Part of the Prelude in Tea series at the Independent Theatre , the latest concert was the wonderful Seraphim trio plus guest artist Martin Alexander in a scrumptiously delicious performance.
The Seraphim Trio pianist Anna Goldsworthy, violinist Helen Ayres and cellist Tim Nankervis for this national tour of piano quartets celebrating the Trio’s formative years at the Australian National Academy of Music. The Trio has become one of Australia’s most acclaimed and admired chamber ensembles and they were joined by fellow ANAM alumnus Martin Alexander on viola . There was fabulous rapport between the four and great intensity in their playing.
A glorious concert with magnificent performance by the ACO , led by Richard Tognetti and Croatian -born soloist Dejan Lazic on piano , focusing on music mostly by Mozart and showcasing the ACO’s great strengths as well as exploring the “Sturm und Drang” style . The Orchestra and Lazic had a great rapport.
HAYDN ‘s Symphony No.39 in G minor ‘Tempesta di mare’ began the concert The first movement with its brisk strings and robust circular melody that was looped and repeated and listen out for the horns featured. The second movement was an elegant lilting dance like movement while the third movement with its horns and woodwind was a cascading wall of pulsating sound .The fourth and final movement was scurrying with its flurried , impatient strings. Throughout the work there were contrasts in mood and at times quite sharp , spiky rhythms that made the work sounds very fresh and contemporary.
This concert will see the Ensemble perform a rare chamber version of Beethoven’s Symphony No. 4, along with a virtuosic Flute Sextet by Boccherini and Mozart’s much-loved String Quartet in D minor.
It has been suggested that Mozart may have written his string quintets K. 515 and K. 516 to impress King Friedrich Wilhelm II of Prussia and to surpass the quintets written by Boccherini. If true, this seems to have gone un-noticed by both the King and Boccherini. Boccherini’s divertimento Sextet for Flute and Strings contains all the drama and textures we have come to love and expect from his music with its Spanish and Italian inspiration. Mozart’s String Quartet in D minor, described as one of his best quartets, will not disappoint with its achingly beautiful melancholic opening. Continue reading AUSTRALIAN HAYDN ENSEMBLE PRESENTS BEETHOVEN 4→
Independent young artist opera company, Operantics, presents Mozart’s ‘La Finta Giardiniera’ this October for a limited season at the Independent Theatre.
Sandrina (aka Marchioness Violante Onesti) is La Finta Giardiniera: betrayed and abandoned by her lover, Count Belfiore, and now courted by the local Mayor who believes her to be one of his gardeners. His maid, Serpetta, strings along Sandrina’s manservant, Nardo, while ambitiously pursuing her boss. Meanwhile, the Mayor’s niece, Arminda, has left her suitor, Don Ramiro, and arrives at her uncle’s house to marry none other than Belfiore…
Nothing is as it seems in this opera full of love triangles, disguises, intrigue and emotional upheaval – complemented with beautiful music performed by the next generation of Australia’s operatic artists.
The Independent Theatre
269 Miller St, North Sydney
Friday, October 6th at 7:30pm
Saturday, October 7th at 7:30pm
Sunday, October 8th at 7:30pm
There will be music in the air this Spring when the Australian Brandenburg Orchestra arrives in Penrith.
Casting back to the days when good mates, orchestra conductor Haydn and freelance composer Mozart would get together for pop-up gigs with brilliant results – two admiring friends, performing impromptu concerts together. Fast forward 250-odd years to two relatively new friends – a Belgian period horn player, Bart Aerbeydt and Australia’s leading baroque cellist, Jamie Hey.
Witness the results when excellence from the two eras comes together. A chance to let brilliance shine. The Australian Brandenburg Orchestra musicians join Bart and Jamie and put their signature style on some glorious classics as they bring to life the original colours of Baroque and Classical masterpieces from centuries ago, with the beautiful sound of instruments of the period.
The Brandenburg invites you to discover the exquisite music of the sixteenth, seventeenth and eighteenth centuries in a whole new way. The orchestra, with the help of charismatic Artistic Director Paul Dyer, will take you back to a historical era full of passion, electrifying vitality and artistic excellence.
“What stands out at concert after concert is the impression that this bunch of musicians is having a really good time. They look at each other and smile, they laugh…there’s a warmth and sense of fun not often associated with classical performance”, Sydney Morning Herald.
Enjoy the elegance of The Joan’s Borland Lounge before the show, as it shines in salon style. You might even like to take the experience a step further and dress in your finest formal evening attire for a truly memorable night in the Concert Hall.
Let the Brandenburg sweep you off your feet on a Spring night to remember. Book your tickets now for a performance you won’t forget.
Cannabich Sinfonia in E-Flat major
Haydn Cello Concerto in C major, Hob.VIIb:1
Mozart Harmoniemusik of Die Entführung aus dem Serail –
Mozart Concerto for Horn No. 4 in E flat major K495
Tickets: Standard $70 Concession $65
To book call our Box Office on 4723-7600 or
This will be a night to remember. The Joan Sutherland Performing Arts Centre is located at 597 High Street, Penrith. Nearby parking and public transport is available.
