BAROCTOPUS (CONCERT)

Ariana Odermatt, harpsichord

Lauren Davis, violin

Ben Hoadley, bassoon & recorder

Clara Teniswood, cello

Wesley Music Centre, Forrest, 29 October

 

Reviewed By Len Power

 

Because eight busy hands are required to play these baroque music treasures, “Barocotopus” is certainly an apt and witty name for the ensemble of Ariana Odermatt, harpsichord, Lauren Davis, violin, Ben Hoadley, bassoon and recorder and Clara Teniswood, cello.

The concert offered several works from the baroque period of the 17^th and 18^th century. There were two works by the prolific Georg Philipp Telemann as well as compositions by Joseph Bodin de Boismortier, Nicola Porpora, Louis Marchand and Johann Heinrich Schmeltzer.

The concert commenced with de Boismortier’s “Sonata in G minor” for violin, bassoon, cello and continuo. Its pleasing, bright and jaunty opening movement took us directly into the world of the baroque and contrasted very well with the reflective Adagio second movement. It was nicely performed by all four players.

From left: Lauren Davis, Ariana Odermatt, Claire Teniswood and Ben Hoadley

Porpora’s “Sonata in F major” for cello and continuo was next in the program. This melodic work was very well played and the melancholy Adagio was the highlight.

After performing the first two works on bassoon, Ben Hoadley changed to an alto recorder for Telemann’s “Sonata in C major” for recorder and continuo. All four movements were very well played with the melodic first movement and the sensitivity of the third movement being particularly memorable.

Ariana Odermatt then played Marchand’s “Prelude and Allemande from Suite 1 in E minor” for solo harpsichord. This atmospheric work was melodic and reflective and was given a very fine performance by Odermatt.

There were also second works by de Boismortier and Telemann which, with different combinations of instruments, were appealing and played very well.

Schmeltzer’s “Sonata 2”, for violin and continuo, was also played and was notable for the beautiful playing of the violin by Lauren Davis.

As well as their fine playing of the various works, the performers took turns introducing each of them to the audience, giving interesting items of information about the composers.  Their relaxed, easy manner transmitted well to the audience and added another dimension to this fine concert.

 

Photo by Len Power

 

This review was first published by Canberra CityNews digital edition on 30 October 2023.

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

 

SPEAKING IN TONGUES (PLAY)

Written by Andrew Bovell

Directed by Cate Clelland

A Free Rain production

ACT HUB theatre, Kingston to 4 November

 

Reviewed by Len Power 27 October 2023 

Two couples planning to betray their spouses, meet up with strangers in a bar. A lover from the past wants to confront a woman to find out why she left him many years before, a neighbour is seen getting rid of a woman’s shoe mysteriously from his car late one night and the husband of a woman who has disappeared feels guilty because he did not answer her increasingly frantic phone messages.

In ‘Speaking In Tongues’, the random meetings of 2 couples set off a chain of events that are like the pieces of a jigsaw puzzle.  Incidents related by the characters that seem random eventually fit the overall picture, making it all a compelling and involving study of marital infidelity, guilt, poor communication and the nature of love.  Sadly, strangers are able to confide in other strangers but not with their own husbands and wives.

Australian playwright, Andrew Bovell’s play was first produced in 1996.  The award-winning play has since been produced nationally and internationally and was successfully adapted for the screen as ‘Lantana’.

The four actors playing nine characters artfully bring these people to life. Steph Roberts, Arran McKenna, Jess Waterhouse and Robbie Haltiner all give extraordinarily real performances.  Their vocal delivery and the non-verbal aspects of their characters have been carefully thought out.

Arran McKenna, Steph Roberts, Jess Waterhouse and Robbie Haltiner

Cate Clelland’s production has a simple but practical setting of moveable boxes that depicts the various scenes. While the movement in the play has been carefully staged, the scene changes by the actors themselves in half-light are a distraction from the fine atmosphere that has been carefully built up during the scenes.

Otherwise, the director, Cate Clelland, has obtained impressive, in-depth performances from her highly capable cast. Every moment rings true in this very entertaining and ingenious play.

