Aug 14

SALA – The Waterhouse Natural History Art Prize – 3.5K


By Peter Maddern

Australia’s richest natural history art prize is now in its tenth year and with age its reputation continues also to grow. The finalists in the four categories are now on display in the SA Museum until 9th September.

While there may have been a record number of entries (6000+ from 29 countries), this year the exhibition is very possibly not at its strongest, perhaps evidenced by the paucity of sales of the works displayed. Still, the Waterhouse does deliver on variety and approach to its natural world focus as well as at any previous time. Of note for this critic were a number of the paintings, sculptures and one youth work.

Hugh Adamson’s Hay Plain Dawn is a very emotive view of that desperately flat landscape blurrily welcoming the new day with all plants featured stoically surviving in what can be harsh conditions. Paul Ryan’s Am I Demon depicts a confronting, mouth foaming, rancid Tasmanian Devil coming out of the otherwise white canvas at us. At once we can be afraid and sense the instinctive need the devil has to scare, on the other we can observe its own fear and despair as its bloody mouth possesses all the sad hallmarks of Devil Facial Tumours, a scourge that is wiping the species out. Finally amongst the paintings, Gladdy Kemarre’s Anwekety also packs a punch. Sure, it is ‘another’ dot painting but this shimmers with great force, like observing a southern aurora only in red with the million yellow dots giving the whole a sense of distinction and balance. It really strikes you as you enter the exhibition.

Amongst the sculptures, Catherine Reid’s Leaf Cabinet is a ceramic work that displays the most deft touch, skill, patience and beauty. In contrast, at least at first visual glance, is Margarita Sampson’s category winning Anemone Incursions II. Here a bright big red creature consumes a regal chair like a discarded frilly shawl after the night before, highlighting its native disposition to inhabit whatever home it can secure and posing, despite its sedentary posture, a threat to all other creatures than may wish to take it on. Runner-up in the category is Tom Moore’s Circle of Birds, five bird beaks made of glass pointing straight up off a glass table. Each in their own right is an extraordinary technical achievement and together a delight unless you make the mistake of trying to sit on them.

In the Youth category, local glass artist and recent Uni SA grad, Zoe Woods again draws praise for her Microcosm I, a beautiful octagonal blown glass, wheel cut curio, with its attraction resting in the object within it, something that reminds, albeit in miniature, the brightly lit ceiling of a casino. She too was the winner of her (Youth) category.

As always, there is so much variety of styles and subject matter in the Waterhouse exhibition that debate will be intense as to the merits of individual works and the judges’ opinions. Thus its beauty as well as its role to raise awareness of environmental issues through art.

Kryztoff Rating   3.5K

Aug 14

Adel Guitar Festival – The Punch Brothers – 4K

Their most nascent thoughts of conception may have arisen six years ago over a ‘piss the weekend away’ gathering but none of that unhappiness existed on Friday night when the Punch Brothers took to the stage at the Festival Theatre. Indeed, the American quintet seemed genuinely shocked (and thrilled) that on their first Australian trip, they could sell out the centre’s main auditorium.

To describe their works as bluegrass may provide a useful label to focus people’s interest but the reality is the Punch Brothers’ music is much more broadly based. At times it can get hillbilly, then remind you of Nashville or New Orleans and then, a moment later, Naples (Italy). Their more lyrical works are often quite mainstream folk but what is constant is their virtuosity.

Employing the full spectrum of the ‘guitar family’, bass (by Paul Kowert), banjo (Noam Pikelny), fiddle (Gabe Witcher), Chris Eldridge (guitar) and mandolin (Chris Thile), the group engages their audience with pulsing energy and bounce. Thile (looking from 15 rows back like a young Sting) is the front man and main singer who sustains the patter, the charm and the smile but additions from the wings by Pikelny and Witcher help balance out the show.

Interactions between band members are a highlight, members turning deferentially to watch the man in the periodic spot light of a solo but then also at times engaging in pairs in either rhythmical partnering or feverish dueling of their instruments. The ability to combine so coherently and with such sparkle and brilliance these five stringed forces is often breath taking.

