"All performers delivered music of high quality, and they made an exemplary trio." ROB KENNEDY reviews Sunday's Art Song concert.
Review
"Heather Massie commands the stage with her personalised story of gifted Hedy Lamarr, who achieved fame as both a glamorous actress and inventor," says reviewer LEN POWER.
MEREDITH HINCHLIFFE reviews Tidal Threads a glass exhibition by Benjamin Edols and Kathy Elliott.
Pianist Edward “Teddy” Neeman organised a 90th birthday concert for Canberra’s most famous composer, Larry Sitsky. It included many notable performers from across Australia, reports reviewer ROB KENNEDY.
MEREDITH HINCHLIFFE reviews Materiality – but not as we know it, a major craft exhibition at Canberra Museum and Gallery, until October 20.
"Listening to 23-year-old cellist Noah Oshiro playing his program of five distinctive works, you could only wonder how someone of that age could have achieved such maturity in musical performance already," writes reviewer LEN POWER.
"Voices of the Italian Baroque was an expertly curated program and Canberra audiences must hope that the company doesn’t wait another 10 years before returning." MICHELLE POTTER reviews the Sydney Philharmonia Choirs.
"The work pulled no punches but certainly gave us a profound examination of shameful issues, largely those emerging from incarceration and the detention of refugees," writes dance reviewer MICHELLE POTTER.
"National Opera does itself no favours by making lofty claims of producing professional-grade performances." BILL STEPHENS reviews a new production of The Merry Widow. But it wasn't all bad.
Book reviewer ANNA CREER looks at three British crime novels... a university thriller, a policeman with a tragi-comic approach to crime and the mystery of a missing mother.
"It’s a performance on a knife-edge, relying throughout on audience responses. Jarrad West never falters, bringing energy as well as a touching sensitivity to the role." LEN POWER reviews Every Brilliant Thing.
"This was a concert full of music by almost totally forgotten composers of the late 18th and early 19th centuries and conceived around the use of the fortepiano, played with great skill by Marie Searles," writes reviewer GRAHAM McDONALD.
