Photo: Dean Golja
Mary Finsterer is recognised as one of Australia's most original composers. Her work has received considerable international recognition and 'brims with energy, invention and much aural imagination.' (Herbot Culot, 2004).
Having completed her Bachelor of Music degree at the University of Melbourne in 1987, Finsterer traveled to Amsterdam to study with Louis Andriessen in 1993 as recipient of the Royal Netherlands Government Award. She then completed a Master of Music degree with Prof. Brenton Broadstock at the University of Melbourne in 1995, and a Doctor of Philosophy degree in 2003.
Finsterer has been a lecturer at universities around the world including the University of Montreal (Canada), Dusquene University (Pittsburgh, USA), Den haag Conservatory (The Netherlands), University of Wollongong, Victorian College of the Arts. She has lectured in composition at the Conservatorium of NSW, University of Sydney, since becoming a resident of Sydney in 2003, and at the Australian Film Television and Radio School since 2005.
Finsterer's work has received numerous awards including the Albert H. Maggs Award, Alfred S. Bequest, 'Let's Celebrate Oz Music' ABC Award 1989 and Le Nouvel Ensemble Moderne's Forum 91. In 1992 she won the Paris Rostrum Prize and 'Music Lives!' in Pittsburgh. In that same year she was composer in residence with Sydney Symphony Orchestra. In 1998 she received the Australia Council Composer Fellowship.
Mary Finsterer has represented Australia in numerous World Music Days festivals - Zurich 1991, Essen 1995, Manchester 1998 and Zagreb 2005 - and received the prestigious award to compose for Ensemble Intercontemporain and IRCAM in 2001. Other performances of her work have taken place throughout Europe, Canada, USA and Australia by leading ensembles including the Melbourne, Sydney, Queensland, Tasmanian and Western Australia Symphony Orchestras, Australian Chamber Orchestra, Het Trio, Ensemble Modern, Le Nouvel Ensemble Moderne, Pittsburgh New Music Ensemble, Asko Ensemble, Ictus Ensemble and the Arditti String Quartet.
In the last few years Finsterer has become increasingly involved in film, composing written scores and electroacoustic soundscapes as part of multimedia events for the Zagreb Biennale in 1999 and 2005; for Le Nouvel Ensemble Moderne performing at the Adelaide Festival and at Strasbourg and Montreal in 2000, for Ensemble Intercontemporain and IRCAM performing at the George Pompidou Centre in Paris 2001, and the acclaimed Ictus Ensemble for performance in Lille and Brussels 2004.
In 2006 she received a Churchill Fellowship for her continuing work in multimedia and was made an Honorary Research Fellow at the Australian Film, Television and Radio School in 2009.
Since 2007 Finsterer has completed a body of work that includes major orchestral work for the Dutch ensemble ASKO│Schönberg in association with Tura Music, a violin duo for the acclaimed soloists Natsuko Yoshimoto and James Cuddeford, a string quartet for the Goldner Quartet, a chamber work for the Sydney Soloists and a number of works for her composer in residence position at the Campbelltown Performing Arts Centre for 2009.
Her orchestral fanfare Afmaeli, was the opening piece for the 70th Birthday celebrations of world-renowned composer Louis Andriessen at the Holland Festival in 2009. In the same year Finsterer was the winner of the Paul Lowin Orchestral Prize for her new work premiered by ASKO│Schönberg in Amsterdam,In Praise of Darkness.
Finsterer now divides her time between compositions for the concert stage and the world of film music. South Solitary, written and directed by Shirley Barrett, is Finsterer's first feature film, the music of which has been released on the CD label, ABC Classics / Universal.
She is presently composing an opera, Biographica, for the Song Company.
Mary Finsterer — current to April 2011
Review by Alistair Noble
Opening this week as part of the Sydney Festival, Mary Finsterer’s new opera Biographica presents a satisfying opportunity to hear some splendid performers (in what, by some measures, might be considered to be Australia’s leading opera company) presenting a major new work by one of our finest living composers.
Like Elliott Gyger, whose first opera Fly Away Peter was heard in Sydney and Melbourne during 2016, Finsterer has come to the writing of opera in mid-career. Indeed, she has written very little vocal music of any kind since the 1980s, so Biographica represents a new turn for her in several respects—as vocal music, as a theatre work, and as a large-scale piece. The duration is an interesting new development as many of Finsterer’s best-known works are relatively short, while the only piece longer than 30 minutes in her published catalogue prior to Biographica was the sound-track for Shirley Barrett’s film South Solitary.
So, it would seem logical that Finsterer’s approach to composing a large-form (90-minute) opera would be informed by her experience as a composer for cinema. This does seem to be the case, and Biographica benefits from a cinematic sense of timing—but also, more importantly, from the composer’s filmic skill with pulling focus. Her strong musical personality is such that it easily takes the foreground—indeed this arresting quality has always been a key characteristic of Finsterer’s work. But here she shows a deep, 3-dimensional capacity for shifting the musical material to the middle-ground of the theatrical experience, and even at times to the full background, thus allowing space for the subtlety of a dramatic moment or gesture to be seen and felt by the audience.
Biographica is a staged meditation on the life and work of Gerolamo Cardano (1501-1576), a Renaissance polymath whose abilities and life-story make someone like Leonardo Da Vinci seem rather dull. In many ways, Cardano’s legacy is much more important—while Da Vinci left us the Mona Lisa, Cardano’s intellectual legacy (to mention just a few things) includes pioneering work on mathematical probability, theories of how to win at card games, and designs for complex universal joints that are still used today in your car. When it came to gambling, Cardano was known to be a violent player; he always set out to win by applying his mathematical theories, so card-swapping interference from old-style cheats sent him into a rage—one imagines because they upset his calculations even more than his finances.
