Peter Tregear

To celebrate the year’s memorable plays, films, television, music, operas, dance, and exhibitions, we invited a number of arts professionals and critics to nominate their favourites.  

To celebrate the year’s memorable plays, films, television, music, operas, dance, and exhibitions, we invited a number of arts professionals and critics to nominate their favourites.  

After a welcome return to something approaching a pre-Covid normal season of training camps and concerts, the Australian Youth Orchestra has finished the year with a grand public concert at the Melbourne Town Hall.

Two sold-out concerts in the Melbourne Recital Centre by the London-based vocal ensemble The Tallis Scholars will be music to the ears of Australia classical music promoters. Audience numbers may be returning to something close to pre-Covid levels. In this case, however, I suspect the box-office success also reflects the peculiar drawing power of The Tallis Scholars themselves.

Sadly, stage productions of Benjamin Britten and Montagu Slater’s opera Peter Grimes are now few and far between in Australia, notwithstanding the fact that the work’s exploration of psychological distress and social ostracisation has lost none of its currency. Britten’s score, while incorporating significant modernist musical elements, also remains both accessible and attractive. And Australia can also boast of having produced two of the finest exponents of the title role in Ronald Dowd and Stuart Skelton (who sang the role in the Sydney Symphony Orchestra’s concert version in 2019).

Despite being one of the most successful and influential operas of all time, Ernst Krenek’s Jonny spielt auf (1926) is now something of a stage novelty. We are inclined to assume, perhaps, that the operatic genre it spawned, the Zeitoper, contained the seeds of its own obsolescence. As a new production at the Gärtnerplatztheater in Munich demonstrates, however, the work retains a capacity to shock and inform, as well as to entertain.

Australians might be forgiven for thinking that the history of classical music – as an art form with origins in Europe – is something that happens elsewhere, that we are little more than observers (and listeners) of a tradition that is essentially the property of others. Melbourne-born Percy Grainger (1882–1961), however, presents us with an unambiguous claim to being a classical composer of lasting historical significance. And yet his music is also not performed, or celebrated, here with anything like the frequency and enthusiasm that it is overseas.

The writer and academic Malcolm Bradbury once argued that we can find traces of the chaos, contingency, and plurality that typify the modern urban environment embedded in the structure of the modern novel or in the design and form of modernist painting. But in music? I think it is fair to say that classical composers have struggled to find similes as obvious, potent, or effective for the experience of living in a modern city as artists working in other media, or indeed as musicians working in other genres. It’s not for nothing that we commonly speak of urban rap, but not, say of urban symphonic music.