Australia's first Baroque Music Festival

was held in Perth from 18th - 21st September 2009. It was a celebration of the music of Bach, Handel, Vivaldi and other greats of the Baroque era and showcased Baroque musicians from all over Australia, also bringing home some of those who have been making their name overseas.

Through the University of Western Australia and the Western Australian Academy of Performing Arts, Perth has a global reputation as a leading centre for teaching and nurturing Baroque musicians
and made Perth an ideal location for Australia's first Baroque music festival.

It was a festival of outstanding quality to be built on and invested in for the future years.
Rosalind Appleby
The West Australian
23 September 2009

To receive newsletter updates, email your details to baroquefestival@uwa.edu.au, or leave a message on 6488 4845.

COMING EVENTS

HANDEL'S MESSIAH

7.30pm, Friday 27 & Saturday 28 November
Perth Concert Hall
Nicholas Kraemer, conductor
Sara Macliver, soprano
Sally-Anne Russell, mezzo soprano
Angus Wood, tenor
Stephen Bennett, bass
WASO Chorus
Celebrate the festive season with Handel’s beloved, spiritual meditation on Christ’s birth, passion and resurrection. Commemorating the 250th anniversary of Handel’s death, the WASO Chorus joins a magnificent Australian cast for an uplifting finale to the Masters season.
Tickets $43 - $85
Bookings
through WASO on 9326 0000

A Baroque Christmas

6pm Thursday December 17th
University Club of Western Australia
A seasonal Baroque performance and cocktail party. Enjoy a cocktail reception with beer, wine, soft drink and canapés with the artists after the performance.
Soloists
Soprano – Sara Macliver
Mezzo Soprano - Sally-Anne Russell
Keyboard – Stewart Smith
TICKETS
Early Bird $65 members / $80 guests
After Oct 31 $75 members / $85 guests

Bookings
through University Club Reception on 6488 8770

REVIEWS

May 3rd 2009
The Baroque Cafe

This first concert by Festival Baroque Australia for 2009...had it all.
William Yeoman The West Australian 5th May 2009

If Festival Baroque continues as it has started, it promises to give a significant boost to Australia's early-music scene.
Mark Coughlan The Australian 5th May 2009

July 17th 2009
Concerto Paradiso

the featured soloists – Sara Macliver and Catherine Jones – answered in a fashion that was quite breath-taking in its sensitivity, poise and accuracy. Moreover, the small accompanying ensemble (including the omnipresent Stewart Smith) demonstrated beautifully balanced rapport. They picked up and embellished any small melodic gestures in an attempt to nurture the music even more. This rendition had the imprint of class and lambency. Macliver’s ability to just ‘touch’ high notes (the placement of which, I should add, lifts this piece out of the ordinary) was most gratifying because it seemed effortless.
Stuart Hille OZartsReview

PRAISE FOR OUR FIRST FESTIVAL

From the press …

“It's an extravagant feeling sitting in an elegant ballroom listening to ancient music played by musicians who have trained for years in historical performance technique. The inaugural Festival Baroque brought all the right ingredients together at the weekend to provide a window into music of the 17th and 18th centuries.
Government House Ballroom's sweeping arches and ornamental embellishments were the perfect complement to the soaring lines and flourishes in baroque music. On Friday, a buzzing capacity crowd heard music from Vivaldi and his contemporaries, while on Saturday vocal and chamber music filled the air.
A trio of wooden flute, viola da gamba (an early form of cello) and harpsichord performed an Italian and French repertoire with exquisite elegance. Daniel Yeadon's understated sensitivity on viola da gamba was matched by flautist Georgia Browne's fleet-fingered but unhurried elegance, although their dulcet tones were sometimes overpowered by harpsichordist Neal Peres Da Costa.
A period instrument orchestra under the buoyant direction of Paul Wright provided accompaniment for a concert of Handel's vocal music. The dramatic centrepiece was alto Fiona Campbell's performance of the cantata La Lucrezia, which she delivered with anguished whispers and raging anger. Tenor Paul McMahon had a pleasant voice but his contributions lacked impact; Cecilia volgi un sguardo seemed tame in comparison. Soprano Sara Macliver's joyful energy in Tornami a vagheggiar from Alcina and pristine vocal fireworks in Da tempeste from Giulio Cesare were a delight, demonstrating baroque vocal writing in all its glory.
Sunday was celebrated with music of spiritual proportions: the entire Goldberg Variations performed on harpsichord in the intimacy and beauty of the Eileen Joyce Studio at the University of WA.
Neal Peres da Costa described Bach's Variations as "Everest for keyboard players" and then went on spiritually and emotionally to scale the heights of the 80-minute work. It was not a technically flawless performance but the composer's virtuoso sound world was delivered with nobility and ebullience, creating at times a meditative wash of white noise. The return of the opening aria had an Eden-like serenity.
On Sunday night Sophie Gent led a small orchestra through a vigorous performance of Bach's Third and Fifth Brandenburg Concerti. The nine-piece band gave an impressive rendering of light and shade in the Third with a finale of breakneck speed. The Fifth was a showcase for soloists Gent, Georgia Browne and harpsichordist Stewart Smith.
It was a festival of outstanding quality to be built on and invested in for future years. The only disappointment is that the world-class concerts were not recorded by ABC FM to share with the rest of the nation.”
Rosalind Appleby, West Australian 29 Sept 2009

From our audience …

“Congratulations on the Festival Baroque. It was immensely satisfying to attend the concerts [we] caught; we’re only sorry we didn’t take advantage of more that was on offer.

What a wonderful array of fine musicians and a delightful selection of musical offerings you and your committee put together. The whole thing was very impressive and uplifting, and we hope this was just the first of many Baroque festivals in Perth. Thank you very much”.

“… an unforgettable occasion”

“… just heavenly …”

a fantastic weekend of music and events associated with the Festival Baroque. It was really wonderful (and I couldn't go to either of the 'big' concerts!), and an awe inspiring achievement”

“[a] fantastic festival weekend. I loved every minute of it.”

From the artists …

“It all went incredibly smoothly, and I had a wonderful time there”

“Apart from the obvious joy it provided both for performers and audience, it was a milestone event in my life and career, and one I will never forget”

“It was a pleasure to be involved with such a venture. … all those on the organizational side should be congratulated for bringing together such a fine group of instrumentalists”

“Congratulations and bravo for the festival and for asking me to participate! I only hope that it will continue into the future”

“Thanks for involving me. I really enjoyed performing with such great musicians. The symposium was also fantastic. Congratulations on a very successful inaugural festival. I looked forward to the next one with excitement”

“it was my pleasure and privilege to be a part of Festival Baroque”