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Brighton-based actor, singer, writer, dramaturg, director and trainer, Emma Kilbey brings vividly to life Ayn Rand,  American novelist, philosopher, playwright, and screenwriter whose questionable beliefs still resonate strongly today.

Emma Kilbey

The play, written and performed by Emma Kilbey, will explore why Rand’s beliefs, including her philosophical system of objectivism, still resonate today, and the  impact of a powerful life lived without empathy.

The drama attempts to crack through the Russian-doll layers of this self-styled individualist, author and philosopher.

Expect thorny issues, heartbreak, humour and accents.

Emma introduces ‘The Ayn Lady’ here

‘I have seen many finished pieces that were much less cleverly constructed and consistently enjoyable than this. The company managed to give a lesson in both history and economics without ever falling into boring or hectoring the audience. The scenes from Rand’s life cleverly indicated where her “all about me” philosophy ends up, and the introduction of more contemporary quotations (Boris, Thatcher et al) made it plain that Rand’s insouciance about inequality and the most vulnerable in society not only persists but very much continues to inform the political debate.’ 

Ferment audience comments.

‘The Ayn Lady’ is a part of Ovalhouse’ FiRST BiTES series of new performance pieces, currently in development and presented as work-in-progress showings.

‘The Ayn Lady’ is at Ovalhouse, London SE11 from 2 – 5 July. Full details and tickets here

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Penny Woolcock’s visually arresting “The Pearl Fishers” returns to the Coliseum in London in a revival of the 2010 English National Opera co-production with the Metropolitan Opera of New York.

The original production was praised for its stunning effects and staging, and this updated production proved mesmerizing, beginning with a beguiling underwater sequence in which pearl fishers, viewed through a gauzy screen, dive and swim, digitally-generated air bubbles trailing their lithe, fluid bodies (in fact, actors suspended on harnesses). When the curtain goes up, the scene is an exotic Ceylonese shanty town: rough wooden houses crowd higgledy-piggledy around the shoreline, tiny lights prick the early morning sky, telegraph cables sag between the buildings, and a cleverly conceived reflective surface across the entire stage creates the sense of water. The villagers gather around the ghats, dressed in sarongs, dhotis and saris in turmeric and paprika colors, and go about their business — hanging out washing, bathing, cooking at the water’s edge, gossiping. You can almost smell the masala dosas frying.

In later scenes, the houses have gone, leaving the glittering ocean across which a fishing boat glides. The illusion of waves is created through ingenious lighting effects and air-filled pillows, set low on the stage, which billow and swell like the sea. Longer scene changes are made behind the gauzy screen onto which are projected images of waves, including an impressive tsunami between Acts II and III.

Leila (Sophie Bevan) arrives (photo credit: ENO / Mike Hoban)

Bizet finished “The Pearl Fishers” in 1863, a year after Ingres painted “The Turkish Bath,” when Europe was gripped with a fervor for Orientalism, the term used by 19th-century Western scholars and artists in their study of Eastern cultures and peoples. At the time, the East was regarded as highly exotic — and erotic — and “The Pearl Fishers” resides in this tradition, with its recreation of an imaginary geography inhabited by ignorant, superstitious people who engage in transgressive sexual practices. The narrative is the age-old love triangle, with the added frisson of friendship, loyalty and religious observance.

In fact, Bizet’s opera is rather thin, particularly in comparison to his much-loved, vibrant “Carmen.” The libretto borders on cringe-making, and in this production unfortunately more than highlighted by the fact that it is sung in English and the language doesn’t always sit comfortably with the phrasing and shape of the music, as it surely would if sung in French. Apart from the famous aria (of which more later), there is little to hold the attention, musically, and while others might highlight inventiveness and variety in Bizet’s writing, this reviewer found it wanting, with Act III verging on turgid. Added to this, the characters are wooden and the narrative hardly believable. But of course, “The Pearl Fishers” is saved by the glorious tenor-and-baritone duet “Au Fond du Temple Saint” in Act I (with fragments and reprises in subsequent acts), whose sweepingly romantic melody stays with you throughout, and long after you have left the opera house, a pleasing earworm which will have you humming on your commute to work. On this occasion, what should have been a voluptuous celebration of friendship and unrequited love lacked conviction and depth: this was the first night and one hopes that as the singers (George von Bergen and John Tessier) settle into their roles, the richness of this great aria will come to the fore.

