“Think ELO and Nigel Kennedy’s exuberant lovechild on stage. Think cello player walking backwards on stilts. Think 17 young and mobile players enthusiastically performing everything from Bowie to Rachmaninoff and you have the DeepBlue Orchestra.” – Fairfax Digital Independent weekly

“There was quite a lot of ‘Pow!’, quite a lot of ‘Wow!’, and it was definitely ‘Now’.” Peter Bleby, Australia Stage 2008

Australian Stage review by Gillian Wills – October 2012

… For decades, influential musicians have espoused threadbare rhetoric about eroding barriers between the audience and staged performers, composers and instrumentalists, music and dance, classical and popular music, but I’ve never seen an example that blitzes quite so many borders, often guarded by strict passport controls, in one show… The energy, pizzazz, carefully brokered informality and dare-to-enjoy-yourself attitude pays off.

Deep Blue cajole, bombard the senses, lure, tease and tug at baby boomers, gen Y and younger emotions with their revamps of popular anthems. The program, loosely built around life cycles from birth through to teenage years and beyond has purpose, Gotye’s Somebody I Used to Know and Cat Steven’s Father & Son are showstoppers. Proud and dedicated, this digitally flavoured ensemble’s ownership of an invigorating, unique and highly accessible approach to music-making is infectious.

Read full review here.

artsHub review by Nerida Dickinson – August 2012

DeepBlue Orchestra made it to the finals of Australia’s Got Talent, but don’t think them flash in the pan reality television wannabes. The heights of the youthful performers’ enthusiasm are more than equally matched by the depth of talent in the ensemble – technical perfection seems to be the baseline requirement for membership.

Dynamic dance and movement, tight choreography that emphasised rather than distracted from the musical performance, and big bright smiles of highly motivated players shattering the audience’s preconceptions of orchestral music. No sheet music, no sitting (apart from some dangling legs over the front of the stage, or perched atop a prop ladder), no static counting of bars between parts – any break in playing was marked by spirited dancing or acrobatics.

Each orchestra member seems fired by zest and zeal that leads to an inspired mix of high ideals and hands on approach to music. A non-stop extravaganza DeepBlue has plenty for classical aficionados and the shortest attention-spanned youngster alike.

Read full review here.

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