Article in the Goa Messenger, Goa : Wednesday, 19 September 2012


Vishnu Wagh Appeals To Goan Youth To Seize Opportunity

Kala Academy chairman Vishnu Wagh announced a unique initiate to identify and promote young Goan talent in association with Lorraine Music Academy and LAMP Trust, Gurgaon, through the LAMP-iCongo Karma Veer Chakra for Music contest.

The contest will be held in four categories: Patriotic / national music (group, duet or solo), Gospel music (group, duet or solo), Folk music (group, duet or solo) and Pop / Rock or Bollywood music (Band, duet or solo).
The organizers have set out 3 Simple Steps to participate: 1. Sing a Song in any of the above 4 categories. 2. Shoot upload your performance on YouTube. 3. Submit your contest entry on

The award date is 26 November 2012 and last date for entries 31 October 2012. All entries received on or after 1 November 2012 will be considered for 2013 Awards.

After a screening, evaluation and selection process set by MERCER and implemented by GRANT THORNTON, the finalists / selected participants would be invited to New Delhi for the annual performance and award event on 26th November of each year, the day we adopted our constitutional pledge as a REPUBLIC and Indian Citizens in 1949, according to a press handout.

The above initiatives forms a part of the Music & Art Festival in aid of LAMP Trust – aimed at raising awareness and resources to set up the LAMP World Cultural Centre in Gurgaon, National Capital Region of Delhi, to promote the Arts – Performing Art, Visual Art, Literary Art. LAMP also endeavours to make resources available to the poor towards skill & talent development, training & basic education in the under-served communities across India through its network of institutional partners.

The Lorraine Music Academy and Kala Academy have appealed to all music lovers to take this opportunity to participate in the contest and bring laurels to Goa.

Fasten your seat belts… your aircraft pilot might just be drunk

Aileen Carneiro

If you are seated in an aircraft and find your co-passenger all jittery, then it’s probably not due to turbulence in the air. It could be because your neighbour has read reports of how from January 2009 to November 2010, 57 pilots were found drunk during preflight tests in India out of which only 11 lost their jobs! Your neighbour has every reason to be nervous coz one of those pilots could be flying you around… Yes, that’s true and now that you have fastened your seat belt, you can read what other frequent fliers have to say: “It’s like going on a suicide flight! I guess, now we have to extend the Don’t Drink and Drive slogan to Don’t Drink and Fly!” exclaimed hip hop artist, Saurabh Som.

Quite alarmed by the scary news, student Aloka Desa freaked out. “Think of the passengers’ safety. If you’re flying with an Indian airline, you ought to be apprehensive. The whole journey would be nerve wrecking,” she said. There are some who feel it’s safer to travel by road than air now. “At least if you’re travelling by road, you can do something to save yourself. But, there’s no chance of surviving in the sky, if, God forbid, there’s going to be a crash, thanks to a drunk pilot!” said DJ Donabelle Zuzarte, sarcastically.

But there are some brave-hearts left, like Fabian de Souza, Governor of football academy Goa United. “When I fly I’m never scared. An accident or death is inevitable. It can happen if you’re flying with a sober pilot as well,” he said. But that doesn’t mean he is ready to forgive those who risk the lives of so many passengers. “The authorities have to take action against them. There is a huge risk involved, here,” he said.

Others like Aubrey Aloysius, MD of a music academy, has many questions to ask the authorities and to the pilot, that is, if he’s… err…  sober. “If, in a span of 24 months, 57 pilots were found reporting for duty, drunk, why was it that only 11 lost their jobs, while the rest got away with it? What if, according to the number of pilots found drunk, we had two crashes a month? Where would this leave India as a global tourist destination? How many flights does a pilot fly per month?” Aubrey might have to wait for his questions to be answered but for now, take our advice: Next time you board a flight , instead of just admiring that air hostess, listen or if possible, take down the instructions she’s giving you on how to save yourself if, God forbid, there’s a crash! Bon Voyage!

He sees music everywhere

Lisa Monteiro is entranced by the musical aura surrounding Israeli musician Tal Kravitz. Brought down to Goa by the Lorraine Music Academy, Kravitz promises to play 8 (out of 97 musical instruments he can play) at his concert at Kala Academy tomorrow.

