Musical director, arranger & conductor: The Coronation of Poppea
to Oct 26

Musical director, arranger & conductor: The Coronation of Poppea

Gertrude Opera presents, as part of the Yarra Valley Opera Festival

The Coronation of Poppea

By Claudio Monteverdi

“Men always want to be a woman’s first love - women like to be man’s last romance” Oscar Wilde

Sat Oct 26 2:00 PM

Sat Oct 26 7:00 PM

Do humans learn from past mistakes? In 2019 as in 1643, individual whims and values associated with status form a lethal combination.

 Here is a new look at an old opera. Shortened to two hours including interval, sung in English - and recommended for Adults Only

Our production of Monteverdi's The Coronation of Poppea is faithful to the original themes: power, sex, tragedy, brutality. A hedonistic and decadent world, with bawdy humour, poly-sexuality, indecency,narcissism - and gaslighting. 

Eerily, a shimmering realisation of the Baroque score lends a musical style not dissimilar to music of today, with prescient flavours of jazz, giving an emotionally-driven, improvisational character to a beloved and wildly varied opera score mired in tradition.  

 Through the music of this sublime C17th opera, we see the trading of a new model of wife for the old, and instinctively blame possessive and manipulative women for the ensuing mayhem. 

 In fact, 'our' Nero was a brute:  kicking his pregnant new wife to death after curtain-down.  The opera ends blissfully as all wedding days do - with possibly the first operatic love duet ever written - a sublime and glorious expression of desire and commitment, with no hint of the historical gruesomeness to follow.

Composer: Claudio Monteverdi (1567 - 1643)

New treatment: Evan Lawson


Gale Edwards


Evan Lawson


Joseph Noonan


Jason Crick

Please note this is a 18+ event.

Part of the Yarra Valley Opera Festival, 17-19 MacIntyre Lane Yering, Victoria, 3770

Tickets available here.

$75 full / $55 conc.

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Curator: Black Water presented by Forest Collective
to Sep 29

Curator: Black Water presented by Forest Collective

He said he lost control of the car.
She said nothing.
He said he crashed into the black water.
She said nothing.
He managed to swim to safety.
She drowned.

On the evening of July 18, 1969, U.S. Senator Ted Kennedy hosted a party in a remote part of Massachusetts. In attendance were only older married men and a group of women in their 20s. At 11:15pm Kennedy left with Mary Jo Kopechne. It was the last time she was seen alive.

Based on the novella by Joyce Carol Oates, Black Water is a one-woman opera by Jeremy Beck exploring the anguished experience through her flashbacks and dreams.

It’s time to hear her story.

Forest Collective presents, as part of Melbourne Fringe Festival 2019
Black Water
Composed by Jeremy Beck

Forest Collective
Danaë Killian - Piano
Kate Bright - Soprano

Saturday 28 September, 7:30pm
Sunday 29 September, 5:00pm
90 minutes with interval 

Tempo Rubato 
34 Breese St, Brunswick 3056
PTV: 5 minute walk from Anstey Station (Upfield Line) or 5 minute walk from 19 Tram stop 26 Albion Street/Sydney Rd

Tickets: $30 F/ $25 Con/ $20 Group 4+
Fringe Earlybird and Fringe Member discounts available

Recommended for mature audiences 15+. Potentially triggering content and themes. 

"As an opera, Black Water is more in the Sondheim vein than Mozart. ... Opera is a hard sell in 'small' theatre; ... . [but] Black Water is one of the best I’ve seen."
– Theatre in London (Canada)

"Black Water ... showcase[s] Beck’s dramatic flair."
- Gramophone Magazine

“Forest Collective make contemporary music sound, look, and feel exciting.”
- CutCommon

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Conductor: Argonaut in Aotearoa, Bendigo Festival of Exploratory Music
7:30 PM19:30

Conductor: Argonaut in Aotearoa, Bendigo Festival of Exploratory Music

DRAWING ATTENTION (2019) World Premiere

CLEAVING TO SECONDS (2019) World Premiere

Two world premiere commissions from two of the freshest compositional voices in contemporary New Zealand. Antonia Barnett-McIntosh’s Drawing Attention tasks players to interact with each other in real-time, questioning the hierarchical notion of instruments within an ensemble and pointing to the privilege that the human brain instinctively gives to speech with meaning, and the human voice, over other sounds. Dylan Lardelli’s Cleaving to Seconds is built from collections of musical materials which undergo recursive processes. These materials, often consisting of faded and delicate sounds interacting with silence, are retold in disintegrated and hollowed states, through a recurring injection of sound energy. Argonaut Ensemble makes its heraldic return to the front and centre of BIFEM, led for the first time by Melbourne conductor Evan J Lawson. 

