Saturday, 1 February 2025

LEBRECHT LISTENS | Soprano Fatma Said Dazzles With Immaculate Taste & Delivery In Lieder



Soprano Fatma Said (Photo: James Bort)


By Norman Lebrecht


The Egyptian soprano, based in London and Berlin, had a mix of Western and Arabic classical songs on her debut album, illustrating musical connections around the Mediterranean. Her ease in both ethnicities was enviable. To change tracks from microtonal maqam precision to the lushness of Ravel’s Shéhérezade was a hair-raising act of cultural transcendence, achieved without a hair out of place.


Fatma Said’s new album is pure German: Schubert, Mendelssohn, Schumann and Brahms. Hard to tell which she adores most. The opening track, ‘Ständchen’, has an arresting liquidity, only to be outshone by ‘Auf dem Wasser zu Singen’. Felix Mendelssohn’s ‘Suleika’ has authentic romanticism, irrefutable in its naive analogy of young lovers and the west wind. Fanny Mendelssohn’s less familiar ‘Suleika’ offers a pin-perfect counterpoint, as apt as it is fresh.

I thought Brahms’s ‘Immer leiser’ might be my favourite track, only for it to be superseded by Schumann’s ‘Liebeslied’. Cut to the chase: whoever signed off the running order on this selection has immaculate taste. Three outstanding pianists are credited with accompaniment – Malcolm Martineau, Yonatan Cohen and Joseph Middleton – along with the Arod Quartet, evergreen clarinetist Sabine Meyer, harpist Anneleen Lenaerts, a male chorus and baritone Huw Montague Rendall. Quite a crowd, but no jostling.

It feels like music-making in a Biedermeier drawing room.

Having written this review, I find myself replaying one song or other each morning for sheer sensual pleasure. Not since the young Bryn Terfel have I so cherished a recital album. Do not delay: get hold of a copy before everyone else raves about it.

First published at Ludwig van (Toronto), January 31, 2025



The man who named St Louis Symphony as best in America



Michael Walsh. Photo courtesy The Collegian


By Norman Lebrecht


In April 1983, the classical music establishment was shaken to its suspender socks when Time magazine – still a power in the land – conducted a survey of US orchestras and came up with the staggering result that Leonard Slatkin’s St Louis Symphony was second only to Solti’s Chicago for the title of America’s best. Read it here.


Nobody’s ever dared to repeat the survey for fear of offending vested interests.


The author of that original article, Michael Walsh, went on to do much else. He wrote glossy books on Placido Domingo and Andrew Lloyd Webber, scripted a couple of films, and turned out a sequel to Casablanca. He set up a website with Andrew Breitbart and wrote further books of a polemical, political nature.


Good to know he’s still around. Michael Walsh’s new book, A Rage to Conquer, is out next week from St. Martin’s Press. It’s an ode, the blurb says, to toxic masculinity.


First published at Slipped Disc, January 31, 2025





Roy and H.G. – Longer and louder than ever




Audiences will hear more Rampaging Roy Slaven and H.G. Nelson with the pair set to present an extended season of their notorious brand of sport Bludging on the Blindside in a new timeslot.

Prepare for insights into the pre-season like never before with the pairs extended run starting this Saturday 1 February before they cover the full NRL season through to the end of October.

“Very pleased to continue to hold the National Rugby League to account for another season.” Roy Slaven said.

The two-hour program will be heard every Saturday from 10am across 702 ABC Radio Sydney, 612 ABC Radio Brisbane, ABC SPORT DIGITAL and on ABC listen.

H.G. Nelson said: “Bludging on the Blindside, just two blokes roaming the nation in an old Holden Ute, running out of gas, with a glove box full of sporting issues looking forward to lunch. Bludge on Australia!”

About Roy and HG

Roy and H.G. have been entertaining us since 1986 with such programmes as This Sporting LifeThe Sporting Probe, Just Short of a Length, Club BuggeryThe Channel 9 Show and the hugely successful Olympic broadcasts The DreamThe Ice DreamThe Dream in Athens and Roy and H.G's Russian Revolution.

Most recently, the pair covered the 2024 Paris Olympic Games on their Roy and HG: People, Medals and Cheese podcast. 

Media contact

Laura Todd, ABC Communications: todd.laura@abc.net.au

First published at ABC News, February 1, 2025



Spirit of Tasmania IV ferry to stay in Scotland another month as lease offer considered



Spirit of Tasmania IV is being stored at Leith port in Edinburgh, Scotland. (Supplied: Andy Marriott)

By state political reporter Lucy MacDonald

Ferry operator TT-Line says it has entered "live commercial negotiations" after receiving an offer to lease the newly built Spirit of Tasmania IV ship.

