SHIPWRECKED! - APEIRON BAROQUE (CONCERT)

Wesley Uniting Church, Forrest, 21 April 2024

 

Reviewed by Len Power

 

Promising stormy vocal works by Baroque composers, Apeiron Baroque presented works for voice by Ariosti, Vivaldi, Handel and Hasse. In addition, there were instrumental works of other baroque era composers Biber, Uccellini, Cazzati, Vilsmayr and Bononcini.

The instrumentalists were John Ma, violin, Marie Searles, harpsichord, Lauren Davis, violin, Brad Tam, viola, Clara Teniswood, cello, and Henry South, double bass, with Tobias Cole, countertenor, performing the vocals.

Both John Ma and Tobias Cole gave the audience interesting and often entertaining and funny insights into the works they were about to perform. The works themselves required different combinations of instruments.

Commencing with il Naufragio (the Shipwreck) by Attilio Ariosti, Tobias Cole, countertenor, and the players created an atmosphere of the terror and heartbreak of a shipwreck. The last part of the work, the Largo, was especially memorable with its calmer beauty tinged with regret. It was played and sung with a moving sensitivity.

Tobias Cole

John Ma, violin. and Marie Searles, harpsichord, followed this with a performance of Marco Uccellini’s Sonata No. 2, la Luciminia Contenta. With its alternating fast and slow passages, it was a charming work played with great feeling.

All of the players with countertenor, Tobias Cole performed Mea Tormento, properate! (My torments hurry) by Johann Adolph Hasse. The dramatic and emotional allegro was followed by a reflective Lento that Tobias Cole performed with notable tenderness.

John Ma - photo by Joris-Jan Bos

The other instrumental works by Cazzati, Bononcini, Purcell and Handel were given fine performances. The work by Heinrich Biber was especially interesting as the performers all plucked the strings of their instruments, creating a pleasing ambiance for the work.

The Aria and Gigue by Johan Joseph Volsmayr began as a beautiful violin solo by John Ma. Suddenly, unseen violins could be heard off to the side and behind the audience, creating an echo effect that was unexpected and delightful.

The concert finished with Vivaldi’s Cantata, Cessate omai cessate (Cease, now cease) with all of the players and Tobias Cole. This emotionally dramatic work was given a strong, heartfelt performance by Cole, especially the aria, In the Horrid Cavern.

This tour through the baroque era with these composers was a thoughtfully devised and entertaining program. It was given well-earned applause by the near capacity audience.

 

This review was first published by Canberra CityNews digital edition on 22 April 2024.

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

  

FALASTEEN IN SONG (CONCERT)

 Ayşe Göknur Shanal, soprano

Embassy of the Republic of Türkiye, Yarralumla 18 April 2024

 

Reviewed by Len Power

 

Ayşe Göknur Shanal has won many prestigious awards and scholarships here in Australia and overseas. She has performed widely in the USA, UK, Europe and Asia including Opera Australia, Turkish State Opera and Opera Queensland.

She was accompanied by John Robinson, oud and guitar, Tarik Hüseyin, kanun, and Faruq Bin Buchari, percussion.

In the embassy’s beautiful Lalezar Hall, the seated audience surrounded the performers on all sides, giving the concert, Falasteen in Song, sub-titled “a concert in human solidarity with the Palestinian people, especially in Gaza”, a strong sense of community.

Ayşe Göknur Shanal and Faruq Bin Buchari, percussion.

Shanal sang Palestinian and Turkish songs, both traditional and contemporary. There were laments and songs of homeland and childhood, as well as songs of struggle and loss.

Each song was preceded by translations given by Shanal and her rich soprano voice gave the songs a clarity of emotion that was quite moving.

The atmospheric accompaniment of the Turkish instruments added immeasurably to the effect of the songs.

Joining the instrumentalists on the oboe for the song, Yumma mwein al Hawa, was guest, Laith Ismael, an esteemed woodwind performer who has worked with the Iraqi National Symphony Orchestra. Another guest, Farah Jirf, performed Zahrat al Mada'en in a duet with Shanal.

Many of the songs were known to the audience who joined in the choruses, the warmth in their voices adding further to the moving communal spirit of the evening.

