CSO Chamber Players deliver a performance highlight of the year

MUSIC / “Collective Memory”
CSO Chamber Players.
At The National Museum of Australia, July 28.

Reviewed by TONY MAGEE.

IN one of the performance highlights of the year, CSO Chamber Players excelled in delivering a program of contemporary Australian music with passion, conviction, great feeling and emotion with seven of their finest musicians plus poet, composer and rapper Rhyan Clapham aka DOBBY and poet Andrew Cox.

Rapper Rhyan Clapham premiering "Memory, History, Power".
Edward Neeman at the piano and Patrick Suthers, cello. Photo: Martin Ollman

Harry Sdraulig (born 1992) composed “Speak” in 2018. Doreen Cumming on violin, Edward Neeman on piano, Kiri Sollis on flute, Patrick Suthers on cello and the very welcome return of veteran clarinettist Alan Vivian took to the stage and began the piece with haunting and evocative motifs before morphing into a complex web of musical conversation.

There were moments of drama contrasted with quiet contemplation, then furious and intense playing. The musicians played superbly, skilfully depicting the language and communication the piece evokes.

First Nations’ Yuin woman Brenda Gifford (born 1968) composed “Baju/Footprints” in 2017. Arranged for piano, flute, violin, cello and snare drum (with the snare turned off) by Jessica Wells, the piece offered melodic stylishly played jazz phrases from the piano followed by lively flute and violin passages in fifths.

There was a South American rhythmic flavour to the piece, which tells of the footsteps we each take, reminding us that we should tread lightly on Mother Earth and take care of her.

Yorta Yorta woman Deborah Cheetham is a noted soprano, composer and educator and has been a leader and pioneer in the Australian arts landscape for more than 25 years.

Her piece “Bungaree”, scored for string quartet, saw the addition of Pip Thomson playing second violin. Bungaree (1775-1830) was an Aboriginal Australian whose colourful and hugely productive and influential life is very much worth reading about. He spent his final years ceremonially welcoming ships to Australia and educating white settlers about Aboriginal culture.

With the faintest of gentle musical whispers from the two violins and viola, Suthers on cello joined with beautiful bold melodic contrasts. Intonation and articulation from the players were all first rate.

A perfectly programmed spoken interlude came next with three poems written and read by Filipino/Australian poet Andrew Cox. Spoken from the heart, these deeply personal pieces explore the dialogue and ongoing learning between First Nations people and colonial Australia.

Born in 1971 in Jerusalem and calling Australia home since 2008, composer Yitzhak Yedid’s “Lament, In Memoriam of Ora Boasson-Horev” was originally conceived for herself to play on double bass, which she did until her untimely death from cancer.

Yedid rearranged the piece for solo viola in 2017 and it was Lucy Carrigy-Ryan who took up the challenge, making use of the full range of her instrument, particularly showcasing the high register, which is rarely heard on the viola. Her performance was lyrical, reflective and heartfelt, leaving the audience breathless at the conclusion – such was the effect of this engaging and deeply personal work.

Identifying as a Filipino and Aboriginal musician, rapper, composer, producer and drummer Rhyan Clapham closed the program with the world premiere and CSO commission, “Memory, History, Power” composed in 2022. 

Scored for piano, flute, cello, clarinet and spoken voice, Clapham told his powerful story of the feelings of conflict, frustration and also hope for future resolution, speaking with conviction, intensity and deep sincerity. Beginning with gentler thoughts and reflections from printed notes, he later dispensed with these and poured his heart out in a lengthy and animated rap over a Spanish-influenced accompaniment from the musicians. 

Perfectly timed in sections, the spoken rap held tight with the changing accompaniment ending with a superbly and perfectly timed resolution.

The large audience erupted in a standing ovation, bringing to a close this outstanding concert where music draws inspiration from the footprint of culture, how we know the people around us and the landscapes we inhabit.

First published in Canberra City News on-line edition, July 29.

Bernard Cribbins: Doctor Who and Wombles star dies aged 93

Bernard Cribbins played Catherine Tate's grandfather in Doctor Who

Doctor Who and Wombles actor Bernard Cribbins has died aged 93, his agent has confirmed.

During a career that spanned seven decades, Cribbins narrated the 1970s children's programme The Wombles.

He also played the Doctor's companion Tom Campbell in the 1966 film Daleks' Invasion Earth 2150 AD returning 41 years later in the revived TV series.

