News from Budapest

I’m just back from a master course with the inspirational composer-conductor Peter Eötvös. I spent a week at the Budapest Music Centre where I had the chance to meet composers Matthias Pintscher, Philippe Manoury and György Kurtág alongside ongoing contemporary repertoire workshops with ensemble. The Hungarian Music Information Centre was also onsite: I was in my element amongst the scores of the fantastic Eötvös operas! Many thanks to the Eötvös Music Foundation for their kind support.

Skin

I recently had the excellent fortune to assist conductor Otto Tausk on the Swiss premiere of George Benjamin’s opera Written on Skin. Directed by Nicola Raab, the production has its fifth and final airing this weekend in St Gallen. It was an honour to be involved in this beautiful project and to be part of such an intuitive creative team.

By candlelight

I will be joining guitarists John Williams and Gary Ryan as part of John’s Concerts by Candlelight series this Summer at Shakespeare’s Globe. His residency will feature diverse music for plucked strings across six programmes in the Sam Wanamaker Playhouse, all expected to sell out. I will conduct The Light on the Edge for two guitars, didjeridu, harp, bass, zither and environmental sounds by Australian composer Philip Houghton on Saturday 6 June.

Lovelady in London

Limelight Magazine has run a feature this week about my new shoes! In all seriousness, thanks to everyone for the great response to the article, which I’m hoping translates into a big appetite for New music and curiosity about living composers both in Australia and abroad. For those interested, I talk about the Australian work ethic, building audience trust through creative programming and the idea of a partnership across the fourth wall.

The “ever versatile” Kelly Lovelady

I’m happy to report that last week’s concert for the Tait Memorial Trust was a resounding success, delivering great reviews from Limelight Magazine and Seen and Heard International. Thanks to both writers for their kind words about my connection with the soloists: all were a pleasure to work with and I hope to see each of them again on the platform someday soon. Performance videos are now up on my YouTube channel.

Showcasing Australian talent

I’ve been invited to conduct a gala concert next month at St John’s Smith Square hosted by the Tait Memorial Trust, a charity which supports young Australian musicians studying in the UK. I will be joined by a barrage of soloists including some of my great friends, with special mention to pianist Jayson Gillham who finds time in a busy touring schedule to commandeer almost half the programme! The selection put together by the Trust will include the premiere of a new work by West Australian composer Kevin Penkin, alongside favourites by Puccini, Mozart, Vaughan Williams and Grainger. Tickets are on sale from the SJSS Box Office.

Kelly Lovelady on peace, reappropriation and new music for string orchestra

Originally posted on The Sampler Blog:

Kelly LoveladyPeace and I are strangers grown. This is the grave line from Purcell’s opera Dido and Aeneas which begins Ruthless Jabiru’s homage to Australian poet and activist Oodgeroo Noonuccal; a programme exploring Colonial race relations for the inaugural Australia & New Zealand Festival of Literature & Arts this weekend in London.

I will be conducting Ruthless Jabiru in a collection of new music for string orchestra inspired by Oodgeroo’s poem The Past. The poem has been set by Australian composer Andrew Ford combined with excerpts from James Cook’s diaries on encountering the Aboriginal people. For me, one of the most interesting things about this programme is the conflict with the traditional understanding of what we deem to be either old or new when it comes to music. In the context of the First Settlers discovering an unmapped continent, the music we usually think of as old: Byrd…

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