I would hope that the Sydney Symphony Fellows walk away from the workshop having gained valuable tips as to how they present and represent themselves in the public eye as they embark on their professional careers as instrumentalists. Through dealing with curve ball questions from the media, what they post on social media channels, and how to protect themselves and their intellectual property from a legal standpoint. And to gain insight into different recording situations - live-to-air, delayed broadcast, and recording for release (CD or similar).
How long have you managed the fellowship program?
This is my fourth year managing the Sydney Symphony Fellowship program, but I have worked for the Sydney Symphony Orchestra for 9 years. My previous role was Education Manager. Both roles have been incredibly fulfilling and the SSO is a great organisation to work for. In my current position as Emerging Artist Program Manager I work very closely with the Program’s Artistic Director, Roger Benedict, Principal Viola in the Sydney Symphony Orchestra. Roger has been Artistic Director of the Fellowship program since 2002, so nearly since the beginning as the program started with 4 string players in 2001, and now we have up to 16 positions available to strings, woodwind, brass and percussion!!
I think the main change is the impact of technology. Technology has opened up amazing opportunities such as being able to easily listen to the world’s best orchestras and instrumentalists on Youtube and other platforms without leaving the house. Social Media gives an easy and low-cost way of advertising concerts etc. The difficulty is that this space is rather cluttered, so having skills to differentiate oneself from others is the key, which was what Michael Morton-Evans was talking about in his presentation at the workshop.
What advice would you give to the SSO fellows and other young musicians as they embark on their new careers?
Be pro-active and seek out opportunities. Be professional. Be courageous. Be yourself.