Tickets available here.


Aaron BARNDEN, Violin
Samuel DUNSCOMBE, Clarinets
Phoebe GREEN, Viola
Jonathan HEILBRON, Double Bass
Gemma KNEALE, Cello
Rebecca LANE, Flutes
Evan J LAWSON, Conductor
Mark MENZIES, Violin
David MORAN, Cello
Michiko OGAWA, Clarinets 
Hamish UPTON, Percussion
Kathryn WILLIAMS, Flutes

Argonaut in Aotearoa is supported by Creative Victoria, Creative New Zealand, Australia Council for the Arts, City of Greater Bendigo and the Robert Salzer Foundation. Cleaving to Seconds and Drawing Attention were commissioned by BIFEM with funds from Creative New Zealand.

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MIFF & MSO Chorus: The Film Music of Nick Cave & Warren Ellis
to Aug 10

MIFF & MSO Chorus: The Film Music of Nick Cave & Warren Ellis

Nick Cave and Warren Ellis’ film scores are instantly recognisable for their minimal and hauntingly beautiful tones. Full of light and shade, creeping dread and inconsolable yearning, the heavily instrumental sounds inject humanity into the ghostly frontier towns, parched desert landscapes, post-apocalyptic war zones and extra-terrestrial vistas of their renowned films.

As part of the Melbourne International Film Festival, Cave and Ellis join the MSO for the first time to perform a selection of suites in full symphonic sound.

“This is a unique opportunity to celebrate the work and creativity of two outstanding composers who have made a significant and lasting contribution to Australian music.”

- Benjamin Northey, conductor.


Benjamin Northey conductor
Nick Cave & Warren Ellis soloists


Suites and selections from The Proposition, The Road, Hell or High Water, The Assassination of Jesse James by the Coward Robert Ford, West of Memphis and Wind River.

About the performance

The past 15 years has seen Nick Cave and Warren Ellis compose for both indie films and Hollywood features. Their first commissioned soundtrack, the brutal outback western The Proposition (2005) directed by John Hillcoat and scripted by Cave himself, introduced the widescreen compositions that would become their signature for future films.

Big studio work beckoned in the shape of Andrew Dominik’s anti-western The Assassination of Jesse James by the Coward Robert Ford (2007). The eerie score underwrote the movie’s sombre mood and the lead character’s impending doom.

Cave and Ellis reunited with Hillcoat for the adaptation of Cormac McCarthy’s highly successful novel The Road (2009). The artfully minimal score combined with mournful piano and clanging industrial percussion, enhanced the lurking malice.

‘’Very often a tension can happen between music and picture that is about chance and a kind of unknowingness that can be really amazing. Just by putting together two things that were created in isolation, music and film, suddenly something quite magical can happen.” 

- Nick Cave.

In 2012 Cave and Ellis composed a moving score for Amy Berg’s documentary West of Memphisabout a controversial murder case in Arkansas. Returning to the American West, Cave and Ellis collaborated with David McKenzie for his masterful heist thriller Hell or High Water (2016), the score’s melancholy strains sounded as parched as the Texan visuals on screen.

Wind River (2017) was a chilling murder set on a Native American reservation in Wyoming, delivering more orchestration and vocals into their usually spartan instrumental palette. Cave and Ellis delivered drama to the film’s wintry landscapes with rousing string arrangements, haunting choral chants and softly whispered cries.

Presented in collaboration with MIFF as part of the 68th Melbourne International Film Festival.

Tickets available here.

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MSO Chorus: Persephone
to Jul 21

MSO Chorus: Persephone


Sir Andrew Davis conductor
Paul Groves tenor
Lotte Betts-Dean narrator 
Australian Girls Choir
National Boys Choir of Australia
MSO Chorus


Stravinsky Perséphone
Stravinsky The Rite of Spring

About the performance

Stravinsky’s two paeans to spring: One wild, riot-inducing and revolutionary, the other a lyrical, little-known masterpiece. In his final year at the helm, outgoing Chief Conductor Sir Andrew Davis conducts this Stravinsky Double Bill, where Perséphone will be performed in Australia for the first time in more than 50 years.

