{"id":2109,"date":"2022-11-20T20:52:17","date_gmt":"2022-11-20T09:52:17","guid":{"rendered":"https:\/\/www.artsongcanberra.org\/wppreload\/wordpress\/?page_id=2109"},"modified":"2024-12-18T07:54:28","modified_gmt":"2024-12-17T20:54:28","slug":"2022-2","status":"publish","type":"page","link":"https:\/\/artsongcanberra.org\/wordpress\/?page_id=2109","title":{"rendered":"2022"},"content":{"rendered":"

Please read: <\/i><\/b><\/span> We are proud to have a full program of seven concerts lined up once again for the 2022 Season of Song. Please continue to keep an eye on announcements on this page or via email regarding changes in program or ticket availability. Subscribe to our email list on the contact page<\/a> or make sure to check this page a few days before each concert to be aware of changes in performers, times, et cetera. If you have booked tickets for a performance, you will of course be notified of changes if you have provided a valid email address that you regularly check. <\/i><\/p>\n

Admission to each concert will be by prior booking, achieved very easily through www.trybooking.com. Life members (entitled to free admission) must still book at no charge; there is provision for this on trybooking. Online booking links will be provided below as each concert approaches; special booking arrangements will be offered to Members of Art Song Canberra not having access to online facilities.<\/p>\n

<\/a>Season of Song Concert 1<\/b><\/p>\n

Piazzolla – a Century of Tango<\/h2>\n

Sunday 20th February at 3pm & 4.15pm
\nWesley Music Centre, 20 National Circuit, Forrest<\/p>\n

Ay\u0219e G\u00f6knur Shanal<\/a> (soprano), Monica Cichon<\/a> (violin), Aleksandar Zivkovic<\/a> (cello) and Eugenie Tamplon <\/a> (piano)<\/i><\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

The Storytellers Ensemble will present an unforgettable program by Astor Piazzolla and his contemporaries to celebrate his contribution to classical music and the Argentinian dance of Tango. Canberra critic Len Power wrote, \u201cWhen a concert leaves you feeling excited and energised for hours afterwards, you know it was an exceptionally good one.\u201d<\/p>\n

To book tickets online please click here<\/a><\/p>\n

Concert details may be subject to change. Please read the information at the top of this page.<\/i><\/p>\n


<\/a>Season of Song Concert 2<\/b><\/p>\n

Persons of Interest<\/h2>\n

Sunday 3rd April at 3pm
\nWesley Music Centre, 20 National Circuit, Forrest<\/p>\n

Christina Wilson<\/a> (mezzo-soprano) and Alan Hicks<\/a> (piano)<\/i><\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

Exploring the fate of men and women from myth, literature and real life, this varied program is full of the stories that inspired composers to immortalise these people in song. Come and identify them and decide whether they warrant further investigation…<\/p>\n

To book tickets online please click here<\/a><\/p>\n

Concert details may be subject to change. Please read the information at the top of this page.<\/i><\/p>\n


<\/a>Season of Song Concert 3<\/b><\/p>\n

Schubert and Schiller<\/h2>\n

Sunday 22nd May at 3pm
\nWesley Music Centre, 20 National Circuit, Forrest<\/p>\n

Koen van Stade<\/a> (tenor) and Neal Peres da Costa<\/a> (fortepiano)<\/i><\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

Before he turned 18, Franz Schubert (1797\u20131828) had already set three grand-scale ballads by Friedrich Schiller (1759\u20131805) to music. Despite his young age, these works of epic proportion demonstrate an incredibly rich compositional style. This recital includes two of these ballads: Die B\u00fcrgschaft D. 246 and Der Taucher D. 77 and a selection of Schubert\u2019s Wanderer Songs. It will be a rare opportunity to hear Schubert\u2019s music performed as it may have sounded in the decades immediately following its conception. using an historic fortepiano. Both musicians integrate their latest research findings into this performance. The outcome is a reimagined performance of Schubert\u2019s repertoire, displaying elements of a 19th-century sound-world markedly different from current practices.<\/p>\n

To book tickets online please click here<\/a><\/p>\n

Concert details may be subject to change. Please read the information at the top of this page.<\/i><\/p>\n


<\/a>Season of Song Concert 4<\/b><\/p>\n

Romantic Classics<\/h2>\n

Sunday 24th July at 3pm
\nWesley Music Centre, 20 National Circuit, Forrest<\/p>\n

Andrew Goodwin<\/a> (tenor) and John Martin<\/a> (piano)<\/i><\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

As if indulging in your favourite chocolates, be transported by musical romance. This will be a feast of best-loved European art song by Faur\u00e9, Hahn, Poulenc, Schumann, Strauss, Mahler and Rachmaninov.<\/p>\n

To book tickets online please click here<\/a><\/p>\n

Concert details may be subject to change. Please read the information at the top of this page.<\/i><\/p>\n


