"An unforgettable performance: unique in its rhetoric force, fulfilment and brimming with ideas." - NRC Handelsblad ★★★★★
Valencia | Pamplona | Barcelona | Lucerne |
Amsterdam | Brussels | Paris | London
Las Provincias Review, César Rus
Valencia: Palau de la Música, 11 March 2016
"Sir John Eliot Gardiner's version reminds us that he is one of the highest authorities in this repertoire. His version is perfect with profundity and delicacy, conducted with absolute devotion."
Levante Review, Joan Ribó
"Yesterday, Sir John Eliot Gardiner came back to Valencia to conduct the St Matthew Passion by Johann Sebastian Bach. In other words, one of the greatest works of musical history, conducted by a great exponent of this German composer's music."
Beckmesser Review, José M. Irurzun
Pamplona: Baluarte de Pamplona, 13 March 2016
"Authority, emotion and complicity with his musicians, nothing was missing in this spectacular concert that Gardiner offered us. His English Baroque Soloists, in two orchestras, were an exceptional group of soloists. They were perfectly together with the help of their conductor. The Monteverdi Choir, formed of 28 singers, among whom half took the role of soloists outstandingly. The musicality, intonation and unity of this group of artists were spectacular. As often happens with English choirs, the Baroque idiom runs through their veins."
El Periódico Review, César López Rosell
Barcelona: Palau de la Música Catalana, 15 March 2016
"Gardiner’s interpretation communicates and recalls the emotions of fervour and pain in the score which surpassed the limits of transcendence. After midnight, the audience left the room euphorically after their standing ovation for the stars of the night."
Read the full review on the El Periódico website
El País Review, Xavier Pujol
"The Performance of the English Baroque Soloists was, again, tremendous. The formation was responsive and rich with fine precision delivering the requirements of the baton. The Monteverdi Choir, who performed a work of more than three hours without sheet music, is an almost unbelievable combination of reliability and sensitivity. The finest choir members also took the solo arias with admirable skill."
Neue Zürcher Zeitung Review, Christian Wildhagen:
Lucerne: KKL Concert Hall, 17 March 2016
"Right from the start of the Lucerne Easter Festival at the KLL, Sir John Eliot Gardiner and his English Baroque Soloists left us no doubt with their performance in demonstrating the deepest sound of unrestrained grief and expression of despair over humanity, which has lost all hope in its irrationality and delusion, or even worse, is nailed to the cross."
Read the full review on the Neue Zürcher Zeitung website
Bachtrack Review, Sarah Batschelet: ★★★★
"The Bach mass inspired emotions that ranged from the depths of despair and fear of the brutal crowd and to the profound beauty and “bliss” of the melodic chorales."
Read the full review on the Bachtrack website
NRC Handelsblad Review, Mischa Spel: ★★★★★
Amsterdam: Het Concertgebouw, 22 March 2016
"An everlasting deafening applause followed, which is so uncommon for performance of a Passion"
Trouw Review, Frederike Berntsen:
"The Monteverdi Choir: twenty-eight forces, rock-solid and perfectly articulate as a choir. The extreme transparency that characterises the full sound of this group is peerless: purely balancing between a warm and clear immersion of sound."
De Tijd Review, Koen Van Boxem:
Brussels: Bozar, 23 March 2016
"Everyone's feelings couldn't have been more intense then on this Wednesday at the Klarafestival in the Palais des Beaux Arts. The St Matthew Passion is all about suffering, comfort, mercy and hope. As if Bach had written it specifically for this evening. The applause was unstoppable and a standing ovation retuned our faith in the goodness of mankind and the meaning of life."
Le Figaro Review, Christian Merlin:
Paris: Philharmonie, 25 March 2016
"Since he founded the Monteverdi Choir fifty-two years ago, John Eliot Gardiner has made it the best choir in the world, three hours to admire their perfect intonation, absolute transparency and ability to colour each word"
Read the full review on Le Figaro website
Financial Times Review, Richard Fairman: ★★★★★
London: Barbican Centre, 26 March 2016
"He [Gardiner] now makes his points with the musical equivalent of a flick of the wrist. Accents, colours, feelings flash past — all the wisdom he has accumulated about Bach over half a century. Only Gardiner’s own choir and orchestra could keep up with him."
Read the full review on the Financial Times website
Guardian Review, Tim Ashley: ★★★★
"It was a beautifully focused interpretation, exacting in its differentiation between narrative drama and devotional reflection, deeply felt yet avoiding any trace of sanctimony."
Read the full review on the Guardian website