This is a bold, stunning exhibition showcasing 260 rare South East Asian works from the private collection of Dr John Yu AC with items from the 10th century to the present.
Over the past fifty years with his late partner Dr George Soutter AM, John Yu has developed one of the most important private collections of Southeast Asian art and antiquities in Australia.
UPACARA has been developed as a companion exhibition to the ‘Encounters with Bali’ exhibition , also presented by Mosman Art Gallery, in 2014, which focused on Indonesia’s rich traditions of textile arts and the artistry of its highly skilled craftspeople . The textures and geometric designs of the pieces are absorbing.
UPACARA is divided into seven sections : Basketry and wooden objects , Silver, Deities and Figures, Ceramics and Textiles, from the tenth century to the present. The interconnected nature of art traditions across the region, the variety of functional everyday and ritual objects highlighted. the ancient trade routes and the cultural porosity of the region. Continue reading MOSMAN ART GALLERY : UPACARA – CEREMONIAL ART FROM SOUTH EAST ASIA→
For more than 30 years now I have been exploring the music of the French baroque, and particularly the music of that era written for the viola da gamba. This is not the kind of artistic passion that brings with it a huge audience, but it is my calling!
Although I trained in Europe, I live in Australia and I have always sought to engage with my country of origin and the music of our times, not just that written hundreds of years ago. I am part of the Historically Informed Performance (HIP) movement, but I also look beyond it. This is the case with my acoustic ensemble, The Marais Project, my electric viola da gamba band, Elysian Fields, and with my Music Viva in Schools group, Da Vinci’s Apprentice. The latter, for example, tours a musical theatre work for children composed by the Australian composer, Sally Greenaway, and performed on historic instruments – cornetto, theorbo, and viola da gamba.
Old meets New when The Marais Project launches its 2021 season. Fresh from a successful appearance on Melbourne Digital Concert Hall, and the release of their new recording, ‘Two’, The Marais Project launches its 2021 Season with a distinctive pairing of the Old World Europe and music from the Australian continent when it presents ‘The Art of Monody.’
‘Around 1600 Italian composers decided to break free from composing polyphony (music for many voices, often written for the Church) and started to write for a single voice with instrumental accompaniment,’ Marais Project Artistic Director, Jenny Eriksson commented. ‘This new style of music was called monody, ‘mono’ meaning one voice. It was the beginning of opera as we know it, but it was also the commencement of the kind of songcraft that developed during the baroque and classical eras and continues to this day.’
Jenny Eriksson, Susie Bishop & Tommie Andersson
The concert’s title also refers to a new work written for the group by Australian composer, Gordon Kerry, titled ‘Christchurch Monody.’ A setting of texts from the books of Ecclesiastes from the Old Testament, Christchurch Monody was, according to Kerry ‘A response to several recent appalling acts of violence.’ We were supposed to premiere this important piece in 2020 but our season was cancelled of course,’ Eriksson reflected.
Also on the program is a suite by Marin Marais, arias by the Italian master, Monteverdi as well as two songs by Isaac Nathan, the early 19th century father of Australian music – a quite special coupling. Tommie Andersson’s arrangement for gallichon (bass lute) of pieces from Handel’s ‘The Musical Clock’ also features as does Llew and Mara Kiek’s version of ‘The Streets of Forbes’. Commissioned by Eriksson several years ago, this folksong tells the story of the infamous Australian bushranger, Ben Hall.
This the kind of diverse, ‘not to be missed’ program for which The Marais Project has developed a national reputation!
The Marais Project performs ‘The Art of Monody’ at the MOSMAN ART GALLERY at 1 Art Gallery Way, Mosman, NSW from 3pm Sunday 16th May 2021 | Tickets $40/30 children and students $20
PLUS! On 14th April 2021, the new Marais Project recording, ‘Two’ will be released on MOVE Records. | Available from MOVE Records, Buywell Music, iTunes, and streaming platforms including Apple Music and Spotify
Featured image : The Marais Project. Photo by Christopher Hayles.
Sydney Arts Guide has three CDs of the Marais Project’s new CD entitled ‘Two’. Email editor.sydneyartsguide@gmail.com with THE MARAIS PROJECT TWO PROMOTION in the subject heading and your postal address in the body of your email. Winners will be advised by email.
