IGUZU MOVEMENT PROJECTS

 

IGUZU Movement Projects arrives in Durban to Empower Young Artists.

 

The Iguzu Movement Project is proud to announce the IGUZU (WAGON) Movement Projects – KZN Districts Tour, a dynamic travelling artistic and educational initiative designed to empower young people across KwaZulu-Natal.

This impactful programme brings together 40 emerging artists from five districts in Durban for an intensive week-long creative development experience. Running daily from 08h00 to 10h00, participants engage in immersive workshops, creative exchanges, and collaborative sessions spanning dance, music, poetry, and visual arts.

The programme will culminate in a powerful final showcase on March 20 at the Playhouse 410 Studio. This presentation will highlight the collaborative work and creativity developed throughout the week.

 

Attendance is by reservation only. To secure a seat, contact:

•           Vusi Makanya: vmdanceoffice@gmail.com

•           Alwande Mthembu: mthembualwande91@gmail.com

 

The initiative has been touring district municipalities across the province, including eThekwini Metropolitan Municipality, uMgungundlovu District, King Cetshwayo District, Zululand District, iLembe District, and Ugu District. At each stop, participants take part in a structured programme designed to foster self-discovery, confidence, collaboration, and creative expression.

“Through dance, we journey into the unknown — discovering who we are, where we come from, and who we can become.”

Each district activation features dance and movement workshops, heritage and cultural site visits, live performance experiences, artist engagements, and opportunities for collaborative creation. These activities provide participants with both artistic exposure and meaningful cultural connection.

The programme is led by experienced artist-educators from Vusi Makanya Dance Company and KMSDT, who serve as mentors throughout the journey. Their guidance ensures a supportive, disciplined, and inspiring learning environment.

The IGUZU WAGON Project is funded through the Presidential Employment Stimulus Programme (PESP 6) and the National Arts Council (NAC), an agency of the Department of Sport, Arts and Culture (DSAC).

 

For updates and more information, follow the journey on social media using:

#IGUZIMOVEMENTPROJECTS

BAROQUE 2000 SEASON OPENING

 

(Refiloe Olifant. Pic supplied)

Baroque 2000 has announced its Season Opening on March 29 at 11h30 at St James Church - Venice Road in Musgrave.

 Programme – “Bach Family”:

Johann Bernhard Bach - Ouverture Suite in G Minor

Johannes Sebastian Bach - Violin Concerto in A Minor – Refiloe Olifant soloist

Wilhelm Friedemann Bach - Sinfonia in F major, F.67

⁠Johannes Sebastian Bach – “Befiehl du deine Wege”, BWV 270.

 

Tickets R200 at the door. Children enter free.

There is free and secure parking in Venice and Sir Arthur adjacent roads.

 

Become a subscriber to the whole Season of 8 concerts!

Subscription includes: reserved seat, 1 concert free (total R1400)

April 26: Music at the Court of LouisXIV – Versailles

May 31: Handel Operatic arias (Lynelle Kenned – soprano).

June 28: Vivaldi programme with Ralitza Macheva (violin) and Ralitsa Pechoux (cello) soloists.

Sept 13. Erik Dippenaar – Organ and Harpsichord concerti.

Oct 25:  The KZN Youth Choir

Nov 29: Young Barockers.

Dec 20: Christmas celebration / Antoinette Lohmann – baroque violin (The Netherlands). Masterclasses.

 

Banking details:

Baroque 2000 – FNB Musgrave – Branch code 221126 – Acc No. 6 200 500 2663

 

Contact: Michel. sursouth@iafrica.com 082 303 5241

KARL JENKINS’ REQUIEM & MUSIC BY MOZART

 

(Above: The Durban Symphonic Choir)

 

The Durban Symphonic Choir and the KZN Philharmonic Orchestra present a memorable afternoon of choral and orchestral music: Karl Jenkins’ Requiem and music by Mozart, on Palm Sunday, March 29 at 15h00, in the beautiful surroundings of St Joseph’s Cathedral, Mariannhill.

The year 2026 marks a special milestone for the Durban Symphonic Choir as it celebrates 60 years of music-making, and this concert forms part of the choir’s anniversary celebrations.

The first half of the programme features music by Mozart, including the joyful Regina coeli, the beloved Laudate Dominum, and the brilliant Alleluja from Exsultate, Jubilate. These works will highlight the talents of soloists drawn from the choir’s own ranks – Sibonelo Mbanjwa, Gabrielle Wills, and Billi-Jean Parker. The first half concludes with Handel’s famous Hallelujah Chorus.

