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AYO National Music Camp 2025: ‘Victory in Amber’ Concert Review
By Elena Wittkuhn
The Australian Youth Orchestra have a reputation for excellence, camaraderie, and above all, fun. Theseprinciples were in abundance on Saturday, as the three orchestras from the organisation’s National Music Camp performed their very first concert of 2025, “Victory in Amber”.
The Walsh Chamber Orchestra immediatelytook us “Dancing in St Petersburg“, performing AYO composer-in-residence Jessica Wells’ piece by the same name. As explained by Wells in an on-stage interview, the piece bridged compositions by Borodin and Shostakovich. From his violin, Sydney Symphony Orchestra Concertmaster, Andrew Haveron, directed the strings; however, rather than shielding the players, this merely provided the support for all to play at their best. In fact, the first notes of the concert began with the second violins, led with precision by their Principal, Siobhan Makinson. Solos from section principals Sophia Jones (violin 1), Caleb Christian (cello) and Darius Goh (viola), all shone and received particularly roaring applause. These impressive displays of leadership and responsibility from all on stage, encouraged by section leaders, conveyed an orchestra at ease with one another and with their music – a truly exciting and indicative start to the program.
The Bishop Orchestra then performed Janáček’s Taras Bulba. Conducted by Alexander Briger, the Bishop players were relentless in showcasing the piece’s dynamic emotional range. This expressive agility was key in playing characters and constructing scenes of the work’s narrative inspiration, based on the 17th century Cossack-Polish war. The cor anglais, played by Gahyun Lee, began as the wandering ‘protagonist’ over a floating mist of strings. This wistful melody was passed around with grace to other soloists – oboist Jade Wolter, Concertmaster Natalie Kendy, as well as Principals Alyssa Deacon, double bass, and Josephine Daniel, clarinet. Charlie Wells played the organ, the piece’s infrequent addition to the traditional symphony orchestra.
For the final piece, Natalia Luis-Bassa’s total command of the Alexander Orchestra was clear. Even the moments before the downbeat captivated a total silence and stillness from all on stage. This silence was the sound of bated breath, a collective suspension of energy that echoed through the audience, and primed all ears for the Symphony’s drama. Horns, led by Emma John, entered with ease and conviction, while violas and cellos played a game of cat-and-mouse. Lyrical duets between cello and viola front desks offered moments of sweetness amongst the troubled second movement. The fourth movement provided a jubilant end to the symphony, as well as to the whole concert.
Multiple standing ovations and vehement applause were heartening evidence of AYO’s already stellar start to the year. With the eminent standard set by this first concert, it is clear that audiences have much to look forward to from these young musicians.