© Keith Saunders
“The collaborations of recorder virtuoso Genevieve Lacey are invariably imaginative, creative and engaging, yet her most recent offering has raised the bar, even for Lacey, to stratospheric heights.”
Dylan Henderson Limelight 26 April 2016
“Lacey was mesmerizing. As an improviser she thrives in the moment, within an aesthetic that is closely tied to nature. Her recorder playing had the effect of altering one’s sense of time, slowing it down and attuning the listener to birdcalls, to the burbling of water and to contemplation itself.”
Graham Strahle The Australian 27 April 2016
Pleasure Garden CD
“This latest recording from Genevieve Lacey … is the closest thing to a classical ‘concept album’ that I’ve encountered… The centerpiece of the album seems to be Jacob van Eyck’s Amarilli … In Lacey’s hands it is a work of haunting purity. It returns in varation through the album, and in each rendidition its stillness creates a moment of peace. …Give yourself permission to be transported by the evocative re-telling of this sound-garden … these small works dovetail together to create a magical and enchanging recorder fantasy.”
Sascha Kelly Limelight April 2016
Astra Chamber Music Society
“Guest artist recorder virtuoso Genevieve Lacey demonstrated her extraordinary musicianship and versatility playing both Renaissance and electronic-assisted compositions across a range of instruments from the recorder family. Best of all was Adams Et Døgn – One Day for solo recorders and computer, its quasi didgeridoo opening bass notes leading to complex reiterations of birdsong-like motifs that appeared to echo through an imagined forest in a celebration of nature.”
Martin Duffy The Age 22 October 2012
“Equally important to the production is Genevieve Lacey's haunting live score (played on a variety of instruments, including a gorgeous, sonorous contrabass recorder) ….”
Richard Watts – ArtsHub 17 August 2011
Sligo New Music Festival 2011
“…the recorder virtuoso Genevieve Lacey, performed her solo set with such sensual concentration that the individual pieces she was presenting – almost all specially composed for her – seemed to fuse together as a single work. With pieces such as Fausto Romitelli’s Seascape, and her final improvisation, en masse, Lacey constructed a space in real-time and allowed the audience to drift within it, gently pulling the audience into its depths, guiding our attention to certain obsessively-worked sounds.
The festival closed with a Sunday morning improvised set from Lacey and Ambarchi. Their continuous, softly-spoken playing, moving within clearly defined harmonic limits, was transcendent. With each breath, a long, rich tone. With each tone, increasing affinity with the quality of the sounds. With this affinity, an uncoupling of the mind from the senses”
Garrett Sholdice, Director Ergodos, Journal of Music 11 May 2011
Four Seasons Australian Brandenburg Orchestra
“This was a bravura performance from a consummate artist. Rapid runs and figurations were executed with thrilling agility and astonishing clarity of articulation. In slower movements, her elegant phrasing and finely graded dynamics created moments of hushed intensity.
Throughout, Lacey sustained splendid breath control and refined timbre, radiating burnished warmth on the lower-pitched instruments and gleaming purity from the higher-pitched ones. She tastefully ornamented her solo lines, and her fluttering trills realised the avian character of the first movement of Spring.”
Murray Black, The Australian May 19 2009
Genevieve Lacey is a recorder virtuoso, serial collaborator and artistic director, with a significant recording catalogue and a career as an international soloist.
She’s commissioned and premiered works by composers as diverse as Erkki-Sven Tuur (Estonia), Elena Kats-Chernin (Australia), John Surman (UK), Peter Sculthorpe (Australia), Christian Fennesz (Austria), Ben Frost (Iceland), Paul Grabowsky (Australia) and Nico Muhly (USA). Genevieve also creates large-scale collaborative projects, recent examples including Pleasure Garden (an interactive sound sculpture), 1-Infinity (a music-dance piece with Chinese company Jun Tian Fang and Australian choreographer-director Gideon Obarzanek, 2016-), Life in Music (a 5-part series, written, composed and narrated by Genevieve for ABC Radio National, 2015), Namatjira (a theatre piece, and now a feature documentary film, 2010-17).
Her wide-ranging musical interests have seen her playing for the Queen in Westminster Abbey, representing Australian culture with a performance at the Lindau International Convention of Nobel Laureates, playing as a concerto soloist in the Proms, making music in a prison in remote Western Australia, and at the opening night of the London Jazz Festival. Her repertoire spans ten centuries and collaborators include filmmakers Sophie Raymond and Marc Silver, the Australian Chamber Orchestra, Danish pipe and tabor player Poul Høxbro, playwright-director Scott Rankin, and iconic Australian singer-songwriter Paul Kelly. Genevieve has also performed as soloist with Academy of Ancient Music, English Concert, Concerto Copenhagen, Tapiola and Kymi Sinfonietta, St Petersburg Chamber Orchestra, Korean Symphony Orchestra, Malaysian Philharmonic Orchestra and all the major Australian Symphony Orchestras.
Genevieve has won two ARIAs (Australian Recording Industry Awards), a Helpmann Award, Australia Council, Freedman and Churchill Fellowships and Outstanding Musician, Melbourne Prize for Music. She holds degrees (including a doctorate) in music and English literature from universities in Melbourne, Switzerland and Denmark.
Genevieve is inaugural Artistic Director of FutureMakers, Musica Viva Australia’s artist leadership program, Chair of the Australian Music Centre board, guest curator and artistic advisor to UKARIA
Genevieve Lacey is managed by Graham Pushee: email@example.com
This biography is for general information purposes only and not for publication.
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