Rev-Ale-ation – A Symphony of the Senses

Mosman Art Gallery

Sydney, Australia

August 5, 2018

Changing perceptions.

Expanding horizons.

Reimagining stories.

Inspiring enthusiasm.

Diminish stereotypes.

This and more what the entity known as Beer Diva has set out to accomplish fuelled by her passion, knowledge and enthusiasm for all things beer.

The underlying principle of her operation is to go far beyond of what most mere tastings have to offer: Through meticulously planned and curated events, experiences are created that invite the willing participant to become part of a journey that is designed to excite not on only the palate but all senses in equal measures.

Tonight’s Sydney incarnation of Rev-Ale-ation proved to be an example par excellence for how seemingly unrelated aspects can be married to create a holistic total that becomes much bigger than the sum of its individual components would hint at.

Driven by the expertise of someone whose expertise and background is informed by not only an intricate knowledge of the complexities and nuances of brews but also insights in culinary alchemy and the worlds of art, music and fashion; Kirrily Waldhorn is at the helm of operation with the main tenet being the creation of immersive experiences.

Rev-Ale-ation, her latest endeavour, offers the opportunity to enjoy speciality craft beers within the confines of places of worship, serenaded by operatic arias and sustained with artisanal cheeses.

Beneath the stained windows of Mosman’s Art Gallery, originally a Methodist Church designed by Burcham Clamp and Walter Burley Griffin built in 1915., world class Australian opera singers under the benign guidance of Liane Keegan, most prominently known for her portrayal as Erda in Opera Australia’s interpretation of Der Ring des Nibelungen, and accompanied by concert pianist and highly regarded operatic and orchestral conductor Simon Kenway, ales from Goose Island and 4 Pines were matched with a range of one-off handcrafted cheeses, courtesy of Milawa Cheese Company.

Each duo, i.e. cheese and beer, was married to a specific aria, which was chosen by the interprets after the tasting notes had been submitted to them to create a triumvirate that would not only feed off each other but also enhance each individual component.

While it was a pleasure to again sample the never disappointing Goose Island ales, e.g. its orange gold white headed, juicy and tart fruity Halia being the ideal welcome drink to ease into the evening; the blackberry and citrus dominated limited release Juliet, a rye beer aged in French oak being a new discovery and the reddish Belgian style Lolita, suitably framed by Rossini’s Una voce poco from Barber of Seville, being a reliable brew, the real rev-ale-ation came via an unexpected ménage a trois:

Usually not the biggest dark beer aficionado, matching the 4 Pines Stout with Milawa’s mild yet complex, buttery Markwood cheese while being serenaded by Mon Coeur souvre a ta voi from Samson & Deliah, won me over as it  resulted in a sensory experience that could not have been better orchestrated.

Rewarding experiences like this inspire one to revisit – or alternatively explore for the first time - flavours that one had already laid ad acta, which is where Beer Diva’s comes full circle.

A symphony of the senses indeed that generates a desire for more curated experiences by Beer Diva:

http://www.beerdiva.com.au/

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photos by @k.a. vv

Speed Rack Australia competition

Marble Bar

Sydney, Australia

July 29, 2018

Speed Rack, huh?

What comes to mind?

Sports?

Rollerderby?

A completion of sorts?

Speed Rack provides a forum to showcase female talent in a male-bro dominated bartender domain: Per definitionem it is an “Olympic speed bartending event”, i.e. a completion on national level that congregates the cream of the crop bartending ladies in key cocktail markets of this earthround. The ones that make it to the final round, compete with one another and battle it out in the final, where they need to create cocktails against a tight time limit and are then judged by a committee of industry veterans and luminaries.

Best part of the Speed Rack extravaganza is that it is all for a good cause: So far over $300,000 have been rallied for breast cancer research and every cent raised will continue to flow towards charitable initiatives.

After regional qualifiers in Brisbane, Melbourne and Perth, the Sydney incarnation of the Speed Rack finals, which took place at the Hilton Hotel’s beautiful Marble Bar, culminated in a dazzling display of respect for the craft of mixology, expertise, skill and, most importantly for the competition, speed and it is not difficult to see why Speed Rack has been deemed responsible for the elevation of women in the realm of mixology and cocktail creation.

Needless to say that an array of sponsors and their alcoholic contributions resulted in framing the event in a party atmosphere that the packed out crowd revelled in while the following top sixteen took the stage.

