Paul Lewis: Mozart+

Paul Lewis: Mozart+

Paul Lewis Mozart Rating

★★★★★

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The stage at Perth’s Winthrop Hall was adorned with blue curtains, and a very elegant black Steinways Grand Piano positioned center stage. Then a figure in black suit crossed to thunderous applause from the audience, and Mr Paul Lewis CBE bowed and took his place at the piano. What came next can only be described as breathtaking. Mr Lewis began his performance with a perfect and flawless rendition of Wolfgang Amadeus Mozart’s Piano Sonata 10 in C Major. A beautiful, mesmerizing piece of music presented skillfully.

Mr Lewis completed his first act with the equally beautiful L’isle Joyeuse (The Isle of Joy) composed by Claude Debussy, again performed with perfection. Debussy and Mozart were very different in their composition styles, however when both framed the delightful music of Francis Poulenc’s Improvisations Pour le Piano (Improvisations for Piano) the mélange, or fusion, of the three composers was perfect.

The second act of Mr Lewis’ performance was just as beautiful as the first. Mr Lewis opened with more selections from Poulenc’s Improvisation Pour le Piano. At the end of two of the pieces was a lone, solitary note, which on both occasions resulted in a giggle from the audience.

Mozart+ act 2 was concluded by Mozart’s Piano Sonata 14 in C Minor. Another beautiful, flawless performance.

 

Mr Lewis provided the audience with an encore of a piece from Chopin. Another delightful composition.

Throughout the performance one could not only hear but could also see the passion that Mr Lewis has for classical music as his facial expressions showed all. It is no wonder that he has performed with the Berlin Philharmonic, London Symphony Orchestra, Los Angeles Philharmonic, et al. His renditions are simply the most beautiful and superb this author has ever witnessed in person.

In Mr Lewis’ own words he has, for many years, “wanted to spend some time focusing on Mozart’s piano sonatas and have long felt sceptical of the broadly held view that these remarkable works are the poor siblings of his piano concertos”. I must agree with Mr Lewis as the selected sonatas are just as beautiful as the composer’s full concertos.

I had the pleasure of attending the performance with my 6 year old son, who enjoys live theatre and classical music as much as I, and when asked for his thoughts on the performance he summed it up in one solitary word, “Amazing”.

The audience were completely captured by the extreme talent on the stage, and the beautiful music that filled the auditorium, and this author believes that each audience for the remainder of Paul Lewis: Mozart+ Australian tour will be equally bewitched by his talent and presentation.

– Brenton Foale

To book tickets to Paul Lewis: Mozart+, please visit https://www.musicaviva.com.au/concert-season/2026/paul-lewis-mozartplus/.

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Nicolas Altstaedt And Thomas Dunford

Nicolas Altstaedt And Thomas Dunford

Nicolas Altstaedt And Thomas Dunford Rating

★★★★★

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The chemistry between Nicolas Altstaedt and Thomas Dunford was evident on an empty stage on Saturday night. The audience was ready for Altstaedt’s known technical style combined with Dunford’s virtuosity and for a conversation between a cello and a lute. We were immediately transported back to the Renaissance age with Marin Marais. Somewhere in Spain, Portugal or France, silk full skirts were rustling as courtiers palms met in a measured dance in an opulent room of gold and blue. The dexterous fingers of Dunford played a bell-like melody which was answered by Altstaedt’s honeyed tones as the notes lingered in the air.

La Leclair changed the tempo as a fiery melange of fast rhythms left a crackle of passion reflecting the composer’s known volatile nature. Then the audience was left alone with Dunford’s arrangement of Bach’s Cello Suite no 1 in G major with a display of the classic intricate technical perfection demanded by a maestro.

A return to the court of Versailles with more Marais’ Fete Champêtres offering a graceful dance and then a passionate Spanish piece allowing both musicians to move through the intricate ornamentation with speed and panache. Glimpses of a palace garden party came to mind with musicians playing delicately.