 

Photo by Len Power

This review was first published by Canberra CityNews digital edition on 19 April 2024.

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

THE SHOE HORN SONATA (PLAY)

 

Written by John Misto

Directed by Lexi Sekuless

Mill Theatre at Dairy Road, Fyshwick to 27 April

 

Reviewed by Len Power 12 April 2024

 

First performed in 1995, “The Shoe Horn Sonata” won several awards for its Australian playwright, John Misto.

Based on true wartime events, two women (both fictional characters) are interviewed for television half a century after they were freed from a Japanese prisoner of war camp in the jungles of Sumatra.  Thousands of women and children had died there and were forgotten by their own Governments for the duration of the war.

Bridie Cartwright (Andrea Close), an Aussie battler and a British citizen, Sheila Richards (Zsuzsi Soboslay) meet for the first time since the war. Both women are noticeably different personality types and one of them has kept a terrible secret from wartime.

The nicely detailed set, designed by Annette Sharp, evokes memories of wartime experiences amongst live screens of a modern television studio. The action moves between on set interviews and Sheila’s bedroom in a hotel.

Timmy Sekuless provides the voice of the unseen television interviewer, gently coaxing memories from the two women. Leisa Keen’s sound design of voices, war-time sound effects and music create an apt, vibrant atmosphere.

Bridie Cartwright, a member of the Australian Army nursing corps during the war, has a forceful, lively personality. There is a marked vulnerability under the surface brashness of this character and her vocal inflections are nicely recognizable from women of that era. Andrea Close gives the character a remarkable depth as well as maintaining the bustling energy of this woman throughout the play.

As the British wartime nurse, Sheila Richards, Zsuzsi Soboslay plays a more retiring, fragile-seeming character. Soboslay adeptly hints at the pain this woman still suffers from her wartime experiences and then surprises by revealing a steely strength hidden under the surface. It’s a subtle, carefully detailed study of this woman.

Lexi Sekuless, the director, has given this play a memorable production that flows very well back and forth between the television station and the hotel room. The use of live images of the women as they are interviewed gives the immediacy of today’s electronic world, in sharp contrast to their vivid war-time memories.

The story of these women is harrowing, compelling and very well told. The reality is that these women were prevented from telling their stories after the war. Governments even destroyed their diaries, which they had risked their lives to keep secret. “The Shoe Horn Sonata” contains shocking revelations, as well as providing a memorable drama of two women who survived the horrors of that time.

 

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

 

BILLY ELLIOT: THE MUSICAL

Directed by Jarrad West

Musical Directors: Katrina Tang & Caleb Campbell

Conducted by Caleb Campbell

Choreography by Michelle Heine

Book & Lyrics by Lee Hall

Music by Elton John

A Free Rain Theatre Production

Q Theatre, Queanbeyan to 5 May

 

Reviewed by Len Power 11 April 2024

 

“Billy Elliot: The Musical”, based on the 2000 film of the same name, first opened in London in 2005. It was an enormous success, running for over 4000 performances before it closed in 2016.

A motherless boy, Billy, begins taking ballet lessons while his family struggle with the difficulties caused by the 1984–85 UK miners' strike in County Durham, in North East England. Despite his angry father’s bigoted view about boys learning ballet, his natural talent is nurtured by his teacher, Mrs Wilkinson.

The demanding role of Billy Elliot needs a young man who can sing, dance and act. Fergus Paterson’s charismatic dancing in the “Swan Lake (Dream Ballet)” and his singing of “Electricity”, as well as his dramatic interaction with other major cast members, showed an ability to create and maintain an in-depth characterisation.

Billy (Fergus Paterson) and the miners

Janie Lawson as Mrs Wilkinson gave a no-nonsense but warm portrayal as Billy’s dance teacher and was particularly impressive in the musical numbers, “Shine” and “Born To Boogie”. Alice Ferguson was highly amusing as a tough Grandma with a twinkle in her eye and Charlie Murphy gave a funny and believable characterisation as Billy’s friend, Michael Caffrey. His number with Billy, “Expressing Yourself”, was one of the highlights of the show.

