Therese Milanovic
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Dr. Therese Milanovic

Dame Joan Sutherland Fund recipient, Pianist
Origin: Brisbane
Currently based: Brisbane

Therese Milanovic is in demand in Australia as both performer and teacher. Her passions include contemporary music, collaborations with chamber and vocal accompaniment, and developing her growing expertise in musicians’ health. She is also particularly interested in bringing contemporary classical music to wider audiences through innovative programming and presentations.

Therese graduated from QCGU with a Bachelor of Music (1st class Honours) and a Master of Music, studying with Natasha Vlassenko and Oleg Stepanov.

Who are you as an artist?
I am a performer/pedagogue, who now combines high-level performances with my specialty work teaching the Taubman Approach to piano technique. I am currently certified at Associate Faculty level, and will be teaching for the first time at the Golandsky Institute in Princeton in July this year. Currently I am the only person at this level outside the USA.
What prompted you to come to the US?
I had suffered from playing-related injuries for nearly 10 years, and tried everything. A colleague saw Edna Golandsky conduct a masterclass in the Taubman Approach and insisted I try to work with the Taubman Approach. That was 2003. After resolving the issues causing my injury, I was able to return home and start my Masters, and have never had problems since.
What did your course/project involve?
John Bloomfield conducted nearly 60 hours of private lessons, including to high-level performers, university lecturers, university students, serious aspiring performers, and children. He mainly taught in Brisbane, where he also a presented a weekend workshop which attracted participants from all over Australia, and had the highest attendance for an MTA workshop in Brisbane. He also taught for two days in Sydney. The impact was huge, and many key people were reached. As a result of his visit, two new pianists/teachers were accepted into the Golandsky Institute Professional Training Program, and shortly after I was promoted to Associate Faculty. 
What were the highlights of your experience?
Watching John teach my students, and helping them achieve those "aha" moments of solving issues we had struggled to overcome. Seeing an auditorium packed with people at the workshop, and knowing that I had made this experience happen.
Where did you find inspiration? 
I find inspiration in the music itself, in helping others overcome their technical limitations, pain and injury, and through my continued Taubman study, finding new possibilities in terms of repertoire and expression for myself at the instrument.
What will you take away from this experience?
There is a lot of interest in Australia for future Taubman events, and that more events of this calibre are viable for the future.
What are you currently working on?
I have just completed another huge project of bringing Sophie Till to Australia for the first time to conduct a similar stint of lessons and workshops in the Taubman/Golandsky Approach for Strings.  I am currently preparing for a performance of Messiaen Visions de l'Amen with another former recipient, Sonya Lifschitz, and a national tour with Topology.
What is your vision for the future?
I would like to see many more trained Taubman teachers in Australia, and a greater understanding of healthy pedagogy and the specific issues that can limit one's playing and development.
What advice would you give other artists aspiring to come to the US?
[Interview: 23 May 2014]
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