Genevieve Lacey is a recorder virtuoso, serial collaborator and artistic director.

She has a significant recording catalogue, a career as an international soloist and a growing body of large-scale collaborative works to her name. Genevieve is passionate about creating possibilities for her instrument, and has commissioned, premiered and recorded scores of new works, written especially for her.

Genevieve’s recent creative works include Pleasure Garden (a kinetic sound sculpture for Sydney Festival 2016), 1infinity (a music-dance piece in development with Chinese company Jun Tian Fang and Australian choreographer-director Gideon Obarzanek, 2016-), Life in Music (a 5-part series, written, composed and narrated by Genevieve for ABC Radio National, 2015), Namatjira (a theatre piece, and now a feature documentary film, 2010-16), Recorder Queen (a bio-docu-mation, being created with Sophie Raymond and Clare Sawyer).

Her wide-ranging musical interests have seen her playing for the Queen in Westminster Abbey, representing Australian culture with a performance at the Lindau International Convention of Nobel Laureates, playing as a concerto soloist in the Proms, making music in a prison in remote western Australia, and at the opening night of the London Jazz Festival.

Genevieve performs music spanning ten centuries with collaborators as diverse as the Australian Chamber Orchestra, Danish pipe and tabor player Poul Høxbro, filmmaker Marc Silver, playwright-director Scott Rankin, iconic Australian singer-songwriter Paul Kelly, and the Black Arm Band. Genevieve has also performed as soloist with Academy of Ancient Music, English Concert, Concerto Copenhagen, St Petersburg Chamber Orchestra, Korean Symphony Orchestra, Malaysian Philharmonic Orchestra and all the major Australian Symphony Orchestras. Her long-term musical partners include Karin Schaupp, James Crabb, Australian Brandenburg Orchestra, Flinders Quartet, Marshall McGuire, Neal Peres Da Costa and Daniel Yeadon, Elision Ensemble, and Jane Gower. She has performed at festivals including The Proms, Paris Festival d’Automne, Moscow Chekhov International Theatre Festival, London Jazz Festival, Klangboden Wien, Seoul International Music Festival, Copenhagen Summer, Sablé, Montalbane, MaerzMusik, Europäisches Musikfest, Mitte Europa, David Oistrakh Festival Estonia, Adelaide, Brisbane, Cheltenham, Huddersfield, Lichfield, Melbourne, Spitalfields, Sydney, Perth and Warwick Festivals.

Genevieve has won two ARIAs (Australian Recording Industry Awards), a Helpmann Award, Australia Council, Freedman and Churchill Fellowships and Outstanding Musician, Melbourne Prize for Music. She holds degrees (including a doctorate) in music and English literature from universities in Melbourne, Switzerland and Denmark.

Genevieve is inaugural Artistic Director of FutureMakers, Musica Viva Australia’s artist development program, Chair of the Australian Music Centre board, guest curator and artistic advisor to Ngeringa Arts, and professional mentor for the Australian National Academy of Music’s fellowship program. In 2014 she curated and presented Words and Music for Wheeler Centre, Melbourne. Between 2008-2012, Genevieve was the Artistic Director of Four Winds Festival, and directed the Melbourne Autumn Music Festival from 2000-2003. She has curated the live music for the Art Music Awards for the Australian Music Centre and APRA from 2013-2015. In 2013, she gave the 15th Peggy Glanville-Hicks Address, Australia’s only public lecture on music, broadcast and televised nationally.

Keith Saunders


The incomparable Genevieve Lacey.

Peter Burch

The Australian

Guest artist recorder virtuoso Genevieve Lacey demonstrated her extraordinary musicianship and versatility playing both Renaissance and electronic-assisted compositions across a range of instruments from the recorder family. Best of all was Adams Et Døgn – One Day for solo recorders and computer, its quasi didgeridoo opening bass notes leading to complex reiterations of birdsong-like motifs that appeared to echo through an imagined forest in a celebration of nature.

Martin Duffy

The Age

Best of all was Vivaldi’s C Major Recorder Concerto, played by Genevieve Lacey with a combination of sensuality, wit and mind boggling flamboyance.

