Sisters in Sync: 3-2-1 with Alexandra Dariescu

3 Questions - 2 Insights - 1 unique photo with remarkable women musicians

Alexandra Dariescu has established herself as one of classical music's most powerful voices for change, breaking barriers and championing works by female composers that have been overlooked for far too long. From making history with the Melbourne Symphony Orchestra to introducing a groundbreaking award at the Leeds International Piano Competition, Alexandra is actively reshaping the classical music landscape.

In this candid conversation, Alexandra Dariescu shares her experiences as a transformative force in classical music, from her pioneering performances of works by composers like Nadia Boulanger and Clara Schumann to her insights on building a meaningful career in the industry. Her passion for bringing forgotten masterpieces to light, combined with her commitment to empowering the next generation of musicians, offers a compelling glimpse into how one artist is helping to create lasting change in classical music.

What moment in your career made you feel most empowered as a woman in the music industry?

Every time I perform a piano concerto written by a female composer and it’s a premiere in that specific territory, I feel we are making history together with the orchestra. It’s an incredible honor and a celebration of how far we have come. This happened again on my recent Australian tour—I performed Clara Schumann’s Piano Concerto with the Melbourne Symphony Orchestra and it was the very first time in the 118-year history of the orchestra this concerto was performed! 

Also, this year, at the Leeds International Piano Competition, I handed the Alexandra Dariescu Award for an outstanding performance of a work by a female composer. It was the first time in the 60-year history of the competition that such an award was given. That moment felt incredibly empowering, knowing we’re creating change and shaping the future of the next generation of musicians. 

What's a recent discovery you've made in music composed or performed by women?

The works for piano and orchestra by Clara Schumann, Nadia Boulanger, Dora Pejacevic, Leokadiya Kashperova, Florence Price, Germaine Tailleferre, Amy Beach, Doreen Carwithen. They truly deserve to be heard! 

Who is a lesser-known female musician or composer you believe deserves more recognition and why?

Nadia Boulanger was one of the most influential musicians of all time. Not only did she teach Quincy Jones, Dinu Lipatti, Daniel Barenboim, Aaron Copland but she was also the first woman to conduct the New York and Boston Symphony Orchestras. So it’s astonishing that her Fantaisie Variée did not have its US premiere until 2022, when I performed it with the Houston Symphony. It’s full of original harmonies, with a beautiful middle theme that makes you want to hug the world. And the ending is so triumphant, building to a massive climax.

What's a valuable lesson you've learned throughout your career?

To always stay true to yourself, work hard and dare to dream. Perseverance is key, learn from your mistakes and most importantly don’t give up! 

How do you stay motivated and creative in the challenging landscape of the music industry?

Always create and be creative. Don’t wait for the phone to ring! Be as proactive as you can, start conversations and be brave in creating new collaborations. Be curious and imaginative as this is what’s going to keep you thriving in a long term career. 

Image Description: A split-screen image showing a virtual meeting between two women. In the top half, Alexandra Dariescu, smiles warmly, seated in a room with soft lighting, a piano visible in the background, and shelves mounted on the wall. She wears a light blue shirt with pearl earrings. In the bottom half, Stephanie Nicholls from Mirabilis Collective smiles in front of a framed poster, seated in a comfortable room. She wears glasses, earrings, and a dark grey top, with the edge of a wooden door and a couch in the background. The image captures a friendly and collaborative moment between the two.

Catch Alexandra Dariescu’s Royal Stockholm Philharmonic Orchestra Debut

Alexandra Dariescu makes her debut with the Royal Stockholm Philharmonic Orchestra performing Clara Schumann's Piano Concerto under conductor Magnus Fryklund on Thursday, January 9 2025 at 7:30pm.

Tickets are available here.

Sisters in Sync: 3-2-1 with Hannah Lee Tungate

3 Questions - 2 Insights - 1 unique photo with remarkable women musicians

This month's Sisters in Sync features an inspiring conversation with soprano Hannah Lee Tungate of the Boorloo/Perth-based Tenth Muse Initiative (TMI). Tenth Muse was born out of frustration with the lack of diversity often seen in classical music, but Hannah and her team have transformed that frustration into a vibrant collective that shines a light on diverse voices and fresh perspectives. TMI has achieved remarkable success, including an award-winning Fringe show, nominations in the Performing Arts WA Awards, commissions of new works by emerging composers and poets, and concerts that range from opera to intimate gatherings centred around cups of tea.

Hannah’s passion for amplifying underrepresented voices has guided her journey as a producer and advocate for women composers, especially through the Women Composers Project. As TMI’s president and creative producer, Hannah continues to create platforms for new and diverse voices in Western Australian classical music, driving change with her deep commitment to inclusion.

Tenth Muse Initiative's next event, Sapphic Serenade, will be held on Wednesday 20 November at Perth City Farm, featuring beautiful string quartets by sapphic composers and a twilight market with queer-owned businesses. It’s an evening of calming music to celebrate pride—don’t miss it! Click here for tickets.

In this interview, Hannah shares insights into the inspiration behind her career, the importance of mentorship, and how she’s making classical music more engaging and inclusive for future generations.

What’s one piece of advice from a woman in music that has stuck with you?

Back in 2016, the amazing Jessica Gethin was giving a talk at a Women in Music event at UWA, and she said that most people will give you a small amount of their time for a cup of coffee. If there’s someone who’s further along their career than you or that you admire and you’d like to connect with them or learn from them, ask if you can buy them a coffee. A short amount of their time for a cup of coffee, and you just don’t know where it will lead you (and Tenth Muse Initiative actually wouldn’t exist without it).

Who is a lesser-known female musician or composer you believe deserves more recognition and why?

I find it really challenging to choose just one lesser-known woman composer. There are so many out there deserving of recognition, as there have been so many nearly lost to history.

This week I’ve been listening to Henriëtte Bosmans — the incredible Dutch composer who, despite being labelled as an ‘undesirable’ by the Nazi regime & so was prevented from performing publicly, supported herself by performing at secret underground house concerts. Her considerable oeuvre includes orchestral works, chamber music and many songs.

And of course, Barbara Strozzi will always be on my list — though I think (& hope) she’s becoming more and more well known!

How do you think the music industry can better support and uplift women artists and composers?

Acknowledge that there is a lack of gender representation within the sector and then program more music by women, hire more women as soloists, hire more women as conductors, hire more women into creative leadership roles. And then keep doing it. Keep working on removing the barriers that have kept so many artists suppressed.  

How has mentorship, especially from other women, played a role in your career, and what value do you think it brings to emerging female artists?

I’ve been very fortunate to have many amazing mentors and 95% have been other women. The mentorship I’ve received has always come from people I truly admire in the industry, and I’ve been lucky to find many people who want to raise you up instead of tear you down. And I want to continue to do that for other emerging artists that follow me. Mentorship from other women has given me the confidence to keep going, and I know I have a raft of people to support me when I need it.

Can you share a pivotal moment in your career that shaped your path as an artist?

It was at PSO’s inaugural Women on the Podium weekend in 2019, and the incredible Bourby Webster was talking to us about the business side of being an artist, and how she’d founded PSO, and all the steps she took to get there. And in that moment the first spark of Tenth Muse Initiative was born. I was so inspired by the path Bourby had taken that it set a fire in me that didn’t go away, and under a year later TMI was born.

I had known that I wanted to see greater representation in the music industry and had been researching women composers for a while, but it was hearing how Bourby took PSO from concept to what the orchestra is today that it just clicked. Everything I have worked towards as an artist since then has been to build Tenth Muse Initiative and tell the stories of all these unheard voices, and raise up artists whose work deserves to be performed.

