Since lockdown began we have produced a weekly online concert featuring our Awardees, or in some cases notable Australians or New Zealanders in the Arts in the UK. The concerts have entertained our Friends and supporters and also provided greatly needed income for the artists. We offer a simple split of the net box office with 80% going directly to the artists, and 20% to the Tait Memorial Trust Emergency Relief Fund for young Australian/New Zealand performing artists resident in the UK* who have lost all their work due to the ongoing pandemic.
Upon buying a ticket you are sent a link to view the recital at any time for a period of 6 months from the first broadcast!
To join the Tait Memorial Trust Email List for information about future events, click here
To those of you who have supported these concerts we can’t thank you enough.
To see the concerts available to view now:
The ‘in conversation’ with Simone Young AM, Leanne Benjamin AM OBE and Steven McRae was first broadcast May 26th and is unique amongst our catalogue of recordings as it is an open conversation between 3 giants from their respective artforms.
The direct link to book is here. You only have a few days left to see it as it goes offline on December 1st.
*At the moment the fund is available only to Tait Awardees and to the artists who performed for us in the Bushfire concert in March. If more money comes in we may be in a position to broaden its scope.
Connor D’Netto was selected by the our sister organisation in Australia, the Tait Performing Arts Association for their 2017/2018 award with funding going towards his continued studies at the Royal College of Music in London. This was presented to him by TPAA President, Isla Baring OAM and Vice President, Diana Murray.
Support the Tait in Australia
Please support us and Join our Friends of the Tait Performing Arts Association.
Become a Friend of the Tait Performing Arts Association, – for an annual subscription of AUD$50.00 you will receive discounts on tickets for TPAA events, as well as an invitation to an exclusive TPAA Friends event. For further information please contact Robyn Hollands email: email@example.com
Individual donations to TPAA are accepted by Pay Pal or cheque.
Please make cheques payable to the Tait Performing Arts Association Inc to:
Tait Performing Arts Association Inc.
P.O Box 2242
Kew Victoria 3101.
We are delighted to announce that the Tait Trust will now support young performing artists from Australia and New Zealand.
This decision is inspired by the work of the Tait Brothers who were instrumental in the development of the Arts in Australasia in the 20th Century as can be seen in the advertisement for J.C.Williamson Limited.
Over the years we have supported several young New Zealander’s due to our partnership with the Joan Sutherland & Richard Bonynge Foundation, Bel Canto Awards, including James Ioelu and Marlena Devoe (pictured here with Australian tenor, Gerard Schneider at our 2014 Tait Winter Prom).
Our wish is to provide financial and mentoring support for outstanding NZ dancers, singers, instrumentalists & composers to develop international careers at the highest level.
We extend a warm invitation to all Kiwi’s living in the United Kingdom who wish to join us to help their talented countrymen. Maybe consider sponsoring an award or contribute towards our Endowment Fund.
For its inaugural show, JGM Gallery is proud to present the first UK exhibition by Australian Aboriginal artist, Kittey Malarvie (b.1939). Founded by Jennifer Guerrini-Maraldi, the new space will deliver a rich programme of exhibitions and events devoted to contemporary Australian Aboriginal art. Kittey Malarvie: Milkwater and Luga is the first in a series of exhibitions that aims to demonstrate the rich potency, symbolism and heritage of Aboriginal art and culture on an international arena.
Launching in March 2017, JGM Gallery is a new space in London dedicated to exhibiting and promoting contemporary Australian Aboriginal art
For its inaugural exhibition, the Gallery will present the first UK exhibition by Indigenous Australian painter, Kittey Malarvie – Kittey Malarvie: Milkwater and Luga runs from 17th March to 22rd April
Malarvie’s richly layered paintings refer to the artist’s deep-seated connection to the landscape and sites of her childhood, as well as a reflection on questions pertaining to identity, memory and displacement
Malarvie’s subtle, abstract paintings reflect the artist’s deep-rooted connection to nature and her work consists of layers of cultural meaning, childhood memories and recollections of family histories. The two series presented at JGM Gallery, Milkwater and Luga, depict the remarkable desert landscape around Sturt Creek, Australia, where the artist spent her childhood, an area that sits between the Great Sandy Desert and Kununurra, Western Australia. At the heart of Malarvie’s practice is an enduring connection to her traditional country and childhood memories as a way of reconnecting with a time before the disruptions to family and cultural traditions that have occurred during her lifetime and throughout Aboriginal history. Painting in a palette of soft earth ochres, including natural pale pinks, black, greys and milky white, Malarvie translates the language of place into energetic gestures of abstraction. Layers of circle motifs in the Luga paintings represent a land that is flooded and dry by turns, leaving behind the patterned ground of luga – the cracked mud across the parched black soil plains of Sturt Creek. The white circles specifically refer to the salt crystals found in the mud and that are believed to have healing powers. Malarvie’s recent Milkwater series, by contrast, is a meditation on the multifaceted play of wind and light on this same area of land in times of flooding, when the water takes on the eerily beautiful colour of milk.