As a result, the Bass Strait ferry will remain in Scotland until the end of February as TT-Line "move to finalise terms and conditions".

The much-larger passenger and freight ferry — one of two being commissioned to replace the existing aging Bass Strait ferries — left the shipbuilding yards in Finland at the end of November, and has remained at the port of Leith in Edinburgh ever since.

The second new vessel, Spirit of Tasmania V, is still under construction.

Spirit IV was initially slated to arrive in Devonport in Tasmania's north-west in late 2024, but TT-Line failed to build a berth in time.

Devonport does not have a berth large enough to accommodate the bigger ship, meaning it has been unable to operate its intended Geelong to Devonport route.

Leith Port in Edinburgh, Scotland, was identified as the most cost effective and climate-suitable location to
store the new ships. 
(Supplied: Forth Ports)

The state government says the berth will not be ready until February 2027, although it is pulling out all the stops to try to get it ready for October 2026.

In the meantime, the Tasmanian government has been looking at leasing out the ship. 

Spirit IV is being kept in Scotland because TT-Line claims it will be easier to lease it out from there. 

Leasing, chartering a way to recoup running costs

Earlier this month, Premier Jeremy Rockliff said the government would make a decision about the ship's future by the end of January.

"We'll do our due diligence and we'll ensure that we get the best value for taxpayer funds," he said.

"Should we not be able to lease the Spirit, then of course we'll bring the Spirit back to Tasmania."

Now the government says TT-Line has entered "live commercial negotiations" and will finalise terms and conditions before a decision is made.

It also said it was considering other proposals from interested parties.

As TT-Line will need further time to complete the negotiations, the ship will remain in Leith until the end of February.

Cost of docked ship mounting

One of the main arguments for leasing out Spirit IV is to try to recuperate some money — even when not being used the ship is costly.

During the two months it has been in Scotland it has already racked up quite the bill.

The first month of storing the ship was a lot more expensive, with TT-Line charged $47,534 per week.

Since then, the cost has dropped to $23,915 per week and will remain that price during February.

Crewing costs have come in at about $380,000 a month. The government says that would be even more expensive in Tasmania. 

The total ancillary costs to date, which include one-off costs for entry into the port of Leith including pilotage, are about $250,000.

It is estimated that subsequent months will cost $30,000.

All up, that means the total spent on storing the Spirit of Tasmania IV since it has sat unused in Scotland is a little more than $1.2 million. 

Bring them home

Labor MP Josh Willie described the announcement as "a complete charade".

"It just goes to show that Premier Rockliff will do anything to keep hiding Spirit IV in Scotland," he said.

"He's embarrassed to bring Spirit IV to Tasmania because this is the biggest stuff-up in Tasmania's history when it comes to infrastructure."

Mr Willie said it was just "an extension of time to avoid the inconvenient truth".

"The Spirits need to come [home], Premier Rockliff needs to deliver on his promise with a local fit-out to give local businesses a boost," he said.

"End the charade, just bring them home."

Labor said it also doubted the ship can be leased out.

First published at ABC News, January 31, 2025



Collies and kelpies are keen muster dogs, but which makes a better pet?


Collies and kelpies have different natural instincts. (ABC/Stock Chick Films: Melissa Spencer )

By Georgia Hitch and Andrew Chounding

The rivalry between kelpie and collie fans and owners can be fierce.

They’re two of Australia’s most popular working dog breeds, but when it comes to their characteristics, Australian working border collies and Australian kelpies have a number of stark differences.

In season three of ABC iview's Muster Dogs, airing this Sunday, the two breeds are tested against one another to see which one comes out as champion muster dog.

But which makes the better pet? And what should you think about if you've got a country dog in the city?

What are the key differences?

Kelpies

Collies

Colouring is black and tan, or red and tan

Traditionally black and white, but some are tri-colour

They live around 10 to 13 years

They can live up to 15 years

Have short coats

Have short or long hair

Considered more instinctual working dogs and are more suspicious of strangers

Considered more intelligent, trainable and social



In collie breeder Mick Hudson's opinion, collies are "more trainable", whereas kelpies bring a greater "natural ability".

"Farmer gets him [kelpie], takes him into the paddock and he learns the job himself," he told ABC iview's Muster Dogs: Collies and Kelpies.

"At the end of the day, they're both Australian-bred dogs and both breeds will do the job.

"It's just like do you drive a Ford or do you drive a Holden," Mick laughed.

