A near-capacity crowd witnessed the choir's operatic debut—an emotionally rich, daring interpretation of Purcell’s Baroque classic, infused with contemporary resonance and LGBTQIA+ pride.
Qwire broke new ground by casting Dido, traditionally sung by a woman, as a male-identifying character, transforming the tragic love story into a same-sex romance. This progressive choice added fresh poignancy to a timeless tale of passion, betrayal, and loss.
For the uninitiated, Dido and Aeneas follows the doomed love between the Queen of Carthage and the Trojan hero. After a fateful deception by witches, Aeneas abandons Dido, whose final aria, “When I am laid in earth,” remains one of opera’s most wrenching farewells.
Oscar Balle-Bowness as Dido and Andrew Barrow as Aeneas delivered vocal precision and genuine chemistry, with Balle-Bowness’s rendition of Dido’s Lament a true standout. Rachel Mink (Belinda) brought clarity and grace, while Alasdair Stretch stole his scenes as the Sorcerer, preforming with equal parts menace and vocal flair.
Qwire’s chorus was spine-tinglingly strong, supported by the polished Ellery String Quartet, Lizzy Collier (double bass), Jack Holmes (percussion), and Hugo Temby (harpsichord). The result was a soundscape both lush and majestic.
The second half traded Baroque for pop, showcasing seven contemporary songs linked to Dido and Aeneas. From Billy Joel and Lady Gaga to Mika and Rent’s “Seasons of Love,” each piece was introduced by a Qwire member sharing its personal meaning—a heartfelt touch that deepened audience connection.
While the first half showcased Qwire’s growing musical sophistication, the second half reaffirmed its role as a vital part of Canberra’s LGBTQIA+ cultural landscape. Under Callum Tolhurst-Close’s direction, Qwire is boldly exploring new territory and embracing creative risk. If you missed this one, don’t worry—just don’t miss the next. Qwire is clearly on the rise.