Lorraine Aloysius on the jhumpa and Kravitz on the guitar

Tal Kravitz blowing into two bottles filled to make music

One minute he’s sitting there at the lunch table, all prim and proper, nibbling on his salad, the next minute he’s cutting up a straw, rolling a piece of paper and filling an empty beer bottle with water. And then heads turn. There’s the music coming from?

Trust Israeli musician Tal Kravitz to create music where it is least expected and without a single conventional musical instrument in sight. But that’s just him.

It’s difficult to believe that at the age of 7 he was declared unfit to pursue music, by a professional music counsellor. He was crestfallen. But as a child with his heart set on music, he decided to turn a deaf ear to what the counselor had to say.

It took one year to build up his courage. He spent every night of the next three years creeping out of the children’s section of the Kibbutz Ramat Hakovesh (a community of 700 people), where he lived (two hours away from Nazareth), and sneaking into the music room to play on the community piano.

The two doors created a gap, small enough for him to fit in. In the pitch dark he would search for the right notes to Israeli classics and let his ear lead him on.

Why did he do it? He recites a phrase in Spanish to explain his reasons. “If a singer shuts his voice then life itself will be shut, since life is worth nothing without song.”

Then one day when he was 12, he got caught. At the small court session held especially to decide how to punish him, among the many charges the community members levied against him, was that he ‘caused the gap in the door to the piano room to grow together with him’.

To add to his misery, vodka bottles were stored in the same music room. That was enough to set the community members speculating about his intentions.

Kravitz remembers the meeting like it was only yesterday. “One elderly lady then got up and said, ‘why are you assuming these things. Let the boy play’”.

And he was let scott free, not before being declared the personal pianist of the choir. But that was years ago. Post that incident, Kravitz went on to study at the Israeli Music Conservatory. He studied the violin and the double bass. Later, after he served in the army, he embarked upon a personal search for original tribal music which took him to far corners of the world.

Why this search for tribal music? “Because tribal music is natural and connected to the earth with no external influence,” he explains.

His aim was to go to places as far, remote and unique as possible and to reach where nobody has reached.

Once he went to the border of Kenya and Ethiopia in East Africa. He walked for three days to get to a community in the desert. He relates his experience and his findings.

“People live up to the age of 35 on an average there. They have never tasted salt or sugar. I handed a child a chocolate and he spat it out. They grind millets for food and their diet is devoid of nutrition. As a result a 35-year old looks like an 80-year old. The people there don’t die from hunger, they die from old age. They had never seen a white person before and the children began began crying because they thought I was a ghost.”

East Africa and Papua New Guinea are some of the places he’s reached, photographing the indigenous tribes’ lifestyles and recording their music as it was sung and played for thousands of years. Kravitz uses this material to advocate for ethno-musicological research of societies whose traditions and music are in danger of extinction.

It is experiences like this that keeps Kravitz alive. He also conducts workshops for children, inculcating a love for music in them and teaching them to make musical instruments.

At the concert in Kala Academy tomorrow that is free and open to the public, Kravitz accompanied by Lorraine Fiona Aloysius on the Steinway piano will play folk songs from Israel and India.

Lorraine will perform an Israeli classic ‘Hayu Laylot’ and Kravitz will stun the audience with a Bollywood item song. The duo is also working on a Konkani classic for the special evening.

Kravitz will play ‘Ave Maria’ on a musical saw and swears that will sound like a dramatic opera singer. He will play the flute using his nose, the guitar, the bagpipe, the Mashrukitah, an ancient biblical flute played at the Holy Temple and the Adongo, an African percussion instrument among others.

One of the highlights of the evening will be when Kravitz will play a instrument without even touching it. He refuses to disclose its name. And no, it’s not a wind instrument.

Kravitz plays 97 musical instruments including the harp, a variety of bagpipes and African percussion instruments among others. During his 11 years on the stage, he has given about 1,500 performances, lectures and workshops.

What advice does he have for children starting out in music? “Never play an instrument that you don’t like. And never play when you are forced to do so. It is very wrong to play by force. Plus if everybody played music then there would be no one to listen and appreciate,” he believes.

