2016
BRISBANE
BAROQUE
IN ASSOCIATION WITH
8 -16 APRIL
“...that sprawling, ungainly but
glorious era that spawned some of the
world’s greatest art, architecture
and music... the Baroque.”
Waldemar Januszczak
Art critic, broadcaster, journalist and BBC TV presenter
Welcome to.....
BRISBANE BAROQUE
B A C H
MUSIC IN THE CA S T L E OF H E AV E N
*
SATURDAY 9 APRIL 7:30PM
CONCERT HALL, QPAC
A GALA CELEBRATION
OF THE MUSIC OF
JOHANN SEBASTIAN BACH
Bach was an ordinary man who wrote extraordinary music. Asked for the secret of his musical success, he replied: “I was
obliged to be industrious; whoever is equally industrious will succeed equally well.” Modesty probably forbade him to mention
that one also needed genius.
For this Gala Bach Celebration, The Australian Voices under the inspired direction of Gordon Hamilton, and a group of exciting
young vocal and instrumental soloists including star soprano Greta Bradman, British tenor Nicholas Scott, virtuoso violinists
Ioana Tache and Kristian Winther and organist Christopher Wrench join forces with members of the Queensland Symphony
Orchestra directed by rising star Australian conductor Jessica Cottis to celebrate the marvel of Bach’s music, both sacred
and secular. Three centuries after the composer’s birth, his imperishable compositions remain as powerful, inspiring and
beautiful as when first heard, fresh and new-minted.
*The title of this concert is a salute to Sir John Eliot Gardiner’s magisterial study of Bach’s music, of the same name.
Antonio Vivaldi was born in Venice in 1678. In 1703, aged 25, he was ordained
and was nicknamed il Prete Rosso, The Red Priest, on account of his red hair.
Within a year of his ordination, he was given a dispensation from celebrating
Mass because of his ill health and he gradually abandoned priestly duties.
In September 1703,Vivaldi became maestro di violino at the Ospedale della
Pietà, an orphanage for the illegitimate daughters of the Venetian aristocracy.
The girls received a musical education and the most talented stayed and
became members of the Ospedale’s renowned orchestra and choir.
Over the next thirty years, while working at the Pietà,Vivaldi composed most
of his major works. His output was staggering – five hundred concertos, fifty
operas, numerous liturgical works and scores of sonatas for
various combinations of instruments.
Brisbane Baroque celebrates the three major facets of this protean talent in
a recital of opera arias and concertos, a selection of his church music, and
a special evening of music composed for the women of the Ospedale and
performed by an all-female choir and orchestra.
IMAGE: ANTONIO CANAL, CALLED CANALETTO
THE RETURN OF THE DOGE’S BARGE TO THE MOLO ON ASCENSION DAY
THE
RED
PRIEST
THE RED PRIEST
AT QPAC
‘Her voice is
as striking as
her looks: less
striking, even,
for the light, free
upper notes or
rich chocolaty
lower ones than
for the runs of
coloratura that
she releases with
jackhammer
speed, gunfire
precision and the
limpid continuity
of spring
raindrops.’
VIVA!
VIVICA +
VIVALDI
Brisbane Baroque is
honoured to present
the exclusive Australian
concert debut of the
internationally renowned
American virtuoso mezzo
soprano Vivica Genaux.
IN CONCERT WITH
CAMERATA OF ST JOHN’S
Making a welcome return to the QPAC
Concert Hall after their sensational
major debut there last year, is
Brisbane’s youthful Camerata of St
John’s under the direction of Brendan
Joyce, and with the acclaimed
Erin Helyard on harpsichord. Their
appearance in the QPAC Concert Hall
in the inaugural Brisbane Baroque last
year caused a sensation.
PHOTO: CHRISTIAN STEINER
EXCLUSIVE
EXCLUSIVETOTOBRISBANE
BRISBANE
Famed not only for the beauty of her
voice and extraordinary technique but
also for her vibrant character portrayals,
Genaux is consistently lauded as one of
the pre-eminent interpreters of baroque
and bel canto music. She has appeared
with some of the most famous early
music ensembles in the world including
Europa Galante under Fabio Biondi, Le
Concert Spirituel with Herve Niquet,
with Christophe Rousset’s famed Les
Talens Lyriques and Rene Jacob’s
Akademie für Alte Musik in Berlin.
Alaska-born, Genaux now lives near
Venice, and music by Antonio Vivaldi,
the city’s emblematic composer, figures
prominently in her repertoire.