Like many Aboriginal artists, Malarvie works within the iconographic traditions of the desert, deeply in tune with the natural environment and ecology. Herself a healer, Malarvie’s paintings seem to capture not just the elements but also a certain energetic presence within them. Having had her first solo exhibition at the age of 68, these series together also form a visual biography. In her own words, ‘When I paint, I remember my childhood… when we were all together…’, an homage to her late sister.
For the Aboriginal community today, painting – inasmuch as it is a form of traditional mark making with a centuries old existence – retains its communicative function. Dating back 60,000 years, Indigenous Australian culture has consistently used painting for demarcating space, place and body: from paintings of detailed maps in the red sandy soil to ceremonial body painting and decorating traditional objects. In more recent decades, Aboriginal art can be viewed as a re-assertion of identity set within the context of a long and difficult period of colonial dominance and displacement. According to Jennifer Guerrini-Maraldi, Director of JGM Gallery, ‘Aboriginal artists are custodians of a different aspect of the earth – they have intellectual copyright for a pattern which has symbolic meaning… and a spirituality that is uplifting’.
A fully illustrated catalogue of the exhibition has been published with a newly commissioned text by award-winning poet and journalist Olivia Cole.
For further press information please contact Anya Harrison at Kallaway PR
Based in Battersea, JGM Gallery is London’s only dedicated space for contemporary Indigenous Australian art. JGM Gallery aims to establish a greater awareness of Aboriginal art in the UK and internationally. The Gallery works only with registered Aboriginal owned art centres across the whole of Australia, ensuring that works are ethically sourced and that local communities directly benefit.
Located in the heart of Battersea, JGM Gallery is set to become one of the cultural markers of the neighbourhood, which is already home to the Royal College of Art, Battersea Arts Centre and Battersea Power Station.
Kittey Malarvie was born at the Brockman gold mine near Halls Creek, Western Australia. Malarvie travelled with her family to the East Kimberley township of Kununurra in the early 1970s where she first learned boab carving and artefact making with her parents. She turned to painting in 2006, having first assisted the late Rover Thomas (c. 1926-1998) and Billy Thomas (b. c. 1920). She works through one of the earliest Aboriginal art centres in the region. Her works are included in international collections at the Nevada Museum of Art, the National Gallery of Australia Collection and the Government of Western Australia.
About JGM Art
We (my husband, Count Filippo Guerrini Maraldi and I) have been building our own art collection including Australian Aboriginal art, for more than 20 years .
Following my career as a journalist in London, I transformed my passion for fine art into my business. JGM ART has been exhibiting and selling the best art from Aboriginal Communities across remote Australia for a decade. I have been dealing privately from No 1 Battersea Square, (our uber contemporary home – a modern apartment with views across London and the Thames) as well as showing Aboriginal art in Milan Italy, USA and the most prestigious art fairs in London, including Masterpiece Fair, an annual highlight of the London calendar each June.
We are so excited about the launch of our new Gallery which is beautifully situated next door to the Royal College of Art, Sackler school of Painting.
The RCA are siting their entire London Campus in Battersea, and opposite our new gallery will be their newest development, designed by award winning architects Herzog de Meuron.
It is going to be a serendipity to be situated bang in the middle of the RCA and some of the most revered young creatives today.
Donation to the Australian Charity Art Auction
JGM Art has entered a painting for donation to the Charity Art Auction by Kaye Bush from Mornington Island. Kaye painted with the late Sally Gabori. The work is 91 x 61 cm.
