"There's a particular magic to French music from the 17th and 18th centuries, and the baroque flute – more refined than its modern descendents – was regarded its ideal medium." NICK HORN reviews the Early Music Day: Boismortier 270 concert.
Review
"It was a succession of glorious arias, duets and choruses performed by ladies in gorgeous gowns and gentlemen in elegant formal wear, selected from the most popular operas." BILL STEPHENS reviews the Opera Australia Gala Concert.
Author Richard Osman has written another cleverly constructed, crowd pleaser of a crime novel for readers of a certain age, says book reviewer ANNA CREER.
"The program was based around chant, the monodic melodies of medieval European church music." GRAHAM McDONALD reviews a "notable" performance by the Tallis Scholars.
GRAHAM McDONALD reviews a performance by the Alma Moodie Quartet and pianist Edward Neeman.
NICK HORN reviews Songs of Open Country, a concert by the Canberra Choral Society.
"The predominantly new cast appears to have been directed to broaden performances to the point where, for this reviewer, it is no longer possible to empathise with the characters." BILL STEPHENS reviews Rent at the Sydney Opera House.
"The tightness of the trio is matter-of-fact, and the sound perfectly balanced in all conditions." MICHAEL WILSON reviews a performance by Trio Isimsiz.
"This exhibition is full of life: several of the larger animals have smaller animals on their backs. They all appear to be happy and enjoying their time on exhibit." MEREDITH HINCHLIFFE reviews the work of ceramicist Masaru Nishikawa.
MEREDITH HINCHLIFFE reviews two installations of glass objects by the artist NOT created in Murano, Italy – the island famous for its long tradition of glass-making.
MICHAEL WILSON reviews New World, a concert by the National Capital Orchestra.
"It's a rare pleasure to experience the power, majesty and brilliance of this Mozart masterpiece. All performers provided a true avenue for John Painter’s belief in the healing power of music to be realised," writes music critic IAN McLEAN.