New York Times
SUNDAY 10 APRIL 7:30PM
CONCERT HALL, QPAC
Our tripartite celebration of the music
of Antonio Vivaldi begins with a GALA
CONCERT featuring Brisbane’s Camerata
of St John’s and the first Australian
concert appearance of the magnificent
American mezzo soprano Vivica Genaux.
The program comprises some of
Vivaldi’s most exuberant virtuoso arias
and a selection from his set of twelve
concertos known as La Stravaganza,
works that some connoisseurs prefer to
his better known Four Seasons.
THE REDPRIEST
AT THE RED BRICK CHURCH AT RED HILL
‘The indisputable hits of the evening
were local heroes the Camerata of
St John’s... Watch this space. This
ensemble is going places.’
The Australian
WITH CAMERATA
OF ST JOHN’S
Brisbane’s iconic
architectural landmark
plays host to the
city’s dazzling
chamber music
orchestra.
Visible from all directions, St. Brigid’s
Church, perched triumphantly atop
Red Hill, is one of the finest heritage
buildings in Brisbane, a splendid
example of the Arts and Crafts style,
which emerged in the UK and America
in the late 19th century and was much
favoured in Australia’s Federation era.
Its architect, Robin Dods, was born in
New Zealand but he was educated at
Brisbane Grammar and is regarded as
a Queenslander. Were he to have left
no building other than this magnificent
church, he would still have that
distinction, just as Joern Utzon will
be forever associated with the great
building on Bennelong Point.
Architecture has been described as
frozen music, so it is fitting that during
Brisbane Baroque, St. Brigid’s will
resonate to the glorious church music
of Antonio Vivaldi, brought to you by
one of the current glories of Brisbane,
the superb Camerata of St John’s.
For the first time ever, the Red Priest
comes to Red Hill.
WEDNESDAY 13 APRIL 7:00PM
ST BRIGID’S CHURCH, RED HILL
EXCLUSIVE TO BRISBANE
THE RED PRIEST AT THE
OSPEDALE DI PIETÀ
WOMEN
OF THE PIETÀ
A concert of music composed
by Antonio Vivaldi for the
women of the Ospedale by
Antonio Vivaldi performed by a
choir and orchestra comprised
entirely of women and
conducted by EMILY COX
With the women of
CANTICUM CHAMBER CHOIR,
ensemble ALCHEMY and stage
director ANATOLY FRUSIN
Antonio Vivaldi was born and brought up
near the Ospedale della Pietà, a home for
the care of illegitimate daughters of Venetian
noblemen and generously funded (mostly
anonymously) by them.
In 1703 Vivaldi was engaged as a violin
teacher at the Pietà and he worked there on
an off for thirty-six years, until 1740, the
year before he died.
The young girls who grew up at the Ospedale
received a thorough education and superb
musical training and their performances
were famed throughout Europe and beyond.
Francisco Guardi’s lively painting shows
an elegant assembly at a reception for the
Tsarevich of Russia in the Grand Salon of
the Pietà with the women, in their distinctive
black dresses and white fichus, ranged in
three tiers overlooking the guests.
During 1739 and 1740, the celebrated
French writer Count Charles Brosses
travelled widely in Italy and corresponded
enthusiastically with friends in his home
city of Dijon. In one letter, written in Venice,
he noted that “the Ospedale has the best
music here… the girls are brought up at the
State’s expense and trained exclusively in
music. Indeed they sing like angels, play the
violin, flute, organ, oboe, cello …. bassoon.
The performances are entirely their own and
each concert is composed of about forty
girls.”
FRIDAY 15 APRIL 7:30PM
ST JOHN’S CATHEDRAL, BRISBANE
EXCLUSIVE
EXCLUSIVETOTOBRISBANE
BRISBANE
In the atmospheric surroundings of St.
John’s Cathedral celebrated chorus director
Emily Cox directs the women of Brisbane’s
admired Canticum Chamber Choir and the
musicians of Alchemy in a program evocative
of the atmosphere of the Pietá.
EXCLUSIVE TO BRISBANE
‘HHHHH
Esfahani has the ability
to breathe the lines so
naturally that the
harpsichord seems to sing.’
The Guardian, UK
‘Dashingly eloquent,
dizzyingly skilled,
Esfahani makes the
harpsichord seem an
instrument reborn.’
