“The fine ensemble blend and communication between ensemble members in this opening work and the works to follow was a pleasing feature of this concert.”
“…I was particulary touched anew by the expressive, reverent treatment of the variations in the final movement. There was plenty of space in the delivery. Simon Oswell’s viola line in the minore variation was particulary plaintive and rang out above the musical fabric. There was efficient and exciting interplay or conversation between Peter Clark and Julia Russoniello’s violin lines in this and all movements.”
“…Peter Clark’s delivery of the melody above the solid viola and cello sound here soared in clear, even voice. There were HIP portamento effects included and a good forward momentum to the phrasing, which made us wish this was not an unfinished chamber work.”
Sydney Arts Guide, 19 March 2023
Image: Teniola Komolafe
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“Rachael Beesley’s charismatic leading of featured string players plus timpani was full of fine characterisation across the four movements with a carefree, innocent nature.
Blend of the string soloists with the rest of the ensemble was seamless. Moments of surprise, humour and playfulness were enjoyed by the musicians and audience…
Neal Peres Da Costa’s Historically Informed Performance experience and research brought so many new options and approaches to this slow movement and in the rest of the well-known concerto. The intimate voice of the fortepiano was imbued with arpeggiation, embellishment of line and extra material to push the sound through the fortepiano’s quicker fade in tone.
The F sharp minor slow movement was nicely voiced and ornamented. Its interplay with strings and wind to trace the harmonic contour and surprises was beautifully achieved. The fortepiano tone blended into the sonic tapestry rather than rise above it as it would with a more resonant modern instrument and performance practice.
This concerto, with wind and especially clarinets used in the narrative so much, was in good hands here with the quality contributions from ARCO players… “
Paul Nolan, Sydney Arts Guide (27 August 2022)
Image: Robert Catto
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“This orchestra’s typical excellence of interpretation, crystal clear articulation and superb string orchestra blend was in evidence during this vibrant comeback. It saw the orchestra’s dynamic voice speak in Historically Informed Performance accent whilst discussing later works than we are usually treated to in their concerts. The chance for Australian Romantic & Classical Orchestra musicians to accompany a vocalist was also a rewarding change.”
"[Illuminate continues] the young but firm tradition of excellent programmes from this compelling musical group which never disappoint."
Paul Nolan, Sydney Arts Guide
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Photo by Robert Catto
“The string players sang with warmth and clean joy to us via a well-planned programme well-supported online concert, exquisitely executed, maintaining warmth at a distance.”
“…[the concert] included clear and exciting direction of the assembled HIP performance experts from around the globe by Director Rachael Beesley. From the violin she harnesses an exciting interaction between period wind and strings and marries subtlety with strength in the communication.”
The Australian Romantic & Classical Orchestra delivered yet another substantial instalment in its five-year concert history … [the] performance event was once again a perfect example of their mission statement to ‘inspire, educate, enlighten … with keen momentum, crisp, sharp bowing and a broad arsenal of articulation. Played on period instruments with an historically informed approach, [the orchestra] brought us all the excitement of volume changes, motivic effects and the contrasts of what was the newly emerging Mannheim orchestra as well as symphonic structure as a vehicle for showing off their orchestra.
