Despite numerous recordings, it’s a rare treat to hear the composer’s original 1724 version of his St John Passion captured on period instruments. Richard Egarr directs some of Britain’s most stylish voices, accompanied by his own virtuosic musicians from the Academy of Ancient Music, on a journey through the arrest, trial, and crucifixion of Christ.

Egarr approaches the latter of Bach’s two surviving Passions with great intensity, asserting his view of the work at an unforgiving pace.

Simultaneous movements of choir and musicians are mechanically concise, with individual entries uniform in expression – a consistent sound that comes across as well planned and not at all impersonal. The tenor James Gilchrist’s Evangelist is a real highlight – his earnest recitatives are sung with a near-feminine gentleness – I indulged in every word with utter delight.

Matthew Rose and Ashley Riches give reliable performances as Jesus and Pilate, while Sarah Connolly’s arias are sung with seemingly as little effort as would be required for the spoken word.

The program notes boast a “more muscular” version, and with instruments and voices combined it rarely disappoints. The articulation of the biblical text sometimes gets lost in the richness of the choral sound, but it’s unlikely to compromise your enjoyment. It’s impossible to replicate the circumstances under whichthe work was originally performed, but the AAM brings us a step closer to hearing it as Bach intended