Under the guest direction of Pinchgut Opera’s Erin Helyard, the AHE positively shone. This was the best performance I have seen from them. Helyard played the piano solos on the program, as well as the continuo, on a magnificent period…
Johann Adolph Hasse’s 1730 opera Artaserse was very famous in its day, but it has rarely been performed since 1760 and certainly not in Australia. A number of things are immediately obvious in a discussion with the key creatives of…
The AHE has been around now for about 6 years and it continues to be one of Australia’s premier early music groups. Often they present ensembles of a larger scale but in this concert it was decidedly “chamber” with the…
The Israeli harpsichordist Michael Tsalka was the featured artist at this concert at the Mosman Art Gallery, and what a coup it was for a small local group to perform with such an outstanding international artist. Thorough Bass, under the…
This was the culminating concert of a week’s summer school for young musicians from all over Australia and New Zealand, specialising in early music. The week was under the mentorship of The Muffat Collective. The tutors Rafael Font (violin), Anton…
We have been following Jennifer Eriksson’s “Marais Project” since its inception. Marin Marais (1656-1728) was a prolific viola da gamba player and composer. He wrote many volumes of gamba music. In the year 2000 Ericsson set herself the ambitious task…
There is always a sense of relief when you arrive in your seats at Angel Place after having passed the god-awful infernal din emanating from the Ivy night club, and there is that magic moment of pure silence just before…
The Australia Piano Quartet has been the Ensemble in Residence a the University of Technology Sydney (UTS) since 2012. They have toured throughout Europe and Asia and have given concerts at the Barbican and Wigmore Hall in London. Their specialties…
We found our way on a cold winters night to a dark, dingy Darlinghurst lane with a steel roller shutter door and wondered what we had let ourselves in for. Inside however, we found a cosy space with chairs and…
Kats-Chernin’s The Spirit and the Maiden (2004), was commissioned in 2001 for the Macquarie Trio (of which Selby was a member) and has undergone several revisions since that time. It is based on an intriguing Russian fairy tale where, in…
Balmain Baroque performed for a small audience of mainly friends and family in the sympathetic acoustics of the St Peters Presbyterian Church in North Sydney. They played a range of mostly sonatas and arias by Schutz, Telemann, Boismortier, Bernardi, Handel…
The singer Josie Ryan and the viol consort The Emeralds are doing a series of concerts this year to commemorate the 450th anniversary of Claudio Monteverdi’s birth. Monteverdi’s music stands at the cusp between the Renaissance and the Baroque and…
The Utzon Room with its sweeping harbour views behind the stage is always a favourite venue for its dreamy atmosphere. Having the Omega ensemble present this delightful program here was a treat.
An inspiring concert in an interesting venue and the repertoire was engaging. This was apparently the third such concert; if there are more, I will be there!
The eclectic mix of music in this concert was a good light hearted toe-tapping experience. Catch them if they appear in your glen.
Impressive concert for the brave choice of new music, excellent musicianship and dedication to bring it to life. Great Sydney has groups so enthusiastically dedicated to sharing new music.
Acacia Quartet approach music with humility and an invitation to the listener to engage. This is a great quality in a quartet. Long may it reign and have more of this brave programming and wonderful performance.
The performance of the Second Symphony the ensemble produced a big sound for the space and is better suited to chamber music arrangement.
An informal family-and-friends affair with the choreographer Ross Hutchison as the exuberant master of ceremonies. Brandman’s songs are characterised by sonorous tonal piano writing, lyric melodies and even phrasing.
The performance was of a consistently high standard and musicians maintained their focus and intensity throughout this diverse work
Australia Ensemble always fills me with high expectations of consummate musical performances and I was not disappointed. The concert was a joy.
Lemasson showed a good strong dark chest register in the opening recitative. The aria ranged across gentle ecstasy, again well controlled pianissimi, difficult roulades and a grand finish.
What a fabulous program this concert was. Add wonderful performers and I could have died and gone to heaven.
Shines in this contemporary Australian music. Never a dull moment, my attention was riveted at all times. To be congratulated on a most engaging concert.
Haydn Ensemble stands proudly shoulder to shoulder with the many period instrument ensembles found in Europe. We are lucky to have such a professional and vibrant ensemble in our midst.
With thanks to the intensity, focus and commitment of the musicians, it was a most rewarding debut concert.
Filled with highly melodic and tonal music, even phrases and simple rhythms in the voice part and high demands placed on the performers. It was enjoyable.
Andrew Ford’s Contradance was composed for Omega – It was a lot of fun; congratulations to Ford and the ensemble. It deserves to be part of the repertoire,
The “Beautiful Boccherini” concert was in an interesting venue, the Cell Block Theatre in the National Arts School complex in Darlinghurst, part of the old 19th century prison. The concert hall, which was a 3 floor high women’s prison first…
A delightful evening with wonderful music, fine wine, mouth watering food (beef Wellington or grilled salmon and panna cotta or chocolate mousse) and good company.
Under Max McBride’s expert leadership and the orchestra’s clear articulation, I discovered things in this Brahms symphony I have never heard before.
The famous classical guitar duo, Slava and Leonard Grigoryan, join tenor José Carbó in a concert of Latin classics handed down from their grandfather.
I am always impressed by their interesting and innovative programming. There are always surprises and challenges for the listener.
Miguel del Aquila’s Silence finished the concert on a calm note with images of huge oceanic surging and crashing waves projected in slow motion.
A capacity audience filled the Mosman Art Gallery. Bel a cappella has been around since 1995 and as the name implies they specialise in unaccompanied repertoire.
A quiet confidence and approached the music with a freshness and humility. And what a voice it is; she sang throughout with a clear well centred voice with minimal vibrato.
Focused on the viola da gamba, with works by Rameau, Bach and Marais. Three instruments were featured, gamba (Shuang Ng), violin (Tara Hashanbuoy) and harpsichord (Diana Weston).
Their intonation excellent and every line clear; phrases rose and subsided from the texture with balance and grace. At the finish of this profound and sincere performance, I longed for more.
The Omega Ensemble is impressive. I will always be happy to attend any of their concerts and to recommend you do so too.
From the opening bars the phrasing was subtle and the articulation was delicate. McBride had the full and intense attention of the focussed orchestral players.
The phrasing, articulation and dynamics were beautifully executed and the sound well supported, making the most of the space. A diverse concert.
I am so impressed by this ensemble. They have a loyal following with good reason. This was music making at its best and it is always worth the trek out to UNSW.
A series of folksong arrangements bookended the concert. Very varied styles here despite the tone set by the constraints of an early music ensemble.
Electronic echo effects applied to both voice and trombone add a cathedral-like blending of sounds as the music and poetry build to its ecstatic climax, spangled with strobe lights and glitter.
I am so impressed with a community orchestra doing work of this quality. I have suddenly become a fan of the Ku-ring-gai Phil. Make the effort and go to their next show.
Well programmed thoroughly enjoyable concert, interspersing Irish folk songs with concertos & sonatas. I’ll be attending whenever possible in future.
I have never actually sat and listened to the 48 from beginning to end. So this was definitely an experience to remember and I am glad I went.
Messiaen’s “La Nativité du Seigneur” is rarely heard. So this free recital at St Mary’s Cathedral in Sydney on the 14th of December was a treat.