Review: Basement Baroque

**Picture (L to R):** Jennen Ngiau-Keng, Emile Masciocchi, Janet Brewer, Daniel Kosovo, and Evalyn Legried. *Image credit: Creative Futures Photography*

As the previous Anywhere Festival show over-ran very slightly, I walked into the darkened Paint Factory space to the strains of Evalyn Legried playing two of JS Bach’s Six Suites for Cello. For me, this was a magical start as my eyes began to adjust to the darkened space, and the fabulous music swelled to fill the room. A concrete ‘brutalistic’ former factory might be considered an incongruous place in which to encounter the talents of acclaimed musicians, but the recent Basement Baroque show was a marvellous addition to the 2026 Anywhere Festival program. Sitting in the darkened space is the perfect way in which to enjoy the program, and to concentrate on the music—thanks to the excellent acoustics, and great program choices.

Legried is an award-winning cellist and educator, who has developed a winning format. Basement Baroque takes place in cost-effective urban nooks and crannies, where Legried selects well-known and less familiar pieces of Baroque music, and collaborates with established and emerging musicians to attract audiences to enjoy the ornamentation, contrasts, and intricate melodies of the baroque period.

Basement Baroque is a great way in which to experience and encounter this musical style, and I hope it will be a commercially successful alternative to experiencing music in major concert halls and cathedrals. I am particularly impressed by Legried’s emphasis on encouraging young audiences to experience the music—not only through free or discounted tickets, but also by creating a place for colouring or craft, so that their accompanying adults can relax and enjoy the music too. Hopefully such early experiences might build a love of classical music, as an easier entry point the genre than the formality of major concert halls.

The 2026 Anywhere Festival Basement Baroque program included pieces by Vivaldi, Roman, and Biber. I am sure it was a very special occasion for the talented young Emile Masciocchi, who joined Basement Baroque by invitation after delivering an award-winning performance at the 2026 QCGU Bach Prize. Masciocchi is clearly one to watch, with a mature, expressive and technically impressive performance of two movements from JS Bach’s Sonata No. 2 in A minor for solo violin, that included the dramatic Fuga.

The internationally acclaimed violinist, Daniel Kosovo, also entertained with two pieces that were new to me—including the diverting Sonata Representiva in A Major (accompanied by Legried and by harpsichordist Janet Brewer). I am sure the children in the room particularly enjoyed identifying the cat, cuckoo, quail and nightingale. However, Jennen Ngiau-Keng’s soloist performances were a definite highlight of the whole event, when accompanied by their four fellow artists. Vivaldi’s Four Seasons is a crowd-pleasing and popular piece of music, and it was very special to hear both ‘Summer’ and ‘Winter’ performed in such an intimate space.

I am no classical music or Baroque expert. But I loved this show, and really hope that Legried’s Basement Baroque is a successful way in which to connect audiences with the work of talented musicians for decades to come. There is a huge wealth of pieces to choose from, and lots of spaces that would provide audiences with very special opportunities to see the performers, and to hear and feel the music.

Catherine Lawrence

**Picture**: *Basement Baroque* (Image Credit: Creative Futures Photography).

Audience information: 2026 Anywhere Festival Brisbane Basement Baroque at The Paint Factory Festival Hub, 115 Hyde Road, Yeronga, (22-24 May 2026). Tickets $10-45. No warnings (suggest 5+). 90 minutes, including an interval. Always wise to bring a jacket or ‘warm clothing as the space is not heated.’ The space was fully lit for easy entrance for members of the audience who arrived on time, with entry via a short staircase.

Geoff Lawrence