This long and interesting concert was structured around Schoenberg’s extraordinary setting of 21 poems by the Belgian poet Albert Giraud, Pierrot Lunaire. Composed in 1912, the work created such a sensation that Stravinsky went all the way from Paris to Berlin to hear it.

The revelation of this concert to me was that, yes, musicians, like audiences, have been starved of live performance opportunities for the last year, but that has given musicians plenty of time to practice, time that isn't always there during normal concert life for successful groups such as The Streeton Trio.

What a Pulse the acrobats exhibited! What unanimity, what complicity in their formation and deformation of their complex body structures!

The cast of one is Robyn Nevin, and it was no surprise that her performance was riveting.

The bewildering confusion between dream and reality begins before one takes one’s seat in the theatre. You have to negotiate a building site and enter the Adelaide Festival Theatre by a side entrance (how like slipping into dream that is!), and put on a mask, so that it seems that the audience is itself on stage.

This is a production of which any director, cast and theatre company should be proud.

Gaslight is an entertaining, non-convoluted, engaging and superbly written piece, so that it stands up well after 80 years, especially when its traditional strength is imaginatively blended with some non- traditional contemporary casting.

Composer & Citizen: Chamber Landscapes

I declare that the weekend at Ukaria in the Adelaide Festival is a unique jewel in the musical calendar of Australia, where venue, audience, and performers, embraced by the curators of the weekend, combine to produce an experience as close to ideal as can be imagined.

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Carmina Burana by Carl Orff must surely be one of the gems of 20th century composition.


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