This image features two people in a virtual meeting. At the top, Hannah Lee Tungate, Creative Producer at Tenth Muse Initiative, smiles at the camera with curly brown hair, wearing glasses and a black top. Her background showcases a vibrant yellow wattle tree against a clear blue sky. Below her, Stephanie Nicholls of Mirabilis Collective smiles as well, wearing glasses and a colourful floral necklace. Behind her is framed artwork featuring musical instruments, including a violin and piano. Both appear engaged and focused on their conversation.

Sapphic Serenade

Sapphic Serenade is an event for the quiet queers. Join Tenth Muse Initiative for an evening of stunning string quartets by sapphic composers; celebrate pride with calming music for voice and strings.

Tickets are available here.

Sisters in Sync: 3-2-1 with Candice Susnjar

3 Questions - 2 Insights - 1 unique photo with remarkable women musicians

In this inspiring Sisters in Sync feature, we connect with Candice Susnjar, a gifted composer and musician whose work resonates with raw emotion and authenticity. Candice shares her recent musical inspirations, including the works of Caroline Shaw, and her passion for unsung female talents like jazz trumpeter Jessica Carlton. Throughout our conversation, Candice reflects on the importance of female voices in music, the value of mentorship, and the advice she wishes she'd had earlier in her career. Her insights provide a powerful glimpse into the experiences of women in the industry, making this a must-read for aspiring musicians and music enthusiasts alike.

What's a recent discovery you've made in music composed or performed by women?

Caroline Shaw’s album Orange has been a beautiful discovery. Her style of composition resonates with me on a deep level and I love her sense of harmony and the textural elements she embraces in her pieces. It reminds me to push myself out of my comfort zone and explore the instruments I am writing for and venture beyond the sounds I am used to hearing and creating.

Who is a lesser-known female musician or composer you believe deserves more recognition and why?

Jessica Carlton is a wonderful jazz trumpet player and composer who plays and composes with such honesty, integrity and beauty. Her music is so authentic and it’s all about the emotion and conveying a message using music. It’s what I aim to do in my own musical expressions.

In what ways do you believe female musicians can drive positive change within the music industry?

Women who show up and live the musical lives they want to live despite the statistics and inherent challenges of being a woman in the music industry are bringing a positive change to the music industry whether they see it or not. The more we show up and put ourselves out there, the more the younger generations will see that this is something they can do too. It just hasn’t been seen enough especially in jazz and classical music.

What piece of advice specifically tailored for women starting in the music industry do you wish you had received?

Just do your thing. Express yourself authentically and with confidence. You may not feel confident but do it anyway. You have something to say that no-one else has ever said and there are people in the world that want to hear it.

How has mentorship, especially from other women, played a role in your career, and what value do you think it brings to emerging female artists?

Encouragement and mentorship from my mentor Bourby Webster has played a significant role in my career. This incredible woman started an orchestra! Her tenacity and courage has been a reminder that we can do anything we set our minds to. Anything is possible. That’s what I would want to tell emerging female artists. Your dreams and goals are possible. Bourby helped me to see that and create a path that continues to lead me closer to these dreams day by day.

Sisters in Sync: 3-2-1 with Tresna Stampalia

3 Questions - 2 Insights - 1 unique photo with remarkable women musicians

Our own Mirabilis musician, flautist Tresna Stampalia, has developed a multifaceted career which embodies the spirit of versatility and innovation in music. As the founder and director of Tres Classique and co-founder of Mirabilis Collective, Tresna has not only showcased her exceptional musicianship but also paved the way for celebrating women's voices in the industry. Tresna’s experience as an orchestral and musical theatre pit musician, coupled with explorations of diverse flute traditions, reflects a career built on adaptability and a passion for pushing musical boundaries. Her recent work, blending classical techniques with indigenous instruments and collaborating across cultural lines, demonstrates her commitment to expanding the horizons of her art.

In this interview, Tresna shares valuable insights from her rich and varied career, offering advice to aspiring musicians and reflecting on the pivotal moments that have shaped her journey as a female artist in the music industry. Her thoughts on collaboration, adaptability, and the future of women in music provide a compelling glimpse into the mind of a true musical innovator.

What’s a valuable lesson you’ve learned throughout your career?

One of the most valuable lessons I've learned is the importance of versatility and adaptability in the music industry, especially when building a freelance career. Throughout my journey, I’ve embraced diverse opportunities and each experience has enriched my musical path and taught me that being open to different genres and styles can lead to unexpected and rewarding opportunities.

Building a successful freelance career demands consistent effort, professionalism, and a strong work ethic. I’ve learned that being loyal, dependable, and collegial are crucial traits that keep you in demand. When you’re known as someone who not only performs well but also shows up on time, prepared, and with a positive attitude, word spreads quickly in the industry.

I’ve also found that willingness to help others goes a long way. Whether it’s recommending a fellow musician for a gig you can’t take, sharing your knowledge with younger artists, or stepping in last-minute to help a colleague, these acts of generosity often come back to you in the form of new opportunities and a supportive network.

This approach to my career has not only broadened my skill set but also allowed me to connect with a wider range of audiences and fellow musicians. It’s taught me that success in the freelance world is as much about building relationships and a reputation for reliability as it is about musical ability.

The path of a freelance musician can be challenging, with periods of uncertainty and the need to constantly seek out new opportunities. However, I’ve found that embracing this lifestyle with enthusiasm, staying open to learning, and maintaining a professional attitude in all situations has led to a rich and fulfilling career. It’s about seeing each project, each collaboration, as a chance to grow both as a musician and as a professional in the industry.

Can you share a pivotal moment in your career that shaped your path as a female artist?

A pivotal moment in my career was joining the Western Australian Arts Orchestra as Principal Piccolo. This opportunity fulfilled my dream of participating in operatic performances and opened doors I never anticipated. It was a moment that taught me the importance of seizing opportunities, even when they might seem tangential to our main goals. The piccolo, often seen as a specialised instrument, became my gateway to a broader musical world.

This position led to an unexpected audition for Les Misérables, where I was offered a position in the orchestra. At the time, I didn't realise how this single audition would reshape both my professional path and personal life. It expanded my professional horizons, introducing me to the world of musical theatre — a genre that requires a different set of skills and adaptability compared to classical orchestral work. It taught me the value of versatility in music and how different musical disciplines can inform and enrich each other.

But beyond the professional growth, this audition led to a personal connection that would forever alter my life’s trajectory. I met my late husband, Mark, during this production. Our shared love for music became the foundation of both our personal and professional lives. We found ourselves not just life partners but also artistic collaborators, pushing each other to grow and explore new musical territories.

This experience taught me that our careers as female artists are not separate from our personal journeys - they intertwine and shape each other in profound ways. It highlighted how our professional choices can lead to unexpected personal joys, and how personal relationships can fuel our artistic growth.

Moreover, it underscored the importance of being open to new experiences in our careers. What might seem like a simple gig or audition can turn into a life-changing opportunity. It reinforced my belief in saying ‘yes’ to new challenges and being ready to step out of our comfort zones.

This pivotal moment also taught me about resilience and adaptability in the face of life’s unexpected turns. When Mark passed away, the musical foundation we had built together became a source of strength and a way to honour his memory through my continued work.

In retrospect, this experience encapsulates the unpredictable yet beautiful journey of a musician’s life. It shows how our careers can take us on unexpected paths, leading to personal and professional growth in ways we could never have anticipated. It reminds me to always approach new opportunities with an open heart and mind, for they may contain the seeds of profound change and growth.

Can you share an experience where collaborating with other women significantly influenced your work?

Co-founding Mirabilis Collective with my dear friend and fellow UWA alumna, Stephanie Nicholls, has been a experience that I have found transformative. Our journey together, which began in our university days and continued through orchestras, chamber music ensembles, and Australian touring musical theatre productions, laid the foundation for what would become a powerful platform for women in music.

