Paul Nolan was born on the New South Wales North Coast. He has been involved with musical theatre and choral groups on the NSW North Coast and in Sydney.
Paul has had poetry published in various periodicals. He is trained in classical piano and has a Bachelor of Music from the UNSW.
Above: CD cover : Celebrae (Klavier Music Productons K 11215) Featured Image : SCM Wind Symphony
The title of this CD, Celebrare (Klavier K11215) is borrowed from Carl Vine’sorchestral work of 1993, Celebrare Celeberrime : a celebration for orchestra which begins the recording in its fine wind band arrangement form.
This title’s reference to celebration is a perfect theme for this CD. The CD was produced following the centenary of the Sydney Conservatorium of Music, and live performances by SCM Wind Symphony at the institution’s Centenary Festival in 2015.
The recording, dated 2016, has been mastered with a pleasing bright clarity by Bruce Leek. This celebrates the sound of the school’s quality symphonic wind ensemble. The emergence of this CD also recognises the Sydney Conservatorium’s recent centenary as well as this music school’s efforts towards being at the international forefront of wind band interpretation. Two works on the recording were commissioned by the SCM Wind Symphony and appear as first recordings on this disc. Continue reading CD: ‘CELEBRARE’ – SYDNEY CONSERVATORIUM OF MUSIC WIND SYMPHONY→
Above: Tinel Dragoi performed Mozart’s Violin Concerto No 5 with the Balmain Sinfonia. Featured image: Director of Music for Balmain Sinfonia, Gary Stavrou OAM
This was Balmain Sinfonia’s 100th concert, and the orchestra’s popular contribution to the local performance scene since its inaugural concert in May 1992 is truly cause for celebration.
This milestone Balmain Sinfonia concert included the usual fare of an excited audience, a diverse concert programme and interesting programme notes to help unpack and enhance the works presented.
The evening also offered champagne for all in the crowd and interspersed with the music were tributes by Director of Music Gary Stavrou OAM to founding members of the orchestra.
Audience participation in the form of the signature music trivia or Mystery Music for the chance to win tickets to future concerts continued to engage old and new audience members alike.
Collaboration between the orchestra and a local soloist again was a feature of this concert. As always it introduced the audience to a great work and an accomplished artist. This concert saw Romanian-born violinist Tinel Dragoi join the orchestraon the stage.
In this concert his intelligent and expressive rendering of Mozart’s Violin Concerto No 5 in A major K 219 was a highlight of the first half.
In particular, the cadenza work was beautifully conveyed by this violinist’s intricate artistry. There was no showy or ingenuine note in his interpretation of the concerto. Instead, a simply elegant and exacting development of Mozart’s extensive musical ingredients and language ensued.
Mozartean drama and a sufficiently sympathetic accompaniment were provided by the smaller ranks of Balmain Sinfonia exposed in this work.
The first half of the concert began with two atmospheric works by the chemist-composer Alexander Borodin. For this celebratory concert, such a choice of composer rang out a keen note of comparison to formidable conductor Gary Stavrou, whose early qualifications were in pharmacy.
We heard Borodin’s descriptive works In the Steppes of Central Asia and the Prince Igor Overture. On this occasion the second work was especially successful in conveying the depth of tone colour and mood necessary for painting Borodin’s fine vistas and characterisations.
After interval the Balmain Sinfonia supplied us with more colourful playing as Dvorak’s Symphony No 8 in G major Op 88 was boldly delivered.
The first movement, allegro con brio, endeared us to Dvorak’s signature evocative and gentle development of musical material.
It also showed off the talents of Balmain Sinfonia in their centenary concert.
Through the remainder of this symphony we were taken on a quality excursion. Firstly, through an expanded adagio, here well played to portray Dvorak’s unique approach to drama and also the legacy of such slow movements as written by Beethoven.
The orchestra contrasted this movement with a successfully lilting allegretto grazioso third movement and concluded with a fourth movement rich in brass fanfares and here with a well structured delivery of Dvorak’s version of the classic theme and variations structure. As in the Borodin works, there were repeated moments of fine playing from Balmain Sinfonia’s wind and brass choirs throughout this symphony.
Bravo and Happy Birthday to the Balmain Sinfonia for its 100th event. This is an achievement, as is its continued fostering of a firm fan base and team of capable volunteers. Both these are assets in the modern concert-making environment.
