Jean Sebastien BACH created one of more painful and dramatic oratorios of the history of the music. But, when it entered to Leipzig, the contract carries a clause which prohibits to him to continue in the direction of the oratorio-opera. All seems to us to make believe that BACH yielded with this rule without sorrow... and yet... Mario Feroce sees in the writing of the Master a rebus of the author delivered to the future generations...
I was still a child when I made my first meeting with the Cross on the burned grounds of Sicily. It emerged from the ground, a such poor tree and nevertheless majestic. This day I learned all the value that this symbol would represent in my life and my career. Thousand interrogations crossed my spirit: why this man was thus humiliated, why this subjected suffering, this nudity, why all this blood. The answer was long in coming. Later, in the churches, which drew more my attention, were not the sermons or the ritual one: if I raised the eyes to the sky, I lost myself long hours to contemplate the majestic architecture generated by tiny men, whose faith could be so immense. The same infinite faith animated paintings which questioned me on the power of the colors to give form to the divine one. And this woman, always with the feet of the Cross, why as much of suffering in its eyes, its mouth without verb? It is all that which justified, in me, this Passion: the painting of Veronese, power of the Cross, the suffering of this mother. This mother suffered more than all the other characters! Jesus knew what arrived to him, it had it even desired (fears, but desired). How could it have accepted what arrived to him? There is nothing worse than to lose his children... the man was not even able to find words to express it... it does not exist antonym with "orphan". I wish speech of this suffering, more than of the purely spiritual vision of work. This suffering is common to all the religions, with all the people. Thanks to it only, we will be able to speak about spirituality using the same language finally. It is by this scene that I decided to begin my study of Passion. This "Stabat MATER" was for me, the essential starting point to be able to put to me at the service of Bach and its music. The Aria "Es ist vollbracht", by its highly dramatic nature, after the last sigh of Jesus, by his very marked structure ABA, underlines, with my direction, the duality of the role of Marie: afflicted mother, but in the abnegation vis-a-vis at the Divine request. This duality, I wanted to see it on scene. Another point of force of Passion is the treason of Pierre whom I wanted to juxtapose with that of Judas. "Ach, mein Sinn", in its tormented ardour, seemed me to return to the perfection this state of heart.