Dracula, Cut Copy, Pinchgut Opera reviewed

One of the powerful aspects of Big is that he regularly has guest Eastern European stars, such as Maria Khoreva, Iana Salenko and Daniil Simkin. Famous Eastern European companies such as Bolshoi and Mariinsky have almost toured Australia, even before the Russian-Ukraine War, offers valuable opportunities to experience this iconic style that is not similar to male dancers such as Big, especially Zagiidullin.

MUSIC
Maid Making Boss (La Serva Padrona)
Pinchgut opera
City Recital Hall, 13 September
Study Peter McCallum
★★★★ ½

In 1733, the 22 -year -old Pergolasi wrote a crisp, stylish bright music for a short, extraordinary stupid Libretto and changed the course of music history. Among the actions of a serious, long -forgotten job, a filling (or intermezzo) set out to create more, while Mozart’s pergolate, a pergolate was established for the comic book opera for the comic book opera that will perfect. Figaro’s marriage And it continues in various ways to this day.

Pinchgut Opera’s production work, La Serva Padrona (Translated here Maid -making boss), Celeste Lazarenko and Morgan Pearse (only two songs) with a foam light song with a style t -shirt and chef Erin heliyard under the orchestra of antipods in an energetic instrumental playing.

In the role of Serpina, Lazarenko’s lines are full of sunny, well -knowledgeable temperature and range, bright and ringing, lower company and a properly polished finish. Morgan Pearse had previously been known by Sydney audiences for her work in the contemporary pieces with Sydney Room Opera, and it was a pleasure to hear it in the 18th century, which formed the basis of her international career since then.

While singing with polished articulation and shortage of tons in all records, SUAVE made a rug and a fine -grained mahogany sound and threw hard passages with slightly worn virtue and sensitivity. Gareth Davies played the silent role of Vespone, the whole joke until he started to grow with Dour humor.

Between the two scenes, the orchestra takes three moving, concerto -style breaks, and violinist and leader Matthew Greco directed this with refined cleaning and immaculate style. The orchestra, who played behind the scene, was reflected under the direction of Helyard, with clarity, light color and airy elegance.

Lochie Odger’s design was a simple platform with white clouds full of blue sky and deeper color tone costumes. The dramatic dialogue of the part, as well as the audience between the characters, and director Eugene Lynch, celebrating his own superficiality and a goal that was not taken seriously, the challenge of the challenge. The Pergolasi had very little time to celebrate. A few years later, he died at the age of 26 and was divided into the evolution of music, a delicate but indelible sign.

MUSIC
Cut copy
Night in the barracks, September 12
Reviewed by Bernard Zuel
★★★

Maybe he knew the crop copy masses and position well – maybe a little too good.

One night, Sydney always forgot that it had to rain, and the four-piece electro-pop seemed perfectly positioned. 7.30 The Sharp is on the stage and is planned to remain closed by the curfew of 21:00, around them 35-45-year-old/parents night demographic, in a good mood with a slight buzzing, knowing that they would be in plenty of night sleep before Saturday-born activities.

Meet the moment from 2008 Nobody lost, nobody finds it brand new DurableFrom 2004 Zap zap This year Still see loveCut Copy really pleasant, medium -level exercise dance set: sharp elbows or hectic sweat without fear, move, throw shapes, throw shapes.

Although it is a difficult exciting, the clock sign was beautiful, even a little Wa Wa Nee. And perhaps enough, a small festival atmosphere would be a slightly relaxation of hamstrings to remember when he returned to work on Monday. But when Time is still standing I found Browning’s press more pronounced, as if someone had given permission to relax, or someone remembered it might be more.

New Gravity He added fusion keyboards before the best deterioration and accumulation of the night. Outside IceA duo that deserves strobing lights. Later Meet me at a love houseThe new order moved to a pumping with synth knives and solid -footed foundations Hearts on FireAnd Lordy, we had a dance party. Where was it all night?

This cut even the shock of power even before the end of the Crueller. Hearts on FireThe screens still show the mouth and hand movement, but no sound. They came back after five minutes and I need you now And LIGHTS AND MUSIC The re -establishing energy did a very good job, but they gave a clearer message in doing so: this body’s active part of the show should have started on the set 15 or even 30 minutes ago.

Playing safely may seem logical as the audience, but sometimes you should play with the senses, not just sensitivity.