Collie breeder Mick Hudson believes the breed are more trainable.  (ABC/Stock Chick Films: Melissa Spencer )

Breed to suit your personality

When it comes to choosing the right dog — be it for farm work or companion — veteran dog trainer Neil McDonald says what you're like is equally as important as the dog's qualities.

"Really, to be successful with dogs we've got to do a bit more self-assessing," he said.

"Are you the kind of person that's got all your dishes washed, put away … all the tools back on the shadow board?

"Or are you a 'She'll be right, things are untidy but you always seem to get by'?

"Because border collies are left brain, they like a procedure, things in sequential form, they like things to be organised.

"Whereas a kelpie is very much a 'She'll be right, I missed it that time but I'll get it next time'."

McDonald said that sometimes people need to find a dog that matches them, or the flip side — some need to have the opposite in nature to themselves.

"Our hope in showing these collies and kelpies side-by-side is to get people to understand the attributes of each dog and then be able to make a wiser decision when they actually pursue a dog for the future," he told Muster Dog: Collies and Kelpies. 

"Then [hopefully] have more success than what they've had in the past."

Which one makes the best pet?

Blake Robinson is a stock manager and kelpie breeder at the sheep farming town of Wagin 230 km south of Perth in Western Australia's Wheatbelt.

Blake Robinson thinks collies are a more patient dog. (ABC: Andrew Chounding)

He said while kelpies can make great pets, they can fall into destructive behaviour if they're not stimulated.

"You see a lot of people that get them and then they looking for a new home after six months because they're just tearing everything up," he said.

"I mean, all my dogs are pets, they're family, but they're also here for work." 

Donna Smith, also a sheep farmer near the town of Katanning, an hour west of Wagin, has been breeding border collies for the past five years.

She agrees collies make better pets, for most people.

"I find mine are really affectionate and have to be touched 24 hours a day … it's just a very, very affectionate breed," Donna said.

"You see in his face, he's the real clown dog where I think my kelpies are more serious."

While the two breeds are tested against each other in this season of Muster Dogs, Blake and Donna already have strong views on who they think comes out on top.

Kelpies are considered to have more natural instinct on stock than collies. (ABC/Stock Chick Films: Melissa Spencer)

Blake reckons kelpies win hands down.

"What makes a collie such a good trial dog is a lot of the time they'll wait for that next command," he said.

"They've got the instinct to do what they need to do but they're a little bit more patient.

"Whereas a kelpie is like, 'Nah that's not right, let me show you how it should be done'."

Donna Smith started breeding collies five years ago. (ABC: Andrew Chounding)

Despite her passion for collies, Donna says she prefers to use kelpies in her day-to-day farming.

"You can send kelpies out into the bush to bring back sheep and that's what they'll do, but with the border collie, you have to go with it and tell it all the time," he said.

Tips for pet owners

Animal behaviourist Dr Kate Mornement said people who own either breed should accept that their dogs' natural instinct has been bred into them over hundreds of years.

"As an example, and our border collie does this, he will stalk things," she said.

"We don't have sheep available for him in our big backyard, but there are plenty of birds, and so he will find an outlet for that natural desire to stalk, and he's chosen birds.

"Working dogs will often look for ways to satisfy their innate drive to do what they've been bred to do."

Her advice is to set realistic expectations and not try and stop the behaviour but instead redirect it.

"When we got our border collie, I had two toddlers at the time, and he used to kind of round them — which is a normal border collie instinct," she said.

"But it's not ideal when you've got little children.


"We redirected that behaviour, so I would engage him with toys and positively reinforce him for engaging and chasing the toys and bringing them back."

Both breeds also need plenty of exercise to make up for the hours of running around they'd get on a property, Dr Mornement said.

She also made the point that as a lot of collies and kelpies are bred in rural areas, when they become pets in the city there are a number of things they'll need to be introduced and socialised to.

"As a behaviourist, I see so many working dogs who come into family homes in the city, but they've never seen a kid on a skateboard or an old person with a walking stick or a tram or a bus," she said. 

"They can develop fear and anxiety-based issues as a result."

Find out which breed is named champion in the brand new series of Muster Dogs: Collies and Kelpies this Sunday, February 2 on ABC iview or on ABC TV at 7:30pm.

First published at ABC News, January 31, 2025



Celebrating the entire spectrum of Baroque music



Salut! Baroque… Its first program for the year celebrated the entire spectrum of Baroque music.
Photo: Dalice Trost

Music / Music to Celebrate, Salut! Baroque. At Wesley Uniting Church, Forrest, January 31. Reviewed by LEN POWER

It’s hard to believe that this year Salut! Baroque celebrates 30 years of presenting Baroque music.

