WORLD PREMIERE ONLINE OF BREAKING GLASS NEW BY SYDNEY CHAMBER OPERA AND CARRIAGEWORKS website review: Katherine Kelly
Breaking Glass is the result of a collaboration between Sydney Conservatorium’s Composing Women professional development program and the Sydney Chamber Opera (SCO) and Carriageworks
It showcases a collection of four disparate one act operas by four Australian Women composers: Georgia Scott, Peggy Polias, Josephine Macken and Bree van Reyk. The works, directed by Clemence Williams and Danielle Maas, are based on literature, mythology, the environment, and the potential hazards that occur during the everyday commute
Originally scheduled for release at Carriageworks Theatre in March prior to the Covid-19 lockdown, Breaking Glass was first live streamed on Facebook on 25 April 2020.
Composer: Georgia Scott
Vocalists: Jane Sheldon, Simon Lobelson, and Jessica O’Donoghue
Composed by Georgia Scott with the libretto by Pierce Wilcox, “Dark Marauder” is drawn from works by Sylvia Plath. It opens with a hazy stage with three singers placed on mounds clutching portable typewriters with empty pages. It depicted the act of writing as a rather lonely pursuit with writers suffering from writer’s block whilst waging war against themselves. The work resolves with a dawning of hope.
Amidst the cacophony of instrumental sounds, I was amazed by the range of the vocal gymnastics in this work
Composer: Peggy Polias
Vocalists: Simon Lobelson, Jessica O’Donoghue and Mitchell Riley
This piece captures aspects of the daily commute where Polias has utilised Greek mythology to accentuate her work. We see numerous hands appear on the screen to the backdrop of counting to 100 in Greek. One lone woman traverses the stage whilst being stalked by two men whilst being encapsulated into the eye (To Mati) of Cyclops (Kyklopes). The journey itself is frenetic, disturbing and distorted. Some resolution of the dystopia arises with a new dawn with music reminiscent of Riley Lee’s shakuhachi performance on the roof of the Sydney Opera House at the dawning of the new millennium.
The Tent Composer: Josephine Macken
Vocalists:Jane Sheldon, Simon Lobelson, Mitchell Riley
The title for this opera is taken from one of Margaret Attwood’s short story anthologies though the plot doesn’t follow any of her narratives. The scene depicts three uniformed researchers examining specimens threatened by human progress – “collection of dead things”. The soundscape was metallic and discordant as were the voices, beautifully representing the callousness of human exploitation and greed
The Invisible Bird
Composer: Bree van Reyk
Vocalists: Jane Sheldon, Jessica O’Donoghue, Mitchell Riley
Against a minimalist background, three performers in formal attire perform a litany of names of extinct birds. The litany was cleverly choreographed in birdlike fashion with the with the vocals and accompaniment being largely in staccato form resembling bird calls. We learn that forest is now “man’s land” “not no man’s land”. The final “Extinction Aria” is performed to the subtle “rain” of feathers onto the stage – very powerful imagery.
This was truly an amazing work, tackling the issues of the time using very clever stage visualisation. It is great to see new work in the operatic milieu that veers away from the more traditional forms.
Thank you to the companies for being able to organise successful streaming of this work in such a short timeframe. Katherine Kelly
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>> Four female composers present one-act operas as Facebook Premiere Event
Sydney, Australia: Carriageworks and Sydney Chamber Opera (SCO) today announced the online world premiere of Breaking Glass, four new operatic works created by Australian female composers: Peggy Polias, Josephine Macken, Georgia Scott and Bree van Reyk. Following the temporary closure of Carriageworks during the COVID-19 crisis, these new one-act operas will be presented for the first time as a Facebook Premiere Event to be broadcast free to the public on the Carriageworks Facebook page on Saturday 25 April at 730pm.
Presented in partnership with the Sydney Conservatorium of Music's Composing Women Program, the season has been directed by Clemence Williams and SCO Artistic Associate Danielle Maas, two women determined to expand the possibility for operatic storytelling.
Sydney Chamber Opera Artistic Director Jack Symonds describes, “Breaking Glass is the result of two years of working with four exceptionally talented composers whose voices are essential as opera moves into the third decade of the 21st century. The stories these women are telling through this endlessly reinvented artform could not and would not be told anywhere else, by anyone else.
