Reviewed by Lyndell Hill Under the baton of Charles Dutoit, Saint-Saens’ Organ Symphony found itself in fine company on this program, rubbing shoulders with Wolfgang Amadeus Mozart’s brilliant (and lovely) Symphony No. 29 in A, K201, which according to popular opinion is considered to be the first true masterpiece among Mozart’s symphonies. The vibrant scales of this symphony’s 4th Movement sparkle with excitement and musical interest which was sustained throughout the entirety of the work.















By Julian Wagner
It seemed appropriate somehow, upon leaving the theatre and rushing back to Circular Quay Station that the night would gradually become lost in some of the thickest mist I have ever seen in Sydney. Appropriate in that The Maids is steeped in sweet obfuscation, in phantom identities emerging and receding like vapour, like the brief shapes seen huddled on station platforms as the train shunts by. Such is the psychological complexity of this performance that even at the close, with the stage lights cut and the cast awaiting applause in the dark, the audience seemed reluctant to clap; not unmoved, but perhaps unwilling to have this production end with so many questions of relationships and repercussions unanswered.

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