#Queensland Symphony Orchestra events | Explore Tumblr Posts and Blogs

qnewslgbtiqa · 2 months

Text

Courtney Act headlines Olivia Newton-John tribute concert

New Post has been published on https://qnews.com.au/courtney-act-headlines-olivia-newton-john-tribute-concert/

Courtney Act headlines Olivia Newton-John tribute concert

You’ve been patient, you’ve been good, and now it’s time to get Physical, Brisbane! International drag superstar and singer, Courtney Act, is set to join Queensland Symphony Orchestra as host and performer for Hopelessly Devoted: A Celebration of Olivia Newton-John.

Hopelessly Devoted: A Celebration of Olivia Newton-John is set to make Magic at the QPAC Concert Hall this April.

Courtney will be the fabulous host for both concerts, joining stars of the stage and screen. David Campbell, Jess Hitchcock, Georgina Hopson and Christie Wheelan Browne are all set to co-star.

Orchestral arrangements of her songs will be crafted by conductor, Nicholas Buc and performed by QSO.

Courtney’s the one that we want!

View this post on Instagram

A post shared by Courtney Act (@courtneyact)

Born in Brisbane and known as Shane Jenek out of drag, Courtney Act made waves in 2003 by auditioning in drag and placing 13th in the first season of Australian Idol.

She then went on to tie for runner-up in RuPaul’s Drag Race U.S. season 6 and won Celebrity Big Brother UK in 2018. Courtney has become an Australian household name, representing the LGBTQIA+ community on a number of TV shows, specials and Pride events.

QSO Chief Executive, Yarmila Alfonzetti is relishing the groundbreaking collaboration saying:

“Courtney Act will make very welcome history (herstory) as the first drag queen to share the stage with the Queensland Symphony Orchestra.”

Courtney, herself, couldn’t be more excited to be joining QSO on stage for this celebration of Olivia Newton-John.

“Who isn’t a fan of Olivia Newton-John?” Courtney asks.

“I’m thrilled to celebrate her music and legacy alongside Queensland Symphony Orchestra. It promises to be an incredible evening!”

All about Olivia

The queers and Olivia Newton-John have always gone together like “rama lama lama ka dinga da dinga dong,” and it’s not hard to see why.

Starting her career in 1971, Newton-John had several pop hits in Australia, the UK and the US. Honestly I Love You became her signature song and first pop number-one.

Then in 1978, Olivia Newton-John was immortalised alongside John Travolta in the ridiculously fun movie musical, Grease.

It was here that generation after generation would fall in love with Sandy, the bright-eyed, sweet-as-pie Aussie high schooler from Rydell High.

Soon after in 1980, Newton-John went on to star in the cult film, Xanadu. A critical failure at the time, its soundtrack would then go on to be certified double platinum with five top 20 singles on the Billboard Hot 100.

Olivia’s Physical video and LGBTQIA+ advocacy.

youtube

In 1981, one year after Xanadu’s release, Olivia struck double platinum with Physical. It spent ten sexy weeks atop the Billboard Top 100.

The saucy, satirical music video for Physical was also where Olivia solidified her status as a queer icon.

Olivia starred as a flirty fitness instructor alongside oiled-up hunks in short-shorts, and some not-so-ripped men used for comedic effect (it was the problematic 80s).

Despite the overtly sexual nature of the video, it was the original end of this video clip that found controversy. Two of the oil-drenched himbos walked through the doors of this bathhouse set hand-in-hand.

This resulted in MTV clutching its pearls and removing the homoerotic closing shot before it was aired. This, however, still wasn’t enough to stop it from becoming one of the most iconic music videos of the decade.

Olivia brought awareness to the global AIDS crisis by appearing in the 1996 film, It’s My Party, one of the first feature films that addressed the topic of AIDS patients dying with dignity.

Olivia was also a vocal advocate for marriage equality in the 2010s, being one of the first celebrities to show her public support for the movement in Australia.

Live your Olivia fantasy

QSO wants to see you dress in your Olivia Newton-John fantasy best!

Dress in 80s glam, roller disco realness or full Grease glory. Whatever your inner or outer drag desires, you are welcome!

Fans of Olivia Newton-John and fans of a camp ol’ time will not be disappointed with a ticket to Hopelessly Devoted: A Celebration of Olivia Newton-John.

Grab your tickets from QSO now!

Read next:

Vale: Olivia Newton-John remembered as beloved gay icon

Courtney Act to lead Brisbane’s new River Pride Parade

Courtney Act celebrates 20th anniversary of Australian Idol

For the latest LGBTIQA+ Sister Girl and Brother Boy news, entertainment, community stories in Australia, visit qnews.com.au. Check out our latest magazines or find us on Facebook, Twitter, Instagram and YouTube.

#courtney act #Olivia Newton-John tribute

0 notes

ricardopeach · 3 years

Photo

'William Barton returns to the Australian Festival of Chamber Music with music, messages and memories'

The powerful sound of William Barton’s didgeridoo will again ring out through North Queensland when the renowned composer and musician performs from his significant canon of works at the 30th Australian Festival of Chamber Music (AFCM) in Townsville from 23 July to 1 August.A proud Kalkadunga man, ARIA-award winning William Barton is a distinguished artist of extraordinary musicality, a virtuoso performer of the didgeridoo and a renowned composer of the highest acclaim who just last month was given the prestigious Australia Council for the Arts's Don Banks Music Award for outstanding and sustained contribution to music in Australia. http://www.australiacouncil.gov.au/.../bio.../william-barton

Barton shares a long history with the AFCM, having been a regular performer for many years, and now is set to return to perform at three major events during the Festival. He last performed at the AFCM in 2012.