Through Mirabilis Collective, we collaborate with women musicians spanning different generations, highlighting the works of female composers and songwriters. This venture has allowed me to explore the boundless potential of music in various forms and continually push the boundaries of creativity. We’re creating a platform that amplifies women's voices in the industry and celebrates intergenerational collaboration.

What's truly inspiring is witnessing Steph’s unwavering dedication and innovative spirit. Her ability to constantly challenge conventions and think outside the box has been a driving force behind our success. Steph’s work ethic is nothing short of extraordinary — she approaches every project with an intense focus and an eye for detail that elevates everything we do. It’s a quality I deeply admire and one that resonates with my own approach to music and performance.

In many ways, Steph and I share a similar work ethic and attention to detail. This synergy has been crucial in bringing our vision for Mirabilis Collective to life. We both understand the importance of dreaming big, and putting in the hard work necessary to turn those dreams into reality. Our shared commitment to excellence has allowed us to create a space where women musicians can truly thrive.

Mirabilis Collective embodies our mission to cultivate a community where women from diverse musical backgrounds can connect, collaborate, and excel. We’ve created a vibrant artistic hub where the exchange of ideas and experiences fuels our collective growth and creativity. Our intergenerational approach recognizes that women of all ages have invaluable insights and skills to contribute, and this blend of experience and fresh perspectives is key to our innovative and sustainable approach to music-making.

Every performance we organise is a celebration of the rich contributions of women composers and musicians. We strive to create concerts that are musically enriching and showcase the resilience and creativity of women in the arts. It’s deeply fulfilling to see how our platform has grown to inspire and empower women across different stages of their musical careers.

Working alongside Steph has reinforced my belief in the power of collaboration and shared vision. Together we're creating a legacy that we hope will continue to inspire and support women in music for generations to come. This experience has taught me that when passionate, like-minded individuals come together with a common purpose, the impact can be truly mirabilis — wonderful and remarkable.

What advice would you give to young women aspiring to build a career in music?

Embrace your musical journey with open arms — never shy away from exploring and carving your own unique path. The formal education you receive is invaluable, but it's just the beginning. The music industry is vast and ever-changing, and your unique voice and perspective are needed.

Surround yourself with mentors who inspire you. Throughout my career, from my early teachers to my postgraduate supervisors, I've been fortunate to have mentors who challenged and supported me. These relationships can provide guidance, open doors, and offer insights that you can't find in textbooks.

Don't be afraid to take bold risks. Whether it's auditioning for a role that seems out of reach, experimenting with a new genre, or starting your own ensemble, these risks often lead to the most rewarding experiences. 

Most importantly, allow your music to speak for itself. Your passion, dedication, and unique artistic voice will shine through in your work. Trust in your abilities and let your music be the loudest advocate for your talent.

Remember, a career in music is more than the performances. My career has woven me into the tapestry of remarkable individuals, unique experiences, and an enduring sense of fulfilment that extends far beyond the stage. It’s about the connections you make, the lives you touch with your art, and the personal growth you experience along the way. Embrace every aspect of this beautiful, challenging journey

How do you think the music industry can better support and uplift women artists and composers?

The music industry can better support and uplift women artists and composers in several ways:

1. Equal representation: Ensure that women are equally represented in concert programs, festival lineups, and recording projects. This includes not just performers, but also composers, conductors, technical crew and producers.

2. Mentorship programs: Establish structured mentorship programs that pair established women in the industry with emerging talents. This can provide crucial guidance, networking opportunities, and support.

3. Fair pay: Address the gender pay gap in the music industry by implementing transparent pay scales and advocating for equal compensation.

4. Leadership roles: Actively promote women to leadership positions in orchestras, music schools, and industry organisations. Having women in decision-making roles can lead to more inclusive policies and diverse programming.

5. Education and awareness: Incorporate works by women composers into music education curricula at all levels. This normalises the presence of women in classical music and inspires young musicians.

6. Funding opportunities: Create grants and funding opportunities specifically for women composers and performers, particularly for large-scale projects that have been historically difficult for women to access.

7. Family-friendly policies: Implement policies that support work-life balance, such as parental leave and flexible rehearsal schedules, to ensure that women don't have to choose between their careers and family life.

By taking these steps, the industry can create a more equitable environment where women's contributions are valued, their voices are heard, and their talents are given the platform they deserve.

Sisters in Sync: 3-2-1 with Sally Whitwell

3 Questions - 2 Insights - 1 unique photo with remarkable women musicians

We are thrilled to share an incredibly insightful interview with Sally Whitwell, a distinguished Australian pianist, composer, conductor, and educator living and working on Ngunnawal and Ngambri land. Known for her versatility and innovative contributions to classical and contemporary music, Whitwell's achievements include multiple ARIA awards, five solo albums on ABC Classic, and a prolific output of compositions spanning solo piano, choral works, and chamber music. She has created numerous choral works and has worked with renowned ensembles such as the Gondwana Choirs, Adelaide Chamber Singers, and Sydney Children's Choir. Her collaborations extend to visual artists and theatre directors, highlighting her commitment to interdisciplinary creativity.

One of Whitwell’s notable recent projects is Margaret and the Grey Mare, a unique opera and immersive video installation co-created with artist Katy B Plummer. This innovative work features a chatbot coded to act as a channel to an ancient Celtic land spirit. Anchoring the project is a sprawling hour-long video opera, with a score composed and performed by Whitwell. The opera, filmed at Casula Powerhouse Arts Centre, was produced in collaboration with award-winning filmmaker and video artist Kuba Dorabialski. The libretto was generated using a specially coded machine learning tool designed to simulate conversation with The Grey Mare, treating AI as a mystical link to the collective unconscious.

In this interview, Whitwell explores her experiences of collaboration, the challenges and rewards of creating interdisciplinary art, and her perspectives on the future of classical music.

Can you share an experience where collaborating with other women significantly influenced your work?

Finding the right collaborators is absolutely crucial. Done wrong, it can compromise your voice to a point that it becomes not representative of your work. Done right, their perspective can help you to see yourself more clearly and bring you into worlds where your message will be received more openly. Two cases in point, Katy B Plummer and Rosa Campagnaro, with whom I’ve started writing opera. I never previously thought of writing opera, because that part of the classical sector is so closed. Instead of trying to knock on that door that no one will answer, I made these operas with my fabulous collaborators in their worlds instead of mine. It’s changed my life!

With artist Katy B Plummer, I co-created Margaret and the Grey Mare, a multi-channel video installation fever dream about an opera. Katy commissioned a bespoke artificial intelligence from coder Flora Suen who trained it to speak as a kind of oracle, and we used it to co-write the libretto. It is set during the 17th century European witch trials where Margaret, an imagined ancestor, is visited each night by a mysterious horse ghost The Grey Mare, and each day by a Witch Finder. Accused by the latter of being a witch, Margaret eventually capitulates and gives up the Grey Mare to him.

With theatre director/writer and commedia dell’arte specialist Rosa Campagnaro, I co-created The Attempted Rape of Susanna (or The Marriage of Figaro) an adaptation of the Mozart/Da Ponte opera. Think Mozart meets Kath & Kim meets Emerald Fennel’s Promising Young Woman. Unlike the original Mozart, our adaptation is actually funny, very fast, extremely relatable and finishes more plausibly but more horrifyingly: Susanna raped by her husband Figaro with all the other characters, complicit in the rape culture of the story, looking on.

Stylistically and aesthetically, these operas are chalk and cheese, but they’re about the same theme: how privileged white women capitulate to patriarchal systems in order to keep themselves safe. Such women often think that they benefit from the system, when in reality we all lose. One such system is the opera system, which is why when I invited them to come along, the practitioners there either ignored my work or attacked it. They just don’t like folks who hold up a mirror to them. But the visual arts and theatre sector loved my works. Margaret and the Grey Mare is touring three cities over 2024-2025, and Rosa and I are doing a writing/development residency on our next Mozart adaptation Don Giovanni: Celebrated Sex Pest. The whole situation is kinda bewildering because I am finding the thing opera says it wants i.e. new audiences, but they refuse to innovate to find those audiences. I tried to help them but they won’t accept outside perspectives. Good luck to ‘em!

