Flute Vox – CD Review

Artist/s:  Laura Chislett (flute); Stephanie McCallum (piano); Thomas Jones (violin)

Category:  Classical, New Music

Label:   ABC Classics

Reviewed by Karen Anne Lonsdale


Flute Vox is a compilation of concert works for flute, alto flute, bass flute and piccolo, featuring Laura Chislett, one of Australia’s foremost interpreters of contemporary flute music.  The Latin word ‘vox’ means ‘voice’ and Laura Chislett named the CD Flute Vox flute-vox“because the project ‘gives voice’ to the flute, showcasing its versatility and expressive potential” in addition to her interest in “the sounds created by simultaneous singing and playing on the flute”. The title also reflects Chislett’s acknowledgement of two works which are included on the CD:  Vox Box for amplified bass flute by Australian composer Mark Zadro, as well as Voice for solo flute by the Japanese composer Toru Takemitsu.   The range of repertoire on the two CDs spans several decades from Edgard Varèse’s Density 21.5 (1936; revised 1946) to Michael Smetanin’s Backbone: for solo flute and multi-tracked fixed media sound (2015).  

The CD set features flute pieces by numerous prominent Australian composers including Julian Yu, Michael Smetanin, Katia Tiutiunnik, Mark Zadro, Brett Dean, Rosalind Page, Elena Kats-Chernin.  The compilation also includes a solo piano work, Four Episodes for Piano (2010) by Gerald Glynn performed by the distinguished Australian pianist Stephanie McCallum.

Chislett demonstrates her excellent command of a range of extended flute techniques in Toru Takemitsu’s Voice for solo flute (1971), Mark Zadro’s Vox Box for amplified bass flute (2001), Rosalind Page’s Courbe dominante (2006) for flute with pre-recorded sound, and Brett Dean’s Demons for solo flute (2004).  The technical agility and bird-like characteristics of the flute, have inspired other works in this compilation, including English composer Edward Cowie in his A Charm of Australian Finches for flute and piano (1993), as well as Julian Yu’s Sonata for Flute and Piano (2004).

Contrasting the technical feats required in these works is the exquisite lyricism heard in the Persian Suite (2002) for flute and piano by composer Reza Vali.   The suite is the twelfth set of Persian folk songs written by Vali who was born in Persia (Iran), and is now based in the USA.

Chislett plays with warmth and expressivity in the hauntingly beautiful melodies in Blue Silence (2006) by Elena Kats-Chernin and The Quickening: A Tribute to Jonathon Kramer for flute and piano (2005) by Katia Tiutiunnik.  Chislett is joined by her husband, violinist Thomas Jones in a soulful performance of Kats-Chernin’s Wedding Suite (1996) for flute and violin, which was composed for the couple’s wedding day.

Flute enthusiasts are sure to enjoy this eclectic selection of concert pieces, as well as the superb playing by all of the artists on Flute Vox.

Karen Anne Lonsdale

7 May 2016


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Media Release – ELENA KATS-CHERNIN’s Flute Concerto Night and Now

After a fortuitous conversation with flautist Sally Walker, a Coogee bank teller introduced her to his mum.

15 years later his mum has written a concerto for her talented and dear friend.

ELENA KATS-CHERNIN’s Flute Concerto Night and Now

WORLD PREMIERE Darwin Symphony, 24 October 2015

MELBOURNE PREMIERE Zelman Symphony, 5 December 2015

15 years ago a conversation with a bank teller in Coogee led flautist Sally Walker to a fortuitous and solid friendship with Elena Kats-Chernin, one of Australia’s most celebrated composers. She was the bank teller’s mum!

The latest chapter in their relationship is the premiere with the Darwin Symphony Orchestra of Night and Now, a flute concerto Elena has written specially for her. 

Attempting to resolve a problem with receiving her bank statements in Germany (where she was then resident), Sally visited branches in Bondi and Coogee over two days. Coincidentally, in each branch, she was served by the same ‘handsome young man’.

On the second day, they chatted and realized they’d both lived in Hannover. Sally explained that she was a musician, and studied and worked there.  

“My mum is a musician too, a composer,” said the bank teller. “She writes ‘acid-funk-new age’. Her name is Elena Kats-Chernin.”

