When you hear “Requiem” in the classical music scene outside the church, usually composer names that come to mind are Verdi and Mozart, possibly Berlioz or Lloyd Webber for modern music fans. Not often will Antonin Dvorák come to mind though. Coming from the Romantic period (late 1800s) Dvorák is better known for his New World Symphony, Dumky Trio and very popular Slavonic Dances. He was however, a devout Catholic and, for one of his many conducting invitations to visit Great Britain (8 visits in 7 years), he was commissioned to write a Requiem for the Triennial Music Festival in Birmingham 1891.
The work was a huge success, not surprisingly, as he had already become a celebrity in the UK with a huge following of fans just waiting to see what he would come up with next. Despite this initial success, Dvorák’s Requiem did not gain the long term following of those of Verdi and Mozart but, when it is performed, it is very well received as it was tonight.
Artistic Director of the Sydney Philharmonia Choirs Brett Weymark lead the 350 strong Festival Chorus with more than 80 musicians from the Sydney Youth Orchestra. Hovering way above the stage was David Drury at the Concert Hall organ adding extra oomph to the proceedings.
Soloists were outstanding and really worked well together. Soprano Taryn Fiebig was in fine form easily soaring over the entire chorus or, other times, drawing the audience in with more intimate phrases that were captivating. Completely in sync with her was all-rounder mezzo-soprano Fiona Campbell offering a sensitive and emotive performance. Tenor Andrew Goodwin offered a clear, ringing voice with more strength than previously seen and to finish the group was the lovely baritone Michael Honeyman adding depth and fierceness when required.
Compared to other better known requiems, Dvorák adds his own flavour to the usual God-fearing requiem texts with musical mentions of his beloved national folk music of Czechoslovakia. He also adds an overall lightness to the work. Where other composers focus on a dense, heavy “preaching” style, this work features space between the phrases that makes it palatable for a more enlightened audience of modern times. As heard in his Symphony’s and dances, Dvorák has always been a fan of high contrasts. The massive Tuba miriam section requiring every performer to give it all they’ve got, for example, is followed by the ever gentle Quid sum miser performed by sopranos and altos of the chorus. There are several thrilling, spine tingling moments when all caution is thrown to the wind and Weymark with his baton looks like he is trying to control a tornado (luckily he succeeds) where no audience member could possibly drift into a snooze. “Massive” is the best description of these parts. Other sections were serene and restful with an overall optimistic ending to Agnus Dei.
A wonderful performance with much enthusiastic applause from the audience.
https://sydneyphilharmonia.com.au