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Perth Now
5 days ago
- Automotive
- Perth Now
Gridlock nightmare set to hit Perth CBD within months
Perth is set for a real taste of gridlock, with warnings of traffic queues of more than 800 metres in morning peak hour for almost a year. Some CBD traffic bottlenecks are set to get five times worse and could be so choked they face 'operational failure,' spilling over into the entire city road network, with traffic set to be 'beyond saturation' and rated 'F.' The source of the frustration is imminent early construction works on the Perth Convention and Exhibition Centre, set to kick off in October, forcing the closure of Swan River-hugging Birdiya Drive to allow a tunnel to be built and the centre to be extended towards the foreshore, while other surrounding streets will also be closed and key intersections altered. City of Perth staff have warned surrounding streets will be so choked, traffic queues could surge to up to 833 metres and the entire CBD road network will be affected, including choking points at freeway on and off-ramps. The $16.6 million works are early stage preparations for the broader Convention Centre redevelopment, which is yet to be funded. But with other major projects planned within the CBD over the next few years — including the Concert Hall redevelopment, the already delayed changes on Hay Street to make it a two-way stretch, and the Aboriginal Cultural Centre — motorists are set for long-running frustration. The WA Government intends to modify the Spring Street and William Street intersections along Mounts Bay Road, according to council documents. Credit: Supplied The immediate jams are set to aggravate 21,000 motorists each day, and could make some of Perth's most congested intersections even more jammed as motorists are forced to find alternate routes across the city. There are concerns some affected motorists, in seeking an alternate route, will end up on Thomas Street, which is already choked and several of its intersections have already been deemed by Main Roads to be among Perth's 20 most congested. Alongside closing Birdiya Drive for at least eight months, the State Government intends to modify the Spring Street and William Street intersections along Mounts Bay Road, according to council documents. Councillors were also presented with damning figures on the modelling of the closure, giving the level of service of the alternative route of Spring Street the lowest rating of F at both morning and evening peak-hour times, reaching 'beyond saturation' levels. It also predicted Mill Street would be beyond saturation at both peak-hour times. William Street, however, would see a marginal improvement in the evening peak-hour time, dropping below saturation from current levels. The council wants the State Government to complete 'holistic' modelling to show the impact of the planned road closures across the entire city, and have any further planning to mitigate the impact agreed between the two. But city advocates have urged motorists and the broader community to be patient and remember the short-term pain will be worthwhile. New plans for a waterfront precinct have been unveiled today. Credit: Supplied / supplied Committee for Perth chief executive officer Paula Rogers said major projects like the Convention Centre redevelopment would create a 'different energy' and plenty of opportunity for residents, retailers and businesses. 'I think it's very exciting to see the scale of change that is going to transform the city of Perth in the next few years,' she told The Sunday Times. As part of the early works, at the Spring Street and Mounts Bay Road intersection — near Woodside's headquarters — the Government plans a widening and new lanes to increase capacity and improve the traffic flow from the freeway off-ramp. This will eventually include a dedicated freeway access lane. While no changes are yet planned for nearby Mill Street — though busport access could yet be affected — there will be substantial changes at the William Street-Mounts Bay Road intersection, which will be reconfigured to include a second exit lane. Traffic engineers believe traffic will only improve at William Street and Mounts Bay Road, in both morning and evening peak, and only because Birdiya Drive will be closed. Access at Spring St and Mounts Bay Rd is set to collapse to an 'F' rating in both morning and afternoon peak, under modelling by the Convention Centre's traffic consultant and presented in council documents. This rating translates to 'forced flow/breakdown' and is expected to see queues in morning peak balloon from 161m to 833m. In evening peak, queues would more than double from 212m to 546m. Evening peak queues are also expected to triple at Mill Street, from 126m to 420m, and more than double in the morning, from 95m to 196m. The immediate jams are set to aggravate 21,000 motorists each day. Credit: Adobe / Nathan - 'Mill Street intersection will approach operation failure in PM peak without physical changes,' the City of Perth report warns. 