Tapas

An invitation to tapas means a feast of small delights, which will be shared with friends for maximum enjoyment. In this way, the Australian Brandenburg Orchestra’s latest offering is aptly named. Audience expectations were high as we settled back to enjoy a program of nearly twenty items, with some curious percussion instruments suggesting this would be a novel experience of the baroque. Chief among them was the barrel-like “wind machine” – and for curiosity value, the purple and pink wind chime discs that produced a satisying rattle when gently blown by the percussionists. With no disrespect intended, I felt that the musicians in this section of the small orchestra were, quite engagingly, like children showing off their party tricks: cymbal, drums, tambourines, castanets and clapsticks were brought into play (with the children behind us picking up on the sound, clucking their tongues in perfect time!). Rivalling the percussion for effect was singer Mina Kanaridis, whose voice and demeanour in the first half suggested baroque richness and in the second, a Carmen-like passion and spontaneity. All musicians acquitted themselves well, with some notable violin solos and theorbo duets. But it was the overall effect of being at a feast – or perhaps a wonderful dance – that was most charming. Artistic director Paul Dyer, leading from the harpsichord, must have had a sense of being a composer as he watched the audience listen intently and then wildly applaud his arrangements of works by Spanish, Austrian and Italian composers. Chief among them was Kapsberger, with Monteverdi’s vocal music showing allowing Kanaridis to show off the pure quality of her voice. Like tapas spread out on the table, the individual tastes were less important than the overall sensation of being replete with good food, wine and company. It was part of the magic of Tapas that the concert created just this illusion. AUSTRALIAN BRANDENBURG ORCHESTRA:TAPAS Touring