Watch out for his performance in Goa at 6:30pm at Kala Academy.


Kala Academy Goa welcomes the Lorraine Music Academy and their debut concert

“If music be the food of love, play on” begins Shakespeare’s “Twelfth Night”, originally performed twelve days after Christmas. The Lorraine Music Academy Concert in association with Kala Academy Goa on January 4, ten days after Christmas, evoked the atmosphere of the soirees that Schubert and Mendelssohn used to have at their homes – an informal evening of friends coming together to become one with music, of sharing a love. The artists: Falli Pavri (piano), Naomi Boole-Masterson (cello) from Scotland and Lorraine Fiona Aloysius (piano) communicated their love for the music they so aptly selected and for discovering the joy in music making. 

Aubrey Aloysius, with his warm relaxed voice and personality, generated a cosy family feeling with his simple narrative of the origins and philosophy of the Lorraine Academy. Fiona meeting up with her school principal, who first nurtured her musical talent and and had flown down to be with her that night, and the two kids of Fali and Naomi walking across the stage as they played the encore "Swan" that Fali mentioned was their children’s favourite – these were touching moments. They personalised the evening.

Usually concerts begin with larger works and wind the evening down with lighter works, shorter pieces, encores. Pandit Ravi Shankar had great success in inverting the order – beginning with light-hearted, easily accessible or familiar short pieces before progressing to the more demanding pieces. This concert worked up a taste for music by guiding the audience through the Beethoven variations on “Judas Macabeus”, delectably played by the husband and wife duo, Fali Pavri and Naomi Boole-Masterson, the soaring Rachmaninoff “Vocalise”, a song without words, given a rich-toned, lyrical performance by them and two ever popular Chopin Waltzes that went straight to the heart through loving performances by Fali.

Field, relatively unknown, with close affinity to Chopin, and Schumann’s “Traumerei” demonstrated the calibre of Lorraine: an artist totally in love with her music and her instrument. I am sure Fiona’s students would feel inspired to see her on the concert stage. If our teachers in Goa performed more often in concert settings, sharing their love for music making as well as the concert platform with their students, they would learn to live the music rather than concentrate on examination pieces, grades and certificates.

Compelled to leave very reluctantly, I asked Vijayan Almeida, a music lover and teacher, to provide feedback on the rest of the concert. The inclusion of Ginastera’s “Argentinian Dances” which showed Fali in top form on the piano and the Martinu “Variations on a Slovakian theme” showcasing exciting duo playing, widened the musical palette while retaining the liveliness of music appreciation and enjoyment.

The concert before the intermission generated an appreciation of the “rich heritage of world music” that the Lorraine Academy seeks to revive and spread. The audience returned to experience two very different three movement works.

Vijayan’s favorite was a composition by John Mayer from Kolkata. “Prabandha” was structured around passages of an Indian classical recital. In the hands of Fali, the piano amazingly brought out the rhythmic complexity of the tabla in the first movement, “Tihai”, and the sound of the drone strings of the sitar while providing brisk rhythmic accompaniment in “Jhalla”, the second movement. We were privileged to hear "live" the pianist featured in the premiere recording of the work on the Guild label. Vijayan comments that Indian classical music is a great way to teach students of western classical music the subtlety of melody that cannot be written on a sheet.

I am sure the Brahms sonata too was exciting though more demanding. But they had prepared the audience to be receptive to serious music. That was the nature of the excellent programming of the evening: a shared progressive journey into music.

The stage is always the best classroom.  What is the point of learning music if we do not find JOY in performing and sharing it? It was disappointing that so few people grabbed the opportunity of sharing the love of great music in performance. Specially as the cost of entry was so affordable: FREE! And particularly disheartening was the conspicuous absence of our young musicians. The Lorraine Music Academy believes in “empowering children and adults to discover their hidden musical talents” and in “touching lives through music”. Where were the young talents of Goa this evening?


Gurgaon-based music professionals Lorraine Fiona and Aubrey Aloysius are wholly convinced that music education needs to be fully integrated into K-12 education for the holistic development of children. To enable this symphony as also to teach world music, they moved from Mumbai seven years ago to Gurgaon, the new satellite city of Delhi where they promoted the Lorraine Music Academy (est. 2005).