'Spring St will become the primary inbound/outbound route for traffic displaced by Birdiya Drive, causing severe congestion with queue lengths increasing fivefold . . . when compared to the current situation.' City of Perth Western Residents president Anna Vanderbom said her group was concerned at the widespread impact, from bus routes to access to hospitals, as well as to people who live in the city. 'There is so much commuting happening and it's going to be putting people's lives at risk,' she said. 'People need to have access to both the northern and the southern aspects of the freeway and not being able to do that from Mounts Bay Road will be huge. 'Even if most of us used public transport, it would still be a nightmare.' Council staff raised concerns about the lack of modelling about the impact across the rest of the road network and about how other State Government projects could also affect traffic, including any changes to the Causeway Bridge for new ferry services and Water Corporation pipeline replacements at Point Fraser and Ozone Reserve in East Perth before the bridge. An artist's impression of the redeveloped Perth Convention and Exhibition Centre. Credit: Supplied The issue was discussed by council as a last-minute urgent agenda item on Tuesday, and was not presented at its usual pre-meeting agenda briefing a week prior. It passed a motion urging greater co-operation from the Government. Residents groups say the rushed nature of getting the information has left them in the dark. 'We're disappointed we weren't consulted or briefed on these plans particularly as they will be in place for at least several months and will have a massive impact on journey times and congestion in our area, adding another layer of complexity to residents' travel routines,' Ms Vanderbom said. 'Not to be consulted on a major traffic impact event is disappointing to say the least. 'Without the benefit of that consultation they haven't got the public behind them.' The State Government and the Committee for Perth urged patience for the end result Minister John Carey. Credit: Justin Benson-Cooper / The West Australian 'I understand we are fast approaching local government elections, but this motion is premature,' said Planning Minister John Carey, the local member. 'The City of Perth will be updated on the project as appropriate and stakeholders will continue to be engaged with throughout the process as design and scoping work occurs. 'Our Government is delivering on a number of ambitious developments that will increase vibrancy in our city, improve amenity for local residents and boost housing supply.' Ms Rogers said she was excited for what was to come. 'Like everything, change also causes frustration, and in terms of if streets have to be closed or access taken away from the citizens of Perth for a period of time, that always causes frustration,' she said. 'I think it's very important that the city and organisations like Committee for Perth work together to communicate, and with Development WA and Main Roads, as much as possible. Because I think frustration comes from not knowing.'
The Guardian
06-08-2025
- Entertainment
- The Guardian
BBCNOW/Venditti review – 20th-century British classics shine at a potent patriotic Prom
In one sense, this stroll along the highways and byways of 20th-century British music was a throwback to an earlier era when Proms audiences were treated to grab bags of the latest popular odds and sods. What made this such a stimulating affair was the juxtaposition of undeniable old masters with works by composers underrepresented in today's concert halls. With the BBC National Orchestra of Wales on top form throughout, helmed by the energetic Italian-Turkish conductor Nil Venditti, there was much here to relish. The staples first, and Vaughan Williams's The Lark Ascending received a poetic and thoroughly idiomatic reading at the hands of Bulgarian violinist Liya Petrova. The orchestra laid the velvet-cushioned groundwork over which Petrova soared with elegant phrasing, silvery tone and exquisitely delivered top notes. An assured account of Britten's Four Sea Interludes from Peter Grimes teemed with atmosphere. Venditti was particularly adept at bringing out the music's underlying menace, though the hectic pace adopted for the Sunday Morning bells episode left musical details muddied by the acoustic. If Walton's Crown Imperial, taken a tad fast, lacked the final ounce of Technicolor chutzpah, Elgar's Enigma Variations was a painterly tour de force, Venditti holding the architectural line despite twice being interrupted by overeager applause. Tempi were ideal, whether depicting the aquatic high jinks of a bulldog in a river or sustaining a breathtakingly controlled build through Nimrod. The rarities – all Proms premieres – were a fascinating if slightly mixed bag. William Mathias's syncopated Dance Overture was a proper crowd-pleaser, the wizardly Welsh composer successfully locating his inner Carmen Miranda. The BBC Singers lent class to a pair of Edwardian part-songs by Samuel Coleridge-Taylor, while his daughter Avril's The Shepherd, a haunting setting of William Blake for male voices and strings, was a fine discovery. Both rather showed up John Rutter's sugar-coated Bird Songs, here receiving its world premiere. Schmaltzy and curiously derivative, they felt dated in a way the older music did not. It was left to Venditti to right the ship with Grace Williams' affecting Elegy for Strings, its gently rocking rhythms and intricate interweaving lines crowned by Lesley Hatfield's heartfelt violin solo. Listen again on BBC Sounds until 12 October. The Proms continue until 13 September
