IMMORTAL BACH (CONCERT)

Canberra Choral Society

Luminescence Children’s Choir

All Saints Anglican Church, Ainslie 16 September

 

Reviewed by Len Power

 

The history and provenance of J.S. Bach’s motets remain shrouded in mystery to this day. From within the known collection, there are several doubtful attributions and it is not known how many he wrote. Nevertheless, they remain favourites among choirs and audiences.

The program commenced with two motets.  First, the Canberra Choral Society sang “Komm, Jesu, Komm” (Come, Jesus, come). It was an excellent choice to open the concert and the singers’ voices filled the church powerfully and with great beauty.

It was followed by “Der Geist Hilft” (The Spirit Helps), surprisingly joyful and lilting, even though it had been written for a funeral. Both works were written for two-part choirs and it was fascinating to hear the contrapuntal interplay as the musical material passed from one group of singers to the other.

Canberra Choral Society and Luminescence Children's Choir, conducted by Dan Walker

Then the Luminescence Children’s Choir sang “Bist Du Bei Mir” (If you are with me). This work, from the 1725 collection known as the Anna Magdalena Notebook, is based on an aria by German composer Gottfried Stölzel, a contemporary of Bach. The children sang this beautiful, melodic work with clarity and an appealing sweetness.

They followed it with “Wir eilen mit schwachen, doch emsigen Schritten” (We hurry with weak yet eager steps), originally a soprano and alto duet from Bach’s Cantata no. 78. Again, it was nicely sung and it was notable that the children sang both works in German from memory.

Bach’s motet, “Jesu Meine Freude” (Jesus, My Joy) was then sung by the combined choirs. This work, one of the most popular and widely performed of his motets, was given a strong performance by the choirs. The parts featuring the children’s voices were haunting and sung with sensitivity and the combined voices of both choirs was powerful, especially in the “Gute Nacht, o Wesen” (Good night, o earthly existence) and the finale of the work.

Both choirs also sang the Final Chorus from Bach’s “St. Matthew Passion”, giving it a colourful and emotional performance and the concert ended with the Canberra Choral Society singing a fourth motet, “Lobet Dem Herrn” (Praise The Lord). This joyful, triumphant work was given a rousing performance by the choir.

Conductor, Dan Walker, achieved great results from both choirs and also provided witty, down to earth comments on the music. Anthony Smith, organ, and Lindy Rekstein, continuo, also provided fine support.

 

Photo by Peter Hislop

This review was first published by Canberra CityNews digital edition on 17 September 2023.

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

 

SPAMALOT (MUSICAL)

Book & lyrics by Eric Idle

Music by John Du Prez and Eric Idle

Directed by Jarrad West

Free Rain Theatre production

The Q Theatre, Queanbeyan to September 24

 

Reviewed by Len Power 14 September 2023

 

While ‘Spamalot’ was based on the 1975 English film, ‘Monty Python and The Holy Grail’, the musical was first seen on Broadway in 2005, where it won the Tony Award for Best Musical. It has been staged internationally ever since.

For this production, the director, Jarrad West, has chosen a bare stage concept with the orchestra and conductor on stage as well as a few audience members seated on the sidelines at tables that look suspiciously like wedges of a Round Table.

The show works with no sets because the absurdist Monty Python humour is all in the dialogue and songs.  They allow you to imagine King Arthur’s quest for the Holy Grail amid lofty castles, the Plague, an exasperated God and peasants covered in shit.

Luckily, Fiona Leach’s costumes provide all the atmosphere of the Middle Ages as well as the glitz and glamour that a Broadway musical needs. The enthusiastic cast work hard to bring out all the lunacy in the show and look like they are enjoying themselves hugely.

While the show is designed to look crazy and undisciplined, Michelle Heine’s choreography is anything but. She really knows Broadway-style choreography and gives us great dance routines that are apt and satirical all at the same time. The cast perform the busy dances very well, making several of them highlights of the show.

