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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Eucalyptus: The Opera

Eucalyptus: The Opera

Eucalyptus: The Opera Rating

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A beautifully fluid and enchanting story is what first comes to my mind in sitting to write this review on the new EUCALYPTUS: THE OPERA

I must mention firstly that I am new to ‘opera’ productions this being my first one other than ‘Phantom’, so in having love for all things in the Arts, I quickly put my hand up to go and experience one of the oldest art forms on stage. It is a work in music of course, its true meaning, however I am quick to learn it is not just music and song that encompasses this magic, it is the combination of visual art, drama and in today’s age lighting and a set kept simple yet very effective.

Dreamy ‘Ellen’ played by the exceptional Desiree Frahn, whom I could listen to sing all day, is the daughter of strict parent ‘Holland’ played by the well-versed talents of Simon Meadows with an incredible supporting cast. Both of these characters the centre of the bestseller Australian novel, ‘Eucalyptus’ by Murray Bail, are brought to life at the beautiful Palais Theatre which could not be a more suitable venue coming from the era of yesteryear in which the story takes place. A story of a father only wanting the best husband for his daughter, but in deciding this ‘for her’ will he take it a touch too far?

When news gets out around the world that Holland will marry off his daughter to the man who can ‘name’ all his beloved trees planted in memory of Ellen’s deceased mother, and also as a barrier to help keep his daughter safe, the haven perhaps becomes more like a prison of leafy wonder depicted on stunning fabric panels before the audience. No matter which way we look, the branches all line up perfectly and with the talent in front of us, we never actually notice the main scene board changing from a train station to a town to a house and more, but it does and when Ellen stands in front of an expected storm I swear the theatre now also smells of rain; my imagination in being drawn into the story or real, I’m still not sure.

 

A couple of favourites in the cast are surely the ‘Sprunt Sisters’ played by Natalie Jones and Dimity Shepherd, they are quirky fun, totally believable and bring the giggles!

‘Mr Cave’ played by Samuel Dundas, the suitor from far away looking to name all those trees has to have a magnificent memory to sing of so many ‘botanical’ titles, and, ‘The Stranger’ played by Michael Petruccelli for whom Ellen is transfixed on as her partner to be, instead of her father’s choice, is every bit the traditional rugged Heart-of-Australia bushman, Akubra hat and swag carry in tow.

The opera is sung in English as it is totally an Australian piece. Where else would you hear words such as ‘blokes’ and ‘boiling a billy’ sung in an Opera? The words are also scripted on side screens so you won’t lose track of the story at all. You can read along if you need to without losing focus on anything that’s also happening on the stage.

I’m expecting toward the end that opera is not unlike the ballet and that tragedy may be ahead, but could I be wrong? You will need to go and see for yourself if it’s the Stranger who will sing his way with stories into Ellen’s heart or the clever Mr Cave…

As a first time visit to an opera, I recommend EUCALYPTUS: THE OPERA highly. I love anything that takes us back into times gone by and the fact that it is Australian makes the production extra special. Full of powerful emotion heard from the music in each mood and powerful voices to accompany that are everything from soft and featherlike to daunting and explosively expressive, the experience is something I will surely never forget.

Thank you to the wonderful creative team, the amazing orchestra and talented cast for making this a very memorable outing I shall always be grateful for in my first experience of live opera.

Playing at The Palais in St Kilda 16-19 October 2024. I recommend paying for parking near the theatre and booking premium seats, which is what we had and were unbeatable value.

Ticket link: https://www.palaistheatre.com.au/all-events/eucalyptus-tickets-ae1448575

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Sweeney Todd Presented by Victorian Opera

Sweeney Todd

Sweeney Todd Rating

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Sweeney Todd has again emerged from the shadows into the Melbourne limelight, with audiences greeting this season’s combined Victorian Opera and New Zealand Opera cast with rapturous applause.

Directed by Stuart Maunder, Sweeney Todd unravels the story of a twisted barber who returns to Victorian-era London after being unjustly forced into a 15-year exile. Todd returns with vengeance, committed to finding his wife and daughter, but on his arrival is instead snatched up by the obsessed, and whimsically mad, Mrs Lovett, owner of the Fleet Street Pie Shop. Sweeney Todd’s initial plan quickly turns grotesque when he opens his Barbershop above Mrs Lovett’s Pie Shop and embarks on an evil murderous rampage.

The pair devise a plan to fill Mrs Lovett’s meat pies with the flesh of Todd’s victims, which has fleeting success before spiraling into tragedy. As Mrs. Lovett becomes deeply infatuated with the barber, Todd himself is one-track-minded in rescuing his daughter Joanna from the local Judge and punishing Judge Turpin for his long-time iniquity of Sweeney and twisted fantasies for Joanna. The barber finds himself causing irreversible damage as he and the audience embark on a journey of mounting obsession and evil desire.

The production is enhanced by the exceptional casting selections of its lead characters, who are utterly perfect for each role. Vocal technique and proficiency were certainly in their prime among the classically trained cast, and it was a joy to witness Sondheim’s iconic score performed with such accomplishment.

The audience was instantly charmed by this season’s Sweeney Todd. Ben Mingay impressed audiences with his unlimited vocal prowess and loyalty to the deeply troubled Mr Todd. Devotion to the complexity of Todd’s character was evident throughout Mingay’s portrayal, and in the ballad “Epiphany” audiences were left stunned by the singer’s astounding vocal range.

Mrs Lovett, played by Antoinette Halloran, was a stand-out performer who was able to both bestow her musical magic upon the audience and yet accurately fulfill the personal and vocal sensibilities of an unhinged middle-aged woman living alone in Victorian-era London. Her delivery of the comically self-deprecating “Worst Pies in London” was heartily received by the audience.