Joe Dinn gave Billy’s father a threatening strength and there were fine and amusing performances by James Tolhurst-Close as Mr Braithwaite and Zahra Zulkapli as Mrs. Wilkinson’s daughter, Debbie. Jordan Dwight’s impressive dancing ability was highlighted in the “Swan Lake (Dream Ballet)“ with Billy. Other members of the featured ensemble had their moments to shine and the ballet school girls were funny and delightful.

Jordan Dwight (Older Billy) and Fergus Paterson (Billy Elliot)

Cate Clelland’s set with union posters on the walls were a constant reminder of the strike action being taken by the miners. The music was played very well, and the singing of the cast and ensemble was confident and enjoyable. The choreography by Michelle Heine was spectacular.

The poor sound design on the show was a major problem and at times it was physically painful to listen to. The show is difficult enough with North-East English accents to contend with, but the sound was generally too loud, causing vocal distortions and song lyrics to be unintelligible.

Apart from the sound issue, the director, Jarrad West, has brought together a show that is grand entertainment. It’s colourful, has extraordinary dancing, fine singing and polished performers in this often raw and strong musical.

 

Photos by Janelle McMenamin

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

 

 

SEAGULL (PLAY)

Written by Anton Chekhov

Translated by Karen Vickery

Directed by Caitlin Baker

Presented by Chaika Theatre

ACT Hub Theatre, Kingston to 21 April

 

Reviewed by Len Power 10 April 2024

 

Written in 1895 in Russia by Anton Chekhov, his play, “The Seagull”, has developed a classic status over the years, with characters and situations that still resonate with audiences.

An examination of human nature, the play focusses on a group of people who come together in a remote setting. They know each other well but their surface interactions hint at hopes and feelings that become clearer to us as the play progresses. Searching for love and recognition, they mostly find pain and desperation by looking in the wrong places.

In a new translation entitled “Seagull” by Karen Vickery, the setting is contemporary rural Australia. The modern dialogue gives a sense of recognition to the characters without losing any of the subtleties or humour in the text. It is clearly the work of someone who knows the play intimately and Vickery has successfully made it a play that modern Australia, especially, can relate to and embrace.

Caitlin Baker, the director, has set the first half of the play in a simple outdoor setting which relies on the location under the spotlit trees to give it an atmosphere of space and remoteness. The second half plays inside the theatre with a more detailed and conventional setting with old-style furniture, creating a feeling of claustrophobia that suits the intensity of that part of the play.

Amongst the cast, Natasha Vickery is particularly effective as Nina, her nervous, fluttery energy while desperately trying to impress others is endearing and ultimately moving. James McMahon plays the difficult role of Trigorin - enigmatic on the surface with a studied charm that arouses our suspicions. McMahon captures this character very well.

Karen Vickery is a tower of strength as Irina, the fading actress and a selfish, attention-seeking woman. Her desperation at the thought of losing her young lover is both frightening and pathetic. As Konstantin, Joel Horwood is thoroughly believable as a tragic, neurotic young man living in his mother’s shadow. Everyone else in this strong cast bring their characters to life with clarity, depth and colour.

“Seagull” is a success on every level. It’s thoroughly engaging, often funny and, ultimately, very moving.

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

 

 

ROMANTIC MASTERS (CONCERT)

Art Song Canberra

Andrew Goodwin, tenor, Roland Peelman, piano

Wesley Music Centre, Forrest 7 April

 

Reviewed by Len Power

 

It was a grey autumn day and the leaves were falling from the trees around the Wesley Music Centre in Forrest. It was the perfect atmosphere for a recital of bitter-sweet romantic songs by Schumann, Tchaikovsky and Rachmaninoff.

In a well-balanced program, Andrew Goodwin, tenor, and Roland Peelman, piano, took us on a romantic journey through Schumann’s Dichterliebe song cycle and five songs each by Tchaikovsky and Rachmaninoff. Roland Peelman also performed Schumann’s Arabesque Op 18 and Skriabin’s Etude Op 2, No 1.

Roland Peelman first played Schumann’s Arabesque. This melodic, reflective and romantic work, beautifully played by Peelman, set the mood for the rest of the recital.

