2017Bachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.png2017-08-21UTC16:14:40+00:002017-08-21The problematic nature of Britten's Rape of Lucretia is well-known: Sydney Chamber Opera's production attempts to navigate it via gender inversion. The Repairing of Lucretia at Sydney Chamber Operaen_GBtruehttps://bachtrack.com/review-britten-rape-lucretia-sydney-chamber-opera-august-2017Bachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.pngDavid Larkinhttps://bachtrack.com/22/270/list-published/944https://bachtrack.com/22/270/list-published/944https://bachtrack.com/files/135-dl_photo.jpgDavid is a lecturer at the University of Sydney, specialising in nineteenth-century music. Educated at Dublin and Cambridge, he has published on Richard Strauss, Liszt and Wagner. He gives pre-concert talks for the Sydney Symphony, and sings with a number of chamber choirs.https://bachtrack.com/files/66149-13--anna-dowsley-in-the-rape-of-lucretia--sydney-chamber-opera--carriageworks-2017--photo-zan-wimberley-resized.jpg510340Anna Dowsley (Lucretia)Zan Wimberley2017-Aug-19, Carriageworks: The Rape of Lucretiahttps://bachtrack.com/opera-listing/carriageworks-6676/the-rape-of-lucretia/19-august-2017/20-002017-08-192017-08-26CarriageworksSydneyNew South WalesAustraliaNSW 2015245 Wilson Street, Eveleigh-33.8941948151.1893094
Mary Finsterer has managed a musical melange that crosses effortlessly and delightfully from the Renaissance to today. If only Tom Wright's book and libretto had been a match, this would have been a work worth taking to the world.
2017Bachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.png2017-01-09UTC09:46:32+00:002017-01-09Mary Finsterer has managed a musical melange that crosses effortlessly and delightfully from the Renaissance to today. If only Tom Wright's book and libretto had been a match, this would have been a work worth taking to the world.Biographica: a mazy musical melange at Sydney's Carriageworksen_GBtruehttps://bachtrack.com/review-finsterer-biographica-carriageworks-sydney-january-2017Bachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.pngJeremy Eccleshttps://bachtrack.com/22/270/list-published/20350https://bachtrack.com/22/270/list-published/20350https://bachtrack.com/files/78420-jeremy-eccles.jpgJeremy Eccles was born in the UK, engaged with music at Dulwich College, Jurisprudence at Oxford and politics at the BBC. Then he made a sea-change to Radio Hong Kong - and culture entered his professional world. On to Australia in 1982, where culture took over, broadcasting on the ABC and writing in all national newspapers, mainly about the performing arts. He formed a local chapter of the International Association of Theatre Critics, contributed to The World of Theatre and edited two magazines. Later, Jeremy began reviewing opera for the Australian Financial Review and dance for the Sydney Review. Most of his writing (and the odd film) today is deep into Indigenous art and culture at aboriginalartdirectory.com, but he maintains a continuing engagement with opera - early, contemporary, on the Harbour and plain old Puccini.https://bachtrack.com/files/50983-biographica-mitchell-butel-c-lisa-tomasetti-resized.jpg510340Mitchell Butel (Gerolamo Cardano)Lisa Tomasetti2017-Jan-07, Carriageworks: Biographicahttps://bachtrack.com/opera-listing/carriageworks-6676/biographica/07-january-2017/19-302017-01-072017-01-13CarriageworksSydneyNew South WalesAustraliaNSW 2015245 Wilson Street, Eveleigh-33.8941948151.1893094
Its achievement lies in the brilliant notion of taking the two parts of Dostoevsky's work – the Aboveground Man's self-loathed life and the Underground Man's reflections upon it 20 years later – and running them concurrently, using two different singers.