The live auction will take place at Australia House on the 28th February. More info here
It is with great sadness The Tait Trust announces the death of Sir Neville Marriner last night. He was a personal friend of John Amis and his first wife Diana and his second wife Molly and their son Clarinetist Andrew Marriner.
Sir Neville Marriner CH, CBE
“It was a life of music making of the highest quality that gave pleasure to many. And if he excelled in the lighter classic on the whole, he could on the occasion dig deep ; he recorded a thrilling Eroica symphony , his Metamorphoses challenges Klemperer and Karajan in his emotional depth, and his set of the Handel Concerto Grossos is still the most satisfying in the catalogue” John Amis 2013 We send our deepest condolences to the Marriner family at the loss of such a great man.
We send our deepest condolences to the Marriner family at the loss of such a great man.
John Amis writes: Not exactly the Algonquin, but a pleasant, cheap and not nasty eating place next door to the old Mercury theatre in Notting Hill Gate, west London, was where a handful of musos met most days for lunch in the 40s and 50s. Neville was there with his first wife, Diana, the broadcaster Antony Hopkins and the soprano Alison Purves, the violinists Alan Loveday (soloist and leader of the Academy), Olive Zorian (the quartet leader, the leader of Benjamin Britten’s orchestra, and my wife), and sometimes Neville’s teacher and guru, the great Albert Sammons. Talk at lunch was funny and gossipy. Neville was sharp-edged, a good driver, a handyman, nifty at tennis, always lucky and good at cards. With the horn player Barry Tuckwell and clarinettist Gervase de Peyer, Neville (as principal second violin) was one of the new generation of players in the London Symphony Orchestra. They were too brilliant and reliable to get the sack, but they must have got near dismissal at times because they dared to challenge conductors.
During the war the Martin String Quartet, led by David Martin with Neville as its second violinist, had gigged for the Council for the Encouragement of Music and the Arts, playing in some places that had never had concerts.It was a great moment for the quartet to be invited to play in the Aldeburgh Festival. Britten requested them to play a favourite quartet of his, the Verdi. This quartet has a finale that begins with a fugue, led by the second violin. Just before going on stage David said: “Now Neville, for God’s sake, don’t start off the fugue too fast.” Neville responded by beginning the fugue too slowly by half. Britten was not best pleased. On marrying Diana, who became a bookseller specialising in incunabula, Neville found himself living in the G&T belt, sometimes finding that he was the only one not wearing an old school tie. Then came the request from his friend John Churchill to give a recital at St Martin in the Fields. He found that several of his string-playing friends had received a similar request. They all had to refuse because, straight our of college, they had not enough repertoire. Then Neville had the bright idea of them combining to make a tiny orchestra, where they would concentrate on
Then Neville had the bright idea of them combining to make a tiny orchestra, where they would concentrate on not-too-demanding music of the 18th century – ice-cream composers, Neville called them: Corelli, Torelli, Albicastro, Vivaldi. Thus the Academy was born. Fast forward to the new century. Neville’s hair had at last gone white, still playing a good game of tennis in his 80s in the garden court of the cottage on the Dorset-Devon border where he lived with his second wife, Molly.
A good cook, a quick packer and a voracious reader, she shaped his career, managed his life and was good at social affairs. Neville no longer directed the Academy but had dates as a conductor, sometimes in three continents in as many weeks. It was a life of music-making of the highest quality that gave pleasure to many. And if he excelled in the lighter classics on the whole, he could on occasion dig deep: he recorded a thrilling Eroica symphony, his Metamorphosen challenges Klemperer and Karajan in its emotional depth; and his set of the Handel Concerto Grossos is still the most satisfying in the catalogue.
•Neville Marriner, conductor and violinist, born 15 April 1924; died 2 October 2016
AUSTRALIA PIANO QUARTET
(Rebecca Chan, violin; Daniel de Borah, piano; Thomas Rann, cello; James Wannan, viola)
Thursday 15 September 2016 at 1:00PM
MOZART: Piano Quartet in E flat K.452 (after Quintet for piano & winds)
BRAHMS: Piano Quartet in C minor Op. 60
‘Intellectually and musically vigorous’ – Sydney Morning Herald
‘Chamber playing of the highest order’ – Limelight Magazine
The Australia Piano Quartet, Ensemble in Residence at the University of Technology Sydney, performs concert series at the Sydney Opera House and Melbourne Recital Centre, as well as international tours throughout Europe and Asia. Following their London debut in 2015, the APQ returns to the UK, China, France and Italy in 2016.
