review: THE DEGENERATE AND THE FOP, Sarahlouise Owens soprano, Colleen Rae-Gerrard piano. At Wesley Music Centre, October 21.

Reviewed by Tony Magee

In this delightful program of song, presented by Sarahlouise Owens and Colleen Rae-Gerrard for Art Song Canberra, the material was eclectic and unusual, often humorous, sometimes delicate and sensitive and always very entertaining.

Owens is a skilled and experienced performer of the older European genre of cabaret, securely founded in the underground and sometimes sleazy and dangerous networks of 1920s and 1930s Berlin and even earlier in Paris. In this repertoire she has few peers. Diction, delivery and exquisite pronunciation of the two languages, combined with a beautifully flexible voice carry the songs through soft romantic delicacies, delicious sting-in-the-tail jibes, soaring crescendos and powerful high-register climaxes.

Owen’s voice also seems founded in an older school of vocal style and tone production and on several occasions during the concert, I found myself thinking of the great Maggie Teyte.

Beginning with a selection of five cabaret songs by Dominick Argento, the bracket showcased the composer’s eclectic style, which presented continuous challenges for the performers, who had to quickly turn from the unpredictable and unusual melodic and chordal structure of “Who Could Have Known” through the bawdy and funny “Luckiest Woman” to the gentle “You”, all handled with aplomb and panache.

A delightful bracket of three pieces by Poulenc followed, grouped as “Banalités”. The highlight was “Hotel” which Owens introduced as possibly “the laziest song ever written”. Rae-Gerrard’s accompaniments were exquisite during these pieces and both performers captured the mood and sublime delicacy of these beautifully.

Max Reger’s “Abschied” is a song similar in style to some of those by Mahler and Richard Strauss. Rae-Gerrard achieved a beautiful cantabile tone in several piano-only melodic passages during this and the following “Maria Wiegenlied”, this time paying homage to Brahms.

The first act closed with some of the most anticipated and appreciated repertoire by the audience and this reviewer, Satie’s “Je to veux” and “Diva du l’Empire”, superbly performed by both artists, the luscious French language once again demonstrating Owen’s mastery of it.

Highlights from Act II included three songs by Sir William Walton - all beautiful pieces with far ranging and diverse vocal melodies and piano accompaniments. 

Peter J Casey’s brilliant and satirical “I Am Sick to Death of Hearing About the Weimar Republic”, a tongue-in-cheek musical homage to Kurt Weill, was delivered with comic intensity and style, although also the only time during the recital where the balance favoured the piano a little too much. Owen’s diction in her own language, curiously, wavers somewhat and is not to the same standard as her perfect French and German. None-the-less, a still creditable performance.

Reynaldo Hahn’s “Chanson d’Autumn” and “Nocturne” saw a return to the French repertoire and were very beautiful renditions - mournful, soulful and searching - with gorgeous piano accompaniments by Rae-Gerrard.

The program concluded with Weill’s “Berlin I’m licht” and “Buddy on the Nightshift”, the latter being from his “Lunchtime Follies”, first produced in Brooklyn in 1942. The last two lines, “I’ll follow you, you’ll follow me, and how can we go wrong”, aptly summed up a fabulous and entertaining afternoon of song from two very professional performers.

Review: DON GIOVANNI, by Wolfgang Mozart, at SCM Music Workshop, October 18 2018

From the program cover, image by Isabella Andronos

Reviewed by Tony Magee

Sydney Conservatorium of Music Opera School – Con Opera for short – presented an excellent and engaging production of Mozart’s Don Giovanni.

Classified by Mozart in his own catalogue as an Opera Buffa, the work blends comedy and melodrama with some serious action and even supernatural elements. 

Director Matthew Barclay has updated the setting into modern times, this light-hearted romp being set amongst a backdrop of film sets, Hollywood glamour, deceit, ribald sexual flings, news, television crews and gossip columnists. There is much for the youthful cast to get their teeth into and have a great deal of fun with.

