75 years ago, the director and Chief Conductor of Sydney Symphony Orchestra was the renowned Eugene Goossens.
Goossens conducted concerts in the Sydney Town Hall, but he had a loftier goal: a grand concert hall at the heart of the city. Goossens lobbied relentlessly, campaigning for a world-class venue. It was his vision that led directly to the creation of the Sydney Opera House.
I imagined the ghost of Goossens, looking down from the gods, in the Sydney Opera House Concert Hall, as Brett Weymark conducted Sydney Philharmonia’s Symphony Chorus and Baroque Orchestra in Bach’s St John Passion.
Brett Weymark championed classical music in Australia long before he was appointed Artistic & Musical Director of Sydney Philharmonia Choirs. His devotion was honoured in 2021, when he was awarded the Medal of the Order of Australia for services to the performing arts through music.
You may have heard Weymark’s work but never known it. He was the conductor for the movie scores of ‘Happy Feet’ and ‘Mad Max: Fury Road.’
Eugene Goossens fled Australia, mired in a sex and occult scandal that ruined his reputation and destroyed is career. Thankfully, Brett Weymark’s reputation as one of Australia’s foremost conductors continues to grow from strength to strength. This year’s Bach’s St John Passion is his latest triumph.
One of the great joys of life is connecting with others through music. Singing in a choir, surrounded by other voices is a magnificent visceral experience.
Do you sing bass or tenor? Sydney Philharmonia Choirs are currently looking for more basses and tenors.
The Acknowledgement of Country was ‘Tarimi Nulay: Long Time Living Here’ by Yorta Yorta composer Deborah Cheetham Fraillon, translated into Gadigal by Matthew Doyle. This work is hauntingly beautiful.
Language is important, and fortunately for those who speak neither Gadigal nor German, programmes were available online and in hard copy. Following the dialogue is key to fully understanding St John Passion. It highlights the callousness of Jesus’s persecutors, and the genius of Bach, hearing the music bouncing with glee as the chorus humiliates Him on the journey to the crucifixion.
The soloists within this oratorio played their respective roles to perfection.
Timothy Reynolds tenor rang through the concert hall as he narrated the action as the Evangelist. Christopher Richardson took the baritone role of Jesus with reverence. Andrew O’Connor portrayed the stress of Pilate dealing with the enraged mob.
Penelope Mills (soprano), Ashlyn Tymms (mezzo-soprano) and Michael Petruccelli’s (tenor) arias shone.
Bach wove together passages from the Gospel of John, extracts from the Gospel of Matthew, Lutheran Chorales, and his own arias based on poetry from contemporary Passion librettos.
Hearing the Sydney Philharmonia’s Symphony Chorus sing Bach’s Passion is a wondrous experience. Every member of the choirs and each player in the Baroque Orchestra is to be commended and congratulated.
A public service announcement: addressed to the lady that stomped in late during Part 1, in what sounded like wooden clogs. She was roundly shushed and hissed for disturbing the audience as she clumped to Box C. If you are delayed and running late, the least you can do is take off your heels / tap shoes / boots and tiptoe quietly to your seat.
St John Passion was a beautiful, liminal performance, created by world-class artists.
To book tickets to St John Passion, please visit https://www.sydneyphilharmonia.com.au/events/bachs-st-john-passion/.
Photographer: Keith Saunders