Balmain Sinfonia’s next performance on September 23 promises to entertain. It will include Khachaturian, Respighi, orchestra members playing Bach’s Concerto for Oboe and Clarinet orchestra, and Mozart’s Symphony No 25 in G minor K 183, which had its opening feature in the film Amadeus.
Above: Charles McComb as Roger. Featured image: the full ensemble sing ‘Seasons Of Love’
Giacomo Puccini, was the composer of La Boheme the opera on which the musical RENT is based. He adored the chance to present confronting plots with a range of characters, as well as scenes both joyous and tragic. He wedded music to an operatic libretto which demanded naturalistic performances dripping in genuine chemistry.
Puccini would love this visceral and evocative Rockdale Musical Society production of RENT as deftly directed by Kate Berger. The clear treatment of Jonathan Larson’s score by musical director David Lang would also titillate Puccini’s musical drama palette, which savoured purely atmospheric soundscapes over which a tapestry of exuberant and decaying energies were colourfully contrasted.
Rockdale Musical Society’s wintry 2017 RENT succeeds amongst assorted attempts by community theatre contemporaries due to the fiercely believable quality which imbues all singing, and action on the stage. Many of the main characters are superbly well cast and chemistry between the main Bohemists struggling to find love and avoid death in a poor and drug-filled neighbourhood cuts keenly. Continue reading ROCKDALE MUSICAL SOCIETY PRESENTS ‘RENT’ @ ROCKDALE TOWN HALL→
This matinee event at the City Recital Hall, Angel Place was the final recital concert in Angela Hewitt’s recent national tour with Musica Viva. Hewitt hailed Musica Viva as world class prior to encores, recognising them as a world leader in tour presentation and support. This fine partnership was matched by exquisite interpretations of Bach and early Beethoven by Hewitt which reinforced her international superstar status.
The programme demonstrated pure balance and symmetry just as successfully as the pianist’s excellent and even command of fugue and counterpoint. Each half of the concert consisted of a substantial Bach Partita with a well-known Beethoven sonata to follow.
The Partita format was a fine vehicle with which to present Angela Hewitt’s consummate and quite legendary Bach interpretative skills. New and existing fans delighted in the fine control, contrasts in character between the dance movements and layers of nuance selected to create a Bach keyboard sound for the piano. This sound never directly imitated the Baroque instruments nor did it drown out the music’s subtleties by using sound options from the modern instrument’s arsenal. Continue reading ANGELA HEWITT PIANO RECITAL @ CITY RECITAL HALL→
Above : Composer of Songs From The Bush, Ian Munro. Featured image : Omega Ensemble clarinettist and Co-Artistic Director, David Rowden.
Omega Ensemble again presented a chamber music concert in the delectable Utzon Room setting which championed works combining the clarinet with string quartet.
David Rowden’s seamless and sonorous clarinet tone across all instrumental registers and compositional style spoke beautifully to us throughout the event, sensitively supported by the Omega Ensemble strings.
Precision, a wide spectrum of nuance and continued fine rapport as an orchestra allowed formidable expression throughout TMO’s latest Met Concert, entitled FROM RUSSIA WITH LOVE at the Eugene Goosens Hall, the ABC Centre.
Getting the event off to a flying start was the overture to Glinka’s opera Ruslan and Ludmilla. Asuccessful choice to initially energise the atmosphere, this piece rocketed out at a brisk pace.
In this way the concert was given an exciting opening from one of the fathers of traditional Russian music. TMO’s track record of excellence in delivery of dramatic musical moments with directness and solid character continued here.
Above: Conductor Sam Allchurch. Featured Image: Members of the Sydney Chamber Choir- Photo Credit Nick Gilbert
The Sydney Chamber Choir has started its impressive 2017 season with a concert swathed in exciting emotional moments and exquisite restraint. Audience members who can attend all events in this season will cherish some special experiences of major works. The choir’s skilfully balanced programmes will also successfully juxtapose smaller works from many different time periods.
Director of Music for the Balmain Sinfonia, Gary Stavrou was awarded an OAM in the 2017 Australia Day awards. The orchestra’s first concert illustrated yet again the calibre of his service to the Sydney music scene. The orchestra performed admirably under his baton in a diverse and artistically challenging programme which featured a broad historic swoop of music from Mozart to Mahler.
