Podcasts about Glyndebourne

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Sound the klaxon - it's a national treasure alert!This week we are honoured to be joined by internationally celebrated Mezzo-soprano Dame Sarah Connolly.Dame Sarah has had an incredible career to date with standout performances including Giulio Cesare at Glyndebourne , multiple roles at the Met, the Royal Opera House, La Scala, Paris Opera and, of course Admiral Nelson in full naval regalia at the Last Night of the Proms.Dame Sarah's 24/25 season includes playing Auntie in WNO's new production of Peter Grimes and Dido in Dido and Aeneas at Amsterdam's Concertgebouw.We are hugely grateful to Dan Hartland at the Cheltenham Festival for setting up this chat - Sarah will be performing Brahms' Alto Rhapsody at the festival on 5 July (ticket link below)With such a stellar career and a vast list of honours to her name, Dame Sarah remains incredibly warm and down-to-earth. We chat about controlling performance anxiety, how to avoid being pigeon holed, dealing with colds, auditioning, the power of positive thinking and how to wear a fatsuit…Enjoy! To buy tickets for Dame Sarah's performance at the Cheltenham festival on Saturday 5 July click here; https://www.cheltenhamfestivals.org/events/berlioz-te-deumYou can find us on the socials here;Instagram @threeinabarpodTiktok @threeinabarpodThree In A Bar on YoutubeAnything you'd like to share with us? Any guests you'd love to hear or anything you'd like us to do better? Drop us a line at hello@threeinabar.com Hosted on Acast. See acast.com/privacy for more information.

Flute player Neil McLaren joins Netty for a tea and chat in the latest episode. Having served as OAE's second flute for nearly 40 years, Neil shares how he became interested in playing the baroque flute and recounts intriguing stories about his early encounters with music. He also discusses other pursuits inspired by his life experiences.Neil takes us back to his early life, before he began playing the flute. When he's not playing music, you can find him crafting jewellery in his workshop in Lewes. Some of his pieces are featured in the Glyndebourne shop as well as being worn by our guest artists. In addition to his musical talents, Neil is also a qualified counsellor, and he shares the journey of how he became one, along with the training process he undertook.--Tea with Netty is the Orchestra of the Age of Enlightenment's podcast hosted by viola player Annette Isserlis (Netty). Over a cuppa (or something a little stronger…), Netty chats with a variety of conductors, players and other guests as she ‘spills the tea' on the side of classical music you don't normally hear. Available as Apple podcast, Google Podcast, Spotify, Stitcher, iHeart Radio, TuneIn+Alexa

[@2 min] Alright, this week...we narrow our March Madness of Summer Festivals down to the Final Four! Who can challenge Glyndebourne in the UK quarter? [@21 min] Plus, in the "Two Minute Drill"…Opera Theater St Louis is getting an extreme makeover, opera edition, and Brooklyn Academy of Music may be broke, but they've got Barrie Kosky! GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 operaboxscore.bsky.social

[@ 3 min] Sinéad Campbell Wallace goes Inside the Huddle! The Irish soprano shares how she began her career singing Handel and Mozart then took a long break to start a family and returned to singing as a Jugendliche dramatische Sopran. With a Salome and an Elsa already under her belt, she is making her American debut as Leonora in Washington National Opera's Fidelio. [@ 42 min] And then…a field report on the Tales of Hoffmann from the Met, starring Friends of the Show Benjamin Bernheim and Erin Morley. [@ 49 min] What's the playbook for keeping an opera company afloat in troubled times? Glyndebourne and Atlanta apparently have the secret sauce. GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

La saison actuelle, tout comme celles à venir, sera caractérisée par des jalons importants pour la mezzo tuniso-canadienne Rihab Chaieb, ce qui comprend notamment son rôle-titre dans Carmen au Festival de Glyndebourne, son rôle de Claire dans Melancholia avec le Kungliga Operan, son rôle de Dorabella dans Così fan tutte tutte à la Seiji Ozawa Music Academy, en plus de ses apparitions auprès du Los Angeles Philharmonic, de la Compagnie nationale d'opéra du Canada et de l'Orchestre symphonique de Québec, ainsi que son retour au Metropolitan Opera et à la Bayerische Staatsoper.Rihab Chaieb a fait ses débuts à la Bayerische Staatsoper lors de la saison de 2022-2023, où elle a ébloui l'audience dans son rôle de Fenena dans Nabucco, sous la direction de Daniele Rustioni, puis au Los Angeles Opera dans le rôle de Cherubino dans Le nozze di Figaro de James Gray, sous la direction de James Conlon. Elle a ensuite repris son interprétation exceptionnelle de Carmen à la Compagnie nationale d'opéra du Canada et au Calgary Opera, avant de retourner au Grand Théâtre de Genève où elle a été mise en vedette dans son rôle de La mère Meryem lors la première mondiale du Voyage vers l'espoir de Jost.Sur les scènes de concert, elle est apparue aux côtés du Philharmonia Baroque Orchestra dans une prestation de Messiah de Handel, elle a également partagé la scène du Vancouver Symphony Orchestra pour présenter Les nuits d'été de Berlioz sous la direction d'Otto Tausk, puis elle a fait son premier spectacle auprès du Manitoba Chamber Orchestra dans le rôle de Ruggiero dans Alcina de Handel.Rihab Chaieb a marqué la saison 2021-2022 en faisant son entrée au Washington National Opera dans le rôle de Dorabella dans Così fan tutte, puis au Palm Beach Opera dans le rôle titre de Carmen. Elle a joué pour la première fois le rôle de Penelope dans Il ritorno d'Ulisse in patria en tournée et pour un enregistrement avec l'Ensemble I Gemelli, avant de retourner à l'Opéra National de Montpellier pour jouer Maddalena dans Rigoletto, puis au Metropolitan Opera pour incarner Nefertiti dans la production d'Akhnaten de Philip Glass mis en scène par Phelim McDermott et sous la direction Karen Kamensek.Elle a récemment connu de nombreux succès, notamment en faisant ses débuts au Houston Grand Opera lors de la première mondiale de The Phoenix de Tarik O'Regan, puis au Cincinnati Opera dans le rôle de Rosina dans Il barbiere di Siviglia, ainsi qu'à l'Opéra de Montpellier dans Fantasio d'Offenbach, au Teatro Santiago de Chile en incarnant Dorabella, à l'Opera Ballet Vlaanderen Kasturbai dans Satyagraha de Philip Glass, et enfin à l'Oper Köln dans le rôle de Carmen dans une production de Lydia Steier.Elle a joué le rôle de Charlotte dans Werther pour la première fois à l'Opera Vlaanderen sous la direction de Giedrė Šlekytė et elle a ouvert la saison au Muziektheater dans le rôle de Lola dans Cavalleria Rusticana de Robert Carsen sous la direction de Lorenzo Viotti. Sur les scènes de concert, Rihab Chaieb s'est produite avec l'Orchestre symphonique de Montréal dans un programme de Rossini sous la direction de Kent Nagano, ainsi que dans Lieder eines fahrenden Gesellen de Mahle sous la direction de Johannes Debus. Elle a également interprété Messiah de Handel sous la direction de Gustavo Gimeno avec le Toronto Symphony Orchestra. Elle a aussi chanté Three-Cornered Hat de Manuel de Falla avec le Vancouver Symphony Orchestra et le Bournemouth Symphony Orchestra sous la direction de Carlos Miguel Prieto.Instagram :https://www.instagram.com/laprescriptiondrfred/?hl=frFacebook :https://www.facebook.com/people/La-prescription-avec-Dr-Fred-Lambert/100078674880976/ Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Netty is joined by harpist Joy Smith in her cosy 17th-century weaver's cottage in Essex for the latest episode. Joy, who owns 9 harps, takes us through the world of harps. They talk about all sorts of topics, including old English phrases, fun string facts, and being a regular top of the pops.Percussionist, composer, and storyteller Joy, who was the harpist in Handel's Giulio Cesare at Glyndebourne, shares the story of how her love for music began. She discusses harp tuning etiquettes, improvisation, and shares her storytelling tales, as well as her other colourful activities outside of performing, in a fascinating episode. --Tea with Netty is the Orchestra of the Age of Enlightenment's podcast hosted by viola player Annette Isserlis (Netty). Over a cuppa (or something a little stronger…), Netty chats with a variety of conductors, players and other guests as she ‘spills the tea' on the side of classical music you don't normally hear. Available as Apple podcast, Google Podcast, Spotify, Stitcher, iHeart Radio, TuneIn+Alexa

Penelope: Janet Baker Minerva: Anne Howells Melanto: Janet Hughes Ericlea: Virginia Popova Giunone: Vivien Townley Fortuna: Patricia Craig Amore: Laureen Livingstone L'umana Fragilità: Annabel Hunt Ulisse: Benjamin Luxon Telemaco: Ian Caley Eurimaco: John Wakefield Iro: Alexander Oliver Eumete: Richard Lewis Nettuno: Clifford Grant Giove: David Hughes Antinoo/Tempo: Ugo Trama Pisandro: John Fryatt Anfinomo: Bernard Dickerson London Philharmonic Conductor: Raymond Leppard Glyndebourne Festival Opera at Royal Albert Hall Proms 3 August 1972 Broadcast

Mezzo-soprano Beth Taylor joins Netty in the dressing rooms of Glyndebourne, who plays Cornelia in Handel's production of Giulio Cesare. They discuss voice production, singing in physically demanding roles, forestry, and everything in between.Born and raised in Glasgow, Beth unravels the unforeseen path that led her to the world of music and singing, and how she built a strong musical foundation for herself in remarkable ways. She delves into the behind-the-scenes of opera, sharing her experience of developing her voice and offering valuable insight that can encourage us all, particularly the next generation. --Tea with Netty is the Orchestra of the Age of Enlightenment's podcast hosted by viola player Annette Isserlis (Netty). Over a cuppa (or something a little stronger…), Netty chats with a variety of conductors, players and other guests as she ‘spills the tea' on the side of classical music you don't normally hear. Available as Apple podcast, Google Podcast, Spotify, Stitcher, iHeart Radio, TuneIn+Alexa

Soprano extraordinaire Louise Alder joins Netty for tea in Glyndebourne. Louise, who is currently performing as Cleopatra in Handel's Giulio Cesare, enlightens us with her family, educational and versatile singing background, her passion for musical theatre, and her multilingual talents.Louise, takes us behind the scenes of the opera Giulio Cesare. She shares her on-stage experiences and talks about juggling a diverse vocal repertoire, as well as the demands of singing and dancing. Louise also shares her adventures in Frankfurt and takes a deep dive into languages, from which we might learn a thing or two! Catch Louise Alder and the OAE in Glyndebourne this summer!--Tea with Netty is the Orchestra of the Age of Enlightenment's podcast hosted by viola player Annette Isserlis (Netty). Over a cuppa (or something a little stronger…), Netty chats with a variety of conductors, players and other guests as she ‘spills the tea' on the side of classical music you don't normally hear. Available as Apple podcast, Google Podcast, Spotify, Stitcher, iHeart Radio, TuneIn+Alexa

A two-time Grammy nominee, Rod Gilfry is a singer and actor who performs across opera, musicals, recitals and cabaret, all over the world. His opera repertoire in particular is vast, spanning 75 roles. He's come to Opera Australia and the Sydney Opera House to perform one of the many roles in new operas that he has created – Claudius in Brett Dean's Hamlet, directed by Neil Armfield. Rod has already performed this role at the Met in New York and at Glyndebourne in the UK. Rod takes us through his long career which began in school choirs and musicals in California, and speaks passionately about some of the roles he has played. In particular, he takes us through the joys and challenges of creating some of these new roles, including his acclaimed performance in A Streetcar Named Desire. Rod Gilfry play Claudius in Brett Dean's Hamlet from 20 July to 9 August in the Joan Sutherland Theatre of the Sydney Opera House.

