Do you have any fun facts to share about the oboe?

Incredibly complicated instruments - the mechanism is so touchy and needs a complete expert specialising in double reeds - but luckily, I married one of the best!!

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Trio Henri is named after the hard working, early romantic composer and oboist Henri Brod. In what way did he improve the oboe’s mechanism?

Brod was a fascinating guy- extremely active and full of new ideas, he must have been a great player too. As an oboe player in the prestigious Paris Opera and teaching at the Paris Conservatoire  he improved the keywork system by adding octave keys and inventing the ‘half hole’ mechanism for over blowing the first octave, still in use today. 

Among his other innovations were creating the baritone oboe and musette (very rare high oboe) which he did with his brother, having inherited the tools of a previous famous instrument maker. He worked so hard, he seems to have worked himself to an early death at the age of 40. 

Brod wrote studies which are also still in use today, and this Trio op.5 is the earliest known double reed trio: therefore our Trio name does pay homage to this dedicated, hardworking pioneer. 

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Have you had any humorous or unpredictable moments whilst performing in a concert?

Yes lots. In a thirty year career, many unpredictable things have occurred, many on live TV. One involved my colleague’s oboe cracking at the Proms in the Royal Albert Hall - so he instantly used mine - that, by itself, is manageable, but then left me trying to transpose a very tricky piece of Martinu third oboe solo up a fifth, on cor anglais…on live television. 

And the another was during the opening of the Welsh National Assembly, when I was heavily pregnant with first child, had to answer the urgent call of nature during the live show, so I tried to discreetly leave the stage while 8 months pregnant - and straight into a live TV presenter spotlight.

 

But the biggest unexpected moment was in Adelaide recently, from the audience, sitting next to Michael Ierace, was about to enjoy my former orchestra play a live broadcast on ABC, when there was a slight delay. 

 

Much gesturing from colleagues on stage, an instant entrance of the orchestral manager into the Town Hall- dragged me totally unexpectedly around the hall, gave me my ex pupil’s cor anglais, and forced me onstage to play an Elgar Symphony (and while wearing red).. . I still haven’t recovered, to be honest. Talk about shock! 

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Can you share some insights into  your personal journey with colour and sound synaesthesia and how it is expressed through musical performance?

Synaesthesia has been with me since I was a child, it’s always been the same colours with the same notes or harmonies, and I like to focus on them to help my intonation - as for me the colours are stronger when it’s in tune. Synesthesia is accompanied by very strong emotion- it’s an overload experience at times and is linked to ADHD. I’m easily affected by sensory overload - eg I really can’t do strobe lighting, it makes me feel sick and rehearsing in a room with drilling if there are builders nearby, is a nightmare - but it’s generally a beautiful experience that I love. I try to get in flow, as a FlowState is when the colours really appear. 

 

For three years I ran a primary schools show with Música viva in Schools called Colours of Home about synaesthesia - improvising with electric guitar. I loved it (and so did the kids!!) so now I’ve expanded it into an improvising quartet of oboe, flugel horn, electric guitar and cello called Collectif: Arc en Ciel. We just released our first, full improvised album. It takes a lot of nerve, skill and inspiration for four independent musicians to improvise a coherent harmony live- it’s such fun- very difficult but also full of synaesthesia- as my brain is surprised it reacts very vividly- I love that experience. 

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What do you enjoy most about chamber music and performing with Trio Henri?

Referring to answer above- chamber music is less overload (no cymbal clashes exploding in your mind, for example!!) - every part is audible and intimate- individual notes matter, can be controlled, whereas in an orchestra your contribution is submerged into a whole. As a beautifully balanced ensemble, Trio Henri is always a pleasure- good to see these double reed instruments in the spotlight because it’s something I believe in strongly. As a kid violinist, I knew nothing about double reeds, their mysterious keys, water, squeaks and reed knives always fascinated me - so it’s great to have these two related instruments in full view on stage. Playing with Michael, and with our guest artist Ben or original Trio Henri bassoonist Mark Gaydon, is always a pleasure. The repertoire is all such fun!

 

Interview conducted by Catherine Barnett (BAMF Committee) February 2026

 

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