Yoël L. Arbeitman wrote (July 4, 2005):
Some time ago I got, on Aryeh's strong, strong recommendation, EzG's audio JP. Here is my problem: when one soloist is such a dominating or dominant force that almost all one's (mine) attention is focused on that soloist, does not the cast and thus the whole become quite vocally unbalanced?

When I listened to this fascinating reading and was not unhappy with it at all, I had most of my attention for the first time ever in many decades of listening to the passions focused on Pilatus almost to the exclusion of the other dramatis personae.

Quasthoff is such a fascinating and alluring Pilatus that I was forced to both stand in awe at his portrayal and simultaneously feel that such a forceful portrayal might unbalance the whole.P.S.: I love that conductor's name. It is amazing.

Chris Kern wrote (July 4, 2005):
Yoël L. Arbeitman wrote: < Some time ago I got, on Aryeh's strong, strong recommendation, EzG's audio JP. Here is my problem: when one soloist is such a dominating or dominant force that almost all one's (mine) attention is focused on that soloist, does not the cast and thus the whole become quite vocally unbalanced? >
I think that depends on which soloist it is -- I like to be overwhelmed and "dominated" (so to speak) by the singer of the part of Jesus. Out of the passion versions I've heard, EzG's has the best Jesus because Hermann Prey sings very powerfully and emotionally, and his voice is distinctly different from the bass soloist/Pilate, Peter, and the High Priest.

However, if Pilate is more powerful than Jesus that can unbalance the work, I suppose.

Yoël L. Arbeitman wrote (July 4, 2005):
[To Chris Kern] With Hermann Prey (I assume you are speaking of the MP) and yes, he was an amazing singer (I have not heard/seen this DVD). I agree; it is the fact that it was Pilatus here.

Johannes-Passion BWV 245: Details
Recordings: Until 1960 | 1960-1969 | 1970-1979 | 1980-1989 | 1990-1999 | 2000-2009 | Sung in English | Individual Movements
General Discussions: Part 1 | Part 2 | Part 3 | Part 4 | Part 5
Systematic Discussions: Part 1: Mvts. 1-7 | Part 2: Mvts. 6-14 | Part 3: Mvts. 15-20 | Part 4: Mvts. 21-26 | Part 5: Mvts. 27-32 | Part 6: Mvts. 36-40 | Part 7: Summary
Individual Recordings: BWV 245 - Brüggen | BWV 245 - Cleobury | BWV 245 - Dombrecht | BWV 245 - Fasolis | BWV 245 - Gardiner | BWV 245 - Guttenberg | BWV 245 - Harnoncourt-Gillesberger | BWV 245 - Herreweghe | BWV 245 - Higginbottom | BWV 245 - Jochum | BWV 245 - Leusink | BWV 245 - Max | BWV 245 - McCreesh | BWV 245 - Neumann | BWV 245 - Parrott | BWV 245 - Pickett | BWV 245 - Richter | BWV 245 - Schreier | BWV 245 - Shaw | BWV 245 - Suzuki | BWV 245 - Veldhoven
Articles: Saint John Passion, BWV 245 [by Teri Noel Towe] | The Passion of Saint John, BWV 245 [by Michael Steinberg] | St. John Passion [by Audrey Wong & Norm Proctor] | The St. John Passion on stage [by Uri Golomb]

Enoch zu Guttenberg: Short Biography | Chorgemeinschaft Neubeuern | Bach Collegium München | Orchester der KlangVerwaltung München | Recordings
BWV 244 - Guttenberg | BWV 245 - Guttenberg