A fine outing of an underappreciated Passion – with a new HIP band to boot.

When Gustav Mahler composed his great orchestral song cycle Das Lied von der Erde in 1909, he almost certainly knew he hadn’t long to live.

Symphony for one: Mahler’s song cycle gets the full Kaufmann treatment.

Les Arts proves the madrigal is more than just a load of old nymphs and shepherds.

The Canadian bass-baritone says there's no excuse for the Finnish composer's songs not to be present in more recital programmes.

For her first Queensland Music Festival, Noonan is asking Australians to take part in a concert called You’re The Voice.

Acacia Quartet and Sally Whitwell bear the bays at this year's Festival.

Currently singing with the OA chorus in Carmen, young soprano Laura Scandizzo is about to perform Race for the Sky.

The conductor explains the allure of the German Romantics ahead of his performance with Sydney Chamber Choir.

Considering her sizable discography, 2015’s Fleurs was surprisingly Carolyn Sampson’s first song recital. It turned out a corker and set a very high bar for a follow-up. I can happily report that this release comfortably vaults that bar. The clever thematic programming continues, this time in various settings of Symbolist Decadent Paul Verlaine’s moonlit evocations. Debussy’s setting of Fêtes Galantes, Ariettes Oubliées and Fauré’s La Bonne Chanson are old favourites along with Hahn’s lovely L’heure Exquise and Tous Deux, but the five settings by Poldowski, aka Régine Wieniawski (daughter of the violin composer), are an unfamiliar treat; accomplished vocal writing, gorgeous harmonies and imaginative accompaniments – her En Sourdine is delicious. The performances are breathtakingly beautiful. As expected from the impeccable Sampson there is some astonishingly pure and precisely controlled vocalism, but lest she be typecast as an early music specialist there has been a perceptible increase in richness and colour over the last few years. Her delivery is mostly intimate and confessional, the full voice used sparingly so at key moments when it opens out and expands the result is spine-tingling. She has an ideal partner in Joseph Middleton, a superb musician with a keen ear… Continue reading Get…

Once the remit of boy choristers and early music specialists only, Pergolesi’s Stabat Mater has evolved into a star vehicle.

Spem in alium is undoubtedly one of the great masterpieces of English polyphony; in a sense the last great flowering of a magnificent tradition. Like any great masterpiece, Tallis’s astounding 40-part motet can be admired from any number of different vantage points.   In this final volume of their Tallis survey, Carwood and The Cardinall’s Musick give us two versions – the original setting with its Latin text as well its contemporaneous adaptation to an English text. Both cast different lights on the music. Pleading and sorrowful, the Latin words create a sombre mood while the English text has a more jubilant effect. Choosing to record the work in a relatively dry acoustic also emphasises the composer’s extraordinary skill in manipulating such heroic forces and also the singers’ wonderful precision and unanimity of tone. The rest reminds us of Tallis’s uncanny ability to bend to the musical and religious dictates of his age, thus ensuring his head remained attached to his shoulders. Amongst deservedly popular works in Latin and English we have O Sacrum Convivium, Hear the Voice and Prayer and Verily, Verily, I Say Unto You. At the… Continue reading Get unlimited digital access from $4 per month Subscribe…