<\/a>Season of Song Concert 5<\/b><\/p>\n

The Unusual Suspects<\/h2>\n

Sunday 4th September at 3pm Concert cancelled owing to illness of singer.<\/strong>
\nWesley Music Centre, 20 National Circuit, Forrest<\/p>\n

Sarahlouise Owens<\/a> (soprano) and Katherine Day<\/a> (piano)<\/i><\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

We all know of our favourite Lieder composers but there are other composers, contemporary with our 19th- and 20th-century favourites, whose works compete in quality yet remain unknown or still lurk in obscurity. This concert will reveal some of the lesser-known composers, or lesser-known works of favourite composers.<\/p>\n

To book tickets online please click here<\/a><\/p>\n

Concert details may be subject to change. Please read the information at the top of this page.<\/i><\/p>\n


<\/a>Masterclass<\/b><\/p>\n

Masterclass for singers and duos<\/h2>\n

Sunday 18th September at 12pm
\nWesley Music Centre, 20 National Circuit, Forrest<\/p>\n

Miriam Allan and Erin Helyard <\/i><\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

This Art Song Masterclass for advanced students of classical voice\/voice-piano duos is a joint venture by Art Song Canberra and the Wesley Music Foundation in celebration of the 70th Anniversary of the Wesley Music Centre. The Masterclass will be given by international stars Miriam Allan and Erin Helyard. Audience is welcome; to book tickets online please click here<\/a><\/p>\n


<\/a>Season of Song Concert 6<\/b><\/p>\n

The Time of Roses<\/h2>\n

Sunday 16th October at 3pm
\nWesley Music Centre, 20 National Circuit, Forrest<\/p>\n

Jill Sullivan<\/a> (mezzo-soprano) and Donna Balson<\/a> (piano)<\/i><\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

The Time of Roses explores the flowering of the Romantic Lied, through the imagery of the rose in song. From a first budding in Beethoven\u2019s \u201cAdelaide\u201d to the full bloom of Brahms to its autumn flowering in works by Richard Strauss and Jean Sibelius, the rose weaves through this program in romantic notions of loss, passion, dedication and devotion.<\/p>\n

To book tickets online please click here<\/a><\/p>\n

Concert details may be subject to change. Please read the information at the top of this page.<\/i><\/p>\n


<\/a>Season of Song Concert 7<\/b><\/p>\n

Primavera!<\/h2>\n

Sunday 20th November at 3pm
\nWesley Music Centre, 20 National Circuit, Forrest<\/p>\n

Sarah Mann<\/a> (soprano) and Ella Luhtasaari<\/a> (piano)<\/i><\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

Songs of passion and soil. Sarah and Ella will perform a sumptuous range of life-celebrating songs at this spring concert. Please note the program has been adjusted due to absence of the clarinettist.<\/p>\n

To book tickets online please click here<\/a><\/p>\n

Concert details may be subject to change. Please read the information at the top of this page.<\/i><\/p>\n

 <\/p>\n

The Artists<\/h2>\n

<\/a>
\nBrisbane born Muslim soprano of Turkish-Cypriot heritage, Ay\u015fe G\u00f6knur Shanal<\/b> has performed in USA, Germany, France, Ireland, India, Japan, Turkey, England, Scotland, Wales, Cyprus and Morocco. She has performed with Opera Australia, Turkish State Opera and Opera Queensland, roles including Mim\u00ec, Tosca, Blanche de la Force, Pamina and Susanna. She was a guest artist in many festivals, including the Aldeburgh Festival (UK), Mersin International Music Festival (Turkey) and Sydney Festival. She performs regularly at the Sydney Opera House and is a soloist with the Symphony Orchestras of Sydney, Queensland, Melbourne, Adelaide, West Australia, and with the Australian Haydn Ensemble. She has also recently performed with the Cyprus Symphony Orchestra. She studied at Royal College of Music and was an adjunct member of the Lindemann Young Artist Development Program at the Metropolitan Opera in New York.
\nAy\u015fe has won many competitions and awards around the world. Some of these include, the Australian Singing Competition, Metropolitan Opera Award (New York), Queens Trust for Young Australians, Symphony Australia\u2019s Young Performers Award (Vocal Category), Countess of Munster (UK) and the Sonderpreis der Loreley-Festspiele at the Neue Stimmen International Singing Competition (Germany). She has a graduate law degree from Western Sydney University and is an advocate for the environment, Human Rights, Australia\u2019s First Nations People, and Peace. She is also part of Sydney\u2019s 24\/7 Kitchen, distributing food and other necessities to the city\u2019s homeless community. Upcoming engagements for 2021 include performances for Canowindra Baroque festival, Concertante Ensemble, Master Piano Institute, Barbara May Foundation, as well as series of concerts at the Sydney Opera House. She will also be on the judging panel for Cyprus International Voice Competition. Ay\u015fe\u2019s discography includes Love and Life, released with Taslig Records and \u00c7anakkale-Gallipoli Songs, with Wirripang. She can be regularly heard on ABC Classic FM and FinemusicFM.
\nAy\u015fe is passionate about using her art form consciously, to make a genuine and direct impact in the world.<\/p>\n

