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A black background with a series of hands side by side. The hands are in similar positions with the thumb and pointer fingers close together. Then each hand to the right is more open, gradually until the hand on the far right is completely open.

SHIFT

Performance and Panel Discussion

 

Due to unforeseen operational challenges, Shift performance and panel discussion scheduled to take place on Sunday 4 December will unfortunately no longer proceed at the Sydney Opera House.

The 1 hour performance followed by 1 hour panel discussion will now be held in Alexandria, at The Church 9 Mitchell Rd.

If you would like to attend at the new venue, please see all details here: https://www.backstagemusic.com.au/shift

 

COVID-safe and event information

The health, safety and wellbeing of everyone at the Opera House is our priority. When you return to the Opera House, you will notice some important changes that have been implemented to keep the community safe, which are regularly reviewed and updated in consideration of the Public Health Order prevailing at the time. Please follow our conditions of entry at all times:

  • Face masks are strongly recommended for all patrons while inside our theatres and foyers, including during the performance. Please bring your own mask;
  • As you move around the Opera House, practise physical distancing (1.5 metres whenever possible) and follow the guidance provided by our staff and signage; and
  • Within venues, always take your allocated seat.

Please refer to our updated General Terms and Conditions for Tickets and Attendance at Events for detailed information about our ticketing policies. These conditions may change between the time of purchase and the event date. Ticketholders will be contacted directly regarding any changes to their event.

Please check our plan your visit page prior to attending the Opera House for the most up-to-date information.

Pre-sale and on-sale information

Pre-sale timings:
  • Insider Member Priority – Tuesday 18 October, 9am

General public on sale Wednesday 19 October, 9am

Sunday 4 December  2022

Sunday 4 December, 3:30pm - 4:30pm, followed by a 30 minute panel discussion

Standard tickets from $25 | $8.50 Booking Fee applies per transaction

Ticket Description & price
  All tickets
Standard $25

The only authorised ticket agency for this event is  Sydney Opera House. For more information about Authorised Agencies, see the FAQ below. Children aged 15 years and under must be accompanied at all times. 

The duration of this event is 90 minutes

The performance will be 60 minutes followed by a 30 minute panel discussion.
Event duration is a guide only and may be subject to change.

Recommended for 15+ years

This performance is recommended for young people and adults aged 15+.

Captioned Performance | Pre-show Descriptive Notes

Captioned Performance: Captions are text descriptions that display the session’s dialogue, identify speakers, and describe other relevant sounds that are otherwise inaccessible to people who are d/Deaf or who are Hard of Hearing. During the performance captions will appear on screen for works with lyrics. For the panel discussion captions are available via personal device (mobile or ipad).

Artists with disability take the stage

This concert creates a platform for people with disability at the Opera House, shifting whose stories are being shared, and celebrating the art and practice of those with disability and the unique contribution we provide to the musical and artistic landscape both in Australia and internationally. We shine a light on the perspective that comes from our lived experience, and through this shift, begin a conversation to dispel the myths and practices which have caused our art and stories to be withheld from audiences.

Composer Georgia Scott, Access Consultant Morwenna Collett and flautist and BackStage Music director Lamorna Nightingale have co-curated a program of art music by composers and performers with disability. The program includes music by Georgia Scott, a new multi-media work by film composer Kristin Rule, and performances by Nat Bartsch and Ria Andriani alongside a new electroacoustic work by Rebecca Bracewell which explores the politics of listening and deafness through the sound potential of hearing aids.

 

The venue is wheelchair accessible and close to accessible amenities and a Changing Places facility is available in the main Box Office Foyer. Pre-show descriptive notes and a Visual Story will be available to download from the webpage from 23 November. For any other access-related enquiries please email accessibility@sydneyoperahouse.com.

Captioned Performance: Captions are text descriptions that display the session’s dialogue, identify speakers, and describe other relevant sounds that are otherwise inaccessible to people who are d/Deaf or who are Hard of Hearing. During the performance captions will appear on screen for works with lyrics. For the panel discussion captions are available via personal device (mobile or ipad).

