Podcasts about Sydney Symphony Orchestra

A phone call that changes everything. A seemingly impossible challenge. Hours instead of months to prepare. When mezzo-soprano Deborah Humble received that unexpected call from the Sydney Symphony Orchestra, she faced a career-defining decision: step onto the stage of the Sydney Opera House that very evening to perform Gustav Mahler's Second Symphony—a piece she had never fully sung before—or walk away from the opportunity of a lifetime.What followed was a whirlwind day of frantic preparation, from retrieving a discarded concert dress from a garbage bag in her car trunk to a 45-minute crash course with her vocal coach. With barely enough time to warm up, Deborah found herself standing before a sold-out audience at the Sydney Opera House, performing in a concert that was not only being live-streamed globally but also recorded by Deutsche Grammophon for worldwide release.The stakes couldn't have been higher. The pressure more intense. Yet amid the chaos, Deborah found clarity in a simple thought: "Simone wouldn't have asked you to step up if she didn't think you could do it." With the support of conductor Simone Young and drawing on decades of professional experience, Deborah delivered a performance that earned her a standing ovation and secured her place in Sydney Opera House history.This remarkable story transcends the world of classical music, offering powerful insights about preparation meeting opportunity, managing self-doubt, and having the courage to take calculated risks. As Deborah reflects, "We are capable of doing what we have spent our whole lives working towards." Her experience reminds us that behind every "overnight success" lies years of dedication, discipline, and determination—qualities that prepare us to seize extraordinary moments when they unexpectedly arrive.Ready to be inspired by a tale of remarkable courage under pressure? Listen as Deborah reveals what it truly takes to rise to an impossible occasion when everything is on the line.Find out more about Deborah Humble on her website.Listen to the recording here. Thanks for listening to Digitally Curious. You can buy the book that showcases these episodes at curious.click/orderYour Host is Actionable Futurist® Andrew GrillFor more on Andrew - what he speaks about and recent talks, please visit ActionableFuturist.com Andrew's Social ChannelsAndrew on LinkedIn@AndrewGrill on Twitter @Andrew.Grill on InstagramKeynote speeches hereOrder Digitally Curious

In this exclusive interview, Nick Zanetti sits down with Johannes Moser, one of the most brilliant cellists of our time. Hailed by Gramophone magazine as "one of the finest among the astonishing gallery of young virtuoso cellists," Johannes Moser has performed with the world's leading orchestras such as the Berliner Philharmoniker, New York Philharmonic, Los Angeles Philharmonic, and many more. He has worked with legendary conductors including Riccardo Muti, Zubin Mehta, Pierre Boulez, Gustavo Dudamel, and others. Johannes shares his experiences on tour, his passion for music, and the importance of innovation in his field. He also talks about his commitment to expanding the classical repertoire by commissioning new works from contemporary composers, and his dedication to teaching. He has collaborated with artists like Emanuel Ax, Joshua Bell, and Leonidas Kavakos, and participated in international festivals such as the Verbier and Gstaad Festivals. In the 2024/25 season, Johannes will have the privilege of performing the world premiere of Anna Thorvaldsdottir's Cello Concerto with the San Francisco Symphony, and will collaborate with major orchestras like the Chicago Symphony Orchestra and the Sydney Symphony Orchestra. Don't miss this unique opportunity to discover the secrets of one of the greatest cellists of his generation, as he discusses music, nutrition, and how he keeps his body and mind at their best for his performances. In questa intervista esclusiva, Nick Zanetti parla con Johannes Moser, uno dei più brillanti violoncellisti del nostro tempo. Acclamato dalla rivista Gramophone come "uno dei più straordinari tra i giovani violoncellisti", Johannes Moser ha collaborato con le orchestre più prestigiose al mondo, come la Berliner Philharmoniker, la New York Philharmonic, la Los Angeles Philharmonic e molte altre. È stato diretto da leggendari direttori d'orchestra come Riccardo Muti, Zubin Mehta, Pierre Boulez, Gustavo Dudamel e molti altri. Johannes condivide la sua esperienza in tournée, la passione per la musica e l'importanza dell'innovazione nel suo campo. Parla anche del suo impegno per ampliare il repertorio classico, commissionando nuove opere a compositori contemporanei e la sua dedizione nell'insegnamento. Ha lavorato con artisti di fama come Emanuel Ax, Joshua Bell e Leonidas Kavakos, e ha partecipato a festival internazionali come il Verbier Festival e il Gstaad Festival. Nella stagione 2024/25, Johannes avrà il privilegio di eseguire la prima mondiale del Concerto per Violoncello di Anna Thorvaldsdottir con la San Francisco Symphony e di collaborare con importanti orchestre come la Chicago Symphony Orchestra e la Sydney Symphony Orchestra. Non perdere questa opportunità unica di scoprire i segreti di uno dei più grandi violoncellisti della sua generazione, mentre discute di musica, nutrizione, e come mantiene il suo corpo e la sua mente al meglio per le sue esibizioni.

A conductor renowned for his dynamic interpretations and exceptional leadership, Vasily Petrenko has firmly established himself as one of the most compelling conductors of our time. Currently the Music Director of the Royal Philharmonic Orchestra, after his 15 year stint as chief conductor of the Royal Liverpool Philharmonic Orchestra, his illustrious career spans collaborations with some of the world's finest orchestras and opera companies including the Berlin and London Symphony Orchestra, as well as the Gewandhaus, the Bavarian Radio Symphony Orchestra, the Metropolitan Opera, among many others. Vasily talks about his upbringing in the then-USSR, and speaks with great passion about the need for music to bring peace in all parts of the world. He has a deep understanding of the music he conducts, and strives to expand the musical horizons of audiences. Vasily Petrenko conducts the Sydney Symphony Orchestra from 27-30 November.

Canadian conductor Nicolas Ellis will will have his Sydney Symphony Orchestra debut whenhe conducts Elgar's Enigma Variations at the Sydney Opera House in October. He speakswith Alan Field on Monday Drive about his entrée into the music space and his fast ascent toconducting the Sydney Symphony Orchestra, one of the world's best orchestras. [...]Read More... from Interview with Nicholas Ellis

A violinist known for phenomenal technique, persuasive interpretations, and ravishing tones, Augustin Hadelich has performed across the world. He's appeared with orchestras from the Berlin and London Philharmonics to Tokyo's NHK Symphony and our own Sydney Symphony Orchestra. His recordings cover a wide range of the violin repertoire, and in 2016 he won a Grammy for Best Classical Instrumental Solo. He has a new album out this month – American Road Trip – and in this program Augustin takes us on that journey through some of the greats of American violin music. He shares with us stories of his life playing the violin, without a Rubik's cube in sight!

Auch in diesem Jahr finden sie statt: Die Bayreuther Festspiele. Mit "Tristan und Isolde" werden sie eröffnet, und wieder mit großer Spannung erwartet wird "Der Ring des Nibelungen". Dieses Mal unter neuer musikalischer Leitung: Die australische Dirigentin Simone Young steht am Pult. Seit 2022 ist sie die Chefdirigentin des Sydney Symphony Orchestra, sie ist international unterwegs, hat auf den wichtigsten Podien weltweit dirigiert und im Norden ist sie bestens bekannt. Von 2005 bis 2015 war sie in Personalunion die Intendantin der Staatsoper Hamburg und Generalmusikdirektorin des Philharmonischen Staatsorchesters. Über ihre Arbeit, über Richard Wagner und die Bayreuther Festspiele spricht Simone Young mit Friederike Westerhaus in "NDR Kultur à la carte".

Du 10 au 13 juillet, le chef d'orchestre Stéphane Denève et l'organiste titulaire de la cathédrale Notre-Dame de Paris, Olivier Latry, s'associent avec le Sydney Symphony Orchestra pour interpréter l'une des symphonies les plus célèbres de tous les temps : la Symphonie pour orgue de Saint-Saëns.

Are you intrigued by the share market but intimidated by the thought of investing? You're not alone. The latest episode of our podcast features Caroline Mark, co-founder and COO of the Under the Radar Report, who shares her personal journey from the arts to the world of finance. Caroline worked for prestigious institutions like the Sydney Symphony Orchestra and the National Gallery in London. She had no financial expertise. However, her desire for financial security and a better understanding of her savings led her down a path that many find daunting: building an investment portfolio.Here's a link to the blog post: https://www.sharesforbeginners.com/blog/caroline-markPortfolio tracker Sharesight records your trades, shows your true performance, and saves you time and money at tax time. Sharesight automatically tracks price, performance and dividends from 240,000+ global stocks, crypto, ETFs and funds. Add cash accounts and property to get the full picture of your portfolio – all in one place. Get 4 months free at https://www.sharesforbeginners.com/sharesight-portfolio-tracking Disclosure: The links provided are affiliate links. I will be paid a commission if you use this link to make a purchase. You will receive a discount by using these links/coupon codes. I only recommend products and services that I use and trust myself or where I have interviewed and/or met the founders and have assured myself that they're offering something of value.Shares for Beginners is a production of Finpods Pty Ltd. The advice shared on Shares for Beginners is general in nature and does not consider your individual circumstances. Shares for Beginners exists purely for educational and entertainment purposes and should not be relied upon to make an investment or financial decision. If you do choose to buy a financial product, read the PDS, TMD and obtain appropriate financial advice tailored towards your needs. Philip Muscatello and Finpods Pty Ltd are authorised representatives of Money Sherpa PTY LTD ABN - 321649 27708, AFSL - 451289. Hosted on Acast. See acast.com/privacy for more information.

A distinguished conductor with a large repertoire of recordings, Osmo Vänskä has been chief conductor of orchestras in many parts of the world, including the Lahti Symphony Orchestra in his native Finland, the Iceland Symphony Orchestra, the BBC Scottish Symphony Orchestra, and the Minnesota Orchestra. His repertoire may be vast, but it's the music of his native Finland, and in particular the music of Sibelius, for which the New York Times noted that Osmo is “one of the most important contemporary interpreters”. Osmo discusses the music of Sibelius and its importance to Finland, as well as sharing inspirational stories from his life as a conductor. Osmo Vänskä conducts the Sydney Symphony Orchestra for selections of Sibelius's original and profound music 24-27 April, and conducts the Adelaide Symphony Orchestra for Sibelius and Beethoven on 3-4 May.

The imaginative and versatile Finnish virtuoso pianist Paavali Jumppanen has established himself as a dynamic musician of seemingly unlimited capability who has cut a wide swathe as an orchestral and recital soloist and artistic director of both the classic and contemporary. He's performed in the US, Europe, Japan, China, Japan and Australia, and it is in Australia that he has made a second home, as since 2021 he has been the artistic director of the Australian National Academy of Music in Melbourne.  Paavali gives us a great insight into ANAM and their philosophy and methods, and we hear about his own musical journey including recording the entirety of Beethoven's piano sonatas. Paavali Jumpannen directs the Melbourne Symphony Orchestra for Marvellous Mozart from 7-9 March at various locations. Musicians of ANAM will be performing Arnold Schönberg's Gurrelieder with the Sydney Symphony Orchestra under Simone Young on 15-16 March at the Sydney Opera House.

One of the leading violinists of his generation, Renaud Capuçon is known and loved for his poise, depth of tone, and virtuosity. He has worked with luminaries including Charles Dutoit, Claudio Abbado and Daniel Barenboim, and with all the major orchestras, whether it's the Berlin Philharmonic, the Vienna Philharmonic, the London Symphony Orchestra, and many, many more. He has recorded over 20 albums, and one reviewer labelled him “an uninhibited musician at the peak of his art”. He's in Sydney giving the Australian premiere of the violin concerto composed for him by Camille Pépin, with the Sydney Symphony Orchestra conducted by its chief conductor Simone Young. Renaud speaks about key moments in his career, providing insights into the life a of a top tier musician such as himself. We also hear about his role as artistic director of the Menuhin Music Academy plus the story of his remarkable instrument, played for many years by Isaac Stern. Renaud Capuçon performs Pépin's Violin Concerto La Sommeil a pris ton empreinte (Sleep retains your imprint) with the Sydney Symphony Orchestra under chief conductor Simone Young from 28 February to 2 March, a concert which also includes a performance of Mahler's Symphony no 5.