The Adelaide International Guitar Festival in 2012 has been a great success with ticket sales well up on the previous record and the whole in the black financially. Key to that success has been Slava Grigoryan’s ability to entice world class acts on debut and exclusive trips here. As his audience was on Friday night, he must be very pleased with the result of his work to get the Punch Brothers here.

Kryztoff Rating   4K

Aug 13

2012 Adelaide International Guitar Festival’s perfect pitch

Following the success of his first Festival in 2010, Artistic Director Slava Grigoryan has again hit a top note with the 2012 Adelaide International Guitar Festival blitzing the previous Festival’s box office record by more than 25 per cent.

The fourth Adelaide International Guitar Festival certainly earned its stripes as the most significant festival of its kind in the Southern Hemisphere, including 18 international artists from the United States of America, Croatia, Bosnia, Brazil and Korea, plus 70 of the best Australian musicians. The Festival finished on a high on Sunday as Billy Bob’s All Star Jam rocked through the night.

Adelaide International Guitar Festival Artistic Director Slava Grigoryan said “I am blown away by the way audiences and artists alike, truly immersed themselves in the Festival experience.”

“The Festival Centre had an incredible energy throughout the four days with international guest artists hanging out with guitar makers and audiences. There was a fantastic atmosphere.

“We received unanimous feedback from all artists that this year’s Festival truly was an incredible celebration of the instrument and that this festival is a true stand out,” he said.

2012 Adelaide International Guitar Festival highlights included:

  • The legendary John Scofield impressed the opening night crowd with his distinctive musicianship.
  • New York’s charismatic Punch Brothers played to a packed house in the Festival Theatre on Friday night and then made a special guest appearance in the Space Theatre on Sunday night. They fell in love with South Australia and audiences fell in love with them.
  • Quintette, featuring the formidable Australian String Quartet joined by the stellar line-up of international soloists Edin Karamazov, Ana Vidovic, Simon Powis and Artistic Director Slava Grigoryan.
  • American maestro Jason McGuire’s and the San Francisco based company Caminos Flamencos received standing ovations at The Spirit of Flamenco.
  • The extraordinary guitar virtuoso Ana Vidovic who captivated audiences with her exceptional talent.
  • The electric Coopers Late Night Triple Bill featuring Harry James Angus, Tinpan Orange and Roscoe James Irwin featured special guest guitarist Ben Edgar taking time out from his tour with Gotye to be part of the Festival.
  • Three sold out shows plus all workshops, master classes and meet the maker sessions were at capacity over the four days.

Adelaide expat and Australian National University School of Music student Andrey Lebedev took out the coveted first prize of $10,000 and a Jim Redgate guitar valued at $16,000 in the 2012 International Classical Guitar Competition. This year’s competition attracted a bevy of entrants from across the globe with guitarists hailing from Germany, France, Italy, China and Thailand, as well as Australia.

Adelaide Festival Centre CEO and Artistic Director Douglas Gautier said “I applaud Slava and our International Guitar Festival team on delivering another a high calibre event that continues to draw such fine international musicians to our part of the world, many of which who performed in Australia for the very first time.”

“Some strong bonds have certainly been established with artists and guitar enthusiasts from all over the world and I eagerly await the 2014 Adelaide International Guitar Festival,” he said.

Adelaide International Guitar Festival returns in 2014 with Artistic Director Slava Grigoryan back at the helm.

Aug 13

SALA – Visions for Now – Buchanan, Matson and Minuzzo – Artspace – 4K

By Peter Maddern

Back as a part of SALA are moving image works and back also, at the Artspace, are two of the artists who displayed works there this time last year. At that time we made the following comments (See that review here) about the works displayed:

‘The concept of what works as ‘Moving Image’ artwork is clearly still being refined. Some of the works in the Artspace suffer for repeating sequences within them, leading a viewer to question whether the artist has just got lazy and looks to pad out the head line length through recycling or did they simply just run out of ideas. Others fail through use of third grade cameras and jerky hand held shoots that give the works a point and snap feel; the artists just got lucky with some vision and decided to dress it up and call it art.’

