Melbourne Observer - Wednesday, November 6, 2013 - Page 111
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Radio: Latest ratings ................................... Page 112 Theatre: Peppa Pig delights audiences ............... Page 113 The Spoiler: Advance plotlines for TV soapies .......... Page 113 Jim and Aaron: Top 10, best movies and DVDs ............ Page 114 Cheryl Threadgold: Local theatre shows, auditions ........... Page 115 PLUS THE LOVATT”S MEGA CROSSWORD
ROMANTIC HERO BENT ON POWER Fisher mysteries
● Kerry Greenwood ■ Melbourne author Kerry Greenwood is riding high. Her stylish and sophisticated 1920s super sleuth, the Honorable Phyrne Fisher, is lighting up Friday night television in the series Miss Fisher's Murder Mysteries, and the historic Rippon Lea mansion is hosting an exhibition of fashions from the series. On top of this comes Kerry's latest Phryne Fisher novel, Murder and Mendelssohn. The clock has ticked over into 1929, and someone has silenced the Melbourne Harmony Choir's orchestral conductor with sheet music from Mendelssohn's oratorio Elijah stuffed down his throat. I think many long suffering choral singers may have often wished to do this to their conductor, but when someone actually carries out the deed, Detective Inspector Jack Robinson needs Phryne's assistance. As tends to happen, Phyrne's past intrudes upon the mystery as a tangled web of murders is sorted out. This is Kerry's 20th Phryne Fisher mystery, and so popular are they that these days the western suburbs lawyer is rather stretched to find time to spend in court when she is not researching and writing the Phryne novels. When she can spare time from writing, Kerry is an advocate in the Magistrates' Court for the Legal Aid Commission. Described as an entertaining tale of murder, spies, mathematics and music, Murder and Mendelssohn sounds an ideal solution to the problem of what to put in the Christmas stocking of anyone who loves a good yarn spun in the inner suburbs of 1920s Melbourne. Published by Allen and Unwin, it retails at $22.99 and is available in hard copy or as an e-book. - Julie Houghton
By CHERYL THREADGOLD
● Jason Wasley (foreground) as Cola Di Rienzi, in Melbourne Opera’s Australian premiere of Rienzi. ■ Melbourne Opera presents the Australian premiere of Richard Wagner’s Rienzi on Sunday, December 8 at the Athenaeum Theatre. Presented in concert as part of the Melbourne Ring Festival, the story of Rienzi revolves around the 14th century historical figure Cola di Rienzi, a great orator who aspired to rebuild the Roman Empire. He sets himself up as the people's Tribune, takes on the aristocracy and is finally assassinated. Wagner depicts him as a magnanimous romantic hero, bent on restoring power to the people, overthrown by the intrigues of the powerful. Rienzi was produced by the Dresden State Opera in 1842 and by 1900 had achieved 200 performances. The work is greatly influenced by the French grand opera style of Meyerbeer, and features numerous stirring choruses and marches. Melbourne Opera director Greg Hocking says it is an exciting prospect to be presenting the Australian premiere of this early success of Wagner’s. “We have assembled an outstanding cast led by Jason Wasley, Rosamund Illing and Joanna Cole, with the Melbourne Opera Chorus specially augmented to 70 singers,” he said. “Our renowned orchestra has also been expanded significantly, particularly in the brass department.” Date: Sunday December 8 at 6:30pm Venue: The Athenaeum Theatre, 188 Collins St, Melbourne Tickets: $25-$75 Booking: Ticketek 13 28 49 or www.ticketek.com.au or 9650 1500
Trio Kharites
