Following this concert I think the Vibraphone is my new favourite instrument. Think tubular bells mixed with a glass harp for the purest sound in an orchestra. As a tribute to Steve Reich who was influenced by Back to Coltrane and master of this instrument, the Ensemble Offspring offered a technically brilliant afternoon of sound. The self-effacing key speaker Claire Edwardes outlined the program and the ensembleâs history and love of Reichâs compositions and technical difficulty. She even wondered out loud why they had chosen some difficult pieces!
First up, Richard Cilli and Claire Edwardes strode on with metronomes and, accompanied by the amazing pianist Gabi Sultana, their body percussion and ballet melded sound, rhythm and the piano providing a surprising pulse. âMetronomesâ, offered Reichâs classic phrasing of repeat, review and revise. The bodies moved in time matching the metronomes as they were out of sync and then in-sync as if they were a piece of separate music. It was compelling in its fluidity.
Richard then stepped forward and with fluid balletic dexterity presented a conversation with a silent partner as if the beat, piano and his movements were debating with another to get some response regardless. Gabi pushed the piano as if it were vibrating to the music whilst her fingers ran across the notes mastering the difficult phrasing.
Next we had the famous piece, Quartet from 2013, which featured two vibraphones and two pianos – just in case! The nimble dexterity and clarity of sound was beautiful and the pace was fast and furious. Lots of counter questions and answers between all four performers as they delved into the complex harmonies and difficult twists of hands and instruments to match the rhythm, fast, slow, fast and then faster. It was amazing to watch the ballet of fingers using the mallets as if playing four keyboards on one instrument and the precision of the timing was everything.
The finale of the whole ensemble added a bass guitar, flute, clarinet, violins, viola and cello which circled the pianos and vibraphones. Radio Rewire from 2012, is a piece not for the fainthearted. With shards of Radioheadsâ Everything in Its Right Place and Jigsaw Falling Into Place, Reich offers a throwback to older composers using pre-existing music to weave in to their own variations on a theme. The piece moved back and forward in speed and finalised in a massive pure sound leaving the audience stunned by the sheer technical brilliance and the complex phrasing as variations were weaving around from each performer. The performance culminated in a cacophony of dynamic sound.
For a relaxing Sunday afternoon, being immersed in the sounds of film and gaming music scores performed by the Ku-ring-gai Philharmonic Orchestra (KPO) was perfection. The choice of songs was varied, from the widely known âStar Wars Suiteâ composed by the legendary John Williams to other songs that I was not familiar with, such as Jeremy Souleâs âSong of the Dragonbornâ.
The KPOâs deliberate choice of song order was clever, which took the audience on an emotional musical journey with ups and downs like a wave. The KPO alternated playing intense songs, then moved next to a quieter song, then back to a powerful piece.
A standout song was the meditative beauty âBenjaminâ, originally from the ABC/ International film and television series, âThe Hymns of the Forefathersâ. Listening to this song live was quite special, as we were fortunate to witness the composer conduct his own piece. The song âBenjaminâ was named after his three year old son. KPOâs Artistic Director and Chief Conductor Paul Terracini used his baton, signalling tempo and guiding the orchestra in all of the song performances, except this one. Instead, it was beautiful to see the love and depth of feeling he had for his own piece. He did not use his baton, he conducted with his whole body and arms, swaying to the tempo, and it was mesmerising to watch.
Before each performance, Terracini introduced each song with some background information on each composer and some information on the song. The KPOâs first song was the âStar Wars Suiteâ, and from the very first opening note, the power and precision of the orchestra created an exciting start. The âImperial Marchâ was played with perfect precision, with the sharpness of the trumpets, bassoons, trombones and tuba intermingled with the frenetic violins and full orchestration to create the menacing Darth Vader theme. This Suite arrangement displayed an example of the alternating powerful and gentle song format, with sweet and regal âPrincess Leiaâs Themeâ following the boisterous main theme. The different tempo and soft beauty of âYodaâs Themeâ with the harp, and the grandiosity of the âThrone Room and End Titleâ contrasted with each other and conjured up scenes from this classic movie into my mind.
The magic of the KPOâs music continued with âSpirited Away Suiteâ. Joe Hisaishi composed for Hayao Miyazakiâs animated films from Studio Ghibli. I had seen the 2001 anime âSpirited Awayâ a long time ago and did not remember the music, so it was with curiosity that I began to listen to this suite. The piano infused a gentle and curious beginning with âOne Summerâs Dayâ and as this song progressed, it shone of innocent wonder. The harp plucking represented the moon to me, in âNight Time Comingâ, with a lovely lullaby. This was followed by âThe Godsâ, which had a dramatic element, with the percussion leading the effects in some parts. This suite featured lovely solos by harpist Kaela Phillips and Concertmaster Violin Lead Anne Marie Braid. The effect of a solo, and then the orchestra joining in was effective in creating a musically flowing journey for the audience.
