A crucial work by the late Polish composer Krzysztof Penderecki (1933-2020), the St. Luke Passion was performed by the MSO as the season opener at the Festival de Lanaudière, and then a few days later in Krakow and Salzburg, under the direction of Kent Nagano. Penderecki was unequivocally delighted: “It was fantastic. His direction seemed to me very classical, very clean and not very dramatic. I really appreciated this very lyrical direction,” he told me in an interview the day after the European concerts, given in his presence. This is precisely what some might reproach: the relative clarity and tenacity of the drama. This is precisely what a conductor must do, with a work of this scale: give it a distinct style while respecting the score. Yet such a contemporary work, imagined in the mid-1960s despite its sacred character and the Christian faith of its creator, gives the performers greater freedom than a classical work in the pre-contemporary repertoire. Nagano is not given to dramatic paroxysm, his approach – naturally inclined to the meditative virtues of music, necessarily more reserved and intellectual – does not suit all the performers who work under his baton… which sometimes leads to underwhelming performances. Not in this case. This recording of the concert in July 2018 at the Salzburg Festival reveals all the qualities of the work and at the same time, expresses the singularity of Nagano’s conducting. Himself a child of the countercultural California of the 1960s, the MSO maestro knew how to whip up a froth at the right moment (for there are extremely intense moments in this performance), and choose a certain purity in the more spiritual passages of this St Luke Passion. Thus soloists Sarah Wegener (soprano), Lucas Meachem (baritone), Matthew Rose (bass), Slawomir Holland (narration), with the Warsaw Boys’ Choir and the Krakow Philharmonic Choir, are for the most part firmly invested in this titanic work, at once very contemporary and atypical of the 1960s for its sacred dimension.
Latest 360 Content
Interview Classical/classique
Orford 2025 | Collectif9: folk that innovates and grooves
By Frédéric Cardin
Concert review Africa
Nuits d’Afrique 2025 | The next global star of Tuareg blues is born, and it is in Montreal
By Frédéric Cardin
Interview classique/Classical
Festival de Lanaudière | Franco Fagioli and the voice of bel canto
By Alexandre Villemaire
Concert review Africa/Electronic/latino
Nuits d’Afrique | El Gato Negro, A Feline Like No Other
By Sandra Gasana
Concert review Gnawa
Nights of Africa 2025 | A gnawa fusion reactor named Saïd Mesnaoui
By Frédéric Cardin
Concert review Africa
Nuits d’Afrique 2025 | Sousou and Maher Cissoko: benevolence and complicity
By Frédéric Cardin
Concert review Classical/classique
Festival de Lanaudière | A Successful Choral Evening for Akamus
By Alexis Desrosiers-Michaud
Interview classique/Classical
Festival d’art vocal de Montréal | Training the Next Generation of Lyric Artists, From Voice to Stage Direction
By Alexandre Villemaire
Concert review Africa/Mandingo Blues/Soul/R&B
Nuits d’Afrique | Tyrane Mondeny: The Rising Star Has Reached Her Destination
By Sandra Gasana
Interview Hip Hop/Jazz/Pop
Nuits d’Afrique | El Gato Negro, The Sound of Subtropical Pop
By Keithy Antoine
Concert review Brazilian
Nuits d’Afrique | Mateus Vidal & Axé Experience, “Uma Festa” in The Rain
By Michel Labrecque
Concert review Africa/conte/Hip Hop/percussions
Nuits d’Afrique | Les mamans du Congo x Rrobin: A Successful Bet!
By Sandra Gasana
Concert review Gnawa/Psychedelia
Nuits d’Afrique: Bab L’ Bluz Summons The Desert
By Stephan Boissonneault
Interview Gnawa
Nuits d’Afrique 2025 | Saïd Mesnaoui: Gnawa Fusion at the Heart of a Radiant Artist
By Frédéric Cardin
Interview Classical/classique/Sacred Music