GSO brings romance – and a sight for sore eyes
Two Romantics presented by Geelong Symphony Orchestra, conductor Richard Davis, soloist Rio Xiang. Costa Hall, March 2, 2019.
Call it serendipity, happenstance, providence… Either way, it occurred to this critic at this concert.
It really began on Wednesday, when I had surgery to remove a cataract and place a new lens in my left eye. By Saturday, I was seeing things with astonishing clarity and distinction. Not that that should have made any difference at the Geelong Symphony concert. This was, after all, showcasing the music of two great romantic composers, Brahms and Tchaikovsky. So it was to be a treat for the ears, not the eyes.
But then we were handed tickets to the third row, front and centre which allowed a remarkably close-up view of the pre-concert string section. With my new enhanced vision, I saw things unnoticed before. Like concertmaster Olivier Bonnici’s cheeky mustard-coloured socks, Emily Frazer’s look of concentration as she led the warm-up, lead cellist Timmothy Oborne’s laid-back stance contrasting Jamie Parker’s total concentration; violinist Eve Gu’s beautiful black-lace shoes… Then guest conductor Richard Davis took the stage in full tail suit, white tie conflicting just a little with the GSO’s more relaxed outfits of men in dark lounge suits, women in black ensembles.
Then the opening piece began. It was Brahms Academic Festival Overture Op. 80, and nicely suitable for Deakin University’s showplace hall with its themes of student drinking songs. It was presented in what is now the accepted GSO manner – neat, faultless delivery in cool professional style.
Still I had no real inkling of what was to come as the Costa’s Steinway grand piano was moved centre-stage for the evening’s second piece of romance, Tchaikovsky’s Piano Concerto No 1 Op.23. This was to be played by Rio Xiang, the young man who had won last year’s Youth Classical Music competition in Geelong, with appearing at this concert part of his prize. Rio is a tall, slender 20-year-old who appeared reserved, perhaps a little awkward as he took his welcome applause and sat at the piano.
Conductor Richard Davis is, by contrast, an old hand. He’s chief conductor and head of orchestral studies at Melbourne Conservatorium and he regularly conducts orchestras worldwide including the BBC Philharmonic. He holds a top reputation for bringing the best out of orchestras and soloists, using a unique style of expressions, flourishes, smiles, frowns and gestures.
As this is directed at the players, it’s usually unseen by the audience who would simply see the back of that elegant tail suit.
Unless you happened to be in seat C30 in the Costa Hall, 2 metres away, in direct line of sight between conductor and soloist – and with newly enhanced vision.
I can tell you this piece was enthralling. Illuminating. It was thrilling, compelling stuff, watching Rio’s pale long fingers dancing his keyboard for the 20-minute piece without sheet music while being wordlessly led, stimulated, encouraged by his conductor who twisted and turned to make eye contact while still in full control of the orchestra.
I should also add that the music was wonderful, faultless – and that it drew long, loud applause and no fewer than four call-backs before the concert’s interval.
The concert’s second half consisted entirely of Brahms’ Symphony No 1 in C minor Op. 68 in its four movements. There was no piano, no Rio, just gorgeous, flowing, soaring lush romantic music played with the GSO’s gloss, style and verve. But, for me, it was just a bit anticlimactic following that (literally) brilliant Tchaikovsky piece. I felt privileged to have been in that place at that time.
So this concert redefined memorable for this critic, who now looks forward to hearing – and seeing – the GSO’s next concert, when the gorgeous Rebecca Chan plays all four of Vivaldi’s seasons. I just hope this vision enhancement doesn’t fade.
– Colin Mockett
Magnificent Ninth a first for Geelong
The Mighty 9th, Beethoven’s Ninth Symphony presented by Geelong Symphony Orchestra & Chorus conducted by Fabian Russell, Costa Hall October 27, 2018.
Beethoven’s Ninth Symphony was his last, and it’s widely acknowledged as his greatest work. He was completely deaf when he wrote it, working the music out using mathematical patterns. On its Vienna opening performance, Beethoven sat beside the conductor, giving the tempo for each piece. At the end, the lead contralto singer had to turn him around to see the auditorium applauding. Knowing that he couldn’t hear them, many applauded by gestures and waving handkerchiefs.
In Geelong, they gave it a standing ovation. 194 years later.
