How did your passion for music develop?

Alexandra: My memories of music making precede my memories of speech. I started piano at four, violin at 6 and singing in the womb. I studied classical singing throughout my schooling, however it was my stint as lead singer of a Melbourne grunge rock band that solidified my passions, and taught me the spirit of collaboration (and good rhythm), which I bring to my chamber music work today.

Who are some of your favourite singers/composers and why?

Alexandra: Although we won’t be featuring any of his works in this particular recital, I absolutely adore singing and hearing the songs of Richard Strauss. The richness of the harmonies swaddles and envelops you as you float above on seraphim wings. When I feel like being closer to the ground and one with nature, I love to sing Schubert. For full-throttle opera though, it’s got to be Verdi.

Could you share a few of your favourite songs that you will be performing during the event?

Alexandra: I’m particularly excited about three three incredible works from the French repertoire: Delibes’ “Le rossignol”, the 2nd movement of Ravel’s Shéhérazade, and Thomas’ “A vos jeux, mes amis” from Hamlet (Ophelia’s famous mad scene). Each piece touches on a unique aspect of the female experience and features the flute and voice prominently in duet.

Are there any specific memories or experiences associated with the songs you’ll be performing that you’d like to share with the audience?

Alexandra: Ophélie’s Mad Scene from Thomas’ Hamlet has been in my repertoire since I can remember. I’ve taken her to Germany, to Portugal, to France and most recently to Sydney, where the famous excerpt formed the centrepiece of a new multi-disciplinary collage musiktheater piece I developed with Constantine Costi and Claudia Osborne. Hurtling out the high Eb whilst threatening a deathly plunge from the upper balcony at Phoenix Central Park will remain a highlight in my theatrical life.

How do you approach interpreting and bringing your own unique style to the songs you’ll be performing?

Alexandra: The coloratura soprano repertoire is steeped in tradition, so finding one’s own creative voice can be a challenge. For me, the uniqueness lies in the interplay. The way we, as a group, choose to phrase, to breathe, how we match of the pace of vibrato, how tiny a pianissimo can be and how long.. these are all ways we as a trio put our own spin on things.

Can you discuss the process of selecting the repertoire for this performance? Where do you draw inspiration from?

Alexandra: Jonathan and I had such a magical symbiotic connection when we first performed the Lucia Mad Scene at the Bangalow Chamber Music Festival. It was one of those truly exhilarating collaborative moments that only happen in live chamber music. After that, we knew we had to mine the soprano/flute repertoire for other gems. The process has been organic. My favourites, Jonathan’s favourites and some stellar ideas from Vatche too. It has been a labour of love.