An enormous musical undertaking, this July Sir Andrew Davis is joined onstage by not only the musicians of the MSO, but 180 choristers. The 120-voice MSO Chorus will appear alongside the Australian Girls Choir and National Boys Choir of Australia, with mezzo Lotte Betts-Dean and tenor Paul Groves in Perséphone.

Separated by 21 years, Stravinsky’s Le Sacre du Printemps (The Rite of Spring) and Perséphone both depict a sacrifice for the sake of renewal.

Paris, May 29, 1913: Music is changed forever as Stravinsky’s Rite premieres at the Champs-Elysées theatre – its frenetic rhythms, unexpected dissonance and swinging dynamics cause the auditorium to erupt in a cacophony of booing and fighting. Vaslav Nijinksy’s controversial accompanying ballet followed the celebration of spring in pagan Russia, which culminates in a young girl, deemed the Chosen One, dancing herself to death. The work welcomed a new age in 20th century composition.

The Rite’s theme of sacrifice is one of brutality, whereas Perséphone’s sacrifice is voluntary, born of compassion.

“I wanted to do it (The Rite) in context together with Perséphone partly because they’re both about spring and also because Perséphone is a piece that I think is quite unjustly neglected,” Sir Andrew Davis told Limelight.

“You need somebody very convincing to speak the role, but it also needs a really strong tenor, and then the chorus and children’s chorus so it’s a complex piece. I really think that these days, apart from the big ballets, Stravinsky is quite neglected, I think Perséphone is one of his most beautiful works.”

The work was commissioned by the mysterious Russian actress Ida Rubinstein (she also commissioned Ravel’s Boléro), who used it as a platform for herself, reciting the title role at the 1934 premiere. This second ‘rite of spring’ sees the world plunged into winter when Perséphone, goddess of spring and queen of the Underworld, descends below the earth. Each year when she returns, she will bring hope and the new life of spring.

Pre-concert talk

Join MSO Cybec Assistant Conductor, Tianyi Lu, inside Hamer Hall for a Stravinsky-inspired pre-concert discussion.

Pre-concert talk

Thursday 18 July: 6.15pm
Saturday 20 July: 12.45pm

This concert features surtitles.

Tickets available here.

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Conductor & Composer: Orpheus (US premiere) with prismatx ensemble and Density512
to Jun 6

Conductor & Composer: Orpheus (US premiere) with prismatx ensemble and Density512

prismatx ensemble is a young contemporary chamber ensemble with a mission of pairing visual art with contemporary music.  We have been an active ensemble in the Austin, Texas area since summer 2016, and have collaborated with several brilliant artists and musicians on our concerts throughout the past few years.  In our inaugural year, we won the Richard A. Rainwater grant that helped to sponsor our concert of Arnold Schoenberg's Pierrot Lunaire paired with digital media artist, Rachel Stuckey.  We have additionally collaborated with composers Samuel Lipman and Andrew Sigler, artists Alison Pilon and Rick Reed, and choreographer Dorothy O'Shea Overbey, to name a few.

Many of us in the ensemble have graduated or will be graduating from The University of Texas at Austin.  We all love the Austin music scene, and believe that our ensemble helps to shape the creativity of such a vibrant community of people.

Evan Lawson (composer of Orpheus and artistic director of Forest Collective) and Sara Sasaki (artistic director of prismatx ensemble) met several years ago at soundSCAPE Music Festival in Italy.  They kept in touch over the years, and Evan had presented the idea of having a performance of his newest opera premiered in the United States.  Evan and Forest Collective are based in Melbourne, Australia, and Orpheus received outstanding reviews from press and the public that attended.

With the help of the Austin-based contemporary music collective Density512, we are so excited to be putting on a performance of this amazing work in the United States! 

June 5 and June 6

Austin, TX at Imagine Art, performed by prismatx ensemble, Density512 and led by Evan Lawson.

Evan’s appearance with prismatx ensemble is made possible with a grant from the Ian Potter Cultural Trust.

To donate to help with funding this performance, go here.

Tickets $12 available from here.

