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The Code: a guide to concert dressing, part 2

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Barbara Bonney (left) and Fiona Campbell (right) in Seoul in 2010. Of all four outfits (white tail coat, bias cut oyster satin, black so-tight-can't-sit-down sheath and red satin, this got the most votes)

I had to review the Australian Brandenburg concert for SMH last Friday. It was, as expected, a great concert. I make no secret of the fact that I’m a fan of mezzo soprano Fiona Campbell and have been ever since I saw her in Pinchgut’s Juditha Triumphans. This was my first opportunity to hear her on the concert platform, and it was terrific.

Come review writing time, however, I hit a knotty problem. Campbell is a very theatrical singer, and she was performing operatic arias. To heighten the drama, she had four costume changes during the evening. Would it be frivolous to review the dresses as well as the music?

A bit of a different look for baroque divo and diva

In the end, this is all that 350 words could fit.

But it got me thinking about onstage concert gear. For the diva, a wardrobe full of glitzy evening gowns is de rigeur. For most orchestral musicians, however, the choice is black tie, white tie, or, more often than not, just common-or-garden ‘concert blacks’. These days, as classical ensembles react to the flight-to-hipness, more and more ensembles are getting trendy. The Australian Chamber Orchestra have had Akira Isogawa designing their outfits for nearly a decade now, and Carla Zampatti designs the ladies outfits for the Australian Brandenburg. The Goldner Quartet stick to own choice blacks, while the Australian String Quartet, currently all ladies, go for own choice evening gowns.

Does it matter? Do we like frocking up? And any suggestions for who young artists about town might get to design their costumes?

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Author: harryfiddler

Harriet Cunningham – aka @harryfiddler — is a freelance writer based in Sydney. Harriet wrote her first novel, about a runaway cat, at the age of 7. In the forty year gap between novel 1 and novel 2 she moved from London to Edinburgh to Sydney, ran an opera company, played violin on the opera house stage and sailed from Gove to Darwin. She is now a music critic and writer, best known as the critic who got banned by Opera Australia. She still hangs out at the Sydney Opera House, is still trying to get that novel published, and still plays the violin.

2 thoughts on “The Code: a guide to concert dressing, part 2

  1. I always thought that it is nice to dress up for the opera or a night of concert. Since we really dont have many opportunities to dress up, these should be special occasions.

  2. ACO has Isogawa? Wow.
    Studied briefly with a young singer back in the day, a fit slip of a thing who ‘fessed up to having a room full of costumerie. It would be a lot easier to be a bloke who sings I think, otherwise get Leonora Edmiston to do an evening line in jerseys (for packing). Shiny is always noice for singers, I think. Silver. Gold. Midnight blue with a sheen. Silk velvet. A song about fabrics is in order.

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