After a singing performance, it’s normal to think about how you went – what worked, what didn’t. Reflecting on our recent annual studio concert, Studio singers did just that.

Too often, though, we can get caught up in focusing on the ‘what didn’t work’. This can distract us from the satisfaction of having performed in the first place! Renowned performance psychologist, Noa Kageyama (The Bulletproof Musician), advises that you think of each performance as an experiment rather than a test of your talent or ability. He suggests adopting a growth mindset, “where you focus … on identifying the specific adjustments you can make in preparing for the next performance … think of each performance or audition as just another step in our ongoing development and growth.”

Our 2026 concert was held at The City of Sydney Creative Spaces, in a space that gave singers room to interact with our accompanist Alison, and the audience. A large number of family and friends attended to support the singers in a program of classical, music theatre and contemporary pop songs.

Nick performing It’s Only a Paper Moon

Nick Barkl opened with It’s Only a Paper Moon (H. Arlan), interpreting the character as a manipulative lover who knows he has the relationship in hand. Anne Richardson followed with a traditional, warm interpretation of Dvorak’s Songs My Mother Taught Me. And one of our youngest singers, Victoria, gave a sprightly interpretation of It Was a Lover and His Lass (G. Finzi). She has been working on this song with serious attention to its articulation and story.

Next, we featured some Baroque-era songs, firstly, Celeste’s Amarilli, mia bella (Caccini). Celeste has been working on her head voice, and in this song she achieved that goal, beautifully. Handel’s aria from Julius Caesar, V’adoro Pupille (I Adore Your Eyes) is often interpreted as a sex siren song, but Belinda chose to interpret it about geopolitical dynamics, with Cleopatra aiming to capture Caesar’s support of her right to Egypt’s throne. Belinda connected consistently with an imagined Caesar and our audience.

This year, Alex has worked on blending her upper, middle and lower vocal ranges. With Somewhere That’s Green (A. Menken), from Little Shop of Horrors, she showed how her work has paid off. Reflecting on the experience, Alex said, “Preparing for the concert helped me develop beyond being just a singer, and towards being a performer. The most rewarding part was feeling the progress I’ve made since I started. I’m starting to perform more complex songs, and showcase more of the singing skills I’ve worked on in my lessons. This concert was the first where I was less in my head about mistakes I made, and enjoyed the moment more.”

Alex performing at our 2026 Studio Concert

Claudette sang Mister Snow from Carousel (Rodgers and Hammerstein), a ‘girl’s gossip’ song, Claudette sang beautifully, with stunning high notes to finish. Gina concluded our first half, with the empowering Don’t Rain on My Parade (J. Styne), a Barbra Streisand standard that builds momentum.

Celeste began the second part of the program with Pur dicesti, o bocca bella (Lotti), a cheeky Baroque aria she sang with great spark and flair. Belinda chose three songs from Schoenberg’s challenging song cycle, Pierrot Lunaire. James Hillyer collaborated with Belinda on the flute and piccolo for these spooky, mysterious songs written in an atonal method, which makes pitching challenging. But Belinda rose to it, saying later: “It was great working with Alison and James on these songs. I appreciate the work they put into learning them and rehearsing with me.”

Victoria sang the deeply moving Myself, by 21^st century Australian composer Chloe Charody, based on poetry by Manus Island detainee, Mohammad Melik. Victoria’s connection with the poet’s world and her audience was visceral. L’Absence (H. Berlioz) was Anne Richardson’s ravishing second song. Set high in the upper range, the French language song is hauntingly beautiful.

Victoria performing Art is Calling for Me

Moving to lighter songs, Claudette enchanted us with It Might as Well Be Spring (Rodgers and Hammerstein), while in Alex’s What a Difference a Day Makes (M. Grever) Alison’s jazz piano embellishments were tingling.

Nick’s choice of George Michael’s Kissing A Fool took courage and planning and his collaboration with Alison was masterful. While Gina’s comic song Lovesick (D. Yazbek), from Women on The Verge of a Nervous Breakdown was a giggly, wordy song that had us laughing. Victoria’s ringing head notes in Art Is Calling for Me (V. Herbert) captured our senses. Accompanied by Pen Campbell on piano, Victoria sang with newly found acting skills from our recent workshop, her character charming but mean, as she convinced us the royal life was not for her, but that she wants a love of the stage.

In a fitting close to the concert, Celeste sang a theatrically crackerjack version of I Could Have Danced All Night (Lerner and Loewe) from My Fair Lady, her top notes ringing around the studio.

Each singer truly showcased their ongoing vocal and performance development, and they received resounding, well deserved, applause. We are all so thankful to the many supporters who listened with love and care to our singers.

If you have a passion for performance, Kathleen Connell offers the expertise and opportunities to improve your craft. Browse the Studio singing lessons. And sign up to our monthly newsletter for singing tips and performance workshop dates.