Following a short interval, choir and orchestra come together for Karl Jenkins’ Requiem, a work admired for its compelling contrasts: Dramatic choral passages and sweeping orchestral textures convey the grandeur of the traditional Latin Requiem, while the inclusion of delicate Japanese haiku introduces moments of calm reflection and lyrical beauty, creating a work that is both powerful and deeply contemplative.

The performance is directed by Ros Conrad and conducted by Chad Hendricks and promises an inspiring musical experience in the resonant acoustics of this historic cathedral.

 

Event Details:

Date: Sunday, March 29, 2026

Time: 15h00 – 17h00

Venue: St. Joseph’s Cathedral, 98 Abbot Francis Road, Mariannhill, Durban

Tickets: R130 (under 12’s free), available online at Quicket or at the door.

Food & Beverages will be available for purchase.

This concert is a must-attend for classical music lovers and those seeking a meaningful way to observe Palm Sunday.

 

Contact:

Website: www.durbansymphonicchoir.co.za

Facebook: https://www.facebook.com/DbnChoir

Email: durbansymphonicchoir@gmail.com

Phone: Marian on 082 418 0883

 

ANTHOLOGY OF POEMS FOR WORLD POETRY DAY

 

Pics by Shelley Kjonstad

 (Above: Apollo Secondary)

Anthology of poems by young writers interrogating the notion of “Belonging” taking place on World Poetry Day: March 21, 2026

World Poetry Day, celebrated annually on March 21, will resonate personally with 70 young poets from four schools South of Durban this year, as they celebrate being published in a new anthology, Belonging, compiled and edited by Durban poet, Kemera Moodly.

 

(Above: Meadowlands Technical High)

Four schools participated in the project which rolled out last year, and 70 poems were selected for publication: Grade ten learners from Meadowlands Technical High School, Apollo Secondary School, Protea Secondary School, and Southlands Secondary School submitted poems for consideration.

Moodly also gave cash prizes to the top three poems in each grade, in each school. “It was not a competition, but I did want to award excellence,” she explained. Every participating child received a complimentary copy of the printed anthology.

(Above: Protea Secondary)

The Chatsworth Poetry Project, as it was dubbed, was a project, funded and administered by Moodly. “I wanted to give young adults the freedom to use their voice, to encourage independent thinking and creative writing, to inspire self-reflection and to uplift participating learners by having their poetry formally published in a printed anthology,” she explained.

“From Chatsworth’s schoolyards, corridors and homes, these poems carry laughter, longing, loss, love, hope and everything in between,” continued Moodly. “These poems reminded me that Belonging isn’t just a place, it is the courage to speak, the power to listen and the will to build. I was impressed that the title resonated so much with the learners, and that they took time and care to write such extraordinary pieces. It gave me immense joy to be providing a platform for the young writers to be able to express themselves.”

The project participants will be encouraged to get involved in World Poetry Day – which is celebrated annually on March 21 to promote the reading, writing, and teaching of poetry worldwide. Proclaimed by UNESCO in 1999, this day honours poets and their work. As Durban is a formal UNESCO City of Literature, it is especially important to honour the UNESCO calendar days.

 

(Above: Southlands Secondary)

Kemera Moodly understands how important it is for young people to find their voice and express their emotions through poetry. She has herself published six anthologies of her work and has been writing poetry consistently since she was a young child, launching her first anthology, Words from my Heart, in 2013, and her most recent one, Paper Heart, last year. 

Belonging is available in the libraries of the participating schools. Belonging can be purchased from Kemera, or from the four schools directly.

Moodly’s books can be purchased online: visit: www.kemeramoodly.com. Her work can also be found on Instagram and Facebook.

Profits from Kemera’s books and merchandise are donated to the Denis Hurley Centre.

KOZO ZWANE FOR CENTRE FOR JAZZ

 (Left: Kozo Zwane. Pic supplied)

The Centre for Jazz and Popular Music proudly presents Kozo Zwane for the March edition of Twosday, on Tuesday March 24, 2026, at 17h30.

Originally from Johannesburg, Kozo Zwane is a practicing musician who explores a variety of genres. He is heavily influenced by folk writing, South African Jazz and AmaZioni. His music is grounded by and in prayer - structured around vocal layering and guitar, his performances generally involve choral work from vocal ensemble Buyambo. 2024 saw him take on more solo shows, and he finally makes his debut at the UKZN Centre for Jazz and Popular Music.