Tim Ashley

The Guardian

The recorder virtuoso Genevieve Lacey, performed her solo set with such sensual concentration that the individual pieces she was presenting – almost all specially composed for her – seemed to fuse together as a single work. With pieces such as Fausto Romitelli’s Seascape and her own en masse, Lacey constructed a space in real-time and allowed the audience to drift within it, gently pulling the audience into its depths, guiding our attention to certain obsessively-worked sounds. … The festival closed with a Sunday morning improvised set by Lacey and Ambarchi. Their continuous, softly spoken playing, moving within clearly defined harmonic limits, was transcendent. With each breath, a long, rich tone. With each tone, increasing affinity with the quality of the sounds. With this affinity, an uncoupling of the mind from the senses.

Garrett Sholdice

As Artistic Director:

Imagine lying in a field listening to a shakuhachi playing an ancient Buddhist koan. Or teaming up with a violin for a traditional Chinese folk song. Or, what the hell, adding koto and double bass to play Pachelbel’s Canon and Mussorgsky’s Pictures at an Exhibition. Imagine. That is what an entire community has done, with the gentle leadership of Four Winds artistic director Genevieve Lacey. … In her final festival (she hands over to Paul Kildea for 2014) Lacey has brought virtuosos of the classical world, local artists, keen amateurs and passionate audiences to a place where music has no boundaries and imagination knows no bounds. … Lacey’s two days of ”what if?” music revelled in unusual instrument combinations and subversive reimaginings of old favourites. … But it also pushed beyond the strangely familiar and into the uncharted ground of new commissions. … Lacey and her magic flute move on but she leaves behind a flourishing tradition of opportunistic programming and can-do creativity supported by an inspiring community. Kildea has a tough act to follow.

Harriet Cunningham

Sydney Morning Herald

As composer and performer:

Every so often a theatre performance will come along that has the rare power to touch the heart, lift the spirit, make us laugh, move us to tears and change the way we view our world. Namatjira is such a production. Like the red heart of the vast Australian landscape, Scott Rankin’s brilliantly staged account of the life of famed indigenous watercolourist, Albert Namatjira, is epic in its nature and mesmerizing in its haunting beauty. … Namatjira’s life is related through the time-honoured oral tradition of story telling, combined with music, dance, singing and art. … On the other side of the stage, virtuosic composer and musician Genevieve Lacey creates the haunting woodwind sounds of the desert landscape. Music, art and story telling fuse in a symphony of sentiment, cultural sensibility and awareness.

Peter Wilkins

Canberra Times

Nigel Levings’s lighting makes a powerful contribution to mood [of Namatjira] as does the live score by Genevieve Lacey, whose playing of the contrabass recorder – almost a floor-standing organ pipe – embodies the notion of cultural exchange beautifully.

Jason Blake

Sydney Morning Herald

The other spellbinding element of the [Namatjira] production is the music and soundscape, played live on stage by Genevieve Lacey. Best known around the world as one of the finest recorder players in the business, this is Lacey’s first outing into theatre composition and it’s terrific: counterpointing, adding and underlining and always into but not over the action.

Diana Simmonds

Genevieve Lacey’s en masse was a hypnotic blend of music, sound and film, experienced while lying on lounges in a darkened room. Bliss.

Deborah Jones

The Weekend Australian

en masse is part concert, part film, part installation and the creation of renowned recorder virtuoso Genevieve Lacey and filmmaker Marc Silver. I hardly want to write too much lest I say too much! It is an experiential piece, by which I mean – you really need to go, and sit, and watch, and listen, and go on your own trip. The combination of Lacey, whose repertoire spans ten centuries, and the computer generated sounds creates an atmosphere of altering transformations that are unique to each performance. Redefining it as ‘electrocoustic’ they are able to wrap the audience in sound and movement. This is a sensual experience and without being overt, en masse addresses themes like the impact of globalisation, individualism and consumerism. The subtle message of order in chaos is alluded to through the projected imagery of birds. The piece is as much about space as it is about the sound and the image, as well as, the collaborators and audience working together en masse. I don’t want to say anymore, because I really think it deserves what can only come from first hand experience. A refreshing piece that although is perfect at 30 minutes long, I wanted to indulge in the space for longer, as if returning to the mother’s womb – I did not want to leave to face the chaos that is life.

