The Magnificals Chamber Orchestra | Gala ’26
29 March, 2026, Hurstville Civic Theatre, NSW
The Hurstville Civic Theatre was thronging with visitors plus women in beautiful Asian costumes. A folksinging group was performing in the foyer. The artwork used for the front cover of the program was up for silent auction. This melée of people came to see, experience and participate in the Magnificals Chamber Orchestra, directed by Anna Damayanti, in their Gala’26 Concert.
The Premier of NSW, Mr Chris Minns, the Member for Kogarah said it all in an introductory video projected onto a screen behind the stage: …The Magnificals Chamber Orchestra is all about opportunity, striving to make sure that future musicians have access to any avenues of opportunity to grow their career. They also aim to support mothers who are professional musicians, who, for various reasons, have had to pause or change careers while raising their families.
With their flexibility-based approach, they increase access to equitable participation, as well as being a practice orchestra for local emerging conductors and composers. The Magnificals is not just for mothers, nor is it an all-female collective. It is simply a place where anyone who might need that extra opportunity can find a space to belong, whether young or old, an emerging or experienced professional, at any stage of their music career. Their group is diverse, including tertiary music students, conservatorium graduates, mature-aged professionals, as well as traditional ethnic musicians.
After further introductions and announcements, the concert began with Fritz Kreisler’s Praeludium and Allegro (in the style of Pugnani), played by a young soloist, Miranda Ke, a student at the Lily Monteverdi School of Music. She played this extremely challenging work with eager sincerity. Written by Fritz Kreisler as a showcase of his musical expertise, he originally attributed it to Pugnani, an 18th century composer.
The conductor, Emily Harris, then beautifully conducted the soulful Adagio for Strings by Samuel Barber.
With inclusivity as their Mantra, another conductor, Reika Suzuki-Macklin, conducted a re-orchestrated version of the Serenade for Strings in E Major Op. 22. by Dvořák. A charming aerial video of Prague and the Czech countryside played in the background, enhancing the entertainment.
After the Interval, the program took a more international slant. Beginning with the Russian song, Dark Eyes, we were treated to a coming together of cultures and styles, with LiLi playing accordion, while Holly Williams (saxophone) and Jackie Li (clarinet) improvised in background.
This was followed by a Chinese tune dating from the Ming Dynasty (1368–1644) A Moonlit Night on the Spring River had been rearranged frequently for different instruments over the centuries,This performance was for pipa (Chinese lute), played by Iris (Xinyang) Li, and Guzheng (Chinese plucked zither), played by Yifei Xu.There was a delightful interplay between the two performers and their instruments.
The cultural journey took us to the Philippines with soprano, Gabrielle Montalbo singing gently about stars, lights and sparrows. The three songs were by different composers and arranged by Andrei Hadap, who also conducted the works, which included Filipino ladies dancing with lights (traditionally candles) on their heads and in their hands – a real feast for the eyes.
More dancing involved students from Kingsgrove Public School performing a Mongolian-style dance: Horses
We were then treated to the World Premiere of Andrei Hadap’s symphonic poem, The Courtyard before Sunrise. It was written for or pipa, guzheng and chamber orchestra.The piece depicts a quiet courtyard in the moments before dawn, where a martial arts practitioner demonstrates his art. The music reflects the contrast between stillness and motion: hushed textures evoke the calm of early morning, particularly suited to the pipa and guzheng played respectively by Ousiyu (Julia) Luo and Jinqi Guo, while rhythmic, energetic passages mirror the precision and fluidity of the martial art. As the routine unfolds, the light of day begins to appear, building toward a climax of drumming and dancing by members of the St. George Community Wushu Centre.
The following applause exceeded the volume of the drums. The different groups all took their bows. The concert was a demonstration of inclusiveness and opportunity that is the aim of the Magnificals. The applause was well deserved!
Sketches: Heidi Hereth
