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A Porteño Passionate Passion Buenos Aires
Palacio Libertad - Domingo Faustino Sarmiento Cultural Centre (Auditorio Nacional)
04/20/2025 -
Johann Sebastian Bach: St John Passion, BWV 245
Elías Ongay (Evangelist), Martín Díaz (tenor), Víctor Torres (baritone, Jesus), Silvina Petryna (soprano), Mariana Reweski (alto), Santiago Tiscornia (Pilatus), Camilo Brambill (Petrus), Camila Malla (Magd), Ricardo Faria (Diener 1), Hernán Vega (Diener 2)
Ensamble Camerus, Alejandro Nuss (conductor)
(© Ossama el Naggar)
Buenos Aires is an amazing city. It’s a cosmopolitan megalopolis more reminiscent of Paris or Madrid than a typical Latin American city. Musically, it’s most famous for its 2,500‑seat opera house, Teatro Colón, completed in 1908. All the greats of twentieth century opera sang here, including Enrico Caruso, Beniamino Gigli, Maria Callas, Renata Tebaldi, Birgit Nilsson and Luciano Pavarotti. However, Buenos Aires is so much more than the Teatro Colón; it has a rich musical tradition that encompasses various styles.
The city’s early music scene is not huge, but it’s intensely devoted, and early music performances are almost always sold out. In Europe, several Argentinian artists have graced the early music scene over the past three decades, such as mezzo Bernarda Fink, soprano María Cristina Kiehr, tenor Francisco Brito and conductors Gabriel Garrido (Ensemble Elyna), Pedro Memelsdorff (Mala Punica), Rubén Dubrovsky (Bach Consort Wien) and Leonardo García Alarcón (Cappella Mediterranea), among others.
Another wonderful aspect of the Buenos Aires scene is its “democratic” quality. There are many free concerts offered by various institutions such as the Palacio Libertad – Domingo Faustino Sarmiento Cultural Centre, previously Palacio Kirchner (name changed after the ascent of the present President to power). Several concerts in various genres are given daily in this impressive venue, which has several halls. The present performance took place at Palacio Libertad’s 1,750‑seat Auditorio Nacional. Tickets are prized possessions and must be booked far in advance. The concert had long been sold out, but thankfully, a well-connected friend got me a ticket.
Alejandro Nuss led his orchestra with brio, opting for brisk tempi and poised vocal accompaniment of his excellent soloists. His interpretation was more contemplative than pious, which is more appealing and interiorized.
Alto Mariana Reweski’s rendition of the aria “Von den Stricken meiner Sünden” was expressive and highly moving, though conductor Nuss opted for a slower than usual tempo. Likewise her “Es ist vollbracht!” was heartbreaking, though the rapid passages toward the end of the aria were far too slow.
Silvina Petryna’s light soprano was most appropriate and beautifully contrasted with Reweski’s alto. Her aria “Ich folge dir gleichfalls mit freudigen Schritten” was splendidly delivered with clear diction. Her bright voice was ethereal in the aria “Zerfliesse, mein Herze, in Fluten der Zähren”.
Baritone Víctor Torres was vocally the most impressive amongst the overall excellent cast. His aria “Betrachte, meine Seel, mit ängstlichem Vergnügen” was the most moving moment of the oratorio. His diction in “Eilt, ihr angefochtnen Seelen” was exceptionally clear that every word was easily understandable, rendering the experience more moving.
Elías Ongay’s Evangelist was compelling; his frequent parlando interventions evoked tension and even anxiety. Martín Díaz sang the tenor aria “Ach, mein Sinn” with passion and vigour. The demanding tenor aria “Erwäge, wie sein blutgefärbter Rücken” was brilliantly resonant and moving.
The chorus could only be described as gloriously transcendent: radiant in its interpretation of the opening “Herr, unser Herrscher” and bone‑chilling in its cries of “Kreuzige, kreuzige”.
Most impressive was the stylized mise en place of the soloists and the chorus in the various sections of the work. Thanks to the imaginative positioning, this St John Passion had a majestically solemn feel, almost evocative of a Passion Play. The elegant linear architecture of the stage helped enhance this feeling.
Though the St John Passion is often given on Good Friday, this performance was on Easter Sunday – my first day in Buenos Aires – and felt like a joyous seasonal occasion. I was moved by the performance, both musically and dramatically. The intensity of the interpreters, the stylized positioning of the chorus throughout the concert, and the elegant conducting of Alejandro Nuss made for an incandescent rendition of Bach’s masterpiece, as well as for a truly joyous Easter Sunday. Christos Anesti! Christ has risen!
Ossama el Naggar
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