The Times, London
‘His passionate
engagement with the
music was totally
captivating’
The Telegraph, London
‘Iranian-American
harpsichordist Mahan
Esfahani is a force of
nature – a dazzlingly
persuasive advocate
for his instrument.’
Gramophone
THURSDAY 14 APRIL 7:30PM
CONCERT HALL, QPAC
MAHANESFAHANI
15
IMAGE: AGRIPPINA CROWNING HER SON, NERO, EMPEROR ROMAN CIRCA AD 54-59
MAHAN
ESFAHANI
Brisbane Baroque is honoured
to host the first appearance
in Australia of this astonishing
young harpsichord virtuoso.
Born in Tehran in 1984, Mahan studied
in the United States and Milan before
completing his studies in Prague.
He made his BBC Proms debut in 2011
with the first ever solo harpsichord
recital in Proms history, and returned
in 2012 directing his own orchestration
of Bach’s The Art of Fugue for the
Academy of Ancient Music. The latter
performance was one of The Observer’s
‘Top Ten of Classical Music 2012’.
Other highlights include recitals in the
concert halls of Vienna, Tokyo, Nagoya,
Cologne, New York, Washington DC,
Vancouver, Bruges, Zürich, Copenhagen,
Leeds, Bristol,The Maltings at Snape
and Edinburgh, as well as several
recitals at Wigmore Hall. A frequent
commentator on BBC radio and
television and a contributor to various
music magazines and publications,
Mahan works to take the harpsichord
beyond the realm of early music into
mainstream halls and series.
Mahan was shortlisted in the
instrumentalist category at the 2014
Royal Philharmonic Society Awards
and was nominated Gramophone ‘Artist
of the Year’. His recording of CPE
Bach’s Württemberg Sonatas (1744)
received wide critical acclaim, winning
a Diapason d’Or, and was ‘Recording of
the Month’ in BBC Music Magazine.
He is the first harpsichordist to be made
a BBC New Generation Artist (2008–
2010) and to win a prize from the
Borletti-Buitoni Trust, a charitable trust
established in 2002 to assist classical
instrumentalists, ensembles and singers
in their early 20s and 30s to further
develop their international careers.
‘Megalomania, sadism,
incest and matricide in
ancient Rome.’
>
READ ON 17
AGRIPPINA
Brisbane Baroque presents the Australian premiere of the Handel Festspiele, Göttingen production of
AN OPERA IN THREE ACTS BY GEORGE FRIDERIC HAN DEL TO A LIBRETTO BY CARDINAL VINCENZO GRIMANI
ULRIKE SCHNEIDER AS AGRIPPINA
HANDEL FESTSPIELE, GÖTTINGEN 2015
BRISBANE BAROQUE 2016
FRIDAY 8 APRIL, THURSDAY 14 APRIL, SATURDAY 16 APRIL 7:00PM
SUNDAY 10 APRIL 1:00PM
CONSERVATORIUM THEATRE
_____ Handel’s music, with its vibrant colour, extraordinary
beauty and emotional depth, speaks to our innermost selves. Period
and place have no stranglehold on it. Its inherent qualities have
transcended the audience for which it was written and leap the
boundaries of time, a continuing legacy to future generations.
AGRIPPINA–
WHO’S WHO?
Ulrike Schneider
Mezzo Soprano,
Agrippina
‘Laurence Dale’s staging
of Handel’s salacious
opera is constantly
engaging and consistently
well made …it succeeds
not least because of its
simplicity.’
Financial Times, London
Following the phenomenal success
of 2015’s multiple Helpmann
Award-winning production of
Faramondo, Brisbane Baroque is
proud to present another stunning
international production from the
famous Göttingen Handel Festival.
Scheming, manipulative wife of one
emperor, sister of another, mother
of a third and (if rumours are true)
the incestuous lover of the latter
two, Agrippina dominated Roman
imperial politics as no other woman
before her had dared to attempt.
Composed in 1709 when Handel
was just 24 years of age, Agrippina
was one of his earliest operas and
one of his biggest successes.
Here was a tale ripe with audience
appeal. Some ten composers,
including Porpora, Graun and
Telemann, set operas on the
Agrippina theme but the finest of
these was that of the young Handel.
It won for him fame not only in Italy,
where he became known as il caro
Sassone, the dear Saxon, but also
in England, whence, in the following
year, he was lured to become one
that country’s greatest and most
revered composers.