 

After the interval, Altstaedt sat down for Bach’s Cello Suite No 5 in C Minor, a piece written especially for the cello allowing the instrument to really sing. Sombre notes and a melancholy mood were combined with nimble playing from Altstaedt. For music aficionados, research the analysis of each movement and the techniques required, for the audience, it was a time for reflection and thought.

We returned quickly to pared down harmonies with Pärt’s Spiegel Im Spiegel, followed by Duparc’s Cello Sonata in A Minor. We returned to Marais’ courtly world with Le Voix Humaines imitating the inflexions of the human voice with a sombre elegance with cello and lute weaving between tones.

Marais’ Grand Ballet was all Baroque elegance testing each instrument and musician with showy ornamentation, bold gestures and complex bowing techniques required. It is a theatrical piece designed to be grand and majestic and it was.

The finale of Le Tourbillon was in the title, a whirlwind of virtuosity with a conversation moving to a debate between the cello and lute, ending in a flourish.

The audience was treated to a post-conversation with both Altstaedt and Dunford but the music said as much and was all that was needed.

To book tickets to Nicolas Altstaedt And Thomas Dunford, please visit https://www.musicaviva.com.au/concert-season/2026/nicolas-altstaedt-thomas-dunford/.

Photographer: David Cox

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Trio Isimsiz

Trio Isimsiz (Musica Viva Australia)

Trio Isimsiz (Musica Viva Australia) Rating

★★★★★

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For anyone who hasn’t seen inside, allow the scene to be set. The Adelaide Town Hall Auditorium is a stunning display of ornate ceilings, marble columns, and a pipe organ on display which serves as the perfect backdrop for performers such as Trio Isimsiz. Turkish for ‘trio without a name’, Trio Isimsiz formed in 2009, have performed widely; been broadcast by BBC Radio in Europe; and have won countless prizes and accolades. The trio have been successful together and individually, with their adoration for their craft seeping from every note they play.

Introductions were not initially needed. The three men took to the stage, bowed to the audience, and sat with their instruments: they were simultaneously cool, calm, and collected while almost vibrating with excitement to begin their performance. With the barest of nods between them, the audience was transported away.

The cellist, Edvard Pogossian, spoke a few words after they had completed the first piece. He named the three pieces they had, and would, perform, and spoke a little about the newest piece by Francisco Coll, written in 2020. Pianist Erdem Mısırlıoğlu and violinist Pablo Hernán Benedí declined to add anything further, their fingers already twitching towards their instruments.

Each piece which was performed was written by a different composer, and each piece guides the audience through a different journey. We began with an energetic piece by Johannes Brahms (Piano Trio in C minor, Op. 101), before being led into the curious Piano Trio by Francisco Coll. To finish the night, we were treated to the lively story by Franz Schubert (Piano Trio No. 1 in B-flat major, D898).

 

 

If you are unfamiliar with classical music, each piece (specifically for this performance, at least) lasts between 18 and 42 minutes. Do not be fooled when the music dips; it is not yet time to applaud, because the music is changing its tune (no pun intended) into the next movement. But you are never bored! The music ebbs and flows with ease, creating a visceral and immersive experience; each piece bringing forth fresh sounds and imagery, creating a similar, almost ethereal sense you can experience when looking through a kaleidoscope.

The second piece, by Francisco Coll, at the time of this writing, has only been performed for Australian audiences twice; once in Perth, and once in Adelaide. It was commissioned for Trio Isimsiz, after a conversation between their violinist and the composer, and was first performed in January of 2022. The program goes into further details about the piece, the composer, and the Trio, and is well worth the read.

The three performers play with a passion, care, and love for their craft which was tangible even from the dress circle. It was a delight to watch them perform, and an honour to be a part of the second Australian audience to experience Coll’s piece.

If you don’t consider yourself a fan of classical music, this show is still worth checking out. The music is a new experience and a new appreciation for music in general … and with three good-looking boys playing so passionately, there are no downsides!

To book tickets to Trio Isimsiz (Musica Viva Australia), please visit https://www.musicaviva.com.au/concert-season/2025/trio-isimsiz/.

Photographer: Dylan Alcock

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