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Sarah
Sydney
Lover of opera, reader of Poirot, consumer of burgers, travelling the world with a tenor.
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I have it on excellent authority that it's being filmed (perhaps already has been?) during this run.
Commented Mar 18, 2010 on An imposter at the opera, part the first at Thomasina’s last waltz
An imposter at the opera, part the first
Not being a true opera buff, it so happened that I saw Britten’s A Midsummer Night’s Dream for the first time in my life on Tuesday night. I knew only one part of it, the very beginning: How the opening happens to be engraved in my memory is a curious story. It was played to us in Year...
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Mar 15, 2010
Me and my shadows, strolling down the avenue...
Commented Feb 12, 2010 on Optimism at Thomasina’s last waltz
Optimism
I’ve been known to leave concerts at interval, and opera too. But I’ve never done a half-show at the ballet and not at the theatre. There is, however, a first time for everything, and on Tuesday night I wandered out of the STC’s Optimism (Tom Wright after Voltaire’s Candide) at the point where ...
The fact that you're posting again renews my optimism, at any rate.
Commented Feb 12, 2010 on Optimism at Thomasina’s last waltz
Optimism
I’ve been known to leave concerts at interval, and opera too. But I’ve never done a half-show at the ballet and not at the theatre. There is, however, a first time for everything, and on Tuesday night I wandered out of the STC’s Optimism (Tom Wright after Voltaire’s Candide) at the point where ...
It's got to be a coincidence. Surely you're not allowed to write for the Telegraph if you know how to use decimated correctly.
Commented Jul 14, 2009 on It's a miracle at Thomasina’s last waltz
It's a miracle
I don’t read Sydney’s Daily Telegraph. The sensationalist approach would probably be quite amusing, but the writing is usually so bad that I simply can’t watch. That said, when the compulsive reader is grabbing a slice of raisin toast in the office kitchen and sees a tabloid newspaper sitting on...
OA seems determined to turn every ensemble singer into a jack of all trades and to allow nobody to specialise. Taryn started in early music but in the three seasons I've been here has sung Janacek, Dvorak, Puccini, Rossini and most recently Loewe, with Sullivan to come (and she was originally cast for A Little Night Music too). Henry Choo is forever in Handel and Rossini but sounded far better in The Pilgrim's Progress (as did Kanen Breen, I thought, though he's certainly good for quirky dramatics). And so on.
Of course - and on a wholly biased note - I consider La Kenny now entitled to sing whatever repertoire she likes, however wildly inappropriate for her (not that Dido falls into that category). I heard her in Giordano's Fedora, for heaven's sake. No use being a grande dame if you can't do you as you please.
Commented Jul 5, 2009 on Hard by a fountain at Thomasina’s last waltz
Hard by a fountain
My title today comes from a 16th-century ditty by Hubert Wælrant, which used to give us hysterics when I was in high school. Perhaps we sight-read it once, or maybe it was just in an anthology that we used in choir. Anyhow, it was simply too much for our collective immaturity and cleverness. [Th...
All advance publicity for this show implied Dido first, Acis second, so I suspect the programmer in you is right. But Acis first, Dido second makes better sense to me, so if they did change it, then I'm glad.
(A colleague suggested they may have wanted to avoid having audiences leave after seeing the Big Star in Dido.)
Commented Jul 1, 2009 on Escalators at Thomasina’s last waltz
Escalators
This is what’s in store for us at the Sydney Opera House. Humble escalators, more than 30 years after the building opened. I can’t believe there weren’t elderly or otherwise less-agile people wanting to go to concerts and operas and ballets in the 1960s and 70s, but for some reason it just nev...
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