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.