A Serenade is a performance for someone you love. It comes from the Latin word serenus and the music is typically calm and light. Or bubbly and beautiful, or even sumptuous, in the case of the Perth Symphony Orchestra's Serenades concert this weekend. The morning concert includes champagne and brunch in the elegant surrounds of Government House Ballroom, which is being decorated as a 1920's Parisian cafe. What's not to love?!
I have the inside goss on this concert because I have been asked to host it and I am super excited! Bourby Webster, Paul Wright, Jessica Gethin and team have put together a stunning sensory experience which will include dancers and painters responding to work by Elgar, Britten, Vaughan Williams, Glazunov, Tchaikovsky and Margaret Sutherland.
So pop on your best floral frock or Matisse tie and come join us on Sunday morning for a concert of lush string orchestral music with dancers, art, divine refreshments and wonderful company. This is a performance for you: the people we love. Book now, as it is likely to sell out!
The Midland Railway Workshops stretch for a kilometre in the heart of Midland’s old industrial area. The enormous warehouses now house among other things the WA Police Operations Centre and medical centre as part of the Midland redevelopment. On Wednesday night one end of a vast still-vacant warehouse was cordoned off to become a venue for Perth Symphony Orchestra’s Steampunk Mozart.
Perth Symphony Orchestra in the Midland Railway Workshops. Photo Richard Jefferson
The smell of Viennese schnitzel, a life size steampunk dalek and remnants of machinery set the scene. Beneath the hum of voices could be heard thuds, blips and the rush of steam; a sound installation evoking the industrial sounds of days gone by.
The mission of PSO Director Bourby Webster and her creative team is to bring classical music into unexpected settings and to people in all walks of life. In this instance the pairing of Mozart with the sci-fi fashion genre of steampunk was marketing genius. The sold out audience of loyal fans, Midland locals and art lovers (many decked out in neo-Victorian hoop skirts, boots and top hats) wandered the space in delight, taking in the industrial history, the coloured spot lighting, the Mozart-inspired Viennese food and, of course, the music.
And the music is where PSO unfailingly gets it right; with clever programming and world class playing this concert moved well beyond gimmicky ideas. The program opened with a classical flourish with a movement of Mendelssohn’s Octet led with boisterous energy by Paul Wright on violin, followed by the immense calm of the Adagio from Mozart’s Clarinet Concerto. Hugely popular yet never sounding tired, the Adagio was played (despite the odd memory slip) with poised serenity by clarinettist Catherine Cahill. A Mozart duet for violin and viola was less memorable – a lack of clear pulse made the dialogue between the two instruments difficult to follow.
Jessica Gethin leading a chamber version of the Perth Symphony Orchestra
The program moved into eerie territory with Schnittke’s Moz-Art á la Haydn, conducted by Jessica Gethin with Wright and Lucas O’Brien as soloists. Schnittke’s montage of Haydn and Mozart quotes mashed with discordant harmonies was the perfect soundscape for the building. The swaying gothic skirts of the orchestral players, the dim lighting and the chords echoing beyond the spotlights into the long warehouse added to the slightly macabre edge.
Two movements from Shostakovich’s String Quartet No 8 (arrranged for string orchestra) followed on beautifully. Gethin drew out an intensely melancholic Largo and the Allegro molto movement had a visceral energy. The program took another twist to include Albinoni/Giazotto’s Adagio for Strings. Again a well-known work sounded fresh with a relentless pizzicato bass line and lyrical melody generating heart-tugging climaxes.
Jessica Gethin and the PSO. Photo Richard Jefferson
The final surprise on the program was three percussionists who literally played the building, starting in the scaffolding and working their way to the front of the stage for a train inspired adaption of Argenziano’s Stinkin’ Garbage. Industrial noise mingled with whistles and shouts to reconstruct the sounds of the venue in its workshop days. The evening closed with Mozart’s Divertimento in D, directed with finesse by Wright. The sparse phrases of the slow movement in particular can be so unforgiving but they were immaculately contoured - the epitome of elegance and the sign of a tight ensemble.
