Review: The Central Australian Aboriginal Women’s Choir

Central Australian Aboriginal Women's Choir

The Central Australian Aboriginal Women’s Choir Rating

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6

“Try connection, try love, try understanding: it will fill your hearts with joy and change your life!” This plea from the heart of Morris Stuart, Artistic Director of the Central Australian Aboriginal Women’s Choir (CAAWC), could be the catchcry of this unique ensemble. The values of connection, love and understanding underpin the choir’s history and allowed two seemingly disparate cultures to find a common ground in singing.  German Lutherans arrived in Hermannsburg/Ntaria, NT, in 1877 bringing hymns of faith. They collaborated with Western Arrarnta people to the translate the hymns into Western Arrarnta language. The old musical form from overseas merged with the old language of the interior, and both were preserved in a new form by four generations of Western Arrarnta women, some of whom are singing in the choir today.

The significance of this preservation, particularly for a threatened Aboriginal language, is revealed in Naina Sen’s documentary “The Songkeepers” (2017), available on SBS, which followed the CAAWC’s 2015 journey to Germany to sing sometimes forgotten hymns to the churches that originally sent them, in the languages of Western Arrarnta and Pitjantjatjara 140 years later.

The CAAWC performed at the Melbourne Recital Centre on Sunday 23rd March to a very supportive audience. The choir of 25 members (including four men) have a very distinct sound due to the thick, guttural, nasal quality that is the preferred vocal timbre of Aboriginal musicians. The hymn arrangements from the time of Bach to early Romantic period take on a new life with this tonal quality and use of Central Australian Aboriginal languages. Every song was infused with joy and there was an artlessness about the performance that engaged me in its honesty.

Most of the sacred songs were Lutheran hymns with lyrics translated into Western Arrarnta or Pitjantjatjara. With Aboriginal languages increasingly endangered, this choir and its members are living history. To be able to sing for us in their first language is a privilege that has had to be fought for. It is a continuing conversation about culture and language preservation that the choir invites us to have. Artistic Director, Morris Stuart, reminded us that Areyonga/Utju’s 50 years of bilingual education program in the NT had to be fought for, even to the point of involving the Human Right’s Commission.

I was particularly interested the two sacred songs in the repertoire that were original compositions. One was written in 1921 by Western Arrarnta elders, Moses Tjalkapurta and Johannes Ntjalka in the style of a traditional ceremonial chant (3- line chant) with modern harmonic elements. Some of the choir members are their descendants.

The other original song was “Godanya” written by Carolyn Windy, her niece  Petrina Windy (both choir members) and Adelaidean Holly Webb. It celebrates the Holy Trinity – God the Father, Son and Holy Spirit. To me this song was the highlight of the evening. The influence of hymn was there in its strophic form and diatonic harmony. However, the synergy of words and melody was remarkably seamless and the simple homophonic texture gradually grew into a wall of sound, unified and balanced, with no unnecessary movement. There was a power in its compositional simplicity that moved me. The choir was particularly of one voice in this song – my guess is that it must be one of their favourites – like one person breathing. In a later conversation with Morris Stuart, he agreed that it is the choir’s “tour de force”. It is more original songs like this that I look forward to hearing in the future.

Apart from the early Romantic style hymns and original sacred songs, we were treated to a Bach Chorale conducted by teacher, linguist and author, David Roennfeldt, as well as two German rounds with Western Arrarnta lyrics by Lily Roennfeldt.

There was also a short set of three more familiar songs which were beautifully supported by collborative pianist, Marten Visser. The audience were taught Western Arrarnta words to Kumbayah and invited to sing along. Waltzing Matilda showcased the choir’s storytelling ability and humour. But the most memorable was “We Are Australian”, sung in Western Arrarnta language. We were invited to simultaneously sing the last chorus in English and the connection between choir and audience was palpable. We rose to our feet to give a heartfelt standing ovation.

For me, the word that sums up the CAAWC and this performance is connection. At one point, Stuart asked for the house lights to come up so they could see who they were singing to. They waved to us as they exited the stage singing, and we waved back, our hearts filled with joy, and then went out to meet them in person in the foyer.