This image: tomorrow, InshAllah series, 2016-2017 (Pierced copper, dimensions variable Image by Dean Beletich) Featured image: Title: Adorned, Wisdom, Memory and Song, 2017, video still (courtesy Adorned)
‘New Sacred — A joint role exhibition encouraging curatorial dialogue across greater Sydney‘, is a project that introduces the first collaborative exchange between Parramatta Artists Studios in Western Sydney and Mosman Art Gallery, located on Sydney’s North Shore. The exhibition showcases the work of nine mid-career artists who are current residents and alumni of the Parramatta Artists Studios. Continue reading NEW SACRED – A JOINT ROLE EXHIBITION→
A delightful and at times very moving Cabaret in The Day, the final of this year’s series, “ BROADWAY BABIES’ was at Mosman Art Gallery featuring the talents of maestro Glenn Amer and Adele Johnston.
The versatile, extremely impressive Amer needs no introduction to audience members of Cabaret in The Day. Johnston is a versatile artist excelling in a variety of genres including cabaret, musical comedy, opera, operetta, concert and lieder recitals. For this concert she was elegant in black and silver and – at least at the start- draped in a hot pink feather boa.
Vocalist Zoe Drummond who was accompanied by Glenn Amer on piano.
This first concert in this year’s delightful series and included music by Johann Strauss, Franz Lehár and Imre Kalman.
Piano maestro Glenn Amer played and sang fabulously. Amer also played the role of narrator and enjoyed making incisive, witty comments.
We were whisked to Vienna and heard classics such as The Blue Danube,and selections from Die Fledermaus, The Gypsy Baron, The Merry Widow, The Land of Smiles, Countess Maritza, The Gypsy Princess and works by Richard Tauber, Joseph Schmidt and others.
Featured photo – Guest artist Michael Tsalka on harpsichord.
This was a very charming and delightful concert performed with delicacy and vigour. There was fine ensemble work by all and some dazzling harpsichord playing. Under the direction of Diana Weston we were privileged to welcome the return of Michael Tsalka on harpsichord.The program featured six short works. First we heard the elegant, quite operatic Johann Freidrich Fasch’s Overture arranged by Stephen Yates. This piece was stately yet lyrical and at times very fast paced.
Next was Vivaldi’s Violin Concerto RV 319 arranged for two harpsichords in three movements again arranged by Stephen Yates. The first movement began with a fast and insistent feel, one harpsichord acting like the violin soloist, the other the orchestra in a delightful dialogue between the two.
The second movement was more heartfelt and sorrowful, melancholic and reflective– however this changed to cascading, shimmering, faster, rippling notes on the keyboard taking us through to the third movement. This was an animated discussion between the two harpsichords full of crystalline delicacy and circling rhythms that led to a bright, powerful conclusion.Continue reading THOROUGHBASS OVERTURE AND CONCERTO @ MOSMAN ART GALLERY→
Featured image – Michael Tsalka. Pic by Olga Masri de Mussali.
Thoroughbass is delighted to welcome back international keyboard specialist Dr Michael Tsalka in a concert of overtures and concertos for two harpsichords and strings. Tsalka, whose performances last year left audiences enthralled, joins Diana Weston to perform works by J.S. Bach, Vivaldi, Scarlatti and others.
Dr Tsalka walks the global stage performing hundreds of concerts each year in Europe, Japan, China, the USA and Australia. His repertoire spans the baroque, classical and romantic eras to the present day. His performances, whether on harpsichord, fortepiano, clavichord or modern piano are historically informed and full of musical integrity.
To mark the 75th Anniversary of the Japanese submarine attack on Sydney Harbour, Mosman Art Gallery has organised a multi-media site-specific exhibition staged in an oversized old naval fuel tank at Headland Park, Georges Heights, overlooking the scene of the World War II account.
Six Australian and Japanese artists have interpreted the event in a contemporary context, offering large–scale installations, paintings, soundscapes and immersive experiences that consider war and conflict on a global scale, while evoking one of Sydney Harbour’s darkest moments.
Have you ever considered the fate of the humble childhood toy “Jack in the box” ?
