Obituary: David Parker

Parker, David (1927–1996)

by W.L. Hoffmann

June 18 1996

The sudden death in Cairns last month of singer and teacher David Parker will shock and sadden his many associates in Canberra, and in particular the considerable number of students with whom he worked over more than 15 years at the ANU's Canberra School of Music (CSM).

Welsh born, his vocal potential took him to the Royal Academy of Music in London, and he made his professional debut with the great Kirsten Flagstad, in a production of Purcell's Dido and Aeneas at London's Mermaid Theatre. Over the next few years he sang regularly throughout Britain in opera and oratorio, and made a successful recital tour of South Africa.

He had already achieved a notable reputation as an opera tenor before joining The Australian Opera, singing Pinkerton in the 1969 production of Madame Butterfly. At that time the AO opened its season each year in Canberra, so his first performance in Australia was in the Canberra Theatre on 11 February 1969. During that season he also sang Grigori in Boris Godounov and Gustavus in The Masked Ball.

In 1976 he came to Canberra as head of CSM's voice department, bringing his wide experience as operatic artist and recitalist to his work of training young voices. He was an exceptionally fine teacher, as shown by the number of outstanding young singers who have come through his studio.

After the demise of Canberra Opera in 1984 he and his wife, Australian pianist and conductor Marie van Hove, established the ANU Opera Workshop to provide opera experience for local singers, mounting small-scale but professionally executed productions of baroque operas in the ANU Arts Centre.

Later, as the School of Music Opera Workshop, there were productions with full orchestra of La Boheme, Die Fledermaus and The Bartered Bride in Llewellyn Hall, leading to the foundation of Canberra City Opera. With no consistent funding this was a struggle, but with a loyal group of students and former students, and with community support, he continued to provide an operatic platform for young singers.

And his Canberra City Opera still continues the work he started.

Knowing him first as an AO principal, and then more personally when for 10 years we were both at CSM, I can attest to David's professional expertise, his great enthusiasm, and his unique ability to draw the best from his students. He was a man of bounding energy, not always the easiest to get along with, but always with a bubbling sense of humour and complete dedication to his profession.

He made notable contributions to music in Canberra, and there will be so many in the community in addition to his many former students who will mourn his passing.

Originally published in The Canberra Times, June 18, 1996

Review: "OLIVER!" By Lionel Bart, adapted from Dickens. Directed by Sue Belsham, Musical Direction by Paul Belsham for Phoenix Players, May 1996. Reviewed by TONY MAGEE

What a delightful production of Oliver this was. From the moment the workhouse boys swarmed onto the stage singing Food Glorious Food, this performance had a confident feel about it.

Oliver is an adaptation by Lionel Bart of the book Oliver Twist by Charles Dickens. To this already wonderful story has been added a really first class score - nearly every song is a gem in it's own right. 

This production, directed by Sue Belsham, with musical direction by Paul Belsham is simple and very effectively presented. The set is imaginative and convincing, the costumes, designed by Margaret Prideaux, are outstanding, the lighting appropriate.

The other major strong point of this show is the boundless enthusiasm of the cast. Every single performer puts everything into their performance and is simply having a great time! 

Oliver himself was effectively played by Kristian Risti, who with his gentle soprano voice and Christopher Robin looks delivered a consistent and enjoyable performance. The delicious role of Fagan is convincingly portrayed by theatre new comer, Michael Burgess. With a conveniently illusive European accent, Burgess delivered us a hard-line but somewhat compassionate Fagen - an endearing combination.

Sue Lake-Harris was excellent as Nancy, presenting a very creditable performance of As Long As he Needs Me, and Peter Brady made a very convincing and evil Bill Sykes.

The role of The Artful Dodger was outstandingly portrayed by Taimus Werner-Gibbings. His stage presentation is huge and combined with an excellent singing voice (his rendition of Consider Yourself was excellent) made for a wonderfully presented character. He does have a tendency to rush dialogue which is something that needs to be addressed but overall, a very fine performance.

Sara Carvalho displayed a beautiful singing voice in her small cameo role as the milk-maid in Who Will Buy whilst the smallest member of the cast, Jayden Cooke, captured the hearts of all the audience with his wonderful energy and huge smile.

The Three Cripples band led by pianist Leisa Keen provided excellent accompaniment and support throughout the performance.

A fun show presented by a very fun-loving cast. Great stuff.