No such reservations can be applied this year to what is a very notable collection. Thom Buchanan has produced a time lapse video of him drawing and painting a crowed streetscape. The development of the image from an almost indistinct male figure in the bottom left of the white canvas to the fully fledged coloured street is appropriately quick but with a similarly nuanced  focus on the drawing rather than the frenetic activity conjured by the filming technique. Having the car in the foreground drive off into the night may have rounded this off superbly but here’s to a critic dreaming.

Leith Matson’s After Hours displays three long pans across stills of country, suburban and city scenes (the last being of the King William to Morphett St length of Hindley St) that draw you in not only about the technique involved but the changing light, especially the reds and yellows of the sunset or street lights. The Hindley Street portion is quite captivating, the colours giving it that almost menacing mix of glitz and violence that we know of it, with crowded sidewalks adding to the feel.

Bridgette Minuzzo however takes the prize for the most stunning of the works. Starting with a quaintly framed vision of a sheet blowing as a sail across the top of the Festival Centre, that venue as a theme is then repeated in three extraordinary octagonal kaleidoscopes of images of the Festival Centre, inside and out – images that ease in and thrust out, appear and disappear, rotate and dazzle and then get overwhelmed by a vivid white clouded blue sky, the same used in the first piece of the series. It is her eerie music also that resonates throughout the Artspace when you are there.

As mentioned, not one of last year’s reservations can be repeated here and Minuzzo’s creativity is well worth the visit alone.

Aug 13

Adel Guitar Festival – Quintette

By Ben Nielsen

A concluding act of the Adelaide International Guitar Festival, The Australian String Quartet joined with a variety of headlining guitarists to present Quintette, a spectacular gala performance.

Guest artists Slava Grigoryan, Simon Powis, Ana Vidovic and Edin Karamazov each took turns performing with the Australian String Quartet. It was certainly unusual to see a standard string quartet perform with a guitar, but the results were something quite spectacular. Forceful, rich and ethereal; the ensemble achieved a variety of colours through the versatility of each instrument’s sound production.

The program was versatile and vibrant, beginning with Castelnuovo-Tedesco’s Guitar Quintet Op. 143. Also featured was Asturias by Albeniz and Fandango from Quintette No.4 in D Major by Boccherini.

Regarded as Australia’s leading composer for the guitar, Phillip Houghton’s In Amber was both serene and evocative. Dream, the second movement of the work, is based on themes heard by the composer during stages of sleep. The movement was a particularly fascinating exploration of organised sound through colour and tone.

Leo Brouwer’s Quintetto, consisting arrangements of seven of The Beatles’ songs, was an unexpected repertoire choice but pleasantly surprising. It is difficult to expect much from tunes that are so commonly covered, but Brouwer’s was a work of art. The piece was brimming with a variety of styles, textures and techniques; Penny Lane and Eleanor Rigby definite highlights of the seven movements.

The overwhelming size of the Adelaide Festival Theatre seemed to swallow the five musicians. While the auditorium was nearly full to capacity, perhaps having several performances in a small, more intimate venue would have been more worthwhile. Chamber music, and the shared musical experience that comes with it, is after all better suited to this.

During the performance, applause occurred between every movement of each piece. Although this is usually the sign of an ignorant audience, surprisingly, the performers did not seem overly concerned. It was certainly an appropriate sentiment delivered by extremely appreciative listeners; however it was detrimental to the residual ambience of each concluding note, and the pieces became too fragmented.

Quintette was a spectacular concluding performance to the Adelaide International Guitar Festival, a unique opportunity to see our own celebrated Australian String Quartet perform with a line-up of stellar international guitarists.

Aug 13

Adel Guitar Festival – Spirit of Flamenco – 4.5K

By Melissah Picca

The 12th of August marked the last night of 2012’s Adelaide International Guitar Festival, it also marked the only night to witness the Spirit of Flamenco at the Adelaide Festival Centre.

