What's on: Live Jazz in Canberra - November and December 1997, with Tony Magee

For the rest of the year, Canberrans have rather a wonderful choice of live jazz ranging from local, national and international concert presentations to the less formal settings of music in bars and restaurants.

The Canberra Southern Cross Club's remaining jazz program features, on the 6th November, The Catholics. Numbering seven musicians, they are described as innovative, daring and exciting, and are looking to bring what they perceive as a fresh and energetic approach to jazz. The group was loudly acclaimed by packed audiences on their recent tour of Europe. One of their hallmarks if the use of the distinctive sounds of the pedal steel guitar.

On November 27th, audiences can see The Three Sedergreens - father Bob Sedergreen (piano and keyboards) with sons Stephen (piano) and Malcolm (sax) together with four more jazz musicians. Described as a evening of great music and entertaining jazz with good humour. Bookings for either of these two Southern Cross Concerts can be made on 6283 7288.

Gypsy Bar and Brasserie with present The Vocal Jazz Ensemble from the Canberra School of Music on Tuesday 11th November at 8pm. Numbering twelve singers and a rhythm section of three, the group will present an evening of rich jazz vocal harmonies in the tradition of groups such as Manhattan Transfer, Singers Unlimited and Brazil 66. The original Vocal Jazz Ensemble was formed in 1985 by Gery Scott, who remains director of the group today.

Back Benches Restaurant at Old Parliament House features jazz trios on Friday evenings from 5pm - 8pm and jazz duos on Saturdays from 1pm - 5pm. Featured artists include singers Ra Khahn and Nick Begbie, alto saxophonist Andrew Hackwill, and guitarist Greg Stott.

Originally published in Muse Magazine (Canberra), November 1997 

Review: "COMBO FIASCO" AT The School of Arts Cafe, October 16 1997. Reviewed by Tony Magee

From the catchy opening featuring High Society's Swell Party, suitably spiced with up-to-date political witticisms, through an outstanding and hilarious ten minute Phantom, to the concluding Fats Waller medley, the performers who are Combo Fiasco entranced the packed Thursday night audience with laughter, poignancy, sadness, joys...

The performers were pianist and singer Tony McGill, pianist and singer Shaun Murphy and actress and singer Sharon Millerchip. The three met whilst performing in the Melbourne production of Phantom Of the Opera. It's one of those rare moments in showbussiness, when a group of performers suddenly find that they "click" together and wham - something extraordinary is born. 

Some particular highlights for me were a superb arrangement of Cy Coleman's The Rhythm of Life which highlighted the group's excellent sense of harmonic balance and dynamic range, a wonderful Kander and Ebb duo featuring the songs Sometimes a Day Goes By and Marry Me and of course the amazing condensed version of Phantom which I mentioned earlier and which still evokes a spontaneous chuckle through the day.

Each of the three performers also chose songs for individual performance and in particular, Shaun Murphy's version's of Leon Russell's Superstar and These Are the Games People Play from Falsetto's were outstanding. Shaun's tenor voice has a huge dynamic range - something that he uses most intelligently by his sparing and therefore highly effective use of triple forte.

Sharon sang an effective and moving rendition of Randy Crawford's Almars, whilst Tony McGill opted for amusing, anecdotal trifles in pieces such as The Waiter, the Porter and the Upstairs Maid.

In a week where I've also seen an outstanding preview of a show featuring all original material, Combo Fiasco's eclectic offering of non-original material shone very brightly indeed. A more entertaining evening, you'll be hard pressed to find.

Originally published in Muse Magazine (Canberra), November 1997

Review: "BLACK TIE" at the School Of Arts Cafe, August 1997. Reviewed by Tony Magee

Mo Awards winners Black Tie are a cabaret group consisting of Valerie, Yuri, Susan and Con Mavridis - two brothers and their wives.

Black Tie present an evening of music that encompasses a huge variety of genres and styles, one unifying aspect being that it is all extremely polished, very well performed and a fabulous night's entertainment.

Valerie is a first class pianist and accompanies the others together with Susan on Cello. Yuri and Con are both bass-baritones although Con has much more of a serious operatic voice, whilst Yuri's is lighter and better suited to music theatre.

