ROMANCE SUBLIME! - ART SONG CANBERRA (CONCERT)

Lorina Gore, soprano

Anthony Smith, piano

Wesley Music Centre, Forrest, March 29

 

Reviewed by Len Power

 

It’s a great experience to see an artist performing at the top of their game. It’s even more thrilling when she’s one of ours.

Soprano, Lorina Gore, completed her postgraduate voice studies at the Australian National University in Canberra and at the National Opera Studio in London. After winning numerous competitions nationally and internationally, she joined Opera Australia as a principal artist in 2008 and has since performed many roles for the company. She also enjoys a busy recording career as well.

Her accompanist on piano, Anthony Smith, is also a graduate of the ANU School of Music. He is a Canberra-based pianist, composer and musicologist. He has performed nationally as well as internationally and is currently repetiteur for three major Canberra choirs. This was his tenth appearance for Art Song Canberra.

The program commenced with 8 Gedichte aus Blätter (8 Poems From Last Leaves) by Richard Strauss. Set to the poems by Hermann von Gilm zu Rosenegg, Strauss composed the songs when he was only 21 years old. Three of the songs have become classics in the Lied repertoire. It was a great opportunity to hear all 8 songs performed together.

Anthony Smith (piano) and Lorina Gore (soprano)

Gore gave fine performances of each of the songs. From the hymn-like melody of the first song, Dedication, through the haunting and ethereal, The Night, Gore impressed with her emotional readings of the songs. Other highlights included The Dahlia with its enchanting vocal melody, Autumn Crocus, with its undertones of death, and the beautiful All Souls Day, the final song.

The second half of the program consisted of songs in various genres that have been part of Gore’s life and career, starting with songs discovered in her student days. She began with the wistful Stephen Foster’s No-one to Love and followed it with Kashmiri Song by Amy Woodforde-Finden. This beautiful song full of longing was given a superb performance.

The program continued chronologically and included songs by Liza Lehmann, Roger Quilter, Lerner and Loewe, Leonard Bernstein and Stephen Sondheim. The distinctive styles of these songs were all given excellent performances. So Pretty, a song for Peace by Bernstein was movingly sung as was Before I Gaze At You Again from the musical Camelot by Lerner and Loewe.

Anthony Smith (piano) and Lorina Gore (soprano)

Gore also impressed with her down-to-earth and disarming commentaries about the songs. Her story about obtaining an audition for ‘My Fair Lady’ in Sydney just so she could meet the director, Julie Andrews, was particularly amusing.

Her final song on the program, Sondheim’s Could I Leave You? was brilliantly sung and showed Gore’s skill as an actress. Throughout the program, Anthony Smith played the various music styles with consummate skill.

For an encore, Gore performed the Habanera from Bizet’s Carmen, inviting the audience to sing the repeated chorus response in the song. It was an exhilarating end to a memorable concert.

 

Photos by Len Power

This review was first published by Canberra CityNews digital edition on 30 March 2026.

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

  

3 ON 3 - APEIRON BAROQUE (CONCERT)

3 On 3 – Apeiron Baroque

John Ma (violin), Marie Searles (harpsichord),

Guest artists: Jared Adams (violin), Isaiah Bondfield (violin), Anton Baba (cello/gamba) and George Wills (theorbo/guitar)

Wesley Uniting Church, Forrest, March 22

 

Reviewed by Len Power

 

Apeiron Baroque can always be relied upon to provide something different in their concerts and this one was no exception. With three violinists and a continuo section of three more players, this ensemble certainly made beautiful music together.

John Ma (violin) and Marie Searles (harpsichord) were joined by guest artists Jared Adams (violin), Isaiah Bondfield (violin), Anton Baba (cello/gamba) and George Wills (theorbo/guitar). All artists had a formidable list of credits nationally and internationally.

From left: John Ma (violin), Jared Adams (violin), Isaiah Bondfield (violin), Marie Searles (harpsichord), Anton Baba (cello/gamba) and George Wills (theorbo)

Another of the delights of an Apeiron Baroque concert is to hear the music of less familiar composers. In this case, they played short works by eleven composers from the Baroque period including Vierdanck, Krieger, Roncalli, Balbestre, Finger, d’Hervelois, Schmeltzer and Dornel as well as the more well-known Telemann and Pachelbel.

They commenced with all six artists playing the lively Capriccio No. 26 by Johann Vierdanck. The melodic Sonata No. 5 by Johann Krieger was next with John Ma the solo violinist with the continuo. George Wills on guitar played a beautifully reflective Preludio and Passacaglia by Ludovico Roncalli and Marie Searles, harpsichord, played another quietly reflective work by Claude Balbestre.