If you are keen to witness your local Speed Rack chapter in action check http://speed-rack.com/.

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Photos by @k.a. vv

Water of Life

Glenmorangie and Modus Operandi Boilermaker Dinner

Webster’s Bar

Sydney, Australia

August 1, 2018

Zanzibar, the ole faithful Newtown institution and after hour haunt, was a reliable drinking hall that had its doors wide open for the remnants of late nights. Its site has been taken over by Webster’s Bar, an operation that not only spruced it up a notch but also endeavoured to pay homage to the narrative and historic context of what was initially established by John and Eliza Webster as The Newtown Store, which gave birth to how the suburb was eventually named.

Comprised of three  levels, with the sophisticated prohibition style speakeasy themed bar and grill being the focus of tonight’s Boilermaker Dinner extravaganza, the top floor proffers views across busy King Street from the coveted astroturfed rooftop backyard bar and the ground level being an industrial, exposed brick, steampunk-esque saloon of sorts, Webster’s Bar appeal is the focus on bourbons and an eclectic selection of quality whiskies, including drops that are extremely hard to spot in regular bars.

The Glenmorangie Whisky / Modus Operandi Beer Boilermaker Dinner the middle floor with its low lighting, a working fireplace, arched stained glass windows and an array of secluded corners, proved to be a most suitable setting for what was about to ensue: A cuisine under the helm of Executive Chef Mark Cukeric that is dedicated to mainlining produce from terra australis, complemented by a melange of four rare expressions (and one of the core range) of Scotland Highlands Glenmorangie Distillery’s never not intriguing whiskies as well as three of the core range and two limited release beers from Sydney’s boutique Modus Operandi brewery.

Hosted by a tandem of the Spirits Ambassador for Moët Hennessy, Garth Forster, who took the guests of the evening through a guided tour through the history of the Glenmorangie Distillery and its unique distillation process, and a representative of accolade decorated Modus Operandi entertaining the sold out audience with the stories behind the inception of what materialized in our beer glasses over the evening.

The liquid emissions were not only matched with each other but rested on a foundation of a curated three coursed dinner, the cooking process of each course of which was infused with both the beer and the whisky.

Winners of the evening on the beer front were:

Modus Operand limited Former Tenant Red IPA: Describing it as “hoppy” would be an understatement par excellence – it is more than an apt homage to the ganja grower who inhabitated their site before the brewery was established, the fact that it is topped off with a caramel sweetness does not hurt either.

The Sonic Prayer IPA, a liquid tribute to the first album of psychedelic band Earthless: A delicious, citrusy and fruity melange of English and German malts resting on a bed of American and Kiwi hops. Let us not forget the always reliable MODUS Pale Ale and while the darker stouty brews received much praise on our table, they seemed a bit heavy especially as they were positioned towards the end of the evening. I personally find IPAs to be the perfect beer for a Boilermaker liaison.

Now, Glenmorangie.

I have been known for finding it hard to refuse a dram of their voluptuous Quinta Ruban Cask and dessert-like Nectar d’Or, but tonight’s offerings easily blew them out of the water:

Allow me to linger on two standouts:

Dornoch.

A limited Glenmorangie release, matured in classic bourbon and Amontillado casks giving it a palate reminiscent of caramel and nuts based on a fruity, softly spiced nose and framed with a peaty depth. Gimme peat and I am in. Delicious.

The highlight of the night was strategically placed at the end of the night: Glenmorangie’s Signet.

Rich.

Melting sweetness.

Explosions of spice.

Sherry-esque and hints of bitterness.

What might sound oxymoronic and mutually exclusive are the contrasts that don’t clash but form the fusion of deliciousness that Signet masters.

While the Signet was the cherry on top of a great evening, it was amplified by the main course that preceded it: Overnight Dornoch Whisky cured braised beef cheeks with Dijon whipped potatoes, spiced beetroot puree, fried Brussel sprouts and hazelnut butter. Without trying too hard, the symphonies on a plate not only accentuated the drinks of the evening but the nuances of hearty and more subtle flavours was a thing of beauty that crowned an expertly curated evening at one of Sydney’s most promising newer venues.

Apart from regular special events not unlike the one we had the pleasure of visiting, peeping Webster’s Bar for its Whisky Wednesdays, where you get twenty percent off and can zero in on those rare drops you’ve always wanted to try, should be on anyone’s radar who is remotely into quality spirits - one of which is Webster’s own limited edition collaboration with Woodford Reserve that can only be obtained within the confines of their bar.

