Leanne Puttick is a busy woman.
To us, she’s the West Australian Symphony Orchestra’s music librarian who works day in, day out in the WASO library at the back of Perth Concert Hall’s admin offices. But outside of her day job with WASO, Leanne is a talented musician, composer, and – most recently – conductor. She is currently a West Australian Opera ‘Young Artist’ and last year, she landed her first major conducting role in WAO’s opera The Nightingale, based on the story by Hans Christian Anderson.
We had a chat with Leanne about her role with WASO, what inspired her to start conducting, and some other musical bits and bobs!
West Australian Opera’s season of The Nightingale, 2020.
Photo by James Rogers.
You have such an impressive variety of musical skills and knowledge! What first sparked your interest in music?
I’ve always been interested in music since I was a little girl. I spent a lot of my early childhood years sitting at my grandfather’s piano, just smashing the keys and trying to make some sort of melody out of them. I think Janet Jackson played a big part in my love for music too, my dad says I used to belt her out in the car, word for word, on the way to day-care.
For those who don’t know what a ‘music librarian’ is, what are the key responsibilities of your role with WASO? What does a typical workday look like for you?
The role of a music librarian just keeps growing larger and larger as we branch out into the digital road, and I can confidently say that this is one of the reasons why there is no ‘typical day’ for a music librarian who works for an orchestra anymore!
But my role first and foremost is to prepare the music prior to the first rehearsal. This includes sourcing the music, clearing licenses, researching copyright conditions surrounding more recent works, preparing a budget forecast, and then more hands on, liaising with the conductors, concert masters and ballet and opera companies about any specific preparations that need to be made to the music, such as cuts and bowings.
My library duties also extend beyond the orchestra and into other departments of the company as well, such as working with Artistic Planning, Marketing and Education, and Community Engagement. It’s a job that keeps me on my toes.
Leanne in WASO's music library.
Of WASO’s remaining 2021 season, which concert program is your favourite?
I really can’t hone in on any one ‘favourite concert’ coming up. The wonderful thing about music is that it’s so broad in its styles and genres, there is something out there for everyone. There are also so many factors that contribute to a great performance. But I’m really looking forward to Brahms’ German Requiem, Landscape and Wonder, and Asher Fisch, Mozart and Bruckner. I think these three concerts are going to be absolutely phenomenal.
Describe the moment that you felt the proudest of your career in music.
Definitely last year when I conducted Raminsh’s The Nightingale. It was my first major debut as a conductor, and I had worked so closely with the chorus, the director, the soloists, and with the score in the lead up. I had developed my own special relationship with this opera. The entire process of preparing for that moment was a critical time of growth for me as a conductor but also as a musician. And because of that experience I’ve made great strides in my development as a musician and understanding of my craft.
You’ve been playing and writing music since you were a child. What inspired you to start conducting?
I had just returned from spending four weeks in Vienna, Austria in an intensive summer film composition course with literal Hollywood legends, and had fallen in love with conducting while there. I had a case of the post-travel blues as well as having come back to one of the most isolated countries in the world, especially when it came to the arts.
I was ushering at His Majesty’s Theatre one day, it was during the WA Ballet’s The Great Gatsby, and there were two conductors for this season. I spotted Maestro Myron Romanul sitting in dress circle taking notes of that particular performance and decided that I would buy him coffee and convince him to let me hang around him. So I spent the whole performance trying to figure out what to say, and at the end of the performance, I walked up to him, still on the job, incredibly nervous and introduced myself. He was so kind, gave me his phone number and an hour of his time. And by the end of that coffee he agreed to let me shadow him. And that was the beginning of my journey into conducting.
Leanne and award-winning composer John Lunn preparing for the Downton Abbey concert in Baden, Austria, 2019.
Photo by Gorka Orteiza.
You’re hosting a dinner party and you can invite any three musicians and/or composers of your choice, dead or alive. Who’s on your guest list?
Berlioz, Verdi, and Mozart. I’d be really keen to see how those three would get along after a few drinks.
Which song is your guilty pleasure?
It changes. But currently it’s Red Hot by Motley Crue.
Aside from music, do you have any hobbies or special interests?
I have many. Maybe too many. But my current hobbies that I’m focused on in include cooking and reading about different ideologies and philosophies.
Follow Leanne on Instagram to stay up-to-date with her musical adventures!
Want to check out Leanne’s WASO concert recommendations? Find tickets and more information for each event below:
Brahms’ German Requiem | Friday 25 & Saturday 26 June, 7:30pm
Landscape and Wonder | Friday 5 November, 7:30pm
Asher Fisch, Mozart and Bruckner | Friday 3 & Saturday 4 December, 7:30pm