back to concert<\/a><\/p>\n

<\/a>
\nMonica Cichon<\/b> graduated Master of Music in violin from the Academy of Music of Ignacy J. Paderewski in Poznan, Poland. While there, she studied with Prof. M. Grabarczyk. Her earlier studies include tuition with Dr Robin Wilson and Prof. Wanda Wilkomirska. In Australia and Europe she has taken part in masterclasses and lessons with Simon Fischer, Daniel Draganov and Christina Astrand. In recent years she has worked casually with Filharmonia Gorzowska, Gorzow Wielkopolski in Poland, and the Kreaspiracji charity performances collaborating with members from the Poznan Philharmonic. Before that, she had worked with the Canberra Symphony Orchestra. Monica has also been teaching young violin students since 2003.<\/p>\n

back to concert<\/a><\/p>\n

<\/a>
\nAleksandar Zivkovic<\/b> is one of the most versatile musicians of our time. The cellist and registered music therapist works with an unusually broad repertoire from early baroque to contemporary and popular music. He was born into the sixth generation of renowned musical family. The native Serbian Aleksandar Zivkovic started his violoncello studies at the age of seven. During his primary and secondary school days Aleksandar competed in and won many youth state competitions in 1983, 1986 and 1989 in various age categories. He studied with a number of famous professors and cellists including Prof. Aleksandr Kirilovich Fedorcenko (Russia), Marc Bonetti (Australia), Lazlo Varga (USA), Eleonore Schoenfield (USA), Kazimir Michalik (Poland), Michael Flaksman (Switzerland) and Ljubomir Polojac(Yugoslavia). At the Sydney Conservatorium of Music Aleksandar Zivkovic studied cello with Prof. Georg Pedersen. After completed his Undergraduate course Aleksandar continued to compete in numerous local cello and chamber music Eisteddfod competitions. As a member of St Laurence Piano Trio, Aleksandar won the 2MBS-FM Radio Competition in 1996. In 2010 Aleksandar completed his Master Degree in Advanced Music Performance at the Royal College of Music where he studied with Professor Alexander Chaushian, where he continued his post-graduate studies in baroque cello with Professor Richard Tunnicliffe. Aleksandar Zivkovic played all over the world with the greatest musicians of our time.<\/p>\n

back to concert<\/a><\/p>\n

<\/a>
\nEugenie Tamplon<\/b> has loved, played and taught music on three continents. Born in Russia Eugenie began her music education at the age of six. She continued her piano studies in Germany under the guidance of Prof. Peter von Wienhardt at the Conservatory of M\u00fcnster and completed her education with a Bachelor of Music (performance) and a Master of Music (education). She received further musical impulses from renowned pedagogues and musicians like Prof. Gregor Weichert, Prof. Ilya Scheps, Dr. Fritz Butzbach and composer Ulrich Schultheiss. She was awarded first and second prizes at the \u201cJugend musiziert\u201d competition in Germany. Eugenie moved to Sydney in 2010 where she has been working as a pianist, accompanist and teacher. She has performed with a number of ensembles and particularly enjoys working with singers such as Barbara Jin, Kaine Hayward and Lilja Sile. She coaches vocalists in German, Russian and French. She was the repetiteur and orchestral pianist for Nicole Giezekamp\u2019s one woman show \u201cSempre Libera\u201d, which premiered at the Joan Sutherland Art Centre in 2020. In 2021 Eugenie appeared at the Sydney Opera House together with soprano Ayse Goknur Shanal as part of a fundraising event for the Barbara May Foundation. Over the past two years she has been involved with the Penrith Symphony Orchestra receiving guidance from conductor Paul Terracini. In 2019 Eugenie received the Louise Crossley scholarship for women conductors.<\/p>\n

