From the part of the world where Poljanić has lived for almost thirty years, the soloist, oboist Noah Rudd, also joined. He performed the solo part in Haydn's Oboe Concerto in C Major. We witnessed a highly engaged communication among all performers that kept us focused from beginning to end. Oboist Noah Rudd has a beautiful and strong tone of consistent color across all ranges. His clear, musical, and thoughtful phrasing particularly captured attention. It was evident that the soloist, conductor, and orchestra members all enjoyed Haydn's work equally. That emotion transferred to the audience, who responded with prolonged applause.

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Kiwi oboist Noah Rudd has earned the Sir Charles Mackerras Chair Award. Supported by the Estate of Lady Mackerras, the Tait Memorial Trust and the NZ Link Foundation, the £8,000 ($15,500) prize funds a position with London-based training orchestra Sinfonia Smith Square.

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London’s Sinfonia Smith Square has revealed the musicians joining its Fellowship programme in 2024-25 which will, for the first time in the organisation’s history, include an organ fellow.

This year’s intake of 34 musicians join Sinfonia Smith Square at a pivotal point in the organisation’s history. Having recently been formally created out of the merger of Southbank Sinfonia and St John’s Smith Square, over the next few years, the organisation will embark on a restoration project that will create and improve spaces for audiences, artists and the Fellowship orchestra.

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The Sydney Symphony Orchestra (SSO) has announced the recipients of its 2023 Fellowship program.

Featured as performers last weekend at the Sydney Conservatorium of Music’s Composing Women concert, 10 young musicians will receive musical and professional mentorship, participate in masterclasses, and perform in orchestral and chamber music settings over its year-long program.

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…the first of Bach’s orchestral suites proved to be a bracing entr’acte, with a smaller group of players responding to the stylish direction of concertmaster Andrew Beer. This was rendered with a winning combination of grace and sinew, from a noble overture to a succession of lilting dances. Oboists Bede Hanley and Noah Rudd were a considerable asset, particularly in bubbling trio formation with bassoonist Yang Rachel Guan Ebbett.

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Even the “Fantasy for oboe and orchestra” by Anthony Ritchie, the second New Zealand composer of the concert, has something pastoral with some, well, fantasy - especially in the chirping dialogues between the soloist and the woodwinds. Noah Rudd elicits nimble and light-footed tones from his oboe.

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From the time Noah took the stage, it was clear that we were witnessing a virtuoso. He took an incredibly complex and whimsical solo part and he played it like it was a dawdle, lightly skipping over some amazingly difficult notes, ranges and runs, all from memory.  ... Noah’s stage presence was amazing and he almost appeared like a “superstar jazz oboist.” Yet when this “soloist superstar” joined back with the orchestra in parts, he blended back with the larger group seamlessly, sometimes beautifully intertwining with the flute section, to produce a pure and whimsical sound. It was a performance of real personality, but also technical perfection.

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