Having recently toured Spain’s ‘Costa del Sol’, attending flamenco performances religiously, I decide to tame my critical eye prior to the show. Obviously not every take on flamenco is going to be the same and with acts from Australia and the USA being showcased, I’m looking forward to the contrast.

Proceeding in to the Festival Theatre, the audience is greeted by a dimly lit stage with 4 wooden chairs at it’s centre. As the first act appears I notice there is only one guitarist, which goes against the grain of a traditional flamenco show. For this reason, Adelaide’s own Florian Remus has been provided with a great amount of responsibility, usually there would have been two other guitarists to work with in a smaller venue, tonight Remus is subject to the opinion of roughly 1200 people. Despite the fact that the performance could have done with more sound, the positive of having one guitarist was that it was an opportunity to showcase Remus’ talent. He captured the intricacy of the Spanish guitar flawlessly and the audience loved him, that is if multiple standing ovations are something to go by.

Visually, the show was well done with the flamenco dancers situated at the front of the stage and the musicians behind. Forty five minutes in, the performers up the tempo bringing the first half of the night to an end.

The audience seem impressed but perhaps would be more so if there had been an introduction to the songs and their meaning, so that they could appreciate how the guitar together with the vocals and distinguished layers of percussion create a story.

Jason McGuire otherwise known as ‘El Rubio’ (the blonde one) headlines the second act on an open tuned guitar that sonically resonates throughout the theatre. McGuire’s take on flamenco is a fusion of jazz and classical guitar combined with the true Gitano (gypsy) spirit. He gives a brief introduction to himself and proceeds with the act. Mcguire’s guitar playing only gets better and better as the show goes on. He provides precision rhythm as well insanely fast flamenco lines that wow the audience, essentially performing a two-man job effortlessly.

Movements flamenco wise are more raw and there is a distinct connection between dancers and the music. The performance is dynamically outstanding, with the delicacy of flamenco footwork perfectly in time with it’s instrumental backing held together by the cajón (percussion box).

The performance ends with a collaboration of guitar work, vocals and flamenco by those in both the first and second acts of the night. Surprisingly, castanets were not used, however, the guitarists were obviously the highlights of the show and their fellow performers complimented them well.

The Spirit of Flamenco channeled the sounds of the Gitano perfectly with a unique style that could only be seen outside of Spain.

Kryztoff Rating:     4.5K

Aug 12

ASO – Mahler’s 7th Symphony

By Ben Nielsen

Five years on, and the Mahler symphony cycle is nearing its conclusion. Music Director and Chief Conductor Arvo Volmer returns to the helm, conducting the Adelaide Symphony Orchestra as it performs Symphony Number 7 (Song of the Night).

Mahler composed both the recently performed Das Lied von der Erde and Symphony Number 7 at the darkest point in his life. The compositional revisions made prior to the premieres of each work reflect Mahler’s explicit emotions at the time. The loss of his daughter to scarlet fever and his own diagnosis of an incurable heart condition can be attributed to the distinct absence of a sense of optimism and cheerfulness.

The symphony is recognised as the stylistic move from Nineteenth Century Austro-German tradition towards the modernism of the twentieth century. Delicate romanticism juxtaposed against grandiose passages depict the transition from night to day and an adventure of dreams, nightmares and serenades.

The ASO provided a superb execution of what is undoubtedly a truly demanding work. The orchestra’s ability was well exhibited; Mahler’s technically awkward, avant-garde themes and use of musical extremities tested each instrumentalist. Ian Denbigh’s opening tenor horn solo was hauntingly beautiful, exposed and with simply no room for error. Many individuals and sections had similarly soloistic passages but stepped up and performed spectacularly. Concertmaster Natsuko Yoshimoto’s passages shimmered from within the orchestra, and special mention should be made of the entire brass section who maintained stamina and a brilliant presence throughout.