Some highlights from the evening were a beautiful rendition of John Denver's Perhaps Love by Yuri and Con, a wonderful Russian Medley which included Dark Eyes and (what became in the West) Those Were the Days and two pieces from Gershwin's Porgy and Bess - I Got Plenty o' Nuttin' sung by Yuri and It Ain't Necessarily So sung by Con. One odd moment in the show is Con's rendition of Modern Major General from Gilbert and Sullivan's Pirates of Penzance. Not an overly convincing version , particularly when I Am the Pirate King is sitting begging to be sung, mostly because it would have been so much more suitable.

One aspect of the group which I find particularly outstanding is how the vocal accompanists are also featured as solo artists to an equal degree. Highlights within this arena included Manuel de Falla's Ritual Fire Dance and what for me was the highlight of the whole evening, an abridged version of Rachmaninoff's Piano Concerto No. 2 (ie: all three movements joined together). Now you have to remember that both these pieces are scored for piano and orchestra, and in the case of the Rachmaninoff, the piano is the solo instrument. The arrangements by Valerie that she and Susan played were quite remarkable in the fullness of sound they recreated and the number of musical lines that were retained and brought out - testament to both the excellent arrangements and the high quality of playing.

I would like to see a small amount of tightening up between numbers in the show - nothing wrong with friendly chat, but I feel that too much did cause the show as a whole to drag slightly and in fact give the impression of the evening being a touch too long.

Originally published in Muse Magazine (Canberra), September 1997

What's on: Live Jazz in Canberra - September and October 1997, with Tony Magee

During September and October in Canberra, it's quality rather than quantity with regard to live jazz, with the Albert Hall presenting the two major events.

On Thursday 11th September at 8pm catch the Don Burrows Quartet. One of the world's great musicians, Don's career spans over 53 years, having turned professional at the age of fourteen. The quartet features Don on clarinet, flutes, saxophones and percussion, Kevin Hunt on piano and keyboards, David Pudney on string bass and Gordon Rytmeister on Drums (almost the perfect surname). 

The other major Albert Hall presentation is the 2nd concert in the Jazz Proms series. This one will again feature the Canberra School of Music Big Band, directed by Don Johnson and Tim Long, The Canberra School of Music Vocal Jazz Ensemble, directed by Gery Scott and newcomers The Canberra Jazz Orchestra directed by Geoff Gray and Spectrum Show Band directed by Glenn Rogers. The concert starts at 5pm on Sunday 21st September. Bookings for both these concerts at Ticketek on 6248 7666.

The National Press Club put on a trio for their Seafood Nights which are the last Friday of every month. Forthcoming artists include lounge trio, Trisket featuring Andrew Hackwill on alto sax, Greg Stott on guitar and Scott Dodd on double bass. The music of Trisket includes popular swing and latin hits, soothing ballads and classic sax hits (eg: Take Five). Bookings at the Press Club on 6273 3644.

Rydges Canberra City continues Saturday night jazz in the Burley Griffin Restaurant with The Ross Clarke Trio, Stuart Warner Trio, both of whom feature piano (Ross and Stuart), sax and bass and also the Andrew Piper Trio featuring Andrew on Flugelhorn with piano and double bass. Bookings on 6247 6244.

Jazz in the Hyatt tea-lounge continues every Friday evening from 6pm - 9pm with a happy hour format of discount drinks and free snacks, featuring some of Canberra's top singers including Ra Khahn, Karen Strahan, Rebekkah Liang and Debbie Downs.

Thursday live jazz at The Canberra Yacht Club continues with Gery Scott and Friends from 6pm - 8pm. Gery encourages guests to ask for requests via the appropriate forms placed on each table and there isn't too much that she can't sing, given a performing career spanning over 55 years!

To be included in this column, send your press release to Tony Magee, PO Box 24, Torrens ACT 2607, or fax to 6290 0020, by 15th of the month before publication.

Originally published in Muse Magazine (Canberra), September 1997.

Jimmy Stewart, Legendary Actor, Dies at 89

lt was a wonderful life James Stewart, movie star, war hero, good citizen and just plain nice guy.

The Hollywood community mourned the death of a legend Wednesday and recalled a man who epitomized the virtues of his craft and the best of human values.

“He was my favorite friend,” said Lew Wasserman. who repped him between 1944 and l962. “It’s very sad for me but I also know that he will live on forever in the films he made.”

Wasserman engineered a now famous and ground-breaking deal for Stewart with Universal in 1950. The actor agreed to waive his salary and share in the profits if any on “Harvey” and “Winchester 7 3 . ” While the first film earned the actor an Oscar nomination and an iconographic role, it was a commercial flop “Winchester.” however, was one of the year’s biggest hits and paved the way for a string of popular Western roles.

