Symphonic Cinema: The Planets
The Sydney Symphony Orchestra presented a unique performance of Holst’s The Planets as part of the Symphonic Cinema series, an innovative approach that pairs classical music with visual storytelling. This event, which took place at the Sydney Opera House on May 1, was reviewed by Peter McCallum and received a rating of four and a half stars.
Music in cinema typically serves to enhance emotional moments and set the tone for scenes. However, the Symphonic Cinema concept, founded by Lucas Van Woerkum, flips this dynamic by adding images and narratives to existing symphonic works. In this case, Van Woerkum’s Loss was performed by the Sydney Symphony Orchestra under Benjamin Northey, combining Holst’s The Planets with visuals of cliffs, birds, and the sea, along with dance sequences from Arts Umbrella Vancouver and a wordless narrative featuring Emma Thompson and Greg Wise.
For some listeners, such as novelist EM Forster, music is often a background to their thoughts. The visuals and performances by Thompson and Wise may offer a rich stimulus for their imaginations. However, others argue that great musical works tell their own stories, and adding images can be distracting or even detrimental. While the visuals were beautiful and the narrative was well-performed, the integration of film and music felt somewhat awkward, with each evoking different emotional responses.
In the opening movement, Mars: the Bringer of War, dancers writhed on the earth, abstract shapes transformed, and Thompson joined a procession of hooded dancers in a dramatic climax. In Venus, the Bringer of Peace, Thompson walked through an artist’s studio on a cliffside, conveying a sense of alienation. Later movements became more explicit, but spoilers are best avoided.
Northey and the SSO delivered a powerful performance of Mars, with bellicose rhythms that were both weighty and impactful. The slower movements had a transparent clarity, and the closing texture of Neptune, the Mystic was ethereal, with the women of the Sydney Philharmonia Choirs singing from the northern galleries.
The concert also featured Charles Ives’s The Unanswered Question, followed by a gripping performance by SSO percussionist Rebecca Lagos of Nigel Westlake’s When the Clock Strikes Me. This piece, reshaped from its original 2006 version, combined a fast-slow-fast structure into a continuous movement, evoking the sensation of a child’s dreamlike journey. Lagos’s performance was a tour-de-force, showcasing her fluidity, precision, and musicality.
Deftones: A Live Experience
Sacramento’s Deftones made a powerful return to Sydney with a show at the Qudos Bank Arena on May 2, reviewed by Rod Yates and awarded four stars. Known for their enigmatic style, the band has evolved over three decades, moving beyond their nu-metal roots to create a unique sound influenced by bands like Depeche Mode and The Cure.
The performance featured material from eight of their ten studio albums, ensuring a diverse setlist that included tracks from their debut album Adrenaline to more recent releases. The audience remained engaged throughout, with songs ranging from the aggressive 7 Words to the cinematic Change (In the House of Flies) and the groove-laden Swerve City.
Despite their heavy sound, the band’s performance had a sensual quality, enhanced by ethereal video projections that added a Lynchian noir aesthetic. The soundscapes created by keyboardist Frank Delgado and guitarists Shaun Lopez and Lance Jackman contributed to the atmospheric experience. Frontman Chino Moreno, known for his distinctive voice, delivered haunting and melodic performances in tracks like Mascara and Digital Bath, as well as intense renditions of My Own Summer (Shove It) and Around the Fur.
The pre-encore set included Genesis and Departing the Body, which created a rare moment of slowed momentum, but this was a minor misstep from one of metal’s most intriguing acts.
Jessica Mauboy: A Musical Journey
Jessica Mauboy’s performance at the City Recital Hall on May 1, titled The Story of Me: A Musical Journey Through My Career, was reviewed by Nicole Economos and received four stars. Over two decades since her Australian Idol audition, Mauboy has become a celebrated artist both nationally and internationally.
The evening began with a spellbinding set from Jem Cassar-Daley and an emotive Welcome to Country from Nana Miss Koori, setting a tone of celebration for identity, community, and growth. Mauboy spent the first hour reminiscing about her early years, sharing stories and performing classic tracks that defined her career.
She covered Trisha Yearwood’s How Do I Live and Shania Twain’s From This Moment On, showcasing her vocal range and storytelling ability. In the second hour, she performed her own material, including Burn, Pop a Bottle, and Running Back, demonstrating her commanding stage presence and vocal control.
Mauboy closed with a showcase of her voice, performing Glow, Little Things, and Give You Love, leaving no doubt about her talent and the enthusiasm of her fans. Her performance highlighted her renewed authenticity and creative control, marking a significant step in her artistic journey.