The orchestra under Ian McLean’s baton perform the appealing music very well. The singing of the cast was also strong but the sound was over-amplified at times, making it hard to pick up what was being sung or said.

King Arthur (Michael Jordan) and his Knights Of the Round Table

Amongst the cast, Michael Jordan does well as a humourless and idealistic King Arthur, while Darcy Kinsella as his trusty servant (and steed), Patsy, all but steals the show with his coconuts and hang-dog expressions.  Hannah Lance as the glamorous Lady Of The Lake scores with the song, ‘Whatever Happened To My Part?’

The Lady Of The Lake (Hannah Lance)

The rest of the cast get their moments to shine, playing a multitude of crazy characters.

If you ‘get’ this type of absurdist humour, you’ll have a good time with this production. As well as being very silly, it’s also a very good Broadway show that even satirizes itself.

 

Photos by Janelle McMenamin

Len Power's reviews are also broadcast on Artsound FM 92.7 in the ‘Arts Cafe’ and ‘Arts About’ programs and published in his blog 'Just Power Writing' at https://justpowerwriting.blogspot.com/.

  

JENNIFER HOU AND AARON CHEW FOUR-HANDS PIANO CONCERT

Wesley Music Centre, Forrest

 

Reviewed by Len Power 10 September 2023

 

A four-hands piano concert featuring works by Claude Debussy, Aristea Melos, W.A. Mozart and Franz Schubert in the capable hands of pianists, Jennifer Hou and Aaron Chew attracted quite a large audience who were treated to a memorable concert of appealing works played by these fine musicians.

Jennifer Hou is a solo and collaborative pianist based in Sydney and Canberra.  She received her Masters in Piano Performance from the San Francisco Conservatory of Music. She also holds a Bachelor of Music from The University of NSW as well as her AMusA (Distinction – 2008) and LMusA (2011).  She made her concert debut in 2018 with the North Sydney Symphony Orchestra.

Aaron Chew is a recent PhD graduate from the ANU School of Music. Before completing his PhD, he earned a Master of Music (Advanced) degree with First Class Honours and received a University Medal in 2016. In 2017, he became one of the first successful AMEB candidates in NSW to achieve the prestigious F.Mus.A. (Fellowship of Music) qualification.

Claude Debussy’s “Six epigraphes antiques” from 1914 was the first work played in this concert. It was originally written for piano duo. These atmospheric pieces were given a sensitive performance by the players, bringing out the haunting, mysterious qualities in Debussy’s music. “For the Egyptian woman” and “To thank the morning rain” were especially memorable.

The “Immigrant Suite” by the Greek-Australian composer, Aristea Mellos, was a delightful inclusion in the program. The work evoked aspects of her grandmother’s migration to Australia, her subsequently long working life and eventual retirement in Greece. The players brought out all the colour and atmosphere of a life in both countries with their fine playing.

After interval, the Sonata in D major K. 381 by Mozart and the Fantasie in F minor, D.940, Op. 103 by Franz Schubert were performed. These contrasting works, the Mozart bright and busy and the Schubert haunting and melodic, were good showcases for the abilities of these two superb artists.

They alternated between upper and lower parts on the piano for the four works.  In addition, their spoken introductions to the works were informative and delivered in a warm and friendly manner.

Photo by Peter Hislop 

This review was first published by Canberra CityNews digital edition on 11 September 2023.

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

  

THE HELLO GIRLS (MUSICAL)

 Written by Peter and Cara Reichel

Directed by Jason Langley

Playhouse, Canberra Theatre Centre to September 9

 

Reviewed by Len Power 8 September 2023

Taking us back to 1918 and the US Army in Europe, Heartstrings Theatre’s “The Hello Girls” tells the story of a group of female telephone operators who were recruited from back home in America to assist with vital communications at the Front in World War One. In that era only men went to war and it took many years for these women’s service to be recognized and honoured, blazing a trail for equality for today’s women in the armed forces.

