Sunday, 19 January 2014, 8 pm
St Patrick’s Cathedral, Ballarat
Organs of the Ballarat Goldfields Festival
Closing recital
PROGRAM
Wolfgang Amadeus Mozart Exultate Jubilate
Joseph Haydn Harmoniemesse
| SOPRANO | ALTO | TENOR | BASS |
| Deborah Summerbell | Yi Wen Chin | Peter Campbell | Andrew Murray |
| Carol Veldhoven | Kathryn Pisani | Tim Van Nooten | Thomas Bland |
| Katherine Norman | Niki Ebacioni | Vaughan McAlley | Mike Ormerod |
| Maria Pisani | Rachel Martin | Stuart Tennant | Tim Daly |
| Sarah Harris | Thomas Bell | ||
| Claerwen Jones |
—
Jacqueline Porter, soprano
Lotte Betts-Dean, alto
Daniel Thomson, tenor
Michael Leighton-Jones, bass
Accademia Arcadia – conducted by John O’Donnell.
| Violin 1 | Viola | Oboe | French Horn |
| Davide Monti | John Quaine | Michael Pisani | Tom Campbell |
| Briar Goessi | Heather Lloyd | Adam Masters | Tobin Frost |
| Simone Slattery | Cello | Clarinet | Trumpet |
| Chris Ruiter | Edwina Cordingley | Ashley Sutherland | Tristram Williams |
| Violin 2 | Josephine Vains | Jodie Upton | Tristan Rebien |
| Lucinda Moon | Violone | Bassoon | |
| Elizabeth Welsh | Ruth Wilkinson | Simon Rickard | Timpani |
| Jen Kirsner | Flute | Brock Imison | Organ |
| Felicite Heine | Greg Dikmans | Jacqueline Ogeil |
REVIEW
Tuesday, 21 Januart 2014, The Age [Melbourne], n.p.
Music review: Organs of the Ballarat Goldfields Festival
Clive O’Connell
Mozart and Haydn
Organs of the Ballarat Goldfields Festival
St Patrick’s Cathedral
January 19
Held under more pleasant climatic conditions than the initial concert from Newman College’s Choir and La Compania, the Ballarat festival’s finale gained from its compact content – an early Mozart motet and Haydn’s last Mass – and the participation of several singers and instrumentalists of unquestionable talent.
John O’Donnell conducted both works, soprano Jacqueline Porter making inroads on the demands of Exsultate, jubilate, before heading a quartet of excellent soloists for the Harmoniemesse, O’Donnell’s Ensemble Gombert doing the work’s hard yards. For reasons of acoustic balance, I suppose, the orchestral forces were stationed well forward, all strings situated in front of the altar steps while the wind and brass choirs sat behind.
For the motet, Porter sang from the far side of the church from my seat so parts of her work were muffled. Porter made a more positive impact in the Mass, especially in partnership with alto Lotte Betts-Dean. One of the stars of the opening concert, Daniel Thomson brought his reliable tenor to the mix, bass Michael Leighton Jones a compelling presence as well. Sadly, the fine Gombert personnel were often eclipsed by the hefty wind corps in this work.
Clive O’Connell/Courtesy of The Age