back to concert<\/a><\/p>\n

<\/a>
\nAward winning mezzo-soprano Christina Wilson<\/b> has appeared in performance throughout the UK, Europe, the USA and Australia. Award winning mezzo-soprano Christina Wilson has appeared in performance throughout the UK, Europe, the USA and Australia. During her many years living in London she sang as a soloist at the Royal Albert Hall, the Wigmore Hall, Westminster Abbey and the Paris Conservatoire. Now a core member of Songmakers Australia, Australia\u2019s only professional art song ensemble, she performs regularly at the Melbourne Recital Centre in concert and broadcast for ABC Classic FM. Well known to Canberra audiences as a soloist with the Canberra Symphony Orchestra, the Canberra International Music Festival, Voices in the Forest and the Flowers of the Great War, Christina has recorded for the Australian War Memorial and ABC Classics \u2013 in 2017 A Race against Time, songs of Frederick Septimus Kelly with Alan Hicks, and in 2019 with the Tasmanian Symphony Orchestra. For Glyndebourne Festival Opera, Wexford Festival Opera, Belfast Opera and the State Opera of South Australia she has sung roles including Carmen, Cenerentola, Rosina, Cherubino, Dido, Dorabella and in recent years for Handel in Theatre\u2019s productions at the Canberra Playhouse the roles of David (Saul), Aspasia (Alexander Balus), Irene (Theodora), Dejanira (Hercules) and Storge\u0301 (Jephtha). A highly experienced voice teacher Christina teaches at the Sydney University Conservatorium Open Academy and UNSW. Formerly at the School of Music ANU (2009-12) and the University of Canberra (2013-18) she has given masterclasses at AIM, NIDA, and die Universita\u0308t fur darstellende Kunst, Vienna, and adjudicated at the Sydney, National, Wollongong and Taree Eisteddfods and the Melbourne Liederfest. In 2022 she will adjudicate the Australian Concerto and Vocal Competition. She is currently undertaking a DMA at the Sydney Conservatorium and is the National Treasurer for the Australian National Association for Teachers of Singing.<\/p>\n

back to concert<\/a><\/p>\n

<\/a>
\nAlan Hicks<\/b> is one of Australia’s foremost vocal coaches and accompanists. Formerly a staff member at the Royal Northern College of Music, Manchester and Head of Voice (2008-12) at the ANU Canberra School of Music, he currently works in Vocal and Opera Studies at the Sydney Conservatorium of Music as coach, accompanist and tutor in diction. After postgraduate study at the RNCM in Manchester Alan remained in the UK for 15 years, performing in song and chamber recitals at the Wigmore Hall, St Johns Smith Square, the Purcell Room, Three Choirs Festival, for Yehudi Menuhin\u2019s Live Music Now! and in recordings and broadcasts for the BBC. Recent recital, theatre and festival work include the world premieres of The Diggers Requiem in Amiens, France and The Weight of Light at The Street Theatre, Canberra, where he also performed as Alain\/Claude in the award-winning Bijou, subsequently touring NSW and in seasons at La Mama Courthouse, Melbourne, the Depot Theatre, Sydney, and The Butterfly Club, Melbourne. He is a member of the Trio Campanaccio, an official accompanist for the Australian Flute Festival, and the Australian Opera Foundation. A regular performer in The Flowers of War project concerts, in 2016 Alan recorded songs of Frederick Septimus Kelly for the ABC Classics CD A Race Against Time, and in 2018, completed a major project for the Australian War Memorial, recording 100 songs and pieces of music from the AWM\u2019s collection of sheet music which can now be heard via this website: https:\/\/www.awm.gov.au\/visit\/exhibitions-online\/Music-WW1<\/p>\n

back to concert<\/a><\/p>\n

<\/a>
\nA graduate of both the Amsterdam Conservatorium and The Royal Conservatory of The Hague, Koen van Stade<\/b> is a performing scholar with an international career who majored in Voice (Peter Kooij and Max van Egmond), Organ (Jos van der Kooy) and Conducting (Harold Lenselink). He specialised in Gregorian Chant at the Schola Cantorum Amsterdam (Prof. Eugeen Liven d\u2019Abelardo). Already while majoring in Voice (Peter Kooij and Max van Egmond), Organ (Jos van der Kooy) and Conducting (Harold Lenselink), he started performing with prestigious Early Music ensembles as Collegium Vocale Gent – Philippe Herreweghe and The Amsterdam Baroque Choir- Ton Koopman. His recordings were awarded international prizes.
\nWith the Gesualdo Consort Amsterdam he participated in the premiere recording of the complete works of Jan Pieterzoon Sweelinck resulting in a 20 CD collection. After relocating to Australia in 2009, he worked as an Academic Tutor at St John\u2019s College, University of Sydney and as Principal Lay Clerk and the Director of the Cathedral Scholars at St Mary\u2019s Cathedral Sydney. Next to his work as vocal tutor at Sydney Grammar School, he is currently working as a Casual Lecturer at the Historical Performance Faculty of Sydney Conservatorium of Music and holds a position as Principal Artist at The Song Company (Antony Pitts). Koen is a Doctoral Candidate at the University of Sydney under the supervision of Prof. Neal Peres da Costa, focussing on the vocal performance practice of the 19th -century. He received the Peter Davidson Scholarship for outstanding research.<\/p>\n

