Some have come close — Brahms’ Ein deutsches Requiem and Beethoven’s Missa Solemnis perhaps — but none are greater than Bach’s remarkable works.

Whenever an opportunity arises to hear one of these three performed locally it’s an event not to be missed. Sunday, the choir and orchestra of the Cathedral of the Madeleine performed Bach’s St. John Passion under the baton of guest conductor Craig Jessop.

Craig Jessop

Right from the opening chorus it was clearly evident that this was going to be a memorable performance. Jessop, who conducted the work in the cathedral back in 2005, has a deeply felt affinity with the St. John Passion. He understands the scope of the music and the immensity of the message, and he conveyed that wonderfully with his perceptive and well thought out interpretation.

Jessop is a conductor who knows how to get the best out of his singers and instrumentalists — everything from finely molded phrasings to clearly articulated lyricism. And his account was subtly nuanced and eloquently expressed.

The soloists were also quite remarkable. Tenor Christopher Watson sang the demanding part of the Evangelist with lyrically infused lines. His is a light, bright tenor and he acquitted himself admirably. There were a few rough spots in the highest register at first, but that smoothed out nicely during the course of the work.

The other singers were also well matched for their respective roles. Baritone Tyler Oliphant made an imposing Christ and sang the three bass arias with fluid lines and graceful expressiveness.

Alto Miles Romney’s voice has a rich, full timbre that added much to his rendition of his emotionally charged arias. And bass John Buffett as Pilate, soprano Rachel Morris and tenor Robert Breault were all exceptional.

The cathedral’s adult and children’s choirs were, as one has come to expect, in top form. They sang their extensive part with feeling, poetic expressiveness and seamless lyricism.