The concert continued with a variety of works that each demonstrated the richness of the music from this period. Each member of the ensemble was featured in certain works. Highlights included a jaunty gavotte by Telemann, which the ensemble clearly enjoyed playing, as well as exquisite works by Marais, Schmeltzer and Dornel.

Violinists John Ma, Jared Adams and Isaiah Bondfield

John Ma provided lively and often amusing anecdotes about many of the composers. Claude Balbestre, for example, was one of the most famous organists of his time. His fame was so great that he was eventually forbidden to play as the churches were always too crowded when he performed.

The full ensemble concluded this excellent concert with a fine performance of Johann Pachelbel’s possibly now too well-known Canon. Ma explained, humorously, that in the life of every Baroque ensemble there comes a time when it’s inevitable that this work be played.

Photos by Peter Hislop

This review was first published by Canberra CityNews digital edition on 23 March 2026.

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

  

ALMOST, MAINE (PLAY)

Written by John Cariani

Directed by Zac Bridgman

Mockingbird Theatrics production

Belconnen Arts Centre to 28 March

 

Reviewed by Len Power 18 March 2026

 

In the play, Almost, Maine, identification is easy with the emotions of a group of young people quietly getting on with the business of love. Declarations of love are made at the wrong times, peoples’ jumbled emotions suddenly work in their favour and others experience lasting hurt. The small, almost town of Almost, Maine - we’ve been there or we’re going there.

John Cariani’s American play, first produced in Maine in 2004, explores love and loss in 9 short stories happening at the same time in a mythical town in northern Maine in the depths of a cold winter. The emotional journeys in the situations presented are universal.

Alexander Wilson and Wendy Wakwella

At the beginning of the play, a warmly dressed young couple are together on a park bench in a wintry and icy outdoor set under the stars. The setting, designed by Chris Baldock, is so effective, I began to wish I’d brought a jumper with me.

Alastair McKenzie & Wendy Wakwella

The cast of four, Alexander Wilson, Wendy Wakwella, Jayde Dowhy and Alastair McKenzie each play multiple personalities in these short stories. Their performances are very effective as each character they portray has to be established quickly. They handle overlapping dialogue skilfully, giving their characters an emotional honesty. They display fine comic timing and an exceptional ability to play non-verbal moments that are charged with meaning.

Alexander Wilson & Jayde Dowhy

Director, Zac Bridgman, has guided his cast through the various stories with great skill. He ensures the characterizations are well-balanced emotionally, and each story is visually effective and naturally paced.

The lighting and sound designs by Rhiley Winnett and Zac Bridgman are particularly atmospheric.

This play is a charmer. It’s both funny and painful but each of the characters are recognizable people, maybe even ourselves.

 

Photos by Chris Baldock and Zac Bridgman

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

  

THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE (MUSICAL)

 

Book by Rachel Sheinkin

Music and Lyrics by William Finn

Conceived by Rebecca Feldman

Directed by Nathan Patrech

Canberra Philharmonic Society (Philo) production

Act Hub Theatre, Kingston to 18 March

 

 

Reviewed by Len Power 12 March 2026

 

Using the ACTHub Theatre for this smaller scale musical was a clever move by Philo. The 100 year old Causeway Hall at Kingston provided the perfect atmosphere for the plot of the show.

A bunch of quirky students from various American elementary schools come together at Putnam County school to compete in a spelling competition (the ‘Bee’), which is run by three equally quirky adults.

The show might be quirky, but it needs a strong cast who can bring these colourful characters to life as well as handle the vocally demanding score. Everyone in this cast is more than up to the challenge and make the most of their individual moments to shine.

The ensemble performances of Amelia Andesson-Nickson, Dave Collins, Meaghan Stewart, Joe Mansell, Ella Colquhoun, Sterling Notley, Hannah Miller and Lachlan Nicholls as the students were excellent.

Director, Nathan Patrech, has staged the show simply. He allows the actors to have a lot of fun as adults playing adolescents, but the show is disciplined and fast-paced.

Of the adult characters running the Bee, Amy Kowalczuk is outstanding as Rona Peretti. It was good to hear this accomplished actress singing in a musical again. Tim Stiles gave a fine performance as the strong, but sensitive ex-convict and now Comfort Councillor, Mitch Mahony. Michael Cooper was very funny as Douglas Panch, the Vice Principal, with his officious and edgy performance as the word pronouncer.

Music director, Samara Marinelli, has obtained fine vocal performances from everyone in the cast. Lachlan Ruffy provided strong choreography that suited the individual characters. Jennie Norbury’s costumes looked very funny and somehow were worn just right by the students. The adults’ costumes were well chosen for a school function.

