YESTERDAY was the 10th anniversary of the death of Amy Winehouse. I’ve just sat through another documentary that spins your head and heart around, making you wonder who (and what) was to blame for the singer’s terrible, sorrowful demise. But before I re-enter that maelstrom, I am happy to begin in a more grounded place. In the London leg of my life, I do my vocal rehearsal days in a complex called Mill Hill Studios. There is an iconic stencil of Winehouse on the wall outside one of the rooms. Turns out, this was the place she started putting her bands together, and did so till the very end.
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Music / “Love and other Traps”, Art Song Canberra, Wesley Music Centre, July 18. Reviewed by
ROB KENNEDY.
ROMANTIC music fills the history of art song. This concert explored the throes of love and life in four languages, over four centuries through standards to love’s philosophy.
Piera Dennerstein, soprano, and Lucus Allerton, piano, began the concert with a light and playful tune, “Se Florindo è Fedele” by Alessandro Scarlatti. Dennerstein sang brightly and bounced off Allerton’s playing in a joyful and light-hearted manner, which created a welcoming opening.
Then on to a staple of the art song style, a piece about unrequited love, “Caro Mio Ben”, by Tommaso Giordani. In an expressive and sensitive recital, Dennerstein let the emotion of the lyrics work on her performance, her voice and the audience.