Sydney Philharmonia Choirs
Saturday 17 May at 2pm
Sydney Opera House Concert Hall
****

Composer Gioachino Rossini passed away in Paris in 1868 and was originally laid to rest in the city’s famed Père Lachaise Cemetery. However, several years later, the City of Florence extended an invitation to his wife, Olympe Pélissier, offering to have his remains reinterred in the Basilica of Santa Croce, final resting place of many of Italy’s most celebrated figures.

Still, France deserves some credit for inspiring a few of his later gems, especially the Petite Messe Solennelle (1863). This piece is anything but petite or solemn, particularly in its grand orchestral version. That’s the version conductor Brett Weymark and the Sydney Philharmonia Choirs performed, lavish, expressive, and full of life.

Rossini arranged this orchestral version himself, though he never got to hear it performed. As a concert piece, it bursts with drama and beauty. His wish to have it sung by women in church was once denied, but this performance embraced that inclusivity.

The evening began with music from William Tell, Rossini’s final opera composed in 1829 which was a huge success in Paris. While its famous overture is well known, the opera’s bigger choral scenes are rarely performed in Australia, making this a special treat, especially with the inclusion of the large SPC.

Soprano Celeste Lazarenko and mezzo Ashlyn Tymms blended beautifully as William Tell’s family. Baritone Nathan Lay gave William Tell strength and presence, while tenor Shanul Sharma brought a lyrical touch to Arnold. Leon Vitogiannis (Melchthal) sang with a clear, youthful tone, and Elias Wilson gave a nuanced performance as Rodolphe.

The mass opened with a brooding Kyrie, moved through to an ethereal Christe, and unfolded into the vibrant Gloria and Credo. Standout solos included Shanul Sharma’s bold Domine Deus, Celeste Lazarenko and Ashlyn Tymms in a heartfelt Qui Tollis, and Nathan Lay’s commanding Quoniam without forgetting David Drury who excelled on the organ. By the end, conductor Brett Weymark had drawn both grandeur and intimacy from Rossini’s sweeping score.

It’s a real shame that Rossini in Paris was limited to just one performance, an event of such world-class calibre deserved far more. This wasn’t just a concert; it was a celebration of Rossini’s brilliance, delivered with passion, precision, and flair. A performance of this quality belongs in a packed Opera House Concert Hall, with every seat filled and every note met with thunderous applause.

– By Xavier Bichon