His love for sonic experimentation has led him to the scoring of internationally-acclaimed films, as well as the creation of soundtracks for a show at SA Fashion Week 2022 as well as live theatre production Of Loss by TheatreDuo. He started 2024 with a performance at a Gift of the Givers’ fundraiser, opening for Alice Phoebe Lou at the Baxter theatre. Since then, he has performed on many sold-out shows in Cape Town, Johannesburg and Durban as a solo act and alongside collaborators such as Muneyi, Internet Athi and Kujenga.

 

Event Details

Twosday Live with Kozo Zwane

Tuesday, 24 March 2026

Doors Open: 17h00. Music starts: 17h30

Tickets R130 (R100 pensioners, R70 students)

Available online via Webtickets or cash at the door

https://www.webtickets.co.za/v2/event.aspx?itemid=1589267397

 

This will be a captivating experience filled with singalongs, laughter, tears and warmth. Expect a preview of new music with pianist Nkosinathi Matomela.

The Centre for Jazz and Popular Music is located at the University of KwaZulu-Natal, Howard College Campus Dennis Shepstone Building, Level 2.

KZNPO SUMMER SEASON CONCERT 2: REVIEW

 

(Conrad van Alphen)

 The variations and polonaise lack nothing in brilliant and flamboyant pianism, which was ‘brought off’ with practiced assurance. (Review by David Smith)

 KwaZulu-Natal Philharmonic Orchestra World Symphony Series, Summer Season, Concert 2 (March 12, 2026)

The Playhouse Opera

 It was obvious that Gabriel Fauré’s Masques et Bergamasques, a four-movement suite of benign neo-classical, had to preface this programme: it is refined and delicate music, and thus it could make its point before virtuosity and vigour took over the evening. Fauré’s pieces take their inspiration from the art of Antoine Watteau, a world of pierrots and lute-players, of fashionably-dressed young men and women adorning Arcadian landscapes.

The historical rhymes involved were striking: Watteau’s original popularity represented a public withdrawal from the militaristic statism of Louis XIV’s reign, while Faure’s commission came at the end of World War 1 when Europeans sought recuperation from the preceding years of carnage and chaos, and now we were afforded a retreat from the savagery of contemporary geopolitics. Just an evening in a concert-hall.

The conductor Conrad van Alphen put his imprint on the sound from the first, easygoing bars: he drew listeners into the poised dances, directing the orchestral flow and shading towards the restrained yet quietly buoyant world of Watteau-esque manners. It was remarkable that so chaste and understated a start should have roused the audience to their first bout of enthusiasm.

 

(Ludmil Angelov)

 

The Bulgarian pianist Ludmil Angelov comes with years of immersion in Chopin’s oeuvre. By carrying us through the early Variations on Mozart’s “La ci darem la mano”, via the exquisite Andante spianato (solo piano) to the rousing Grande Polonaise brillante, and coupling this with two encores – the Waltz in C-sharp minor and a Mazurka in G minor – he offered us a neat and delectable survey of Chopin’s career through the 1820s and early ’30s. 

The variations and polonaise lack nothing in brilliant and flamboyant pianism, which was ‘brought off’ with practiced assurance.

 Angelov’s feeling for the rhythmic gestures of the polonaise and mazurka was married to a judicious approach to the execution of the much-discussed Chopin rubato, the subtle but necessary flexibility of speed in right-hand melody, as well as for harmonic and rhetorical expression. In fact, his doughty approach was fascinating for its demonstration of the interplay between the two hands, and their integration with the pedalling. Van Alphen managed to raise the orchestral contribution above the humdrum role that it has in these two Chopin works by creating an atmospheric presence behind the pianist’s complex circuitry.

The season closed with Beethoven’s Second Symphony, and the delivery amounted to one of the most cogent accounts of a symphony that we have heard in recent months. Van Alphen ignited the players and kept them constantly alert to the interplay of parts in a work that maintains its momentum in a spirited fashion. From the dramatic introduction, engagement was obvious, and the energy of the first movement underlay all the rest of the work. The second, slowish movement and the following brief scherzo contain the most exposed writing of the symphony. But nothing was stopping the players now, their affectionate and sensitive Larghetto giving way to the bounding pulsations of the third movement. The final dashing Allegro molto brought home the vivacity of Beethoven’s conception in a symphony broadly considered conservative in style!