● Trio Kharites: Anna Carson, Miranda Carson and Zoe Wallace ■ Long gone are the days when you had to travel to the city to hear a high quality concert of classical music. Several churches around Melbourne's suburbs have become classical entrepreneurs, hosting concerts showcasing some of Melbourne's finest musicians. Such a place is St Paul's Anglican Church, Canterbury, which is again hosting its Spring Music series. Its final concert is on Sunday (Nov. 10) at 3pm, and will feature the Trio Kharites, comprising violinist Miranda Carson, cellist Zoe Wallace and pianist Anna Carson. Having toured with the acclaimed Virtuosi Tasmania, Trio Kharites are looking forward to bringing a program of music by contemporary composers Jennifer Higdon and Elena Kats-Chernin, complemented by the classical favourites Haydn and Piazzola. The concert will feature Haydn's Piano Trio No 27 in C Major, Kats-Chernin's Calliope Dreaming, and selections from Piazzolla's the Four Seasons and Higdon's Piano Trio. Tickets are $25 for adults and $15 concession, with under 18s free of charge, including afternoon tea. They are available on the day at the door of St Paul's Anglican Church, Canterbury, corner of Church and Margaret Sts, Canterbury. - Julie Houghton
MASTER CLASSES IN MUSIC
■ In addition to their performances at Hamer Hall on November 26 and 27, members of the Royal Concertgebouw Orchestra of Amsterdam will lead timpani and flute master classes at the Australian National Academy of Music at 10am on November 27. Excluding their performances, these classes are the only public appearances members of the Orchestra will make during their stay in Melbourne. The classes will be led by Emily Beynon (Principal Flute) and Nick Woud (Principal Timpanist). Born in the UK in 1969, Emily Beynon studied at the Royal Academy of Music with William Bennett and with Alain Marion in Paris. Before joining the Royal Concertgebouw Orchestra in 1995, she was a member of the Glyndebourne Touring Opera and the BBC National Orchestra of Wales. In addition to playing in the orchestra, one of Beynon’s passions is teaching. She taught at
the Royal Conservatoire in The Hague for aa years, at the Conservatorium van Amsterdam for two years and at the Netherlands Flute Academy (Neflac), which she founded (with Suzanne Wolff), since 2009. Neflac organises courses and concerts for young talented Dutch flautists and young international professionals, where inspiration and motivation are at least as important as supporting and developing participants’ flute-playing. Nick Woud began his percussion studies at the age of eight at the Zaandam Music School. Playing in local drum and wind bands, he was able to fulfil his dream of playing the timpani starting at the age of 12. While at school, he became a member of the National Youth Orchestra of the Netherlands and was quickly appointed timpanist. In 2003, after being a member of the Netherlands Radio Philharmonic Orchestra for 25 years, Woud won the RCO timpani auditions and was appointed principal timpanist
of the Royal Concertgebouw Orchestra. Woud has taught at the conservatories in Hilversum and Utrecht and returned to his alma mater, the Conservatorium van Amsterdam, to teach timpani in 1996. He also serves as director of studies with the National Youth Orchestra of the Netherlands, writes books on timpani, composes and makes timpani sticks. The RCO will perform works that have played an important role in its history. Its first program will feature Stravinsky’s Firebird Suite and Tchaikovsky’s Symphony No. 5, composed in 1888, the year the orchestra was founded. The second program comprises Beethoven’s Piano Concerto No. 3 with soloist Yefim Bronfman, widely acclaimed as one of the most talented virtuoso pianists performing today, and Richard Strauss’s Ein Heldenleben, a work the composer dedicated to the RCO. The Royal Concertgebouw Orchestra
comprises 120 players hailing from more than 20 countries, including former Australian Chamber Orchestra violinist Jane Piper who has been with the orchestra since 2011 For bookings and further information on the master classes: visit www.anam.com.au The Australian National Academy of Music is dedicated to the artistic and professional development of the country’s most exceptional young musicians. ANAM’s vision is to develop the country’s future music leaders, distinguished by their artistic skill, imagination, courage, and by their contribution to a vibrant Australian music culture. The only institute of its kind in Australia and one of the few in the world, ANAM is renowned for its innovation, energy and adventurous programming and is committed to pushing the boundaries of how classical music is presented and performed. - Marion Joseph