On Easter weekend, Saturday, April 19, the Stadtcasino Basel hosted a musical event of exceptional caliber: the German-language premiere of the modern oratorio The Lamb of God by Rob Gardner. In a deeply emotional performance, the Passion of Jesus Christ unfolded through music, word, and sound, moving and captivating the audience. An 85-member project choir from congregations of The Church of Jesus Christ of Latter-day Saints across German-speaking Switzerland, together with the renowned Chamber Philharmonic of Freiburg im Breisgau, united under the baton of Sara Seidl-Schnyder in a performance that pierced the soul – and will resonate for a long time to come.
A Project of Passion and Dedication
What began seven years ago as a small idea in an informal discussion has now come to life on stage with impressive artistic maturity. The COVID-19 pandemic had prevented the originally planned 2020 premiere – making the emotional power of this postponed concert all the more palpable. The participants, all amateur musicians, dedicated over a year of rehearsals to bring this work to life in the German language.
The choir was rehearsed in various regions of German-speaking Switzerland and neighboring southern Baden throughout 2024. In early 2025, the singers came together for intensive full rehearsals to mature the work into a cohesive whole. Oliver Bassler, communications coordinator, emphasized: “This German-language premiere is not just a musical event, but a powerful expression of lived connection across regions and generations. Anyone who witnessed the heartfelt commitment of the performers could feel: this wasn’t just music – this was faith made audible.”
Brilliant Soloists and Orchestral Depth
Particularly impressive were the performances of the soloists, several of whom live and work in Basel. Soprano Susan Brownfield, also known in Basel as the founder of the Boutique Theatre, portrayed Mary Magdalene with profound emotional depth. Her aria in the Resurrection scene was one of the evening’s highlights – a musical rebirth that gave listeners goosebumps.
Equally compelling was Ronja Sunke as Mary of Bethany, whose clear mezzo-soprano voice conveyed both warmth and strength. Lucy Bradford shone as Mary, the mother of Jesus, with expressive power and technical maturity. Her “Hope Remains in Me,” sung beneath the cross, became the quiet center of the performance. And Ali Wood touched hearts as Martha with a gentle, sincere presence that turned her scene into a moment of quiet, yet deep, contemplation.
Christopher Bradford also impressed with a commanding stage presence as Peter. His dramatic scene following the denial of Christ was emotionally intense and vocally powerful. Every phrase revealed the inner turmoil of the character.
A special musical highlight came from Simon Aschenbrenner, principal cellist of the Chamber Philharmonic Freiburg. With warm tone, technical precision, and expressive intensity, he added emotional depth to the oratorio. His solos were not only masterfully executed – they were moving, touching, and gave the evening a quiet, resonant dignity.
The performance was conducted by Sara Seidl-Schnyder, who with keen intuition, fine emotional sensitivity, and stylistic clarity, shaped the choir and orchestra into a cohesive whole. Her musical leadership was characterized by inner calm, precise gestures, and the ability to make both dynamic peaks and quiet moments shine. Under her direction, musical expression became a spiritual experience – grounded, sincere, and deeply moving.
The Chamber Philharmonic Freiburg, accompanying the oratorio, proved to be both a sensitive and powerful partner. Their tonal balance, chamber-musical unity, and dramaturgical depth significantly contributed to the atmosphere of the evening.
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An Oratorio of Hope – Not Just for Easter
The Lamb of God is no conventional oratorio – it is a musical profession of faith. First premiered in the USA in 2010, it has since been performed around the world during the Easter season – now for the first time in German. The music is tonal, accessible, and often cinematic – blending classical sacred music, romanticism, and modern orchestration. Particularly notable is the inclusion of a narrator and narrator, which gives the performance a theatrical dimension that draws the audience directly into the story.
Gardner himself describes his intention this way: “I want to show that even in the darkest moments, hope can shine.” This sentiment was tangibly present throughout the concert. The concluding chorus “Hope Remains in Me” did not send the audience off in jubilation, but in quiet affirmation – a kind of spiritual resonance that ran deeper than the thunderous applause of this premiere.
Lasting Impact
The spirit of that evening in the Stadtcasino Basel will remain: as a musical testimony of hope, a living expression of community, and a bridge between generations, regions – and beliefs. Or, as one concertgoer put it upon leaving the hall: “You didn’t just leave a concert – you left transformed.”