A concert of contemporary works for accordion? Why not! Well it was more of a concert of contemporary works for fixed reed instruments with, ironically, Trinity St. Paul’s most impressive fixed reed instrument forming an unused but imposing backdrop to the proceedings. Things started off conventionally enough with Soundstreams’ Artistic Director Lawrence Cherney on stage with three players of different instruments describing their histories and properties and then mild Hell broke loose as a curiously clad Joseph Macerollo burst into the auditorium, ejected Lawrence and friends and launched into R. Murray Schafer’s performance piece La Testa d’Adriane; the tale of a head mystically preserved between life and death. At this point the purpose of the rather bizarre contraption on stage was unclear but soon enough the cloth was pulled back to reveal Carla Huhtanen, or her head at least. More accordion and speech from Macerollo and a bizarre collection of grunts, squeaks, shrieks and gurning from Carla followed. Madness or genius? It’s Schafer. The question is unanswerable.
Tag Archives: johnston
Whose opera is it anyway?
I’ve always been a fan of those BBC Radio 4 programs where people have to do silly things so I was naturally drawn to LooseTEA’s fundraiser “Whose opera is it anyway?” in which a select band of singers (Greg Finney, Whitney Mather, Michael York, Charlotte Church, Fabian Arcineagas and Kijong Wi) got to do silly things bid on by the audience. Some of the silly things even involved members of the audience. Asa Iranmehr was on the keyboards and comedian Andrew Johnston, despite almost total ignorance of anything operatic, MC’d.
It was great fun and much funnier than the average bel canto “comedy”. Highlights included Sit, Stand Lie where Michael, Greg and Fabian had to perform La mia Dorabella with one of them in each position at any one time, Moving People where Greg and Whitney were “manipulated” by Aria Umezawa, Michael Mori, Katja “polkadots” Juliannova and Rachel Krehm while singing the Papageno/a duet. The best/weirdest singing was probably a couple of “in the style of”s. I was really impressed by Whitney’s Deh vieni non tardar in the style of Miranda Sings. It takes real talent to sing that badly! Greg’s Catalogue Aria in the style of (a very lugubrious) Vladimir Putin was a hoot too. My sunglasses came in handy in “Props”.
The snacks were decidedly better than they often are at these events too. Really good pizza! So, a good time was had by all. More people should come to these things. Have a few drinks, meet fun people, see just how multi-talented some of our singers are and have fun. Why not?
Sorry about the photo quality. Taken by me on my phone.
War and Peace
Lunchtime today at the RBA saw members of the COC orchestra get together with soprano Sasha Djihanian for a concert of works by Handel and Albinoni. I realised that I really don’t listen to enough baroque chamber works. The first work on the program was Handel’s Trio Sonata No.2 in D Minor. It’s compact, playful and doesn’t overstay its welcome. I stupidly didn’t make a note of who played on what piece so I’ll just credit the ensemble at the end of the post. The other chamber work on the program was Albinoni’s Sonata à cinque in C major. This was fun too with lots of fugue elements and dance rhythms and some serious toe tapping by violist Keith Hamm.
Gentle Death, I embrace you
It’s 1990 and Dame Joan Sutherland is retiring. Australian Opera decide to stage Meyerbeer’s Les Huguenots as a farewell gala. In some ways it’s an odd choice as the Sutherland character, Marguerite de Valois, only appears in two of the five acts of an opera that’s rather long despite cuts. Still, as a vehicle for an ageing coloratura it’s not a bad choice. The production is by Lotfi Mansouri so there is nothing to get in the way of the plot and, by the same token, nothing much to think about. It’s also, equally characteristically, quite dark in places. Everything then rests on the performances. Continue reading
