PRESS RELEASE Now the beating heart of the Brunel Museum and with a chamber half the size of Shakespeare’s Globe, the Grand Entrance Hall of the historic Thames Tunnel will host its first ever bass orchestra performance as part of the UK/Australia Season.
The amassed musicians of London chamber orchestra Ruthless Jabiru and Australia’s Decibel New Music Ensemble will come together on 02 December 2022 for an all-low programme by contemporary composers of Australia, UK, Finland/France, Chile and the US.
PRESS RELEASE London chamber orchestra Ruthless Jabiru welcomes into its fold fellow Australian musicians Decibel New Music Ensemble for a massed finale to the latter’s forthcoming UK tour.
The two ensembles will unite for a programme of graphic-, text- and traditionally-notated music performed by an orchestra of entirely low instruments. The event will take place in the unique subaquatic surrounds of the Grand Entrance Hall at the Brunel Museum on 02 December 2022 as part of the UK/Australia Season 2021-22.
A conversation with the conductor and page turner Kelly Lovelady
Artists have suffered tremendously from the pandemic. Many have lost their income and realized that the safety net protecting them is even more fragile than they had feared. Add to this the underlying socio-economic challenges that the cultural critic William Deresiewicz aptly depicts in his recent book, The Death of the Artist: How Creators Are Struggling to Survive in the Age of Billionaires and Big Tech. At first glance, the democratization of the arts through digital technology might let you conclude that “There’s never been a better time to be an artist.” Many artists, however, feel differently: There’s never been a worse time to be one. Despite (or in fact, because of) the gig economy, as well as the long tail of digital platforms and crowdsourced funding mechanisms, revenue for most creators is falling. They may now have “universal access” to the audience, but “at the price of universal impoverishment,” as Deresiewicz puts it.
As we are all desperately wanting to turn the page and open a new chapter, I spoke with someone who’s not just an artist but also professional page turner: London-based Australian conductor Kelly Lovelady. Lovelady is the founding Artistic Director of Ruthless Jabiru, a chamber orchestra dedicated to exploring humanitarian and social justice stories through new music to promote compassion, sustainability, and social consciousness. Continue reading →
When Eleanor Knight began researching her libretto for Silk Moth, she had to decide how to frame an opera about honour violence. Meeting women whose lives it had ruptured through the Iranian and Kurdish Women’s Rights Organisation, she confronted the usual images that accompany the dozen-or-so honour killings per year in the UK media. Between the ‘old, faded school photos’ that illustrate victimhood and the male perpetrators with ‘blankets over their heads … shoved into waiting police cars’, she saw a gulf of painful complexity. ‘What’, she asks, ‘of the mothers?’.1 Continue reading →
It’s summer opera festival season in the UK—so, are you a Glyndebourne or a Grimeborn person? Country house in Sussex, or a converted factory in east London? Mostly standard repertoire, or an adventurous programme with plenty of contemporary discoveries? Membership advised if you want to attend, or accessible pricing? Picnic on the lawn in the supper interval, or walk round the corner to the finest Turkish kebab joints in town? Continue reading →