The Royal Organist at SOH, a night of glittering jewels

The Royal Organist at the Sydney Opera House – a rare solo organ recital by James O’Donnell

July 29, 2025, Sydney Opera House, NSW

Like all the great concert halls of the world (except Melbourne) the Sydney Opera House is equipped with a fine pipe organ which was built by Ronald Sharp in 1979 and is described by CEO Louise Herron AM as ‘a jewel of our World Heritage-listed masterpiece.’ 

Organist James O’Donnell must be used to being in the presence of jewels, given he was responsible for the music at royal, state and national occasions at Westminster Abbey for 23 years, most recently for the state funeral of Her Majesty Queen Elizabeth II, and prior to that Westminster Cathedral. 

A consummate performer, imbued with English modesty, O’Donnell performed a selection of works that gave us a taste of his regency, starting with J.S. Bach’s towering Prelude and Fugue in E flat (BWV 552) played at a breath-taking speed with absolute accuracy. 

César Franck’s magnificent Choral I in E and Maurice Duruflé’s Suite, Op 5 provided further breadth and depth, each played soulfully and employing the full range of the Sharp organ’s 10,000 plus pipes. 

Judith Bingham is a British composer, known for spiritual works, chose a time-travelling saint for her composition for organ St Bride, assisted by angels. This was a lovely meditation that drew in those sounds many of us associate with the organ, of churches and soft, fluttering flutes, and the sort of spooky but not scary. A lovely inclusion of contemporary writing for the instrument. 

Bringing in the full regalia of royal associations was William Walton’s Coronation March: Crown Imperial (1937), an orchestral work commissioned for the coronation of King George VI in Westminster Abbey and used similarly for King Charles. The English sure know how to do pomp well, as demonstrated by James O’Donnell’s crisp rendition.

The large screen showed us all five keyboards, allowing us a close view of the performer and his incredible technique, and James’ precision work throughout the concert. I wish we had also had a glimpse of the pedalboard, which would have further enthralled us. 

Being under the sails of the Sydney Opera House and looking at the magnificent organ with its glistening pipework, I felt a twinge of sadness knowing too well the lack of such a performing opportunity back in my home state of Victoria. But grateful to the Emerald City for the glittering jewels – instrument, performer and program – on display for everyone to enjoy.

Photo credit: Jay Patel