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Gillian Wills
Gillian Wills, a graduate of The Royal Academy of Music, writes for ABR, Inreview, Australian Stage Online, and has published with The Australian, Limelight Magazine, Griffith Review, and Artist Profile. Her debut novel Big Music (Hawkeye Publishing) will be out in 2024.
Black kites wheeling above parched plains, big hats, rattling road trains, and vast skies form the backdrop for the Festival of Outback Opera in remote ‘Waltzing Matilda country’ – a place studded with cattle stations and opal mines. Here, Banjo Paterson penned his jolly swagman opus. It is a place, in the bard’s words, ‘where the telegraph don’t reach you nor the railways run to town ... (read more)
Tracing both the frisson between city and outback realities and the impact of politics on the music scene, Singing Australian is not only about the intersections between folk and country music and their appropriations from a raft of other genres; it is also an insightful chronicle of Australia’s struggle for identity as a post-colonial society, the search for nationhood through song and an expan ... (read more)
The Adelaide River in the Northern Territory is both a small township and a river that is an infamous cruising zone for sizeable salties. Here, thrill-seekers frequent ‘Jumping Croc Tours’ and dine out on the local specialty of barramundi and hot chips. Resting on the Stuart Highway, 201 kilometres north-west of Katherine and 114 kilometres south of Darwin, the township’s population is aroun ... (read more)
What is the musical’s appeal? Performing arts venues in Australia’s capital cities stage them year after year; a lucrative box office seems to be virtually guaranteed. The feel-good mix of song, melodrama, and vibrant dance – not forgetting the bonus of a happy ending – can lift the spirits and entertain the entire family. Recently, Chicago (Melbourne, Brisbane), West Side Story, and Billy ... (read more)
‘Violas should be seen and not heard,’ quipped Malcolm Sargent. Classical music lovers know very well that the viola is ripe for ridicule and has inspired countless jokes. In this concert, the viola was enjoyably celebrated as a worthy solo as well as accompanying instrument. Brett Dean’s Notturno Quieto, an Australian première, begins with a viola solo, as does Bartók’s Viola Concerto.
... (read more)
In last year’s opening Maestro concert, the young Scandinavian conductor Daniel Blendulf made his début with the Queensland Symphony Orchestra. Alondra de la Parra, the orchestra’s chief conductor, was to have directed this year’s introductory concert, but as she was invited to replace the indisposed Franz Welser-Möst in Die Zauberflöte (The Magic Flute) in Berlin, Daniel Blendulf was inv ... (read more)
In Australia’s golden age of piano production, between 1870 and 1930, the piano was, as Michael Atherton notes, ‘as much a coveted possession as a smartphone or an iPad is today’. The First Fleet imported an eclectic assortment of items, including dogs, rabbits, cattle, seedlings, and a ‘Frederick Beck’ piano. The latter belonged to the naval surgeon George Wogan, who played it on the lo ... (read more)
Benjamin Britten’s Peter Grimes – first performed in 1945 (Sadler’s Wells, London) – is an opera about an oddball misanthropic fisherman. On opening night, the audience were primed to engage with Britten’s anti-hero, never suspecting that a real-life hero would soon be needed. After an announcement before Act Two that Stuart Skelton, widely regarded as the world’s best in portraying th ... (read more)
‘Rather like a consummate storyteller, Mozart knows how to keep us close to the edge of our seats,’ says Andrew Ford, composer, broadcaster, andauthor of this collection of illuminating essays on musical themes assembled from his talks, articles, and scripts for the radio series Music and Fashion. Like Mozart, two of Ford’s strengths are his compelling voice and his capacity to keep the read ... (read more)