Well, Rosemary Dobson has:
“He crouches low and supplicant/His elbows knocking on the wood…/He waits the tapping at the locks/He hears the children calling”Jack!”…/They think he sleeps, but how he weeps/His small tears falling with no sound……”
Rosemary Dobson was a distinguished and prolific Australian poet who died in 2012 at the age of 92. Her poetry is somewhat more intellectual and detached rather than visceral…but nevertheless she still writes movingly of the human experience.
For the latest ( and, sad to say, last in the season for the moment ) Cabaret In the Day at Mosman Art Gallery, under the terrific direction of Melvyn Morrow we had a superb POISONING PIGEONS IN THE PARK, a deliciously witty, subversive performance celebrating the wondrous talents of singer/songwriter/social satirist Tom Lehrer.
Lehrer, now retired, was a mathematics and musical theatre lecturer and has a massive cult following. His songs often parody popular song forms although often creating original melodies while doing so. He is best known for the darkly humorous songs he recorded in the 1950s and ’60s.
In the 1960s, he produced a number of songs dealing with social and political issues of the day, particularly when he wrote for the U.S. version of the television show That Was the Week That Was. He has also translated The Wizard of OZ into Latin and this is still regarded as the standard Latin version today. Despite their topical subjects and references, his songs are still enormously popular. Especially close attention must be paid to his acerbic , witty , subversive lyrics . Continue reading CABARET IN THE DAY – POISONING PIGEONS IN THE PARK @ MOSMAN ART GALLERY→
The latest in the Cabaret in the Day series at Mosman Art Gallery was Of Bing I Sing , saluting Bing Crosby (1903 -1977 ) , the legendary 20th century American crooner and movie star.
Recording more than 1700 songs, Crosby’s distinctive warm bass-baritone voice made him the best-selling recording artist of the 20th century, having sold over one billion records, tapes, compact discs and digital downloads around the world.
Written and directed by Melvyn Morrow, it was presented as a dialogue between Glenn Amer ( ‘” the musical mastermind of Moss Vale ‘’) who has ‘’ the fingers of Liberace and the voice of Mario Lanza” and a collection of 378 78 format style recordings of Crosby, and Rob Palmer, star of Better Homes and Gardens and Dancing With the Stars.
Amer at the shiny black piano was dressed in a dapper suit , Palmer in front of a large black and silver mike was far more casual in a t-shirt and denim. Palmer was tanned and had a dazzling cheeky grin .Palmer had a long introductory monologue explaining how the two met. Continue reading CABARET IN THE DAY – OF BING I SING @ MOSMAN ART GALLERY→
The first of this year’s Cabaret in the Day series as excellently directed by Melvyn Morrow was the wonderful ‘Gilbert and Sullivan forever!’ starring Andrew O’Keefe and Glenn Amer.
The best of G&S in an hour and a half was presented by O’Keefe (The Chase, Weekend Sunrise) who is a Mosmanite, and Amer who has been described as ‘the man with the fingers of Liberace and the voice of Mario Lanza ‘.
Inset pic- nAndrew O’Keefe- singer and narrator. Featured pic- The original Michael Flanders and Donald Swann
Quick. Book now if you haven’t already for the other concerts as part of this year’s ‘Cabaret in the Day ‘ season. As we arrived for this afternoon’s concert we were greeted by House Full and Sold Out signs.
There was much fun for all both the packed house and the performers. Directed by Melvyn Morrow we were privileged to enjoy the dynamic talents of Andrew O’Keefe (singer and narrator ) and Glenn Amer (singer and pianist) in a recreation of some of the songs of Michael Flanders and Donald Swann. Continue reading Cabaret in the Day – Glorious Mud @ The Mosman Art Gallery→
The lovely and historic Australian Hall provided a fine and understated location for the Acacia Quartet’s presentation of LOVE NOTES, a program of works for string quartet under the loose umbrella of love in its many guises. It follows their ongoing quest for versatile and innovative presentations of classical string quartet music in a new, unusual and challenging format.
Heavily attended by a mixed audience of all ages from small children to grandparents this was a sensational concert to launch the new CD of the same title by Nicholas ( Nick) Russoniello .The warm acoustics of the converted church with luminous stained glass windows were splendid and it was a fine performance of virtuoso playing .
