published in The Age January 18, 2023 — 2.40pm
This article was a fascinating description of how a professional conductor trained a brilliant Aussie actor Cate Blanchett for her role as Lydia Tár in the movie Tár, just released in USA at the end of 2022. So what does an actor need to learn to be authentic in the performance of a Mahler Symphony with a top symphony orchestra? A fascinating article for all conductors to read.
I Taught Cate Blanchett How To Conduct
Tar starring Aussie actor Cate Blanchett has brought into public conversation the process of how a conductor releases a performance. I have enjoyed the reviews, interviews of Cate and the speech she gave when receiving an award in Florida in January 2023.
This film was released in USA in October 2022, but has not been released in Australia at the time of writing this post.
Two key observations Cate made about being a conductor and being involved in this project:
process and collaboration
Her summary of the film is “it just is”.
Review Cate’s own words through clicking on this link to Classic FM article ‘I didn’t base the character of Lydia Tár on anyone’ – Cate Blanchett in conversation with Classic FM 19th January 2023 – click here
I have had the privilege of being a guest teacher of conducting at Christ deemed to be a university in Bangalore, India. The new music department is based on Western Art Music and I work with Professor Andrey Morozov and professor Travis Ashton-Bell. I started in July 2021. The basis of my teaching is the Saito Conducting Method. Of course I am not in India. I am in the land of “sweeping plains” teaching over Zoom, Google Drive, Google Classroom and OBS. I am learning a lot about using this technology and developing suitable materials. Everyone in India are so supportive and interested. It i both a challenge and at lot of fun!
To see FaceBook post click here
Interested in conducting lessons with Roland? Continue reading
When compared to the smooth rendition of Over The Rainbow in the film click here, this performance may sound very choppy, slightly desperate and at time rather raw. … Here we see Garland 16 years later, and we can ‘hear’ how much of life she’s experienced. At times it’s as if we’re watching her battle every emotional demon in her life. But somewhere, in those final moments, she seems to make the decision that she’s going to survive. And at the moment it doesn’t matter whether or not the tone is beautiful, the pitch is perfect, or if the whole performance is a bit wobbly. All that matters is that for a moment, she allowed us to see so clearly into her heart.
To listen to the 1955 version, click here and enjoy!
From Popular Singing and Style by Donna Soto-Morettini 2nd edition page 234.
This performance comparison is illuminating when evaluating accuracy and artistry. When does “very choppy, slightly desperate and at time rather raw” become feelingful music? How does a performer achieve this without being judged as having poor rhythm?
The impact of Judy Garland’s 1955 singing is very emotional. How does the conductor accompany an interpretation like this. I imagine that the interpretation in rehearsals may not have been anything like the performance.
Wonderful singing and a wonderful challenge to be conducting the accompaniment. I would love to do that!
Roland.
https://www.spectator.co.uk/2018/01/the-sex-lives-of-conductors/
With the Grainger Wind Symphony and in partnership with the Australian Band and Orchestra Directors Association Victoria Branch, I am convening 3 Conducting Learning Programs across May-June 2017
The Conducting Intensive Program starts 10am Saturday 27th May with one of three conducting classes, podium time in a video workshop on 21 June from 7.45pm, a free seminar Wednesday 28th June at 5pm for 5.30pm-6.30pm and a review class Saturday 1st July from 10am. Clinician is Roland Yeung
The Public Seminar is on Wednesday 28th June 5.00pm for 5.30pm – 6.30pm. I am presenting a one hour seminar on the topic “Music Expression in the Ensemble Rehearsal”.
The Conducting Workshop Program is all on Wednesday 28th June starting with the Public Seminar, a one-on-one conducting tutorial with a conducting mentor, and podium time in a video workshop supported by a mentor that can be selected from the list.
Click here to go to the page with more detail, information sheet, application form, fees and bookings.
This is an article in The Australian on 30 April 2016.
It gives a wonderful insight into what a conductor does! Click here to see the article
or https://rolandyeung.net/?page_id=489
During May and August, I worked as a conducting tutor at the Victorian School Music Festival in a segment sponsored by the Australian Band and Orchestra Directors Association and Hal Leonard Australia. After each group performed, the conductor would be invited to work with me for 20 minutes or so.
The tutorial was held in a small store room just off the performance area in Deakin Edge, Federation Square, Melbourne. There was a laptop on which a video of the conductor’s performance just completed could be played, the conductor, me and our batons.
The following are some general issues that were discussed.
The first bar of a performance is the conductor’s responsibility. The second bar becomes the player’s responsibility. if the first bar is not right, then it may be that the conductor is not giving clear non-verbal gestures.
When replaying the beginnings of each piece, here are some of the technical issues that we identified. The conductor
Are you doing these too? Set up a video camera or camcorder on a tripod and video yourself in rehearsal and performance. Just have a look at the opening bars of each new section and new piece. Send me your video and I can analyse your conducting and give you suggestions for improvement for a fee, after our initial discussion.
Roland Yeung
roland(at)rolandyeung.net