DOLCISSIMO - ART SONG CANBERRA (CONCERT)

Anna Fraser, soprano

Hannah Lane, Italian triple harp

Wesley Music Centre, Forrest May 19

 

Reviewed by Len Power

 

Dolcissimo, explored the flowering of Italian vocal music in a program by composers of the late Renaissance through to the Baroque. There were songs by Luzzaschi, Caccini, Rossi, Frescobaldi and others, played and sung by two eminent Baroque specialists, Anna Fraser, soprano, and Hannah Lane on an Italian Baroque triple harp.

Anna Fraser is a versatile soprano specialising in the interpretation of early and contemporary vocal repertoire. She is a graduate of the Sydney Conservatorium of Music and the New England Conservatory (Boston) and regularly performs with the Bach Akadamie Australia, Cantillation, Australian Haydn Ensemble, Salut! Baroque, Sydney Symphony Orchestra, Sydney Philharmonia Choirs and Ensemble Offspring. She also performed as a core ensemble member of the Song Company for over 10 years.

Anna Fraser

Hannah Lane is the leading Australian exponent of the Baroque harp. She studied in Milan, Italy with renowned historical harpist Mara Galassi. Hannah performs with leading ensembles throughout Australia and Europe, appearing at international festivals. She is a regular guest lecturer in historical harp at the University of Melbourne.

Hannah Lane

Both artists gave informative and entertaining explanations of the music and songs they were performing.  Hannah Lane explained that composers of that era were inspired by the virtuosity of the singer’s voice, giving their works an opulent ornamentation and layers of texture, resulting in a unique and fascinating sound.

As well as the songs accompanied by Hannah Lane, she also performed a number of works for harp only. The distinctive sound of the Baroque harp took you time travelling back to that 16^th and 17^th century period when the music was composed.

Anna Fraser’s singing also captured the period delightfully. The emotions in the songs were conveyed by the intricate ornamentation, creating a fascinating, haunting and often dream-like effect.  Combined with Lane’s playing of the harp, the overall effect was sublime.

While every song and solo harp piece were impressive, two works stood out as highlights. Giulio Caccini’s Dolcissimo Sospiro (sweetest sigh) and Lasciatemi qui solo (Leave me here alone) composed by his daughter, Francesca Caccini. The level of emotion conveyed in these works was extraordinary. This atmospheric concert was unique, entertaining and highly memorable.

 

Photos by Peter Hislop

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

 

GASLIGHT (PLAY)

 

Written by Patrick Hamilton

Adapted by Johnna Wright and Patty Jamieson

Directed by Lee Lewis

Presented by Rodney Rigby and Queensland Theatre

Canberra Theatre, Canberra Theatre Centre to 19 May

 

 

Reviewed by Len Power 15 May 2024

 

“Gaslight” was, first of all, a British play of 1938 called “Gas Light” by Patrick Hamilton. The play had a long run on Broadway in 1942, re-titled “Angel Street”, and was made into two movies, both called “Gaslight”. There was a 1940 British film and the more famous American film of 1944 that starred Ingrid Bergman and Charles Boyer. This current adaptation by Johnna Wright and Patty Jamieson, premiered at Canada’s 2022 Shaw Festival.

While there are variations in the different versions, they are all about a husband trying to drive his wife insane, with theft as the motivation.  While the term, “gaslighting” is not used in any of the versions, the play’s plot inspired the modern use of the term as a verb to describe the manipulation of people in a similar way to that of the wife in the play.

The performances of the cast of four were excellent. Geraldine Hakewill as Bella, the wife, gave a fine study of a nervy woman doubting herself at the start of the play and growing subtly stronger as the play progresses. Toby Schmitz was very effective as the evil husband, Jack, and Kate Fitzpatrick brought an impressive depth to her role as the stern housekeeper, Elizabeth. Courtney Cavallaro maintained a fine air of mystery in her role as the new maid, Nancy.

