{"id":30099,"date":"2026-02-20T12:46:00","date_gmt":"2026-02-20T01:46:00","guid":{"rendered":"http:\/\/soundslikesydney.com.au\/?p=30099"},"modified":"2026-02-20T12:46:00","modified_gmt":"2026-02-20T01:46:00","slug":"kate-golla-the-pianists-journey","status":"publish","type":"post","link":"https:\/\/soundslikesydney.com.au\/?p=30099","title":{"rendered":"Kate Golla -The Pianist’s Journey"},"content":{"rendered":"\n

Pianist Kate Golla has returned to Sydney to reprise the highly acclaimed Lindy Hume production of Schubert’s ‘A Winter’s Journey’ with tenor Allan Clayton. This is a reprint of our interview with her prior to the 2022 tour of this masterpiece.<\/em><\/p>\n

Like a Formula 1 racing car driver and his pit-stop team or the squad that accompanies an elite tennis player, behind many successful singers, is a powerhouse line-up of near invisible experts who coach the performers in voice, language, drama and a variety of other diverse disciplines, culminating in a consummate performance. One such expert is Sydney-born pianist Kate Golla, now living in London and working as a highly sought-after pianist, repetiteur and vocal coach. She returns to Australia in July for a recital series with the exciting superstar tenor Allan Clayton on tour for Musica Viva. The duo will perform Schubert\u2019s Winterreise<\/em> in a multi-media production directed by Lindy Hume with videographer David Bergman (STC\u2019s The Picture of Dorian Grey<\/em>) animating over-sized digital screens featuring works from the late Australian painter Fred Williams.<\/p>\n

Since moving to the UK in 2014, Golla, the ultimate quiet achiever, has furthered her career with some of the most prestigious companies in the region. She held a 2-year post as a repetiteur with the English National Opera and has performed at the Proms, the Aldeburgh and Edinburgh Festivals. She works regularly with Glyndebourne Festival Opera, the Royal Opera House, English National Opera and the BBC Symphony. In 2018 she performed with the Sydney Symphony Orchestra on their European tour and in Europe she has worked at the Hamburg Staatsoper, Opera de Rouen Normandie, Norwegian National Opera, and with the Orchestre de Chambre de Paris. She is also on the opera coaching staff at the Guildhall School of Music and Drama.<\/p>\n

Golla spoke to SoundsLikeSydney from her home in London, about her life in the UK, on a day off from her work on a new production of La Boh\u00e8me<\/em> at Glyndebourne Festival Opera.<\/p>\n

Graduating in accompaniment from the Sydney Conservatorium of Music, Golla worked as a freelance pianist, repetiteur and chamber musician\u00a0 until 2006 when she was appointed Assistant Chorus Master at Opera Australia. After three years, she joined the music staff of the company.<\/p>\n

Born to musical parents, Golla started piano lessons when she was eight. Her father George, is the legendary jazz guitarist and her mother, a high school music teacher. Still, she was allowed to choose her own path. \u201cThey didn\u2019t want to push me because they wanted to wait and see what I fancied and it turned out I fancied the piano, but not until I was old enough to become interested in it myself.\u201d Golla\u2019s first teacher was Maureen Gray who, recalls Golla, was very strict about teaching her to read music. \u201cI had a good ear for music and so, as a little kid I hated learning to read music because I wanted to play everything \u2018by ear.\u2019 But Maureen was very strict with me and that paid off. \u00a0I soon learnt to read and went to the Conservatorium programme for super-keen young kids and learnt from Elizabeth Powell, who was an extraordinary teacher whom I had for my whole pianistic life.\u201d Along the way, Golla toyed with becoming a clarinetist, eventually switching to studying piano accompaniment and learning from \u2018the amazing\u2019 David Miller. \u201cI was incredibly lucky with my teachers and I love them all without exception\u201d she says. \u201cI also had some wonderful clarinet teachers who were very understanding of the fact that I couldn\u2019t decide between the two instruments for a while.\u201d \u00a0\u00a0<\/p>\n

It’s a testament to her ability that after her tenure at the English National Opera, Golla has maintained a busy career in Europe and the UK as a freelancer. Although there is a video that\u2019s gone viral, of Golla playing for cellist Sheku Kanneh-Mason, her work is mainly in opera. \u201cPlaying for Sheku was a one-off piano rehearsal which is all over the internet because he won the BBC Young Musician Award in 2016. \u00a0I\u2019ve actually only played for him once. Unfortunately, I don\u2019t do much work with instrumentalists and if I do, it\u2019s because of an affiliation with a conductor. Vocal coaching at the Guildhall is something I really enjoy \u2013 it\u2019s a really nice part of my work, which over here, is primarily in opera. \u00a0But through that I am able to do art song and I don\u2019t end up just doing opera. I\u2019m very much looking forward to this tour with Allan because although we\u2019ve done several operas together we\u2019ve never done a song cycle together, so this is a first.\u201d<\/p>\n

