Royal Melbourne Philharmonic Choir | Haydn’s Creation
June 14, 2025, St Paul’s Cathedral, Melbourne, VIC
In the middle of Haydn’s Creation the Archangel Raphael announces that ‘God saw ev’ry thing He had made, and, behold it was good,’ a sentiment that is amplified grandly by the entire choir and orchestra.
And certainly, everything in the Royal Philharmonic epic performance of The Creation, an Oratorio by Franz Joseph Haydn, was good. Composed to ride the wave of the oratorio craze in England in the late 18th century, thanks in large part to Handel, Haydn didn’t hold back.
Written for soloists, a choir of massed voices, full orchestra including timpani, contrabassoon, horns and trumpets, Haydn takes on a rollicking adventure, from the literal creation of the world (Part I) with its Rameau-ish and dramatic scene setting by the orchestra and commentary of Archangels Gabriel, Uriel, and Raphael, (Part II) to the creation of the animal kingdom with birds and flutes aplenty (Part III) to the awakening of Adam and Eve in the Garden of Eden and their dewy eyed romance and their delight in creation. Haydn tactfully leaves the story there, not a cloud in the sky.
RMP Artistic Director and Chief Conductor, Andrew Wailes did a terrific job harnessing huge forces to bring maximum impact to the performance, with a combined chorus of singers from the Royal Melbourne Philharmonic Choir and Melbourne University Choral Society, and the Royal Melbourne Philharmonic Orchestra.
Oratorios grew out of a lack of entertainment options in between opera seasons in London. Clever producers, composers and performers saw an opportunity to stage large scale works that were expressive and dramatic interpretations of bible stories. Director Andrew Wailes certainly embraced this theatricality to great effect. From the choir standing to attention at the words ‘there was light’ part way through the opening chorus, to the wonderful choice of the soprano Rachelle Durkin to the roles of the Archangel Gabriel and first woman, Eve. She was, as the lady sitting next to me told me, everything an opera singer should be: exuberant, expressive, sparkling, and glamorous.
Bass baritone Christopher Richardson, with his Rolls Royce voice, took the parts of the Archangel Raphael and the first man, Adam. And where Haydn paired the soprano and woodwinds to imitate birds, the heavenly realm and love, Christopher brought to life storms and seas, celestial bodies, and with incursion by the contrabassoon, the heavy beasts of the fields.
Tenor Kyle Stegall was an equal player to the other Archangels as Uriel and again, brought drama and excitement to his role and delivery. Over the telling of the story, the three voices are used alone or in combination and sometimes pitched against the entire combined forces of instruments and choir. Mezzo-soprano Syrah Torii made a welcome appearance in the final quartet and closing chorus.
The chorus was terrific and well disciplined. There were memorable moments of softness, full power and a crescendo of praise to the Almighty that almost swept us to the back of St Paul’s Cathedral, where the performance took place. There were plenty of complex and quick passages as well as the stately and grandiose, The heavens are telling the glory of God will forever be a favourite of church choirs.
The Creation is a perfect expression of Enlightenment ideals, a work of musical storytelling, that was brought to life by a perfect performance. Haydn ensures that there is a happy ending, with Adam and Eve blissfully in love in their Garden of Eden, where everything is happy in its place.
As Raphael said, ‘God saw ev’ry thing He had made, and, behold it was good.’
