I had been looking forward to reviewing this concert ever since the 2018 brochure appeared in my letterbox. English music of around 400 years ago is simply divine. It’s the music of Shakespeare’s time
Love indeed knows no boundaries – and the music heard tonight was some of the most sorrowful on earth, but sung and played with such beauty. Lamentations and libations (at interval) were promised and
I was sad to miss the first collaboration in 2015 of the Australian Brandenburg Orchestra and Circa. Who doesn’t like a circus? This time I was looking forward to hearing some old tunes from the Brand
I first met young conductor Sam Allchurch on a tour bus in 2003, travelling around the United States with Gondwana Voices. Tonight’s guest conductor would sit next to me on the bus and we discuss in d
“He’s not the messiah, he’s a very naughty boy!” The Australian Brandenburg Orchestra stage Handel’s Messiah. It’s a momentous occasion, a season opening concert, and what better than to l
After a long tiring week, it was a great pleasure to saunter down to the City Recital Hall with a friend and settle in a for a night of romantic music on period instruments. I had been warned to ‘not
All praise to the choral machine that is the Brandenburg Voices – precision, powerful and polished.
It’s not very often you get to hear a performance of Arnold Schoenberg’s amazing sextet Transfigured Night and played so beautifully by the Australia Ensemble.
Riccardo Minasi, Italian Baroque violinist extraordinaire, returned to our shores after a four-year gap to play with the Australian Brandenburg Orchestra and promised a scrumptious evening of unknown
The Arrival of the Well-Dressed Queens of Sheba It’s been quite the week for early music in Sydney, with ACO’s new rendition of the Four Seasons and the impeccable Tafelmusik in town, but what a pleas
The first movement of Winter was Sinkovsky’s new spooky, icy & foggy interpretation that was simply outstanding & one of the best renditions I have ever heard.
As my biography states, I am a lover of many musical things, but particularly music from about 1200 to the late 1700s and music written yesterday. So when a new musical friend tells me he is going to
XENAKIS vs. PATERAS Synergy Percussion, Part 1 – 22 April 2014, Carriageworks, Sydney Pléïades, written for six percussionists (and some surprise extras) in the late 1970s by Greek composer Iannis Xen
classikON is proud to be promoting 3 performances of this historical masque and we asked the co-producers Imogen Grawal and Tara Hasambhoy a few questions about the production and also their musical l
The sheer joy & smile on Jennifer Eriksson’s face when she started playing the first piece by Dowland with three other viols & a lute, was infectious enough to make my departure from h
A great afternoon of Mozart pantomime that had the entire audience humming the famous tunes in a fabulous old theatre.