Presented by Sydney Opera House

Meet the Artists

Lamorna Nightingale - Artistic Director and Flute

Lamorna Nightingale is a freelance flautist, concert presenter, educator and publisher who is passionate about the future of art music in Australia. She has many years of experience working in the orchestral sector and is a core member of the new music group, Ensemble Offspring. Lamorna is the Artistic Director of BackStage Music, a concert series in Sydney which fosters a culture for living music. She has recently created a new album of Australian music for flute and electronics with an associated education kit designed to introduce school students to electroacoustic music and contemporary Australian classical composition. Lamorna has also created several pedagogical volumes of repertoire for young flute players through her publishing company ‘Fluteworthy’.

Portrait of Lamorna Nightingale

Georgia Scott - Composer and Curator

Georgia aims to use music to explore topics that may be divisive or difficult to approach using language. Her previous works have focused on aspects of identity and lived experience. Born in Sydney, Australia, Georgia studied for her bachelor’s degree in composition at the Royal College of Music, London, graduating with Honours. She then studied for her Master of Music in Composition at the Sydney Conservatorium of Music where she was supported by the Doris Burnett-Ford Scholarship and was part of the 2018- 2019 Composing Women Program. Georgia has had works premiered in venues such as the National Portrait Gallery, London, Dulwich Picture Gallery, St. Martin-in-the-Fields, National Sawdust, and the Sydney Opera House. In recent years, she has worked with ensembles such as the Sydney Symphony Orchestra, Janáček Philharmonic Orchestra, Moorambilla Voices, Gondwana Junior, the Australian World Orchestra, Flautist Claire Chase, the Sydney Symphony Orchestra Fellows, Melbourne Symphony Orchestra, The Australian Ballet, Orchestra Victoria, West Australian Youth Orchestra and Sydney Chamber Opera. Georgia has also shared her research into the representation of women and disability with students at Harvard and Columbia Universities. 

Portrait of Georgia Scott

Morwenna Collett - Curator and Access Consultant

An accomplished Australian leader with 15 years’ experience in the arts, not-for-profit, government and university sectors, Morwenna has worn the hats of CEO, Board Director, project manager, lecturer, researcher, trainer and advisor. She is a musician and identifies as disabled. As a senior arts consultant specialising in diversity, access and inclusion, Morwenna is working towards a future where everyone has equal access to participate in the arts. She is sought after nationally and internationally for her expertise and works with arts, cultural and screen organisations to help them make positive changes to support the inclusion of people from diverse backgrounds. She makes an impact by producing diversity-related strategies and programming, Disability Action Plans, evaluation & research projects and delivering Disability Inclusion Training. Morwenna is a member of advisory committees with the City of Sydney, Sydney Festival, Perth Festival and Sydney Fringe Festival and is a Board Director of Arts Capital. She was previously the CEO of Accessible Arts and a senior leadership team member of the Australia Council for the Arts. In 2020, she completed a Churchill Fellowship, exploring inclusive music programs, venues and festivals which actively engage disabled people across the USA, UK and Ireland.

Portrait of Morwenna Collett

Ria Andriani - Voice

Ria Andriani is a Braille specialist by day, a musician and writer by night and on weekends. She graduated with Bachelor of Music/ Bachelor of Arts from UNSW in 2015. She now sings as a soprano with various choirs and ensembles in Sydney; she also writes on issues of Accessibility in the Arts, choral music and is a reviewer for fine music websites in Sydney.

