Archive for March 14, 2010

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Good Morning Mr Gershwin – Montalvo-Hervieu Co France – Festival Theatre

Being 20 in the Twenties when Gershwin was at his best was, as Hemingway suggested, great luck. The Montalvo-Hervieu Company of France took us back there with a stunning and delightful exhibition of energy and grace. This show was greatly enhanced by the stage configuration of dance floor, shanty shed (permitting roof top solos) and a massive video backdrop. The video work was highly complex with many under water scenes, a large sandcastle, the board walk over a threatening sea and a monoshrome slum scene that transformed into colour and activity character by character. The ability of this to share and not dominate the whole stage was terrific and in this era of multi media or layered performances, this was as good as it gets.

All Gershwin’s most enjoyed pieces were there and the pace was kept frenetic and rivetting with the large ensemble of 15 delighting with their dance, emotion and humour.

A great show.

Kryztoff Rating   4.5K

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Mahler 8 – Entertainment Centre

One can only marvel at the scale (even if its popularity doesn’t match) of Mahler’s 8th Symphony and the bravery involved in attempting to stage it. Two orchestras, 400 singers, seven soloists all coming from various places around the country and world make for a handful. But under Arvo Volmer’s direction, this monumental show and finale to Paul Grabowsky’s festival was pulled off resoundingly well. It is 32 years since such an ambition was last carried out in Adelaide, then at Centennial Hall at the fifth Adelaide Festival. Much has changed for the city and the festival since then but this music remains a towering piece in symphony lore. The first movement, Veni, Creator Spiritus, is uplifting and magnificent and Russian soprano Marina Shaguch carried the day. The second, Final scene of Goethe’s Faust Pt 111, is somewhat more difficult but the message of love and hope fuses all in the finale.

The use of an upstairs vantage point for the horn signatures and the Mother Mary’s solo was inspired and carried off well. The ability to keep such a large stage contingent up to the beat was a credit to both Volmer and Chorus Director, Carl Crossin.

The disappointment was the amplification used, particularly in the opening 5 – 10 minutes which threatened to ruin it all. After all that money spent on the Entertainment Centre revamp, it is a pity more attention was not paid to resolving these issues and exactly what extra sound boost is required for a stage ensemble of this magnitude (other than for the soloists) is not clear. Mahler’s own first performance had over 3000 in attendance with not a microphone or banks of speakers in sight.

Perhaps as surprising was the spartan use of light and the apparent absence of recording devices to perpetuate the occasion (there is but one recording only of Mahler 8 on i-tunes!) Was this in fact an opportunity missed.

An event for the list of ‘I was there’ and a credit to Volmer and his ASO and badge of honour for the Festival in its 50th year.

Kryztoff Rating     4K