It was an impressive night, full of creativity and multiple opportunities to connect. Another indication that if you dig below the surface in Perth’s classical music scene to the small-medium arts sector you will discover the future of classical music is in very good hands.
This review first published in Limelight Magazine 2017.
June is a rich month of music for all the ages; dive in and enjoy!
It is particularly action-packed for the West Australian Symphony Orchestra who will present four mainstage orchestral concerts plus the explosive energy of Education Week with its multiple concerts for children and their families.
On June 2/3rd
WASO have a colourful program planned with Stravinsky's Firebird Suite and Debussy’s Prelude to the Afternoon of a Faun plus winner of the Tchaikovsky International Piano Competition Ayako Uehara making her WASO debut performing Bartók’s Piano Concerto No.3. On the 9/10th the guest artist is Stefan Dohr, principal horn from the Berlin Philharmonic, performing Strauss' Horn Concerto - WOW! Then the world of jazz takes over with concerts on the 16/17th with leading Australian stage and screen stars in a modern and
audacious take on all-time swing classics from Sinatra to Bublé. On the 30/1st Chopin expert Louis Lortie Plays Chopin’s Concerto no 1 in a program which also includes Dvorak's Seventh
Symphony
This year for Education Week (19-25th) WASO has invited award winning British composer and music educationist Paul
Rissmann us for a week-long musical adventure exploring gorgeous
children's books across a variety of interactive programs. The concerts include school shows Sir Scallywag and the Golden Underpants, The Beat of Your Feet and The Lion Who Loved plus a Conductor Masterclass with Ben Northey. The Rusty Orchestra is also back with a concert on the 24th June featuring community musicians playing alongside WASO players in a concert with the biggest amount of heart you're likely to hear.
If you have children come with us on Sunday
25th - we will be checking out the family concert The Beat of Your Feet, about a music-loving dog and cat and their musical
adventure to find the Greatest Orchestra in the World. The concert is a mix of music, illustrated projections and audience participation, based
on the book Stan and Mabel by Jason Chapman with vocals by Libby Hammer.
Meanwhile the rest of the music community has some lovely offerings this month, including two particularly stunning vocal concerts: the Giovanni Consort singing French Chansons on the 4th, and Voyces on the 10th celebrating their fifth anniversary with a concert of all-Australian music and the launch of their debut album Hush.
On the 11th there is a a triple whammy with the Darlington Trio offering Brahms, Musica Viva launching their national tour of the Pacifica Trio (including a world premiere by Nigel Westlake) and the experimental trio The Necks presented by Tura New Music.
Perth Chamber Orchestra (the little sister of Perth Symphony) is performing an intriguing concert in Midland on the 14th called Steampunk Mozart, which promises industrial-inspired music, food, wine, a sound installation and the magic of Mozart conducted by Jessica Gethin. Then in larger form the Perth Symphony Orchestra will also perform on the 27th with the WA Academy of Performing Arts Gospel Choir in a concert dedicated to the music of George Michael.
Also on at WAAPA this month is the second and third year students performance of 42nd Street opening on the 17th.
Last year Jessica Gethin scooped the Brain Stacey emerging conductor award and was named by the Australian Financial Review as one of Australia's "Top 100 Women of Influence". This year the chief conductor of the Perth Symphony Orchestra is one of the inaugural fellows at the Dallas Opera's Institute of Women Conductors. It seems that it's not just the locals who think Jessica's straight-talking musical enthusiasm and her wide warm smile are a winning combination.
What music gets your heart racing?
There are many moments symphonically, particularly in large scale romantic symphonic works that physically get my pulse up on the podium; full bodied brass, resounding percussion and the build of wind and driving strings can be completely thrilling in the actual moment. However, I’d have to say how I connect with certain key pieces probably has just as much effect; conducting a work like Mahler Adagietto (from Symphony No 5) where the tension is all in the silence, the ebb and flow and the slight delay in each cadence has just as powerful an effect.