How do you think the music industry can better support and uplift women artists and composers?

There’s a lot of talk about how we have to have more women at the top. I don’t disagree, but I think for real progress to be made, what we actually need is more feminists at the top. 

Let’s compare two women conductors in Australia right now: Simone Young, Chief Conductor of the Sydney Symphony Orchestra, and Jessica Cottis, Chief Conductor and Artistic Director of the Canberra Symphony Orchestra. Both sensational musicians and deeply committed to the music they champion. It’s very impressive that Simone Young is going to conduct The Ring Cycle in Bayreuth. Amazing achievement to be the first woman to do so, but what is it achieving for women? Nothing really. Her programming for SSO doesn’t fill me with much excitement, because I’ve probably seen all the Strauss and Mahler I need to see live in concert in my lifetime. Young has the position to be able to make a difference, but refuses to use it, having absolutely no demonstrable interest in diverse voices. It’s frustratingly disappointing that she’s not a feminist, but that’s her choice I guess. I wish her all the best.

Jessica Cottis, is from a younger generation of women conductors, clearly just as talented, skilled and passionate about music but has also has a clear commitment to diverse programming. She’s Artistic Director and Chief Conductor of my local band, Canberra Symphony Orchestra, and programs more Australian music and more music by women than any other orchestra in the country. She’s as happy there are she is in the more traditional repertoire which she conducts all over the world which just goes to show, you CAN do both! The Australian composers’ works in the CSO program are not hidden away like they are in other orchestra’s programming. These composers’ works are held up in the foreground, their creators taken seriously for their compelling and relatable contribution to the repertoire, to what it means to be alive here in Australia in the 21st century. What Jess is doing here for the creatives who actually make the repertoire… this is the future of classical music that gets me excited.

Is there a particular piece of music composed by a woman that energises or motivates you? 

Difficult by Amy X Neuburg, for mezzo-soprano, electronics and cello chixtet. https://youtu.be/n6Bl7eXUXVg?si=_mCVRh1OV313tJ1C There’s one line in this sardonically hilarious song that gets me every time: “Everyone knows that nothing is any good unless it’s difficult”. 

Contemporary classical music is a broad church. At one end of the continuum are the art music crowd, where you’ll find all the wild experiments in noise. I like to play and to listen to this kind of stuff (currently on high rotation, ‘Car Pig’ from Zubin Kanga’s album Machine Dreams https://zubinkanga.bandcamp.com/track/car-pig-composed-by-alex-paxton). At the other end are folks who write approachable, pretty stuff, including pop/jazz cross-over etc. I quite like playing and listening to this stuff too, I’ve friends and colleagues who create it and do a wonderful job, like Nat Bartsch and Sally Greenaway. There is sense that ‘serious’ music folks think the latter are somehow… second rate? Whatever, they’re getting much more airplay than the rest of us, so I reckon they’re pretty happy. Haha.

For myself, I used to write only the approachable stuff, which worked pretty well for me when it got around to airplay on Drivetime/Breakfast radio and votes in the ABC Classic 100 (I was the highest placed Australian composer in the Classic 100 Love at no. 27 for a choral setting of She Walks in Beauty, the first work I ever composed in my life). These days, my work sits pretty much exactly in the middle of those two extremes. No one knows where to put it any more. It’s not ‘difficult’ but it’s much more than just ‘pretty’ because of what it’s communicating, particularly in terms of the texts I write. 

I feel good about this situation, because it means I’ve found my voice, my niche. That it doesn’t fit into any of the existing boxes like ‘difficult’ or ‘approachable’ must mean that it’s all mine. And every time I hear Amy X Neuburg singing about what gatekeepers find to be acceptable or not, I laugh my arse off and get on with writing more of my stories in music.

What strategies have you found effective to overcome creative blocks or periods of self doubt?

In 2020, at the height of the Covid lockdowns, I suffered a complete creative block. It was debilitating, terrifying. I let opportunities slide because, for several months, nothing would come out. It was a conversation with my late mother Hoon Chee that shook me out of it, a conversation about that proverb by Lao Tzu, “A journey of a thousand miles begins with a single step”. She looked at me sternly on FaceTime and said “When are you taking that first step, Sal?” 

So I started a practice of Daily Composition Exercises. I started on 14 October 2020 and haven’t missed a day since. I salute the morning with a cup of coffee, and sit down at my desk with my favourite black roller ball pen and a Spirax manuscript book, and I write. Each day I set a different task, manipulating motifs, creating modes or harmonic languages, working with ostinati or isorhythms or extended techniques or whatever. I write it and put a double bar at the end of it and call it a piece. Some of them are shit and I never look at them again. Some of them are great and become new works like these:

Tiny Dances https://youtu.be/u1UERAZLK24?si=GB5Zvn1E1INYur7r 

The Lockdown Alphabet https://youtu.be/rMkPVKzeYQw?si=pDOPfCgzWMMchs9G

Pictures at an exHERbition https://nga.gov.au/audio-learning-tours/pictures-at-an-exherbition/

I’m proud of these results, but it’s actually not the result that matters so much. It’s the process of doing it. I have really worked hard at building my arsenal of skills, so I now know that I can always write, even on days when I really don’t feel like it. I might have become a bit superstitious about the practice now? I’ve been known to get up at 4am to make sure it’s done before an early flight. I’ve written in bus stations, hospital emergency departments, during hotel breakfasts, when I’ve been struck down with migraines, and during both times I’ve had Covid. I highly recommend creating a daily habit. Perhaps this is the year I’ll finally start running that 8-week course on how to do it.

What advice would you give to young women aspiring to build a career in music?

Three words: Do Not Capitulate.

I see a lot of young classical musicians in my life, high school age musicians, and they have great politics. They’re thoughtful, passionate, justifiably angry about injustices they see and desirous of effecting change. When they grow up and move into tertiary music education and thence into the professional sphere, they start to separate into basically two groups. 

The first group move into the traditional parts of the sector, orchestras, opera companies etc. and give up all their politics. They become invested in the patriarchal systems of classical music because they believe they benefit from it and the approach to the creative life becomes somewhat superficial. Everything is just ‘beautiful’. They’re like the jocks of our industry, doing one thing very well. I think of one young friend who excitedly informed me that she was booked for her first big role in Mozart’s Cosi Fan Tutte (La Scola Degli Amanti). This opera title translates as “Women Are Like That (or The School for Lovers)”. When I challenged her by asking “Women are like… what, exactly?!” she ghosted me. I’m not hurt. It makes sense for her to capitulate, to embrace the patriarchal misogyny of the canonic repertoire. She’s invested in it because it provides her with a glamorous high profile job, so of course she’s uncomfortable with anyone challenging that. Best of luck to her.

The second group see the problems in the sector and move further into their politics. They tend to do their own thing, work in new music or cross-genre, multidisciplinary stuff. They are more vocal about diversity in the sector and basically try to make a difference. These kids are artists and they give me hope that there is future for the sector.

Sisters in Sync: 3-2-1 with Sharon Grigoryan

3 Questions - 2 Insights - 1 unique photo with remarkable women musicians

We shine a light on the extraordinary cellist Sharon Grigoryan in this month's Sisters in Sync. Sharon's passion for chamber music is evident in her remarkable seven-year tenure as the cellist with the Australian String Quartet, and her ongoing collaboration with her husband, the acclaimed guitarist Slava Grigoryan. Their duo performances are a testament to the deep connection they share, both personally and musically, resulting in profoundly moving experiences.