The Herald Scotland
01-06-2025
- Entertainment
- The Herald Scotland
Review: Mike Lovatt's Brass Pack: 'Perth Festival breaks new ground'
Perth Concert Hall PERFORMANCES by youngsters from across Perth and Kinross are always a thread running through Perth Festival of the Arts, but this may have been the first time they have featured in the event's closing concert. The young musicians topped and tailed a festival debut by trumpeter Mike Lovatt's Brass Pack, adding some Marvel and Pixar movie modernity to a programme that majored on Hollywood's earlier Golden Age. Anyone who expected the Brass Pack Cubs opening performance of The Avengers Theme to evoke images of Patrick Macnee and Diana Rigg as John Steed and Emma Peel was living in the past. The nostalgia-fest came later, when Lovatt's unusually-configured ensemble took the stage and he and arranger and conductor Colin Skinner – and later vocalist Anne-Jane Casey – guided us through a programme that included music from My Fair Lady, Kiss Me Kate, Funny Girl and Chinatown amongst others. Informative though their words were, there were possibly rather more of them than the evening really required, even if the concept of Lovatt's band does need some explanation. Derived from a 1958 recording by Billy May, arranger of classic sessions for Frank Sinatra, it eschews saxophones in favour of French horns, tubas and a harp. Skinner – paradoxically a saxophonist himself – has mastered May's musical language with superb versions of Bidin' My Time, Young At Heart and (Love Is) The Tender Trap. Read more Those individual numbers were more successful than the medleys. In the set's opening Hollywood Overture, the scratch horn section, led by the BBC SSO's Lauren Reeve Rawlings, was not the only part of the band that took a while to get its intonation set, and the later John Williams tribute only showcased the Brass Pack's unique sound when it reached the Indiana Jones theme. Casey, for all her seasoned stage confidence, had a couple of lyrical slip-ups too, but dependably hit her stride for Don't Rain on My Parade. The fruit of workshops earlier in the day was the Pixar music, with Randy Newman's Toy Story hit You've Got A Friend In Me at its heart, bringing the professionals and the brass-playing school-pupils together at the evening's end. This was new ground for Lovatt and his team but clearly a direction they relish, and another indication that Perth Festival is heading confidently into the future.
The Courier
22-05-2025
- Entertainment
- The Courier
EXCLUSIVE: Perth Concert Hall needs £3m overhaul in 20th birthday year
Perth Concert Hall needs almost £3 million of taxpayers' money spent on its upkeep. Perth and Kinross councillors have agreed to fund a £2.895m overhaul of the venue. It comes as preparations are under way to celebrate Perth Concert Hall's 20th anniversary later this year. The council says the funding will pay for 'essential maintenance and upgrades'. There are no details of precisely what's required. But a council spokesperson told The Courier the works are needed 'to improve the general condition and energy performance of the building'. They added: 'The initial phase of works will prioritise the roof, heating and air conditioning systems and building fabric improvements.' The steel and glass venue was completed in 2005 at a cost of £12.3m. The new funding package was approved by Perth and Kinross Council's finance and resources committee. The same meeting also agreed to award £75,000 towards celebrations in September to mark the 20th anniversary of the Concert Hall opening. The 125 Live! street party will also commemorate the 125th anniversary of Perth Theatre. The two venues are run by a charity, Horsecross Arts, on behalf of the council. A spokesperson there referred questions back to the council. The Concert Hall was officially opened by the late Queen Elizabeth II in 2005 following a two-year construction project. It has hosted many top acts, as well as political conferences and other large gatherings. And its Gannochy Auditorium is said to be one of the best-sounding halls in Europe. The arrival of the Concert Hall rendered the old Perth City Hall redundant as an events space and it closed. The city centre landmark lay empty for more than a decade and was slated for demolition before it re-opened as Perth Museum after a £27m facelift last March. Councillors were warned in 2021 that Perth Concert Hall and Perth Theatre needed millions of pounds spent on them in order to upgrade 'fairly elderly' equipment and infrastructure. The cost of keeping both premises ventilated was described as 'prohibitively expensive.' A meeting in December 2021 heard: 'Horsecross had not any history of setting aside funds – probably because there wasn't the funds to set aside – for investment in its own internal equipment and infrastructure.'