It’s certainly an expensive-looking period production with a substantial and detailed set and costumes designed by Renée Mulder. Amongst the impressive aspects of a generally clever sound design by Paul Charlier was the atmospheric sound of gas lamps being turned on and burning. However, the mysterious sounds from rooms above, that no-one but the wife can hear, sounded like a heavy locomotive being moved around. It was unbelievable that no-one else could hear it.

The play has a strong first act that plays very well with a particularly clever and startling moment just before the end. Unfortunately, the second act is not as effective, with a loss of tension and strange character motivations as well as dialogue near the end that is just laughable. The director, Lee Lewis, has staged it well but a good director cannot overcome script problems.

This adaptation of the play has been promoted in the media as “liberating” and “re-imagined”. It implies that the original play is somehow faulty and needed fixing. A quality amateur production of the original play was performed here by Canberra REP in 2015. It played much better than this misguided version.

 

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/ .

 

REVERIE CHAMBER CLASSICS (CONCERT)

Canberra Symphony Orchestra's Chamber Ensemble

CSO Chamber Ensemble

Albert Hall, Yarralumla May 12

 

Reviewed by Len Power

 

On a chilly autumn afternoon, Canberra Symphony Orchestra’s Chamber Ensemble presented a warming program of string quartets by Joseph Haydn and Edvard Grieg.

The Chamber Ensemble, consisting of Kirsten Williams, violin, Pip Thompson, violin, Lucy Carrigy-Ryan, viola, and Patrick Suthers, cello, began with Haydn’s String Quartet in F major, Op.50, No.5 The Dream.

Composed in 1787, it is one of 6 quartets of his Opus 50. Four of the quartets, including The Dream were lost for centuries until they turned up in a shopping bag in Melbourne in the 1980s. The find was a revelation to Haydn scholars.

This gorgeous work began brightly, surging along with energy and an underlying tension. It was followed by the serene second movement that earned this quartet the nickname The Dream. The ensemble’s playing of this part was exceptionally clear and quite moving.

The third movement, a minuet with dark undertones, was also given a fine performance leading into the finale, the playing of which was full of energy and sparkle.

The second item on the program was Grieg’s String Quartet No. 1 in G minor, Op. 27. It was the second of three string quartets written by the composer – the first is now lost. It was written in 1877-78.

Setting a dark tone at the beginning of the first movement, the richness of Grieg’s music carried through the whole quartet. His beloved Norwegian folk music informs the work throughout. It was given a colourful performance by the ensemble through all four movements. Their playing of the melodious second movement and the stirring finale was particularly enjoyable.

Right on cue, the sun streamed in through the large windows of the Albert Hall as the audience showed their appreciation for this charming concert.

 

Photos by Martin Ollmann

This review was first published by Canberra CityNews digital edition on 13 May 2024.

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

 

 

 

FOURTEEN (PLAY)

Writer: Shannon Molloy

Adaptors: Nelle Lee, Nick Skubij with Shannon Molloy

Directed by Nick Skubij

Shake & Stir Theatre Co.

The Playhouse, Canberra Theatre Centre to 11 May

 

Reviewed by Len Power 9 May 2024

 

You could be forgiven for thinking that a student’s homophobic experience involving gay-bashing, constant bullying and betrayal, must have occurred way back in the 1950s at least. In “Fourteen”, based on the best-selling memoir by award-winning journalist Shannon Molloy, it’s shocking that his story happened as recently as 1999.

Taking place at an all-boys rugby-mad Catholic school in Yeppoon, regional Queensland, where Molloy was a year 9 student, we follow him in a year of self-discovery set amidst this backdrop of homophobia – not just at the hands of his peers, but by the adults who were meant to protect him.

As much uplifting and funny as it is gut-wrenching and honest, this coming-of-age memoir is also a story of resilience, the fierce support of close friends and family, teenage hopes, dreams and the music of the time.

Shake & Stir Theatre Co. have transformed this story into a powerful theatrical production full of energy and imaginative staging. It’s a colourful, edgy entertainment that takes the audience on a whirlwind journey through this time in Molloy’s life.