Sally recalls: “This made me smile. She is incredible, but I’m not sure I’d call her work acid-funk-new age. I had heard “Clocks” and loved it, so was familiar with her captivating and imaginative musical language. I was promoting Australian Music in my chamber concerts in Germany and so was very keen to know if she had written anything for flute. I left a note with him for her asking this and my number. Meeting her son twice seemed serendipitous.”

She adds these co-incidences have become regular occurrences: “Last week when we met for dinner, we had exactly the same burgundy wooden necklace on – one neither of us wear often and neither of us knew the other one had. These slightly eerie things have repeatedly happened to us.”

Elena called Sally and the pair met up, clicking immediately. Despite living on separate continents a bond was formed, further cemented when Sally returned to Australia to live. It was the beginning of a long and strong relationship, connecting personally and professionally.

“What is really funny is that I normally don’t call people,” says Elena. “That’s not the way it usually works. I don’t mean this in an arrogant way, but more that I believe in chance. I like to leave things to chance. But the way I came to meet with Sally was just meant to be.”

Over the 15-year period, Elena and Sally have both enjoyed great successes and their respective careers have flourished. Sally has toured and recorded with the Berlin Philharmonic Orchestra, was Principal Flute of the Deutsche Kammerakademie Neuss and performed as Guest Principal Flute with the City of Birmingham Orchestra, BBC National Orchestra of Wales and NDR Radio Philharmonie Hannover. After playing full-time with the Leipzig Gewandhaus Orchestra from 2003-2005, she returned to Australia in 2006 and is currently the Lecturer in Flute at the University of Newcastle and touring with the Australian Chamber Orchestra.

Elena’s star continues to rise and The Sydney Morning Herald says that “her status as one of this country’s most prolific and consistently innovative composers remains unchallenged”. Her work has been heard in the most intimate settings, through to the opening ceremony of the Sydney Olympic Games. Her music for ballet, opera and the concert stage is performed all over the world.

So why the Darwin Symphony for the world premiere of Night and Now?

“I’d heard from a few sources about a superb new Chief Conductor at the Darwin Symphony,” says Sally. “Subsequently I was working with the group Halcyon on some really challenging contemporary music and was really impressed by the conductor, Matthew Wood. I heard him say something about travelling back to Darwin and I thought to myself, ‘it’s you!’”

During the project, Sally told him about the new work Elena was working on for her: “Matthew told me that the Darwin Symphony would love to premiere the work, and Elena and I thought it was an ideal fit. They present a number of works each year by Australian composers and we loved that commitment, especially from a community orchestra.”

“And the second performance will be in December in Melbourne by Zelman Symphony, with another inspiring conductor I met through Halcyon, Mark Shiell,” says Sally.

And what can we expect from the Night and Now concerto?

Click here to



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What is the ‘midi flute’ and it’s function?


Regarding the Pierre Boulez: “…explosante-fixe…” a work for MIDI flute solo, live electronics, and chamber ensemble. Does anyone know about this ‘midi flute’ and it’s function. Is it some type of electronica or another instrument?”


It seems to be a flute combined with a fingering detection system. There is a clearer description here:



Got anything to add?  Please feel free to post your input regarding the above question in the comments field below.

All articles and reviews published on this website are representative of the opinions of the author/s alone and do not reflect the opinions of FTA or it’s affiliates

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Why did Joachim Anderson write the 8 performance pieces for flute and piano (Op.55)?

The following question was received from a curious Australian flutist…

“The wonderful flautist Joachim Anderson wrote a set of 8 performance pieces for flute and piano (No.6 Scherzino seems to be the most well known) and I’m wondering if anyone knows ‘why’ he wrote this particular set. A commission? A competition? Perhaps it was simply because he enjoyed writing for flute, but I’m curious if there was another motive. Thoughts?”


Here are the responses we received via our network.  Please feel free to add input via the comment’s section below.

“The 8 Performance Pieces for Flute and Piano, Op.55 were published in 1894 by Zimmermann Leipzig. That means Andersen lived at that time in Copenhagen, because of a desease of his tongue he was not able to play flute anymore.

Kyle Dzapo, the American flute player, has written a book about Andersen: Joachim Andersen : a bio-bibliography / Kyle J. Dzapo ; foreword by Walfrid Kujala. Westport, Conn. : Greenwood Press, 1999.

