Meet the Artist: Camille Maalawy, mezzo-soprano

Originally posted at Meet the Artist:

Template 258x173.jpgWho or what inspired you to pursue a career in music?

As a child I was always singing, and took part in music festivals and amateur dramatics. In my teens, I started to pursue singing more seriously, but had thought I would read English at university. It was whilst studying for GCSE Music that my teacher said that I should really think about doing a degree in Music. Until then I hadn’t really even considered it as a possibility.

Who or what have been the most important influences on your musical life and career?

I am absolutely indebted to all of my teachers, all of whom have invested a huge amount in Continue reading

Kelly Lovelady: On staging Bushra El-Turk’s Silk Moth this August for Grimeborn

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Originally posted at Composers Edition:

Template 258x173.jpgRuthless Jabiru presents Bushra El-Turk’s hard-hitting opera Silk Moth alongside works by Liza Lim and Cassandra Miller at the Arcola Theatre in London’s East End, August 9-11. Composers Edition’s Dan Goren caught up with the pioneering musical director Kelly Lovelady to find out more.

Dan Goren: Tell me how you’ve come to be producing this first fully-staged production of Silk Moth and what drew you to it.

Kelly Lovelady: I had been wanting to programme something of Bushra’s for years so when I had the chance to dream up some new programme ideas I went through her works list with a fine comb. The instrumentation of Silk Moth for a single vocalist and mixed Continue reading

Silk Moth and honour

Originally posted at eleanorknight2016 :

Template 258x173 copy.jpg“What would you say to your dead wife or daughter if she were still here?”

“I would say that I acted out of love, and I know that she would understand.”

This  exchange appears in Witold Szablowski’s collection of reportage from Turkey, The Assassin from Apricot City and simply and devastatingly illustrates the complexity of ‘honour’.

Honour, as I understand it as I sit here tapping away in East Sussex, is about acting with ethical integrity, with an awareness of a higher purpose, of doing the best one can as a human being.

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Program note: The Drowners

Originally posted at andrewford.net.au :

Andrew Ford (b. 1957)
The Drowners (2009–15)
songs for baritone, percussion, harmonium, celesta, harp and strings

This sequence of songs began as a commission from the West Australian Symphony Orchestra for a single song for the baritone Teddy Tahu Rhodes. ‘A Dream of Drowning’ was first performed by those forces, conducted by Paul Daniel, on 12 March 2010, but it seemed incomplete, as though it was only the start of something. So I added five more songs to make the present work.

The Drowners was composed for Morgan Pearse to sing with two orchestras – Ruthless Jabiru in London, under their conductor Kelly Lovelady, and Camerata in Brisbane, under Brendan Joyce. The work was funded by a project fellowship from the Australia Council for Continue reading

The Drowners

Originally posted at Resonate Magazine :

Template 258x173Andrew Ford writes about his work The Drowners for baritone voice and chamber orchestra, about to be premiered in London on 10 March. The same concert by the UK-based Ruthless Jabiru includes a premiere of a work for strings, percussion and tape by Rosalind Page.

In my sequence of songs, The Drowners, a surfer struggles against the rip (or dreams he does); a drowning man is dragged back from the cold North Sea by his wife, as his laughing child watches from the beach; a toddler drowns in a well in the 19th-century colony of Augusta, Western Australia; grieving parents are visited by the wraiths of their drowned children; a man, out of his depth all his life, drowns when he swims ‘too far out’; the King of Naples is believed to lie at the bottom of the sea, his eyes having turned to pearls. You might be forgiven for thinking I have an obsession with drowning.
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Everyone was a bird

Originally posted at Inside Story :

Template 258x173Music | It’s no surprise that Messiaen was a prisoner of war when he first made use of birdsong, writes Andrew Ford

Earlier this year I composed a song cycle for baritone and orchestra [The Drowners] that includes words from a letter by the nineteenth-century West Australian botanist Georgiana Molloy, telling of the drowning of her infant son. For obvious reasons I have been thinking about it again these past few days.

Setting a poem to music is one thing, setting somebody’s letter is another. In this case the diction is rather formal. Georgiana is writing to a man in England she has never met, a collector of plants to whom she sends specimens. She tells him of her child’s drowning in order to explain her tardiness, apologising for presuming on the professional nature of their Continue reading

We the pacific

Originally posted at Kelly Lovelady:

The Pacific as a peace force is a powerful idea for me: an oceanic body named for its energetic flow and Activist potential where others are known only for their territory.

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CCL Slovenia: Meet The Participants

Originally posted at Creative Climate Leadership:

Julie’s Bicycle and PiNA are pleased to announce the participants for our second Creative Climate Leadership course. We have selected 23 leaders from 89 outstanding applications.

Creative Climate Leadership (CCL) is a pan-European programme for artists and cultural professionals exploring the cultural dimensions of climate change. The second CCL international training course will take place near Koper, Slovenia, between 8th-14th October 2017, facilitated by Slovenian-based sustainable development and training NGO PiNA, and Julie’s Bicycle, a London-based charity supporting the creative community to power action on climate change.
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Kelly Lovelady, conductor

Originally posted at Meet the Artist:

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Who or what inspired you to take up conducting and pursue a career in music?
Conducting felt inevitable for me as a teenager: a natural evolution despite my oblivion at the time to everything it would eventually entail! The realisation was unceremonious- not really a dream or desire but a moment of clarity. I was lucky to find my two conducting teachers in the years that followed and both continue to mentor me almost 18 years on.

Who or what have been the most important influences on your musical life and career?
I think my tastes and philosophies are largely the result of producing my own work. When you find yourself responsible for every detail you start to reconsider the possibilities. If your self Continue reading

Michael Cryne: ‘Slipstream’ World Premiere

Originally posted at Composers Edition:

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London-based all-Australian chamber orchestra Ruthless Jabiru will perform Michael Cryne‘s ‘Slipstream’ in its world premiere this Sunday, 9 April 2017, as part of the closing performance of Joy & Dissent: a new festival of cultural Activism at Hackney Showroom. The programme, curated and conducted by the orchestra’s artistic director Kelly Lovelady, aims to call for London’s cultural organisations to go fossil funds free, and point out at the topic of fuel dependency and its ramifications for the soul of our world.

The orchestra’s programmes are devised around existing and commissioned repertoire by today’s composers with a view to promoting sustainability and ethical dialogue, and are dedicated to humanitarian stories. Other works include Julia Wolfe’s Fuel, Cat Hope’s Pure, Lamentation: Homage to Supply Belcher (1750-1836) from Symphony No.14 “Symphony in
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