In our upcoming concert, Luminous, we will be performing Grounded for Cello and Guitar by Australian composer Anne Cawrse, a piece composed in 2021 specifically for Sharon and Slava Grigoryan. Grounded is a celebration of finding solace and joy in simplicity during the challenging times of COVID-19 lockdowns. Its lightness of spirit and infectious joy capture the essence of rediscovering ourselves and the things we cherish most.

Sharon shares her insights, inspirations, and valuable lessons learned throughout her formidable career. Get ready to be inspired by her story!

Who is a female musician that has been a source of inspiration in your musical journey?

Wilma Smith, violinist. She was the concertmaster of the Melbourne Symphony Orchestra whilst I was a university student in Melbourne, and whilst I was a young casual player (and then permanent) player of the MSO. I always admired how she handled all situations with a smile on her face, no matter what was thrown at her from all directions. She was also always so supportive of the students in Melbourne, coming to so many of our concerts, and giving so many masterclasses. She treated everyone around her with equal respect and warmth, from fellow Principal players in the orchestra to young freelancers and students. She was a real ambassador for music in Melbourne. She also had a young family at the time - so she was a busy woman, but had time for everyone.

What's one piece of advice from a woman in music that has stuck with you?

Just be who you are, and that’s enough.

What moment in your career made you feel most empowered as a woman in the music industry?

Leaving my job with the Australian String Quartet. It felt like the majority of our audience base assumed that it was because I was a mother that I needed to leave my job. I enjoyed explaining that this wasn’t solely the case, and that there were many reasons, like wanting to explore other avenues in music, having more variety in what I play, as well as spending more time with my family. Many were surprised to hear that I was leaving to explore other avenues of work, to take risks, despite the fact that I was a mother. It felt wonderful to take matters into my own hands and have full control over my life after a wonderful but extremely demanding period with the quartet. Since then, it’s been wonderful to be able to balance my work and motherhood in a way that is happy and healthy for my family.

What's a valuable lesson you've learned throughout your career?

You can’t change other people, you can only change yourself. 

What advice would you give to young women aspiring to build a career in music?

What some people see as female passiveness is actually our great strength. We may not argue a point until we’re blue in the face, we may indeed sacrifice what we really want in order to keep the peace with a colleague who just “must” have it their way. We may “lose” an argument, because we are actually full of self-doubt in that moment and questioning if we really are right or wrong. This self-questioning, this willingness to sacrifice what we want in order to keep the peace, is, what I’ve realised, our greatest strength. “Being right” isn’t strong. Being flexible is. Women, in general, are great diplomats and listeners. 

Sisters in Sync: 3-2-1 with Bourby Webster

3 Questions - 2 Insights - 1 unique photo with remarkable women musicians

Visionary leader, entrepreneur, and passionate arts advocate – Bourby Webster wears many hats and shatters expectations every step of the way. From her groundbreaking work founding Perth Symphony Orchestra to her innovative Arts@Work program, she believes in the power of music to transform lives and industries.

Bourby's diverse background in music, sports, and business fuels her unique approach. She's not afraid to break the mould and embrace the future of the arts. This drive is evident in her upcoming production of Avatar: The Last Airbender in Concert, presented by her company, North Street Music, on 15 June at Perth’s Riverside Theatre.

Get ready to dive deep into Bourby's world as she shares her insights on navigating the music industry, staying motivated, and the importance of confidence for young women in the arts.

Who is a ground-breaking female composer who you think deserves more recognition?

Two groundbreaking contemporary composers who deserve wider recognition are Caroline Shaw and Missy Mazzoli. Each has a brilliantly unique voice, and their music always gives me goosebumps. Caroline Shaw's experimental approach pushes the boundaries of what music can be, inspiring me to be more daring in my own work. Missy Mazzoli's music is bold and dramatic, reminding me of the power music has to tell compelling stories. I believe they belong on the world's biggest stages, like the London Proms, alongside the most celebrated composers.

What's a recent discovery you've made in music composed by women?

My exciting recent discovery is Amy Beach. I've been captivated by hearing her music on the radio, and it blows my mind that she's not a household name. Her music is so expressive, with lush harmonies and sweeping melodies. I'm incredibly excited to perform the sublime slow movement from her Piano Quintet in Mirabilis Collective's upcoming "Solace in the City" concert. It's a perfect fit for the theme, offering a moment of profound beauty and reflection for the audience.

How do you think the music industry can better support and uplift women artists and composers?

The biggest difference I see for female composers is the scale of opportunity. Their works often play to smaller audiences, in smaller venues, because there's less willingness to take financial risks on large-scale productions by women. The music industry needs to better support women artists and composers by taking those risks. The music is extraordinary! But it's a chicken and egg situation – these works won't become popular unless they're given the same platforms as their male counterparts.

As female musicians, we can drive positive change, but it can't just be about doing our jobs well and hoping others notice. In my time leading Perth Symphony Orchestra, it wasn't until I became proactive, with initiatives like 'Women on the Podium,' that I realised the power of creating opportunities for others. That's when the doors started opening.

We can't simply aim for individual success and expect change to follow. We have to advocate, encourage, lead, and actively create spaces – like you've done with Mirabilis Collective! Otherwise, talented women will keep seeing our successes as exceptions, thinking 'I'm glad she did it, but that's not possible for me.' We have to reach out and pull them up with us.

How do you stay motivated and creative in the challenging landscape of the music industry?

The music industry is constantly evolving, and the current climate can be particularly difficult. However, I have an unshakable belief in the enduring power of art. Even if funding cuts and shifting priorities create obstacles, the human need for creative expression will always exist. Music fills a fundamental role in our lives, and people will always find ways to create and experience it.

That conviction keeps me motivated. Rather than clinging to the past, I focus on the future. I'm excited to explore new technologies, like AI, and form innovative partnerships – bringing music into unexpected spaces, like the corporate world, where creativity has immense untapped value.

This requires an adaptable mindset. If we can align the arts with broader societal needs, demonstrating their relevance to challenges like the environment, I believe the arts can thrive despite any temporary setbacks.

What piece of advice specifically tailored for women starting in the music industry do you wish you had received?

Throughout my career, I've sometimes felt apologetic or focused too much on being liked. While kindness and collaboration are essential, I've learned the importance of confidence, clarity, and assertiveness.

Instead of over-explaining or couching requests in soft language, young women should be direct about what they need and expect without fearing it makes them arrogant. It's about stating your vision with conviction and allowing your work and ambition to speak for themselves. This is a change in attitude, not personality. We can maintain our values like nurturing and compassion while still being clear and decisive.

Remember, bravery is key. Don't be afraid to step up, be clear about your goals, and ask directly for what you need to achieve them.

Sisters in Sync: 3-2-1 with Rachel Singer

3 Questions - 2 Insights - 1 unique photo with remarkable women musicians

Rachel Singer is a notable force in the choral world, skilfully blending her roles as a performer and arts administrator. Her journey from earning a Masters in Classical Consort Singing at the University of York to performing on prestigious stages like Carnegie Hall showcases her diverse talents. She has enriched various ensembles, including Ensemble Pro Victoria and The Lacock Scholars, with her commitment to excellence in choral singing.

Beyond performing, Rachel's leadership in arts administration has bolstered the success of groups across Australia and the UK, such as I Fagiolini and The National Youth Choir of Australia. As The Giovanni Consort's General Manager, she elevates Western Australia's premier chamber choir, championing local talent and expanding the reach of choral music.

This month's Sisters in Sync features Rachel sharing her musical influences, including the impact of women composers and strategies for addressing the music industry's challenges. Her involvement in the upcoming "Requiem for an Empress" underscores her role in steering The Giovanni Consort towards innovative projects, embodying her commitment to the ensemble's growth and the enrichment of the choral music landscape.

Who is a female musician that has been a source of inspiration in your musical journey?

