The Birth of Bel Canto presented by Opera Queensland and One Equal Music

St Brigid's Church, Red Hill

April 30th, 2026

Dr Gemma Regan

With only five voices, St Brigid’s frankincense-infused church was transformed from a red-bricked building to a vessel for a delightful musical pathway to heaven.

The Birth of Bel Canto concert is part of Opera Queensland's Bel Canto Festival, harking back to the origins of the operatic genre with the awe-inspiring madrigal. Under the Musical Direction of Tomasz Holownia of One Equal Music, the concert traces the melodic and emotive bel canto (beautiful singing), accompanied by continuo (cello and harpsichord) to the evolution of opera.

During the 1400’s, the religious Gregorian-style chants were infused with romance and an expressive Italian narrative, until their choir-driven harmonies evolved into the madrigal. These more secular, polyphonic compositions were embraced vociferously during the Renaissance, with many composers embracing the more operatic emotive sound.

Barbara Strozzi’s L'amante modesto opened the evening of delights with a typically Italian invitation to a lover for licentious pleasures, filled with passion and gusto. The dim candle-lit church was the perfect venue to hear madrigals as they were meant to be experienced.

The instruments are tuned to the Baroque pitch of 415Hz, rather than the modern 420Hz, for the genuine madrigal experience. Andrej Kouznetsov provided a bright and gentle accompaniment on the harpsichord, where the strings are plucked with a plectrum of quill or leather, producing a delicate metallic tone, very different to the more robust tones of the later piano.

A central interlude of two instrumental pieces by Marin Marais showcased the continuo sound. Dan Curro seemed to be lost in the swirling music as he bowed away at the cello, puffing and blowing with each breath.

A highlight was Luzzasco Luzzaschi’s Lungi da te cor mio, which was a staggered A Capella round starting with a delicious note from the talented Soprano, Louise Prickett. As the pace changed, the five voices swirled and danced, with the silky bass notes of James Fox bookending the sopranos.

Prickett and soprano Cara Fox could have had Italian ancestry as they soared masterfully in Girolamo Frescobaldi’s Ahi bella si, whilst Holowinia as tenor and Eleanor Adeney spiralled amidst the throng.

Fox had his limelight in Strozzi’s Il Contrasto De' Cinque Sensi, as the five senses (and choristers) quarrelled amongst themselves, Fox's bass boomed like a contented grizzly bear.

The other highlight of many was Claudio Monteverdi’s Ah, dolente partita with a Bach-styled cello piece where each phrase builds upon the next. The harpsichord metered the chattering cello in a mournful yet energetic rendition.

The closing piece, Lotti’s La Vita caduca, was closest to the operatic sound we know and love. With a vibrant round circling Adeney’s alto and lots of Ha Ha Ha’s as they bemoan a Fallen Life.

One Equal Music’s participation in Opera Queensland’s Bel Canto Festival was invaluable. Delivering a memorable and stirring evening of magnificent madrigals with skill and aplomb to kick off their year of concerts, which will conclude with a Gala of Schnittke’s Concerto back at St Brigid’s church in November.  

Imagery: Murray Summerville