MAINSTAGE: Buxtehude’s monumental meditation on suffering and the human body set with contemporary Indigenous dance, and a major new Australian work from Chris Williams. 25 Aug – 4 Sep
IN CAMERA: A signature song from each of our Principal and Ensemble Artists, recorded during a time of plague and pestilence. LISTEN ONLINE (BRONZE/SILVER/GOLD MEMBERS)
ARTIST SONGBOOK
CLOSE-UP: Two wonderful song cycles from both ends of art-song history sung by Ethan Taylor & Hayden Barrington VIEW LOCATIONS & TICKETS
BOOK OF TRAVELERS
MAINSTAGE & IN CAMERA: Transience and homelessness in the world première of a new 32-part setting of Gavin Bryars' classic Jesus' Blood Never Failed Me Yet and a remake of a legendary canon from the Eton Choirbook. DOWNLOAD ALBUM FROM HYPERION
BURDEN OF TRUTH
CLOSE-UP: Amy Moore in Messiaen’s grandest song cycle of love and death. Olivier Messiaen: Harawi
CHANT D'AMOUR ET DE MORT
MAINSTAGE: A dramatic presentation of the earliest surviving music drama by 12th-century Abbess, visionary, and natural philosopher, Hildegard of Bingen. LISTEN TO ALBUM (BRONZE/SILVER/GOLD MEMBERS)
CIRCLE OF VIRTUE
CLOSE-UP: Roberta Diamond & Hannah Lane in voyages in music from the Iberian Peninsula WATCH DIGITAL CONCERT (ON-DEMAND FOR SILVER & GOLD MEMBERS)
ESPERAR, SENTIR, MORIR
SALON: Part I of Handel’s perennial favourite sung in intimate surroundings by The Song Company soloists with players from Bach Akademie Australia – now available on-demand for Silver and Gold Members! Now available on-demand for Silver and Gold Members:
MESSIAH, PART I
CLOSE-UP: Koen van Stade – Dichterliebe as Schumann might have imagined it How can we develop the sense of good taste that was expected of artists in the 19th century? Combined research into historical recordings and written sources add up to a brand-new presentation and complete performance of Robert Schumann’s Dichterliebe in this lecture-recital by Principal Artist, tenor Koen van Stade and Guest Artist, pianist Neal Peres Da Costa. Hear surprising performance practices of portamento, vibrato, rhythm, tempo, legato, and diction in the styles to which Schumann himself was accustomed – bringing the song cycle to life as it might have sounded in the decades immediately following its conception.