JS BACH – Christmas Oratorio
BWV 248 – Parts I, II, III and VI
Georgia Jamieson-Emms (soprano)
Maaike Christie-Beekman (alto)
Iain Tetley (tenor / Evangelist)
Robert Tucker (bass)
Douglas Mews – organ
The Bach Choir of Wellington
Shaun Michael Condon (director)
Nota Bene
Maaike Christie-Beekman (director)
The Chiesa Ensemble
Rebecca Struthers (director) / Anne Loeser (Concertmaster)
Shaun Michael Condon (conductor)
St.Mary of the Angels Church
Boulcott Street, Wellington
Saturday 15th November, 2025
There’s been a definite kind of newly-furbished “buzz” associated with choral events I’ve attended in Wellington over recent times, particularly associated with a venue which by dint of its richly-appointed ambiences and built-to-standard acoustical properties seems made-to-order for public performances of works of an ecclesiastical nature – two such for me have been, firstly, of Claudio Monteverdi’s 1610 Vespers for the Blessed Virgin ( ) and, more recently, of JS Bach’s Christmas Oratorio. I’m actually anticipating some kind of triumvirate of performance in writing this, as another different vocal ensemble based in the capital, Baroque Voices, is set to perform another work of JS Bach’s, the Six Motets BWV 225-230, later this month, again in St.Mary of the Angels Church – hopefully the occasion will be as tumultuously supported as were both the Monteverdi and the more recently performed Bach work which I’m here reporting on….
Of course the excitement of a “sold out” concert for both musicians and audiences can’t help but add layers of lustre to any such occasion, and would have certainly “fired up” the musicians involved in this recent presentation. I’m certain there would have been a degree of corresponding “lift-off” to the performance we heard, relating to such overwhelming audience support, and particularly as the opening chorus of the work “Jauchzet, frohlocket” (Celebrate, rejoice) was sung and played at the liveliest pace I’ve ever heard it performed – in fact, conductor Shaun Michael Condon took it all a tad too vigorously for my liking, though all the musicians, vocalists and instrumentalists, seemed to get their notes in! And I was sitting close enough to register the absolute delight and definite purpose on the faces of those in the choir singing this music, as if the extra notch or three of trajectorial purpose was stirring the blood of all concerned even more!
The rest had manifold pleasures and beauties – all of the vocal soloists made ear-catchingly impressive “beginnings” – the first to be heard, tenor Iain Tetley, handled his opening “Es begab sich aber zu der Zeit” (It came to pass at that time) with great aplomb and nicely-varied impulse, continuing to do so right through the evening, though the composer’s near-impossible demands upon the tenor in the final cantata seemed to take something of a toll! Elsewhere, though, his tones and enunciation of the text was a joy to listen to, in Part Two catching the excitement of the heavenly hosts, and in Part Three conveying plenty of the narrative’s thoughtfulness.
I enjoyed the dulcet tones of alto Maaike Christie-Beekman, her line steadily and fluently maintained in “Bereite dich, Zion” – and she was especially moving in Part Two’s lovely “Schlafe, mein Liebster” where her lovely long notes and sensitivity in general made up for a somewhat prosaic “Schaut hin, dort liegt im finstern Stall” from the choir – a pity, as the soprano choral tones had been so lovely in the previous part’s “Wie soll ich dich empfangen?”
Bass-baritone Robert Tucker’s versatility was in no doubt with his “Grösser Herr” giving great pleasure and managing to even make something of those lower notes which were more difficult to “centre” than others! I thoroughly enjoyed his brief but vivid cameo of the despicable King Herod in Part VI , while earlier, his “So recht, ihr Engel, jauchzt und singet” joined with the heavenly host’s excitement at “Den Menschen ein Wohlgefallen”! He also interacted splendidly with soprano Georgia Jamieson-Emms’s Angel in Part Three’s Duet Aria “Herr, dein Mittleid” , both singers given ample space to float and negotiate their tones while the oboes (I couldn’t tell from where I was sitting who was playing) were splendidly vital, by turns lyrical and energetic in their support.
Part VI had splendid orchestra playing, with the trumpets and timpani displaying pin-point accuracy and with plenty of “schwung” besides, from both chorus and orchestra. That done, the tenor and bass vividly paved the way for the Angel’s condemnation of Herod’s treacherous intentions – Georgia Jamieson-Emms certainly gave her recitative plenty of bite, and, aided by great support from strings and oboes tackled the angular lines of her aria with plenty of verve and appropriate resolve.
All four soloists relished their interactive dramatic recitative, preparing us for the work’s final chorus, a tour de force for both instrumental and choral forces, alternating as it did the chorale lines with more vigorous instrumental passages. The instrumental playing from the various Chiesa Ensemble members (strings, flutes, oboes, brass and timpani) throughout couldn’t be faulted (including leader Anne Loeser’s hand-in-glove accompaniment of Maaike Christie-Beekman’s “Schliesse, mein Herze”), the players (including the continuo of Douglas Mews’ organ) achieving a standard I’ve not heard bettered in any performance of a baroque work I’ve previously attended.
My abiding memory, though is of the chorus throughout, of those faces showing every sign of putting their hearts and minds into every syllable of what they uttered, and filling the building unstintingly with their tones accordingly. Their response to conductor Shaun Michael Condon’s every impulse was direct and giving, demonstrating in the most heartfelt way what their voices were conveying. It all made for a memorable and vibrant experience of a piece with the music we heard and enjoyed.