Soprano Sophie Bevan, making her role debut as Leïla, Priestess of Brahma, was a delight. Arriving by boat, veiled and submissive, her palms pressed together in obeisance, she proved a charmingly winsome and flirtatious Leïla, and full credit must go to Bevan for singing the role so arrestingly while recovering from a bug. By comparison, Zurga, sung by von Bergen, was underplayed, given his role (again one hopes his character will develop over forthcoming performances), but Nadir (Tessier) was more convincing, torn between his friendship with Zurga and his passion for Leïla. An attempt, via the setting, to comment on global warming and developing-world poverty seemed overly worthy and self-conscious, and an amused nod to the exigencies of Indian bureaucracy in the Act III scene in Zurga’s “office,” piled high with friable papers and bulging ledgers on rusting filing cabinets, felt unnecessary.

But if the music doesn’t always hold your attention (and all credit to the orchestra, whose muscular playing contributed much-needed vibrancy, together with some fine chorus singing), the visual effects will, along with the costumes: Nourabad, the High Priest of Brahma, could have stepped straight off a sculptural frieze on a South Indian temple, with his sadhu’s ash-smeared body, draperies, dreadlocks and top knot. Worth seeing if only for the arresting and finely wrought visual effects and staging.

The Pearl Fishers continues in repertory at ENO.

Date reviewed: Monday 16th June 2014.

Leïla, Sophie Bevan; Nadir, John Tessier; Zurga, George von Bergen; Nourabad, Barnaby Rea; Director, Penny Woolcock; Conductor, Jean-Luc Tingaud; Set Designer, Dick Bird; Costume Designer, Kevin Pollard; Lighting Designer, Jen Schriever; Video Designer, 59 Productions Ltd; Choreographer, Andrew Dawson; Translator, Martin Fitzpatrick. English National Opera, London Coliseum 

(This review was first published on CultureVulture.net)

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Who or what inspired you to take up the piano, and make it your career?

I grew up in a very much culturally, and musically, rich household, although neither of my parents were musicians. I started my piano lessons early, by the age of four (the Soviet-inspired music education system was then held in great and well- deserved esteem, for one to be judged as apt to pursue a serious, as it was, musical training was considered something of an honour); but it was not until relatively later that my relationship with the instrument and music making was definitely shaped: indeed at 12 I was privileged enough to assist Sviatoslav Richter on stage during his unforgettable recital in my hometown Tarnow, Poland (he let me hold down the bass notes in one of Rachmaninov’s Etudes-Tableaux), while also sharing a conversation and the great man’s private moments. I consider this to be a very major, pivotal event in my life. Schooling over, I realised that the only thing I could do quite decently  was to play the piano, so it stayed that way, eventually evolving into a professional activity. Now it has become a way of life and I can hardly imagine it otherwise.

Who or what were the most important influences on your playing/composing?

I have long been fascinated by the “old school” of piano playing and its total mastery of the keyboard in all of its dimensions: technical, poetic, emotional, transcendental…….I do acknowledge the importance (and consider myself subjected to) and significant influence of the so-called Russian school of piano playing, both of Liszt-Siloti and Neuhaus lineage, its research of sound quality, lyrical expression, rhythmic drive, broadly understood articulation, both digital and epic, stylistic and structural intelligence (curiously and surprisingly enough I found many of these elements in Cortot’s Chopin edition that I value highly). There is also a timeless legacy of individuals like Horowitz or Gould which constitutes a continual and enlightened source of inspiration.

What have been the greatest challenges of your career so far?

At the early stages of a career, what inevitably stands out as a challenge is having to deal with “glass ceiling’ and “moving sands” syndromes, on top of not letting one’s ignorance of basic communication skills and socio-technical tricks stand in the way of personal improvement and, ultimately, personal fullfilment. Understanding the secret life of a professional agenda punctuated by phone calls or lack of, understanding the particularities of different life stages and their impact on social/professional interactions, all this while trying to keep an “inner child” alive, constantly expanding, upgrading and keeping up with the repertoire, knowing it inside out and upside down at all times, being at ease with proselytizing and successfully funding oneself and one’s intimate passions; and also the ability to preserve some time on one’s own, not letting personal life to become a wasteland are but a few of the constant challenges to which a professional musician is subjected during his/her life. I think we would also all reasonably agree that what probably is the most difficult in a long run is sticking to however unrealistic goal, once set, and never diverting from the straight path to achieve it, as well as never giving up in the face of ever-increasing competition.

Which performances/compositions/recordings are you most proud of?