Conductor Constantin Trinks, who makes his Festival debut conducting Mozart's Die Zauberflöte with the OAE, joins Netty for tea and a chat. He discusses his musical influences and shows a special fondness for certain composers such as Wagner, Strauss, and especially Wagner! Constantin Trinks expresses excitement about working with a period instrument orchestra for the first time. We learn about his gradual appreciation for early music following his initial affinity for later music and his passion for opera. We also get an insight into the conductor's baton and the essential qualities of being a conductor. Catch Constantin and the OAE this summer in Glyndebourne!--Tea with Netty is the Orchestra of the Age of Enlightenment's podcast hosted by viola player Annette Isserlis (Netty). Over a cuppa (or something a little stronger…), Netty chats with a variety of conductors, players and other guests as she ‘spills the tea' on the side of classical music you don't normally hear. Available as Apple podcast, Google Podcast, Spotify, Stitcher, iHeart Radio, TuneIn+Alexa

As summer approaches, bass-baritone Dingle Yandell joins Netty in the fields of Glyndebourne for the latest episode. They have compelling conversations, from his discovery of British novelty pop act Jive Bunny and the Mastermixers to sharing experiences of music college auditions and there are revelations behind the meaning of names.Dingle Yandell, who was part of the first cohort of OAE's Rising Stars of the Enlightenment, shares his journey and musical influences before the Classical world. Dingle opens up about his approach to learning music and engages in authentic conversations about the struggles and challenges performers face that are not typically seen on stage. He also gives a behind-the-scenes glimpse of how he filmed the iconic Rising Stars music video 'What Power Art Thou' (Purcell), inspired by Gotye.--Tea with Netty is the Orchestra of the Age of Enlightenment's podcast hosted by viola player Annette Isserlis (Netty). Over a cuppa (or something a little stronger…), Netty chats with a variety of conductors, players and other guests as she ‘spills the tea' on the side of classical music you don't normally hear. Available as Apple podcast, Google Podcast, Spotify, Stitcher, iHeart Radio, TuneIn+Alexa

durée : 00:21:15 - Disques de légende du vendredi 03 mai 2024 - Cet enregistrement de Glyndebourne en 1996, est une production légendaire.

One of this country's pre-eminent directors, Neil Armfield has a list of credits which is vast, spanning original works and revived classics, directing shows across the world, including on the West End and on Broadway. He's also of course no stranger to opera, having directed several productions for Opera Australia, as well as for some of the world's other great opera houses including Covent Garden and the English National Opera. A founder and former artistic director of Belvoir Street, he has been a key figure in the shape of Australian theatre for nearly five decades.  His current project is directing a revival of Arthur Miller's Death of a Salesman, a production which ran in Melbourne last year when Limelight magazine called it “outstanding" and The Guardian said Tony award winner “Anthony LaPaglia leads an electric, devastating tragedy”.  Neil speaks about why this piece of mid-20th Century American theatre is so iconic and relevant in today's world. We hear about his life in the theatre, which began with directing his school play in his final year of high school, to working with some of the greats in both Australia and internationally in the subsequent decades. Death of a Salesman plays at Sydney's Theatre Royal from 17 May. Watershed, which Neil directed as part of the Adelaide Festival in 2022, will be presented by Opera Australia in the Joan Sutherland Theatre of the Sydney Opera House from 14-16 June. Hamlet, which Neil directed for Glyndebourne in 2017 and has since been performed by many opera houses around the world including The Met in New York, will be presented by Opera Australia in the Joan Sutherland Theatre of the Sydney Opera House from 20 July - 5 August.

Hace tiempo que no contestamos por los micrófonos las cartas de algunos oyentes. Recuperamos hoy tres misivas que tienen ya algún tiempo. En primer lugar la firmada por don Luis Pingarrón, que nos solicitaba la radiación del famoso Trío de El caballero de la rosa de Strauss por Montserrat Caballé, Teresa Zilys-Gara y Edith Mathis en la versión de Glyndebourne de 1965 dirigida por John Pritchard. Luego comentamos un párrafo de la extensa carta de don Manuel González en el que habla precisamente de Caballé. La escuchamos en dos arias de bigote: Suicidio de La Gioconda de Ponchielli y La mamma morta de Andrea Chénier de Giordano. Y comentamos sus interpretaciones. Antes habremos seguido a Edita Gruberova, de la que también habla nuestro oyente, cantando la cabaletta final de La sonnambula de Bellini. Cerramos el programa contestando a la carta de don Fernando (no consta su apellido), que pide que hablemos de dos cantantes mexicanos otrora famosos: el tenor Jorge Lagunes, que nos canta una copla popular, y la soprano Lupita Pérez, que nos obsequia con el vals de Musetta de La bohème y O mio babbino caro de Gianni Schicchi, ambas de Puccini. Cerramos con otro Jorge Lagunes, este barítono de nuestros días, que interpreta dos canciones muy famosas: La rosa y el sauce y Siboney.Escuchar audio

Angela Rayner, the Labour deputy leader, is being accused of being a ‘tax avoider'. While these attacks are coming predominantly from the right, they've been mounting in recent weeks and now Labour is having to confront the allegations.So what could this mean for the deputy leader? Is Labour in trouble? Or is this a Tory smear campaign?Anoosh Chakelian, Britain editor at the New Statesman, is joined in the studio by political correspondent Freddie Hayward; this episode was recorded on Thursday 11th April.Read the pieces mentioned in this podcast: Is Angela Rayner in danger?; What Dominic Raab missed about Angela Rayner at Glyndebourne; I looked into Angela Rayner's tax affairs – here's what I found Hosted on Acast. See acast.com/privacy for more information.

In 1989 the demilitarized zone between East and West was the venue for a gathering which was titled the Pan-European picnic. Matthew Longo's new book explores the Hungarian, East German and Russian politics which led to this happening and how it contributed to the ending of the cold war. He joins historians of art and food in a conversation hosted by Anne McElvoy which ranges across picnics in ancient Greece, French impressionist painting, country house opera events like Glyndebourne and celebrating the arrival of the cherry blossom season.Matthew Longo is Assistant Professor of Political Science at the University of Leiden and author of The PicnicMonika Hinkel is an art historian based at the School of Oriental and African Studies at the University of LondonKirsty Sinclair Dootson is a lecturer in Film and Media at University College LondonPen Vogler is a food writer and the author of Scoff: A History of Food and Class in BritainProducer: Ruth WattsThe Picnic: An Escape to Freedom and the Collapse of the Iron Curtain by Matthew Longo is out now You can find other discussions about German and cold war history on the Free Thinking programme website and available as the Arts and Ideas podcast.

Anna Maria Rota, Vittorio Gui Glyndebourne Festival, 9 August 1959, Broadcast

The International Union of Marine Insurance conference is the annual health check for the shipping industry's risk cover and as such offers an important, if not at time impenetrably complex view of the sector as a whole. This week's podcast offers up a clear explanation of everything you need to know about marine insurance from the people who understand it best. Consider this week's edition your best, and perhaps only opportunity to learn the marine insurance sector in under 25 minutes x FOR some, it's Glastonbury or Coachella, others have Glyndebourne or Last Night of the Proms. In the world of marine risk, it's the annual International Union of Marine Insurance conference, and this year's insurance festival comes from Edinburgh with added bagpipes and ill-advised kilts worn by men with homeopathic claims to Scottish heritage. The fact that global marine premiums jumped 8.3% in the past year is, granted, a niche headline announcement, but to those gathered in Scotland this week, it's a case of turning the excitement factor up to 11. Insurance-speak can sometimes make even shipping jargon sound comprehensible, but the plain English explanation is startlingly simple. More ships are being insured at higher prices, fewer of them are sinking, and everybody goes home happy. Hull & machinery insurance has certainly witnessed something of a turnaround in the last five years. H&M underwriters - who up until that point had been losing money in the aggregate for around 20 years – are actually making some for a change. Likewise, P&I clubs are currently publishing combined ratios of below 100% for the first time since the late 2010s. If you don't know what we are talking about, keep listening and you will be expert by the end of the show. Finally, it's worth noting that Europe is holding its own even though London continues to cede ground to Asian insurers, and still has over half the market. Our man Dave Osler is now on his ninth IUMI conference, and has been up in Edinburgh with the microphone talking to some of the main movers and shakers for this week's edition. Speaking on this week's edition: Chair of IUMI's hull committee and chief executive and chief underwriter at American Club affiliate American Hellenic Hull Insurance company – Ilias Tsakiris Chair of the International Group of P&I Clubs - Nick Shaw IUMI vice chair of the Facts and Figures Committee and analyst/actuary of the Nordic Association of Marine Insurers (Cefor) - Astrid Seltmann

Comenzaremos la primera parte del programa hablando de la creación de un plan en Chile para buscar a las personas que desaparecieron durante la dictadura; y de las limitaciones de tránsito en el Canal de Panamá debido a un periodo de sequía. Hablaremos también de un estudio sobre el uso de alimentos como medicamentos; y para finalizar, de la prohibición del alquiler de patinetes eléctricos en París.    En nuestra sección Trending in Latin America tendremos dos conversaciones muy interesantes. Hablaremos del debate sobre la existencia de un arte argentino. Cerraremos la emisión hablando del soprano venezolano Samuel Mariño, quien ha participado en el festival de Glyndebourne. - Chile anuncia un plan para la búsqueda de personas desaparecidas durante la dictadura - El Canal de Panamá restringe el tránsito por 10 meses - Los beneficios de recetar comida como medicamento - París prohíbe el uso de patinetes eléctricos de alquiler - En 2023 se reabre el debate sobre el arte argentino - Samuel Mariño, el soprano venezolano que triunfa en Europa

Joining Netty in the latest episode is Václav Luks, who is currently conducting Handel's Semele with the OAE at Glyndebourne. We travel back in time with Václav to an era when libraries and photocopy machines were the norm. He shares his passion for mountaineering, survival instincts, and taking a leap of faith in the Baroque world.Conductor, director, harpsichordist, horn player and musicologist Václav Luks shares how his love for nature and focus on emotion and intuition have shaped his musicianship. He reflects on his experience with the OAE and emphasises the significance of establishing a connection and understanding the nuances of an orchestra. Václav also talks of his younger self, which can inspire us all.--Tea with Netty is the Orchestra of the Age of Enlightenment's podcast hosted by viola player Annette Isserlis (Netty). Over a cuppa (or something a little stronger…), Netty chats with a variety of conductors, players and other guests as she ‘spills the tea' on the side of classical music you don't normally hear. Available as Apple podcast, Google Podcast, Spotify, Stitcher, iHeart Radio, TuneIn+Alexa

In a series of four Decca Icons podcasts, Gramophone's James Jolly explores the artistry of four major recording musicians with Rob Cowan, Jed Distler and Richard Fairman. Focusing on recordings in the Decca catalogue, the series turns the spotlight on Bernard Haitink, Vladimir Ashkenazy, Sir Georg Solti and Benjamin Britten. Each podcast is accompanied by a special Apple Music playlist.  In this first podcast, Rob and James talk about the great Dutch conductor who, during a long career, headed up ensembles and opera house in Amsterdam, London, Glyndebourne, Dresden and Chicago, as well as being a much sought-after guest, and left a vast recorded catalogue.