Achieving an easy intimacy by speaking directly to the audience, Conor Leach plays Shannon Molloy with charm and strength. In spite of the madness around him, we sense that he will survive and be stronger for his experiences. It’s a highly-nuanced characterization.

 

Conor Leach as Shannon Molloy

The six other cast members, Leon Cain, Karen Crone, Judy Hainsworth, Ryan Hodson, Amy Ingram and Steven Rooke play multiple roles of the people in Molloy’s story. They are all effective and believable, creating a series of memorable characters.

Director, Nick Skubij, keeps the action moving at a break-neck speed. The level of his imaginative staging is breathtaking, utilising every part of the attractive and substantial multi-level set designed by Josh McIntosh.

Sound designer and composer, Guy Webster’s driving musical background of 90s hit songs adds immeasurably to the atmosphere of the time and the lighting design of Trent Suidgeest adds an appealing visual polish to the show.

Queensland’s Shake & Stir Theatre Co. have given us another highly original and memorable staging that is a raw and exciting entertainment.

 

Photos supplied by the production.

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

 

 

FIVE WOMEN WEARING THE SAME DRESS (PLAY)

Written by Alan Ball

Directed by Steph Roberts

ACT Hub Theatre, Kingston to 18 May

 

Reviewed by Len Power 8 May 2024

 

“I may be a slut, but I have standards!” declares one of the characters in ACT Hub’s new play, “Five Women Wearing The Same Dress”. While a Knoxville, Tennessee wedding rages on downstairs, five bridesmaids avoid the festivities by hiding out together in an upstairs bedroom. Over time, these very different women discover that they have more in common with each other than with the bride.

Written by American, Alan Ball, in 1993, the play is a celebration of the spirit of women. It’s very funny, truthful and ultimately touching as these women open up about their lives in a space where they feel safe and unobserved.

The ensemble cast of women, Winsome Oglivie, Kelly Roberts, Hannah Lance, Kristy Griffin and Charley Allanah, as well as Joel Horwood, the only male character, who appears late in the play, all deliver fine, in-depth characterisations.

Director, Steph Roberts, has achieved a high level of truth in performance, keeping the action flowing naturally in the restricted environment of a small bedroom.

The in-the-round setting, designed and constructed by Chris Zuber, works perfectly. A voyeuristic feeling is achieved with the audience surrounding the set on three sides.

Then there are the bridesmaid’s costumes. Designer, Fiona Leach, has produced a dress so perfectly awful in colour and design, that she might be in danger of starting a new fashion!

This is a refreshingly funny and truthful show, well-written, very well performed and directed. You need to get yourself invited to this wedding!

Photos by Ben Appleton, Photox Photography Services 

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

 

 

  

BUSTER KEATON ALIVE! CIMF CONCERT #14

Ashley Hribar, piano

National Film and Sound Archive, Acton May 5

 

Reviewed by Len Power

 

Silent movies were never meant to be silent. In major cities they were often accompanied by resident live orchestras in cinemas and even small towns had at least a lone pianist to accompany a movie. Often studios issued full scores for these orchestras to play but, in the smaller places, single pianists would simply improvise the music as the movie played.

 Ashley Hribar is an Australian born pianist-composer-curator whose projects embrace multimedia, world music, cross-disciplinary art forms and traditional genres. He is also an avid lover of the silent film genre and holds a PhD from the University of Adelaide. He has performed at numerous festivals and distinguished venues internationally and has released many recordings.

Ashley Hribar

In this program, Hribar accompanied two silent films by American actor, comedian and film director, Buster Keaton, best known for his silent films made during the 1920s.  In his films, Keaton frequently maintained a stoic, deadpan facial expression that became his trademark and earned him the nickname, The Great Stone Face.

The first of the two movies shown was Cops, a 1922 American two-reel silent comedy about a young man (Buster Keaton) who accidentally gets on the bad side of the entire Los Angeles Police Department during a parade and is chased all over town. Full of breathless stunts and ingenious invention, the movie is very funny and a classic crowd-pleaser.