During the last few years I greatly enjoyed performing both Liszt Concertos in France and in the United Kingdom and giving all-Chopin recitals, including on period instruments. I am very proud of my collaboration with the Rio de Janeiro youth string Orquestra de Cordas da Grota conducted by Ubiratan Rodrigues: during the Policia Pacificadora siege of Rio favelas in November and December 2010 we rehearsed, performed and recorded J.S.Bach’s Concertos BWV 1052 and 1058 (prod. Martin Voll for Otherwise Records). I am equally proud of my latest CD release Jozef Kapustka: Improvisations with Bashir containing my own improvisations in the oriental style, and where I am joined by Iranian virtuosi Bashir Faramarzi and Pedram Khavarzamini (sole distributor: DUX Recording Producers/Naxos, 2013). This recording, produced by Sanaz Khosravi, has been well received on both sides of the current diplomatic and ideological conflict.

Do you have a favourite concert venue to perform in?

There are so many of them…… Great pianos, great acoustics, great public, great surroundings or any combination of these makes each experience unique and unforgettable. In terms of psychological impact, performing in some of New York venues while still in my twenties (Lincoln Center Alice Tully Hall, NY Public Library, Metropolitan Museum, Carnegie Hall) made a very lasting impression on me as I was striving not to be intimidated by all the great names, historic and current, that “made” these places.

Exceptional pianos, that one may get to play while travelling the world of concert venues, is another thread worth following in this context: I was allowed to “touch” Chopin’s piano on  a display in the Chopin Society in Warsaw, Schubert’s piano in Germanisches Museum in Nuremberg  and even allowed to practice on Rachmaninov’s piano exhibited in Steinway Hall in New York. No words can describe these moments: the feeling of living out a history, of what the French call “plenitude” (roughly “fullness” or “abundance”), continuity and unity. In 2011 I found myself performing Liszt Concerto No.2 (alongside Leamington Sinfonia conducted by Jenny Barrie) in Stratford-upon-Avon’s Holy Trinity Church, Shakespeare’s burial place – and imagined both Shakespeare’s and Liszt spirits wondering freely around, somewhere up in the skies……

On a more anecdotal side, I had also a fair share of surreal moments in my career, once playing in the ancient seaside Roman theatre of Sabratha in Libya (then still under the rule of Qaddafi) to a virtually non-existent or imaginary public and feeling as if I were on a planet Mars, a blast of light and sound……

Favourite pieces to perform? Listen to?

At the moment my favourite, both to listen and perform, are Rachmaninov’s Moments Musicaux op.16; otherwise the spectrum fluctuates freely, ranging from lesser-known, melancholy Baroque tablatures to Mahler Symphonies to Strauss Symphonic Poems to Soviet and American avant-garde (Ustvolskaya, Feldman). Nevertheless my all time favourites to perform are the two-piano versions of Stravinsky The Rite of Spring and Ravel La Valse, of which I made my own transcription, constantly in the process of being refined. Occasionally I also enjoy the “cheesy” side of the repertoire, with Latin sounds and rhythms or Viennese waltz extravaganzas.

Who are your favourite musicians?

My favourite musicians are: among pianists Rachmaninov, Horowitz, Richter, Cziffra; conductors Celibidache, Scherchen, Kleiber, violinist David Oistrakh; and singers Callas and Wunderlich . Well, I guess everything has been said about these giants, the subject is probably largely exhausted, and any attempt to comment further would be  vain. As far as the contemporary scene is concerned, I will just limit myself to saying that I do have my “pros” and “cons”, however the issue is always delicate, at least since the phrase “de gustibus non disputandum est” has been pronounced in some distant past…

What is your most memorable concert experience?

Besides having the opportunity to listen to Richter and Pogorelich playing live (1991 Lincoln Center recital), which springs to my mind as quite obvious a choice, I would like to surprise you  with the following story:

Whoever lived in Krakow, Poland, back in the 80s will remember the blind Gipsy violinist playing next to the garbage bin on the Florianska street. Stefan Dymiter (1938-2002), for this was his name (although at the time very few knew either his name or his story), used to perform in a way that stands not only against every teaching principle of every possible violin school but also overtly defies quite a few laws of physics, particularly that of gravitation; he was holding his violin with the right hand like a cello, his bow with the left hand and accidentally happened to be the most pure form of a musical genius somewhere in between Mozart and Ervin Nyiregyhazi. Among anecdotes that circulated later, he was rumored to refuse to appear alongside Lord Menuhin, whose playing he disliked; also the late professor Szlezer from the Krakow Higher Academy of Music had been known to be send his students to listen to the man play and try to pick up some of his technical tricks . Well, myself I could just stand there for hours and listen to his inimitable, God-given sound……

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

It is important to bear in mind that one plays the piano not with  fingers but with the  mind, soul and spirit or with what the ancient Egyptians called “the divine breath”, Shou. This notion is to be somehow skillfully conciliated with the profession’s bare realities.

