Concert Review: Songs of Solitude And Solace
SoundsLikeSydney couldn’t get along to this concert but we have the link to the review by
Robert Forgács.
SoundsLikeSydney couldn’t get along to this concert but we have the link to the review by
Robert Forgács.
Opera Australia’s production of Verdi’s Aida, conducted by Arvo Volmer and directed and choreographed by Graeme Murphy has opened in Sydney. Peter McCallum reviews it for the Sydney Morning Herald: http://www.smh.com.au/entertainment/opera/murphys-grand-design-a-triumph-in-a-tight-space-20120718-22alj.html
The new album Crossing released earlier this month by Australian-American soprano Jane Sheldon and Julian Curwin playing guitar, is an engaging collection of 11 songs composed by the two performers, joined by Shenton Gregory playing the viola and percussionist Jess Ciampa. Made by indie label Romero Records, Crossing contains love songs, a lullaby, an ode…
Handel: Messiah St Mary’s Singers St Mary’s Cathedral, Sydney 6 December 2014 Performances of Handel’s Messiah are a habitual prelude to the Christmas season, with presentations in churches and concert halls throughout the country. Musical styles are as varied as the performance locations, ranging from attempts to recreate original eighteenth century practices to massed…
Symbiosis I, Jane Sheldon,soprano/ Jason Noble, clarinet/James Wannan, viola, 107 Projects,107 Redfern St, Redfern. Friday 18th July, 2014. Redfern’s 107 Projects was host to an enjoyable chamber music concert, the first in a traveling series called Symbioses by New-York based Australian soprano Jane Sheldon. The series launch also featured two local guest instrumentalists, clarinetist…
It’s a curious fact that the most revered exponents of early Italian choral music today, are not the Italians but the English. In January 2011, Gramophone Magazine published a list of what it claimed were the top 20 choirs in the world. Nominated in fourth place was Harry Christophers’ ensemble The Sixteen, who performed their…
On hearing that I was attending the opening night of Danielle de Niese’s concert season with the Australian Chamber Orchestra in Sydney, a friend asked me to let him know whether I thought he should go along to hear her. Twenty four hours after the concert, I’m still deliberating on my response to him. Danielle de Niese is…