A violinist in great demand internationally, UK-born Andrew Haveron is currently the concertmaster of the Sydney Symphony Orchestra, having previously served in that role with the BBC Symphony Orchestra. As first violinist with the internationally acclaimed Brodsky Quartet he recorded more than 15 albums and collaborated with a diverse cross section of artists. Despite keeping busy with the Sydney Symphony he is still able to perform in chamber recitals, including with Katheryn Selby and the Omega Ensemble, and in February he returns to the Great Synagogue in Sydney for Vienna's Golden Age, opening a new year of concerts for Live at Yours. Andrew talks about his school life at the Purcell School for Young Musicians in London, and his time with the Brodsky Quartet. He explains his move to the role of Concertmaster, providing an inside view of the nuances and responsibilities of one of the most important roles in a symphony orchestra.

The guest today is Chair, board director, business advisor and marketing thought leader, Andrew is the Chair of Australian Pork, Deputy Chair of Sydney Symphony Orchestra, and a Non-Executive Director at BirdDog (ASX), Foresters Financial, GrowthOps and Hypetap. He is also a Senior Advisor at BGH Capital and the Adjunct Professor of Marketing at the University of Sydney, and has been the Senior Advisor to KPMG's Customer, Brand and Marketing business. Prior to this he was the CEO of two of the country's largest communications agencies, Publicis, and Ogilvy. When he was running Ogilvy Australia, Andrew had 17 companies reporting to him, and at Publicis he had 12. He soon realised that to grow each company you needed robust business plans for each, which had to have an easy to understand strategy, and a clear and prioritised set of must-do's to execute that strategy. In 10 of 11 years as a CEO, this discipline led to top-line revenue growth. After stepping into a portfolio career in mid-2018, Andrew was approached by a number of companies to cast his eye over their operations as a business planning consultant. He decided that the best way to ensure accountability of his advice, was to develop a business plan framework that leveraged his years of experience. The result was the 24 Hour Business Plan, which Andrew has now run for over 100 companies in the past few years, with much success. This podcast episode includes: • Host Elizabeth Gould introduces Andrew Baxter and refers to the key impact of Andrew's message in the interview and the three practical tools she will share at the end . (0.0) • Andrew described the early influences on his creativity and how that impacted his career choices. (1:58) • The creative and often maverick thinking behind Andrew's advertising campaigns that became household names for brands including Coca Cola and Jim Beam during the 80s and 90s, the "Golden Age" of brand recognition, with innovative campaigns and personal branding becoming increasingly important. (4:41) • The mindset involved in creating campaigns for clients that may be rejected or not successful, highlighting the difficulty of navigating the industry's deadlines and competition. (10:01) • Andrew discusses the limitations of AI in creating unique and original content, citing examples of AI-generated art and music that are merely replicas of past works. (12:21) • The creative thinking behind redesigning the business plan model to create ‘The 24 hour Business Plan' and how that has been so successful. (17:20) • How selling hope and future success is important for employees, sharing examples of early-stage companies that have doubled their business in two years and larger companies that have grown by 60% after implementing their plans. (19:45) • Andrew reveals how the process simplifies complex ideas in marketing, using storytelling and visualization to communicate strategy effectively., suggesting that simplicity and emotional involvement are key to successful implementation.(23:26) • Elizabeth draws together three key takeaways for entrepreneurs to apply regarding mindset, attitude, and the magic of Andrew's 60 second bbq rule! 28:25) • And so much more! You can out find out more about Andrew's background and how the 24 Hour Business Plan will deliver success for your business here: https://www.linkedin.com/in/andrewbaxter3/ https://www.24hourbusinessplan.com.au/

Stanley Dodds is a violinist and conductor whose career spans three decades. He has been a violinist with the Berlin Philharmonic since 1994, and principal conductor of the Berlin Symphony Orchestra since 2014. He's conducted around the world, from our own Melbourne, Tasmanian and Canberra Symphony Orchestras, to the Hamburg, Vancouver and Beijing Symphony Orchestras, amongst many others. He also has a passion for music education, which makes him the ideal choice for his latest appointment as the new chief conductor of the Sydney Youth Orchestra. Stan talks eloquently about his inspirational musical journey as both a violinist and conductor. He introduces a number of works which will feature in SYO programs throughout 2024, providing great insights into the nature and importance of the music, and the excitement he wants to inspire in our next generation of musicians. Cathy Milliken's Catalogue of the Sky performed by the Sydney Symphony Orchestra conducted by Simone Young kindly provided by the Sydney Symphony Orchestra. Gabriela Ortiz's Téenek, Invenciones de Territorio performed by the Berlin Philharmonic conducted by Gustavo Dudamel kindly provided by Deutschlandradio.

Really Interesting Women - the podcastEpisode 117Louise Herron AMLouise Herron became the first woman appointed to lead the World Heritage-listed Sydney Opera House. During that time, she was charged with transforming the Opera House and overseeing a decade of renewal in all aspects including the largest and most transformative series of building works since the Opera House opened in 1973. The renewal process included the enormous task of trying to improve the acoustics as part of the concert hall renovation. That herculean task had its first litmus test recently when the world-renowned conductor Simone Young led the Sydney Symphony Orchestra in the first concert after the renewal, stating afterwards... ‘I've never known anything like we're experiencing today'.  Each CEO of the Opera House seems to be a custodian, a visionary, and an historian. Louise recounts the sliding door moment that may have meant the Opera House, as we know it, may never have been built but for the late arriving Finnish/American architect Eero Saarinen who was part of the design competition judging panel and wasn't happy with the shortlist presented to him...so he started foraging through the rejected entries (some say they may have already been literally binned) and found Utzon's sketches (not even plans) – and just said, ‘that's it'.  It's a fascinating discussion covering not just the Opera House, but how Louise progressed her career, the drivers, and motivators behind her decisions. The transferable skills she has used in the varied jobs she has had. Also...we discussed where to from here for the Arts generally. How can we progress and promote the Arts and remove barriers from accessing, participating, and enjoying such a vital aspect of life.  Head to the link in my bio for Louise Herron's podcast episode.Visit instagram @reallyinterestingwomen for further interviews and posts of interesting women in history. Follow the link to leave a review....and tell your friendshttps://podcasts.apple.com/au/podcast/really-interesting-women/id1526764849If you know of a potential guest or interesting woman in history, email me atreallyinterestingwomen@gmail.com

Award winning vocalist Emma Pask, has firmly established herself as one of Australia's favourite voices in Jazz. Her effortless, honest stage presence combined with her powerful vocal ability, leaves audiences spellbound and inspired whenever she takes to the stage. While Emma's voice and style are unique, and individually her own, her performances are reminiscent of the classic era of jazz, when swing was top of the charts. Her talent was first spotted by internationally renowned Jazz great James Morrison, when she was just 16 years old. She joined his band as the lead vocalist and went on to spend a solid 20 years touring the world with Morrison. On request Emma performed the Bridal Waltz for Nicole Kidman and Keith Urban at their wedding. More recently she played support to Legendary Guitarist/Vocalist George Benson when he toured Australia. Emma opened for Grammy Award winning American vocalist Kurt Elling, on his 2018 Australian Tour. Emma is a “Mo' award winner for Jazz Vocalist of the year, and has received two ARIA award nominations for Best Jazz Album of the Year in 2014 and 2016. Emma has had the honour to sing for VIP audiences including the late Diana Princess of Wales and Princess Mary of Denmark. She has sung in London at The Queen Elizabeth Hall with the BBC Concert Orchestra, the Sydney Opera House with the Sydney Symphony Orchestra. Emma has performed in China with The Shanghai Symphony Orchestra, Auckland with the NZ Philharmonic, and with the WA Symphony Orchestra in Perth.  In 2019 the Emma Pask Band headlined at the Havana Jazz Festival in Cuba. Emma has toured her band throughout Europe, Asia and Australia. She has received rave reviews for her performances in Uruguay, South America, and is a regular at the prestigious Ascona Jazz Festival in Switzerland.  Despite her achievements and the international recognition of her talent, Emma retains her natural, refreshing and unpretentious, positive approach to life.  Jazz virtuoso James Morrison says of Emma, “Whilst it's fashionable to be a jazz singer these days, she is the real thing!” In 2020 amidst the Covid 19 lockdown, Emma was chosen by The Sydney Opera House to launch the first of their concerts live streamed from the stage of the hallowed Joan Sutherland Theatre. This performance won the offical Time Out (in) award for favourite Arts livestream. In 2021 The Emma Pask Big Band brought Sydney's music scene back to life after lockdown, as they featured with a sold out performance at Sunset Piazza.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Miles Mullin-Chivers began playing the cello at the age of just 4, and has been taught by some of this country's most accomplished musicians. He's performed with the Sydney Symphony Orchestra, including as guest principal cellist, and with the Opera Australia Orchestra. He's played with the Canberra International Music Festival, the Four Winds Festival, Musica Viva, Selby and Friends and Live at Yours, and has also appeared as a soloist. He will be one of many Australian musicians from around the world coming together as the Australian World Orchestra, under the baton of their founder and artistic director, Alexander Briger, to perform Mahler's Symphony no 9, at the Arts Centre in Melbourne on 22 November and at the City Recital Hall Angel Place on 24 November. Miles tells some light-hearted stories about his career development, from his somewhat unorthodox education to his time as a Sydney Symphony fellow, and shares his choices of music and musicians that have inspired him through that journey.

A true leader of the next generation of choral singers, Elizabeth Scott is a highly skilful choral conductor who has led the Sydney Philharmonia Choirs' young adult choir Vox since 2008. She's worked with the Queensland, Adelaide and Melbourne Symphony Orchestras, and is a regular chorus master with the Sydney Symphony Orchestra. She also has a passion for contemporary choral composers, and it's one such composer who is the centrepiece of the upcoming performance she will be conducting with Vox, of David Lang's The Little Match Girl Passion, which has been defined as one of the most profound choral works of our time. Elizabeth has spent her career nurturing and developing younger singers so that they have the tools to enjoy music throughout their entire life, including through the commissioning of new music. Vox performs The Little Match Girl Passion, and other works, at the Verbruggen Hall on Saturday, October 14.

Violinist Emily Sun is in demand internationally for her compelling and captivating interpretations. She has appeared with almost all the major Australian symphony orchestras, as well as orchestras across Europe, China, and the US. She has played in world class venues from the Sydney Opera House to the Royal Albert Hall, and has performed for royalty in both the UK and Belgium. Emily is the 2023 Artist-in-Association with the Adelaide Symphony Orchestra. In this interview, Emily shares memories of appearing as the schoolgirl soloist in the heartfelt 2011 documentary Mrs Carey's Concert, recalls playing for the then Prince of Wales now King Charles III at Buckingham Palace, describes her relationship with her unique instrument, and speaks about the remarkable resilience and resourcefulness of her father as a musician in Mao's China. This interview was conducted at the 2023 Australian Festival of Chamber Music in Townsville. Emily Sun is in recital at Elder Hall on September 9 as part being Artist-in-Association with the Adelaide Symphony Orchestra, and plays with the Sydney Symphony Orchestra in the Sydney Opera House on September 15 and 16. She returns to Australia to perform with the West Australian Symphony Orchestra on November 17 and 18. The next Australian Festival of Chamber Music will take place from 26 July to 4 August 2024.

