As promised, I did attend the final. Despite not feeling particularly well and facing a 1.5 hour drive just to see a concert on my own and then sleep on a friend's uncomfortable sofa bed. Would've been a shame to waste my ticket...
I went, I listened, I LOVED. What a fabulous night of singing! Sitiveni Talei started things off. Looking suave (yet cheeky) in his tails, he opened proceedings with a beautifully phrased The Call from Vaughan Williams' Five Mystical Songs. I adore this cycle, and although Love bade me welcome has always been my favourite of the set, Mr. Talei's performance won me over immediately. I may have a new favourite... The warmth and effortless projection of his voice was immediately appealing, as was the heartfelt sensitivity and extremely musical phrasing. His English diction was almost faultless - a few words flew into the skies but mostly it was extremely clear. A stunning beginning which left the audience silent for a few moments before warm applause.
Nicole Car followed, looking lovely, with a beautifully sung Mahler song from Des Knaben Wunderhorn. This is a lovely warm voice and well-produced... very technically sound (if a little flat in pitch at times) yet I felt the connection to the text was lacking a little. Still, an impressive performance.
Michael Lampard contributed a lovely Ah per sempre from Bellini's I Puritani. His singing is very fine, the voice is delightful in quality and he is interesting to watch. Perhaps a little more bel canto line would be desired, yet I found his performance very pleasing.
Sky Ingram impressed far more this time, with a beautiful Morgen. She is lovely to watch on stage (and her elegant green dress far surpassed the more ostentatious purple number worn by Nicole Car) and her voice was warm, rich and lovely. I enjoyed her singing immensely.
Second time around, Sitiveni Talei was a characterful Papageno... the 'suicide aria' may have seemed a strange choice but as soon as he started it made perfect sense. Mr. Talei is Papageno. He has the cheekiness required as well as that stunning chocolate-hued voice. It was a very funny, beautifully sung performance that had the audience both laughing and completely in sympathy with poor Papageno's plight! I felt, then, that he would win the Audience Prize. He certainly got my vote (and before you ask, even though he was my favourite from the semis I went to the final with a clean slate and open mind!). "That's going to be hard to beat", I said, to nobody in particular... however the person in the seat next to me decided to chime in her agreement. "Magnificent", she said.
So Nicole Car followed with D'amor sull'ali rosee from Trovatore. An odd choice, perhaps. Again a lovely sound, but... No pianissimi, and a seeming lack of understanding of the Verdi style. Mind you, she is young and she will learn. However it left me wondering why. I think I would've preferred to hear her sing something like Micaela's aria. Still, very fine singing again and she is someone I look forward to hearing in the years to come.
Michael Lampard's Guglielmo (Rivolgete) was fine, very fine indeed. Full of character and vocal colour. I enjoyed this performance immensely. No more to add on that one.
Sky Ingram sang a stunning Song to the Moon from Rusalka. Gorgeous. Glorious. Beautiful. I am at a loss as to why I did not enjoy her singing last time. Simply stunning.
yet I was still hoping for Mr. Talei to come up trumps. While the judges were deliberating, we had the opportunity to hear this year's Opera Awards winner, bass Shane Lowrencev. Well, the opportunity to hear him wasn't fully enjoyed as quite often he was inaudible through the orchestral textures. After a decent Banco and a better-than-average Don Basilio, we were treated to a rather fabulous Soliloquy from Carousel. He seemed much more in his element here, and capped it off with some blazing high notes which leave me wondering if he is really a true bass. The colour of the voice is dark, yet the top is so well-produced (and much more audible). All the same it was frustrating as I enjoyed the timbre of his voice and wanted to hear it more.
Finally, the announcement. After the general prizes were announced, it was time for the winner: Sitiveni Talei. A huge roar went up from the crowd. Not surprising, as I was right in predicting he'd won the Audience Prize. He looked surprised, but spoke very well upon accepting the award.
I was pleased. I look forward to hearing him sing often. What a wonderful night out.
Wednesday, October 29, 2008
Sunday, October 26, 2008
why? Because I can.
Your result for Howard Gardner's Eight Types of Intelligence Test...
Musical
10% Logical, 22% Spatial, 45% Linguistic, 39% Intrapersonal, 18% Interpersonal, 80% Musical, 14% Bodily-Kinesthetic and 8% Naturalistic!