“SCO was thankfully able to fully record this production – initially due to premiere in late March – before Carriageworks closed its doors in line with government advice around the COVID-19 crisis. The editing process has been a great challenge to marry audio recordings to video documentation, but we are immensely proud of the result and, even though it is a shame not to get the opportunity to perform to a live audience, it felt like both an enormous risk and privilege to be making something out of nothing when many around us were losing hope and the world was shutting down,” said Symonds.
Carriageworks Director and CEO Blair French said, “Carriageworks maintains its commitment to presenting new work by Australian artists and are thrilled to present the online premiere of these innovative new works by women composers with one of the most exciting opera companies working in Australia today, Carriageworks’ resident company, Sydney Chamber Opera.”
Liza Lim, composer, 'Composing Women' mentor and Sculthorpe Chair of Australian Music, Sydney Conservatorium of Music: "Breaking Glass is the culmination of an intensive two-year collaboration between Sydney Conservatorium and Sydney Chamber Opera. I am grateful to Jack Symonds, Pierce Wilcox and the whole SCO team for their meticulous professionalism and above all, deep care for artists and art in every aspect of their work.
Opera is a form which has always been about ritualising power relations. These four new works assert the relevance of opera as a contemporary art form which can centre women's voices, stories and perspectives through a multiplicity of approaches that show us new ways of being proximate to emotional power."
Jack Symonds added: “Opera still has a long way to go in addressing its historical inequities, but this project is the natural outgrowth of SCO’s commitment to gender equality in the lead artists making our work. Quite apart from representation, most importantly the quality of the music, text and possibilities for drama afforded by these pieces is outstanding and it has been a great pleasure watching these works evolve into an exciting and diverse evening of genuinely new propositions for the future of opera.”
Breaking Glass features four vocalists: Jane Sheldon, Jessica O’Donoghue, Mitchell Riley and Simon Lobelson.
The compositions are inspired by poetry, literature, mythology, and a rare species of Australian bird:
Commute by Peggy Polias transforms the saga of Odysseus from Homer’s Iliad into the prickling unease of a modern woman's walk home at night.
The Tent by Josephine Macken creates a landscape of pulsating terror from Margaret Atwood's knife-sharp prose and the tiniest fragments of wounded sound.
In Her Dark Marauder by Georgia Scott Sylvia Plath's poetry inspires a woman's battle for her identity in a spirit-crushing world.
The Invisible Bird by Bree Van Reyk takes the true story of a rare breed of Australian parrot struggling for survival and renders it a dazzling journey to emancipation.
“When I first started seriously thinking about directing opera, I knew there were three kinds of projects I was passionate about: female composers, new work, and opera that utilises electronic music and/or digital technologies. I thought I’d be lucky if a production could fit one of those categories; never did I dream that my debut in the form would tick all three boxes. That’s a testament to the extraordinary wealth of talent in this country, but also to the quality of projects staged by Sydney Chamber Opera, whose audience take to their seats expecting an experience that will excite and challenge and provide something other than a linear, traditional version of a patriarchal narrative.” - Danielle Maas, Director, The Tent by Josephine Macken and Her Dark Marauder by Georgia Scott.
“In 2020, the making and viewing of new opera is an act of revolution. As a member of the audience, you’re plunged into darkness, surrounded by a terrifying abstract aural soundscape and asked to grapple with the ever-changing essence of the modern world. It’s no wonder then that new opera is the perfect breeding ground for innovative feminist work.” - Clemence Williams, Director, Commute by Peggy Polias and The Invisible Bird by Bree Van Reyk.
The broadcast will begin at 730pm on Saturday 25 April 2020.
Viewers can also visit the Carriageworks Facebook page in the week leading up to the performance to register their interest. Those who register will receive a performance reminder in advance of the broadcast going live.
Peggy Polias is a Sydney-based composer and music typesetter. Born in 1981, Polias began writing music while in high school. She completed a Bachelor of Music (Composition; First Class Honours) in the Sydney University Music Department, graduating in 2003, and later a Master of Music (Composition) under the supervision of Professor Anne Boyd at the Sydney Conservatorium of Music, graduating in 2010. She used the Matryoshka (Russian nested doll) metaphor to frame discussion and comparison of her Master's degree compositions. One such work, The Moon (2007) for 11 instruments, was joint winner of the 2007 Fellowship of Australian Composers/University of Sydney Women's Composer Award and premiered at the 2009 Kammerklang concert at the Sydney Conservatorium. Polias attended the Australian Youth Orchestra National Music Camp in 2010 and has also had works workshopped and performed by Halcyon, Ku-Ring-Gai Philharmonic Orchestra, Chronology Arts, and at the Canberra International Music Festival. In 2015 was awarded the inaugural Peter Sculthorpe Music Fellowship by Arts NSW and the Sydney Conservatorium of Music. Since 2015 Polias has worked in collaboration with Melbourne-based composer Lisa Cheney on Making Waves, an online listening project focusing on early-career Australian composers.
