Baroque Banter

Fellow “archaeologists of sound” Erin Helyard and Simon Martyn-Ellis sit down for a conversation about the gallichon, theorbo, and the theory and practice of being a continuo player. They also explore what to listen for in Pinchgut Opera’s upcoming tiny opera, Coffee and a Dead Canary.

The Myth, the Music, and the Australian Coast

How do you transform a 300-year-old rediscovered masterpiece into a visceral Australian beach holiday? Join host Genevieve Lang as she goes behind the scenes of Pinchgut Opera’s premiere of Scarlatti’s The First Murder (Il primo omicidio).

In this episode, Artistic Director and Conductor Erin Helyard and Director Dean Bryant reveal how they are bringing this classic myth of Cain and Abel to the modern stage. From Scarlatti’s luscious Baroque score to the nostalgic salt-etched setting of the Australian coast, discover how this "staged oratorio" is the must-see opera event of the season.

Ahead of our upcoming production of tThe First Murder at Roslyn Packer Theatre, host and Artistic Director Erin Helyard dives into the world of Alessandro Scarlatti. He is joined by Dr. Rosalind Halton, renowned harpsichordist, researcher, and Associate Professor at the University of Newcastle. Together, they explore the genius of this Italian Baroque master and the rare emotional depth of his masterpiece, Il primo omicidio (The First Murder).

Host Erin Helyard chats with Tasmania-based American violist Karina Schmitz about playing in the Orchestra of the Antipodes and the rich world of J.S Bach and Georg Telemann’s concertos and sonatas.

What role does the viola play in Baroque chamber setting? How does it shape the colour and conversation within the music?

Join these brilliant artists for an engaging discussion about the viola’s place in the Baroque world, the artistry behind historically informed performance, and what audiences can listen for in this extraordinary music of Bach & Telemann.

To commemorate the release of the digital album release of the live audio recording of Pinchgut's 2019 production of Farnace, Conductor Erin Helyard chats with countertenor Christopher Lowrey and mezzo-soprano Helen Sherman to revisit the production. Together, they reflect on moments both on stage and off, while honouring the memory of beloved friends Taryn Fiebig, Max Riebl, and Jacqueline Dark, whose artistry and spirit left an enduring mark on Pinchgut and on all who knew them.

Recorded live at the State Library of NSW, this episode of Baroque Banter takes you on a captivating journey into the origins and afterlife of Handel’s Messiah.

Ahead of Pinchgut Opera’s upcoming performance of the Original 1742 Dublin Version, Dr Erin Helyard, Artistic Director of Pinchgut Opera and Associate Professor at the University of Sydney, guides us through the rich history, context, and evolution of Handel’s masterpiece.

The episode also features a special live performance by mezzo-soprano Ashlyn Tymms, accompanied by Erin on harpsichord.

Select Bibliography

Donald Burrows, Handel: Messiah (Cambridge Music Handbooks, 1991)

Lydia Goehr, The Imaginary Museum of Musical Works: An Essay in the Philosophy of Music (Oxford, 1992)

Charles King, Every Valley: The Story of Handel’s Messiah (Random House, 2024)

Ruth Smith, Charles Jennens: The Man Behind Handel’s Messiah (Handel House Trust, 2012)

Ruth Smith, Handel's Oratorios and Eighteenth-Century Thought (Cambridge University Press, 1995)

Join host Erin Helyard as he takes us on a sweeping exploration of the origins of Maid Made Boss, the tradition of the intermezzo, the political and philosophical tensions of mid-century Paris, and how one clever servant girl helped change the course of operatic history.