In this episode, Jacinta and Lachlan interview Elise McCann, co-founder of Hey Lemonade. We ask Elise all the nosey questions we had about Hey Lemonade as an idea and an app - where the idea came from, how Elise and Lucy got it up and running and if they use their own pep talks when things get a little hard. We dig into the CSIRO's report and findings of the efficacy of the app and why it was so important to both Lucy and Elise to have writers and speakers from different walks of life involved in the app.    About our guest Actor, producer and co-founder of the pep talk app, Hey Lemonade, Elise is a Helpmann and Sydney Theatre Award winner. Elise is currently starring in Mamma Mia in the lead role as Donna.  Elise is a graduate of NIDA and studied law at the University of NSW. In 2014 she founded her own production company Oriel Entertainment whereby she has created and produced theatre, musicals and concerts for Sydney Opera House, Sydney Symphony Orchestra, Melbourne Symphony Orchestra, QPAC, Adelaide Cabaret Festival and the ABC. Elise's debut album Dahlesque was released with ABC/Universal in 2017.   Episode partner Are you tired of the same old boring puzzles? Mix things up with Wongo Puzzles! Each puzzle is a custom design, with intricate patterns and whimsical shapes that will keep you engaged for hours. Plus, their eco-friendly materials and commitment to sustainability make Wongo Puzzles a guilt-free way to unwind. Use our link https://zen.ai/differentlybrained or the code DB to save 10% at wongopuzzles.com. The discount will be applied at checkout!   Representations & resources Hey Lemonade website CSIRO Hey Lemonade report Download the Hey Lemonade app You can purchase all of these book titles and more from your local independent bookseller or Booktopia. Please note by purchasing through these Booktopia partner links we are provided a small commission which allows us to continue to provide the podcast at no cost to our audience.    About the podcast Differently Brained shares the opinions of individuals and does not consider your personal circumstances. Differently Brained exists purely for information purposes and should not be relied on as health or medical advice. Because no brain is the same, please consult your healthcare professional for your personal medical needs. The Differently Brained team acknowledge the traditional custodians of the lands on which we record, edit and stream this podcast. We pay our respects to all First Nations peoples and their Elders part, present and emerging. We extend that respect to all First Nations cultures and their ongoing connection to the lands, waterways and communities.

Masaaki Suzuki is internationally renowned as an expert in choral music and an accomplished organist, harpsichordist and conductor. The founder and artistic director of Bach Collegium Japan, he has recorded the entirety of Bach's choral works, plus his concertos, orchestral suites, and solo works for harpsichord. His expertise extends well beyond Bach, having conducted repertoire as diverse as Britten, Beethoven, Mahler and Mendelssohn, but it's Mozart that brings him to Australia as he conducts the Sydney Symphony Orchestra, joined by the Sydney Philharmonia Choirs, for Mozart's Great Mass in C Minor, June 7-10, at the Sydney Opera House. In this conversation, Masaaki talks with great passion about the importance of Bach as a foundation stone to the composers who follow, shares some memorable tales from his earlier years, and introduces some of the vast number of recordings of Bach Collegium Japan.

In "In Conversation" today we hear from Nicolas Altstaedt. He is a musician with head, heart and soul and an extremely likeable interlocutor. As a soloist (cellist), conductor or even, for example, musical director of an international chamber music festival, he works with a wide variety of orchestras and groups around the world to express his love of music. SBS German was fortunate enough to speak with him during his short stay here in Australia. He explained aspects of classical music that many are not aware of, such as the fact that instruments have to be tuned differently for certain works, as well as general points about how soloists, conductors and orchestras work together. And he also has a lot of interesting things to say about the famous Elgar Cello Concerto, which he will perform this week at the Opera House with the Sydney Symphony Orchestra. - In „Im Gespräch“ hören wir heute von Nicolas Altstaedt. Er ist mit Kopf, Herz und Seele Musiker und ein äußerst sympathischer Gesprächspartner. Als Solist (Cellist), Dirigent oder auch zum Beispiel Musikalischer Leiter eines internationalen Kammermusikfestivals arbeitet er mit verschiedensten Orchestern und Gruppierungen in der ganzen Welt zusammen, um seiner Liebe zur Musik Ausdruck zu geben. SBS German hatte das Glück, mit ihm während seines kurzen Aufenthalts hier in Australien sprechen zu können. Er erklärt Aspekte der klassischen Musik, die vielen sicherlich nicht so bekannt sind, wie die Tatsache, dass Instrumente für gewisse Werk anders als üblich gestimmt werden müssen, als auch generelle Punkte, wie zum Beispiel das Zusammenwirken von Solisten, Dirigent und Orchester vorstatten geht. Und auch über das berühmte Elgar Cello Konzert, welches er in dieser Woche im Opernhaus mit dem Sydney Symphonie Orchesters aufführen wird, hat er viel Interessantes zu sagen.

Not yet 25 years old, Marie-Ange Nguci has exploded onto the international scene in just the last few years, having performed with Orchestre de Paris, Konzerthausorcheter Berlin, and the BBC Symphony Orchestra to name just a few. She certainly fit the model of a child prodigy, being accepted into the Paris Conservatoire at 13, completing her Master of the Piano at 16, and releasing her first album at 20. She's coming to Sydney to join the Sydney Symphony Orchestra to perform Saint-Saëns Second Piano Concerto from the 8th to the 11th of March at the Sydney Opera House, as well as a solo recital on Monday 6th March at the City Recital Hall Angel Place. In this conversation, conducted remotely from her home in Paris, Marie-Ange speaks with great warmth and enthusiasm of the repertoire she has chosen for the program, we hear about growing up in her home country of Albania, and the move to Paris at just 13 years old to attend the Paris Conservatoire. Her passion for her music is unparalleled.

Josh Pyke is a multi-award-winning Australian singer-songwriter. Producing five albums, all of which debuted in the top ten, and a stand-alone special with the Sydney Symphony Orchestra which notably won Best Original Soundtrack/Cast/Show Album in 2016. Pyke's career has been one of the consistent hits - touring his albums across Australia, the United Kingdom, and the USA, performing at Glastonbury, South by Southwest, and a myriad of the top music festivals. With a career spanning decades with no sign of stopping, Josh Pyke is a force of the indie genre to be reckoned with. Connect with Josh: Website YouTube Instagram Spotify Facebook

Inizia l'8 febbraio alla Concert Hall dell'Opera House di Sydney la stagione 2023 della Sydney Symphony Orchestra realizzata dalla direttrice d'orchestra principale Simone Young.

In November 2022 creator, singer, songwriter Ngaiire performed with the Sydney Symphony Orchestra at the Sydney Opera House forecourt. Catching a glimpse of the nerves and excitement, Ngaiire sat with Courtney ahead of the show, sharing all the lessons learned in her career in music, how her life experiences have shaped her art and how this performance had her mum crying tears of joy.For more Sydney Opera House podcasts, visit sydneyoperahouse.com/digital/podcasts or your favourite podcast platform.-- Hosted on Acast. See acast.com/privacy for more information.

This year's People's Choice Concert is a unique opportunity to vote for the music the Sydney Symphony Orchestra should play, with tunes ranging from the greatest composers, the world of film and opera and even some undiscovered gems.

Simone Young, tra i migliori direttori d'orchestra al mondo, ci presenta il ricchissimo programma della SSO per il 2023.

Notre invité aujourd'hui est Jean-Efflam Bavouzet, pianiste de musique classique qui est de retour en Australie pour des concerts avec le Sydney Symphony Orchestra du 12 au 15 octobre et aussi le 17 octobre. Il sera également à Adelaide le 19 octobre prochain pour un concert avec The Adelaide Symphony Orchestra.

Andrea Molino, noto per avere diretto opere liriche a Sydney e Melbourne, torna in Australia per dirigere per la prima volta la Sydney Symphony Orchestra nella Rapsodia in blu di George Gershwin.

Dopo due anni di chiusura e una ristrutturazione costata 100 milioni di dollari, mercoledì prossimo sarà inaugurata la nuova sala da concerti dell'Opera House di Sydney. Ce ne parla Frank Celata, clarinettista principale della Sydney Symphony Orchestra. 

As Artistic Director of the Brandenburg Orchestra, Paul Dyer leads a dedicated team of musicians and support staff who bring passion and excellence to every performance. In 2013 Paul was awarded the Officer of the Order of Australia (AO) for his ‘distinguished service to the performing arts, particularly orchestral music as a director, conductor and musician, through the promotion of educational programs and support for emerging artists'. Under Paul's direction, the Brandenburg has become one of the most outstanding period instrument ensembles in the world. Paul Dyer founded the Australian Brandenburg Orchestra with Managing Director Bruce Applebaum in 1989. The Brandenburg's first official concert was at the Sydney Opera House, a moment Paul readily recalls with fondness and disbelief at his own naivete with such an ambitious project. It is however this ambition and passion that Paul has brought to the organisation every day, and which has led the orchestra from strength to strength. Paul's dedication and enthusiasm continue to inspire the musicians and support team, as the orchestra grows and innovates, challenges and inspires, both audience and performer alike. Paul completed postgraduate studies in solo performance with Bob van Asperen at the Royal Conservatorium in The Hague, and has appeared as soloist, continuo player and conductor with many major Australian and European orchestras - the Sydney Symphony Orchestra, West Australian Symphony Orchestra, Opera Australia, Australian Youth Orchestra, Malaysian Philharmonic Orchestra, the Pacific Baroque Orchestra, Vancouver, and the Orchestra of the Age of Enlightenment, London. Paul is an inspiring teacher and has been a staff member at various Conservatories throughout the world. In 1995 he received a Churchill Fellowship and Paul is also Patron of St Gabriel's School for Hearing Impaired Children. In 2003 Paul was awarded the Australian Centenary Medal for his services to Australian society and the advancement of music and in 2010 the Sydney University Alumni Medal for Professional Achievement. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au

Sydney Symphony Orchestra prepares for Of This Earth, a new composition from Kalkadunga man William Barton

From the arts to politics: today we speak to Debbie Scholem, a former professional freelance violinist for the Sydney Symphony Orchestra. Now in retirement, Debbie is dedicating her energy on her vision for Australia by advocating for a republic.

Chair, board director, business advisor and marketing thought leader, Andrew is the Chair of Australian Pork, and a Non-Executive Director at Foresters Financial, GrowthOps, BirdDog, Hypetap, Sydney Symphony Orchestra and OzHarvest. He is also a Senior Advisor at BGH Capital and the Adjunct Professor of Marketing at the University of Sydney, and has been the Senior Advisor to KPMG's Customer, Brand and Marketing business. Prior to this he was the CEO of two of the country's largest communications agencies, Publicis, and Ogilvy, where he was a trusted counsel to many of Australia's most iconic brands. Andrew regularly writes and speaks about the future of marketing, in a world where both consumers and technology are ever-evolving. He has been named as one of LinkedIn's Top 40 Australian influencers, recognised by Campaign magazine as one of the Top 5 Agency Leaders in Australia and New Zealand, and the winner of Australian Marketing Institute's Sir Charles McGrath Award for his significant contribution to the field of marketing. Andrew is a Fellow of the Australian Marketing Institute, a Fellow of the Australian Institute of Company Directors, and holds a Bachelor of Business (Marketing) from Monash University

One of Australia's most distinguished violinists, Dene Olding has a long history with the Sydney Symphony Orchestra, having been their Concertmaster for two separate stints. He's performed as a concerto soloist in Australia and internationally, whether it be performing the great concertos of the past or premiering new works. A member of the Australia Ensemble, he's also first violinist of the renowned Goldner String Quartet. In this conversation, Simon Moore speaks with Dene about his long career after growing up in a household with two professional pianists. He also shares touching memories of his father, Max Olding, who passed away in late 2021. Photo credit: Keith Saunders

Marty spends time with Bugs Bunny and Crash Bandicoot in this episode, with a whole host of instruments on display. Playlist: "The Rabbit of Seville" performed by the Sydney Symphony Orchestra, conducted by George Daugherty, and "Main Theme from Crash Bandicoot 2" performed by Marc Hedges and his Trend Orchestra.