Portrait of Ria Andriani

Nat Bartsch - Composer and Piano

Nat Bartsch is a twice-ARIA-nominated Australian pianist and composer who creates lyrical, ethereal work that explores the space between neoclassical, chamber music and jazz genres. Her sound is influenced by Melbourne piano luminaries Luke Howard and Andrea Keller, studies with ECM pianists Tord Gustavsen and Nik Bärtsch, and the indie heroes of her upbringing: Sufjan Stevens, Elbow and Radiohead. She has released seven recordings of original music, toured domestically and internationally, and collaborated with some of Melbourne’s finest artists. Nat has become most well known for her lullabies, which, during early motherhood, saw her translate her gentle aesthetic into music with purpose. Nat created a suite of pieces designed to soothe babies to sleep, but also be meaningfully enjoyable for adults. After interviewing music therapists, she composed a series of pieces incorporating as many of their recommended parameters as possible (tempos similar to a mother’s heartbeat, gentle sounds, simple melodies and harmonies, ostinatos and repetition). Each piece is named after her newborn son’s stage of development at the time. The resulting album, Forever, and No Time At All was released in 2018 on ABC Classic. It is played regularly by many families, but also by people from all walks of life, supporting women in labour, people with mental illness, autism and grief. This album, as well as her 2017 solo debut solo Hometime, were produced by friend and pianist Luke Howard. In 2020, Nat released Forever More, a jazz sextet re-interpretation of her lullabies, which was nominated for an ARIA for Best Jazz Album.  In May 2021 she released her critically acclaimed album Hope, for piano, string quartet and electronics, co-produced again by Howard. Nat received an ARIA nomination again for this release - Best Classical Album.

Portrait of Nat Bartsch

Rebecca Bracewell - Composer

Rebecca Bracewell is a composer and sound artist living in Naarm/Melbourne. Originally trained as a classical accordionist, she began a degree in composition at Monash University in 2018. In 2021, she completed her fourth year Honours, writing a thesis about the creative implications of listening with hearing loss. Like her thesis, her recent work has been about finding ways to use her hearing aids as creative devices. Her debut EP, Raveling Wails, was created using samples of her hearing aid feedback. In 2021, she was selected as one of three fellows to participate in the Bouman Fellowship, resulting in a piece that premiered in the U.S in May. More recently, she was commissioned to develop a piece for the Inventi Ensemble, which premiered in June at the Hawthorn Arts Centre. She is currently developing new work as a resident in Chamber Made’s Little Operations program.

Portrait of Rebecca Bracewell

Ensemble Offspring

Claire Edwardes (percussion), Lamorna Nightingale (flute) and Jason Noble (clarinet) are Sydney’s musical mavericks, uniting the most innovative instrumentalists in Australia with a broad collective of collaborators to explore new ideas through living new music. Led by acclaimed percussionist Claire Edwardes OAM, the ensemble comprises a core line-up of some of Australia’s most esteemed and experienced chamber musicians, championing living composers and creating musical experiences that stimulate the senses and pique curiosity. Ensemble Offspring supports emerging and as-yet-unheard composers, in particular Australian female-identifying and First Nations artists. Ensemble Offspring were awarded the 2019 Sidney Myer Performing Arts Award and the State Luminary Award in the 2021 Art Music Awards for consistently high-quality performances, breadth of repertoire, and commitment to collaboration for 25 years. Committed to subverting the classical music tradition with experiential concerts of living new music across genre, place and art form, Ensemble Offspring are navigating the future with open mindedness, flexibility and joy! 

Portrait of Ensemble Offspring

Molly Joyce - Composer

Composer and performer Molly Joyce was recently deemed one of the “most versatile, prolific and intriguing composers working under the vast new-music dome” by The Washington Post. Her music has additionally been described as “serene power” (New York Times), written to “superb effect” (The Wire), and “unwavering” and “enveloping” (Vulture). Her work is concerned with disability as a creative source. She has an impaired left hand from a previous car accident, and the primary vehicle in her pursuit is her electric vintage toy organ, an instrument she bought on eBay which suits her body and engages her disability on a compositional and performative level. Her debut full-length album, Breaking and Entering, featuring toy organ, voice, and electronic sampling of both sources was released in June 2020 on New Amsterdam Records, and has been praised by New Sounds as “a powerful response to something (namely, physical disability of any kind) that is still too often stigmatized, but that Joyce has used as a creative prompt.” Molly’s creative projects have been presented and commissioned by Carnegie Hall, TEDxMidAtlantic, Hirshhorn Museum and Sculpture Garden, Bang on a Can Marathon, Danspace Project, Americans for the Arts, National Sawdust, Gaudeamus Muziekweek, National Gallery of Art, Classical:NEXT, and featured in outlets such as Pitchfork, Red Bull Radio, WNYC’s New Sounds, and I Care If You Listen. Her compositional works have been commissioned and performed by ensembles including the Vermont, New World, New York Youth, Pittsburgh, Albany, and Milwaukee Symphony Orchestras, as well as the New Juilliard, Decoda, Contemporaneous ensembles, and Harvard Glee Club. Additionally, she has written for publications 21CM, Disability Arts Online, Women in Foreign Policy, and is a member of Americans for the Arts’ Artists Committee.