The opera premiered in Venice and
enjoyed twenty-seven successive
performances, an extraordinarily
long run at that time. Though not
one of Handel’s better-known works,
Agrippina is a telling example of
the maestro’s openly dramatic and
realistic style.
BRISBANE BAROQUE 2016
Italian audience of the 17th and
18th centuries were fascinated
by tales of ancient Rome which,
in many cases, paralleled
contemporary political intrigues,
and the history of Julia Agrippina
the Younger is a prime example.
While the libretto plays fast and
loose with history, it is better than
most Handel had to work with. It
sustains the drama and helps move
the show along at a cracking pace.
And the music is marvellous.
Carlo Vistoli
Countertenor,
Ottone
Russell Harcourt
Countertenor,
Nerone
João Fernandes
Bass Baritone,
Claudio
Owen Willetts
Countertenor,
Narcisco
Ross Ramgobin
Baritone,
Pallante
Ronaldo Steiner
Baritone,
Lesbo
Erin Helyard
Conductor
Laurence Dale
Director
Tom Schenk
Set Designer
Robby Duiveman
Costume Designer
UNDER THE ROTUNDA
BRISBANE BAROQUE 2015
ALL-DAY MUSIC IN BRISBANE CITY HALL
5x5x5@5
CITY HALL SERIES
QUEENSLAND’S GOT TALENT...
...and to prove it, Brisbane Baroque’s wildly
popular 5 x 5 x 5 @ 5 series for 2016 is
dedicated solely to showcasing the talents of an
impressive group of young Queensland artists.
Five recitals of Baroque music
Five Queensland soloists and ensembles
Five PM Sunday to Thursday
Five dollars admission at the door *
1.
2.
3.
4.
5.
ENSEMBLE B
A BRIDGE FROM
THE BAROQUE
BAROQUE REEDS
BACH VIA
BUSONI
TELEMANN AND
LECLAIR
Brisbane-born oboist
Stephanie Dixon and her fellow
wind players from the
Australian National Music
Academy perform music that
might have been heard in the
gilded salons of any of dozens
of princely courts throughout
Germany’s during the 18th
century.
2016 marks the sesquicentenary
of the birth of the great Italian
musician Ferruccio Busoni.
Composer, pianist, conductor,
editor, writer, and teacher, few
musicians have been as
prodigiously gifted as he.
Glenn Christensen was born
in Mackay and studied at the
Queensland Conservatorium.
At age 22 he led the
Queensland Symphony
Orchestra for the Bolshoi
Ballet season at QPAC under
the direction of Russian
Maestro Pavel Sorokin.
SUNDAY 10 APRIL @ 5PM
MONDAY 11 APRIL @ 5PM
Currently with the Melbourne
Conservatorium, violinist and
musicologist David Irving grew
up on the Gold Coast, studied
at the Queensland
Conservatorium. He has made
a special study of the baroque
music of France and Spain.
The Orava Quartet was the
revelation of the 2015
Australian Chamber Music
Festival in Townsville. As the
music critic for The Australian
newspaper wrote, “barely
whelped… in their sharp suits
and designer mop-tops the
four look like a boy band but
Ensemble B will perform music play with the intensity of their
by Jean-Philippe Rameau,
mentors, the Takács Quartet.
Francois Couperin and Joseph Deadly serious in artistic
Boismortier.
purpose, their jaw-dropping
take on Mendelssohn’s String
Quartet in F minor, Op 80, had
audience members four times
their age hooting and hollering
at what is, in terms of the
future of Australian chamber
music, the real deal.”
Currently Quartet in Residence
with the Camerata of St John’s,
these remarkable musicians
make their Brisbane Baroque
debut in a program that marks
the genesis of the string
quartet in the late baroque
period and heralds its progress
to full-blown classicism. The
program includes works by the
14 year old Mozart, by
Boccherini and by that genius
of the sting quartet, Josef
Haydn.
* THIS IS A NON-TICKETED EVENT AND NUMBERS ARE STRICTLY LIMITED.
ADMISSION IS ON A FIRST-COME BASIS AND CASH ONLY. DOORS OPEN AT 4:30PM.
