1 00:00:02,120 --> 00:00:04,360 Speaker 1: Isn't that pretty? Thank you Ovi, thanks for playing that 2 00:00:04,440 --> 00:00:07,000 Speaker 1: for us. Sureley, you must agree with me, isn't it 3 00:00:07,120 --> 00:00:07,760 Speaker 1: so pretty? 4 00:00:09,160 --> 00:00:12,319 Speaker 2: It took me right back to Thursday night when he 5 00:00:12,440 --> 00:00:17,320 Speaker 2: played it. It's the most incredibly profound concerto and gets 6 00:00:17,320 --> 00:00:17,959 Speaker 2: me every time. 7 00:00:18,360 --> 00:00:20,480 Speaker 1: Man, I'm glad I'm not the only one. Shirley Goula, 8 00:00:20,520 --> 00:00:22,400 Speaker 1: good morning, and thank you so much for making time 9 00:00:22,440 --> 00:00:25,520 Speaker 1: for us, for those who have not made surely just yet. 10 00:00:25,560 --> 00:00:28,639 Speaker 1: She is marketing and communications with the Cape Fuilharmonic Orchestra 11 00:00:28,840 --> 00:00:31,960 Speaker 1: and they're having their autumn symphonies every Thursday in April 12 00:00:32,000 --> 00:00:35,760 Speaker 1: at the Cape Town City Hall. You've got an incredible, 13 00:00:35,920 --> 00:00:40,440 Speaker 1: incredible pianist with you through these shows, Spanish pianist Leo 14 00:00:40,479 --> 00:00:43,839 Speaker 1: de Maria performing Rachmaninov's piano Concerto number two. That was 15 00:00:43,920 --> 00:00:48,280 Speaker 1: number one, however, and you've also got composers switching out 16 00:00:48,280 --> 00:00:50,479 Speaker 1: here and there. I have so many questions, Shirley, let 17 00:00:50,520 --> 00:00:53,800 Speaker 1: me gather my thoughts. First of all, the conductors that 18 00:00:53,880 --> 00:00:57,240 Speaker 1: you have for these shows, you are interchanging, am I correct? 19 00:00:57,360 --> 00:01:00,320 Speaker 2: We always do. We never have a conduct You usually 20 00:01:00,360 --> 00:01:03,880 Speaker 2: don't have a conductor for more than two weeks, sometimes three. 21 00:01:04,000 --> 00:01:06,600 Speaker 2: But if you're flying a person in from elsewhere, it 22 00:01:06,640 --> 00:01:09,840 Speaker 2: becomes expensive, so we will always have him for two 23 00:01:09,959 --> 00:01:13,160 Speaker 2: unless he's local. So in this season we started off 24 00:01:13,160 --> 00:01:16,480 Speaker 2: on Thursday night with Bernhardt Gla who is the conductor 25 00:01:16,520 --> 00:01:19,399 Speaker 2: laureate of a Cape Town phil Harmonic, and he did this. 26 00:01:19,560 --> 00:01:23,280 Speaker 2: It was a Chacosky piano Concerto number one with Leo 27 00:01:23,440 --> 00:01:26,479 Speaker 2: de Maria, who is by the way, doing a recital 28 00:01:26,520 --> 00:01:30,039 Speaker 2: on Wednesday night for the Cape Town Concert Series in 29 00:01:30,040 --> 00:01:34,080 Speaker 2: case Steves are interested. But he was really fantastic. And 30 00:01:34,319 --> 00:01:37,640 Speaker 2: there was also on that program a Heiden Symphony, which 31 00:01:37,680 --> 00:01:40,040 Speaker 2: is unusual for Cape Town because we tend to stick 32 00:01:40,120 --> 00:01:43,160 Speaker 2: mainly with the big stuff. But this is delicate and 33 00:01:43,680 --> 00:01:47,680 Speaker 2: you could see from the conductor's attitude afterwards. He didn't 34 00:01:47,720 --> 00:01:52,360 Speaker 2: turn around to acknowledge the audience's applause before he applauded 35 00:01:52,760 --> 00:01:55,360 Speaker 2: the orchestra. I'm sorry, I just have to say that 36 00:01:55,440 --> 00:01:59,080 Speaker 2: they are in such fine form. So you asked about conductors, 37 00:01:59,120 --> 00:02:04,120 Speaker 2: that was number one, Number two and three are Nicholas Chalmers. 38 00:02:04,360 --> 00:02:07,240 Speaker 2: He's a British man with a South African mother who 39 00:02:07,320 --> 00:02:10,799 Speaker 2: came to South Africa last year and conducted the British 40 00:02:11,360 --> 00:02:15,200 Speaker 2: National youth choir with the orchestra, and he went down 41 00:02:15,360 --> 00:02:18,840 Speaker 2: so well they brought him back for two and then 42 00:02:18,919 --> 00:02:21,519 Speaker 2: the third as a Pot and Slift concerts are conducted 43 00:02:21,560 --> 00:02:24,519 Speaker 2: by Arian Tin, who has been coming to Cape Town 44 00:02:24,560 --> 00:02:27,480 Speaker 2: for more than twenty years and has a fine following, 45 00:02:28,040 --> 00:02:31,720 Speaker 2: and he's now our new principal guest conductor. So those 46 00:02:31,720 --> 00:02:33,160 Speaker 2: are the conductors, you know. 47 00:02:33,200 --> 00:02:35,800 Speaker 1: I didn't know that you interchanged constantly. It shows you 48 00:02:35,840 --> 00:02:38,760 Speaker 1: just how uninformed I've been about this. I had no idea, 49 00:02:39,000 --> 00:02:41,760 Speaker 1: and I'm sure that really does change. Sorry you were saying, 50 00:02:42,720 --> 00:02:43,040 Speaker 1: I was. 51 00:02:42,960 --> 00:02:45,560 Speaker 2: Saying, come to a concert, Please come to a concert. 52 00:02:45,600 --> 00:02:47,160 Speaker 1: I can't wait to come to the concert. 53 00:02:48,040 --> 00:02:48,960 Speaker 3: Genuinely mean that. 54 00:02:49,240 --> 00:02:52,600 Speaker 1: I genuinely mean that. Now, how does that change the mood? 55 00:02:52,720 --> 00:02:54,920 Speaker 1: I mean, you've obviously got the same players playing for 56 00:02:54,960 --> 00:02:57,440 Speaker 1: the most part, the same soloist. But with the conductor, 57 00:02:57,520 --> 00:03:00,880 Speaker 1: change comes a whole mood in atmosphere. Change, doesn't it? 58 00:03:00,880 --> 00:03:03,600 Speaker 2: It does? You're absolutely spot on there, And it's all 59 00:03:03,600 --> 00:03:08,040 Speaker 2: about interpretation. So one conductor might want to do Jakowsky 60 00:03:08,200 --> 00:03:11,520 Speaker 2: slowly and dramatically, another one might want to pick up 61 00:03:11,560 --> 00:03:14,840 Speaker 2: the tempone do it fast. Everybody has a different idea 62 00:03:14,840 --> 00:03:17,040 Speaker 2: of what's right and what's wrong, and there is nothing 63 00:03:17,120 --> 00:03:22,320 Speaker 2: right and wrong. If the composer didn't actually say slow, fast, 64 00:03:22,760 --> 00:03:25,680 Speaker 2: very fast. It's up to the conductor to see what 65 00:03:25,800 --> 00:03:28,079 Speaker 2: he likes best, and the orchestra, I mean but not 66 00:03:28,200 --> 00:03:31,400 Speaker 2: always likes to say. Being a conductor is almost like 67 00:03:31,440 --> 00:03:35,680 Speaker 2: the last dictatorship on earth because the audience, the orchestra 68 00:03:35,840 --> 00:03:39,520 Speaker 2: has to listen. If he says this, they do this yep. 69 00:03:39,920 --> 00:03:42,760 Speaker 2: So you know, they've got to respect you to follow you. 70 00:03:42,800 --> 00:03:45,080 Speaker 2: If they don't respect you, they follow you, but they 71 00:03:45,160 --> 00:03:46,040 Speaker 2: might not be happy. 