Magic, Mystique, and Melancholy: A Celebration of Artistry

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Thu 24 Oct 2024

The Southern Cross Soloists (SXS), those stalwarts of Australia’s classical music scene, brought us a concert that was a veritable feast for the senses - a fitting finale to their 15th QPAC Concert Series.

As I looked around there clearly was pretty much a full house, and the atmosphere was charged with anticipation, heightened by a lighting design that echoed the twinkling stars above. Possibly a bit busy, and at times making it hard to see the performers, but overall an innovative and effective atmosphere setter.


The evening unfurled with the world premiere of The Ascent, a spirited composition co-crafted for Southern Cross Soloists by the prodigious Lachlan Skipworth and the Didgeridoo Soloist in Residence, the immensely talented Chris Williams. There was a piece that danced across the stage with a vivacity that not only invigorated the audience but also set the perfect tone for what lay ahead. It was a bold, dynamic beginning - an invitation to be swept away on a current of creativity.


As the evening continued, we were graced with a delightful interlude as Acting Co-Artistic Directors Dr. Ashley Smith and Margaret Blades shared that they had survived a very difficult year, including replacing most of their board, and losing their artistic director. They also foreshadowed a tantalizing glimpse into the future, hinting at an upcoming focus on female composers, and to reinforce this they performed Elena Kats-Chernin's effervescent Peggy's Minute Rag, showcasing their own infectious energy and camaraderie. Their performance was akin to watching two skilled chefs whip up a culinary delight - each note a spice, each flourish a dash of zest.


Then came The Swan from Saint-Saëns’ The Carnival of the Animals, where Karol Kowalik’s cello sang like the serene bird it depicted. Accompanied by the delicate piano work of Roger Cui, it was a moment of pure grace, as if time itself had slowed to capture the elegance of a swan gliding across the water- a serene oasis amidst the evening’s more tempestuous themes.


We were then treated to a pair of Fauré’s exquisite pieces, Pavane Op. 50 and Fantaisie Op. 79, artfully arranged by John Rotar, a young Brisbane man who has an enormous number of compositions to his name. Here, the dynamic interplay between Courtenay Cleary on violin and David Silva on flute was nothing short of magical. Their performance displayed a mastery that transcended mere notes on a page, embodying the very essence of Fauré’s enchanting soundscapes.



The evening’s tapestry continued to unfurl with Tchaikovsky’s Souvenir d'un lieu cher, led by the captivating guest violinist Catherina Lee. Her playing was imbued with passion, yet she generously shared the spotlight with her fellow musicians, creating a sense of camaraderie that resonated throughout the hall.



And then came the grand finale-Stravinsky’s Petrushka, a work that pulsated with life and vibrancy. Again arranged by the ever-inventive John Rotar, this piece was a whirlwind of emotion and energy, conjuring vivid images of Russian folk tales. It was a thrilling crescendo, a testament to the ensemble's virtuosity and the depth of their artistry.



As we reflect on this splendid evening, one cannot help but appreciate the Southern Cross Soloists' unwavering commitment to excellence. With their 30th anniversary looming on the horizon, they continue to etch their legacy into the very fabric of Australia’s classical music landscape. Magic, Mystique, and Melancholy was not just a concert; it was a celebration of life, a poignant reminder of our shared humanity, and an intoxicating promise of what is yet to come.



So, let us raise our proverbial glasses to the Southern Cross Soloists, and look forward to the enchanting journeys that lie ahead! Bravo!

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