Sung in Italian with sur-titles, the entire cast sang extremely well.

Jeremy Dube gives an excellent and sustained performance with fine comic acting and excellent singing in the role of Leporello. Nik Roglich’s entrance and rich baritone voice as The Commendatore was most engaging, albeit short, as he was murdered within the first five minutes by the Don, only to return mysteriously in Act II in a different guise.

As Don Giovanni, Haotian Qi gives a suitably enigmatic performance, very much in the style of Alfie in the film of the same name. Dressed in a white suit, he pulled off the dashing but shallow play-boy convincingly.

Henry Wright as Masetto and Josi Ann Ellman as Zerlina both gave excellent performances, vocally and in character, particularly in their long and involved dressing room scene in Act I.

A major highlight in the production which involves the entire cast – soloists and chorus – is the masked ball, which includes an hilarious line-dancing segment, choreographed to Mozart’s original score.

Throughout the performance the orchestra under the direction of Dr Stephen Mould played superbly. Beautifully in tune they were perfectly balanced with the singers, playing a stylish and professional accompaniment.

My only slight criticism is that for the most part, the soloists all sound pretty much the same tonally. No-one really stands out with a seriously unique voice. I hope the students will be and can be encouraged to explore and develop special unique sounds and qualities to their voices, which can carry them further into professional roles and where they can maximize their chances of all being in demand.

With this standard of singing and performance prevalent at the Sydney Conservatorium of Music, the future certainly looks bright for the continuation of excellent international opera standards in this country.

Review: "SCM CHAMBER CHOIR", at Verbrugghen Hall, October 17 2018

Reviewed by Tony Magee

In an inspired and brilliantly executed opening, the Sydney Conservatorium of Music Chamber Choir segued two contrasting settings of the 12th Century chant "O quam preciosa", composed almost 1000 years apart.

Hildegard von Bingen's music was thrust into the 20th century spotlight with the 1985 album, A Feather On the Breath of God, one of the top selling classical music releases for that year. She was an Abbess, composer, mystic and poet of the 12th century. Also author of the text, the chant celebrates the arrival into the world of the Christ Child, through the vessel of the female body.

As a further enhancement, an East meets West philosophy was applied with Chinese erhu and guzheng instruments replacing the traditional hurdy-gurdy accompaniment of the day, played with sensitivity and style by Nicholas Ng and Vicki Zheng respectively.

The piece was beautifully performed with the tenors and basses setting up a drone foundation over which sopranos and altos soared with melody sung in antiphon.

The second setting is by contemporary Australian composer Ross Edwards. In this, the virgin is a metaphor for the Earth-mother, who gives birth to a hoped-for bright new era. Listening to this performance, I found my mind contemplating today's fragile and dismal international political climate, and was comforted by this very welcome spark of hope and joy.

Eriks Esenvalds' "Evening" is a piece of beautiful delicacy and warmth, fluttering leaves, gentle evening light and peace. To quote Gabrielle Jackson's program notes, "The piece doesn't really go anywhere - it simply is - full of innocence and wonderment at the close of day."

Balancing her time between Canberra and Sydney, composer Olivia Swift's "The Leaves Drop Down" is a complex choral work, alternately delicate and demanding. Generally, the balance in this and indeed the entire concert was excellent between all vocal parts, with the exception of a moment of doubt in a tenor section entry. A beautiful work.

Carlo Gesualdo (1566 - 1613)

Don Carlo Gesualdo's final madrigal, "Quando ridente e bella" followed, sung by just five members of the 24 member choir. Way ahead of his time, 16th century Gesualdo is remembered both as a composer of intense expression and chromaticism - something not heard again until the late 19th century - and also a tragically tormented soul, wracked with guilt and shame due to his ghastly murder of his wife and her lover.

One commentator of the day noted, "Gesualdo was afflicted by a vast hoard of demons which gave him no peace, unless ten or twelve young men, whom he kept specially for the purpose, were to beat him violently three times a day." The sub-group of five handled the complex harmonies very well, with good balance and varied dynamics. Shaping of phrases needs more work from them, something that does develop over time, with familiarity of performance and rehearsal.