The sense of the unity of the performance was an indication that Van Alphen was directing not so much a succession of ideas as a single, flexible instrument fit to tackle both the large gestures and the detailed paths of themes and sonorities. Fittingly, no one in the audience broached the pauses between movements with applause (merited though it might have been), not because they were obeying a rule but because they were following a thread. - David Smith

 

NB:

The two KZNPO Winter Season Concerts take place on June 11 and 18, 2026, at 19h00 in the Playhouse Opera. Booking is at Quicket.

 To visit the KZNPO’s website click on the advert at the top right-hand side of this review.

SUBMISSIONS FOR JOMBA! MASIHAMBISANE DIALOGUES #6 ONLINE COLLOQUIUM

 

(Above: Close by …  La rue d’à-côté … (JOMBA! Contemporary Dance Experience 2024) Compagnie Ex Nihilo (Marseille, France) in an encounter with FLATFOOT DANCE COMPANY (Durban, South Africa). Photo Val Adamson)

 

Deadline: Thursday, April 2, 2026 (16h00)

The Centre for Creative Arts at the University of KwaZulu-Natal (UKZN), in partnership with the JOMBA! Contemporary Dance Experience, will host the 6th JOMBA! MASIHAMBISANE DIALOGUES (JMD) Colloquium in an online format from May 27 to 29, 2026. Under the theme Choreographies of Activism: Moving Bodies as Disruptive Presencing, this year’s dialogues invite scholars, artists, choreographers, and activists to explore the role of dance as a powerful form of embodied activism in contemporary global contexts.

Dr Lliane Loots, the chair of the JOMBA! MASIHAMBISANE DIALOGUES steering committee explains: “Across the Global South, dance has long served as a site where histories of resistance, survival, refusal, and futurity are carried through the moving body. We are looking to examine dance - not simply as metaphor - but as a practical mode of political engagement—a way that bodies assemble, appear, disrupt, and claim space, visibility, and justice within systems shaped by colonial and postcolonial power.”

(Sisukaphi (JOMBA! Contemporary Dance Experience 2025) Mfundiseni Ndwalane. Photo Val Adamson)

In a global moment marked by deep political upheaval, economic inequality, and the lingering impacts of colonial histories, the dialogues ask urgent questions about the role of movement and performance. How does the dancing body respond to forms of censorship, erasure, and the denial of humanity experienced in many parts of the world today? What possibilities do rhythm, gesture, stillness, improvisation, and collective movement offer as alternatives to dominant social, spatial, and political orders?

The programme will bring together international and regional contributors to engage with myriad questions including: how dance can be used as activism, and what choreographic strategies act as a form of disruptive presencing under conditions of risk, surveillance, or repression amongst others.

 

(uXinzelelo (JOMBA! Contemporary Dance Experience 2024) BreeH Cele. Photo by Val Adamson

 

JOMBA! MASIHAMBISANE DIALOGUES welcomes a range of presentation formats that reflect the embodied nature of dance research and practice. These include academic papers, lecture-demonstrations, performance lectures, artist talks, facilitated movement scores, curated panels, and other hybrid or experimental forms.

Proposals of up to 450 words are invited and should be submitted by Thursday, April 2, 2026 (16h00). Abstract submissions and enquiries email: 2024jomba@gmail.com

For the full submission call out go to: https://tinyurl.com/yc2d7m6v

 

For more information about the JOMBA! MASIHAMBISANE Dialogues and archive, visit

https://jomba.ukzn.ac.za/masihambisane-dialogues/

LUNA PAIGE PRESENTS DIE REISIGERS

 

(Luna Paige. Pic supplied))

 

Singer-songwriter Luna Paige has been travelling across country promoting her award-nominated music production Die Reisigers (The Travellers) which she brings to KZN for one performance at the Knoll in Hilton on Friday March 20 at 19h00, and to Durban for one performance only at Seabrooke’s Theatre at Durban High School on Sunday March 22 at 14h30.

Paige has created an 80-minute conceptual piece of music centered around the theme of travelling, throughout South Africa, the Spanish Camino and the human's adventurous journey through time and place. Luna interweaves music, storytelling and philosophy which ensures a heartwarming and inspirational experience. She explores spaces where movement, silence of the mind, self-love, and acceptance bring harmony. In her words: “Prepare to feel inspired and left thirsty for new adventure in your life.”