Highlighting the romantic and dramatic moments as well as the increasingly frenzied police chase, Hribar’s accompaniment to this film was extraordinary. He improvised as the film played, giving an original response with his accompaniment that was edgy, musical and always totally appropriate.

The second film was Sherlock Jnr, made in 1924, in which Buster Keaton stars as a projectionist who moonlights as an amateur detective. When the cinema is empty, he reads a book, How to be a Detective. With its clever screenplay, state-of-the-art special effects, as well as sight gags, stunts and acrobatics, this film is often cited as one of Keaton’s best.

Ashley Hribar accompanies Buster Keaton's "Sherlock Jnr"

As well as accompanying the film on the piano, Hribar utilized electronics, drum machines and sound effects, creating a soundscape that captured the various moods and tempos of the film perfectly.

Being so used to sound films, it was easy to forget that this was a live accompaniment, so effective was Hribar’s playing. Taking your eyes off the screen for a moment to watch him in action, you were amazed by the speed of his fingers on the keys, as well as his arrangement of sound effects, all perfectly timed.

At the conclusion of the program, the audience responded enthusiastically for Hribar’s excellent sound contribution. This opportunity to watch silent movies with the power of an expert live accompaniment was not to be missed.

 

Photos by Peter Hislop

This review was first published by Canberra CityNews digital edition on 6 May 2024.

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

  

AMERICAN MODERN CIMF CONCERT #11

James Fairfax Theatre, NGA May 4

 

Reviewed by Len Power

 

There was clearly a huge interest in modern music as the near capacity crowd enjoyed a concert of works by the America composers Steve Reich and Meredith Monk and Australian-Dutch composer, Kate Moore.

Commencing with Reich’s 1972 composition Clapping Hands, Roland and Florian Peelman gave an excellent performance using only their hands.  In this work, two people clap the same rhythm. One performer gradually shifts the pattern one fast beat at a time, twelve times consecutively, until they come back together. The resulting phasing is mesmerising.

Florian Peelman (left) and Roland Peelman (right)

Roland Peelman, after pausing momentarily for his hands to recover from the clapping, then played Kate Moore’s 2008 work, Spin Bird, on piano. This reflective work of repeating sequences was beautifully played.

Bulgarian, Pavel Ralev, then played Reich’s Electric Counterpoint on acoustic guitar. This minimalist composition in three movements for guitar was played against twelve pre-recorded layers. The sonic impact of this work was astounding and much of the joy of listening to this work was enhanced by watching Ralev play it.

Pavel Ralev

Roland Peelman, piano, and Florian Peelman, viola, followed with Meredith’s Monk’s 1981 work, Gotham Lullaby. This minimalist work with its appealing melodies was given a fine performance.

The final work of the concert was Reich’s 1988 work, Different Trains. It was performed by the Dudok Quartet Amsterdam. In this work for string quartet, tape and recorded speech, Reich compared and contrasted childhood memories of his train journeys between New York and California in 1939–1941 with the very different trains being used to transport European children to their deaths under Nazi rule.

Dudok Quartet Amsterdam

The Dudok Quartet mentioned that the playing of this work coincided with the May 4^th Dutch Remembrance Day when victims of the second world war were commemorated. The quartet played against their own layers of three string quartet recordings, producing an atmospheric and memorable experience.

Hearing some of the most iconic works of the late 20^th Century played with extraordinary skill by these renowned artists was an experience not to be missed.

 

Photos by Peter Hislop

This review was first published by Canberra CityNews digital edition on 5 May 2024.

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

 

THE ACTRESS (PLAY)

 

Written by Peter Quilter

Directed by Aarne Neeme

Canberra REP production

Canberra REP Theatre, Acton to May 18

 

Reviewed by Len Power 3 May 2024

 

Dramas about the theatre and its people attract us for all sorts of reasons. For many, to gain an insight into that mysterious and glamorous world of actors is irresistible and, for others lucky enough to have been involved in the theatre, it reminds them of that experience and the emotions that it stirred.