Duncan Rock is a singer and a nutritionist who works with the likes of Vocal Health Education and The Voice Care Centre. He returns to the podcast to discuss the topic of understanding singing and fitness. KEY TAKEAWAYS People often think the benefits of exercise are just weight loss and gaining muscle, but the far more important benefits are around increasing the length and quality of your life.  Exercise also increases your cardiovascular, metabolic, muscular, neurological, digestive and mental health.  Being strong and having good cardiovascular health can be valuable on stage, especially if you're playing a demanding role. An example often given is the role of Don Giovanni in Mozart's Don Giovanni, which requires a fight in the very first scene.  For some people, exercise decreases the time it takes for their body tissues to recover from strenuous work. This is because when you exercise regularly, your blood flow, metabolic health and cellular healing tend to improve. The fitter you are, the more it benefits you. Performers should be mindful of the three pillars of fitness: strength, mobility and cardiovascular endurance. Duncan cautions singers against doing just one type of activity as they may experience hyper-adaptation to that activity over time. This will be to the detriment of your other capacities. Duncan believes that singing teachers often get it wrong when they warn students against lifting weights out of fear it will ruin their voice. He thinks singers need to be mindful of not developing muscular imbalances that could lead to excessive tension and high threshold strategies. These high threshold strategies refer to the unnecessary overworking of muscles, which can impact the vocal mechanism. BEST MOMENTS‘Exercise is one of the best things you can do to increase your length and quality of life' ‘It doesn't matter how good your technique is, if you're out of breath, you're not going to be able to do it'‘People who have high cardiovascular health, their vocal tissue recovers faster' ‘Address each part of the pillar as its own goal' ‘There is no relation to the visibility of someone's six-pack and its rigidity or flexibility'‘Don't do crunches, I don't think it's necessary' ‘Getting the right amount of nutrients from whole foods is infinitely more important than nutrient timing'  EPISODE RESOURCES Website: duncanrocknutrition.com  Social Media:  Instagram: @duncanrock_nutrition  Relevant Links & Mentions:  Singing Teachers Talk Podcast - Ep. 100 The Truth About Singing and Dairy with Nutritionist Duncan Rock  Sussex Back Pain Clinic: https://www.sussexbackpainclinic.co.uk/ Claudia Hodgson-Rodriguez: @claudia.theatrefit Exercises mentioned: Pallof Press; Woodchop; Kettlebell Halo; Deadlift; Romanian Deadlift; Bench Press; Push Ups; Pull Ups/Downs; Rows; Rucking  Mahant Amar Bharati Ji  Firas Zahabi Tristar Gym: https://tristargym.com/trainers/firas-zahabi/ Stephen King and The Voice Care Centre: https://voicecarecentre.co.uk/stephen-king/ ABOUT THE GUEST Duncan is a graduate of the Guildhall School of Music and Drama (London) and West Australian Academy of Performing Arts. He has an active career as an operatic baritone performing roles at many of the world's leading opera houses, including the Metropolitan Opera, Royal Opera, Glyndebourne, English National Opera, Teatro Real and the Boston Lyric Opera. As a baritone soloist, he has recorded and performed with the London Symphony Orchestra and the BBC Symphony Orchestra. Duncan also works as a nutritionist and nutritional science writer. He holds a Masters of Science in Nutritional Science and an advanced diploma in nutrition and weight management. His speciality is combining his parallel fields of study and providing nutritional information for performing artists. He is cognisant, from an academic and personal standpoint, of the heavy demands of a busy performing and travel schedule. He has been using his knowledge of diet and nutrition to propel his own career and help other performers attain optimal vocal and physical health. Duncan is now part of the team at the Sussex Back Pain Clinic.MMus MMperf MSc MRSPH ABOUT THE PODCASTBAST Training is here to help singers gain the knowledge, skills and understanding required to be a great singing teacher. We can help you whether you are getting started or just have some knowledge gaps to fill through our courses and educational events.Website: basttraining.comGet updates to your inbox: Click here for updates from BAST TrainingLink to presenter's bios: basttraining.com/singing-teachers-talk-podcast-biosThis show was brought to you by Progressive Media

In this episode, Netty is joined by countertenor Tim Mead who shares some interesting stories. Tim talks about wacky costume preparations with lots of unexpected on-stage action and reveals what his ultimate critic (his dog) really thinks of his singing…As the Glyndebourne summer festival continues, countertenor Tim Mead, who is currently playing the role of Oberon in A Midsummer Night's Dream, gives us a glimpse into his world of performance. Known as one of the finest singers of his generation, Tim talks about his journey as a countertenor, reflects on the challenges of the pandemic and shares about the joy of making music while recalling memories with the OAE.--Tea with Netty is the Orchestra of the Age of Enlightenment's podcast hosted by viola player Annette Isserlis (Netty). Over a cuppa (or something a little stronger…), Netty chats with a variety of conductors, players and other guests as she ‘spills the tea' on the side of classical music you don't normally hear.Available as Apple podcast, Google Podcast, Spotify, Stitcher, iHeart Radio, TuneIn+Alexa

Irish lawmakers are currently debating a bill on hate speech. The aim is to update 35 year old legislation that the Irish Justice Minister has called “ineffective”. A spate of anti-immigration protests in the country are said to have a pronounced Islamophobic focus. We speak to an academic to explore Ireland's relationship with issues of racism and immigration. South African soprano Golda Schultz talks about her role as Madeleine Lidoine in the opera, Dialogues of the Carmelites, which depicts the powerful and moving true story of 16 nuns executed in 1794. It is currently being staged at Glyndebourne. She describes how the role has strengthened her own Catholic faith. The Church of Scotland will have to close hundreds of its churches in the next few years and this isn't just a problem for Scottish Presbyterians, who now have twice as many buildings as they have ministers. Across the UK, six thousand churches and chapels have closed in the past decade. William Crawley speaks to the Reverend David Cameron, Convenor of the Assembly Trustees, and to Sir Philip Rutnam, Chair of the National Churches Trust. Prsenter: William Crawley Editor: Jonathan Hallewell & Tim Pemberton Producers: Bara'atu Ibrahim & Linda Walker Production Coordinator: David Baguley Studio Managers: Sharon Hughes & Simon Highfield

Am 26. Juni 2023 feiert die Oper "Hamlett" von Brett Dean bei den Münchner Opernfestspielen an der Bayerischen Staatsoper Premiere. Die Produktion ist eine Übernahme der auch auf DVD erschienenen Produktion aus Glyndebourne. Identisch sind neben dem Dirigenten Vladimir Jurowski auch Regisseur Neil Armfield und der Darsteller des Titelhelden, Allan Clayton. BR-KLASSIK überträgt live.

As the CBSO prepares for a summer of tours to Aldeburgh, Japan, and the BBC Proms, the orchestra's new Chief Conductor Kazuki Yamada speaks to presenter Tom Service about the joy of music and the goosebumps he experiences while conducting. Tom travels to the South Downs to speak to Australian director Barrie Kosky about a new production, opening this weekend at Glyndebourne, of Poulenc's Dialogues des Carmélites. He's joined by sopranos Golda Schultz and Sally Matthews, as well as conductor Robin Ticciati, to talk about the story of sixteen nuns who meet their death at the hands of the French Revolution. Amid rehearsals at the Royal Opera House, Music Matters hears about the World Premiere of a new ballet, Untitled 2023 – a collaboration between the Royal Ballet's resident choreographer Wayne McGregor and composer Anna Thorvaldsdottir. They discuss the somatic relationship between body, dance and music, and why listening to Thorvaldsdottir's compositions is not a passive experience. And one hundred years after its premiere at the Aeolian Hall in June 1923, Tom speaks to the writer and broadcaster William Sitwell about his great-aunt Edith Sitwell's creative relationship with the composer William Walton – a collaboration which resulted in the entertainment, Façade. He's also joined by writer and researcher Lucy Walker. Together they discuss the work's nonsensical parody of popular music, jazz, and poetry and knotty issues it presents to contemporary audiences.

Amidst the summer season, Evan Rogister, currently conducting Don Giovanni at Glyndebourne joins Netty for a cuppa. He takes us through his intriguing past which led to the opera bug and admission into one of the world's most prestigious performing arts schools. There's also an exciting revelation about our well-loved theme tune... From a child singer to a trombonist and now conductor, multi-talented maestro Evan Rogister makes his Glyndebourne debut and conducts the OAE, his first British orchestra. Evan talks about his musical influences, an alternative career path in political science and shares his approaches to conducting Mozart with lots of enlightening stories along the way!---Tea with Netty is the Orchestra of the Age of Enlightenment's podcast hosted by viola player Annette Isserlis (Netty). Over a cuppa (or something a little stronger…), Netty chats with a variety of conductors, players and other guests as she ‘spills the tea' on the side of classical music you don't normally hear.Available as Apple podcast, Google Podcast, Spotify, Stitcher, iHeart Radio, TuneIn+Alexa

OAE Principal clarinet Katherine Spencer joins Netty for a cuppa in a brimming episode. They talk about nickname origins, a clarinet obsession and other entertaining stories involving some chickens, a pony and diving. Deep within Glyndebourne territory, amidst the Don Giovanni rehearsals for the summer, Katherine Spencer (aka Waffy) joins Netty and spills the tea. Katherine talks about her very first encounter with the OAE, what music means to her, an unprecedented career in belly dancing and her intriguing experiences as a wind player of performing in different locations with diverse backgrounds. ---Tea with Netty is the Orchestra of the Age of Enlightenment's podcast hosted by viola player Annette Isserlis (Netty). Over a cuppa (or something a little stronger…), Netty chats with a variety of conductors, players and other guests as she ‘spills the tea' on the side of classical music you don't normally hear.Available as Apple podcast, Google Podcast, Spotify, Stitcher, iHeart Radio, TuneIn+Alexa

Opern-Weltstar Jonas Kaufmann und seine Frau Christiane, eine der renommiertesten Opernregisseurinnen, im exklusiven Doppel-Interview in dieser Episode BRITPOD! Die beiden berichten über ihre engen Verbindungen nach England: Der Star-Tenor wurde vom heutigen König Charles III mit dem Doktortitel der weltberühmten Royal Academy of Music ausgezeichnet und besuchte daraufhin die Royale Familie im Buckingham Place und auf Windsor Castle. Jonas' Frau Christiane inszenierte vor einiger Zeit Mozart's Zauberflöte beim legendären Glyndebourne Opern Festival. Spektakulär: Zu diesem Musik-Event reisen VIPs und Superreiche auch gerne per Rolls Royce und Helikopter an. Außerdem schwärmen unsere England-Reisenden Alexander-Klaus Stecher und Claus Beling von den britischen Pilgerstätten klassischer Musik: Dem Royal Opera House in Covent Garden und der legendären Royal Albert Hall in Kensington mit ihren 8.400 Plätzen - ein gigantischer Ort! Die britische Szene wird weltweit für ihre vielseitige und erfolgreiche Musikkultur geschätzt. -- BRITPOD - England at its Best - wird präsentiert von Romance TV. Dem Zuhause der Rosamunde-Pilcher-Filmreihe und romantischer Serien. -- Ein ALL EARS ON YOU Original Podcast.

