Peter Grimes in-theatre program

Brisbane Festival, Opera Queensland, Philip Bacon AM, Queensland Performing Arts Centre and Queensland Symphony Orchestra present

BY Benjamin Britten

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Brisbane Festival, Opera Queensland, Philip Bacon AM, Queensland Performing Arts Centre and Queensland Symphony Orchestra present

BY Benjamin Britten With libretto by Montagu Slater, derived by a poem by George Crabbe These performances of Peter Grimes by Benjamin Britten with libretto by Montagu Slater, derived from a poem by George Crabbe are given by permission of Hal Leonard Australia Pty Ltd, exclusive agents for Boosey & Hawkes Music Publishers Ltd of London

ACKNOWLEDGEMENT OF COUNTRY In keeping with the spirit of reconciliation, we acknowledge the Traditional Owners of Brisbane, the Turrubul and Yaggera Peoples, and recognise that this has always been a place of creative expression. We wish to pay respect to their Elders – past, present and emerging – and acknowledge the important role Aboriginal and Torres Strait Islander people continue to play within our creative community.

Brisbane Festival's vision for reconciliation and healing is to meaningfully engage with Aboriginal and Torres Strait Islander artists and commmunities in ways that acknowledge shared histories and look to the future, and embrace, grow respect for and celebrate the culture of our First Nations peoples.

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Welcome to peter grimes

BRISBANE FESTIVAL ARTISTIC DIRECTOR’S NOTE

OPERA Queensland ARTISTIC DIRECTOR’S NOTE

I first heard Peter Grimes when, long ago, I played a 1978 recording

Like all great works of art, Peter Grimes asks us to question our

featuring the Canadian heldentenor Jon Vickers. I knew of the

assumptions by creating a world in which we can find ourselves.

opera’s titanic reputation, but didn’t know what to expect.

The community of the small fishing town in East Anglia is full of people we know – the gossips, the law makers, the hard

It floored me. Here was a work of perfect construction, ingenious

workers, the drunks, the carers… the outsider. And in the writing

music and thrilling drama. Britten was 31 when he wrote it, and

of Benjamin Britten they are brought to life in remarkably vivid

you can utterly feel the vigour.

detail. There are few other operas in which the music and the

I wanted a great opera for this year’s Brisbane Festival. Peter Grimes came to mind for two reasons: it had not been seen in Brisbane for 60 years (a touring production that played at the now demolished Her Majesty’s Theatre); and in its setting of

drama are so acutely aligned – if we couldn’t see it we would easily imagine the town and its inn and the church and the coastline and the people who move amongst it all – because Britten conjures it so richly through his music.

the individual against the mob, it was an opera that spoke, in a

We are thrilled to partner with the Brisbane Festival, Philip Bacon

richly layered way, to the concerns of our contemporary world.

AM, Queensland Symphony Orchestra and QPAC to bring this

As Britten himself noted about the opera, ‘the more vicious the

production, with such a remarkable company of Australian and

society, the more vicious the individual’.

international artists, to Brisbane audiences. We are also happy

An opera such as this requires a great leading singer, and Stuart Skelton is the best Grimes in the world right now. Would he consider joining us? Stuart has flown here during a brief break in rehearsals for Die Walküre as part of the Royal Opera’s Ring Cycle at London’s Covent Garden. A champion.

We’ve gathered a magnificent team for this staging – a mix of the local and international – and their commitment has been staggering. Rory Macdonald and Daniel Slater have led with grace from our very earliest conversations.

We’ve also teamed with Opera Queensland, Queensland Symphony Orchestra, Queensland Performing Arts Centre and Philip Bacon to bring this defining work to you. This kind of collegial cooperation is one of the great characteristics of Brisbane’s arts and cultural environment. A joy.

Let’s dive into this glorious music drama.

David Berthold Artistic Director Brisbane Festival

to welcome eight students from Griffith University Queensland Conservatorium performing in the Opera Queensland Chorus as part of their professional development. Kudos in particular to David Berthold for initiating the project – partnerships like these enrich the city in an extraordinary way. Encountering art and artists of this calibre is a rare treat and one we will remember for many years to come.

Patrick Nolan Artistic Director and CEO Opera Queensland

Philip Bacon AM

Queensland Symphony Orchestra

QPAC

Peter Grimes is arguably Benjamin

Music has the power to take us places

Welcome to QPAC and to this Australian

Britten’s greatest opera, and Stuart

we might not otherwise go. In the case

premiere performance of Peter Grimes by

Skelton is undoubtedly the world’s

of Benjamin Britten’s opera Peter Grimes,

Brisbane Festival with Opera Queensland

greatest Grimes exponent.

we get taken into the world of an outcast

and Queensland Symphony Orchestra.

and his uncomfortable reality. It makes How fortunate are we then, to have

us ask: Is he a murderer? Or has society

Originally performed in London in 1945,

this once in a generation chance to

around him driven him to his dark state?

Peter Grimes is an outsider story; the titular

hear this unique combination, along

These are questions we need to ask,

Grimes is man set against the world:

with the mighty forces of the

not just for this opera, but anywhere in

when his apprentice goes missing, the

Queensland Symphony Orchestra

life where we encounter conflict,

small town where he lives turns on him,

and the Opera Queensland chorus.

ostracism and trust breakdowns

as does the sea itself. Based on a work

between human beings.

by poet George Crabbe, it was composer

The Brisbane Festival and Artistic

Benjamin Britten’s first major critical and

Director David Berthold are to be

It is our privilege at Queensland

commercial success, igniting his career

congratulated for bringing us this

Symphony Orchestra to partner with

and garnering him international acclaim.

world class performance, unique

Brisbane Festival and Opera Queensland

Considered a classic of the 20th century,

to Brisbane, in what will be a truly

on this monumental production of

still now some 70 years after it was written,

memorable night of grand opera,

Grimes, featuring Stuart Skelton.

this is a piece of art that continues to

emotional story-telling, and superlative singing.

I am proud to be a small part of this

resonate with audiences and challenges We hope that the experience will

us to consider how we respond to tragedy

give audiences something to think

in our communities.

about on the night and long after.

great enterprise.

Philip Bacon AM

It is worth noting that Australian tenor Deb Houlahan

Stuart Skelton who plays Peter Grimes

Interim Chief Executive,

enhances this production immeasurably.