“The AFCM holds a special place in my heart, I premiered a number of my works there, and I have always dreamt of returning to perform a combination of pieces from my current portfolio which I have performed around the world on some of the greatest stages, as well as those formative pieces from earlier years. I am looking forward to creating some premiere addendums to key pieces, music that hasn’t been heard before using didgeridoo, voice and guitar,” he said.

“Coming back to Townsville, and the AFCM is exciting, particularly to mark the 30th anniversary of this extraordinary chamber music festival. Performing on Magnetic Island will be a special experience.”

William Barton performs in the Queens Gardens Concert on Sunday 25 July at 3pm, the Sunset Series Concert B4 on Monday 26 July at 5pm at the Townsville Civic Theatre and the Sounds Like Paradise Dinner on Tuesday 27 July on Magnetic island.The 30th AFCM will be held from 23 July to 1 August as a joyous 10-day celebration of music curated by Artistic Director, Kathryn Stott.

Over 30 music-filled years, the AFCM has forged a stunning international reputation as one of the best chamber music celebrations in the world. Featuring 133 works, 112 composers, four world premieres and five Australian premieres the program stars more than 40 Australian musicians, 15 in their AFCM debut, as well as three ensembles including the Goldner String Quartet in their 25th anniversary year, and three local groups including the acclaimed Dancenorth.

ABOUT WILLIAM BARTONOver his long and remarkable career, William has performed all over the world, from large concert halls to regional music festivals and at international landmarks reflecting the central importance of his music to Australian and world identity. His generosity of sound and spirit have seen his work commissioned by some of the most outstanding ensembles from around the world.For two decades, he has forged a peerless profile as a performer and composer in the classical musical world, from the Philharmonic Orchestras of London and Berlin to historic events at Westminster Abbey for Commonwealth Day 2019, Anzac Cove and the Beijing Olympics. His awards include Winner of Best Original Score for a Mainstage Production at the 2018 Sydney Theatre Awards and Winner of Best Classical Album with ARIA for Birdsong At Dusk in 2012.

With his prodigious musicality and the quiet conviction of his Kalkadunga heritage, he has vastly expanded the horizons of the didgeridoo — and the culture and landscape that it represents.“I grew up on a cattle station just outside Mt Isa in northwest Queensland. I started learning the didgeridoo from about the age of seven from my uncle, Arthur Peterson. He was an elder of the Wannyi, Lardil and Kalkadunga people.”

His mother — singer, songwriter and poet Delmae Barton — remembers him dancing to Elvis Presley when he could barely stand. He recalls Beethoven and Vivaldi streaming from ABC classic FM radio, and AC/DC in his cassette player. Through it all, the hypnotic whoop and drone of the didgeridoo wove a common thread in his imagination.

“What I remember so clearly from my uncle is him telling me that the didgeridoo is a language. It’s a speaking language and like any language, it’s something that you’ve got to learn over many months, and many years. It’s got to be a part of you, and what you do.”At 17, William realised a lifelong dream when he was invited to perform with the Queensland Symphony Orchestra.

But the full, rapturous embrace of the classical music world came in 2004, when Tasmanian composer Peter Sculthorpe unveiled his Requiem with the Adelaide Symphony Orchestra and guest soloist, William Barton.That night, William was invited to join the orchestra in Japan, to perform Sculthorpe compositions Earth Cry and Mangrove.

Tours to the USA and New Zealand followed, and the composer and didgeridoo artist cemented a firm creative partnership. "William offered me a new direction," the late composer has said, praising his instinctive musicality and skill as an improviser. He’s almost like a magician… bringing my music home.”The importance of William’s outstanding and enduring contribution has been recognised by many awards including the = Artist Residency Peggy Glanville-Hicks Composers House (2020), Artist in Residence Melbourne Recital Centre (2019), Best Original Score for a Main Stage Production - The Long Forgotten Dream – Sydney Theatre Awards (2018), ARIA Best Classical Album - Kalkadungu: Music for Didjeridu and Orchestra (2012).

Australian Festival of Chamber Music23 July to 1 August 2021 in Townsville, North QueenslandFestival tickets, concert passes and holiday packages on sale nowwww.afcm.com.au | Facebook | Instagram | Twitter | #afcm2021For media enquiries please contact Kath Rose | 0416 291 493 | [email protected] North Queensland media, contact Heidi Hatherell | 0488 132 636 [email protected]

https://s3-ap-southeast-2.amazonaws.com/os-data-2/afcm2021/documents/afcm_2021_william_barton_returns_with_music_and_messages_final_060521.pdf

1 note · View note

thenextrush · 4 years

Text

youtube

On Wednesday night at the Concert Hall, QPAC, Queensland Symphony Orchestra and conductor Nicholas Buc, were joined by very special guest – the multi-talented writer, composer, singer and musician, Ben Folds.

(Pictured Top left to Bottom Right: Nicholas & Karen Bishop, Paul Connelly & Kelly Caldwell, Joshua Hassum & Caley Madden, Liana & Nicci Modolo, Joey McGahan & Diana Avery, Jo Hallinan & Simon Groth, Jade Quinlivan & Jasmine Wood, Gemma & Sarah Burmheim, Dylan Moffat & Emily Massingham, Caroline Vega & Steven Drossou, Alisha Stewart & Emma Dean, Sue Hogg & Penny Dahl)

Performing with Symphony Orchestras across Australia on his Symphonic Tour, Folds brought his unique flair, sense of humour and improvisational skills to Wednesday’s concert which saw him play an eclectic range of songs including his hits Zak and Sara and Landed along with an interactive rendition of I Still Call Australia Home, originally recorded to raise funds for Australia’s bushfire relief.

