Reflections on Gallipoli - Australian Chamber Orchestra

Reflections on Gallipoli

14 - 27 March 2015


BARTÓK String Quartet No.2: Allegro molto capriccioso
KELLY Elegy for strings 'In Memoriam Rupert Brooke'
SARISÖZEN (arr. Meurant) Ҫannakale Türküsü
VINE Soliloquy (world premiere)
TRADITIONAL (arr. Meurant) Ceddin Deden
ELGAR Sospiri, Op.70
KODALLI Adagio for String Orchestra
MEHVEŞ HANIM (arr. Meurant) Kaçsam Bırakıp Senden Uzak Yollara Gitsem
TRADITIONAL (arr. Meurant) Nihavend Longa
VINE Our Sons (world premiere)


Richard Tognetti Director & Violin
Neil Armfield Director
Nigel Jamieson Deviser
Sean Bacon Video Designer
Matthew Cox Lighting Designer
Taryn Fiebig Soprano
Yalin Ozucelik Actor
Nathaniel Dean Actor

'You, the mothers, who sent their sons from faraway countries wipe away your tears; your sons are now lying in our bosom and are in peace. After having lost their lives on this land they have become our sons as well.' – MUSTAFA KEMAL ATATÜRK
Atatürk’s words, inscribed on the memorial stone overlooking ANZAC Cove, Gallipoli, echo in the heart. So too, does the music of Frederick Septimus Kelly. Kelly was an Australian-born composer, living in London when war broke out. He joined the Royal Naval Volunteer Reserve with his friend, the poet Rupert Brooke. When Brooke fell ill and died on the way to Gallipoli, Kelly was by his side, and soon after Brooke’s death Kelly wrote a haunting string serenade in his memory.
Richard Tognetti, large-scale theatre specialist, Nigel Jamieson, and one of Australia’s greatest storytellers, Neil Armfield join forces to present this heartfelt exploration of our ANZAC story through music, spoken text and visual imagery, where an Australian’s elegy for his friend brushes shoulders with the words of the father of modern Turkey. Set to music in a new work by Carl Vine featuring soprano Taryn Fiebig, the program also features English works that are evocative of the era, including Elgar's Sospiri and Vaughan Williams' The Lark Ascending, as well as the music of the Ottoman Empire and 20th-century Turkey.


Audio description is a live, verbal commentary of the visual elements of the concert, delivered to audience members who are blind or have a vision-impairment. The program is delivered by trained audio describers, and is relayed via an in-house receiver and earpiece.
The audio description will not interfere with the performance but seeks to enhance the concert-going experience for audience members with vision-impairment through describing the movements and actions of the orchestra, actors and singers throughout the performance; as well as relating the visual elements of the concert to the listener.
To book a ticket and secure a headset for this performance, contact the ACO Box Office on 1800 444 444. Headsets are limited. Audio-described concert tickets are $46.
Headsets will be available for collection from Sydney Opera House Box Office no later than 30 minutes prior to the performance. 

Maxim Boon, Limelight Magazine

"Soprano Taryn Fiebig’s impassioned delivery revealed the bitterness of this grief, writ large on the huge projection behind the ensemble. The effect was haunting and deeply, desperately moving."

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Joel Carnegie, The Age

"Popular works in the repertoire bookmarked each half – Elgar’s Sospiri and Vaughan Williams’ The Lark Ascending – offering exquisite opportunities for the orchestra to demonstrate various states of blissful contemplation, and offering space for the audience to reflect on this significant event in Australia’s history."

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Murray Black, The Australian

"… while respecting its message of reconciliation, Carl Vine’s setting of Ataturk’s words in Our Sons conveyed the anguish of loss and grief with equal force, thanks to Fiebig and the ACO’s expressive performance."

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Peter McCallum, The Sydney Morning Herald

"Vine contributed two works, a Soliloquy for solo violin and Our Sons, an extended vocal work which Taryn Fiebig sang with gripping, indeed devastating intensity. After an elegiac start, the piece gives way to impassioned drama underscored by anger, a gentle section to the mothers of the fallen and an austere funereal close. Fiebig also displayed superb mastery of both gritty, throaty, lower register and clear, ethereal high notes in a series of Turkish songs arranged by Cyrus Meurant."

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