"This area has to do with rhythm, music, and hearing. Those who have a high level of musical-rhythmic intelligence display greater sensitivity to sounds, rhythms, tones and music. They normally have good pitch and may even have absolute pitch, and are able to sing, play musical instruments, and compose music. Since there is a strong auditory component to this intelligence, those who are strongest in it may learn best via lecture. In addition, they will often use songs or rhythms to learn and memorize information, and may work best with music playing in the background.
Careers which suit those with this intelligence include instrumentalists, singers, conductors, disc-jockeys, and composers." (Wikipedia)
http://www.helloquizzy.com/tests/howard-gardners-eight-types-of-intelligence-test">Take Howard Gardner's Eight Types of Intelligence Test at
Monday, October 13, 2008
"What makes this emptiness?" "Tell me when these silences began..."
A variety of things, including persistent (but not life-threatening) ill-health and subsequent bed rest, have prevented me from updating this blog. I have little of musical merit to report on, so I shall merely say that I am here, and I will report on more when I have more to report on.
yes, I do love my long-winded, confusing sentences.
Music has taken the back seat, rather firmly, at this point in time. This will be remedied as soon as possible.
Oh - anyone who correctly identifies which opera my subject line comes from, you get... um... a comment saying you're clever.
Ciao for now.
yes, I do love my long-winded, confusing sentences.
Music has taken the back seat, rather firmly, at this point in time. This will be remedied as soon as possible.
Oh - anyone who correctly identifies which opera my subject line comes from, you get... um... a comment saying you're clever.
Ciao for now.
Wednesday, September 10, 2008
Travelling LadyBlogger
Lately, it is a rare occasion indeed when this blogger finds herself at home. This is a good thing in many ways, as it provides opportunities to attend performances in many different places. However, it is nice to be home and able to relax at last!
During my travels, I was fortunate enough to attend a performance of The Wicked Voice - four 'melodramas'. Well, three melodramas and one highly melodramatic song cycle (Intended with the utmost affection for the work, it is magnificent).
First, Georg Benda's setting of Medea. A young and beautiful actress named Claire Blumer, who I understand is a recent graduate of WAAPA, assumed the title role. A tough ask for one so young, especially when one is as angelic in appearance as Ms. Blumer happens to be. There is a magnetic quality to her performance, and the range is vast. Perhaps too vast. Or, rather, too much contrast, and not enough shading. However, she is a compelling performer and one I would gladly pay to see again. She held the stage wonderfully, alone for most of the performance. Other roles were well-taken, especially the two children who were simply adorable and let out blood-curdling screams when required!
Next, Christmas Eve, whose composer escapes me at the moment. Fibich, perhaps? All the same it was wonderfully evocative music. Another beautiful young actress, Miriam Miley-Read, assumed the role of narrator. I am led to understand that Ms. Miley-Read has mostly performed in opera, and the quality of her speaking voice suggests that her singing would be equally thrilling. She is tall and striking, with beautiful large eyes, and it is difficult to take your eyes off her. Lucky, as she commanded the stage alone for the duration of this piece (about 20 mins' worth). Hers was a vastly different performance to Ms. Blumer's, subject matter notwithstanding. A dark story about two girls who see their futures in the lake - one marries, and the other dies. Ms. Miley-Read's performance was almost sprechgesang in nature, following the highs and lows of the music intimately.
After the interval was Larry Sitsky's song cycle The Jade Harp, for mezzo-soprano and fortepiano. This is a wonderful new work from one of Australia's most revered composers. Utterly theatrical and gripping. Angela Giblin, who I had not previously heard but has an excellent reputation, is an utterly superlative artist. What her voice lacks in youthful sheen is more than made up for in the range of tonal and expressive quality. She, too, is a compelling actress. Even her hairstyle is theatrical! She was dressed simply yet strikingly in a lovely black silk chinese-inspired pantsuit. The performance took her all over the stage and yet her singing remained firmly centred and always controlled. Sometimes achingly beautiful, sometimes deliberately ugly, her performance was a revelation. One that will not be forgotten. Geoffrey Lancaster's fortepiano playing is absolutely beyond reproach, and he was a wonderful partner to Ms. Giblin, bringing a wealth of artistry and expression to this exciting score.
The final work was The Water Goblin, which saw four actors on stage. For me, this was the weak link. It would have been far better to finish with the Sitsky. Four performers in a line, writhing, speaking sing-song lines... yeah. OK. Fine, and all, but I preferred the rest of it. They all performed exceptionally and received a well-deserved rousing ovation from the appreciative audience. I am so glad I was visiting friends in the vicinity, even though I attended this performance alone ("Too weird for us!" they said... what a shame!).
