REVIEW: Sussex Symphony Orchestra hit the high notes

On a chilly Saturday afternoon in May, All Saints Church in Hove was filled to capacity with an audience spanning generations, gathered for an enthralling opera celebration.

While the Sussex Symphony Orchestra (SSO) is typically the focal point of its concerts, on this occasion the orchestra served in a supporting role—one that required exceptional sensitivity and versatility. The programme demanded constant shifts in tempo, dynamics and emotional intensity, and the musicians responded with remarkable assurance throughout.

Actor Jamie Martin provided engaging narration between performances, his warm stage presence and expressive delivery of the Italian texts adding both humour and accessibility to the afternoon.

The concert opened with the prelude to Bizet’s Carmen, featuring the instantly recognisable Toreador theme in a stirring and confident performance. The cohesion of the orchestra was immediately apparent: every section played with precision and balance, with no weak link evident.

Jonathan Cooke’s rendition of “Questa o quella” from Verdi’s Rigoletto was delivered with warmth and sincerity.

One of the afternoon’s highlights followed with Puccini’s beloved “O Mio Babbino Caro” from Gianni Schicchi. Soprano Nadine Benjamin brought extraordinary lyrical beauty and emotional depth to the aria, extracting every nuance of longing and tenderness. Her vocal timbre bore more than a passing resemblance to the great Maria Callas.

Remaining with Puccini, the orchestra then performed the Intermezzo from Manon Lescaut. This richly emotional score, with its demanding rubato and sweeping orchestration, was handled with impressive control. The haunting cello solo and lush string playing created a deeply affecting atmosphere.

Benjamin’s performance of “Un bel dì, vedremo” from Madama Butterfly was sublime. Her soaring soprano lines were both radiant and intensely moving, earning spontaneous cries of “bravo” from the captivated audience.

The emotional intensity continued seamlessly into “Vogliatemi bene”, one of Puccini’s most passionate duets. Both soloists were in excellent form, while the SSO provided sensitive accompaniment that never overshadowed the singers.

Puccini’s Intermezzo from Suor Angelica offered the orchestra another opportunity to shine, performed with delicacy, warmth and refined phrasing.

The first half concluded with two arias from Puccini’s Tosca: “E lucevan le stelle” and “Vissi d’arte”. Both Jonathan Cooke and Nadine Benjamin delivered performances rich in passion and dramatic expression, fully capturing the emotional weight of the music.

The second half opened with Micaëla’s Act III aria from Carmen, in which Benjamin beautifully conveyed the character’s vulnerability and courage. Her controlled pianissimo passages were especially impressive. Particular praise must also go to the French horn soloist — and indeed the orchestra as a whole — for its sensitive accompaniment.

Cooke then demonstrated the full strength of his tenor voice in Verdi’s “Celeste Aida”, bringing both power and lyrical elegance to the aria.

Benjamin’s interpretation of “Pace, pace mio Dio” from Verdi’s La forza del destino was simply exquisite, marked by poise, control and emotional intensity.

Cooke’s performance of the Flower Song from Carmen proved deeply affecting, drawing out every ounce of longing and despair in a performance of genuine theatrical conviction.

“Parigi, o caro” from Verdi’s La Traviata featured finely judged pizzicato playing from the strings, while both soloists brought warmth and tenderness to this much-loved duet.

No opera gala would feel complete without “Nessun Dorma”, and Cooke rose confidently to the challenge. His performance was met with prolonged and enthusiastic applause.

Vocal fireworks followed in Benjamin’s thrilling account of “Sempre libera”, complete with exhilarating off-stage top notes from Cooke. Benjamin’s dramatic flair and effortless upper register again evoked comparisons with Callas, and her dazzling final note brought the audience to the edge of its seats.

The concert concluded fittingly with “Libiamo ne’ lieti” (Brindisi) from La Traviata. The audience responded with a full standing ovation, prompting an encore during which many joined in with clapping and singing — a joyful conclusion to a magnificent afternoon of opera.

Conductor Mark Andrew James may have appeared last in the programme credits, but he deserves enormous recognition not only as the SSO’s founder and musical director, but also for curating a programme of exceptional balance and momentum. Under his direction, the entire concert was expertly paced and finely judged.

Were there too many superlatives in this review? Hardly. This concert would not have seemed out of place at the Royal Albert Hall: first-class musicianship, outstanding soloists and an afternoon of opera performed to the highest standard.

Susan Fleet