This week's guest is Genevieve Lang, a fellow mum who also sends her children to a Montessori program here in Australia. Now, this was one of those school situations when you realize that amongst us parents, we are still interesting adults with extraordinary life experiences. And it was during the recent lockdown that I had the opportunity to hear her play the harp for us all during our very own harp half hour.  What began as an intimate and very personal performance over Zoom turned out to be an opportunity for me to follow my curiosity and ask Genevieve to be a guest on this podcast. I have to say, I needed to muster my courage to make this ask. And this is the kind of bravery that I want to teach you too as a coach. It's the type of courage to share your talent with a new crowd or to reach out to a fellow parent and ask them how they decided on their career. It's the kind of bravery that we all need to live more enriching lives and to ultimately find it within ourselves to finally pursue our purpose right now, even in the midst of messy and uncertain times. It's also the courage that I feature front and center in my free download that you can find on my website on www.melissallarena.com/courage.  Have you yet grabbed your own copy of my Courage Makerspace Playbook? In this playbook, you'll have an opportunity to grow and test your own courage muscles. See where they are today and where they can use some strengthening so that you can get more out of your life. Pick any one of my 7 specific exercises and see where you rise up versus fall a bit apart. We all have our own sore spots when it comes to being courageous. So be sure to grab your own free Courage Makerspace Playbook right now. In this episode, we cover how some of our best and most intimate memories come out of ordinary moments including when she once played her harp in a carpark. She also shares her take on courage and the kind it took for her to hold back a bit in her own artistry to ensure the audience got what they needed (i.e. moment of silence to heal in some cases). We discuss where the women in music are and have been, as well as some orchestra best hiring practices that are also applicable to business that you may want to implement yourself. About Genevieve Lang Genevieve Lang has performed regularly as a section and guest principal harpist with the Sydney Symphony Orchestra. She has also enjoyed a long association with the Tasmanian Symphony Orchestra. Genevieve is a founding member of SHE (Seven Harp Ensemble), a group directed by harpist Alice Giles, which is active in commissioning and performing new Australian music. As a soloist she has performed with the Tasmanian, West Australian and New Zealand Symphony Orchestras.   Genevieve has presented courses in chamber music appreciation at the University of Sydney's Centre for Continuing Education and tutored the Australian Youth Orchestra's music journalism course, Words About Music. She has undertaken traineeships in artistic administration and music presentation, which gave her the opportunity to work with a number of Australian orchestras and with ABC Radio. Since then, she has worked with Gondwana Choirs, the Australian Youth Orchestra, and Pinchgut Opera. Genevieve regularly delivers pre-concert talks for the Sydney Symphony Orchestra, and has edited various publications for the SSO for the last 10 years. Amidst all that, she's still a very busy harpist! Share this conversation with anyone who enjoys classical music, who might really miss the arts, someone who is also interested and curious about what it actually takes to become a harpist and truly perform on the world's various stages. Enjoy this conversation today! Highlights Memories: Memories are made in the ordinary moments and the sensations that you experience in your body if you have that level of awareness of rising joy or catching it on the wing, and retaining it. Mastery: Mastering any skill, art or performance exists in the mind of letting go of aiming for perfection and allowing what happens and allowing for the audience to receive it in a very different way to how you might perceive it. Audacity: You have to learn how to channel what is the negative and nervous energy into a positive one and an excitement. It's very much a mental game. Healing: Harp therapy has massive applications from both ends of life – from neonatal tiny little tots in the neonatal ICU right through to end of life, palliative care, and everything in between. Simplicity: To play the harp therapeutically in a medical setting or a respite setting, you have to do very little plucking of the strings. In fact, the medicine is in the spaces between. The resonance of the harp, the way it sounds, and the way it lingers in your body, mind, and your ears is where the therapy is to be found. Simple music is what does the trick. Courage: As a classically-trained performer where she played music with deep complexity, Genevieve felt very uncomfortable with leaving so much space. And it took so much courage for her to hold back and learn to become comfortable with silence. Pattern: Math and music have a correlation in terms of patterns because we see patterns in music all the time and there are math patterns in nature and science. Curiosity: Feeling the need to diversify a little bit away from purely performance, Genevieve took a music journalism course. Is there another way to bring your talents to the world? Explore your alternatives! Creativity: For Genevieve, the act of crafting a narrative and selecting the words of telling the story from start to finish was more creative than anything she has done on the harp for 10 years. An orchestra is an act of performance, but writing words and composing words was a creative art.  Ensemble: SHE is a beautiful acronym for Seven Harp Ensemble, that Genevieve is a part of. The individual makeup of the group changes depending on people's availability. History of women in music: Women in music are everywhere. But for a really long time, they've been silenced by societal norms. For example, Clara Schumann had a 61-year career as a concert pianist.  Hiring: Women in orchestras started to grow, even outnumbering men. And that's because the screening process has changed where they've gotten rid of gender bias. Diversity: Businesses have adopted the orchestral model in a lot of places. They saw this diversity emerging from this new process of screened auditions. Brain Integration: Music, particularly for a developing mind, is an incredible full brain workout.  Emotions: How music elicits emotions is a mystery Genevieve wants to cherish and doesn't want to understand otherwise it will remove a layer of that wonder of being human. Links for more information Website: https://www.abc.net.au/classic/genevieve-lang/7952748 Instagram @abcclassic Twitter @ABCClassic FREE DOWNLOAD Want to grab your free copy of the Courage Makerspace (™) Playbook? Download the Courage Makerspace(™) here www.melissallarena.com/courage   Boost your courage in 7-days using the exact courage design tools that have worked for both me and my clients. Grab your free playbook instantly so that you can discover how to:   Figure out what makes you tick Be more accountable and not procrastinate Overcome imposter syndrome Stop caring about what others think Progress despite self-doubt Manage anxiety Ask for help You will have a step-by-step playbook to help you finally fulfill your life purpose! Do not miss out on this free opportunity as it will not be available for long.   Want to continue the conversation? Find me on Instagram! You can read my daily mini-blogs centered on the same three topics that my podcast features: creativity, courage, and curiosity. I believe that without all three it would be impossible to solve the challenges we were each uniquely made to solve. Wouldn't you agree? I'm easy to find on Instagram @melissallarena Rather keep it professional? Let's connect on LinkedIn. I encourage every single podcast listener to connect with me.

Amy Campbell is one of Australia's most accomplished dance talents with a career spanning all areas of the entertainment industry. Her extensive list of choreographic credits include Once (Darlinghurst Theatre Co), In The Heights (Blue Saint Productions in association with The Hayes Theatre), the Australian premiere of Violet, the national tour of HAIR (Sydney Opera House and Peace Productions), An Act Of God (Darlinghurst Theatre Co), Spring Awakening (ATYP), the original Australian work Guilty Pleasures (Blue Saint Productions) and Oklahoma for The Production Company.Amy's theatre credits include dance captain and role cover in the Australian tour of Dirty Dancing, Fame The Musical, Saturday Night Fever, Xanadu, the world premiere of King Kong Live on Stage, principal dancer in Opera Australia's Carmen and the Resident Choreographer of The Bodyguard Musical Australia.She was also the Choreographer/Movement Director and Assistant Director on The Sydney Symphony Orchestra's productions of Funny Girl, Porgy and Bess and Candide.Amy has performed domestically and internationally, dancing alongside Kylie Minogue, Flo Rida, Redfoo, Tina Arena, Natalie Bassingthwaighte, Sam Sparro and Sam and The Womp. She has choreographed on Dance Academy, The X Factor and ABC's Giggle and Hoot.Last year Amy choreographed Velvet Rewired and was revival choreographer for Carmen (Opera Australia). She has twice prepared to make her directorial debut originating a brand new Australian production of A Chorus Line with The Darlinghurst Theatre Company. But as with much of live theatre and the work of production houses around the country, Covid is determined to pause this essential expression.The STAGES podcast is available from Apple podcasts, Spotify and Whooshkaa. Also where you find your favourite podcasts. www.stagespodcast.com.au

This is one of my favourite stories from my travels! In my final week of living in Sydney, Australia, I decided to take the opportunity to go a concert and watch the Sydney Symphony Orchestra play at Sydney Opera House. However things didn't quite go to plan and I stood out like a sore thumb!! Thank you so much to everyone listening to the podcast recently. Please do support it by Subscribing on YouTube, Following on Instagram and sharing it with your friends - it means the world! Don't forget to follow The Worst Traveller on YouTube! Check out The Worst Traveller Blog at www.theworsttraveller.com If you enjoy this episode please do leave a 5* rating and review on Apple Podcasts - it would mean the world! The Backpack I recommend: https://www.discoversalkan.com/store/?ref=12 My Instagram: @tomjpage + @worsttraveller My TikTok: @theworsttraveller See you next week!

With respect to Greg Spence, I'm not aware of a lager named "Spence", and I needed a catchy title, so... International trumpet soloist John Foster is widely regarded as one of the world's leading exponents of performance on historical trumpets. His current roles include, Artistic Director of Australian Baroque Brass, Director of the Australasian Trumpet Academy, Principal Trumpet of the Omega Ensemble, the Canberra Bach Ensemble, and he is the Artistic Director of period instrument orchestra, Queensland Baroquehttp://www.qldbaroque.com/ (.) John was a member of the Sydney Symphony Orchestra from 2001-2013. John has appeared as soloist worldwide and performed with many leading orchestras and ensembles in Australia, New Zealand, the United Kingdom, Germany, Switzerland, Holland, Belgium, Canada, the USA, China, Macau, and Brazil. John has given master classes throughout the world, including at the Juilliard School of Music, Sydney Conservatorium of Music, the Royal Northern College of Music (UK), the Hong Kong Academy of Performing Arts, Northwestern University (Chicago), Bern University of Applied Sciences (Switzerland), and Conservatorio da Belo Horizonte (Brazil) among countless others. John is also the author of ‘The Natural Trumpet' (publisher, kookaburra music) and ‘The Baroque Trumpet Revival' (publisher, Hickman Music). John has enjoyed conducting the Queensland Baroque Orchestra, he has appeared regularly as a guest conductor of the Orchestra of St James' and was recently the guest conductor of the Rockhampton Symphony Orchestra. In this conversation with John, you'll learn: -How John got interested in trumpet initially... -Did John feel "rushed" as he progressed so quickly as a youngster?... -Politics and broken dreams with the Sydney Opera House... -Competition keeping each other fresh and pushing for greatness... -How John became interested in baroque and period instruments... -Understand THIS and it will change your approach to playing... -The difference between a cornetto and a baroque trumpet... -Why are cornets and cornettos so different?... -Composers and pieces you should know: Zalenka Ana Thielmann Paglietti Resources mentioned: http://baroquebrass.com (baroquebrass.com) http://johnfostertrumpet.com (johnfostertrumpet.com) https://www.youtube.com/user/Drawstring77 (Drawstring77 YouTube channel) https://www.youtube.com/watch?v=4ypyl4DgKrg (Sound the Trumpets on youtube) Credits: Trumpet Dynamics: The Story of the Trumpet, In the Words of Those Who Play It Host: James Newcomb Guest: John Foster Opening music: "Folklore" by https://bigbigtrain.com (Big Big Train) Closing music: "Creepin' With Clark" written and performed by Mike Vax Audio editing by: James Newcomb Show notes prepared by: podcastartistry.com