TUESDAY 12 APRIL @ 5PM
WEDNESDAY 13 APRIL @ 5PM THURSDAY 11 APRIL @ 5PM
Busoni won early fame as a
piano virtuoso, enrapturing
crowds with his cool brilliance
The composers are three
but today he is celebrated as
whose work was greatly
the arranger for piano of many
favoured by musically inclined of the better-known organ
emperors, electors and
works by Johann Sebastian
cultivated courtiers, the great
Bach. Known as the BachJohan Sebastian Bach, his
Busoni transcriptions, these
contemporary Georg Philipp
keyboard masterpieces are
Telemann, and the somewhat
played by the fine young
less well-known Czech, Jan
Brisbane-born pianist Adam
Dismas Zelenka, whose
McMillan who is currently
elegant compositions are
studying at the Australian
enjoying a long-overdue revival. National Academy of Music.
Adam began playing when he
was four, and by age 16, he
had performed the Bach
Concerto in D minor in the
Weill Recital Hall at Carnegie
Hall, as well as in China and
Estonia. During his school
years he received 1st prize in
the Queensland Piano
Competition.
Glenn has toured regional
Queensland with the QSO
and currently plays with the
Australian Chamber Orchestra
throughout Australia and on
their overseas tours. In this
recital he plays solo works for
violin by Johann Sebastian
Bach.
Caroline Hopson is also a
graduate of Queensland
Conservatorium where she is
completing her Master’s
degree. She has performed
as concertmaster of the
Conservatorium Symphony,
Chamber and Opera
Orchestra. During her time at
university, she became a
member of the Latrobe String
Quartet and travelled with
them to the Australian
Festival of Chamber Music.
She joins Glenn in duets by
baroque composers Georg
Philipp Telemann and
Jean-Marie Leclair.
King Arthur
THE British
BRITISH WORTHY
ororThe
Worthy
Semi-opera by HENRY PURCELL
to an original text by JOHN DRYDEN
Adapted by TERENCE CLARKE
Directed by MARK GAAL
with chorus, soloists and
members of Orchestra of the Antipodes
conducted by BRETT WEYMARK
The composer endowed Dryden’s wayward libretto with some of his most
sublime music, and in this semi-staged version for Brisbane Baroque, music
has primacy, the narrative edited to a simple linking text descriptive of the action.
Ostensibly a chronicle of conflict between Britons and Saxons, it is essentially a
shameless hymn to England’s greatness and to one of its legendary historical
figures.
Stirring choruses, sparkling solos and delicious incidental music combine to
make King Arthur a memorable musical epic with the widest possible appeal.
In this specially commissioned edition with words
by Terence Clarke and staging by Mark Gaal,
distinguished international and local soloists
including Greta Bradman, Jacqueline Porter,
Nicholas Scott, Brenton Spiteri, David Greco
and Samuel Piper, the Brisbane Baroque
Chorus and members of the Orchestra of
the Antipodes are directed by one of
Australia’s foremost conductors and chorus
masters, Brett Weymark, Music Director of
the Sydney Philharmonia Choirs.
MONDAY 11 APRIL 7:30PM
BRISBANE CITY HALL
KING ARTHUR, PENCIL AND WATERCOLOUR DRAWING BY MARK WAY
Purcell described this work, part masque, part historic drama, part music
theatre, as a ‘semi-opera’. As such, it presents a challenge to a modern director
as the narrative is fragmented, action halting and at times confusing.
EVENING
RECITALS
TUESDAY 12 APRIL @ 7:30PM
BRISBANE CITY HALL
WEDNESDAY 13 APRIL @ 7:30PM
BRISBANE CITY HALL
THE ART OF THE
COUNTERTENOR
LATITUDE 37
ROYAL CONSORT
One of the most remarkable – and least predictable! - developments in
classical music during the late 20th century was the emergence of a
fresh new voice type – the countertenor. At the forefront of the
countertenor revival in the late 1950’s was Alfred Deller whose
eponymous Consort did much to fuel interest in rarely-heard 17th and
18th century repertoire.
Admired Australian early music ensemble Latitude 37 has been an
integral part of our baroque music festival since its founding.
In spearheading what might be called the Countertenor Revolution,
Deller also served as a role model for aspiring young singers so that
today, countertenors are much in demand in many forms of classical
music especially, but not exclusively, baroque opera where many roles
originally written for castrati are now performed by countertenors.
Brisbane Baroque is privileged to host three internationally acclaimed
young countertenors – Carlo Vistoli from Italy, Owen Willets from the
UK and Australian Russell Harcourt. In this exclusive recital they
highlight music of composers who wrote for the castrati at the height
of their popularity. Arias from operas by Porpora, Leo, Vinci, Hasse,
Vivaldi and others will showcase the unique and thrilling qualities of
the high baroque male voice.
