Australian Brandenburg Orchestra 2016 Season – As part of the 30th anniversary celebrations, Australia’s Brandenburg Orchestra’s latest tour features three rising stars who weren’t even born when Paul Dyer assembled his original instrumental band. Where will they take us?
Dyer has an impressive track record in finding new talent. Every year Noel! Christmas! Concerts with regular new faces featured early careers including Taryn Fiebig, Jane Sheldon and Max Reibl, and 2016 featured young New Zealand soprano Madison Nonoa. Three years later, Nonoa moved to London and began to build a solid repertoire of opera roles, where she performed last night in Sydney where she sang four Handel arias, evidence suggests that her future is very bright.
Australian Brandenburg Orchestra 2016 Season
Julius Caesar’s “From Tempest” reveals a rich and varied voice under the control of solid technology that makes impossible leaps and prosperity easy to see, and in “Let the bright Seraphim” she has a spark and sharpness that rivals Leanne’s. . Sullivan’s fiery. Trumpet required. Nonoa also acquired a more demanding skill to be silent. It was a story in itself to describe the instrumental intro and the emotional confusion of her characters in the play.
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With Noah we also meet two young violinists on a long and exciting journey. Originally from Sydney, Baroque violinist Annie Gard graduated from the New York Juilliard School and currently resides in Germany, performing with some of Europe’s leading early music bands. She joined the Brandenburg Ensemble as soloist for Violin Concerto in G major, Op. 9 No. 10, RV 300. His lyrical performances explored subtle, haunting tones and understated expressions of virtuosity, where intense melodic lines melt into the air. Bach’s Ciaccona of Partita No. 2 for solo violin was a less fortunate repertoire choice for this artist and stifled his weak voice. Yes, Ciaccona is notorious and stumbled upon a few notes, but Gard’s biggest challenge may have been not the tough technical demands, but rather the challenge of being on stage as a result of the last tough act that followed.
Christian Li was born in 2007. Yes, I was born in 2007! He – when he was five years old he started learning the violin. In 2018, he became the youngest winner of the Yehu Dimenuin International Violin Competition Youth Award, and this year he made his solo debut with the Melbourne Symphony Orchestra, performing the Mendelssohn Violin Concerto. It was Li who opened the Next Generation Baroque, playing Halvorsen’s Passacaglia for violin and viola after Handel with ABO’s movement Shaun Lee-Chen.
From the moment he pulled out Halvorsen’s opening chord, it became clear that Li was very special. In fact, calling him a “child prodigy” seems inaccurate. It’s underestimating the artistry, technical magic, and bravado that he displays when he starts playing. When he and Lee Chen faced each other, especially in their evil transformation, when a small smile crossed his face, I remembered to my surprise that he was just a boy. It’s a savory debut for an artist that we’re looking forward to hearing much more.
Next Generation Baroque will perform at the Sydney City Recital Hall on 14, 18 and 20 September and at the Melbourne Recital Hall on 21 and 22 September. There they join forces with the Brandenburg Choir and Brandenburg Young Voices, a choir of children from around 16 schools across Sydney. Artistic Director Paul Dyer said before the music even started that the concert wasn’t in itself, but an opportunity to give a spin to the next generation of Australian singers and to showcase soloists who once served in a youth choir. . Richard Gill reminds us regularly in his books.
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The first half consists of a series of short works from the Renaissance to the present (in reverse chronological order).
, composed by Lynn Williams, founder and artistic director of the Sydney Children’s Choir. The choir started singing from the back of the hall, crowding the stage enthusiastically, and playing the musical canon with impressive accuracy. Following a duet of anonymous medieval chants, the Brandenburg Choir performed a fascinating interpretation of the work of Giovanni Pierluigi da Palestrina.
, this polyphonic gem sang with incredible precision. Unfortunately, the wailing cough of the audience interrupted the tranquility of the second line (ironically) in the words “Gabriel’s merry greetings”, but the next line (“Have mercy on the sinner”) was the content of the respite.
Madeleine Easton (violin)
Then four soloists (soprano Amy Moore, Alto Max Ribble, tenor Paul Sutton, and bass Alexander Knight) joined forces to perform Orlando di Lasso’s wild performance.
. The song, sung high above the organ, delightfully captures a German soldier bragging about his manliness to an Italian girl in Italian and clumsy French. “Sniper, Fat Kidney”, “I’ll Push You Like a Ram and I’ll Love You All Night” It was a great performance choreographed and played with perfect timing. The Brandenburg Orchestra joined the two choruses to compose the next two pieces from the time of John Rutter. The sound of the strings playing the instrument was a little low, but the whole orchestra was
The faithful of the audience sang and played with tremendous energy and vigor, representing the choir, and trumpet ascending with eloquence and clear tone. Applause was reasonably high.
After the interval, the Brandenburg Orchestra and Choir played a very fast version of Mozart’s Requiem. Paul Dyer is passionate about the bold and spurs the work. The chorus and orchestra were as grandiose as ever, but for me the weather inevitably sacrificed a lot of the solemnity of the piece. cadence motif of
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For example, is played for a few minutes before going into a rare and soprano solo. At high speeds, this gesture lost some of its immense gravity. The intonation of the soprano solo was also slightly shaky. again, no
, it was impossible to define a brilliant half-syllable passage from one part of the chorus to another. no
, shimmering string passages, the calls and responses between the bass and sopranos, the pounding and repeating notes of the brass instruments already have so much drama that too much time really gets in the way. o
A very solid song by a soloist where tenor Paul Sutton could create a particularly beautiful tone was included and all the soloists took part in the game.
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It was a bit slow and really exciting. The soprano got a soft tone from “voca me”. Dyer’s playwright turned back time.
, and brought tears. In fact, it was so moving that it made me think (shortly) that the extreme tempo of the previous movement might have been worth it for theatrical effect.
, is the conclusion of the requiem that Mozart’s disciple, Franz Susmeier, was incomplete at the time Mozart died in December 1791. It’s pretty interesting today to hear Mozart’s entire requiem when he didn’t write the second. In fact, it wasn’t even completed by someone Mozart admired. There are repeated references to “that fool Süssmayr” in the letter. Compared to the grandeur and inspiration of the first half, the second half seems banal. But Mozart’s music
Thankfully she returned to Communion where soprano Amy Moore was very angelic and much more confident. Dyer slowed down for the finals.
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, and a thought-provoking interpretation of this great work came to an end, with timpani performances and true choirs from the choir. To match his program with mouth-watering menus, Paul Dyer, Artistic Director of the Australian Brandenburg Orchestra (ABO) is catering for all tastes with mouth-watering menus for the 2016 season.
ABO is renowned for the beauty of its Baroque repertoire, played by world-class musicians with creative instruments that serve elegant and always tempting meals each year.
Some people are naturally drawn to certain ‘foods’, but I think I can seduce them all with my snack in 2016.”
2015 was a good year for the orchestra, which has been established for over 25 years. Players are known for their innovation, passion and dedication to the arts.
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Mid-next year’s program will feature concerts for all early music lovers.
Dyer said: “Sometimes ABO audiences just want Brandenburg. They love pure baroque music with dedicated performers and passion… This is the perfect show for our loyal and beloved fans.
“Some people like an instrumental program, others want it.
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