Mitchell Butel became interested in theatre as a child after seeing the musical Song and Dance and later The Little Shop of Horrors. He attended the University of New South Wales and studied for a degree in Arts/Law, majoring in Theatre Studies. He was destined for a career telling stories and has contributed markedly as a creative, on and off the stage, around Australia.With an extensive career in theatre, film and television, Butel is one of Australia's most prolific acting talents. From Shakespeare, Moliere, Williamson and O'Neill to musicals such as Avenue Q, A Funny Thing Happened on the Way to the Forum and The Mikado, to AFI-nominated feature film and TV performances, he has excelled.Butel's writing credits include Excellent Adventure and Killing Time and he wrote additional material for Meow Meow's Little Match Girl, Belvoir Street Theatre's production of The Government Inspector and Opera Australia's production of The Mikado.His directing credits include Violet at the Hayes Theatre, Spring Awakening for Australian Theatre For Young People, Porgy and Bess, Funny Girl and The Bernstein Songbook for the Sydney Symphony Orchestra, and Candide for the Sydney Philharmonia Choirs.Butel co-directed An Act of God for the Darlinghurst Theatre Company and directed the Australian premiere of Jordan Harrison's play, Marjorie Prime. Productions of Mary Rachel Brown's Dead Cat Bounce for Griffin Theatre and Tony Kushner and Jeanine Tesori's Caroline Or Change for the Hayes Theatre have followed.In 2019 he was appointed Artistic Director of the State Theatre Company South Australia, launching his first program in 2020. His extensive experience as a versatile creative have equipped him well as he has steered the company through the challenges of the past year. Mitchell is passionate about his craft and making theatre. He is a super conversationalist and a delight to welcome to the STAGES podcast.The STAGES podcast is available from Apple podcasts, Spotify and Whooshkaa. Also where you find your favourite podcasts. www.stagespodcast.com.au

Die Liebe zu Wagner und Mahler haben sie vor vielen Jahren nach Deutschland geführt. Die australische Dirigentin Simone Young gastierte an allen großen Opernhäusern der Welt. Von 2005 bis 2015 war sie Intendantin der Staatsoper und Generalmusik-Direktorin des Philharmonischen Staatsorchesters in Hamburg. Ab 2022 wird sie Chefdirigentin des Sydney Symphony Orchestra. Moderation: Daniela Arnu

051: What a fabulous talk was this. Thank you Anthony and John for such a humble and authentic discussion. I am so honored to have you both in my network as you are wonderful ambassadors for our profession. Anthony Carthew is a career professional with more than 25 years experience in PA & EA roles across government, corporate and entertainment industries. He joined the Sydney Opera House in 2006, and is currently Executive Assistant to the Chief Executive Officer Louise Herron, as well as the Head of Protocol - responsible for overseeing the arrangements for the Opera House's many visiting dignitaries and VIPs, including heads of state and members of royal families from around the globe. Anthony manages a team of Executive Assistants, and heads up the Sydney Opera House Pride network, to help promote diversity and inclusion at the Opera House for its staff, partners and visitors. His past roles include senior EA roles at David Jones (Australia's leading department store), the Australian Federation of AIDS Organisations and the Sydney Symphony Orchestra, amongst others. In 2018, Anthony was awarded EA of the Year Australasia (Executive PA Media), has spoken at many conferences and events in support of the EA profession, and is a highly-regarded mentor for aspiring PAs and EAs. John Shaw is a familiar face on my podcast and I am grateful he agreed to be part of this discussion as well. After 13 years of providing administrative support to award-winning recording artists and celebrities, John left the entertainment industry to broaden his knowledge and skills, and hone his talent further with a move into management consulting. He eventually returned to the world of entertainment, supporting the head of marketing of three major television networks, but John still felt he had something bigger to offer to the world. He found the opportunity he'd been looking for to make a bigger impact as part of his career, when he was hired in 2014 by Bill & Melinda Gates Foundation CEO, Sue Desmond-Hellmann, to be her executive assistant. He now works as Executive Business Administrator to the Board of Directors for Microsoft. When John's not at work, you can find him with his family and his beloved dogs. Here is the book link we talked about in this episode. I have this book as well and read it probably 100 times already: https://www.amazon.de/Hit-Refresh-Rediscover-Microsofts-Everyone-ebook/dp/B01HOT5SQA Enjoy this episode. Much love, Diana x

As CEO of Opera Australia and former Managing Director of Sydney Symphony Orchestra, Rory Jeffes has an intricately wound background in both creativity and business. Tune in for some fantastic insights on mediating competing priorities, how to communicate more effectively and the importance of asking the right questions. Links/References Rory Jeffes: https://www.linkedin.com/in/rory-jeffes The Common Creative Podcast (Paul and Chris): https://creativecommons.org.au The Common Creative (Mailing List Subscriptions): http://eepurl.com/hgp0_jSee omnystudio.com/listener for privacy information.

German-born Australia-based conductor Johannes Fritzsch and the Sydney Symphony Orchestra bring Beethoven’s Pastoral Symphony to the stage at the Sydney Town Hall on Wednesday, Friday and Saturday. - Die meisten Feiern zu Beethovens 250. Geburtstag fielen wegen der COVID Beschränkungen im vergangenen Jahr ins Wasser. In dieser Woche bietet aber das Sydney Symphony Orchestra unter der Leitung von Johannes Fritzsch eine willkommene Gelegenheit, etwas von dem versäumten Musikgenuss nachzuholen. Mittwoch Abend, Freitag und Samstag erklingen Beethovens 6. Symphonie – die Pastorale – zusammen mit der Ouvertüre zu ‘Egmont‘ in der Sydney Town Hall. Dirigent Johannes Fritzsch sagt, er freut sich auf ein Konzert mit Publikum.

Dopo avere raggiunto la fama internazionale come uno dei migliori violoncellisti contemporanei, Umberto Clerici, per caso, ha iniziato la nuova carriera di direttore d'orchestra debuttando niente meno che all'Opera House di Sydney con la Sydney Symphony Orchestra.

Vivaldi’s Four Seasons is one of the greatest and most well-known pieces of classical music around. Nearly everyone (and I mean everyone) has heard at least some part of it whether they know it or not. The great composer wonderfully captures the feel of each season through sound. Spring is light and joyful, while winter is starker, more foreboding. It’s simply a masterpiece that orchestras around the world play on a regular basis. Now, several orchestras have taken on the task of interpreting Vivaldi’s great work in what can best be described as a novel approach.  The approach was developed with the help of AKQA, a communications and design group working in conjunction with data scientists to reflect predicted changes to the climate in the next fifty or so years. However, rather than making one composition that would be played everywhere, they used the algorithms they specially developed for the purpose to create hundreds of new versions, each designed to evoke the climate changes in various locations around the globe. The one for Shanghai is actually completely silent. That’s because the computer models they were using show that city being underwater by then. No, I’m not sure how many tickets they plan on selling. Some sort of original introit describing the fall of the city might be more interesting, but they didn’t ask me.  I digress. The point of the exercise is to alert people to the kinds of changes that might be coming their way, even within their own lifetimes. The team that developed these new renditions of The Four Seasons will be working with orchestras around the world to perform their work, with the Sydney Symphony Orchestra having signed to perform the first public rendition. Where it goes from there is less important than any effect it might have on those who listen to it. Will it actually encourage the listeners to care about and take some sort of action on the environment? And if so, how? Very often, the way people take action on the environment is to vote for a politician or maybe take up a particular cause. Well, no policy is going to fix everything, no amount of money thrown at the problem is going to just make it go away. What will change things is changing your own behaviors. Want fewer carbon emissions? Keep your house a couple degrees cooler in the winter and ride your bike to the corner gas station ten minutes away instead of driving twenty to get to the grocery store for that gallon of milk. Or install geothermal heating. Worried about straws? Instead of switching to a paper one, don’t use one at all. After all, someone had to cut down a tree for the paper straw.  Speaking of straws, if you are a restaurant, at least try to be consistent. Right when the straws were a big deal in the news I went to a restaurant that had signs proclaiming their commitment to not using plastic straws. And then they brought my drink in a plastic cup and when I got my food, I ate it with plastic cutlery. You can’t make this stuff up.  What else? Encourage people to take care of the things that are right in front of them. It’s a lot easier to point out the landfill down the road, or the river you want to keep clean and get people to care about keeping that in good condition than it is to get them to take drastic action based on a computer model. It’s too abstract for most.  In a way, that’s what the people behind this new interpretation of Vivaldi are trying to do, to make the abstract tangible. However, if you really want to change things, start with your own behaviors and help others to make better decisions on their own. With enough people changing their behaviors in that way, it will have a much bigger effect on global climate, while improving things in your local area, too.  Naturally, one thing you can do is to share your behaviors through TARTLE. That way, businesses and researchers can determine what kind of policies are working, or might work, what products people are buying to minimize their environmental impact and what particular issues most people care about. Your data can help with all of this and more. What’s your data worth? www.tartle.co

On Arts Wednesday 3 March 2021, Sylvia’s guest was Jane Hazelwood, viola player with the Sydney Symphony Orchestra. She leads us through this often overlooked instrument, by demonstrating its sounds and playing music that reflects its beauty and unique sound.

On Arts Wednesday 3 March 2021, Sylvia’s guest was Jane Hazelwood, viola player with the Sydney Symphony Orchestra. She leads us through this often overlooked instrument, by demonstrating its sounds and playing music that reflects its beauty and unique sound. [...]Read More... from The Viola with Jane Hazelwood

Als sie anfing zu dirigieren, durften in manchen Orchestern Frauen nicht einmal mitspielen: Simone Young ist eine von immer noch wenigen Frauen in diesem Spitzenjob der Musikwelt. Im Podcast erzählt sie, warum sie als Kind auf einer Papiertastatur Klavier üben musste, was als künftige Chefdirigentin des Sydney Symphony Orchestra auf sie zukommt – und warum sie sich in vielen Ländern oft wie ein "sprechender Hund" gefühlt hat.+++ Der neue, 100% elektrische ŠKODA ENYAQ iV 80 beeindruckt auch als Firmenwagen nachhaltig: mit über 500 km Reichweite und einer Ladezeit von nur 40 Min. per Schnellladung von 10 auf bis zu 80%. Mehr zum Elektro-SUV von ŠKODA unter skoda.de/flotte-enyaq +++ Eine Produktion der Audio Alliance.Gastgeberin: Simone Menne.Redaktion: Karin Stawski, Isa von Heyl, Ivy Haase, Annette Ewen.Mitarbeit: Alissa Großkopf, Linus Günther.Produktion: Aleksandra Zebisch.

(Originally aired in February 2021) Emma Dunch made her name in the arts sector in New York, and returned to Australia in 2018 to become CEO of the Sydney Symphony Orchestra. Emma joined Simon Moore to talk about the challenges of having to temporarily vacate their home at the Sydney Opera House - as well as the current pandemic - but also the exciting new era for the orchestra as they welcome Simon Young as chief conductor and their plans for their 10th decade.

It’s an all-star Australian line up in the Sydney Symphony Orchestra’s 2021 Season opener. Daniel Roehn performs Tchaikovsky’s Violin Concerto and Simone Young conducts Dvořák’s New World Symphony. - Das Sydney Symphony Orchestra eröffnet seine diesjährige Konzertsaison mit dem Violinkonzert von Tschaikowsky, doch der eingeplante Star des Abends kann wegen Corona nicht erscheinen.