Focusing on five women and the misogyny and sexism they faced while trying to do their work under trying conditions, this bright and clever musical is both entertaining and poignant. The music and lyrics by Peter Mills capture the times and characters in a mixture of styles from ragtime to folk and the musical director, Alex Unikowski, and his musicians bring out the colour in this clever and subtle score.

The attractive set of radio masts and telegraph wires, designed by Monique Langford, gives an instant atmosphere to this show with strong and creative direction by Jason Langley and appropriately energetic and quirky choreography by Amy Orman. The costumes, well-designed by Sarah Hordern, capture the World War One period but also reach forward with hints of present day fashions.

Rhianna McCourt and the girls

The show has a strong cast who all give fine, in-depth performances full of character. Rhianna McCourt is outstanding as Grace Banker, the leader of the five girls. From the outset she strongly establishes her in-charge character and later, in the song, “Twenty” she all but stops the show with a display of emotional fireworks as her frustrations boil to the surface.

The four other girls, Ylaria Rogers, Petronella Van Tienen, Jessy Heath and Kaitlin Nihill all play strongly individual characters, singing the complex songs with assurance. Their singing of the title song, “Hello, Girls”, was especially enjoyable.

Kaitlin Nihill, Rhianna McCourt, Ylaria Rogers, Jessy Heath and Petronella Van Tienen

Joel Hutchings is excellent as Captain Riser, an army man who is reluctant at first to accept charge of the women but who grows to recognize their contribution. He gave a confident and winning performance of the song “Marching Orders”.

 The other men in the cast – Joel Horwood, David Hooley, Jerrod Smith and Kaya Byrne - mostly play multiple roles but they bring each of their characters strongly to life.

With an atmospheric lighting design by Antony Hateley and clever sound design by Kyle Sheedy, this whole production displayed a highly professional polish, making this a memorable show.

Photos by Jane Duong 

This review was first published by Canberra CityNews digital edition on 9 September 2023.

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

 

MR BENNET'S BRIDE (PLAY)

Written by Emma Wood

Directed by Aarne Neeme

Canberra REP production

Canberra Rep Theatre, Acton to 23 September

Reviewed by Len Power 9 September 2023

Jane Austen wrote about love and marriage in the early 19^th century, detailing the manners of a society obsessed with maintaining the social order of the time.

Her much-loved early 19^th century novel, “Pride and Prejudice”, becomes the basis for Australian, Emma Wood’s 2014 play, “Mr Bennet’s Bride”, an imaginative “prequel” that takes place 25 years earlier than Austen’s novel.  It focusses on James Bennet, the father of Elizabeth Bennet in the novel, and how he came to marry Emily Gardiner, the daughter of his father’s lawyer, George Gardiner.

Director, Aarne Neeme, brings this world beautifully to life with a good-looking production that is full of energy and fine performances.  Amongst the large cast of ten, Rob de Fries excels as the quick-tempered Robert Bennet, James Bennet’s father.  The scene of his apology to his son late in the play is performed with touching sensitivity.

Sean Sadimoen (James Bennet), and Stephanie Waldron (Emily Gardiner)

Sean Sadimoen as James Bennet and Stephanie Waldron as Emily Gardiner display fine comic timing and Liz St. Clair Long is warm and motherly as Robert Bennet’s widowed sister, Mary Ellingworth, while also deftly hinting at her concern for her own future.

Terry Johnson is nicely smug and pompous as the odious cousin, Benedict Collins, and Iain Murray and Kate Harris do well as the anxious parents of Emily Gardiner.

In the smaller role of the servant, Mrs Graves, Sally Rynveld gives a sharply etched performance and there is fine character work early in the play from Rina Onorato as a nervous mother and Cameron Rose as a not very interested possible match for James Bennet.

The attractive revolving set showing two homes of different social standing was designed by Andrew Kay and Anna Senior’s eye-catching period costumes add much to the overall look of the play.

