The occurrence of classical concerts at The Independent Theatre, North Sydney, has been a most rewarding recent discovery. Tickets for concerts within their annual programs are not only affordable, but include (on Sundays) a very generous and gratis afternoon tea. Added to this is the comfortable seating and the charming architecture of this grand old theatre- a rare and fine example of Edwardiana.
Avoiding all temptations of saccharine Artistic Director (and pianist) Simon Kenway compiled a thought – provoking program of aria, songs, choral pieces (and the odd show tune) mostly sung in French or English. It being about mums there were of course a couple of sweet Italian pieces serving as dutiful homages to mamma. 20 singers, who range from emerging young artists to alumni and guest singers, all presented their group and solo works seemingly effortless and were for the most part note perfect. Mr Kenway’s accompaniment was spot on, albeit at times too strong in volume, overshadowing a few voices. Better downstage positioning in the solos may have assisted here and would certainly ensured the singers were fully lit. Needless to say, this concert was valuable in giving these singers more stage experience in the art of “selling a song”.
A highlight was the only piece sung in German – Richard Strauss’ Morgan! (Tomorrow!) Opus 27, No 4. Soprano Katherine Allen sang it superbly and her understatement in performance was psychologically clear and precise- allowing the heartfelt emotions to present themselves in the eyes, subtle gesture and through relaxed posture. The themes of hope and expectation were very powerful in this thrilling piece of lied. Mezzo – soprano Rebecca Hart is a talent to watch. Her renditions in all her pieces were a joy to watch and hear. I have a bias towards the mezzo voice and Ms Hart, along with Elora Ledger and Victoria Hodgkinson, did not disappoint. However the colour in all the women’s voices was hugely supported by the amazing array of gorgeous gowns worn on a day that was grey, wet and wildly windy. Of the seven men Nathan Bryon (tenor) excelled in Silent Noon – The House of Life Ralph Vaughan Williams. His lower notes are working towards the baritone – another penchant of mine.
Perhaps acoustically parts of the Independent’s stage are slightly dead. If not, I would encourage the majority of the singers to vocus on their diction, especially in the English language songs – for these are the ones for which our ears prick up. Be it breath control or performance skill those final consonants and full vowels must be sent forth into the auditorium. On staging I have prefered the directors had chosen to seat singers in the front row or to the side instead of the journey they often had to make all the way back to the foyer. It meant that some tops and tails of music and lyric were badly affected.
I applaud Pacific Opera for providing these singers with the opportunity to perfect their craft at little cost and I look forward to seeing these artists on other stages in the future. The concert finale was an ensemble piece from the rarely performed Candide, though I notice that Bernstein’s work will include many of these singers when it is given at The Sydney Opera House late September this year. I for one cannot wait!!.
Mark G Nagle – Theatre Now