Daniel J. Mertzlufft | Composer, Arranger, Music Director, Songwriterwww.danielmertzlufft.comInstagram/TikTok: @danieljmertzlufftDaniel Mertzlufft is a classically trained composer, arranger, music director, and songwriter based in New York City. He is most known for his viral sensations The Thanksgiving Musical on The Late Late Show with James Corden featuring Audra McDonald, Patti LuPone, Josh Gad, Josh Groban, and Kristin Chenoweth, as well as his arrangement of “Remy The Ratatouille” by Emily Jacobson that launched the TikTok Ratatouille musical movement, and The Grocery Store Musical, featured on ABC’s Good Morning America among other outlets, which is an arrangement of Lousia Melcher’s “New York Summer.” Most recently for Daniel is Ratatouille: The TikTok Musical, a live streamed concert benefiting the Actor’s Fund produced by Tony-winning Seaview Productions, for which he serves as music supervisor, songwriter, and arranger of the 10 song performance.Daniel’s original works include Breathe: Portraits from a Pandemic, Dot and the Kangaroo, commissioned by MTI Australaisa and iTheatrics, House Rules: A New Musical based on the New York Times Best Selling novel by Jodi Picoult, far memory, commissioned by Fall Island Vocal Arts Seminar for Stephanie Blythe and Alan Louis Smith, Construction Site on Christmas Night. He also wrote on a new score for The Lion, The Witch, and the Wardrobe, commissioned by Bay Area Children’s Theatre, The Letter; A New Opera, and a new score for Laura Eason’s The Adventures of Tom Sawyer commissioned by MU Summer Repertory Theatre. He is a member of the advanced class of the BMI Lehman Engel Musical Theatre Workshop.Music Direction credits include; Off-Broadway: Sistas, 54 Below Sings – ABBA, Ariana Grande, Pop Hits of the 2000s, The Jonas Brothers. Readings: Monstersongs (NAMT), The Big One-Oh! TYA, and Hans Christian Anderson TYA (The Kennedy Center’s New Visions, New Voices). iTheatrics Music Direction credits include Off-Broadway: Sistas, 54 Below Sings – ABBA, Ariana Grande, Pop Hits of the 2000s, The Jonas Brothers. Readings: Monstersongs (NAMT), The Big One-Oh! TYA, and Hans Christian Anderson TYA (The Kennedy Center’s New Visions, New Voices). iTheatrics Workshops: Heathers HSE, Chicago HSE, Andrew Lloyd Webber for Young Actors Cats, Mary Poppins JR., G2K… Footloose, Newsies JR., Sister Act JR., The Drowsy Chaperone JR., My Fair Lady School Edition, Finding Nemo JR.Arrangement & Orchestration credits include “Princess” by Matthew Lee Robinson from Witches for the Sydney Symphony Orchestra, Hans Christian Andersen(additional arrangements and underscoring) The Big One Oh! (Off-Broadway – additional arrangements and underscoring), “Children Will Listen” by Stephen Sondheim, commissioned by the Junior Theater Festival for the 20th anniversary of Broadway JR. “Rainbow Connection” by Paul Williams on the occasion of his acceptance of the Junior Theater Festival Legacy Award, and over 50 songs for Oh, What a Night!, The Rhythm of Life, & Fantastical Families, and more, at Transcendence Theatre Company.As an educator, he leads workshops at the international Junior Theater As an educator, he leads workshops at the international Junior Theater Festivals, Junior Theater Celebrations throughout the United States, and specialized music workshops for the Shubert Foundation and the NYC Department of Education. Daniel also graduated valedictorian from The Crane School of Music at SUNY Potsdam. Born in Florida, Daniel has also lived in Germany, Las Vegas, and spent his formative years in Buffalo, New York before moving to New York City.

Welcome back to Financial Therapy. Take a moment right now to just imagine following your dreams. Or imagine doing a profession that you love so much, that you would do it for free. What about leaving everything you know behind to follow an uncommon path. In this episode of Financial Therapy we are going to explore what inspires people to choose say their passion, over a regular pay check. We're heading out to discover what money is like on the road less travelled, where individuals make less standard choices about how the make money, and what are the driving forces that inspire them to do so.I'm calling it ‘Money on the Road Less Travelled'. My first guest's passion has meant he has performed in front of 3.8 billion people world wide. It was conducting the Sydney Symphony Orchestra at the  Sydney Olympics Opening Ceremony. Imagine over half of the world's population watching you do your day job! George Ellis is a conductor and composer, whose work has taken him around the world working with the likes of the late Lou Reed and transforming the songs of David Bowie into orchestral masterpieces ... and he happens to be my good mate. If you are loving the show please rate and review,  plus you can make a donation to support my work via FinancialTherapy.org.HOST - Jane Monica-Jones, Financial Therapist & Author of The Billionaire BuddhaFinancial Therapy - financialtherapy.orgJane Monica-Jones - janemonicajones.comFinancial Wellbeing Courses - financialwellbeing.coThe Billionaire Buddha on Amazon - https://amzn.to/3kGlBv3GUEST - George Ellis, Conduct & ComposerWeb: georgeellis.com.auGeorge Ellis conducted the Sydney Symphony Orchestra at the Opening Ceremony of the Sydney Olympic Games in front of 110,000 people and for an international television audience of 3.8 billion people. He has conducted concerts in Paris, London, Vienna, Venice, Rome, Florence, Amsterdam, Brussels, New York, Boston, Philadelphia, Washington DC, Los Angeles, Athens and Kuala Lumpur. He has conducted the Queensland Symphony, Tasmanian Symphony, West Australian Symphony, Canberra Symphony Orchestras and Orchestra Victoria, Melbourne. He has also worked with international popular artists including Lou Reed.WE HOPE YOU'LL SUPPORT THE SHOW BY MAKING A DONATIONVIA PATREON OR PAYPALSupport the show (https://www.paypal.com/donate?hosted_button_id=4EDKQRRG3YNK2)

Andrew Baxter is one of Australia’s most trusted business, marketing and communications advisors. He’s passionate about helping companies unlock topline growth through sharp strategy and executional excellence. Andrew has worked with many of Australia's largest companies, brands and government bodies over two decades at Y&R, Ogilvy and Publicis, the latter two agencies as their CEO. Andrew is now a Senior Advisor to both KPMG and BGH Capital, and the Adjunct Professor of Marketing at the University of Sydney. Andrew is also Chair of Australian Pork, and Tjapukai, as well as a former Chair of The Lord Mayor's Charitable Foundation and of Deakin Business School. He is also a Non-Executive Director of the Sydney Symphony Orchestra, and a Board member of the National Basketball League. Andrew holds a Bachelor of Business in Marketing from Monash University, is a Fellow of the Australian Institute of Company Directors and a Fellow of the Australian Marketing Institute, as well as the winner of Australian Marketing Institute's Sir Charles McGrath Award for his significant contribution to the field of marketing. He’s also been the marketing columnist for The Australian for the past seven years, and in 2019 launched his first podcast series, The Marketing Commute. Listen is as we talk about: - investing in a crisis - creating a plan to navigate through and out of a crisis - resilience requires breaking things down one piece at a time

Elena Kats-Chernin is one of Australia’s most successful and prolific composers, working across opera, concert music, ballet and film. She even composed our first opera for television, The Divorce, which aired on ABC TV across four episodes in 2015. Most recently, she won rave reviews for the score of Whiteley, our 2019 opera about the life and work of Australian painter Brett Whiteley. Kats-Chernin was born in Tashkent, the capital of Uzbekistan (at the time part of the Soviet Union) and studied in Moscow before moving to Australia in 1975. She studied piano and composition at the Sydney Conservatorium of Music. Soon after graduating, she moved to Europe where she worked in some of the world’s most innovative theatres, before returning to Australia in 1994. Since then, she’s composed for many of Australia’s leading orchestras, including the Australian Chamber Orchestra and Sydney Symphony Orchestra, and for the opening ceremony of the Sydney 2000 Olympic Games. In this interview with our Artistic Director, Lyndon Terracini, Kats-Chernin talks about her composition process, the advantages and disadvantages of being born with perfect pitch, and how the world of theatre and her many collaborations keep her inspired.

Simon Sweeney is a professional trumpet player and educator based in Sydney. He is a studio musician and has been prolific in the live music scene since 1993. As a member of the Jazz Faculty at the Sydney Conservatorium of Music since 2010 he has taught many of the young players currently working in the Sydney scene. Simon has appeared as guest Principal trumpet with the Sydney Symphony Orchestra, the Australian Opera and Ballet Orchestra, the Adelaide Symphony Orchestra and the Tasmanian Symphony Orchestra. Film recording credits include Happy Feet, The Great Gatsby, The Extra and The Bank. Simon has played on over 40 professional musical theatre productions since the mid 90s. He has played lead trumpet for Michael Bublé, George Benson, Paloma Faith and Tim Minchin. As a jazz musician he has toured and recorded with Mike Nock, played with the Space Cadets, recorded with the Jazzgroove Mothership Orchestra and he is currently co-lead trumpet of the Australian National Jazz Orchestra. He has performed with Silverchair, Thirsty Merc and recorded with Powderfinger and Billy Thorpe. Simon's lead playing can be heard on the Netflix series Beat Bugs and Motown Magic. Simon’s own small group jazz album “Emerald City Blues” was released on the Jazzgroove label. During the lockdown he has put together a horn section called the Emerald City Horns comprising some of Sydney’s most prolific studio musicians.

We're on our tenth episode! Blimey that's flown. To celebrate, out big guest chat of the ep is with the award winning Australian-British conductor Jessica Cottis who has, among others, performed with the Sydney Symphony Orchestra, London Philharmonic Orchestra, BBC Symphony Orchestra, Royal Philharmonic Orchestra, BBC National Orchestra of Wales, and the BBC Concert Orchestra, and has been described as “cool, contained, super-articulate and engaging” - given that the first three at least are the opposite of us, she seemed like the perfect guest.The early morning recording (read 11:30am) also sent us somewhat giddy, so expect our most consistently lewd recommendations chat yet, complete with inappropriate underwear and EE Cummings - don't worry though, we're not quite as randy as Bernadine Evaristo. If that's not ringing any bells, well you'll just have to listen to the show, won't you?Links:E. E. Cummings poem - https://www.google.co.uk/amp/s/fieldnotesandfootnotes.wordpress.com/2011/10/20/e-e-cummings-being-cheeky/amp/Bernardine Evaristo: ‘How often do I have sex? Eight times a day’ - https://www.google.co.uk/amp/s/amp.theguardian.com/books/2020/jul/25/bernardine-evaristo-how-often-have-sex-eight-times-a-dayAngie Wickenden ceramics - https://instagram.com/angiewickenden?igshid=7aawybicnsztSarah Cooper Twitter - https://twitter.com/sarahcpr?s=21Outlander - https://www.channel4.com/programmes/outlanderJurassic Park Updates - https://twitter.com/JurassicPark2go?s=21Will Hislop Twitter - https://twitter.com/WillDHislop?s=21Marie-Claire Alain - https://www.theguardian.com/music/2013/mar/04/marie-claire-alainStrauss: Der Rosenkavalier - https://www.youtube.com/watch?v=3D7abQTy71I Vladimir Ashkenazy - http://www.vladimirashkenazy.com/ Sir Colin Davis - https://www.theguardian.com/music/2013/apr/14/sir-colin-davis-obituary Peacock butterflies - https://butterfly-conservation.org/butterflies/peacock Vladimir Nabokov, Butterfly Illustrator - https://www.newyorker.com/tech/annals-of-technology/vladimir-nabokov-butterfly-illustrator#:~:text=A%20drawing%20by%20Vladimir%20Nabokov,at%20the%20age%20of%20seven.&text=Petersburg%20for%20Crimea%2C%20where%20he,seven%20species%20of%20Crimean%20butterflies. Irkanda 1 by Peter Sculthorpe - https://www.australianmusiccentre.com.au/workversion/sculthorpe-peter-irkanda-i/2207 The Monstrous Child - https://www.roh.org.uk/productions/the-monstrous-child-by-timothy-sheader#:~:text=Background,her%20own%20darkly%20humorous%20novel. BBC Philharmonic Orchestra do David Bowie's 'Sound and Vision' -https://m.youtube.com/watch?v=otTiodsb-sUAs always, we'd love to hear from you! Get in touch via email at calmdowndearpodcast@gmail.com, or by following us on Twitter and Facebook @calmdowndearpod, and Instagram @calmdowndearpodcast. See acast.com/privacy for privacy and opt-out information.