A short excerpt can be found on:  http://www.naxos.com/mainsite/blurbs_reviews.asp item_code=8.572277&catNum=572277&filetype=About%20this%20Recording&language=English

She writes about contact of Andersen with Paul Taffanel around the 1890th, so it could have been with him in mind that Andersen composed opus 55.   I have also read that Marcel Moyse has played for him (year?).” Mia



“With regard to Andersen’s Op. 55: Andersen composed these pieces as he was making a difficult transition from his career in Berlin, as founding solo flutist of the Berlin Philharmonic, to a fresh start back in his native Copenhagen. Health problems forced him to terminate his flute performance career and resign his position with the Philharmonic in April 1893 after nearly a year-and-a-half of decreasing performances. The Op. 55 collection was published by Zimmermann in 1894 as Andersen was trying to earn money and establish himself as a conductor in his native city. Unlike most of his works, he offered no dedication for this collection. While he played many of his earlier compositions in Berlin (and created some of them for performances with the Philharmonic where he was a very popular soloist), he was no longer performing when he composed Op. 55. He was no doubt pleased when several of his students performed them at venues in Copenhagen around the turn of the century.

As to competition pieces: Only Andersen’s Deuxième Morceau de Concert, Op. 61, was composed specifically as a competition piece. It was commissioned by Paul Taffanel in 1895 and used as the Paris Conservatory’s concours piece in 1897. (Due to some miscommunication between Taffanel and Andersen, Concertstück, Op. 3, written many years earlier, was selected for the 1895 concours.) I am currently working with Zimmermann toward a new edition of Concertstück, Op. 3. It is planned for release later this year.” Kyle Dzapo


All articles and reviews published on this website are representative of the opinions of the author/s alone and do not reflect the opinions of FTA or it’s affiliates

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What do I really Sound like?

Janet Bordeaux is a Flutist & Composer and she has been kind enough to share with us the following story!

“I had an amazing opportunity to go to a master class with Trevor Wye when I was a new flutist. One story he told really struck me: the person playing does not hear the same sound as the listener in the hall. He recounted doing an experiment where he had one person play, another stand next to the player, and one at the back of the room. After the flutist played, he asked him what he heard in the tone, answer: “breathiness and popping.” Next he asked the person stand beside the player; Answer “same thing, I could hear air sounds as well as the tone.” Now the person at the back of the room responds; “I didn’t hear any air sounds or popping…just pretty tones!”

Mr. Wye had done this experiment many times always with the same result. His conclusion: “The performer on the flute is at a distinct disadvantage when it comes to tone, because of the nature of how the instrument is played. We blow much of our air over the flute and away from us, so the sound moves away from our ears, but toward the ears of our listeners. So we can never truly hear ourselves as others do!”

So my suggestion is to give your students every opportunity to hear themselves from across the room: invest in as good a quality digital recorder and place it at least 5 feet away (if possible) and let them hear what you hear. I personally have a distaste for hearing myself on a recording, but every time I do, it teaches me valuable lessons. And I must say, 8 years after that master class, I am still grateful to Mr Wye for the insight!

One other bit: I ran across a YouTube video of a man recounting a story about Louie Armstrong: “Always play for someone you love” – that video has changed my performance in amazing ways.” View that video here


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Aperture closes down in the upper register

his question was received from a flute teacher – please post your responses/suggestions as comments below.

“I have a young student whose aperture closes down in the upper register. Would the straw exercise or the button/string trick be beneficial to reinforce an opening?” Stephanie (January 14, 2014)


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The Fisenden Family – An Australian Flute journey

A Family Tradition continues in Melbourne: The Fisenden Family.

Flautists Neil and Rae-Helen Fisenden have shared a life of fluting and friendship for nearly 45 years and that includes 37 of them as husband and wife.

They first met at the tender age of 12 and 13 as members of the Perth Modern School’s Concert Band. Perth Modern was the first of Western Australia’s Government funded Scholarship Music Schools that began in 1967. Needing a piccolo player the Conductor of the band and esteemed flute teacher at the school, Owen Fisenden, seconded his son Neil to lead the rather inexperienced all female flute section. Neil readily agreed!

Owen Fisenden, originally from Melbourne and a student of Leslie Barklamb, was at the time the Principal Flautist of the West Australian Symphony Orchestra- a position he held for 28 years. He founded the W.A. Flute Society in 1972.  A dedicated and inspiring teacher his legacy lives on today in many of his students who have gone on to become professional players and teachers. Neil and Rae-Helen are part of that legacy and have both enjoyed careers as professional musicians. Neil as Principal Flautist of the Adelaide Symphony Orchestra and then following in his father’s footsteps as Principal of WASO: an orchestral career spanning 33 years. Rae-Helen followed an education pathway and apart from a rewarding career as a free-lance flautist, she is also a gifted singer and teacher of both acumens.