Queensland Symphony Orchestra

He has made this role his own and is one of the best opera performers Australia has ever produced. Audiences should consider themselves fortunate indeed to witness Skelton in this role.

QPAC is proud to support the 2018 Brisbane Festival and to enrich the lives of Queenslanders and visitors to our state by providing exceptional, inspirational and new performing arts experiences.

I hope you enjoy this performance of Peter Grimes.

John Kotzas Chief Executive, QPAC

Cast

Creative Team

Peter Grimes

Stuart Skelton

Ellen Orford

Sally Matthews

Captain Balstrode

Mark Stone

Auntie

Hayley Sugars

Niece 1

Katie Stenzel

Niece 2

Natalie Christie Peluso

Bob Boles

Bradley Daley

Swallow

Andrew Collis

Mrs Sedley

Jacqueline Dark

Reverend Horace Adams

Jeffrey Lloyd-Roberts

Ned Keene

Michael Honeyman

Hobson

Jud Arthur

John (20 September)

Riley Brooker

John (22 September)

Walter Webster-Curran

Dr Crabbe

John McNeill

Fisherwoman, Soprano solo

Dominique Fegan

Burgess, Lawyer

Nick Kirkup

Burgess

Bernard Wheaton

Burgess, Fisherman

Matthew Broadbent

Burgess, Baritone solo

Jon Maskell

Burgess

Leon Warnock

Burgess

Lionel Theunissen

Conductor

Rory Macdonald

Director

Daniel Slater

Set and Costume Designer

Bill Haycock

Lighting Designer

David Walters

Chorus Master

Jillianne Stoll

Assistant Conductor

Nicholas Cleobury

Assistant Director

Tarita Botsman

Understudies Peter Grimes Ellen Orford Captain Balstrode Bob Boles

Jeffrey Lloyd-Roberts Natalie Christie Peluso Warwick Fyfe Virgilio Marino

Chorus Kathryn Bradbury Rebecca Cassidy Susan Chapman Louise Dorsman Dominique Fegan Regan Flor Clarissa Foulcher Anne Fulton Karen Gaydon Eleanor Greenwood Rachael Griffin Sally Harrison Kaja Holzheimer Sheridan Hughes* Dana Kingsford Jessica Low

Annie Lower Leslie Martin Alanah Mayers* Elizabeth McBride Julia McRae Emma Nightingale Xenia Puskarz Thomas* Katie Rutledge Cassandra Seidemann D'Arne Sleeman Rosina Waugh Nina Wildman* Sarah Winn* Cassandra Wright*

Sean Andrews Stephen Beck Matthew Broadbent Ryan Carlson Chris Cobcroft Phillip Costovski* Lindsay Gaffney Sam Hartley Michael Hibbard Tomasz Holownia* Steven Kickbusch Nick Kirkup Mark Kroon Mattias Lower Jon Maskell Shelden Mathieson

Ron Morris David Muller John Nicholson Henry Pinder* Phillip Prendergast Joshua Ruben James Scott* Daniel Smerdon Lionel Theunissen Leon Warnock Bernard Wheaton Robert Williams

*Griffith University Queensland Conservatorium students

Queensland Symphony Orchestra Concertmaster

Warwick Adeney

Associate Concertmaster Alan Smith Violin 1

Rachel Smith ^ Lynn Cole Priscilla Hocking Ann Holtzapffel Brenda Sullivan Stephen Tooke Claire Tyrell Brynley White Lara Baker-Finch Ceridwen Jones

Violin 2

Wayne Brennan ~ Tim Marchmont ^ Jane Burroughs Faina Dobrenko Simon Dobrenko Delia Kinmont Nicholas Thin Helen Travers Harold Wilson Susanna Lazaroff

Viola

Yoko Okayasu >> Nicole Greentree ^ Bernard Hoey Jann Keir-Haantera Graham Simpson Anna Colville Molly Collier-O’boyle Gregory Daniel

Cello

Matthew Kinmont = Kaja Skorka ^ Andre Duthoit Matthew Jones Craig Young Minjin Sung

Trombone

Jason Redman ~ Zhao Ming Liu

Bass Trombone ^

Matthew Mcgeachin

Tuba

Thomas Allely *

Double Bass

Phoebe Russell ~ Dušan Walkowicz >> Justin Bullock ^ Ken Poggioli Marian Heckenberg

Harp

Lucy Reeves ^

Timpani

Fraser Matthew ^

Flute

Katie Zagorski =

Percussion

Josh Demarchi = Zach Brankovich Lucas Gordon

Piccolo

Kate Lawson *

Organ

Andrej Kouznetsov ^

Oboe

Huw Jones ~

Cor Anglais

Vivienne Brooke *

Clarinet

Irit Silver ~

Bass Clarinet

Nicholas Harmsen *

Bassoon

Nicole Tait ~ Evan Lewis

Contrabassoon

Claire Ramuscak *

French Horn

Alex Miller >> Lauren Manuel ^ Ryan Humphrey Nicola Robinson

Trumpet

Sarah Butler ~ Richard Madden >> Paul Rawson

Project Staff - Brisbane Festival Director of Programming Senior Producer Associate Producer Technical Manager Assistant Technical Manager

Brisbane Festival and Griffith University present the Concert Hall Music Program.

Stefan Greder Giannina Periz Alex Butt Bill Hazard Ben Shaw

~ =

Section Principal Acting Section Principal >>

Associate Principal +

Acting Associate Principal * Principal ^ Acting Principal

Project Staff - Opera Queensland Music Staff Mark Connors Jillianne Stoll Head of Music

Narelle French Head of Technical Production Ian Johnson Artist & Company Manager Erica Fryberg Stage Manager Tanya Malouf Deputy Stage Manager Nicole Neil Assistant Stage Managers Tia-Hanee Cleary Domi Prince Surtitle Technician Stephen Brodie Set Fabrication Iceworks Design Chaperone Wendy Laraghy Head of Wardrobe Karen Cochet Wardrobe Coordinator Bianca Bulley Principal Cutter / Costume Maker Saffron Firkins Costume Makers Michelle Potts Margie Stafford Kathryn Walsh Performance Wardrobe Supervisor Francesca Booker Dressers Lily Cochet Amber Stewart India Hargrave-Smith Wig & Hair Coordinator Natalie Stanfield Makeup Coordinator Desiree Vogelsang

Synopsis The Borough, a small fishing village on the East Coast.