This is a funny, very noisy show with memorable characters. Before the show, audience members are given the opportunity to put their names down to participate onstage in the spelling competition. The three people selected on opening night clearly had a lot of fun and were pretty good spellers, too.

 

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

 

MY BRILLIANT CAREER (MUSICAL)

Book by Sheridan Harbridge & Dean Bryant

Music by Mathew Frank, Lyrics by Dean Bryant

Directed by Anne-Louise Sarks

Melbourne Theatre Company production

Canberra Theatre Centre, Canberra Theatre to 15 March

 

Reviewed by Len Power 8 March 2026

 

Miles Franklin’s much-loved 1901 book, My Brilliant Career, became a deserved success as a movie in 1979. Could lightning strike twice with this new musical staging of the story? The answer is a resounding ‘Yes’!

The story focuses on a young woman, Sybylla Melvin, in rural Australia in the late 19^th century whose aspiration to become a writer is at odds with society’s expectations of a woman at that time.

The cast of 10 create a series of vivid country characters and, when they’re not acting, they’re the musicians as well! With the band onstage throughout and part of the action, it’s like being at a bush concert with a story. Marg Horwell’s clever set design suggests the time and locations and her costume design adds period colour to the actors’ characterizations.

 

Kala Gare (Sybylla) and cast members

Outstanding in the Melbourne Theatre Company cast is Kala Gare in the central role of Sybylla. From the beginning, Gare draws the audience in with her energetic, brash, funny and deeply sensitive performance as this young woman. She sings superbly and dances like a whirlwind.

Kala Gare (Sybylla)

The other cast members play multiple roles. There is particularly fine work by Raj Labade as Harry, the man who wants to marry Sybylla, Drew Livingstone as Father and Jay-Jay, Ana Mitsikas as Grannie and Christina O’Neill as Mother and Helen. Melanie Bird, Lincoln Elliott, Cameron Bajraktarevic-Hayward, Victoria Falconer and Jarrad Payne also give vivid characterizations.

Mathew Frank, music, and Dean Bryant, lyrics, have produced a rousing score that blends contemporary pop, bush ballad and raucous pub rock. There are several memorable songs including, This Piano, Turn Away From The Mirror, I Will Wait With You and Someone Like Me. The whole cast play and sing this appealing musical score very well.

Kala Gare (Sybylla)

Expertly directed by Anne-Louise Sarks, this is a magical show that offers everything that a good musical should. The music lifts the story to another level emotionally, while the cast offer striking performances in this strong, well-presented story with an atmospheric setting.

 

Photos by Pia Johnson

This review was first published by Canberra CityNews digital edition on 9 March 2026.

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

  

VISSI D'ARTE - ITALIAN SONGS AND ARIAS IN RECITAL (CONCERT)

Eleanor Greenwood, soprano

Bradley Gilchrist, piano

Wesley Music Centre, Forrest, March 7

 

Reviewed by Len Power

 

In their recital, soprano, Eleanor Greenwood, and pianist, Bradley Gilcrist, demonstrated a rich tradition of Italian vocal expression. Song and aria alike were driven by drama, intensity, and emotional truth and the works gave voice to themes of love, longing, devotion and despair.

Greenwood is a graduate of the ANU School of Music and Royal Academy of Music Opera Studio. In 2023, she won the Opera Awards prize in Sydney, and she has performed across Australia, the UK, Europe and China. Recent role debuts include Tosca in Germany and Turandot in London.

Eleanor Greenwood (soprano)

Bradley Gilchrist completed a Bachelor of Music at the WA Conservatorium of Music, and post-graduate studies in accompaniment and piano performance in Sydney and Madrid. He has given solo and chamber music recitals across Australia and overseas and he has been repetiteur for many of Sydney’s chamber opera companies.

Bradley Gilcrist (piano) and Eleanor Greenwood (soprano)

Commencing with three love songs, Se tu m’ami (If you love me) by Giovanni Pergolesi, Amarilli by Giulio Caccini and Caro mio ben (Dearest my beloved) by Giuseppe Giordani, Greenwood sang with great sensitivity. Her rich soprano and clear diction made the songs an engaging opening to the recital.

Moving to opera, she performed a wide-ranging set of songs by Scarlatti, Gluck, Bellini, Verdi and Puccini. Singing with great control, her powerful voice seemed to make even the most difficult passages seem effortless. Her fine singing of O del mio dolce ardor (Oh, of my sweet ardor) from the opera, Paris and Helen, by Gluck, was one of the highlights of this recital. Gilcrist’s accompaniment for this song was particularly notable.