Gathering in a concert hall or live-music venue remains off the cards for now but the opportunity to connect with your community through music still exists in the digital realm.

Deposed Rugby Australia boss Raelene Castle was subjected to a death threat and bullying, according to the latest report on the rugby fiasco across the Tasman.Acting Rugby Australia chairman Paul McLean has described some of the public criticism she faced over the Israel Folau affair as bullying in a Sun-Herald report.It also claimed security measures were beefed up after Castle received a social media death threat from a supporter of Folau, the star Wallaby who incited a long controversy with two anti-gay posts which led to his bitter break up with the game.The alleged death threat came around the time of Folau's three-day code of conduct hearing last May.The Sun-Herald says security was increased at RA's headquarters at Moore Park, where staff were told not to prop lower level doors open. Castle's Sydney home was given a security review."She was subjected to vitriol on social media as well as public criticism for a number of different reasons on a scale that few Australian sporting administrators have had to endure," the Sun-Herald reported.New Zealander Castle quit last week, after two-and-a-half years in charge, after it turned out she did not have her board's total support.McLean said: "I'm not a social media person, but I'm aware of some of the things that were said over a period of time in a quite vicious and vitriolic way."It's the silent forces, the dark forces, they're the things that upset me most."It's the people who didn't know the facts or were just one of those faceless people out there - that was the damaging thing form her perspective."She shared some of that with me, which I found quite abhorrent."One of my greatest concerns with her was her welfare and how she was on a daily basis. A lesser person would have thrown the towel in ages ago, quite simply."One of Raelene Castle's fiercest critics, former Wallabies coach turned broadcaster Alan Jones, was scathing of her performance but also said her exit as Rugby Australia CEO doesn't solve anything because the RA board is equally to blame for the sad state of rugby in Australia.On his 2GB radio show on Friday morning, Jones ripped into Castle for a string of poor decisions but also called for a cleanout of RA chairman Paul McLean and the rest of the board, who signed off on the CEO's calls."This solves absolutely nothing. I have said all along it's easy to throw Raelene Castle under the bus," Jones said."I can't imagine anything she has done, whether it's the bloated expenditure, the ridiculous growth in staff of over 150, the foolish, personal and spiteful attack on Israel Folau, the hopeless performances off the paddock and on the paddock. All of these things have been endorsed by the board."Now the board have told Raelene Castle, 'You must go, we need clear air'. You won't get clear air with the departure of Raelene Castle. The whole kit and caboodle have to go, that's what the Wallaby captains (who sent RA a letter this week demanding a change in leadership) wrote about."And that's the only way sponsors will return, the public will return, it's the only way credibility can be regained."I've no doubt Raelene Castle did her best. It's an appointment that shouldn't have been made. She knows nothing about the game. It's like putting someone to become the first violinist in the Sydney Symphony Orchestra who can't read music."Paul McLean is the acting chairman. He's been present for every one of the decisions that Raelene Castle made, every one of them, and so have the bulk of the board."Jones also denied the attacks on Castle had anything to do with her gender."It is insulting to say this is a matter of gender," Jones said. "It's got nothing to do with Raelene Castle being a woman. It is totally related to the results and the effectiveness of the performance."New Zealand Rugby also weighed in on Castle's resignation, though was much more positive than Jones, releasing a statement that praised her "unselfish" decision."New Zealand Ru...

David Elton is principal trumpet of the London Symphony Orchestra since December 2017 and the Sydney Symphony Orchestra since 2011. David is also a trumpet professor at the Royal College of Music in London, and a member of the Australian National Academy of Music brass faculty in Melbourne. As a soloist, David has performed Haydn’s Trumpet Concerto in Vietnam with the London Symphony Orchestra, given the world-premiere of James Ledger’s Trumpet Concerto (a work that was written for him) with the West Australian Symphony Orchestra, as well as performing other concerti with various orchestras including the Sydney and Canberra Symphony Orchestras, and the Australian Chamber Orchestra. Prior to his LSO and SSO appointments, David Elton was Principal Trumpet with the West Australian Symphony Orchestra (2005-2011) and the Adelaide Symphony Orchestra (2000-2004).  He has also performed as a Guest Principal Trumpet with the New York Philharmonic, Chamber Orchestra of Europe, Mahler Chamber Orchestra, Australian Chamber Orchestra, the Australian World Orchestra and the Hong Kong Philharmonic. For more information visit www.davidelton.com.au or www.bobreeves.com/77 for the show notes for this episode.

Chatting With Sherri welcomes Streamed Shakespeare's Emily McKnight! Shakespeare told us, ‘All the world’s a stage’ but the COVID-19 pandemic is currently dominating the scene, so why not draw the curtain and binge on The Bard instead? With the Australian theatre industry crippled, many performers, actors, directors, and creatives are turning to digital channels to continue to practice their craft. From those efforts, Streamed Shakespeare is emerging as a breakthrough international online hit. Every Sunday, the Sydney-based group will live-stream a staged reading of one of Shakespeare's plays to the world. Tune in via Facebook at 2 pm Sydney time to change the scene and embrace some beauty. EMILY WHO Emily Who is a new creation from Sydney-based actor and musician Emily McKnight, who can be seen on the 7 Network’s Jay’s Jungle. Emily writes and presents the Ku-Ring-Gai Philharmonic Orchestra’s Kids’ Proms, children’s shows for the Acacia Quartet, and children’s activities at Sydney Symphony Orchestra’s family concerts. Emily released her first album of songs for kids in early 2020, produced by Robin Gist (The Wiggles) and Peter Bailey (C’Mon Kids, Hop-a-long’s School House). In 2019 Emily received the NIDA Most Outstanding Emerging Artist Award at the Sydney Fringe Festival for her performance in Gravity Guts.

Checking in, February 14, 2020Donate to the RFSDonate to FRRRLink to the Q+A Episode: (Available within Australia)A Valentine's To Remember with the Sydney Symphony Orchestra See acast.com/privacy for privacy and opt-out information.

Songs from Dr G's posthumous album Djarrimirri Child of the Rainbow will be performed as part of a bunggul with his countrymen and the Sydney Symphony Orchestra.

Rory Jeffes brings decades of experience to one of the top jobs in Australian arts, and Opera Australia operates on a global stage as one of the most prolific companies in the world. Rory became Chief Executive Officer of Opera Australia in August 2017. Prior to this he was Managing Director of the Sydney Symphony Orchestra for 8 years, during which time he led the development of the presence and profile for the orchestra in China as a leading cultural ambassador for Australia.  He has also held senior management roles in the Development area at leading not-for-profit organisations. He discusses Opera Australia & the importance of the company to the Australian & International artistic landscape, the fostering of Australian talent & the business of show business.

There's been lots of Spider-Man and Sony news this week, we also discuss Fast and the Furious 9 casting, extra Mortal Kombat in Adelaide, we take a look at where people like to watch certain genres of film, GLOW, Straight Up Steve Austin, Star Wars and Sydney Symphony Orchestra, Stephen Amell's next project and a killer quiz!

Todd Gibson Cornish, principal bassoon with Sydney Symphony Orchestra, was Sylvia’s guest on Arts Wednesday 26 June 2019, talking us through this magnificent instrument: its history, construction, sounds and techniques of playing, interspersed with music by Bach, Mozart and Teleman.

Rhys Little is currently studying composition at Sydney Conservatorium of Music, and has worked with the Sydney Symphony Orchestra and Sydney Philharmonia Choirs. Words About Music participant Stella Joseph-Jarecki sat down with Rhys to discuss how he found himself composing, the challenges of creating music, and his piece 'Folded Sky'. Written, produced and edited by Stella Joseph-Jarecki and Madi Chwasta Folded Sky was performed by an ensemble of tutors and students from National Music Camp 2019 Opening and closing music: excerpt from Wild October Jones by Melody Eötvös With thanks to Jim Atkins, Jakub Gaudasinksi and Phillip Sametz

Jess Ciampa began his musical life as a trumpet player but changed to percussion halfway through a Bachelor of Music Education degree at the NSW Conservatorium. He is a multi instrumentalist at home in a variety of styles of music, ranging from mainstream orchestral through to jazz, latin and commercial. He has performed with the Sydney Symphony Orchestra, the Australian Brandenburg Orchestra, the Australian Chamber Orchestra, Synergy Percussion, the Seymour Group and the Sydney Dance Company and was also percussionist for The Lion King stage show. Jess has performed with several groups as part of the Musica Viva in Schools program. He currently plays with the group Zeeko as part of this program.  Recorded in Northmead, NSW Australia 22/11/2018 https://www.youtube.com/watch?v=zRNYP6oKgEM https://youtu.be/d0SRAN0OZqI https://musicaviva.com.au  

Panorama de Leeuw XLVIII: Reinbert de Leeuw bij het Sydney Symphony Orchestra #2. Thea Derks volgt het muziekspoor van Reinbert de Leeuw aan de hand van haar biografie Reinbert de Leeuw, mens of melodie In de vorige aflevering stonden we stil bij de relatie van Reinbert de Leeuw met het Sydney Symphony Orchestre. Hij dirigeerde […]

Panorama de Leeuw XLVII: Reinbert de Leeuw bij Sydney Symphony Orchestra.   Thea Derks volgt het muziekspoor van Reinbert de Leeuw aan de hand van haar biografie Reinbert de Leeuw, mens of melodie In de vorige aflevering stonden we stil bij de tachtigste verjaardag van Reinbert de Leeuw, die uitgebreid gevierd werd op 8 september […]

Sydney Symphony Orchestra presents the Disney classic, Mary Poppins – in Concert. The Oscar award-winning film will be played on the big screen, with the Orchestra performing every note of the charming musical score, including the favourites: Let’s Go Fly a Kite, Chim Chim Cher-ee and A Spoonful of Sugar. The conductor, Erik Ochsner, landed […]

Sydney Symphony Orchestra presents the Disney classic, Mary Poppins – in Concert. The Oscar award-winning film will be played on the big screen, with the Orchestra performing every note of the charming musical score, including the favourites: Let’s Go Fly a Kite, Chim Chim Cher-ee and A Spoonful of Sugar. The conductor, Erik Ochsner, landed […]

Drive Tuesday was lucky enough to chat to Luke Escombe about a peculiar meeting he had with a performer by the name of GrindHowl Screech. Luke picked up Grindhowl Screech on the way to a blues festival in Western Australia, and in return Grindhowl Screech gave him a copy of his album recorded on a […]

Amy Campbell is one of Australia’s most accomplished dance talents with a career spanning all areas of the entertainment industry. Her extensive list of credits as one of the country’s top choreographers include the Australian Premiere of the critically acclaimed Violet, for which she won the Broadway World Australia award for her work, ATYP’s sell out season of Spring Awakening, Side Show and Hispanic Attack for the Hayes Theatre (for which she was also the co-creator), the original Australian work Guilty Pleasures for Blue Saint Productions, Wicked for Packemin Productions, Dance Academy, The X Factor, ABC’s Giggle and Hoot and most recently Amy was assistant director on Sydney Symphony Orchestra’s Porgy and Bess. Her clients include ABC, Commonwealth Bank, the Sci-Fi Channel and Deutsche Bank. She was assistant to award winning choreographer Kelley Abbey on Miracle City, Xanadu The Musical, Channel 10′s I Will Survive and Natalie Bassingthwaighte’s live performances and music video of All We Have. Amy’s theatre credits include dance captain and role cover in the Australian tour of Dirty Dancing, Fame The Musical, Saturday Night Fever, the world premiere of King Kong Live on Stage ,principal dancer in Opera Australia’s Carmen and most recently the Resident Choreographer of The Bodyguard Musical Australia. She has appeared in commercials for Sony, Vodafone, Coca Cola, Video Ezy, Sci-Fi Channel, Kmart and was an ambassador for Lorna Jane’s Active Living Campaign. Her other television credits include Everybody Dance Now, placing in the Top 3 on So You Think You Can Dance Australia Season 2, as well as appearing on The X Factor, The Nickelodeon Awards, TV Week Logie Awards, Australia’s Next Top Model, Australia’s Got Talent and The Biggest Loser. You can follow Amy on: insta: @missamycampbell web: https://missamycampbell.com/

Top rated Czech pianist Lukas Vondracek performs in the Sydney Opera House with the Sydney Symphony Orchestra. We talked about the hard life of a busy musician, what music gives him back and the drug feeling of high performance concerts. - Lukáš Vondráček hraje na klavír se Symfonickým orchestrem města Sydney v ikonické Opeře. Několik hodin před prvním koncertem jsme spolu hovořili o náročném životě na cestách, o tom, co mu hudba vrací a Lukáš Vondráček poodhalil i pocity, které mozikanta mohou provázet. Toto je první část rozhovoru.