Prologue A boy apprenticed to the fisherman Peter Grimes has died at sea. An inquest is being held to determine the cause of death. After hearing Grimes’s testimony, the coroner, Mr Swallow, finds that the boy died in ‘accidental circumstances’. He warns Grimes not to get another apprentice. Grimes demands a full trial and the right to employ another boy. His pleas are ignored and the court is cleared.

Ellen Orford, the local schoolteacher, assures Peter that with her help the future will be better.

Act 1

Act 2

Act 3

SCENE 1 MORNING

SCENE 1 SUNDAY MORNING

SCENE 1 OUTSIDE THE MOOT HALL,

The Borough goes about its business.

Ellen is sitting on the beach with John, the

A FEW DAYS LATER

Grimes returns from fishing; only Captain

new apprentice, while the church service

In the Moot Hall a dance is in full swing.

Balstrode, a retired naval officer, and Ned

begins. She encourages the boy to talk

Outside, Auntie’s ‘nieces’ manage to

Keene, the local apothecary, are willing to

about himself, but he says nothing. Only

escape the attentions of the lecherous

help bring in his boat. Keene tells Grimes

then does she notice the bruising on his

Mr Swallow, who retires defeated into

he has arranged for a new apprentice

neck and immediately fears the worst.

The Boar. Mrs Sedley tells Ned Keene

from the workhouse. The carter, Hobson,

Grimes comes to take the boy off fishing.

she has conclusive proof that Grimes has

at first refuses to fetch the boy, but

Ellen pleads for the boy’s right for a day

murdered his apprentice. Keene leaves

consents when Ellen offers to look after

of rest. When Peter refuses, she tells him

her to her midnight ravings. Ellen and

the child on the journey. As a storm brews,

that their attempt to make a new start

Balstrode appear, discussing Grimes’s

Balstrode tries to dissuade Grimes from

has failed. Peter, in a frenzy, hits out at

disappearance. Mrs Sedley overhears that

a course he fears will result in another

her and rushes off with the boy. This

Ellen has found the boy’s sweater down

tragedy, but Grimes is determined to get

scene has been witnessed, and when the

by the shore. Ellen and Balstrode decide

rich, marry Ellen and thus silence the

congregation comes out of church there

to try to find Grimes and help him. When

Borough gossips.

is a call for action against Grimes. The

they are gone, Mrs Sedley whips up the

men set out for his hut. Auntie, Ellen and

community against Grimes and a man-

SCENE 2 THE BOAR

the ‘nieces’ are left alone to reflect on the

hunt begins.

Late that night, the storm has reached

hopelessness of loving men.

SCENE 2 SOME HOURS LATER

hurricane force. To the annoyance of Auntie, the landlady, Mrs Sedley arrives

SCENE 2 GRIMES’S HUT

Grimes is alone, tortured by the distant

to wait for Ned Keene. He has promised

Grimes orders the boy to get ready for

sound of the hunt, longing for escape and

to meet her there with a new supply of

fishing. Haunted by the death of the last

peace. Ellen and Balstrode find him, and

laudanum. Auntie’s ‘nieces’ enter The

apprentice, he feels his dream of marrying

Balstrode helps him push his boat out to

Boar and fail to escape the advances of

Ellen slipping away. When he hears the

sea for the last time. Day breaks and the

Balstrode and Bob Boles, the Methodist

men from the Borough approaching,

Borough goes about its business. Far out

preacher. At the height of the storm, Ned

he immediately assumes the boy has

at sea a boat is sinking.

Keene enters with news that the cliff by

betrayed him. As he is hurrying the boy

Grimes’s hut has been washed away.

down the cliff to the sea, the Borough

He is followed by Grimes himself: it is as

knocks at the door. He panics. The boy

if the eye of the storm has entered the

screams as he slips and falls. Grimes

room. Ellen and the new apprentice arrive,

climbs down after him. The men enter to

soaked and exhausted from their journey;

find the hut deserted.

before the boy can rest, Grimes insists on taking him straight home. He drags him off into the night.

Director’s notes – Daniel Slater Interview by Richard Betts This production of Peter Grimes is semi-staged. Why did you choose that route?

Semi-stagings don’t provide everything scenically, they leave the audience to imagine a lot of it themselves and that can be very effective. It can create a lot of atmosphere. If the set’s too overwhelming it can distract from what the audience experiences. This production is perhaps more like a simple staging, a happy mix of a full production and semi-staging. Bill Haycock has designed a set that’s simple but gives us flexibility, and the chorus is singing off the book [without music] so we can be freer in movement. The sea is so important to this piece and it’s a great advantage that the orchestra is on the stage, because especially for the Sea

This is your third Grimes. Is this production

It’s been said that Peter Grimes is the best

based on your previous ones?

English opera since Purcell in the 17th century.

No, I try to separate myself from what

What is the lasting appeal of Grimes 73 years

I’ve done before. I can’t lose previous

on from its first production?

productions from my head but I try to

I think there are a lot of reasons. Britten

come to it as fresh as possible. I do try

wrote a piece that is fantastically good

to keep key concepts but I really wanted

theatre; he paces the drama beautifully.

Bill Haycock as the designer to influence

He also creates so many memorable

things, so it wasn’t me just saying to Bill,

characters. It’s hard to think of another

“This is what I’ve done, this is what I

opera that has so many carefully drawn,

want to do again”. I’d rather merge our

distinct individuals. That comes partly out

two visions.

of George Crabbe’s poem [the collection

Directors and conductors have equally strong views about what the music says and does.

How much does your vision change when you get together with the musicians?

The Borough, the source material for Montagu Slater’s libretto for Peter Grimes], which features most of those characters.

But Britten wrote the music in a way to integrate all of these people into this

I would hope that it would be very flexible.

story, which is expanded so far beyond

As an example, I did Wozzeck in Santa Fe

Crabbe. And Peter Grimes is just very

with Vladimir Jurowski. We were doing a

moving, it’s frightening and it’s complex.

