Q&A with Lara Deutsch

Flutist Lara Deutsch plays alongside Adam Cicchillitti as part of Ottawa New Music Creators’ ongoing concert series on December 3rd.

Named one of 2020’s “Rising Stars” by BBC Music Magazine, flutist Lara Deutsch is a versatile soloist, chamber musician, and orchestral player known for her engaging warmth and ability to connect with audiences. Recipient of the $125,000 Prix Goyer for 2019-2020, Lara was also a first prize winner of the Orchestre symphonique de Montréal’s 2014 Manulife Competition, at which she was awarded a total of seven prizes. 

An avid chamber musician, Lara has recently performed recitals for the National Arts Centre (NAC) and Facebook’s #CanadaPerforms initiative, the Newport Music Festival, the Orchestre Symphonique de Trois-Rivières' chamber series, and a showcase at the Arts Midwest 2021 conference, among others. In addition, Lara was appointed Artist-in-Residence for the 2019-2020 season of the Allegra Chamber Music series. In September 2019, her flute and harp duo, Duo Kalysta released their debut album, Origins, on the Leaf Music label and was named one of the Favourite 20 Canadian Classical Albums of 2019 by CBC Music.

We were able to ask her a few questions on a range of subjects, from her work in educational outreach, to exploring aspects of new music. Learn more about our next concert and get tickets here!

Thanks for doing this interview! In addition to your performance career, you clearly believe in educational outreach, and it’s easy to find examples: Your workshop on performance psychology comes to mind; just last Sunday, you helped lead a Sunday social concert featuring Ottawa- Symphony Orchestra members performing on stage alongside Carleton University Music students. I was wondering if you could speak more to that aspect of your practice. 

I think it’s so important for musicians to pass on what they’ve learned to younger generations of aspiring artists. When I look back at my musical training, there are some significant gaps.  I wish I had learned much earlier about the importance of mental skills training and how big a difference the right mindset can make in performing at your best, especially in high-stakes situations where prizes or opportunities are on the line.  I wish I had been taught more about freelancing; about the best ways to create and fund my own projects.  (And while we’re on the topic, I would have loved some accounting fundamentals to help with the nightmare that is doing taxes as a self-employed freelancer!) I also wish there had been more discussion around what music can do for audiences and communities, rather than such a heavy focus on individual artistic excellence.  I really enjoy working with students and sharing what I’ve learned about all of these topics from my own practical experience in the real world — I hope that it gives them a wider range of tools to find success on whichever paths they choose to follow.  

On the program there is new piece by Jano Williams, who is a student at the University of Ottawa, and the chosen composer for this fall’s Ottawa New Music Creators call for scores. What is it about?

Jano’s piece is called “The Loom,” literally inspired by the loom used to weave cloth and tapestry.  As such, the piece is very much about different textures — there’s a lot of interweaving of flute and guitar lines, pops of texture/colour in the form of various extended techniques, and contrasts between beautifully melodic sections and more “mechanical” ones.  The overall effect is very cool.  You can really hear his intention!  

There are no words to describe the feeling of playing for a live audience — it’s something to which a livestream will never come close. 

Backstage at Carleton Dominion-Chalmers Centre, November 28th 2021. Credit: Curtis Perry

Flute and guitar is, it’s fair to say, a classic combination. I understand Takemitsu’s “Toward the Sea” is on the program, among others. What is some of the intent behind the choices made for this concert’s program?

One of the best combinations! :) Adam and I feel strongly about programming diverse repertoire — we love celebrating music that comes from all over the world.  Because we are such a classic combo of instruments, we’re lucky that we have a wide range of options from which to choose and that allows for programs with a lot of contrast.  Something for everyone! We’ll be playing a piece by Gabriela Ortiz, an incredible composer from Mexico, that is equally as groovy as Takemitsu’s “Toward the Sea” is ethereal and calm. (One movement of her piece was actually inspired by Takemitsu’s, which was also an intriguing connection for us.) Similarly, we both feel strongly about promoting the work of our talented Canadian colleagues, so the music of Ottawa composers John Armstrong and Jano Williams features prominently in this show.  We’ll also be premiering the flute and guitar version of a piece by Jason Noble which celebrates Newfoundland’s folk music traditions.  

Credit: Brent Calis

You perform alongside guitarist Adam Cicchillitti fairly frequently—how has that dynamic evolved over time?

Adam and I met at McGill somewhere around 2010 or 2011, back when we were ushers at the music school! We were fast friends, as we are both extremely chatty and high energy. (It will surprise no one to know that we sometimes get very distracted in rehearsal.) Our paths eventually led us to Ottawa, a few years apart.  I reached out to him in 2018 to see if he wanted to work together, as all of my other chamber projects are long distance and I was hoping to start another ensemble with someone who would be easily available to play locally. I asked him to meet and read through some Piazzolla, whose music had always made me dream of playing with a guitarist.  Turns out we had a great time and here we are 3 years later! We have similar career goals as chamber musicians (recording, touring, commissioning, etc), so a partnership emerged quite naturally. We’re currently working towards our first album together and are eagerly anticipating getting started! 


Like anyone involved in new music, you seek to sometimes push or expand boundaries through your work. For example, there’s a project you completed as part of Duo Kalysta with Mécénat Musica Vidéo, with eleven music videos each set in an unconventional location. What motivates you in terms of exploring and pushing those boundaries and trying new things, and what is one new thing you hope to try in the near future?

When I was coming up with ideas for those particular music videos, my fiancé suggested an amazing concept which I’ve so far not been able to execute, given that it would be exorbitantly expensive…! I’ve been thinking about it ever since — a concert in the dark, involving some sort of sensor system attached to the flute that would control different coloured lights on stage depending on the fingering combinations.  A music/light show hybrid.  Probably not happening realistically, but a girl can dream! 

In terms of motivation, I think audience experience is the primary motivator for me.  I love classical and new music, but I 100% understand why it’s unapproachable to many.  I want to find ways to bring new people into the concerts (whether they’re in a concert hall or somewhere more unexpected) and get them excited about being there. 

Credit: Brent Calis

Returning to the stage for in-person concerts must be a revitalizing experience. I was wondering if you could tell me about how that’s going, as musicians generally begin to find their way back from the land of Zoom.

There are no words to describe the feeling of playing for a live audience — it’s something to which a livestream will never come close.  Being able to see and hear the energy of an audience while you’re performing is so exhilarating and energizing, and something I will never take for granted after this pandemic experience.  What I love most about being a musician is getting to connect with people I may never meet otherwise and bonding over our shared love of music.  I love the post-concert chats with the people who decide to stick around.  And I also love getting feedback! I really appreciate hearing about which pieces really struck them and use that feedback to inform future programming.  

Finally, what can concert goers expect this Friday?

A fun time! Adam and I like to make the concert experience as informal and as personal as possible — obviously we take our musical preparation seriously, but the most important thing is that everyone feels welcome and enjoys themselves.  Musically, as I mentioned, there’s a little something for everyone.  We look forward to meeting everyone!