The Central Australian Aboriginal Women’s Choir is made up of members of six remote community choirs from Ntaria, Areyonga, Titjikala, Mutitjulu, Docker River and Mission Block, Alice Springs. This tour is produced by Margot Teele from Andrew Kay and Associates Pty Ltd and includes Nuriootpa, Womadelaide, Bunbury, Perth, Canberra, Melbourne, Brunswick, Sydney and Bateman’s Bay.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

Virtuosity and Charm: A Perfect Concert Combination

SIMON TEDESCHI WITH YAMEN SAADI

SIMON TEDESCHI WITH YAMEN SAADI Rating

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21

A balm in a troubled world, the Live at Yours concert at the Melbourne Recital Centre, featuring Yamen Saadi and Simon Tedeschi, offered the perfect balance of virtuosic excellence and relaxed charm.

Live at Yours is an organisation born out of the necessities of the Covid era, originally focused on bringing intimate performances from top-quality artists to lounge rooms across Australia. Delightfully, they have managed to maintain that personal, accessible style as they expand their audiences into concert halls. The evening was compered by Live at Yours founder Vladimir Fanshil, who also served as page-turner for Tedeschi. His casual, conversational manner was immediately disarming and set the tone for a fun and friendly evening, drawing the audience into the world of the artists.

The program of music was expertly chosen, featuring works that famous composer and violinist Fritz Kreisler had either composed, arranged or performed. Kreisler’s works tended to be short and virtuosic, keeping the pace of the concert humming along. The 90-minute performance felt like 30-minutes and the standing ovation at the end of the night showed that the audience would have happily stayed for another 90.

Kreisler’s music showcased the impeccable technical prowess of Yamen Saadi, Concertmaster for the Vienna Philharmonic. Despite being (just) 27, Saadi has already performed across the globe in venues and festivals such as Carnegie Hall, Elbphilharmonie, Rheingau Festival, Schleswig-Holstein Music Festival, Pau Casals Festival, Jerusalem Festival and Schloss Elmau. Saadi played on the 1734 ‘Lord Amherst of Hackney’ Stradivari violin, previously owned by Fritz Kreisler, and the sound of the instrument was undeniably exquisite. However, it must be said that Saadi could have made a cigar box with strings pulled across it sound exquisite, given his musical mastery.

It almost goes without saying that Simon Tedeschi’s playing at the piano was magnificent. Nobody would have expected any less, given his reputation as one of the world’s most thoughtful and expressive pianists. In this performance, Tedeschi certainly did not disappoint, and the audience was treated to a masterclass of collaborative excellence as the piano and violin shone together on the stage. Of particular note was Tedeschi’s control and lyricism in Grieg’s Violin Sonata No. 3, a fiendishly difficult piece that Grieg himself debuted in 1886.

When attending concerts given by artists at this level, you can often feel the pretension and self-importance oozing off the stage. Let’s be honest: this is usually earned, given the tremendous talent of the performers and the phenomenal work they put into reaching the top of their industries. However, when you see a magical performance from artists such as Tedeschi and Saadi, which prioritises musical storytelling and connection with the audience, you realise just how good a concert can be.

I couldn’t fault this show. The talent was abundant and effortless, and the presentation was confident and engaging. I eagerly look forward to seeing more from Live at Yours and their stable of artists. This is Yamen Saadi’s debut tour of Australia, and I certainly hope it will not be his last.

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

The Elvis Big Band Tribute Show

The Elvis Big Band Tribute Show

The Elvis Big Band Tribute Show Rating

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The Elvis Big Band Tribute Show is touring Melbourne and regional Victoria, so for all of you Elvis-loving fans out there, head out and enjoy a night of music dedicated to The King.

Being an Elvis tribute show, you’ll get the songs you love, but don’t expect an Elvis impersonator; that’s not what this show is about. The 14-piece band back up ‘Elvis’ on stage, and the high callibre of talent across all musicians is evident. If you close your eyes, you could sometimes be mistaken for thinking the King is still alive (perhaps he is?!).

Whether you’re an Elvis ‘mega-fan,’ or just like his music, this show is an enjoyable evening out for all ages. How lovely to look around the audience and see all kinds of Elvis fans, not to mention a range of ages from children to our elders, all under one-roof, enjoying the music of The King. There were the clear ‘die-hard’ fans; decked out in Elvis costumes or custom-made Elvis tribute outfits (mostly sitting in the front rows and belting out every song with doe-eyed looks towards ‘The King’).

And then you can spot who I like to refer to as the ‘quiet appreciators’; singing along quietly to the songs with a tender smile and glint in their eye, or simply tapping their feet with their eyes fixated on the show, perhaps reminiscing about anther time or place where the music of Elvis left an impression on their life.

