In our recent Q and A with mezzo-soprano Catherine Carby, she talked about her upcoming roles as Romeo in I Capuleti e i Montecchi for the Chelsea Opera Group and as the Voice from Above in Richard Strauss’ Die Frau ohne Schatten for the Royal Opera, Covent Garden. Read the glowing reviews of her performances as Romeo in The Guardian and as the ‘Voice’ in Classical Source.
Keep up with all the results from the 2012 Sydney Eisteddfod: http://www.sydneyeisteddfod.com.au/Results_2012.htm
This week, Nicole van Bruggen co-artisitic director and principal clarinet with the Australian Romantic & Classical Orchestra (ARCO), shares her insights into her experiences with the music of Beethoven. Originally from Sydney, Nicole studied modern clarinet at the Sydney Conservatorium and won a Queen’s Trust Scholarship to continue her studies abroad. She moved to The…
When nationally renowned viola da gambist Jenny Eriksson formed Australia’s first electric viola da gamba band, Elysian Fields, she had one pianist in mind: Matt McMahon. Jenny and Matt developed their friendship over several years of performing together at jazz gigs. In 2014 she finally invited him to write for, and appear with, her…
The May edition of SoundsClassic, our complementary monthly newsletter featuring the best of SoundsLikeSydney and of Classic Melbourne is out next week. Make sure you’re on our mailing list by subscribing from the top of our home page or our Facebook page. We’d love to hear your thoughts and we’d love you to tell your friends…
Popular broadcaster Graham Abbott’s fifteenth episode of his fascinating podcast series ‘Classics Unlocked’, is available now on YouTube, Apple Music and all other podcast platforms. Every episode is also hosted on the Classics Direct website. In this episode of ‘Classics Unlocked’, Graham explores the piano music of Béla Bartók whose music was strongly influenced by…
Matthias Goerne, distinguished baritone and one of the most high-profile Schubertians of this generation, has recorded a selection of Schubert’s songs not in their original versions with piano but in orchestral arrangements by Alexander Schmalcz, Goerne’s accompanist of many years’ standing.