With a growing contempt for classical music as a highly demanding, noble art in favour of perceiving it as a somehow rather unsophisticated leisure, most conservatories are either deliberately out of focus with the “modern times” or simply are not equipped, in terms of human resources, to deal with shifting priorities,  dogmas, “old boy networks” and a die-hard reality of material strains and psychological violence (as a matter of fact they never were). We are expected to “build a career”, move freely between its different stages, develop and implement a “professional strategy” with the emphasis on “getting there”, no errors, trials and tribulations allowed; good old days of plain music making are no more.

While still within an “ivory tower” world of the music school, few understand that there is no such thing as “getting there”: either you are where you want to be or you are not, and if you are not, someone, let’s call him “the game master”, simply has to put you where you aim to belong, it is as simple as it sounds but you will not pull off the stunt all by yourself. While the right networking moves are essential, the real factor of increased mobility and visibility is spending power; it is evident that money  “buys” a “career”, not the other way around, so you’d better know what you are doing and most importantly, who is paying for it. The subject is largely a taboo.

Moreover, occasionally some wise spirits like to remind us, not without a twinkle in the eye, that music making is a passion and should be the source of infinite, nearly ecstatic pleasure. Yes, it is indeed. Therefore I stand by what I have said earlier in an interview for the London Royal Academy of Music online journal, if I may quote myself here:  As an artist be true, be genuine, be sincere, and be passionate. Do not imitate, it does not interest anybody, be yourself. Respect yourself, respect your colleagues. Be faithful and decent. And last but not least: “Work hard, see large, achieve!”

What are you working on at the moment?

I am working on Rachmaninov Piano Concerto No 3, it has been with me for few decades now and I have finally decided to give it a try.

Where would you like to be in 10 years’ time?

Probably where I am meant to be there and then. Here and now is always what it should be and it is the only valid notion in time/space travels.

What is your idea of perfect happiness?

A happiness within. Contrary to popular belief, one does not need objects to be happy.

What is your most treasured possession?

Sviatoslav Richter handwritten message: “I wish you much happiness and success”

What do you enjoy doing most?

Walking in the countryside

What is your present state of mind?

Alert

Jozef Kapustka was born in 1969. He began receiving early musical tuition from local instructor Danuta Cieślik at the age of 3. He then briefly studied at the State Higher Academy of Music in Kraków with Ewa Bukojemska. Having graduated from The Juilliard School in New York (Bachelor of Music degree, 1992; piano with Josef Raieff, then Jerome Lowenthal and chamber music with Joseph Fuchs), he moved on to obtain a Postgraduate Advanced Studies Diploma specializing in piano performance from the Royal Academy of Music in London (1997), with Martin Roscoe. He also worked with Dimitri Bashkirov (masterclasses held under auspices of the Queen Sofía College of Music in Spain) and Vera Gornostaeva in Paris and Moscow.[2] Being an alumnus of the Music Academy of the West in Santa Barbara, 1991, he holds a Diplome superieur de la langue et civilization francaise from Paris Sorbonne University (1994). In 1994 he received a Grand Prix of the Conservatoire International de Musique de Paris. He was nominated for the Molière award in 2010 (Best musical play: Diva à Sarcelles, written and directed by Virginie Lemoine).

www.jozefkapustka.net

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Who or what inspired you to pursue a career in music?

Although I’d learnt a number of instruments, I first got really passionate about taking music further when I discovered contemporary music and the unique thrill of composition. During my undergrad years at the University of Sydney (while studying a number of other things including Mathematics and Philosophy), my energies became increasingly focussed on performance, playing the works of composers of today (and particularly those I knew as fellow students). Although a lot has changed, this remains the focus of my work, and it’s inspiring to work at the cutting edge of the art form.

Who or what have been the most important influences on your musical life and career?