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3:00 PM15:00

Eurydice and the Harrowing of Hell

Piano Recital and Talk by Dr Danae Killian

3pm – 5pm Saturday 20th April 2019
The Christian Community, 319 Auburn Rd Hawthorn, VIC
Entry: $20 donation

Program for Piano Recital:

Sikinnis III (2015) by Evan Lawson
Rondo in A minor, KV 511 by W. A. Mozart
From a Star Afar (2018) by Eve Duncan WORLD PREMIERE
Piano Sonata (1960) by Helen Gifford

Gretchen, s. 513, from the Faust Symphony, by Franz Liszt
The Necessity of Mary (2018) by Susan Frykberg

In the Christian liturgical calendar, Holy Saturday commemorates the Harrowing of Hell—the descent of Christ, between the Crucifixion and the Resurrection, to the Underworld to free the souls of the dead. The Greek story of Orpheus journeying to Hades in quest of his lost Eurydice foreshadows the Christian mystery. Orpheus sought with music to overcome death.

Danaë Killian will not attempt by way of this piano recital to imaginatively illustrate the story of Orpheus playing his lyre in the Underworld. Instead, she will address her musing foremost to Eurydice’s being and substance: Who, or what, is Eurydice? Why is her death significant? Why is Eurydice precious to both Orpheus and Hades? Where might we find Eurydice now? What does she mean for music? What does she mean for knowledge?

In allusory facets and outlines, Danaë Killian’s selection of musical compositions offers an exploration of these questions—free-flowing questions which invite the differentiated, non-verbal responsiveness of the musical element. Nevertheless, with its focus on complex new music written by living, local composers, the overall gesture of Eurydice and the Harrowing of Hell turns away from the Orpheus legend’s familiarly dreamy romantic contours. Killian’s approach to Eurydice, as well as her approach to pianism, finds imaginative articulation through modern phenomenology, to which she gives the task of making what is esoteric or existentially hidden—such as the mysterious being of Eurydice sojourning in Hades—freely open to human thinking.

Uriel Event
Supported by The Ligsma Kirpe Trust and The Anthroposophical Society in Victoria

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Conductor & Composer: Orpheus
to Feb 3

Conductor & Composer: Orpheus

To celebrate a new year of creation and collaboration at Forest Collective, we begin 2019 with Orpheus. Presented as part of Midsumma Festival at iconic arts precinct Abbotsford Convent, Orpheus is a new ballet-opera written by Artistic Director Evan Lawson, with choreography by Ashley Dougan (pictured).

The famous Orpheus myth has been used in opera many times. While most works focus on the journey to Hades and his relationship with Eurydice, we explore the unheard stories of the characters left behind by the great men in ancient mythology. Evan Lawson’s Orpheus encompasses this part of the story, but also includes lesser-known parts of the Orpheus myth that focus on his male lover, Calais, while journeying with the Argonauts. The opera is structured into four elements; one focused on Calais, one on Eurydice, one on the journey to Hades and the nal section, where Orpheus is murdered while trying to reunite with Calais.

The performance will be performed by the 12 member ensemble of Forest Collective, including core-mezzo soprano Kate Bright as Eurydice. Three dancers physicalise the sung expressions of the three singers. As a new opera-ballet exploring the story of Orpheus and paying equal attention to his love of men and women, this story will engage members of the LGBTQI community, those interested in classics and mythology, and opera fans alike.

Forest Collective presents Orpheus, as part of Midsumma Festival and Convent Live 

Composer & Musical Director - Evan Lawson 
Choreographer & Dancer - Ashley Dougan
Costume Designer - Jane Noonan
Set Designer - Candice MacAllister 
Dramaturgy - John Pyburn  

Eurydice - Kate Bright 
Calaïs - Joseph Ewart
Dancers - Luke Fryer & Piaera Lauritz

Harp - Samantha Remirez (guest musician)
Flutes - Eric Tucceri (guest musician)
Saxophones - Jesse Deane (guest musician)
Clarinets - Vilan Mai
Recorders - Ryan Williams 
Trombone/Sackbut - Trea Hindley 
Percussion - Alexander Clayton 
Violin - Helen Bower  

Double Bass - Ian Crossfield

Dates: Thursday Jan 31 - Sunday Feb 3
Times: Thursday 7:30pm
Friday 7:30pm
Saturday 1:00pm
Sunday 3:30pm
Sunday 7:30pm
Venue: Sacred Heart Oratory Abbotsford Convent
1 St Heliers Street, Abbotsford 3167

Orpheus is a co-commission between Forest Collective & Prismatx Ensemble. Orpheus is supported by the Victorian Government through Creative Victoria.
Photo by Meghan Scerri. 