Josephine Macken is a composer, performer and artist born in 1997 and based in Sydney. Co-founder of SPIRAL Ensemble and the Lost+Sound collective, Macken is studying a MMus in composition on scholarship under Liza Lim at the Sydney Conservatorium of Music as a participant in the 2018 Composing Women Program. Her work has been performed by Ensemble Nouveau, Claire Chase, Onsombel Ensemble, SPIRAL, Ensemble MUSE, Sydney Chamber Opera, the 2018 Sydney Symphony Orchestra Fellows and Mivos quartet. In 2017, Josephine was awarded participation Ensemble Offspring Hatched Voices Program with soprano Jessica Aszodi and embarked on an exchange program with the Shanghai Conservatory of Music. Josephine markets and manages new music showcases, programming emerging artists with the Lost+Sound collective, as well as performing frequently with SPIRAL and Onsombel Ensemble. 2018 and beyond will see her engaged in a number of interdisciplinary collaborations with fellow Australian artists.
Bree van Reyk is a drummer, percussionist, composer and sound artist who makes unconventional and tradition-challenging performance works. Her music resides in the intersection between contemporary classical, indie-rock and performance art and is equally warm-hearted, celebratory, and focussed on issues of equality. Bree has been commissioned by Sydney Festival, Sydney Chamber Opera, Ensemble Offspring, Canberra International Music Festival, Marrugeku, Urban Theatre Projects, Performance Space, Sydney Dance Company, The Letter String Quartet, Shaun Parker Company, fashion designer Bianca Spender, AGNSW, GOMA and the MCA. Her performance career includes tours and recordings with artists such as Gurrumul, Paul Kelly, the Australian Chamber Orchestra, Synergy Percussion, Ensemble Offspring, Holly Throsby, Sarah Blasko, Marcus Whale, Laura Jean, Sally Seltmann, Toby Martin, Darren Hanlon, Grand Salvo, Katie Noonan, Oren Ambarchi + Martin Ng, and Anthony Pateras.
Georgia Scott is a young Australian composer, orchestrator and arranger, with a passion for music, theatre and film who studied at the Sydney Conservatorium of Music as part of the Composing Women Program 2018/19, where she was supported by the Doris Burnett Ford scholarship. She graduated with an honours in Composition from The Royal College of Music, London in 2015. Georgia's work has been performed in venues such as the Sydney Opera House, The National Portrait Gallery, St Martin-in-the-Fields and Carriageworks. She worked with Moorambilla Voices in 2017 and in 2018/19 with Claire Chase, Sydney Chamber Opera and Sydney Symphony Orchestra, both as a composer and orchestrator. Georgia has also worked with the estate of film composer Michael Kamen, archiving his scores.
ABOUT SYDNEY CHAMBER OPERA Carriageworks’ resident company, Sydney Chamber Opera, is a fresh and youthful answer to some of the difficult questions facing today’s opera industry. Louis Garrick and Jack Symonds established SCO in 2010 and it has rapidly developed into an important and distinctive voice in the Australian music and theatre landscapes. SCO is critically acclaimed for its innovative programming, musical rigour and strong focus on compelling theatre-making. SCO makes opera with a 21st-century outlook that resonates with a new, younger audience, and that shows how vibrant and relevant the artform can be. Their program aims for a balance of specially commissioned work by leading homegrown composers, the latest international operas in their Australian premieres, song cycles and cantatas in unusual staging’s, and canonical repertoire reinvigorated by the country’s most daring theatrical talent. www.sydneychamberopera.com
ABOUT CARRIAGEWORKS Carriageworks is the largest and most significant contemporary multi-arts centre of its kind in Australia. Engaging artists and audiences with contemporary ideas and issues, Carriageworks presents ambitious, artist-led programs that emerge from Carriageworks’ commitment to reflecting social and cultural diversity. www.carriageworks.com.au
photogrraphy credit: from Daniel Boud (Boudist)
BIENNALE OF SYDNEY NIRIN website photography: Neil Chand
Biennale of Sydney moves to digital experience
For nearly 50 years, the Biennale of Sydney has presented some of the most dynamic contemporary art from around the globe in iconic venues across Sydney.