Wasserman engineered a now famous and ground-breaking deal for Stewart with Universal in 1950. The actor agreed to waive his salary and share in the profits if any on “Harvey” and “Winchester 7 3 . ” While the first film earned the actor an Oscar nomination and an iconographic role, it was a commercial flop “Winchester.” however, was one of the year’s biggest hits and paved the way for a string of popular Western roles.

“He was the quintessential American face,” said Charlton Heston, who worked with him in 1952’s “The Greatest Show on Earth” “He taught me a lot when I was starting out. Jimmy had the best attitude and work habits. He lold me that he had always wanted to play a clown and he simply immersed himself in the part right down to creating his own makeup. I also learned a great deal from just watching how he conducted himself in public. He loved the work and respected the people who made him a star. He was a role model and inspiration.”

Andrew McLaglen, who directed four films with Stewart, recalled how he volunteered to return after completion of his filming to do off-camera work with Dean Martin on “Bandolero ” But he floored everyone when he arrived on set in wardrobe to deliver lines out off-camera range.

The Stewart oeuvre spanned the laconic but savvy lawman of “Destry Rides Again” to the obsessive, vengeful cowboy of “The Man From Laramie.” He embodied Hollywood’s concept of the American value system, tilting at windmills in “Mr Smith Goes to Washington,” balancing the scales of justice in “Northside 777” and taking on an entire era of lawlessness in “The FBI Story.”

It was the innate wholesome quality that allowed the actor and such directors as Capra, Hitchcock and Anthony Mann — to play with the image and create more textured and deeper performances. It’s difficult to imagine another actor providing the tragic underpinnings for George Bailey in “It’s a Wonderful Life” as he’s consumed by crippling doubt, or of “Vertigos” Scottie Jeffers as he sinks into dementia.

“He was a shy, modest man.” recalled MPAA chairman Jack Valenti. “I remember that he had agreed to say a few words when I received an award at Cannes. I could see he was very uncomfortable and I asked him what was wrong. He said that though he could be a thousand characters on screen, the thing that got him unglued was having to be himself.”

Valenti also recalled trading war stories with Stewart. Both were air force pilots during World War II, with the actor commanding a B-I7 bomber squadron. He said Stewart talked about strategy and operations hut never himself.

Wasserman remembered Stewart being among the first draft call-ups, but Valenti believed the then 34-year-old performer was an enlistee. The memory factor recalls one of Stewart’s best roles as “The Man Who Shot Liberty Valance,” in which, after telling the truth to some newsmen, one of the scribes tears up his notes and says that it’s better to “print the legend.”

“He was a patriot,” said Wasserman. “I remember he was called hack into service for a month back in the 1970s and an Air Force major put me through a two-hour grilling asking about his personal habits. When Jimmy came back, I asked him what on earth was he doing that they need to know such arcane things. Well, they had him piloting (General) Curtis LeMay’s plane for some tour.”

While unquestionably a screen icon and a popular star, Stewart was ollcn typed as a personality performer by critics and not given his full due. The actor said that his trademark stammer resulted from a lifelong difficulty with memorizing scripts. He turned a seeming disability into memorable character traits in such films as “Anatomy of a Murder.” “The Naked Spur,” “Shop Around the Comer.” “Rear Window.” “Shenandoah” and “The I light of the Phoenix”

“There’s no question he was happiest when he was working,” said McLaglen. “He was a dedicated actor. He was totally prepared bin he appreciated direction and he was game for any suggestion. And he was precise. If we did multiple takes, he remembered every idiosyncrasy in his delivery. Easygoing Jimmy has a very strong backbone. I le w ill never be forgotten “

Jim Katz. who restored “Vertigo,” said that when the film was reissued in 1984, Stewart thought of it as “an old film.” but the more recent full restoration made it “new” for him again. “He loved to encounter people seeing it for the first time. He loved the work and that will live on always.”

“Vertigo” costar Kim Novak, who remained in close touch with him, issued a statement: “He taught me that it was possible to remain who you are and not be tainted by your environment… He was not an actor, he was the real thing.”

