WOMEN WHO MOVE THE HEART

 

Sonia Anfiloff, soprano

Alan Hicks, piano

Art Song Canberra

Wesley Music Centre, Forrest 21 May

 

Reviewed by Len Power

 

You can’t say that Art Song Canberra’s “Women Who Move The Heart” was going to be an easy concert for Sonia Anfiloff, soprano, and Alan Hicks, piano.

Focussing on two female poets, Emily Dickinson and Mathilde Wesendonck, and on a female composer, Amy Beach, they chose the formidable song cycle of 12 Dickinson poems by composer, Aaron Copeland, and the equally difficult 5 Wesendonck Lieder by Richard Wagner as well as songs composed by Beach.

Sonia Anfiloff moved to Vienna in 2010 after completing a Master of Music degree, majoring in voice performance, at the ANU where she was the recipient of the Kornfeld Scholarship.

Sonia Anfiloff

After a busy European career, she returned to Canberra in 2019 where she is now Head of Choirs at Canberra Girls Grammar School and lecturer in voice at the ANU School of Music.

Alan Hicks is one of Australia's foremost vocal coaches and accompanists. He currently works in Vocal and Opera Studies at the University of Sydney Conservatorium of Music as coach, accompanist and tutor in diction.

Alan Hicks (piano) and Sonia Alfiloff (soprano)

Beginning with Copland’s Emily Dickinson song cycle, Anfiloff displayed fine control in her tender singing of “Nature, the gentlest mother” and then the power in her voice easily handled the dramatic second song, “There came a wind like a bugle”. The rest of the cycle was performed with great vocal skill as well as showing her deep understanding of Dickinson’s words.

The highlight of the cycle was “I left a funeral in my brain”. Anfiloff gave this reflective work a haunting, even nightmarish, interpretation. Alan Hicks’ accompaniment for this difficult work was excellent.

The four chosen songs by Amy Beach proved to be a good contrast to the Copeland songs. Anfiloff gave these melodic works a heart-felt interpretation of great sensitivity.

The challenge of Richard Wagner’s Wesendonck Lieder was next on the program. All five were sung with skill and meaning. The highlights were the first song, “The angel”, which was movingly sung and the fourth, dramatic song, “Agonies”, which gave Anfiloff the opportunity to display the considerable power and control of her voice. Alan Hicks’ playing of these works was masterful.

The encore was an unexpected and delightful lesser known George and Ira Gershwin song, “Blah, Blah, Blah”, which, in its different style, was just as well sung as the rest of this fine program.

 

Photos by Peter Hislop

 

This review was first published by Canberra CityNews digital edition on 22 May 2023.

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

 

ANA DE LA VEGA AND THE MELBOURNE CHAMBER ORCHESTRA (CONCERT)

 

Snow Concert Hall, Red Hill  May 20

 

Reviewed by Len Power

There was an excited buzz of anticipation as the audience arrived at the new Snow Concert Hall nestled in the grounds of the Canberra Grammar School. This sumptuous 936 seat Hall was made possible by an extraordinary gift from CGS Alumnus, Terry Snow.

“The New Wonder-Flautist” and international star Ana de la Vega, has returned to her birth country after 16 years on the world’s most renowned stages. Artistic Director of the new Hall, de la Vega was the soloist together with the Melbourne Chamber Orchestra for the first concert of the Snow Concert Hall International Series.

Ana de la Vega

The program was a well-chosen mix of familiar and less familiar works.  The Melbourne Chamber Orchestra opened with Mozart’s much-loved orchestral work, “Eine kleine Nachtmusik” (A Little Night Music). It was immediately clear that the hall has fine acoustics. The Mozart was extraordinarily clear and bright and the orchestra’s energetic playing of it had great depth and colour.

The orchestra continued with a contrasting work, Samuel Barber’s “Adagio For Strings”. A highly recognizable piece heard often on the concert stage, it was played with great control and sensitivity. Often heard accompanying sombre films, it becomes a beautiful piece of uplifting music when heard unaccompanied by film images.

