Above: Large vocal and orchestral forces plus baritone and soprano soloists delivered an exciting and exquisitely beautiful version of Brahms’ ‘Ein deutsches Requiem in the Concert Hall, Sydney Opera House. Photo credit: Stephen Blake.
Brahms never disappoints. And luckily for local audiences, neither do Sydney Philharmonia Choirs.
The recent delivery in its original German language of Brahms’ clear, progressive, passionate and perfectly crafted non-mass Requiem was an impressive display of the power plus subtlety capable from Sydney Philharmonia Choirs in four-hundred-plus-voice Festival Chorus mode.
Under the energetic and leadership of Artistic and Music Director, Brett Weymark OAM, Brahms’ well-crafted earlier work, setting biblical text and not the Catholic Latin funeral rite to atmospheric, comforting and hope-filled music was a spellbinding event.
Whether audience members were familiar with Romantic choral music, with Brahms’ music, with excellent Sydney Philharmonia Choirs concerts at the Sydney Opera House or newcomers to such experiences, (or this work, or its rendition by large choir plus orchestra), this concert had an easily accessed wow factor to sink their concert-going teeth into.
Above: Baritone soloist Samuel Dunda. Photo credit: Stephen Blake.
This Requiem with Brahms’ hand-picked biblical texts (translated unfortunately not via surtitles but beautifully in the fine programme notes) could never fail in moving any of the assembled. Fire and brimstone words and feels from the famous Catholic Mass settings as heard in Requiems from Mozart to Verdi were absent. This setting, so well-crafted by Brahms, had everything for stillness and awesome praise (as in the setting of ‘How lovely are your dwellings, O Lord of Hosts) to more strident moments for Baritone and Chorus (in a version of the text used in Handel’s Messiah, ‘Death where is your sting!).
Atmospheres created with Brahms’ signature immediacy and clarity, where chorus and soloists were so carefully interlocked and instrumental solos or tapestries enjoyed a compelling presentation here. Musical contrasts, repetition of texts and measured movement towards fulfilling musical high points and huge choral tone were the order of the day in this performance. In both mellow and rousing sections of the seven-movement work an overall effect of music that soothes, gives hope for a Christian afterlife and celebrates skilful orchestral and vocal writing promoted music and performance to celebrate heart-warming humanity.
The tightly woven utterances from the choir, soloists and orchestra during this event were produced by musical groups in a very special collaboration. Members of Sydney Youth Orchestra were interspersed with the Sydney Philharmonia Orchestra players. The successful mentoring taking place and thrill of the SYO players to be involved in this large-scale choir event, playing this innovative requiem by Brahms was special to see. From the opening hushed atmosphere and choir intoning ‘Blessed are those that mourn…’ it was evident this combination of players and a controlled, flexible choral voice despite having more than 400 singers was to take us on a formidable journey.
Above: Soprano soloist Cathy-Di Zhang. Photo credit: Stephen Blake.
Soloists assisting along the way to present the hope,comfort and Christian confidence were well-chosen and sang with warmth and fine colourisation of the textural pastiche. Samuel Dundas’ delivery from the back of the orchestra (thanks to the SOH acoustic renovation) was an excellent example of narration. We watched him as he demonstrated fine bouncing off the choir- with which his so-listenable, solid tone and contouring of line was so well balanced-to enhance the religious fervour and consequence of the texts Brahms reserved for soloist.
Cathy-Di Zhang’s trajectory across the front of the stage was well choreographed as she sang the movement dripping with gentle gestures that concludes with ‘…I will comfort you like a mother comforts her child’. Once again brilliantly balanced with the choir and celebrating Brahms’ seamless blend of both, her phrasing, movement across her range and touching placement of melody and feeling made for an excellent moment. As will many of the sections and solo expansions to be joined by the choir, it was followed by appreciative noises from the mixed crowd around me.
Above: Artistic and Music Director Brett Weymark with this event’s combined orchestra, Festival Chorus and soloists during the large ovation at the end of this performance. Photo credit: Stephen Blake.
This performance was consistent with other Sydney Philharmonia Choirs events for massed or large choir, where a total classic of the repertoire is offered up to audience who cherish it, newbies who are immediately moved by it and played by extended forces who control it, rejoice in it and prove their organisation and those joining it are amongst the best in our country and beyond to bring it to us.
We look forward to ending 2025 in Sydney Philharmonia Choirs style, with the Sydney Philharmonia Choir’s Chamber Singers celebrating sections from Bach’s Christmas Oratorio on December 13 as well as Carols at the House on 12-14 December. Both events are again at the Sydney Opera House Concert Hall.
