Music / Carmina Burana, National Capital Orchestra with Canberra Choral Society. At Llewellyn Hall, July 4. Reviewed by SARAH BYRNE.

An absolutely packed house turned out for this National Capital Orchestra and Canberra Choral Society concert, a tribute both to the increasing reputation of these ensembles and to the enduring appeal of Carl Orff’s masterwork (even those who think they don’t know it, know at least part of it – thanks, Carlton Draught!).

Based on the 12th century Burana Codex, Orff set the series of poems as a song cycle in 1936, and first performed in Frankfurt in 1937 one can sense the emerging Third Reich. I always think that the best known opening (and closing) movement, O Fortuna, sounds as if it should accompany Marlowe’s Faust being dragged off to hell, rather than some jolly bucolic invocation of Fate.

Not to worry, there’s plenty of georgic delights to follow, all impressively performed by the largest NCO ensemble ever fielded (10 cellos! Two pianos!) and a massive choir from the CCS, supplemented in several movements by the Woden Valley Youth Choir.

A slight oddity about this work is the way that Orff has scored the vocal solos unusually high for their nominated registers. Rachel Mink’s soprano was perfect, and Dan Walker (stepping in for Tobias Cole) gave us a sterling falsetto in his (sadly) only movement. Baritone Sitiveni Talei, though gorgeous in his natural register, did perhaps struggle a little in the falsetto – which, to be fair, was probably Orff’s intention.

The tremendous orchestra was conducted with immense flair by Louis Sharpe, a few very tiny brass wobbles immediately lost in the grandeur of the whole, and particularly the marvellous percussion.

And I haven’t even mentioned the first half of the program, the lovely Gloria by French impressionist composer Poulenc. Completed in 1960, it has a very different sensibility to the Carmina Burana – spiritual rather than carnal; World War II behind it, rather than building up – though both pieces are linked through the evident influence of Stravinsky. Rachel Mink’s pure, sincere soprano soared, and it was a pleasure to hear Poulenc’s clear draft of wine before the heady brew of the Orff.

The vast combined ensemble was rewarded by a long and largely standing ovation from the rapt audience. I look forward to seeing what future collaborations might bring.

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