Tag Archives: Chloe Lankshear

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

PINCHGUT’S OPERA : MONTEVERDI’S ‘VESPERS’ @ CITY RECITAL HALL

The live audience was ecstatic with thunderous applause for Pinchgut’s magnificent, finely burnished and lushly detailed performance of Monteverdi’s VESPERS. Fortunately you can catch it online at the moment until 1 May, 2021.

Written in 1610, Monteverdi’s VESPERS (Vespro della Beata Vergine ) is now rarely heard. Monteverdi (1567 – 1643) was comfortable with both Baroque and Renaissance music and is regarded as one of the great composers. He wrote music for the church, temporal works and among other things, opera as well. In his Vespers, Monteverdi energetically transformed ‘traditional’ Renaissance polyphony into strikingly advanced styles. 

Musically and vocally the performance was polished, precise and superb, the Orchestra of the Antipodes including some now uncommon Baroque instruments. Hannah Lane  exquisitely played on the harp throughout and there was a theorbo, (Simon Martyn-Ellis ) cornetti (Matthew Manchester and John Foster) and sackbuts (Ros Jorgensen, Nigel Crocker and Brett Page), amongst others. Continue reading PINCHGUT’S OPERA : MONTEVERDI’S ‘VESPERS’ @ CITY RECITAL HALL

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