Interludes between scenes, the orchestra

scene and I said to Vladimir, “This feels

is the sea, so by making the orchestra

We’re left with something uncomfortable

terribly slow”. He showed me the score

present, the sea becomes the centre of

about how we respond to the characters,

and said, “Look, it’s marked at that tempo.

the show for the audience.

there’s nothing simple. I like that nuance

I think we should try to make the staging

and ambiguity in my operas and

work for that because [composer Alban]

characterisations. That feels more honest

Berg must have had a reason for it”. So

to me than straightforward hero/villain/

because of what Vladimir said we evolved

lover kinds of roles.

What was your starting point?

I try to start any piece by thinking I want to tell the story as clearly and excitingly as possible. I imagine a production that’s not for cognoscenti but for people who don’t know the opera. That’s particularly the case for something like Grimes, which people may not have seen before. I want to create a show for an 18-year-old whose grandmother gives them birthday money and says, “Here, go to the opera”.

a different way of staging the scene to the one I’d thought of and it was much better for it. When you know what you’re doing when you start rehearsing, you can accommodate that kind of input, so I hope the influence of the conductor is profound.

I’ve worked with [Grimes conductor] Rory Macdonald before and I know he’s good at Britten. That helps because he and I can talk very freely about the piece. But I think that anything I do as a director is always music-led. Although I come from a theatre background, all decisions you make when working with a designer have to be based on the music. If a major set move occurs and there’s no music to back it up, it doesn’t feel right.

Peter Grimes: A very British opera made in America Peter Grimes couldn’t be more English.

Crabbe was, like Britten, from Suffolk.

Still, Slater and Britten knew each other

Unlike Britten, he was a man of only

well enough. Britten, though never a

It’s composed by the greatest English

average talent, however Crabbe’s work

Communist, was generally sympathetic to

musician of his age and set to a libretto by

is evocative, and the composer was

the other man’s politics, and the pair had

a northerner born near the Lake District.

intrigued by The Borough, published in

a mutual friend in Randall Swingler, editor

The libretto is based on a series of poems

1810, which takes the form of a series of

of the socialist journal Left Review, which

sited in Suffolk by a man who also lived

long poems, or ‘letters’ – ‘Peter Grimes’

Slater had founded. Britten and Slater

in that East Anglian county, the county

is letter XXII – each depicting a different

had also worked together before the war

which, not coincidentally, was also home

character or aspect of life in Suffolk.

at the GPO Film Unit, making surprisingly

to the composer.

artful documentaries extolling the virtues The specificity of Crabbe’s work, in

of the British postal system.

Yet Grimes would not have happened

particular, appealed to the homesick

had Benjamin Britten not left for the

Britten – “To think of Crabbe is to think

But their relationship was never smooth.

United States. In April 1939 the 25-year-

of England”, wrote Forster.

Slater was dismayed when Britten and

old composer sailed from England with

Pears left for the United States, and Britten

his friend – and eventual life partner – the

Britten needed no further urging, and

was later to drop Slater altogether, the

tenor Peter Pears. The reasons for the

having secured a second-hand copy

latter becoming one of the composer’s

move are hazy. There was some notion

of The Borough, $1000 by way of a

‘corpses’, as Britten’s long trail of jettisoned

of work in Hollywood, but really Britten

commission from the conductor Serge

acquaintances came to be known.

was escaping not only the brewing

Koussevitzky, and return passage to

war in Europe but also an apparently

England, his attention swung to

The cracks in the relationship were there

complicated personal entanglement

Peter Grimes.

to see in the development of Grimes.

with a young man.

A career writing film scores never eventuated, but Britten nevertheless produced some important pieces during his three years in the United States, notably the operetta Paul Bunyan, with a libretto by the poet WH Auden; the Violin Concerto in D; and The Seven Sonnets of Michelangelo, the first song cycle Britten wrote for Pears.

Britten never settled in America, though.

While he had close friends there, notably

Britten worked at a much quicker pace

Britten never settled in America, though. While he had close friends there, notably Auden and writer Christopher Isherwood, Britten was too conservative to engage in the pair’s bohemianism and pined for home.

Auden and writer Christopher Isherwood, Britten was too conservative to engage

Britten had no intention of using

in the pair’s bohemianism and pined

Crabbe’s text directly, and searched for a

for home.

collaborator who could mould the libretto.

He settled on Montagu Slater, a left-wing

than Slater; the libretto took 18 months, the music 13. Slater also held a full-time job, at the Ministry of Information’s film unit, which meant he wrote the libretto early in the morning and had little input when it came to revisions and edits, which were largely made by Britten, Pears and producer Eric Crozier. Slater was so irritated by the trio’s changes that he published his own, unexpurgated version of the text, which in turn irritated Britten and Pears.

It’s perhaps for these reasons that, despite Grimes’s career-making success, Slater and Britten never worked together again, much to the writer’s chagrin.

The final straw, it seems, came in July 1941

journalist and intellectual from Cumbria

Slater died in 1956, aged just 54, and

when Britten read the script of a radio talk

who’d won a scholarship to Oxford before

is now mostly forgotten. Britten lived a

given by EM Forster. Forster, the author of

joining the Communist Party in the

further 20 years as his country’s most

the (deeply English) novels A Room With

mid-1920s.

a View, Howard’s End and A Passage to India, had chosen the life and poems of

Slater wasn’t Britten’s first choice as

George Crabbe as his subject.

librettist, Christopher Isherwood was.

Isherwood, however, wasn’t interested, writing, “Frankly, the subject doesn’t excite me so much that I want to make the time for it”.

fêted composer. Together, though, they produced England’s greatest opera – with due thanks to America. ©Richard Betts 2018

Grimes the Outsider When George Crabbe published his set

Inevitably that caused difficulties. Pears

(In fairness, Britten wasn’t keen on Walton,

of poems The Borough in 1810, he had

quickly got work at Sadler’s Wells but

Lutyens and Rawsthorne, either. While

an unequivocal view of Peter Grimes.

BBC records show that many conductors

he could be extremely charming if the

He was “untouched by pity, unstung by

and musicians were hostile to the idea of

mood took him, Britten had an acid

remorse and uncorrected by shame”,

employing Britten. Musical Times editor

tongue, especially when referring to

wrote the author.

Harvey Grace wrote of “having saved

other composers – Walton and Elgar in

one’s art and one’s skin at the cost of

particular came in for scathing criticism.)

