classikON

Courtney Cousins

July 12, 2026

July 10, 2026, Sydney Opera House, NSW

The Sydney Symphony Orchestra (SSO) worked with two distinguished international guests this week; American virtuoso violinist Benjamin Beilman, who injected immense vitality into the familiar Mendelssohn Violin Concerto in E minor, and renowned Norwegian conductor Tabita Berglund, whose artistry and musicality came forth in the Australian premiere of Ludvid Irgens-Jensen‘s (1894–1969) Passacaglia, and Schubert’s Unfinished Symphony.

I was curious to see how Beilman would approach the task of performing Mendelssohn’s Violin Concerto. The Mendelssohn is an exciting, almost daring start to a concert program, diving straight into the soloist’s melodic material. The first movement was immaculate, and my favourite of the work. Beilman obviously has tremendous control over his instrument, with an astute sense of musical phrasing as well as a studied understanding of Mendelssohn’s compositional choices. I felt like I gained a new understanding of the piece, through his interpretation.

As part of this, Beilman’s extremely tight passagework was always underpinned by a clear melodic direction. He continually drew attention to the way seemingly endless cascades of notes grew naturally from the concerto’s opening theme, ensuring that technical brilliance never overshadowed the music’s expressive purpose. During the more passionate passages there was a wonderful grit to his sound, yet it always retained a sense of ease rather than force or violence. However, I enjoyed most Beilman’s quiet playing, and his ability to move from vigour to fragility. In his hands, the violin’s high register became ethereal, bringing a tangible hush over the concert hall.

Berglund, also it seemed, drew immense pleasure from strong musical contrasts. While at times she seemed almost ferocious in her conducting, pushing the orchestra forward during interludes, she was also capable of great restraint, bringing all the attention to the soloist.

The concerto’s second movement was lovely, with an air of relaxation. This was well-needed, as the third movement was feverish, fast and striking! It was a pleasure to see the orchestra work together, and Beilman obviously enjoyed himself. His virtuosity was astonishing in this movement.

Following on was Irgens-Jenson’s Passacaglia, a Norwegian work new to me and also to Australia! This piece was composed as a potential companion piece to Schubert’s Unfinished Symphony. It’s wonderful to see the SSO programming works that are new to Australian audiences, alongside old favourites. I wonder if this was the work of Berglund, who, without the shadow of a soloist, really shone in her conducting and interpretation both. The piece was very lush and romantic, a set of 16 variations interrupted by a dramatic fugue towards the end. Following this was a surprise organ entry that was almost cinematic in effect, filling he whole concert hall. This work made me long to hear more organ works in orchestral repertoire!

Throughout the evening, the string section was particularly impressive especially the lower strings. Berglund’s own background as a cellist seemed evident in the warmth and responsiveness she drew from them. I also enjoyed the harp as a dramatic and percussive element in Irgens-Jenson’s writing.