What calms you down?
Listening to the Bach Unaccompanied Cello Suites; much complexity yet beauty in its simplicity. I remember my mum used to play Bach most nights as she cooked dinner when I was younger, and I used to play it to my kids at bedtime when they were babies. I also grew up listening to the jazz greats, so that has always been a good escape at the end of a long day. Otherwise going for a run along the beach or reading on my deck always seems to give me some clarity. What do you sing along to?
Whatever score is currently open on my desk! I tend to do a lot of score study late in the evenings so often go to bed and wake with a jumble of lines in my head from my current scores. Not always ideal, as was the case late last year when learning excerpts from Jake Heggie’s opera ‘Dead Man Walking’… the March to the Execution Chambers isn’t the most ideal libretto to sing around the house! I’m not actually that aware of it but apparently I have a reputation of singing to the orchestra a lot, I suppose I find it the most efficient way to communicate a particular sound or phrase direction.
You are about to head back to America to continue your studies as one of the inaugural fellows at the Dallas Opera’s Institute of Women Conductors. I understand the course is about intense immersion which must also require intense preparation! What are you working on this semester?
This semester we are focusing some modern English and American repertoire, I’m currently learning The Crucible (Ward) and The Turn of the Screw (Britten) however we will also be conducting excerpts from Mozart and Handel. In December we covered 18 operas, everything from Puccini, Handel, Adamo, Verdi, Ravel, Menotti and Donizetti so it’s very diverse in genre selection.
Statistics in the US reveal that in the top 15 opera houses only 5% of performances during the 2015/16 season were conducted by women. How is the Dallas Opera course upskilling you to overcome the challenges inherent in your industry?
The IWC is unique in that aside from the intense conducting masterclasses, we also take part in a number of seminars addressing key issues and challenges in surviving the industry. From media training to working with directors and sponsors, how to pick the right management and also negotiating interviews for us with top agents across the US, they provide us with five years continued support to create better visibility on the podium and increase our opportunities for career longevity.
Where to after the course has finished?
My previous work has all been symphonic, so the IWC Fellowship in Dallas was really my first introduction to the opera world, something I am keen to explore further with their support over the coming years. I really enjoy my work here in Perth, aside from my current role as Chief Conductor of the Perth Symphony I also work with Perth Chamber Orchestra, Opera Box, WA Opera, lecture at WAAPA, adjudicate festivals and such. However it’s definitely time for me to broaden my opportunities outside of Perth so I’m currently working closely with my agent in Singapore on developing contacts in the US and Asia this year. It’s a pretty exciting time, hopefully the next five years will see some more opportunities overseas in both the symphonic and operatic fields.
Mark Applebaum says music should be above all else be interesting. What do you think is the most important role of music?
I believe music has an extraordinary power to connect. It transcends race, age, demographic, time, language and culture. The elderly draw on it for nostalgia, the youth throw themselves into it for refuge and escape! I’m an ambassador for a brilliant international movement ‘Playing for Change’ who use music as a tool for peace, they do some great work in this area on a global scale. I think it goes even further than that though; it’s such a raw, authentic, innate form of expression of the human nature. I find it all very fascinating!
You started your career as a violinist, graduating from the WA Academy of Performing Arts with a music degree in 2002. In August you return to WAAPA as guest conductor for their 25th Anniversary Gala Concert at the Perth Concert Hall. It sounds like it will be a musical extravaganza…!
Yes, I’m really looking forward to working with the Faith Court Orchestra for this very special concert. We will be collaborating with the choir and also some special guest artists, it’s a great program and the audience are in for a real celebration of all things WAAPA!
Jessica and the Perth Symphony Orchestra
You have a soft spot for Margaret River Wines... can you recommend a good bottle for a chilly Perth winter evening?