It was something of a surprise to learn that this was the first time Beethoven’s Ninth had been performed in Geelong. That’s probably because the circumstances needed to create it – meaning a fully fledged, accomplished symphony orchestra and chorus with a leader and conductor with the knowledge and expertise to prepare them, along with a venue to accommodate them as well as an audience large enough to justify the expense – hadn’t come together before. But they did for this performance, and in remarkable style.
For the evening had begun with the Geelong Symphony Orchestra in a more restrained role, behind piano soloist Stefan Cassomenos as he delivered Mozart’s Piano Concerto No 15 in Bb Major with the accomplished flair of a showman. Stefan is a vibrant and highly visual musician, whose concentration was such that he appeared to respect every note, even those he wasn’t playing, by the use of small nods, movements, even occasional Satchmo-like mopping of his brow with a flourished white handkerchief. But along with this, his skill delivering Mozart’s dazzling musical patterns and colours in the piece’s three distinct movements was superb. Enough to earn three curtain calls alongside elegant Maestro Fabian Russell, whose delicate control of his orchestra had supported and embellished every note. Then, after a 20 minute interval, the Costa Steinway was wheeled away and the stage was literally set for Geelong’s orchestra to take on Beethoven’s masterwork.
There were 76 musicians under Maestro Russell’s baton, while high above in the venue’s choir gallery, was the newly-formed GSO Chorus. This comprised some 60 experienced singers drawn from at least five local choirs surrounding the evening’s four soloists. They were the delicately balanced and matched Lee Abrahmsen (soprano) Belinda Paterson (alto) Brenton Spiteri (tenor) and Manfred Pohlenz (bass).
In truth, this chorus was in the privileged position to sit back and enjoy the majesty and glory of the work’s first three movements as Beethoven built his musical moods from quietude to majesty, slow rhythms to glorious brass fanfares using only the orchestra. Each movement was beautiful and complete in its own right, but all lead to the work’s ultimate, majestic finale. That was when chorus, soloists and orchestra came together to deliver the most magnificent Ode To Joy that I’m sure Geelong has ever heard.
It was spine-tingling stuff, and rightly drew that standing ovation. Every musician, singer and performer involved can stand proud having created such a beautiful concert. And Geelong can stand proud, too, for nurturing an orchestra capable of presenting such musical perfection.
– Colin Mockett
President’s report for the AGM 2017 – 2018
The GSO has had a successful year with increasing public recognition and quality programs. There have been three successful concerts this year: A Night in Vienna, Last Night of the Proms and Rhapsody.
We have a good body of excellent players to choose from. The web site works well and players are encouraged to fill in our Expression of Interest Form to register their details and interest in being part of the orchestra. We are always on the look out for musicians new to the area who would like to join the orchestra. Our online registration process has been set up by Melissa and we are grateful for her expertise in this area.
We have been well supported by our audiences and audience development is part of our ongoing plan. We hope to expand the Friends program and have a stronger support network.
Grateful thanks are due to Deakin University and our Patron Jane den Hollander for their continued support and encouragement.
We are also grateful to the City of Greater Geelong for their much valued grant towards our continued success. Many thanks to all our sponsors and Friends.
We are indebted to Jon and the relationship with GPAC. This has been vitally important in establishing the orchestra’s high profile and recognition. Thanks to Jon we have an excellent well documented history of our progress so far with professional recordings, DVDs, photographs and programs.
Many thanks also to our hard working committee. We were very sorry that Vicki has resigned from her role as Orchestra Manager. Vicki was a founding inspiration behind the establishment of the orchestra and her skills and devotion to the job are very sorely missed. Suzanne and Melissa have stepped in the fill the gap and the work is being done very ably
by them. All members of the committee work long hours and willingly without any financial reward.
Finances need to be stronger and we are working towards this. Tax deductibility status will be in place very soon and we are working with Judy McCowan to strengthen our business model to attract more funding and sponsorship.
We would like to be in the position to be able to pay full rates for all our players. However, even with the support of Deakin University for the use of Costa Hall, the costs of running the orchestra, paying GPAC staff for the management of Costa Hall, publicity and promotional advertising, paying high level conductors and soloists, paying for rehearsal venues, music hire and photo copying, the expenses will always exceed box office revenue.
We plan to establish a Players’ Group who will report any issues or concerns back to the committee and also suggest any social activities. Lydia Chan has agreed to be Social Media officer to help raise our profile still further.