Arvo Volmer’s commanding and ubiquitous influence of the orchestra was difficult to ignore. While every flourish and gesture provided direction to the orchestra, they were also the perfect visual accompaniment to the compositional virtuosity of Mahler’s work. To observe only Volmer would be an entertaining performance in itself.

Disappointingly, a smattering of applause was heard between the first and second movements (Langsam – Allegro con fuoco and Nachtmusik: Allegro moderato). While the intense finale of the movement did appropriate applause, it superseded the residual resonance and tumultuous ambience of the concluding note.

While the work was the subject of much criticism when it first premiered in 1908, the Adelaide Symphony Orchestra’s performance was received by rapturous applause. To paraphrase Arvo Volmer, the Mahler symphony cycle has brought out the best in the orchestra, enabled an assortment of new musical possibilities, and delivered an increasing level of musical excellence.

Aug 12

THEATRE: The Gondoliers – G&S Society of SA – Arts Theatre

Peter Hopkins as Don Alhambra

This year marks the 75th anniversary of the Gilbert & Sullivan Society of South Australia and as their celebratory offering they have staged a unique and enjoyably fresh take on The Gondoliers. Set in the soon to be opened “Gilbert and Sullivan Wing” of an art gallery, the paintings come to life, with characters pertinent to the opera stepping down into the main stage area while others from the wide G&S repertoire watch on from behind gold gilt frames.

At the heart of the production is the traditional story of the Palmieri brothers, Guiseppe (Patrick Witcombe) and Marco (Hew Wagner). They are a pair of humble gondoliers who have just married two local girls, Tessa (Vanessa Lee Shirley) and Gianetta (Lucy Baldock) and are looking forward to a simple life in Venice with their loves. Enter the requisite hitch to the plan in the form of Don Alhambra Del Bolero (an amusingly austere Peter Hopkins), the Grand Inquisitor, who informs the boys that one of them is actually the heir to kingdom of Barataria – the already married heir. Unfortunately no-one can be sure which one is the sovereign until their foster mother can be located and so both must travel to Barataria, sans wives, to rule jointly until the matter can be cleared up.

The whole show has an overarching feeling of good fun and the performers were unerringly enthusiastic. The leads all provided decent performances, playing to the frivolity of the script, though at times some vocals did lack the quality and force to make the music soar. This was also an issue for several of the featured soloists and may have been assisted through greater attention in detecting and avoiding microphone dead spots on stage. The band, under the direction of Ian Andrew, provided solid accompaniment. Standout vocal performances came from Liana Nagy as Casilda – the beautiful and obedient lady, wed in infancy to the heir and now torn between her duty and her heart as she pines for her own love, Luiz (a suitably gallant Nicholas Coxhill) – and Shirley as the forceful and amusing Tessa. The latter also excelled in playing up the humour in her role, creating a wonderful dynamic with Witcombe.

Anne Doherty, Liana Nagy and David Rapkin as the Duke and Duchess of Plaza Toro and their daughter Casilda

The directorial concept of the show (David Lampard) was an interesting one and the set looked suitably opulent while also being adaptable to create various spaces in the “art gallery” for the main action to take place. More perhaps could have been made of the interactions of the characters involved in the main action of The Gondoliers with those in the other paintings. When this did occur it was used to good comic effect and the rest of the time the tableaus shown were a charming retrospective of previous G&S productions and an opportunity for some of the great costumes created for them to get a second airing.

Those unfamiliar with the works of Gilbert and Sullivan, and particularly the G&S Society’s productions, may find some aspects of the show a little strange or difficult to follow, as the incorporation of unrelated characters does interrupt the more traditional plot line at times. However, it is all in good fun and rather entertaining, even if you don’t get some of the in-jokes. Those more acquainted with the shows and the company will no doubt love the cheeky humour of the cameo appearances throughout and enjoy the chance to reminisce.

While the production as a whole didn’t quite reach the heights it may have, it was still a very enjoyable show and a wonderful way to celebrate the anniversary of this beloved member of the local musical theatre scene.

