Aptly titled, Strings the evening featured Queensland Chamber Orchestra, Camerata. An ensemble I admire and am always happy to see and hear them play. Last year they were conducted by Nigel Gaynor. This year they performed without a conductor. Violinist, Brendan Joyce (one of my favourites) didn’t play this year. He’s now their Artistic Director.
This was a deeply satisfying trio of both ballet and musicals performances. I prefer ballet productions to have a live orchestra present. For me, something is clearly missing when they are absent. It was a treat to see and hear a two manual harpsichord. Technically the harpsichord is a stringed instrument. Unlike the piano, the operating mechanism of the instrument involves the plucking of strings to create its unique sound.
Relatively new, Artistic Director of Queensland Ballet, Ivan Gil-Ortega has expressed his commitment ‘to bringing bold, exciting and important artists to Queensland Ballet’. A commendable vision, so far, he has delivered strongly. Messa da Requiem will forever be the inaugural performance at the gorgeous, new Glasshouse Theatre.
This year’s production utilised the talents of three outstanding choreographers from across the globe. Whilst differing in their individual choreographic styles, the three performances complemented each other. I’d credit much of that smooth blending to the solid anchoring provided by the instrumentals.
The evening commenced with Chamber Minds. Choreographed by Edward Chugg from Romania this was a contemporary work accompanied by violin and harpsichord. Inventive, and interspersed with subtle comedy, this was a clever creation. Unusual physical configurations utilised interlocking limbs.
The second performance was The Seventh Blue by Christian Spuck. This was an intellectual and beautiful work expertly performed by the dancers from Queensland Ballet. Neoclassical, it clearly demonstrated the collective abilities of the company to perform strongly in this genre.
Choreography was set to Franz Schubert’s Death of the Maiden. The piece was written for string quartet and finely played by Camerata. The musical patterns were interwoven with compositions by Gyorgy Kurtag and Dieter Fenchel adding elements of folk music. This was my favourite performance of the evening.
The concluding performance was Chacona by Spanish choreographer, Goyo Montero. The music was a rendition of Johann Sebastian Bach’s Chaconne for solo violin. A mesmerising and powerful soloist performance by violinist Graeme Jennings. The choreography appeared to acknowledge this as the dancers gathered in formations focused upon the solo violinist.
Guitarist, Jeremy Stafford was placed opposite the violin at stage left. Playing his guitar in Spanish classical style, the choreographer’s Spanish influence and contribution was clear. Forming a triangular shape, at the apex was Roger Cui on grand piano. Nicely staged and strongly performed.
I make special mention of Principal Artist, Lucy Green. Post maternity leave, she is back with a vengeance and was an outstanding performer in all three pieces. She was the only dancer to appear in all three works. Overall, a wonderful evening of dance. Well done to all involved.
Strings – A Triple Bill
Playhouse – QPAC, Cultural Precinct, South Bank (Brisbane)
Performance: Friday 22 May 2026
Season continues to 30 May 2026
Bookings: www.qpac.com.au
For more information, visit: www.queenslandballet.com.au for details.
Images: Lucy Green and Edison Manuel in The Seventh Blue (Spuck) – photo by David Kelly | Ivan Surodeev (centre) with Artists of the Queensland Ballet in The Seventh Blue (Spuck) – photo by David Kelly
Review: Michele-Rose Boylan