The Co-Cathedral of San Nicolás in Alicante resonated with a Friday concert that explored Passion, death, and resurrection through Bach and Liszt pieces, including Bach’s Orgelbüchlein BWV 618-630 and the Way of the Cross, performed by more than 60 students and teachers from the José Tomas Conservatory of Music in Alicante. The performance brought together organ, harpsichord, piano, choir, and an ensemble of string and wind instruments, creating a vivid, multi-sensory experience for a large audience in the historic cathedral.
Hundreds of spectators filled San Nicolás to witness a show where staging and sound worked in harmony with the music. The production used lighting, acoustics, and dramatization to illuminate the Passion, with moments of flickering lights and a simulated storm that heightened the drama while the score guided the emotional arc of the narrative.
Bach, Liszt, and Gregorian chant
Across centuries, composers have addressed the themes of passion, death, and resurrection. Bach’s Choral Preludes, the Way of the Cross set to Lutheran liturgical music, Franz Liszt, and the use of Gregorian chant in Catholic rites all intersect in this program. The close relationship between Bach and Liszt is evident, for instance, in the BWV 625 chorus Christ Lies in Bonds of Death. Gregorian hymn Victimae Paschali also figures prominently, as explained to the audience by Benantzi Bilbao, a professor specializing in Early Music and Organ dedicated to sharing insights with concert-goers.
When the text asks, “Father, why have you forsaken me?” the organ glowed red and trembled, while simulated lightning and thunder underscored the moment of Christ’s death.
The program wove dramatized scenes into the music: the crucifixion unfolded with six hammer blows and the lifting of the cross, while another sequence depicted Mary’s procession with candles. Ares of text and sound built the sense of the narrative, culminating in a loud cry for forgiveness as the organ roared red, and the ensemble conjured a storm of sound. Ultimately, the scene shifted to resurrection as the Co-Cathedral’s interior lit with a warm, triumphant glow, bells and percussion joining the organ to signal the moment of renewal.
The show featured two organs, a piano, a spinet, a choir, and a string and woodwind orchestra.
The concert unfolded as a focused musical journey, supported by two organs, a piano, a spinet, a choir, and a compact string and woodwind ensemble. The performance was enriched by a swift, intense musical tour that included bassoons, oboes, theorbo, and archilaud, among other instruments, creating textures that shifted from intimate to grand in quick succession.
The great organ of the cathedral
The colossal organ at the Co-Cathedral stood at the center of the sacred spectacle, its timbres filling every corner of San Nicolás. Viewers could watch the organists’ hands and feet in real time on a large screen, adding a sense of immediacy to the performance. The event featured on-screen translations of German and Latin texts sung by the choir, complemented by visuals from classical paintings that reflected the liturgical moment.
“I feel nervous before I start, but once I begin playing, the tension dissolves.”
Athenea Castillo, a 15-year-old organ and harpsichord student at the Conservatory since childhood, spoke about the heavy responsibility of performing in front of a crowd in San Nicolás. Like her peers, both students and teachers gave their all after a busy season of rehearsals, culminating in a standout night. The experience left a lasting impression on many who were part of the performance.
“The aim is to make this an annual, fixed concert,” explained Patricia Peinado, the event’s director. She described the experience as a milestone for the Conservatory and highlighted the added challenge for the chorus, since most pieces are in German, a language that demands precision and nuance from the performers.
Early music department
As Easter approaches, this musical show embodies a spirit of tradition and renewal. It follows the inaugural Alicante Sings to the Virgin, held the previous year, and signals a growing custom within the Conservatory. The department’s emphasis on early music—where organ and harpsichord are joined by plucked strings and added expertise—adds a distinctive quality that sets the program apart. Plans for next year foresee expanded specialization in harpsichord, top flute, and other early music voices.
Offering organ classes at San Nicolás, made possible through an agreement with the Co-Cathedral Council, marks a significant step forward. It represents a qualitative leap for student musicians and a tangible bridge between sacred spaces and classical training, enhancing opportunities for hands-on study in a renowned setting [Conservatory commentary].