back to concert<\/a><\/p>\n

<\/a>
\nDr. Neal Peres Da Costa<\/b> is Professor of Historical Performance and Associate Dean of Research at the Sydney Conservatorium of Music \u2013 University of Sydney. An internationally-recognised performing scholar, Neal has received many accolades for his ground-breaking monograph Off the Record: Performing Practices in Romantic Piano Playing (New York: Oxford University Press, 2012), and for the complete Brahms\u2019 Sonatas for solo instrument and piano (B\u00e4renreiter, 2015\/16) co-edited with Clive Brown and Kate Bennet-Wadsworth. With Clive Brown he has produced the online Performing Practice Commentary to the 2020 B\u00e4renreiter edition of the Beethoven Sonatas for Piano and Violin.
\nNeal is Chief Investigator for two concurrent Australian Research Council Discovery Project grants, Deciphering nineteenth-century pianism: invigorating global practices (2017) and Hearing the Music of Early New South Wales 1788-1860 (2021). Neal gives keynotes and invited lectures around the world. He regularly performs with Ironwood, Bach Akademie Australia and Australian Romantic and Classical Orchestra of which he is Artistic Advisor. He is an Australian Recording Industry Award winner with an extensive discography which includes for ABC Classics: 3 with Genevieve Lacey and Daniel Yeadon (2012); Brahms: Tones of Romantic Extravagance with Ironwood (2016) \u2013 awarded \u201cRecommended CD\u201d by The Strad (UK); Pastoral Fables (music by Beethoven, Schumann and Brahms) with Alexandre Oguey \u2013 cor anglais (2018), Romantic Dreams (Quintets for Piano and Strings by Farrenc and Saint-Sa\u00ebns) (2020); and, Beethoven Piano Concertos 1 and 2 with the Australian Haydn Ensemble (2017, licensed by ABC Classics).<\/p>\n

back to concert<\/a><\/p>\n

<\/a>
\nAndrew Goodwin<\/b> was born into a musical family in Sydney\u2019s Inner West where his passion for singing was kindled around the living room piano. He studied as a chorister at St Andrew\u2019s Cathedral School in Sydney, before becoming the first Australian to study classical singing at the St Petersburg State Conservatory in Russia. After several successes in singing competitions, he was invited to perform the role of Lensky in Tchaikovsky\u2019s Eugene Onegin at the Bolshoi Theatre in Moscow (and remains the only westerner to perform this role at the Bolshoi). He also became a regular soloist with the St Petersburg Philharmonic Orchestra. Moving to London to further his education at the Royal Academy of Music, he studied with Dennis O\u2019Neil and Robert Dean. During this time he appeared in theatres around Europe and returned regularly to Australia to perform with Opera Australia and Pinchgut Opera.
\nHis career as an operatic tenor has seen him embrace a wide range of roles at some of the world\u2019s greatest opera houses, including La Scala Milan, Gran Theatre Liceu Barcelona, Teatro Real Madrid and the Sydney Opera House. Andrew maintains a strong connection to Russia, where he has premiered works by Leonid Desyatnikov and Rodion Shchedrin and worked with conductors such as Yury Temirkanov and Teodor Currentzis. His repertoire runs the gamut from Baroque opera through Romantic oratorio to contemporary music. He is a passionate champion of art song, and has given recitals at the Wigmore Hall, Mariinsky Concert Hall, Oxford Lieder Festival, and countless international festivals. With pianist Daniel de Borah he has recorded Schubert’s \u2018Die Sch\u00f6ne M\u00fcllerin\u2019 and \u2018Winterreise\u2019 for ABC Classic FM. He has received critical acclaim for his performances in recordings for Pinchgut Opera, Melbourne Symphony Orchestra and the world premiere of Shchedrin\u2019s \u2018Boyarina Morozova\u2019. He has recently made recordings of Russian Romances and the vocal quartets of Brahms and Schumann for ABC Classic.<\/p>\n

