Above photo : Organist Anna Lapwood
One of the most exciting performances at the Sydney Opera House introduced by the ebullient spirit, Anna Lapwood, bouncing onto the stage setting the scene and mood, elevating the expectation to come.
The concert opened with Olivier Messiaen’s Les Offrandes Oubliees (The Forgotten Offering)(1930) which established his interest in reflecting the truths of the Catholic faith in music which embodied his experience of physical colour. The three movements reflect Sin, Christ’s atoning death on the Cross and the sacrament of the Eucharist, by which the Christian soul is freed. For me and other audience members with glazed eyes, these movements were a sublime experience finessed perfectly by the full complement of the Sydney Symphony Orchestra. Messiaen admitted to many influences; his characteristic sound resulting from a distinctive blend of harmony and rhythm, which utilises the elasticity of Gregorian chant and the complexity of Greek and Indian rhythms. Colour is a key essence in his style, he was able to perceive sounds as colours approach as a compositional tool, especially using a note, chord or extended material sounding quietly against louder principal harmony to affect a special bloom of colour. Les Offrandes Oubliees is scored for 3 flutes, 2 oboes, cor anglais, 2 clarinets, bass clarinet and 3 bassoons; 4 horns, 3 trumpets, 3 trombones and tuba; Timpani, percussion and strings. The SSO have only performed it three times and their output tonight was a triumph of sublime and artistic quality.
Next on the program was the appearance of solo violinist extraordinaire, Maria Duenas, a luminous talent in classical repertoire who captivated tonight’s audience with her embracing range of tonal colours and implacable technical prowess and interpretations that blend her artistry with knock-out dexterity and bold expressiveness. The New York Times praised her abilities as ‘someone who has something to say, and the skill to say it brilliantly’. Maria Duenas performed on a Nicolo Gagliano violin from 1734. She is certainly endowed with a remarkable fusion of classical tradition and contemporary innovation. Her performance of Max Bruch’s Violin Concerto No.1 in G minor, Op.26 (1866) brought out the pyrotechnics especially in the third movement, lavishing the moving melodies on her solo instrument with verve and elegance that blew away the audience and the orchestra , registering a great wave of encores, that she returned adding an extra piece to delight the audience.
Max Bruch’s first violin concerto launched by the solo violin in sonorous double-stopping, and a contrasting descending second subject, a conventional opening movement in sonata form seems to be under way as the main thesis theme, the rhythmic figure heard in the plucked bass strings plays an important part. Heavily brought back the opening chords and flourishes, Bruch uses them to prepare a soft subsiding into the slow movement, which begins without a pause.
Every conductor is a treat to watch and experience their style, finesse and exuberance, none better than Alexander Soddy, the British conductor, a titular global phenomenon. He personalises his style by connecting with each musician in a visible, demonstration of love and admiration that’s unique in the world of conductors. He has a mercurial signature with his wand, galvanising and eliciting the very best of the orchestra.
The last, but epic piece is Camille Saint-Saens’ Symphony No.3 in C minor, Op.78, Organ (1836). His classicism is evident in his concertos and symphonies, especially in his elegantly-turned chamber music where he seems to emulate what he admired in Bach and Mozart. The Symphony is scored for a larger orchestra that embodies the SSO, comprising 3 flutes, 2 oboes, coranglais, 2 clarinets, bass clarinet, 2 bassoons and a contra bassoon; 4 horns, 3 trumpets, 3 trombones and tuba; timpani, percussion, piano( two and four hands), organ and strings. With baited excitement, this masterly orchestration with its dramatic range of sounds from the diaphanous to the massive, took off replete with memorable tunes and intricate counterpoint, traversing an emotional landscape from deepest melancholy to sheer joy.
The opening Adagio’s fast music peters out, subsiding into the beautiful, sombre emotionally searching Poco adagio. It is here that the organ championed by pocket-rocket dynamo, Anna Lapwood bellowed its brilliant tones. She is credited with introducing a huge audience to the organ and helped revitalise repertoire for the instrument through dedicated commissioning and performing of new works. A composer and arranger in her own right, Anna has also curated and edited an anthology of organ works by contemporary women composers. The organ provides a velvety backdrop for the questing second theme of the movement. Part II opens with a turbulent scherzo punctuated by Timpani. It too builds in sound and fury but mysteriously winds down to a quiet, simple texture built on another chant-like motif. This is where Saint-Saens unleashes the full power of the organ with a shattering C major chord that opens onto a world of sparkling piano figurations, chorale melodies and the wonderful musicality of the full SSO, into a overwhelmingly joyous final peroration.
What a night! Perfect for all the senses.
Concert Hall, Sydney Opera House
Thu 19 Mar, 2026, 7.00pm
Fri 20 Mar, 2026, 7.00pm
Sat 21 Mar, 2026, 2.00pm
Production photography by Jay Patel