Ben Folds and Queensland Symphony Orchestra will perform a second concert tonight in the Concert Hall.

Click below to read more reviews and news on (New articles daily)

Ben Folds, The Symphonic Tour with Queensland Symphony Orchestra #brisbane #qso #symphonymusic #brisbaneevents #brisbanegigs #whatsoninbrisbane #redcarpet #snapbrisbane On Wednesday night at the Concert Hall, QPAC, Queensland Symphony Orchestra and conductor Nicholas Buc, were joined by very special guest - the multi-talented writer, composer, singer and musician, Ben Folds.

#australian symphony music #Ben Folds #Ben folds with QSO #brisbane symphony #QSO brisbane program #Queensland Symphony Orchestra events #The Symphonic Tour with Queensland Symphony Orchestra #who is ben folds

0 notes

stephfm · 5 years

Text

Does Classical Music Deserve a Reprise?

Classical music itself is a tricky term. To most, it’s an umbrella term used to describe music you associate with grand concert halls, orchestras, and composers such at Beethoven and Mozart. To those with musical literacy, however, it’s a specific period of music that started in the mid 18th century till the early 19th century. But, that is not the point of this article. Today, let’s use the term to refer to what most people think of when thinking about Classical music. It’s old, it may even be boring, but more importantly, it’s dying. Concerts are receiving less government funding and the audience is somewhat depleting.

The Audience Agency’s report on UK’s classical music audiences that covers classical music events from 2014 to 2018 demonstrates that the average age for Classical music is increasing. Like how several countries in the world are battling the problem of an ageing population, Classical music is too. But why is this so? Is it possible that Classical music events are just catered to the older generation? People above their 40s probably have more disposable income, more leisure time to attend concerts and are more interested in investing themselves in cultures that nourishes them beyond having Instagram worthy content. Maybe it’s possible that the lifestyle that comes attached to the Classical music scene is more suited to the older generation, but I’m guessing there’s more to it.

So, is there something about Classical music itself that puts off the younger generation? If we look at the music listening habits of the younger generation, YouGov, in a survey commissioned by the Philharmonic Orchestra, younger people do in fact listen to Classical music. Some listen to it by choice, like when studying, and some when they happen to be at a social event that has it on loop in the background. With Spotify dominating in the music-streaming sector, they too offer a wide range of Classical music. From having artist profiles of composers such as Beethoven, Mozart, Tchaikovsky and more, to creating playlists of Classical music streamers can tune in to. In 2018, streams of Classical music rose by 42% according to an article I came across published by The Guardian. Furthermore, with the rising popularity of film music, the younger generation does in fact engage in some form of Classical music, even if it’s just tracks of Hans Zimmer on repeat.

However, looking at the numbers now on Spotify itself, Classical playlists only have the smallest fraction of listeners compared to other more popular genres of music. Again, I’m asking, why is this so? Maybe it’s the fact that it’s instrumental and the younger generation needs lyrics to relate to the music. But I’m sure if they gave it a chance, they will find how moving Classical music can be. In saying that, I do need to admit that I am a millennial who listens to Classical music, so I may be a tad bit biased. If I think about myself, the reason why I got into Classical music is simple—I grew up singing in choirs and I’m now studying Music in University. This then brings me to the idea that perhaps, Classical music has a sense a exclusivity to it. Do people feel like they need to be part of this imagined musicians-only sphere to appreciate Classical music? Do they feel they need some level of musical literacy to even begin listening to it? Perhaps.

Going back to live concerts, I feel like I can describe the audience pretty easily and this is based on my personal experience as well, both as a performer and an audience member. If I look around a concert hall, it’s filled with people that belong to one of these three main categories. First, they are friends and family of a performer on stage. Second, they are frequent Classical concertgoers, the so called connoisseurs. And if they belong to the second category, they most likely fall in the third and last one too—the older generation. So again with the question, why does the younger generation not want to give Classical concerts a go? I’ve asked a few of my non-music University friends before and most of them shared the same sentiments. They never saw the need to, didn’t know how to and just never thought about it in general, assuming it wasn’t “their thing”. With the misconception that Classical music concerts are for the upper classes, costly, maybe even boring, and not forgetting how some still think they need to show up in black-tie appropriate outfits, I see where they are coming from.

Now, you might be thinking—the younger generation may not attend the concerts, but at least more of them are giving Classical music a shot by simply listening, so what more am I asking for? There’s a difference between streaming a piece of music and watching it live, and I believe most can agree with me when I say that this applies to all types of music. Just walking into a concert hall and seeing a full orchestra in front of you is an experience on its own. This brings me to my final questions. If Classical music was able to survive over a thousand years, why should it die now? If concert-going behaviour is still thriving in the pop music industry, why should Classical music concerts die now? More importantly, how can we help make Classical music and related events appealing to the younger generation to keep it alive?

There are three names that come to mind when I think about that last question. First is Lindsey Stirling, an American violinist, singer and songwriter. She is known for her choreographed violin performances of classical, pop, rock and electronic dance music. 11 million subscribers. Second is 2Cellos, a Croatian-Slovenian classical trained cello duo. They play instrumental arrangements of well-known pop and rock songs, as well as classical and film music. 4 million subscribers. What Lindsey and 2Cellos have in common is that they do use Classical instruments in a pop context or at least one that “spices up” Classical music. Yes, they show what a Classical instrument can do and try to make it more relevant today, but I can’t help but dwell over the fact that their covers of popular music have more views than their Classical performances. Do we really need to forgo centuries of tradition and integrity just to make Classical music relevant again? And if we do re-contextualise Classical music to fit into the modern day taste in music, are we really doing it justice or simply finding ways to force it down people’s throats? Please forgive me for being crass, but I think that’s just the easy way out and dare I say it, sell-out. Don’t get me wrong, they are amazing at what they do and there is no doubt that they have talent, but I think we need other ways to re-introduce Classical music today.