Composed in 1840, the 16 songs of Robert Schumann’s Dichterliebe (A Poet’s Love) were set to poems by the German writer, Heinrich Heine.  These beautiful songs tell of the high and low points of a disappointed love, giving the singer an opportunity to express various emotions through the cycle.

Roland Peelman (piano) and Andrew Goodwin (tenor)

Andrew Goodwin gave a sensitive reading of the songs. He was particularly impressive in several of the songs. In Im wunderschönen Monat Mai (In the wondrous month of May), his excitement as a young man falling in love was very real. The rapid Die Rose, die Lilie, die Taube, die Sonne (Rose, lily, dove, sun) showed his remarkably clear diction and, in Ich Grolle nicht (I bear no grudge), his passionate singing was very moving.

Goodwin studied singing at the St Petersburg State Conservatory in Russia and, with his ability in the Russian language, he was able to bring a strong depth of meaning to his performance of the songs by Tchaikovsky and Rachmaninoff.

His moving performance of Why? by Tchaikovsky was outstanding and his wistful singing of Rachmaninoff’s Do you remember? was memorable.

It was also fascinating to compare both Tchaikovsky’s and Rachmaninoff’s different settings of Tolstoy’s poem, Do not believe it, my friend. Goodwin nicely brought out the turbulent emotions in the former and the victorious drama of the latter.

Throughout, Roland Peelman accompanied Goodwin superbly, bringing out all of the beauty and depth in these composers’ songs. His solo performances of Schumann’s Arabesque and Skriabin’s Etude were excellent.

The concert concluded with an encore of Goodwin singing L’ultima Canzone, a song by the Italian, Francesco Paolo Tosti. Goodwin’s performance of the song was thrillingly passionate and was the perfect ending to a highly successful concert.

 

Photo by Len Power

 

This review was first published by Canberra CityNews digital edition on 8 April 2024.

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/.

 

  

HEROIC MASTERWORKS (CONCERT)

Edward Neeman, piano

Tuggeranong Arts Centre 6 April 2024

 

Reviewed by Len Power

 

Putting together a program that included two “heroic” works by Beethoven and Chopin, plus an autobiographical work of Grieg, the pianist, Edward Neeman, gave a heroic performance that was quite simply exhilarating.

Australian-American pianist Edward Neeman has performed across five continents, holds a Doctorate from the Juilliard School and is currently a piano lecturer at the ANU School of Music.

Beethoven’s “Eroica” Variations was written before his well-known Symphony No. 3, the “Eroica”. The theme for the variations was based on the last movement of his symphony and it was fascinating to hear the wide range of styles in which the theme was presented.

Beethoven dedicated his “Eroica” Symphony to Napoleon Bonaparte and his anti-monarchic government, only to cross out the dedication in a rage when Napoleon declared himself emperor.

Edward Neeman

Neeman’s performance of the Variations was full of energy and colour and, being so close to the artist in the small Tuggeranong Arts Centre theatre, there was the opportunity to see the complexity of the playing that the work required. It was a thoughtful and memorable performance.

The next item on the program, Grieg’s Ballade, was a subdued, melancholic work that seemed autobiographical.  There were echoes of homesickness for his beloved Norwegian homeland as well as the influence of the time of his musical education in Germany. Neeman’s sensitive playing brought out the emotional depth in this work.

The third item on the program was the well-known “Heroic” Polonaise by Chopin, a work that was also linked with revolution. His lover, the French novelist George Sand, declared that she felt a deep symbolic connection between this polonaise and the 1848 French Revolution.

Neeman gave this work a precise and bright performance that underlined the heroic themes that stir the emotions. It was the perfect end to a superb recital.

Or so we thought…

For an encore, Neeman invited his wife, Stephanie, also a brilliant pianist, to the stage and together, they played a four-hand arrangement of William Bolcom’s 1969 piece, The Serpent’s Kiss, a ragtime inspired work that told the story of Adam and Eve in the garden of Eden.

This unique work was given a playful and thoroughly enjoyable performance by the Neemans, complete with foot-stamping, piano-slapping, unexpected vocalising and physical comedy. It was a delightful conclusion to this heroic concert.

 

Photo by Cassidy Richens

 

This review was first published by Canberra CityNews digital edition on 7 April 2024.

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/.