Was she ever tempted to become a jazz musician? \u201cIt\u2019s just not my style and I can\u2019t do the improvising stuff\u201d Golla admits. \u201cBut I absolutely love jazz\u201d she enthuses. \u201cIt was around me as a young girl and I love the traditional style of jazz that Dad plays. He doesn\u2019t play professionally anymore, only for his own enjoyment at home. When you have a parent who is excellent at something it\u2019s wise not to go down that route especially if you\u2019re not very good at it, so I took a very traditional path and did my piano grades \u2013 the kind of thing that my Dad never did. He never had formal musical training\u201d she reveals. \u201cHe learnt himself, from mentors and he learnt on the job. I was the opposite and he\u2019s a much better musician than I am and incredibly well-rounded\u201d she claims.<\/p>\n

It was through music that Golla\u2019s parents met. \u201cMum trained classically and she was a pianist of a different kind. I remember her saying that when she was pregnant with me, she was playing in a circus band. She was a \u2018gigging\u2019 pianist; she did nightclubs as well and that\u2019s how she met my father. Life took over, she had me and became an excellent classroom music teacher, teaching HSC music for a very long time. So, we\u2019re three completely different musicians, but they\u2019re both wonderful and I\u2019ve never had to explain to them my life as a musician. They completely understand about living on the other side of the world, the travelling, the strange lifestyle and lack of \u20189 to 5\u2019. I was very lucky that I had never had to explain or justify any of that.\u201d<\/p>\n

Golla works in places that are global centres of excellence and fame. There are abundant highlights in her continuing career and she searches her memory for one, settling on a Late-Night Prom from 2017. \u201cIt was with Anoushka Shankar and an American conductor, Karen Kamensek with whom I\u2019ve done a lot of Philip Glass and who has been very supportive of me. We were joined by the Britten Sinfonia and Anoushka Shankar\u2019s orchestra of Indian musicians. It wasn\u2019t the first time we had blended Indian music with traditional Western music, but it was the first big public thing that I\u2019d done. We played a composition called Passages<\/em> written both by Philip Glass and Anoushka\u2019s father, Ravi Shankar. Two completely different styes of music \u2013 it was amazing working with the Indian musicians and seeing their notation, the way they read music in an utterly different way to how we do. We were all madly counting bars and trying not to get lost and they were just smiling and tapping their toes and looking completely relaxed \u2013 that was really inspiring.\u201d<\/p>\n

\u201cI\u2019m lucky I get to do a lot of travel and I still enjoy that. I know there comes a time when people don\u2019t enjoy the travel, but for me it\u2019s still quite a novelty. It\u2019s not often that I do things that I think are bland. The theatre is a really interesting place to work \u2013 full of crazy characters. Everyone fits in; you don\u2019t have to be any specific person. I never really fitted into any group at school or university and it\u2019s wonderful when you get into career where you can be exactly who you are, all the time and nobody cares. There\u2019s no judgement.\u201d<\/p>\n

Golla nominates conductor Anthony Legge as an important influence in her career. Appointed Assistant Music Director at Opera Australia in January 2009, he persuaded her to move to the UK whilst he kept her position available for her at Opera Australia if she returned. \u201cI took a year off from OA as a sabbatical\u201d she explains. \u201cI needed a change and had itchy feet and he was absolutely right. It was really good for me to be thrown into a much bigger pool and to be way down at the bottom in a totally different environment. If not for him I probably wouldn\u2019t have done it and he is still a colleague and someone I work with quite a lot. People like that are really important on your journey and he really helped me. We do really rely on the generosity of our colleagues like that.\u201d<\/p>\n

Golla will be working at Glyndebourne until mid-June, followed by \u201ca few weeks cramming lots of coaching.\u201d In the meantime, opening on 13 May, Allan Clayton premieres Brett Dean\u2019s riveting opera Hamlet<\/em>, directed by Neil Armfield at New York\u2019s Metropolitan Opera where Australian conductor Nicholas Carter will also make his debut. Clayton takes the role to Budapest in early June, followed by the role of Jim Mahoney in Barrie Kosky\u2019s production of The Rise<\/em> and Fall of the City of Mahagonny<\/em> at the Komische Opera in Berlin. The cast and creatives for Winterreise<\/em> convene in Perth in early July before the national tour commences in mid-July.<\/p>\n

At times, Golla is still incredulous of where she has found herself. \u201cWe all have moments when we suffer a bit from imposter syndrome and I think \u2018What on earth am I doing here?\u2019 I certainly experienced that during early days of coaching when there is a very good student in front of you and you think \u2018What can I possibly tell this person?\u2019 That took me quite a while to get over, but now I\u2019m able to tell myself \u2018Look Kate! There will be one thing<\/em> that you can offer this person that they haven\u2019t thought of before, or just one musical suggestion that might awaken them to other interesting ideas.\u201d<\/p>\n

Shamistha de Soysa for SoundsLikeSydney\u00a9<\/em><\/p>\n

First published on 25 July, 2022<\/p>\n

 <\/p>\n\n\n","protected":false},"excerpt":{"rendered":"

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