Ana de la Vega and the Melbourne Chamber Orchestra

Edward Elgar’s “Serenade For String Orchestra” is a timeless masterpiece that captures the beauty and wonder of life itself. This introspective, nostalgic work was hauntingly played by the orchestra.

Flautist, Ana de la Vega joined the orchestra for two works. The first was Vivaldi’s “La tempest di mare” (The Storm At Sea), the flute concerto in F Major. Played in three movements, de la Vega showed right from the beginning that she is a performer who has earned her international reputation. Her playing was magical and she and the orchestra evoked all the drama and colour of a tempestuous sea voyage.

The “Flute Concerto in D Major” by Carl Stamitz was the second work played by de la Vega with the orchestra. Not as well known, this 18^th century work was a perfect choice as it was a delightfully expressive work, demanding great skill from the players. It was given an exciting and joyful performance by de la Vega and the orchestra.

For an encore we were treated to the well-known “Meditation” from Massenet’s opera, “Thaїs”. It was a sublime end to a great evening of music.

When de la Vega made her first entrance, she paused and said to the audience, indicating the new hall, “Isn’t this the best thing for Canberra?”  The answer was a resounding ‘yes”!

 

Photos by Peter Hislop

 

This review was first published by Canberra CityNews digital edition on 21 May 2023.

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

 

COMMUNICATE (DANCE)

 QL2 Dance

Artistic Director: Ruth Osborn

Choreographers: Alice Lee Holland, Kyall Shanks, Lordfai Navinda Pachimsawat and Ruth Osborne

The Playhouse, Canberra Theatre Centre to 20 May

 

Reviewed by Len Power 18 May 2023

 

With the many ways that humans communicate in this world, QL2 Dance’s concert promised to be an exciting evening full of imaginative choreography.

This year, the Quantum Leap ensemble was made up of 28 dancers aged 13 – 23 with 8 visiting dancers from Bangkok Dance Academy, Thailand.  All of the choreographers collaborated with their dancers to produce their works.

The first work, ‘Holding Space’, was choreographed by Alice Lee Holland.  The dance focussed on a major communication problem – listening to reply rather than listening to understand.  This work showed people interacting in a group but there was an edginess in their movements and a sense of difficulty in understanding, leading to isolation.  Individual dancers showed the effect on them of not communicating effectively with other group members.  This dance work was clear in its intention and the dancers performed the, at times, intricate choreography very well.

The next work, Echo Chamber, was choreographed by Kyall Shanks.  This work looked deeply into a communication problem where the desire for uniformity and being part of a group can stifle individual viewpoints, subjectivity and interpretation.  Again, the intention was clearly shown in the work and there was some beautifully realized unison dancing by groups as well as individual work that showed great physical control and technique.

The third work presented was ‘Shared Language’.  This item was in three sections.  The first part was danced by the visiting 8 Thai dancers with choreography by Lordfai Navinda Pachimsawat and music by Kevin Inthawong.  It showed our smallness in the universe and how as people we come together in unity with individuality and togetherness.  This atmospheric and beautifully dream-like work was danced with great skill and had an appealing tenderness and kindness about it.

The second part was choreographed by Ruth Osborne and depicted the dangers of false communication where knowledge is seemingly available at our fingertips but some things need to be lived to be truly understood.  This work showed the dancers working with great agility. Their changing patterns mirrored the unsettled emotions experienced as we realize our easy access to knowledge can result in a lack of real life experience.

The final part of this work was choreographed by both Ruth Osborne and Lordfai Navinda Pachimsawat.  In this work, the Thai dancers joined the QL2 performers to show that different cultures can find a way to communicate successfully, resulting in a richness and a deeper understanding of similarities and differences.  There was a real sense of joy in this work and the dancing was both exciting and very well executed.