Known for adventurous and imaginative programming, the core
ensemble of Julia Fredersdorff, Laura Vaughan and Donald Nicolson
have expanded their numbers for this unique program of English
music composed during the time of the Civil War that pitted Oliver
Cromwell against King Charles I. Guest performers include violinist
Matthew Greco, lutenist Josep Martí Duran, and tenor Brenton Spiteri.
Works by the great Henry Purcell and John Dowland are coupled with
compositions by lesser-known but equally skilled composers such as
Matthew Locke, John Playford, John Jenkins and Christopher Gibbons.
ALL STOPS
OUT
Four FREE lunchtime
recitals featuring
Brisbane’s finest
organists.
On the final day of this series in Brisbane
Baroque 2015, some twelve hundred and
fifty people turned out to thrill to the
apocalyptic rumble of the mighty City Hall
organ at full throttle.
Once again you can enjoy this inspiring
experience when eminent Brisbane
organist Christopher Wrench and three
colleagues pull out all stops in our
specially curated 2016 encore series of
FREE CONCERTS.
Joining Christopher are Dr. Phillip Gearing,
Director of Music at St. Mary’s, Kangaroo
Point, and Andrej Kouznetzov, organist at
St John’s Cathedral, together with James
Goldrick, Assistant Director of Music of St.
Stephen’s Cathedral in Brisbane.
MONDAY 11 APRIL - THURSDAY 14 APRIL 1:00PM
BRISBANE CITY HALL
30 UNDER 30
From Day One, Brisbane Baroque has been committed to seeking,
securing and showcasing some prodigiously talented young
Australian performers. Herewith a ‘yearbook’ page of thirty artists,
all under thirty, performing in Brisbane Baroque 2016.
Anthony Abouhamad
Tiana Angus
Jacob Ballard
Martin Cardell
Elizabeth Lawrence
Jess Maclean
Adam McMillan
John Myatt
Thomas Chawner
Glenn Christensen
Peter Clark
David Dalseno
Blake Petersen
Samuel Piper
Georgina Roberts
Dhanika Rubasinghe
Stephanie Dixon
Isabella Gerometta
Matthew Greco
Christopher Haycroft
Nicholas Scott
Dani Settle
Simone Slattery
Brenton Spiteri
Caroline Hopson
Georgia Mae Hahn
Daniel Kowalik
Karol Kowalik
Allana Wales
Nathan Walton
...and let’s not forget
Georg Frideric Handel
who was 24 when he
wrote Agrippina.
Georg Handel
PUBLIC
TALKS
A series of fascinating and informative lunchtime talks
NOT A TICKETED EVENT
designed to enhance your enjoyment of our 2016
performances.
1.
2.
MONDAY 11 APRIL @ 11AM
TUESDAY 12 APRIL @ 11AM
VIVICA GENAUX
HANDEL FOR
SPACES OF
MODERN AUDIENCES SPECTACLE
IN CONVERSATION WITH
CHRISTOPHER LAWRENCE
Celebrated for a host of
critically acclaimed recordings
and appearances world-wide
with the most important early
music ensembles, Vivica
Genaux makes her Australian
debut with Brisbane Baroque
2016.
In this special event she talks
about her career and favourite
repertoire with Christopher
Lawrence, genial host of ABC
Classic FM’s morning program
and one of Australia’s
favourite broadcasters.
Few opera singers move easily
from the role of performer to
that of director and conductor,
but Laurence Dale is an
exception.
He studied singing in London
and Salzburg, sang leading
lyric tenor roles at
Glyndebourne, Vienna, Berlin
and Paris and was the most
admired Tamino of his day in
Mozart’s Magic Flute. Another
career highlight was his Don
José in Peter Brook’s legendary
production of La Tragédie de
Carmen, first in Paris and later
in New York.
Brook inspired him to turn to
direction and later he
embraced the role of
conductor as well, working in
France, Monte Carlo, South
Africa and Switzerland.
MONDAY 11 - FRIDAY 15 APRIL 11:00AM
CREMORNE THEATRE, QPAC
Lauded by critics and
audiences alike for his staging
of Agrippina, Laurence
speaks on the director’s role
and the future of this
centuries-old art form that Dr.
Johnson called an ‘exotic and
irrational entertainment’.
3.