First published at Variety, July 3, 1997

Review: "The Australian Chamber Singers", directed by Dominic Harvey. Canberra Church of England Girls Grammar School Chapel, Saturday May 31 1997. Reviewed by Tony Magee

Carlo Gesualdo

Italian composer and murderer (both occupations emotionally interlinked), Don Carlo Gesualdo, is the subject of many a true and apocryphal tale. His musical output however, was certainly one of the high points of the late Italian Renaissance. 

The works of Gesualdo are rarely performed and this was a great opportunity to hear some sacred music from this composer known chiefly for his remarkable madrigals.

Dominic Harvey

The Tenebrae Responsaries for Holy Saturday which depict Christ's betrayal and death, were written for performance during Holy Week and the Canberra Chamber Singers under the direction of Dominic Harvey delivered a version of extreme beauty and passion, exploring the typical patterns of chromatic harmony with confidence and yet at the same time delicacy of tone to really bring out the full beauty and intensity of Gesualdo's harmonies.

When listening to this music, one hears sounds which seem almost 20th century in style and it's easy to see why Stravinsky was so fascinated by Gesualdo's music, being moved to orchestrate and complete some of his works.

A moving concert of lamentations and a luxurious opportunity to hear this excellent choir twice in one week (see CSO review).

Originally published in Muse Magazine (Canberra), July 1997

Article: What's on: Live Jazz in Canberra - July 1997

with Tony Magee


Hi and welcome to this new column featuring news of forthcoming jazz performances in Canberra!

The Canberra Southern Cross Club launched series two of A Motorcade of Jazz on Thursday 19th June with The Jim Latta Band and continues through July with some great concerts. On Thursday 3rd, The New Wolverines Jazz Orchestra will perform "vintage hot dance hits of the 20's and 30's". Twice guest performers at the Bix Beiderbecke Memorial Jazz Festival in Iowa, USA, the New Wolverines are a seven piece ensemble with many players doubling at least six horns. 

The Galapagos Duck are almost thirty years old. Formed in 1969, the group will be featured on the 17th July, with original member Willie Qua making his Canberra return debut on the night. The Duck's music draws on Latin, traditional, blues, bebop and modern themes to create their unique jazz sound.

Thursday 31st sees the return of the ever popular Tom Baker with his Chicago Six. Tom himself plays amongst other instruments trumpet, trombone and sax and together with his partners in crime will recreate sounds of the Chicago jazz era.

All shows for the Southern Cross Club Jazz series commence at 8.30pm. Bookings at the club on 283 7288.

Gypsy Bar and Brasserie will present Canberra based a capella vocal group The Idea Of North on Monday 7th July. The Idea of North formed in 1993 and their music includes Gospel, Gospel Jazz, Jazz and Spirituals. Many of the arrangements have been written by members of the group and their last concert at Tilleys Devine Cafe was a total sell-out. One not to be missed. Tickets at the door.

Nice to see Rydges City (ex Lakeside) sticking with live jazz every Saturday night for the dining and dancing pleasure of guests in the Burley Griffin Restaurant. The July program features The Ross Clarke Trio, Stuart Warner Trio and The John Black Trio - all Canberra based groups and providing an entertaining mix of 30's and 40's style swing, some Latin feels and elegant ballads. Requests no problem. Must book.

The Canberra Yacht Club begins a new venture on Thursday 3rd July and continuing every Thursday with jazz and cabaret legend Gery Scott and trio. Miss Scott's international career has seen her perform in twenty-six countries around the world and this year she celebrates fifty-five years in show business. Cruising with Gery in The Captain's Cabin will be featured in what is becoming a popular time-slot for many venues - happy hour: 5.30pm - 7.30pm. Drop in.

To be included in this column, please send your press releases to Tony Magee, PO Box 24, TORRENS ACT 2607 or fax on 290 0020 by 15th of the month prior to publication. 

Originally published in Muse Magazine (Canberra), July 1997

Review: "Canberra Symphony Orchestra 2nd Subscription Concert". Dene Olding, violin. Stephen Barlow conductor, with The Australian Chamber Singers. Llewellyn Hall, May 28 1997

Conductor Stephen Barlow with wife Joanna Lumley, 1986.
Photo courtesy Daily Mirror

by Tony Magee

For this series, the orchestra was under the direction of visiting English conductor Stephen Barlow, whose publicity photo by the way, is a dead ringer for Mikhail Baryshnikov, but whose appearance on the night, revealed a huge mop of lush dark hair which he used to great effect whilst conducting.

