Rich and sumptuous, at times rather heavy and possibly overwhelming this marvelous concert combined the glorious forces of the Sydney Philharmonia Choirs and the Sydney Youth Orchestra.
The conductor Brett Weymark was in energetic, enthusiastic form. The Orchestra was in great shape and performed with a glowing tone, finely nuanced and handling the various musical styles very well. Both the Orchestra and Choir were meticulously rehearsed and under Weymark’s direction caught the light and shade of the music from fragile, crystalline brilliance to thunderous, tumultuous pounding waves.
Soprano Penelope Mills and baritone Christopher Hillier, the two soloists, were in thrilling voice.
A passionate,turbulent version of Wagner’s Siegfried’s Rhine Journey opened the concert with its crashing cymbals , surging orchestra and ominous horns. A thrilling instrumental interlude in which Siegfried’s adventurous quest is described by Wagner and also foretelling his doom.
Next was the world premiere of a striking new work, specially commissioned, by Australian composer Carl Vine, Wonders, using the text of Who learns my lessons complete? by Walt Whitman. While relatively short the piece can best be described as a monumental dialogue between the two soloists and the Orchestra and Choirs. Haunting, lyrical sections with clement harmonies ( including harps and busy , tuned, burnished percussion ) were contrasted with explosive bursts from the Choirs.
The second half of the program consisted of Ralph Vaughan Williams A Sea Symphony in four movements with text also by Walt Whitman. ( What a felicitous pairing of Whitman and Vaughn Williams!).
A Sea Symphony was Vaughan Williams first Symphony for choir and orchestra and marked his emergence as one of the most distinctive musical personalities of the twentieth century.
Weymark led a lofty, spectacular performance, toweringly majestic. In the first and last movements in particular the thunderous climaxes were built and resolved with panache. Mention must also be made of the use of the Concert Hall organ to great effect .
The first movement, A Song for all Seas, all Ships, had an extremely strong opening with the choir in full crashing, turbulent voice (the shout of Behold, the sea itself ) , and had a stirring, dynamic ending.
Wymark’s conducting was assured and emphatic and the choir and orchestra responded accordingly. With the second movement the work transports us to seemingly more mystical, ominous domains.
Hillier, deeply expressive, shone, especially in his solo On the Beach at Night Alone, reflecting on the vastness and purpose of space and time. Mills sang with a polished tone combined with a sensitive awareness of the vocal line and had a resplendent entry on Token of all brave captains.
The concert hall atmosphere became electric at times – for instance in the a capella choral moments like This vast similitude opening up from a fortissimo unison entry to enchanting harmony. O Thou Transcendent in the last section was fiery and inspiring The final movement, with its metaphor of a sea voyage to represent the journeying of the liberated soul, was riveting.
The third section, The Waves, dashed off to a spiky, strident start leading to a tumultuous, breathless conclusion. The final, longest section – The Explorers – was mostly lyrical and reflective .The O Soul duet for the two magnificent soloists was haunting and pleading. The ending of the concert was delicate and exultant – the piercing finale was managed by Weymark with great authority. The rapt, contemplative closing was full of questing wonder.
A running time 2 hours including interval.
A Sea Symphony had two performances at the Concert Hall of the Sydney Opera House 22 and 24 September 2016.