Now for something completely different - Opera Australia's production of My Fair Lady. I will confess to loving this show inordinately. Always have. This production did not disappoint. Reg Livermore remains an absolute master of the theatre, and his Henry Higgins has developed immensely since I last saw him in the role many years ago. Although he is getting on in years, he still has a youthful charisma that allows us to believe that Taryn Fiebig's young and beautiful Eliza could well fall for him. I think I fell for him a little myself... Ms. Fiebig has a charming soprano voice. Light and airy yet full in the lower register, it is brightly coloured and crystalline. Her Cockney accent was slightly hit-and-miss, but she was always convincingly in character and looked superb. The supporting roles were absolutely WONDERFUL. Eliza's father had us all rolling with laughter, and his cronies in "With a little bit of luck" were full of ribald enthusiasm. A highly satisfying theatrical experience which left me with an enormous smile on my face.
I happened to be passing through Sydney the weekend just gone, which left me free to attend the semifinals of the Australian Singing Competition's Mathy Awards. Quite an experience! Ridiculously talented young people with voices to die for. I wasn't equally impressed with all four chosen finalists, but one singer stood out for me immediately - Sitiveni Talei. Purely because his baritone voice is... is... um. Words defy me. Sumptuous doesn't cut it. Bright and dark in equal measure, effortlessly produced, with heroic top notes. His art song didn't impress any great depths upon me, but I luxuriated in the gorgeous voice all the same. However, his Avant de quitter ces lieux from Faust absolutely sealed the deal. One of my favourite baritone arias, delivered with ease, panache, and commitment. He has a lovely, merry face, and a charmingly unassuming stage presence. He looked rather surprised to be named as a finalist, yet I suspect nobody in the audience was in any doubt. The other finalists are Nicole Car, Michael Lampard and Sky Ingram. Of the others, Jennifer Barrington impressed with her richly coloured soprano and easy high notes. WA seems to be producing a lot of fine singers at the moment, judging by the fact that half of the ten semifinalists hail from there. Thomas Wood's tenor sounded older than his years but was pleasantly lyrical, and Sam Roberts-Smith was a worthy recipient of the Encouragement Award and could easily have been a finalist in my humble opinion. Sky Ingram, although selected for the final, did nothing for me. She looks stunning and sings rather well, but something is lacking. There's a touch of vinegar to her sound which did not impress me. I far preferred Angela Edwards' sound, although she was perhaps not quite as polished.
I guess I should talk about the other two finalists - Nicole Car and Michael Lampard. Both lovely, well-produced voices and attractive stage manner. Ms. Car seems to be doing well for herself already, and rightly so. She is an exceptional young singer.
Now, I find myself in a bit of a performance drought for the time being. It has been a wild ride.
During my travels, I was fortunate enough to attend a performance of The Wicked Voice - four 'melodramas'. Well, three melodramas and one highly melodramatic song cycle (Intended with the utmost affection for the work, it is magnificent).
First, Georg Benda's setting of Medea. A young and beautiful actress named Claire Blumer, who I understand is a recent graduate of WAAPA, assumed the title role. A tough ask for one so young, especially when one is as angelic in appearance as Ms. Blumer happens to be. There is a magnetic quality to her performance, and the range is vast. Perhaps too vast. Or, rather, too much contrast, and not enough shading. However, she is a compelling performer and one I would gladly pay to see again. She held the stage wonderfully, alone for most of the performance. Other roles were well-taken, especially the two children who were simply adorable and let out blood-curdling screams when required!
Next, Christmas Eve, whose composer escapes me at the moment. Fibich, perhaps? All the same it was wonderfully evocative music. Another beautiful young actress, Miriam Miley-Read, assumed the role of narrator. I am led to understand that Ms. Miley-Read has mostly performed in opera, and the quality of her speaking voice suggests that her singing would be equally thrilling. She is tall and striking, with beautiful large eyes, and it is difficult to take your eyes off her. Lucky, as she commanded the stage alone for the duration of this piece (about 20 mins' worth). Hers was a vastly different performance to Ms. Blumer's, subject matter notwithstanding. A dark story about two girls who see their futures in the lake - one marries, and the other dies. Ms. Miley-Read's performance was almost sprechgesang in nature, following the highs and lows of the music intimately.
