MATTHEW MARSHALL LIGHTING DESIGN

“It was in the moments of half-light,

however, where emotions were most keenly engaged: I will long treasure the ghost-like silhouette of Clayton projected against the bare side wall of

the Barbican as all energy seeps away in the concluding Der Leiermann.”

Alexander Hall, bachtrack.com​​​​​​​

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“For the next seventy minutes, David Bergman’s evocative video design (who, incidentally was responsible for the magic behind The Picture of Dorian Gray), Matthew Marshall’s empathetic and moody lighting design and Hume’s considered dramaturgy and direction all combine perfectly to allow Clayton and Golla to give flight to beautiful music making.  With the fading notes of the last song, Clayton walks out of the confines of the performance space, the lights dim and the journey is over.”

Kym Clayton, thebarefootreview.com.au

 

“Directed by Lindy Hume and with boldly contrasted lighting from Matthew Marshall, Clayton shambled around or under the piano, tentatively touching the two screen-walls on which the paintings appeared, like a homeless man gesturing at delusional demons, while Golla seemed to preside at the keyboard with patience, understanding and forbearance”

Peter McCallum, smh.com.au

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“In this polished, probing production, directed by Lindy Hume and effectively lit by Matthew Marshall, English tenor Allan Clayton and Australian-born pianist Kate Golla perform Schubert’s songs against a backdrop of images by Williams deftly manipulated by video designer David Bergman.”

Tony Way, theage.com.au

 

“That one finds more commonality that contrast between Williams’ often sparse, bleak landscapes and Winterreiser’s “portrait in landscape” (Hume’s characterisation) is just one surprising effect of this wholly successful (yes!) venture, which apart from the startling talents of British tenor Allan Clayton and Australian pianist Kate Golla showcases the fine work of video designer David Bergman and lighting designer Matt Marshall.”

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“In the first song, Williams’ painting metastasises into an all-encompassing “frost”. In the second, Marshall picks out Clayton’s disembodied head in the darkness, a moon among gravestones. Everything connects.”

William Yeoman, limelightmagazine.com.au

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“This event represented a welcome inclusion of vocal music in Musica Viva’s programming of predominantly instrumental chamber music. As well as this pleasing change, the collaboration with video designer David Bergman, lighting designer Matthew Marshall and director Lindy Hume AM took the genre of the song cycle as well as Schubert’s motivic, textural and dramatic tour-de-force to an accessible new level."

Paul Nolan, sydneyartsguide.com.au

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“Lieder is a specialised musical art form and can be excruciatingly dull. Two people on stage singing unintelligible songs with a piano is of limited appeal, but this production has reimagined how this song cycle can be presented into an immersive and highly enjoyable 70 minutes of light and sound. 

In addition to the two excellent musicians, there is the involvement of a director as well as video and lighting designers. The stage is set with a reflective black sheet on the floor of around seven by five metres, set at an angle, with screens around three metres high on the back two sides and low footlights along the front edges.”

Graham McDonald, citynews.com.au

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