Russoniello was supported by the magnificent Acacia Quartet who were in splendid form .It is a rather unusual combination , string quartet and saxophone soloist but it works brilliantly . Continue reading Between Worlds→
Christopher Hamilton as Sir Joseph Porter in Melvyn Morrow’s classic
Kicking off the ‘Cabaret in the Day’ season at Mosman Art Gallery was a one off performance of the magnificent A SONG TO SING O , written and directed by Melvyn Morrow and here featuring the splendid talents of Savoy legend Christopher Hamilton playing George Grossmith, accompanied on piano by Jayne Hamilton.
Grossmith was a leading Savoyard comic baritone, ( best known for his ‘patter’ roles ), comedian and writer, composer, actor, and singer. His performing career spanned more than four decades. As a writer and composer, he created 18 comic operas, nearly 100 musical sketches, some 600 songs and piano pieces, three books and both serious and comic pieces for newspapers and magazines. and among others created the roles of Sir Joseph Porter( HMS Pinafore ) , Major General Stanley (The Pirates of Penzance), KoKo ( The Mikado) , and Jack Point ( Yeomen of the Guard) .
The audience is invited in as Mr Peabody, a visiting American journalist, is there to interview Grossmith, and this leads to performances from all his great roles. Grossmith is in his dressing room just before a show .The set includes a wallpapered Chinoiserie like screen and an elegant tea set , plus a hatstand , huge wicker traveling basket and a large vase all containing various props used in the show (for example Bunthorne’s lily). There are witty asides about working in the Savoy Company and with Gilbert and Sullivan, as well as Oscar Wilde amongst others. As well there are some terrific performances of a couple of Grossmith’s own songs– for example the poignant ‘Muddle Headed Porter’ and the rollicking ‘See Me Dance the Polka’ . Grossmith’s own wit also shone in his enchanting performance of ‘French Verbs’ – wickedly delightful.
Hamilton as Grossmith was glorious, warm, with a wicked twinkling eye where appropriate, a mobile expressive face and a terrific voice. The performance was enthralling and he channeled Grossmith with great gusto. Various selections from the much loved Gilbert and Sullivan repertoire are performed starting off with ‘Trial by Jury’ and ‘My Name is John Wellington Wells’ from ‘The Sorcerer’. The tongue twisting, rapid fire ‘patter’ songs are tremendously performed .His Sir Joseph Porter KCB ( ‘ HMS Pinafore ‘ ) was excellent – refined, slightly effete . As Major General Stanley he was breathlessly fabulous. The fiendishly difficult Lord Chancellor’s ‘Nightmare Song’ from ‘Iolanthe’ was thrillingly performed .With swirling cape and a hunchback he became the horrid , testy King Gama ( ‘Princess Ida’ ) who ‘can’t think why’ he isn’t liked. Another famous Grossmith role was Koko from ‘The Mikado’ – his plaintive, compelling performance of ‘Tit Willow’ would have any hard hearted Katisha weeping. As Bunthorne (from ‘Patience’) with a green hat and cravat he is transformed into a languid S shape , narcissistically admiring a lily.
‘A Song to Sing O’ from ‘Yeomen of the Guard’ brought the interview to a close with a magnificent duet with a surprise appearance .
Encore and bravo. Or, as the Pirate King would say to Major-General Stanley, ‘Again’!
Melvyn Morrow’s A SONG TO SING O, running time an hour and ten minutes, played for one night only at the Mosman Gallery on June 30.
The next Cabaret In The Day shows are OUR GLAD on July 14, BROADWAY BARD on July 28 and finally Romance!ROMANCE! on September 1, 2013. All shows start at 3pm. The Mosman Art Gallery is located on the corner of Art Gallery Way and Myahgah Road, Mosman. Phone 99784178
SYDNEY REVIEWS OF Screen + Stage + Performing Arts + Literary Arts + Visual Arts + Cinema + Theatre +
For more than 30 years now I have been exploring the music of the French baroque, and particularly the music of that era written for the viola da gamba. This is not the kind of artistic passion that brings with it a huge audience, but it is my calling!