We depend on our loyal players who accept that payment will be based on the surplus available after each concert. Some players generously donate this money back for the further strengthening of the orchestra’s finances and this is much appreciated.
Geelong Rotary Club gave the GSO a very generous grant of $10,000. This has been used to offer 10 Grants of $1000 each to players to assist in their professional development. The public announcement was on May 3 and the recipients are:
Jamie Parker (violin), Katharina Bodisco (violin), Eve Gu (violin), Edwina Sekine (violin), Patrycja Radzi Stewart (violin), Lachlan Dent (cello), Marcus Allport (viola), Kathryn Buttigieg (violin), Vicki Hallett (clarinet), Brighid Mantelli (flute).
The ultimate success of the orchestra depends on our body of highly skilled players who commit to performing at the highest professional standards at each concert and continuing to do so for the pleasure of playing exciting repertoire in a world class concert hall with top ranking soloists and conductors. When there are gaps to be filled with players from outside Geelong, we must offer a payment. This applies to instruments not available in Geelong – e.g. harp. It is also necessary to
bolster sections with experienced players when the numbers are inadequate. This inequality is regrettable but unavoidable and we hope our skilled local players understand this.
The orchestra is now an established part of the Arts landscape in Geelong. We hope to continue to offer quality concerts and programs in the years to come. We are excited to be mounting the first ever Geelong performance of Beethoven’s Ninth
Symphony in Costa Hall on October 27 with the newly established GSO Chorus. We have a stellar line
up of soloists and will be working again with Maestro Fabian Russell.
Our June concert is Spanish Fire with internationally acclaimed conductor Warwick Stengards and soloist Matt Withers.
Plans are progressing for 2019 and 2020 and will be revealed in good time.
Wendy Galloway President GSO
Rhapsody, from Geelong Symphony Orchestra, conductor Brett Kelly, Costa Hall, February
Geelong’s premier Orchestra displayed its impressive development with this accomplished concert of challenging, lyrical and fascinating pieces. It was under the baton of energetic guest conductor, Brett Kelly, who, with the minimum of audience contact, still managed to convey an air of an unpretentious maestro with a pride in his orchestra.
This came across strongly in the opening piece, Khatchaturian’s Adagio from Spartacus, a work familiar from its TV appearances, especially as the lyrical, background to those magnificent tall ships on The Onedin Line. But here it was, in all of its smooth, soaring majesty being faultlessly presented by our own 60- piece orchestra.
And building on that admirable opening, came what was probably as memorable a performance as ever seen on the Costa stage.
It was Rachmaninov’s Rhapsody on a Theme from Paganini – some 20 minutes of gloriously changing musical textures, patterns and colours, some familiar, some spiky, others lush and lyrical, all delivered by another self-effacing master musician, guest pianist Hoang Pham, with the orchestra taking very much a support role. Young, slim, immaculate in appearance as well as presentation, Mr Pham played the complicated pieces with elegance and elan – and completely from memory, without a single sheet of music on the Costa Steinway.
This drew what can only be described as a remarkable piece of musical appreciation, in that the performance did not receive a standing ovation -Geelong audiences are notoriously grudging with these. But instead, the audience delivered loud, steady, insistent applause that brought conductor Brett and soloist Hoang back for bow after bow – until Huang broke the cycle by resuming his seat at the piano to quietly announce he would play ‘a little bit of Haydn,’ which turned out to be a
brilliant showpiece that brought another storm of applause continuing long after he had left the stage, until he was to return again, take his seat and deliver another, quite different musical delight, before the pattern repeated, drawing yet a third impromptu solo.
After that sparkling celebration, and a short interval to recover, the orchestra returned to present the concert’s main event, Tchaikovsky’s 6th Symphony (Pathetique) Op. 74 B Minor. This emotional piece, written just weeks before the composer’s death, contains moods that lift from lyrical contentment to the depths of despair as he raged against his inevitable end. It’s a moving, challenging piece that was delivered by our orchestra with sensitivity, feeling – and an overarching air of professional competence.
Because by taking on such a challenging programme, then delivering it with immaculate skill and style, the Geelong Symphony was musically announcing that it had arrived as a significant entity on the Victorian musical scene. It was received with that long and sustained applause – but this time no modestly flamboyant encores. And it was evident from the audience mood in the after-concert foyer that Geelong can today stand with immense pride behind its impressive, fully-fledged fully professional symphony orchestra. Bravo! (delivered standing).