Not many people over the course of history affected so many with their music like The King. And with his history of so many hit songs, most of the better-known Elvis songs were covered throughout the evening. But as is often the case often with time restraints, some were omitted (I had been looking forward to ‘Love Me Tender,’ but it was not to be). With such great energy on stage from all the performers, it is hard not to start tapping your feet, clapping your hands to the beat, or belting out the lyrics yourself.

 

Technically, the show ran quite well but hit a couple of noticeable snags. There were some minor sound issues in the first couple of songs, meaning that the band overshadowed ‘Elvis’ purely in volume levels, drowning out The King and making it hard to clearly hear the lyrics. The lead guitarist seamlessly changed half of the broken guitar strings during the performance, with great professionalism and without affecting the show. Kudos to him!

I felt the need for a troupe of dancers was not necessary for this show, and to a degree, it reduced the high standard that the band and Elvis otherwise brought to the stage, with most dance numbers coming across as quite amateur. However, the costumes, energy, and enthusiasm abounded. When we saw everyone on stage having fun (which they were!), it brought a certain kind of joy and variety to the energy on stage, which I am all for.

A distraction to the audience in the form of an enthusiastic stage manager/roadie popping his head out of the wings throughout the entire night was just that: distracting (albeit very entertaining in its own way). A large portion of the audience could easily see him, as he didn’t shy away from looking out into the audience several times or just standing basically on stage with the band. But in its own quirky way, it also added to the charm and enjoyment of the show. And at the end of the day, it’s the music of Elvis that we all came along for, and we got a really solid show in that regard.

If you love Elvis, this show will give you fantastic vocal and instrumental performances across the board. And who doesn’t love a Big Band live music show?! Go and see The Elvis Big Band Tribute Show when it tours near you!

For tour information please check https://www.elvisbigband.com/

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Spectre In Concert

WASO's Spectre in Concert

WASO’s Spectre in Concert Rating

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2

Classical music can be a polarising genre; but for those who say they don’t like classical, what about the scores that bring your favourite movies to life? The music that makes you tear up, or keeps you on the edge of your seat during the unfolding action on the silver screen? That tune you were humming the whole way out of the cinema…that’s classical!

On arrival at the Perth Convention and Exhibition Centre’s Riverside Theatre, two Aston Martins in the foyer bring a feeling of glamour and excitement as we await the start of the West Australian Symphony Orchestra’s (WASO) Spectre in Concert. It was nice to see lots of people in their best Bond attire, men in tuxedos and ladies in beautiful gowns.

Rather than the usual printed programs, WASO staff hand out pocket size flyers with a QR code for you to view a digital program with a full list of instruments and the musicians you’re about to see on stage, as well as some info about the composer.

From the moment the Orchestra begins to play that classic James Bond theme, you know you’re in for a treat. Conductor Jessica Gethin brings just the right amount of energy to her pivotal role. It could be easy to get distracted by the musicians below the screen and miss that signature 007 action.

Daniel Craig returns in Spectre as a cryptic message from James Bond’s past sends him on a trail to uncover the existence of a sinister organisation named Spectre. With a new threat dawning, Bond learns the terrible truth about the author of all his pain in his most recent missions. Even having seen the film before, I was looking forward to experiencing it in a more immersive way.

At times I found myself so caught up in the film I would forget the Orchestra was there, but I also loved being able to connect the instruments with certain sounds in the film and watch the short, sharp movements of the string section that have such an impact on certain scenes.

An intermission halfway through the film gave us time to grab a quick drink and another chance to get a photo with one of the Aston Martins, now feeling well and truly immersed in the world of Bond. A girl can dream right?

There’s nothing quite like hearing movie music brought to life by a live Orchestra. Whether you’re a movie buff looking for a fun night out with friends, or hoping to impress someone on a date night, you can’t go wrong with a WASO at the Movies event. As conductor Jessica Gethin says before the concert; it’s a shame we can’t all have WASO in our living rooms when we’re watching a movie, this is truly an experience.

In March, WASO will present Jurassic Park in concert, and I’ll definitely be back.

While you won’t leave feeling shaken, you’ll definitely be stirred by the full force of the West Australian Symphony Orchestra.

Tickets are on sale for Spectre In Concert’s final performance in Perth @ https://www.waso.com.au/concerts-tickets/whats-on/concert/spectre-in-concert

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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