I’ve been lucky enough to conduct several Leeuwin Estate Winery Concerts so feel pretty qualified to say their Art Series Chardonnay or Cab Sav are exquisite! I also love the Cape Mentelle Cab or Voyager Estate Tom Price SSB. As I’ve got older I’ve enjoyed learning more about wine and started following the journey of Perth Chamber Orchestra’s wine sponsor, Barton Jones. Getting to know the owner, Jackie and the whole story of nurturing each wine in the developing stages has been fascinating. I always stop by her cellar door in Donnybrook to say hello and stock up. Try their Red Rhapsody chilled in summer!
You have a distinctive dynamic energy on the podium. What sort of preparation is involved to present at a rehearsal with such interpretive confidence and abounding enthusiasm?
It all comes down to study and really knowing the score, and more to the point what you want to do with the music. There is no faking confidence in front of an orchestra, they smell it a mile away. They need to trust and have confidence in your ability for you to get the best sound out of the orchestra. As a conductor I spend far more time in a score than on the actual podium to achieve that, it’s actually quite a lonely process in that respect and one that I have had to work hard on over the past decade. I guess the enthusiasm comes partly from my nature, and partly from my sincere commitment to communicate and define each sound and idea. I have a lot of energy in whatever I do and always try to be authentic on the podium so hopefully this carries across. Over the last few years I’ve realised the importance of being vulnerable at times too, sometimes this is when the best work is created. I always tell my conducting students they need to have the confidence to lead and the courage to yield, knowing when to do which is the tricky bit!
I’ve heard you tell a story about an orchestral player who said “You're the best female conductor I've ever played under”. Your reply was something along the lines of “It would be lovely to hear that phrase again one day, just without the female part.” What is it going to take for women conductors to be considered ‘normal’ on the podium by performers and audiences?
It’s interesting that my conducting lectures usually have an equal 50% division of gender, as do many of the school orchestras I adjudicate at festivals. It’s only at the very top that these numbers dramatically diminish. I think it will continue to improve over time, especially with programs such as the IWC with Dallas Opera encouraging more females to pursue the field. In many ways I try to look past it these days as I would much rather be recognised for my musical input than a gender statistic, although I also realise the importance of bringing awareness to the issue for future developing conductors.
Jessica, Pat and their two children
You and husband Pat are parents to two children aged three and seven. I think one of the toughest parts of parenting is the guilt that comes whether you choose to work or stay at home. How do you reconcile your career and your motherhood so that you can delight in both?
Well, some days are certainly more successful than others! I’m lucky to have a very supportive family and two amazing kids but the balance isn’t always right. It is something I am very mindful of, yet try not to be too hard on myself as I don’t think it helps anyone to be driven by guilt. I simply choose the work that fits with the family, and turn down opportunities if it just doesn’t feel right at the time. On reflection I think having kids has taught me a lot about myself; my strengths and weaknesses, my priorities, the value of time and a reminder to laugh often! They have both grown up learning to crawl across a stage so I guess it’s quite normal for them. I’m very aware of being present with the kids when we are together, and I talk to them about what I do so they understand what it’s like to have a career path that you really love.
What is your favourite place in Perth?
Easy…. our beautiful coastline. We live only a few minutes from Watermans Beach in Perth. It is the place I recharge, meditate, jog, swim and play with the kids or watch the sunset with the family. Do you have a soft spot for anything else in life or is it all about the music and the family?
I think it’s really important to be as rounded a person as you can be… certainly for me, life balance has been key to keeping me motivated to experience new things, which I hope, in turn, makes me a better conductor. My secret escape would have to be my art; splashing paint on a canvas with Ella Fitzgerald blaring is pretty cathartic. I love to read, cook with the kids, I’m mad about photography and love travelling. Keeping fit is also pretty important as I’m always on the go and need a fair amount of stamina and focus to get through the week, so running and yoga helps.
Watch excerpts of Jessica conducting in an interview here:
A big thanks to Jessica Gethin for chatting to us at the Celebrity Soft Spot. You can catch Jessica conducting the Perth Symphony Orchestra at their 'Bach by Candelight' concert on August 31st and at the WAAPA 25th Anniversary Gala Concert on August 12th. For more information go to www.jessicagethin.com.