2016Bachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.png2016-08-16UTC05:47:21+00:002016-08-14Its achievement lies in the brilliant notion of taking the two parts of Dostoevsky's work – the Aboveground Man's self-loathed life and the Underground Man's reflections upon it 20 years later – and running them concurrently, using two different singers.Dystopian Dostoevsky gets utopian orchestration in Sydneyen_GBtruehttps://bachtrack.com/review-symonds-notes-from-the-underground-sydney-chamber-opera-august-2016Bachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.pngJeremy Eccleshttps://bachtrack.com/22/270/list-published/20350https://bachtrack.com/22/270/list-published/20350https://bachtrack.com/files/78420-jeremy-eccles.jpgJeremy Eccles was born in the UK, engaged with music at Dulwich College, Jurisprudence at Oxford and politics at the BBC. Then he made a sea-change to Radio Hong Kong - and culture entered his professional world. On to Australia in 1982, where culture took over, broadcasting on the ABC and writing in all national newspapers, mainly about the performing arts. He formed a local chapter of the International Association of Theatre Critics, contributed to The World of Theatre and edited two magazines. Later, Jeremy began reviewing opera for the Australian Financial Review and dance for the Sydney Review. Most of his writing (and the odd film) today is deep into Indigenous art and culture at aboriginalartdirectory.com, but he maintains a continuing engagement with opera - early, contemporary, on the Harbour and plain old Puccini.https://bachtrack.com/files/44108-notesfromunderground-0954-sydney-chamber-opera-resized.jpg510340Notes from UndergroundZan Wimberley2016-Aug-13, Carriageworks: Notes from Undergroundhttps://bachtrack.com/opera-listing/carriageworks-6676/notes-from-underground/13-august-2016/20-002016-08-132016-08-20CarriageworksSydneyNew South WalesAustraliaNSW 2015245 Wilson Street, Eveleigh-33.8941948151.1893094
John Zorn’s compositions presented at The Cloisters contained a bonanza of musical ideas, rolling in unnervingly peculiar waves and presented in clumps and clusters like audio versions of found art.
2015Bachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.png2015-06-02UTC11:29:42+00:002015-06-02John Zorn’s compositions presented at The Cloisters contained a bonanza of musical ideas, rolling in unnervingly peculiar waves and presented in clumps and clusters like audio versions of found art. Demented coloratura and spiritual chant: John Zorn's Sacred Visionsen_GBtruehttps://bachtrack.com/review-zorn-jack-quartet-cloisters-new-york-may-2015Bachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.pngJacob Slatteryhttps://bachtrack.com/22/270/list-published/16550https://bachtrack.com/22/270/list-published/16550https://bachtrack.com/files/70665-jacob-slattery-headshot.jpgJacob is a musician and raconteur based out of New York City. As a writer, he operates an online arts and culture blog with the goal of providing momentum for community-based arts projects in NYC. As an oboist, Jacob has performed internationally with orchestras from Vienna to Seoul. Born and raised in the lake-ridden, gopher empire of Minnesota, Jacob received a dual-degree in Music Performance and Marketing from Augsburg College in Minneapolis. His blog can be found here.https://bachtrack.com/files/23886-jack_quartet_henrik_olund2.jpg510358Jack QuartetHenrik Olund2015-May-30, The Cloisters Museum: John Zorn’s Sacred Visionshttps://bachtrack.com/concert-listing/the-cloisters-museum/john-zorns-sacred-visions/30-may-2015/13-302015-05-302015-05-30The Cloisters MuseumNew York CityNew YorkUnited States1004099 Margaret Corbin Drive,Fort Tryon Park40.8639624-73.93304293
Cage hoped that the change from “pinch-penny mental attitudes to courageous wastefulness” would become as prevalent in the arts as it is in nature. Along those lines, his late choral music is spare, seemingly simple: quiet, almost fragile sounds scattered over silences.
2015Bachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.png2015-03-03UTC15:30:34+00:002015-03-03Cage hoped that the change from “pinch-penny mental attitudes to courageous wastefulness” would become as prevalent in the arts as it is in nature. Along those lines, his late choral music is spare, seemingly simple: quiet, almost fragile sounds scattered over silences.Courageous wastefulness: Ekmeles Vocal Ensemble's John Cage at Avant Music Festivalen_GBtruehttps://bachtrack.com/review-cage-ekmeles-vocal-ensemble-february-2015Bachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.pngRebecca Lentjeshttps://bachtrack.com/22/270/list-published/2369https://bachtrack.com/22/270/list-published/2369https://bachtrack.com/files/40603-rebecca-lentjes.jpgRebecca graduated from New York University in 2012, where she studied Music and Romance Languages. She now works as an assistant editor at RILM (Répertoire International de Littérature Musicale) and as manager of contemporary music collective ensemble mise-en.https://bachtrack.com/files/8443-ekmeles_ensemble_steven_pisano.jpg510341Ekmeles Vocal EnsembleSteven Pisano for Avant Media2015-Feb-28, Wild Project: Avant Music Festival: John Cagehttps://bachtrack.com/concert-listing/wild-project/avant-music-festival-john-cage/28-february-2015/20-002015-02-282015-02-28Wild ProjectNew York CityNew YorkUnited States195 East 3rd Street40.723035-73.9832814
Showing unusual restraint for Sydney Chamber Opera, Giya Kancheli's monodrama Exil became a performance with an undeniable power and poignancy in the hands of this young company.
