ANNA CREER reviews new, gripping novels by two Melbourne-based, female crime writers.
Review
Arts editor HELEN MUSA reviews Art Song Canberra: A Brief History of the Unrequited, a recital by baritone Alasdair Stretch who ventured from the Renaissance well into the 21st century.
"A remount of Sheoak, premiered in 2015 and choreographed by Bangarra artistic director Frances Rings, was the final piece in Sheltering." SAMARA PURNELL reviews Bangarra Dance Theatre's latest production.
"This was a superbly satisfying performance of a grand piece of music... with more than a few moments of spine-tingling beauty as a chord just hung in the air or a voice floated above," writes music reviewer GRAHAM McDONALD.
"From the opening Schubert setting of The Lord is My Shepherd the choir presented choral singing of high vocal quality with fine balance, excellent dynamic control and contrast, and pleasing clarity of diction," writes reviewer IAN McLEAN.
LEN POWER reviews Sea and Stars, Debussy and Gershwin, a performance by the Canberra Symphony Orchestra and the CSO Chorus.
KERRY-ANNE COUSINS reviews Liz Priestley's latest art works exhibited at Grainger Gallery where she uses the ancient encaustic technique of building up layers of wax, pigments and resin to form multiple layers of colour and texture.
'Interwoven' by the Australian String Quartet at Gandel Hall was a "through-composed study of emotional nuance", weaving together strains from the quartet's history spanning 18th century to the 21st century, reviews NICK HORN.
"Rather than confining itself to classic big-band repertoire, Blamey Street Big Band specialises in re-inventing popular music genres by applying a swing beat," writes reviewer BILL STEPHENS.
SARAH BYRNE reviews a performance of Schubert’s Fantasy and Octet by the Australian Chamber Orchestra.
MEREDITH HINCHLIFFE reviews Staunch, an exhibition by a collective of Blak artists.
"These abstract works are successful in their ability to communicate through rhythm, shape and colour, the artist’s pictorial vision and its genesis in his poetic imagination," writes visual art reviewer KERRY-ANNE COUSINS.