In addition to the canonical masterpieces, the ensemble is committed to unearthing neglected works. They have commissioned piano quartets from Australian composers, including Elliott Gyger, Elena Kats-Chernin, Paul Dean and William Barton and have been broadcast on Foxtel Arts, ABC Classic FM and BBC Radio 3. In 2017, the ensemble will release their first disc, Mozart’s complete works for piano quartet.
In 2014 The Tait Memorial Trust in collaboration with Tait Patron Leanne Benjamin AM OBE launched new ballet awards for young Australian dancers studying in the UK.
The first recipient, Josephine Frick, was presented with her award at a Tait Friends event at Australia House on Tuesday 14th October 2014 as a contribution to her fees at The Royal Ballet School.
Now in its second year the Trust are delighted to announce the 2015 recipients of The Leanne Benjamin Awards
Rebecca Blenkinsop – The Royal Ballet School, John Frost Award
Rebecca is 16 years old and is from Melbourne, Australia. She started dancing at the age of 10 years and at the age of 11 was accepted into the dance programme at the Victoria College of the Arts Secondary School in Melbourne. At the age of 13 Rebecca began to develop a passion for ballet and
for the last three years has studied Cecchetti. She recently completed her final examination of ‘Advanced 2’ with a score of 100%.
At the age of 14 Rebecca won the State Silver Medal Award section, and also the National Lucie Saranova Silver section for her Cecchetti. Later that year Rebecca won a bursary to compete in the Cecchetti International Ballet Competition in United States of America. Whilst one of the youngest
competitors, Rebecca received second prize and was recognized as ‘The Most Promising Dancer’.
Rebecca’s Cecchetti success continued this year when she won the National Lucie Saranova Gold Medal section. In January she was also delighted to be a finalist in the prestigious Prix De Lausanne in Switzerland where Mr Powney first saw her.
Rebecca had the opportunity to perform the role of a child ballerina with Victoria Opera, in their production of ‘La Traviata’. She was also cast in several lead roles in her school productions, her most memorable being a ballet work of Opus 47 choreographed by English born dancer Jonathan Taylor. Rebecca has received her ballet training from some amazing ballet teachers over the last few years, three of whom trained at The Royal Ballet School. Rebecca feels honoured to have been selected to attend The Royal Ballet School and looks forward to receiving what she considers to be the best available teaching and the opportunity to train with exceptionally talented students.
Chloe Hollow – The English National ballet School, Peggy Haim Award
Chloe started training at the age of four she studied all types of dance. She has been studying full time ballet since 2013 with Janine McGrath Classical Coaching Australia and has been studying both Cecchetti and RAD ballet syllabus over the past 10 years.
Chloe has been a member of Byron Ballet since she was seven years old where she has been in many productions leading up to become a leading artist. She also has been a full company member of Brisbane City Youth Ballet where she has been selected as a soloist and principle dancer.
Some recent highlights include:
2014 Australian Bursary winner, selected to represent Australia in the Cecchetti International Ballet Competition held in Richmond Virginia USA held in August, selected as a finalist and awarded a scholarship to Boston Ballet six week summer program for 2015.
Selected for The Queensland Ballet Junior Program 3 for 2015.
2014 Runner-up in the Australian Institute of Classical Dance International Ballet Competition (performed La Bayadere 1st Shade)
Selected soloist for the Youth America Grand Prix Finals held in New York in April 2015. Offered various places.
2015 Alana Haines Australasian Awards awarded a scholarship to Queensland Ballet Senior Program for two weeks.
2015 Auditioned for schools in the UK and Europe receiving acceptance in various schools.
Offered a half scholarship from English National Ballet School which she has proudly accepted. Starting with ENBS in September 2015.
Chloe is now studying at English National Ballet School in Level One.
Below is a letter from Waynne Kwon about his 1st year at the Royal Northern College of Music. Waynne is the inaugural Higgin’s Scholar. A new award generously funded by the Higgins family. The award is£5,000 per annum for 3 years.
We look forward to hearing about his 2nd year and ultimately follow the development of his professional career.
