Buzz in the West: River City Voices Premiere Vieira’s Stabat Mater

River City Voices | ‘V’ – Vivaldi’s Gloria & Vieira’s Stabat Mater

May 23, 2025, St Patrick’s Cathedral, Parramatta, NSW

Conductor: Dr Sarah Penicka-Smith
Soprano: Sandra Partridge
Alto: Angelique Tot
Tenor:  Elias Wilson
Bass: Benjamin Caulkwell
River City Voices
Western Sydney Philharmonic

Friday night in Parramatta had a rare and diverse sort of cultural buzz: footy fans, city night life chasers and choral concert-goers all jostling for space in the western hub. St Patrick’s Cathedral was packed with standing room only for the first event in River City Voices’ 2025 Luscious season. A full house for a full-bodied program: Amaral Vieira’s Stabat Mater (an Australian premiere) and Vivaldi’s ever-popular Gloria (RV 589), performed with Western Sydney Philharmonic under the sure hand of Artistic Director and Principal Conductor, Dr Sarah Penicka-Smith.

The Stabat Mater is a 13th-century poem depicting the pain of the mother of Christ, Penicka-Smith explained in her opening remarks. It’s a very personal and profound text. Brazilian composer Vieira had never had a work performed in Australia before, and Sarah, having discovered this piece by chance, fell in love with its sweeping emotional scope and rhythmic vitality.

The work begins with a weeping motif in the violins, soon joined by a raw-edged alto solo and brooding strings. “The choir takes the role of the crowd,” said Penicka-Smith and indeed, they did, echoing, responding, and amplifying the emotional journey from intimate sorrow to apocalyptic fury. “There is sweetness, light, compassion… but also moments of fire and brimstone.” The musical architecture followed the drama of the text, ending with a radiant transformation.

One memorable section repeated the phrase cordi meo valide, a plea for the suffering of Christ to be felt deeply in one’s own heart – and this passage was especially well shaped by the composer, as if witnessing each person in the room mark their own connection with the passion narrative.

As an overheard audience member noted, “I’ve never heard a choir sound so good.” River City Voices brought intensity and polish to this challenging work. While the layout of the Cathedral meant the choir occasionally felt sonically distant, they were expertly held and shaped by Penicka-Smith’s crystal-clear conducting. Angelique Tot brought a raw honesty to the mezzo-soprano lines, while Sandra Partridge’s soprano had an operatic richness that matched the work’s brooding drama. Elias Wilson delivered a tender, grieving tenor, his musical instincts well tuned to the narrative arc. Bass Benjamin Caukwell anchored the lower lines with solid warmth and gravitas. Together, the quartet balanced operatic flair with a strong sense of ensemble.

Other Highlights? Many. The strings and sopranos in Movement 5 created an ethereal shimmer, while the quieter men’s voices in Movement 6 carried a lovely, tentative tone. Student Sean Weatherley’s violin obbligato in Movement V13 was exquisite and the gentle a cappella moment in Movement 14 brought a hushed reverence which for me was the emotional peak of the piece.

Then came the Gloria, and I absolutely wanted to sing along! A bright and joyful close to the evening with the orchestra (a small but mighty force of students, professionals and mentors from Western Sydney Philharmonic) sounding warm and cohesive. Remarkably, many instrumental solos in this piece were played by student members, which is a testament to WestPhil’s vision and leadership. Robin Park’s trumpet stood out in several movements, especially in the opening, as did the oboe and cello. In “Et in terra pax,” the choir sustained the long-held notes with excellent dynamic tension. The “Laudamus Te” duet, for my taste, used a little too much vibrato. I do feel that in sacred music, vibrato and heavy ornamentation can dull the tuning and take away from the purity of the text – just my personal preference. The whole performance had real heart, and judging by the audience reaction, it landed exactly as intended.

It’s wonderful that River City Voices can bring compelling new works to Australian audiences. Pairing the Vieira with the Gloria was a clever way to draw in both newcomers and seasoned choral fans – a perfect example of their motto, “choir, but different.” That phrase isn’t just marketing; it reflects the group’s commitment to innovation and relevance, offering Western Sydney audiences something both rooted in tradition and alive with possibility. River City Voices and WestPhil have again shown what Western Sydney can offer: fresh programming, musical rigour and a tangible connection to community. Bravo to all involved.