After the interval was Larry Sitsky's song cycle The Jade Harp, for mezzo-soprano and fortepiano. This is a wonderful new work from one of Australia's most revered composers. Utterly theatrical and gripping. Angela Giblin, who I had not previously heard but has an excellent reputation, is an utterly superlative artist. What her voice lacks in youthful sheen is more than made up for in the range of tonal and expressive quality. She, too, is a compelling actress. Even her hairstyle is theatrical! She was dressed simply yet strikingly in a lovely black silk chinese-inspired pantsuit. The performance took her all over the stage and yet her singing remained firmly centred and always controlled. Sometimes achingly beautiful, sometimes deliberately ugly, her performance was a revelation. One that will not be forgotten. Geoffrey Lancaster's fortepiano playing is absolutely beyond reproach, and he was a wonderful partner to Ms. Giblin, bringing a wealth of artistry and expression to this exciting score.
The final work was The Water Goblin, which saw four actors on stage. For me, this was the weak link. It would have been far better to finish with the Sitsky. Four performers in a line, writhing, speaking sing-song lines... yeah. OK. Fine, and all, but I preferred the rest of it. They all performed exceptionally and received a well-deserved rousing ovation from the appreciative audience. I am so glad I was visiting friends in the vicinity, even though I attended this performance alone ("Too weird for us!" they said... what a shame!).
Now for something completely different - Opera Australia's production of My Fair Lady. I will confess to loving this show inordinately. Always have. This production did not disappoint. Reg Livermore remains an absolute master of the theatre, and his Henry Higgins has developed immensely since I last saw him in the role many years ago. Although he is getting on in years, he still has a youthful charisma that allows us to believe that Taryn Fiebig's young and beautiful Eliza could well fall for him. I think I fell for him a little myself... Ms. Fiebig has a charming soprano voice. Light and airy yet full in the lower register, it is brightly coloured and crystalline. Her Cockney accent was slightly hit-and-miss, but she was always convincingly in character and looked superb. The supporting roles were absolutely WONDERFUL. Eliza's father had us all rolling with laughter, and his cronies in "With a little bit of luck" were full of ribald enthusiasm. A highly satisfying theatrical experience which left me with an enormous smile on my face.
I happened to be passing through Sydney the weekend just gone, which left me free to attend the semifinals of the Australian Singing Competition's Mathy Awards. Quite an experience! Ridiculously talented young people with voices to die for. I wasn't equally impressed with all four chosen finalists, but one singer stood out for me immediately - Sitiveni Talei. Purely because his baritone voice is... is... um. Words defy me. Sumptuous doesn't cut it. Bright and dark in equal measure, effortlessly produced, with heroic top notes. His art song didn't impress any great depths upon me, but I luxuriated in the gorgeous voice all the same. However, his Avant de quitter ces lieux from Faust absolutely sealed the deal. One of my favourite baritone arias, delivered with ease, panache, and commitment. He has a lovely, merry face, and a charmingly unassuming stage presence. He looked rather surprised to be named as a finalist, yet I suspect nobody in the audience was in any doubt. The other finalists are Nicole Car, Michael Lampard and Sky Ingram. Of the others, Jennifer Barrington impressed with her richly coloured soprano and easy high notes. WA seems to be producing a lot of fine singers at the moment, judging by the fact that half of the ten semifinalists hail from there. Thomas Wood's tenor sounded older than his years but was pleasantly lyrical, and Sam Roberts-Smith was a worthy recipient of the Encouragement Award and could easily have been a finalist in my humble opinion. Sky Ingram, although selected for the final, did nothing for me. She looks stunning and sings rather well, but something is lacking. There's a touch of vinegar to her sound which did not impress me. I far preferred Angela Edwards' sound, although she was perhaps not quite as polished.
I guess I should talk about the other two finalists - Nicole Car and Michael Lampard. Both lovely, well-produced voices and attractive stage manner. Ms. Car seems to be doing well for herself already, and rightly so. She is an exceptional young singer.
Now, I find myself in a bit of a performance drought for the time being. It has been a wild ride.
Sunday, August 24, 2008
SIPCA on TV
Watched the ABC Arts program this afternoon, and finally got to see the six finalists play. With the exception of Eric Zuber, who I missed because I wasn't home early enough to catch the start.