That is not the Grimes you will see and

failure to do one’s duty”. To be a pacifist

hear tonight. The Grimes of Benjamin

in wartime created “tremendous tension”,

It’s easy to think that, like the Grimes of

Britten’s opera is ambiguous, he is “not a

Britten admitted.

the opera – “a tortured idealist”, in Britten’s

hero nor is he an operatic villain. He is not

words – the composer felt himself to be

a sadist nor a demonic character”, wrote

So too did the fact Britten and Pears

the tenor Peter Pears, Britten’s life partner

were a couple. Homosexuality wasn’t

and the singer who created the role.

decriminalised in England until mid-1967

But Britten is not Grimes. Grimes may be

Grimes is, instead, an outsider.

(appropriately, The Beatles’ ‘All You Need

a tortured idealist but he’s a brute, too, at

the victim of a mob mentality.

is Love’ was at number one in the charts),

least partly responsible for the deaths of

“He’s different, he’s weird, he’s not like the

and although their romance was widely

two boys. Britten’s genius is that he almost

other villagers, so he’s rejected and pushed

known among their circle, many of whom

– almost – makes us love him anyway.

away”, says Daniel Slater, director of this

were gay as well, Britten and Pears were

Brisbane Festival production. “His way to

cautious not to advertise their relationship.

“What’s most interesting is that you

deal with that is to try to be accepted. He

sympathise with Grimes despite him

talks about wanting to marry the widow

doing some terrible things”, says Daniel

Ellen Orford but I don’t think he knows what love is in that sense; he just knows what people think they should do”.

This theme of a person dislocated from society was entirely intentional.

“A central feeling for us was that idea of the individual against the crowd”, Britten said of Peter Grimes in an interview, “with

It’s easy to think that, like the Grimes of the opera – “a tortured idealist”, in Britten’s words – the composer felt himself to be the victim of a mob mentality.

Slater. “He’s very much a modern hero in that sense. We like our heroes to be complicated. He’s morally confused and confusing for the audience, a figure who does terrible things and yet we’re kind of on his side”.

In our sympathy we are complicit with the brute, and left uncomfortable by our response.

ironic overtones for our own situation”.

That situation was complicated. In 1939, just months before England declared war on Germany, Britten and Pears had sailed for America. They returned only in 1942, with the war in full, desperate swing, and immediately registered as conscientious objectors.

Additionally, and for a combination of reasons that included but were not limited to his pacifism and sexuality, Britten was not much liked by his English contemporaries. The composer Michael Tippett, mostly a supporter, claimed that grandees of the time such as William Walton, Elisabeth Lutyens and Alan Rawsthorne were concerned about some ill-defined “homosexual conspiracy in music”.

The paradox of Grimes, written by a man who identified with his shunned subject, is that it made Britten a figure of the establishment.

From the first performance at Sadler’s Wells in London on 7 June 1945 – just weeks after the end of the war in Europe – Britten became the most celebrated English composer of his age, even appearing on the cover of Time magazine.

His reputation has only increased in the years since his death in 1976; in 2013, a century after his birth, he was given his own postage stamp.

Britten was no longer an outsider. ©Richard Betts 2018

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Creative Team

Rory Macdonald – Conductor

Daniel Slater – Director

Rory Macdonald stands out as one of the most interesting young

Daniel Slater has been a freelance opera director for more than

British conductors, giving performances that combine passionate

two decades, directing 60 productions in 17 countries. He studied

intensity with keen intelligence.

at Bristol and Cambridge universities and holds a PhD for his research into Nietzsche’s influence on DH Lawrence.

Highlights from the past year include his debut with Frankfurt Opera conducting Così fan tutte as well as a new production of Auber’s Fra

His first major production, Smetana’s The Bartered Bride, was

Diavolo for Rome Opera. He has worked extensively on the operas of

nominated for numerous awards, including the TMA Outstanding

Benjamin Britten, conducting Owen Wingrave and A Midsummer Night’s Achievement in Opera and Manchester Evening News Best Opera Dream for the Royal Opera House, Covent Garden, Albert Herring

Production 1998/99, and went to Strasbourg, Valencia and New

for Glyndebourne on Tour and The Turn of the Screw in a concert

Zealand. He has also been lauded for his work on Janáček’s The

performance at the Vienna Konzerthaus. He made his US debut with

Cunning Little Vixen (What’sOnStage Best New Production 2015),

A Midsummer Night’s Dream at Lyric Opera of Chicago which was

Tannhäuser (Aasta Lavastus Production of the Year in Estonia,

followed by The Rape of Lucretia at Houston Grand Opera. He recently 2014), Samson (nominated for Manchester Evening News Best made his debut with Opera Australia conducting Die Zauberflöte at

Opera Production 2008), Wozzeck (Arts Event of the Year, New

the Sydney Opera House, a work that he has also conducted for Lyric Mexico, 2001) and a theatrical production of Romeo and Juliet Opera of Chicago, San Francisco Opera and Royal Danish Opera.

On the concert podium, this season sees return engagements with

(nominated for the President’s Prize, Singapore). His Don Pasquale claimed the 2007 Gramophone Magazine Award for Best Opera Production on DVD.

the London Philharmonic, Royal Philharmonic, BBC Philharmonic and BBC Scottish Symphony orchestras. Other recent highlights

Daniel’s productions have appeared all over the world including

include Orchestra de la Suisse Romande, Residentie Orchestra,

Glyndebourne, Welsh National Opera, Opera North, Strasbourg,

Royal Concertgebouw, Oslo Philharmonic and Netherlands

Geneva, the Palau de les Arts in Valencia, the Royal Opera

Philharmonic. He recently gave the world première performances

Stockholm, the Norwegian National Opera, Flanders Opera,

of Carl Vine’s ‘Implacable Gifts’ with the West Australian Symphony

the Komische Oper Berlin, Bregenz Festival, Santa Fe, Houston

and Tasmanian Symphony and has also recently conducted both the Grand Opera, and San Francisco.

Queensland Symphony and Adelaide Symphony.

Prior to this Brisbane production, he has directed Peter Grimes in Rory Macdonald was born in Stirling, Scotland and studied at Cambridge University before being appointed assistant conductor to Iván Fischer and the Budapest Festival Orchestra, and to Sir Mark Elder and the Hallé Orchestra. He was also a member of the Young Artists Programme at the Royal Opera House where he worked closely with Sir Antonio Pappano.

Rory Macdonald appears courtesy of Shaun and Sue Kenny

London and Geneva.

