Classical Concert Reviews Cinci

@stgertrudecincy opened its 2026-27 concert series with one of its most unique offerings – a rare performance on period instruments of the most well-known of Johann Sebastian Bach’s large-scale works, his Mass in B Minor BWV 232 (1733-49). Artistic director and conductor Christopher Holman led an ensemble of local Baroque specialists and rising young singers in a performance that was equally stirring and meditative, yet also pining for hope for the future.
The chorus parts of the mass rank as some of the most demanding of any work in the Baroque repertoire, second perhaps to Handel. The assembled ensemble of 16 singers pulled it off with a wondrous beauty of tone and aplomb. This despite the fact that St. Gertrude’s acoustics could occasionally be overly reverberant or wet enough to affect the enunciation of the text. The freelance orchestra was equally wonderful throughout as well, even it ran into many of the same acoustical issues as the choir. Praise goes especially to violinist Maureen Murchie, oboe d’amore soloists Kristin Olson and Curtis Foster and Michael Stiles on corno da caccia.
Soprano soloists Olivia Knutsen and Natalie Ronanick turned in outstanding performances throughout, with a luxuriant timbre that fit the space very well, particularly in the Christe duet which helps open the mass. Alto Rachel Bell’s solo moments were equally spectacular, none more so than in the Agnus Dei, with a sensitivity to text and an understanding ear to the emotional power of the ear that made hers one of the most enjoyable heard in Cincinnati in recent years.
Tenor Sam Krause and bass Mike Young also turned in excellent solos, particularly the Quoniam and Gratias sections of the Gloria as well as the Et in spiritum sanctum of the Credo.
An excellent endeavor for the St. Gertrude’s music series to tackle this masterpiece and a great way to start the new season of choral concerts in Cincinnati.
Bravi!