Review: Horn of Plenty (Australian Festival of Chamber Music)
A smart program gives Stefan Dohr the space to showcase his glorious tone, sublime phrasing and insightful interpretative vision.
Gillian Wills has written for Limelight, Griffith Review, Australian Book Review, The Australian, Courier Mail, ArtsHub, The Strad (UK), CutCommon and Artist Profile. Her memoir Elvis and Me (Finch Publishing) was released in Australia, New Zealand, Canada and the UK in 2016.
Her debut novel, Big Music was released on 18 September.
A smart program gives Stefan Dohr the space to showcase his glorious tone, sublime phrasing and insightful interpretative vision.
The versatile and powerful accordion wasn't invented during JS Bach's lifetime, but chances are he would have used it if it had been.
No Queen but this airing of Czech chamber specials reaches sublime heights.
Like any good casting director, AFCM's Jack Liebeck knows how to curate an impressive opening-night lineup.
BCC's unity and enthusiasm are on display across three hefty works calling for stamina and sustained virtuosity.
David Kram’s adaptation reimagines Wagner’s magnum opus, cutting it back to an accessible 90 minutes. AI film version to come.
An entertaining and intelligent program from Ensemble Q, with just the right mix of the comforting, the adventurous and the heartfelt.
World-class singing on a cattle station in the middle of the outback? Hearing is believing.
In the elemental surroundings, Korean star Sumi Jo steals the show with a performance that takes root in the memory.
'Jazzical' but magical as Paul Grabowsky and Camerata mix it up, genre-wise.
Grief explored in all its colours on this Anzac Day concert featuring QSO Chief Conductor Umberto Clerici on cello.
Spine-tingling singing from Reginald Mobley in the cathedral acoustic of St Stephen's.
A top-shelf cast ensues little is lost in a stripped-back staging of Gilbert and Sullivan's rollicking melodrama.