The Class Of 85 – Bach Akademie Australia

The Class Of 85

The Class Of 85 Rating

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Last night I experienced something absolutely incredible: “The Class of ’85” by the Bach Akademie Australia featuring the divine voices of mezzo-soprano Hannah Fraser and soprano Susannah Lawergren.

The remarkable performance was held within the exquisite grandeur of St James’ Anglican Church Sydney, which was consecrated in February 1824 and named in honour of St James the Great. It is the oldest standing church in Sydney and reminiscent of a bygone era. The walls are adorned with plaques in memory of people from hundreds of years ago. I felt engulfed in the memories and rich history and I couldn’t resist pondering on all the events that might have taken place in the majestic building.

Initially, I was longing for the pipe organs standing before me to come to life but I was quickly comforted by the rare sound of a live harpsichord accompanying the orchestral melodies played by ten immensely talented musicians. One of the amazing violinists, Madeleine Easton, is the Artistic Director and founder of Bach Akademie Australia, she has graced international stages and was even invited to perform at King Charles’ coronation, performing on her 1682 Giovanni Grancino violin.

“The Class of ’85” is a tribute and exploration of four of the world’s most significant composers- Bach and his contemporaries Handel, Rameau, and Scarlatti. It is almost unfathomable that Domenico Scarlatti, George Frideric Handel and Johann Sebastian Bach were all born in the same year-1685 and only within a few hundred kilometres of each other. These remarkable musicians have continued to shape the world hundreds of years later with their incredible compositions.

But how did three such remarkable musicians, all born in the same year, become so noted in the same Baroque period? Was it that they influenced each other, or urged the other to succeed, or was it a simultaneous opportunity seized to create in the same musical movement? Either way, they are still impacting the world hundreds of years later and their influence on music and the arts has remained overwhelmingly steadfast. They have left behind a legacy that will surely live on indefinitely.

The vocal performances of Hannah Fraser and Susannah Lawergren were absolutely spellbinding. The perfect resonating acoustics in the church added to what I felt was an ethereal experience. My feelings were obviously shared by the entire audience whose chins were arched and heads visibly swaying, rendered overcome with emotion. So much so, that there was a compelling desire to close your eyes as to absorb the music in its entirety.

The entire church was engulfed by the beauty and spectacular experience. A pin drop could be heard. Not a soul spoke or whispered; it was as if a spell had been cast upon the room and only broken by intermittent applause.

I feel so humbled and honoured to have been invited to review this incredible performance: a cultural experience that has surely marked myself and other audience members for life. Thankyou from the bottom of my heart for allowing me to experience your excellence and witness a musical performance of the highest imaginable calibre.

To learn more about the Bach Akademie Australia, please visit https://www.bachakademieaustralia.com.au/.

Photographer: Keith Saunders

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The Countertenor – Bach’s Holy Spirit

The Countertenor - Bach's Holy Spirit

The Countertenor – Bach’s Holy Spirit Rating

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For a one-night-only performance on Wednesday, April 9, 2025, I had the opportunity to enjoy the presentation of The Countertenor—Bach’s Holy Spirit in the sacred surroundings of the Cathedral of St Stephen.

By going along to witness this performance of The Countertenor, I also discovered that a Countertenor is the male equivalent of a female alto singer. The Cathedral of St Stephen in Elizabeth Street is a very beautiful place to set a show featuring mainly Johann Sebastian Bach’s Baroque music. The venue’s reverent atmosphere and remarkable acoustics made it the perfect setting for a program steeped in spiritual and musical traditions.

Madeleine Easton is the Artistic Director of Bach Akadamie Australia and an extremely talented violinist. She has brought Reginald Mobley, an American Counter Tenor, on a tour of Australia, along with several other talented musicians: Simone Slattery (violin), Heather Lloyd (viola), Anthea Cottee (Cello), and Neal Peres Da Costa.

Together, they breathed life into J.S. Bach’s most religious works, some of which are universally considered to be among the greatest works the world has ever heard. Along with Bach’s existential works, Indigenous Australian composer Troy Russell was commissioned to write a piece inspired by Bach, which was also performed on the night.

The program title references the Lutheran theological belief that the alto voice represents the Holy Ghost—a voice that Bach reserved for some of his most heartfelt and moving compositions. The evening’s performance featured a selection of these sacred pieces, showcasing the purity and emotional resonance of Reginald Mobley’s voice, whose background also includes gospel and jazz.

The lyrics were all in German, but if you wanted to know what the words meant, they were written in English alongside the German in the programme. Madeleine Easton has done a wonderful job of arranging the music to suit the ensemble she presented. Classical music lovers filled the space, enraptured by the performance, and gave them a well-deserved standing ovation at the end of the evening.

The evening’s repertoire included:

  • Cantata BWV 170, aria 1: ‘Vergnügte ruh’
  • Obbligato Sonata No. 2 in A Major, BWV 1015
  • Cantata BWV 82, aria 3: ‘Schlummert ein’
  • Largo and Allegro Assai from Sonata no. 3 in C major, BWV 1005
  • Agnus Dei from Mass in B minor, BWV 232
  • Aria from BWV 201: ‘Aufgeblasne Hitze’
  • ‘Clans’ by Troy Russell, arranged for solo violin by Madelaine Easton
  • Cantata BWV 54: ‘Widerstehe doch der Sünde’

Photographer: Stephen Blake, Blake Photographic

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