The full album is coming out in September, and two tracks have been released already. It was nominated for a best music production award at Momentum Aardklop 2025.

At both venues, she will be doing a second set, this time in English featuring a selection of English songs she has written and released over the past 20 years.

English and Afrikaans singer and songwriter Luna Paige has an enormous body of work spanning more than 20 years. Paige made her entry into the music industry in 1999, aged 19.

Her first full-length Afrikaans album was launched in DVD format in 2012. Storielied was a collection of songs inspired by the literary works of award-winning South African writers. This unique collection of music opened doors to Dutch stages, as well as local Afrikaans arts festivals. Between 2015 and 2020, Paige developed, produced and presented several successful musical theatre productions at South Africa’s arts festivals.

Paige was producer and director of the musical theatre production Korreltjie Kantel, which celebrated the works of Ingrid Jonker and the love story between her and André P Brink which toured for just over three years.

A wide variety of Luna Paige's songs have been playlisted on South African national, provincial and smaller community radio stations, of which two reached the charts over the years.

She spends much of her time on the road, touring – both through Europe and at home. She is currently touring the country with her #DieReisigers project.

She will also be performing her show, at The Knoll Historic Guest Farm in Hilton at 19h00 on Friday, March 20. Tickets for the Hilton concert are R175 via WhatsApp at 082 331 7271. Doors open at 6pm. There is a cash bar.

Tickets for her performance at Seabrookes are for sale at Quicket. There are specials on group bookings as well as special discounts for learners and pensioners.

 

MK PRODUCTIONS FOR CENTRE FOR JAZZ

 

MK Productions set to perform live at Centre for Jazz and Popular Music Monday March 16 at 18h00. MK Productions https://www.instagram.com/p/DVtBZh1CJFq/

 

Get ready to kick off your week with an unforgettable night of live music! Come join MK Productions, super Producer/DJ behind 3 Step Dance hits such as Ama Gear and Muthi, for the MK Productions Monday Night Jam Session on March 16, 2026, at the renowned Centre for Jazz and Popular Music (University of KwaZulu-Natal) it promises to be an electrifying evening, where seasoned professionals and emerging talents share the stage.

Whether you're a musician looking to join the session or a music lover wanting to soak up the atmosphere, this is the place to be. Don't miss out on the best spontaneous musical energy in Durban!

Held weekly on Mondays from 18h00 the sessions take place at the Centre for Jazz and Popular Music, located at the University of KwaZulu-Natal’s Howard College Campus (Dennis Shepstone Building, Level 2, Durban). Entrance is free for participating musicians and artists.

The Songbook Sessions Monday night jam session is made possible through the generous funding support of Concerts SA, Festival Enterprise Catalyst, SAMRO, and the National Treasury Jobs Fund.

Tickets: https://www.webtickets.co.za/v2/performance.aspx?itemid=1587429961

MUSICAL NOTES AND ANECDOTES

 

(Christopher Duigan)

 

An entertaining selection of music and anecdotes. Christopher Duigan compiles a charming volume of amusing anecdotes and reflections about music, musicians, composers and pianists. What they said, why they said it, and what some wish they hadn’t said!

 

Thursday March 26 at 15h30

WOODGROVE - Community Centre, Pietermaritzburg

Tickets: R100 Booking via WhatsApp 083 417 4473 or booking@musicrevival.co.za

This concert is open to all.

 

Thursday March 26 at 19h00

AMBER VALLEY - Amber Auditorium 

Tickets: R100 Booking: Amber office. 

(Open to Amber Valley residents and their guests).

 

Friday March 27 at 19h00

CASA MEXICANA 35 Montgomery Drive, Pietermaritzburg

Tickets: R300 concert and dinner after or R150 concert only.

Venue opens at 18h30. Performance time approx 60 mins at 19h00

Secure patrolled parking. 

Booking is essential via WhatsApp 083 417 4473 or booking@musicrevival.co.za

Please include your contact numbers in all e-mail bookings.

 

Monday March 30 at 15h00

AMBERFIELD, Howick

Tickets: R80

Booking: Amberfield Office. 033 230 2000

This concert is open to all!

 

Tuesday April 7 at 19h00

ST AGNES CHURCH, Kloof

Tickets: R150 include tea/coffee and other refreshments at interval.