– Colin Mockett
Last Night Of The Proms brings pride in our city
There was an expectant atmosphere before the first (Friday night) ‘final’ concert in the series delivered during this year by Geelong Symphony Orchestra. We are fortunate to have such an accomplished group of players in this city, and they certainly gave good reason for continued regional pride, performing a lively set of popular classics with verve and great skill.
The Last Night of the Proms is typically fun-filled and a little silly, perhaps beyond the comfort zone of most of Geelong’s concert-going audience. Our compere Colin Mockett appeared at first in costume, cape and helmet, and announced that we were to hear ‘a selection of Darth Vader’s greatest hits’, which helped to set the tone of the evening as the first item was from the Star Wars Suite by John Williams. His masterful and dynamic orchestration was excitingly reproduced by our orchestra, conducted with verve by Dr. Kevin Cameron, and the standard of performance was set at a very high level.
Some of the history and popularity of the Prom series (originally ‘promenade’ concerts, held in parks in London) was outlined, before the introduction of 24-year-old Riley Skevington, recent national winner of the Australian Youth Classical Music prize. He played the 3rd movement of Brahms’ Concerto in D, written in 1878 at about the time of the earliest Proms and regarded as one of the greatest, with all the features of virtuosic and sensitive violin playing.
The Geelong Chorale, augmented to about 70 voices in the gallery and rehearsed over recent months by Allister Cox, joined the orchestra for Borodin’s Polovtsian Dances no. 17, a perennial favourite at The Proms. This exotic-sounding music, with gorgeous oboe and horn solos and plenty of percussive highlights, was a resounding success, with excellent balance achieved between choir and players.
Manfred Pohlenz brought his huge bass baritone voice and theatrical gestures to one of the most familiar of all classical pieces to Geelong’s population, the Toreador’s Song from Carmen, sung mostly in French but with a cheeky gesture to football fans by the addition of a ‘Cats’ scarf and jumper, at which point Manfred encouraged all to join the singing of our team’s theme song, in English of course.
After interval, William Walton’s Crown Imperial (A Coronation March) made a fine brassy fanfare with lots of percussion featured. Then the audience was encouraged to sing along with the Chorale to Hubert Parry’s wartime anthem ‘Jerusalem’ (orchestrated in fine style by Sir Edward Elgar) – but while the tune is well known, the words are not and a search of the program was futile. Elgar’s own Pomp and Circumstance March, another regular feature of Proms final nights, finally prompted some (rather subdued) flag-waving, and the singing would have been joined far more enthusiastically had we access to the words.
A strong rendition of Handel’s Hallelujah Chorus followed, of which many can sing various parts (not necessarily consistently or accurately!) from memory, and audience members valiantly tried to do so. The final item was an adventurous choice, an Australian work by a contemporary composer, Gavin Lockley (not yet 40 years old) which combined the singing of Dorothea McKellar’s poem ‘My Country’ over ‘Australia’ repeated by the choir. It also updated the orchestral requirements with the inclusion of guitar, bass and drum kit, and on first hearing was stirring but a little confusing. It is to be hoped that further performances will make such modern works better known. However, applause for the performers was long and very enthusiastic and after some hesitation resulted in an encore of Elgar’s March in its entireity, which should have been expected and could probably have been abbreviated.
Geelong Symphony Orchestra and The Geelong Chorale are to be congratulated for the standard of music-making throughout. On Friday evening the audience participated only timidly, but I have heard that children in particular enjoyed Saturday afternoon’s repeat concert. Despite the intention of the programming and levity of our compere, it seemed Geelong is not quite ready to make light of beloved classics, but certainly appreciates the quality of music-making in our city.
– Marie Goldsworthy
A Night in Vienna
With the programme title ‘A Night in Vienna’, those who stayed away thinking they would hear only Strauss waltzes missed a treat. The music was by Mozart and Beethoven, who both chose to make their homes in that most cultured of cities, as did other legendary musicians including Haydn and Schubert at different times.
After the strong opening chords, conductor Fabian Russell led the orchestra spiritedly through ‘The Creatures of Prometheus’ which, as President Wendy Galloway noted, is “a successful Overture to an unsuccessful ballet”, given its first performance in 1801 and marking Beethoven’s introduction to the Viennese stage. The 5-minute overture was written for a typical classical orchestra consisting of strings and timpani, with pairs of flutes, oboes, clarinets, bassoons, horns, and trumpets, which roles the (mostly) Geelong-based musicians filled admirably.
