From the ed­i­tor

The Weekend Australian - Review - - Contents - Deb­o­rah Hope

MAE­STRO Richard Bonynge con­duct­ing Han­del’s Rodelinda in concert at the City Recital Hall in Sydney was the high­light of my week and, judg­ing by the stand­ing ova­tion at the end of the opera, for many other mu­sic lovers as well. Joan Suther­land sang the ti­tle role many times and this per­for­mance, with the Sydney Lyric Or­ches­tra, was a fundraiser for the Joan Suther­land and Richard Bonynge Opera Foun­da­tion. Tenor John Long­muir, win­ner of the foun­da­tion’s in­au­gu­ral bel canto schol­ar­ship, shone as Gri­moaldo. But I sus­pect it was the beau­ti­ful voice of young Aus­tralian so­prano Valda Wil­son in the role of Rodelinda that pro­pelled pa­trons to their feet.

On the sub­ject of high­lights, the Anish Kapoor show open­ing at the Mu­seum of Con­tem­po­rary Art on De­cem­ber 20 must be counted a must­see event. I was lucky enough to catch a Kapoor ex­hi­bi­tion at Lon­don’s Royal Academy a cou­ple of years ago, and found the cel­e­brated sculp­tor’s work in­cred­i­bly ex­cit­ing, re­fresh­ing and laugh­out-loud funny. He is one of the best known liv­ing sculp­tors, and with a for­tune of more than $100m pos­si­bly one of the rich­est. But in this week’s cover story he talks about his strug­gle with the ‘‘mean­ing’’ prob­lem as art is in dan­ger of turn­ing into ‘‘an­other con­sumer good, an empty ves­sel’’. Bryan Ap­p­le­yard’s in­ter­view with Kapoor of­fers a win­dow on to his fever­ish cre­ativ­ity and think­ing.

‘‘Riv­et­ing’’ is an overused word, but it can be ap­plied with­out qual­i­fi­ca­tion to He­len Trinca’s in­ter­view with El­iz­a­beth Har­rower. The Aus­tralian au­thor pub­lished four nov­els of rare prom­ise — the last in 1966 — and a hand­ful of short sto­ries. Why did she stop writ­ing? In this com­pelling pro­file, Trinca searches for the an­swer.

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