Brilliant Artists in Trio

Brilliant Artists in Trio
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Brilliant Artists in Trio<br /> <br />A volume of three feature pieces.<br /> <br />1. Janet Baker, the Wind in Her Hair.<br />Opera's Dame Janet, now retired from the stage to song performance, takes to sea on a yacht, the better to understand the rhythms of Elgar's Sea Pictures, of which she is already the world's authority.<br /> <br />She was playing with the sound of the waves from the bow, it seemed to me, &quot;Never before under sail', she said. It was very close to song.<br /> <br />2. St Brigid and the Wizard.<br />Paula Dawson is an artist who works with holograms. Most famous of her works is a virtual re-creation of her 1989 New Year's Eve party room the following morning, in which the debris recalls the actions in time past.<br />Here, she builds a hologram of the Holy Spirit, for the worshippers in St Brigid's Church, working throughout the night on a tremor-insulated stage near Adelaide.<br /> <br />3. Max Gillies, the Character Onstage.<br />Watches one of the finest character actors in the world, perform political satire to live audiences.<br /> <br />Gillies' own face is not as well known as those he has played behind, and whenever bailed up by some passing admirer he is deeply pleased, but his eyes cloud as if with a passing fear that he may be asked to prove himself now with a short performance as Ronald Regan or the Queen of England, right here on the footpath.

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John Bryson. Brilliant Artists in Trio

Brilliant Artists In Trio. John Bryson

Janet Baker, The Wind in Her Hair

St. Brigid and the Wizard

The Character Onstage: Actor Max Gillies

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Dame Janet Baker, the Wind in Her Hair

St Brigid and the Wizard, Paula Dawson

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It follows that the gift may not be hers always.

SO SHE IS EVER AT RISK, and I made the mistake, asking if she regretted leaving theatrical opera. Keith sharply caught my eye, Roger and Tricia looked away. ‘I think I’m going fine,’ she said, appraising the course ahead, a generous ambiguity which saved me. She had given a third of her life to staged opera, and would give the next third to concert and recital. I supposed she saw the division between the dramatic stage and the recital platform the way scientists see their work in the applied or the pure, and priests the pastoral or the devotional. She would now devote to pure voice, and trust that the being which visits song will not turn its face from her.

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