Portrait of Molly Joyce

Kristin Rule - Composer and Viola

Kristin Rule is a bicycle-riding, nature-loving, cellist, composer & technologist based in the remote Victorian town of Mallacoota.  She graduated from the Victorian College of the Arts majoring in Music Composition in the year 2000 and has since forged a unique pathway in the music industry via her passion for cello, live looping and moving images. Kristin has worked as a film composer on a number of Australian feature-length documentaries and TV series including Araatika - Rise Up (dir Larissa Behrendt), We Don't Need a Map (dir Warwick Thornton), The Scribe (dir Ruth Cullen), Backtrack Boys (dir Cathy Scott), The Beach (dir Warwick Thornton) and The Leadership (dir Ili Baré).  She was co-nominated alongside fellow composer Megan Washington for the AACTA Awards Best Original Score in a Documentary for 'The Beach' (dir Warwick Thornton) in 2022. In early 2018, Kristin sustained a serious left-hand trauma. Over a three-year duration, she had five reconstructive surgeries including bone and multiple tendon grafts.  No longer able to play cello she is currently retraining as a violist, her viola affectionately referred to as her HTC (Hand Therapy Cello).

Portrait of Kristin Rule

Venue Information

The Centre for Creativity will adhere to a maximum capacity of 1 person per two square metres, in line with the current NSW Public Health Order. 

Our foyers will be open 60 minutes pre-show for Joan Sutherland Theatre performances, and two hours pre-show for Western Foyer venue performances. Refreshments will be available for purchase from our theatre bars. Please remember to maintain physical distancing whilst consuming drinks in our foyers.

All Sydney Opera House foyers are pram accessible, with lifts to the main and western foyers. The public lift to all foyers is accessible from the corridor near the escalators on the Lower Concourse and also in the Western Foyer via the corridor on the Ground Level (at the top of the escalators). Pram parking will be available outside the theatres in the Western Foyer consistent with COVID-safe rules.

Transport options

  • We encourage you to use private transport options to minimise crowding on public transport (in line with NSW Government advice). 
  • The Sydney Opera House Car Park, operated by Wilson Parking, is open and available to use. Wilson Parking offer discounted parking if you book ahead. Please see their website for details.
  • Please check the Transport NSW website for the latest advice and information on travel and COVID-19 safety measures. You can catch public transport (bus, train, ferry) to Circular Quay and enjoy a 6 min walk to the Opera House. 

Frequently Asked Questions - Workshops

I have access needs. How can the Opera House support me?

The venue is wheelchair accessible and close to amenities and a Changing Places facility is available in the main Box Office Foyer. Pre-show descriptive notes and social story will be available to download from the webpage from 23 November. For any other access related enquiries please email accessibility@sydneyoperahouse.com.

Captioned Performance: Captions are text descriptions that display the session’s dialogue, identify speakers, and describe other relevant sounds that are otherwise inaccessible to people who are deaf or have hearing loss. Captions available via personal device (mobile or ipad).

What should I bring on the day?

Water bottle and whatever you're most comfortable

What should I wear on the day?

Please wear an outfit you are comfortable to move in.

Frequently Asked Questions - Performance & Venue

What time do I need to arrive before the event?

We advise that you arrive 15 minutes prior to the event. Ticket purchases and collection at our Box Office is discouraged and eTicket or postal delivery methods should be used, wherever possible. However, if you are collecting your tickets from the Box Office, we recommend doing this at least 60 minutes before the event starts.

I have access needs. How can the Opera House support me?

Please advise us upon booking if you have any particular learning or mobility needs for us to support

Who are the authorised ticket sellers for this event? 

The authorised agency for this event is the Sydney Opera House.