Having a knowledge of Austen’s story and characters is not necessary to enjoy this play but it adds another dimension if you do.  It gives us an insight into Jane Austen’s outspoken heroine, Elizabeth Bennet, and how her character and prejudices may have been formed by her parents.  Wood’s play, and this fine production of it, evoke the times, characters and manners so well, it feels like it could have been another Jane Austen story.

 

Photo by Karina Hudson

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

  

DIE SCHÖNE MÜLLERIN (CONCERT)

Brenton Spiteri, tenor

Andrea Katz, piano

From Songmakers Australia

Art Song Canberra

Wesley Music Centre 3 September

Reviewed by Len Power

For Art Sound Canberra, a change to a scheduled program was necessary due illness of performers but, luckily, Songmakers Australia was able to offer an alternate program, a performance of the Franz Schubert song cycle, ‘Die Schöne Müllerin’ with Brenton Spiteri (tenor) and Andrea Katz (piano).

Brenton Spiteri is an Australian-Maltese tenor who holds a Masters in Opera from the Guildhall School of Music and Drama.  He has performed for major companies around Australia and the UK. He has frequently collaborated with Sydney Chamber Opera, given numerous recitals at the Melbourne Recital Centre and is a former winner of the Herald Sun Aria.

A pianist, accompanist and vocal coach, Argentine born Andrea Katz is equally at home with Chamber Music, German Lieder and Grand Opera. Since becoming an Australian resident in 1990, she has worked with all major musical organisations in this country. She is the founder of Songmakers Australia, a vibrant vocal ensemble dedicated to perform repertoire in programs of superbly themed settings and song.

Andrea Katz and Brenton Spiteri

Schubert composed his music for ‘Die Schöne Müllerin’ to 20 of the poems by Wilhelm Müller in 1823. It tells a romantic tale of a young journeyman miller who follows a stream to a mill where he falls in love with his new master’s daughter. His desired love affair fails as she prefers a hunter and the young miller drowns himself in the stream that led him to her in the first place.

A challenge to sing, the song cycle ranges across various emotions from joy to sadness and despair.

Brenton Spiteri sang it very well and was equally effective in the happy earlier parts of the cycle as well as the darker second half. His performance of the opening song, ‘Wandering’ set the scene beautifully. He was impressively dynamic in the song ‘After Work’ and showed great sensitivity with, ‘The Inquisitive One’. His fine breath control was evident in ‘Impatience’ and ‘Morning Greeting’ was given a heart-felt performance.

As the mood of the cycle darkened, he was equally effective with the passionate delivery of ‘Jealousy and Pride’ and in the reflective song, ‘The Beloved Colour’.  His restrained performance of the final song, ‘The brook’s lullaby’ was very moving.

Andrea Katz accompanied the singer superbly.  Her playing of the music set the tone clearly for each of the songs. Together, she and Spiteri produced a memorable performance of this famous song cycle.

Photo By Peter Hislop 

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

  

CANBERRA BACH ENSEMBLE (CONCERT)

Conducted by Andrew Koll

St. Christopher’s Cathedral, Manuka to 3 September

 

Reviewed by Len Power 2 September

 

It is 300 years since Johann Sebastian Bach’s first cantata performance in Leipzig, Germany. To celebrate, Canberra Bach Ensemble‘s concert featured three of his cantatas, BWV 104, 85, 112 and the exquisite Mass in F, BWV 233.

The second Sunday after Easter was also known as “Good Shepherd Sunday”. The German word “Hirt” or “Hirte” in each cantata title corresponds to the English word “herd” or “herder”. A “sheep herder” becomes a “shepherd”. All three cantatas focus on this central theological motif.

 Andrew Koll was the conductor.

The concert commenced with an introit, “O, Lord Jesus Christ” by Johann Hermann Schein, a giant figure of early German baroque, who also held the position of Thomaskantor in Leipzig a century before Bach’s tenure there. The work set a fine atmosphere right from the start and the five soloists sang it very well.