In 2006 Neil and Rae-Helen established Fisenden Music and have dedicated the past 7 years to teaching and to the establishment of the Fisenden Flute Ensemble- a group that has re-defined the Flute Choir as a feasible cutting edge professional ensemble committed to performing new and exciting repertoire written specifically for the group. The ensemble has garnered International acclaim and was invited to play at both the New York Flute Convention in 2009 and the Las Vegas Convention in 2012 as featured artists.

Both Neil and Rae-Helen are immensely proud of the achievements of the Fisenden Flute Ensemble for many reasons but one that stands out from a family perspective, is that the ensemble was named in honour of Neil’s father Owen (who died in 1984) and who inspired in both of them a love of the flute ensemble.

Apart from Neil and Rae-Helen, the ensembles’ fluting line-up includes their son Simon Fisenden and nephew Michael Howell. Indeed a family heritage.

Both Neil and Rae-Helen are very committed and experienced teachers and when asked to provide one sentence, which would help young flautists in their quest to improve, Neil responded: “ I use a quote from Vernon Hill actually. In every performance one needs to strive for absolute rhythmic security and complete musical conviction. That pretty much says it all. “ And Rae-Helen adds, “ One can never, never, ever underestimate the importance of thoughtful, slow practice.”

Neil and Rae-Helen move Fisenden Music to Melbourne in January 2014 to be closer to their sons Simon and Andrew Fisenden who are- surprise, surprise- both professional musicians!


Please feel free to post a comment or ask questions regarding this topic.

If you are interested in connecting with Neil and Rae-Helen please do so via the below contact details.  After their big move they will be living in the Chirnside Park area in Melbourne
Phone (Neil): 0414448550
Phone (Rae-Helen): 0404448555
Email: fisenden@iinet.net.au
Website: fisendenmusic.com.au


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Australian Flute Festival 2013 – An interview with the festival director

With the 2013 Australian Flute Festival happening in Canberra in October of this year we were thrilled to catch up with Lyndie Leviston (Australian Flute Festival Coordinator/Director) to find out a little more about what to expect from the biggest flute event in Australia!



The Australian Flute Festival 2013 is on in Canberra in October, what can attendees expect to gain from this event?
Each Festival seems to take on an individual character or flavour. The impression I have is that this Festival is going to be an enormous amount of fun.  Marianne Gedigian, Roberto Alvarez and Jim Walker are all phenomenal musicians.  Each of them have a sense of humour to match!! While we can expect some serious music making, we can also except some serious fun!


Are there any opportunities for non-performing festival attendees to get their flutes out and play?
Peter Sheridan will be running a Flute Choir, Shaun Barlow will be teaching us how to beatbox, Prue Farnsworth will teach us some Irish tunes, Jim Walker is going to run a ‘Learn to Improvise” 101 workshop, so yes, plenty of opportunity to get your flutes out and do some playing.


What is different to previous years this year?
Although Jim Walker has a distinguished career as a classical musician, he has also been very successful as a jazz musician.  This Festival sees the introduction of jazz flute playing as well as an Irish element, so it’s not just about main stream classical flute playing, but incorporating other styles/genres of flute music.


When did the festival start?
The first Festival was in 2006.  The original plan was to run it every year, so the second one was in 2007.  After the second Festival, it became clear that it was only going to get bigger and it was decided to run it biannually.


What can you tell us about the evolution of the AFF over the years?
The first year, the Sydney Flute Festival was run by a dedicated and enthusiastic team of volunteers. With David Leviston and Alexa Still at the helm, the Festival was held at the Sydney Conservatorium of Music with 150 people attending.  The 2007 Festival was also held at the Sydney Con.An artist’s impression of the Sydney Opera House had been used in the logo and when we applied to register the logo, the Opera House wanted to charge us an annual fee to use the image!  Elizabeth Koch OAM had also approached us about holding the Festival in Adelaide.  With the growing international interest in the Festival, we decided to change the name to the Australian Flute Festival and the Festival moved to Adelaide in 2009.Canberra in 2011 proved to be a fantastic venue.  With most people flying in to Canberra for the Festival, evenings were spent catching up with friends and colleagues from around Australia creating a lovely family kind of vibe.I do need to mention here, that we have had an incredible lineup of musicians at AFF.  Emily Beynon, Felix Renggli, Alexa Still, Michael Cox, Marianne Gedigian, Tara-Helen ‘O Connor, Jean Ferrandis, Denis Bouriakov and Aldo Baerten.  Australia has produced many of it’s own fabulous flutists and each Festival we showcase about 30 Australian musicians. Margaret Crawford agreed to be the Patron of the Festival and together with Vernon Hill and Virginia Taylor as Artistic Advisors, the Festival continues to attract Australian and International interest.  We expect to have 500 flutists attend the 5th Festival in Canberra:  October 5th – 7th, 2013.


