Utzon Room, Sydney Opera House

Saturday 21 June, 2025.

Sydney Symphony Orchestra

Review by Paul Neeson (Arts Wednesday)

While the music was exceptionally good (as you would expect), being up close and personal with members of the Sydney Symphony Orchestra was a unique experience in this latest offering from the Utzon Music Series. And the fact that we learnt so much about the harp was an added bonus, courtesy of our host, Genevieve Lang, herself a professional harpist having performed with both the Sydney and Tasmanian Symphony Orchestras. And like many other concert goers (I suspect) I have never been that close to a world-class harpist. In this concert we were amazed at the skill, technique and colour palette of Louisic Dulbecco, recently appointed principal harpist with the SSO. To watch her fingers fly over the strings, and the subtle ways she extracted such a variety of timbers was a real delight. Unfortunately from my seat I did not have a view of her feet that I am assured were furiously working the pedals. Speaking of views, the backdrop of Sydney Harbour and the warmth of the Utzon Tapestry behind us made for a perfect evening. (Oh and did someone mention the free wine courtesy of the evening’s sponsor, Handpicked Wines)

Ok let’s talk about the music now. It wasn’t all about the harp, though that instrument was the feature of the night. Two French Impressionist works by Ravel and Debussy were composed to showcase the new technology of the chromatic concert or pedal harp, both composers having formed a love affair with the instrument. And who can blame them. In these small chamber ensemble settings, the music did just that.

We opened with Debussy’s Sonata for Flute, Viola and Harp (1915). Debussy is often quoted for his derogatory comment on the new movement in the visual arts, having said “what imbeciles call impressionism.” We may never know his reaction to having the same term applied to his music! In this sonata, the musical ideas flow seamlessly from one to the next, jumping effortlessly from instrument to instrument. It is not so much a descriptive narrative like say Prelude to the Afternoon of a Faun, more a continuum of never ending invention and variation. The overall effect is one of a silky waterfall of cascading melodies. The harp is well-known for its heavenly glissandi and runs, but when we hear a strongly plucked low note it can be a bit shocking, like a rude sound we weren’t supposed to hear in polite society. But Debussy never shies away from the most vibrant colours at his disposal.

Next we took a detour to Spain with Turina’s The Bullfighter’s Prayer (1925), which does pursue a picturesque narrative. Scored for String Quartet, it portrays a moment in the noise and bustle of the bullfight crowd, when the bullfighter slips into a quiet chapel to pray for who knows what. His success in the bullring? His bravery? Catching the eye of a beautiful señorita? We can only wonder. 

Saving the best to last we had Ravel’s Introduction and Allegro for Flute, Clarinet, Harp and String Quartet (1905). This is where the harp shone in all its brilliance. The musical ideas swirl around, the harp at the centre with its glistening runs and arpeggios. The themes are wanly reflected by the other instruments in all the shades and combinations flute, clarinet and strings can provide. The strings are muted at one point to make it clear this is a work for harp and a backing band, an idea further reinforced by the extended cadenza for solo harp towards the end. But the ensemble work from the other players created that illusion expertly as required by the score.

The Utzon Room is an ideal venue for intimate chamber music performance, and the Sydney Symphony is lucky to have it at its disposal to highlight its talented members, giving them the opportunity to perform the remarkable repertoire not usually available to orchestral players. With the breathtaking views (and the wine) it’s a win/win/wine situation to be repeated as often as possible.