 

Photo by Janelle McMenamin

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

  

FOE (FILM)

Screenplay by Iain Reid and Garth Davis

Directed by Garth Davis

An Amazon Studios production

Released through Transmission Films

Screening in Australia from November 2

 

Previewed by Len Power 19 October 2023

 

“Foe”, the new film by director, Garth Davis, is a very different film from his earlier film, “Lion” but, like its predecessor, poses persistent questions about the nature of humanity.

In 2065, in a Mid West that looks very much like barren outback Australia but is not specified, a couple live in isolation from an uncertain and troubled world. Late at night, a stranger shows up at their door with a startling proposal that has the potential to change their quiet existence forever.

Based on the novel by Iain Reid, this atmospheric film with its haunting imagery of a dystopian world, focuses on the relationship between these two people, Hen (Saoirse Ronan) and Junior (Paul Mescal), and the turmoil that the stranger, Terrance (Aaron Pierre) brings into their lives.  The couple’s relationship seems already uneasy but the stranger’s presence and his proposal tests them even further, bringing out hidden jealousies, fears and rage.

The subtle changes in the couple’s relationship, caused by the stranger’s proposal, are puzzling.  We want to know more about them and their reactions to what is happening than the story for some time allows.  The stranger seems somehow more in control and a threat, even though he is charming and friendly.  There must be more going on than we are being shown.

Saoirse Ronan (Hen) and Paul Mescal (Junior)

Saoirse Ronan and Paul Mescal portray a couple who clearly love each other but who have troubling aspects to their relationship that have the potential to tear them apart.  Much of what is conveyed about the couple is through their body language as much as the words spoken.  The actors give subtle, highly detailed performances, making them very real.

Aaron Pierce as Terrance, the stranger, also gives a finely detailed performance of a man who is in control but who may or may not be what he seems.

 

Aaron Pierce (Terrance)

The production design of this film by Patrice Vermette creates a strange, almost dreamlike world of the future that is very impressive.  Filmed in Victoria, Australia, certain exterior shots appear to have been made on the west coast of South Australia.

This deliberately paced film cleverly draws you into this couple’s isolated future world and the mystery of the stranger’s proposal. The questions raised about the nature of humanity (including artificial humanity) are intelligently realized, making us question the effect on humanity that we already are seeing in this increasingly technological world.

 

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

A NIGHT OF SPANISH MUSIC (CONCERT)

Luis Llaneza, baritone

Edward Neeman, piano

Shane Campbell, guitar

Larry Sitsky Room, ANU School of Music 20 October

 

Reviewed by Len Power

 

The lucky audience members at this first concert in Australia of Spanish baritone, Luis Llaneza, were treated to an extraordinary performance of Spanish music by this superb singer.

Luis Llaneza, baritone, was born in Spain. He has a wide repertoire of opera roles including Alfredo in “La Traviata”, Zarzuela roles, lieder, oratorios, chamber music and contemporary music. He has performed extensively in Spain and many other European countries as well as in numerous South and Central American countries and in Africa.

He was accompanied in the first half of the program by guitarist, Shane Campbell.  Beginning with “A La Luna Nací Yo”, a traditional Sephardic song, Llaneza impressed with his commanding voice, fine diction and sensitive singing of this atmospheric work.

Llaneza does not just sing a song, he performs it with dramatic intensity, bringing to life the full spectrum of emotions that the song is calling for. The way he uses his voice, his body language and eye contact gives you the meaning of the words even if you do not speak the language.

The first half of the program also included a set of Argentinian songs by Carlos Guastavino and three Spanish songs in honour of the poet, Federico García Lorca. Again, the audience was swept away into a world of strong feelings, of romance, of passion, pride and sadness. Llaneza gave them all an electrifying performance accompanied by the sensitive playing of Shane Campbell on guitar.

Campbell, winner of the ANU Whitworth Roach Classical Music Competition 2021, also played a guitar solo, “Homenaje A Debussy” by Manuel de Falla. It was an excellent, sensitive performance rich in colour.

In the second half of the program, Edward Neeman accompanied Luis Llaneza on piano with songs by the Cuban composers, Ernesto Lecuona and Eduardo Sánchez de Fuentes, the Mexican composer, Agustín Lara, and works by the Spanish composers José Serrano, Francisco Alonso and others.

Luis Llaneza

All were sung with great feeling from quiet emotions to thunderous moments of high passion. A standout was his singing of Lara’s “Rival”, which was given a thrilling performance.  Edward Neeman’s accompaniment for these songs was excellent.