B i l l H ayc o c k – S e t a n d C o s t u m e D e s i g n e r

D av i d Wa lt e r s – L i g h t i n g D e s i g n e r

Brisbane born, Bill Haycock graduated from the National

David Walters has been a professional lighting designer for

Institute of Dramatic Art in 1978.

40 years, with his work spanning opera, theatre, ballet, dance, puppetry, circus, exhibitions, major events and architectural

In a career spanning 30 years he has designed more than

installations. From 1978 to 1986 David worked as a freelance

150 plays, ballets, dance pieces, visual theatre events, operas,

lighting designer in Iceland, where he is recognised as a pioneer

exhibitions and installations for many of Australia’s most

in the field. In 1986 he returned to Australia to take up a position

innovative companies, directors and choreographers.

as resident lighting designer with the Queensland Theatre

Bill has designed extensively for La Boite, Queensland Theatre Company and QPAC as well as Expressions Dance Company, the Queensland, Hong Kong and Australian ballet companies and various works for the Adelaide, Melbourne, Perth and Hong Kong arts festivals. His previous works for Opera Queensland include Love Burns, Don Giovanni, and Cinderella.

He was awarded the Loudon Sainthill Scholarship for overseas travel, multiple Matilda Awards and commendations, was nominated for an inaugural Helpmann Award and won a Hong Kong Dance Design Award for his work on the HK Ballet’s Madama Butterfly.

After six years as head of design at the Hong Kong Academy for Performing Arts he returned to freelance designing, including Cabaret for Zen Zen Zo, Romeo and Juliet and Gloria for QTC, End of the Rainbow for QPAC/QTC, Ten Hands and Sharehouse for music ensemble Topology, Prize Fighter for La Boite, When Time Stops and 7 Deadly Sins for EDC, and Candide for Opera Queensland.

In 2017 Bill’s new robe designs were first worn by the High Court of Australia.

Company. Since 1990, as a freelance designer, he has worked extensively throughout Australia and designed for the Melbourne Theatre Company, Sydney Theatre Company, State Theatre Company of South Australia, Handspan, Playbox, La Boite, Rock ’n’ Roll Circus, Nimrod, Company B, Expressions, Queensland Ballet, Australian Ballet, Opera Australia, Opera Queensland, The Powerhouse, Queensland Performing Arts Centre, Zen Zen Zo, Dead Puppet Society, Topology and Bell Shakespeare Company.

His work has toured extensively in Australia and overseas. He has lectured in lighting design at several universities and is currently an adjunct associate professor at the Queensland University of Technology. Throughout his career David has maintained his close ties with Iceland, where he has worked for the National Theatre, the National Opera and the Reykjavik City Theatre.

Creative Team

Jillianne Stoll – Chorus Master

Nicholas Cleobury – Assistant Conductor

Jillianne Stoll is a graduate of the Elder Conservatorium,

Nicholas Cleobury has an international reputation in the concert

University of Adelaide and a state winner of the ABC Instrumental

hall, opera house and recording studio, and has conducted

and Vocal Competition. In 1989 Jillianne joined the music staff

numerous UK orchestras, including all the BBC and leading

at Opera Australia. During the ensuing five years, she worked

London orchestras. European orchestras include the Belgian

on more than 40 operas with the company, including many by

National and Radio, Czech Philharmonic, Gulbenkian, RTE and

Britten, and was fortunate to coach Robert Gard on his final

Tonhalle. Nicholas has conducted throughout Denmark, South

season as Gustav von Aschenbach in Britten’s Death in Venice.

Africa, Spain and Sweden, also in Australia and Singapore, at numerous Festivals and regularly at the BBC Proms.

In 1991, Jillianne was awarded the Peter Mitchell Churchill Fellowship and travelled to the UK and Italy to study.

He has conducted opera companies including the British Youth Opera, Canadian Opera, Chicago Opera Theater, ENO,

She was Head of Music for Opera Queensland for seven years

Flanders, Glyndebourne, Gothenburg, Hamburg, Malmö, Omaha

and also directed its young artist program. More recently, she

Opera, Opera North, Stockholm, Welsh National Opera and

has been guest vocal coach/repetiteur/guest chorus master for

Zurich Opera. He was principal conductor of the RAM and Mid

Opera Queensland’s mainstage productions and a member of

Wales Operas.

Opera Australia’s music staff for the company’s Queensland seasons since 2012. Jillianne has also been an orchestral member

He has worked extensively as choir director, as assistant director

for Brisbane seasons of major music theatre productions at the

of the BBC Singers and with the Danish and Swedish Radio

Queensland Performing Arts Centre.

Choirs, and was principal conductor of the Oxford Bach Choir.

Jillianne is presently Lecturer, Opera and Professional Practice

He is a champion of new music and has worked closely with

at the Queensland Conservatorium Griffith University.

many contemporary composers, notably the late Sir Michael

She has served on the music board of the Australia Council

Tippett, and with ensembles including BCMG, London Sinfonietta,

for the Arts and performs regularly with the Queensland

Die Reihe, Opera Nova Zurich and all major UK colleges. He

Symphony Orchestra.

broadcasts with the BBC and Classic FM, has a wide discography, coaches at the ROH and NOS in London, and is head of opera at the Queensland Conservatorium.

Tarita Botsman – Assistant Director With a distinguished background as an opera singer, Tarita Botsman is also a director and writer. Currently Tarita runs her own company, The 7 Sopranos, which to date has engaged more than 400 Australia-based opera singers, touring independently in Australia and internationally.

Tarita followed her professional operatic debut as Papagena for Opera Queensland at the age of 22 with study in Italy, Germany and Australia. She sang more than 20 major operatic roles for companies across Europe and Australia, and performed as an actress for all the major state theatre companies in Australia. In Europe, Tarita made her recital debut at Teatro Il Tempietto in Rome and has performed recitals in France, the UK, Italy, UAE and Morocco.

She is a graduate of the Guildhall School of Music and Drama, the Queensland Conservatorium of Music, and QUT. Her many awards include Young Australian of the Year and Young Queenslander of the Year 1998.

In 2018 Tarita will direct Opera in the Gardens in Brisbane, revive Songs from Stage and Screen for a New South Wales tour and commence her PhD.