Canberra Bach Ensemble

The first cantata, BWV 194 “Du Hirte Israel, höre”, commenced with the confident sound of the chorus and the stirring voices of Richard Butler (Tenor) and Andrew Fysh (Bass). The finale was given a particularly grand performance by the chorus.

“Ich bin ein guter Hirt” BMV 85 was notable for the performance by Maartje Sevenster (Alto), accompanied by the lone violin of Bianca Porcheddu and the fine playing by oboists, Kirsten Barry, Adam Masters and Fiona McMillan.

Violinist Bianca Porcheddu

Before the performance of the third cantata, the setting of Psalm 23 (The Lord Is My Faithful Shepherd) by the most important composer of the early and middle German Baroque, Heinrich Schütz, was performed. Followed by Bach’s “modern” setting of Psalm 23, the cantata “Der Herr ist mein getreuer Hirt” BWV 112, it was fascinating to compare the different musical styles of these composers who worked a century apart.

The opening of BWV 112 with the atmospheric call of the horns, played by Simon Wolnizer and Michael Dixon, and the beautiful combination of Greta Claringbould (Soprano) and Richard Butler (Tenor) in the duet were especially enjoyable.  The chorale finale was very colourful and led into a motet, again by Heinrich Schütz.

The orchestra performed all of the works very well and the concert was impressively well-planned with chorus and soloists silently moving into their places as required.

The final work presented in this concert was Bach’s “Missa in F BWV 233”. This was powerfully performed by the chorus and soloists Greta Claringbould (Soprano), Maartje Sevenster (Alto) and Andrew Fysh (Bass), bringing this fine evening of Bach to a rousing and satisfying close.

Photos by Peter Hislop 

This review was first published by Canberra CityNews digital edition on 3 September 2023.

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

  

THE CHILDREN (PLAY)

 

Written By Lucy Kirkwood

Directed by Tony Knight

Presented by Chaika Theatre

ACT Hub Theatre, Kingston to 9 September

 

Reviewed by Len Power 31 August 2023

 

What would be your priorities in the aftermath of a nuclear accident?  This question hangs over three people in British playwright, Lucy Kirkwood’s thought-provoking 2016 play, ‘The Children’.

Two retired nuclear physicists live in a remote cottage. They have moved there to be out of the exclusion zone of a nuclear power station where there has been a serious incident.  Life now has its restrictions like power failures and radiation-contaminated food and water but they cope as cheerfully as they can.  A third nuclear physicist and old friend from years ago suddenly joins them, but why is she here?

Clearly inspired by the 2011 Fukushima nuclear explosion in Japan, Kirkwood’s play poses a number of uncomfortable questions.  Written before the Covid epidemic, we nevertheless can relate to the problems that arise when life is restricted unexpectedly with no clear end in sight.  In spite of the downbeat situation, there is a surprising amount of humour in the play.

Kirkwood’s play impresses with its vivid characters and lively, realistic dialogue.  It also forces us to consider what our actions might be under similar circumstances and what decisions we would have to make.  Our behaviours on the surface may be very different to our hidden personal feelings.

Assisted by Sophie Benassi, the director, Tony Knight, has assembled a highly capable cast of three of Canberra’s top actors who bring these characters to life with their surface interaction but also their inner thoughts and feelings.  Karen Vickery, Michael Sparks and Lainie Hart all give memorable performances of extraordinary depth.

Michael Sparks, Karen Vickery and Lainie Hart

The set design is uncredited but it was impressive in its colours and simplicity and helped the cast to keep the audience focus on the dialogue. The effective sound design by Neville Pye combines everyday sounds with a threatening overall atmosphere.

Lucy Kirkwood’s play demonstrates why she is considered to be one of the ‘hottest’ British playwrights today.  Tony Knight’s direction and the performances of his actors bring it all memorably to life.

 

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