Erin Keys


More reviews as performer:

Not content with being the country’s most expert, most scholarly and best-known recorder player, Genevieve Lacey has added some theatrical touches to her performances. Her entry by the West door and procession along the aisle, playing a lively 14th century Trotto-Saltarello the while, showed her complete command of the instrument and the occasion. Applying her admirable technique to sopranino, descant, treble, tenor and bass products of both ancient and modern design, she added electronics and computer manipulation into the mix. Lacey’s fluttering fingers and unerring judgment sent the angels soaring high into the heavens on jewel-encrusted wings.

Elizabeth Silsbury

Adelaide Now

Lacey is an inspiring performer who lights up the stage with her fevered cascades of notes and soulful lyricism. … It was in the largo that Lacey’s transparent tone came into its own floating sybaritically over the pizzicato accompaniment. Next stop Spring with an extended outbreak of birdsong miraculously flooding out from Lacey’s fingers.

Harriet Cunningham

The Sydney Morning Herald

This was a bravura performance from a consummate artist. Rapid runs and figurations were executed with thrilling agility and astonishing clarity of articulation. In slower movements, her elegant phrasing and finely graded dynamics created moments of hushed intensity. Throughout, Lacey sustained splendid breath control and refined timbre, radiating burnished warmth on the lower-pitched instruments and gleaming purity from the higher-pitched ones. She tastefully ornamented her solo lines, and her fluttering trills realised the avian character of the first movement of Spring.

Murray Black

The Australian

The last work, ‘Three Landscapes’, finally allowed Lacey to display her virtuosic talent; her instruments (which ranged from a tiny sopranino recorder to a clunky-looking contrabass) seemed to be extensions of her own body which sang with passion, delicacy and sensitivity. The small and much-maligned recorder finally comes into its own when Lacey plays, and her technical brilliance is never reduced to virtuosity for virtuosity’s sake, but remains entirely natural and meaningful.

Rachel Orzech

Australian Stage Online

The night’s most moving moment came in the simple, fluttering poetry of Lacey’s version of Jacob Van Eyck’s Engels Nachtegaeltje. In one of the more familiar works played, the performer’s ability to make her own dexterity appear effortless and the care she dealt out to every note in this solo’s rich structure ensured the festival began with a touch of magic.

Clive O'Connell

The Age

Telemann’s Recorder Concerto in C showed Lacey’s warm tone on the gentle treble recorder. Her marvelous breath control and articulation made joyful work of Telemann’s cascading runs and infused the slow movement with aching sorrow. … The concert was delivered with a confident élan that made the outrageous versatility and virtuosity appear normal.

Rosalind Appelby

West Australian

Genevieve Lacey swoops from stratospheric sopranino to low hovering bass recorders with ease, perfection and grace. In her company, the program soars to dizzying heights, carrying the audience aloft on wings of song to delight the ear and beguile the soul.

David Vance

The Sydney Morning Herald

Genevieve Lacey’s superlative playing of almost every instrument of the recorder family was a matter of sheer, unforced delight.

Roger Covell

The Sydney Morning Herald

The final pair of pieces, songs by Hildegard von Bingen, receive exquisitely simple treatment … both are entrancing, with subtle nuances or ornament, rhythm, intonation and articulation illuminating the pure, floating melody. There has always been something otherworldly about Genevieve’s playing, and this repertoire brings it to the fore. There is no overt display of virtuosity here, just beautifully expressive playing which transcends technique.

Malcolm Tattersall

Music Forum

Genevieve Lacey would be a superstar if she had chosen to champion an instrument more fashionable than the recorder. As it is, she’s still able to walk the streets unmolested. But you have to suspect that she will be single-handedly responsible for a resurgence of interest in that much-maligned “school” instrument.

D. Simonds

Sunday Telegraph

… Genevieve Lacey is a virtuoso of the recorder… she is living, breathing proof that specialists need only apply. The technique is frankly superhuman, the musicianship supreme.

Elizabeth Silsbury

Adelaide Advertiser

… Genevieve Lacey shows just how it is done – beautiful sound, clear pitch and a musical intelligence that is unswerving…

Hilary Shrubb

The Australian