Booking preferred via WhatsApp 083 417 4473 or booking@musicrevival.co.za

 

Sunday April 12 at 12:00 noon

CASA MEXICANA, 35 Montgomery Drive, Pietermaritzburg

Tickets: R300 concert and lunch after or R150 concert only.

Venue opens at 11h30 am. Performance time approx 60 mins at 12h00 noon.

Secure patrolled parking.

Booking is essential: Book via WhatsApp 083 417 4473 or booking@musicrevival.co.za

 

Please include your contact numbers in all e-mail bookings.

 

MUSIC FOR A SUMMER AFTERNOON

Soprano, Nozuko Teto, will be joined by Maxine Matthews (saxophone) and international concert pianist, Christopher Duigan in Music For A Summer Afternoon at Hilton College.

The concert will take place in the Margot Chamberlain Recital Room on Sunday March 29, 2026, at 15h00.

This delightful musical treat is an afternoon not to be missed!

Book at Webtickets.

KZNPO SUMMER SEASON CONCERT 1: REVIEW

 

(Bryan Cheng. Pic supplied)

 

Review by David Smith of the KwaZulu-Natal Philharmonic Orchestra’s World Symphony Series, Summer Season, Concert 1, March 5, 2026, in The Playhouse Opera

 

The task of reviewing symphony concerts by the KZNPO has currently to make considerable allowances: on the side of the orchestra, because of the continuing reliance on ad hoc players (especially in the string section; the winds have firmed up in recent months), and the limited opportunities to essay even the staples of the symphonic repertoire; and on the side of the listeners, the breakdown in regular exposure, wherein a degree of healthy routine, even ritual, undergirds the ever-changing surface. A symphony concert is becoming a red-letter day, an event removed from continuing musical life, and the expectations are correspondingly exaggerated.

It was our good fortune last week to have the stable hand of Yasuo Shinozaki guiding activities from the podium. His reliability explains his frequent visits to Durban, and hopefully will ensure further appearances as long as the orchestra has the resources to mount serious concerts of this kind. The first half of the concert – with Benjamin Britten’s Simple Symphony sandwiched between two of Saint-Saëns’s cello concertos – gave him ample scope to nail all the aspects. (He was repeating music presented a week ago in Johannesburg, but with a fresh ensemble.)

The Britten work went way beyond the string pieces programmed in recent months. Shinozaki galvanised his players into an account full of vigour and sprightliness. With tight, precise ensemble, exemplary balance and tonal variety, and a slow movement of aching lyricism, a work without obvious connection to the overall programme came into its own. It was to the credit of both conductor and players that music inserted to give the soloist a breather shouldered its way to the front of our attention.

The second blessing of the evening was a return visit by the Canadian cellist, Bryan Cheng, whose South African concerts have involved him for the first time in this Saint-Saëns double-decker – a ‘marathon’, to use his own word.

Starting with the second concerto, he instantly reassured us that he was on top form, and that we were hearing the same mature reading that he plays widely, in a vital recreation. This concerto is less directly dramatic than the first that was to follow, and it was a joy to relish its changing tides, the careering figures giving way to fine-spun cantabile. While Cheng’s impetuous attack and his thrilling traversals of technical minefields are celebrated, he also finds in these works an unforced spaciousness that adds depth to music that could be pigeonholed as ‘niche’ and leaning to the complacent.

Chang’s finest cello is a 1696 ‘Bonjour’ Stradivarius instrument. If this was indeed that instrument, it provided him with the perfect palette, and invested the ‘marathon’ with a rosy, well-projected tone that was comfortable to listen to. Suitably, his encore was Saint-Saëns’s most famous melody, The Swan, with its rippling piano part arranged by the soloist for three cellos, thus providing an intimate collegial moment.

The much shorter second half was occupied by Schubert’s Symphony No. 8, the ‘Unfinished’, a familiar work whose two movements are played for their inherent quality rather than their sustained argument. The first movement was played without its main repeat, and breathed an attractive flowing air that really might have been extended. The second felt somewhat variable, with small imperfections like woodwind intonation and some imprecise ensemble. But, overall, it was sensitive, intentioned playing, even if it could not match the incandescence of the first half of the programme. - David Smith

 

NB: The second and final concert of the KZNPO Summer Series takes place tomorrow night (March 12) in the Playhouse Opera. Booking is through Quicket. 

Booking link for tomorrow's concert is https://qkt.io/Pbbgil

There will be no open morning rehearsal.

To link to the KZNPO's website, click on the advert at the top right-hand side of this review.