BY STEPHANIE ESLAKE
Formal training is an essential part of a young musician’s journey into their performance career. But so is getting out there and playing for a crowd — and that’s what Penrith Conservatorium of Music brings to its players. Although it’s a educational institution, the con also connects its students with leading artists in the field, providing a practical approach to learning through experience.
Not everyone needs to be formally enrolled in a course to benefit from the opportunity to perform, and that’s where the Richard Bonynge Ensemble offers something different. Early career performers will soon join professional pianist Emmanuel Despax for a live performance of music by Chopin, which takes place in the Joahn Sutherland Performing Arts Centre. These young musicians auditioned for the chance to be part of RBE, and the experience means something different to each of them.
To learn more about how the programs at Penrith Conservatorium of Music support young musicians, we went straight to the top and interviewed Head of Music Brian Kjim.
Hi Brian, it’s great to connect with you about your work at Penrith Conservatorium of Music. As Head of Music, what do you think are the biggest points of difference that Penrith Conservatorium offers to emerging musicians?
Thanks Steph, great to talk with you! I think one of the key things that makes Penrith Conservatorium of Music stand out is that it offers a professional-standard experience in a highly nurturing and community-oriented environment. Our teaching artists are not just great teachers, but also highly skilled musicians who are active in the music industry, which means our students benefit from a strong industry connection.
Penrith Con is housed at the Joan Sutherland Performing Arts Centre — you step into one of our performance venues, and you feel that buzz of opportunity. But for me, it’s more than just the physical space. We have such a strong culture. Whether you are five years old and starting on your first instrument, or a uni student getting ready for a career in music, everyone is welcome. We are an inclusive and aspirational space that is genuinely invested in the future of music in Western Sydney.
I’d love to know a bit about how Penrith Conservatorium structures its programs, and pairs up professional musicians with emerging artists. How does that exposure to leaders in the field enrich the lives of students who are beginning to enter the industry?
It’s transformational. For young musicians to be mentored by professionals who’ve been in the trenches performing, touring, recording, it’s just an overall raising of the bar. Our students see what is possible. They get to learn all the things you can’t necessarily teach in a lesson plan; how to prepare for rehearsals, how to read the room, how to carry yourself on stage.
It also demystifies the industry a bit. You’re not just learning about music, you’re watching someone living it. That kind of mentoring accelerates growth and gives students a sense of what a career in music might actually look like, and how to get there.
These ideas come together in the Richard Bonynge Ensemble through which emerging musicians share the stage with internationally acclaimed professionals in concerts hosted by Penrith Conservatorium. It goes beyond studying and into the world of professional performance, which is a very different dynamic. How long does it generally take RBE students to prepare for a concert, and what does that process look like?
Great question! It’s not an overnight process by any means.
RBE operates at such a high level, so students are given time to get inside the music — often a few months of preparation time, depending on the repertoire.
The rehearsal process is intense, but incredibly rewarding. Musicians focus on the detail, fine-tuning the myriad elements that make a performance come to life. Plus, by rehearsing and working with mentors and guest artists, students feel that they are truly stepping up to a big kid world. The personal transformation that one can witness over the course of a season is palpable.
What sort of interaction does RBE have with guest talent, such as Emmanuel Despax, who will perform with them later this year?
Oh, it’s one of the highlights for the group! Sometimes the guest artists will run a masterclass/workshop with the RBE musicians before the performance. That way, the collaboration begins sooner and there is a stronger connection on stage.
But sometimes we like to throw them into the deep end a little. The first real interaction can be the dress rehearsal. That can be a bit of a baptism by fire, but it’s great real-world training. Musicians don’t always have weeks of rehearsal time with soloists, and learning how to adapt quickly is an important skill.
How are the programs chosen for RBE events?
It’s a collaborative process. The guest artists will sometimes come to us with a piece or concept they are passionate about, and we will build around that. Other times, we develop programs that we want to challenge and inspire the ensemble. We try to balance the educational value, artistic merit and audience appeal.
We also love a good story. So often there’s a theme or narrative underpinning the performance, like Chopin: A Stranger in Paris. It gives both the musicians and the audience something extra to connect with.
How do young musicians get involved in RBE?
We recruit RBE members by auditions only, and we invite top-flight young musicians from over Western Sydney and Greater Sydney to audition. You don’t have to be a current Penrith Con student.
We’re looking for talent, commitment and above all a passion for chamber music. We want to provide a platform for exceptional young players to shine, and the kind of professional experience that can set a career in motion.
How long do musicians generally stay in RBE, and how would you describe that auditions process for them?
It really depends! Some members will stay with us for a year or two as a way of preparing for university programs, professional ensembles, or other musical endeavours. But other students have been with us since the inception of RBE in 2022 and continue to return to work on a project-by-project basis.
Since we take members up to the age of 25, some students also choose to return to us for at least one project per year, if their university schedule or other obligations allow it. It’s a flexible model and one that allows us to often continue those artistic connections over time, which is very rewarding.
As for the audition process itself, it’s a rigorous one, but also a supportive one. We’re assessing technical skill and proficiency, strong ensemble playing, and musicality, of course, but we’re also looking for a certain attitude. Curiosity, collaboration, a willingness to learn.
We’ve talked a lot about the musicians in RBE, but before we go, I’d love to know what you think members of the community will experience when they come to RBE’s upcoming performance.
The performance will be a wonderful opportunity to hear Chopin’s music are we rarely hear it.; close, personal and deeply affecting. Emmanuel Despax is a musician of extraordinary depth and artistry, and the fact that he is sharing this program with the Richard Bonynge Ensemble gives it another dimension.
Hear pianist Emmanuel Despax with Richard Bonynge Ensemble in Chopin: A Stranger in Paris, 7pm October 30 at the Joan Sutherland Performing Arts Centre.
Image supplied. Featured image by Eddy Summers Photography.
