Gondwana Chorale | Butterflies Dance
January 16, 2025, St James’ Church, Sydney, NSW
Each January, the Gondwana National Choral School brings together hundreds of talented young singers from across Australia for an intensive residential program of rehearsals, workshops, and performances. Established by Lyn Williams AM in 1997, the school provides an unparalleled opportunity for singers aged 10 to 25 to refine their vocal technique, explore diverse choral repertoire, and collaborate with leading conductors and composers. Through this immersive experience, the next generation of Australian choral musicians is nurtured, ensuring the continued excellence and innovation of the nation’s choral tradition. I was lucky enough to witness the culmination of the 2025 workshops…
Attending the Gondwana Chorale’s concert at St James’ Church in Sydney was a truly delightful way to spend a midweek lunch hour especially for a choir nerd like me who experiences a dearth of musical offerings during January after the traditional Christmas glut!
Under the expert direction of co-conductors Carl Crossin OAM and Paul Holley OAM, with Luke Byrne accompanying on piano, the ensemble showcased the exceptional talent of young Australian singers aged 18 to 25. The venue’s acclaimed acoustics complemented the choir’s harmonious blend, particularly enhancing the sopranos’ pure, bell-like tones that resonated beautifully throughout the space. Gondwana Chorale’s commitment to excellence was evident in their highly professional performance, delivering a diverse program that highlighted the richness of Australian, and international, choral music.
The concert opened with Sally Whitwell’s “Red,” a piece inspired by a youtube video showing the movement of red blood cells through the body. The choir’s energetic and animated delivery captured the composition’s “zip zap zoom” essence, setting a lively tone for the afternoon. Performing all the works from memory, the singers’ engagement was palpable, enhancing the our experience throughout the concert.
Whitwell’s “The Phoenix,” originally commissioned by the Adelaide Chamber Singers, followed, featuring impressive solos from within the chorus that culminated in a spine-tingling final chord with the sopranos reaching ethereal heights. The choir’s dynamic range and emotional depth were on full display leaving a lasting impression.
Another Australian composer, Matthew Orlovich’s “Butterflies Dance,” the concert’s title piece, vividly depicted the delicate movements of butterflies through intricate word painting and onomatopoeic elements. The choir’s precise diction and expressive interpretation brought the imagery to life, portraying both the lightness and intensity inherent in the composition.
A standout moment for me was Sally Greenaway’s “Resonance,” a profound work that explores the transformative power of song. With lyrics by Kirsten Duncan, the piece celebrates the unifying beauty of a cappella voices. The choir navigated the complex harmonies and dissonant chords with maturity, fully embracing the composition’s emotive depth. Bravo!
The program also featured selections from “The Vincent Project,” an initiative by Voices of Birralee that has commissioned choral works inspired by Vincent van Gogh’s paintings. Carl Crossin’s “Café on the Terrace” began with a distinctly French piano introduction, effectively capturing the essence of van Gogh’s artwork. Luke Byrne’s “The Church at Auvers” followed, showcasing his talent for vivid storytelling through music, with lyrics rich in simile and vibrant imagery.
Adding a touch of traditional flair, Crossin presented his arrangement of the folk song “Bound for South Australia.” The choir’s spirited rendition, complete with the familiar “heave away, haul away” refrains, was very entertaining.
The mood shifted with Seán Doherty’s “Snow Dance for the Dead,” a piece commemorating the centenary of the Russian Revolution. The choir’s powerful performance, incorporating choreographed movements simulating gun violence, was both haunting and incredibly impactful, leaving the audience in reflective silence. Truly a ‘wow!’ moment.
Finnish composer Jaakko Mäntyjärvi’s “Smoking Can Kill” provided a satirical take on the warnings found on cigarette packages, set in the style of a Renaissance madrigal. The choir’s delivery balanced humour with the macabre, leading seamlessly into the concert’s finale, Naomi Crellin’s “Chatterbox” which concluded the program on a light hearted note. From the opening alto solo to the jazzy, music hall-inspired melodies, the piece showcased the choir’s dynamic range and theatrical flair. The tenors and basses, in particular, displayed strong dramatic presence, adding depth to the performance.
In summary, the Gondwana Chorale’s “Butterflies Dance” concert was a real testament to the vibrant future of Australian choral music. Their dedication to showcasing contemporary compositions, especially those by Australian composers, is commendable. Bravo, and thank you! I eagerly anticipate hearing more from this diverse and far-flung ensemble in the future.
… And for those interested in experiencing the evocative power of Seán Doherty’s “Snow Dance for the Dead,” here’s a performance by New Dublin Voices >>
