The Australian Haydn Ensemble celebrated its tenth anniversary with a with a resplendent performance of Josef Haydn’s 1798 hero oratorio, The Creation, in collaboration with exceptional vocal soloists, an augmented ensemble of period and replica instruments and the Sydney Chamber Choir, all under the direction of Roland Peelman.
Hao rose to every challenge spectacularly, acquitting the cycle with panache and tenderness where appropriate; he made an excellent first case for Vines’ Indie Ditties, which should by most metrics be destined for a well-deserved place in the Australian piano canon.
Carbon and Raineri explore these pieces from the Romantic to the Modern, showcasing both traditional and newer aesthetics along with the rich tapestry of colours, tones phrasing and dynamics intrinsic to both the clarinet and the piano.
The sound was beautifully blended in the ensemble moments and carefully balanced in the solo passages. The Australian Haydn Ensemble a cornerstone of keeping alive the incomparable music and the elements of the Classical era.
Something momentous happened on the opera stage this week. It was the debut in a major role, in Sydney, on the stage of the Opera House, of soprano Anna-Louise Cole, who sang the role of Turandot in Opera Australia’s eponymous production.
The individual singing and excellence of ensemble took us majestically to somewhere magical, transcending both time and place.
Music of the Commonwealth is creating new works which entertain and broaden the depth and breadth of technique and repertoire for saxophone and piano.
Halcyon’s Waves III is is an important record of the pioneering work that Halcyon has accomplished in substantially broadening the canon of contemporary Australian song.
Cellist Zoe Knighton and pianist Amir Farid add to their anthology of recordings together, with this sixth album titled Schumann Cello, on the Move label. There is a beautiful synergy, passion and tremendous empathy between Knighton and Farid in their performance.