Originally published in Muse Magazine (Canberra), June 1996

Review: "KISS ME KATE", Queanbeyan Players, Bicentenial Hall, May 18 1996. Reviewed by TONY MAGEE

Another good one from Queanbeyan Players. Cole Porter's clever reworking of Shakespeare's Taming Of The Shrew is a mixture of salient slabs of the original play and a new story of gangsters and intrigue. Just a little tired now but still a classic of the older style musical genre.

Added to the story are a selection of fine songs - Why Can't You Behave, So In Love, Too Darn Hot, Always True To You In My Fashion and the catchy Brush Up Your Shakespeare to name just a few.

Mary O'Brien in the dual lead roles of Lilli and Kate was excellent. A beautiful singing voice combined with capable acting abilities resulted in a fine performance indeed.

Twenty year old Trent Morris, also in dual roles - Fred and Petruchio - displayed a fine bass/baritone voice. Just a little emotionally young for the role, but still convincing, this fine young actor and singer is definitely someone to watch out for in the future.

Minor principals Judith Satrapa and Rodney Beaver gave strong support in their dual roles as Lois/Bianca and Bill/Lucentio respectively, whilst Phil Perman and Bill Dwyer delivered amusing cameo appearances as the two gangsters, receiving encores in the middle of the show!

Queanbeyan Players stalwart, Bill Douglas showed his versatility as a maturing actor in his dual role of Harry/Baptista (Kate's father) - a fine performance.

This production displayed excellent and appropriate direction by Marie Jensen whilst the orchestra, under the direction of John Agnew was very pleasingly in tune and balanced. The chorus provided great support and were enthusiastic and well disciplined. Costumes, sets and lighting were also of a good standard.

Choreography by Katie Keys was highly effective, culminating in a wonderful dance sequence in Too Darn Hot, which was one of the highlights of the show.

All in all, an effective and enjoyable production from this maturing and dedicated company.

Originally published in Muse Magazine (Canberra), June 1996

Review: 2nd subscription series, HUMMEL, SIBELIUS AND HAYDN. Canberra Symphony Orchestra, Nicholas Braithwaite. At Llewellyn Hall, May 30, 1996

Canberra Symphony Orchestra

Nicholas Braithwaite, Conductor,

Daniel Mendelow, Trumpet, May 30, 1996

Reviewed by Tony Magee

It was pleasing to hear yet another variation on the overused formula of starting an orchestral concert with an overture, with Haydn's short, although not overly exciting, Symphony No 22 in Eb major at Thursday night's second subscription season Canberra Symphony Orchestra concert. Under the capable hands of principle guest conductor Nicholas Braithwaite, the most was made of a rather dull picnic hamper.

Hummel's Trumpet Concerto in Eb Major was given fine treatment by Daniel Mendelow who plays with a brilliant and clear tone whilst also offering subtlety and smoothness when required. Hummel himself certainly came with outstanding credentials, being a piano student of Mozart, then Haydn and finally Beethoven. No doubt he also studied music theory and composition with the masters - unfortunately not too much rubbed off when it comes to orchestration! However with plenty of virtuosic writing from Hummel for his chosen solo instrument, Mendelow treated his audience to something quite stiring in parts and certainly a pleasing close to the first half of the concert.

The orchestra's performance of the final work in the program, The Symphony No 2 in D major by Sibelius, was electric. This is a hugely demanding work giving all sections of the orchestra a real workout. It is also a work which builds most satisfyingly, a feature which Braithwaite brought out superbly by tempering the orchestra's dynamics in the first movement and certainly in the first half of the Andante, which left plenty of room for the real fireworks of the scherzo and finale - great work from the brass section.

Just a note on the Andante: Scholars debate the relevance and indeed inclusion at all of Sibelius's supposed programmatic theme for this movement - the fight between Don Giovanni and Christ, the forces of death and life. Sibelius is known to have jotted down notes about this subject on the music paper which contains the first sketch of this Andante. On the other hand, music journalist Robert Kajanus, after the premiere performance on 8th March 1902, described the second symphony as a musical projection of the current political situation: "The andante acts as the most overwhelming protest against all the wrongs which threaten in our time to deny the sun its light and our flowers their scent...[The Finale] reaches a triumphant conclusion which wakes in the listener a vision of a bright and confident future."

Originally published in Muse Arts Monthly (Canberra), June 1996