back to concert<\/a><\/p>\n

<\/a>
\nIn a colourful career of great variety, John Martin<\/b> has become very well known and celebrated as a sensitive and entertaining performer. He has recently gained a lot of notice for a cameo as the department store pianist in Bruce Beresford\u2019s movie \u201cLadies In Black\u201d! As pianist and Music Director John has worked with many stars of the Australian and international concert and theatre scenes, including duo recitals and broadcasts with clarinettist Deborah de Graaff, and in trio combination with Deborah de Graaff and flautist Leah Lock as \u201cPower Of Three\u201d, cellist Susan Blake, legendary flautist Jane Rutter, celebrated singers David Hobson, Marina Prior, Mark Vincent, The Australian Tenors, The Ten Sopranos, Teddy Tahu Rhodes, Amelia Farrugia, Julie Lea Goodwin, Yvonne Kenny, Jacqueline Porter, Greta Bradman, Jose Carbo, Mark Vincent, Peter Cousens and Geoffrey Chard, to name a few. He has also worked regularly with theatrical luminaries such as Miriam Margolyes (tours of \u201cDickens\u2019 Women\u201d in 2008 and 2012, tour of \u201cThe Importance of Being Miriam\u201d 2015), Penny Hackforth-Jones (\u201cthe Spoken Garden\u201d in 2000 and \u201cThe Spoken Interior\u201d in 2001), Amanda Muggleton (many performances, including storytelling with music of \u201cWild Swans\u201d on ABC Classic FM and at Sydney Opera House, 2016) , Meredith O\u2019Reilly (including \u201cCurtains\u201d and \u201cThe Way We Were\u201d in 2019) and Stuart Maunder (including two seasons of \u201cNoel, Cole and Gertie\u201d in 2008), as well as many up-and-coming young performers in both the classical and cabaret genres. He was MD for \u201cBells Are Ringing\u201d and \u201cWorking\u201d for Federation Uni TAFE Music Theatre Course, 2017 and 2018.
\nJohn is frequently to be heard on radio, especially ABC Classic FM (where he has been the subject of several week-long feature spots), both as soloist and associate artist and has championed the works of many Australian composers. He has had a long and happy association with his great friend Ann Carr-Boyd and has for many years enjoyed the pleasure of performing and recording her music. Many of these recordings being now available through Wirripang Publications, including his latest collection of Australian piano music \u201cAnother Look At Autumn\u201d. John has recorded an Australian selection with renowned violinist Vov Dylan for Elkwood\/Sony, an affiliation with Sony Japan. In March 2021 he recorded another Australian collection of solo piano works for Move Records, Melbourne. Both these projects include John\u2019s own compositions, published by Wirripang.<\/p>\n

back to concert<\/a><\/p>\n

<\/a>
\nBrad Cooper<\/b> returned to the stage in 2021 as Raoul de St. Brioche in Merry Widow with Opera Australia, performed Handel\u2019s Messiah at St Andrew\u2019s Cathedral Sydney, presented groundbreaking new Weimar Republic Kabarett, BERLIN ELECTRIC with pianist Bev Kennedy, and made his debut as Florestan in Beethoven\u2019s Fidelio for Kammeroper Schloss Rheinseberg, Germany.
\nBrad\u2019s operatic career has seen him tour throughout China as Radam\u00e8s in Aida, perform Tamino in Die Zauberfl\u00f6te for Opera Australia, Oper K\u00f6ln, and English Touring Opera, Belmonte in Die Entf\u00fcrung aus dem Serail for Oper K\u00f6ln, Albert in Albert Herring for Opera Australia, Almaviva in Il Bariere di Siviglia for Opera Holland Park, London, Don Alfonse in Gr\u00e9try\u2019s L\u2019amant jaloux for Opera Comique, Paris, Davey in Dove\u2019s Siren Song, and Aubry in Mraschner\u2019s Der Vampyr for Grachtenfestival, Amsterdam, Emilio in Tutti in Maschera at Wexford Festival. Brad created the role of Clem in Hamel\u2019s Snow White for Nederlandse Reisopera.
\nIn concert, Brad has performed Jonathan in Handel\u2019s Saul and Beethoven\u2019s Symphony 9 for Philharmonia Choirs at Sydney Opera House, Britten\u2019s St Nicolas at Newcastle Music Festival, Handel\u2019s Messiah at Sydney Town Hall, Mozart\u2019s Requiem at St Andrew\u2019s Cathedral, and the title role in Haydn\u2019s L\u2019orfeo under the baton of Richard Bonynge.
\nBrad studied with Maree Ryan at the Sydney Conservatorium of Music, the National Opera Studio in London, and with Marilyn Horne at Music Academy of the West, California. He is thankful for the support of Nance Atkinson Trust, Wagner Society in NSW, Tait Memorial Trust, Australian Singing Competition, and the Dame Joan Sutherland & Richard Bonynge Scholarship.<\/p>\n

back to concert<\/a><\/p>\n

<\/a>
\nSydney based pianist Katherine Day<\/b> is a recording artist with MOVE records and formerly principal pianist for the Canberra Symphony Orchestra. Katherine has appeared as a concerto soloist with numerous community, pro-am and professional orchestras around the country. Her most recent collaborations were with Canberra soprano Sarahlouise Owens at the Wesley Music Centre ACT, and Opera Australia\u2019s Bradley Cooper at the Hydro Majestic in the Blue Mountains. During COVID-19 Katherine created her own online music school, employing tutors in Canberra, Melbourne, Sydney and Vienna. Her company Music To You received a digital grant from Create NSW in 2020, and was a finalist in the WSABE awards 2020. A graduate of the Royal College of Music, the Victorian College of the Arts, and a participant in the first International Summer School of Music at the Tchaikovsky Conservatorium, Katherine maintains professional links to colleagues throughout the world. Katherine has been an editor for the AMEB, working on the last edition of the flute technical workbook, and has been an examiner for the VCA, the ANU, and an adjudicator of various concerto competitions and Eisteddfods. Katherine was the recipient of the 2007 Liederfest accompanist award and the Bill Burrell scholarship 1994.<\/p>\n

