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French Baroque with Circa

High art and entertainment unite in a beautiful musical circus.
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​Photo by Steven Godbee

There was a festive air surrounding the Australian Brandenburg Orchestra’s (ABO) recent collaboration with Circa. Yaron Lifschitz, Circa’s creative director, introduced the performance as a reunification of high art and entertainment that he felt had been determinedly kept separate in recent times. Whether it was the anticipation of Circa joining the performance or not, the mood felt more like that of the big top than an orchestral performance and it made for a wonderful spectacle.

Watching an orchestra of any sort is a spectacle in itself, what with the intensity of black tie clad musicians moving together before a conductor gyrating like an interpretive dancer receiving high voltage electric shocks. And for the show’s first half the ABO did not disappoint, lead by the effusive Paul Dyer and featuring the matador-esque violin playing of Shaun Lee-Chen.

When the performers of Circa entered however, there was a palpable change in energy both on stage and in the audience. There were audible gasps during some audacious opening displays of acrobatics and strength, elicited by both the male and female performers, and the audience continued to find their voice through a pulsating second act.

There was a wonderful synergy between music and acrobatics. The orchestra seemed to relax and indulge their more playful sides while the performers of Circa brought a level of refined artistry to their every move. The eagerness of both partners to engage with each other turned the stage into a fascinating space where musicians became props to the performers and the performers play mates to the musicians. The skill with which the space was used made it easy to forget how many people occupied the stage simultaneously, weaving around each other, constantly on the verge of disaster, yet this house of cards never collapsed.

Then there was Claire Lefilliâtre who took to the collaboration with similar gusto and in a long evening gown, gracefully moved between roles as circus performer and the virtuoso soprano that she is. As with all things circus, the pageantry is of the utmost importance. Long dresses and coat tails were no hindrance at all and accentuated just how professional and accomplished the Circa performance has become.

The full bag of tricks was brought out. From the sublime poise required to whisk crystal bowls of water around the stage unspilled and unbroken, to dazzling aerials and perilous balancing towers. The combination of live music and circus may not be one for the purists but it’s certainly one for the punters and I’m sure I was not the only one hoping that more collaborations of this kind are not far away.

Rating: 4 out of 5 stars

French Baroque with Circa

Rameau  Overture to Naïs
Le Camus Laissez durer la nuit
Rameau Suite from Les Indes Galantes
A pasticcio created by Paul Dyer featuring music by Marais, Lully, Rameau, Boesset

Paul Dyer AO  artistic director and conductor
Claire Lefilliâtre (France) soprano
Circa (Australia) contemporary circus
Yaron Lifschitz (Circa) artistic director
Australian Brandenburg Orchestra
Members of the Brandenburg Choir – Mark Nowicki alto, Richard Sanchez tenor and Philip Murray bass

Sydney Wed 29 July – Saturday 1 August
Raphael Solarsh
About the Author
Raphael Solarsh is writer from Melbourne whose work has appeared in The Guardian, on Writer’s Bloc and in a collection of short stories titled Outliers: Stories of Searching. When not seeing shows, he writes fiction and tweets at @RS_IndiLit.