Trio Argenti (almost) concludes the 2021 BMF with an intriguing choice of repertoire.
After a hiatus in 2020, we once again asked our reviewers and readers to vote for the Australian and International Artists of the Year. We are thrilled to announce our 2021 winners.
Part Scandi-noir thriller, part Ancient Greek drama, Kaija Saariaho's Innocence makes for persuasive music theatre.
Big questions answered with Esfahani in modernist harpsichord recital.
Finley and Lintu show Saariaho’s heart and soul.
Australians make a strong case for Saariaho’s well-travelled oratorio, but can’t entirely overcome the work's curiously dissatisfying nature.
Director Imara Savage talks about the challenges of staging the Australian premiere of Kaija Saariaho’s strange, contradictory oratorio about the life of French philosopher and mystic Simone Weil.
The line-up includes Kaija Saariaho's oratorio La Passion de Simone, Schaübuhne's Beware of Pity and a divisive play called Daughter that has had women walking out.
A century ago Finland gained independence after a political struggle fuelled by art and music. Does that lie behind Finland’s musical pre-eminence today?
The new music ensemble’s performance for International Women’s Day launches a year celebrating female composers. Continue reading Get unlimited digital access from $3 per month Subscribe Already a subscriber? Log in
A plaintive flute melody, ending in a sigh, opens Tocar, the first track on Camilla Hoitenga’s new album Let the Wind Speak. The recording showcases Finnish composer Kaija Saariaho’s chamber music and it is infused with the close personal relationship between flautist and composer. The album features acoustic works for solo flutes (Hoitenga also plays alto, bass and piccolo) and chamber ensembles, including several new arrangements. At the heart of the CD is Sombre, a work commissioned in 2012 by Da Camera of Houston for performance in the tranquil space of Texas’s Rothko Chapel. Prefaced by solo bass flute, Sombre is based on fragments of Ezra Pound’s last Cantos, from which the album takes its name: “Do not move/Let the wind speak/that is paradise.” Hoitenga and Da Camera are joined by baritone Daniel Belcher, whose dark voice compliments the timbre of the bass flute. Tocar, originally for violin and piano, appears in a new arrangement for flute and harp, Hoitenga’s slides and timbral murmurations against Héloïse Dautry’s expressive harp playing. Although the aural quality of the work is very different, Hoitenga’s “flutistic” arrangement of the violin part perfectly captures the atmosphere of Saariaho’s work. Mirrors, which appears in three different…