“Music education is important for the optimal development of the human mind. In early childhood, linguistic ability is developed by a child listening to sounds in the immediate environment. Later in life an individual can develop advanced learning skills and linguistic ability by listening to music. Moreover written music is based upon the principles of mathematical progression. That’s why most great scientists, mathematicians and artists including Leonardo da Vinci, Albert Einstein and Galileo among others were great music aficionados. It’s now well-established by research studies that the development of musical learning ability to the creative right side of the human brain supplements development of the logical left side. Music melds and harmonises the two sides of the brain.,” says Aubrey Aloysius, a commerce graduate of Mumbai University, former International Banker with Canara Bank and currently the Promoter-Director of LMA and business advisor to the well-known Delhi-based law firm Titus & Co.

While Aubrey Aloysius is the left brain of LMA managing the business operations of this ambitious enterprise, the creative teaching-learning initiatives of the academy are the preserve of Lorraine Fiona Aloysius who was raised in a music-soaked family environment. Lorraine who started playing piano at the age of 8, was awarded the Licentiate of the Trinity College of London even as she acquired a Masters degree in banking & finance from Mumbai University.

“I began my career as a lecturer at Mumbai’s Narsee Monjee, Raheja & Hinduja colleges. After a long stint in the Corporate world during which I worked closely with my husband Aubrey, I realized my passion for music was greater and I was inspired by God to pursue a career in music,” says Lorraine.

The duo’s seriousness of intent is testified by their relocation from Mumbai to Delhi in 2004. “Since our objective is to promote a fully-fledged university of music, we felt that setting up base in the national capital region would help as far as clearances, grants, procedures etc are concerned. Besides north India is unexplored territory for Western music,” says Aubrey.

Starting their ambitious venture from a studio in their home in Gurgaon, today LMA run two centres in Gurgaon with an aggregate enrolment of 250 students learning western music in their after-school hours and on weekends. “We plan to expand to ten centres in the next six months, some of which will be located in south Delhi and some in schools which have invited us. We offer a UK-based curriculum which enables children to develop their musical talents on the piano, violin, drums, guitar, etc. Our objective is to propagate music not just as an extra-curricular activity but as an integral component of holistic education,” adds Lorraine.

The summit of ambition of this cheerfully optimistic duo is to establish a university of music to evolve a new genre of fusion music which will be universally acceptable. “I know it sounds a bit far-fetched. But you need to remember that within two decades India has emerged from obscurity to become an IT industry super-power. I believe we have a glorious cultural tradition which can replicate the IT miracle in music,” says Aubrey Aloysius.

Wind beneath your wings!

Autar Nehru


A review by Dr. Luis Dias (Physician, Musician, Writer, Photographer, Wild-life enthusiast, History buff)

Fali Pavri, piano
Naomi Boole-Masterson, cello
Lorraine Fiona Aloysius, piano

The Hanukkah (“Dedication”) festival commemorates the restoration of the temple of Jerusalem for Jewish worship in 165 BC by the great warrior Judas Maccabeus. His valour in battle supposedly earned him his surname (maqqaba is Aramaic for sledgehammer). Handel chose the setting of this momentous battle for his opera Judas Maccabeus, shrewdly using this biblical tale as an allegory for the recent victory of the English forces led by the Duke of Cumberland (labelled Butcher Cumberland in Scottish lore) over the Jacobite uprising of the Scots rallying around Bonnie Prince Charles, at Culloden in 1746. The rousing catchy chorus from the opera, “See the Conqu’ring hero comes” became the inspiration to Beethoven (a great Handel admirer) for a set of twelve variations for cello and piano (G major, WoO 45). It was interesting therefore that Scottish cellist Naomi Boole-Masterson should choose this particular work to open her concert at the Kala Academy on 4 January 2010, with husband Fali Pavri as accompanist.

Boole-Masterson’s ability to reach the emotional core of the work was well-evident here. The husband-wife team make for a very successful chamber collaboration. She was elegantly supported by Pavri, who instinctively took full advantage of the piano’s colouristic possibilities, especially with Beethoven’s generous writing for the instrument, and got out of the way as the cello line frequently took centre-stage.

