December 12, 2006
I've now spent many evenings in the Sydney Opera House
The first few times, the place was empty...except for me and hundreds of other singers, rehearsing Handel's "Messiah".
Our conductor, Kynan Johns
part of our orchestra
All very stylish opera house...this is the bathroom sink.
leaving late
Sydney Harbour Bridge, a.k.a. The [Clothes] Hanger
The concert is near.
listed in the program :-)
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Here we go! No cameras allowed, but Christine still managed to sneak a shot...
...of me, singing in the Sydney Opera House.
Post-concert drinks at the opera: Bryan, Laura, Peter, Christine and me.
Rejoice in the art of precision
Reviewed by David Vance
Messiah, Sydney Philharmonia Choirs, Opera House, December 8
There were about 300 reasons to rejoice in Friday evening's
performance of Handel's Messiah. Telling good tidings to Zion came
readily to that number of singers belonging to the Sydney Philharmonia Choirs
and assembled under the animated direction of guest conductor Kynan Johns.
He maintained a taut control of the massed voices which, under
less certain guidance, might have gone considerably astray.
Instead, there was an impressive precision in attack and clarity
of diction. The requisite flexibility to negotiate the fast-moving fugal
choruses ensured these numbers were propelled with an exhilarating dramatic
power.
Intonation, except in one or two exposed passages for the tenors,
remained secure, and the richness of tone resonated gloriously in the Concert
Hall. Equally persuasive was the dynamic shading achieved in that extraordinary
sequence of moving choruses that begin the second part, containing perhaps the
most profound music of the oratorio.
The smaller chorus, used effectively in those more intimate
numbers, such as "And he shall purify the sons of Levi", was
similarly disciplined in matters of ensemble and expressive range, ever
responsive to Johns's phrasing and interpretative
requirement with telling effect.
If the choral work was the highlight, the performance of the
soloists came a close second, but it took some time for each to warm to their
sporadic participation.
Disappointingly, no hallelujahs were warranted for the orchestra.
With notable exceptions in Julian Smiles's continuo
cello and Paul Goodchild's gleaming trumpeting, the
playing, while adequate, was sometimes ragged in ensemble and lacking in verve.
http://www.smh.com.au/news/arts/rejoice-in-the-art-of-precision/2006/12/10/1165685550523.html