This was followed by the 3 movements of Mozart’s masterpiece, the extraordinary Clarinet Concerto in A Major, featuring Frank Celata, lecturer at Sydney Conservatorium, on clarinet. His flawless playing, with particularly warm and colourful notes in the woody lower register, was well- supported by the strings and other woodwinds in subtlety and shading. The lyricism, and also the playfulness of Mozart’s writing were beautifully brought out with fine phrasing, and the delicate interplay between soloist and orchestra was a delight to experience.
Beethoven’s Symphony no. 7, written between 1811 and 1812, was the most recent work of the three, and the audience in Costa Hall was reminded why it was that the composer regarded it as one of his best works. The vitality of this work was conveyed well from the outset, along with the beauty of the second movement, the rollicking scherzo, and the frenzied, relentless energy of the finale. It features lively dance-like rhythms, repeated figures, sudden changes of dynamics and tempi. The energy of this performance, and the role of the timpanist in particular, was entrancing.
Geelong is indeed fortunate to be able to have its own symphony orchestra producing music of such quality.
– Marie Goldsworthy
Northern Lights display our accomplished orchestra
Northern Lights concert from the Geelong Symphony Orchestra conducted by Brett Kelly. Costa Hall, March 31, 2017.
This Northern Lights concert marked another strong step in the growth of Geelong’s orchestra.
It’s content – emotional, lyrical music chosen from composers born in Russia, the Czech Republic and Finland – was both challenging and reassuring. The challenge was to recreate the musical colours, moods and patterns describing northern Europe in the 19th and early 20th centuries with a recently formed group of mostly young 21st Century passionate Australian musicians.
Mussorgsky, Dvorak and Sibelius wrote their scores for performance by full-time professional musicians with time to ponder and practice distraction-free for weeks, sometimes months beforehand. In contrast, the Geelong Symphony had but a handful of rehearsals with its guest conductor Brett Kelly, some of them missing players as a result of our hectic comparative lifestyles. With this in mind, just completing the programme could be considered an achievement for any orchestra. But to do so with such accomplished ease and skill was impressive – and very reassuring. Because this Geelong orchestra, launched last year on a wave of warm anticipation, was displaying an ability to handle a difficult, complex programme outside the expected popular norm.
It thrilled with the opening piece – Mussorgsky’s Night on Bald Mountain – with its large, lyrical string section holding musical dialogues with its lusty augmented brass players, all neatly contrasted by lyrical harmonies from the woodwind and delicate gentle elaborations from the flutes. It then played with tactful, refined restraint to allow the evening’s accomplished guest soloist Michael Dahlenburg to display his passion and skills – he has a glorious abundance of both – in performing Dvorak’s Cello Concerto in B minor, while the orchestra provided a neat and lovely supporting musical framework from those strings and predominant horns.
Following an interval came the compelling, repetitive patterns of Sibelius’ Symphony No 2 in E minor. This piece had stirring anthems and challenging rhythms, textures and colours – all inside recurring patterns and all executed with aplomb and no mean skill by an orchestra that appeared to have grown in stature throughout the evening.
It was reassuring, too, to hear the appreciation from an audience of healthy numbers considering the concert’s comparative lack of big-name drawing power. It will be interesting to see the crowd at the Geelong Symphony’s next Costa Hall showing, in August, when our orchestra performs a couple of big names – Mozart and Beethoven – in a concert titled A Night In Vienna. This promises to be a concert of rare pride for Geelong – and an event not to be missed.
— Colin Mockett
Geelong wins from an evening of Russian passion.
This concert consisted entirely of the works of Pyotr Tchaikovsky. It began with his Polonaise Act III Eugene Onegin; then moved on to the three movements of his Violin Concerto in D Major Op. 35, with soloist Rebecca Chan. Following a short interval, the orchestra played all four movements of his Symphony No. 5 in E Minor Op. 64. To say the works were well received would be an understatement. The interval had been shortened by the long and sustained applause for soloist Rebecca’s three curtain calls, while the last note of the Finale movement brought on an instant burst of applause that lasted a full four minutes with calls of ‘Bravo’ and conductor Joannes Roose three times standing his orchestra to accept their acclaim. It was a heartwarming response, and quite amazing, considering that this orchestra held its first concert only in February this year. That applause, from a healthy 1000-strong Costa Hall audience, cemented the GSO’s position as a fully-emerged identity in the State’s classical music arena. It signaled that no longer need our city’s classical music fans take the highway to Melbourne, or await the MSO’s visits for we now have a high-standard orchestra of our own. So stand tall GSO founders Wendy Galloway, Jon Mamonski, Prof Jane den Hollander, maestro Roose and leader Ben Castle, for your work has given the people of Geelong a reason for pride in our city’s culture.