While all of the songs were given great performances, Llanez also displayed a relaxed and friendly personality, providing the audience with anecdotes about the songs and engaging with them with his down-to-earth, grateful and charming smile.

 

Photo by Len Power

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

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

  

THE MYSTERIOUS FOREST (CONCERT)

Susannah Lawergren, soprano

Bernadette Harvey, piano

Art Song Canberra

Wesley Music Centre, Forrest 15 October

 

Reviewed by Len Power

 

 

An intriguing title for this Art Song Canberra concert promised forest inspired works and others of natural beauty by Mozart, Haydn, Grieg, Debussy and Lili Boulanger from Europe as well as works by the Australian composers, Ross Edwards and Katy Abbott.

Soprano, Susannah Lawergren, and pianist, Bernadette Harvey, presented a well-balanced program of songs and music with relaxed, amusing and informative commentaries about the works.

Susannah Lawergren has developed a reputation for her versatility and has sung with some of the foremost ensembles, composers and festivals in Australia.

An acclaimed international performer and teacher, pianist, Bernadette Harvey, was awarded the Centenary Medal in 2000 for her contribution to Australian Music. She performs regularly with Musica Viva in Australia.

The program commenced with four songs by Mozart – “The Violet”. “Evening Thought”, “In A Lonely Forest” and “May A Happy Calm Rise”. Lawergren sang each of them with great sensitivity, setting the atmosphere beautifully and moving easily between the differing emotions that the songs evoked.

Bernadette Harvey then performed Haydn’s “Andante with Variations in F Minor”, a solo piano work that was both reflective and joyful and added to the atmosphere of this celebration of nature. It was beautifully and colourfully played.

Bernadette Harvey and Susanne Lawergren

Four songs by Grieg followed. The highlights of this set included “One Day, My Mind” with its sombre mood finely sung with restrained emotion by Lawergren and “The Secretive Nightingale”, which she sang with great delicacy and feeling.

The songs presented in the second half of the program included works by Lili Boulanger and Claude Debussy that were very well sung. Australian composer, Ross Edwards, was featured with “Christina’s Lullaby”, a haunting song given a heart-felt performance by Lawergren and “Emily’s Song”, a solo, lilting piano work performed superbly by Harvey.

Two quirky modern works by the Australian composer, Katy Abbott, “On The Surface Of Things” and “Indoor Yachting”, were a delightful change of pace, sung with beauty and sly humour by Lawergren.

The final set of works was by Ross Edwards. It included a solo piano work, “Frangipani” and its fine melodies were given a nicely reflective performance by Harvey. “The Forest”, a challenging work, hauntingly sung and full of atmosphere, was the highlight of this group of songs.

Ross Edwards’ “Gadigal Bird Chant”, sung by Lawergren, was a work that evoked the sounds of birds in the Dharug language and it was the perfect ending to this fine, atmospheric concert.

Photo by Len Power 

This review was first published by Canberra CityNews digital edition on 16 October 2023.

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

  

OKLAHOMA! (MUSICAL)

Book & Lyrics by Oscar Hammerstein

Music by Richard Rodgers

Directed and Choreographed by Belinda Hassall & Christina Philipp

A Queanbeyan Players production

Q Theatre, Queanbeyan to 29 October

 

Reviewed by Len Power 14 October 2023

 

The impact of the first production of ‘Oklahoma!’ on Broadway in 1943 is still being felt in the shows being produced today.  Before ‘Oklahoma’, with only a few exceptions, shows relied on personalities, a pretty female chorus and a throw-away comic story-line to entertain theatre-goers.

So, it was quite a shock for those theatre-goers to see a show with real people and situations in a strong period story which even involved a killing.  Forever afterwards, producers scrambled to find stories of depth that could be musicalized, changing Broadway forever.

The fashion, however, these days is to take a show and alter it to suit a director’s interpretation, scaling down the book and cast to a minimum, swapping genders, cutting songs and altering musical arrangements.  Even ‘Oklahoma!’ did not escape this treatment in a revival production on Broadway in 2019.  The cast recording is almost unrecognizable as the same show.

