The lively Sydney venue will host an eclectic line-up in 2017 from classical concerts to an illuminated sound bubble. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Before heading for pastures new, the singer talks coping with anxiety, paying the rent and people he’d love to work with. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

The Schaubühne’s Richard III and a Floating Palais headline an “every one’s a winner” festival. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Maestro di Cappella of St. Mark’s Venice, author of over 20 operas and nearly 150 sacred works, teacher of Marcello, Galuppi and Zelenka and admired by Bach and Handel, Antonio Lotti’s diverse and successful career has latterly been distilled down to just two pieces: the unaccompanied Crucifixus settings for eight and ten voices. Now, in a recording dominated by contemporary premieres, Ben Palmer and his Syred Consort attempt to fill in the gaps and restore the reputation of this Baroque master. This is music that sells itself. In Ben Byram-Wigfield’s new editions, it emerges lively with rhythmic interest, texts carefully shaded with word-painting and contrasting solo and ensemble colours, supported by light-footed orchestral accompaniments. These are large-scale festal works of tremendous charm. Where Lotti does fall short of his near-contemporary Vivaldi is in melody. More interested in vertical texture than horizontal line (as both Crucifixus settings so clearly demonstrate), individual vocal parts do suffer from a certain anonymity.  Both Lotti’s Crucixifus a8 and his a6 setting form part of larger stand-alone, Credos. The former is presented here as part of the Missa Sancti Christophori – a composite work created from Lotti’s individual Mass movements by his pupil Zelenka (and supplemented…

We’re so used to hearing Handel recitals from sopranos or countertenors that one from a tenor is somewhat of a novelty, and we have to go back to Mark Padmore’s terrific 2007 release As Steals the Morn for something comparable. Basses fare even less well, and Bryn Terfel’s Handel Arias is now almost 20-years old. So English tenor Allan Clayton’s recital focusing on songs either written for or sung by the great Handelian tenor John Beard (c.1715-1791), who seems not only to have had a fine voice but acting skills to match, is most welcome. Beard created some of Handel’s most famous roles, including Samson, of which there are excerpts from not only that version but William Boyce’s; there are also arias from Ariodante, Alcina and Semele, as well as from Judas Maccabaeus, Samson, Jephtha, Alexander’s Feast and more. For As steals the morn from L’Allegro, Clayton is joined by soprano Mary Bevan; for Happy Pair from Alexander’s Feast, the Choir of Classical Opera; the recording opens with Sol nel mezzo risona del core from Il Pastor Fido, in which Bevan duets with James Eastaway’s sweetly plangent oboe. Of course the orchestral playing under the ever-musical direction of Ian Page…

This is the third instalment in Stone Records’ fine series resurrecting Australian Art Songs that are “united in their unwarranted neglect,” as David Wickham puts it in his comprehensive liner notes.Soprano Lisa Harper-Brown and pianist Wickham both performed on the first two discs in the series; this third is a slight departure in its inclusion of works also scored for oboe and clarinet. It also features soprano Katja Webb, a graduate of the Western Australian Academy of Performing Arts based at Edith Cowan University, where this album was recorded. Margaret Sutherland is heavily represented, with the two cycles Five Songs and Three Songs for Voice and Clarinet, as well as The Orange Tree and The Gentle Water Bird. Three of Geoffrey Allen’s cycles, Nursery Rhymes, Stile and Stump and Four Songs are included here, along with two by Melbourne composer Dorian Le Gallienne. This collection of material is dominated by themes relating to children, from settings of nursery rhymes to more oblique references to the life cycle. Webb’s fruity soprano is lithe and adventurous, tackling this little-heard repertoire with thoughtful poise and relish; Wickham is precise and sympathetic. This is an important series noteworthy for its excavations of musical expressions…

What’s in a word? Interpreting the secret scribbles of musicians, maestros and some of the great composers. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

David Hansen challenges our perceptions about the countertenor voice.

As the stylish German soprano prepares for her Melbourne recital, she speaks about influences, big breaks and what’s next. Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Vote here for who you'd like to see honoured in our Australian and International Artists of the Year Awards.

Liszt has always struck me as a latter-day John Donne: passionate, creative and a ladies’ man in his youth; turning more inwards and closer to God later in life; yet ultimately leading a conflicted life, since both states coexisted in one form or another from the start. That’s what makes Hyperion’s non-chronological complete survey of Liszt’s songs such a fascinating listening experience – apart, of course, from the quality of the songs themselves and the superlative nature of the performances. One gets the whole man, rather than just a slice. Previous volumes from Julius Drake with tenor Matthew Polenzani, mezzo Angelika Kirchschlager and bass-baritone Gerald Finley have already set the bar high. But Grammy Award-winning American mezzo Sasha Cooke is right up there, with a voice as rich and responsive as her musicality. The majority of the songs here, drawn from across a 37-year period, tend towards the introspective and one has only to listen to the lush repose of the opening Des Tages laute Stimmen Schweigen Cooke evokes as the day draws to an end. Or the tastefully characterised romantic drama of Il m’aimait tant! Or the delicate rendering of Liszt’s marvelous setting of Blume und Duft, or the…

At first glance, you may wonder whether we need yet another disc of some of the Counter-Reformation’s greatest hits. Palestrina’s Missa Papae Marcelli, Tu Es Petrus and Sicut Cervus as well as Victoria’s Missa O Quam Gloriosum have been recorded countless times and surely there are many interesting and lesser-known pieces to explore? After all, Palestrina did write at least 104 masses and how many of those do we get to hear? These are quite legitimate questions, but New York Polyphony makes a plausible case for saying there’s always room for one more account of core repertory. The group’s main point of difference from previous recordings is that they perform the music one voice to a part and at a pitch to accommodate their four male voices (countertenor, tenor, baritone and bass). The fine quartet of main singers (Geoffrey Williams, Steven Caldicott Wilson, Christopher Dylan Herbert and Craig Phillips) are joined by countertenor Tim Keeler; tenor Andrew Fuchs and bass-baritone Jonathan Woody for the Palestrina mass and motet, and for some chant propers for Easter that are interwoven with the mass. Singing the Missa Papae Marcelli a fourth below its regular pitch creates quite a different sound world, particularly requiring…