DIVINE BOHEMIANS (CONCERT)

 

Australian Haydn Ensemble

Gandel Hall, National Gallery of Australia July 30

 

Reviewed by Len Power

 

Bohemian composer, Josef Mysliveček, so out-Italianed the Italians that they dubbed him il divino boemo – the divine Bohemian.

This concert showcased music by the relatively unknown Bohemian composers Mysliveček, and Paul Wranitzky as well as works by Beethoven and Haydn. A composer of note, Wranitsky was also a respected conductor in Vienna and premiered Beethoven’s 1^st Symphony. Mysliveček was a close friend and mentor of the young Mozart.

The Beethoven and Haydn works were both commissioned by the Bohemian arts patron, Prince Lobkowitz.

The Australian Haydn Ensemble of Skye McIntosh, artistic director and violin, Matthew Greco, violin, Rafael Font, viola, and Daniel Yeadon, cello, commenced with Haydn’s String Quartet Op. 77 No. 1 in G. Written late in life, this work, full of Haydn’s wit and unpredictability, was given a charming performance.

Skye McIntosh, Matthew Greco, violin, Rafael Font, viola, and Daniel Yeadon, cello.

The second movement, Adagio, is deeply expressive and emotional and the hint of the Hungarian countryside in the finale was a nice surprise. The ensemble played it with a freshness and sparkle that was delightful. They clearly enjoyed playing it.

The second work presented was Wranitzky’s String Quartet Op. 49 in D minor. The dramatic first movement led to an unusual Largo, played with mutes to create a dreamlike, misty sound. So sensitively played, it was one of the highlights of this concert.

Artistic Director Skye McIntosh, violin

The second half of the concert commenced with just the second movement, Larghetto, of Mysliveček’s String Quartet Op. 3 No. 6. This short, slow movement with its wistful melodies left you wanting to hear more of this composer’s works.

Finally, the ensemble played Beethoven’s String Quartet Op.18 No. 3 in D. This early work showed Beethoven’s maturing talent with its lyrical first movement leading to a pounding climax. The Andante second movement with the second violin prominent was nicely reflective and the playful finale was exciting and an uplifting end to this very enjoyable concert.

 

Photos by Peter Hislop

 

This review was first published by Canberra CityNews digital edition on 31 July 2026.

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

Len Power also presents the weekly Concert Hall program on Artsound FM, playing recordings of some of the best concerts from in and around Canberra. Concert Hall can be heard on Sundays at 8pm and is repeated on Wednesdays at 2pm.

 

GUERRIERI ET AMOROSI (CONCERT)

 

Oriana Chorale and Apeiron Baroque

Directed by Dan Walker

Wesley Uniting Church, Forrest July 26

 

Reviewed by Len Power

 

Passion and warfare were the focus of this concert through the works of two 17^th Century composers, Claudio Monteverdi and Barbara Strozzi.

Monteverdi, of course, is very well-known compared to Strozzi, but she was the most prolific composer of printed secular vocal music in 17^th century Venice. That was an extraordinary achievement for a woman in that era.

Dan Walker conducting the Oriana Chorale and Apeiron Baroque

The Monteverdi works played and sung were from his Eighth Book of Madrigals published in 1638 when he was 70. The selection of Strozzi’s works was from her First Book of Madrigals, Opus 1, published when she was just 25.

Joined by early music specialists, Apeiron Baroque, the Oriana Chorale directed by Dan Walker presented a concert that captured the emotional range of the human condition of the time.

The concert began with the Monteverdi’s Let others sing of Cupid. This exciting work with its fiery passion and talk of war was followed by Strozzi’s The Nightingale, a sensitive work with a theme of underlying anger and hurt.

With titles such as Harmful silence, Prayer to Love and The Quarrel of the five senses (Strozzi) and I’m on fire, ablaze, Now that heaven and earth and Let others sing of Mars (Monteverdi), it was an exciting concert full of emotion and drama.

The choir gave each work a highly polished and pleasing performance. There were solo moments in the works that showcased the considerable skill of individual choir members.

Apeiron Baroque, led by John Ma, violin, provided a fine accompaniment for the choir and also played two instrumental works by Vitali and Scarlatti.

The concert provided a time-travelling opportunity to experience composers’ views of passion and warfare at a time of extraordinary music making.

 

Photos by Dalice Trost

 

This review was first published by Canberra CityNews digital edition on 28 July 2026.

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

Len Power also presents the weekly Concert Hall program on Artsound FM, playing recordings of some of the best concerts from in and around Canberra. Concert Hall can be heard on Sundays at 8pm and is repeated on Wednesdays at 2pm.

 

THE WIND IN THE WILLOWS (LIVE RADIO PLAY)

Adapted as a live radio play by Bart Meehan

from the Kenneth Grahame novel

Directed by Lexi Sekuless

Mill Theatre on Dairy Road, Fyshwick to 1 August

 

Reviewed by Len Power 25 July 2026

 

First published in 1908, Kenneth Grahame’s children’s novel has captivated young and old alike ever since. Bart Meehan’s adaptation as a live radio play maintains the freshness and essential Englishness of the novel, while sound effects performed live add a fun dimension to this joyful tale.

 Telling the story of Mole, Ratty and Badger as they try to help Mr. Toad after he becomes obsessed with motorcars and gets into trouble are an ensemble of seven performers who also perform the sound effects.

Narration is provided by Graeme Rhodes as the Radio Host and Maddie Lee as Mole, Helen McFarlane as Rat, Mark Lee as Toad, Chipz Jin as Otter, Richard Manning as Badger and Aleksis Andreitchenko as Daughter all give colourful, extroverted performances and match our memories of the characters from the novel.

Because it’s devised as a radio broadcast, the actors’ voices are the most important aspect of their performances. There is no costuming and each performer has their script in hand and works before a microphone, surrounded by an array of eccentric-looking props used for sound effects. How those seemingly useless objects are used during the play becomes one of the highlights of the show.

Cleverly directed with imagination by Lexi Sekuless, this show is pure entertainment throughout its one hour running time. While members of the audience of a certain age may remember the art of listening to radio plays before television arrived, it was interesting to note that young members of the audience were thoroughly engaged throughout this cleverly realized production.

 

Photo by Maddie and Mark

 

This review was first published by Canberra CityNews digital edition on 26 July 2026.

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