BY MIRANDA ILCHEF
Anna Lapwood performs Max Richter
Sydney Symphony Orchestra
Sydney Opera House, 25 March
I had the recent good fortune to attend Anna Lapwood performs Max Richter, a delightful instalment of the Sydney Symphony Orchestra’s Emirates Master Series. The first half of the program consisted of two Australian premieres and saw Anna give the Sydney Opera House’s Grand Organ a rare chance to join the orchestra as an ensemble member.
We were initially treated to Kristina Arakelyan’s Toccata; something of a glittering hit of caffeine with its show-business-like rhythmic drive. Even with the advent of mirrors and cameras, I am always impressed by an ensemble’s ability to stay together with a pipe organ when the physical space is so large, and this was something the orchestra and Anna achieved for most part (with one or two small exceptions where the organ almost threatened to leave the orchestra a half-step behind).
Next on the program was a circular four-movement journey of space exploration presented in Max Richter’s 2025 composition Cosmology. Much of the repertoire selected by Anna throughout her residency at the Opera House has been linked with the theme of space, but my concerns that the subject matter might be a little tired were quickly dispelled as this proved to be a thoughtful and well-crafted piece of music. Each instrument section moved in a meditative swelling unity, joined by the unblemished tones of Sydney Philharmonia Choirs’ well-trained altos and sopranos.
The orchestra shone particularly brightly in the second half as they played Bartok’s Concerto for Orchestra with an experienced deftness. Solo lines gleamed richly (particularly in the flute and viola sections) and the playful fourth movement was abundantly cheerful and cheeky – from both conductor André de Ridder and the instrumentalists.
Images supplied, credit Jay Patel.
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