If you would like to talk to us about creating a new scholarship for a young Australian who wishes to study in the UK please contact our Chairman, Isla Baring OAM on 0207 351 0561 Please click this link for our Friends page to learn more about ways that you can help us to support another talented young artist.
“My first year as an undergraduate at the Royal Northern College of Music was full of learning and wonderful new experiences. I am very privileged to be studying under Hannah Roberts, a wonderful cellist and musician. Every week I receive an hour long lesson with her, and then also have a four hour cello class. During cello class, four of her eight students perform a piece to the class and then Hannah helps us improve and enhance all aspects of cello playing and music making. The college manages to prepare students for their future as musicians by covering all aspects of music learning and making.
There are lectures and tutorials on music history and theory, and we also have musicianship classes to train our aural and improvisational skills. Last year I had the pleasure to play for many world renowned cellists and musicians. I was privileged enough to have masterclasses with Miklos Perenyi and Ralph Kirshbaum. I was also able to attend non cello related masterclasses given by Nobuko Imai, James Ehnes, Stephen Hough and Henk Guittart and listen to concerts given by Kathryn Stott and James Ehnes to name a few. The continuous amount of quality musical figures that give masterclasses at the college continues this year. I will be performing for Rebecca Gilliver (Principal Cello of LSO) and Istvan Vardai (winner of the Munich ARD Competition) in two weeks’ time.
The number of competitions I entered last year was limited as I wanted to improve myself further. However, I managed to see good results in the two competitions I participated in. I was a finalist in the Concerto Competition at college where I played all three movements of the Schumann Cello concerto. I was also awarded the Junior Prize in the Raphael Sommer Cello Scholarship that was held in London. During the summer holiday I was able to return back to Sydney and relax with family and friends. I managed to give numerous concerts during the three month break.
The college has been very generous towards me since my audition day back in December 2013. Last year I was on a £16,000 entrance scholarship along with a loan of their wonderful Ruggieri cello made in 1694 for the duration of my studies. This year I have been awarded the Haworth Trust Fund, where they have provided me with a full £17,900 bursary and an extra £3,000 pounds to help relieve the rise in accommodation fees at the Sir Charles Groves Halls of Residence.
I often find myself reflecting on how lucky and privileged I truly am to be where I am now. I just want to thank you for the generosity you have shown towards me. Without your help and support I really would not be able to study in the UK at a very prestigious music college where I can further challenge and improve myself as a musician. I know you are very, very busy, but I hope to have the pleasure in meeting you very soon.
Monday 2nd November, 2015 Tickets: £50 Venue: Victoria (full address provided on booking)
Australian tenor Stuart Skelton, the 2014 Male Singer of the Year for the International Opera Awards, will give a public Masterclass with recent Opera Awards Foundation Bursary recipients.
This will not only be a fascinating insight into the art of singing, it’s also a great opportunity to support aspiring operatic talent, as all proceeds go directly to the Opera Awards Foundation. The event will be preceded by a drinks reception and there will be a chance afterwards to mingle with the artists.
Online booking will be available soon but you can secure your place now by calling us on 0207 104 2008 to book.
Applicants must be:
o Australian citizens
o or domiciled in Australia
o and be under the age of 35
The completed official application form must be accompanied by the following:
CD (DVD/VHS video in the case of dancers)
Photocopy of passport or other official document (proof of age, nationality/residence)
Curriculum Vitae (typewritten if possible)
Two written references from musicians/artists of standing
Please take the time to read the FAQ below.
Applications for Music must reach the Trust Office by the closing date of 27th March 2015 Music Application
Applications for Dance must reach the Trust Office by the closing date of 01 September 2015 Dance Appication
Share completed application with us via our Dropbox.com account firstname.lastname@example.org
If you would like notification that the application has been received please include the request with your application folder.
FAQ for Music Applications
To send your application online please share with us at email@example.com all of your relevant documents Dropbox folder. Please clearly label each file ie Biography, Track names, Photo etc. Please try and stick to standard formats for your recordings ie mp3 is preferable or provide links to Soundcloud or YouTube
In most cases the grant is paid directly to you in the UK or in the case of Ballet awards directly to the relevant institutions. We ask that Awardees submit a brief report to the Trustees at the end of the year.
As of 2013, with the creation of the new Tait Scholar award at the Royal College of Music, we do fund directly to the institution. For 2015 please do inform us on your application if you wish to also be considered for this award.
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