Drunk with Music

Drinking began even before the curtain rose on Gluck's comic opera, The Reformed Drunkard, presented last month by the VUM Music Society. Entering the foyer, members of the audience were plied with mulled wine. No wonder few listened quietly to the Baroque Players, bowing busily amongst the putted plants.

If anyone was still in doubt as to the nature of the forthcoming entertainment, the sight of the conductor in jeans surely set the seal on an evening of informal gaeity. No-one was disappointed.

As the two drunkards. Michael Riddiford and Tim Barnes made the most of the buffoonery, contrasting effectively with the earnest sobriety of the Romania lead Cleon-played by Murray Lawrence. The principal female role, Mathuruine, was taken by Nicola Waite whose singing was a joy to hear, as was the lighter but equally charming voice of Janet Elepans as Colette,

Gluck's music, with the exception of the buffo roles, lends itself to bright, less mature voices, and taken overall, singing of principles and chorus was clear and tuneful.

Musical Director, Ross Harris should be congratulated for the high standard of the music throughout - in particular the playing of the orchestra and continuo. As well as inspiring the players, he also arranged and adapted parts of the score. Another welcome addition to the music was the interpolation of a piece by composition student, Michael Vinton.

Musically well-rehearsed and vigorous, visually the opera was carefree and joyous. Producer Adrian Kiemander evidently decided to emphasise comic aspects - to play for laughs - at the expense of professional polish. He deserves credit for the handling of the Underworld scene, dramatically it was most effective. Costumes, though adequate, could have been improved at little COS) with a more imaginative use of colour. But these are minor quibbles. If the audience wasn't drunk with the wine beforehand, it was drunk with music by the time the curtain fell.

Lilburn in Concert

Besides the opera, the week before study break brought forth an abundance of concerts. After the excitement of Beethoven's Missa Solemnis on June 10th, the following Wednesday the Poly-Vic orchestra performed Shostakovich Symphony no. I at one end of town, while at the other, Rae de [unclear: Lisl] played Beethoven's hardy perennial - the Appassionata. Even after so many hearings, Beethoven has the unmatched ability to surprise and delight.

The lunchtime concert on Thursday 15th June also featured Shostakovich. The String Quartet no. 8 is his fierce comment on the fire storms after the bombing of Dresden - a powerful work, professionally and sincerely performed. But for me the most memorable work of the concert, of many concerts, was the final item - Douglas Lilburn's Sonatina for clarinet and piano, performed by June Brain (clarinet) and Margaret Nielsen (piano). Written in 1948, the work is fairly typical of the period in having a strongly tonal basis, yet has a poignant charm of its own. The [unclear: by composition] was delightful - pity it [unclear: wasn't] recorded.

Pleasing Prospects

Coming lunchtime concerts promise to be exciting. This week the ensemble includes Roy Tankersley (harpsichord), Geoffrey Coker (counter tenor) and Marion Olsen (mezzo soprano) presenting a programme of music by French composers. Included are works by Debussy and Ravel and a piece by the seventeenth-century composer, Andre Campra. Most famous now for his operas, Campra was for many years musical director at the cathedrals of Toulon, Aries and Notre Dame in Paris. For this reason his operas were originally produced under his brother's name, but even so he lost his job with the church, though he was finally reinstated.

On 13th July, visiting Australian pianist, David Lockett will give a solo recital. His programme includes Haydn and Liszt plus two contemporary works by Australian composers. Sydney composer, Richard Meale became greatly influenced by Spanish music when he visited Spain in the 1960s. Two works, Las Alboradas (1963) and Homage to Garcia Lorca (1964) put him in the forefront of the Australian avant garde. Pianist and composer, Meale's work is notable for its complex technical prowess. Larry Sitsky was born in North China in 1934, of Russian Jewish parentage. He came to Australia in 1951 and studied piano in Sydney. Though he has now withdrawn all his early works - those written before 1959 - his opus now numbers 25, and includes two operas, music for films and ballet plus a variety of instrumental works. Don't miss David Lockett's performance.

Julia Millen