Exciting as always was the procuring of a local soloist of high standard to collaborate with Stavrou and the orchestra. This time, much awarded soprano Zoe Drummond demonstrated how effective the choice of a vocalist can be as a soloist in an orchestral concert. As in past concerts, the Balmain Sinfonia did rise to the occasion as a very sympathetic accompanist for the tonal colour of a vocal soloist.
Above: Mama Alto as Pam and Simon Corfield as Kim. Featured image: Simon Burke as Warren and Lincoln Younes as Lucacz. Photo credit : Brett Boardman.
In this hilarious but incisive play we first meet Warren and Kim. They are a modern gay Sydney couple with, by modern terms, a lot to be happy about. Or are they really?
They have been together for several years, are married on a non-legal level in this country and have a labyrinthine studio in Darlo which affords a view of the Mardi Gras parade from the toilet window. They recently closed an entire hotel with an online petition which was serving a traditional meatball dish named ‘faggots’. Continue reading THE HOMOSEXUALS, OR FAGGOTS @ THE STABLES→
Featured image: Puppeteers Michael Cullen, Shondelle Pratt and Julia Ohannessian with the sleeping Mothball.
Jackie French’s book Diary of a Wombat bounded boldly into Australian family life in 2002. It nestled itself with a unique exclamation into thousands of young Australians’ bedroom bookshelves. Who better exists in children’s theatre circles than director Eva Di Cesare and the insightful Monkey Baa team to respectfully transform this classic to the stage for the 3+age group?
In doing so the Monkey Baa creatives and assembled performers ensure this age group and the rest of us appreciate the possibilities of a live performance medium to portray this character rather than film or one of many modern electronic alternatives.
For children and adults making the trip to the Lendlease Darling Quarter Theatre, Mothball The Wombat’s innocence, flatulence, curiosity and daily insatiable urge for experimentation with human food are delightfully captured in the action. Through the use of 3D plush puppets manipulated by visible on-stage puppeteers, Bruce Whatley’s fine book illustrations of Mothball’s tirade are greatly enhanced. Continue reading MONKEY BAA BRINGS A CLASSIC AUSTRALIAN KIDS STORY VIVIDLY TO LIFE→
Featured image: Conductor Sarah-Grace Williams and The Metropolitan Orchestra.
This concert of two very well known ‘Masterworks’ brought TMO back to the stage in fine form for its first ‘Met Series’ concert of 2017. A warm and appreciative audience eagerly awaited the chance to hear Sibelius’ Concerto in D Minor for Violin and Orchestra followed by no less than Brahms’ mighty Symphony No 1 in C minor Op 68.
Joining TMO as soloist for the second year in a row was Anna Da Silva Chen. Her powerhouse performance was fresh and commanding in nature. Da Silva Chen is constantly developing as an athletic and thoughtful virtuoso.
The first movement reached out to us with a clean and crisp approach. TMO, as led by Sarah-Grace Williams, made the most of all opportunities to enhance rhythmic complexities, melodic development and successive levels of dramatic mood.
There was thankfully no over-interpretation nor self-indulgent over-playing from this soloist. Bravura passages added throughout the first movement by Sibelius to showcase the violin as much as possible were rendered with prodigious depth of strength but avoided awkward heaviness.
A delicate song-like restraint and no-nonsense rendition of the concerto’s famous opening was a real highlight. This approach was not fussy and immediately drew us towards the soloist and to the qualities of the featured instrument Sibelius was able to promote.
Da Silva Chen’s respect for a stable melodic architecture alongside dazzling and fluid virtuosity continued into the second movement. Here, a beautiful pursuance of line and intricate collaboration with the orchestra made for some fine moments.
The energy and character needed from soloist and orchestra to bring this concerto to a close was on offer during the final movement. A lithe, elevated display from Da Silva Chen and a gutsy, well punctuated dealing with Sibelius’ challenges from TMO earned both a standing ovation.
Following interval, TMO’s version of Symphony No 1 in C minor Opus 68 was interpreted with clear and direct Brahms like Romanticism
Conductor Sarah Grace Williams preserved momentum throughout the sprawling movements and the composer’s wish to present deep emotion on a large scale but not let unnecessary sentiment compromise the security of structure and direction in music.
Effective choice of tempi especially enhanced the flow of the opening and final movements. The iconic timpani part known by fans of this work was well performed here. Conductor Sarah-Grace Williams kept the reaching nature of the Andante sostenuto second movement at a level of gentle poise as Brahms’ shifting patterns of tone colours moved smoothly about. The result was a hushed, hypnotic, forward moving bulk of calm.
