BY STEPHANIE ESLAKE
Should you stay in Australia to build your music career, or travel overseas in search of bigger things? What even are those bigger things?
This new interview series aims to educate you about the best of both worlds. And we’ll give you a hint: there’s no right answer.
Throughout 2019, we’re teaming up with the Australian Youth Orchestra to bring you stories about those who have started to forge their industry path in Australia. But some have remained in the country, while others have stationed themselves across the world.
No matter where you choose to live and work, there is plenty for you to learn. So in our first interview in our All the world’s a stage series, we meet violinist Runa Murase, who tells us what she gains from being an artist based in Australia.
Runa took part in this interview in between her time rehearsing for Wagner’s Parsifal at the Palais Theatre in St Kilda, as part of the AYO February Season.
Runa, tell us how you got to be in Melbourne with AYO.
Everything started when I saw a freelancing violinist in Fremantle, Perth, and that struck inspiration for the instrument and a musical passion for me at the age of around 3.
I’ve always loved performing and playing in orchestras. So throughout my career, I’ve performed in orchestras such as the West Australian Youth Orchestra for 10 years; during my undergraduate years, I’ve played in the Western Australian Academy of Performing Arts Faith Court Orchestra and String Camerata as concertmaster; and few chamber ensembles and many more. These orchestral experiences developed my confidence as an orchestral musician, and inspired me to audition for more orchestral opportunities, such as the Australian Youth Orchestra programs.
My first-ever AYO program was the National Music Camp back in 2015, which was an awesome intensive program for two weeks. I’ve participated in the Fellowship programs, Chamber Players programs, the February, July and International seasons, and [now] on the February Season 2019!
Wow! So how have you found the experience of working to build your career in Australia?
So far, it’s been pretty great. Australia has a lot to give in terms of musical experience and opportunities. I graduated from WAAPA back in 2017, and it definitely helped me with building my career in so many ways; performing orchestrally, as a soloist, and chamber playing. Due to the variety of ensembles at WAAPA, I had opportunities to work across different genres, including contemporary, jazz, dance, and musical theatre.
After graduating, I’ve been a freelance musician based in Perth, playing with professional orchestras such as Perth Symphony Orchestra, Adelaide Symphony Orchestra, Camerata 1685. I’ve also been teaching at schools and privately at home, which has taught me more about my interest in music.
All of these experiences have contributed to building my career in Australia.
Talk us through your daily life: practice, work, study.
My day usually starts off with some sort of exercise (at home or the gym) in the morning just to get me going, followed by technique practice – usually for an hour to an hour-and-a-half. I like to have a good break through lunchtime before commencing more practice in the afternoon, which focuses on pieces that I want to learn, any upcoming auditions, and performance repertoire.
I currently hold casual instrumental teaching positions at three schools, and also teach privately few times a week. I very much like to indulge in a leisurely activity like walking my dog, listening to music or relaxing by watching some Netflix!
How has studying, training, and working in Australia contributed to or helped shape your identity as a musician?
While I was studying at WAAPA, I learnt how to present myself more comfortably on stage, particularly for the programs I was concertmaster for. Through my solo recitals, I feel as though I developed more stage presence, which in turn has boosted my confidence in all styles of playing.
As part of the AYO program in 2016, I had the amazing experience of performing with the Tasmanian Symphony Orchestra. I was fortunate enough to play next to the concertmaster, Emma McGrath. She was incredibly passionate about the music, and I found it really inspirational to see how she communicated her knowledge to the orchestra.
Working with the Adelaide Symphony Orchestra was another experience that helped my musical identity. I personally think that an orchestra is a team that is united to make a masterpiece, and the job of each musician is to play their best, work as part of the team, and try to help every other member of the orchestra sound incredible. ASO was an orchestra that worked well together, with an incredible musical connection. It was motivating to be so connected with the players around me, to the point that we had synchronised breathing, and all members knew the different instrumental parts. The orchestra breathed, moved and focused on the same thing at the same time. This was such an amazing feeling, and often I felt overwhelmed with the emotions and messages within the piece.
If I’m being entirely honest, I’m still trying to figure out what my identity is as a musician. I’m still young, and it feels like it’s just starting now. So I can’t really say! However, through all these training experiences, I definitely feel that my identity is being shaped.
There’s a perception that Australian artists need to go overseas to ‘make it’. But what are some of the benefits you think Australia has to offer you as an emerging artist?
Musically, I think Australia has developed a strong musical culture and provides emerging artists fantastic resources such as AYO, Australian National Academy of Music, Sydney Symphony Orchestra Fellowship, and Australian Chamber Orchestra. These programs and ensembles offer a variety of career choices to young musicians and give high goals to strive towards.
Through my involvement in AYO programs, I have been able to form connections with many musicians from across Australia. These connections have encouraged me to play with other musicians in many different musical contexts. Even on this current program, I feel motivated to be in involved with fellow AYO musicians in the future. The relationships I am forming with my colleagues through Australian programs would be difficult to maintain if I were to move or study overseas. This would influence the level of work I could get professionally in another country. I would struggle to build the level of communication and networking I had within the Australian music community.
How has your local community supported you as a young musician, and what are your biggest needs from this community?
The biggest support I received was definitely from my past teachers and lecturers at WAAPA. They encouraged me to embrace many performance opportunities, from which I was able to gain crucial experiences as a violinist.
At my high school, All Saints’ College, I was a recipient of the music scholarship, which financially supported me throughout high school. This enabled me to focus on several musical endeavours, including WAYO ensembles.
As an emerging musician, one of the biggest needs I have would be more performance opportunities, particularly in the chamber music area. I have also found it challenging that there are limited orchestral jobs available in Western Australia.
You trained with the AYO to build your professional experiences as you enter the industry. What was the key message from your training that remains with you now – and that you’ll take with you anywhere in the world?
Throughout my experiences with AYO, I have learnt about the importance of communication when playing in an orchestra. Open communication with your fellow musicians is crucial because from that you gain valuable insights, allowing you to be more engaged with your colleagues.
Finding a place where you feel safe and comfortable in the community is really important and, from experience, AYO provides that place. Due to feeling so comfortable with the musicians around me, I have found my clarity, and confidence as an orchestral musician has developed greatly.
From my thoughts, having good communication is an essential tool in achieving your professional goal; and maintaining strong relationships within the community is important, which I think will remain with me throughout my whole career.
What advice would you give to young people who are undertaking this sort of training, or who have recently completed it, and are looking to build their career in Australia?
One of the benefits of AYO is that the ensembles get to work with internationally renowned conductors and experienced tutors during the programs. Their knowledge and experience of the music industry has been a great resource for me, helping me to broaden my perspective of classical music.
In general, I would recommend saying ‘yes’ to every opportunity that comes up: gigs, charity work, chamber ensembles, or just helping out for any ensembles. Another key point for me to have in mind as a young musician is practising efficiently through planning each practice session and creating a focused space. This enables me to get the most out of my practice, and it is my hope that this way of practising will support me through my musical career.
And finally…where are you off to next?
Well after this AYO Season, I will be going back to Perth and get back into teaching and playing in more gigs. I’m currently preparing for auditions to do a Masters degree overseas. However, it’s quite hard to choose where I want to go as there are so many great places to study!
This year, I am excited at the idea of developing my musical connections and experiences in Perth. I’m also looking forward to the AYO International Tour to Europe and China in July, which will offer a unique and inspirational musical experience!
We’re teaming up with the Australian Youth Orchestra to bring you real-world stories that explore the benefits of a music career in the country or across the globe. Stay tuned for our next interview in All the world’s a stage. In what country would you like to make music?
Images supplied.
