Working at Musica Viva is being surrounded by people who are truly passionate about what they do. Making Australia a more musical place has been the outright goal of ours for a long time, and it is through the hard work of the people behind the curtain, people like Sean Moloney, that we are able to achieve that.
In the latest instalment of our Meet Musica Viva series, we shine a light on Sean, a member of the Concerts & Communities team who we consider one of the most important cogs in the wheel that keeps this organisation charging ahead.
Sean has been with Musica Viva for just over four years, and in those years there have been very few areas of the organisation that he has not worked within or around. In Sean's own words, there is no "typical day" at work for him
Get to know about Sean and his fascinating role within Musica Viva Australia, his passions outside of the organisation, and much more.
What is your role at Musica Viva? What does a typical work day entail?
I’m the manager for Special Projects and Regional Touring (or SPART for short), which looks after the non-MVIS regional touring program in NSW, as well as any events deemed “special projects”. These could be concerts in partnership with libraries, or Musica Viva Sessions, as examples. In the past couple of years I have also worked on the Sydney and Melbourne Morning Masters series.
There really isn’t a typical work day for me! I know that would drive some people mad, but I truly love the diversity of my days. I’m always happy and keen to lend an extra pair of hands where I can be useful. I’ve worked backstage for our mainstage concerts and festivals, interviewed artists and written articles for the website, built and maintained our digital leave form system, and been on the door for PD sessions, amongst other things.
When NSW isn’t locked down, there is a consistent level of tour planning for the regional program, liaising with our artists and presenters to work out the operational and logistical details of touring the artists from around Australia to regional NSW. Then it depends on what else is going on: it could be concert preparation for our Morning Masters series, artist selection for future years, or perhaps, if it’s a really good day, delivering a live event!
I also manage the Janette Hamilton Studio at Musica Viva House in Sydney, managing the internal and external bookings, and looking after the streaming aspects for certain in-house events. It’s a lot of fun and keeps me on my toes.
But the one consistent element to my work day is working with my fantastic colleagues, of which I include the Musica Viva Australia staff, and the artists and regional presenters who I work with.
How did you come to work at Musica Viva? Have you always worked in arts organisations?
I’ve always worked in roles related to music: private teaching, lecturing and operations/stage management roles. While I was doing my Masters of Music, I volunteered and then worked for a wonderful orchestra in Sydney. At their suggestion I applied for the AYO 2017 National Music Camp Orchestral Management course, which was a fantastic two weeks, working with both our tutor and the other participants, many of whom I still work closely with across the country. Following that program, I was incredibly fortunate to be selected for the Regina Ridge Fellowship at Musica Viva to work on the 2017 Musica Viva Festival. Just after that fellowship finished, the role of Artist Development Coordinator became available, and four years later here I am!