Array ( [SESS_AUTH] => Array ( [POLICY] => Array ( [SESSION_TIMEOUT] => 1440 [SESSION_IP_MASK] => 0.0.0.0 [MAX_STORE_NUM] => 10 [STORE_IP_MASK] => 0.0.0.0 [STORE_TIMEOUT] => 525600 [CHECKWORD_TIMEOUT] => 525600 [PASSWORD_LENGTH] => 6 [PASSWORD_UPPERCASE] => N [PASSWORD_LOWERCASE] => N [PASSWORD_DIGITS] => N [PASSWORD_PUNCTUATION] => N [LOGIN_ATTEMPTS] => 0 [BLOCK_LOGIN_ATTEMPTS] => 0 [BLOCK_TIME] => 0 [PASSWORD_REQUIREMENTS] => Пароль должен быть не менее 6 символов длиной. ) ) [SESS_IP] => 44.222.233.8 [SESS_TIME] => 1711717523 [BX_SESSION_SIGN] => 8c5d1328a902adb12833e7ac01f334af )
Размер шрифта: Маленький Средний Большой Цвет сайта: Ч Б С
Обычная версия

30 марта

The premiere of “St. Matthew Passion” by Hilarion in Kazan

The premiere of “St. Matthew Passion” by Hilarion in Kazan

Last Friday, on 27 March, the oratory "St. Matthew Passion" by Metropolitan Hilarion was played for the first time in Kazan at Grand Concert Hall named after Saidashev. The work was presented by the ensemble of Moscow Region PhilharmonicState Academic Moscow region Choir named after Kozhevnikov, and State Symphony Orchestra of Tatarstan Republic led by maestro Alexander Sladkovsky.

Metropolitan Anastasy of Kazan and Tatarstan, Bishop Mefody of Almetyevsk and Bugulma, and the author of the oratory were present at the concert. Metropolitan Hilarion (Alfeyev) of Volokalamsk is a theologian, honored doctor of a few universities, including foreign ones, member of the Russian Union of Composers, chairman of editorial board of "The Journal of the Moscow Patriarchy", "Church and Time", collection "Theological Works" etc.

"St. Matthew Passion" had already been performed at venues throughout the world. However, Kazan saw the new version of the oratory: "In the original version the Gospel was chanted by a deacon or a reader, – commented Metropolitan Hilarion. – However, it proved to be tiresome when doing a concert performance. Concert-goers have trouble listening to the kind of monotonous recital we're used to in church. That's why after a number of performances I did an adapted version to meet folk's needs, and we heard it today."

The work about the sufferings and death of Jesus Christ combined a musical work and a liturgy. Instrumental, choir, and solo pieces were interspersed with the recital of St. Matthew's Gospel in Russian. The author's idea, as he put it, was to shift the atmosphere of a church service to a concert hall setting.