Sydney Philharmonia Choirs

The mere mention of Antonio Vivaldi, Johann Sebastian Bach, and George Frideric Handel is enough to quicken the pulse of any classical music lover. Hearing their works performed together feels rather like being presented with an exquisite three-course meal: a rich entrée, a deeply satisfying main, and an indulgent dessert. It was therefore a fitting and inspired program to launch the 2026 season of the Sydney Philharmonia Choirs, performed against the harbour backdrop of Walsh Bay Arts Precinct.

The evening opened with a theatrical gesture that immediately captured the imagination. Rather than appearing en masse on stage, the singers began dispersed among the audience, their voices rising gently from different corners of the hall. The sound emerged almost like a whisper—soft, tentative, and intimate. As the choristers slowly began walking toward the stage, their collective sound grew in strength and cohesion, gradually filling the space with an enveloping resonance. What began as a delicate murmur evolved into a powerful wave of harmony. The effect was both startling and deeply moving, a reminder that great choral music is as much about atmosphere and storytelling as it is about notes on a page.

At the heart of the program was ‘Gloria in D major’ by Antonio Vivaldi, a work whose brilliance has long secured its place among the most beloved pieces of sacred music. From its jubilant opening to its contemplative inner movements, the music seems almost to lift the listener from their seat. There is a buoyancy in the writing that carries the voices upward, while the orchestra provides a radiant foundation beneath. Even for those unfamiliar with the Latin text, the emotional clarity of the music is unmistakable. It feels like a universal prayer—an appeal for peace, beauty, and hope—resonating with particular poignancy in our unsettled modern world.

The program then turned inward with ‘Weinen, Klagen, Sorgen, Zagen’ by Johann Sebastian Bach. In contrast to Vivaldi’s luminous exuberance, Bach’s cantata unfolds with profound introspection. The music seems to explore the fragile landscape of human emotion—grief, anxiety, and quiet endurance—yet always with the suggestion of solace just beyond the shadows. Bach’s gift lies in his ability to transform personal anguish into something transcendent, and here the choir and orchestra captured that delicate balance beautifully.

The concert concluded with the dramatic sweep of ‘Dixit Dominus’ by George Frideric Handel, a work written when the composer was still in his twenties but already brimming with confidence and invention. At times, echoes of Vivaldi’s rhythmic vitality could be heard, particularly in the vibrant interplay between the five soloists and the full chorus. Yet Handel’s unmistakable theatrical flair also emerged, with sudden contrasts of mood, tempo, and texture creating moments of thrilling unpredictability. The piece crackled with energy, bringing the evening to an electrifying close.

It is astonishing to reflect that each of these monumental works was originally written for the church, conceived not for the concert hall but for sacred spaces and liturgical devotion.

At the centre of it all stood conductor Brett Weymark, whose presence was nothing short of essential. With a seemingly effortless command, he shaped the music with the finesse of a magician, drawing orchestra and choir together into a single shimmering tapestry of sound.

Among the soloists, sopranos Lauren Lodge‑Campbell and Angela Brun delivered performances of remarkable clarity and poise. Yet it was mezzo-soprano Hannah Forester whose voice truly stole the breath from the room, its richness and expressive depth leaving a lasting impression.

By the evening’s end, there was a palpable sense that the audience had experienced something together—something beyond mere performance. Through music, they had collectively travelled through joy, sorrow, hope, and wonder. It was a powerful reminder of why live music remains one of the most profound shared experiences we can have.

To book tickets to Gloria!, please visit https://www.sydneyphilharmonia.com.au/events/gloria/.

Photographer: Keith Saunders

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