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MSO Chorus: The Messiah
to Dec 16

MSO Chorus: The Messiah

About the performance

Since its triumphant premiere in Dublin in 1742, Messiah has remained Handel’s most frequently performed work.

Come celebrate with this annual tradition. This year, Handel’s epic setting of biblical texts features Dutch early music specialist Jan Willem de Vriend and a cast from Australia, Belgium and Germany. While most audiences would be familiar with the strident refrains of the Hallelujah Chorus, many may not be acquainted with the larger work from which it originated.

This popular annual concert is the perfect way to welcome in the festive season, and in 2018, Handel’s masterpiece will be conducted by Jan Willem de Vriend, who will bring his own unique take on the masterpiece of work.


Jan Willem de Vriend conductor | Jeanine De Bique soprano | Nicholas Tolputt countertenor | Andrew Goodwin tenor | Stephan Loges bass | MSO Chorus


Handel Messiah

Pre-concert talk

Join Megan Burslem for a pre-concert conversation inside Hamer Hall.
Saturday 15 December – 5.45pm
Sunday 16 December – 3.45pm

Running time

2 hours, and 30 minutes, including a 20-minute interval

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MSO Chorus: Tan Dun's Buddah Passion (Australian premiere)
7:30 PM19:30

MSO Chorus: Tan Dun's Buddah Passion (Australian premiere)

As part of Melbourne International Arts Festival, 2018

About the performance

For more than a thousand years pilgrims in China left marks of their passing in the Mogao Caves, also known as the Caves of the Thousand Buddhas. Their carvings, paintings and murals speak with a devotion that transcends time, and forms the inspiration for a remarkable new musical work from one of the world’s most exciting composers and conductors.

From an Academy Award®-winning score for Crouching Tiger, Hidden Dragon to radically experimental works composed for such organic materials as water, paper and wind, Tan Dun has again and again been proven as one of the truly compelling musical forces of this era.

In this Australian premiere, a joint commission by the MSO, Dresdner Musikfestspiele, New York Philharmonic, and the Los Angeles Philharmonic Tan Dun has dreamed the world’s first passion set to the teachings of the Buddha. Two years spent in the Mogao Caves – the world’s most impressive repository of Buddhist art – have allowed him to create a monumental work, sung in Chinese and Sanskrit. This is a captivating opera in six acts telling of love, forgiveness, sacrifice and salvation.

Why it’s a must see

“Tan Dun’s music is as wide-ranging as it is all-embracing, and resonates with a global audience.” – Gramophone

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Musical Director: Nico, Forest Collective at Melbourne Fringe
to Sep 16

Musical Director: Nico, Forest Collective at Melbourne Fringe

  • Fringe Hub Lithuanian Club - Main Theatre (map)
  • Google Calendar ICS

Nico - Songs They Never Play On The Radio

30 years since Nico’s death, Forest Collective debut a contemporary music cabaret concert for 2018 Melbourne Fringe Festival.

Contemporary music outfit Forest Collective and cabaret artist Danielle Asciak bring to the fringe stage music by Warhol’s muse, model and musician Nico (and The Velvet Underground). Led by founder, composer and conductor Evan Lawson, this ensemble will reconceptualise traditional instruments, voice, and intermedia with an avant-garde, punk rock sound to evoke Nico’s enigmatic song writing. 

Radical and raw, this is Nico’s life defined by songs they never played on the radio.

“Miss Asciak is one of the most exciting new cabaret stars.”  - The Australian

“Forest Collective make contemporary music sound, look, and feel exciting.”  - CutCommon

Evan Lawson is one of Australia’s leading emerging queer artists, working at the forefront of contemporary culture as composer, curator, and conductor.

Danielle Asciak is no stranger to the festival that supports the bold and diverse; having performed Dance Me to the End (2012, Lithuanian Club. Nominated for Judith Wright Performing Arts Touring Award) and Everyone Wants a Piece of Malta! (2016, Hawthorn Arts Centre).

Assisted by Australian theatre director and performance artist  Kat Henry, Danielle & Evan uncover the music that they feel best represent the sound and story of Nico. Similarly to the recently released Nico, 1988 which focuses on the character’s tragic later years in life on film, this contemporary music cabaret music concert explores Nico’s influential and revolutionary power in the altering of the perception of music composition and live performance, as well as her desperation to reject the burden of beauty.