This week Ash + Avi chat with Conductor & Chorus Director Aidan Oliver. We talk about the Glyndebourne that we know and love as well as Aidans work with Edinburgh Festival Chorus and Philharmonia Voices. We discuss the joys of choral music and tips on auditioning! Aidan's Links: Website | Twitter | Glyndebourne Support the Podcast Buy us a coffee

Jill Swyers has worked in the catering industry, managed restaurants and was professionally involved in food and beverage for the hotel industry for over 40 years. She has worked in Greece, South Africa, Portugal, Austria, Switzerland and France. Jill also had her own London based catering company, "Hungry Hampers", providing typical cuisine for corporate events, weddings and formal picnics such as Ascot, Glyndebourne and Henley.For several years, Jill suffered a low energy level and she felt debilitated. She was diagnosed as suffering from Chronic Fatigue Syndrome, Fibromyalga, Hypoglycaemia, Candida and Reynauds disease. She believed her condition could be directly linked to her diet, which is when she started looking seriously at the impact of diet on health. To lose weight, she tried food combining and lost 20Kg (44lb) over a period of six months. Reading about Aloe Vera juice and its energising properties, she started to drink the juice and noticed an increase in vitality. To increase her chlorophyll and oxygen uptake, she included wheatgrass in her regime.Having treated herself through a combination of diet, exercise and alternative therapies, she began to study nutrition, with particular emphasis on the science of living and organic foods.Jill is now a qualified Hippocrates Health Educator and Hippocrates Ambassador and devotes her time to teaching and demonstrating the preparation of living foods as a way to achieve optimum health.Learn more about a raw vegan lifestyle at UK Fruitfest, one of the world's best event for the raw vegan community: http://fruitfest.co.ukSubscribe to the Love Fruit Newsletter and receive the 21 Days Of Raw Inspiration email series: https://mailchi.mp/fruitfest/newsletter

This episode is very special! It marks 100 episodes of the BAST Singing Teachers Talk podcast! We just wanted to take a second to do a massive shout out to all of the incredible guests we've spoken to and also you, our amazing listeners! To thank you for joining us, we're running a special giveaway to win over a thousand pounds worth of educational videos, knowledge and singing teacher goodness! All you need to do to enter is take a screenshot of this episode of the podcast playing on your device, pop it on your story and tag @basttraining. That's it! You're entered! We'll be announcing winners over on Instagram and Facebook so give us a cheeky follow. Competition entry ends at midnight tonight so get screenshotting! On to the podcast and on this milestone episode we're joined by Duncan Rock, a graduate of the Guildhall School of Music and Drama who has an active career as an operatic Baritone performing roles at many of the world's leading opera houses. He is a nutritionist working with the likes of Vocal Health Education and The Voice Care Centre and is currently training to be a physiotherapist.    KEY TAKEAWAYS   Singers have a ritual of avoiding eating chocolate before singing because they think as it naturally contains caffeine, it will dry you out and constrict the muscles around your vocal cords. It's also an acid reflux trigger, creates more phlegm, and it coats the back of the throat giving you a flatter sounding voice. Duncan believes this is just a performative act people give as there is very little evidence that it will actually have any effect.  Liquids that are emulsive, whether dairy or not, can create the feeling of thickness and can feel like they leave a sticky residue in your throat. This goes away with time and you can even just wash it off with a glass of water.  Sugar has long term effects on our health that happens over time with large consumption. It will not have any short term effects on your voice. We do need to watch our sugar intake, but this is just a long term health risk rather than a vocal one.  In Duncan's opinion, trying to manage chronic inflammation and digestive health seems to have the best overall net result for any vocal health issues around mucus and reflux. Chronic inflammation is becoming more of an issue due to stress and the amount of processed food we eat.  It's a myth that Duncan has heard at every single level of his career in classical music that if you are fit and exercise then you can't sing opera. Pavarotti was an amazing singer despite his weight, not because of it.    BEST MOMENTS   ‘Dairy does not create mucus, this is a myth' ‘You're just as likely to experience the same thing with a soy based drink as with dairy' ‘These lists of best food for singers you find online are rarely based on anything substantial'   EPISODE RESOURCES  Guest Website: www.basttraining.com Social Media: duncanrocknutrition.com  Social Media:  Instagram: @duncanrock_nutrition  Relevant Links & Mentions:  Vocal Health Education: vocalhealtlh.co.uk Pubmed: https://pubmed.ncbi.nlm.nih.gov/ Singing Teachers Talk Podcast: Ep. 60 The Best Nutritional Do's and Don'ts for Singers with Stephanie Moore: https://linktr.ee/basttraining?utm_source   ABOUT THE GUEST    Duncan is a graduate of the Guildhall School of Music and Drama (London) and West Australian Academy of Performing Arts. He has an active career as an operatic Baritone performing roles at many of the world's leading opera houses including the Metropolitan Opera, the Royal Opera, Glyndebourne, English National Opera, Teatro Real and the Boston Lyric Opera. As a baritone soloist, he has recorded and performed with the London Symphony Orchestra and the BBC Symphony orchestra. Concurrently with his performing career, Duncan works as a Nutritionist and Nutritional Science Writer. He holds a Masters of Science in Nutritional Science and an advanced diploma in nutrition and weight management. His speciality is combining his parallel fields of study and providing nutritional information for performing artists. He is cognisant, from both an academic and personal standpoint, of the heavy demands of a busy performing schedule that often includes the demands of rigorous travel. He has been using his knowledge of diet and nutrition to propel his own career as well as help other performers attain optimal vocal and physical health. MMus MMperf MSc MRSPH   ABOUT THE PODCAST   BAST Training is here to help singers gain the knowledge, skills and understanding required to be a great singing teacher. We can help you whether you are getting started or just have some knowledge gaps to fill through our courses and educational events. Website: basttraining.com Get updates to your inbox: Click here for updates from BAST Training Link to presenter's bios: basttraining.com/singing-teachers-talk-podcast-biosSee omnystudio.com/listener for privacy information.

In our first pod of 2023 we discuss cuts to opera funding, representations of female conductors, and is opera cool? … Running order 1) Arts Council England funding – English National Opera, Glyndebourne, Welsh National Opera https://www.theguardian.com/music/2022/nov/09/english-national-operas-funding-to-be-cut-to-zero-unless-it-moves-from-london https://www.theguardian.com/music/2023/jan/17/english-national-opera-arts-council-england-investment-eno 2) Mystery opera quiz … 3) Tar and female conductors https://www.theguardian.com/music/2023/jan/16/thank-you-cate-blanchett-for-taking-up-the-baton-for-female-conductors?CMP=Share_AndroidApp_Other 4) New pay deal for theatre, but opera lags behind https://twitter.com/EquityUK/status/1613477338729119745?s=20&t=0rn5rS67DfQ6TWEuRBYJ3Q 5) Classical music is cool … apparently https://www.bbc.com/culture/article/20230113-gen-z-and-young-millennials-surprising-obsession 6) Opera History Corner – the first UK opera subsidy, 1930 7) Hidden Gem – ‘Cabildo' (Amy Beach) 8) Quiz – higher or lower? Recorded on 23 January 2023 Guests - Emma Black, Helen Harrison Host - David Ward Produced by Northern Opera Group

[@ 3 min] The Metropolitan Opera is reducing performances and dipping into its endowment to survive. We ‘Crunch the Numbers' to see if these tactics will swell the coffers… [@ 26 min] In ‘Chalk Talk', it's our predictions for Operaland in 2023. (You know, we've got a good track record for predictions…) [@ 37 min] Plus, in the ‘Two Minute Drill'… The Met and Glyndebourne might be in trouble, but the Verdi Festival is doing just fine… We're back with an all-new show next week… Join us! SHOW NOTES www.nytimes.com/2022/12/26/arts/music/metropolitan-opera-endowment-contemporary.html GET YOUR VOICE HEARD operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

Tár is a psychological drama about an imaginary conductor, Lydia Tár, which has already made waves both for its central performance by Cate Blanchett and for its striking, sometimes dreamlike story about the abuses of power. It is tipped for awards and Cate Blanchett has already won the Golden Globe for her performance. The writer and director, Todd Field, joins Front Row. The news that the celebrated opera company Glyndebourne has cancelled its national tour for 2023, due to the recent cut to its Arts Council funding, was received as the latest bombshell on the UK's opera landscape. Glyndebourne's artistic director, Stephen Langridge, and the music writer and critic Norman Lebrecht discuss the company's decision and explore what kind of support and vision opera in the UK needs. Jyoti Patel on winning musician Stormzy's Merky Books New Writer's Prize in 2021 and now making her debut as novelist with her book, The Things We Have Lost. Continuing Front Row's look at the shortlist for this year's TS Eliot Prize For Poetry, today Anthony Joseph reads from his collection Sonnets For Albert – poems exploring being the Trinidad-born son of a mostly-absent father. The poem is called El Socorro. Presenter: Shahidha Bari Producer: Emma Wallace Main Image Credit: Cate Blanchett as Lydia Tár - Universal

John Hodges joins Brandon again for a new feature on music literacy. In this installment, he walks us through part of Mozart's "The Marriage of Figaro". He takes into Mozart'sunique contributions to Opera.Glyndebourne 1973 performance:https://www.youtube.com/watch?v=IugFH6PxeMQ1994 Performance with English subtitleshttps://www.youtube.com/watch?v=Yy-DTtJ5q-AShawshank Redemption Scene:https://www.youtube.com/watch?v=Bjqmg_7J53sCenter for Western Studies: https://www.centerws.com/ Hosted on Acast. See acast.com/privacy for more information.

From Director of Opera and Drama at Gothenburg Opera to Glyndebourne's current Artistic Director, Stephen Langridge has directed many productions throughout his career for renowned opera houses around the world. He talks about taking his first (literal) steps at Glyndebourne to making a return during the pandemic and everything in between. Stephen looks back at his musical background and education in the dramatic arts which fuelled his career, with lots of fun and fascinating discoveries along the way. Tea with Netty is the Orchestra of the Age of Enlightenment's podcast hosted by viola player Annette Isserlis (Netty). Over a cuppa (or something a little stronger…), Netty chats with a variety of conductors, players and other guests as she ‘spills the tea' on the side of classical music you don't normally hear.Available as Apple podcast, Google Podcast, Spotify, Stitcher, iHeart Radio, TuneIn+Alexa

durée : 00:28:11 - Au coeur de l'orchestre - par : Christian Merlin - Fondé en 1932 par Sir Thomas Beecham, il reste aujourd'hui une des quatre grandes phalanges londoniennes. Retour sur une histoire marquée par le combat pour faire sa place dans une ville saturée d'orchestres. - réalisé par : Marie Grout