Happily, the directors, Belinda Hassall and Christina Philipp, have opted to produce a straight-forward production for Queanbeyan Players that even looks similar at times to the original 1943 Broadway show.  It’s a refreshing change to see a production as beautifully mounted as this is and to watch a cast who are all believable as the characters they are playing and listen to them sing one memorable song after another.

The 1906 period set design by Jen Hinton and Thompson Quan Wing is substantial, practical and colourful. It’s a triumph of design and construction.

The chorus of the show on Jen Hinton's and Thompson Quan Wing's set

The principal roles have been very well cast. From the moment he first enters at the start of the show singing ‘Oh, What A Beautiful Mornin’’, Nathanael Patterson convinces as the young cowboy, Curly, of the period and his commanding vocal delivery of the songs is superb. He is matched very well with Demi Smith as Laurey, who not only sings beautifully but plays the darker, emotional scenes convincingly.

Nathanael Patterson (Curly) and Demi Smith (Laurey)

Amongst the rest of the principals there is standout work from Emily Pogson as a delightfully sexy Ado Annie, Ash Syme as Will Parker, a not very bright cowboy with a heart of gold, Paul Sweeney as the dark but strangely sympathetic farmhand, Jud Fry, Andrew Finnegan as the womanising, risk-taking peddler Ali, Britt Lewis as the irritatingly funny Gertie Cummins, Chris Bennie as the seasoned farmer, Andrew Carnes and Emma White as a wise and witty Aunt Eller.

The large chorus perform the songs and dances very well.  There is also strong character work amongst them.

Hearing the title song ‘Oklahoma!’ on a recording is always delightful, but to see and hear it sung by a live cast, lifting the roof off the theatre with their enthusiasm in a high quality production such as this, is an experience not to miss.

Photos by Michael Moore

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

 

TWELFTH NIGHT (PLAY)

Written by William Shakespeare

Directed by Heather Fairbairn

Bell Shakespeare production

The Playhouse, Canberra Theatre Centre to 21 October

 

Reviewed by Len Power 13 October 2023

 

There’s a lot to like and enjoy in Bell Shakespeare’s production of “Twelfth Night”.  This comedy of mistaken identities in an exotic land called Illyria has a bitter sweet appeal with mood-setting music by Sarah Blasko.

Separated by a shipwreck on the coast of Illyria, look-alike twins, Sebastian and Viola, create confusion when Viola disguised as a man, Cesario, falls in love with Duke Orsino while Olivia falls in love with Cesario, thinking she is a man.

The director, Heather Fairbairn, sees the play as an exploration of gender and sexuality, but some gender swapping of roles adds an extra level of confusion with twins, Sebastian, a male played by a woman (Isabel Burton) and Viola, played by a man (Alfie Gledhill) who pretends to be a woman.

The gender swapping continues with Malvolio, now called Malvolia, played by a woman (Jane Montgomery Griffiths). This change is more successful as Griffiths plays her as a female steward who has never known love and becomes a ripe target for a cruel practical joke.  Her performance brings out all of the comic and tragic elements of this character and is one of the highlights of this production.

Jane Montgomery Griffiths as Malvolia

The whole cast give fine, colourful performances in their various roles in this ensemble production.  As Feste, a jester to Olivia, Tomáš Kantor gives a notably physical and vocal performance.  His singing of the songs of the play to Blasko’s haunting, contemporary music is another highlight of the show.

The attractive and atmospheric set and costumes, designed by Charles Davis, with a clever lighting design by Verity Hampson, immediately suggests a strange and exotic location.  The staging by the director is creative and very well done.

Once you work out the gender issue of the twins, this is an involving and enjoyable production of Shakespeare’s classic comedy.

 

Photo by Brett Boardman

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

THE VISION QUARTET (CONCERT)

Musica Viva Australia

Llewellyn Hall 5 October

 

Reviewed by Len Power

 

On their first concert tour of Australia, the Vision String Quartet are four young men who come with a formidable international reputation. Founded in Germany in 2012, the quartet of four men, Florian Willeitner, violin, Daniel Stoll, violin, Sander Stuart, viola and Leonard Disselhorst, cello, presented a classical program of works by Ernest Bloch, Béla Bartók and Antonin Dvořák.

