Out of the Spotlight

When we imagine the future of chamber music, we picture the musicians on stage, composers expanding the canon, or teachers guiding the next generation. But chamber music’s future also depends on another group which is harder to see, yet just as vital.

Technicians and production specialists – sound producers, lighting designers, piano technicians, stage managers, and digital media artists – are the invisible architects of experience. Their expertise makes music visible, audible and alive, even as they themselves remain unseen.

Right now, these creatives are in short supply. Across Australia’s classical sector a handful of veteran technicians carry the weight of national tours and productions. Some have retired; others cannot meet mounting demand. Finding the next generation with both the technical skill and an understanding of chamber music is increasingly urgent.

That’s why Musica Viva Australia, with support from the Ian Potter Foundation, has launched a five-year mentorship project. The initiative pairs emerging specialists and skilled technicians from other industries with trusted experts, giving them paid, hands-on experience across national tours and productions. 

Unlike in musical theatre, where everything on stage is amplified, chamber music is full of shifting settings for subtlety and nuance. Balancing an acoustic saxophone quartet with the amplified voice of Ali McGregor was a steep learning curve.

'Her fader never stayed still!' Maddy laughs. 'The first show in Canberra was daunting. Every time I finished a song, I’d look back at Jim for a thumbs-up. By the final show in Sydney, I had so much more confidence.'

For Maddy, the mentorship wasn’t just about technique. Touring exposed her to different venues, acoustics and sound systems, and introduced her to industry networks she’d never accessed before.

'Even on our day off in Melbourne, we went to visit ABC and Hamer Hall, and Jim kept teaching me – even on the plane, we were building a virtual console on his iPad. It was amazing. This training has given me a solid foundation. I’ve already been hired for other gigs because of it.'

It’s opened doors.

'Being taught by industry professionals has brought so much insight and motivation.' Sasha says. ‘It’s opened doors and shown me there is space for me in this industry.'

For the Strike A Chord livestream, Sasha and fellow mentee Reuben Rasmussen were mentored by audiovisual specialist David MacKinnon and his team at CVP Events. David guided them through the technical and artistic nuances of livestreaming classical music – from setting up and operating the cameras, to interpreting a musical score in preparation for filming.

For Reuben, usually on stage as a performer, it was a new perspective. 'This gave me industry-level experience and accountability in a space I wasn’t used to. It opened my scope to the performative nature of show business, both on and off the stage.'

He adds: 'Having Musica Viva Australia push for early-career technicians is so supportive and reassuring.'

The mentorship program has also brought mentees together with leading technicians to explore the challenges behind productions - from yacht mast construction and Wi-Fi signals for The Cage Project to lighting angles and the aesthetics of iPads versus sheet music. It’s a reminder of how every performance relies on a web of technical choices, shaped by people whose names rarely appear on the program.

Chamber music’s future depends on these specialists. Without a new generation of skilled technicians, the visions of composers, directors and performers cannot reach an audience. With the support of the Ian Potter Foundation, Musica Viva Australia is empowering young technicians to step into that future – evolving the artform both in the spotlight and behind the scenes. 

To date, MVA’s Creative Development mentorship project has involved:

Mentors