Hey Wicked Hunters,   I am excited to have Grant Swinbourne be part of The Wicked Hunt - The Art of Photography Podcast.   Grant Swinbourne is a photographer from Sydney, Australia.  He produces fine art images from his travels around the world, including seascapes, landscapes and travel images.   Grant had a camera in his hands early, starting with 110mm film Instamatic cameras migrating to an SLR in 1984.  Whilst his photography remained an interest, it was one that took a back seat to his career in IT,  until he switched to digital photography in 2004.  It's now gradually overtaken his time and is now his full-time career.   Known mostly for his beautiful seascapes & cityscapes from along the East coast of Australia, he's also amassed a large portfolio of travel photography from many countries.  Grant has had images published in several magazines, including Viajes National Geographic, the Spanish language travel magazine for National Geographic.   In 2021 he was the driving force behind the establishment of the Aussie Artists Collective (https://twitter.com/AussieArtistCol) a collaborative team bringing together over 70 Australian artists displaying their work in two virtual galleries. Grant now runs educational workshops around the Sydney area to help beginners and intermediate photographers to improve their skills and learn new techniques for creating artistic landscapes and seascapes. If you want to learn more about Grant's work, you can find it here: https://linktr.ee/grantswinbourne    Other ways to listen and subscribe to the podcast: • Spotify - http://bit.ly/twhspotify   • Apple Podcast - https://bit.ly/Theartofphotography   • Google Podcast: https://bit.ly/TheArtOfPhotographyWithStanleyAr   • Website: https://podcast.thewickedhunt.com      • Tune In (Alexa) - https://bit.ly/TuneInTheArtOfPhotographyPodcastWithStanleyAr     For those of you who want to learn more about The Wicked Hunt Photography by Stanley Aryanto: • Instagram: https://www.instagram.com/thewickedhunt/    • Facebook: https://www.facebook.com/thewickedhunt/  • Twitter: https://www.twitter.com/thewickedhunt/  • Photo prints: https://www.TheWickedHunt.com/   Don't forget to leave a review on the podcast if you enjoy this conversation. It would help us to get found and help to inspire other photographers.  ---------------- Transcription: Grant Swinbourne  0:00   It's never too late, you know, unless you're dead. Once once you're dead, it's too late. But you know, so from my perspective, where you got to do is make sure that before you get there, get out there and do what it is that you're passionate about. Because if you're not actually doing what you're passionate about, then why you're doing it Stanley Aryanto - The Wicked Hunt  0:18   Hey Wicked Hunters, Welcome back to The Art of Photography podcast with Stanley oriental, where we talk about artists journey and how photography have given them hope, purpose and happiness. And today we have someone from downunder grant Swinburne is that did I pronounce your last name? Correct there, Grant Swinbourne  0:47   Grant. Oh, nice. Swinburne. Stanley Aryanto - The Wicked Hunt  0:48   Yeah, Glyndebourne? There you are? How are you? Man? It's good to have you here. I'm so glad. You know, I know. We connected through Twitter, Twitter space, and, you know, eventually to the NFT world. But it's good to be to have you here and to be able to talk about your artist journey and, you know, being able to share that with the rest of the world. Yeah, thanks Grant Swinbourne  1:09   for having me, Sam. It's great to sort of connected if not in person, virtually. But it's, it's really good and really excited to share a bit more about me. Stanley Aryanto - The Wicked Hunt  1:21   Yeah, it's always good, isn't it to be able to see that person. I think that's why that's why we like Twitter. And a lot of us gonna move from Instagram to Twitter, because we have that ability to start listening to people voice and have a deeper connection. But you know, being is no substitute to being able to see them in person or, you know, even through zoom, it's already helps a lot. So really is one of the things that I love about this podcast. Absolutely. All right. So you know that you are living in Sydney, Australia, and, you know, I've seen a lot of your work and a lot of your work are really have a really, what do you cater to a lot of the seascape and you know, all all the things around the Australian coats. So tell me, is that one of your biggest passion in photography, or you like to take a lot of other genres as well as just, you know, the fact that you're living on the coast in Australia? Grant Swinbourne  2:16   Yeah, I guess, you know, Australia, I mean, it's got a massive coastline. And, you know, to be honest, I mean, I've been to I've been to a few places around the world, luckily enough, but in my opinion, you know, in certain places around Australia, yeah, we're very lucky to have the kind of coastline that we do. There's a lot of beaches that, you know, you can go to some beaches along the coast and not seeing another person. That's not the case in Sydney echo. It's, it's, it's pretty crowded, particularly in summer. But for me, I guess I've always, you know, I've been I was born a couple of streets away from a beach on Botany Bay in Sydney. And so the birch and being around the sea, and around the, the estuaries around Sydney has been part of my life ever since I was born. And I guess I'm always drawn to it, I've always loved swimming, I've always loved that sort of feeling of relaxation that you get, you know, when you've gone to the beach, and whether you've sat there and what's the sunrise or whether you've, you know, gone for a swim or you've gone fishing, or you've gone diving or whatever, you know, it's a good feeling, you know, and I guess for me, that's one of the things that I tried to portray in some of my photography is that feeling of what it's like to have that relaxation even though you might be in a, in quite a crowded cities, and very busy lifestyle, and whatever, there's always these places that you can go to seek a bit of refuge and seek some relaxation. And so for me, that's, that's, I guess, one of the things that I'm trying to communicate with quite a lot of my photography that said, you know, on just as at home, you know, chasing waterfalls, or you know, out in out in a bush scene looking for, you know, mountains and whatever, recently did a trip to the UK and did quite a lot of photography around the Lake District and north Wales, you know, nowhere near the coast and very much about the mountains and so forth. So for me, they're, they're landscapes that I'm equally comfortable in and really, really happy about learning in those places. And, you know, again, it's about the conveying the feeling of being there. That's really what I'm trying to portray. Stanley Aryanto - The Wicked Hunt  4:39   Yeah, that's, that's the cool thing about you know, photography. I think that's one of why the reason why I love photography, the moment is that you could be in a crowded place, but like when you really do need your photography, it's like, you're in the bubble and everything, and we've done it right. That's such a cool feeling. And when you say that I just like yeah, I know exactly like, even if you're like in Bondi Beach like you could just like Sit there have your camera and and like, everything else doesn't just like nothing else matters. So that's really Yeah. So like, what what's your, you know? I love hearing that, you know, like, how can your connection with photography right and your full time live and you know how to be gender coastline really affected you a lot? How did you first fall in love with photography? Like, you know, were you always like holding a camera? Or was there a point in your life where you you just fell in love with them? Grant Swinbourne  5:34   Yeah, I guess it's always been a part of life for me my father, we he was quite a keen photographer. Never, you know, he never really did anything that you know, anyone I guess would call particularly artistic in terms of you know, he never tried to make photography a career or anything like that, you know, the, the art of photography that said, you know, he was always, you know, taking photos on family holidays, or whatever, you know, this is before I was even born. And I remember, he did a lot of stuff that he did from his time in the Navy, in the 1950s and 60s. And I used a lot of sitting there with him on slide nights, you know, so they, obviously they taking photos that ended up being transparencies of slides and loading them into a feeder and then sitting there slotting them through the the slide projector, just up on the on the wall in the lounge room. And, you know, sitting there watching, you know, some of his life portrayed, I guess, in that and you know, as a very young child, I guess that sort of struck me as something that was really cool and interesting to do. I got my sorry about that. I got my first camera when I was probably about 10. And that was a little 110 millimetre you know, happy snapper. film camera was an egg for instamatic. I think it was. And so from there, you know, obviously, growing up in the film days, there was nothing else there was no such thing as digital photography in those days. It was really a matter of, you know, just taking photos of things that I thought were interesting at the time. You know, whether that was down at the beach, or you know, just the back stairs in my grandmother's house, for example. Or the other family cat, it really didn't really didn't really matter to me much at that time. What I took photos of it was just like, Oh, that looks interesting. I'll take a photo of it, you know, and some of them were abysmally awful. Technically, because the camera itself wasn't meant to chop, the subject matter, I had no idea about composition and all those sorts of things. Anyway, fast forward, I guess, until I'd grown up a little bit. And, you know, somewhere, when was it about the mid 80s, mid 1980s, I bought my first SLR, which was a Minolta SG one. And I started to get a little bit more serious about it. And, you know, started to look at, you know, how to how to create a composition and how to how to, you know, develop my own film and that sort of thing. You know, going to high school, and, you know, there was, you know, in art, we'd be messing around mostly with black and white, because colour was expensive, you know, colour enlargers I don't think we had one at the school. You know, they weren't, they were few and far between and very expensive pieces of kit back in the back in the 70s and 80s When I went to school, and so that sort of just drove a little bit more of their creative juices for photography. Funnily enough, though, when I left school and had sort of started to go out to work and whatever work in careers started to take over, then, you know, getting married, having kids, that took even more time, you know, and I sort of started to give up some of those passions a little bit, to concentrate on those things more, you know, more fully. And again, I guess later in in life, once the kids started to get to an age where they were a little bit more self sufficient. I went out and got a digital photography and started to get to a point where I had a few point and shoots, which I did okay with that still wasn't satisfying me. So I ended up buying a Canon DSLR I think it was the 500 D originally. And so yeah, it just started to get a little bit more serious and you know, one of the things that is always fascinated me from some of my father's photography, but also, you know, some of the stuff that I've done at school was long exposure and how that gives you a different look and feel to the image rather than something that you know, it's Just to point out and shoot and get that instant moment, it was about, okay taking the time. And so I really started to develop that. And you know, see scaping really lends itself to that sort of, genre of photography, it's, it's really nice to see that flow, or that totally smooth water, as opposed to not saying that there's anything wrong with the frozen moment as the of the water, but from a aesthetically, I just, I just find it really pleasing to see that smoothing out of the movement of the water, etc. And, you know, that's, I guess what drew me back into that. And so I, I do a lot of it, because I enjoy it. I also enjoy getting up early in the morning now, not very early in the morning, but I don't mind it and enjoy seeing and being somewhere that not many people ask me, you know, I mean, even though Sydney's got, you know, five or 6 million people often go to the beach and see something that only a few 100 People might say, you know if that? Stanley Aryanto - The Wicked Hunt  11:03   Yeah, that's fantastic. Yeah, I think that's the thing, isn't it? Like, just because people gone there, they don't necessarily see everything. And as a photographer, we tend to observe more, because we want to look for something deeper, something that has connection with us. So you're absolutely right. I mean, here's the funny thing, I went down to my hometown, and I lived there for probably like, 12 years in my life, right? And I'm driving, we're driving in this road that I always drive, like, every single day, like you cannot not drive to that, you know. And just last month, when I was back, I was like driving like, wow, I didn't know there was a mountain, you know, like, right. And so you know, those kind of things you don't notice, until I started to do photography, and start to observe the landscape and everything around a little bit more and deeper. So it's crazy how much you take for granted. Yeah, I love hearing your story. You know, like, just how you got into photography. And it's something like it's been a long journey. How long have you been taking photography in general? Like, do you? Do you have a number? Grant Swinbourne  12:09   Yeah, not not really, I don't really count the, you know, the 10 year old photos in that though, you know, I guess some some people might, you know, and not because I'm ashamed of them or anything, because they were so bad. But I mean, they were, they were truly awful. I look at him now. And I go, you know, what was I think Stanley Aryanto - The Wicked Hunt  12:31   we all have that kind of photos. Grant Swinbourne  12:32   Yeah, I guess I guess probably since 1984, taking a little bit more seriously. But that said, you know, having that hiatus with the, you know, the, the career and whatever that I had, you know, I got very absorbed in that, and I'd love doing it wouldn't wouldn't have swapped it, it's enabled me to, you know, financially secure my family and all that sort of thing. So, you know, there's, there's, there's a lot of good came out of concentrating on that not on photography now, could I've kept, you know, focusing on that a little bit more on maybe, but, you know, other things got in the way. And it just, it just got left behind. And it was an interest that it was not something that I felt passionate enough about at the time to really get into it. And so, I guess, in all seriousness, probably about 2004, was where I started to get a little bit more, you know, with digital, get get more, I guess, passionate about bringing it to the fore. And now, you know, the end of my career in terms of working I've basically finished work. Or working sorry, I finished working for somebody else in November last year. And so I decided, at that point, you know, financially we were fairly secure with, we're comfortable, we can survive without needing necessarily to make a lot of money. And so I thought, Okay, well, I'm going to make photography, the forefront and work for myself. And so I started doing workshops and started selling prints as you as you do, probably over the last couple of years have started to you know, try to build that brand a little bit. And part of that also, you know, last year with the lock downs that we had here, I couldn't travel more than five kilometres outside my local area for a period of about 165 days, I think, which basically was driving me nuts because there's no beaches within five kilometres of where I live. And so and, you know, I live in suburban Sydney, there's lots of houses, telegraph poles, and I know people take photos of that, but it doesn't drive my passion it does doesn't make me really want to get out there and take those sorts of shots. You know, there's no real parks. There's one with a little brown creek that doesn't look very attractive, you know, there's usually shopping trolleys, and those sorts of things lying around the banks of the hair. You know, so there wasn't a lot to photograph, or I didn't feel it was you know, and so what I did was I decided to start a podcast, you know, similar similar to yours, you know, talking to photographers about, you know, what drives them, and what makes them passionate. So, you know, landscape photography world was born almost exactly a year ago, I think it was the 21st of July, so, only a few weeks away from where we're recording this to, you know, to start building that as, as a means of starting to build the rest of the photography brand as well. So that people, you know, know who you are you, you start to get your name associated with other photographers, etc. And you get known in the photographic industry as well, I think so, part of that, it's really just about trying to try to help build that brand and get, get my name out there and also help promote others, because to me, you know, that act of helping others helps me, you know, aside from making, you know, my name, get out there more, you know, helping others get their name out there and get their photography seen. As we were talking, before we started, you know, one of the, one of the biggest issues for any photographer is their ability to get seen, and if you're not being seen them, you know, sales are going to be much harder, you know, whether they're NF T's or prints or workshops, you know, and so it is really about that hassle of getting your brand out there and people knowing about you, and knowing about what you what you're doing. So helping others do that. Yes, it helps me but it also helps them so familiar, it's a really important thing to do. And that's why I've got involved in in a number of other projects that I've done as well. Stanley Aryanto - The Wicked Hunt  16:51   Yep, fantastic, made, you know, I was going to bring out the podcast, because I know you're doing a podcast as well. And I'd like to know a little bit more about it. So I'm glad that you mentioned that. And I think what you mentioned there is really powerful, you know, like, you always when you give something out to other people, it will come back and, you know, one of the biggest thing that I'm the reason why I started this podcast was just like, I have a burnout, you know, back in 2020, I think so I just want to hear people's journey and understand, like, do they go through this thing? You know, what, what do they do to get out of it and all this stuff, right? So apart from you know, like what you say, of course, you get the benefit of getting associated with the photographer's you know, getting the exposure, but the cool thing about this is like, you get to listen about other people journey and what people struggle with. And, you know, it really helps you that you realise that you're not alone. So for listeners who feel like, you know, they haven't got to where they are, you know, they want it to be that, you know, everyone have their own journey that you got to trust your own journey and follow through with your own journey. Because if we all have the same journey, then we're no different than the computer or underworld being manufactured, we are not manufacture we're human, we're unique. So I think that's, that is so powerful that you share that, thanks for sharing that. Now, I know that you, I think that's really cool that you put, you know, looking at your journey, it's been a really, really long journey to fall into, you know, finally, more into full time based on photography and trying to get that brand up there. And I'm interested to hear this, right, because I know there's gonna be a lot of people out there who say, You know what, I'm getting too old. And, you know, and at the end of my, my, my life, and I'm retired, I don't think I can restart, you know, this passion of mine and stuff like that. But you decided to let you know, the photography kind of just brewing its own and you know, create its own momentum. And I think that's really cool. But you never, ever give up on it and just keep going, keep going. Exactly. Finally, you get to like, Do it, do what you love the most. wants everything secure. So what would you what would you say to those people who feel like it's, it's too late or, you know, I'm not good enough. I'm not good with technology and all these things that come to their head that I know it's not true. Because I know a lot of people, you know, pick it up very quickly. And I teach workshops and courses as well. It's not that hard to learn, right, if they wanted to. Yeah, but what would you say to people who have that kind of mentality so that they can, you know, if they love photography, they can pursue that themselves without having that doubts? Grant Swinbourne  19:29   Yeah, I think, you know, making it a career is not necessarily for everyone, and not everyone should do it. And I'm not trying to put people off doing it because it's a tough business to get into. It's very crowded. There's a hell of a lot of people out there. And some will be better than us. Some will be worse than us photographically. And I think the key is to look at what it means to you as a photographer, if it means that you're able to, you know, create art And that's your primary driver, then pursue that and push that as hard as you can. If it's more about making money, then you know, you need to do different things necessarily, then just focus, you got to do the artistic piece as well. But then there's other things that you need to, you know, sit down and think hard about, you know, how do I, how do I sustain? And how do I diversify my income streams so that when people aren't buying prints, or, you know, attending workshops, or whatever, that you know, you've got other passive income streams coming in. So it's really, then you've got to actually have a bit of a business head on your shoulders to actually say, Okay, well, these are the things that that I need to do to actually make money out of them, probably one of the one of the hardest bits, I guess, in doing that is that need to be all things in that business, you know, you need to be not only the artist, but you know, first and foremost, you've got to be the marketer. So that you've basically got to be able to write some copy, and you've got to put together some kind of advertising, whatever that whatever that looks like, you know, these days, if you want to be on Instagram, you better be good at video editing. IT and technology is there to help you. And there are things that do make things like video editing, and so forth a lot easier. And even putting together together your marketing pieces. Yeah, there are things that can actually help you. So getting into that mindset of researching the tools that you need, building the skill sets that you need, so that you've actually got a set of skills that works in terms of being too late, it's never too late. Unless you there, once munchie dead, it's too late. But you know, so from my perspective, what you got to do is make sure that before you get there, get out there and do what it is that you're passionate about. Because if you're if you're not, if you're not actually, you know, doing what you're passionate about, then why are you doing it? And I guess, you know, for me, could I have done it earlier? Yes, probably would I've had the, the brain space and the skill set that I needed? Well, no, because I've built that up over time, you know, and it's really about getting to the right time, when you can actually do it now Should I've, you know, held onto some of that photographic passion during my other career, while there may be for me, that would have been at the detriment to other elements in the career. And so therefore, you know, I'm not sure that it would have worked for me to do it much earlier than I have. You know, it's I mean, it's really hard to say, and it's going to be an individual choice and an individual thing for everyone. And it's something that you've got to be really comfortable with, and something that you've got to make sure that you're passionate enough about to be able to see it through and have the energy that it takes to actually drive, you know, those marketing elements, and, you know, the, the business elements on top of the actual, you know, passionate pursuit of creating nice art, you know, that that in itself can be all consuming for some people, and they don't have any space for anything else. And, you know, for some people, you know, offloading some of those other things, like the marketing and so forth to other other people can help. But then that cost you money. So, unless you've got a family member that's willing to do it for you. So it's really, it's really hard to sort of give anyone advice without knowing their individual circumstance. But you know, from my perspective, it's really about making sure that you're, you've got the passion, you've got the desire to do it, and you feel that you've got the skill set. If you don't feel that way, then you're probably not ready. You know, it's, that's, that's the, the key thing, but the sooner you drive, to get those skills and get the elements lined up, that you need to line up, you just need to think about it from a planning perspective and say, okay, if I'm going to do this, these are the things that I need, you know, I need to know how to do marketing, I need to know how to do my own accounts. I need to I don't know how to do the administrative side of things, you know, if you if you're gonna make it a business, if you're not gonna make it a business, then it's, it's, they're more about, okay, well, how am I going to create good art? And that's really, okay. Well, once you've got the technical aspects of photography down, Pat, that's where the learning really starts. Because the technical aspects, you know, to me probably about, you know, 10 to 15% of learning photography, the real skill comes when you start to look at composition, quality of life and how that reacts to the