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Sellars’s St Matthew Passion, on the other hand, was hailed as an “Easter miracle,” and apparently elicited cathartic responses from the audience, whose tearful reactions suggested they played a part in nailing the Son of God to the Tree. One reviewer called the production “an apotheosis of kitsch,” all-but accusing director Deborah Warner of making Bach’s masterpiece a theatrical joke.

What was surely meant to be an avant-garde directorial choice resulted in a reaction that was the polar opposite of what one would expect at the death of the Redeemer of the World: “peals of laughter” emanating throughout the hall. The most scathing response was perhaps saved for the English National Opera’s 2000 production of Bach’s St John Passion, where a real, living lamb was brought out on stage by the Evangelist during the final scene and loudly bleated throughout the closing moments of the work.

Indeed, given the reverence afforded both to the Passion genre and Bach himself, reception history has not been kind toward attempts to stage this musical depiction of Christ’s suffering and death. Some have, for example, denounced his stage directions as both New-Age spiritual and “grossly real.” Given the stark and sometimes offensive interpretations in staging both canonic and contemporary works, a ‘Peter Sellars Bach Passion’ was surely to have been greatly anticipated. Known for his unconventional interpretations, Sellars has for decades been a controversial figure. In 2010, American opera director Peter Sellars mounted a production in Salzburg of the famed St Matthew Passion, which later reached a global audience when the production was transferred and live streamed/video recorded with the Berlin Philharmonic.

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