Tobias, the adoringly protective orphan son of Mrs. Lovett and Mr Todd, was nailed in every sense by the talented Mat Verevis. The delivery of Tobias was boldly vulnerable and moving, as Verevis single-handedly decelerated the production to reveal an impending tragedy.

Costume and stage set design is led by Roger Kirk and contributes significantly to the overall polish of the production.

Perhaps one of the most iconic and challenging sets in all of Sondheim’s work is featured in the live staging of Sweeney Todd. As Mr. Todd and Mrs Lovett embark on an evil plan of collaboration, the circling stage set is turned into a multi-dimensional work of art. Praise is due for the immaculate delivery of Mr Todd’s hysterical barbershop chair, featuring a trap door into the basement of Mrs Lovett’s bakery.

The on-stage murderings typically prove to be another point of challenge (and contempt) throughout the production of Sweeney Todd, however, this staging seems to do it rather well. There was a reputable balance between well-illusioned and shocking bursts of fake blood, and yet also a total sense of control over every one of Mr Todd’s slaughter scenes.

At the conclusion of the musical, it was heartening to see the orchestra members and conductor Phoebe Briggs brought to the stage alongside the cast during the final curtain call – a rare and gracious nod to their unseen yet devoted duty to Sondheim’s musically complex score.

Overall, The Victorian Opera and New Zealand Opera cast delivered a staging of Sweeney Todd that was both creatively empowering and loyal to Sondheim’s original vision. The production is a must-see, and must-hear experience, with shows running at Melbourne’s Arts Centre until September 21.

For Tickets, book online at https://www.victorianopera.com.au/production/sweeney-todd/

Remaining Dates & Info
Tuesday 17 September, 7.30 pm
Wednesday 18 September, 7.30 pm
Thursday 19 September, 7.30 pm
Friday 20 September, 7.30 pm*
Saturday 21 September, 2.00pm, 7.30pm

Duration
2 hours and 45 minutes, including an interval

Language
Sung in English

*Audio description and tactile tour.
Do you or a member of your party need to access Audio Description for this performance? Register here to reserve a wireless receiver pack and ear piece and/or attend the Tactile Tour.

Age Recommendation
Suitable for ages 12+, parental guidance is highly recommended.

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La Rondine (The Swallow)

La Rondine (The Swallow)

La Rondine (The Swallow) Rating

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The Victorian Opera’s production of “La Rondine” (“The Swallow”), written by Giacomo Puccini, was an incredible experience. This production featured the remarkable Australian opera singer Kiandra Howarth, who has not performed in Victoria for a long time. It is a special occasion as her 94-year-old grandmother will attend both of her performances to see her perform for the first time.

Kiandra Howarth played Magda, the titular swallow, and she was phenomenal. An Australian lyric soprano, her voice and acting were impeccable. Howarth graduated with a Bachelor of Music from the Queensland Conservatorium of Music in 2010. She then became a company artist at Opera Australia and is currently with the Staatsoper Hannover. Her portrayal of Magda was genuinely captivating.

Another principal character, Lisette, Magda’s maid, was played by Nina Korbe. An award-winning soprano, Korbe has appeared in Opera Queensland’s productions of “La Bohème,” “Die Fledermaus,” “Il Barbiere di Siviglia,” “Peter Grimes,” and Verdi’s Requiem. She has also performed as a soloist with Camerata – Queensland’s Chamber Orchestra, Queensland Ballet, Southern Cross Soloists, and the Goldner String Quartet. Korbe, a proud Koa Kuju Yanlaji Waka Waka woman, champions Indigenous voices and brings depth, humour and charm to her role as Lisette.

Won Whi Choi played Ruggero, the main love interest in “La Rondine.” Choi’s lustrous voice, elegant musicianship, and sensitive artistry have captivated audiences worldwide. He made his Metropolitan Opera debut in 2020 as Alfredo in “La Traviata” to rave reviews. He was set to return for productions of “Maria Stuarda” and “Les Contes d’Hoffmann.” Choi’s performance in this production was no exception; his portrayal of Ruggero was heartfelt and powerful.

The production itself was a unique blend of elegance and simplicity. The sets, with their stunning design, evoked a modern Paris that seemed to exist outside of time. The characters, dressed in contemporary styles that seamlessly melded elements from the 1950s to the 1990s, added a unique charm to the performance.

Attending a production at the Palais Theatre in St Kilda is always a mesmerising experience. The grandeur of the building, with its chandeliers, grand Art Deco architecture, and beautiful marble staircases, is awe-inspiring and complements the grandeur of the opera. It’s a stunning space that marries well with the art form, leaving the audience in awe.

One of the delightful aspects of Puccini’s work is his probable origination of the ‘meet-cute’ trope. ‘La Rondine’ revolves around love, set in a Paris where women dream of meeting a lover who completes them. The opera featured a classic meet-cute scene: a woman in a bar, pursued by multiple men, sits down with a lone man, pretending to meet him, causing the other suitors to leave. This charming trope, now a staple in Hollywood films, was delightful to see in its original form, entertaining the audience.

Puccini’s music, full of cascading trills and beautiful melodies, feels cinematic. His work often feels like classic Hollywood yet is timelessly modern, with sweeping, love-filled narratives. This production of “La Rondine” was a testament to his genius, a fantastic blend of music, narrative, and performance.

The Victorian Opera’s “La Rondine” was a truly outstanding production. With stellar performances by Kiandra Howarth, Nina Korbe, and Won Whi Choi, supported by elegant staging and the enchanting atmosphere of the Palais Theatre, it was an unforgettable experience that showcased the timeless beauty of Puccini’s work.

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