(The Age)
Lina Andonovska Review
Published – 17.11.2019
LINA ANDONOVSKA ★★★★
Melbourne Recital Centre, October 18
The Melbourne Festival is, it seems, in the business of reinventing the solo recital this year.
With this in mind, inviting flautist Lina Andonovska to participate in this year’s proceedings feels like very good fortune indeed: we take her technical prowess for granted, but her stage ability is something to behold.
It is, in my experience, a rare thing to attend a solo flute recital and not once be tempted to flick through the program notes or perhaps drift off into thinking of other things, but Andonovska does not simply ask for your attention, she demands it.
This “flute recital” had all the usual elements we expect and appreciate from the Recital Centre; clever programming, a focus on new work and Australian composers, but here we were also greeted with stamps, shouts and immersive lighting design.
From the moment Andonovska entered barefoot and playing difficult excerpts from composer John Fonville so naturally that she could have been improvising, the audience was firmly in her palm.
Fonville's Music for Sarah, a work in six parts, were threaded through other programmatic choices – Brett Dean’s percussive and angular Demons, Jennifer Higdon’s aptly titled Rapid Fire, and the starring piece of the night, a new work from Irish composer Donnacha Dennehy, titled for and dedicated to visual artist Bridget Riley.
Playing along to pre-recorded layers of all-flute accompaniment, Andonovska soared through the juxtaposing cinematic colours and rhythmic grooves of this new work.
Again, this was more than a flute recital: it was warm, intimate and progressive and showcased not only a great technician but a holistically excellent performer at the helm.
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