Aug 10

Adelaide Guitar Festival – The Seasons – 5K

By Heather-Jean Moyes

The Guitar Festival – The Seasons is a twelve-movement composition written for solo piano by the Russian composer Pyotr Ilyich Tchaikovsky. In last night’s performance it was arranged for two guitars by Slava and Leonard’s father Edward Grigoryan and performed by the brothers with all of the consummate skill and expertise usually attributed to them. The quality of this union, the musicality of their performance and the range of expression that they deliver are astounding. Delicate notes, crystal clear strains of clarity and exquisite finesse blend with rich luscious warmth and emotional tones.

My favourite months were May for its cyclic repetition of a gentle but firm melody, July for its contrasts and October again for a strong melody that kept assuring me that the magic would endure, that the genius would not fail. This brilliant performance is available on DVD – There is a God and he’s clearly a fan!

Oliver Fartach-Naini quipped something jovial about following such an act. Difficult as that may have been the team surpassed my hopes. Schubert’s Winterreise is one of the world’s most cherished song cycles and is based on the poems of Willhelm Müller. In a unique arrangement for guitars and voice, Oliver Fartach-Naini and Lee Song-Ou played a selection of 14 songs from the cycle; they were joined by acclaimed lyric coloratura tenor Henry Choo. The sorrowful tone of the work is reminiscent of German lullabies and a kind of open-air Arcadian certitude and fatalism. Choo’s voice radiated those values with warmth and honesty.

The combination of power and delicacy in his voice gave life to the material and his control introduced a wonderfully engaging dramatic tension and suspense. The accomplished duo: Oliver Fartach-Naini and Lee Song-Ou supplied a superlative, supple and charming backbone to the performance, supporting Choo and expressing every bit as much understanding of the narrative. The overall effect saw the audience being led away into a timeless world where now and again the hairs bristled on the back of the neck as the audience hung onto every note and every audible meaning regardless of the language barrier.

Kryztoff Rating:    5K

Aug 09

Adel Guitar Festival Kicks Off – Details and Video Interview

A throng of the globe’s leading guitarists are descending upon Adelaide this week, in a fitting homage to the world’s most popular instrument at the 2012 Adelaide International Guitar Festival. This year’s program boasts 88 musicians across 42 exhilarating events over four jam-packed days from today, Thursday 9 to Sunday 12 August.

The fourth Adelaide International Guitar Festival is the most significant festival of its kind in the Southern Hemisphere. This year, the program showcases 18 international artists from the United States of America, Croatia, Bosnia, Brazil and Korea, plus 70 of the best Australian musicians.

As the nation’s largest international guitar festival, this premier Adelaide music event features a smorgasbord of ticketed shows spanning classical, flamenco, roots, jazz, blues, rock, funk and contemporary song writing, as well as free and low cost workshops, master classes, artist talks and panel discussions.

The 2012 program delivers a World Premiere, three Australian Premieres and five Adelaide Premieres, 17 international events and one-night only performances, many of which are exclusive to the Adelaide International Guitar Festival.

Esteemed guitarist Slava Grigoryan relishes his second tenure as Adelaide International Guitar Festival Artistic Director, “I am so proud of what this Festival has become and the incredible sense of community it has harnessed, attracting world-class musicians and providing rare access to a broad range of music forms for guitar enthusiasts and artists alike.”

“Our aim in extending the Festival experience has brought about initiatives such as the Meet the Maker events where a bridge between guitar makers and the wider community has been established.”

In a Festival first, the inaugural Meet the Maker series of free events features 13 fascinating guitar makers from across Australia and the opportunity for guitar enthusiasts to explore the craft of luthiery in a focussed environment, being privy to demonstrations involving latest works, various tools, techniques and trade secrets.

“We have also focused on setting reasonably priced tickets to make the high calibre of musicians accessible to Festival-goers as well as offering a number of free events for all to immerse themselves in this extraordinary cultural feast,” Slava says.

