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Claire de Sévigné: From Mozart to the Merry Widow (Daylight Express)
- Date: Mon, 3 Mar 2025, 12:30 pm
- Location: Elder Hall
Claire de Sévigné's recent performances have been described as 'remarkable in every way'. Similarly praised for conjuring 'serenity incarnate' as well as for her 'high-flown coloratura', both sides of this extraordinary Canadian soprano will be showcased in this one-off recital, as she steps off the stage of the Adelaide Festival's main opera Innocence.
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Robert Dessaix: Music in My Life and Work (Daylight Express)
- Date: Sat, 8 Mar 2025, 12:30 pm
- Location: Elder Hall
Robert Dessaix is one of Australia's most intriguing authors, with an abiding love of music. Professor Anna Goldsworthy is a concert pianist, author and Director of the University of Adelaide's Elder Conservatorium. Together they will explore the place of music in Dessaix's life and work, interspersed with performances by Goldsworthy of works close to Dessaix's heart and inspired by the conversation. Join us for a warm, intriguing and revealing hour of music and discovery.
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Lunchtime Concert - Songs of Travel and Distance
- Date: Fri, 21 Mar 2025, 1:10 pm - 2:00 pm
- Location: Elder Hall
Fresh from his appearance in Kaija Saariaho’s Innocence (the headline opera of the 2025 Adelaide Festival), baritone Teddy Tahu Rhodes (our newest staff member) joins forces with Professor Anna Goldsworthy (Director of the Elder Conservatorium) to open our 2025 concert series with a poignant sojourn through the spatial and temporal landscapes of self-discovery.
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Lunchtime Concert - Veiled Disclosures
- Date: Fri, 28 Mar 2025, 1:10 pm - 2:00 pm
- Location: Elder Hall
Elegant, wistful and deeply expressive, Bridge’s eight-minute Lament was one of two duos performed by the composer and his teacher in 1912, and is today recognised as one of the most haunting musical dialogues ever written. Contrasting cheerful exuberance and a darker, veiled beauty of its own, Brahms’s second String Sextet in G major, Op. 36 (‘the most ethereal of Brahms’s longer works’, according to Sir Donald Tovey) provides the ideal companion piece, containing within its first movement a hidden cypher for Agathe von Siebold, to whom the composer had been engaged (but was destined never to marry) six years prior.
