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It's urgent to help the clouds live before the wind destroys them.

🔊🎵🎶🎶🎶🎶🎶☁⛅⛈

Happy Holidays, and Merry Christmas!

George Frideric Handel (1685-1759) - "Hallelujah" from Messiah, HWV 56. Performed by Rolf Schweizer/German Baroque Soloists, on period instruments, and Pforzheim Motet Choir.

“Someone bought this costume for their dog and let him loose“ 

(Source)

Bach / Busoni : "Ich ruf' zu dir, Herr Jesu Christ", choral BWV 639 / BV B27 / 5

Alfred Brendel (piano)

Enr. 1953

LIVE REVIEW 04/09/2013; FEARLESS BAROQUE

A fiery diva, handcuffed, in an Elizabethan wig, tight black skirt and sparkly stiletto heels to die for, arms in the air, toned thighs pumping to the beat. You’re probably in Kings Cross on a Saturday night, right?

Now picture her on the City Recital Hall stage, belting out beautiful Italian Arias, a 20-strong chamber orchestra on period instruments behind her, the charismatic Paul Dyer bouncing around on his Harpsichord stool, and you’ve got the Australian Brandenburg Orchestra’s current program, Fearless Baroque. Chamber music, you had my curiosity, but now you have my attention.

Simone Kermes, German soprano extraordinaire who describes herself as the Lady Gaga of classical music, put on quite the show in Sydney last night, and if you’re new to the classical music scene, this concert is well worth a try. For me, the beauty of the Brandenburg is in the warmth and openness of the musicians, who look like they’re jamming after hours, smiling and laughing with each other (a rarity in the world of classical music). Add to that the captivating energy of conductor Paul Dyer, simultaneously cavorting the orchestra through the pieces whilst enthusiastically beating away at the (very beautiful) harpsichord that took centre stage. The energy was palpable and Kermes’ call to the audience to ‘be free, clap, dance, come and join me on stage’ broke the typical norms of the classical music scene and provoked an uplifting energy that rippled throughout the recital hall and brought the audience to their feet.

Yet despite my delight at the energy and dynamism of her main performances, the highlight for me was the soulful, delicate and beautiful German love song, Lili Marlene, that finally rendered the audience silent.

Gramophone describes her as “a dangerous, no-holds barred singer” and just as she threatened to throw herself off the balcony (in those heels!) I just might have to agree. An unconventional and exciting new experience - highly recommended. 

- Eleanor Bucher