Over the years I have taken inspiration from a number of formidable women, but my passion for choral singing and my musical education really began with Celia Christmass, and her implementation of Kodály pedagogy into the music program at Perth Modern School. She instilled a collaborative and community-minded music-making that has stayed with me to this day, and I am so grateful for the high standards of musicianship and performance she encouraged from even the smallest musicians she taught. 

Is there a particular performance by a female musician that has significantly impacted you? 

I was immensely fortunate to be in the audience at Wigmore Hall early last year for French-Italian mezzo-soprano Lea Desandre’s performance with Ensemble Jupiter of their programme ‘Amazone’ - an exploration of the strength and agility of the mythic Amazons. We were treated to furious and fiery melodic runs by composers such as Vivaldi and Couperin, juxtaposed against sensuous and impassioned musical climaxes, which relaxed into dreamy instrumental pastorals.

Fortunately this programme is captured on their CD of the same name, which I can’t recommend highly enough!

Could you share a favourite composition by a woman that resonates with you?

I came across the American composer Sarah Rimkus (b. 1990) whilst programming my final recital for the Masters of Consort Singing at the University of York, in late 2021. Her work ‘Mater Dei’ interweaves the Yeats poem ‘The Mother of God’ above a simple plainchant ‘Ave Maria’ base, and explores the wonder and terror of motherhood and womanhood to devastating effect.

‘What is this flesh I purchased with my pains,

This fallen star my milk sustains,

This love that makes my heart's blood stop

Or strikes a sudden chill into my bones

And bids my hair stand up?’

How do you stay motivated and creative in the challenging landscape of the music industry?

I have always felt that one of the most challenging elements of working in music is the need to carefully balance the demands of executing the project right in front of you, whilst developing and nurturing the project far off on the horizon.

Often when I am feeling overwhelmed with competing demands, or feel in the need for some extra creative juice I try to look to the horizon - both literally, in searching out the nearest bit of coastline and spending time by the ocean, as well as conceptually, in spending time searching out and sitting with new and underrepresented works, and exploring opportunities for new collaborations.

What's a valuable lesson you've learned throughout your career?

A crucial lesson I have learnt over recent years is around the challenges of and the immense rewards inherent in diverse concert programming. It can be challenging to overcome constraints around the availability of scores and parts, and resource-intensive to look beyond the Western classical canon, but it is both a privilege and a responsibility to put time towards this pursuit.

It has been a great joy in recent years to come across resources such as the Institute for Composer Diversity, which allows you to search by ensemble, voicing and instrumentation, as well as the composer’s gender identity and sexual/romantic orientation, and more.

Resources such as this (very thoroughly and conveniently summarised on the Tenth Muse Initiative’s ‘Organisations and Resources’ page!) have been a huge aid in programming lesser-known works!

Sisters in Sync: 3-2-1 with Fiona Campbell

3 Questions - 2 Insights - 1 unique photo with remarkable women musicians

Fiona Campbell OAM is one of Australia's most celebrated mezzo-sopranos and a powerhouse of creativity shaping the future of classical music. From her award-winning performances to her roles as producer and arts leader, Fiona embodies the dynamic versatility at the heart of the arts scene.

As Perth Symphony Orchestra’s Creative Director, Fiona is constantly finding innovative ways to bring classical music to life. Case in point: PSO’s upcoming Taylor Made concert. This unique performance reimagines Taylor Swift's music with orchestral flair – a testament to Fiona's commitment to fresh experiences, proving that even familiar genres can offer a fearless and fun twist with inspirational creative vision.

Is there a particular performance by a female musician that has significantly impacted you? 

Being onstage with Lorraine Hunt-Lieberson at Glyndebourne Festival Opera, singing the role of Irene in Handel’s Theodora, many years ago, was astonishingly powerful for me as a young singer. She took the music ‘off the page’ in a way I had never heard anyone do before. Her embodiment of the text and music was completely inspirational and something I still aspire towards in my music making.

What moment in your career made you feel most empowered as a woman in the music industry? 

I would have to say being appointed as Creative Director for Perth Symphony Orchestra. It was the culmination of years as a professional musician and working hard to make pathways into artistic direction. It is an incredible privilege to lead the artistic vision for a company, particularly one that is known for #breakingtherules. Now I’m incredibly fortunate to be in this position, where I can really enjoy flexing my creative muscles, produce a wide variety of concerts and employ a huge number of extraordinarily talented artists and musicians.

In what ways do you believe female musicians can drive positive change within the music industry? 

Most positively through empowerment and mentorship. Female musicians can serve as positive role models and mentors for aspiring artists, particularly other women and girls. By generously offering guidance, providing support, encouragement, and opportunities, it really is possible to empower the next generation of musicians to pursue their dreams and navigate the challenges of the industry.

What advice would you give to young women aspiring to build a career in music? 

Find your ‘voice’, the thing that makes you, uniquely you! There is of course the necessity to work hard, and the discipline required to master your instrument, but I would add, work smart, work generously and work with joy. Look beyond the mainstream way of presenting music, and ask yourself what resonates with you? What is it about music that excites you? And chase that!

Sisters in Sync: 3-2-1 with Jessica Gethin

3 Questions - 2 Insights - 1 unique photo with remarkable women musicians

Jessica Gethin, Principal Conductor of the West Australian Ballet, is renowned for her dynamic conducting across global stages. In March Jessica Gethin conducts the Melbourne Symphony Orchestra in "Hopelessly Devoted: A Celebration of Olivia Newton-John". This concert honours International Women's Day 2024 and supports the Olivia Newton-John Cancer Wellness Centre.

What's one piece of advice from a woman in music that has stuck with you? 

Nicole Paiement is a wonderful conductor I was mentored by in Dallas and San Francisco. I'll never forget her saying that to truly be able to understand, interpret and express the music at a deep level, we must become the most fully rounded version of ourselves; read ravenously, study literature, breathe in architecture, talk to people from all walks of life etc.  Also, Simone Young said it was never really a 'good' time to have children in a conducting career, just do it... so I did!

Can you name a ground-breaking female artist or composer who you think deserves more recognition?

I’ve been listening to the orchestral works of Florence Price recently. Hers is a remarkable story to overcome double prejudice to be the first African-American and female composer recognised in the early 1900's. I think she gets programmed a bit in the US but I haven't heard much of her work performed live in Australia. 

Can you share an experience where collaborating with other women significantly influenced your work?

In 2022 I experienced the most incredible collaboration as conductor for Opera Queensland's world premiere season of 'The Sopranos'. It examined the way women are represented within opera, and the opportunities women are given to shape how these stories are told. The production was written by a woman, containing works by Australian women composers and almost wholly led by women from myself to Australia's top sopranos. The authentic level of support and elevation of each other's work was completely refreshing and encouraging throughout the whole journey, and made a huge impact on my work process moving forward. 

What's a valuable lesson you've learned throughout your career?

Focus on what you can do; it's OK to not always have the perfect answer, or always be the very best or always the most successful; that doesn't mean you don't have something worthy and valuable to offer. Instead, work hard, show integrity, be prepared and stay true to your cause. 

What strategies have you found effective to overcome creative blocks or periods of self-doubt?

I think building a good support network plus realising 'I am not my job'; separating what you do from who you are, is a big help in this area. I actually schedule in self care now (and no longer feel guilty for it!). It's a must when navigating my hectic schedule but also the huge amount of pressure placed on you each time you step onto a podium. 

Celebrating a Year of Growth and Impact with Mirabilis Collective

As we approach the end of 2023, it's a time to pause and reflect on the incredible journey we've embarked upon with Mirabilis Collective. Our inaugural year has been marked by groundbreaking achievements, meaningful collaborations, and a steadfast commitment to elevating women's voices in music.