This year’s exhibition, titled NIRIN and meaning ‘edge’ in Wiradjuri, is an artist- and First Nations-led biennale showcasing more than 700 artworks by 101 artists and collectives. A global platform for diverse cultures and perspectives, the Biennale unites people across the world, stimulating dialogue and inspiring change.
The COVID-19 pandemic and potential impact on the safety of our visitors, artists, staff and wider community remains our top priority. And so, in line with the latest advice from Government authorities, the Biennale of Sydney is closing its public exhibitions from Tuesday 24 March 2020 until further notice.
We will continue to adapt and innovate in the face of this global crisis. Our doors close across Sydney, and they will open online – for everyone, everywhere across the world. We remain steadfastly committed to the artists and communities we serve by moving to a digital program.
Working with long-time Biennale partner Google - and in a first for the Biennale of Sydney - audiences around the world will be able to engage with NIRIN on the Google Arts & Culture platform. Creating a virtual Biennale will bring the exhibition and programs to life through live content, virtual walk-throughs, podcasts, interactive Q&As, curated tours and artist takeovers.
At times like these, it is more important than ever that we find ways to connect, to help each other, listen, collaborate and heal – all core themes of NIRIN.
The Biennale remains artist-led and will allow our artists to lead the way in responding to the urgent social, political, and environmental issues we are facing today. We are shifting to digital programs, sharing more in coming weeks.
We look forward to welcoming you back to the physical exhibition when our Government authorities deem it safe to reopen. Until then, we encourage everyone to look after one another during this challenging time, and when you go looking for connections in isolation, engage online.
WHAT: You are invited to the official media preview of the 22nd Biennale of Sydney, titled NIRIN. Led by Artistic Director Brook Andrew, the tour will begin at the National Art School, continuing to Campbelltown Arts Centre, Artspace, the Art Gallery of New South Wales, Museum of Contemporary Art Australia and Cockatoo Island. The day will conclude with a journey to Cockatoo Island on NIRIN HAIVETA, the Biennale ferry that celebrates women’s mark-making through visual representations created by Melbourne arts and cultural collective BE. The media preview will be a full day tour, with refreshments provided by Two Good and Campari.
WHO: Extensive interview and photo/filming opportunities will be available throughout the day with artists and spokespersons from the Biennale of Sydney. The Biennale will include work by more than 100 artists from 41 countries. See the full program at www.biennaleofsydney.art
ABOUT: The 22nd Biennale of Sydney is an artist-led and First Nations-led endeavour, presenting an expansive exhibition of contemporary art that connects local communities and global networks. NIRIN, a Wiradjuri word meaning edge, is a world of endless interconnected centres; a space to gather, to share, to rejoice, disrupt, re-imagine or pierce through dominant narratives to express a different kind of experience.
WHEN: Tuesday 10 March. Full day tour commencing with registration at 8am at the National Art School. Details follow.
8am Register at National Art School, with coffee and a light breakfast provided by Two Good
8.30am Welcome and introduction from Artistic Director Brook Andrew, Chief Executive Officer Barbara Moore and National Art School Director Steven Alderton, followed by a curatorial tour
9.30-10.30am Buses travel to Campbelltown Arts Centre - podcasts and playlists provided
10.30am Welcome by Campbelltown Arts Centre Director Michael Dagostino, followed by a curatorial tour
11.15am-12.15pm Buses travel from Campbelltown Arts Centre to Artspace
12.20pm Welcome by Artspace director Alexie Glass-Kantor and curatorial tour followed by lunch provided with catering by Two Good
1.30pm Buses travel from Artspace to AGNSW
1.50pm Welcome by AGNSW Director Michael Brand, followed by a curatorial tour
2.45pm Buses travel from AGNSW to MCA
3.05pm Welcome by MCA Director Elizabeth Ann Macgregor, followed by a curatorial tour
4pm Board ferry NIRIN HAIVETA to travel from MCA to Cockatoo Island, with afternoon tea by Two Good provided
4.30pm Welcome to Cockatoo Island by Biennale of Sydney Artistic Director Brook Andrew and a curatorial tour, followed by Campari Sundowners
6pm Board ferry NIRIN HAIVETA, event concludes upon arrival at Circular Quay