Adam Ventura’s music was a major atmospheric asset for this concert.  The film that added an important extra dimension to the final part of the work was produced by Wildbear Digital.  The effectively moody lighting design was by Anthony Hateley.

The final curtain call dance had all dancers together on stage displaying an exciting exuberance as well as skill that really showed their love of this art form.  That emotion was clearly ‘communicated’ to the thrilled audience

Photos by Lorna Sim

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

 

 

STEEL MAGNOLIAS (PLAY)

 

Written by Robert Harling

Directed by Anne Somes

Free Rain Theatre production

ACT HUB Theatre, Kingston to May 20

 

Reviewed by Len Power May 13

 

Written in 1987, ‘Steel Magnolias’ is a play that celebrates the strength and friendship of a group of ordinary women who meet in the local beauty parlour.

Set in the fictional town of Chinquapin, Louisiana, ‘Steel Magnolias’ follows a group of close-knit friends as they navigate life's ups and downs together. Through humour, heartache, and unwavering support, these women prove that they are as tough as steel and as beautiful as magnolias.  Their men folk do not appear in the show but we get to know them and the goings on in the town very well through the conversations and gossip of these women.

The two level beauty parlour set has been cleverly designed by Cate Clelland.  A forest of hairdryers hangs from the ceiling and the technical equipment needed in such an establishment is clearly on view.  Real hair-washing, curler-setting and styling takes place while the women’s interaction and stories draw us ever deeper into the culture of this community.

From left: Helen McFarlane (Truvy), Katy Larkin (Annelle), Jess Waterhouse (Shelby), Janie Lawson (Clairee), Lainee Hart (Ouizer) and Victoria Tyrell Dixon (M'Lynn)

The performance of the ensemble cast of six women is extraordinary.  Their characterisations are colourful and very real.  We hang on their every word as they negotiate their way through rapid fire dialogue and the use of the myriad of props.  Accents are so well done that you accept them quickly as real southern American women.

Helen McFarlane is warm and sparkling as the proprietor of the salon, Truvy.  Katy Larkin plays Annelle.  New to the salon at the beginning of the play, she nicely portrays a hurt young woman growing in confidence with the support of those around her.  Janie Lawson is a master of comic timing and is very funny as the rich Clairee.

Cast of 'Steel Magnolias'

Victoria Tyrell Dixon as M’Lynn subtly plays a quiet woman who displays extraordinary strength as the play progresses.  Her daughter, Shelby, is played with heart-warming delicacy by Jess Waterhouse and Lainie Hart gives Ouizer a loud, formidable exterior covering a vulnerability underneath.

Director, Anne Somes, has created an extraordinary world on that stage with her highly capable cast and attention to detail.  For two hours, you’re just simply spellbound.

Tanya Taylor assisted by Fiona Leach was responsible for the thoughtful and attractive costuming.

This is a good play, directed and performed with skill.  Don’t miss it!

Photos by Janelle McMenamin 

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

 

THE MOUSETRAP (PLAY)

 

Written By Agatha Christie

Directed by Robyn Nevin

Produced by John Frost for Crossroads Live Australia

Canberra Theatre to May 21

 

Reviewed by Len Power 12 May 2023

 

Mention ‘The Mousetrap’ and it’s a play that everyone in the world knows about. Its extraordinary success in London, where it has been playing continuously since 1952, has turned it into a must-see tourist attraction to rival Buckingham Palace and the Tower Of London.

Written by Agatha Christie, arguably the greatest author of murder novels in the world, its ingenious plot continues to surprise and entertain people to this day. Now, with this 70^th anniversary touring production, Australian audiences can see it without making the long trek to London.

Directed by Robyn Nevin, the production is set in the remote Monkswell Manor, now a guest house, in the snowy British winter of 1952. As the play opens, the owners nervously await their first guests as the radio mentions that a murder has taken place in London. The guests are a colourful assortment of characters and before long, a police sergeant arrives on skis to tell them that the London killer may be amongst them.