Conductor and music director Paul Stanhope showcased one of his own pieces, "The Land Is Healed: Ban.garay!" Full of beautiful and at times complex harmonies and rich in texture, the choir developed intense dynamics. This was choral writing of the first rate and one of the highlights of the program.

The erhu and guzheng instruments returned to the stage to accompany the choir in two Chinese folk songs arranged by Julian Yu. Originally from Beijing, Yu is now based in Australia and coached the choir in Mandarin pronunciation for this performance of delicate dynamic shading.

Benjamin Britten's "The Evening Primrose" and "The Ballad of the Green Barron" followed. These pieces once again demonstrated the choirs excellent pitch and intonation. Also evident were beautifully shaped lines and phrases and mostly excellent diction.

The concert closed with "Christ the King" by New Zealand born Clare Maclean. She is particularly influenced by Renaissance repertoire and early polyphony. The piece is magnificent in its harmonies and structure and the choir made full advantage of the richness of the choral writing and sounded superb. A fitting conclusion to a wonderful program, as stylistically the presentation almost came full circle.

Review: "EVITA", by Andrew Lloyd Weber and Tim Rice. At Sydney Opera House, October 17 2018

Reviewed by Tony Magee

Kurt Kansley as Che. Photo by Jeff Busby

Trying to recreate what has already been created seems to me a pursuit of dubious merit. In presenting Evita, Opera Australia have opted for the original direction by Hal Prince and original choreography by Larry Fuller, with the original design by Timothy O'Brien.

The result is a cast seemingly going through the motions rather than the freshness one might expect from new ideas. The premise of "you show me and I'll show them" is all too evident in some of this production.

Having said that, there are some powerful moments that engage. Notably, the cinema scene at the very beginning, the side-on view staging of the Charity Concert and the powerful closing of the first act with "A New Argentina".

By far the star of this production is Kurt Kansley singing the role of Che. His superb diction, brilliant singing voice and powerful characterization underpin the entire show and was a joy to behold. His character also serves to advance the plot significantly.

Notable also was Paulo Szot, perfectly cast as Eva’s military dictator husband Juan Peron. His stunning, rich baritone voice filled the theatre with ease.

The orchestra under the direction of Guy Simpson were superb, displaying perfection in tuning and intonation, thrilling dynamics and majestic playing. The best pit orchestra I have heard and one that could easily hold its own playing the symphonic repertoire.

Alternate actress and singer Jemma Rix as Eva Peron, presented the show's high spot, "Don't Cry for Me Argentina" in a moving and captivating manner. It was also the only time we were really able to hear her excellent singing voice to maximum potential.

Jemma Rix as Eva Peron

Yes, this is a show where everything is pinned on one great number - the rest of the score arguably being one continuous recitative. Puccini achieved a similar result with Turandot, having the great “Nessun Dorma” buried away in Act II.

The plaintive "Another Suitcase in Another Hall" and "High Flying, Adored" are admirable inclusions, but seem placed in a desperate attempt by the composers to add another couple of commercial tunes to keep the audience interested.

The other aspect of this production which deserves praise however, is the ongoing archival film footage, particularly crucial in helping advance the plot during the scenes where Eva Peron travels the world, thrusting Argentina briefly into the international spotlight, as the charismatic and beautiful First Lady engages with other countries, only to be snubbed somewhat by Britain towards the end of her tour.

This brings into perspective in some ways the swift and effective action of Margaret Thatcher years later, when she pounced decisively on Argentina after they invaded the Falklands.

The relentless dependence on rhythmic and melodic motifs and ideas from the earlier and brilliant Jesus Christ Superstar is also something that wore thin with this reviewer. Having just returned from a delightful student performance of Mozart's Don Giovanni at The Con, the contrast between inspired genius and sustained mediocrity was well and truly rammed home.

