"This was a cleverly programmed and very well played concert of baroque music by Italian and German composers of wonderful obscurity." GRAHAM McDONALD reviews Apeiron Baroque.
Review
"All in all, this was a thoroughly enjoyable afternoon’s introduction to some of the gems of Cuban popular music, with Ayse Göknur Shanal’s luscious singing," writes reviewer NICK HORN.
"There was a consistent sense of precision and commitment to execution in this play that didn’t lose its grip." ARNE SJOSTEDT reviews God of Carnage.
BILL STEPHENS reviews The Addams Family.
COLIN STEELE reviews two books about writers, both revealing in different ways.
SOPHIA HALLOWAY reviews Seeing the Invisible, an exhibition by Melbourne-based multi-disciplinary artist Maree Clarke.
CON BOEKEL reviews an exhibition of forgotten images taken in Texas in 1972-73 by Judith Macdougall and curated by her husband David.
"Canadian play The Drawer Boy is a good find. On an imaginative but spare set by Chris Baldock, drawn images of cows and a farm frame the kitchen of a house with a few secrets," writes reviewer ALANNA MACLEAN.
GRAHAM McDONALD reviews Haydn’s Miracle, a performance by Australian Haydn Ensemble.
"Takács Quartet showed why it is regarded as one of the world’s great string quartets, with consummate performances from its core classical repertoire framing an ambitious new work commissioned by Musica Viva," writes reviewer NICK HORN.
MICHELLE POTTER reviews Mandolina Ballerina, a performance by the Canberra Mandolin Orchestra and guest dancer Tessa Karle.
"Whatever charm the original production may have had appears to have evaporated in this production." Reviewer BILL STEPHENS isn't thrilled about Waltzing The Wilarra.