back to concert<\/a><\/p>\n

<\/a>
\nLucy Carrigy-Ryan<\/b> enjoys an active freelance career comprising orchestral, solo and chamber music activities. She completed studies in music, Spanish and law at the Australian National University before joining the Canberra Symphony Orchestra in 2010. In 2013, Lucy moved to Argentina to take up a scholarship at the Emilio Balcarce Tango Orchestra school. She also performed regularly with the Buenos Aires Philharmonic Orchestra, Argentina\u2019s preeminent symphony orchestra. Lucy moved to Europe in late 2014 and studied for four years with Maestro Bruno Giuranna at the Stauffer Academy in Italy and the Conservatorio della Svizzera Italiana in Switzerland. Lucy graduated with a Master of Viola Performance with high distinction under his guidance. Since completing her studies, Lucy has been contracted to work with various symphony orchestras in Australia, has performed as a soloist with the National Capital Orchestra and Musica da Camera, and performed as a soloist with Barbara Gilby and Canberra Sinfonia in Mozart\u2019s Concertante. She also performs frequently with the Canberra Strings and other chamber music ensembles. When not performing on stage, Lucy enjoys sharing music through the volunteer organisation A Sound Life in Sydney hospitals and with Canberra Symphony\u2019s Painting with Parkinson\u2019s program.<\/p>\n

back to concert<\/a><\/p>\n

<\/a>
\nJill Sullivan<\/b> has performed throughout Australia in opera and concert. In 2016 Jill joined the Opera Australia Chorus as a casual performer and for that company has performed in La Boheme, Tosca, La Traviata, King Roger, Turandot, Verdi\u2019s Requiem and Wagner\u2019s Parsifal. Jill began her professional career as a resident mezzo-soprano for West Australian Opera, singing roles in children\u2019s operas, concert performances, small roles on main stage and in chorus for that company. She has performed also in the chorus of Opera Queensland, recorded for the former Victoria State Opera and was the soloist on the soundtrack for the highly awarded feature film Fade to White. She has an extensive concert, chamber and recital repertoire. In 2017 Jill performed in recital for Art Song Canberra where reviewers praised the beauty of her voice and deeply moving interpretations. In Hobart\u2019s Epsom House, Jill has performed her own shows of classical and cabaret Salon Rouge and Lady in the Dark to sell-out audiences. Reviewers here described her voice \u2018as rich toned and full bodied yet with clarity of tone throughout an extensive range.\u2019 Other highlights include alto solos for The Queensland Choir in Brahms\u2019 Alto Rhapsody and Handel\u2019s Messiah.
\nIn 1990 Jill co-founded the Lieder Society of Western Australia (later Art Song Perth) for whom she has sung many recitals including several of the major song cycles. In South Australia, Western Australia and the Queensland Jill has performed with East West Trio, a chamber and voice ensemble. Jill has directed vocal ensembles and choirs, conducted performances of operatic choruses, amateur performances of Purcell\u2019s Dido and Aeneas and the musical Fiddler on the Roof, and also led choral workshops in Tasmania and Western Australia in opera chorus singing for amateurs. Jill holds a Licentiate Diploma of Music (Singing) A.M.E.B. and an Honours degree in Arts (Opera Studies) from the University of Manchester. She also holds a bachelor\u2019s degree in Medicine and Surgery from the University of Tasmania and continues to practise part time as a locum general medical practitioner.<\/p>\n

back to concert<\/a><\/p>\n

<\/a>
\nDonna Balson<\/b> is one of Australia\u2019s most experienced pianists and opera coaches. After more than 25 years working in Germany and the US, she returned to her native Sydney in 2018 to take up the position as Manager of Opera Australia\u2019s Young Artist Program. She now teaches at her alma mater, the Sydney Conservatorium of Music and has a thriving private studio, working with many of Australia\u2019s most prominent singers. As a coach, she has prepared singers for performances at Opera Australia, Oper Frankfurt, La Scala, the Wiener Staatsoper and the Metropolitan Opera and for successful auditions for the Academy of Vocal Arts in Philadelphia and the Lindemann Young Artist Program at the Metropolitan Opera. She was senior adjunct professor of voice at Hofstra University in New York from 2005-2018. As a singer, Donna has performed with opera houses including Opera Australia, Opera Queensland and Canterbury Opera, and in Frankfurt, D\u00fcsseldorf and Stuttgart. In concert, she has performed with orchestras in Prague, Beijing, Amsterdam, Den Haag, and in New York at Carnegie Hall and Lincoln Centre. Her repertoire ranges from Bach through Verdi to Nono.<\/p>\n