Peter Quilter’s play focuses on the evening of the final performance by celebrated actress, Lydia Martin, before she retires to a quiet life in Switzerland. Various people in her dressing room before, during and after the performance cause her to reflect on a life spent being someone else. Does she know who is she in real life?

Liz St Clair Long, who has appeared in many fine roles over the years in Canberra theatre, plays the actress, Lydia Martin, with an exceptional understanding of this character of the theatre. Her interaction with the people in her life is demanding, imperious, mannered, and yet tinged with sadness. A force of nature, she nevertheless seems lonely despite being surrounded by people. St Clair Long captures all facets of this elusive character superbly.

Liz St Clair Long as Lydia Martin

The other cast members give fine performances as well. Sally Rynveld as Lydia’s dresser, Katherine, effectively brings a strong, calming influence to her role while subtly showing her real feelings underneath. In a well-rounded performance, Rob De Fries plays Lydia’s ex-husband with an arrogance that covers his unresolved emotions about their past relationship. Jane Ahlquist as Harriet, Lydia’s agent, gives a nicely shaded performance of a woman who is cheerful on the surface but is hiding darker thoughts underneath.

Saban Berrell, Kate Harris and Jazmin Skopal all give fine performances as well.

The strength of Aarne Neeme’s production is in the depth of characterisations achieved by everyone in his cast. He brings this theatrical world vividly to life, making this an entertaining and thought-provoking play.

 

Photo by Eve Murray

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

 

COMPASSION - CIMF CONCERT #3

Snow Concert Hall, Red Hill May 1

 

Reviewed by Len Power

 

The opening gala concert of this year’s Canberra International Music Festival was indeed very gala and emotionally uplifting with a program filled with compassion.

For the first part of the program, Compassion Now was performed by Australian, William Barton, didgeridoo and voice, Persian-Australian, Hamed Sadeghi, tar and Belgium’s jazz virtuoso, Bram De Looze, piano.

Bram De Looze, piano, William Barton, didgeridoo and Hamed Sadeghi, tar

The combination of three very different musical traditions was spellbinding. From the haunting opening with Barton’s didgeridoo, we were taken on a musical journey that was both ancient and modern. Sadeghi’s playing of the Persian tar gave a sensuous feeling of cultures past and present and De Looze’s appealing jazz rhythms complimented Barton’s unique Australian sound created by his didgeridoo and vocals.

The second part of the program was Compassion, composed by Lior Attar and Nigel Westlake in 2013. This song cycle for voice and ensemble consisted of original melodies and orchestration set to ancient texts in Hebrew and Arabic, themed around the wisdom of compassion.

Lior Attar

Lior himself performed the vocals and the starry ensemble included Véronique Serret, violin, Victoria Bihun, violin, Florian Peelman, viola, Freya Schack-Arnott, cello, Ben Ward, double bass, Claire Edwardes, percussion, and Ronan Apcar, piano. It was directed by Roland Peelman.

Ronan Apcar, piano, Véronique Serret, violin, Victoria Bihun, violin, Lior Attar, vocals, Florian Peelman, viola, Roland Peelman, director, Freya Schack-Arnott, cello,  Claire Edwardes, percussion, and Ben Ward, double bass.

Nigel Westlake’s dynamic music was richly colourful.  It was intense, dreamlike and had an enveloping warmth, especially in the final Hymn of Compassion. It was superbly played by the ensemble.

The texts of Compassion deal with clarity, integrity, mercy and wisdom. Lior’s beautifully clear voice and the earnestness of his performance made this a compelling and memorable experience.

Lior’s simple and pleasing encore song finished with the words, Compassion is the measure of a man. It was a sobering thought to remember.

 

Photos by Peter Hislop

This review was first published by Canberra CityNews digital edition on 2 May 2024.

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