From left: Florian Willeitner, Daniel Stoll, Leonard Disselhorst and Sander Stuart

According to the program, “One thing that sets the Vision String Quartet apart is how they play from memory even when performing the most complex of classical repertoire. Without printed music in the way, they connect with intensity to the music, each other and the audience.”

Given the works presented, especially the Bartók, it certainly seemed to be a risky idea that added a certain tension to the evening.  The players made light of it, saying they had just “forgotten” to bring their music.

They began with Bloch’s “Prelude B. 63” of 1925.  Subtitled “contemplation”, this short work was quiet with a sense of withheld passion that the players captured beautifully.  It was a fine opening performance for the evening.

The next item, Bartók’s “String Quartet No. 4 in C major” was composed in 1928. It is the most celebrated of Bartók’s six quartets and is a rich, demanding work of 20^th century modernism. All five movements were given a notably clear performance, really bringing out the depth of feeling in the music. The haunting third movement and the pizzicato playing of the fourth movement were highlights of their performance of this work.

After interval, the quartet played Dvořák’s “String Quartet No. 13 in G major”, composed in 1895. This fine work was given a colourful performance that clearly brought out all of the composer’s motifs and themes. The Adagio second movement with its dark and melancholy Slavic theme, the bright and cheerful Scherzo and the rousing finish were the highlights of their performance.

Watching the quartet playing, you were aware that, in the absence of printed music, there seemed an increased reliance and trust between the players.  Eye contact and body language were more noticeable, adding another dimension to their extraordinarily accurate and enjoyable performances.

For an encore, the quartet played “Sailor”, a work from their 2021 album, “Spectrum”.  It was a rollicking, atmospheric and modern work that showed their versatility and sense of fun.

 

Photo by Charlie Hardie

This review was first published by Canberra CityNews digital edition on 6 October 2023.

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

  

MASTERWORKS FOR WINDS (CONCERT)

The Band Of the Royal Military College

Llewellyn Hall 30 September

 

Reviewed By Len Power

 

Looking at the resplendent uniformed large band with their sparkling instruments on the stage at Llewellyn Hall, we quickly realized we were part of a major event. We were not disappointed as the band performed for over two hours a program of 5 works for wind instruments with skill and obvious enjoyment.

The Band Of the Royal Military College

The second officer in command, Captain Natalie Dajski, conducted the first work, “Second Suite In F”, a 1922 work by Gustav Holst. It was a good work to begin the concert with its robust march that showed the band at its best with its full-bodied sound.

The second part of the work, “Song Without Words, ‘I’ll Love My Love’” showed the band’s ability to play sensitive, melodic music of great beauty. It was followed by “Song of the Blacksmith”, a part full of character and it concluded with “Fantasia On The Dargason”, a bright, melodic piece with a great finale.

The Officer Commanding, Music Director Major Matt O’Keeffe, then conducted the 2012 “2^nd Clarinet Concerto” by Spain’s Óscar Navarro. Band member, Cameron McPherson, played the solo clarinet for this work and showed his mastery of the instrument with a performance of haunting sensitivity. The band accompanied him very well throughout, right up to the thrilling finale.

Cameron McPherson and Major Matt O'Keeffe

Each of the works, introduced by the conductor, told a story and the next work, “Internal Combustion”, a 1999 piece by the American composer, David Gillingham, was no exception. From its dynamic opening, the work was clearly an homage to the motor car. The orchestra appeared to have great fun playing this work which was tinged with the humour of all the familiar sounds interpreted musically. The finale was spectacularly played.

After an interval, the orchestra played “Traveller”, a 2003 work by the American composer, David Maslanka. From its dramatic opening through to its quiet, reflective ending, this work covered all the stages of life’s journey. The band gave it a fine performance.

The final work of the evening, “Symphony No. 1 – Leunig’s Prayer Book” was surprisingly introduced by its composer, Australian, Jodie Blackshaw. Her clear description of its meaning prior to the playing of this work gave it an extra depth of understanding. Based on the four prayers of the Australian cartoonist, Michael Leunig, the work depicted a journey through life leading to the creation of a new sun, symbolic of a new life. The orchestra played this demanding work with colourful precision and great clarity, bringing this memorable concert to a thrilling close.

 

Photos by Dalice Trost

This review was first published by Canberra CityNews digital edition on 1 October 2023.

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