Live Review: The Pearl Fishers Opera in the Park Supreme Court Gardens WA Saturday, February 18 Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

More Brahms with your Webern, sir? Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Savage and unremittently dark, Richard Strauss’ Elektra is a gritty psychological thriller, a tale of revenge, torment, matricide and – yes – love.

Conductor: Imre Palló/Director: John Milson Sydney Conservatorium of Music Until September 24 Continue reading Get unlimited digital access from $4 per month Subscribe Already a subscriber? Log in

Stuart Maunder directed, compèred and played the patter roles very adroitly and the cast was largely in good form.

Beethoven’s Sonata No 3 was written in 1798, when Beethoven was 27. Already, the composer’s tendency to make the two instruments equal partners was well established. Part of a set, Beethoven dedicated them to his teacher, Salieri. This sunny work contrasts with the seriousness of the Kreutzer. Unusual for the time, the work begins with the violin. One can only imagine the audience reaction at the premiere. The piano enters, and the two instruments seem to square off as if workingout a way of proceeding. Then suddenly, it’s on, and the movement erupts with fierce energy. At the time of the Kreutzer’s composition in 1803, Beethoven was aware of his increasing deafness: the battle in the first movement could reflect this. At 36’, it is a demanding and engrossing work. The recording is excellent and the performances are lively and committed. In the notes, Bezuidenhout makes a persuasive case for the fortepiano, citing the familiar arguments about timbre, speed of audio decay and so on. One must respect the research, up to a point. Some years ago, when challenged over the new passion for the fortepiano, a prominent academic loftily observed, “You’ll get used to it”. Perhaps, but to my…