back to concert<\/a><\/p>\n

<\/a>
\nSarahlouise Owens<\/b> graduated from ANU BMus (Hons) and postgraduate studies from Royal Northern College of Music, Manchester. She has worked in many of Europe’s illustrious theatres, such as, Brussels\u2019 La Monnaie, Paris Chatelet, Theater Hagen, Frankfurt and Hannover, including several years with the Bayreuth Wagner Festival. She was also engaged with WDR (Cologne Radio). Since her return to Australia in 2007, Sarahlouise has established herself as a concert artist and recitalist of art song, as well as a conductor of community choirs. She has been soloist with the Canberra Choral Society, University of Canberra Chorale, National Capital Orchestra and the Canberra International Music Festival, as well as given regular recitals for Art Song Canberra and Wesley Music Centre. She co-established ‘Opera in a Nutshell’ which performed La Traviata, and an early music ensemble, ‘Les musettes’. Her next project is to source enough funding to commission a show based on the incredible adventures of the world\u2019s first truly international Diva, Anna Bishop. To learn more, please see: www.cantaviva.com\/the-bishop-victoriana<\/p>\n

back to concert<\/a><\/p>\n

<\/a>
\nSarah Mann<\/b> is an accomplished performer, teacher, and administrator. A thirst for learning has seen her excel in voice performance, vocal pedagogy, classroom teaching, tertiary lecturing, choral conducting, and teacher mentoring. Sarah has gained principal solo performance engagements with state and national arts organizations, at venues including the Sydney Opera House and Melbourne Concert Hall. Her experience as a performer includes over twenty-six principal soprano roles in opera, operetta, and oratorio, from Cosette in Les Mis\u00e9rables to Handel\u2019s Messiah. She has gained regional arts funding to deliver recital programs and founded a successful rural arts organization. Her commitment to excellence in teaching is evident in fine student feedback for lecturing and in acceptance into the National Music Teacher Mentoring Program and Australian Kodaly Certificate, both peer reviewed. Sarah is currently undertaking an interdisciplinary PhD at ANU, working with neuroscientists to explore singing perception, and is a sessional tutor in voice at the School of Music.<\/p>\n

back to concert<\/a><\/p>\n

<\/a>
\nElla Luhtasaari<\/b> is a collaborative pianist and teacher based in Canberra. She completed bachelor degrees in music and psychology at the ANU and subsequently completed postgraduate studies in vocal accompaniment at the Kunstuniversit\u00e4t in Graz (Austria), and chamber music and r\u00e9p\u00e9titeur studies at the Guildhall School (UK). Since returning to Australia, Ella has worked as an opera r\u00e9p\u00e9titeur with the Lisa Gasteen Opera School, Handel in the Theatre, ANU School of Music and National Opera. As well as being a regular recitalist, Ella is also a passionate educator. She is a vocal and language coach at the ANU School of Music, a keen mentor of young piano teachers and has her own burgeoning piano studio.<\/p>\n

back to concert<\/a><\/p>\n

<\/a>
\nA native Canberran, Milan Kolundzija<\/b> has been performing and teaching as a clarinettist in Canberra for the past five years. Despite initial reluctance at the thought of playing an instrument, Milan is now in his fifth year of a Double Law and Music degree at the Australian National University (ANU), studying classical performance under the tutelage of Alan Vivian and Dr Eloise Fisher. Milan has performed in a range of ensembles, including Canberra Sinfonia, Canberra Youth Orchestra, ANU Orchestra, CSO-ANU Side-by-Side, and the Canberra Symphony Orchestra\u2019s Kingsland Collective. More recently, Milan began dabbling in historical performance, studying classical clarinet and historically informed performance practices with Nicole van Br\u00fcggen, taking part in the Australian Romantic and Classical Orchestra\u2019s youth and professional development programs, and even being invited to play second clarinet with Paul Dyer and the Australian Brandenburg Orchestra. Outside of performing, Milan is a keen clarinet teacher and enjoys sharing his knowledge of, and passion for, music with others.<\/p>\n

back to concert<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Please read: We are proud to have a full program of seven concerts lined up once again for the 2022 Season of Song. Please continue to keep an eye on announcements on this page or via email regarding changes in<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":96,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2109","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/artsongcanberra.org\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/2109","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artsongcanberra.org\/wordpress\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/artsongcanberra.org\/wordpress\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/artsongcanberra.org\/wordpress\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/artsongcanberra.org\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2109"}],"version-history":[{"count":5,"href":"https:\/\/artsongcanberra.org\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/2109\/revisions"}],"predecessor-version":[{"id":2419,"href":"https:\/\/artsongcanberra.org\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/2109\/revisions\/2419"}],"up":[{"embeddable":true,"href":"https:\/\/artsongcanberra.org\/wordpress\/index.php?rest_route=\/wp\/v2\/pages\/96"}],"wp:attachment":[{"href":"https:\/\/artsongcanberra.org\/wordpress\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2109"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}