Mozart Exultate Jubilate & Haydn Harmoniemesse (2014)

This post was created on January 19, 2014

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

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