Pavri then daintily tossed off two Chopin waltzes (the Minute in D flat major Op. 64, no. 1; and in E minor) in short order. While not meant to be danced to, Pavri ensured that the spirit of dance permeated right through his rendering, full of life and sparkle.

Boole-Masterson returned to perform a cello favourite, Rachmaninov’s Vocalise. Originally intended for voice as a Song without Words, and sung using a single vowel of the singer’s choosing, it has seen many reincarnations thereafter. The version for cello and piano is arranged by Wolfram Huschke. Boole-Masterson’s sonorous tone “sang” beautifully in this seductive melody, vintage Rachmaninov in its suggestion of nostalgia, lament and yearning.

This was followed by the appearance of Lorraine Fiona Aloysius, to play John Field’s Nocturne in B flat major. She had a tough act to follow, on the heels of two master musicians, and she acquitted herself admirably. John Field is considered father of the nocturne, and Lorraine balanced the chromatically decorated melody in the right hand over an undulating line in the left hand, with good pedal control. In the Schumann however, (the familiar Träumerei fromKinderszenen (Scenes from Childhood)), there seemed to be excessive recourse to rubato. Conductor Alan Hazeldine used to say that proper use of rubato, should require that one robs Peter, in order to pay Paul. In this instance, while Peter was robbed frequently, Paul didn’t get paid as scrupulously.

Pavri returned to play Danzas Argentinas, a set of three dances written by Argentinian composer Alberto Ginastera during his nationalist period, and heavily inspired by Bartok. The work is awash with coded musical nationalist idioms, employing as it does Argentine dance rhythms and melodies, vernacular harmonies, and idiomatic guitar writing. The first dance (Danza del viejo boyero,Dance of the old herdsman), in the rhythm of the gaucho dance, the malambo, is remarkable for the fact that while the right hand plays only white notes, the left hand only black. It ends with the “guitar chord” ie the notes of the open guitar strings in standard tuning (E-A-D-G-B-E). Danza de la moza donosa (Dance of the beautiful maiden) begins languidly, in 6/8 time, turns expansive, evocative of the vast pampas plains, before settling back to where it began, albeit transformed. Danza del gaucho matrero (Dance of the arrogant cowboy), taken by Pavri furiosamente and salvaggio (wild) just as prescribed, rounded off the trio of pieces. The composition is a showcase for pianistic sensitivity and pyrotechnics, and Pavri displayed both in equal measure.

Czech composer Bohuslav Martinů featured next on the programme, with his “Variations on a Slovakian theme” for cello and piano, a work crammed with charm and insouciant wit that the duo brought to the fore with great aplomb.

The three movements (Tihai, Jhalla, and Gat) from Indian-born composer John Mayer’s Prabandha (Connected narrative) for cello and piano (Boole-Masterson/Pavri) seem to have been the highlight of the evening for many in the audience. It is a formidable work, if these glimpses are anything to measure it by, demanding as it does of both players utmost concentration, synchrony and skill. The piano seemed to take on a percussive ( a nod to tabla?) at times, particularly in Jhalla, at other times both voices sang in perfect but frenetic unison. The cello line had melodies in Indian scales and droning double-stops evocative of the tanpura. The climax conjured up images of Nataraja himself. This stirring rendition has certainly whetted the appetite to hear this work in full, to say nothing of the rest of Mayer’s compositional output.

The evening ended with “the only serious work in the programme”, in Pavri’s words: Brahms’ Sonata in (No. 1, Op. 38, in E minor) for piano and cello. This work has famously been described as a “pastoral work with elegiac overtones”. The brooding emotionalism and serene contemplativeness of Brahms in the first movement (Allegro non troppo) found a soulmate in the sound of Boole-Masterson’s cello, while Pavri paid full heed to the injunction that the piano “should be a partner – often a leading, often a watchful and considerate partner – but it should under no circumstances assume a purely accompanying role". The central (Allegretto quasi Menuetto) movement came as an oasis of relief after that, while the last, with its fugal opening, was absolutely riveting al fine.

