What people are saying.

  • “Curtis says the movie is “deeply human”, and so is her music. In this sublime performance, principals Megan Pampling (oboe) and Alan Vivian (clarinet), hovered over simply gorgeous harmonies in the strings, punctuated by beautifully understated harp-like phrasing on the guitar.”

    — Limelight

  • “And Power shows welcome restraint in avoiding the usual cheap tricks of jump scares and jarring music cues, instead employing the ominous strings of Leah Curtis' score to quieter, more unnerving effect...”

    — The Hollywood Reporter

  • “...(a) first rate score...”

    — Variety

  • “…a highly accomplished musician and composer…she not only revealed her own exceptional talent, but also the adaptability of Shakespeare’s plays to modern electronic music.”

    — Jane Dargaville The Canberra Times

  • “ground-breaking music…clarinet chimed out over crying violins, until fading to leave the didgeridoo’s sonorous waves echoing and whooshing to a distinct silence – broken only by the cries and cheers from the audience.”

    — Limelight

  • “To watch Leah create is a true pleasure - the range of musical disciplines her mind scrolls through to create the right sound for making each piece of film a better piece of art often generates an emotional reaction. For a writer like me, to watch Leah transform or supplement story via sound is a fairly magical experience.”

    — Elliot Kotek - Editor-in-Chief - Beyond Cinema Magazine

  • “I've hired Leah on every project I directed since the first film we worked on together. She has a unique ability to find the truth of a story, and communicate it through music. From the loudest thunder of battle, to the softest murmur of the soul, Leah demonstrates time and again a deep understanding of the human experience. I am particularly impressed by her specificity of sound. On a film set in Kuwait, for example, she researched local Kuwaiti sounds, and infused them into her score so skillfully, that the music resonated with both Arab and Western audiences. That score won some well deserved awards. I can't recommend Leah highly enough. She is both an artist and a collaborator, a rare combination of skills.”

    Fawaz Al-Matrouk - Director (To Rest in Peace, Exitus Roma, Anwar)

  • “The symphony is an arresting musical evocation of the images and colours of the Australian landscape. (Curtis displays)…a sure creative hand in both the development of the music as well as in the assurance of her handling of orchestral colours.”

    W.L Hoffman, The Canberra Times

  • “...confidently scored and expressively balancing power with reflection.”

    — W.L. Hoffman, The Canberra Times

  • “…a dynamic young musician.”

    — Phillip Sametz, Sydney Symphony Orchestra Magazine

  • “Curtis’ music shares Rachel Portman’s sweeping lyrical quality but also has the urgency and freshness typical of Australian scores.”

    Philip O’Brien, The Canberra Times

  • “Curtis…already has an impressive track record as a composer. Soon the Sydney Symphony will premiere a major new work by this dynamic young musician.”

    — Phillip Sametz, Sydney Symphony Orchestra Magazine