'Passion' an inspiring start to Holy Week

      An inspirational performance of J.S. Bach's "St. John Passion" by the Southern Nevada Musical Arts Society Sunday afternoon proved a fitting beginning to Holy Week.
      The composition was first performed in Leipzig in 1723 and, like Bach's "St. Matthew Passion" and Mass in B Minor, was designed to inspire, instruct É and, perhaps, disturb. Bach never planned for the St. Matthew to entertain.
      Combining passages from St. John with interpolations from St. Matthew and from at least one other Passion play, the 68 movements traced the passage of Jesus from shortly before the denial of Peter to His entombment.
      The 80-voice Premiere Chorale and the Musical Arts Chorus, along with several outstanding soloists, were accompanied Sunday by the 21-piece Musical Arts Orchestra. In previous years, these groups have joined to perform the first two parts of Bach's trilogy. With this appropriately timed, reverential yet emotional performance, the sequence is complete.
      The groups performed under the scrupulous and subtle direction of Douglas Peterson, now in his 29th year as musical director of the society. Sunday, he worked with the orchestra, the singers -- and the audience -- to assure that the experience was similar to what Bach desired.
      Tenor Jonathan Mack, who is now in his 12th season with the Los Angeles Philharmonic, returned to recreate his role of Evangelist from "St. Matthew." Once again, he proved to have the strongest voice on stage.
      Neil Wilson, who sang the role of Jesus, made his first solo appearance with the Musical Arts Society in 1980. He gave the audience a Jesus that was undeniably in command, yet kind, caring and ultimately resigned to his fate.
      Rabbi Gary Golbart, who performed as Pilate, is the leader of Adat Ari El, a reform congregation in Las Vegas. He has performed with the society for more than 20 years and was featured in the Mass in B Minor among many other performances. His voice was strong, booming and profound, providing a no-nonsense Pilate.
      Voltaire Verzoza, a countertenor who sang several solo dramatic arias, specializes in performances of early music. Unfortunately, his initial enunciation was not as strong as some of the other featured performers, and his softer voice was easily drowned out by the orchestra.
      Rebecca Cervantes, who also sang a solo aria, is former choral director of Cimarron-Memorial High School and also has been a featured performer. Like Verzoza, she was also occasionally difficult to understand.
      Both the orchestra and the vocalists were seated onstage. This was good in terms of the performers receiving direction, since Peterson conducted both vocalists and the orchestra. However, the orchestra sometimes overpowered the chorus, making what should have been clear, emotional passages challenges to understand.
      Peterson and his groups provide a valuable, religious service that accomplishes just what Bach would have hoped for it to achieve.