landscape, you know, in talking about landscape photography, which is probably my main passion, but also, you know, equally that can work in, you know, portraits or you know, street photography. You know, portrait, at least I guess if you're in a studio situation, you can control the light. So very, very different. But if you're in the street, you know, that play of light and shadow is a key part of making your art look good, but also a key part of giving a feeling and telling a story. I think a lot, a lot of art really needs to tell that story to become to transcend from just being a nice picture to being something that you know, people feel and get a reaction from. Because if it's, if it's a nice picture, that's great, yes, you can hang that on the wall. But, you know, most people are only going to do that if they're feeling a connection with that image. And they're only going to do that if that image has some kind of, you know, I guess powerful elements in it that make you go Yeah, I feel something out of this, you know, whether it's happiness, sadness, or anger, you know? Stanley Aryanto - The Wicked Hunt  25:54   Fantastic, wow, that's a whole lot of advice there. So, you know, even though you said that, it's hard to give advice, I think that's a really good advice to give is to start with a passion. I remember when I had that, that burnout, that was the biggest thing was that I forgot why I started to begin, why I started in the first place, right? So man, like, I truly agree with that. And, you know, like, you, I think you're right, you know, a lot of people think, you know, I started when I was 30. And nowadays, there's a lot of photographers who's like, 14, and you know, 13, and 19, and it's gonna be a different story, it's gonna be a different passion, it's gonna be a different thing. So, you know, don't try to love what you say, you know, like, everyone's different, everyone have their own story have their own journey, I think that's absolutely, absolutely true. And being able to understand, like, you know, the lights and composition, I think that is the two biggest thing that you can learn from photography, because, like you say, even in a studio, where you can control the light, you can't control anything that you don't understand. First. Grant Swinbourne  27:03   And to me, you know, whether you whether you look at that is another technical aspect in a studio situation, or whether you're, you know, whether you see that as something creative. Doesn't matter to me, but you're quite right, if you don't understand it, you can't control it, and you can't then, you know, work it so that you're actually getting the result that you're looking for. And some of my work is, you know, potluck, you know, because you happen to be in the right place at the right time. You know, there's many times I go out for sunrise, at a beach, for example. And, you know, it's just cloud on the horizon. You know, and or, you know, just the solid, overcast, despite the fact that I've looked at a forecast that says, yes, the, you know, there could be 80%, high cloud and no low cloud, you know, you get there and that's just low cloud, and it's just, you know, what am I doing here, but then sometimes that's where you go out and you find something different to shoot you. And you don't, the key is that by the time that you've taken, if you've taken the time to go out with your camera, and then, you know, the, for me, that's one of the key things is that you can then learn, okay? Like, let's say you're at a beach and you know, it's, it's a really crappy looking sunrise, that you're not going to get that bang, and that you were hoping for, well, don't get discouraged, because you can then take shots or the way flow maybe and get something out of that. You could look at details in the rocks and do more intimate abstracts, you know, there's a whole raft of different things that you can do with that time. And it's a really around that thought process of saying, Okay, well, okay, I'm going to cut off the the disappointment that I feel from, you know, the fact that the sunrise didn't happen the way I hoped it would, and focus on you know, other things that you can do creatively and, you know, it's taking that creative mindset out into the field with you. And then bringing that home into the post production side of things as well that really, I think transcends it from just being a photographer to being a really good photographer to potentially a great photographer, and you see the great photographers, they're taking every opportunity that they've got, you know, if if the conditions are particularly in landscape, if the conditions don't work for you do something different and change, change your focus from our bed like the sunrise didn't work for me, you know, I'm now going to try something a little bit you know, alternative to that sunrise and it's really about keeping that open mind and I guess learning to live with the disappointments that are gonna come because I've had some title failures of shoots where I go out and nothing you know, I've forgotten that I you know, the last shoot that I've done, you know, might have been an astro shoots and we're in right and I've left the the lens on manual focus, and I've got it set up in bold mode. And so I get there set up and I haven't changed it from bold mode and I haven't changed the order. And the first couple of shots is like that's a mess. So, what am I doing? You know, and it's about, you know, clicking, you know, curricula. So that might that might have been a week or so ago, you know, and you've just forgotten that. That's, that's how you left your camera, you know. And so you know, it's about clicking into gear and getting your head around that and getting focused again, on what it is that you're shooting and changing your, your mindset from, you know, whatever, whatever you were planning to shoot to what it is, you're going to do now. Stanley Aryanto - The Wicked Hunt  30:25   Yeah, no, that's, that's, I think, that happens to the best of us. I know, it's still happened with me all the time. But I think it's just, you know, if you understand it, then you know, how to how to fix it. Right. So that's such a good advice there grant. And, you know, I want to talk about a community, you know, we we've been seeing that, in this industry, in photography, actually, in any industry, you know, especially nowadays, it's no longer about, you know, branding, and you know, having people just worship the brand, but now, it's about what you can give out to the community. And when you know, what I want to hear and learn from you. And, you know, like, you already mentioned, how you build the community, one of the things that you do to build a community is through podcasts. But there's a lot of, I know that you're doing a lot of different projects to build that community. So what I want to learn, what I want you to share with the audience so that they can learn from you is that what are the different ways for you to build a community and how important it is to build the community? Grant Swinbourne  31:28   Yeah, sure. I think in terms of community, there's, there's a number of different things that you've got to look at, you know, there's this the community, I guess, that you get, with social media and the following, and so forth, and interacting with your followers, whether they're fellow photographers, or whether they're, you know, just people that like your photography, or whatever, you know, interacting. So when somebody makes a comment, I make a point, you know, whether it's on Facebook, Twitter, Instagram, or whatever, I thank them on thanking them for the comment, you know, even if even if it's on, you probably should have composed that differently. You know, I accept that criticism, because, you know, in some people's eyes, what I've done isn't perfect, and that's okay. You know, and it's learning to be open to listening to to other opinions and people, that's really important. You know, particularly when, you know, they're part of your audience, and, you know, fellow photographers are part of your audience as well, because that's how people learn, you know, certainly, it's how I've learned is looking at what other people are doing. And, you know, in some cases, copying, you know, and or trying to replicate it, you know, to me, there's absolutely nothing wrong in that, yes, okay, everyone wants to create something unique, or we'd like to create something unique. But you know, if you're going to shoot the Sydney Opera House, how many unique angles are there for not many, you know, there's probably a few 100 that you could, places that you could stand to get a different angle of it. And, you know, the different lighting that you're going to get is going to depend on the time of day. So the point is, is that copying is a way of learning. And so, you know, looking at what other people are doing, helps you, and you have to recognise that other people are going to copy you. If you get any kind of notoriety out in the in the industry, you know, people are going to look at your work and go, I'd like to replicate that. How did you do that? You know, and that's, that's how you how you learn it. It's also one of the reasons why when I post a lot of the time, I will include my camera settings. So I'll put the EXIF up there, I'll tell you what camera and lens I'm using. I'll tell you, whether it's an exposure blend, or whether it's a single image, I'll tell you, you know, pretty much anything you want. And if anybody asks, and some people do, not many people do, but you know, some people ask, you know, how did you do that? And they'll tell you, if it's a composite, you know, there's no hiding, as far as I'm concerned and trying to say, Oh, this amazing image of a lighthouse on a point at night with the Milky Way behind it, you know, there's absolutely no way that you if you've got the lighthouse in front of you and the light shining, right that you can actually see the Milky Way a little and take a photo of it. Yeah, you might see a few stars, but you're not gonna get that Milky Way, you know, milk that you're going to see, you're going to have to make a composite of it to to actually make that work unless you got some amazing gear. That does something that I don't know that. So, you know, it's really about, you know, that that learning side of things is is a big part of community. Beyond that, I guess, in terms of building communities, I see that is really important and helping people promote their own work, you know, certainly has helped me both promote my work, but also it's helped me understand other people and get to know other people that I wouldn't have ordinarily come into contact with, you know, yes, you can sit there passively on social media, for example, and just look at like and whatever. And never, never engage with people to me. The word social in social media is Really the main point of it. So if you're not interacting with it in that way, you're not talking to people. You're not asking people questions, you're not commenting and saying, Yeah, well, I like this, but or I don't like that, you know? What's the point of being on social media, you know, if you're not engaging in that way, so, to me, building that community in that way, is important. And I guess this really came to the fore, probably about August, July, August, last year, I started to get into NF T's in a little way, you know, mental review items and so forth. And was trying to work out how that traction, I guess that, you know, needed to happen could happen for, you know, for me, personally, because, yes, I'd like to sell some NF T's and make some money out of it, because that was one of the things that a lot of people got into, but then recognise that, you know, to do that, you got to have actually have to communicate and the, you see comments from collectors of NF T's, you know, saying that one of the key things for them, aside from the feeling they get from the art itself, is the conversations that I have with the artists. And so getting that conversation going and getting people involved in that conversation is really, really important. And so I guess one of the things that I did a little bit of thinking, I saw some of the traction that some of the New Zealand photographers were getting in that NFT space, because they kind of the thing is they already had a community where a lot of them knew one another, a lot of them had shot together and so forth, because there are a smaller community than some other countries in the world. And I'm not saying I'm not saying that disparagingly, I'm saying that, because it's just the fact that we're smaller, they're a smaller country, smaller community, it's easier for them to get together physically, in a lot of ways, you know, than it is might be, it's really difficult for me to go and shoot with a guy in Perth, because it's a six hour flight away, you know, whereas someone in Sydney, I can ring up and we can connect and go and shoot, you know, which is great. But, you know, if you want that whole Australian experience, then you know, it's not all about Sydney, or Brisbane or Melbourne. It's, it's about the entire country. And so some of these guys getting some traction, because they were sort of supporting one another mainly in Twitter, retweeting, and so forth. And I had a bit of a think about it and thought, Okay, well, one of the ways that we could do this is we could actually create a collective of Australian artists and get them together to start promoting each other's work. Beyond that, we also saw the rise of things like on cyber, where you have these virtual galleries, you know, 3d galleries where, you know, either in VR or on just on a on a 2d screen, you can actually move around a virtual gallery space, looking at the art. And so I reached out to a number of people that I knew, but also some people that I didn't know, and asked if they'd be interested in submitting their work through a gallery. And so we did the first gallery, which was, I think, 44 pieces with 22. Artists, we then grew that to being 110 pieces in a much larger gallery, with 68 artists. And so from that developed, through the chats, a bit of discord, you know, conversation spaces and so forth, we started to build a, I guess, a photographic community within Australia, that was that self supporting and now we have, you know, a number of people joining, you know, group chats, and so forth, so that they can come into that fold and, you know, help promote one another's work, you know, so we, we talk to one another, you know, I guess it's offline a little bit, you know, it's still online, but it's, it's out of the public view, about what we're going to do, and then we go and do it. And in the public vein, it looks like there's, there's a bunch of guys or by guys and girls that, you know, sort of work together to try and promote one another's work. And so for me, a, it's really helped in not just providing work, but it's, it's helped in developing that community in that relationship with people, there's a connection there, and you know, that you can go to that person, you know, I know that there's been some, you know, technical issues that have come up with, you know, people's wallets, or on open sea or on foundation and whatever. And people have been able to help within that community to actually resolve some of those issues or give advice about how to resolve them. But there's also been some collaborations that have come out of it. And there's also been some work opportunities for one another where people who've gone out and helped on shoots or have helped with web design or help with, you know, building other projects. And so you know, that community building I think is is something that It's really important to be part of the community because we're, we're not individuals that are islands that are able to do everything ourselves. You know, some people are lucky and gifted that way, but not many of us. Certainly not. Yeah. And so by being able to lean on other people's skills and their knowledge and their backgrounds, you can actually, you know, bring your knowledge forward and bring your skill set forward. And you can learn a lot. And to me, you know, it's one of the things that I think, should be probably, you know, a mantra for everybody is never stop learning, you know, because if you stop learning, then, you know, you're not going to progress. You know, progress only comes through learning. And so it's really about educating yourself and educating other people with things that you may know, or they may know that you don't know. And it's that sharing of information that really, I find the most valuable part out of it, let alone any sales or whatever, which might come out of it. From a financial perspective. To me, the most enriching part is not the financial part, it's actually the learning. Stanley Aryanto - The Wicked Hunt  41:05   Wow, that is one whole lot of advice and wisdom there. Thanks a lot for sharing that grant. I think, you know, like, when I first started, especially like this, there was a time where I wanted to do like fashion photography and stuff. And there was a lot of this notion where, you know, like, we are competing against each other, and I think I'm really happy that especially in this NFT world, you know, even though I know that there are a lot of jealousy, a lot of, you know, a lot of competition and all that stuff, which, you know, I don't think we can ever get away from it, right? We're only human, but we're, we're seeing a lot more community based, where we help each other support each other. And what's really cool is that I feel like I'm, you know, that community translate translate back to, like, you know, the whole bigger community as well, you know, that's not only in the NFT. And I think it's really cool to be able to see people coming together, you know, without being scared or worried that you know, their their work, we're going to be competing against each other, but instead, just have that peace of mind and have that supportive nature to help each other. So, I always, you know, I'm very honoured to be part of the community, the Australian collective community. And, you know, it's awesome that you put everyone together to be part of that. And, like you say, it's not only, you know, we're able to help each other with the exposure, but we create, we're making friends, we genuinely creating connection with other people. I mean, that's why I have you here and get you share your wisdom. So yeah, this is I think this the really coolest thing about about photography, it's not only the photography itself, but we are, you know, the connection that you make out of that. So thanks a lot for sharing that grant. We're coming to the hour mark now. And one of the things that I always ask my, you know, my podcast guests is that if you have one advice that you can give to, to the audience, whether it's a life advice, photography, advice, or whatever it may be, what would that advice be, Grant Swinbourne  43:10   I guess, get started on what makes you, you know, happy, as quick as you can do it as early as you can. So, if you want to make a career out of photography, you know, make the decision, the key thing is making the decision. And once you've made the decision, that that's what you're going to do, then build a plan for how you're going to do it. Because very rarely do people go out and just do things, you know, building a plan, I think is absolutely vital. If you're going to try and make a living out of something, if you don't have a plan for it. And what you're going to do, if something fails, or something doesn't work the way that you'd like, you know, having that plan and having the backup plan or plan B plan C, having that plan is absolutely vital. So for me, you know, just get started, make the decision to you know, get into it, or, you know, make the decision that it's just gonna be a hobby, you know, and if it's just gonna be a hobby, and you're happy with that, stick with that, you know, but you know, make, make a decision about what it means to you as early as you can. And then don't forget that you can change your mind. And, you know, if decision AI is the wrong one, this is where Plan B and Plan C come in, you know, you can always go with decision B, you know, and say okay, well, it's not working as a business. So I'll keep it as a hobby, and I'll get on work and drive Ubers or whatever it is that you need to do to make the money to survive and keep shelter over your head and feed your family or whatever, you know that that's fine. Whatever it takes to do that. Then, you know, it's really up to you to make your path and decide how you want to how you want to fit this into your life. And if you want to make it all consuming and you want to make it your business and you want to make money out of it, then you know, warning is you might not but you know you You won't if you don't try, and if you don't start, so make that decision as early as you possibly can. And then, you know, go and do everything you possibly can to make it happen. Because if you're not doing everything you possibly can to make it happen, it'll never happen. Stanley Aryanto - The Wicked Hunt  45:13   Wow, that is a great advice. I wish you'd come to my life a little bit earlier in, in my life, Grant Swinbourne  45:20   I wish I'd made that decision. Stanley Aryanto - The Wicked Hunt  45:24   I think that it's really important to to be able to make that decision, you know, like, I know that I started this journey, because you exactly what you say I would rather you know, fail and go back to, you know, try something else rather than not knowing right? The what if, what if it does? Well, you know, what, if I, I, what if it worked out what if you know, all these things finally actually make, I can make things happen and actually do something that I really happy about? So, I think it's really powerful that you you mentioned that. And one of the things that's really cool is, you know, it's never too late. Right? Like, absolutely not. I love how you say, you can always change your mind, because that is absolutely true. You know, I take this seminar with Tony Robbins, and he's like one of the, you know, the best in mindset in life and all this stuff. And one of the things that he says, like, make decision quick and change slowly. Right. So what do you say that really hits that home? And I think in many cases, we're just too scared of you know, what could have gone wrong, but a lot of that is just in our head. So that is great advice. Great advice. Grant Swinbourne  46:31   Yeah. I remember, probably one of the one of my favourite sayings is that if you think you can, or you think you can't, you're right. Yeah, Stanley Aryanto - The Wicked Hunt  46:44   that's, that's very true. You know, it's all about how you believe in yourself. And your, your, your belief, I'm going to drive everything. While the grant, it's been a really nice conversation. I love getting to know you, I love getting to know your story. And I love hearing all of your wisdom. It's been amazing, you know, just hearing all of this things that, that you draw back from your experience, and hopefully, you know, we can hunters who are listening to this podcast, can draw that inspiration when they're not sure of which way to go. Because I think you're absolutely right. You don't have to do this full time. I think, you know, it takes a lot of a certain personality for people to enjoy full time. But yeah, it's like, I've never met anyone who doesn't enjoy photography, if they can do it, right. I think because Grant Swinbourne  47:32   it's not like golf, golf can frustrate the hell out of you. Yeah. To a certain degree, if you know, but I think I've applied golf, and I get a lot more satisfaction out of photography than I do at a golf. A lot more frustration out of golf than I do out of photography. Stanley Aryanto - The Wicked Hunt  47:52   Awesome. Yeah. So for the audience who want to learn more about you connect with you and you know, want to see more of your work, what is the best way for them to, to connect with you and, guys, I will, you know, like always, always, I will always have that link in the description. So if you need to, you know, click on it or want to go to it, it's right there. But what is the best way to connect with you? Grant Swinbourne  48:16   You can find me on Twitter, Instagram, Facebook, YouTube. Brands, if you're looking for grand Swinburne photography, you should be able to find me. Also, you can you can find my podcast, landscape photography world, anywhere where you get podcasts. There's also a YouTube channel where that it's the grand Swinburne photography channel on YouTube, where you can listen to episode see the teasers and so forth. So, you know, pretty much any, any social media I don't do Tik Tok though, so, because video really isn't my thing. But, you know, that's, that's, that's me. Stanley Aryanto - The Wicked Hunt  48:53   Fantastic. Well, thanks a lot, Grant. You know, it's been a great conversation. And thank you for being here. Grant Swinbourne  49:00   Thank you very much for having me sale. It's been an absolute pleasure. And I look forward to talking to you from the other side of the microphone on landscape photography world at some point. Stanley Aryanto - The Wicked Hunt  49:10   That will be interesting. I'd love I'd love to have that. But yeah, it's been a really great conversation. I really enjoyed this podcast. So thank you for it for the time that you've spirit. To Stanley. Thanks very much, Matt. All right weekend as well. Thanks a lot for listening. And I'm glad that you tuned in today. You know, Grant has been grant stories has been inspiring from when he started his photography to like taking it seriously to where he is right now. pursuing it full time. I think it's one of the coolest journey that I've heard and he said it himself you know, all you have, all you need is that to believe in yourself whether you can or no, it's really up to you. So I think that's such a really cool thing that he brought up at the end of this to wrap everything up. But if you haven't hit the subscribe button and do so so that you can hear next people and the next thing points story as well as their journey. on how to you know pursue not only photography full time but if you only want to do it as a hobby you know there's a lot of guests in my podcast that doesn't really do it full time so hit that subscribe button and I'll see you guys next week all right well until next time weekenders  