Bare Bones Opera launched its debut production. A joint-venture of emerging artists with a fresh approach to operatic performance, Bare Bones Opera was created by Laura King Soprano, and Christopher Curcuruto – Bass-Baritone, to create a more traditional and scaled-back, very theatrical style of opera. The event was a profit-share joint venture; by artists, for artists.
Bare Bones Opera said that “Opera has become bloated by big houses and even bigger budgets. It is our mission to explore the theatrical roots of opera as an art form, and to produce, perform, and facilitate, small scale opera that creates a big impact.”
Bare Bones Opera exceeded my expectations and provided two hours of must-see opera in Italian, German and Russian. They have the advantage of using an Intimate performance space. All the voices were bright and magnificent, and performances also benefited from the excellent acoustics of the auditorium. The Sydney debut of “Per la ricuperata salute di Ofelia” was an audience pleaser, and exactly as intended, was played on the harpsichord.
Triple-bill including Rimsky-Korsakov’s almost verbatim operatic adaptation of Pushkin’s tale, alongside two of Mozart and Salieri’s own farcical works; Der Schauspieldirektor (Mozart – 7 February 1786, KV 486) and Prima la Musica, Poi le Parole (Salieri – 7 February 1786). These two pieces were interestingly composed for the same competition, and debuted at the same time, in the same room.
THREE PERFORMANCES ONLY
You know the story of the infamous (albeit highly fictionalised) rivalry between Mozart and Salieri. No doubt you have seen the late Peter Shaffer’s film adaptation of his own play, “Amadeus”, greatly inspired by Alexander Pushkin’s “little tragedy”, the dramatic poem “Mozart and Salieri”.
Let us take you a little closer to the source material.
We are excited to present a triple-bill including Rimsky-Korsakov’s almost verbatim operatic adaptation of Pushkin’s tale, alongside two of Mozart and Salieri’s own farcical works; Der Schauspieldirektor (Mozart) and Prima la Musica, Poi le Parole (Salieri). These pieces were interestingly composed for the same competition and debuted at the same time, in the same room!
As a special treat, it is also our utmost privilege to present, likely for the first time EVER here in Sydney, “Per la ricuperata salute di Ofelia”; a piece of music composed by Mozart AND Salieri, with libretto by Lorenzo Da Ponte of Marriage of Figaro, Don Giovanni, and Cosi fan Tutte fame (to name just a few). Discovered only this year in the depths of the Czech National Museum, this piece was thought to be lost to the ages. We are delighted to be able to give it’s modern-day, Sydney debut.
Thursday, 4 August 2016 (PIANO PREVIEW) – 7:00PM
Saturday, 6 August 2016 – 3:00PM
Sunday, 7 August 2016 – 3:00PM
Tickets $35 – includes complimentary afternoon tea
Christopher Curcuruto – Bass-Baritone (PRODUCER)
Laura King Soprano (PRODUCTION MANAGER) + Photo Credit
Rebecca Anne Coe
Zoe Drummond- Soprano
Imogen Faith Malfitano
Jared David Lillehagen
Geist String Quartet
Sonia Wilson – Violin
Meg Cohen – Violin
Hayasa Tanaka – Viola
James Larsen – Vello
Jonathan Wilson – Piano and Spinet
This event is presented as a profit-share joint venture; by artists, for artists.
Special thanks to the Academy of Music and Performing Arts – AMPA and Felt Tip Theatre Company for their support.
4 August 2016 at 7:00PM, 6 and 7 August 2016 at 3:00pm
For more about Mozart and Salieri – a triple bill, visit Find us on:YouTube | Facebook
The first of the 2016 programme was entitled Classical Heroes and the Art of Seduction . We were privileged to have international opera and musical sensation divo Teddy Tahu Rhodes as special guest to enchant us. The concert’s chosen theme was love and seduction.
Curator of the series, internationally renowned flautist Jane Rutter, welcomed us and then introduced Rhodes, who came on stage on crutches after a recent accident. Rhodes mostly sang, perched on a stool.
Orchestraseventeen88 is an orchestra which has been established to present the classical repertoire from the late Rococo to the Romantic era in Historically Informed Performance (HIP) style. This means that the music is played on period instruments, in period style and using musical pitch relevant to each era and piece as well.
The Artistic Director of this new period instrument ensemble is Richard Gill OAM. For this Company’s first concert, eloquently titled AN EVENING WITH THE VIENNESE TITANS Racheel Beesley was the Concertmaster, Benjamin Bayl was the Conductor and Georgia Browne was the soloist and principal flautist.
The evening’s program consisted of three pieces: The Creatures of Prometheus (Beethoven), Concerto No 1 for Flute and Orchestra in G Major (Mozart) and the very long Symphony in C Major (Schubert); that is, from an orchestral development point of view, Beethoven, pre-Beethoven and post-Beethoven. Continue reading Viennese Titans @ Sydney Grammar→
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