Australian violinist and artistic director of the Central Coast’s Crossroads Chamber Music Festival, Madeleine Easton was among the privileged few who played at Westminster Abbey to celebrate the King’s coronation. Now back home, Madeleine talks to the Central Coast Conservatorium of Music’s Geraldine Cardozo about the “utterly joyful”  occasion and what it was like rubbing shoulders with musicians, celebrities and dignitaries from around the world.

What did you perform at the Coronation? 

I performed as part of the English Baroque Soloists and Monteverdi Choir. We performed 4 pieces just before the ceremony begun. Those were the opening Chorus of J.S. Bach’s ‘Magnificat’, the opening chorus of J.S. Bach’s Christmas Oratorio, cantata no.5, the opening chorus of J.S Bach’s cantata BWV 190 ‘Singet dem Herrn’, and Bruckner’s ‘Ecce sacerdos magnus’.

How did it feel performing in Westminster Abbey at such an historic occasion?

It is literally impossible to find the right words to describe the feeling of performing at such an important occasion. First of all though, it was a feeling of pure joy. The celebration of it all was palpable. We were all so happy for King Charles and so honoured to be included, very overawed at the sheer amount of people watching us from around the World with the \World’s media right there, plus all the heads of state, the royals from other countries, the dignitaries and celebrities. 

It was very daunting, but overall completely and utterly joyful. I’ve never experienced happiness in that way before! It was a happiness generated by being part of such a wonderful team, where every single performer gave it everything they had, their complete technical skill and dedication, passion and enthusiasm. That collectively lifted us and produced an electrifying and moving performance. Fit for a King!

What was the most memorable part of the experience for you? 

It was all memorable; the sleepless nights beforehand, the early starts, the crazy security getting into the Abbey compound, the amazing people in all their finery and regalia walking around doing their bit, the warming up, the getting dressed, walking out and thinking oh wow it’s really happening! The sheer joy of playing, then later, watching the King process in and be crowned. Then reflecting that you were actually there! Part of it all. I was on an incredible high for a long time afterwards!!

How did it feel being included alongside the likes of Bryn Terfel, Sir Andrew Lloyd Webber and other musical luminaries?

It was just amazing. And I know that the incredible musicians you have just mentioned would have felt part of the same team that we did. It was an occasion where even if you were the soloist, or part of a larger ensemble, you were part of it! We were all there in it together, to celebrate and crown the King. We all became one in a way. 

Did you have a favourite piece of music from the ceremony?

Hmm that’s a tricky one. I loved our Bach of course! How can you beat that? However I loved the rest of the music in the ceremony. It was incredibly well chosen and very effective. The brass fanfares were amazing, and when Zadok the Priest began, I just thought, wow how can you not be utterly moved by that?

What did you enjoy most about the ceremony itself?

The music was definitely the aspect I loved most. It was almost like the music transcended the occasion itself. When music is that good and in such beautiful surroundings, it lifts and exults everyone and everything. The history of the event cannot be overstated, and yes, was indeed one of my absolute favourite things. 

Who did you meet over there?

I met Kathy Lette, the hilariously wonderful Australian author, Adam Hills from The Last Leg, Sam Kerr our brilliant Aussie soccer star, Lianne Richardson, the former prima ballerina of the Royal Ballet, Nick Cave from the Bad Seeds, Yvonne Kenny, the opera star, our Governor General, our High Commissioner Stephen Smith, our PM Anthony Albanese and his delightful partner Jodie… oh and one more person, Sir David Attenborough. 

Were there any logistical/technical difficulties?

The main difficulty was trying to fit into the space allocated for us. We had to perform in-between the choir stalls just before the altar. It is a relatively narrow space, but was measured forensically beforehand so we were able to recreate the space in a hall elsewhere in London to rehearse. There was a crack team of five stage managers there to help us during the big tech run and dress rehearsals, so it was actually all incredibly well organised and no one was uncomfortable or not able to do their very best. 

What next for you (including Crossroads of course!)

Well, it’s back into life teaching and performing for me. I will be putting in the practice preparing for my next Bach Akademie Australia  concert where I’ll be performing the complete solo sonatas and partitas of Bach over three evenings. I’m performing Beethoven’s triple Concerto with the Woollahra Symphony with Phillip Shovk and Rachel Wu, then conducting a Charpentier Mass with the Conservatorium High School, then very much looking forward to launching our 2023 Crossroads Festival of Chamber Music right here on the Central Coast! Life is full and fun and always inspiring. 

About Madeleine

Madeleine Easton is the founder of Bach Akademie Australia and Artistic Director of Crossroads Festival of Chamber Music, held annually on the Central Coast in partnership with the Central Coast Conservatorium of Music.