Sydney Philharmonia Choirs – Ode to Joy
October 26, 2024, Sydney Opera House, NSW
A packed house at the Sydney Opera House, with standing room only, bore witness to an afternoon of musical grandeur and revolutionary spirit as the Sydney Philharmonia Choirs Festival Chorus, Sydney Youth Orchestra and members of the Sydney Philharmonia Orchestra, led by conductor Elizabeth Scott, took the audience through a powerful and inspiring journey of evocative music. The program opened with Ethel Smyth’s Mass in D Major, filling the hall with the dark, lamenting cry of the Kyrie. Smyth’s emotional depth was on full display here, the introspective start giving way to the brighter, hopeful lines at the beginning of the Credo. The solo interjections drew focus to important phrases in the religious text, and the “ascendit in caelum” section was notably joyful and triumphant, carried by dramatic orchestral lines. It was clear why one audience member I overheard commented on how “Beethoven-like” Smyth’s work sounded.
Bronwyn Douglass (soprano) and Helen Sherman (mezzo-soprano) brought warmth and gravitas to their solos, while Bradley Daley (tenor) and Michael Honeyman (baritone) provided strong performances, all supported by the ardent voices of the Festival Chorus. Smyth’s Sanctus was a true highlight, with Sherman’s resonant voice setting a rich tone as the women of the choir added a soft, innocent shimmer, giving a sort of luminous backdrop to the solo’s velvety texture. The opening of the Gloria was, well… glorious – supported by a terrific sound from the 350-odd singers and players, this jubilant movement reverberated through the concert hall. Smyth’s Mass in D is a bold work, and the combined forces gave it the dramatic weight and expressive power it deserved.
Following the interval, Beethoven’s Consecration of the House overture opened the second half with great pomp and pageantry. This was clearly music written for an occasion, the overture exuded a regal energy, with the orchestra’s vibrant fanfares and spirited performance filling the hall with celebration. The piece showcased a fabulous energy from the players.
Smyth’s The March of the Women followed, and it was sung with stirring enthusiasm by the choir. Composed as a rallying cry for the suffragette movement, this anthem felt less like an historical piece and more like a modern call for justice and resilience, the choir’s hearty delivery was matched by audience whoops and applause. This piece nicely connected the two musical iconoclasts presented in this program.
The concert closed with Beethoven’s Ode to Joy finale from his Ninth Symphony, complete with off-stage cymbals that lent a processional feeling, in tune with the pageantry of the preceding works. Scott’s pacing brought a sense of restraint to the piece, I felt a bit like I was ascending a musical roller coaster with all the thrill and anticipation that suggests. The choir’s enjoyment was evident as they poured energy into the finale, yet Scott skilfully reined them in, allowing the crescendo to build towards the glorious musical climax. The orchestra, particularly, seemed to revel in the furious sprint to the finish, each section contributing to the sheer thrill of the piece. Bravo!
Beyond the music, this concert marked the 12th year of collaboration between the Festival Chorus and the Sydney Youth Orchestra. The partnership not only showcases the Sydney Philharmonia Choirs’ commitment to nurturing talent but also enriches young musicians’ experiences in ways traditional orchestral training may not. Playing with a large choir offers unique technical and musical challenges. Many of the professional players in the orchestral forces are alumni of the Sydney Youth Orchestra or the Australian Youth Orchestra, their mentorship was evident in the cohesion between the choir and orchestra, highlighting how these collaborations shape future generations of musicians.
This concert was both a tribute to two musical giants and a vibrant reminder of music’s transformative power. Both Smyth and Beethoven composed not only to entertain but to inspire change and embody ideals. And through this performance, both composers’ revolutionary spirits and shared resilience – each struggled with hearing loss and triumphed against adversity – were beautifully honoured.