Hear Me, Hear My Name: A Bold Beginning

Our year commenced with a creative development and performance of Hear Me, Hear My Name, which we presented to industry peers in March at Ross Memorial Church. This project set a powerful precedent for our year, enabling us to trial a programme as a new ensemble and receive valuable feedback from our invited colleagues. We also performed a world premiere on the eve of International Women's Day — our  commissioned work, Her Time,  composed by the exceptionally talented West Australian composer Emily Gelineau with poetry by Lang Leav. It was exciting to perform Her Time as both a new composition and a bold statement of our mission and vision.

Performances at Wesley and Ross Memorial Churches

Later in March we gave our first public performance for the Wesley at One recital series. A huge thank you to Uniting Church in the City and Musical Director Angela Currie for their support to help get Mirabilis Collective up and running. We presented a second concert for UCIC later in August back at Ross Memorial. It was wonderful to connect with our audience, creating a shared experience of emotional depth and artistic expression.

Empowering Our Vision: The Fundraising Campaign

Our aspirations were bolstered by the support of our patrons through the Australia Cultural Fund. This campaign was crucial in transforming our artistic ambitions into memorable experiences for our audience.

Bridging Education and Creativity

Uniting educational excellence with artistic expression, Mirabilis Collective's partnerships with the University of Western Australia and local Perth schools have marked a significant chapter in our year. We had the pleasure of including two UWA piano students in our Verses in Velvet concert. For our year-end performance, The Ties That Bind, we welcomed two students from Methodist Ladies College. These collaborations not only enriched our performances but also highlighted our commitment to supporting emerging talent and blending education with the arts.

Her Voice Resounds

Our debut concert season, Her Voice Resounds, comprising performances in August and September at Wigmore Studio, and December at Wesley Church, was a highlight of our year. Each concert was a unique showcase of the richness and diversity of women's contributions to music featuring women from multiple generations playing genre-defying repertoire.

Albany's Harbourside Series

In Albany, our performance for the Harbourside series stood out as a significant achievement in 2023. This concert was an impactful experience where our music deeply resonated with the audience. Marking our first performance in regional Western Australia, it underscored our commitment to bringing the compositions of women to a broader audience, beyond the metropolitan area. This step aligns with Mirabilis Collective's core mission: to share and celebrate the work of women composers across diverse communities.

Illuminate: Our 2024 Season

Looking ahead to 2024, we are thrilled to announce our upcoming season, Illuminate, featuring four concerts: Shimmer, Luminous, Glow, and Shine. Each concert in this series is designed to showcase the brilliance and diversity of women's music, creating a tapestry of sound that enlightens and inspires. Tickets are now available for all concerts, with discounts offered for season tickets. Secure your seats and be part of this enlightening journey at Mirabilis Collective Performances.

Reflecting on Our Achievements

Reflecting on this year, I'm drawn to the words of Bonnie Raitt: "If you stick to your integrity and your goals, eventually somebody will appreciate what you are doing on a wider scale." This year, Mirabilis Collective has truly embodied this principle. We've focused on our core values, achieving a significant impact through our dedication and purpose. Our efforts have highlighted the strength, resilience, and creativity of women in music, creating meaningful connections with our audience.

Looking Ahead with Purpose

As we turn our gaze to the new year, Mirabilis Collective embarks on the next chapter with renewed energy and clear focus. In 2024, our commitment deepens to create music that not only resonates but also makes a lasting impact. We're dedicated to sharing narratives that engage and inspire, while continuing to highlight the voices of women composers, whose contributions are often underrepresented. This journey ahead is not just about making music; it's about nurturing a richer, more inclusive musical landscape.

Your support and enthusiasm have been crucial in shaping Mirabilis Collective's journey. It's your participation that elevates us beyond a musical ensemble to a vibrant, community-driven initiative.

We're truly thankful for your presence in our remarkable 2023. As we enter 2024, we're filled with excitement for the new milestones, partnerships, and moments of inspiration that lie ahead. Thank you for being an essential part of our story. Together, let's step into the new year ready for the wonderful experiences it will bring.

A Behind-the-Scenes Look at OUR 2024 Season

This month, I’m thrilled to dive into the creative process behind programming our 2024 concert series. Artistic programming is the perfect opportunity to devote time to one of my favourite activities—discovering repertoire to learn and perform.

When Tresna and I established Mirabilis Collective, we had clear ideas about how we wanted to connect with our audiences at our concerts. Our approach is distinctive—each concert is a 60-minute, narrative-driven experience featuring music exclusively composed by women, performed by an ensemble of women from different generations. Each performance is packed with an eclectic mix of styles and genres that range from medieval and baroque to 19th-century impressionism, and even sambas, folk-rock, and dance-pop.

It hit me the other day—this past year, we've brought to life pieces from 31 astonishing women composers hailing from 14 countries. These women have enriched our musical understanding, allowing us to share with our audiences their cultural and musical styles and their unique compositional voices.

Our 2024 season is set to build on this momentum. As Artistic Director, I treasure taking time to unearth and select these pieces. It's rewarding scouring through historical archives, streaming playlists, and fascinating, lesser-known corners of the musical world. Here, I’d like to give a huge shout-out to the Australian Music Centre— they're an absolute gold mine for music written, published, and recorded by Australian composers. For me it’s more than finding music; it’s about uncovering those pieces that have something to say, that tug at the heartstrings or make your spirit soar.

The selection process for 2024 has been terrifically rewarding, beginning with a wide range of works, then refining our choices to align with our Season ’24 theme and the Mirabilis concert format. Each piece, concise yet impactful, is carefully chosen to stand on its own while connecting to the overall theme of the concert. Achieving this balance is essential—our aim is to create programs that simultaneously celebrate the diversity of women’s music and resonate with our audience on a personal level.

I believe what makes our concerts special is the narrative thread we weave through the music. For the 2024 series, we are focusing on themes that are both timeless and timely, reflecting the shared human experience through the lens of women composers and songwriters. This narrative approach elevates the concert from a series of performances to a cohesive story, with each piece acting as a chapter, contributing to an overarching message.

Collaboration is the heartbeat of our programming process. Currently, Julia Nicholls and I are arranging the music for our ensemble. Julia’s role is pivotal, reimagining pieces to highlight our ensemble's unique strengths and sounds. This year, we’re excited about blending different musical elements—we’ve particularly enjoyed presenting Taylor Swift’s song Begin Again as an instrumental piece infused with Baroque flourishes. (Tresna’s brother Mark said it was one of his favourite Mirabilis Collective moments!) These creative arrangements challenge us musically and provide our audience with a new perspective on familiar songs.

As we finalise the music and gear up for the upcoming season launch, I’m filled with anticipation and excitement. Our concerts are more than a platform for women’s compositions; they are a celebration of the rich, diverse, and often unspoken stories of women in music. Our aspiration for 2024 goes beyond entertainment; we aim to inspire, to forge connections, and to leave our audience with a sense of wonder and a deeper appreciation for the remarkable musical contributions of these extraordinary women.

Our sincere gratitude to these 31 women for creating the music which has been a cornerstone of Mirabilis Collective's 2023 performances: Barbara Strozzi, Emilie Mayer, Anna Bon, Nadia Boulanger, Regina Spektor, Cécile Chaminade, Hildegard von Bingen, Julia Nicholls, Joni Mitchell, Emily Wurramara, k.d.lang, Emily Saliers, Clara Schumann, Madi Colville-Walker, Emily Lau, Ingrid Stolzel, Kate Bush, Miriam Makeba, Katie Noonan, Emília Duque Estrada de Farias, Carmel Dean, Lili Boulanger, Rina Sawayama, Emily Doolittle, Elena Kats-Chernin, Taylor Swift, Loreena McKennitt, Valerie Coleman, Pauline Viardot-Garcia, Alyssa Morris, and Emily Gelineau (our 2023 International Women’s Day commission).

And now, we warmly invite you to join us on Monday, 11 December, at our concert The Ties That Bind, where we will reveal the 2024 Mirabilis Collective concert season. We can’t wait to share these new experiences with you! 

