Sandra Bowdler was born and educated in Sydney, and has pursued a career as an archaeologist since graduating from the University of Sydney in 1970. She is now Emeritus Professor of Archaeology and a Senior Honorary Research Fellow at the University of Western Australia in the School of Social Sciences and the School of Music. Since attending a production of Handel’s opera Alcina at the Sydney Opera House in 1982, she has become a devotee of the works of GF Handel, and Baroque music generally. In 1996 she began writing opera reviews for online outlets, graduating to more professional sources by 2000. In 2007, she inaugurated Festival Baroque Australia in Perth, Western Australia, Australia’s first Baroque music festival. Under that banner, she curated two festivals and several concerts in Perth.
Handel's Rodelinda comes to Göttingen a year after the planned centennial anniversary event, but is worth the wait with respect to musical values led by conductor Laurence Cummings with Anna Dennis in the title role.
A distinctly odd pairing for an Easter concert in Perth, with the almost morbidly solemn Duruflé Requiem followed by Bach’s jubilant Easter Oratorio, both exceedingly well performed.
This electic performance of Pierrot Lunaire was preceded by a clutch of contemporary Australian works (and a poem), which served to demonstrate that Schoenberg's modernity is still way ahead of the times.
Neil Armfield's enchanting production of Britten's A Midsummer Night's Dream finally comes to Australia as the centrepiece of the 2021 Adelaide Festival, making a virtue of necessity with its astute casting of Australian talent.
Melbourne Opera has produced a critically and popularly successful Das Rheingold, which bodes well for the planned development of a full Ring cycle over the next four years.
The Australian String Quartet joins the West Australian Symphony Orchestra under Ludovic Morlot for an enjoyable and timely round of Beethoven interleaved with John Adams' homage to the 250-year old composer.
Vivaldi's Farnace is reconstructed by Pinchgut Opera in ways which might not do the composer full dramatic justice, but the production and high musical values provide an excellent night of operatic drama.
Nina Stemme returns to Hobart and the Tasmanian Symphony Orchestra under Marko Letonja, with an all-Wagner concert, ably assisted by Swedish bassJohn Lundgren
West Australian Opera's production of Sweeney Todd was an excellent, crackling performance, with everyone involved in top form, with some unexpected players showing great talent in this not-very-operatic work.
Handel's oratorio Susanna is often considered to be less than consistently dramatic and this performance in the Halle Handel Festival did little to dispel that view.
A performance of Handel's short masterpiece Apollo e Dafne at the Halle Handel Festival was somewhat disappointing but Fulvio Bettini impressed in the bass role.