Musical excerpt 1 - Taryn Fiebig as Erighetta and Richard Anderson as Don Chilone in Pinchgut Opera's "Erighetta e Don Chilone by Vinci (2017 Triple Bill). Conducted by Erin Helyard with Orchestra of the Antipodes

Musical cxcerpt 2 - Taryn Fiebig as Erighetta in Pinchgut Opera's "Erighetta e Don Chilone by Vinci (2017 Triple Bill). Conducted by Erin Helyard with Orchestra of the Antipodes

Musical excerpt 3 - Christian Immler as Uberto, "Aspettare e non venire" from La Serva Padrona - permission for use granted by Boston Early Music Festival Chamber Ensemble - Paul O’Dette and Stephen Stubbs

Musical excerpt 4 - Amanda Forsythe as Serpina "A serpina penserete qualche" volta from La Serva Padrona - permission for use granted by Boston Early Music Festival Chamber Ensemble - Paul O’Dette and Stephen Stubbs

Musical excerpt 5 - Christian Immler as Uberto "Son imbrogliato io già" from La Serva Padrona - permission for use granted by Boston Early Music Festival Chamber Ensemble - Paul O’Dette and Stephen Stubbs

Musical excerpt 6 - from Pinchgut Opera's performance of Platée by Rameau, conducted by Erin Helyard with Orchestra of the Antipodes (2017)

Musical excerpt 7 - from Pinchgut Opera's performance of Platée by Rameau, conducted by Erin Helyard with Orchestra of the Anitpodes. (2017)

Closing excerpt from the Overture of Erighetta e Don Chilone by Vinci. Conducted by Erin Helyard with Orchestra of the Antipodes (Pinchgut Opera 2017)

Music credits:

Pergolesi: La serva padrona & Livietta e Tracollo

℗ 2023 CPO

Released on: 2023-12-05

Orchestra: Boston Early Music Festival Chamber Ensemble

Conductor: Paul O'Dette

Conductor: Stephen Stubbs

Lyricist: Genarro Antonio Federico

Composer: Giovanni Battista Pergolesi

Join host Genevieve Lang for a captivating conversation with director Netia Jones and conductor Erin Helyard as they explore Pinchgut Opera’s bold new production of Purcell’s The Fairy Queen. This episode takes you behind the scenes of a daring reimagining of the 17th-century masterpiece filled with utterly beautiful music and kaleidoscopic splendour.

Pinchgut Opera Artistic Director Erin Helyard takes is into the glittering world of Restoration England with The Fairy Queen, a rich and whimsical semi-opera by Henry Purcell. Created in 1692 for the lavish court of William and Mary, this masterpiece fuses Shakespeare’s A Midsummer Night’s Dream with the era’s love of spectacle, music, and myth. In this episode, we explore how The Fairy Queen reflects the politics, tastes, and theatrical innovations of late 17th-century London—where dazzling masques met the genius of Purcell’s music. Discover how this enchanting work entertained elite audiences while subtly commenting on order, chaos, love, and monarchy in a time of political restoration and artistic renewal.

What makes the harpsichord so captivating? Join Australia’s finest harpsichordist and Pinchgut Opera Artistic Director, Erin Helyard, as he sits down with master harpsichord maker Carey Beebe for a deep dive into the artistry and allure of this remarkable instrument. Together, they explore the brilliance of Bach’s Goldberg Variations and why it was meant to be played on a two-manual harpsichord. Ahead of his solo concert on 1 & 2 March 2025 at City Recital Hall, Sydney, Erin shares insights into bringing this iconic masterpiece to life as Bach intended.

Goldberg Variations, BWV 988 Variatio 14 a 2 clav. Erin Helyard 2018

Goldberg Variations, BWV 988 Aria - Erin Helyard 2018

J. S. BACH: Goldberg Variations - Aira

Wanda Landowska, harpsichord

Victor 78rpm Album DM 1022 (11-8933 - 11-8938)

Recorded in New York, June, 1945

Digital transfer by F. Reeder

Attribution-Noncommercial-Share Alike 3.0Creative Commons License by ncsa

Complete recording of Wanda's Goldberg Variations available at: https://archive.org/details/J.S.BACHGoldbergVariations-NEWTRANSFER