Amy Lehpamer Sings Cole Porter

There’s something deliciously right about hearing Cole Porter’s music in an intimate setting where the walls themselves are humming with harmony. Opera Queensland’s Studio, adorned with warm festoon lighting and candlelit cabaret-style seating, offered the perfect mood for such an affair. It was like stepping into a dream, or perhaps a well-heeled supper club in 1940s Manhattan, only with better acoustics and considerably less cigarette smoke.

Amy Lehpamer, all charisma and charm, welcomed the audience into Porter’s world with warmth and a winking playfulness that immediately won hearts. Her opening number, Ridin’ High set the tone beautifully thanks to her cheeky, confident take delivered with vocal ease and sparkling comic timing. By the time she reached the third number (I Get a Kick Out of You) the alcohol-free champagne was flowing, the sass came naturally and the polished performer was sparkling like the bubbles in her glass.

Lehpamer has the sort of voice that makes comparisons inevitable. You could hear whispers of Ella Fitzgerald’s phrasing, Sarah Vaughan’s velvet, even a dash of Ethel Merman’s brass. But make no mistake, she’s nobody’s echo. Whether crooning or belting, her tone was always true, always hers.

Lehpamer’s perfect musical partner was pianist Steve Russell, whose fingers danced over the keys with unwavering assurance and wit. Russell’s experience as a jazz pianist shone in every phrase, from gentle heartbeat motifs to rollicking, high-energy solos. His arrangements elevated the show from a simple songbook performance to something far more alive, playful, textured, and at times, daring.

Together, Lehpamer and Russell wove a journey through Porter’s most iconic songs, with a few unexpected detours. Night and Day shimmered like starlight, Lehpamer’s lower register dreamy and grounded while Russell’s piano painted shadows in between the lines. I’ve Got You Under My Skin was all delicious tension and release, building to a powerhouse crescendo that landed with a high note worthy of goosebumps.

I Love Paris offered sensuality and slow-burn glamour before lifting into a jubilant swing. In contrast, So in Love was aching and dramatic, its heartbeat-like rhythm evolving into something altogether more cosmopolitan, the emotional undercurrent pulsing just beneath the surface.

But the real magic was in the way Lehpamer could switch gears, slipping from torch singer to comedienne in a beat. I Hate Men was performed with comedic perfection and expert timing. It’s Too Darn Hot sizzled with vocal colour; from sultry whispers to sizzling growls and clarion cries. Don’t Fence Me In was an unexpected, toe-tapping romp into cowboy country, complete with a Western wink and horse hoof vocal effects.

Love for Sale showcased some of Lehpamer’s most impressive vocal gymnastics. Her wide leaps and daring twists were beautifully controlled. Russell laid down a funky rhythm beneath it all, proving that Porter’s songs are as adaptable as they are timeless. The show closed with Every Time We Say Goodbye, a gentle, quivering, and heartbreakingly beautiful tune. Lehpamer floated through the melody with a tenderness that brought tears to more than a few eyes.

We must have done something right in a past life, because the duo delighted us with a couple of additional tunes. The encore brought us The Way You Look Tonight, a cheeky detour from Porter’s repertoire, acknowledged with a grin. Obviously it would be rude to end on someone else’s melody, so Lehpamer and Russell gave us a riotously fun rendition of You’re the Top, complete with a Brisbane-specific verse that had the crowd chuckling with delight (I imagine Cole Porter’s ghost would have been charmed by the local references too).

In all, Amy Lehpamer Sings Cole Porter wasn’t just a concert, it was a love letter to Porter’s brilliance. Smartly arranged, soulfully sung, and delightfully performed, it reminded us why Porter’s songs endure: because when done right, they feel both exquisitely crafted and effortlessly alive. This show was an absolute delight for lovers of golden-era songcraft, elegant cabaret, or anyone who enjoys their wit served warm, with a twist of jazz. Opera Queensland chose wisely to put Lehpamer and Russell at the helm, they were more than just the top, they were the cat’s pyjamas!

Kitty Goodall

Photography by Murray Summerville