1. NATIONAL ART SCHOOL
8am Register at National Art School, with coffee and a light breakfast provided by Two Good 8.30am Welcome and introduction from Artistic Director Brook Andrew, Chief Executive Officer Barbara Moore and National Art School Director Steven Alderton, followed by a curatorial tour
2. CAMPBELLTOWN ARTS CENTRE
9.30-10.30am Buses travel to Campbelltown Arts Centre - podcasts and playlists provided 10.30am Welcome by Campbelltown Arts Centre Director Michael Dagostino, followed by a curatorial tour
11.15am-12.15pm Buses travel from Campbelltown Arts Centre to Artspace 12.20pm Welcome by Artspace director Alexie Glass-Kantor and curatorial tour followed by lunch provided with catering by Two Good
4. ART GALLERY OF NSW
1.30pm Buses travel from Artspace to AGNSW 1.50pmWelcome by AGNSW Director Michael Brand, followed by a curatorial tour 2.45pm Buses travel from AGNSW to MCA
5. MUSEUM OF CONTEMPORARY ART AUSTRALIA
3.05pmWelcome by MCA Director Elizabeth Ann Macgregor, followed by a curatorial tour
6. COCKATOO ISLAND 4pm Board ferry NIRIN HAIVETA to travel from MCA to Cockatoo Island, with afternoon tea by Two Good provided 4.30pmWelcome to Cockatoo Island by Biennale of Sydney Artistic Director Brook Andrew and a curatorial tour, followed by Campari Sundowners 6pm Board ferry NIRIN HAIVETA, event concludes upon arrival at Circular Quay
THE MELBOURNE MUSICIANS website review by Sylvester Kroyherr
REVIEW OF CONCERT BY THE MELBOURNE MUSICIANS (46thConcert Season) Given at: St Johns Southgate, Melbourne on 15 March, 2020, titled ‘Mozart, Young Genius’. Artistic Director: Frank U. Pam with Dominika Zamara, soprano and Lotta Mathilda Rink, bassoon.
Despite the turbulent times surrounding the COVID-19 virus, the somewhat reduced but enthusiastic audience welcomed the orchestra with joy and vigour. The well chosen and balanced programme selected by Frank reflected the early genius of Mozart from the ages of 11, 17, 18 and 19. The short piece titled Prologue to Apollo et Hyacinthus, K.38 started the concert in a lively fashion followed by the 19 year old Mozart’s Symphony No.55 in D major, K.196/121. The short ‘Allegro molto’ movement was spirited, bouncy and energetic, while the ‘Andantino’ second movement displayed grace and refinement, with some beautiful segments from the strings especially. The longer last movement, ‘Allegro’, presented more of the woodwind and horn sections showing agility and accurate interplay combined with the stately and assertive delivery of the orchestra. It was clear to see that Frank was also enjoying himself – not to mention the enthusiastic audience! The next 10 minute piece was performed by the beautiful and charming Dominika, being the Voi avete un cor fedele K.217 which was written as an insert for an opera by Galuppi: ‘Dorina’s Marriage’. Dominika’s delivery was well controlled and delivered in a powerful and expressive manner, much to the delight of everyone.
The work to follow was the Bassoon Concerto in B flat, K.191, being Mozart’s first wind concerto. From the start, Lotta sprang into the Allegro movement with great confidence, showing agility and colour, spanning the 3 octave range of the instrument – notably some very clear sections at the lower register. Synchronising smoothly with the orchestra, Lotta delivered an impressive and expressive cadenza before moving on to the second movement, ‘Andante’, that rendered beautiful and gentle melodies enhanced by deep feeling and sensitivity. Furthermore, the dreamlike cadenza was also very touching, along with the muted strings of the orchestra. To round off the concerto, the ‘Rondo’ movement followed with a brisk introduction from the orchestra. Once in the groove, Lotta breezed into impressive runs and arpeggios with confident flair, surrounded by the full rich sound of the orchestra and highlighted by the minuet tempo. Lotta, Frank and the orchestra revelled in the appreciative audience. Interval followed.
Dominika joined the orchestra to present a motet titled Laudate Dominum (Psalm 117) from Vesperae solenne de confessore, K.339 (an extract from a religious work, celebrating Vespers, which Mozart wrote in1780) (Note: a ‘motet’ is generally a short piece of sacred choral music) With a gentle start, Dominika’s sweet voice filled the space that continued into a faster pace embellished with a short cadenza. The next segment was slow and lyrical that was gentle and uplifting. Exultate jubilate, K.165 followed with power and exuberance; the Alleluja segment with its tricky runs and vocal acrobatics concluded to the thunder of the exalted audience and a supportive orchestra.
