The Tudor Consort’s first concert of 2010 was wholly devoted to vocal liturgical music by William Byrd, apart from the inclusion of two of his keyboard fantasias played by Douglas Mews. The choir’s director, Michael Stewart, spoke before the concert about Byrd’s two volumes of Gradualia, a term used sometimes used for the settings of the ‘Proper’ of the Mass – the part that varies according to the festivals of the church calendar – as well as for one section within the ‘Proper’; and he distinguished the ‘Proper’ from the ‘Ordinary’ of the mass whose six parts are unvarying: the...  Read More »

The second to last in the approximately monthly series of 12.45pm recitals was by the cathedral’s director of music, Michael Fulcher. In his notes to the programme he remarked how his idea to focus on the passacaglia (and its cousin the chaconne) had awakened him to its scope, which he thinks can easily fill four full programmes. There will be more next year. Nothing could better illustrate the depth and sheer intellectual potential of the organ repertoire than the many works over the centuries that have been built on the renaissance courtly dance in slow triple rhythm. It has not...  Read More »

One would have thought, on the evidence provided by this concert, that time couldn't have been better spent than listening to the dulcet tones of music for guitar (in fact, mostly TWO guitars!). After all, no less a musician than Frederic Chopin was credited with saying at one time, that "Nothing is more beautiful than a guitar - save, perhaps, two...". Despite such impressive recommendations, only a handful of people took up Caprice Arts' invitation to hear a concert of music for (mostly) guitars and for guitar and voice, given by songwriter and performer Charlotte Yates, along with guitarists Owen...  Read More »

We have been hearing a series of lunchtime concerts at St Andrew’s by present and former students of the New Zealand School of Music in recent weeks. This one maintained the level of excellence both in the appearance of highly accomplished performers and in interesting music. Rafaella Garlick-Grice began with a very mature and well-considered performance of the Prelude and Fugue in G from Book II of the Well-tempered Clavier. Varying her posture at the piano from upright to a hunched effort to climb inside the instrument, her playing was virtually flawless, but more importantly, shining with intelligence and engaging...  Read More »

One of the loveliest of all operas, Tchaikovsky’s Eugene Onegin, a setting of Pushkin’s tale of innocent ill-fated love, received a strongly-conceived and finely-executed production from NBR New Zealand Opera on the opening night of its 2009 Wellington season at the St.James Theatre. Its pivotal stage-figure was soprano Anna Leese in the role of Tatyana, the girl who at the story’s outset declares her love for the opera’s eponymous hero, and then, having been wounded by his rejection of her, marries someone else. For this role of Shakespearean range and depth a consummate artist is needed, and as a singer...  Read More »