Within a couple of days, in the Adelaide Town Hall, I heard two great women singers: one described as a mezzo-soprano, the other, a singer-songwriter. They were 62 year-old Swedish Anne Sofie von Otter and 36 year-old Kate Miller-Heidke. With Anne Sofie, accompanied by piano and sometimes guitar, I was expecting a fairly traditional recital. Kate was accompanied by the Adelaide Symphony Orchestra, conducted by Benjamin Northey – I wasn’t quite sure what to expect.
Anne Sofie von Otter’s concert started much as I expected, although I hadn’t heard of Ture Rangström, Wilhelm Stenhammar or Wilhelm Peterson-Berger; all late romantic Swedish composers. She then sang five songs by Sibelius and after a piano solo (a movement of a sonata by Stenhammar, played beautifully by her accompanist Leif Kaner-Lidström), some well-known Schubert lieder, finishing with Who is Sylvia? Anne Sofie von Otter’s voice is mature and controlled, with, what seemed to me, just the right degree of vibrato.
Anne Sofie von Otter
After interval there was a tribute to composers who died in the Nazi concentration camp Terezin. It reminded me of a concert I attended just over a year ago at the Australian National Academy of Music (ANAM), ‘Forgotten Composers’ https://jenniferbryce.net/2016/10/24/silenced-composers/. During the war von Otter’s father attempted, unsuccessfully, to spread information that he had received from an SS officer, warning about these camps. Terezin was decked out as a ‘show piece’ and before visits from the red cross, children were fed and everything was cleaned up – but only for the duration of a visit. This segment of the concert was fittingly closed with a piano solo: J.S. Bach’s Prelude in E Minor, Komm Süsser Tod (Come Sweet Death). I wish that the concert had ended on that note, with that sentiment. But instead there were songs of Abba and the audience was encouraged to sing along. I suppose the aim was to leave the audience in a happy frame of mind. There’s no way von Otter, with guitar and sometimes piano accompaniment, could replicate the mood of the famous rock band from her country. I wish she hadn’t tried.
Kate Miller-Heidke provides a more complete fusion of ‘classical’ and pop. Her singing was amplified throughout her concert and I found it too loud.
Miller-Heidke was born and educated in Queensland, receiving her music education from Queensland Conservatorium and the Queensland University of Technology. She has won classical awards and prizes and could have followed a path of being an opera singer. But she joined the Brisbane band Elsewhere and has won international songwriting awards. Her husband is guitarist Keir Nuttall. I thought his playing was fantastic – at times it reminded me of Jimi Hendrix. The versatile Adelaide Symphony Orchestra backed most songs. At times Miller-Heidke, in a kind of ‘Bo-Peep’ outfit, played keyboards.
I didn’t know most of the songs and they weren’t printed on the program. I particularly enjoyed some from a children’s opera, the words by John Marsden. Other songs seemed to be written from Miller-Heidke’s experience, such as ‘losing’ a friend at a pop concert when she was a teenager. Her voice is extraordinarily powerful and her versatility admirable.
A Later note:
I’m writing this a few weeks after Anne Sofie von Otter’s concert in Adelaide. At the time I didn’t mention that I was surprised when von Otter sat to present the second half of her concert. A singer usually stands, to allow for better breath control. I assumed she was tired, or maybe unwell and was coping as one would expect a great professional to do. How shattering to learn that just a few days ago, von Otter’s husband of nearly 30 years, Benny Fredriksson, who was accompanying von Otter on her tour, committed suicide. He had recently resigned from a high profile position as CEO of Stockholm’s State Theatre. Terribly sad. And one can only try to imagine what van Otter was coping with when she gave that concert.