March 12, 2010
On Saturday, March 6, 2010 a select group of alumni and friends
of St. John’s University gathered in St. Thomas More Church on the
Queens campus for an exclusive performance of Pilate, a
one-act opera in concert form. With a
libretto
crafted by Bernard D. Kennedy ’54CBA, ’58L, ’99HON from passages of
the New Testament, the opera was performed by the Long Island
Masterworks Chorus, under the direction of Frances C. Roberts,
Conductor. It featured the music of such noted composers as
Giuseppe Verdi, Gioachino Rossini, Charles Gounod and Maurice
Ravel.
Photo Gallery
Pilate tells the story of the emotional anguish experienced by
Pontius Pilate as he struggles with the demands of the Chief
Priests and Elders that Jesus be put to death. The opera vividly
documents the personal, political and spiritual aspects of Pilate’s
decision as he ultimately condemns an innocent man to
crucifixion.
“This was truly an impressive and inspiring work of art created
by one of St. John’s most loyal alumni,” remarked Rev. Donald J.
Harrington, C.M., President, St. John’s University. “The fact
that it was performed within the sanctuary of St. Thomas More
Church during the Lenten season added a special significance to
what was a most memorable presentation. The o
pera
offered a thoughtful and sometimes disturbing portrayal of the very
conflicted and very human side of Pontius Pilate, one that has
rarely been seen in other accounts of the suffering and crucifixion
of Jesus.”
Guests were impressed by the intensity of the performance and by
the dramatic intensity that built inexorably to the final
crescendo.
“I was really moved by it,” said John P. Tutunjian ’59UC.
“The performance portrayed the agony the Pontius Pilate went
through as he realized that he was expected to condemn an innocent
man, whom he knew had done no wrong, to a painful and humiliating
death. The performer who played Pilate sang a very beautiful part.
You could feel the agony in his voice as he understood, or at least
felt, that he had no choice in what was about to happen. We
always think of Pilate as being a villain, and of course he was,
but this opera showed that he was a villain with a conscience.”
Tutunjian also noted that the timing and the setting had a great
deal to do with the special nature of the performance. “We’re in
Lent, building up to Easter, and being inside of a ch
urch really
added to the sacredness of the event,” he remarked. “Everything was
portrayed on the altar, in front of the cross, and it was a very
touching scenario…almost like a foreshadowing of what was to
come.”
Kennedy noted that he has “…always had a great interest in
classical music, both symphonic and operatic. As I listened to
these classical pieces, I began to realize that there were melodies
in the symphonic and operatic works that would lend themselves to
substituting new text for various songs, hymns, arias etc. I find
the creative process extremely exciting and fulfilling and hope to
continue as long as God gives me the strength to do so.”