CAST

S t u a r t S k e lt o n – P e t e r G r i m e s

S a l ly M at t h e w s – E l l e n O r f o r d

Winner of 2 Helpmann Awards and the 2014 International

Sally Matthews studied at the Guildhall School of Music

Opera Awards for Best Male Singer, Stuart Skelton’s repertoire

and Drama, London and was the winner of the 1999

encompasses roles from Wagner’s Lohengrin, Parsifal, Rienzi,

Kathleen Ferrier Award.

Siegmund and Erik to Strauss’ Kaiser and Bacchus, Janacek’s Laca, Saint-Saëns’ Samson, and Beethoven’s Florestan.

Sally has appeared on many of the world’s great opera stages, including the Royal Opera, Covent Garden; The Metropolitan

He appears regularly on the leading concert and operatic stages

Opera; San Francisco Opera; Los Angeles Opera; La Monnaie,

of the world, including Berlin, London, Los Angeles, Munich, New

Brussels; Dutch National Opera; Theater an der Wien; the

York, Paris, Tokyo, Vienna and Sydney, with orchestras including

Bayerischer Staatsoper; Opéra de Lyon and Glyndebourne

the Berlin Philharmonic, Boston Symphony, L.A. Philharmonic,

Festival Opera. Roles include Jenufa; Daphne; Anne Trulove;

London Symphony, Vienna Philharmonic, the Symphony

Madeleine in Capriccio; Elisabeth in Don Carlos; Rusalka;

Orchestras of Sydney, Adelaide, Melbourne, Tasmania and West

Marschallin; Ellen Orford in Peter Grimes; Fiordiligi; Donna Anna;

Australia, and at the BBC Proms and the Edinburgh Festival.

Konstanze and Countess.

He has sung with such acclaimed conductors as Vladimir

Sally sings regularly with orchestras including the

Ashkenazy, Daniel Barenboim, Jiři Bèlohlavek, James Conlon, Sir

Philharmonia, London Symphony, London Philharmonic,

Andrew Davis, Christoph von Dohnanyi, Mariss Jansons, Philippe

Rotterdam Philharmonic, Berlin Philharmonic and Bavarian

Jordan, James Levine, Fabio Luisi, Lorin Maazel, Sir Charles

Radio Symphony with conductors Antonio Pappano, Bernard

Mackerras, Sir Simon Rattle, David Robertson, Donald Runnicles,

Haitink, Sir Simon Rattle, Daniel Harding, Robin Ticciati, François-

Michael Tilson-Thomas and Simone Young.

Xavier Roth and Mariss Jansons. Her repertoire includes Mahler

Recent performances have included Fidelio at BBC Proms and La Scala, Milan, Peter Grimes at Edinburgh Festival, Parsifal with the Berlin Philharmonic Orchestra, Tristan in Tristan und Isolde for the Metropolitan Opera, English National Opera, and at the Baden-

Symphonies No.2, 4 and 8, Strauss Vier letzte Lieder, Schumann Paradies und die Peri, Brahms Requiem, Haydn Creation and The Seasons, Messiaen Poèmes pour Mi, Mendelssohn Lobgesang and Berg Seven Early Songs.

Baden Festival, Lohengrin for Opéra National de Paris, Laca in

Sally has given recitals regularly with pianist Simon Lepper at

Jenůfa for the Bavarian State Opera, Munich, Das Lied von der

La Monnaie, Brussels, the Concertgebouw, Amsterdam and

Erde with the Metropolitan Opera Orchestra, London Symphony

Wigmore Hall.

Ochestra and Bavarian Radio Symphony Orchestra. Upcoming performances in 2018 and 2019 will include Siegmund in Die Walküre at the Royal Opera House Covent Garden and the title role in Otello at the Metropolitan Opera.

Stuart Skelton appears courtesy of Philip Bacon AM

Sally Matthews appears courtesy of Tim Fairfax AC and Gina Fairfax

Mark Stone – Captain Balstrode

H ay l e y S u g a r s – A u n t i e

Baritone Mark Stone studied at King’s College, Cambridge

Mezzo-soprano Hayley Sugars commenced her vocal training

and the Guildhall School of Music and Drama.

at the University of Southern Queensland and undertook postgraduate study at the Queensland Conservatorium of

Recent operatic highlights include the title role in Don Giovanni

Music. During her studies, Hayley was the recipient of many

in Berlin, Hamburg, Tokyo and New Zealand; Il Conte in Le nozze

academic and performance awards including the Elizabeth Muir

di Figaro in Cologne; Il Conte, Eisenstein and Belcore at the

Postgraduate Scholarship (QCM) and the Joyce Campbell Lloyd

Welsh National Opera; Mountjoy in Britten’s Gloriana at Covent

Overseas Scholarship (USQ).

Garden; title roles in Rigoletto for Nevill Holt Opera; and Wozzeck in Geneva.

She was a member of the Opera Queensland Young and Developing Artist Program (2007-2009) and has enjoyed

In the United States he has sung Ford in Falstaff, Germont in

success in national competitions, winning the German-Australian

La Traviata, Papageno in Die Zauberflöte, the title role in Gianni

Opera Grant in 2010. This success resulted in contracts with

Schicchi and Protector in George Benjamin’s Written on Skin for

the Hessisches Staatstheater Wiesbaden and the

Philadelphia Opera.

Landestheater Coburg.

Concert highlights include Ades’s Totentanz with the New York

While in Germany, operatic repertoire included Donna Elvira in

Philharmonic, Boston Symphony and Danish National Symphony

Mozart’s Don Giovanni, the title role in Handel’s Rinaldo, Mrs Grose

orchestras; Britten’s War Requiem at La Scala Milan with Xian Zhang, and at the Amsterdam Concertgebouw (Jaap van Zweden); Mahler Symphony No.8 with the Philharmonia (Lorin Maazel); Rossini’s Guillaume Tell at the BBC Proms with Antonio Pappano; the title role in Sweeney Todd with the Bayerischer

in Britten’s Turn of the Screw, Rosina in Rossini’s Il barbiere di Siviglia, Varvara in Janáček’s Katya Kabanova, Flora Bervoix in Verdi’s La traviata, Mirabella in Strauss’s Der Zigeunerbaron and Suzuki in Puccini’s Madama Butterfly, a production that was a finalist in Germany’s prestigious Der Faust Awards.