Fortunately for us there was an encore: Le Cygne (The Swan) from Camille Saint-Saëns’ Carnival of the Animals. It is programme imagery at its very finest, painting an aural picture of a swan gliding gracefully over a still lake, leaving ripples in its wake.

Sadly, the spillover of noise from the crafts mela in the parking lot marred an otherwise perfectly pleasant musical evening.

An exchange of Sound

Aubrey Aloysius plans to promote Goan musicians to the rest of India

COMING TOGETHER: Fali Pavri, Lorraine Fiona Aloysius and Naomi Boole-Masterson


After one of the Bangalore Chamber Orchestra, now Delhi is looking for an exchange with Goan musicians. Aubrey Aloysius, founding director of this music academy, hopes to identify talent and promote young artistes who are interested  in performing and pursuing music as a career. He says, “I have a strong desire to connect with the state. Besides bringing world class musicians here, I want to take fresh talent from here to the national and international stage. I want Goa to be part of my itinerary.”

Aubrey feels that music is a universal language that can cut across all barriers. Wanting to introduce Indian audiences to world music, he, in association with a cultural centre in Campal, brings Scottish musicians Fali Pavri (Piano), Naomi Boole-Masterson (Cello) together with Lorraine Fiona Aloysius (Piano) in concert, today. “I believe that in today’s global village, music offers a helping hand in understanding global cultures. It is our responsibility to reach out to our youngsters in that regard.” The last concert the academy organized was held in Gurgaon, featuring an Israeli musician.

Aubrey defines world music as any form of music existing in any part of the globe. “India has a rich repository of sound that, in turn, contributes to the whole. Understanding and appreciation of music requires a deeper study and this has to start when one is young. Sadly, music is not a part of the mainstream curriculum but is taken up as an extra-curricular activity. We are encouraging schools to include it as part of the main school work. It may take time – many years perhaps, but we will get there,” he signs off.

KA presents an Evening of Western Classical Music

GOA’s HeartBeat  |  HOT ‘N’ HAPPENING     |  Pg 3


Lorraine Music Academy and Kala Academy Goa presents a musical evening with Fali Pavri, Naomi Boole-Masterson and Lorraine Fiona Aloysius. Fali and Naomi, Scotland’s globally traveled and versatile musicians are performing today at the Dinanath Mangeshkar Kala Mandir, Kala Academy, Panaji.

Previously, Fali Pavri and Lorraine performed in Gurgaon and New Delhi on December 20, 2010. They played compositions of world famous composers Chopin, Rachmaninov, Field, Schumann, Ginastara and John Mayer. This time, Naomi Boole-Masterson will join them in bringing music to the audience in Goa.

Lorraine Fiona Aloysius, started playing the piano from the age of 8, greatly encouraged and inspired by her mother Helen D’Cruz. Lorraine initially trained in Kuwait under Johnny Gomes. She then trained under the tutelage of Aida Francis. She is a Licentiate of Trinity College of London – UK. Lorraine has been living in Gurgaon since 2004 and is the Principal and Creative Director of Lorraine Music Academy.

Aubrey Aloysius, founder of the Lorraine Music Academy, says “This musical show has been five years in the making. We plan to have six more concerts in the year 2011, every two to three months, bringing down to Goa some of the best musicians in the world. Tal Kravitz will be here to perform for the next concert. This concert will be of 90 minutes duration and compositions of John Mayer, Beethoven, Chopin, Field, Schumann, Ginastara and Rachmaninov will be performed.”

Fali Pavri enjoys a varied career as a soloist, chamber musician, teacher and adjudicator. He studied the piano at the Moscow Conservatoire with Professor Victor Merzhanov and at the Royal Academy of Music, London with Christopher Elton. Fali was, until recently, a member of the Pirasti Piano Trio and also a successful duo with his wife, cellist Naomi Boole-Masterson. He has recorded two critically acclaimed discs with the cellist Timothy Gill on the Guild label, including world premieres of two works by the Indian composer John Mayer (‘Prabhanda’ and Calcutta Nagar’). Fali Pavri is on the Piano Faculty at the Royal Scottish Academy of Music & Drama.