WEDNESDAY 13 APRIL @ 11AM
MUSIC AND ARCHITECTURE
OF THE BAROQUE
Dr Sing d’Arcy is an
architectural historian
specialising in the
relationship between music
and the architectural spaces
in which it is performed. He
graduated from the
University of Sydney, later
returning to complete his
doctoral studies on the
architectural history of Spain
and its realms during the
17th and 18th centuries. In
2009 he was a visiting
scholar in the Art History
Department of the University
of Seville. He complements
his research and teaching
into the built environment
with an active engagement in
the world of early music,
especially that of keyboard
instruments. He has held
organist positions both in
Australia as well as in Spain.
In this talk he describes the
key performance spaces of
the baroque – Cathedrals,
Palaces and Opera Houses
and public spaces such as
squares, gardens and rivers.
4.
THURSDAY 14 APRIL @ 11AM
5.
FRIDAY 15 APRIL @ 11AM
COMING OF AGE
IN ITALY
THE
CASTRATI
In 1703, while performing as
a violinist with the Hamburg
Opera, Handel met the son
and heir to the Grand Duke of
Tuscany, Prince Ferdinando
de Medici, who invited him to
travel to Italy, an invitation the
18-year old Handel accepted
with alacrity.
The cult of celebrity is hardly
a modern phenomenon. In
the baroque period,
centuries before recording,
television and social media,
an elite group of performers
known as the castrati
achieved international fame
on the scale of today’s rock
stars.
HANDEL ON THE GRAND TOUR
At that time Italy was the
preeminent hub of musical
activity on the continent and
Handel visited Florence,
Rome, Naples and Venice,
meeting many of the leading
composers of the day,
especially Arcangelo Corelli
with whom he studied.
Handel also met Prince Ernst
August of Hanover, whose
brother later became King
George I of England. An
invitation to Hanover and to
London followed and the rest
is musical history.
Noted Australian musicologist
Dr. Robert Gibson, DPhil
(Oxon), follows Handel on his
personal Grand Tour, a
musical coming-of-age.
ROCK STARS OF THE BAROQUE
The history of this exotic
group of performers, mostly
Italian, has long fascinated
Brisbane Baroque’s Music
Director, Dr. Erin Helyard
who, in addition to being an
internationally respected
performer and conductor is
also an expert on the history
of early music.
In this free talk he traces the
dizzying rise of the popularity
of the male soprano in the
baroque period and the rise
in popularity of the 20th
century equivalent, the
countertenor.
BRISBANE BAROQUE 2016
FESTIVAL PLANNER
CONSERVATORIUM
THEATRE
Friday 8 April
7:00pm
Saturday 9 April
7:30pm
Sunday 10 April
1:00pm
CONCERT HALL
QPAC
Wednesday 13 April
Ensemble B
Viva! Vivica & Vivaldi
11:00am
Vivica Genaux in conversation
with Christopher Lawrence
1:00pm
All Stops Out
5:00pm
A Bridge from the Baroque
7:30pm
King Arthur
11:00am
Free Publlic Talk:
Handel for Modern Audiences
1:00pm
All Stops Out
5:00pm
Baroque Reeds
7:30pm
The Art of the Countertenor
11:00am
Free Public Talk:
Spaces of Spectacle
1:00pm
All Stops Out
5:00pm
Bach via Busoni
The Red Priest at The Red Church at
Red Hill
7:30pm
Latitude 37 Royal Consort
11:00am
Free Public Talk:
Coming of Age in Italy
1:00pm
All Stops Out
5:00pm
Telemann and Leclair
7:00pm
Agrippina
7:30pm
Friday 15 April
Mahan Esfahani
11:00am
Free Public Talk:
The Castrati -Rock Stars
of the Baroque
7:30pm
Saturday 16 April
7:00pm
ST JOHN’S CATHEDRAL
Agrippina
7:00pm
Thurday 14 April
ST BRIGID’S CHURCH
BACH - Music in the
Castle of Heaven
7:30pm
Tuesday 12 April
CREMORNE THEATRE
Agrippina
5:00pm
Monday 11 April
BRISBANE CITY
HALL
Women Of The Pietá
Agrippina
BOOK TICKETS AT BRISBANEBAROQUE.COM.AU
Every effort has been made to ensure the contents of this brochure are correct at the time of printing.
Brisbane Baroque reserves the right to alter the program, dates, times, and ticket prices where and when necessary and without notice.
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BAROQUE.
COM.AU