Sydney Symphony Orchestra | Donald Runnicles conducts the Duruflé Requiem
September 21, 2024, Sydney Opera House, NSW
Sir Donald Runnicles, the full forces of the Sydney Symphony Orchestra, the Sydney Philharmonia Choirs, Camilla Tilling, Anna Dowsley and David Greco combined forces in a formidable interpretation of masterworks by Debussy and Duruflé.
The evening began with Debussy’s Nocturnes, a three-movement orchestral work scored for three flutes, two oboes, cor anglais, two clarinets and three bassoons; four horns, three trumpets, three trombones and tuba; timpani, percussion, two harps, strings and women’s choir. From the opening chords it was clear that the winds were to be the heroes of these pieces, and they featured heavily throughout. Sir Donald Runnicles was the painter in this scene that began to unfold, and one got the sense that each orchestral colour was expertly crafted to wring every detail out of Debussy’s masterful lines.
The Sydney Symphony Orchestra were in fine form as they responded to Runnicles’ baton. In Nuages (Clouds), Alexandre Oguey’s very fine Cor Anglais solos were supported by pianissimo, muted strings and evoked images of dancing, rolling clouds. When the brass entered in Fêtes (Festivals), we were awoken from our reverie by crisp, lively trumpet lines, and taken into Debussy’s memory of a festival on the Bois de Boulogne. Cymbals flashed and the winds danced, evoking the joy of a great celebration. The women of the Sydney Philharmonia Choirs stood and joined the orchestra for Sirènes (Sirens), and they were in fine voice. The Sopranos and Altos represented the mysterious song of the Sirens as they lure sailors to their doom. In Debussy’s landscape this translated to a haunting tune, often in well-tuned octaves, and the choir was never more than a mezzo forte, adding another colour to the orchestral palette.
Swedish Soprano Camilla Tilling and Australian Mezzo Anna Dowsley joined the orchestra and women’s voices for La Damoiselle élue (The Blessed Damozel). In this piece, a setting of Dante Gabriel Rossetti’s poem, the chorus provides context, the mezzo soprano serves as narrator, and the soprano is La Damoiselle herself. The chorus was ethereal as before, producing a youthful, bright sound and setting the scene for the soloists to take to the stage. Anna Dowsley was in stunning voice, her dark mezzo ringing throughout the Concert Hall. Camilla Tilling as the Damoiselle used all of the colours available to her, and painted a glorious picture of the devout lover, though at times was overwhelmed by the orchestral forces.
After the interval, Maurice Duruflé’s Requiem took centre stage. It was thrilling to hear this version, and this was the piece’s first outing by the Sydney Symphony Orchestra. This Requiem is often compared with Faure’s Requiem, and the two are often interchanged in a church music setting. It is rare to hear this version, with the full Symphony Orchestra bringing out lines usually heard on a solitary organ. The organ in the Concert Hall was still in use, with national treasure David Drury enjoying a slightly less stressful night than usual from up in the loft.
The overall experience of this Requiem performance was extraordinary. Sir Donald Runnicles had complete control over the massed forces, and every musician was used to their full dramatic extent. The high points of the piece that occur in the Domine Jesu Christe, Sanctus and Libera me were nothing short of breathtaking. What a thrill it was to be in the room as every musician on stage gave their all in those enormous chords. Surely those are the moments that musicians live for. In the genius of Duruflé, and the nuance of Runnicles’ interpretation, those moments are fleeting and he keeps us wanting more.
The Sydney Philharmonia Choirs, now joined by the lower parts and some more women to boost the numbers, sung admirably. They dealt with Duruflé’s score with ease, and showed a nuanced approach to dynamics, with more left in the tank for the moments that really needed it. A special mention must go to the sopranos who showed impressive control in their many exposed solo lines. David Greco sung the bass solos with authority and his characteristic flair.
Anna Dowsley’s Pie Jesu was my unquestionable highlight of the evening. Her pianissimo singing, still carrying beautifully to the back of the hall, was stunning, and it was a treat to hear her glorious top notes, free and impassioned, and in complete control of the music and the audience.
Under the masterful direction of Sir Donald Runnicles, this collection of musicians were pushed to their expressive limits, and were extremely deserving of the rapturous applause ringing through the Concert Hall.