Danielle Asciak - Cabaret performer
Evan Lawson - Conductor & Musical Director
Erica Tucceri - Flutes (Guest Musician)
Isabel Hede - Violin (Guest Musician and Founding Member)
Vilan Mai - Clarinets
Ali Fyffe - Saxophones
William Elm - Accordion & Piano
Trea Hindley - Trombone
Nikki Edgar - Cello
Bec Scully - Double Bass & Viola

Photo - Melvin Haxaire-Christophe

Dates: 14 - 16 Sept
Times: 6:30pm, 5:30pm Sun (60 mins)

PTV: 15-20 min walk from Flagstaff Station
Tram 57 to stop 11 Errol St/Victoria St (North Melbourne) 

Tickets: Full $32 / Conc $25 / Child $22 / Group 10+ $22.50
Tickets on sale now or call (03) 9660 9666

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Curator: Skin Deep with Forest Collective
6:00 PM18:00

Curator: Skin Deep with Forest Collective

The centre point of this program features a newly commissioned work, Skin Deep, composed by ensemble cellist and composer Nikki Edgar. This new work uses a graphic score comprised of beautiful colours, shapes and lines. This incredible work, exploring the body and longevity of musical ideas and sounds promises to delve below the surface and open our minds to new ways of experiencing music through graphic score and unconventional sounds. 

This performance also features new commissioned work Rosina by Chris Rechner, who we welcome back to the Forest Collective family with his musical composition, 7 Words by USA composer Julie Herndon, who’s electroacoustic work has been described as "striking" and "blended to inhabit a surprisingly expressive space" (San Francisco Classical Voice), and new work by Melbourne based composer-violinist Lily Tait

We look forward to you joining us on this one of a kind journey through unconventional notation. 

Kim Tan Flutes
Vilan Mai Clarinets & DJ
Sarah Coghlan Violin
Nikki Edgar Cello, guest curator
Bec Scully Double Bass & Viola
William Elm Accordion
Trea Hindley Trombone
Ryan Williams Recorders
Ali Fyffe Saxophones
Alexander Clayton Percussion

Sunday August 19 6pm

Rosina Auditorium, Abbotsford Convent
1 St Heliers Street, Abbotsford

Skin Deep is proudly part of the Abbotsford Covent Foundation's Convent Live program.

10-15 min walk from Victoria Park Station (South Morang/Hurstbridge Lines)
Bus 200 or 207 to stop Clarke St/Johnston St (cross via bridge above road) and turn left at St Heliers Street
Tram 109, 12 or 48 to stop Victoria St/Nicholson St (Abbotsford) and 20-25 min walk up Nicholson Street
More info:

Event ticketing info (not including booking fee):
First Release (June) 
Full Price $22/ Seniors $20/ Concession & U18 $14 

Second Release (July)
Full Price $26/ Seniors $22/ Concession & U18 $16 

Final Release (August) 
Full Price $28/ Seniors $26/ Concession & U18 $20

Tickets on sale now:

Doors open 20 minutes before the performance commences.

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MSO Chorus: Leonard Bernstein Celebration
7:30 PM19:30

MSO Chorus: Leonard Bernstein Celebration

Bramwell Tovey conductor
Nicholas Tolputt countertenor
Liane Keegan contralto
Melbourne Symphony Orchestra Chorus


Copland Orchestral Variations
Mahler Rückert Lieder
Bernstein Symphony No.1 Jeremiah
Bernstein Chichester Psalms

About the performance

Vivacious, danceable, exciting, intimate, life-enhancing, uplifting, elevating.

Part of the MSO’s Bernstein Celebration, this program investigates Bernstein’s musical roots through his mentor Aaron Copland and the music of Gustav Mahler.

He based the impressive last movement of his First Symphony on the Lamentations of Jeremiah, and the Book of Psalms provided the texts of his life, embracing, joyous Chichester Psalms.

The MSO is thrilled to welcome Bramwell Tovey to Melbourne for this celebration. As a young conductor in 1986, he was asked to step in to conduct the opening night of a Bernstein Festival with the London Symphony Orchestra. By doing this, he followed in the footsteps of Leonard Bernstein himself, whose career was launched in the same way. The only difference was that, in Tovey’s case, Bernstein himself was present. Subsequently Bernstein invited Tovey to attend classes and rehearsals. The rest is history.