After the interval, the KPO performed the soundtracks and music from âSong of the Dragonbornâ, âThe Elden Ring 2022â, âSpartacusâ, âBenjaminâ and ended with âFellowship of the Ring Suiteâ.
Japanese Composer Yuka Kitamuraâs âElden Ring 2022â theme was arranged by Jonathan Shaw and was a very strong and powerful piece. Beginning gently, the quick metamorphosis into a highly dramatic theme, with the brass, wind instruments, violins, percussion and metallic percussion gongâs calling was impressive.
âSpartacusâ, was composed by Aram Khachaturian. This song was written for a ballet in 1954, and the retelling of a Thracian gladiator reuniting with his wife after she was captured, was romantic. The middle part of the song hinted at a shadowed darker time, and the echo of a call and response of the orchestra was instrumental in building the dramatic intensity to a crescendo. The ending of the song relayed the coupleâs tender love, as the tempo calmed and the lead violinist brought the story to a peaceful end.
Jeremy Souleâs âSong of the Dragonbornâ played next and began in the Dragonbornâs âtongueâ – shouts which are heard alongside the horns and violins and were an effective way to introduce the mood. This was an uplifting and courageous song and in some parts it lifted my imagination skyward. This was a very regal song utilising strong brass and percussion to create a mediaeval themed mood.
âThe Lord of the Rings: Fellowship of the Ring Symphonic Suiteâ, arranged by John Whitney, was the last piece the KPO performed and was a wonderful piece to end on. Composer, conductor and orchestrator Howard Shoreâs film scores have earned Academy Awards, Golden Globes and Grammy Awards and this suite, beautifully played by the KPO, showcased his talent. The LotR suite included distinct sweeping movements for different character themes. Most notably, the heavier colours during one part came through with sharp precision with the brass and percussion, and then was contrasted with the piccolo, flutes and strings for lighter moments.
The talented musicians from the the Ku-ring-gai Philharmonic Orchestra, led by conductor Paul Terracini created a magical afternoon. This was an encompassing musical journey into the imaginative world of make believe worlds of film, animation and gaming. If you are a music lover, you must listen to a live KPO performance in the future. There is a free community concert called Nothing is Forever, on September 20 2026 at the Turramurra Uniting Church.
Spirited Away Movie and Gaming Music was performed at The Concourse Concert Hall in Chatswood. Time: 2 hours with a 20 minute interval.
Les Femmesâ tagline says it all – âIconic Male Songs – Powerhouse Female Voicesâ. Indeed, it is their powerful voices and so much more that made their performance at The Grand Electric truly electrifying. The rich soulful voices of the Les Femmes trio are accompanied by the rhythmic twist of hips and sharply succinct dance choreography.
Emma Mylott, Tia Gigliotti and Jacinta Gulisano opened with a strong rendition of Sinatraâs Thatâs Life, which had the audience immediately cheering. With almost a full house for Sundayâs gig, The Grand Electric was the perfect home for a cabaret style performance. The space inside was not too large, and the stage jutting out with a small runway brought the singers closer to the audience at different times.
Les Femmes continued with iconic songs from the past bearing a Romantic theme. Singing the famous line âYouâre just too good to be trueâ, they sang Frankie Valliâs Canât Take My Eyes Off You with heart and heavenly harmony. They continued with a medley of beautiful songs such as How Deep is Your Love, When a Man Loves a Woman and Feeling Good (âItâs a new dawn, itâs a new day, itâs a new life for me, oooh, and Iâm feeling goodâ – you know you want to sing along!) These songs highlighted their rich and sensual voices singing in harmony. The high notes were delivered powerfully and sustained with apparent effortless skill but which must have taken countless hours of rehearsal.
There was a touching dedication to Les Femmesâ fathers acknowledging the musical influence on them growing up, with Elton Johnâs Your Song, The Temptationsâ My Girl and Cat Stevensâ Wild World being sung. For this part of the show, the women sat on stools and reminisced, and Jacintaâs dedication of Piano Man to her Grandfather was very sweet. One of my favourite songs was featured during this set, Totoâs Africa. Encouraging audience participation, we sang along and even did a âMexican Waveâ from one side of the theatre to the other and back.