A highlight of this symphony’s agile interpretation was the sunny pastoral interlude which the third movement embodies. Fine playing from the winds, especially the clarinet theme, transported us to a gentle and well-balanced place.
Challenging rhythmic complexities and Brahms’ manipulations of orchestral textures were well-handled in this interpretation and they also rocketed the work to an exciting conclusion. The flow of developing ideas and changing colours were presented with easy eloquence in the final movement as it had been previously.
The successful juxtaposition of two giant Romantic period works was a bold programming choice. It was one which definitely paid off, cementing TMO’s ‘tour de force’ status in the local music scene very early in this year’s musical calendar.
Above: Composer Ben Hoadley, whose Clarinet Quintet ‘Broken Songs’ was premiered in the concert. Featured Image : violinist Natsuko Yoshimoto.
The first Master Series concert for the Omega Ensemble this year was a standing-room-only event at the Sydney Opera House’s Utzon Room. ” The crowd was treated to exciting versions of masterpieces for string quartet and clarinet quintet, as well as the premiere of Ben Hoadley’s new clarinet quintet, Broken Songs. ” A capable backbone for all items on the programme was the assembled string quartet of Natsuko Yoshimoto, Ike See(violins),Neil Thompson(viola) and Paul Stender(cello)
In general across all works this quartet securely delivered playing of precision and sensible dramatic depth. We were given an introduction to newer works on the programme and rediscovered well-known ones. A scintillating blend of individual expression resulted from this quartet’s balanced playing. Continue reading OMEGA ENSEMBLE-HAYDN AND MOZART @ THE UTZON ROOM→
Featured Image : Ted Crosby as Benedick and Emma Wright as Beatrice. Above : Matthew Raven as Claudio and Johann Silva as Don Pedro. Photo credit : Grant Fraser.
“Man is a giddy thing” intones one of this play’s protagonists at its conclusion. Here Shakespeare’s battle of the sexes keenly depicts man to be proud, commitment-phobic, sexist, blinded by rank and easily led by villainy.
This is a microcosm of theatrical device, character types and action similar to many of his comedies and tragedies alike. The chance to flex the craft of this Genesian Theatre’s cast and production team is seized upon by director Deborah Mulhall, with the help of Assistant Director Mark G Nagle to create an accessible and entertaining event.
Mulhall’s multi-use set is warmly lit and effectively transforms one side of the Genesian Theatre proscenium into a well-placed balcony. The windows, lattices, curtained entrance and outsides and the rear of the stage allow for plenty of sites with which to conduct the gossip, planned overhearing and banter which is required of this tale of love as requited, unrequited, resisted and destroyed. Continue reading MUCH ADO ABOUT NOTHING @ THE GENESIAN THEATRE→
The Sydney Festival promises quality collaboration and a celebration of cutting-edge creativity. Nicole Lizée’s innovative program of manipulated image and music fulfils this promise several times over.
The Australian Art Orchestra (AAO) , which started under the leadership of Paul Grabowsky, is seen here obviously thrilled to work on stage with the award winning composer. In the two works it plays in, the orchestra boldy realises Lizee’s reworkings of sound and scenic fragments from popular TV, film and karaoke film clips.
For an event which champions the Canadian turntablist and composer’s clever manipulation of elements, the title is also tweaked from Steven Soderbergh’s popular 1989 comedy, Sex, Lies and Videotape to describe Lizee’s twentieth century influences.
During the opening Lynch’s Etudes, on a screen above the stage we see small excerpts from the TV and film classics of David Lynch. These are reworked through savage reiteration, visual scratching and dragging. Time and vocal pitch in scenes from Wild At Heart, Mulholland Drive and Twin Peaks are also warped heavily. Continue reading NICOLE LIZEE WITH THE AUSTRALIAN ART ORCHESTRA @ RECITAL HALL→
Above : Performer Gabriel Dharmoo. Featured Image: Gabriel Dharmoo in front of the Anthropologies Imaginaires screen. Photo credit Greg Locke.
This fifty-minute experience from French-Canadian Gabriel Dharmoo is a unique and highly entertaining one. It combines a one-man tour de force performance of singing and sound effect with voluptuous accompanying movements. A subtitled documentary-style commentary on a screen behind the performer matches the vocal gymnastics to language and behaviours of imaginary cultures.