Naomi Boole-Masterson, studied at the Royal Academy of Music with David Strange and won all the major cello prizes, as well as being awarded the Dip RAM in 1994. Naomi graduated in 1997 with the Master of Music degree and was also awarded the Aldo Parlsot Cello Prize for ‘outstanding achievement’. With her husband and duo partner Fali Pavri, she is a frequent performer at the major Music Festivals. In 1998, Naomi received a scholarship to study at the International Musicians’ Seminar at Prussia Cove and until 2001 was the solo cellist with Royal Shakespeare Company where she had music especially written for her. Apart from performing with many note-worthy orchestras, she is a member of the Scottish Ensemble, formed from some of the most highly respected string players in Europe.

Seats for the event are available on first come first served basis.

City Academy to present musical evening in Goa

Ruchika Rai | TNN

Gurgaon: The Kala Academy of Goa has picked Gurgaon-based Lorraine Music Academy to present a musical evening in Panjim on January 4.

The event will comprise performances by eminent Scottish musicians like Fali Pavri and Naomi Boole-Masterson, who will play compositions of legendary composers Chopin, Rachmaninov, Field, Schumann, Ginastara and John Mayer.

Kala Academy, a prestigious centre for performing arts and music, supported by Goa Tourism Development Corporation, has been training and enriching western music enthusiasts of Goa since 1952. The event is aimed at the concept of World Music Hour, which the Lorraine Music Academy has been tirelessly promoting in Gurgaon. Lorraine Fiona Aloysius, who runs the academy with her husband Aubrey, said, “We are honoured to work with Kala Academy of Goa and I believe this is the first time a Gurgaon-based music school has got the chance to deliver an event of this level.”

Fali Pavri who teaches piano at the Royal Scottish Academy of Music & Drama, said: “During my performance in Gurgaon last month, I was overwhelmed by the knowledge the audience here had about classical piano tunes. They even requested me to play some of my own favourite numbers. It was a pleasant surprise,” said Pavri.

Scotland’s versatile musicians to perform at KA


PANJIM: Lorraine Music Academy in association with Kala Academy Goa will organize a musical evening – Piano Solo & Piano / Cello Duet with Fali Pavri, Naomi Boole-Masterson and Lorraine Fiona Aloysius at the Dinanath Mangeshkar Kala Mandir, Campal-Panjim at 6:30pm on Tuesday January 4. The entry for the show will be free and seats will be available on first come first served basis.

The two musicians Fali Pavri and Lorraine Fiona Aloysius from UK and India performed in Gurgaon on December 20 and along with Naomi Boole-Masterson would stage their performance in Panjim on January 4.

It was unfortunate that Naomi Boole-Masterson could not arrive on time to perform in Gurgaon due to the severe climatic conditions prevailing in UK / Europe that prevented flights from taking off for days. She has now arrived in India and will perform in Goa on January 4 at Kala Academy, along with Fali Pavri and Lorraine Fiona Aloysius.

Fali Pavri enjoys a busy and varied career as a soloist, chamber musician, teacher and adjudicator. He studied the piano at the Moscow Conservatoire with Professor Victor Merzhanov and at the Royal Academy of Music, London with Christopher Elton.

Naomi Boole-Masterson, a resident of Glasgow, studied at the Royal Academy of Music with David Strange and won all the major cello prizes, as well as being awarded the Dip RAM in 1994. With her husband and duo partner Fali Pavri, she is a frequent performer at the major Music Festivals.

Lorraine Fiona Aloysius, started playing the piano from the age of eight, greatly encouraged and inspired by her mother Helen D’Cruz. Lorraine initially trained in Kuwait under Johnny Gomes. Lorraine has been living in Gurgaon, National Capital Region, India since 2004 and is the Principal and Creative Director of Lorraine Music Academy.

Aubrey Aloysius, founder of the Lorraine Music Academy, says “We have presented to the National Capital Region and now, in collaboration with Kala Academy Goa, we will present to Goa on January 4, 2011 the versatile world musicians Fali Pavri and Naomi Boole-Masterson to inspire us all to appreciate, enjoy and learn music at a new level. We bring good music to the community, not just for entertainment, but for true education and appreciation.”