There are 3 main international artists featured in this year’s festival.  Who are they and what can participants look forward to hearing them play/talk about?
Jim Walker, Marianne Gedigian and Roberto Álvarez are the invited guests this year.  Jim has taught and played at the highest level in classical and jazz arenas and brings a wealth of experience and advice on how to survive as a musician in 2013. We had many, many requests to bring Marianne back to Australia. She is a real dynamo on the flute.  You will leave feeling inspired an motivated from any recital or masterclass that you attend of hers.  Roberto brings some Spanish flair to the Festival.  A piccolo specialist, he will focus on the quirky peculiarities  of this instrument.


Is there anything else you would like to add?
It was only after the Festival in 2007 that we discovered that Marianne’s husband Charles, played the tuba.  She describes him as a ‘freak’ on the instrument.  So, we couldn’t let the opportunity pass again, without somehow including him in the Festival programme.  Charles will present a programme of flute repertoire on the tuba!!  I have listened to a CD of his and all I can say is make sure you are there to hear this recital!!  


Thank you Lyndie for your time and for sharing this information with us!



Anyone wishing to attend the 2013 Australian Flute Festival or wanting more information about it should follow the below link to the Festival’s website to view programs, find accommodation, register to attend and more.



We look forward to catching up with old friends and colleagues and to making many new friends and connections in Canberra!!!


Please feel free to post a comment or ask questions regarding this topic.


All articles and reviews published on this website are representative of the opinions of the author/s alone and do not reflect the opinions of FTA or it’s affiliates
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Tear drop upper lip

Often students will present with a tear drop upper lip.  In most cases where a pronounced tear drop is present it results in the traditional placement of the flute in the centre of the lip as ineffective as it obstructs the air stream.  This results in it becoming virtually impossible for the student to produce a good sound with a perfectly centred embouchure.

For students with a tear drop to produce a wonderful sound they will most likely need to use an off centre embouchure and this is absolutely fine.  The main thing to be aware of is that the focus should be on finding what works best for the individual student.  Be flexible and work with the realities of the situation.

Experiment with the student and move the placement of the flute to be slightly to the left or right of centre. Use long tones (Sonorite is great for this) and ask them to move the position of the flute on the lip slightly to find where is best for them.  With perseverance most will find a comfortable position which involves the air stream passing beside the tear drop and thus removing the obstruction and enabling a better quality of sound production.

Many many famous flute players play off to one side or the other. Larry Krantz has a great page illustrating the wide variation in embouchure of “…highly accomplished musicians with better than professionally average tones…” – visit the page here

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Press Release: Jane Rutter to Release New Album ‘French Kiss’

Media release

Monday, April 08, 2013                                                                                                            FOR IMMEDIATE RELEASE

Jane Rutter to Release New Album ‘French Kiss’

A musical journey deep into the beauty, sensuality and passion of France


When Jane Rutter plays to an audience, not only is it beautiful flute playing, but also every person in the auditorium feels truly embraced.


Her flute declares itself in a sensual, passionate statement; her musical instrument becomes a fully expressive voice. And now, Australia’s foremost flautist and instrumental artist Jane Rutter, has captured the depth of sensuality on her new album French Kiss, through ABC Classics & Jazz.

French Kiss is Jane’s most exciting and important to date,  and she is looking forward to sharing with the Australian public just how much she has learnt from the French way of life.


French Kiss is about exploring innermost feelings. We all yearn for connection with other people, with nature, with beauty, with life. This album offers us the chance to make that connection through music – exquisite gems of French music that have become a treasured part of Jane’s own life in the course of her many years living in France and studying the uniquely French way of making music.