I had a series of great teachers from my late teens onwards: my teacher in Australia, Ransford Elsley, had some eccentric ideas about technique, including that all the tools for playing Messiaen or Xenakis could be found in Chopin’s Etudes. Rolf Hind, my teacher at the Royal Academy of Music in London, taught me a lot about the art of interpretation, but also about being an artist – he has a holistic approach to his work and life (including yoga, meditation and veganism) which I’ve found inspirational. And he remains a great friend and mentor.

I’d also need to mention some of the greatest teachers of all have been my chamber music colleagues, especially the members of Ensemble Offspring, who I’ve not played with for 14 years, as well as duo partners like Thomas Adés, Brett Dean, Neil Heyde and Rolf Hind.

What have been the greatest challenges of your career so far?

As my career has grown, the biggest challenge has been juggling a busy schedule – not just learning the repertoire, but pitching to promoters, negotiating contracts, marketing, getting composers organised, fundraising, my research/lecturing position at Royal Holloway.… and also trying to eat, sleep and exercise and have a life outside of work.

Which performance/recordings are you most proud of?

The big piano and multimedia tours I’ve done in the last few years: Dark Twin, Cyborg Pianist and now currently, Piano Ex Machina, are my proudest achievements – they’ve been major creative projects, often featuring 6-8 new works by leading composers (including most recently, Alexander Schubert) all innovating new ways of combining the piano with new technologies, and they’ll all really connected with audiences internationally and played to festivals and series like Huddersfield Contemporary Music Festival, Klang Festival (Copenhagen), Transistor Festival (Mälmo), Podium Festival (Esslingen) Melbourne Festival and Unerhörte Musik Berlin.

And I remain very proud of the double concerto I performed, alongside Rolf Hind, by Beat Furrer (under his baton) with the London Sinfonietta at the Queen Elizabeth Hall – a career highlight.

Which particular works do you think you play best?

The works I think work best for me are often tailored to me by composers – a lot of recent works by Alexander Schubert, Adam de la Cour, Neil Luck, Claudia Molitor, Christopher Fox, Scott McLaughlin and others have all worked with my love of extended techniques, of integrating theatre into performance, interaction with film and interactive media, wild changes in tone (from incredibly intense to light and comic) as well as referencing my abilities to play a lot of key works from the canon.

I still enjoy playing a lot of those major canonical works, particularly 20th century works like Ravel’s Gaspard de la Nuit, Bartok’s 2nd piano concerto, John Adams’ Phrygian Gates, John Cage’s Sonatas and Interludes and lots of Messiaen. And I also feel an affinity for Baroque and pre-Baroque repertoire, which I’ve started including in mixed programmes – a recent one combining British contemporary works, with 17th-18th century composers like John Bull, William Byrd, Orland Gibbons and Henry Purcell worked particularly well.

How do you make your repertoire choices from season to season?

I’ll be talking to dozens of composers at any point, with each collaboration often taking years of gestation – at the moment the general theme has been screen cultures including film, TV, video games and the internet, and it often becomes clear as I talk to them how these programmes will emerge (and how they might be combined with existing works with similar concerns).

Other programmes (like my Ancient/Modern British keyboard music project) start with a clear vision and quite a few works already arranged, and then it’s about commissioning to complete the missing pieces of the project. And as someone who performs a lot of chamber and ensemble repertoire, a lot of programming choices are made collaboratively, and there’s often a lot of different factors to juggle.

One thing that’s important in all these decisions is to consider how diverse the composers represented on these programmes are. I don’t like quotas, but if you’re only programming music written by cis white men, you need to consider whether you’re exacerbating structural inequalities in the industry, and also missing out on a lot of great music.

Do you have a favourite concert venue to perform in and why?

Melbourne Recital Centre has the wonderful Salon space. Excellent acoustic (that can be adjusted to a very fine degree), excellent choice of pianos, excellent tech (including the best projector I’ve ever used), and excellent staff. And of course, the audience is a big part of it, and I’ve had a great reception from sell-out crowds there over many years.

Who are your favourite musicians?

There are so many inspirational performers I know in new music: pianists Rolf Hind, Vicky Chow, Adam Tendler, Philip Thomas, Sebastian Berweck, Siwan Rhys, Eliza McCarthy; vocalists Lore Lixenberg, Jane Sheldon, Jessica Azsodi; string players Mira Benjamin, Brett Dean, Anton Lukoszevieze; wind players Peter Knight, Heather Roche, Carla Rees; and percussionists Claire Edwardes, Eugene Ughetti, Joby Burgess and Colin Currie.

