HAYDN'S MIRACLE (CONCERT)

Mikaela Oberg, flute

Australian Haydn Ensemble

Skye McIntosh, violin

Matthew Greco, violin

Karina Schmitz, viola

Daniel Yeadon, cello

Mikaela Oberg, flute

Wesley Uniting Church, Forrest 21 August

 

 

Reviewed by Len Power

 

 

With their playing of a thoughtfully selected program of works by Haydn, Schubert and Purcell, the Australian Haydn Ensemble showed once again that they are one of Australia’s leading period instrument groups.

The quartet of two violins, viola and cello began with Haydn’s String Quartet Op. 76 No. 6 in E flat major Fantasia. In four movements, their performance of Haydn’s inventiveness and playfulness impressed throughout. The quiet, dreamlike Adagio second movement, the Fantasia, was beautifully played, allowing your imagination to float along with the music. The finale was wonderfully unpredictable. Just when you thought you knew where it was going, it constantly surprised you.

The second work played was Schubert’s String Quartet Op. 29 in A minor D. 804 Rosamunde. The melodies and emotions in this work were achingly beautiful and superbly played and the edginess under the surface gave the work an extra dimension.

After interval, the quartet began with Purcell’s Fantasia in four parts No. 8 in D minor Z. 739. This calming, reflective work was well played, clearly showing the beauty and atmosphere in Purcell’s music.

The final work of the program was Haydn’s Symphony No.96 in D major Miracle in the arrangement by Johann Salomon. The Miracle refers to a Phantom of the Opera type incident where a chandelier crashed down in the theatre while this symphony was being played, miraculously missing audience members. The chandelier incident is true, but it happened four years after this No. 96 symphony premiered when another of Haydn’s symphonies, No. 102, was being played. Somehow the story stuck to the No. 96 and it has been known as the Miracle symphony ever since.

Flautist, Mikaela Oberg, joined the quartet and, together, they gave a brilliant performance, bringing out all the energy and joy of this charming work. The graceful Andante second movement was particularly well played with the flute soaring above the other instruments and the finale was joyous and exciting.

You could tell from the performers’ expressions that they clearly enjoyed playing these works and they were rewarded with thunderous applause at the end of the concert.

 

Photo by Helen White

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs.

 

 

GREATER LOVE (CONCERT)

Flowers of Peace

Second World War Memorial Concert

Directed by Christopher Latham

Llewellyn Hall, August 15

 

Reviewed by Len Power

 

Heroism comes in many forms. Inspired by the many acts of heroism and sacrifice by those who fought in the Second World War, the concert, Greater Love, honoured those heroes through the power of music.

The concert was a massive undertaking. It featured an extraordinary lineup of performers including esteemed actor, John Bell (narrator), musicians Simon Tedeschi (piano), Edward Neeman (piano), Helen Ayres (violin), Alice Giles (harp), Dong Ma (erhu), Callum G’Froerer (trumpet) and William Barton (didgeridoo) as well as singers Andrew Goodwin (tenor) and Rachel Mink (soprano). The Canberra Symphony Orchestra, ADF musicians and guest musicians made up the huge orchestra.

Also performing were the Flowers of Peace Chorus, Brisbane Chamber Choir and the Luminescence Children’s Choir. It was directed and conducted by Chris Latham with guest conductors SQNLDR Daniel Phillips, MAj Doug Hall and CMDR Cassandra Mohapp.

Chris Latham, director and conductor

There were newly commissioned works by William Barton, Paul Carr, Elena Kats-Chernin, Graeme Koehne, Peggy Polias, Cyrus Meurant, Andrew Schultz, Karen Tanaka and Julian Yu. There were also recovered and arranged works by Albert Arlen, Isador Goodman, Miriam Hyde, Margaret Dryburgh, Horace Perkins and many others.

As the concert progressed, a projected slideshow enhanced the narration and the music with photographs, art and statistics showing the appalling human cost of the war. These words, statistics and music produced an intense emotional impact as the concert progressed.

John Bell, narrator

There were many musical highlights including Miriam Hyde’s Faith in Darkness, the first item of the concert, Isadore Goodman’s New Guinea Fantasy, Margaret Dryburgh’s arrangement of Dvořák’s Largo from his New World Symphony, Graeme Koehne’s Caring, William Barton’s Love of Country, Love of Land, Elena Kats-Chernan’s To Hold The World, Andrew Schultz’s De Profundis and Paul Carr’s The Arms of Love.

Karen Tanaka’s achingly beautiful Eternity, a memorial to the Pacific War was another highlight. In addition, her The Birth of Peace, signifying the birth of the United Nations, was sung superbly by the Luminescence Children’s Choir holding lit candles. The final work, Buddha Symphony by Kōishi Kishi, a Prayer for Peace, brought this memorable concert to a quietly optimistic close.

 

 

Photos by Dalice Trost

 

This review was first published by Canberra CityNews digital edition on 16 August 2025.

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs.

 

  

MARROW (DANCE)

 

Concept and Direction by Daniel Reilly

Choreography by Daniel Reilly with Australian Dance Theatre’s Company Artists

Composition and Sound Design by James Howard (Jaadwa)

Australian Dance Theatre

The Playhouse, Canberra Theatre Centre to 1 August

 

Reviewed by Len Power 31 July 2025

 

“What if we all went home, to Country, unplugged from social media and took a break from the political news cycle for an extended period of time?” First Nations journalist, Stan Grant’s words were the inspiration for this bold new work by Daniel Reilly and the Australian Dance Theatre company.

Composer, James Howard, set the mood with a driving electronic soundscape, like the heartbeat of the nation, that you could feel as well as hear.

On a cavernous, dark setting, designed by Matthew Adey of House of Vnholy, the dancers swirled around the space, their individual lives caught up with the same pressures and emotions. With a return to Country, there was peace and time to heal, gather strength and contemplate the future. Moments of high emotion, deep discussions, feelings strongly expressed, and the influences of the past gave hope to moving forward with a renewed and shared optimism.

Australian Dance Theatre's company of dancers

Daniel Reilly’s vision for this work was superbly realized in this haunting and fascinating work. His six dancers - Joshua Doctor, Yilin Kong, Zachary Lopez, Karra Nam, Patrick O’Luanaigh and Zoe Wozniak – gave a clarity to the emotional aspects of Reilly’s choreography while dancing with precision, individually and in groupings.

Australian Dance Theatre's company of dancers

As well as the music, there was an excellent lighting design by Matthew Adey that added a strong atmosphere to the work. The clever and imaginative use of smoke effects by the dancers gave the work a supernatural feel at times.

Australian Dance Theatre is Australia’s oldest continuing contemporary dance company. Founded in Adelaide in 1965 by Elizabeth Cameron Dalman, it was established with the aspiration of “expanding the boundaries of dance”. It was good to see Dalman in the audience at this performance of “Marrow”.

Daniel Reilly and the Australian Dance Theatre have produced a thoughtful, haunting and memorable work with a strong and appealing message.

 

Photos by Morgan Sette

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs.