Tag Archives: Jennifer Eriksson

THE MARAIS PROJECT: A CHRISTMAS ADVENTURE @ INDEPENDENT THEATRE

Above: (left to right) Susie Bishop, Tommie Andersson and Jennifer Eriksson perform a bracket of Swedish Music. Photo credit : Geoff Sirmai. Featured image : (left to right) concert ensemble members Emily-Rose Šárkova, Susie Bishop, Jennifer Eriksson, Steve Elphick and Shaun Ng. Photo credit Philip Pogson.

In her programme notes, founder and director of The Marais Project, Jennifer Eriksson commented that it is ‘hard to know how to add anything to the mix’ of Christmas concerts. During the final ‘Prelude in Tea’ chamber music concert at The Independent Theatre in North Sydney, such concern was shown to be totally unwarranted. Not only was a highly international programme presented capturing the history, essence and celebratory nature of Christmas, but key goals of any Marais Project concert were also satisfied. Continue reading THE MARAIS PROJECT: A CHRISTMAS ADVENTURE @ INDEPENDENT THEATRE

MASTER AND PUPIL – AN INTERVIEW WITH JAMES FRASER

Grant Fraser

Master and Pupil: Philip Pogson interviews James Fraser – actor, writer and director

The interaction between master and student is a complex and fascinating one.  The famous French novel and film “Tous les matins de monde” (All the mornings of the world) is an acutely sensitive, fictional exploration of the relationship between two great artists: the famed viola da gambist and composer, Marin Marais and his distinguished mentor, Monsieur de Sainte-Colombe, along with Sainte-Colombe’s two daughters.  

Never one to stand still, The Marais Project’s founder and director, Jennifer Eriksson, has put together a collaboration with leading young Australian actor, writer and film maker, James Fraser (The Water Diviner, The Devil’s Playground and The Turning).  Together, they have created a series of reflections on Tour les matins du monde in words and music.  James answered a few questions in a recent interview.

Q: James, your favourite Actor?

A: This changes frequently, but right now – Tom Hardy.

Q:  And your favourite movie?

A: Mmm…that also changes frequently, but today I’ll say “Seven Samurai”.

Q: What was it like working with Russell Crowe?

A: Russell expects 110% from himself and everyone around him, always. It can be exhausting if you’re not totally prepared but it’s also inspiring. Whatever it is that drives him, I want some.

Q: Can you tell us a little bit about your appearance in the film version of “The Turning”?

A: Tim Winton’s book “The Turning” consists of 18 short stories from 18 different directors. Making the film was therefore a massive project! Being the lead in my segment, I was treated with the same narrative significance as those characters played by Cate Blanchett, Hugo Weaving, Richard Roxburgh and Rose Byrne – all idols of mine. So that was amazing – to be given the same story-telling responsibilities they had.

On top of that, my piece, “Big World”, was directed by Warwick Thornton. Warwick also directed one of my favourite Australian films, Samson and Delilah, so working with him was a privilege in itself.  Plus they ended up taking a still from our part of the film for the poster. So that back you see on the DVD cover, that’s my back!

Q: What has been interesting for you about getting to know the book and film about Marin Marais, “Tous les matins du monde”?

A: The book argues two sides to a debate about art that I’ve often mused over myself. Is it wrong for an artist to want recognition? Are the rewards of art in the execution or the reception?

The younger Monsieur Marais wants his music to reach people. He wants to touch an audience and be respected for it. He wants people to know his work. The older Monsieur de Sainte-Colombe, Marais’s teacher, believes music should be kept between the musician and the supernatural, he plays almost exclusively in solitude and feels that sharing it with people tarnishes the magic of its expression.

In a society so obsessed with turning artists into celebrities, it can sometimes feel like the only way of maintaining integrity is to keep it to ourselves. On the other hand, engaging with an audience is the point of art. I guess the trick is finding the right viewers.

Q: What are you looking forward to in the upcoming performance of “Master and Pupil”?

A: I haven’t performed on stage for a couple of years now. It’s going to be great to act for a live audience again.

Q: What is the next project you are looking forward to?

I’m currently writing my next short film which is a mockumentary called “Batboy”. It’s a metaphor for what it means to be an actor caught in the limbo of pursuing work. It’s about the craziness of this pursuit, the powerlessness, the monotony, the struggles, but also why we stick at it despite all of that. It’s a very personal project and I’ve already shot some of it while in LA earlier this year – I even bought a $600 leather Batsuit! It’s great to be able to explore your thoughts and struggles through art, turn them into something tangible and of worth. I think Monsieur de Sainte-Colombe would be proud.  Provided I don’t show anyone when it is all done!

Details : –

Concert: Master and Pupil

Date: 3.30 pm Sunday 29th May

Venue: The Independent Theatre, 269 Miller St, North Sydney

Tickets: $45 adult, $30 concession, $20 student, and $15 child; bookings ph 02 9955 3000; on-line at: http://www.theindependent.org.au/  Afternoon tea is included in the price and available from 2.30pm.

Featuring:

  • James Fraser – actor and writer
  • Belinda Montgomery – soprano
  • Tommie Andersson – theorbo
  • Jennifer Eriksson and Catherine Upex – viola da gamba

 

THE MARAIS PROJECT PRESENTS MARAIS AND THE OPERATIC MUSE @ SYDNEY CONSERVATORIUM OF MUSIC

Inset pic- Soprano Belinda Montgomery sang works by Monteclair and Marais. Featured pic- Composer Marin Marais 1656-1728
Inset pic- Soprano Belinda Montgomery sang works by Monteclair and Marais. Featured pic- Composer Marin Marais 1656-1728

The Marais Project, Sydney-based collective of musicians and musicologists, has had an aim for the past sixteen years to perform in concert the entire oeuvre of Marin Marais.

Currently over eighty percent successful in the achievement of this goal, the group presented operatic music by Marais for the first time in its concert MARAIS AND THE OPERATIC MUSE.

Just as many composers’ creative talents and tools of their trade are expanded through opera, so too the dramatic focus and immense charm of Marais’ music was heightened on exposure to his opera Sémélé (1709). The nature of Marais’ musical language achieved greater clarity. Continue reading THE MARAIS PROJECT PRESENTS MARAIS AND THE OPERATIC MUSE @ SYDNEY CONSERVATORIUM OF MUSIC

The Marais Project CD -Smörgåsbord!

Tommie Andersson- Arranger, theorbist, period guitarist

For the past fifteen years the Marais Project has augmented their continuing exploration of the 600 works composed by Marin Marais with concerts and recordings of considerable diversity and innovation.

The Project’s fifth CD, SMÖRGÅSBORD! is no exception. Recently released on the Move Records label, it shares aspects of the Swedish musical tradition from pastoral hymn tune through folksong and Baroque instrumental music to 21st century composition.

A stellar cast of a male vocalist and period instrumentalists bring to life a work from Marin Marais’ oeuvre as well as the variety of Swedish music. Fine arrangements by Tommie Andersson in the Baroque guise make up an impressive thirteen of the twenty-four tracks. Continue reading The Marais Project CD -Smörgåsbord!

The Marais Project: Dowland In The 21st Century: Review

Seaven Teares (l to r)- Shaun Ng, Imogen Granwal, Jenny Eriksson, Cathy Upex

The striking setting of Sydney University’s Refactory suitably housed this special tribute to composer John Dowland. The aesthetic suited the styles of the music, and the acoustic was a true gift for this birthday bash.

Special guests attended this party. Virtuosi Tommie Anderson (lute) and Daniel Yeadon (treble viol) augmented the solid ensemble. Soprano Belinda Montgomery beautifully brought Dowland’s emotional and joyous intensities to life, and freshly to our time, above a range of accompaniment textures.      

Continue reading The Marais Project: Dowland In The 21st Century: Review