PROGRAM NOTES by Mark Doerries

Tonight’s performance is an experiment, a musical, theatrical, and psychological sojourn.  It fashions a new performance ritual, one not codified in concert halls or nightclubs, one that is crafted solely for tonight’s affair.   I cannot describe with any precision what the performance will be, I leave that for you to experience without prescription. 

Tonight’s performance is an experiment.  With few exceptions, every note you will hear emanates from Bach, though this is not an historical recreation.  Moments ring clear with Bach’s 18th century voice while others translate the composer into the 21st century.  It is not classical, rock, or jazz music, though the improvisatory germs awaken our imaginative spirits.  It is not a concert, though music is in abundance; it is not theater, though a narrative will unfold; it is not a worship service, though the vehicle for exploring struggles with belief, truth, loyalty, and reason is religious in nature.  Tonight’s performance is something else; it is alien, indeterminate, unknown, and notably ephemeral.

Tonight’s performance is an experiment.  Our ideas evolve daily and performers, scores in hand, make notes for future performances as tomorrow night will feel nothing like tonight.  If only a single chorus, aria, or recitative succeeds, this is where our imagination and revisions begins anew. 

Tonight’s performance is an experiment.  By changing the lens through which audiences and musicians penetrate Bach’s music, we open classical music to a broader spectrum of cultures and classes unlocking latent emotions, meaning, and ideas hidden in the composition’s nascent potential.

Tonight’s performance is an experiment.  You are invited to react in any manner you deem appropriate, clapping, cheering, standing, shouting, crying, and laughing are all fair game.  If you prefer a more curatorial approach to classical music, you will not offend us if you leave.  I have faith that by showing up you have made a choice to explore something new, both beautiful and profane, and will commune with the music and drama without adhering to broken paradigms. 

I hope something strikes you.  I hope you are moved to feel.  It is my hope that you will expand beyond sheer listening and engage, interact, and emote with us.  I hope that you leave filled with the courage to experiment with your own art, values, and lives. 

Tonight’s performance is an exciting experiment.

"PASSIONate CONVICTions is a contemporary staged interpretation of J.S. Bach's Johannes Passion, utilizing the entire space of the Art Museum's multi-level Thomas T. Solley Atrium and incorporating both modern and traditional instruments.  This 75-minute production, conceived by Mark Doerries, investigates humanity's struggle for knowledge and truth.  In conjunction with the concerts, the museum's Gallery of Art of the Western World will display a selection of artworks addressing the Passion story."

CAST

Evangelist/Judge – William Hudson

Jesus – Thomas Florio

Peter – Anthony Webb

Pilate – Steven Eddy

Soprano Soloist – Sharon Harms

Mezzo-Soprano Soloist – Hillary Sullivan

Soprano /Chorus – Shannon Love

Mezzo-Soprano/Chorus – Lindsey Lang

Tenor/Chorus – Mason Copeland

Tenor/Chorus – Asitha Tennekoon

Tenor/Chorus – Greg Geehern

Tenor/Chorus – Andrew Nason

Bass/Chorus – Joseph Mace

Bass/Chorus – Juan Hernandez

BAND

Lead Guitar – Guido Sanchez

Electric Guitar– Steve Harms

Bass Guitar – Michael Mendelson

Violin I – Daniel Stein

Violin II – Nidhal Jebali

Viola – Leah Kovach

Cello – Melissa Bork

Soprano Saxophone – Justin Polyblank

Soprano Saxophone – Julian Clarkson

PRODUCTION STAFF:

Mark Doerries – Conductor, Director, Creator

Siena Forrest – Production Manager, Titles, Spotlight

Steve Harms – Sound Engineer

photos: Bernadette Wagner