Bach never got right here closer to writing an opera than he did with the St John Passion. The leaner cousin of the extra colossal St Matthew, it responds to incisive conducting and singers with a nostril for drama, both of which this new recording possesses in spades.

Raphaël Pichon tears into the meat-grinding opening refrain with its agonised cries of desperation, later whipping his singers into a frenzy as they name for the unencumber of Barrabas and search information from that Christ be crucified. Pygmalion are razor-intelligent for the period of, in conjunction with a fascinating engagement with the reflective chorale texts.

Of route, the St John Passion is no longer an opera, counting on the Evangelist to expose the bulk of the story. Pichon is fortunate in German tenor Julien Prégardien. Ride shows, the relate rising to an outraged allege as he declares Barrabas a murderer, achingly florid recalling Peter’s bitter tears.

Huw Montague Rendall brings tonal richness and loyal gravitas to the position of Jesus, while Christian Immler’s agitated Pilate swings inspire and forth adore a tormented weathervane. In a ravishing lineup of soloists, Ying Fang’s purity contrasts nicely with the otherworldliness of Lucile Richardot, rounding off some of the theatrical St John’s within the catalogue.