This event could be described as the Umbilical Brothers meet a deceptively satirical SBS. This performance’s subtle start is quite believable and resembles the canon of anthropological films on non-fictional tribes. However, as the show progresses the tongue in cheek comedy around the validity of commenting on a single aspect or practice by an ‘other’ culture becomes increasingly obvious. Continue reading SYDNEY FESTIVAL : ANTHROPOLOGIES IMAGINAIRES @ SEYMOUR CENTRE→
Featured image: Artistic Director Sarah-Grace Williams conducts TMO.
The final concert in TMO’s Met Series for 2016 was as diverse and rich in entertainment value as all others this year. Two exquisite and challenging orchestral favourites were programmed alongside a recent Australian work featuring TMO’s Andrew Doyle as basset clarinet soloist.
Acacia Quartet’s most recent concert, Harbour Light, flowed with luminous success around an appreciative audience in the Utzon Room space. The audience were given no less than two commissioned world premiere works by Australian composers. The concert’s title work, Harbour Light, was performed for the first time in a shiny new intimate guise for string quartet, pared down from its original orchestration for larger string ensemble.
The innate skill of Acacia Quartet to create and convey layered atmosphere came to the fore to unify the programme of six diverse works. The sprawling concert sequence evolved with successive and separate styles of light. Works with extra-musical hues and unique structures were finely wrought by the quartet. Regardless of compositional character, the communication to the audience was clear, beautifully balanced and evocative.
On a daylight-savings evening so close to our beloved Sydney Harbour, Australian composer Nick Wales’Harbour Light was a textural treat linking us to our immediate surroundings with which to start. As we listened, sitting close to the water, the piece shimmered, shone, moved fluidly and offered much in the way of colour and compact sentiment. In the guardianship of Acacia Quartet, it did not suffer in the process of reduction from larger forces.
Compact sentiment and exquisite minimalist rendering followed in the quartet’s interpretation of Philip Glass’ String Quartet No 2‘Company’. Well nuanced and never overplayed, it was an accurate salute to Glass’ aesthetic and intricacies of revolving thematic minutiae.
Prior to interval, we heard Acacia Quartet present two very distinct voices in contemporary Australian composition. The world premieres of two Australian compositions were effectively juxtaposed with the individuality of Philip Glass. The new works were as arresting for their sonic effect as well as the impact on a concert environment in the way Glass introduced listeners to a new concert experience.
A highlight of the evening was the premiere of Sally Whitwell’s String Quartet No 1, the rewarding local soundscape with the subtitle ‘Face to the Sun’. Each of the four movements sketches aspects of Australian flora. Time periods which once inspired emblematic transfer of these qualities to people’s names, such as in the time of Whitwell’s grandmother, named Beryl Boronia, are celebrated via this fine musical illustration.
This clever writing draws on a legacy of lush quartet sound from yesteryear as well as effects from the very modern arsenal of string playing. Both styles of playing were capably offered up by Acacia Quartet, as the shapes and character of banksias, boronias, everlasting daisies and gumnuts were brought to life via charming and exciting vignettes from shifting time periods.
In a real shift of character prior to interval, the second premiere work was by the Australian-born Joe Twist. It was an exciting caricature and romp through stock standard musical styles. Spongebob’s Romantic Adventure continued the crescendo in boldness and momentum of colour which this concert programme’s first half was providing. Melodrama, stylistic tongue-in-cheek proximity and ultimately an hilarious hoedown variation of the Spongebob TV theme were played vibrantly, ensuring the work’s impact in a formal audience setting. The piece has many future performance possibilities for the quartet. Families and children would love it.
Following interval, larger works from American composers brought the listening experience into a new dimension with evocative music from Gershwin and film score composer Bernard Hermann. These sustained works were a satisfying way to conclude the evening’s diversity. Lullaby (1919) by George Gershwin goes a long way past its original purpose as an exercise in harmony for the student.
From its opening, the challenging and delicate exchange between quartet members created a seamless fabric under a high but hushed first violin. The inclusion of this piece was an extension of the calibre of string quartet blend and atmosphere heard in the rest of the concert. It also introduced the beautiful work and Gershwin’s output in this genre to many.
The sprawling and fantastic Echoes for string quartet by Bernard Herrmann led us through filmic, intense and purely beautiful soundscapes which filled the Utzon Room space. The complex and segmented work with shifting inflection and mood was well negotiated by Acacia Quartet.