Her singing of the well-known Casta diva from Bellini’s Norma was another highlight, especially her unaccompanied singing towards the end of the song. The emotion displayed in her performance was impressive.

We were expecting the recital to finish with Vissi d’arte from Puccini’s Tosca, but after giving a superb performance of this difficult aria, we were treated to a fine Climb Ev’ry Mountain, then an aria from the Ring Cycle by Wagner and, finally, O Mio babbino caro (O my dear papa), also by Puccini.

The wide-ranging program of songs gave Greenwood the opportunity to show her vocal versatility and, with the fine accompaniment by Gilcrist throughout, the result was a highly memorable recital.

 

Photos by Dalice Trost

 

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

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

 

  

I SWEAR (FILM)

Written and Directed by Kirk Jones

Transmission Films

In cinemas from March 26

 

Reviewed by Len Power 5 March 2026

 

Based on the life of John Davidson, a Scottish man with severe Tourette Syndrome, “I Swear” is often fiercely funny but also warm-hearted.

Once regarded as a rare and bizarre syndrome, Tourette’s has been associated with the utterance of obscene words or socially inappropriate and derogatory remarks. It is no longer considered rare.

 John Davidson first displays Tourette’s in adolescence in the early 1980s. Society’s ignorance of the condition at the time causes conflict at home as well as punishment by teachers and the police. Only a local mental health nurse, Dottie, seems prepared to offer help and solace, while an elderly caretaker at a community centre, Tommy, provides John with a job.

While there are setbacks, John is eventually able to offer Tourette’s workshops, giving talks to schools and to the police. His work is ultimately recognized with an MBE award presented by Queen Elizabeth II in 2019.

Director and writer of the screenplay, Kirk Jones, bluntly presents the issues faced by Davidson from youth to manhood without resorting to sentiment. He is aided by an excellent cast of actors. Robert Aramayo plays the elder John Davidson in a standout performance that won him a 2025 BAFTA Award. Scott Ellis Watson plays the younger Davidson in an impressive debut performance. There is strong support from Maxine Peake as the mental nurse, Dottie, and Peter Mullan as the elderly caretaker, Tommy.

In the film, it is made clear that people do not know enough about Tourette’s. It ultimately shows that education, understanding and acceptance are essential to enable people living with the condition to have normal lives.

The journey taken with John Davidson is at times horrifying and confronting but it is also unexpectedly funny. This is a strongly moving and optimistic film. “I Swear” is likely be one of the most memorable films of the year.

Trailer: https://youtu.be/zhRgPCUKFiw

  

STRAVINSKY, SCHUBERT AND BEETHOVEN - MASTERPIECES FOR VIOLIN AND PIANO (CONCERT)

Jimmy Park, violin

Alexander Yau, piano

Wesley Music Centre, Forrest, February 28

 

Reviewed by Len Power

Showcasing masterpieces that embody the notion of a duo proved to be a very good idea for this pair of musicians, one on piano and the other on violin. They showed beyond doubt that they can play as one with three distinctive works by Stravinsky, Schubert and Beethoven.

Returning home for this special performance, Jimmy Park (violin) is currently undertaking post-master’s studies at the Mozarteum University in Salzburg. Alexander Yau, a Juilliard School graduate, is currently Associate Lecturer at the Sydney Conservatorium of Music.

They commenced their program with Igor Stravinsky’s Divertimento, originally written for the ballet in 1928 and arranged for violin and piano in 1932. This work is colourful, rhythmic and playful with an underlying tension. Yau and Park gave it a fine performance, clearly bringing out all the distinct characteristics of Stravinsky’s work.

The next item was Franz Schubert’s 1826 Rondo in B minor. This work is both highly energetic as well as lyrical, challenging players both technically and interpretively. Their performance was exciting and well-controlled throughout.

Jimmy Park, violin and Alexander Yau, piano

The final work of the program was Ludwig van Beethoven’s 1803 Sonata No. 9 in A – the Kreuzer.  This major work in three movements has a reputation for technical difficulty in performance, requiring the ability to achieve a wide range of emotion in the music. The performers met that challenge superbly, especially with their electrifying playing of the exuberant third movement.

These works may have tested the performers, but both appeared relaxed and you could sense that they were thoroughly enjoying playing together.

To end this concert of highly emotional music, the performers gave a calming encore of the sweetly romantic Liebeslied by Fritz Kreisler.

 

Photos by Dalice Trost

 

This review was first published by Canberra CityNews digital edition on 1 March 2026.

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