The concert opened with Dvorak's symphonic poem The Noon Day Witch - an interesting work particularly for it's recurrent featuring of the woodwinds, both as a section and as soloists. David Nuttall's oboe solos were particularly fine, displaying a warm, mellifluous tone.

The choral setting of Samuel Barber's Adagio for Strings (which actually started life as the slow movement to his String Quartet in B minor) followed in a beautiful performance by the Australian Chamber Singers, coupled with his Violin Concerto with soloist Dene Olding. Mr Olding played with sensitivity and beauty of tone and was extremely well supported by the orchestra with skilful control of dynamics and tempos from the conductor.

The second half of the concert revealed the world premiere of Bright Meniscus, a one movement symphonic essay commissioned by the CSO from Australian composer Gordon Kerry, which programises the Canberra landscape. This work was inspired by a poem by J.R. Rowlands. Barlow's realisation of this work seemed highly convincing as he swept the orchestra from moments of full auditory onslaught to silken strings shimmering like moonlight. Does that sound like Canberra? Well, I guess it could be many cities, but it's certainly flattering to think that someone felt moved to compose music about our city. Received with delight and thanks.

In keeping with the theme of music that depicts earthly concepts, Debussy's La Mer closed the concert. La Mer explores the ever changing moods of the sea and Barlow's realisation of this great work was evocative, sensual and at times frightening, as he took both orchestra and audience on a wonderland journey through oceans deep and mysterious. Really great stuff.

Originally published in Muse Magazine (Canberra), July 1997

Magda Gabor dies aged 78

Magda Gabor. Photo courtesy Find A Grave

RANCHO MIRAGE, Calif. -- Magda Gabor, sister of actresses Zsa Zsa Gabor and the late Eva Gabor, died Friday of kidney failure, a spokeswoman said. She was 78.

Magda Gabor, eldest of the Hungarian sisters, died at Eisenhower Medical Center, said Miriam Levin, a publicist for Zsa Zsa Gabor.

Gabor matriarch Jolie Gabor died on April — at the same hospital. She was 97.

The family began emigrating to the United States in the 1930s. By the 1950s, Eva and Zsa Zsa had achieved international celebrity, while their mother was known as one of the movie world's social matrons.

Magda avoided the glare of show business. She lived in Palm Springs.

Eva Gabor died from a respiratory illness in 1995.

First published at New Bedford Standard Times.

Article: "NATIONAL OPERA FESTIVAL 1997" by TONY MAGEE

The 1997 National Opera Festival is fast approaching and from all over Australia, publicists have been sending me information about many fine performances that will form the basis of the festival here in Canberra. With such an incredible diversity of performances, audiences are sure to find something, if not many things to enjoy during the festival. Here are some of the highlights.

The highly successful New York production of Porgy and Bess which has played world wide for over four years to rave reviews and standing ovations, will tour Australia this year and will be performing at the Canberra Theatre from 16-21 June.

Porgy and Bess is based on the highly successful novel by Du Bose Heyward about the residents of Charleston's famous Catfish Row. It later became a successful play called Porgy, written by Heyward and his wife Dorothy. This served as the inspiration and basis of the collaboration between George and Ira Gershwin and Du Bose Heyward which created America's most beloved folk opera.

The role of Porgy will be sung alternately by Alvy Powell, Brian Gibson and Stephen Finch. Bess will be played by Elizabeth Graham, Jerris Cates and La-Rose Saxon. 

Film goers may remember the Columbia/Goldwyn film version of 1959 which starred Sidney Poitier, Dorothy Dandridge, Sammy Davis Jnr and Pearl Bailey.

Bookings can be made at Canberra Ticketing on 257 1077, or for groups: 243 5709.

Ra Khahn

In 1968 the story of Joseph became a musical piece written for a schoolboy choir. Almost thirty years later, Andrew Lloyd Webber and Tim Rice's Joseph and the Amazing Technicolor Dreamcoat is still one of the most popular musicals for theatre companies to stage and Supa Productions are doing just that. Producer Domenic Mico, Director Sue Belsham, Choreographer Katelyn Keys and Musical Director Paul Belsham bring together a cast of thirty-two singers and actors, supported by a forty-three member children's chorus. 

Local rock, pop and jazz singer Ra Khahn makes his eagerly anticipated stage debut as "Joseph" and Kirrily Cornwell, who has sung and danced in numerous musicals including Les Miserable and Jesus Christ Superstar undertakes the role of "Narrator".