Why it’s a must-see

‘He was so interested in people, that when he was writing music he wrote for the audience. ‘There’s something about the music that is extremely contagious. His music puts a spring in your step. His music makes you feel better. It just makes you glad to be alive. I have never met anybody in my life who was more thrilled to be alive than Leonard Bernstein.’ Bramwell Tovey, guest conductor.

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Conductor & Composer for Berceus with Forest Collective
to Jul 7

Conductor & Composer for Berceus with Forest Collective

July 6 & 7, 7:30pm 

Church of All Nations, Melbourne, Australia

Including music by Caroline Louise Miller, Beat Furrer, Aribert Reimann, Helen Gifford and a world premieres by Alexander Morris.

This concert will feature my new work which will form the base of my new opera, Orpheus and the Australian premiere of Thriambus for solo harp.

I'm very excited that my dear friends Jessica Fotinos (harp) & Daniel Todd (tenor) will be joining us for this concert from Suzhou in China. 

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Composer & Conductor for Forest Relaunched
8:00 PM20:00

Composer & Conductor for Forest Relaunched

On March 9 2018, Forest Collective will hold their first concert for over a year. Featuring intimate performances for you to get to know our ensemble. 

Doors open 7:40pm for an 8pm start  

Event ticketing info:
First Release (January) 
Full Price $25/ Seniors $20/ Concession & U18 $15 

Second Release (February)
Full Price $30/ Seniors $25/ Concession & U18 $20 

Final Release (March) 
Full Price $32/ Seniors $27/ Concession & U18 $22

Tickets on sale 9am, Monday 8th January at

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Melbourne Composers League Concert
2:30 PM14:30

Melbourne Composers League Concert

Premiere performance of Sikinnis III for solo piano by Danae Killian

As part of our 20-year celebrations, the Melbourne Composers’ League will be releasing a triple CD featuring the music of 23 of its members.  The CD will be launched at the upcoming Elbow Room Concert and CD Launch event in November on Sunday, 12 November, 2.30pm.  Please come along and lend your support to this important composer organization.

Montsalvat, 7 Hillcrest Avenue, Eltham VIC 3095
Enquires: 0419 107308
Bookings: 9439 7712
Tickets: $25/$20 concession

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Ballad of Antinous with MCM
1:00 PM13:00

Ballad of Antinous with MCM

Premiere of my new piece for Soprano, 4 Percussionists, Harp and Piano.

Performed by Justine Anderson, soprano, music students of MCM and conducted by Peter Neville 

Performed at VCA, Room 113.

This is a free performance.

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My Heart
7:30 PM19:30

My Heart

My Hear - as a part of Melbourne Fringe 2017

Premiere of my piano solo, Sikinnis III

Nights I wander the world’s city streets—through Berlin, Melbourne, Qingdao, Baghdad—past all the Luna Parks and zoos and China Towns in the world—looking for you and talking to you, my heart.

Walking one night in Dhaka, my eyes blazing through clouds as I sang to you whom I have chosen amongst all stars, I walked into a big, maleficent spider’s sticky web. My wedding ring—my gold ring with your name on it—was flung off in the shock of it.

‘My heart!’ I cried out. Where was my heart?

In the dark streets of Rome, near the train station, I scavenged until I found something. Shining in the gutter at 3 a.m., in New York—there it was: my heart. I put my scratched and shining heart into a small bucket. There I carry it safely now as I wander the streets of Zurich, Jerusalem, Stockholm, Hong Kong, Moscow, Leipzig—past all the cafes and jails and temples in the world.

My friends in this city Melbourne (and some other cities, too) have mailed me beautiful pieces to play on my blue piano next Michaelmas night. Then my heart will rejoice.

Inspired by German Expressionist poet Else Lasker-Schüler’s novel-in-letters ‘My Heart’ (Berlin, 1912).

