A Tenor and a Flautist | A Review of Ep. 2

3MBS welcomed back returning finalists, Tenor Leighton Triplow and Flautist Alyse Faith to perform at 7pm on October 18th. They were broadcast live from the Lady Marigold Southey Performance Studio for the second round of finals for Season 3 of The Talent.


Both artists presented a collection of impressive repertoire. Leighton performed first with accompaniment from Rhodri Clarke, followed by Alyse who was joined by pianist Nicholas Young.

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Leighton’s performance was structured into three subsets: 17th Century Sacred Italian Repertoire, English Restoration Songs and Australian New Music.

Leighton began with two examples of music from the Renaissance : Firstly, Verbum caro factum est from Ottavio Durante’s Aria Devote, and then Lamed. Matribus suis dixerunt from Lamentations of Jeremiah the Prophet by Johann Rosenmüller. It was a real treat to hear and watch such a specialist craft come to life in the studio. Renaissance music seems to have a transportative effect, one which is an indescribable and subjective experience for every listener.

His second subset was a collection of English secular music consisting of four works: John Blow’s The Self Banished, Still I’m grieving, still lamenting by John Eccles, I promis’d Sylvia to be true by Godfrey Finger and Henry Purcell’s Love’s pow’r in my heart shall find no compliance. Leighton’s scholarly research on this genre was evident in his performance approach, he had clear and directed ideas regarding articulation, ornamentation and other stylistic elements.

To finish, Leighton closed with Maria Marcelli’s Credo from Missa Brevis which was composed in 2012. I think it goes without saying that there is an importance for every classical musician training in their particular craft to access contemporary works from their homeland. There is something special about performing Australian repertoire: it is not only a reflection of a performer’s individual musical taste, but also a step towards changing the perception of classical music created outside of Europe.

Leighton’s inspiration piece was An Evening Hymn by Henry Purcell, performed by Dame Emma Kirkby. Leighton will travel to London in early 2017 to meet with the English soprano to discuss his PhD research.


Flautist Alyse Faith performed second on the episode, the first instrumentalist to perform in this season’s finals.

Her repertoire consisted of two larger pieces, the first movement of Bohuslav Martinů’s First Sonata for Flute and Piano and the first movement of Sonata for Flute and Piano by Richard Meale.

Alyse executed the sweeping melodies of Martinů’s neoclassicist sonata with precision and grace, displaying great artistry in changing characters throughout the piece.

Her second piece was an example of Contemporary Australian Music, written by the late Sydney-based composer Richard Meale. The piece is written in a manner that explores the capabilities of the flute and the instrumentalist. The uppermost range and dynamic levels are scored by the composer. Further on in the work Meale even requests that the top E which concludes the work is to be played “shrill, brutal and even a quarter of tone sharper”. Brava Alyse for presenting such a demanding and difficult piece!

Alyse’s inspiration piece was the second movement of Mozart’s Concerto for Flute, Harp and Orchestraperformed by the Adelaide Symphony Orchestra with soloists Geoffrey Collins and Suzanne Handel under the direction of Arvo Volmer.

The podcast for this episode of The Talent is available for download from Wednesday October 19. We hope you tune in next week at 7pm to hear Saxophonist Michellina Chan and Violinist Yebin Yoo perform in round 3 of the finals.


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