And what about that coat? Joseph's coat will be designed by Canberra based international designer, Maggie Shepherd.

Joseph and the Amazing Technicolor Dreamcoat plays at the Street Theatre from July 10 - 19 at 8pm, with two matinees at 2pm, July 12 and 19. Bookings at the Street Theatre on 247 1223.

Bizet's Carmen and Mozart's The Marriage Of Figaro will be presented by South Australian performance company, Co*Opera, in conjunction with Tuggeranong Community Arts, The School Of Arts Cafe and Queanbeyan City Council at the Queanbeyan Bicentennial Function Centre on 3rd, 4th (Carmen) and 5th (Figaro) of July. Directed by ex-Canberran Tessa Bremner, the two productions will be performed in English and presented in a cabaret format, the singers performing in and amongst the audience with the entire auditorium becoming the stage. Both Carmen and Figaro come to us with rave reviews from performances in other centres around the country.

Tessa Bremner

For Carmen, Bremner's vision is to set it in a migrant settlement somewhere in the western world during the 1950's. Anastasio Bouyessis plays the part of  Don Jose, whilst the role of the modern day temptress will be sung by Catriona Barr.

Bremner's Figaro features an instrumental ensemble sharing theatrical and musical honours and a cast of fine singers all dressed in beautiful period wardrobe with a faintly comic twist. 

Bookings for this opera season can be made on 293 1443 or 297 6857. Special "two show" packages are available, as are dinner/show packages with the School Of Arts Cafe.

Alfa theatre will celebrate it's 25th anniversary with a production of one of the best loved musicals, Annie. It is also the 20th anniversary of the show itself, which hit Broadway in 1977.

The cast includes Amy Durham and Bronwyn Thompson as Annie, Rob Beaumont as Daddy Warbucks and Barbara Denham as Miss Hannigan, supported by a cast of forty-five adults and orphans, with an eighteen piece orchestra.

Opening night guests are encouraged to wear period costume and according to Alpha's spokesperson, "will be entertained with a variety of surprises in keeping with the occasion and era". 

Annie opens at the ANU Arts Centre on July 4th. Booking can be made on 249 5491.

Rolf Harris comes to the Canberra Theatre for one night only on Wednesday 25th June complete with wobble board, cartoons and his hit versions of Stairway to Heaven, Smoke on the Water and Great Balls of Fire plus a whole lot more. What started out as "a bit of fun" almost two years ago when Andrew Denton invited him to appear on his program Live and Sweaty to perform the Led Zeppelin rock classic in his inimitable style, has catapulted him into the U.K. and Australian charts.

A former champion swimmer and teacher, Rolf started his showbusines career in England with childrens TV shows for the BBC, later developing his own characters, one being the famous Koala named "Coojeebear"! Later he developed a top-rating Saturday night variety show for the BBC, "The Rolf Harris Show", which was also hugely popular here in Australia in the late sixties and early seventies.

Bookings for Rolf Harris can be made through ANU Ticketing Services on 249 4684.

Operatif! is a presentation of the world's best loved operatic arias and will be presented at the ANU Arts Centre in two different concerts. Concert One is on Thursday 7th August and will feature Bizet's Pearl Fishers Duet, Delebes beautiful duet from Lakme, the trio from Puccini's Madam Butterfly and Habanera from Bizet's Carmen to name just a few highlights. 

Concert Two will be held on Friday 8th August with a matinee on Saturday 9th August. Subtitled Vienna, City of Dreams, the concert will feature the beautiful melodies of Strauss, Lehar and Kalman with such delights as You Are My Heart's Delight, Vilia, The Merry Widow Waltz, and Girls Were Made To Love and Kiss.

Operatif! will be engaging such singers as soprano Jennifer Parish, mezzo Kirsti Whitlocke, tenor George Gilmore and baritone Stewart Cameron, with piano accompaniment from Regis Danillon.

Bookings at ANU Ticketing on 249 5491.

Also performing musical highlights and showstoppers is performance group Intermezzo, presenting their show When Opera Meets Cabaret which explores the many facets of music ranging from Grand Opera to Jazz, Music Theatre and Pop. Presented in a cabaret style the show also boasts, according to its spokesperson, "intelligent" sketches, plenty of laughs and above all "jaw dropping vocal abilities".

When Opera Meets Cabaret plays at the Albert Hall on 27th and 28th June, and on 18th and 19th July the group will return with Mozart's one act comic opera, The Impressario.