Winnipeg Free Press
07-05-2025
- Entertainment
- Winnipeg Free Press
‘Not just one of the greats, she's one of the greatest,' Winnipeg Symphony Orchestra's Daniel Raiskin says of retiring concertmaster Gwen Hoebig
When Gwen Hoebig takes the stage at the Centennial Concert Hall this weekend, it will be for the last time as the Winnipeg Symphony Orchestra's concertmaster. After 37 years, the renowned first-chair violinist will be taking a well-earned rest, but not before a pair of shows celebrating her glittering career. Celebrating Gwen Hoebig Centennial Concert Hall • Saturday, 7:30 p.m. • Sunday, 2 p.m. • Tickets $25-$99 at Celebrating Gwen Hoebig Centennial Concert Hall • Saturday, 7:30 p.m. • Sunday, 2 p.m. • Tickets $25-$99 at The program ● Wolfgang Amadeus Mozart's Sinfonia Concertante● Wolfgang Amadeus Mozart's Concerto for Violin, Piano and Orchestra● Claude Debussy's La mer ● Richard Strauss's Till Eulenspiegel To make things extra special, Hoebig will be performing alongside her family: husband and pianist David Moroz; son, violist Alexander (Sasha) Moroz; and daughter, cellist Juliana Moroz. Hoebig will be performing the entire concert, as both orchestral leader and soloist. 'To be in this position, still doing what I'm doing and loving what I'm doing, and being able to share in this way is truly remarkable,' Hoebig says over coffee. Hoebig, 65, is not retiring, to be clear. Her plan, at least as of now, is to take a one-year sabbatical and then return to the orchestra in some capacity. 'I'm hopefully going to stay in the first violin section — if they'll have me. But that's still a work in progress. I'm going to just see how it feels to not go to work on a regular basis. I definitely need a break. Like, I really need a break,' she says. Over the past couple of years, Hoebig has started to feel the physical toll of her job. 'Musicians are also athletes — we are. I've gotten to the point where my neck hurts, my shoulders hurt and I need to work with less intensity. That's really what's led to all of this,' she says. 'I feel kind of bad about it, in many ways. I feel like I'm letting Daniel (Raiskin, the WSO's music director and principal conductor) down, but I need to do this for myself.' MARK RASH PHOTO Daughter Juliana Moroz (left), son Alexander (Sasha) Moroz and husband David Moroz (right) will join Gwen Hoebig onstage. The demands of the role are not just physical. Also called 'first-chair violin,' the concertmaster not only leads the string section and tunes the orchestra, but acts, as Raiskin points out, as the medium between the conductor and the orchestra. 'A great concertmaster is not just a great player and leader and soloist, but also a very finely tuned psychologist, I would say,' he says. The concertmaster sometimes has to navigate high emotions, sometimes conflict, all with the greater good of the whole in mind. 'And I think that Gwen Hoebig is not just one of the greats, she's one of the greatest,' Raiskin says. Hoebig was 27 when she landed the prestigious role of concertmaster for the Winnipeg Symphony Orchestra in 1987. The Vancouver-born violinist had gotten tenure with Orchestre symphonique de Montréal but found she didn't like being in the section. She aspired to a more leadership-type of role. MARK RASH PHOTO Gwen Hoebig is starting a one-year sabbatical and then hopes to return to the WSO in some capacity. At that time, there were three such positions open in all of Canada, in Winnipeg, Calgary and Quebec City. She got her first choice, concertmaster at the WSO, after undergoing a blind audition process in which musicians perform behind a screen so that decisions are based on virtuosity alone. 'I was thrilled I won the job, absolutely thrilled. This is my husband's hometown so I had immediate support here, which was phenomenal,' she says of the Winnipeg-born Moroz, whom she met as a student at the Juilliard School in New York City. Nearly four decades later, Winnipeg and the WSO remain her home. 'I remember being asked by one of the members of our administration at some point what my five-year plan was, and I didn't have an answer,' she says. 'I love my colleagues, I love the orchestral world, and I just have always wanted to do the best I possibly could do. And it's worked out. We've had an amazing life here.' And now, it's the beginning of a new chapter for everyone. Both Sasha and Juliana, now in their 20s, are finishing their master's degrees from Rice University in Houston, Texas. 