My perceptions were challenged somewhat. I expected, perhaps from G.W.'s comments, that Takashi Sato would be more theatrical and Tomoki Kitamura more subdued. Certainly in my eyes it was the other way around. Mr. Sato impressed me even further on TV than he did on the radio.
I still believe, even more so now, that Ran Dank was the outstanding artist in the competition. Konstantin Shamray was very fine, but not in Mr. Dank's league. I am still perplexed as to why Tatiana Kolesova was awarded the second prize after her poor showing in the two concerti. However not my decision.
I've been practicing a lot and watching the Olympics, and perhaps partying a little too hard. All of that = tired LadyBlogger. zzzz.
My perceptions were challenged somewhat. I expected, perhaps from G.W.'s comments, that Takashi Sato would be more theatrical and Tomoki Kitamura more subdued. Certainly in my eyes it was the other way around. Mr. Sato impressed me even further on TV than he did on the radio.
I still believe, even more so now, that Ran Dank was the outstanding artist in the competition. Konstantin Shamray was very fine, but not in Mr. Dank's league. I am still perplexed as to why Tatiana Kolesova was awarded the second prize after her poor showing in the two concerti. However not my decision.
I've been practicing a lot and watching the Olympics, and perhaps partying a little too hard. All of that = tired LadyBlogger. zzzz.
Thursday, August 21, 2008
In which LadyBlogger has been... *gasp*... PRACTICING!
Indeed. I have been somewhat inactive with my blogging because I have been making music of my own, as opposed to commenting on the music-making of others. It is a pleasant change. I am preparing for a few different things coming up - getting up and trotting out my wares, so to speak...
One thing I tend to forget after a break from piano practice is that it takes time to rebuild callouses formed from practicing glissandi. Two of the pieces in my current repertoire have glissandi, and I've actually drawn blood from jumping in there a little too vigorously. Ouch!
Unfortunately, I have yet again proven that if I actually had the mental fortitude to give this piano thing a real go, I could be rather good at it. More than rather, in fact. Possibly tending towards very or even extremely. Every time I make this realisation it upsets me a little. I wonder if I have squandered a gift that I shouldn't have squandered. Then I remember that I actually really like doing what it is that I plan to do for a living. I like it a LOT. I love it, in fact. So I rest my case.
eventually. right now I'm at the point of saying that I remember that I love what I already do, and yet I haven't quite felt it yet. Part of me will always be wistful that I didn't take my last piano teacher's advice and go for it. Yet the larger part knows that I made the right decision, and I followed my heart.
Anyway I have dragged myself away from the big black shiny thing in the music room and I am going to have a well-deserved TV break. Give those cuticles some time to heal.
One thing I tend to forget after a break from piano practice is that it takes time to rebuild callouses formed from practicing glissandi. Two of the pieces in my current repertoire have glissandi, and I've actually drawn blood from jumping in there a little too vigorously. Ouch!
Unfortunately, I have yet again proven that if I actually had the mental fortitude to give this piano thing a real go, I could be rather good at it. More than rather, in fact. Possibly tending towards very or even extremely. Every time I make this realisation it upsets me a little. I wonder if I have squandered a gift that I shouldn't have squandered. Then I remember that I actually really like doing what it is that I plan to do for a living. I like it a LOT. I love it, in fact. So I rest my case.
eventually. right now I'm at the point of saying that I remember that I love what I already do, and yet I haven't quite felt it yet. Part of me will always be wistful that I didn't take my last piano teacher's advice and go for it. Yet the larger part knows that I made the right decision, and I followed my heart.
Anyway I have dragged myself away from the big black shiny thing in the music room and I am going to have a well-deserved TV break. Give those cuticles some time to heal.
Saturday, August 16, 2008
Ode to Martha
Argerich, of course. I racked up a lot of kilometres in my car over the past few days, and listened to a lot of music. My final choice was the live Martha Argerich/Chailly/Berlin RSO Rachmaninoff 3 and her Tchaikovsky 1 with Kondrashin/Bavarian RSO.
She just OWNS it. Never mind that she misses notes here and there, that her tempi are sometimes wildly different from the orchestra when she comes in at a new section.
It's wonderfully distinctive, spontaneous, electric playing and reminded me yet again of why I love her so much.
She just OWNS it. Never mind that she misses notes here and there, that her tempi are sometimes wildly different from the orchestra when she comes in at a new section.
It's wonderfully distinctive, spontaneous, electric playing and reminded me yet again of why I love her so much.
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