Verdi's Requiem will be performed by the Llewellyn Choir and the Canberra School Of Music Symphony Orchestra under the direction of Richard McIntyre OAM with soloists, CSM graduate Sara Hills, head of voice department Anthia Moller, tenor Tupe Tam Yam and baritone Terence den Dulk, who has just been offered a scholarship to study at Covent Garden.

The work combines the passionate language of the Mass with the drama of Opera "creating a work charged with the same emotive power as Verdi's finest works for stage". It will be performed at the Llewellyn Hall on 21st June. Bookings through Ticketing Services on 249 5491.

The Hotel Kurrajong is the place to be if you want to catch Hec McMillan presenting two historical overviews of opera and its artists in Australia. The first series, which runs on July 13th and August 3rd is titled Opera Companies that visited Australia between 1901 and 1939 and will include recordings of such artists as tenor Carlo Dani, Dame Nellie Melba, John McCormack, Toti dal Monte, Apollo Granforte and many others.

Series two runs on 20th July and 10th August and is titled Famous Opera stars who have sung at the Albert Hall. From its opening in 1928 to its eclipse by the Canberra Theatre Centre in 1965, the Albert hall boasted singers including Ezio Pinza, Elizabeth Rethberg, Florence Austral, Joan Hammond, Elizabeth Schwarzkopf, Richard Tauber, Marjorie Lawence and Browning Mummery, recordings of whom will be featured in this presentation. Plenty of fond memories for those that were there, plus a feast for those that weren't!

Australian Touring Opera makes its Canberra debut with an updated production of Mozart's Cosi Fan Tutti at the Canberra Theatre Centre. Directed by Trevor Alexander and sung in English, this production is set in a New York apartment during the height of the Vietnam War. The cast includes coloratura soprano Anita Paul who has appeared with the Australian and Victoria State Opera. Cosi plays on Friday 25th and Saturday 26th July at 7.30pm.

The Woden Valley Youth Choir under the direction of Alpha Gregory, features in two concerts during the festival. The first, at Llewellyn Hall on July 19th at 8pm showcases four choirs - Portland Symphonic Choir (Oregon, USA), Geelong Children's Choir, Australian Voices (Queensland) and Woden Valley Youth Choir.

The second sees the choir supporting a recital by Australian tenor Stephen Ibbotson and accompanist Helen Osborne at the Fairfax Theatre, National Gallery of Australia on 15th August, with proceeds supporting Rotary Scholarships to the Outward Bound Program for young disadvantaged people.

Michael Martin, John Brunato, Donna-Maree Dunlop, Fiona Maconaghie and Rebecca Collins are some of the past winners of the National Aria (formally the Shell Aria), part of the Australian National Eisteddfod Society. This year's National Aria Heat will take place on Friday 27th June at 1.30pm in the National Gallery Theatre, with the final being held in the Llewellyn Hall on Saturday 28th June at 8pm. 

Opera Australia will present a recital featuring six of their leading artists performing selections from operas written by Australian composers including The Golem by Larry Sitsky, The Eighth Wonder by Alan John and Dennis Watkins, The Violins of Saint-Jacques by Malcolm Williamson, Voss by Richard Meale, Lake Host by Felix Meagher and The Undead by David Stanhope.

This recital will be held at the National Gallery of Australia Theatre on Saturday 21st June. Bookings through Ticketek on 248 7588.

Finally, The National Opera Festival will close with a Gala Awards night to be held on 16th August at the specially created Cafe La Boheme, recreating the Cafe Momas scene from La Boheme, with sets and theming designed so that guests will feel they are part of the opera performance.

Performing artists will include China's outstanding tenor Ding Yi, Russia's Badri Maisuradze and Canberra's Stopera. Awards will be given for the "Most Significant Contribution to Opera in Each State of Australia."

- Tony Magee

Originally published in Muse Magazine (Canberra), June 1997

Review: "MEETINGS WITH MELBA AND MONCRIEF", performed by Judy Glen with Peter Mapleson, by Tony Magee

Meetings With Melba and Moncrief

Written, directed and performed by Judy Glen

with Peter Mapleson at the piano.