On Stage Evolution: How Live Performance Shapes Young Musicians

As a performing artist, I am continuously reminded of the irreplaceable magic of live music. There is nothing quite like the experience of seeing musicians pour their hearts and souls into their craft on stage, forging visceral connections with audiences. This month, I want to delve deeper into why live performance is so vital for young musicians’ artistic and career development, particularly for young women breaking into the industry.

Beyond improving technical skills, live shows provide invaluable real-world stage experience. Under the lights, musicians must deliver flawless performances on the first take, adapting in the moment to any hiccups. Regularly testing your abilities on stage accelerates growth exponentially. Gigging builds stamina, focus, and confidence—imperative for captivating audiences. With no studio editing to hide behind, artists develop an authentic stage presence.

Additionally, live concerts are a masterclass in non-verbal communication. Musicians must establish rapport with crowds through their musicality, body language, and eye contact. Reading the room on the fly teaches you to hold attention and modulate energy. Audiences can sense engagement and confidence, or lack thereof. Honing these intangible skills early in your career is absolutely key.

Nothing replicates the exhilaration of feeding off the audience’s energy. Their presence heightens the emotional stakes, pushing performances to the next level. That palpable electricity sparking between artist and crowd when the music deeply connects forms the essence of live show magic.

For young women, visibility gained from live performances also provides crucial early career opportunities. Getting your music heard by industry gatekeepers gives a platform to display your talents. Once people are aware of what you can do, more doors open.

On a human level, live shows build community and resonate deeply. Music unites audiences for shared, often moving experiences that foster human connection. Live performances remind us of our common humanity. The memories made together, whether as audience members or musicians, can last a lifetime.

Here at Mirabilis Collective, we are dedicated to providing young female musicians with pathways into live performance, from skills workshops to concert opportunities. We believe hands-on developing real-world performance skills truly empowers the next generation of women in music.

Experience the thrill of live music for yourself at our upcoming concert The Ties That Bind on Monday 11 December at 7:30pm in the beautiful acoustics of Wesley Church in Perth’s CBD. Immerse yourself in the remarkable talents of our emerging ensemble. Join us to experience firsthand the incredible growth that happens when young artists perform live.

Tickets: bit.ly/MirabilisCollectiveTickets

A Two-Way Street: The Shared Journey of Mental Well-being

Today, I want to pause from the usual discussions about art and music to focus on a topic of vital importance—our mental well-being. Over the years of performing, coaching, and collaborating, I've seen how crucial it is for us as artists to be attuned not just to our craft but also to our emotional and psychological state.

The Weight of Silence: The Invisible Burden and Why We Don’t Seek Help

In the highly competitive and often stressful realm of performing arts, the stigma surrounding mental health is magnified. Many performers wear a mask, a veneer of composure that hides their internal struggles. The fear of appearing weak or needy often acts as a barricade, discouraging many from seeking help. This silence grows heavy, creating an unhealthy environment where emotional distress not only goes unacknowledged but also becomes normalised.

How to Take the First Step: From Personal Experience

Recognising you need help is the inaugural step in a healing journey. For performers who spend so much time in the spotlight, stepping into the vulnerability of admitting a struggle can be frightening yet liberating. Speaking from experience, the act of opening up can itself be therapeutic. Depending on your comfort zone, this could mean talking to a close friend, a family member, or even a healthcare professional. Either way, initiating that conversation is the first hurdle crossed in the longer race towards mental well-being.

The Role of a Listener: How Support Makes a Difference

Listening is an often-underestimated skill that can profoundly impact someone's life. In the context of mental health, being a compassionate and empathetic listener can be transformative. Your support can provide an emotional anchor for someone who feels adrift, potentially turning a life around. The emotional relief that comes from being heard and understood cannot be overstated, and it often serves as the first vital step toward seeking more structured help.

The Importance of Community

Here at Mirabilis Collective, our mission extends beyond the development of musical talents. We believe that a strong, supportive community is essential for the well-being of each individual member. A supportive environment fosters not just artistic growth but also personal and emotional growth, giving everyone the opportunity to lead a balanced life.

The Journey of Self-Care: More Than a Catchphrase

In the buzzword-filled world of wellness, 'self-care' has almost become a cliché. But its importance is timeless and universal—taking care of your mental health doesn't end the moment you speak up or seek help. It's an ongoing process that requires deliberate effort. Songwriter and female artist Alicia Keys captured it succinctly: "Self-care is not something you do once and then you're done. It's a continuous journey of learning and growing."

For many, self-care starts with setting boundaries. It’s okay to say no, it's okay to take a break, it's okay to not be perfect all the time. And it’s vital to learn that each of us are enough. Understanding your limits is the first step to not only preserving but also nourishing your emotional and mental well-being.

Self-care techniques can include anything from physical exercises like yoga and meditation, to engaging in activities that give you joy, or simply allowing yourself a moment to breathe. Every individual's journey in self-care is unique, but the goal remains the same: to create a balanced life where mental well-being is valued and maintained.

Final Thoughts: Empathy and Action

As performers, mentors, students, and above all, as human beings, we each have a role to play in the broader dialogue about mental health. The struggle is collective, and so should be the solution. Let’s extend our support, break the barriers of silence, and make mental health a topic as openly discussed as any other in our community.

Take The Step Toward a Healthier You and a Compassionate Community

Let's shatter the weight of silence together. If you're carrying an invisible burden, consider speaking to someone you trust or seek professional help. If you're concerned about a friend, family member, or colleague, reach out and extend your support.

If you're seeking further information or resources on mental well-being, here are some valuable platforms that can assist you:

Sane Australia: sane.org

Beyond Blue: beyondblue.org.au

Head to Health: headtohealth.gov.au

LGBTIQ+ Health Australia: lgbtiqhealth.org.au

Take the first step, be it small or big, in your journey toward mental well-being. Let's foster a world rich not just in art but also in empathy. You're not alone.

From Commissioning to Performance: A Glimpse into Mirabilis Collective's Musical Process

Embracing Musical Diversity

At Mirabilis Collective, diversity isn't just a word; it's our musical philosophy. From classical to contemporary, from folk to world music, we explore genres and styles that resonate with our mission. It's an exciting journey that uncovers hidden gems and brings fresh perspectives to our repertoire.

Commissioning New Works

One of the important aspects of our ensemble is our commitment to commissioning music by West Australian women composers and songwriters. It's more than a project; it's a passion. It's about supporting creativity, fostering talent, and giving a platform to voices that might otherwise go unheard.

The Thrill of a New Score

Opening a new score for the first time is a thrill, like turning the first page of a book you know you'll love. This was precisely the feeling when we opened Emily Gelineau's new work, "Her Time." It was a connection, an anticipation of the music yet to be explored and shared. The notes on the page were not just symbols; they were an invitation to a musical journey.

Creating Arrangements and the Joy of Collaboration

Creating arrangements is part of our process, a collaboration that involves understanding, translating, and adapting music for our ensemble. It's a challenge, but one that brings satisfaction and enhances our connection to the music.

For Concert One of our series Her Voice Resounds, we gave our arranger, Julia Nicholls, the challenge to arrange three pieces of contemporary music by Indigo Girls, Emily Wurramara and Kate Bush for chamber ensemble. Julia has beautifully captured the essence of these songs—and we all share in the satisfaction of performing something truly special.

Sharing Our Discoveries

Our work comes together on stage, where discoveries, commissions, and arrangements find their place. The audience connects with the music, and we, in turn, connect with them, sharing not only the notes but the stories behind them. It's a reminder of why we do what we do.

Join Us

We invite you to join us on this journey. Come to our concerts, listen to the music we've discovered and arranged, and share in the joy of creation and performance. Because at the end of the day, that's what Mirabilis Collective is all about: discovering, creating, and sharing music that resonates with all of us.