Cribbins returned to the show as Wilfred Mott, the grandad of Catherine Tate's character Donna.

He played Wilfred from 2007 to 2010.

The actor was known by generations of children - he also played the station porter Albert Perks in 1970 film The Railway Children.

Former Doctor Who showrunner Russell T Davies led the tributes, posting a picture of him on set, while saying: "I'm so lucky to have known him. Thanks for everything, my old soldier. A legend has left the world."

Comedian and actor Matt Lusac, who also featured in Doctor Who, called Cribbins a "brilliantly talented man".

Songwriter and producer Mike Batt, who wrote the theme tune for The Wombles, told BBC News: "He was rather mischievous and just great - funny, giggly company to be with. But he took his work very seriously and he was a fine actor on all levels. I think he'll be so badly missed by so many."

Dame Floella Benjamin, who appeared alongside Cribbins on children's television, tweeted: "He was a creative genius, great storyteller and knew just how to communicate with an audience."

Actor and writer Mark Gattis said: "There was no one quite like Cribbins".

"A gifted comic actor with an incredible seam of pathos and real heart. From Sellers to Star Turn, Wombles to Wilf," he continued. "I once gushed to him about his lovely performance in Hammer's 'She'. That afternoon he was off to play five aside - aged almost 90."

John Simm, who played The Master in Doctor Who, posted: "Loved him. He would happily do all the Wombles voices on command... actually transporting me back in time, for real!"

"Really sad news," added culture secretary Nadine Dorries. "What a talent and a life well lived."

Cribbins' agent higlighted the actor's "such diverse work", and said: "He worked well into his 90s, recently appearing in Doctor Who and the CBeebies series Old Jack's Boat.

"He lost his wife of 66 years, Gill, last year.

"Bernard's contribution to British entertainment is without question. He was unique, typifying the best of his generation, and will be greatly missed by all who had the pleasure of knowing and working with him."

There was, Bernard Cribbins said, something of his father in Perks from the Railway Children.

He was funny, hardworking, caring, loyal and someone who could turn his hand to anything. Mr Cribbins senior was also the person who inspired young Bernard to have a go at acting at school.

By the time Bernard Cribbins was 14, he was working full-time at Oldham Rep and 50 years later, he could look back on a career in which he was almost never out of work.

It was his sideline in variety that drew him to the attention of the man who would go on to produce the Beatles, George Martin. Hole in the Ground and Right Said Fred, two stories of manual labour ending in untimely deaths, were chart hits loved by children and endlessly played on BBC Radio's Junior Choice.

For those of a certain age, he was everywhere - from Carry On, to the radio, to children's TBV to the Tufty public information films and the Buzby adverts. He was familiar but never so famous that Cribbins, the man, ever overshadowed whatever he had turned his hand to that day.

As an actor, comedian, singer and raconteur, he tried his hand at everything, from Shakespeare to pantomime, Jackanory to Top of the Pops.

Born in Oldham in 1928, Cribbins left school at 13 and found work as an assistant stage manager at a local theatre club, taking on small acting roles before serving an apprenticeship at the Oldham Repertory Theatre.

The actor became well-known in the UK for having a string of successful novelty records in the 1960s such as Right Said Fred and The Hole in the Ground - a monologue which Noel Coward selected as one of his Desert Island Discs.

In the 1970s he landed some major big-screen roles, including playing barman Felix Forsythe in Alfred Hitchcock's Frenzy.

His character was mistaken for a hotel inspector in an episode of Fawlty Towers

In the popular sitcom Fawlty Towers, Cribbins appeared memorably as the difficult hotel guest and spoon salesman Mr Hutchinson, in the episode where frustrated owner Basil stresses out about a visit from the hotel inspectors.

Cribbins' voice was a fixture in UK living rooms, thanks to shows like Jackanory, which he frequently read stories on from 1966 to 1991- he holds the record as the reader of the most stories on the show, with 114.

He also performed the title role in the CBeebies series Old Jack's Boat from 2013 to 2015.

In a 2014 interview with The Guardian, Cribbins gave his thoughts on what made him such a renowned storyteller.

"Well, I think I'm a good actor, without being boastful," he said. "I have an array of voices. And intensity is a word you might use. Engage with that little figure on the other side of the lens."

At the age of nearly 90, he published an autobiography looking back on his years in show business in 2018. Its title was Bernard Who? 75 Years Of Doing Absolutely Everything - and its advice was simple.

"Do your best and be grateful for every single job".

