Music
It is, of course, one hundred years since almost 9,000 Australians died on a small Turkish peninsula during a campaign that, despite its localised failure as a military operation and futility in influencing the overall course of the war, has been unalterably woven into the fabric of our national mythos. Commemorative presentations are frequent. Orchestras, televisio ...
Schumann and music’s ‘grandest species’ (Sydney Symphony Orchestra)
It was refreshing, to say the least, that two sets of concerts given by the Sydney Symphony Orchestra in the Opera House in mid-February had the symphonies of Robert Schumann as their theme. With two symphonies assigned to each program it was possible in less than a week to hear the entire sta ...
Handel’s Messiah (Royal Melbourne Philharmonic Choir and Orchestra)
The huge Town Hall crowd who surged to their feet to applaud – and go on applauding – the Royal Melbourne Philharmonic’s twilight performance of Messiah did not do so ‘like sheep’, nor like a last-night-at-the-Proms booster crowd. Their gesture had more in common with King George II’s reputed rising in glad awe for the Hallelujah Chorus during t ...
There was a genuinely celebratory air to this year’s Wangaratta Jazz and Blues Festival, and why not, given that the Festival was marking its twenty-fifth birthday. When the city first hit upon jazz as the basis for a festival back in 1989 – a somewhat arbitrary decision, based on the fact that most other musical forms had already been snapped up – few could h ...
Here is a fine new Australian opera from Victorian Opera. Composer Iain Grandage and librettist Alison Croggon have taken Tim Winton’s Booker-shortlisted novel The Riders (1994) and created a highly expressive work. Marion Potts directs it on a wide but stark stage furnished only with wooden saw horses. There is a balcony and a revolve, but mostly Potts chooses to observe her anguished and introspective characters through a series of fairly static groupings.
... (read more)There were few opportunities to hear Handel’s opera Rodelinda, regina de’ Longobardi during the two centuries that followed its première in 1725. Although the opera was a great success at first (Handel said of the 1731 London revival, ‘it took’), it soon fell into obscurity, along with most of Handel’s many operas. A ...
English Mozart scholar Edward J. Dent once dismissed the libretto of The Magic Flute as ‘one of the most absurd specimens of that form of literature in which absurdity is regarded as a matter of course’. Michael Gow’s generally marvellous translation and adaptation of Emanuel Schikaneder’s libretto for Mozart’ ...
Six words would suffice to describe Jonas Kaufmann’s Melbourne début. He came, he sang, he conquered.
This was Kaufmann’s second appearance in Australia, after a gala in Sydney (repeated on August 17). It’s not often that an impresario or Opera Australia manages to lure a great tenor to this country. The inimitable Carlo Bergonzi visited in 1979 and g ...
For two non-indigenous artists to take a story that has deep meaning for an indigenous community and turn it into a dramatic cantata is an exploit fraught with danger. Australian culture is littered with attempts by white artists to incorporate indigenous themes into their works; works which have foundered due to their authors’ patronising assumption that they can ...