Had a wonderful review in goldenplec this week, you can read it here.
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The toils of a standing cellist on a dynamic set…
play on forward slope
play sloping right
play sloping left
play sloping backwards
No wonder my back is aching!
So it's good to hear it's worth it in this review in the Irish Examiner today….
Everyman Palace, Cork
While, naturally, the transformation of the theatre, and use of the theatrical spaces, plus the costumes, set, lighting, and the appearance of a cast of unexpected characters, all massively contribute to the success of the production, in the final analysis the music and the musicians are what make an opera.
In this case John O’Brien has, once again, gathered around him a group of singers and players who share his vision and create a most wonderfully effective sound world that totally absorbs the listener.
The sudden entrance from the vestibule of the chorus, the cast, the strolling orchestra and the circus performers to occupy the ground floor aisles sets the mood.
Then, from Brendan Collins’ (Tonio) splendid singing of the Prologue right through to Ronald Samm’s (Canio) broken-hearted Ridi Pagliaccio, which brings down the curtain, the excitement/tension never lets up. I was distracted during Cara O’Sullivan’s lovely Stridone lassu by an incredibly brilliant aerial acrobat (Michaela Heyer) performing over her head, but nothing could distract from the wonderfully exciting, unconducted, Bell Chorus, the drama of Vesti la giubba, the tenderness of Silvio, a questa ora, or the marvellous, Marja Gaynor-led, orchestral playing of both the chamber group and the full orchestra.
From the Munster express…
Ilse de Ziah
Christ Church Cathedral gave their Coffee Concert audience a special treat with cellist Ilse de Ziah, a Connecticut born but Australian educated performer who now lives in Cork and plays with the Cork Symphony Orchestra. Her programme Irish Airs to Australian Fair was crowd-pleasing and her unusual arrangements of familiar Irish tunes created an expressive journey of styles and influences.
Her opening Carrickfergus was cold and lonely and caught the “black as ink” mood as the drone sound caught the heart – “I would swim over the deepest ocean” and de Ziah has crisscrossed oceans to share and expand her talents. Buachaill ón Eirne was beautiful and she sang her own love song Driftwood with contemporary folk touches.
Her arrangements were ambitious and interesting and O’Carolan’s Fanny Power was a gem glistening with grace and sparkle. Her own contemporary composition the River seemed too complicated for a noon concert and she followed this with an Indian tabla-influenced piece that caught the humidity, thunder and downpour.
Amhrán na Leabhar was very mournful, but she finished off an excellent concert with a jazzy song Chicken and Fox.
This new collection of Irish melodies, arranged for cello by Ilse de Ziah, is a joy. Here we have ten airs, some well-known, others waiting to be discovered, but all singing gloriously in their new raiment. There is something here for everyone. Amhrán na Leabhar (The Song of the Books) maintains the simplicity and beauty of the original Kerry song, whereas one or two others use an exciting variational technique which will appeal to more advanced cellists. On the accompanying CD, the rich harmonics of Buachaill ó'n Éirne in Ilse's playing seem to make every word of this wordless performance speak a special music to us. Tomás Ó Canainn
We played a wonderful concert in the Cork City Hall on Thursday. Always a joy to play with Kieth Pasco who played Mendelssohn violin concerto and conducted The Dvorak New World Symphony. Brass players from England joined us to beef up the numbers, and it was wonderful to lead a cello section who completely committed to playing the music in a musical and vibrant manner. Here is a review.
“Few audience members, who remember the concerts given by Cork Symphony Orchestra under its founding conductor Aloys Fleischmann, could imagine the musical treat that was to come at the initial concert given by the re-named City of Cork Symphony Orchestra. It is now officially sponsored by the office of the Lord Mayor, and Cork City Council.
Prior to the concert, the Lord Mayor Cllr Dara Murphy unveiled a plaque in the foyer of the Cork City Hall marking this official city recognition, an important development in the cultural life of the city.
Even the whirlwind performance of Mozart’s overture to the Marriage of Figaro, under the CCSO’s conductor Keith Pascoe, gave little hint of what was to follow, good as it was. Pascoe handed the baton to oboist/conducting student at CIT School of Music, Michael Craig while he took up his violin to perform Mendelssohn’s beloved Violin Concerto. Craig’s accompanying, and the orchestra’s sensitive support, allowed Pascoe’s intensely musical, deeply personal, and wonderfully moving account of the concerto to match, at times even surpass, the playing of the best international soloists it has been my pleasure to hear.
He then returned to the podium to direct a performance of Dvorak’s New World Symphony that must have been as good as any given by an amateur orchestra”. Irish Examiner 24 April 2010