Only tickets purchased by authorised agencies should be considered reliable. If you purchase tickets from a non-authorised agency such as Ticketmaster Resale, Viagogo, Ticketbis, eBay, Gumtree, Tickets Australia or any other unauthorised seller, you risk that these tickets are fake, void or have previously been cancelled. RESALE RESTRICTION APPLIES. For more details, please refer to our General Terms and Conditions for Tickets and Attendance at Events.

Where does this event/workshop/installation happen?

The workshop happens in our new Centre for Creativity at the end of the Western foyers, near the entrance to the Drama Theatre

What if I can't come to the event?

Please contact Box Office on 9250 7777 as soon as possible to advise if you can no longer attend. If you can no longer attend because you are unwell, or have been in contact with someone displaying COVID-19 symptoms, the Opera House has introduced flexible ticketing options to help you, find out more information here.

Will there be food and beverages available to be purchased in the venue?

Food and beverages will not be allowed in the Centre for Creativity unless specified in the event. Opera Bar, Opera Kitchen and Portside are also available to purchase food before your event. Please bring a credit or debit card for any on-site purchases to enable contactless payment.

Will there be bag checks, and is cloaking available?

All Sydney Opera House foyers are pram accessible, with lifts to the main and western foyers. The public lift to the foyers is accessible from the corridor near the escalators on the Lower Concourse and also in the Western Foyer via the corridor on the Ground Level (at the top of the escalators). Pram parking will be available outside the theatres in the Western Foyer or as directed by Sydney Opera House staff, adhering to COVID-safe rules.

Can I smoke at the Opera House?

  • The health, safety and wellbeing of everyone at the Sydney Opera House is our top priority. In line with this commitment, the Opera House will become a smoke-free site from Saturday 1 January 2022.
  • By becoming a smoke-free site, the Opera House seeks to reduce exposure to harmful second-hand smoke, as well as minimise the impact of smoking on the environment, including litter and pollution of the surrounding marine environment. 

Frequently Asked Questions - COVID-19 Safety Measures

What safety measures have you implemented?

Nothing is more important to us than the health and safety of everyone on site, and we are closely following NSW Health guidelines and advice. The Sydney Opera House is registered as a COVID Safe business with the NSW Government. For detailed information about our COVID-19 safety measures and what’s required of you when visiting, please see our plan your visit page.

What am I required to do as an audience member?

Bring and wear a mask. Face masks continue to be required for patrons aged 12 years and over while inside our foyers and theatres, including during the performance (unless medically exempt). We highly recommend children aged 11 years and younger wear a mask at all times. Please bring your own mask.

As you move around the Opera House, practise physical distancing (1.5 metres whenever possible) and follow the guidance provided by our staff and signage. 

Within venues, always take your allocated seat.

For detailed information about our COVID-19 safety measures and what’s required of you, please see our plan your visit page.

Do I need to be vaccinated to attend the Opera House? 

Yes. Patrons and visitors aged 16 years and over entering the Opera House building are required to show that they are fully vaccinated against COVID-19, unless medically exempt (under 16s not fully vaccinated must be accompanied by a fully vaccinated adult). This includes visitors and patrons attending a performance or event, taking a tour, or visiting the box office, retail store, bar or restaurant operated within the building (Bennelong and Portside). These requirements do not apply to visitors attending outdoor events or venues on the Lower Concourse, including Opera Bar, Opera Kitchen and the Welcome Centre. Check-in processes will be in place for verifying proof of vaccination upon entry. 

Am I required to wear a mask?

Yes, please bring and wear a mask. Face masks continue to be required for patrons aged 12 years and over while inside our foyers and theatres, including during the performance (unless medically exempt). We highly recommend children aged 11 years and younger wear a mask at all times. Please bring your own mask.

Some members of the community may have issues wearing masks due to health conditions. We ask that you be respectful to others as reasons for not wearing a mask are not always obvious.

How are you managing contact tracing? 

Contact information is required when making a booking with us and upon arrival at the Opera House, as set out in our General Terms and Conditions for Tickets and Attendance at Events and our Customer Privacy Statement.

As the ticket purchaser, you are responsible for recording the contact details of your guests. Contact information will only be used for the purposes of contact tracing, if required, and will be deleted at least 28 days after your event.

Will my temperature be taken? 

In line with current NSW Health advice, we will not be carrying out temperature checks.

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