Lior & Westlake

The Queensland Symphony Orchestra, under the baton of Benjamin Northey, delivered an evening that shimmered with emotional power, musical precision, and a spirit of generosity. Including Mary Finsterer’s Stabat Mater Symphony, Nigel Westlake’s Antarctica Suite featuring virtuoso guitarist Slava Grigoryan, and the complete performance of Compassion, Westlake’s collaboration with singer-songwriter Lior, this program was as much a journey of the soul as it was a feast for the ears.

The evening opened with Stabat Mater Symphony, a work both dramatic and heart-wrenching. The slow, deliberate build in volume and intensity of the strings at the start set the tone, drawing the audience deep into the emotional landscape before them. The Concert Hall’s glorious pipe organ, a rare treat to hear, lent a weight and resonance that made the air vibrate. Northey’s pacing was masterful. Every swell and release felt purposeful, carrying emotional heft without losing clarity. Brass and percussion added a sense of epic grandeur, while the strings and winds distilled pure heartbreak, their voices entwining in a portrait of grief and resilience.

Nigel Westlake’s Antarctica Suite followed, with celebrated Australian classical guitarist Slava Grigoryan as soloist. Having previously recorded and performed the work, Grigoryan brought an ease and confidence to the piece, his deep familiarity with its intricacies allowing for a performance that was both technically brilliant and richly expressive. I particularly loved the interplay between guitar and harp, their textures mingling in luminous threads.

Northey and Grigoryan were in perfect sync, creating a seamless musical dialogue. The cinematic quality of the music (unsurprising, given its origins as a film score) was heightened by the interaction between guitar and orchestra. The plucking of strings and percussive touches that evoked cracking ice were subtle yet evocative, and the score gave every section of the orchestra its moment to shine, while still keeping the guitar firmly in the spotlight. Grigoryan’s dexterity and sense of timing were top shelf, his phrasing alive with nuance and feeling.

After interval came the centrepiece of the night: Compassion, Westlake and Lior’s song cycle based on ancient Hebrew and Arabic texts. From the first moments of Sim Shalom (Grant Peace), with its slowly building, almost ominous opening, it was clear that this work would be an emotional journey. Winds and strings gently diffused the tension before Lior’s angelic voice entered, floating and hovering over the grounding orchestral lines. The piece felt like a balm for the soul, simultaneously stirring and calming, culminating in a brass crescendo that was uplifting without losing its reflective core.

Eize Hu Chacham? (Who is Wise?) brought a delightful change of pace. The percussion joyfully announced its arrival, quickly joined by staccato strings that set a funky rhythm for Lior’s vocals to dance upon. The playful humming solo, mirrored beautifully by the violin, was utterly charming. The orchestra seemed to relish the changes in rhythm and mood, and the ending, where brass and percussion joined forces, was exuberant.

In La Yu’minu (Until You Love Your Brother), the opening horn melody set a tone of gentle nobility. Lior once again demonstrated the ethereal beauty of his upper and mid register, his voice gliding effortlessly over the music. The harp was a star here, its dancing melody giving the piece a bright, sweet momentum that carried it forward with ease.

Inna Rifqa (The Beauty Within) began with a rumbling low note from Lior (an unexpected depth given his earlier soaring high notes) which then blossomed into phrases that moved fluidly through his impressive range. The vocal melody was haunting, and the orchestration shimmered delicately beneath, adding a spiritual dimension that felt as though the listener had been carried to the Middle East on a current of sound.

I found myself wanting to dance in my seat as the melody unfolded in Al Takshu L’vavchem (Don’t Harden Your Hearts). The composition offered a burst of upbeat energy, and felt cinematic in its shifts of mood, with orchestral bursts and flurries adding playful punctuation. A hint of mid-century modern styling in the harmonies and textures gave it an irresistible momentum, and Lior’s powerful final vocal was nothing short of thrilling.

Bright, punchy, and immediate, Ma Wadani Ahadun (Until the End of Time) opened with the strings leading the way. Here, we were treated to more of Lior’s lower register, which was warm and grounded, contrasting beautifully with the lightness of earlier moments. The non-verbal vocalisations in the middle section were heavenly, almost otherworldly. The wind section shone, and I particularly enjoyed the way cellos, bass, and brass worked together to build a rich, resonant foundation. The climax of this piece was pure joy and a standout of the entire night, with Lior, Northey, and the QSO pouring great energy into every note.

Finally, Avinu Malkeinu (Hymn of Compassion) eased in with gently unfolding melodies, like the first light of sunrise. Lior’s voice was magical and soulful, the emotional centre of the piece. Midway through, the violin mirrored his vocal in a way that was almost unbearably poignant. Brass and strings joined to heighten the drama, while the solo cellist offered a moment of breathtaking intimacy in the closing passages. Lior’s soaring, emotional delivery brought the cycle to a fittingly heartfelt conclusion.

For the encore, we were gifted Safety of Distance from Lior’s Corner of an Endless Road album. This stripped back composition featured voice, tuba, and a fuller brass presence in the chorus, showcasing the pure beauty of Lior’s vocal tone. Its closing lyric, “Compassion is the measure of a man,” was the perfect summation of the evening’s theme.

Throughout every performance, Benjamin Northey’s conducting was a performance in itself—physical, precise, and deeply connected to the music. He drew every ounce of emotional meaning from the players, his whole body engaged in shaping the sound. The result was an unforgettable night of music that balanced technical brilliance with profound humanity.

Kitty Goodall

Photography by Alex Jamieson