Ben Glassberg is a young conductor much in demand by several opera companies including ENO and La Monnaie, and Chloe Rooke, who has been working as his assistant on Don Pasquale at Glyndebourne this summer with OAE, is also a prodigiously talented conductor, on the threshold of her career. Ben has been principal conductor of Glyndebourne on Tour since 2019, and is also Music Director of Opera de Rouen and Principal Guest Conductor of Volksoper Wien. Here they discuss their surprisingly similar routes to opera conducting, as well as how to get a foothold in the early stages, with plenty of laughs along the way, as they are very good friends, personally and professionally.---Tea with Netty is the Orchestra of the Age of Enlightenment's podcast hosted by viola player Annette Isserlis (Netty). Over a cuppa (or something a little stronger…), Netty chats with a variety of conductors, players and other guests as she ‘spills the tea' on the side of classical music you don't normally hear.Available as Apple podcast, Google Podcast, Spotify, Stitcher, iHeart Radio, TuneIn+Alexa

Jonathan Cohen has appeared with OAE as a principal cellist as well as directing from the keyboard and is currently directing Handel's Alcina at Glyndebourne. He is a musical polymath, appearing in chamber concerts either on cello or harpsichord, and was a founder-member of the London Haydn String Quartet. His own ensemble, Arcangelo has made many prestigious recordings and appeared at major venues worldwide.---Tea with Netty is the Orchestra of the Age of Enlightenment's podcast hosted by viola player Annette Isserlis (Netty). Over a cuppa (or something a little stronger…), Netty chats with a variety of conductors, players and other guests as she ‘spills the tea' on the side of classical music you don't normally hear.Available as Apple podcast, Google Podcast, Spotify, Stitcher, iHeart Radio, TuneIn+Alexa