This then brings me to our last case study, TwoSet Violin. Made up of two classical trained violinists, this duo are the faces behind a Youtube channel that has gained over a million subscribers in a few years. Their content revolves around skits, react videos and games incorporating the violin. Some of their most viewed videos are those funny and sometimes painfully accurate ones portraying the life of a Classical musician. You may think, isn’t this still exclusive to people who are musicians themselves? Yes, you are right, but let me tell you about what they achieved in recent years.

Their mission is to make Classical music more accessible to all and with that, continue to inspire the next generation. They did exactly just that with their unique take on a Classical recital. In 2016, TwoSet Violin gave up their respective positions in Sydney and Queensland Symphony Orchestra to host live Classical comedy performances. They created a show which offers an experience, one that integrates humour with actual recital, while still upholding the integrity of Classical music. I never gotten the chance to watch them live, but after scrolling through videos and reviews on various news platforms, I saw how they managed to attract a diverse crowd, one that includes the younger generation and one that includes those who have never been to a classical concert before. From 2017 to 2019, their efforts were channelled into their world tour. With each show, they put in effort in making each one unique, tailoring their show to suit each culture and audience. None of their performances were the same. It is also worth mentioning that it was the first ever crowd funded Classical world tour. Through this, they managed to show that Classical music need not always be dependent on government funding and the typical concert-going demographic, and more importantly, people are willing to give Classical music a shot if you give them a reason to.

We started this article talking about the ageing audience of Classical music concerts and how we may witness the death of Classical music one day. It is safe to say that interest in Classical music is dwindling, be it in terms of concert-going behaviour or listening habits. I, however, have hopes that that day won’t come, or at least not as soon as we think. If we think about how we can “rebrand” Classical music and its related events, without compensating on the quality of it we admire, I believe that a wider audience, including the younger generation, will give it a chance.

Here’s my take—just like every other genre of music, Classical music may not be for everyone, but I urge you to give it shot. Give it try outside of using it as background music when you study. Maybe even attend a concert one day to experience the auditory and visionary spectacle for yourself. I can assure you that you don’t need any level of musical knowledge to listen to and maybe even appreciate Classical music, you just need your ears. You never know where listening to just one piece will take you because in Classical music itself, there’s so much to explore in terms of genres and forms. And if you do give it shot, but still feel like it’s not for you, that’s perfectly fine. I’m just one person and what I do won’t make much of a difference, but I guess this is just my little way of trying to keep a part of history alive.

#music #musicians #classicalmusic

2 notes · View notes

reflectcreatively · 3 years

Text

Blog #5: Finally Started Filming, Too Many Props, Reflections on Assessment

Introduction

Welcome to the final week of my blog ‘Reflect Creatively’. This week, although we did not manage to film all of the scenes that we wanted, we finally made a start on filming, and I will make a few reflections on how this assignment was for me personally.

Lights, Camera, Action

During our tutorial on Tuesday, the lads plus Hayley finally made a start on filming our short film ‘Oh Fang’. We filmed most of our scenes on the premises of University House, starting with the opening scene where Ronald comes home to take a nap then wakes up as a vampire. We then filmed the scene where he runs into his bathroom to prepare for the date, by filing down his vampire teeth, which we filmed in a secret bathroom in UNH (that was pretty cool). Finally, we went across the road to Civic Park to film a scene where Ronald is on his way to the date and he walks past two guys who notice that Ronald’s teeth have grown back, which Ronald reacts to by starting to sprint in order to not get noticed by anyone else. Although we managed to film these scenes, they were not all that we had planned to do, as there were a few that we could not film because we didn’t have the necessary props, including the one with Ruby (Ronald’s date). We hope to film these and wrap up filiming next week.

Prop Overload

The day before, I went over to Shindigs in Lambton to buy some props for the film, including fake vampire teeth, face paint, and fake fingernails. However, we only ended up using the vampire teeth, as no one was really keen on making a mess with the other props. It sucked because the lady at Shindigs said that the items were non-refundable, but oh well, I may get to use them in the future.

Assignment Reflections

Having never done a group assignment at University before, I initially worried about the collaborative component of this assignment, however, I have found this to be easier than I thought because you can realisitically only catch up with the group once or twice a week to discuss and work on the assignment; most people are in the same place in terms of how busy their extra-cirricular schedule is, due to work and family commitments. I’ve also enjoyed getting to know my fellow group members better, and who knows, we may be yet to work with each other again in group assignments in the future.

References

Lilley, C. (2019). Joyce’s Museum Tour - EXTENDED SCENE - Lunatics. [YouTube thumbnail of Joyce walking through her museum]. YouTube. https://www.youtube.com/watch?v=LmrY_0-PBkE

Queensland Symphony Orchestra (n.d.). [Photograph of operating movie camera]. https://www.qso.com.au/events/2021/education/lights-camera-action

#creativecollaborations #week11 #assessment2

0 notes

altotales · 4 years

Text

Brand spanking new!

Hi there! Welcome to my fresh, sparkly, new blog. For those of you who are new here, I hope you enjoy your stay, and to those of you who followed musiiki it is so lovely to see your face again. I decided to make this new page as throughout my whole fourth year at the Conservatorium, I didn’t make a single post, and it seemed wrong to reinvent a page that holds so many wonderful glimpses into my student life. As this is my first post on this page, I’ll start with a little (probably a lot let’s be real) about myself before we kick on with the life updates.