The final offering was the Symphony No.29in A major, K.201, written when Mozart was only 19. Starting with an ‘Allegro moderato’ tempo, the orchestra swung into this with substantial gusto but showing good flow and balance especially from the strings. (No wonder that the piece is Frank’s favourite!) To follow this movement, the ‘Andante’ was sweet; deploying muted strings with notable Haydn influences, while the ‘Minuet’ was fresh, bright, and sparkly although quite short. Livening up the finale, the ‘Allegro con spirito’ was stylishly exciting with some spectacular runs from the strings, building on the drama of the contrasting passages – confidently led by the leader Irina Grigoryan! A powerful and thrilling ending to the concert.
Congratulations to Frank Pam, the Orchestra and the soloists for a delightful, invigorating and musically elevating concert. We look forward to future events in 2020 and beyond. SYLVESTER KROYHERR (Musician - Bohemian Rhapsody Club). 22March 2020.
photography: Andrew J Liu at Pride Productions
INTERNATIONAL WOMEN'S DAY BY URBAN VEGAS website review by Olga Kirk photography: Stuart Buchanan
International Women's Day 8th of March has become a noticeable date from 1909 as a focal point in the movement for women’s rights, to empower and support women.
Urban Vegas and Kavita Chabra organised a great event to get women together to experience an evening with an elegant crowd in a sophisticated venue. It was a special and creative gateway occasion. This event was about bringing women together to learn, network and support one another. We all gathered celebrate women’s achievements and raise awareness.
There was also a Lucky Draw prize with proceeds going towards WAGGGS FOR 2020.
Unlimited Canapés and Exclusive Giveaways for all the attendees were generous and great! Thanks must go to Urban Vegas for organising and empowering women no matter what they do, no matter what their race! We are all equal!
WINE AND CHEESE FESTIVAL 2020 website review by Olga Kirk
The organisers of the Wine and Cheese Fest have done a great job to get the reputation as a premier Melbourne festival. This is largely due to continuously supporting local food producers as well as local wine and quality cheese makers. Wine makers: Dal Zotto Wines Politini Wines, King Valley Rob Dolan Wines Newbridge Wines Chambers Rosewood Vineyards Blue Pyrenees Estate M.Chapoutier Australia Mountainside Wines BABO Wines Sutherland Estate Chirping Bird Wines Hampton Water Wine Co. The French Providore Mount Avoca Emperor Champagne The Prosecco Van Dromana Estate Mitchelton Wines SOFI Spritz Peros Wines Red Edge Bigibila Wines
CIDER MAKERS AND BREWERIES Frank's Cider - Tasmania Colonial brewery Cheeky Rascal Cider Daylesford Cider Eddies Cider CHEESE AND SMALLGOODS PRODUCERS Milk the Cow Marraweeny Olives Crisp Produce & preserves Salami Shack Josh&Sue Gourmet Selection Boat Shed Cheese The Cheese Rebels The Tin Shed Group Consorzio Parmigiano Reggiano That's Amore Gelato That's Amore Cheese Paris Creek Farms The French Providore Dolci Momenti Raclette Melted Cheese Plaza Deli Northcote Springmount Fine Foods Locheilan cheese
FOOD VENDORS IL Panzerotto taste of Puglia Ummu Gozleme Little Santorini 48hPizzaeGnocchiBar Emmy Bee Coffee Potato Spirals & Snow Cones
ART / CRAFT Silicone Wine Glasses Australia Henna Tattooing Melbourne Art Space For Kids Millers Road
Consorzio Parmigiano Reggiano presented a talk on the delicatessen we all know as 'Parmesan'. Parmigiano Reggiano cheese can only be produced in designated areas of Parma, Reggio Emilia, Modena, Bologna and Mantua. I loved participating in the masterclass which showed us a useful recipe to use my favorite cheese in a new way! It’s not only the cheese but part of the history, tradition and hard work of the people who create it.
All attendees of the next masterclass had a chance to taste a selection of scented cheess’ from Milk and Cow. An awesome opportunity to taste such a great selection of cheese and very educational too as attendees learned about the master skill of combining cheese and wine.
Grape Stomp Comp was the culmination of the fest and was a really great way to show people how wine was made in the traditional way! All participants were awarded prizes but the look on their faces as they were stomping and the fun had by all cheering on was the highlight. As part of the music acts Wine and Cheese Fest there were some great bands keeping the guests entertained in the main hall. I think this was a great way to celebrate the 8th of March- International Women’s Day! I recommend this event to everyone, even those with with kids as they had a Kids Zone where they were could be entertained as well.