Under the direction of experienced musicians Sally-Anne Russell and Mario Dobernig, this Annual Festival again lived up to our expectations, with the right balance of sunshine, superb historic venues, prominent Australian musicians and composers, premier performances and much laughter, sparkle and nourishing human connections.
Russell and Dobernig are renowned for bringing colour, costume, theatre, humour and artistic excellence to every event, and this, their 4th “Orbree” Festival, had extra hilarity with Regal photo opportunities and glitter at the Queen’s Diamond Ball where a feast at the elegant Albury Club was included in the “Dance Card”. Always an excellent feast, this Gala Dinner includes much audience involvement, a ten-piece instrumental ensemble, theatrical new works – The Conceited Dancer by Noel Fidge (with wonderful entertainment added by brilliant mime artist Rod Lara) and Dinner Music by Brett Jones – the latter work featuring much percussive cutlery!
Most intimate are the concerts at Adamshurst estate, a unique historic mansion and garden, which is such a delight to visit, especially for an imaginative performance of Andrew Perkins’ The Radish and the Shoe. Having worked in opera and musical theatre internationally, New Zealand’s most creative Sara Brodie was Narrator, delivering her libretto with alluring and graceful hand movement, dramatic stage gesture, and delightful choreography. Enjoying the warm sunlight on the rose garden, which streamed into the ballroom, the audience then relaxed to flute music by Elena Kats-Chernin, played by Alyse Faith – such a soothing remedy after the long journey over the border.
More gems followed in this “variety” afternoon concert, with Festival star pianist Joshua Han loudly welcomed to pair with most popular tenor Timothy Reynolds. As we approached Remembrance Day, the choice of F. S. Kelly’s “It is Not Dawn Till You Awake” and “Music, When Soft Voices Die”, gave Reynolds a chance to respect the composer’s appealing works, and honour his involvement in Gallipoli and later death in the Battle of the Somme. In Peter Warlock’s “Lullaby” and Ivor Gurney’s song “Sleep”, Reynolds showed the most tender, spacious, lilting legato melodies, and his favourite Romantic art song, Vaughan Williams’ “Silent Noon”, completed the set with beautiful dreamy harmony filling the ballroom.
Another musical treat closed this concert, with the Aussie gem, “ Cooee”, performed by Festival favourite and patron, national treasure John Bolton Wood. A recruiting song used in World War 1, the audience was ready to join in the echo with full voice, admiring Wood’s impeccable delivery in speech and musical artistry. His nod to his accompanist: “Hit it Maestro”, warmed the room; we love his style.
Adamhurst’s ballroom was a superb setting for Sally-Anne Russell’s performance of Mahler’s very beautiful Songs of a Wayfarer. Accompanied by the Festival’s 10-piece instrumental ensemble, these four lieder were a most poignant and powerfully delivered expression of lost love, delivered freely and with great sensitivity. Written for medium voice, Russell demonstrated her wide vocal range with full authority at highest and lowest pitches, fine diction and dynamic range, with a final subdued and gentle close in the softest sad minor key. Mahler’s gently funereal marching steps in the accompaniment seemed more of an illusion, a dream, a lost hope.
Australian composers are always featured at the Festival, and Molly Kadarauch was most elegant in her playing of Ross Edwards’ Water Spirit Song for solo cello. Her experience and playing in several Festival Ensemble events was highly appreciated, and here she produced much thoughtful expression, almost in the style of a gentle vocalise. Always a fine soloist, violinist Sophia Kirsanova played Stuart Greenbaum’s Variation for Solo Violin, a popular work with most interesting Balkan dance rhythms, and sensitively controlled variations using harmonics, percussive bow-slapping and dual melody and accompaniment orchestration. Glière’s Four Pieces for Violin and Cello nicely preceded Mahler’s Piano Quartet, a fine closing work for this romantic and intimate venue. Composed by a young Mahler, only the first movement, Scherzo, was completed, and, as the sole surviving piece of his instrumental chamber music, is relatively unknown. Written in a traditional Romantic style, a slightly gloomy spirit could be felt under a sad three-note figure passed between instruments, with a more passionate build-up, resolving in a quieter, perhaps mysterious conclusion.
Albury’s heritage listed cinema was a fine venue to host the Saturday morning presentation by Living Legend – Suprema Ballerina, Jessie Vonk. Everyone was full of delight and amazement hearing of her extraordinary international career: dancing with the Borovansky Ballet and the Dutch National Ballet, and on so many European stages; then returning to Tasmania following the death of her husband, world renowned conductor Hans Vonk, to establish a new home in Tasmania with sculpture, nature and music around her. An Inspiring Australian.
The Dance Card said Cupcakes – and there is no better place for cupcakes and homemade goodies than in the Adamshurst gardens while being serenaded by four local talented young musicians performing professionally in the region together as the Moodemere String Quartet. Generosity and superb teamwork kept surprising us in fine style in “Orbree”.
Image supplied.
_____________________________________________________
Julie McErlain reviewed events presented as part of the Albury Chamber Music Festival, 2025 at the Albury Club, Adamshurst and the Regent Cinema.