“I encourage audiences to explore unfamiliar territory and seek out artists or genres they haven’t heard of in addition to old favourites, as they won’t be disappointed! The Festival offers a range of music experiences which really offer an incredible journey that knows no boundaries,” he says.

Marking the opening night of this cultural event tonight (Thursday 9 August), in a colossal performance set to ignite the Festival Theatre stage, is the John Scofield Trio. From funk and fusion to swinging jazz standards, rock-fuelled jams, lush orchestral collaborations and gritty blues, Scofield effortlessly masters each style with his potent distinctive six-string voice complemented by improvised musical banter with his band Ben Street (bass) and Bill Stewart (drums). Supporting them in this rare musical treat are The Airbenders featuring Adelaide’s own Mike Stewart (saxophone) and Paul White (Hammond organ) along with up-and-coming star Hugh Stuckey on guitar and drummer Andrew Dickeson.

Direct from a sold-out US tour, New York’s charismatic Punch Brothers make their Australian music festival debut in the Festival Theatre on Friday 10 August with special guests The Yearlings. The Punch Brothers have built on their bluegrass roots to create a sound that breaks through folk, jazz, indie rock and classical music.

On Sunday 12 August, the Festival Theatre stage will be charged with majestic shows Quintette and The Spirit of Flamenco. The formidable Australian String Quartet is joined by a stellar line-up of international soloists to perform some of the most superb guitar quintets ever written in a unique collaboration exclusive to Adelaide International Guitar Festival. Collectively with exceptional Festival guests Edin Karamazov, Ana Vidovic, Simon Powis and Artistic Director Slava Grigoryan, the Quartet will present works by Boccherini, Castelnuovo-Tedesco, Albéniz and eminent Australian composer Phillip Houghton, as well as a suite of seven classic Beatles songs arranged for guitar and string quartet by Cuban composer Leo Brouwer. A post-performance High Tea with Quintette performers will be served at the idyllic Lyrics restaurant, overlooking the River Torrens from 3pm.

The Spirit of Flamenco toasts American maestro Jason McGuire’s – ‘el Rubio’ – collaboration with Emmy Award-winning choreographer and dancer Yaelisa, drawing their San Francisco-based company Caminos Flamencos to Australia for the first time. Special guest Florian Remus gathers some of South Australia’s brightest flamenco stars to embody the exhilarating and electrifying spirit – el Duende – that arises from the genre’s fierce fusion of dance, voice, percussion and guitar.

In a World Premiere performance of Tchaikovsky’s The Seasons, award-winning musicians, composers and innovators, the Grigoryan Brothers explore the entire suite, arranged for two guitars by their father Edward. In a unique arrangement for guitars and voice, Schubert’s Winterweisse will be tenderly played by dynamic duo Oliver Fartach-Naini and Lee Song-Ou, and joined by acclaimed lyric coloratura tenor Henry Choo, presented in the Dunstan Playhouse on 9 August.

On 10 August in the Dunstan Playhouse, Ana Vidovic in Recital showcases the extraordinary grace, delicacy and expressive eloquence of talented guitarist Ana Vidovic. Special guests on the evening are Elder Conservatorium’s elite Guitarissimo performing a diverse and exciting repertoire.

Acclaimed composer, revered scholar and masterful guitarist Paulo Bellinati brings his distinctive sound to Australia for the first time. Famed for compositions which reinvent traditional rhythms, Bellinati and his fellow countryman Weber Lopes strike a perfect balance between the sophistication of classical music and the spontaneity of popular forms. See them on 11 August at the Dunstan Playhouse.

In an Australian exclusive performance at the Dunstan Playhouse on 11 August, enigmatic Bosnian lutenist Edin Karamazov will treat his audience to a charismatic performance of his favourite compositions along with innovative soloist of a new generation of classical guitarists, Australian expat Simon Powis.

Celebrate innovative guitar quartet Guitar Trek’s 25th anniversary on a musical voyage through their distinctive and innovative sound in the Dunstan Playhouse on 12 August in a special launch performance of their new album to mark their impressive milestone.