The Great Hall of the Manor set of this touring production is and needs to be physically very similar to that of the London production.  Its sumptuous gothic design towers over the players, giving the play the perfect atmosphere for this story. The nicely in period costumes add considerably to the overall effect.

The cast of 'The Mousetrap'

The performers are all thoroughly believable playing this assortment of owners and guests. The roles may be certain types but they are not caricatured. It’s their histories, attitudes and mannerisms that are important to be well-played. They deftly engage the detective in all of us as we try to spot a clue that might reveal who the murderer is.

 

Anna O'Byrne and Alex Rathgeber

Anna O’Byrne is delightful as Mollie Ralston, the nervous owner of the guesthouse. Her accurate performance reminds us of those terribly English women in early 1950s British movies and she is a great screamer, too.

Amongst the rest of the highly capable cast, Laurence Boxhall as Christopher Wren, is terrific as a very peculiar young man and Gerry Connolly scores as the “foreigner”, Mr. Paravicini. Tom Conroy is an eager and energetic Police Sergeant Trotter and the usually glamorous Geraldine Turner expertly plays the formidable old bat, Mrs Boyle.

Gerry Connolly and Geraldine Turner

Robyn Nevin’s attention to detail throughout the play is evident in the depth of characterizations of her performers and the believable staging of the action.

This is a clever and enjoyable play performed to the highest standard. Will you guess who the murderer is? I bet you won’t.

 

Photos by Brian Geach

 

This review was first published by Canberra CityNews digital edition on 13 May 2023.

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

 

 

THE ELIXIR OF LOVE (OPERA CONCERT)

 

National Opera

Music by Gaetano Donizetti

Original Libretto by Felice Romani

English translation by David Parry

Pocket Opera adaptation by Peter Coleman-Wright

Directed by Ylaria Rogers

Musical Director/Conductor: Leonard Weiss

Chorus Master: Louis Sharpe

Albert Hall to 13 May

 

Reviewed by Len Power 11 May 2023

Donizetti’s opera, ‘The Elixir Of Love’, is an enjoyable romp with great music, one of opera’s most well-known arias in ‘Una Furtiva Lagrima’, an amusing plot and a happy ending.  National Opera’s Pocket Opera version proved to be a fun evening of just the highlights of the music with very good principle singers and chorus and an excellent musical accompaniment by Canberra Sinfonia.

Donizetti’s opera was written in 1832 and has stayed in the international repertoire ever since.  It is one of the most frequently performed of all of Donizetti’s operas.

Set in a small village in the Basque Country of Spain, a poor peasant, Nemorino, is in love with Adina, a beautiful landowner.  From hearing a reading of the story of ‘Tristan and Isolde’, Nemorino is convinced that drinking a magic potion will help him gain Adina’s love.  Complications follow with a shifty quack doctor, Dulcamara, with a supposed love potion, Adina unexpectedly betrothed to a soldier, Belcore, and all of the village’s women, led by Gianetta, suddenly interested in Nemorino when he comes into a fortune.  Of course, all is resolved happily for the lovers in the end.

If you’ve got that basic plot in mind, or have a quick read before the show of the synopsis provided in the program, this Pocket Opera version is easy to follow.  The chorus perform in modern day dress with a suggestion of 18^th century period in the costumes for the principals.  Ylaria Rogers’ direction also keeps the action clear and the principal singers have been well-rehearsed, presenting a believable depth of characterisation.  This is not just a ‘stand and deliver’ concert of songs.

From left: Matthew Avery (Dr. Dulcamara), Daniel Verschuer (Nemorino), Sarah Darnley-Stuart (Adina), Elsa Huber (Gianetta) and Sitiveni Talei (Belcore) and chorus

All of the principals – Daniel Verschuer (Nemorino), Sarah Darnley-Stuart (Adina), Sitiveni Talei (Belcore), Matthew Avery (Dr. Dulcamara) and Elsa Huber (Gianetta) sang their roles very well.  Daniel Verschuer, as the peasant, Nemorino, has the best aria in the show in ‘Una Furtiva Lagrima’ (A Furtive Tear) and he gave it a fine performance.