The next segment were songs dedicated to âThe Players/ The Charmersâ and the mood became funkier, featuring a medley of songs such as My Pony, Justin Timberlakeâs Señorita, Stevie Wonderâs Part Time Lover, Everybody (Backstreetâs Back) James Brownâs Get Up, I Feel Like a Sex Machine. The roomâs energy changed with the theme and I found myself marvelling at these ladiesâ talent from switching from swing and R & Bâs soulful songs, to the more modern and funkier songs. The audience witnessed the change and were vocally showing their support, clapping and dancing in their seats.
Les Femmes combined their themes with audience participation. The three singers held a âfun quizâ, asking some male audience members questions to see which category of âGood Guy or Charmerâ they fit into. Fortunately they were good sports about this. The women were great hosts, and in-between singing they infused humour throughout their show at the right moments.
After a short interval, Les Femmes returned to the stage and performed their next set, dedicating this part to âThe Good Guysâ and kicking it off with a fantastic version of Black Boxâs Fantasy. I was very happy to hear this one, because my first ever CD was Black Boxâs Dreamland! Of course, Barry Whiteâs Canât Get Enough of Your Love Babe, Bee Geeâs Night Fever and Staying Alive were part of the medley for this theme.
By now, it was astounding hearing how versatile Gulisano, Mylott and Gigliottiâs voice ranges were. There was a mix of songs spanning decades, and the spin they put on these well known and loved songs was impressive.
When one performer took the lead for part of one song, the other two performers supported them with angelic harmony. The three singers had their opportunities to shine and one such highlight was during James Brownâs Itâs a Manâs Manâs Manâs World, and listening to their reaction of cheering and whistling, the audience thought so too.
To end their 2 hour show, the choice of Australian well known songs had everyone standing, dancing and singing. The medley included Daddy Coolâs Eagle Rock, INXSâs Never Tear Me Apart, Darryl Braithwaiteâs The Horses, John Farnhamâs Youâre the Voice and one of my absolute favourite songs, Dragonâs April Sun in Cuba.
At this point, I found myself wondering if there was anything these three singers couldnât do. They had showcased every genre of music, performed countless iconic male songs spanning decades, and danced with incredible energy and passion. Their performances were an everlasting love letter from them, to the beauty of music. Everyone would have left the theatre singing different songs. Les Femmes is not to be missed!
Duration: 120 minutes Location: The Grand Electric, 199 Cleveland St Sydney Tickets: www.bit.ly/3UlHCq4
The highly anticipated âSpirited Awayâ concert by Ku-ring-gai Philharmonic Orchestra brings the fun and excitement from the big and small screen to the concert stage this month.
The concertâs title comes from Spirited Away, the cult-classic animated film from 2001, directed by Hayao Miyazaki and produced by Studio Ghibli with exquisite music scored by Joe Hisaishi. The movie was a landmark in animated cinema and told of a 10-yr old girl, Chihiro, who stumbled into a mystical spirit world. It is the 25th Anniversary for this and the iconic score The Fellowship of the Ring – just two of many powerful and evocative pieces the KPO presents in the popular-themed annual concert.
The Fellowship of the Ring, the first film in the Lord of the Rings trilogy, won four Academy Awards, including Best Original Score at the 74th Academy Awards in 2002. Canadian composer, Howard Shore, scored all three Lord of the Rings films and continued his collaboration with director, Peter Jackson, in The Hobbit. Howard Shore has vast experience in a multitude of musical genres including jazz, rock, and pop and was the original music director on the iconic Saturday Night Live television program. His highly evocative music for the Lord of the Rings trilogy has made him one of the most influential composers for film.
Epic, atmospheric soundscapes from Nishiki Tsukasa Saitoh come next from the 2022 action video game The Elden Ring (main theme), weaving orchestral grandeur with haunting melodies. Star Wars Suite by John Williams adds intergalactic thrills. Multiple generations know the iconic opening credits âIn a Galaxy far, far awayâ from the original 1977 movie by George Lucas, which went on to become a series of nine. Aram Khachaturianâs âAdagio from Spartacusâ was originally scored for the ballet Spartacus and later adapted for the TV series ‘The Onedin Line’. The music evokes classic sailing vessels and the grandeur of maritime adventure.
Jeremy Souleâs ‘Song of the Dragon Born’, blending classical and Nordic influences, is the iconic theme released in 2011 for the game Elder Scrolls V: Skyrim. Finally, KPO’s own Artistic Director Paul Terracini features, with his score for ‘Benjamin’ from the 1997 film Hymns of the Forefathers, which then became a popular TV series.
Donât miss this spectacular musical event, Sunday 30 August from 3pm at the Concourse!
Tickets: Standard $60 | Concession $45 | Student/Child $30 | Family (4 tickets, max 2 adults) $150 Bookings and information: www.kpo.org.au
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