'They're missing their grad (for this weekend's shows), but that's sort of traditional in our family,' Hoebig says. Turning the page on 37 years, however, isn't easy. When asked if giving up the role of concertmaster to someone else will be hard for her, she answers without hesitation. 'Yes. I mean, this has been what I've done. This has been what I've loved to do. And in a certain way — and I've actually been talking with my family about this — it's been too much of who I am.' MIKE DEAL / FREE PRESS FILES Violinist Gwen Hoebig is stepping down as concertmaster of the Winnipeg Symphony Orchestra after two weekend shows, but she's not retiring. She's excited to explore other interests and creative impulses, to discover who she is beyond 'Gwen Hoebig, concertmaster.' 'It's been too much of my identity. I'm really grateful that I can step back from it. And it's an interesting transition. There's good days and bad days. There's days where I'm like, 'Oh, what am I doing?' But then I also know that, physically, I need to do this,' she says. Hoebig will continue to play the violin, as she has done ever since her father placed one in her hands when she was five years old. She begins every day with scales and arpeggios, and practises regularly. She will also continue to teach. She loves the challenge of working with different personalities — 'because you cannot teach two people the same way,' she says — and figuring out how to draw the best out of them. 'I love working with young people, particularly teenagers. I think it's such a pivotal time in their lives, figuring out what they want to do and inspiring them, and how to get them excited about what they're doing,' she says. Then she has what she calls her 'crazy dream.' 'I don't know if it's going to happen, but making smaller-sized instruments because that's just not done. They're always factory instruments. I don't know if I have the skill set to do that. I don't know if I can develop the skill set to do that, but I could see that being something,' she says. No matter where it takes her, her life will always involve the violin. 'I think the thing that I love the most about it — and it's taken me a long time to get here — is the realization that I can communicate way more easily, on way more of a profound level, through my music-making than I can with words,' she says. 'We are the caretakers for that next generation and the promoters of that next generation. ' –Gwen Hoebig Hoebig is shy, in her own way. She says she's fine talking to people if she knows them; if not, she'd rather stay at the back of the room. 'There is a component to this position (of concertmaster) that has been my weak link, I will say, and that is community relations. That is something that I have not done as well as I wished I could have done,' she says. She's happiest letting her playing do the talking, to let her musicianship speak for itself. But get her talking about the orchestra, her second family, and the pride is obvious. 'The orchestra is really the foundation from which all of our other arts groups function. We play for the opera, we play for the ballet. We are what allows everything to function on a really high level,' she says. 'My colleagues and I, we teach the top students in town. We are the caretakers for that next generation and the promoters of that next generation. We do so much outside of the orchestra, but it's the orchestra that allows us to do the outside work.' Winnipeg Free Press | Newsletter Winnipeg Jets Game Days On Winnipeg Jets game days, hockey writers Mike McIntyre and Ken Wiebe send news, notes and quotes from the morning skate, as well as injury updates and lineup decisions. Arrives a few hours prior to puck drop. Sign up for The Warm-Up Hoebig will be missed by her colleagues, including her good friend Karl Stobbe, who has sat immediately to her left as assistant concertmaster since he joined the orchestra in 1996. Stobbe has been appointed as the WSO's next concertmaster. 'I'm going to miss her great playing, of course, but really, mostly the friendship and the comfort level that we have with each other,' he says. 'The fact that something can happen, and we can look over at each other and know exactly how we both feel about it and what we need to do about it, that's going to be missing.' Hoebig is happy that Stobbe — who also underwent the blind-audition process — will be her successor. 