Three hundred years ago, on April 7, 1724, Johann Sebastian Bach presented his St. John Passion to the public in Leipzig, a monumental work recounting the suffering and death of Christ as told in the Gospel of John. Among the four passions Bach composed, only those of St. John and St. Matthew have endured, standing as pillars of Western religious music. At a time when the use of music in churches was strictly regulated, Bach broke conventions, gifting music history with a sacred opera of profound depth and formal innovation.

St. John Passion, lasting over two hours, is marked by an alternation of recitatives, chorales, and reflective moments. Long considered a monotonous piece, especially in the 19th century, the bold project of the Théâtre des Champs-Élysées, which entrusted the oratorio to the dance company Sasha Waltz & Guests, has given the work a fresh, contemporary dimension that extends beyond the circles of musicologists.

On stage, the absence of scenery—save for a few minimalist geometric elements—highlights the dancers’ physical expression. Through a fluid yet intricate language, they interpret Bach’s score using the baroque movement grammar favored by Sasha Waltz. The Cappella Mediterranea ensemble, led by conductor Leonardo Garcia Alarcón, provides impeccable execution that underscores the solemnity of the composition while lending it a modern resonance. At times, the orchestra seems to engage in dialogue with the dancers, weaving a tapestry of powerful emotional intensity.

This staging stirs a true « charivari, » akin to the reaction that accompanied the premiere of Hugo’s Hernani in 1830: whistles, cries, and bravos punctuate the aesthetic shock. Transported, as if to the 19th century amidst the romantic battle for artistic freedom, one is reminded that Sasha Waltz’s approach takes a radical stance on Bach’s work. The introduction of nude dancers « sewing » their future garments, their expressive and forceful movements, and the many tableaux that evoke the solemn images of video artist Bill Viola may provoke reflection. Yet these aesthetic and choreographic choices, both intense and poetic, enhance the symbolic power of the Passion, forging an unprecedented alliance between early music and contemporary dance to offer a renewed aesthetic experience.

St. John Passion
Théâtre des Champs-Élysées, November 4 and 5, 2024
Conductor: Leonardo Garcia Alarcón
Direction, Choreography: Sasha Waltz