During my recent residency at Cluster Festival, I was interviewed by one of Winnipeg’s local papers, The Uniter. In the article in question, which is online at this link, I was mistakenly referred to as a composer, which I figured high praise in the context of a New Music festival.
My final commission for the festival was to devise a structured improvisation using Heidi Ouellette’s 2009 opera The Gashlycrumb Tinies as its foundation. By far the most common question I’m asked as a conductor is whether I also compose. Having torn Heidi’s original apart at the seams and sat rocking among the remnants, I’d realised that, in a way, that was what Cluster was asking me to do. Without a score to clutch, I managed to build up our eventual production from the ashes.