Its first program for the year celebrated the entire spectrum of Baroque music – from its near-beginning to its near-conclusion – presenting various composers who were either an influence for what was to come or influenced by what had already taken place.

A feature of a Salut! Baroque concert is the presentation of obscure or never-heard-before composers from the era. This concert offered works by Giovanni Antonio Guido and Jan Rokyta as well as works by several other composers.

The concert commenced with Tarquinio Merula’s canzona, The Nightingale, from 1615. Anna Stegmann, Sally Melhuish, Alana Blackburn and Alicia Crossley, playing recorders, gave this work a delightfully atmospheric performance.

On Baroque instruments, John Ma (violin), Julia Russoniello (violin), Isaiah Bondfield (violin), Brad Tham (viola), Tim Blomfield (bass violin) and Monika Kornel (harpsichord) then played Pietro Antonio Locatelli’s 1741 Concerto in E Flat Op. 7 No. 6, subtitled Arianna’s Tears. The sombre and contrasting bright and melodic sections were given a sensitive performance of great depth.

The next item, Giovanni Guido’s Playful Harmonies on the Four Seasons – Summer Op. 3 from 1717 was performed by the string players. They were joined by Anna Stegmann on recorder for the final section, Dance of the Faun. The performance of this melodic and colourful work by the no longer well-known composer, Guido, proved to be one of the highlights of the concert.

Moving to an unexpected 1969, Balkanology, by Jan Rokyta for four recorders, this haunting, mysterious and complex work with Romanian and Turkish influences was given a superb performance by the four women on their recorders. The thunderous audience applause at the conclusion was well-deserved, making this another highlight of the concert.

There were also works by Johann Christian Schickhardt, Antonio Vivaldi and Johann Heinrich Schmelzer. Each of these was given a fine performance by these musicians.

The concert concluded with a work written towards the end of the baroque period in 1750, Georg Philipp Telemann’s Concerto in A minor TWV 43. 

The combination of strings and recorder produced a rich sound that was at times dreamlike. It was memorably played and the perfect end to a concert that was educational as well as charming.

First published at Canberra City News, February 1, 2025



Hard to describe, wonderful to experience



The Cage Project… the remarkable “sonatas” written by music philosopher and composer John Cage for
prepared piano, with added sound and visual effects.

Music / The Cage Project, Musica Viva. At Llewellyn Hall, January 31. Reviewed by SARAH BYRNE.

A grand piano with a mirrored lid sits in darkness beneath an enormous Calder-style kinetic sculpture; a mobile made up of tiers of found objects repurposed as musical instruments. 

The “grand piano” is in fact a prepared piano, the mirrored lid allowing the audience a glimpse of its inner workings, with 44 keys “prepared” by the insertion of items such as screws and bits of rubber, to provide an additional and sympathetic overlay of other, plangent, sounds. The mobile contains 44 improvised “instruments”, each complementing and responding to one of the prepared piano strings.

This is The Cage Project, conceived by Musica Viva’s artistic director Paul Kildea with percussionist and sculptor Matthias Schack-Arnott. 

The two have taken the remarkable “sonatas” written by music philosopher and composer John Cage for prepared piano, and added sound and visual effects by means of the moving installation. Outstanding French pianist Cedric Tiberghian completes the treatment with his own interpretation of the written music, and Schack-Arnott’s slowly rotating mobile responds to and enhances each note.

While hard to describe, this was wonderful to experience. Although at this stage of his career Cage had not yet fully embraced the deliberate randomness of his later works, the elements of chance and change still infuse these pieces. 

The atonality of the music is that of wind chimes; the overall effect is more like gamelan than piano. It is fascinating and beautiful, and (perhaps literally) mesmerising. I don’t think I’ve ever sat amongst an audience so spellbound and focused, nor left a concert hall with such a profound feeling of relaxation.

There’s something distinctly mid-century modern about this music, and as a lover of that aesthetic, the comparison that came to mind was not another composer (though I was struck by the recognition of Cage’s influence on contemporary composer Thomas Newman), but the paintings of Wassily Kandinsky. 

Kandinsky was a synesthetic – he “heard” colours as music – so perhaps that’s not a complete coincidence. It’s as if Cage was trying to capture Kandinsky’s much earlier Composition No 8 or Intersecting Lines in music. I can’t explain it better than that.

It could be said that Cage is an acquired taste, but this is a beautiful work that operates on multiple levels, and I do not think you have to be a fan of modernist music to find it enthralling. Kildea and Musica Viva are to be congratulated on this epic and unexpectedly approachable reimagining of an important work.

First published at Canberra City News, February 1, 2025