Daniel Verschuer (Nemorino) and Sarah Darnley-Stuart (Adina)

There was also good singing by the strong chorus.  The scene of the women showing an interest in Nemorino because he is suddenly rich, was particularly funny and well done.  Chorus master, Louis Sharpe, has obtained fine vocal work from everyone.

The Canberra Sinfonia under the direction of Leonard Weiss gave a delightful and colourful accompaniment to the singers.  The harp playing of Weiss during ‘Una Furtiva Lagrima’ was especially charming.

National Opera have delivered an evening of fine music and singing, made even more enjoyable by the thoughtful direction of Ylaria Rogers.

 

Photos by Peter Hislop

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

 

A CANDLE FOR UKRAINE (CONCERT)

Canberra International Music Festival

Concert 18

Fitters Workshop, Kingston May 6

 

Reviewed by Len Power

The composer Valentin Silvestrov was forced to flee his home in Kyiv in early 2022 following Russia’s invasion of Ukraine. From his new base in Berlin, he continues to represent his country’s cultural identity with quiet determination. “Silent Songs” is his most famous work, a song cycle set to timeless poetry by the likes of Pushkin, Shelley, Baratynsky, Shevchenko, Yesenin and Keats.

Sydney-born tenor, Andrew Goodwin, became the first Australian to study classical singing at St Petersburg State Conservatory in Russia. He has gone on to a busy international career singing at some of the world’s greatest opera houses and concert halls.

Roland Peelman studied in Belgium and Germany. Emigrating to Australia in 1984, he has worked with many organisations such as Opera Australia, Opera Queensland and the Song Company. He is currently the Artistic Director of the Canberra International Music Festival.

On a stage surrounded by flickering candles, Goodwin and Peelman presented most of this song cycle to a spell-bound audience. The songs were sung in Russian.

Each song seemed more beautiful than the last as they created an extraordinary atmosphere of calm with their singing and playing.

Based on the works of poets renowned for their romantic, reflective and beautiful words, Silvestrov’s music has a timeless, universal quality that lifts these words to an almost dream-like state.

Goodwin maintained an impressive stillness as he sang, allowing the words and music to weave their spell. He appeared to be so relaxed and his fine singing of the high, sustained notes seemed effortless.  It was a superb performance throughout.

Peelman accompanied the singer with a quiet sensitivity. There were often long passages at the end of the songs that continued without voice, allowing you to concentrate for a few moments just on Silvestrov’s restrained, beautiful music.

At the end of the concert, the attentive audience sat for a few moments without making a sound before bursting into rapturous applause.

Photos by Peter Hislop

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

THE DUNERA MASS (CONCERT)

Concert 16

Canberra International Music Festival

Australian Centre for Christianity and Culture, Braddon May 6

 

Reviewed by Len Power

The “Dunera”, a hired military transport ship, sailed from Liverpool, England for Australia in 1940 with 2546 men, ranging in age from 16 to 66. Most were German or Austrian, and most were Jewish. Many had fled to Britain in the 1930s to escape Hitler’s Reich. They were sent to internment camps in Victoria and New South Wales. While many returned to Europe after the war, others remained in Australia.

Music composed by one of the internees, Max-Peter Meyer, was played and sung on the ship and in the camps in Australia. Long forgotten, the music resurfaced in 2022. It was handed in a simple envelope to the Parish Music Director at the Holy Family Catholic Church in Lindfield, New South Wales by a church parishioner, Ossie Wolkenstein, who had been one of the Dunera group.

This “Dunera Mass” program consisted of the music composed by Max-Peter Meyer and by another of the transported men, Boaz Bischofswerder.