In a sneak-peek preview of her album notes, Jane reflects on this heady French blend of music and pleasure: “In the foggy, wine-dark night I long for connection, I long to taste life… In my head I am chanting a secret truth. We embrace. I am a river of butterflies. It’s an evening of a thousand beautiful things. From this launch pad of kisses, we share secrets in the silent storm. How we listen to each other in this slow burn of an extended kiss!”


Jane’s song choices take us deep into the heart of the French Romantic era and the Belle Époque – Debussy’s Romance, Massenet’s Meditation, Fauré’s Après un rêve (After a Dream) and Martini’s Plaisir d’amour (Love’s Pleasure). At the same time, she introduces us to hidden treasures like Rentar? Taki’s Moon over Ruined Castle and Claude Bolling’s Sentimentale, as well as classic tunes including Cole Porter’s So In Love and Rodgers and Hammerstein’s If I Loved You.

With such a superb selection of tracks, this is the most anticipated album yet, from this supremely gifted performer.


“The sound of the flute played in the French / Rampal style is like an elegant, generous kiss – a musical embrace that’s sensual in the same way that life is sensual,” says Jane. Be it with Baroque music, French salon music, Mozart concertos, virtuosic, contemporary, intellectually or technically challenging works, deeply emotional arias such as Mon coeur s’ouvre à ta voix or even the songs of Cole Porter or Aznavour, the style of piece doesn’t matter… In my musical (creative) life I seek to express connectivity – to have the voice of the flute speak, cross barriers, connecting listeners in a deep way.”


Jane is a household name in Australia who performs and tours extensively worldwide. She is one of the world’s leading exponents of the Rampal School of French flute playing. Renowned for her classical, multi-media and cabaret performances (even back in the days when no one contemplated such a craft!), Jane is also an acclaimed composer, poet and dramatist. She has appeared as guest soloist with many prominent artists and orchestras across many different styles, including Richard Bonynge, Christopher Hogwood, Michael Crawford, The Manhattan Transfer, David Helfgott, Slava Grigoryan and Simon Tedeschi.



The ‘Jane Rutter’ tour dates are:

17th April 12:30pm:

The Concourse, Chatswood:

Live at LunchFrench Kiss


17th April 7pm for 8:30

Slide Darlinghurst

French Kiss  Album launch


21-29 April: Hong Kong and China

15 May 12:30pm:

The Concourse, Chatswood

Live at Lunch Guest appearance with SImon Tedeschi Gershwin and Me.   http://www.theconcourse.com.au/event/concourse-lunch-hour-series

16-18 May: Noosa International Food and Wine Festival Concerto with orchestra performance and recital with sopranoTaryn Fiebig, pianist Guy Noble 



19/20: Brisbane TBC

24/25th: Melbourne TBC

1-13 June:  French Kiss: An Australian in Paris WA tour Venues and dates TBC

19 June 12:30pm: The Concourse, Chatswood: Live at Lunch P.S. I Love You lunch hour recital with Taryn Fiebig http://www.theconcourse.com.au/event/concourse-lunch-hour-series

2-15th July : Paris, Uzes Venues and dates TBC

17th July 12:30pm: The Concourse, Chatswood: Live at Lunch Guest Appearance with Rick Price http://www.theconcourse.com.au/event/concourse-lunch-hour-series

2-6th  August: Brisbane Metropolitan.Venues and dates TBC

10th August: Quirrindi /NSW regional tour. Venues and dates TBC

21st August 12:30pm:The Concourse, Chatswood:: Live at Lunch Jane Rutter presents Cho Ki Wong, Tecchler Quartet Beethoven & Chopin Live at Lunch http://www.theconcourse.com.au/event/concourse-lunch-hour-series

11th  September: The Concourse (Chatswood)Live at Lunch: Fire and Water An Irish Fantasy( lute string trio and harp) http://www.theconcourse.com.au/event/concourse-lunch-hour-series

October: date TBC: Sydney Opera House Birthday Concert

August 2013 – November 2014: Jane Rutter presents Local Heroes Series at the Utzon Room:  dates TBC

November 26- January 25 2014 Theatre de Nesle, Paris, France: Flûtes et Moi:  Jane Rutter est Une Australienne à Paris,


July- November: Melbourne Recital Hall: dates TBC




All articles and reviews published on this website are representative of the opinions of the author/s alone and do not reflect the opinions of FTA or it’s affiliates
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