St Stephen's Anglican Church, Church Street Richmond


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Come Away with Me to the End of the World
to Oct 2

Come Away with Me to the End of the World

Ranters Theatre IRISH PREMIERE
Come Away With Me to the End of the World   
Samuel Beckett Theatre | Sept 28-Oct 1 | Book Now 

It is a relief to feel so free, open-mouthed and childlike in the theatre. Herald Sun 

Surprising and beautifully executed.  The Australian 
Come Away With Me to the End of the World is a quietly humorous meditation on life and death. The audience watches as three performers shape and reshapes their physical and emotional selves, confronting the space between their actual lives and their dreamed selves. This self-imposed quest takes them through shifting landscapes and climates, snow-topped mountain peaks and erupting volcanoes to a final meeting with Greek music legend Demis Roussos on the day before his death.
Come Away With Me to the End of the World asks questions about how we live and how we want to live as we brush up against our own mortality.
First produced by Malthouse Theatre and developed with the assistance of the National Theatre Studio.
Assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body
Supported by the Victorian Government through Creative Victoria.
Cast and Creative Team 
Text by Heather Bolton, Beth Buchanan, Adriano Cortese, Raimondo Cortese and Patrick Moffatt
Directed by Adriano Cortese
Performed by Heather Bolton, Beth Buchanan and Patrick Moffatt
Dancers: Rosa Voto, Cristina San Miguel and Cristiano Delmar
Design: Callum Morton
Sound Design: David Franzke
Lighting Design: Govin Ruben
Costume Design: Belinda Hellier
Choreography: Jo Lloyd
Musical Direction: Evan Lawson
Information and Tickets 
Venue: Samuel Beckett Theatre
Dates: Sept 28 & 29, 7.30pm, Sept 30, 2.30pm & 7.30pm, Oct 1, 2.30pm
Tickets: €20 – €25
Duration: Approx. 1 hr 40 mins. No interval.
Talking Theatre: Sept 28, post-show. With members of the company.

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6:00 PM18:00

Doctoral Recital: Wing In Crystal Chu, Percussion

World Premiere of my new piece for solo Marimba Crown of Phtheírein. 

Crystal will be presenting some of her favorite solo repertoires in this recital. The program will include solo marimba music: Jing Marimba byChen Yi, Land by Takatsugu Muramatsu, Marimba Spiritual by Minoru Miki, Dances of Earth and Fire- II by Peter Klatzow , her own arrangement of Chopin's Prelude in A Flat Major, Op.28 No. 17, and newly commissioned work- Crown of Phtheírein- by Australian composer Evan Lawson. This inclusive program will also include solo timpani work- #Entomophobia, or the fear of insects- by UO student composer Martín Quiroga Jr., an award-winning marimba and computer duo piece- Getting Hammered- by Bik Kam Lee, and TRIO for Flute, Percussion and String Bass by Pauline Oliveros.


UO Beall Concert Hall

1225 University of Oregon, Eugene, Oregon 97403

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to Dec 18

Dancing on a Volcano, presented by Forest Collective

Forest Collective presents


Dancing on a Volcano


Date:        Friday December 16th 7:30pm (preview)

Saturday December 17th 7:30pm

Sunday December 18th 5pm

Price:        $38 Full price, $28 Concession, $15 U15’s


Venue:    Rosina Auditorium, Abbotsford Convent

PTV:       200 or 207 bus from the city, Lygon Street or Johnston Street, close to Victoria Park Train Station (South Morang or Hurstbridge line, approx. 15 mins from CBD)


“The whole town and all it’s inhabitants are quite drowned in carnival din, masks and confetti. And on top of that the news of the Reichstag fire. Dancing on a volcano”  

Alban Berg


Forest Collectives end of year concert features rarely heard works created during the time of the Nazi regime. This performance will include mainly German and Jewish composers who were either supported or banned during this time, including Richard Strauss’s rarely heard version of the Olympic Hymn for the 1936 Olympics.

Other notable composers include Carl Orff, Hans Eisler, Kurt Weill, Franz Schreker (5 lieder für tiefe stimme will be performed by Lotte Betts-Dean, joining us from the UK), Berthold Goldschmidt, Victor Ullman, Henri Dutilleux and Olivier Messiaen.

Messiaen’s clarinet solo from Quartet for the End of Time, which beautifully demonstrates that art prevails in times of political and social pressures as it was written while he was confined to a concentration camp will be performed alongside the elegant Dutilleux Oboe Sonata.

Lotte Betts-Dean - Mezzo Soprano solo

Kate Bright - Mezzo Soprano solo

Tabatha McFadyen - Soprano solo

Evan Lawson - Conductor

Jasper Ly - Oboe solo


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