[@ 4 min] This week… George goes ‘Inside the Huddle' with Scott Stroman, artistic director of Highbury Opera Theatre and composer of “Fever Pitch,” an opera about football. And by football, we mean soccer… [@ 26 min] And then… It's the return of ‘Monday Evening Quarterback', when George reviews Covent Garden's “Così fan tutte” and “Alcina” at Glyndebourne… [@ 37 min] Plus, in the ‘Two Minute Drill'… Rene Papé is either a fully functioning alcoholic or a homophobe. Or possibly both. Stay tuned as we wade through this PR nightmare… operaboxscore.com facebook.com/obschi1 @operaboxscore IG operaboxscore

Keturah speaks with Matthew Jocelyn, the celebrated director, writer, and theater administrator, who wrote the libretto for Brett Dean's Hamlet, originating in Glyndebourne in 2017, and currently playing at the Metropolitan Opera.

Kate Molleson visits Glyndebourne Festival Opera to hear about its new production of Ethel Smyth's ‘The Wreckers' – the first major staging of this tale of a hostile coastal community in many, many years, heard, as the composer intended, with its original French libretto. This new edition of the opera was researched and typeset by Martyn Bennett, Head of Music Library and Resources at Glyndebourne, using source material from the original score, with missing fragments orchestrated by Tom Poster, and additional help from the British Library. ‘Briefly: A Delicious Life' is a new novel by the writer Nell Stevens, a ghost story based around Fryderyk Chopin and his partner – the French novelist – George Sand, set in a monastery retreat in Mallorca. Kate meets the author to discover more about this tale of love, creativity and sexuality. The folk singer Angeline Morrison, writer and broadcaster Kevin Le Gendre and folk singer and academic Fay Hield all join Kate to discuss the overlooked black history in English folk music. And Tom Service meets conductor Michael Tilson Thomas, recovering from major surgery, still working, and in the UK recently to continue his long association with London Symphony Orchestra.

Jonathan Bloxham and I have known each other for 6 years now and I knew he would be perfect to interview - we get along very well and I knew he would be open, honest, and interesting as he has a real passion for what he does. As an example of that, he was very open about his experiences as Assistant Conductor with the CBSO, I discovered how a nightmare set of circumstances meant that his debut at Glyndebourne was very memorable indeed, and we discuss accents, not musical accents either! The festival that Jonathan is the founder of, Northern Chords, can be found here - https://northernchords.com/ If you would like to discover a whole lot more about conductors and conducting, why not subscribe at https://www.patreon.com/amiconthepodium, and, for a monthly fee starting from just £5 a month, you can access two new series of interviews, group Zoom meetings with other fans of the podcast and myself, a monthly bulletin about the podcast and my own career as well as articles, photos, videos and even conducting lessons from myself. If you listen via Apple podcasts, please do leave a rating and review - it really helps the podcast get noticed and attract more listeners. If you want to get involved on social media, you can via Facebook (https://www.facebook.com/amiconthepodium) or Twitter (@amiconthepodium). This interview was recorded on 20th April 2022 via Zoom.

Handel's Messiah is one of the great Christian works of Easter. Jeff Lloyd Roberts follows the creation of a new production by the Glyndebourne opera company, looking at the challenges of mounting a huge choral piece and touring with it during a time of rising Covid rates. While most oratorios put the spotlight on the soloists, Handel's Messiah has the chorus at its heart. We hear from performers in one of the foremost choruses in international opera, as they take on a piece that wholeheartedly showcases its singers in everything from the exhilarating He Trusted in God to the rapt wonder and stillness of Worthy is the Lamb. Conductor Ben Glassberg discusses the challenge of finding a new way to tell the story of Christ's birth, crucifixion and resurrection in such a well-known and well-loved work. Image: The Glyndebourne chorus rehearses Handel's Messiah (Credit: Richard Hubert Smith) Show less

Jonathan Veira is an internationally acclaimed bass baritone opera singer, who's performed across the globe with various companies including Glyndebourne, The Royal Opera House, Covent Garden and The Royal Danish Opera Company. His performances in operatic comedy roles have thrilled audiences at home and abroad but JV sings much more than opera alone. This multi-skilled entertainer with a range as big as his heart and character has performed across the globe to great reviews both in opera and in his own one-man show. He's also well known in the Christian community for his Christian and gospel albums. There's no doubt about it, he's a very funny and supremely talented guy and in this double length podcast the guys chat about JV meeting his wife, Sue, winning a competition which launched his operatic career, debilitating illness in 1989, recovery and playing Falstaff in Copenhagen through to his recent kidney transplant. You won't want to miss a second.Support the show (https://www.buymeacoffee.com/stevelegguk)

Wayne Marshall has a multi-faceted career as a conductor, pianist and organist all over the world. I found out how his journey to the podium started at Glyndebourne, how Stevie Wonder influenced him in his early years and why it is best to avoid him during a thunder storm!