BY LUCY RASH
Two types of people walk the alleys of Melbourne’s wildly eclectic arts scene: those who argue classical music is a static art form, and those who know the work of Ben Opie.
Tackling mind-blowing innovation with the class and sensitivity of a veteran, the oboist performs at the cutting edge of classical music’s fresh-faced evolution. You’d take him for a Melbournian, of course. Bearded, friendly, and sharply dressed, Ben and his musical talent are intriguing.
Solo repertoire performed deep within a disused gold mine? You got it!
We spoke with Ben to find out more.
What first attracted you to the oboe?
Definitely the sound – there was something quite complex but also pure about it.
Interestingly, I was lined up to play clarinet but I made a last minute dash for the oboe and never looked back! These days there is also something I love about the resistance the oboe gives. Something to push against.
Describe for us your exploration of the capabilities and even limitations of the oboe in the work that you do.
Oboists can play the most sublime, delicate music and then turn around and make an abrasive and even offensive sound. What I explore on the oboe is not only this sound spectrum, but also the enhancements of sound, either through electronics or physical manipulations. Whether it’s in a new commission or my own work, I love seeing how far this can all be pushed.
What challenges and joys do you find are experienced by audiences of new music?
I think the joys and challenges can even be the same thing. They can come from hearing something truly new: it’s an exciting concept to open your mind to a new voice you might not be familiar with, and it’s challenging, but also rewarding. You don’t have to like it, but you can consider it. I think there’s nothing wrong with walking away from a new music concert thinking ‘that wasn’t for me’, or ‘I really didn’t like these particular pieces’.
I’m not sure that new music is for everyone, but I think everyone should give it a try.
Do you have a favourite story about someone experiencing the thrill of new music for the first time?
Introducing young people to contemporary oboe techniques is always fun, whether it’s in performance or in a lesson. I do remember demonstrating some multiphonics in a workshop in New Zealand and one young player exclaimed: ‘man, you’re like the Skrillex of oboe’. This is not only a huge compliment but an awesome and accessible way to get into new music!
‘Man, you’re like the Skrillex of oboe’ – Student, New Zealand
Can you identify differences in the way you listen to old and new music?
Not necessarily, just like sometimes you might feel like pasta for dinner one night, and then a steak another night; you don’t always get the choice and so it’s a bit about training your aural palette.
I think I do go to new music concerts with a fairly open mind, ready for some new flavours to get excited about, whereas listening to ‘standard repertoire’ music perhaps is more about enjoying familiar flavours and getting excited about new seasonings!
Talk to us about artistic direction and collaboration. What’s taken you in this direction?
I have a lot of ideas bubbling around in my head, and have been surrounded by creatives my whole life, so it gets to a point where the bubbles have to get out one way or another! I think artistic direction and collaboration gives me that at the moment. I find it really exciting to be working towards a clearly visualised creative goal that you or a group you work with have created. Maybe it has some new elements, or is even completely new.
With this is mind, what is your dream project?
A true cross-genre collaboration is always fun, so having a platform to not only experiment but refine some creative goals with people who have honed their particular craft. And then potentially drifting between old and new; challenging audiences but also reassuring them that you’re with them. That sounds quite vague but I think that’s part of a dream project for me. I wouldn’t want to fix too many elements before it happens!
Why should young people engage with new music?
I’m not sure that new music is for everyone, but I think everyone should give it a try.
There is so much to explore and experience in new music, and given the chance it might just be a real outlet for creativity for the right person! Warning: once it sinks its hooks in, it doesn’t tend to let go!
How do the old and new intersect in the work you do?
I do try to approach old music with a fresh outlook and so, in some ways, it ends up being new in its own way. I spent some time studying historically informed performance practice and I absolutely love it, but I also love coming up with new ideas and using my own voice to create a new version. The appeal of the old for me is that it’s solid; it’s thorough and tested and I love really working towards what the composer has on the page, and then sometimes exploding from there! A really great read for anyone interested [in this] is Bruce Haynes’ The End of Early Music.
What are you most looking forward to about 2017?
Always a tricky question! One thing’s for sure: I love being part of iconic, groundbreaking festivals like White Night – I had the chance to play it this year with some truly incredible colleagues. I also can’t wait for my solo performance as part of the Castlemaine State Festival. I’m playing in an old, disused gold mine called Carman’s Tunnel – this is exactly the kind of project I love! It’s going to be a wild journey through the lands of solo oboe repertoire including some new works, some transcribed works and some standard rep.
My ensemble, Inventi Ensemble, is also lined up to do some really exciting performances at the Melbourne Recital Centre, including a new work inspired by Tchaikovsky’s Swan Lake.
I’m also working closely with bağlama virtuoso Ozan Iskender later in the year. We’ll be presenting collaborative performances at the Kew Courthouse as well as other venues. And that’s just in the coming months!
Keep up-to-date with Ben’s huge variety of artistic projects by heading here, where you can also view his latest media release. Ben welcomes all contact regarding ideas for artistic collaborations. Email him today.
Ben Opie is the first musician in CutCommon’s new Sponsored Artist project. Find out more about some of the communication services we offer to musicians in Australia, and get in touch to learn what we can do for you.
Image supplied.