2013Bachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.png2013-12-16UTC10:38:12+00:002013-12-16Showing unusual restraint for Sydney Chamber Opera, Giya Kancheli's monodrama Exil became a performance with an undeniable power and poignancy in the hands of this young company.Intensity through restraint: Giya Kacheli’s Exil with Sydney Chamber Operaen_GBtruehttps://bachtrack.com/review-dec-2013-sydney-chamber-opera-exilBachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.pngDavid Larkinhttps://bachtrack.com/22/270/list-published/944https://bachtrack.com/22/270/list-published/944https://bachtrack.com/files/135-dl_photo.jpgDavid is a lecturer at the University of Sydney, specialising in nineteenth-century music. Educated at Dublin and Cambridge, he has published on Richard Strauss, Liszt and Wagner. He gives pre-concert talks for the Sydney Symphony, and sings with a number of chamber choirs.https://bachtrack.com/files/3874-exil.jpg637423Giya Kancheli2013-Dec-07, Carriageworks: Exilhttps://bachtrack.com/listing-dec-2013-sydney-chamber-opera-exil2013-12-072013-12-13CarriageworksSydneyNew South WalesAustraliaNSW 2015245 Wilson Street, Eveleigh-33.8941948151.1893094
On Thursday evening, not a seat was vacant in Alice Tully Hall for The Holy Visions, the inaugural concert of Lincoln Center Festival’s three-day performance series honoring John Zorn’s impending birthday. The series is just a small installment in Zorn@60, an international celebration of one of New York’s most revered avant-garde composers and musicians, who will turn 60 on 2 September.
2013Bachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.png2013-11-07UTC16:47:30+00:002013-07-30Lydia Brown reviews John Zorn's Shir Ha-Shirim, The Holy Visions and The Hermetic Organ at Alice Tully HallZorn@60: Celebrating 60 years of John Zorn at Alice Tully Hallen_GBtruehttps://bachtrack.com/review-lincoln-center-festival-2013-john-zorn-60Bachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.pngLydia Brownhttps://bachtrack.com/files/2821-john_zorn.jpg400400Jon Zorn Scott Irvine2013-Jul-18, Lincoln Center: Alice Tully Hall: Lincoln Center Festival – Zorn@60: The Holy Visionshttps://bachtrack.com/listing-lincoln-center-festival-2013-john-zorn-602013-07-182013-07-18Lincoln Center: Alice Tully HallNew York CityNew YorkUnited States40.773865-73.9822214
John Zorn doesn’t look 60. He looks 35, or whatever age it is where you’re still just about young enough to get away with wearing baggy camouflage pants. “And that’s how it’s done!” he yells through his mic at the end of the first half, over huge applause and cheering from this passionate Barbican audience.
2013Bachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.png2013-11-07UTC16:47:14+00:002013-07-15Paul Kilbey reviews John Zorn in a wildly eclectic 60th birthday concert at the Barbican, London.How it's done: John Zorn celebrates his 60th birthday at the Barbicanen_GBtruehttps://bachtrack.com/review-barbican-john-zorn-at-60Bachtrack Ltdhttps://bachtrack.com/themes/bachtrack2013/mastheadlogo.pngPaul Kilbeyhttps://bachtrack.com/files/2821-john_zorn.jpg400400Jon Zorn Scott Irvine2013-Jul-12, Barbican Hall: Zorn@60https://bachtrack.com/listing-barbican-john-zorn-at-602013-07-122013-07-12Barbican HallLondonGreater LondonUnited KingdomEC2Y 8DSSilk Street51.519879294526-0.0917100906372075