This article considers the twentieth- and twenty-first-century practice of presenting Johann Sebastian Bach's Passion compositions on stage, in light of recent debates about performativity, presence and liveness. By tracing the history of such stagings from Ferruccio Busoni's plans in the 1920s to contemporary versions by Peter Sellars, Alain Platel, and others, I explore the increasing tendency to turn these canonical works into politically or aesthetically relevant events. Through a close reading of the critical reception of each production, I show how stagings have the capacity to challenge productively our easy familiarity with these pieces outside their initial liturgical setting. Unlike a standard concert presentation, staged performances tend to confront audiences more immediately with the violent imagery and spiritual demands of the Passions, thereby continually renewing the dialogue between Bach's works and later audiences. The article thus offers a contribution to an anthropological enquiry into the present-day cult of Bach and the particular forms of aesthetic pleasure that classical music affords its twenty-first-century devotees.