Jack Symonds - Gilgamesh

NOMINATION: Work of the Year - Dramatic

Nominator Statement

I think this score is an extraordinary achievement that shows deep devotion to the art form. I write from the perspective of having performed the work (in the role of Ishtar) and being privy to parts of Jack's compositional process. The care taken, writing with the unique characteristics of each singer's voice in mind, the frequent discussions (joyful, passionate discussions) he had with many of the performers (both the singers and the instrumentalists), the exploration of various thematic materials in chamber works created throughout the compositional process... all this bore gorgeous fruit in a very refined work full of craft and rigour and colour and invention. It was enormously challenging to perform, while also being very humane: everything in the score served the story in an essential way. I often find with challenging scores (even very good ones) that there are places where I identify a lot of complexity for its own sake. This score never fell into this problem; its logic is exquisitely clear, everything in service of the story and of what I can only call rare and strange beauty. It is worth noting that the work was also met with very full houses and unanimous acclaim from critics, which is no mean feat for new opera in this country. It was thoroughly inspiring to work on this piece. It's very beautiful and original music. I sincerely hope it is recognised for the rare achievement it is.

Additional nominator statement:

Gilgamesh stands as a crowning achievement in Symonds' operatic career to date. Summarising several strands of his interests as a composer, and in collaboration with a slew of world-class specialist musicians, singers, and theatre-makers; Gilgamesh - far from being merely a chamber opera - stands as a work of epic proportion and scale in its dramatic and musical ambition.

The intricate, but not overburdened, vocal and instrumental score is the result of composing to the specific strengths of longtime instrumental collaborators, such as Ensemble Offspring and the Australian String Quartet, engaging every fibre of their musical prowess in virtuosic line and expression. Longtime singing collaborators such as Jane Sheldon, Mitchell Riley, Jessica ODonoghue, Jeremy Kleeman and Daniel Szesiong Todd were given material tailored to their specific strengths, but also always in service of the dramaturgy - wrapped around Garrick's poetic and tightly woven libretto.

There are too many highlights to enumerate, among the, the glorious prayer of Gilgamesh (performed exquisitely by Kleeman), the tightly woven duet of the Scorpions (Sheldon and O'Donoghue), and the exquisitely controlled 'barcarolle' of the final scene (the ensemble). This opus will stand as - and should be recognised as - a significant work in the continuing genesis of the Australian operatic form.

Additional nominator statement:

Jack Symonds and Louis Garrick have created a mesmerising and translucent adaptation of one of the most ancient surviving mythical stories. From somewhat fragmented source material they have shaped a cogent narrative with many contemporary resonances. Symonds' score brings his already highly accomplished musical language to a new level of immediacy and refinement, always in the service of furthering the drama.
It features some truly extraordinary vocal writing tailored to the unique talents of Sydney Chamber Opera's stellar cast, alongside luminously beautiful ensemble textures and harmonies. One of the most immediately convincing new operatic works I've had the privilege to see.