BY ZOE DOUGLAS-KINGHORN, LEAD WRITER
Gender equality. What does it look like in the orchestra? Blind auditions and gender-neutral concert blacks may bring balance into classical music, but orchestral leadership still tends to fall (quite literally) into in the hands of men on the podium.
This year, the Tasmanian Symphony Orchestra has chosen to push for change, and inspire and engage more diverse musical leaders. Under the direction of acclaimed conductor Elena Schwarz, seven emerging artists undertake an experience like no other: a program to nurture the development of female conductors.
The TSO’s new Louise Crossley Conducting Workshop is funded through the bequest of Dr Louise Crossley. An eminent Tasmanian scientist, environmentalist, and politician, Crossley was a big fan of the TSO and proud of women forging careers in the orchestra. But to her legacy, she hoped one day orchestras across the world would have as many women at the helm as men.
In this series, we meet some of these future leaders.
Introducing Renee Heron
Renee Heron is a music educator and conductor from Melbourne. She has directed ensembles at Kostka Hall, the Australian Boys Choir and the Methodist Ladies’ College Choir at Kew. She is a leading practitioner of the Kodály music education philosophy and a lecturer for the Kodály Music Education Institute of Australia, where she serves on the Victorian Committee.
Why do you conduct?
Performing in ensembles has always been the highlight of my musical upbringing. Now that I work as a music educator, I have a great passion for my students involved in group music-making. Through conducting, I have the ability to shape and inform the musical development of the students in front of me, and I hope by continuing to develop my conducting craft I will be able to pass on the joy of wonderful music to the young people I teach.
How important is it to ensure women conductors are supported in musical leadership?
Initiatives like the Louise Crossley workshop are so important in encouraging women to upskill in a supportive environment. These workshops are the stepping stones to other workshops, further study and even entry to conducting academies. We need as many female role models and mentors in musical leadership roles as possible – these role models and mentors will help remind and support women to ‘lean in’ and take on challenges.
What’s your dream piece to conduct and why?
My first love has always been orchestral music, but later in life I have embraced the beauty of choral music. While there are too many dream pieces to choose from, I would pick Vaughan Williams’ Fantasia on a Theme by Thomas Tallis. The antiphony and the haunting modal melody are breathtaking.
The Tasmanian Symphony Orchestra’s new Louise Crossley Conducting Workshop took place for the first time in Hobart on 12 August, 2018.
Stay tuned to read more interviews with the talented new conductors working with the TSO!
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