And then there was his personal life… hell’s bells. To say that Cardano had a dysfunctional family would be a kindly euphemism. His biography begins with an illegitimate conception and his mother’s failed attempts at abortion (she is played here by Jane Sheldon). It goes downhill from there, and in the opera we witness a few select low-lights: his beloved eldest son (Simon Lobelson) was executed for poisoning his own wife; his second son (Andrew Goodwin) ended in prison for theft (but not before Cardano Sr. cut his ear off); his daughter (Jessica O’Donoghue) died of syphilis… one sad case the master physician could not cure.
How does one present a tale like this in operatic form? How does one compose an opera at all in the 21st century? The answer, as discovered by Finsterer, is in a carefully designed set of twelve tableaux, and a main character who does not sing. The part of Cardano is played by the actor Mitchell Butel with sincerity and gravity. Here is a man of towering genius, misdirected passions, and personal tragedy… yet in the end his passing is radiant. Opera, of course, was a historicist art-form from the beginning (developed in the years just following Cardano’s own lifetime) in its concerns with reinventing a lost theatrical sensibility of some imagined golden age, and in the use of historical or mythological tales as a thinly veiled means for engaging with contemporary issues. So, while it was always concerned with the past, it has never been about the past. This deep reflection on Cardano’s work and life is really about us… you and I and our magnificent, disturbing world.
To some extent, Biographica is also a more universal reflection on the relation of work to life. Cardano’s personal life is sensational in a tabloid sense, but ultimately his intellectual work is surely more important. Or maybe not? Can we separate work from life, and if so, how? As a consulting doctor to a dying archbishop, Cardano delivers a lecture on hygiene, arguing that the man himself does not require treatment, “…it is the room around him that must be cured!”. This and other insights grew from his belief in the inter-connectedness of things. The heavenly bodies, he noted, drag entire oceans in their wake as they dance through space. How could they fail to exert an equally overwhelming influence upon tiny creatures like us?
In the music for Biographica, Finsterer re-processes Renaissance musical language but not simply as pastiche, this is something more profound… and in fact the composer has been working on this opera for quite a few years, developing her thinking about this musical world through several ‘satellite’ pieces (to borrow Larry Sitsky’s phrase), such as Angelus (a 2015 trio for clarinet, cello and piano) and Silva (a concerto for percussion and ensemble composed in 2012). In these pieces, we find Renaissance materials (melodic, harmonic, and gestural) filtered through a 21st century sensibility and technique.
How does a non-tonal composer assimilate diatonic and triadic materials meaningfully? This is not as simple a question as it sounds, and I suspect that it is in this area that the composer has made full and effective use of the several years spent developing this work. At the same time, we now notice through the filter of Biographica that intervals of 3rds (perhaps especially minor 3rds) have always been strongly present in Finsterer’s music, even in her more abstract pieces of the 1990s—as also is a tendency to build music structures around drone-like pedal points and long-held centric tones. Both of these have been made to serve as points of linkage for the incorporation of the Renaissance-inspired materials. In terms of orchestration, Finsterer is a composer who has always used extended playing techniques fluently as very natural sonorities alongside more conventional sounds, they never seem like mere effects in her music. The score for Biographica is full of lovely colours, both dramatic and subtle. The result is captivating, intelligent, and theatrically powerful.
The libretto by Tom Wright is complex and subtly nuanced, with layered textures that are an effective way to present some of the complexity of the stories and characters. The text spoken by Cardano (Mitchell Butel) is strong and offers a fine vehicle for the actor. Jane Sheldon is consistently excellent as Cardano’s mother, the special instrument of her higher register used to great effect. The omni-talented Jessica O’Donoghue (a wonderful pop singer-songwriter as well as classical performer) finds an elegant awkwardness for the tragic daughter of Cardano. One hopes to see more of her on the opera stage in future. The splendid mezzo-soprano Anna Fraser almost steals the show, both in the sense of her wonderful lower register playing a crucial part in Finsterer’s ensemble writing, and also in that her aria (tragi-comically sung as she takes a pause in dying from poison) somehow forms the dark heart of the opera, like the black hole at the centre of a galaxy.
The production is poetic, creative, and effective. Directed by Janice Muller (with support from Danielle Maas as Assistant Director), the staging is minimalist but with dark depths and surprising angles, making full use of the huge floor-space at Carriageworks. Designer Charles Davis has succeeded in creating a Renaissance effect, without the over-blown sense of a historical drama… it’s subtle enough to be almost a taste, or a philosophy, rather than a mere representation. The performance is gorgeously lit (by Matt Cox)—and the few moments in the later scenes where the lighting seems less convincing coincide with moments where a little dramatic momentum is lost generally (such as in scenes 10 and 11, and the transition to the final scene, ‘Day of Death’), suggesting that some additional rehearsal time might have been useful.
Opera is in its very nature a collaborative art-form, and this performance of Biographica is certainly the result of a very impressive and imaginative team-effort. Unlike a film or a play, however, this is a staged work that very clearly could only have been conceived by a composer, and in this sense it seems fair to give the final tribute to Mary Finsterer. Biographica is a beautiful, haunting and thought-provoking work from an important composer of our time.
Music composed by Mary Finsterer
Libretto by Tom Wright
Sydney Chamber Opera in association with Ensemble Offspring.
Carriageworks, 7-9 & 11-13 January 2017
Review by Alistair Noble