72 00:03:46,360 --> 00:03:48,760 Speaker 1: And as we know, it can, it can, it can 73 00:03:48,760 --> 00:03:50,880 Speaker 1: make all the difference, and it does make all the difference. 74 00:03:51,040 --> 00:03:51,400 Speaker 2: Yeah. 75 00:03:51,640 --> 00:03:54,880 Speaker 1: One other notable composers that will be found at these 76 00:03:54,880 --> 00:03:57,560 Speaker 1: shows is Mendelssohn, which is just as beautiful. But what 77 00:03:57,600 --> 00:03:59,320 Speaker 1: I'd like to ask you is is that you're doing 78 00:03:59,320 --> 00:04:01,320 Speaker 1: a bit of a colambor. Is that the word? With 79 00:04:01,400 --> 00:04:03,480 Speaker 1: Avery Arts Choir and Vox Cape Town? 80 00:04:03,720 --> 00:04:06,560 Speaker 2: Yes, we are what started off I think just three 81 00:04:06,640 --> 00:04:08,680 Speaker 2: years ago we were actually we at the Cape Town 82 00:04:08,680 --> 00:04:13,200 Speaker 2: Philharmonic were instrumental in helping Avery Arts Choir to start up, 83 00:04:13,720 --> 00:04:16,400 Speaker 2: and since then they have developed a life of their own. 84 00:04:16,520 --> 00:04:19,640 Speaker 2: You wouldn't relieve. They do things all over the place. 85 00:04:19,680 --> 00:04:24,680 Speaker 2: They're a group of about forty strong, strong singers. They 86 00:04:24,720 --> 00:04:27,800 Speaker 2: are so powerful they've sung three times with us, so 87 00:04:27,880 --> 00:04:30,479 Speaker 2: now they're doing this one and into them we have 88 00:04:30,560 --> 00:04:34,360 Speaker 2: brought Fox Boxes, as you know of well established Cape 89 00:04:34,360 --> 00:04:38,040 Speaker 2: Town Choir run by John Woodland who's their director, and 90 00:04:38,480 --> 00:04:42,799 Speaker 2: together they do well. So will have about eighty voices 91 00:04:42,800 --> 00:04:44,479 Speaker 2: on the stage which will be lovely to hear. 92 00:04:44,839 --> 00:04:48,680 Speaker 3: Yes, and it's Mendelssohn's work is while it has been 93 00:04:48,760 --> 00:04:52,640 Speaker 3: loosely called simply number two, it is more simply Cantta 94 00:04:52,760 --> 00:04:56,960 Speaker 3: because of this huge choral bite which is melodic, lyrical, 95 00:04:57,120 --> 00:04:58,840 Speaker 3: glorious and strong. 96 00:05:00,320 --> 00:05:03,039 Speaker 2: That's that's also terrific. And Nicholas is doing that so 97 00:05:03,080 --> 00:05:06,520 Speaker 2: as I said, he's a quire conductor of note, so 98 00:05:06,640 --> 00:05:08,080 Speaker 2: that's really going to be splendid. 99 00:05:08,320 --> 00:05:10,520 Speaker 1: I really do look forward to watching this. And as 100 00:05:10,520 --> 00:05:12,880 Speaker 1: we wrap Uplicant, we just get through the logistics when 101 00:05:12,920 --> 00:05:15,440 Speaker 1: when exactly can people catch these shows? Where can they 102 00:05:15,440 --> 00:05:18,400 Speaker 1: get the tickets for these shows? Please give us those logistics. 