The great Australian baritone is joined by two rising star guitarists in a personal evening of opera and song.
Women and groups including women make up 56% of successful applicants.
The mezzo-soprano talks about her daring new project, which takes audiences deep into the inner workings of the human voice.
No gnus is good news as Swann's way sees serious poetry settings.
Review: Rudi Stephan: Chamber Works and Songs (Hanno Müller-Brachmann, Tehila Nini Goldstein, Hinrich Alpers)
Fascinating glimpse of a forgotten young composer.
The cult of courtly love revisited in exquisite performances.
Music by a talented composer with a tragically short career.
Going for a song, part 2: Martineau's Odyssey takes us on past Schubert's glory years.
The November 2017 issue of Limelight Magazine is your ultimate 2018 Season Preview. Use our comprehensive guide of orchestral, chamber, opera & vocal, dance, theatre, musicals, galleries and festival events to plan your 2018 cultural calendar.
Secular Suzuki Technique: More sparkling Bach as Masaaki Suzuki's latest journey approaches its conclusion.
Australians can thank comic genius Barry Humphries for the revival of interest in songs from the interwar Weimar Republic in Germany. As a young man he trawled Melbourne’s used bookshops and found a collection of scores from composers such as Kurt Weill, Franz Schreker, Hanns Eisler and Alexander von Zemlinsky, among others – all of them obscure names (apart from Weill, thanks to Louis Armstrong’s then recent version of Mack The Knife). The discovery sparked a lifelong passion, so much so that he put on a Weimar show with “kamikaze” cabaret star Meow Meow and the Australian Chamber Orchestra a few seasons back. More recently, several classical artists have turned their attention to this period in music history and the composers that either went into exile across the world or died in the Nazi death camps. Now it’s the turn of Australian baritone Peter Coleman-Wright and the excellent Nexas saxophone quartet with Ballads of the Pleasant Life on ABC Classics. There’s a good smattering of Weill, including favourites September Song, Mack the Knife and the ballad that gives the album its title, but the real finds are the political and work songs of Eisler and Zemlinsky and, a little pearl,…
Robert Hollingworth has, with customary thought and flair, thrown his little beans (I Fagiolini) into an interesting musical salad to honour Monteverdi’s 450th birthday and his own group’s 30th. His starting point is the only contemporary account of Monteverdi conducting Vespers: a Dutch tourist espied the maestro working away from St Mark’s on June 24, 1620 (the feast of the birth of St John the Baptist). Drawing key elements from Monteverdi’s monumental 1641 collection of liturgical music, Selva Morale e Spirituale (The moral and spiritual wood) Hollingworth fashions a Vespers service for that feast, embellished with vocal and instrumental music of the period. There is much exuberant singing and playing to enjoy in this programme, which eschews the perhaps more famous 1610 collection of Vespers music. (Mind you, 1641 contains the ever-popular Beatus vir with its walking bass.) Hollingworth is happy to give his cornettists, Gawain Glenton and Andrea Inghisciano free rein in the realm of ornamentation. The results are brilliant and impart a splendid sense of occasion. Florid vocal passages are also handled with consummate ease and clarity (Dixit Dominus) while intimate devotional moments, like Donati’s Dulcis amor Iesu! are equally touching. Together with The English Cornett & Sackbut Ensemble and…
South African-born English composer John Joubert turns 90 this year and SOMM Recordings are celebrating. In July, Clive Paget reviewed their recording of the opera Jane Eyre, remarking on Joubert’s stylistic resemblance to Britten. It’s very apparent in this choral music, written between 1952 and 2015. The polytonal harmonies, the word setting, and the choral voicings strongly recall the early Britten of A Boy Was Born and Cantata Academica, although Joubert’s settings are more robust. These traits appear clearly in Three Portraits, a setting of poems by Tudor poet John Skelton. The works are mostly unaccompanied, one exception the charming Autumn Rain (1985). The longest, most interesting work is South of the Line: an anti-war cantata, setting Hardy’s poems about the Boer War. The singers are accompanied by two pianos, percussion and timpani (very Noye’s Fludde), excitingly used. Two movements employ solo vocalists: soprano Chloe Salvidge is impressive in the demanding tessitura of A Wife in London. The Birmingham Conservatoire Chamber Choir used boys in their 2014 Howells recording, but this time the sopranos and altos are female. In fortes (such as Chorus 1 of Incantation, or the Sonnet Op. 123) the women overpower the men, whose tone is fairly…