![]() ![]() I have seen the band myself ten times and this one really stood out for me. It is simply amazing to see this band still performing shows of this caliber at this very late stage of their career. Rounding out the lineup were guitarists Richie Faulkner and Andy Sneap who led the axe assault for which Priest is known for and delivered it in spades. It includes bassist Ian Hill who has been the longest tenured member in the band, the longest tenured drummer Scott Travis who came aboard in 1990 in time to record Painkiller. Joining Halford is the same touring lineup that was assembled in 2018. ![]() The old warhorse “Victim Of Changes” and “Painkiller” were also two standouts on a night when the band was clearly in the zone. Not an easy song to sing at any stretch of the imagination. The highlights were plentiful beginning with the head banging “Freewheel Burning” which Halford nailed. Who other than Judas Priest can whip out the title track to their 1974 debut album Rocka Rolla and make it sound so good? The set was well balanced and oddly enough featured four songs from their gold certified album Painkiller, an album that was Halford’s final one until his return with the 2005 Angel Of Retribution release. ![]() The band also are playing quite a few songs that have not been played in quite some time. The band came out firing playing “One Shot At Glory”, a song until this year they have never done live. To see him get up the stage at the age of 70 and still be able to put in a remarkable performance tells us that he is simply a freak of nature. What can be said about vocalist Rob Halford that hasn’t already been said. While many tours have been derailed even as we speak, Judas Priest decided to move forward with this tour and the reception by the fans has been astounding. The tour was supposed to happen last year but was pushed back due to the pandemic. Well what many fans witnessed Friday night, was a celebration that showed a band still firing on all it’s cylinders. All the many tours along with the shows the band has put on. Think about the rich and deep music catalog of one of the most important heavy metal bands ever to walk the face of the earth. Way before the majority of the fans in attendance at Covelli Centre were even born this band existed. The final chorale, too, underlines certainty of faith: with ‘Ich will dich preisen ewiglich’ ends a spectacular Bach Passion performed by a ‘historically’ briefed Britons.Fifty years. ‘Es ist vollbracht!’ As the voice of pain and hope, countertenor Iestyn Davies relies on the soulful quality of his sound. Convincing as deliberative Roman governor Pilate: the expressive baritone Roderick Williams. Similarly, Stuart Jackson’s poignant ‘Ach mein Sinn’, with a very slender tenor voice. ![]() In Bach’s pearl aria ‘Zerfließe mein Herze’, soprano Julia Doyle attests to heartrending compassion with a voice as clear as a bell. Of course Ian Bostridge is, yet again, a great evangelist, who reports and declaims in a very exciting way, introducing a beautiful, pure tenor sound that almost imperceptibly alternates between chest and head voice.Ī Jesus without an aural halo: bass-baritone Neal Davies relies on natural vocal gifts. Artistic feats per se are created by conductor Layton in the compassionate chorales – here no congregational singing, but interpretations close to the word. Unnerving are those brief scenes where the crowds are incited by the chief priests, and which culminate in an eerily shrill ‘Kreuzige, kreuzige’. After an aching melodic lead-in on period instruments, by the velvety silvery sound of the orchestra, London’s Polyphony sings with chesty conviction and a thrilling rhythmic drive. Already in the opening chorus the savior is glorified. Much direct speech and exciting disputes between those who are responsible for the sentencing and execution of the Son of God, paint a vivid picture of his last hours, narrated by a sympathetic devout soul. The London-based choir Polyphony, the invariably experimental Orchestra of the Age of Enlightenment, soloists of distinction, such as the oratorio tenor Ian Bostridge, and conductor Stephen Layton, thrillingly shaped JS Bach’s dramatic St John Passion at the Alte Oper: historical performance practice at its finest – of course. This is not only confirmed by Sir Eliot Gardiner and his Monteverdi Choir. And even concerning historical performance research, the British have established themselves as front-runners. St John Passion in the Alte Oper in Frankfurt - A British-style passionįrankfurt – They have long since nationally appropriated the Baroque Saxon Georg Friedrich Händel, who worked in England for long stretches. ![]()
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