103 00:05:18,720 --> 00:05:22,640 Speaker 2: The tickets are all on the web tickets platform, but 104 00:05:22,880 --> 00:05:26,120 Speaker 2: it's often easier if people don't like going onto you 105 00:05:26,160 --> 00:05:28,360 Speaker 2: know online tickets too. For an I've scaped dial a 106 00:05:28,480 --> 00:05:30,640 Speaker 2: seat and I'll give you that number if I may. 107 00:05:31,240 --> 00:05:34,680 Speaker 2: It's two one four, two one seven six ninety five. 108 00:05:35,240 --> 00:05:37,600 Speaker 2: And they will give you the best of what's left, 109 00:05:37,800 --> 00:05:40,760 Speaker 2: because if you're not a subscriber, the best, the really best. 110 00:05:40,880 --> 00:05:43,440 Speaker 2: It's like the whole gallery is just about gone. But 111 00:05:43,560 --> 00:05:45,800 Speaker 2: it's and it's worth being a subscriber. But you have 112 00:05:45,839 --> 00:05:47,920 Speaker 2: to do that at the start of each season. Yeah, 113 00:05:47,960 --> 00:05:52,000 Speaker 2: I can wrap up with, yeah, well you're when you 114 00:05:52,080 --> 00:05:55,360 Speaker 2: come Berry, you'll see just how great these concerts are. 115 00:05:55,640 --> 00:05:58,640 Speaker 2: They give a lift to your week. I don't know. 116 00:05:58,720 --> 00:06:03,200 Speaker 2: There's something about music. It unites us, it brings us together. 117 00:06:03,480 --> 00:06:06,440 Speaker 2: It commits us to the good things in life, and 118 00:06:06,560 --> 00:06:09,520 Speaker 2: let's face it, in this world today, we need good things. 119 00:06:10,240 --> 00:06:13,160 Speaker 1: Yesterday I was actually having coffee with a mate who 120 00:06:13,200 --> 00:06:17,279 Speaker 1: had just come from Thursday and couldn't Yeah, he had 121 00:06:17,320 --> 00:06:20,000 Speaker 1: just come from Thursday and couldn't stop talking about it, 122 00:06:20,120 --> 00:06:22,560 Speaker 1: And I said, actually, I'm speaking to Shirley tomorrow. He said, 123 00:06:22,600 --> 00:06:25,279 Speaker 1: you must you must go, you must go. So I've 124 00:06:25,279 --> 00:06:27,920 Speaker 1: been told this now more than once by folks, and 125 00:06:27,960 --> 00:06:30,719 Speaker 1: I actually can't wait to come see the performances myself. Shirley, 126 00:06:30,760 --> 00:06:32,560 Speaker 1: thank you very much for your time. Is there anything 127 00:06:32,560 --> 00:06:34,800 Speaker 1: else that I've forgotten to ask you? In all the excitement? 128 00:06:36,040 --> 00:06:38,680 Speaker 2: The June season is hot on the heels of this one. 129 00:06:38,760 --> 00:06:41,160 Speaker 2: So right throughout the year we have twenty contests. We 130 00:06:41,200 --> 00:06:46,480 Speaker 2: do community concerts in Bilbil and Brackenfell coming up. We're everywhere. 131 00:06:46,560 --> 00:06:49,360 Speaker 2: Don't miss us, and I will see you there. 132 00:06:49,800 --> 00:06:53,000 Speaker 1: I appreciate that so much. Shirley Goola, Marketing and Communications 133 00:06:53,040 --> 00:06:55,880 Speaker 1: executive at the Cape Town Philharmonic Orchestra, talking about their 134 00:06:55,880 --> 00:06:59,640 Speaker 1: Autumn Symphonies concert series running every Thursday this month with 135 00:06:59,680 --> 00:07:05,240 Speaker 1: works from Djaikovsky, Heiden, rachmaninovn Mendelssohn, and they are rotating, 136 00:07:05,480 --> 00:07:09,559 Speaker 1: well not rotating, but swamping out three incredibly talented guest 137 00:07:09,600 --> 00:07:13,240 Speaker 1: conductors at the first being Bernard Gula, Nicholas Chalmers and 138 00:07:13,360 --> 00:07:15,680 Speaker 1: Arian tint So do you go and check that out, 139 00:07:15,920 --> 00:07:18,080 Speaker 1: get yourself a ticket, go and look, because I've been 140 00:07:18,080 --> 00:07:20,960 Speaker 1: told more than once that it is not to be missed.