Join founding member of multiple Grammy Award-winning US swing band Asleep at the Wheel, ABC Radio National’s Daily Planet presenter, screen composer and touring musician, Lucky Oceans for a Coopers Late Night Session with his pedal-steel guitar and blazing quartet including Ric Eastman and Dave Brewer together with multi-instrumentalist Sam Lemann at the Space Theatre on 9 August.

Another Coopers Late Night Session on 10 August at the Space Theatre is one of the hottest talents in Australian blues, revered Sydney guitarist Ray Beadle whose infectious swing and loping rhythmic sensibility are underscored by Hal Tupaea (bass) and George Brugmans (drums) along with Adelaide’s five-piece roots institution The Streamliners.

In a highly anticipated Triple Bill, Harry James Angus (The Cat Empire, Jackson Jackson) will enchant audiences with his poignant storytelling via a series of breathtaking ballads, followed by the young and dangerously talented Roscoe James Irwin at the Space Theatre on 11 August. Australian folk darlings, Tinpan Orange featuring guitarist Jesse Lubitz and stunning six-foot front-woman Emily Lubitz twirling her flaming red hair across a complex musical landscape will form the final treat in this spectacular performance trifecta.

Adelaide’s legendary Billy Bob Rankine and the BBQ Boys will host the final night of the Festival and Coopers Late Night Sessions with an All Star Jam at the Space Theatre on Sunday 12 August with very special guests including a bevy of the finest international, interstate and local Festival guitarists for a highly memorable last hurrah.

This year the Adelaide International Classical Guitar Competition, supported by the Adelaide Festival Centre Foundation and Marsh Australia, attracted competitors from across the globe. The 16 semi-finalists have passed through a rigorous audition round and will travel from Italy, France, Germany, China, Thailand and from across Australia to compete for the first prize of $10,000 and a guitar made by acclaimed South Australian luthier Jim Redgate valued at $16,000. Festival-goers are invited to the free finals event on Saturday 11 August in the Dunstan Playhouse from 10am to 1pm.The prize ceremony will take place at 3pm on the same day.

Adelaide Festival Centre has joined forces with Adelaide City Council to present the various free workshops including Dave Brewer’s Talking Technique with Lucky Oceans, Caminos Flamencos’ Flamenco Dance, Jason McGuire’s Beginners and Intermediate Levels for Flamenco Guitar and Sam Lemann’s Hawaiian Ukulele Styles.

Other free events include the series of four Artists in Conversation events, Segovia on Toast, facilitated by The Victorian Guitar Society’s Dr Paul Nash along with a panel of guitarists and educators including Artistic Director Slava Grigoryan. Edin Karamazov discusses his musical adventures with Classic FM’s Julie Howard, while Lucky Oceans reveals the evolution of the steel guitar and his journey with the instrument and ABC Radio National Music Deli’s host Alice Keath explores musical inspirations with Punch Brothers’ mandolinist Chris Thile.

Making another comeback this year is 15 Minutes of Fame open mic performances, providing emerging guitarists with the unique opportunity to perform at the Adelaide International Guitar Festival. For a 15 Mins of Fame schedule of performances visit: www.adelaideguitarfestival.com.au

Adelaide Festival Centre CEO and Artistic Director Douglas Gautier says “We are gearing up for an exceptional Festival showcasing some of the world’s best guitarists, guitar makers and enthusiasts.”

“Slava and our Adelaide International Guitar Festival team have worked tirelessly to ensure that the entire four days are filled with engaging events to keep Festival-goers entertained throughout.

“Adelaide truly will be the guitar devotees’ top destination this week,” he says.

For full program/venue details and information on workshops and other events in the 2012 Adelaide International Guitar Festival go to www.adelaideguitarfestival.com.au

Tickets are on sale through BASS 131 246 or online www.bass.net.au.

SEE OUR INTERVIEW WITH ARTISTIC DIRECTOR, SLAVA GRIGORYAN BY CLICK HERE