{"id":32564,"date":"2024-11-13T09:24:32","date_gmt":"2024-11-12T22:24:32","guid":{"rendered":"http:\/\/soundslikesydney.com.au\/?p=32564"},"modified":"2024-11-13T09:24:32","modified_gmt":"2024-11-12T22:24:32","slug":"concert-review-bachs-christmas-oratorio-bach-akademie-australia","status":"publish","type":"post","link":"https:\/\/soundslikesydney.com.au\/?p=32564","title":{"rendered":"Concert Review: Bach’s Christmas Oratorio\/ Bach Akademie Australia"},"content":{"rendered":"
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Concert Review: Bach’s Christmas Oratorio\/ Bach Akademie Australia <\/em><\/div>\n
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Our Lady of Dolours Church, Chatswood, <\/em>Sunday November 10th, 2024<\/em><\/p>\n

Reviewed by Victoria Watson. Image credit David Hooley<\/span><\/em><\/p>\n

Bach Akademie Australia regulars are accustomed to hearing Madeleine Easton leading her ensemble on her fine 1682 Grancino violin. Given the larger forces assembled for this concert of three of the six Christmas cantatas that make up the <\/span>Christmas Oratorio<\/em> however, Easton was on the conducting podium. It was a rare opportunity to see her in full flight as a conductor expressing every nuance of rhythmic grace and fire that J.S.Bach has to offer.<\/span><\/p>\n

The eight baroque string players were augmented by two traverso flutes and an impressive and startling array of baroque style double reeds. The alto voiced oboes d\u2019amore and oboes da caccia, magnificently serpentine in shape, were a timbral highlight in Part II\u2019s delightful opening Sinfonia. They also alternated in superb contrast with the chorus <\/span>Wir singen dir in deinem Heer<\/em>. The hauntingly unique qualities evoked on these instruments further confirms the worthy place of period and reproduction period instruments in this repertoire.<\/span><\/p>\n

The more celebratory movements included valveless trumpets executing some very impressive skills. The tuning and timbral range are quite different to modern trumpets and it was thrilling to hear them combined with timpani and choir in the large <\/span>tutti<\/em> ensembles.<\/span><\/p>\n

The singers were led by an exceptionally fine Evangelist in tenor Andrew Goodwin. His expressive and dynamic treatment of the recitatives that carry the Nativity story brought it to life anew and with profound insight and emotion. Breathtakingly sweet-toned and with an impeccable legato line, Goodwin achieved that rare balance between excellent German diction and beautifully melodious phrasing that never strayed into more guttural speech tones. It was not until well into part two that his glorious instrument took flight in a bravura aria of dazzling technical virtuosity <\/span>Frohe Hirten, eilt, ach eilet<\/em>. This was Bach singing of the very highest level. The divisions were equally well delivered by the solo flute <\/span>obbligato.<\/em> This aria was an absolute highlight in a very fine musical offering.<\/span><\/p>\n

Alto\/mezzo soprano soloist Hannah Fraser was particularly well suited to this repertoire and maintained a warm gravitas in each of her solo movements. Her lullaby to the baby Jesus <\/span>Schlafe, mein Liebster<\/em> created a stillness and meditative quality that would then be brilliantly juxtaposed with the elaborate fireworks of the following chorus of angels <\/span>Ehre sei Gott in der H\u00f6he.<\/em><\/p>\n

The luxury of having a chorus made up of thirteen soloists, all specialists in early repertoire, translated into ensemble singing of balanced clarity that did\u00a0 justice to Bach\u2019s exquisite choral writing \u2013 from simple chorales to florid polyphonies.<\/span><\/p>\n

Central to the joy of this performance is the music of J.S. Bach himself. Australia is truly fortunate to have an ensemble of this dedication and expertise to present the genius of Bach\u2019s music. To enjoy it in Chatswood, and in a sacred setting, added to the delight of the concert. The acoustics of the church mean that a different clarity of sound and balance is experienced in various parts of the audience area, unlike in a modern concert hall with a more even sound. However, while a concert hall is a modern cathedral for art, a domed church with its golden arches and traditional Christian symbols in both adornments and architecture somehow brings a dimension of experience closer to the original intent. Anything that brings us to an understanding and sharing of the intensity of Bach\u2019s spiritual devotion expressed through music is a special and uplifting experience. Bravi tutti!<\/span><\/p>\n

Read our review of Bach Akademie Australia’s recent performance Bach – Mind of a Genius.<\/a><\/p>\n

 <\/p>\n

Victoria Watson<\/em><\/p>\n

A graduate of Melbourne university and VCA, Victoria appeared regularly as a soprano with the Victoria State Opera<\/em> and toured and served as artistic director of many chamber ensembles.\u00a0She has performed with the Sydney Symphony Orchestra<\/em> and for ten years, was artistic director of a major opera education project with Opera Australia<\/em>. Since 2015 she has moved into directing opera including Mozart\u2019s Cosi Fan Tutte<\/em> at the Independent theatre.<\/p>\n

Victoria has lectured in voice at the major universities in Melbourne, and is currently a tutor at UNSW. Having taught at major Sydney secondary colleges, she now runs a busy private singing studio.<\/em> She is a published author on opera and a popular freelance music and theatre lecturer and advocate for Australian artists around the world.<\/p>\n<\/div>\n

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 <\/p>\n","protected":false},"excerpt":{"rendered":"

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