My name is Sophie, I was born and raised in Cairns, Far North Queensland, and I’ve been playing viola since 2006. I am classically trained and studied under John Curro AM MBE at the Queensland Conservatorium of Music for four years. I graduated in 2019 and - thankfully - got out of there before that thing came along (you know that virus everyone is talking about). During my school years I was a part of choirs, many string ensembles and was principal viola in my high school orchestra from grade 9 through to my senior year. I also played in community orchestras and occasionally did the odd solo gig!

I moved to Brisbane to start my degree in 2016 and it truly has been a massive journey. Meeting John and his incredible family changed my life in more ways than any of them could know. John was a great mentor and grandfather figure to me and has revolutionised my practice techniques and my performing to a place where I never could have imagined. No, I’m not some prodigy, and I’m nowhere near as good as the top young violists in the country but he taught me how to practice efficiently and intelligently, and my improvement throughout my degree was always surging upwards. He also constantly reminded me to love music, which is something we can forget when we make a career out of our passion, but he instilled that love in me and I will always hold his wisdom and love close to my heart. John was in his eighties and was always battling health issues during our time together. He would often joke about dying and make light of it, but at the beginning of my third year, he sincerely promised me that he would hold onto life until I finished my degree. The day after my final recital he passed away. It hit all of us like a tonne of bricks. He touched thousands of peoples’ lives and truly left his mark in Australian music history. I will write more about John in future posts, and I know this post is meant to be about myself but I couldn’t not include him in this as, especially now that he’s gone I feel that he is a part of me in some way - especially as an artist.

My time at the Conservatorium was on the whole, pretty fucking awesome (there will be some swearing in this blog, if that’s not for you, thanks for stopping by). I made so many lifelong friends and was involved in so many wonderful musical experiences from chamber ensembles, to symphony orchestras, operas, musicals, and solo performance. I was also (and am still) doing the odd Australian Youth Orchestra program and am in the Queensland Youth Symphony - the top orchestra of the Queensland Youth Orchestras (founded by John in 1966!). Over the years, I’ve managed to build myself a network to the point where I am now a core member of Deep Blue, one of Camerata’s Upbeat artists, and occasionally get booked for gigs with String Source and Four Strings. And of course, the more friends I make, the more I find myself in random independent gigs for various events.

The last musical project I insist you must all know about is my folk duo Old Semeil. Made up of myself on viola/vocals and the wonderful Gavin Cook on guitar/vocals/harmonica/banjo/whatever the fuck he feels like playing that day, we have been together for 5 years and JUST RECORDED AN ENTIRE ALBUM IN ONE WEEKEND!!!!! Well, it’s missing a few overdubs, but it’s a predominantly live album so we’re about 70-80% of the way there. This year especially, Old Semeil has become an integral part of my life, and has breathed new energy into my artistry like I never could have expected. As much as I love the classical world, the fantastic repertoire and the power of playing in an orchestra, there is something truly unique and special about creating your own music and sharing it with the world. In a future post, I will talk about my mental struggles but I will say now that Old Semeil often reminds me why I still want to pursue music and why I love it so much. I can’t wait to share our album with you all!

Finally, while music has always been my first love, my wonderful little horse is a very close second. If I’m honest, the line is a little blurred at times. I decided I would own Rockstar before he was even born. I went on my first ever horse camp at Black Mountain Hideaway at the age of 10, and fell in love with this wonderful buckskin mare Verity, who was VERY pregnant. I told Suzie - the owner of the farm and a very pivotal female warrior figure for myself as a teenager - that I would have him one day. After not buying myself literally anything (including new clothes) for the three years after he was born he was mine. I trained him myself, and he helped me through my absolute best and absolute worst times throughout high school. I had to leave him up in FNQ when I moved to Brisbane, but I am so incredibly excited to say next year, he will be moving down here and we will be together, full time once again!

If you made it this far, thank you for your time! There is so much more I could (and will) write, but I think this post gives a pretty good insight into who I am and what I love. I will try my darned best to post regularly, and hopefully keep it interesting! Also, if there is anything you would like me to write about, perhaps compare an experience of mine with yours, or share my thoughts on something you don’t want to share yourself, please pop into my ask box!

#music #musician #musicblog #blog #viola #violist #artist #art #life #writing #writer #story

0 notes

travelonlinetips-blog · 5 years

Photo

New Post has been published on https://travelonlinetips.com/australia-france-bulgaria-berlin-and-italy-lonely-planets-travel-blog/

Australia, France, Bulgaria, Berlin and Italy – Lonely Planet's travel blog

Cliff astride his noble steed Turbo on Rainbow Beach, Queensland © Clifton Wilkinson

At Lonely Planet we’re simply obsessed with travel; rarely a week goes by when someone hasn’t just got back from an epic adventure. To celebrate our infatuation with exploration, each month Lonely Planet staff will be sharing some of their recent travel stories from the road. Read on for horseback beach escapes, birthday celebrations in Berlin and more…

Horse riding along Rainbow Beach, Queensland

Turbo was having none of it. Try as I might, I couldn’t get my otherwise compliant horse to take the two of us into the ocean as we ambled along the magnificent Rainbow Beach in Queensland. It’s not like I wasn’t having an amazing time already. It would be difficult not to on what is regularly named as one of the world’s most beautiful beaches; a stretch of golden sand that goes on for miles, bordered on one side by dunes and forest, and on the other by the glistening Pacific.

But I’d always wanted to ride a horse on a beach, galloping through the waves, man and horse and the elements combining in an exhilarating, once-in-a-lifetime experience. Turbo clearly had not got the memo, so I had to make do with a gentle stroll along the sand, every now and again trying, unsuccessfully, to coax my clearly ironically named steed to head just a little closer to the water, but still revelling, grin spread across my face, in the stunning surroundings.