The excited reception of this and all works from the audience was proof of Acacia Quartet’s effective gifting on this night to us of delicate narratives, intensities, colours and shapes found in compositions for the string quartet from last century to now.
Jane Stanley, composer of Cerulean Orbits, which is receiving its world premiere performances during this Musica Viva International Concert Season Tour.
Musica Viva’s International Concert Season for 2017 continued this past week with a stunning concert by Benjamin Beilman and Andrew Tyson, a violin and piano duo from the United States. This weekend concert in Sydney continued the tour which had already taken the pair to Perth, Coffs Harbour, Armidale, Adelaide, Newcastle as well as Sydney earlier in the week.
The chosen programme was a solid vehicle with which to demonstrate Beilman and Tyson as individual virtuosi as well as an exciting duo. The performances of interesting and evocative works were always intensely emotional and absorbed in their mindset as well as their physical execution.
Attention to changing musical detail across styles from 1787 through to 2016 was always keen and works were articulated with an appropriate flair fitting their four distinct time periods. Intricacies of conversation from this skilled pair showcased the blend of their two instruments when used by various composers as an expressive chamber music force.
The Jerusalem Quartet: Kyril Zlotnikov-cello, Sergei Bresler-violin, Alexander Pavlovsky-violin and Ori Kam-viola
This string quartet concert dazzled with smooth synergy and clean unity of attack whilst preserving spontaneity in the performance. The opening work in the programme, String Quartet Op 64 No 5 ‘The Lark’ (1792) by Haydn was a fine example of this.
Seamless Haydn is a test of any string quartet’s proficiency. The test was passed with flying colours by the Jerusalem Quartet. This work unfolded with clear intensities of structure. Balance shifts across and between the individual strings ensured engaging conversations were always present.
This Haydn quartet’s opening movement themes were freshly defined. The tension and resolution of the melodies in later development unfolded with finesse and fine interplay. The remainder of the work’s narrative continued in this capable vein. From the eloquent adagio second movement to the bristling final vivace, this work was an entertaining start to the concert event. Continue reading MUSICA VIVA PRESENTS THE JERUSALEM QUARTET@ CITY RECITAL HALL→
Above: Shunske Sato in rehearsal with the Australian Brandenburg Orchestra. Featured image: Sato in concert with the Australian Brandenburg Orchestra. Photo credit: Kitt Photography
SATO AND THE ROMANTICS is a perfect example of how a concert following historically informed performance (HIP) guidelines can both thrill and train the audience at once. In this latest Australian Brandenburg Orchestra’s tour of Sydney and Melbourne the listener’s pleasure and education comes from hearing historical instruments play 19th century works imbued with Romantic ideals by Mendelssohn, Grieg and Paganini.
Guest violin virtuoso Shunske Sato leads the Brandenburg in Mendelssohn’s String Symphony No 3 in E minor MWV N 3 (1821) to open the concert. The first movement starts with crisp and arresting unison. The warm drama of the gut-stringed instruments is matched by intricate, well-articulated sensitivity as fugal tensions are intelligently resolved. Shunske Sato’s energetic, clear and commanding direction of the string group from his place in the first violins is rewarding to witness. Continue reading AUSTRALIAN BRANDENBURG ORCHESTRA PRESENTS ‘SATO AND THE ROMANTICS’ @ ANGEL PLACE→
Above: Cello soloist Teije Hylkema. Featured image: Omega Ensemble perform Elgar’s Cello Concerto with Teije Hylkema. Photo credit: David Vagg Photography.
The latest concert in Omega Ensemble’s 2016 Virtuoso Series, ELGAR’S CELLO CONCERTO was a diverse, accessible and entertaining event. City Recital Hall’s resident ensemble showcased exciting repertoire for their mixed-instrument format.
Above: Violin soloist Glenn Christensen played Beethoven’s Violin Concerto with TMO. Featured image: The Metropolitan Orchestra and Chief Conductor Sarah-Grace Williams. Photo credit: John B Chen.
The fourth concert in TMO’s 2016 season, ‘The Great’ was a substantial undertaking. Its exciting programme consisted of two very well-known works regarded as being great due to their inspiration, structure and impact.
These works were written by two composers considered amongst the greatest of their era and of all time. TMO admirably met the challenge of presenting early nineteenth century works by Beethoven and Schubert in fresh and captivating interpretations.