Narrated by Nicole Forsyth, whose father Dr. James Forsyth, was the Parish Music Director who had been given the music manuscripts. Her narration expanded on many of the details known about the Dunera incident, and informed the music we were about to hear.

The program began with the first movement of Meyer’s Piano Concerto played by the Meyer Quartet – David Cavenagh, piano, James Munro, cello, Pippa Newman, viola and Brad Tham, violin.

It was followed by “De Profundis” by Meyer sung by the Oriana Chorale with Roland Peelman on piano and Dan Walker conducting.

Soprano, Rachel Mink, then sang “The Moon Has Risen”, a traditional German lullaby. The melody of this song then appeared in a second movement of Meyer’s piano quartet, played by the Meyer Quartet. Its sentiment was very touching and must have had quite an effect on those on board the ship heading away from their homelands.

Boaz Bischofswerder’s “Phantasia Judaica” was also composed during the ship’s voyage in 1940. Four men of the Luminescence Chamber Singers sang the opening of the work with Roland Peelman on piano and Nicole Forsyth on viola performing the music.

The finale of Meyer’s Dunera Mass in D minor was performed by the men of the Oriana Chorale, conducted by Roland Peelman.

The playing and singing of the music of this entire concert was exceptional and every performer contributed to an overwhelming emotional experience which will be long remembered.

 

Photos by Peter Hislop

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

  

THE CHILDREN'S CRUSADE (CONCERT)

Concert 13

Canberra International Music Festival

Artistic Director Roland Peelman

Fitters’ Workshop, May 4

 

Reviewed by Len Power

 

“The Children’s Crusade” was an immense concert of several well-chosen works with children as the focus.

Duo pianists, Edward and Stephanie Neeman, were the first on the program with Maurice Ravel’s “Mother Goose Suite”. Narrated by Canberra actor, Christopher Samuel Carroll, it included extracts of these well-known children’s fables from Sleeping Beauty, Tom Thumb and Beauty And The Beast amongst others.

Carroll’s resonant voice delivered the words with a calming, enveloping warmth and Ravel’s colourful music was played with great sensitivity and colour. “The Conversations Of The Beauty and The Beast” was especially memorable for its appealing melodies so well played.

Next, Oscar Wilde’s “The Nightingale And The Rose” was given a fine reading again by Carroll with the sentiment at a well- judged level. Roland Peelman on piano and James Wannan on viola accompanied the words with music by Camille Saint-Saёns, the Sonata Opus 68 and the Vocalise from Parysatis. Sally Walker gave an ethereal sound of the nightingale with the piccolo.  The combined performance of words and music by these four artists was magical.

Benjamin Britten’s pacifist work, “Children’s Crusade”, tells the story of 55 children orphaned at the outbreak of war in Poland in 1939, traversing the snow together, battling hunger and conflict as they search for a land where peace reigns.

Triggered by one of Berthold Brecht’s most poignant poems, “Children’s Crusade 1939”, Britten’s work is a stark reminder of the impact of war on children.

Christopher Samuel Carroll gave a considered reading that brought out the poignancy of Brecht’s poem and it was followed by Britten’s work sung by Canberra’s Luminescence Children’s Choir.

Conducted by AJ America, the Choir sang this challenging work with confidence, producing a sound of haunting beauty. Several of the choir members had solo passages to deliver, many with difficult entries, but they all performed them very well.

Music for this work was performed by Edward and Stephanie Neeman, piano, Veronica Milroy, organ and the electrifying percussion was by Thomas Chalker, Valdas Cameron, Oliver Feitz, Demi Katheklakis and Emma Piva.

The final work of the evening was “Deine Mami”, a 2021 rendition of a touching letter written by composer, Sam Weiss’ great-grandmother to her little girl Nelly, as they were leaving Berlin in 1936. This melodic work was sung by the Luminescence Children’s Choir with astonishing beauty.

 

Photos by Peter Hislop

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