Evita is a flawed opera in so many ways, however this production is none-the-less slickly produced. Fans will no doubt be delighted. I found it tedious.

Review - “A NIGHT IN PARIS”, Andrew Rumsey and James Huntingford, piano duo. At Wesley Music Centre, October 13 2018

Andrew Rumsey (left) and James Huntingford

Reviewed by Tony Magee

Piano duos of fame almost always seem to share a common gene pool - one thinks immediately of the sisters Labèque, the brothers Kontarsky, father and son Vladimir and Vovka Ashkenazy and father and daughter Emil and Elena Gilels. Go back a little further in time and you find the brothers Rubinstein and the sisters Boulanger. Even further and we arrive at the most famous piano duo of all - Wolfgang and Nannerl Mozart.

Andrew Rumsey and James Huntingford share a different kind of musical unity and one that works brilliantly. They share the same age, interests, academic institution and the ability to work together in rehearsal and performance with ease and flexibility.

Opening with Poulenc’s “Sonata for Piano Four Hands”, the concert bounced into life with a bright fanfare opening, settling back into lyrical and soulful playing. The pianists captured playful, almost child-like qualities in the second movement with gentleness and delicacy, before a soft-landing jazz chord to finish the piece.

Debussy’s “L’Isle Joyeuse” for solo piano, is based around the relationships between the whole-tone scale, the lydian mode and the diatonic scale. Huntingford played this with sensitivity and poise, capturing the mystique of the Channel Islands, which Debussy had visited with his wife and which inspired the piece.

Paul Dukas wrote “The Sorcerer’s Apprentice” in 1897 and it is originally an orchestral work. Many people are familiar with it through Walt Disney’s animation as part of “Fantasia”, Mickey Mouse being the hapless apprentice. In this, the pianists played with majestic assurity, capturing the relentless marching of the broken, wooden broom handles, whilst also hinting at the ever frightening scenario of chaos and despair suffered by the apprentice.

Saint-Saëns’ “Dance Macabre” was a doubly appropriate inclusion in the program, not only for its authentic French connection, but also because Halloween approaches rapidly later this month. Death calls forth the dead from their graves to dance for him on Halloween, whilst he plays the fiddle. The upper part was played with lyric beauty by Huntingford, whilst the rumbling and menacing bass was handled by Rumsey, occasionally somewhat too heavy-handedly, but none-the-less leaving the audience in no doubt as to the terrifying nature of the spectacle.

The second half of the concert opened with Gabriel Faure’s famous “Pavane”, Op.50 and was the only piece on the program that was dubious. The intimate orchestrations were lost in the translation to piano duet - heavy doubling of thirds, triple octaves and a grandiose approach somewhat destroyed the allure and delicacy of the original.

Lully’s “The Ceremonial March of the Turks” by contrast worked brilliantly as a piano duet adaption, the arrangement being by Huntingford. The pair played it with majestic and regal style, showcasing everything that is possible from a piano in volume, timbre, sonority and texture. This was a superb performance and a highlight of the concert.

The last time a piano duet reduction of Camille Saint-Saëns’ “Carnival of the Animals” was performed in Canberra was in 1996 at the Royal Theatre, with pianists Dudley Moore and Rena Fruchter. It was also one of the most disastrous concerts in the history of live performance. William Hoffmann’s review in a local newspaper of the time carried the headline, “Bumbling Ineptitude from Dudley Moore”.

Rumsey and Huntingford played the piece with sparkling panache, uncanny musical unity and understanding and pianistic skill that showcased their talents and the music superbly. The linking dialogue by Ogden Nash was wryly delivered with suitable tough-in-cheek humour by John Rumsey, father of Andrew. This was the major work in the second half of the program and particular highlights in capturing the essence of the animals portrayed included the Lion’s roar, at least three different Cuckoos (there is only one in the original, played by clarinet), The Aquarium and Le Grand Finale, where all the animals come together.

A great night’s entertainment from two outstanding young pianists.

Also published in City New Digital Edition and Canberra Critics Circle blog.