In terms of pianists specifically, there are so many great ones who are a constant source of inspiration, like Glenn Gould, Alfred Cortot, Ignaz Friedman, Leon Fleisher, Sviatoslav Richter, Vladamir Sofronitsky, Samson François as well as iconic new music pianists like

David Tudor, Roger Woodward and Yuji Takahashi, and improvisers like Keith Jarrett, Chick Corea and Ryuichi Sakamoto.

And when it comes to composers it’s a long list of favourites, and if they’re on my list I try to meet them and find a way to collaborate.

What is your most memorable concert experience?

Playing John Cage’s Sonatas and Interludes at Melbourne Festival, and becoming completely hypnotised by the prepared piano sounds – you only really hear this piece when you’ve got all the preparations exactly right, and in a really great acoustic space, so it was a disembodied experience, like I was playing the work and enjoying listening as a member of the audience at the same time.

As a musician, what is your definition of success?

Success, in any of the arts, is a really problematic concept. Is it about living from your work? Or about reaching a wide range of audiences? Or about being respected by your peers? Or the impact you have on other musicians (including the next generations)? Or about the quality and originality of the work itself? It’s all these things to some degree, and these are all questions that I keep in mind when planning projects.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

1. Find your métier – find something new and unique to bring to the art form, and make that your focus.

2. Don’t be afraid of failure – it’s more important to take risks than always stay in your comfort zone.

3. Go to concerts – it’s how you learn about music, and how you meet musicians and develop your networks.

4. Always act professionally – learn your part, turn up on time, answer emails promptly, meet deadlines, contribute your share to collaborative work, be honest when there’s a problem, pay anyone working for you on time, and behave with respect and decency to your colleagues.

5. Have a life outside of music – study other subjects (or like me, other degrees). Take an interest in visual art, cinema, theatre, literature, science, anything else! Be politically aware and active. And have some friends who aren’t musicians.

What is your most treasured possession?

My cameras. I love cinema and photography in all its forms, and love taking photos of friends and colleagues, and of the behind the scenes work of musicians. There’s something quite magical about capturing a specific and fleeting moment in time, and distilling its essence, which could be considered the flipside to a musical performance: existing across time, and yet ephemeral.

Pianist, Zubin Kanga has performed at many international festivals including the BBC Proms, Cheltenham Festival, London Contemporary Music Festival, Huddersfield Contemporary Music Festival (UK), ISCM World New Music Days, Metropolis New Music Festival, Melbourne Festival, Sydney Festival, Four Winds Festival, BIFEM (Australia), IRCAM Manifeste Festival, Mars aux Musées Festival (France) and Borealis Festival (Norway) as well as appearing as soloist with the London Sinfonietta and the Melbourne Symphony Orchestra. He will be Artistic Associate at the 2018 Bendigo International Festival of Exploratory Music. 

Zubin’s international touring projects focus around the extension of the pianist through interactive multimedia, including live and fixed electronics, film, live video, motion sensors, and AI. He has collaborated with many of the world’s leading composers including Thomas Adès, Michael Finnissy, George Benjamin, Steve Reich, Beat Furrer, Liza Lim, Michel van der Aa and Stefan Prins and premiered more than 80 new works. He is a member of Ensemble Offspring, one of Australia’s leading contemporary music ensembles, as well as the Marysas Trio, which performs across Europe. He has also performed with Ensemble Plus-Minus, Endymion Ensemble, Halcyon, Synergy Percussion, and the Kreutzer Quartet, as well as performing piano duos with Rolf Hind and Thomas Adès.

Zubin has won many prizes including the 2012 Art Music Award for ‘Performance of the Year (NSW)’, the Michael Kieran Harvey Scholarship, the ABC Limelight Award for Best Newcomer and the Greta Parkinson Prize from the Royal Academy of Music. His recent recordings include Not Music Yet for Hospital Recordings, Orfordness for Metier (UK) and Piano Inside Out for Move Records, which was nominated for Best Classical Album at the Australian Independent Music Awards.

A Masters and PhD graduate of the Royal Academy of Music, London, Zubin recently finished a post as post-doctoral researcher at the University of Nice and IRCAM, Paris and is currently the Leverhulme Research Fellow at Royal Holloway, University of London, as well as a Research Fellow at the Royal Academy of Music, London and the Sydney Conservatorium of Music.  He was the convenor of the Inventing Gestures symposium in the 2015 Manifeste Festival at IRCAM and was the guest editor for a special issue on new interactive technologies in music for Contemporary Music Review.

zubinkanga.com

Artist photo by Richard Hedger