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Photos by @k.a. vv

Read more Water of Life entries here.

Picasso and Truth: From Cubism to Guernica (The A. W. Mellon Lectures in the Fine Arts)

T.J. Clark

Princeton University Press

Unsurprisingly enough, there is no shortage of books and view on the one of the most prominent artists of the modern art era. However, an art historian like T.J. Clark, who manages to entice the recipients to rethink the context of the oeuvre of canonical artists and thereby offering a fresh perspective is rarely to be found.

Guided by Nietzsche and with a miniscule approach to analysing contexts and content of Picasso’s emissions from the 1920s-30s, Clark traces Picasso’s range from the light-hearted cubism to the other end of the spectrum, i.e. something more sinister in nature, and infused his elaborations with his wit and an eloquence that peppered with the addition of lesser known titbits about Picasso make it an entertaining read that is analytical yet feels less sterile than other books on the matter.

Reading Picasso and Truth is not meant to be a definitely exhaustive interpretation but more of guided tour through samples of Picasso’s both famous and not so much known body of work that serves as the foundation for a discussions on individual paintings, which inspire thought processes.

As with all books, one should always put the content into perspective and not read it as gospel no matter how academic the elaborations are portrayed to be, which is particularly the case here when Clark’s tone seems to question Picasso’s artistic merits.

Apart from Clark’s lectures on Picasso’s Blue Room, Guitar and Mandolin, Young Girls Dancing in Front of a Window, Painter & his Model, Women by the Sea, the thoughtful and considerate focus of the concluding chapter is centred around Guernica, Picasso's 1937 masterpiece which is on permanent display in Madrid at the Museo Nacional Centro de Arte Reina Sofia.

There will never be a singular book that offers a full grasp on an artist of Picasso’s proportions, but Picasso and Truth adds an important stone to the mosaic of an artist that was insistent on denying audiences of his work any interpretation and who made arrogant statements instead.

An eloquent book that deciphers Picasso’s complexity with aphoristic, light descriptions, astute observations and insight.

Star Wars: The Empire Strikes Back - In concert with the SSO

ICC Theatre

Sydney, Australia

July 27, 2018

Given the immense attention to detail and curation of the Star Wars soundtracks, presenting screenings of the classic incarnations along with the power, nuances and intensity that only a symphony orchestra in a live environment can convey, it was not further wondrous that Sydney’s ICC Theatre was nearly sold out for the Sydney Symphony Orchestra, under the direction of conductor extraordinaire Hamish McKeish, delivered a live score to The Empire Strikes Back.

Attracting a diverse crowds comprised of all walks of life, ages and of course a substantial base of die-hard dressed up Star Wars aficionados, the event was infused with a very special and thrilling atmosphere and sense of anticipation – part of what you would usually get at a philharmonic concert, part pop event, part huge scale movie screening.

The foyer catered to fan moments, with ample opportunities to pose with and get a photo taken with an illustrate cast of Star Wars characters – witnessing an army of Stormtroopers parade by or bumping into Chewbacca and Darth Vader has yet to lose its allure.

The common denominator of the evening was the appreciation for the legendary music created by John Williams.

Star Wars – The Empire Strikes Back was the first movie I ever saw at the cinema and it has had a massive impact on me as a pre-teenager.  While I certainly remembered the most iconic aspects of the movies along with the classic lines of dialogue, in this new context it felt like I experienced the story and performances in an enhanced manner for the first time.

It is quite astonishing how well the movie worked in tandem with the Sydney Symphony Orchestra channelling their alchemy – with the dialogue in sub-titles for those instances in which the overwhelming sound of the orchestra drowned out some of the soundtrack, one never missed a beat.

What made the evening for me was the fact that the event enables audiences to hear these scores in a new way – a way that usually can go unnoticed in the cinema, specifically when it comes to the brass section amplifying the battle sequences and the overall storytelling aspect of the movie.

An evening that was testament not only to the timeless visionary oeuvre of George Lucas, his characters and the Oscar-winning score by John Williams, but also the abilities of conductor Hamish McKeish, a self-professed Star Wars fan, who was able to hit the sweet spot when it comes to paying homage but still transport a legacy into the current time and frame it into a context that makes for an engaging event for all ages.

Word around the campfire is that the next instalment of the Sydney Symphony Orchestra delivering a live score for a Star Wars episode is planned for early 2019 – given the interest, securing tickets early on is advisable.