'I'm really, really thrilled with the direction that they're going. I think they have made the very best decision possible,' she says. For his part, Raiskin hopes Hoebig will also miss the WSO enough to come back after her 'greatly deserved' year away. 'I think she still has a lot of years of great music and wisdom and knowledge in her, and it will be invaluable to have her back in the orchestra once again.' — with file from Conrad Sweatman Gratitude for gifts shared To everything there is a season, but for the Winnipeg Symphony Orchestra's long-serving concertmaster Gwen Hoebig, there have been an astonishing 37. Revered as one of Canada's top violinists, the Vancouver-born artist lauded by WSO music director Daniel Raiskin as a 'quiet force' is notably only the fourth concertmaster in the 77-year-old organization's history. She has steadfastly set a standard of excellence since first being appointed to her position in 1987, providing a golden thread of continuity for nearly four decades. During these times of tectonic change, memories abound. I'll personally never forget witnessing Hoebig onstage during the earliest days of the now-Winnipeg New Music Festival, then led by the late, great maestro Bramwell Tovey. Their palpable rapport, mutual respect and sheer joy in making music together — which often included Tovey kibitzing with her onstage — resonated throughout every subsequent festival. MIKE DEAL / FREE PRESS FILES Hoebig has steadfastly set a standard of excellence since first being appointed to her position in 1987, Her solo performances are particularly memorable, including a breathtaking rendition of Vaughan Williams' The Lark Ascending that capped the WSO's Manitoba Remembers: A COVID Elegy in April 2022. Another personal highlight is her equally soulful performance of Peteris Vasks' Lonely Angel at the 2019 new music festival, or Brahms's Double Concerto, performed with her cellist brother, Desmond Hoebig in 2007, among so many others. As an arts journalist, I've been privileged to interview Hoebig numerous times over the last 20 years for various publications, including a large-scale feature for Symphony magazine when the WSO appeared at the 2014 Spring for Music festival, held at New York City's Carnegie Hall. Hoebig was always open when speaking about her beloved WSO — or the two children she shares with pianist husband David Moroz, cellist daughter Juliana Moroz and violist son Alexander (Sasha) Moroz, all joining her onstage this weekend. Even more personally, my family will also forever owe a debt of gratitude to Hoebig for playing an instrumental role in establishing the Neil Harris Bursary, honouring my late father and former Free Press music critic, presented each year in perpetuity through the University of Winnipeg Foundation. Both Hoebig and Tovey so generously gifted us with their artistry as headliners for a fundraiser concert held in November 2006, with the bursary's latest prize awarded to a student in the creative arts just last month. As the orchestra begins its next grand chapter with Karl Stobbe as its newest concertmaster, there is solace in the fact that this great Canadian artist will still continue to perform with the Winnipeg Chamber Music Society. She's also assured she'll be in the house this fall to cheer on the WSO, and may even be back on its stage in due course as a violin section player, seated among the colleagues she has often described as a musical family. Until then, the biggest bravo, and thank you for your sublime artistry, Gwen. You have left a legacy and shall never be forgotten. — Holly Harris Jen Zoratti Columnist Jen Zoratti is a columnist and feature writer working in the Arts & Life department, as well as the author of the weekly newsletter NEXT. A National Newspaper Award finalist for arts and entertainment writing, Jen is a graduate of the Creative Communications program at RRC Polytech and was a music writer before joining the Free Press in 2013. Read more about Jen. Every piece of reporting Jen produces is reviewed by an editing team before it is posted online or published in print – part of the Free Press 's tradition, since 1872, of producing reliable independent journalism. Read more about Free Press 's history and mandate, and learn how our newsroom operates.