Clifton Wilkinson, Destination Editor for Great Britain, Ireland and Iceland. Follow his tweets @Cliff_Wilkinson.

Traffic on Ile de Re may include the odd donkey © Jessica Ryan

Cycling around idyllic Île de Ré, France

Last September I spent five glorious days in Île de Ré, near La Rochelle on the west coast of France. We stayed in an area called Le-Bois-Plage-en-Ré, a 15-minute cycle from the island’s main hub, Saint-Martin, a quaint, upmarket port town. Cycling wouldn’t normally be my preferred method of transport, but you really need a bike to experience what makes this place special. And with an elaborate network of flat, smooth cycle paths that take you past fields of donkeys, vineyards, oyster farms, beaches and salt flats, it was a pretty dreamy way to get around.

By day, we criss-crossed the island en vélo, stopping for an ice cream at the famous La Martinière in Saint-Martin. Its winding streets are lined with charming white houses, decorated with shuttered windows and climbing plants. You can stop for a dip in the sea when it gets too hot, and have lunch at the many beach restaurants before exploring the rest of the island. By night, dine at La Cible; or if you’re on a tighter budget, pick up a takeaway pizza and beers from one of the roadside vendors, pedal onto the beach and watch the sun set.

Jessica Ryan, Product Editor. Follow her on Instagram @jessimica_ryan.

Soaking tired muscles in Bulgaria’s hot springs

I love mountains and I love thermal hot springs (known as banya in Bulgaria), so I was pretty happy to find both just an hour from the country’s capital, Sofia. After a full day walking around Seven Rila Lakes in Bulgaria’s Rila Mountains, photographing glacial lakes, icy waterfalls and wild alpine flowers, I convinced my travel buddies we should check out the town we had come through the night before. Surely Dolna Banya has a banya, right!?

We rolled up to a public hot springs complex in the early evening, and despite having zero Bulgarian vocabulary at our disposal, the immensely patient staff hired us towels, a locker and pointed out where the hot pools were, as well as the steam room, sauna, and snow fountain – for cooling back down. We relaxed our weary bodies after a long day hiking, watching the sun set and the thermal steam waft through the crisp mountain air while we floated around various indoor and outdoor pools, soaking ourselves in the therapeutic waters.

Tasmin Waby, Destination Editor for Australia and the Pacific. Follow her tweets @TravellingTaz.

Ladies about town in Berlin, Germany

Berlin is famous for its wonderful nightlife, but I experienced the city in a brand new light when I brought my mum on her first trip to Germany. Bernadette had a big birthday in November (60 and sensational), and I wanted to treat her after a tough year. Is there anything better than day drinking in Christmas markets and buying 400 tree decorations? The answer is no.

Mama only deserves the best and that was the Regent Berlin. It’s a hotel I’ve lustfully eyed from afar, but didn’t feel sufficiently fancy or rich enough to stay in. Turns out November Jennifer is both rich (credit card) and fancy (discount designer bag) enough to shimmy through its marble entrance. The staff were a joy and showered my mum with champagne and cake to celebrate her birthday. In fact half of Berlin gave her free cake for the occasion – we basically told everyone we met.

We hit up the joyously festive market in Gendarmenmarkt, fangirled the Berlin Symphony Orchestra in the Konzerthaus, and generally ate and drank our way around the city in grand style. Berlin is a great option for intergenerational travel: loads of chilled bars and restaurants, and all the major sights are in an easily navigable area. Next time we’re hitting up Berghain – the city’s most exclusive nightclub!

Jennifer Carey, Managing Destination Editor. Follow her tweets @JenniferCarey01.

Driving a classic car through Lombardy, Italy

As a massive fan of the nostalgic character and many peculiarities of classic cars, the idea of taking one on a tour through Italy had long sat at the peak of my bucket list. And so, with a little help from a friend of a friend of a friend, I found myself clambering behind the timber-rimmed steering wheel of a beautiful old British convertible, a 1955 AC Ace, in Brescia.

We chugged out at dawn from the dusty courtyard of the Mille Miglia Museum. The Mille Miglia was once known as the world’s most dangerous road race, originally running from 1927-57 on a 1000-mile loop from Brescia to Rome and back. My co-driver Paolo and I were taking the AC on an event called the Coppa Franco Mazzotti, which retraces the first 200 miles of the Mille Miglia through Lombardy.

Over the next couple of days we wound between graffiti-spattered suburbs and sprawling medieval fortresses; through the vineyards of the little-visited Franciacorta region and selfie-stick-wielding hordes in the spa town of Sirmione by Lake Garda. We also soaked up some of the happiest of rural Italian clichés: roving packs of nuns; farmers harvesting olives; and grandparents with their grandkids, leaning from terracotta-coloured roadside houses – all cheering our cartoonish convoy as we came barrelling on through.

Peter Grunert, Group Editor, Magazines. Follow his tweets @peter_grunert.

Peter Grunert travelled with support from Scuderia Classiche. Lonely Planet contributors do not accept freebies in exchange for positive coverage.

Source link

0 notes

dixie78 · 6 years

Text

Dream job for Wollongong's String Family after 2.5 years on the roadway

THE STRING FAMILY: Joel, Ashleigh, Sarah and Heath Moir at Paronella Park. They get here back in Wollongong this Friday and will carry out Saturday.