School of Arts Cafe, Queanbeyan

April 16 - 26 1997

A fantastic show and a wonderful performance. Like many of Australia's great cabaret performers, Judy Glen sort to premier this new show at Queanbeyan's School Of Arts Cafe. I've seen shows there that have had to be completely rewritten after the first week - not so this one - it was really well prepared and rehearsed. Judy Glen with talented accompanist (and occasionally actor) Peter Mapleson, swept us through a most interesting account with song and characterisation of the lives of Australia's opera legend Dame Nellie Melba and 'Our Glad' - musical comedy star, Gladys Moncrief.

Fully costumed, with on-stage changes, the stories of the two performers were played out with great respect for each artist - we suffered the losses and tragedies along with the good times and the successes.

Judy Glen's wonderful and powerful operatic voice demonstrated four of the arias from principle roles that Melba was famous for - Bishop's Lo Here the Gentle Lark, Verdi's Caro Nome and Sempre Libra and from Madame Butterfly, Puccini's One Fine Day which effectively and dramatically closed the first act. 

The second act was devoted to Moncrief (although Melba did make a brief appearance!). Musical highlights included Lehar's The Merry Widow Waltz and Vilia and a re-creation of Moncrief's famous war-time concert in which she facilitated the raising of money to send Aussie hampers to “our boys overseas” (remember Bex Powders?), featuring a tribute to Gracie Fields and of course, Ivo Novello’s We'll Gather Lilacs - a few tears from some who were there and remembered.

Snippets of original sound recordings were also used effectively throughout the show, but even these were cleverly woven into the script so as not take on the form of a lecture.

I do have a couple of minor criticisms. I felt that Act Two was just a trifle too long - better the old showbiz cliché - leave them hungry for more. Also, Melba's character (her ghost) does tend to be condescending at times, in the same way that a character in a children's pantomime might ask it's audience "I know what I'll do - I'll just go over here and..." - but this show's not for kids. I knew what Glen was trying to do - it's just a scripting thing - but I'm sure there's a more eloquent way.

Even if you know nothing about Melba and Moncrief, even if you've never heard of them, even if you don't care for opera or old-time musical comedy, I feel sure that all audiences will delight in this fabulous presentation - a real gem from a real professional.

Originally published in Muse Magazine (Canberra), May 1997

Review: "PACHELBELS' GERMANY" performed by Salute!, with Hans-Dieter Michatz - Baroque flute and recorder, and guests. Kings Hall, Old Parliament House, Friday March 14 1997. Reviewed by TONY MAGEE

Salute! is a Baroque Trio featuring Sally Melhuish on recorder, Tim Blomfield on baroque cello and Luke Green on harpsichord. This concert also featured special guest Hans-Dieter Michatz on baroque flute and recorder with further augmentation by Baroque violinists Julie Hewison, Lorraine Moxley and Madeleine Easton.

The music and the playing were both delightful and in the acoustics of Kings Hall the whole concert was really quite serene and sublime. 

In particular, Baroque flute and recorder player Hans-Dieter Michatz was outstanding - his tone, phrasing and embellishments all first rate. 

The program featured of course Pachelbel's Canon and Gigue in D, played at a somewhat brisker tempo than I am used to hearing it, but this added a certain charm, particularly to the Canon section. The recorders made their entrance with the Sinfonia in F by Fux, which was enjoyable and then the first of the more substantial works for the evening - Telemann's Introduzzione a tre in C, scored for two recorders, two violins and continuo (which in this case, as for all the pieces on the program, was simply harpsichord and cello - simple but highly effective). 

In this piece, all parts came through with great individual clarity as well as retaining an appropriate ensemble balance. The recorders in particular, whilst complementing each other, also portrayed interesting contrasts in tone and development of sound. Hans Dieter Michatz favours a precise and tightly tongued sound with precise pitching and clear singing tone. Sally Melhuish on the other hand chose a more breathy sound, with very light, if not sometimes absent, tonguing which results in a totally different approach to pitching and phrasing. An interesting contrast, which combined with the Baroque string players resulted in a typical but also unique "early music" sound - ie: very different to our slick 20th century made instruments used in many orchestras and ensembles today.

Other pieces in the program included the Trio Sonata in B flat by J.S. Bach and another work by Telemann, his Concerto in E minor. Here we were treated to Hans-Dieter Michatz's superb playing on the Baroque flute, (played transversely, but made of wood). Wooden flutes are fairly soft, but the sound of this one came through nicely and with fine playing from the other members of the ensemble, made for a charming conclusion to a most enjoyable concert.

Originally published in Muse Magazine (Canberra), April 1997