This year The Australian World Orchestra celebrates its 15th Anniversary. Unique in format, once a year, the Orchestra draws expatriate Australian musicians back to their homeland from where they are working professionally. Reading their resumes in the program demonstrates that only the best of the best are invited to be a part of the ensemble. They may be an Artistic Director, a Concertmaster or the Principal of their section in the greatest orchestras around the world such as London, Oslo, Berlin, Leipzig, Minnesota, Seattle, Vienna, Scotland, Israel, Stuttgart, Denmark, Lucerne, Singapore, San Diego, Munich, Basel, Cologne…. Other musicians are the working at the top of their game here in Australian and New Zealand orchestras or tertiary institutions. It is literally an “All Stars” orchestra.
With such an incredible collection of more than 90 superb musicians, the result is a fine tuned, exquisite performance which cannot be matched. Perhaps the astounding unity and sensitivity is not only due to their peak standard of skill but also, due to their passion for getting together with old friends on such a rare occasion to create music. It’s almost like a school reunion. Their fondness for each other is easily and readily expressed on the stage.
The Australian World Orchestra has featured guest conductors in the past but this year their founding Artistic Director, Alexander Briger, took the baton at the Concert Hall in Sydney Opera House.
The previous super-sized performance was in 2023 when they performed Mahler’s Symphony No. 9. The performances (Melbourne and Sydney) were so successful, Briger decided to stretch the musicians – and himself – this year for an even greater program. Titled “Mahlerfest” they performed Mahler’s Symphony numbers 4 and 5 together! This has only been on record as performed twice overseas and certainly has to be the first time in Australia.
Numbers 4 and 5 make for an interesting and clear contrast with very little similarities other than the Adagio (in no. 4) and Adagietto (in no. 5) both being enough to make one swoon. Symphony no. 4 is playful and full of wonder. The opening movement even features sleigh bells. In contrast, Symphony no. 5 is full on drama whilst avoiding causing too much angst. They are both genius works where there is never a dull moment. You might hear a beautiful melody, scan the orchestra to try and spot who is playing it. When the obvious moment arrives for the repeat of the phrase, you discover either the part is now played by a different instrument or the music has moved on to something different altogether. The constant change keeps you on your toes.
In interviews, Briger frequently pays tribute to his uncle, the renowned conductor Charles Mackerras who had a long standing relationship with Covent Garden in London. When Briger was just 12 years old, his mother took him to see Mackerras conduct the Sydney Symphony. The performance inspired Briger to become a conductor himself and it is a delight to know that the work he heard at that first concert was none other than Mahler’s Symphony no. 4.
Mackerras was internationally known for his impeccable interpretations and conducting for ballet. This sensitivity has brushed off on Briger. His interpretation of each symphony was of the highest musicality. Each phrase was deeply felt and valued. The tempi constantly changed like a natural conversation. He allowed space between the composer’s thoughts which made each idea easier to chew on and digest. Briger’s talent holds the rare X-factor which produces gripping orchestral art and entertainment. He expertly lead the audience through Mahler’s adventures, along with the musicians who swayed like a stormy ocean.
Featured in the final movement of Symphony #4 was German Soprano Sarah Traubel in her Australian debut. Briger had organised for her to march on stage during a dramatic moment near the end of the previous movement. Her regal countenance almost had us standing with cap in hand. It really did feel like the Queen had arrived. She is a striking, tall woman with softly curled, white blonde hair and a strong face. At times her clear and lovely voice faded a little into the orchestra which didn’t let up in volume. Other times, she soared over the top of them. Traubel’s interpretation of the poem about heaven “Sehr behaglich” was sung beautifully in her native tongue. She received much applause from an appreciative audience.
After interval, many of the musicians swapped places. Parts were shared which allowed more participants to have a moment to shine. The 5th Symphony is like watching Star Wars (but better). There is very little respite and, as your imagination flies through the air, darting amongst the laser beams and the TIE fighter ships, it is a relief to know that will all work out in the end. It’s a popular work that knocks your socks off.
By the close of the performance, the Concert Hall gave a full standing ovation with many curtain calls. All in the auditorium were exhausted but satisfied. Faces were aching, lips were dry from being stuck to the teeth after smiling too long. Makeup was washed away by shed tears from the most beautiful moments. Spines were tingling from the music-gasms. It was truly a magical night and one that will be remembered for a long time to come.
Related Links
More about the Australian World Orchestra, their concerts and education program: https://www.australianworldorchestra.com.au/
What else is on at the Opera House? https://www.sydneyoperahouse.com/whats-on?date=All&genre%5B1436%5D=1436&genre%5B1456%5D=1456&genre%5B1441%5D=1441
More about Soprano Sarah Traubel: https://en.wikipedia.org/wiki/Sarah_Traubel