Wollongong's worldwide acclaimed String Household is heading house this Friday and will be performing a home coming concert on Saturday.Former String Angel Sarah Moir said

after performing all around Australia and overseas with her hubby Joel and children in the last few years they are returning this week with some huge news. Dream task for Wollongong's String Household after 2.5 years on the roadway

"Paronella Park in Fare North Queensland has asked us to develop a program to be performed every night in the castle from May to November next year,"Mrs Moir said. "So that is where we will be living for a minimum of six months next year. Carrying out every night. It's a dream come to life for us

. We still ca n't believe it. "The String Household documentary The heritage noted tourist destination was an entertainment venue till the late 1970's when a fire swept through

the castle, leaving only the walls and the turret as a reminder of what had been. Mrs Moir is producing a theatrical show for the family to carry out during the nighttime illuminate of the castle. She stated the brand-new news suggests The String Household has plenty to commemorate in Wollongong this weekend."We are sharing the costs and doing one piece together likewise". Joel and Sarah satisfied at Wollongong Eisteddfod as children. Married

young and had actually kids.Joel had been participating in school at Sydney Conservatorium of Music High School with aspirations to sign up with Sydney Symphony Orchestra.

He injured hand whilst at school and could not play cello for 15 years. So

went into IT and had a number of businesses.Sarah went on to be a violinist performing around the globe as a musician and with String Angels playing lead. She toured with Ronan Keating and Sharon Corr around Australia and NZ. And has actually played with Kylie Minogue, Susan Boyle, Seal on TV shows such as X Factor, AGT, Logies, the ARIA Awards and iTunes Awards. She likewise performed as a Visitor Performer on cruise ships around the globe. 2010 Family lost house and all cash in the Global Financial Crisis and went into financial obligation. They struggled for lots of years economically and personally. During that time Sarah was reoccuring overseas to play violin. Being away so much was disruptive to family life. She discovered she was not spending sufficient quality time together with her family and was missing lots of essential moments as he kids

rapidly grew. In 2016 an Ambulance was hired the middle of the night for Joel. Medical professionals told him he needed a less difficult job and way of life. Sarah began performing more with her family and they went on to win the Australian National Busking Championships. Carrying out as The String Family they purchased a caravan and struck the roadway on an unexpected nationwide music tour.In February 2017 The String Household left house without any bookings or plans and effectively self moneyed a music trip that has actually now lasted 2.5 years. In the process they have manged to pay off some old organisation debts.The household has been

dipping into festivals, performances, on cruise ships, in caravan parks and at business events. At the same time they have become popular around the nation as The String Family.In 2018 they were preparing for the children to go back to high school instead of being house schooled and kick back into a more regular life. But after 2.5 years on the roadway they have actually been used a dream task at the iconic Australian heritage listed traveler destination Paronella Park. It was a home entertainment place in it's heyday however has actually not had regular live music given that 1979 when a fire swept through the castle, leaving only the walls and the turret as a suggestion of exactly what had actually been. Sarah is producing a theatrical program for the

household to perform nightly throughout the illuminate of the castle. The program will last for a minimum of 6 months which indicates the children will attend the local high school. THE STRING FAMILY: Sarah, Heath, Ashleigh and Joel Moir arrive back in Wollongong this Friday and will perform a concert on Saturday.

0 notes

jazzworldquest-blog · 7 years

Text

USA: Jerry Nowak Memorial Concert at The College of New Jersey to Feature Delaware Valley Wind Symphony

Concert to honor composer/arranger and alumnus, Jerry Nowak, at Mayo Concert Hall, TCNJ, Saturday, March 4, 2017, 3:00 pm Langhorne, PA (PRWEB) January 30, 2017 The Delaware Valley Wind Symphony and The Philadelphia Saxophone Quartet will perform a concert honoring their co-founder, Jerry Nowak (1936-2015), at the Mildred and Ernest E. Mayo Concert Hall at The College of New Jersey on Saturday, March 4, 2017, at 3:00 pm. Ticket sales will benefit the Jerry Nowak Scholarship Fund. The concert will feature compositions and arrangements by Mr. Nowak, including the U.S. debut of his final composition, Suite for Three Graces, commissioned by the Sunshine Coast Youth Orchestra of Queensland, Australia and dedicated to his three granddaughters. David Osenberg, Music Director for WWFM, The Classical Network, 89.1 FM, will host the event. Seating is general admission, and tickets are $15 for adults, $10 for TCNJ staff, and free for students and children. Tickets from TCNJ Center for the Arts are available online at tcnj.edu/cfa, by phone at 609-771-2775, and at the box office. To make a tax-deductible donation to the Jerry Nowak Scholarship Fund, visit http://ift.tt/2lTI0r5 or mail your check, payable to the Delaware Valley Wind Symphony, to P.O. Box 566, Langhorne, PA 19047. The symphony and Nowak family are grateful to TCNJ for donating use of the concert hall for this fund-raising event honoring Jerry, who was a proud alumnus and first recipient of the TCNJ Distinguished Music Alumni Award. About Jerry Nowak Mr. Nowak achieved an international following as a prolific arranger, composer, conductor and professor who influenced thousands of musicians and teachers. He began his writing career in the early 1970s as an arranger for Paul Simon’s publishing company, Charing Cross Music. He went on to publish over 1,100 pieces for youth and professional ensembles, including works for concert band, jazz band, marching band and choral, making him one of the most widely published musicians of his generation. Mr. Nowak was also known for his innovations in the techniques and teaching of conducting and expressive phrasing. With his brother, Henry Nowak, he co-authored two college textbooks published by Carl Fischer, Conducting the Music, Not the Musicians, and The Art of Expressive Playing, the latter being the first comprehensive textbook on expressive performance. He taught graduate level courses and lectured at universities throughout the United States, Canada, Australia, and New Zealand. Mr. Nowak was an adjunct professor at The University of the Arts on the campus of Villanova University for twenty years, and was an adjunct professor at TCNJ as recently as 2013. In 2014 Mr. Nowak completed his 30th consecutive season of teaching at the Jerry Nowak Summer Conducting School in Sydney, at the invitation of the Australian Band and Orchestra Director’s Association (ABODA) in New South Wales. He also taught at the summer school of Melbourne Youth Music for 26 seasons. His teaching career began at Hunterdon Central Regional High School in Flemington, NJ, where he taught from 1959 to 1969. Thereafter he spent 36 years at Bucks County Community College in Newtown, PA, where he retired as Professor Emeritus of Music. He was a founding member of the Philadelphia Saxophone Quartet and New Jersey Saxophone Quartet, and contributed arrangements to the repertoire for each ensemble. Mr. Nowak was the Music Director of the Delaware Valley Wind Symphony, and appeared as a guest conductor with ensembles throughout the U.S. He also worked as a woodwind player and session singer in New York and Philadelphia, touring with a diverse range of singers and ensembles, including Burt Bacharach and Stevie Wonder among many others. Mr. Nowak achieved a Bachelor of Science in Music Education and Master of Music Composition from TCNJ, formerly Trenton State College. His renowned teachers included Lucien Cailliet, arranger for the Philadelphia Orchestra under Leopold Stokowski and Eugene Ormandy, clarinetist Charles Russo, and Herbert Pate and Dr. John Finley Williamson of Westminster Choir College. About the Delaware Valley Wind Symphony Co-founded by Jerry Nowak in 2006, the Delaware Valley Wind Symphony is a 501(c)3 non-profit organization (federal tax ID 20-5501340) dedicated to the preservation and advancement of concert band music in our community through the highest level of musical performance. Led by Music Director, Steven Sweetsir, this fifty-piece ensemble performs traditional concert band music and concert band adaptations of orchestral music, including modern and pop arrangements. To learn more please visit delvalwinds.org. About the Philadelphia Saxophone Quartet Formed in 1968 by Jerry Nowak, Bill Holcombe, Harold Karabell, and Norman Wells, its repertoire includes classical, folk and jazz. The quartet has been featured with the Rhode Island Symphony, Springfield Symphony, Pittsburgh Symphony, Buffalo Symphony, Hartford Symphony, Maryland Symphony, Virginia Symphony, and Trenton Symphony, among others. Its current lineup includes John Bachallis, Kathy Mitchell, Director of Saxophone Ensemble at TCNJ, Warren Fioretti of the Harry James Orchestra, and TCNJ graduate, Drew Wierzbowski. For more information please visit philadelphiasaxquartet.com. via Blogger http://ift.tt/2lpjr7T

