Tag Archives: Amy Moore

PINCHGUT OPERA : THE SPIRITUAL FOREST

A luscious, gorgeous concert brought to us by the excellent Pinchgut Opera.It was filmed at the City Recital Hall on April 3 and streamed as part of the Pinchgut at Home series .As ever Erin Helyard conducts the distinguished Orchestra of the Antipodes and there are some impressive singers.

Pinchgut here performs ten selections of mostly psalm settings from the challenging 1641 opus, Selva morale e spirituale by Monteverdi , utilizing the landmark anthology of liturgical works that he composed during his career in Venice. The last collection of Monteverdi’s music published in his lifetime, it embodies the ultimate flourishing of his brilliance.

In this setting , Monteverdi fuses instruments , text , music and voices. While its intention is spiritual, the compilation is full of dance ,drama and blends words and music, voices and instruments. Monteverdi combines old and new styles of writing.As always , Helyard and Pinchgut play close , detailed attention to the structure and text of the music.

Pinchgut Opera’s eight-strong vocal ensemble comprises sopranos Chloe Lankshear (the inaugural Taryn Fiebig Scholar) and Amy Moore, mezzo-sopranos Hannah Fraser and Anna Fraser, tenors Louis Hurley (who was recently appointed as The Humanity Foundation Taryn Fiebig Scholar) and Richard Butler, and basses David Greco and Andrew O’Connor. Continue reading PINCHGUT OPERA : THE SPIRITUAL FOREST

THE SONG COMPANY : BRAHM’S REQUIEM

Antony Pitts, Artistic Director of The Song Company
The Song Company. Pic Christopher Hayles Photography
The Song Company. Pic Christopher Hayles Photography

A most luxurious, splendidly performed concert by the Song Company filmed at the City Recital Hall Sydney and also streamed by the Australian Digital Concert Hall.

First we heard a thrilling performance of Thomas Tallis’s “Sancte Deus” – starkly dramatic, with voices soaring, flowing and rippling, followed without pause into Marc’Antonio Ingegneri’s “Tenebrae factae sunt.” Both were many layered and highly structured, with thunderous flourishes of voices  at other times haunting and pleading,

Antony Pitts,  Artistic Director,  then took to the stage and mentioned that the concert was partly in memoriam of Australian composer Nigel Butterley, who had passed away that day,  but that it was also dedicated to “those we have loved and lost” during the pandemic. Pitts also acknowledged the twelve new apprentices on stage with the Company for the first time. We were then asked by Pitts to imagine ourselves in the “intimacy of a 19th-century salon” for the rest of the concert: two works by Brahms, finishing with the German Requiem.

Continue reading THE SONG COMPANY : BRAHM’S REQUIEM

AUSTRALIAN BRANDENBURG ORCHESTRA : HANDEL’S ROME : AN EXQUISITE CONCERT

A musically lush, lavish, very powerful concert exquisitely played. Under Paul Dyer’s direction the Australian Brandenburg Orchestra gave a very moving musical feast, at times sombre, at other times joyously explosive.

Corelli, a renowned violinist, wrote Twelve Concerti Grossi now today viewed as the best and earliest examples of this style. In his Concerto Grosso in D major, Op. 6 No. 4 adagio with its exquisite, pulsating ebbing and flowing strings,  you could almost hear the tears drop with Paul Dyer’s harpsichord rippling. The allegro, however, was bright and joyous with a dancelike atmosphere and, at times, an almost galloping melody with frantic strings. The piece included the use of two Baroque trumpets and sackbuts. 

The Corelli Concerto Grosso in D major, Op. 6 No. 7 had a stately yet emphatic opening and included the use of the trumpets. The allegro section was slower, more refined and thoughtful with its entwining theme. The adante was glistening, glowing and palpitating with its circular melody. The Vivace featured Lee-Chen in fiery short solos and a spirited discussion with the rest of the Orchestra. Continue reading AUSTRALIAN BRANDENBURG ORCHESTRA : HANDEL’S ROME : AN EXQUISITE CONCERT

WILLOUGHBY SYMPHONY CHOIR : THE SEASONS @ THE CONCOURSE

Above : Musical Director of the Willoughby Symphony Choir, Peter Ellis.                                         Featured image : Willoughby Symphony Choir at The Concourse Chatswood.

Willoughby Symphony Choir, Willoughby Symphony Orchestra and soloists under the vibrant directorship of Peter Ellis delivered a joyous performance of Haydn’s colourful oratorio The Seasons.

The concert hall at The Concourse in Chatswood reverberated with the sheer excitement and power of this choir. Haydn’s characteristic gift for direct, exuberant and evocative musical painting of
scenes or situations was exploited to the utmost in energetic performances from choir, orchestra and three talented storytelling soloists. Continue reading WILLOUGHBY SYMPHONY CHOIR : THE SEASONS @ THE CONCOURSE