Episode 32. Harry Potter and the story of our injuries. As the that title should suggest, you're in for a concoction of Harry Potter and injuries we've suffered. The team went and saw Harry Potter and the Prisoner of Azkaban in concert with the Sydney Symphony Orchestra. Once quickly realising that they spoke too quickly about this adventure, the team followed up this gem with some pointless stories about injuries sustained. Intro Music: My Everything by DJ Quads @aka-dj-quads

The Sydney Symphony Orchestra have started doing small concerts in children's hospitals in partnership with the Starlight Children's Foundation. Director of Learning and Engagement at the SSO Linda Lorenza tells us about why classical music can have a big impact on children.

Pre-school children aren't well known for their ability to sit still and pay attention. So taking them to a classical music concert may seem like more pain than its worth. Not so, says Linda Lorenza from the Sydney Symphony Orchestra. She explains how classical performances can work for littlies.

It's Back To School time!! In this episode we discuss hints for transitioning into a new year and make a BIG announcement! For our interview, we welcome Diana Doherty, Principal Oboe of the Sydney Symphony Orchestra! This podcast is brought to you by MKL Reeds(www.mklreeds.com), Jennet Ingle Reeds (https://jennetingle.com/store/), Double or Nothing Reeds(www.doubleornothingreeds.com), and Jende Reed Knives (www.jendeindustries.com). In this episode: -The Abundant Musician Project: www.abundantmusicianproject.com -You 2.0: The Value Of 'Deep Work' In An Age Of Distraction: http://www.npr.org/2017/07/25/539092670/you-2-0-the-value-of-deep-work-in-an-age-of-distraction

Carly Thomas Smith is a dynamic and versatile singer/actor whose credits include starring on Broadway (RENT, Jersey Boys, We Will Rock You), television and film appearances (Friends, Two and a Half Men, Desperate Housewives), singing with superstars (Taylor Swift, Patti Austin), and fronting orchestras and bands around the world (Sydney Opera House, Columbus Jazz Orchestra).In the Music Industry, Ms. Thomas Smith is one of the most in-demand female vocalists, with the ability to sing both lead and background vocals across many styles of music. Starting out in the jazz clubs of Minneapolis & New York City, Carly has fronted bands of all kinds, from small jazz ensembles, high-end Corporate Events Bands, to the all-female world music group Angaza. In concert, she performed at the Sydney Opera House in the spring of 2014 as a soloist with “The Music of Queen-A Rock and Symphonic Spectacular” and The Sydney Symphony Orchestra. She has also taken the stage with The Perth Symphony Orchestra and The Richmond Symphony Orchestra. Much to her delight, Carly recently got back to her jazz roots, singing with the Columbus Jazz Orchestra as a Guest Artist for their concert series “A Night at the Movies.”Her voice can also been heard in many films, most notably the Kevin Hart film Ride Or Die with the song “In Time,” which she also co-wrote. As a background vocalist, she’s shared the stage with a wide range of recording artists, including Country/Pop Superstar Taylor Swift, R&B Legends Patti Austin and Ali Woodsen (The Temptations), Jazz Greats Lee Ritenour and Dave & Don Grusin, and Rock Royalty’s Joe Walsh & Don Felder of The Eagles. Working with some of the best in the business, her television appearances include The Tonight Show with Jay Leno, Late Night with David Letterman, Ellen, Good Morning America, The Today Show, The View, Dancing With The Stars, The X-Factor UK & US, The Tony Awards, The VMA’s, The EMA’s, The Aria Awards, The American Music Awards, & Dick Clark’s Rockin’ New Years Eve. Website: carlythomassmith.comSoundcloud: https://soundcloud.com/user-839622027Twitter: @carly1277 ( https://twitter.com/Carly1277 )Insta: CarlyThomasSmith

What doesn’t George Ellis do? He’s a conductor. He’s a composer. He’s a musical arranger. He also has the best hair in conducting! With highlights including conducting the Sydney Symphony Orchestra at the Opening Ceremony of the Sydney Olympic Games, he’s also conducted concerts in Paris, London, Amsterdam, Brussels, New York, Boston, Philadelphia, Washington DC, Los Angeles, Athens, just to name a few!Before he starts The Maestro And The Magician, George sat down with Joel to talk about his four chosen songs.

We caught up with AYO Alumna and Principal Oboist of Sydney Symphony Orchestra to talk about her upcoming collaboration with the Australian Youth Orchestra for our July Season concerts.

Those familiar with Melbourne’s independent dance scene will know Stephanie Lake. A dancer and choreographer, Lake’s CV has a long list of credits including Chunky Move and Lucy Guerin Inc. She started dance reasonably late for a woman, and forged a career through her unique physical style. Lake said: “My hair would never go neatly into a bun … I didn’t know any of the ballet language… I think that it can actually be a positive, because you want individual voices in the arts.” Lake continues to push expectations of the form and is known for physically demanding choreography. She was awarded the Australian Dance Award in 2014 for Outstanding Achievement in Choreography, and the Helpmann Award for Best Choreography in Dance or Physical Theatre Work 2014 for A Small Prometheus. Mix Tape (2010) received the Green Room award for Best Choreography. Her work has toured to Germany, France, Ireland, Denmark, Singapore and Australia with a range of work including : Mix Tape; AORTA; Dual; Double Blind and If I Was. She now spends the majority of her time as a choreographer and a mother of two children, but is still dancing and continually finding a balancing between all of her passions and the responsibilities of motherhood. Lake has been commissioned by Sydney Dance Company, Chunky Move, Dance North, Tasdance, Stompin, Sydney Symphony Orchestra and Frontier Danceland (Singapore). We met in the noisy foyer of the Malthouse early on a cold Melbourne morning, before she was starting a new development, in the pipeline for 2017. Our conversation moved from discussions of process, motivation, goals and children. We started talking about moving from a career primarily dancing to one of choreography. Stephanie Lake early in to her choreographic career is set to make her mark as a prominent Australian choreographer. If you have enjoyed this discussion share it with a friend. Stay tuned for another stimulating episode. We will be hitting the web in two weeks time as we continue to explore the world of dance, with interviews from Deborah Jowett, Joshua Pether, Gideon Obarzanek and Rafael Bonachela in the pipeline. “I get so nervous going in to rehearsal … I have these fantasies about jobs where you are not witnessed”

In a program from July of 2012, Andrew Patner speaks with St. Louis Symphony Orchestra music director and Sydney Symphony Orchestra chief conductor, David Robertson [...]

The second of a series of podcasts featuring music from the Sydney Symphony Orchestra's SSO at Carriageworks series.

The second of a series of podcasts featuring music from the Sydney Symphony Orchestra's SSO at Carriageworks series.

The first of a series of podcasts featuring music from the Sydney Symphony Orchestra's SSO at Carriageworks series.

The first of a series of podcasts featuring music from the Sydney Symphony Orchestra's SSO at Carriageworks series.

We are featuring Andrew Raciti on this week’s show.  Andy is the acting principal bass of the Milwaukee Symphony Orchestra. He is also the head of the double bass studio of the Bienen School of Music at Northwestern University. Before joining the Milwaukee Symphony in 2006, Mr Raciti was associate principal bass of the Sydney Symphony Orchestra in Australia. He has also performed with the Detroit Symphony, the Minnesota Orchestra, the Saint Paul Chamber Orchestra, and the Melbourne Symphony Orchestra.   We talk about Andy’s experiences growing up in Milwaukee, studying at UW-Madison, studying with Paul at Rice, the Sydney Symphony, the Northwestern University bass studio, how Andy approaches lessons, the Laborie endpin, his Tester bass, and several other topics.  We also feature excerpts from Zivojin Glisic’s Concerto for Double Bass and String Orchestra with Andy and the University of Wisconsin-Madison Chamber Orchestra. Enjoy!   About Andrew:   Andrew Raciti is the acting principal bass of the Milwaukee Symphony Orchestra. He is also the head of the double bass studio of the Bienen School of Music at Northwestern University. Before joining the Milwaukee Symphony in 2006, Mr Raciti was associate principal bass of the Sydney Symphony Orchestra in Australia. He has also performed with the Detroit Symphony, the Minnesota Orchestra, the Saint Paul Chamber Orchestra, and the Melbourne Symphony Orchestra.   In the summers he has been the principal bass of the Chautauqua Symphony Orchestra and performs orchestral and chamber music at the Grand Teton Music Festival. He is also a regular professor of the Filharmonica Joven de Colombia in South America. In 2011 he performed the United States premiere of the Concerto for Double Bass and String Orchestra by Macedonian composer Zivoin Glisic. A recognized authority in bass pedagogy and performance, Mr Raciti has published articles in the quarterly for the International Society of Bassists. He is currently involved with the  BATUTA foundation of Colombia, South America, where he is developing the bass portion of a comprehensive string pedagogy that will be used throughout its 17,000 member nationwide network.   Visit Andrew Raciti's Double Bass Studio Facebook Page

In a new series of One to One, Olivia O'Leary speaks to people who've reached the peak of their careers about how growing older affects their approach to work. In this first programme, Olivia speaks to one of her heroes - the great Russian-Icelandic pianist, Vladimir Ashkenazy. He left the Soviet union in the sixties, and has played a vast repertoire of the greatest piano music on stages all over the world. Ashkenazy is now conductor laureate with the Philharmonia Orchestra in London and Principal Conductor and Artistic Advisor to the Sydney Symphony Orchestra. At 75 he is still jetting around the world to engagements so we were lucky to catch up with him in a hotel at Heathrow as he was leaving after a brief visit to the UK. In a candid discussion, Ashkenazy discussed the arthrosis (not arthritis as has been reported) in his hands which occasionally means his fingers cannot fit between the black keys; he talks about not wanting to become the kind of 'older' conductor, with failing physical capacity, that orchestras respond to purely out of respect. He also talks more widely - about his decision to leave Russia in the 1960s; about the pianists he holds in great respect and about his decision to concentrate on conducting rather than live performance. Producer: Karen Gregor.