“Hope a new song composed by Jodie O’Regan was performed at the church by (Sally-Anne) Russell and New Zealand baritone Teddy Tahu Rhodes.
“He’s got a voice like thunder,” Father MacLeod Miller said. “There was this towering figure and diminutive figure in Sally-Anne and they sang a duet and it brought the house down.”
Anthony Bunn, The Border Mall
“Their acappella style, often with Jodie leading while Emlyn provides an amazing percussive harmony, ranges over a myriad of genres. They are brilliant whether performing jazz, swing, folk, gospel or original works.”
Jan Kershaw, Glam Adelaide
“Cana Cludhmor is a delightfully theatrical work in which Desiree Frahn sings operatically but engagingly addresses the audience directly in the manner of a traditional bard, and she periodically strikes a cymbal for emphasis. Pianist Cashman occasionally uses mallets and guitar plectrums on the piano strings to suggest the ocean, a whale, and a harp. Desiree Frahn is a magnetic performer in this demanding but captivating piece, and O’Regan’s Cana Cludhmor proves to be the highlight of these CMA concerts.”
Chris Reid, Limelight Magazine
“Musical highlights for me included the stunning, newly commissioned a cappella work I’ll Meet You There by local composer Jodie O’Regan with text by Rumi. O’Regan knows Bethany’s voice well, and her intuitive setting of Rumi’s poetry showed this deep understanding.”
Rachel Bruerville, Cut Common
“Jodie O’Reagan is of Irish heritage, a woman who grew up surrounded by music. For her, singers tell stories in song, and a song has to be ‘singable’ and memorable. This was evident in Cana Cludmore which is a mini opera based on a libretto taken from an ancient manuscript which can be found in Cork, Ireland. It is also part of a larger work which she is working on.
The story tells of how the harp was created in ancient Ireland at the time of the bards, and is told by Cana Cludhmor ‘of great fame’ about the first harp created by her husband from whale bones and sinews fashioned around a tree branch.
Desiree Frahn was a wonderful singer and story teller, engaging the audience, exhibiting emotion from defiance to indignation and triumph throughout the song. The accompaniment played by Penelope Cashman became part of the story, ‘voicing’ various characters and events. While she played with great skill she was also called upon to make unusual sounds using the piano strings and a glockenspiel. Music it was, which evoked both the art of story telling in which the Irish excel, as well as their intrinsic love of melody.”
Emily Sutherland, 5MBS
“Hill gives a commanding and passionate performance as the fiery Brigid, and O’Regan’s scoring makes full use of her wide vocal range, from alto to soprano. Horwood is an enchanting storyteller, and the composition beautifully supports the texts and the unfolding drama. Performed in a gracious stone church by candlelight, the unique and delightful sound of the Celtic harp combines with the wind instruments, cello and bells to create a magical atmosphere, with the drums evoking a march a, dance and at times a heartbeat.”
Chris Reid, Limelight
“O’Regan sets a deeply sad verse by A.E. Houseman, “Trudge on, trudge on”, about the loss of the love and cycle of life. Her setting, though, is a vibrant, gospel-infused delight.
“I want that at my funeral,” commented a friend. So do I.”
Ewart Shaw, The Advertiser