Rachmaninoff’s Vespers
Sydney Philharmonia Choir (SPC) performing “Vespers”, reviewed by Shirley Politzer
People pay good money for a massage or travel to hot springs to get that feeling of calm and waves of warmth flowing over them. Russian composer Sergei Rachmaninoff’s composition, nicknamed “Vespers”, composed in 1915 in Moscow, also gives that good feeling in spades.
Walking into the grand expansive space of the Sydney Town Hall last Saturday night, it was obvious something special was about to be experienced. Time would tell.
In its original form in the Russian Orthodox church, the melodies of “All Night Vigil” (the correct name of the work), are not in concert style, but are individual pieces used through the church service. They are performed a cappella (unaccompanied).
The creativity as a composer of Brett Weymark, the Artistic and Music Director of the SPC, was employed here by enhancing the connections between the choral verses, now regularly performed as a concert, with short instrumental tunes based upon the original chants. First, Weymark wrote string music that solidly supported the choir. This was played sensitively by principal cello Anthea Cottee with James Beck and with double basses played by David Cooper and Jennifer Penno.
Then, a fantastic addition to Weymark’s interwoven music had Nicholas Russoniello playing both soprano and bass saxophone, improvising in a mostly jazzy style, sometimes like a cadenza (virtuosic improvisation or written music) from both the stage and the floor. This was a wow factor, so refreshing as an unexpected tonal and aural contrast to the liturgical warm and fuzzy choral music. Russoniello also provided a splash of colour in his formal maroon jacket, as did soloist Hannah Fraser in her pretty green dress.
Brett Weymark was not seen this time in his usual conducting role, but his creative juices have been overflowing. He took this “All Night Vigil” (which actually takes around one hour and a quarter), changed venues from the Opera House to the Town Hall to take advantage of its very special acoustics and ambience, and then decided all the seats from the ground level of the Sydney Town Hall had to go to make room for yoga mats, candles, flowers…..oh and of course the musicians and choir itself.
The choir changed formation many times throughout the performance making the music flow in different waves around the hall, emphasising “the breathtaking range of vocal and choral colours” emanating from this mostly ethereal work.
The vocal soloists played a more minor role in this work than is usually seen but the lyrical voices of Australian artists mezzo soprano Hannah Fraser and tenor Louis Hurley were testament to the vast experience and grounding they have both had.
The very capable conductor was Tim Cunniffe, Assistant Chorus Master and Principal rehearsal pianist for the SPC. Tim’s other talents include being a musical director, lecturer and co creator of cabaret shows. During the performance, when the choir was on the move, so was his podium- challenging him successfully to conduct the vocal sections that were in different parts of the hall, including behind himself.
The subtle lighting, provided by Mark Hammer, especially when coloured, elevated the music and mood through the use of radiant reds, blues and yellows shining on the walls and choir, but the gentleness of the “candle flames” around the choir kept our focus on the 120 strong Sydney Philharmonia Symphony Chorus, dressed in pale hues like tan, beige and white.
Smooth melodies, perfect harmonies, controlled long phrases, extremes of vocal ranges, soaring waves of loud and soft were all made to sound easy and understated by the choir, even when singing and moving at the same time.
The choir sang Rachmaninoff’s challenging but vocally colourful music in Russian, with sometimes up to 11 vocal lines at the same time. Well done to the language coach and repetiteur Ben Burton in preparing the choir in this difficult language.
Despite some restricted viewing from the upstairs seating, the music and special effects used were both charming and surprising. As the choir entered at the start of Vespers, the perimeter of their area was outlined slowly by the singers placing long-stemmed flowers on the floor near the candles, then moving to their position with the choir. Towards the end of the concert, the choir slowly picked up the candles and proceeded to walk out of the hall, still singing. The hall was eerily empty of sound but the choir had moved to the vestibule for the final part of the concert and were still singing, lit up by strong stage lights there. The hall doors were closed. It was like listening to angels in heaven.
As I looked down upon the yoga mats (which booked out very quickly) laden with people of all ages lying down or seated on the outside perimeter of the floor in touching distance of the choir, I imagined that they thoroughly enjoyed this beautiful music that has the ability to fill the soul. In a discussion with a person who was on one of those yoga mats, I was deemed correct. Trying to lie down and relax was interrupted with curiosity of wanting to see what was going on. They loved the experience thoroughly and would have liked the opportunity to see it again from the seats above.
It is a shame that not so many people chose to attend this performance that was so musical, theatrical and quite unique.
Sydney Town Hall 20 July, 2024
