2017 Quotes & Reviews

Quotes 2017 Kontiki Racket 600 x 180

“It’s a ballsy move to open a concert of such uncompromisingly demanding (albeit beautiful) music with a work which systematically undercuts artistic pretention. But when you play these works with such persuasive articulacy, you can get away with pretty much anything. Bravi.”
Harriet Cunningham, A Cunning Blog (Who Dreamed It?, Sydney)
“Ensemble Offspring performed superbly, playing the game with Aszodi with observable watchfulness between members, whether as a trio or, wonderful to witness, a sizeable team admirably coached by Roland Peelman.”
Keith Gallasch, RealTime (Who Dreamed It?, Sydney)

“Aszodi’s performance was superb, singing with brightness and ringing clarity and she, conductor Roland Peelman and the ensemble created an enchanting universe of absurdity, irrational dreams and maddening logic over seven movements.”
Peter McCallum, SMH (Who Dreamed It?, Sydney)
“I’ve written before about the impressive virtuosity of Ensemble Offspring, and I think it’s worth saying again. This is a group playing at a level where they can really perform. What they do with their sonic resources — whether a cello, or an egg-shaker, or a voicestrument — is completely at the service of the story. It’s a joy to watch such a cracking band, engaging with the music, engaging with each other, engaging with the audience.”
Harriet Cunningham, A Cunning Blog (Seven Stories, Sydney)
“Ensemble Offspring played with their usual commitment, flair and easy sense of theatricality”
Keith Gallasch, Realtime (Seven Stories, Sydney)
“Although so much smaller in scale than the SSO, and braver than the Australian Chamber Orchestra, Ensemble Offspring offers a more incisive vision, consistent commissioning and engagement with new media and theatrical idioms that an increasing number of composers see as part of their remit. Equality of opportunity figures strongly too, evident in the ensemble’s 2017 program, entirely comprising works by female composers.”
Keith Gallasch, RealTime
“These days, Ensemble Offspring has embarked on a new mission: gender equality in the arts. Throughout 2017, they’ve committed to performing works by female composers only.”
Elspeth Parkinson – Cut Common Magazine
“Groups such as Ensemble Offspring … continue to support new art as a matter of pride and principle.”
Maxim Boon – ArtsHub
“One company which is actively attempting to redress the [gender] imbalance is Ensemble Offspring, which has programmed works exclusively by female composers in 2017.”
Richard Watts – ArtsHub
“Ensemble Offspring were in fine form, presenting some of their most scintillating performances yet.”
Matthew Lorenzon – Partial Durations (Arc Electric, Sydney)
“Ensemble Offspring’s tight-knit sextet delivers evolving colours and an intoxicating range of textures in Arc Electric, a feast of strange and vivid imagery.”
Angus McPherson, Limelight Magazine (Arc Electric, Sydney)
“The concert was ostensibly a celebration of musical creativity…leaving the listener with a sense of the beauty of the world and its fragility”
Peter McCallum – SMH (Arc Electric, Sydney)
“the ensemble (modern instruments plus viola d’amore) plays with commitment and precision”
Shirley Apthorp, Financial Times (Biographica, Sydney)
“Ensemble Offspring, excellent as ever and conducted by Jack Symonds, realise with great finesse Finsterer’s adroitly orchestrated score…”
Keith Gallasch, Realtime Arts (Biographica, Sydney)
“Finsterer’s score [is] expertly delivered by Ensemble Offspring”
Angus McPherson, Limelight Magazine (Biographica, Sydney)
“…eminent guests from Ensemble Offspring, including Claire Edwards and Zubin Kanga, raised the number of instrumentalists to not even a dozen, yet the vast space of Bay 20 was filled with profoundly impressive sounds”
Jason Catlett, Time Out Sydney (Biographica, Sydney)
“Finsterer’s music proved to be as eclectic and wideranging as Cardano’s intellectual pursuits. Scored for a chamber ensemble of strings, woodwinds, keyboards and percussion, Biographica’s complex yet crystalline textures,evocative instrumental colours, intricate rhythms and Renaissance-inspired vocal writing resulted in an absorbing, appealing sound world”
Murray Black, The Australian (Biographica, Sydney)