0 notes

belcantosongnewcdreleases-blog · 7 years

Photo

Love and Life - A recital of German lieder Recorded May 2016 Sydney, Australia Soprano - Ayse Göknur Shanal Piano - Evgeny Ukhanov Programme

Robert Schumann

Frauenliebe und Leben Tracks 1-8

Richard Wagner

Wesendonck Lieder 9-13

Richard Strauss

Das Rosenband 14

Muttertändelei 15

Allerseelen 16

Morgen 17 About the Artists

Ayse Göknur Shanal - Soprano

Born in Brisbane, soprano Ayse Göknur Shanal is one of Australia’s most versatile classical singers. As the Dame Joan Sutherland Scholar, she studied at the Royal College of Music and was an adjunct member of the Lindemann Young Artist Development Program at the Metropolitan Opera (New York). Gӧknur has won many prestigious awards and scholarships including the Australian Singing Competition,Dame Joan Sutherland Scholarship and Award, Opera Foundation Australia’s Metropolitan Opera Award (New York), McDonald’s Operatic Aria (Sydney Eisteddfod), National Liederfest Competition (Melbourne) Queen’s Trust for Young Australians, Symphony Australia’s Young Performers Award (Vocal Category), and the Sonderpreis der Loreley-Festspiele at the Neue Stimmen International Singing Competition (Germany).Gӧknur has collaborated in recent years with contemporary Australian and international composers including Ross Fiddes, Erberk Erylmaz, Yiğit Kolat, Diana Blom, John Wayne Dixon and Phillip Wilcher. She played a significant role in developing and performing major vocal works for the commemoration of the ANZAC Centenary in both Australia and the United States. Göknur has appeared as a principal artist with Opera Australia, Turkish State Opera and Opera New England. She has performed at the Aldeburgh Festival (UK) and the Sydney Festival, and has been featured as a soloist with the Symphony Orchestras of Sydney, Queensland, Melbourne, Adelaide, West Australia, Willoughby and Penrith, and with the Australian Haydn Ensemble. Evgeny Ukhanov - pianist

Ukrainian-Australian pianist Evgeny Ukhanov commenced piano studies at the age of seven. He achieved early success, including in the Horowitz Piano Competition (the Ukraine), and gave numerous public performances in Europe. Evgeny then came to Australia at the age of fifteen on a major scholarship and, in 2000, was the youngest finalist in the Sydney Piano Competition, being awarded third prize. Evgeny has performed as a concert soloist with the Sydney Symphony Orchestra and the Australian Chamber Orchestra. He also has extensive experience as a collaborative artist in chamber music and vocal accompaniment, performing regularly at the Sydney Opera House, City Recital Hall and Melbourne Recital Centre, and in other capital city and regional venues. He has made featured appearances in international concerts in Russia, France, Germany, Spain, Italy, Japan, Norway, Romania and the Ukraine. Evgeny has recorded a number of CDs, including several with ABC Classics. His performances have been regularly broadcast on ABC Classic FM. He also actively supports a number of charities, taking part in performances for prestigious fundraising events. Evgeny has particularly relished the opportunity to collaborate with Australian composers in the realisation of new Australian music.

Click here for the translations

0 notes