To begin this concert’s juxtaposition of two great works, TMO collaborated with violinist Glenn Christensen in a performance of Beethoven’s Violin Concerto in D Major Opus 61. At all times throughout this work TMO supported the soloist well.
The essence of Beethoven’s uniquely direct rhetoric was delivered through clear realisation of thematic material. Full orchestral textures were satisfyingly blended and Beethoven’s burgeoning Romantic leanings were evident in striking declamations from the orchestra alone.
Violinist Glenn Christensen presented an extremely sensitive and elegant opening movement to this work. Without the hectic bravura often heard, the structure of the violin solo utterances was expressively and at times uniquely outlined. The building blocks of this famous movement were laid down successfully with considerable grace and unhurried reverence.
This work’s slow movement demands an interpretation from soloist and orchestra which maintains beauty and lyricism over a difficult and prolonged expanse. The attempt on this occasion was successful in this regard. It also was the best balanced playing between violin soloist and TMO heard in the work.
The performance of this movement yielded a steady thread of exquisite cantabile voice and an exemplary rendering of authentic Beethoven expansive slow movement fare. As in the remainder of the work, Christensen’s moments reaching to the very high register were gentle yet stunning in their precision.
TMO and Christensen launched themselves out of the central movement’s stillness and into the final rondo movement with instant and great contrast. The theme was joyously characterised and we were treated to some energetic fireworks in the violin elaboration.
Following interval Schubert’s profound Symphony No 9 in C major D944 ‘The Great’ was played with great drama, great control and great respect for Schubert’s architectural and dramatic ambition. The creative concepts and textural variety of the composer’s vision were well promoted. We heard this work’s intricacies and climaxes being well articulated despite the large forces assembled.
From the symphony’s outset and introduction from the horn section there was an air of noble restraint. This continued particularly in TMO’s winds whenever needed throughout. Oboe lines were nicely drawn and held above the rest of the orchestral colour. The oboe parts which feature in the second movement were also steadfast and captivating.
The contrasts in the third movement Scherzo and Trio were superbly handled, making this section of the symphonic journey a crisp, buoyant and satisfying event. TMO showcased themselves and Schubert as progressive artisans in this movement, a highlight of the performance.
At the conclusion of this symphony and the concert TMO showed no cracks in their stamina or artistry. This was yet another satisfying Met Series Concert. The final Met Concert for 2016 at the ABC Centre takes place on November 12. It features TMO’s principal clarinettist in a work by Elena Kats-Chernin. The programme will also include Beethoven’s loved Symphony No 7.
Above image : Sam Moran and Bella Thomas as The Cat in the Hat and Jojo. Featured image- Ensemble members from Birdie Productions. Production photography by Grant Leslie Photography.
Birdie Productions brings professional talent and performers from open auditions to South West Sydney in this excitingly refreshed version of SEUSSICAL. The resulting ensemble is a cast with immense energy, range of experience and an attractive skill set. The depicted Seuss characters as assembled in the musical by Stephen Flaherty and Lynn Aherns here showcase Dr Seuss’ genius whilst preserving his keen commentary on good and bad behaviour.
The audience follows Horton the Elephant’s quest to survive mockery, help friends and save the small inhabitants of Whoville as they drift to possible peril on a speck of dust. A scrim at the start of the musical confronts the audience with a quote which motivates us to accept the responsibility to help others. Newspaper clippings about children in detention then appear, providing a sobering reminder about need in our contemporary life. Continue reading BIRDIE PRODUCTIONS PRESENT SEUSSICAL @ BRYAN BROWN THEATRE BANKSTOWN→
Maria Lindsay performs Tommy Tycho’s Concerto For Violin and String Orchestra. Images by Geoff Sirmai.
The new venue for this orchestra is the performing space at the Actors Centre in Leichhardt’s Italian forum. The space and its full, true acoustic nicely accommodated this orchestra and the diversity of style within the event’s programme.
It also preserved the interactive, intimate sharing of music and enthusiasm for the orchestral repertoire which have always been key features of Balmain Sinfonia concerts.
The 5pm afternoon concert began with Beethoven’s Leonora Overture No 3 (1806). A direct, genuine reading of this piece from the opera Fidelio was imbued with considerable atmosphere, colour and drama. It was a very decent introduction to the contrasts of the concert to follow. Continue reading BALMAIN SINFONIA PERFORM @ THE ITALIAN FORUM→