'Stories to make hair curl'

In Davies' dedication to Cribbins, he recalled the late star's first day back on the Doctor Who set: "His first day was on location with Kylie Minogue, but all eyes, even Kylie's, were on Bernard. He'd turned up with a suitcase full of props, just in case, including a rubber chicken," he said. "And what an actor. Oh, really though, what a wonderful actor."

"We once took him to the TV Choice Awards and sent him up on his own to collect the award, and the entire room stood up and cheered him," he added. "That's a lovely memory."

"It was so special to work with Bernard Cribbins," wrote actress Helen Lederer, describing him as the "king of props and stories to make hair curl".

Actress and singer Elaine Paige shared a picture of the two of them together, describing Cribbins as "a special man of many talents" and "one of the good guys".

First published at BBC News, July 28, 2022

Messiah - A Sacred Oratorio

Canberra Symphony Orchestra and Chorus

Conducted by Anthony Hunt

Chloe Lankshear - soprano

Tobias Cole - countertenor

Andrew Goodwin - tenor

Adrian Tamburini - bass

Llewellyn Hall

Friday July 8, 2022

Reviewed by Tony Magee

FIRST performed in Dublin in 1742, Handel’s Messiah is the most frequently performed and beloved piece in the choral repertoire. Handel himself conducted and the reception was rapturous. 

Guest conductor Anthony Hunt opted for tempi striking a pleasing balance between “old-school” readings as defined by Sir Adrian Bolt and Sir Malcolm Sargent and modern faster approaches delivered by the likes of Christopher Hogwood and Trevor Pinnock. 

Tenor Andrew Goodwin sings with the Canberra Symphony Orchestra. Photo Martin Ollman

Another of the multitude of decisions required in presenting Messiah is the size of the orchestra and chorus. Whilst the original score is arranged for a relatively small ensemble, large scale productions have been undertaken over the years with massive choirs and fleshed out orchestras including instruments not even available during Handel’s time, most famously in an arrangement by Wolfgang Mozart, at the suggestion of his mentor Gottlieb van Swieten.

Sir Thomas Beecham had the work rearranged similarly, also dispensing with the harpsichord, which he hated, having it replaced with two harps.

Canberra Symphony Orchestra opted for a moderate size string section, augmented by two oboes, two bassoons, two trumpets (called for in the original), timpani (also original), harpsichord and organ.

 

Soprano soloist Chloe Lankshear sang her lines with clarity and assurity, delivering a performance of beauty and style. Her wide dynamic and tonal shadings ranged from delicacy and poise, contrasted with joyous, voluminous and beautifully phrased passages. Her performance of the aria “Rejoice greatly” was a highlight of the evening.

Counter-tenor Tobias Cole, singing the alto solo part, was variable in his performance. Lacking vocal strength, he did however sing some passages with subtlety and grace, leaving good diction and a deep sincerity to the text as his strengths.

Cole’s great contribution to the success of this performance was his preparation of the choir, who sang well. The sopranos and altos in particular acquitted themselves with polished and refined singing. One questions the wisdom of amplifying the choir. The numbers were there to present this work acoustically. Greater breath control and proper use of the diaphragm would have delivered all the volume required.

Soprano Chloe Lankshear sings with the Canberra Symphony Orchestra. Photo Martin Ollman

Tenor Andrew Goodwin and bass Adrian Tamburini sang well. Goodwin has a very light and fast vibrato most of the time, which sometimes marred the clarity of his delivery, but on the whole his was a creditable performance. Tamburini singing bass had excellent English diction, a bold delivery and commanded the stage with authority.

In accordance with the fashion of the Baroque era, all four soloists added beautifully crafted ornamentation and embellishment to their lines.

The orchestra played well, but with some disappointing intonation problems within the string section. Woodwinds, continuo, timpani and brass were all fine. Conductor Hunt added some unusual accent points in the orchestral accompaniment, particularly noticeable in “But who may abide”, the result being a very welcome fresh new approach which added interest and colour. 

Lead trumpet played by Zach Raffan shone brightly in both the “Hallelujah Chorus’ and “The Trumpet Shall Sound”. His tone and volume filled the venue with ease. Showcasing lyrical and beautifully shaped phrasing, his playing was also one of the highlights of the evening.

Overall, this massive undertaking by CSO was a successful and enjoyable event, confirmed by a very enthusiastic reception from the audience.

First published in Canberra City News on-line edition, July 9 2022