This was a concert chosen to build a following; the works were well-known and popular; the soloist glamorous. And the orchestra had been reshaped from that initial February group with extra strings to bring the warm, emotional lyrical sounds of Tchaikovsky’s Russia. The opening Eugene Onegin movement set the scene perfectly with its soaring, dramatic, lyrical themes executed with care and precision. But then came the stunning soloist Rebecca Chan, glamorous in a flame-red full-length dress against our orchestra’s colour-restrained black dresses and business suits. She sounded (literally) brilliant with a rendition of clarity, verve – and sympathy – in interpreting the moods and emotions of Tchaikovsky’s works. And she captured every heart in the Hall, too, with her eyes-closed, enraptured, almost-dancing-on-the-spot extension of the music into interpretive movement. She delivered all three, very different and technically difficult moods of the work in this compelling style, entirely from memory. A full thirty-five minutes, drawing the fore-mentioned sustained applause and preparing the audience for its full-symphony second half. This was delivered with all the care, precision, skill of the opening piece, but with an extra, almost tangible confidence that came as a result of that interval-encroaching applause and a growing positive audience vibe.
The concert’s programme listed GSO’s planned next three Costa Hall concerts in 2017. Each is of popular works and all are designed to build on the successes of this year. They’re listed in full on this site’s ‘Hot News’ page. I recommend that you book for these now, not only to gain the generous early-booking rates, but to take the opportunity to experience a first-rate orchestra and experience first-hand a newly-minted first-class asset to our region.
— Colin Mockett
Geelong + Surf Coast Living Magazine – Special Feature
Read Orchestral Manoeuvres here: gsclm-summer-2016-17
Inaugural Concert Excerpt Dvorak New World Symphony
Inaugural Concert, Geelong Symphony Orchestra, Costa Hall February 26, 2016.
The foyer anticipation was palpable – there were so many people wishing Geelong’s new orchestra well; wanting them to shine. Talk was of the beginning of a new era in our city’s cultural identity – a step towards our coming of age as a mature society. Inside the hall, that atmosphere intensified, fuelled, somewhat contradictorily, by a complete lack of hype or fanfare. The venue was almost full – more than 1,000 tickets sold. The house lights were not dimmed amid polite applause which rose in volume when conductor Joannes Roose joined them, smiled briefly at the audience, then raised his baton.
The first note of Nicolai’s Overture to the Merry Wives of Windsor was exquisite – pure, clear, singular and swelling to beautiful clarity. Inside the first stanza, indeed, the first minute, the feelings from the audience were almost audible, too, containing relief, awe, respect – and justification. This was truly an excellent orchestra, worthy of its venue and our city – and its quality upheld all the pre-concert expectations. So the applause was warm and long.
Then came a brief interlude while stage hands wrestled the venue’s Steinway grand piano to centre stage for the evening’s soloist, Kristian Chong. He entered, young, casual, smiling, sat at the piano, adjusted his surroundings – then produced a brilliant, flawless rendition of Rachmaninoff’s demanding piano concerto 2 in C minor Opus 18, neatly, competently and unobtrusively backed by the orchestra. This outstanding effort drew more sustained, even warmer applause.
Following the interval, the audience returned vitalised, having discussed their new City orchestra’s quality. They were treated to an accomplished version of Dvorak’s New World Symphony delivered in the highly competent manner. The work was an excellent choice; its contrasts, crescendos and familiar recurring themes formed an ideal showcase to introduce a new orchestra to its new audience. And it was appreciated, drawing an almost reverential standing ovation, with any doubters in the audience now fully won over.
Its next concert in the Costa Hall is October 28, with a Russian musical Spectacular.
And that’s surely enough notice to be seen championing such an excellent group of Geelong musicians.
— Colin Mockett
NEXT CONCERT – The Four Seasons with Rebecca Chan
Saturday 3 August 2019 3pm
Deakin’s Costa Hall