BY STEPHANIE ESLAKE
A music degree can be an intense – and intensely rewarding – life experience.
It doesn’t matter how old we are, or what discipline we choose to study. When we make the decision to learn about our art at an academic level, we are stepping toward a future dedicated to our passion. And that’s why it’s important to make the most of it while we can, before we venture into the professional world.
In this series, we learn about what happens to musicians after they graduate from university. Through these interviews, we’ll explore how some of our generation’s leading talent have taken the knowledge they obtained at uni, and applied it into their careers.
You’ll read about the biggest challenges they faced during their studies, their confidence, and their big breaks.
Each one of these artists has graduated from the Queensland Conservatorium, and now reflects on how far they’ve come since their first day of study. In this interview, we get up close and personal with Petah Chapman.
While this series is about life after graduation, Petah Chapman was kicking some serious goals while still studying at the Queensland Conservatorium Griffith University: during those years, she performed with the 7 Sopranos and toured to China, worked as an associate producer at the 5th ICM World Forum on Music, took out awards, and even performed as a soloist with Queensland Symphony Orchestra for the first time!
Petah has since performed at Villa Miani in Rome, and in Sydney with Apollo Opera Collective. She collaborates with award-winning violinist Khalida De Ridder and classical guitarist Simon Thielke as Trio Cavallaro, having toured across regional Australia in 2019, and signing with Italian label Stradivarius Milano Dischi for a 2020 album release.
Thanks for taking part in our chat! Tell us all about your musical life and career.
I come from a musical family where rock music, folk music, jazz, and blues were a big part of my childhood — and I’ve been a musician for as long as I can remember.
I began teaching music in my early teens, and my enrolment quickly grew to 30 students in violin, guitar, and voice — but I craved more.
This began my journey into opera training at elite level through the Queensland Conservatorium Griffith University, and subsequent study in Italy, England and the USA. […] This year I have been awarded a Churchill Fellowship for excellence in opera, which will see me travel to Europe in 2020 to train with experts at Covent Garden (GB) and Operaen (DK).
This fellowship is a once-in-a lifetime opportunity for me, and I’m so honored to be a Churchill Fellow!
Tell us how you arrived at this stage in your career. What did you study at university and why did you want to enrol in this area?
At the beginning, I wasn’t sure if I would pursue violin or voice; I have always been fascinated by languages, different cultures, their stories and dramas, and I love the pursuit of excellence. Opera satisfies these aspects of my nature, and after starting at the Queensland Conservatorium Griffith University, I immediately knew I would make a career through this fascinating artform.
I moved into the Advanced Performance strand of my degree, and I graduated as part of the Golden Key Honours Society. But I continue to play violin to this day — I find it very relaxing to have an aspect of music that’s just for my own enjoyment!
How did you find your academic experience?
I enjoyed many aspects of being at university. As well as my courses, there were festivals, operas, and concerts that I took part in. It kept me engaged and interested to have a variety of music and activity around.
One of the biggest difficulties I faced was adjusting to being so far away from family and friends. It’s one of the disadvantages of being from a remote community; there really is no opportunity for this kind of study unless you go to a metropolitan area. It’s become my passion to bring performance and training opportunities to remote areas of Australia.
What do you remember being your most challenging year, and why did you decide to push through?
University was difficult in that there was no guarantee that my course would lead to a stable job. There were often times when I wondered if it was worth continuing; would I even be able to make a career? The more I learnt about the profession, the more it seemed there was a lack of opportunity that would provide a sustainable income.
The greater difficulties came after my graduation when I was forging my way in the profession. I was essentially on my own; there was no connection to schools in Europe, and I felt it was necessary to train overseas.
The Lisa Gasteen National Opera School was helpful in introducing me to teachers from other countries and cultures. Ultimately, it was passion for music and performance that drove me to continue.
What were some of the most important lessons you picked up while you were a student that were not academic?
I realised the importance of maintaining physical fitness and good health. Working with a good life coach helped me understand the demons of instability; of not knowing how my future will look. This profession is different from having a regular job, where you wake up every morning knowing where you’re going to go for work, or that the work will even be there. You have to be open to opportunities; pay attention to the details yet maintain global attention.
Having friends who have an inkling of an idea of the challenges of this career is important, too. Those friends don’t necessarily have to be in music! I’ve met some generous friends along the way both in music and outside the profession.
How did studying music at uni help increase your confidence as an emerging young artist?
When I finished the course and reflected on the breadth of my knowledge, I realised that university had provided a gradual accumulation of knowledge and skill that I am building on to this day.
Tell us about how you navigated the world of music after your graduation. Did you have a “big break” or was it a slow burn?
Straight after university, I wanted to keep going; I had won the Margreta Elkins Encouragement Award in the Dame Joan Sutherland Competition, and this spurred me on to pursue studies in Italy and America.
I won some scholarships and competitions when I was there, but it wasn’t enough the make me feel confident that I could support myself. An extremely limited budget and operating in extremely difficult conditions — and maybe I was tired — led me to return home. I needed rest and contact with family and friends.
That was the best move I could have made. After 12 months of teaching, running workshops, and low key performances, I felt the stirrings and joined the Lisa Gasteen National Opera School, where I worked with Simone Young on Ariadne Auf Naxos (Strauss) performing the role of Echo. I then went on to perform with Apollo Opera Collective in Sydney in Radamisto (Handel).
How have you used the networks obtained through your degree, and how do you work to maintain these relationships?
I continue to maintain great networks with teachers and fellow students who have become colleagues. Those friendships are the most rewarding.
Collaboration has become one of the most important aspects I’ve taken from my time at university. The ability to learn from peers, to respect other points of view, and generally get on with others is a skill that has served me well.
In what ways do you continue to use the knowledge or skills you achieved during your studies, now that you’re well into your career?
At university, I took on a multitude of commitments, which shaped my natural tenacity and resilience – qualities needed everyday in my profession.
What words of advice would you offer to young musicians along their academic journey?
Enjoy it! Take this time to focus on the small details of your practice. Make connections. Listen, learn, build friendships and support one another.
There’s no right way to have a career. Everyone will have their own progression, you just have to focus on yours. Not everyone knows what’s best for you, and it’s your job to decide what you need. Trust yourself.
We’re excited to collaborate with Queensland Conservatorium Griffith University to shed light on life after university for those studying music. Stay tuned for our next interview!
READ NEXT: Life after uni with Meg Burstow, piano.
Images supplied.
