Review: Old. New. Borrowed. Blue.
Picture: Anthony Romaniuk with Camerata at QPAC, performing Old. New. Borrowed. Blue. Image credit: Alex Jamieson (NOT A Creative Futures Photography image).
Camerata’s captivating collaborations with Anthony Romaniuk are events that deserves to sell out. Romaniuk is a talented classical and contemporary keyboardist. A ‘jazz obsessive,’ Romaniuk’s extensive repertoire stretches from Byrd, Bach and Beethoven (often on historical instruments) through to indie rock and electronic collaborations. Camerata last played with Romaniuk in 2012, and it is marvellous that their successful partnership continues. Romaniuk has curated a program that features his skills on harpsichord, piano and electronics, as Old. New. Borrowed. Blue. reaches back to the late Baroque, and forward through Italian modernism to electronic synth, and the Cool Jazz-era.
There is a strong performative aspect to attending an orchestral event in a major concert hall. Some audience members turn up in their finest, ready to see how the show compares to much-loved recordings. It often takes several visits to master the etiquette of when to applaud (only at the end of a piece, and not after every movement… unless an operatic aria is considered particularly show-stopping). Which is one of the very many reasons I found Romaniuk’s QPAC introduction so refreshing: a quick word of praise for Camerata and mention of a personal connection with Brisbane; an insight into the link between the programming and Romaniuk’s 2024 wedding planning; and a request that the audience withhold any applause until the end of the concert. Settling in for the experience encourages everyone to enjoy the whole Camerata program as a well-crafted entity—and so much more than a ‘chocolate box’ of delights.
Opening the concert with Georg Muffat’s Excerpts from Armonico tributo–Sonata No. 2 in G minor, featuring the harpsichord, is a great way in which to start an evening—and might encourage audiences to seek out more of Muffat’s work. I am also now on the lookout for recordings of more of Romaniuk’s compositions—in particular to again enjoy his arrangement of Josquin des Préz’s Ave Maria, and to listen to Romaniuk’s Blue Poles while looking at copies of Jackson Pollock’s work.
Romaniuk’s introduction referred to some of the electronic music as providing ‘spiky’ interludes. The Aphex Twin arrangement of Caleb Burhans’ Blue Calx was not my favourite piece of the evening, but it took me on a mental science fiction journey that was a fascinating moment inserted between Bach and Shostakovich. And we probably all needed that time to draw breath, after the fabulous performance of Johann Sebastian Bach’s Concerto in D minor, BWV 1052 (movement 1). It is such a joy to watch the conversation between the harpsicord and strings, and to be inspired by Romaniuk’s virtuosic, fluid and energetic work on one of my top three musical instruments.
Dmitri Shostakovich’s Piano Quintet in G minor, Op.57 (Movement 5) was my second favourite piece of the evening. The uplifting interplay between the excellent violins and piano is a delight—and, if anyone is looking for a film score inspiration, I recommend finding a recording of this performance.
However, my top choice of the night is Dave Brubeck’s iconic Blue Rondo à la Turk, as reinvented in Romaniuk’s fresh setting for strings and harpsichord. Fast, fabulous, and fun, Romaniuk’s arrangement made me smile—playing homage to the jazz original, but drawing classical music and traditional instruments. One more to track down to play again and again!
Picture: Anthony Romaniuk with Camerata at QPAC, performing Old. New. Borrowed. Blue. Image credit: Alex Jamieson (NOT A Creative Futures Photography image).
Brendan Joyce, Camerata’s Artistic Director and Principal Violin, speaks of the importance of collaborations between guest artists and orchestras—and the delight at being able to being able to enjoy ‘an interesting mash up of all of Anthony’s threads and Camerata’s interest in trying and sharing off-the-beaten-track programming.’ At the end of the evening I can only agree that I travelled along a few new paths, and enjoyed revisiting old and ‘borrowed’ pieces shining in a new light.
And, just on the subject of light, the staging of Old. New. Borrowed. Blue. really adds to the experience. The house lights are at a level that allows for audience members to refer to the program list, and the lighting design switches to reflect the mood of each of the different pieces—where moments evoking bright Australian sunshine contrast beautifully with the cooler blue pieces (Richard “Zak” Harrison, Lighting Designer). Excellent choices that make attending a Camerata show a must-see occasion.
I continue to be impressed by the skills of Camerata’s musicians—and delight at the ways in which Joyce inspires the orchestra to explore new and exciting opportunities, alongside more traditional works and established composers. Camerata has only three Old. New. Borrowed. Blue. performances this month, but future Camerata events include a late October Stanthorpe Camerata Weekender, and the November Fire and Finesse (Mozart in Motion). Lots more to look forward to!
Audience information: Old. New. Borrowed. Blue., Concert Hall, QPAC, Southbank (20 August 2026)—also at the Redland Performing Arts Centre (21 August) and The Armitage Theatre at The Toowoomba Empire (22 August). 10+ suggested. 80 minutes with no interval. QPAC Tickets $69-109, plus $7.50 booking fee.
Note: The full program also includes Anagamin for 11 Strings (Giacinto Scelsi) and Toccata (Olli Mustonen).
Camerata Musicians: Brendan Joyce, Jonny Ng, Tiana Angus, Clare Cooney, Sally-Ann Djachenko, Anne Horton, Lydia Hwang, Daniel Kowalik, Claire Litwinowicz, Jason Tong, and Allana Wales (Violin). Thomas Chawner, Alic Buckingham, Sophie Ellis, and Elizabeth Lawrence (Viola). Katherine Philp, Laura Boon, Michael Gibson, and Karol Kowalik (Cello). Marian Heckenberg (Double Bass).
Production Team: Anthony Romaniuk (Program Curator), Makayla Pudy (Stage Manager), and Richard “Zak” Harrison (Lighting Designer).
The reviewer attended the 20 August 2026, 7pm performance.
A version of this review first appeared at Nothing Ever Happens in Brisbane.