Rundfunk, Munich; A Sea Symphony with the Düsseldorfer Symphoniker under Roger Norrington; and The Dream of Gerontius

Since returning to Australia, Haley has performed to great

with Vienna Symphony and James Judd.

acclaim for Opera Queensland, The Brisbane Festival and, most recently, New Zealand Opera. In 2018 she will once again perform

A keen recitalist, Mark has sung at Carnegie’s Weill Hall in New York and London’s Wigmore Hall.

Mark Stone appears courtesy of Andy Greig and Ingrid Asbury

Donna Elvira in Opera Queensland’s production of Don Giovanni.

CAST

Katie Stenzel – Niece 1

Natalie Christie Peluso – Niece 2

Katie Stenzel is a dynamic coloratura soprano. She graduated

Winner of the Australian Singing Competition’s Marianne Mathy

with a Bachelor of Music from QUT and completed her Master of

Award and a BBC Cardiff Singer of the World grand finalist,

Music Studies at the Queensland Conservatorium of Music.

Natalie Christie Peluso graduated from London’s Guildhall School of Music and Drama and became principal soprano at the Welsh

Katie made her principal mainstage debut with Opera Queensland as Rosina for both the Brisbane season and regional Queensland tour of Il barbiere di Siviglia, and in 2017 performed the role of Zorah in Ruddigore, or the Witch’s Curse!. Since joining the company she has understudied roles including Rose Maybud in Ruddigore, Cunegonde in Candide and Yum-Yum in The Mikado. She has appeared as a principal artist at various Opera

National Opera for five years, performing Sr Constance in The Carmelites, Sophie in Der Rosenkavalier, Gilda in Rigoletto, Eurydice in Orphée et Eurydice, Pamina in Die Zauberflöte, Adina in L’elisir d’amore, Susanna in Le nozze di Figaro, Zerlina in Don Giovanni, Despina in Così fan tutte, Adele in Die Fledermaus, and Marzelline in Leonora.

Queensland events such as Sensory at GOMA, Cloud Song, and

Other highlights include Zerlina in Don Giovanni for the Royal

Opera in the Vineyard

Opera House, Covent Garden conducted by Sir Charles

at Ballandean.

Mackerras; the soprano in Bach’s St John Passion with English National Opera; and her hugely acclaimed appearances as

Katie created the role of Loretta for the recording of Peter Rankine and Rod Ainsworth’s new work, The Crushing: A Gothic

Susanna in Mozart’s Le nozze di Figaro with Opera Australia

Opera. She sang in the Opera Australia chorus for the Handa

Recent engagements include Hanna Glavari in The Merry Widow

Opera on Sydney Harbour production of Carmen, and has also

and Rose Maybud in Ruddigore, or The Witch’s Curse! for Opera

performed as a featured artist at the Adelaide Fringe Festival and

Queensland, Ottavia and Drusilla in Monteverdi’s Coronation

the Taipei Drama Festival in Taiwan.

of Poppea with Pinchgut Opera. Concert performances include

In 2018, Katie performs the roles of Valencienne in The Merry Widow, Zorah in Ruddigore, and Zerlina in Don Giovanni with Opera Queensland.

Bach’s B Minor Mass, Handel’s Messiah, and Mahler’s Symphony No.4 with Queensland Symphony Orchestra, and Strauss’s Four Last Songs for Australian Festival of Chamber Music.

Bradley Daley – Bob Boles

Andrew Collis – Swallow

Since making his debut with the English National Opera as

Australian bass-baritone Andrew Collis has performed with opera

Rodolfo in La bohème, Bradley Daley has worked with many

companies in Berlin, Dortmund, Düsseldorf, Essen, Frankfurt,

companies in the United Kingdom and Europe, including Opera

Mannheim and Wiesbaden, and in concerts in Bonn, Strasbourg,

North, ENO, Holland Park Opera and Co-Opera Ireland. He has

Stuttgart and Cologne. From 1993 to 2007 he was a member

performed regularly with Muziektheatre Transparent in Belgium,

of the Cologne Opera, during which time he participated in the

Compagnia d’Opera Italiana di Milano, and Opera Nomade

award-winning recording of Zemlinsky’s Der Zwerg for EMI.

in Paris.

His recent engagements include Pooh-Bah in The Mikado and In Australia Bradley has recently performed principal roles with

Don Magnifico in La Cenerentola with New Zealand Opera; the

Opera Australia, Opera Queensland, Victorian Opera and State

title role in Don Pasquale for State Opera of South Australia;

Opera of South Australia. These have included the title role in

Messiah with Queensland Symphony Orchestra; Nourabad in The

Otello, Dick Johnson in La fanciulla del West, Canio in Pagliacci,

Pearlfishers, Sir Roderic in Ruddigore, or The Witch’s Curse!, Colline in

Don José in Carmen, Florestan in Fidelio, and Narraboth in Salome.

La bohème, Bonze in Madama Butterfly and Dr Bartolo in The Barber

Concert performances have included Dvořàk’s Stabat Mater, Verdi’s Requiem, Puccini’s Messa di Gloria, Beethoven’s Symphony No.9, Mendelssohn’s Die erste Walpurgisnacht for Prague Music Festival, Messiah with Britten Sinfonia and Elgar’s The Kingdom and The Dream of Gerontius.

Bradley won Green Room awards for his performances as Curley in Opera Australia’s 2011 production Of Mice and Men and Mao Tse-tung in Victorian Opera’s 2013 production of Nixon in China.

Most recently, he sang Pinkerton in Madama Butterfly for Opera Queensland, Siegmund in Der Ring des Nibelungen for Opera Australia and Siegfried in both Siegfried and Götterdämmerung for Kiel Opera Germany.

of Seville for Opera Queensland; Simone in Gianni Schicchi, Basilio in Le nozze di Figaro and Bartolo in The Barber of Seville for West Australian Opera; Bonze in Madama Butterfly at Perth Festival; Henry Kissinger in Nixon in China for Auckland Arts Festival; Valens in Theodora for Pinchgut Opera; Haydn’s Harmoniemesse for Tasmanian Symphony Orchestra; and Bach’s St John Passion for the Sydney Philharmonia Choirs and for West Australian Symphony Orchestra.

In 2018 Andrew returns to Opera Queensland to sing Pritschich in The Merry Widow, Sir Roderic in the regional tour of Ruddigore, or The Witch’s Curse!, and Commendatore in Don Giovanni. Concert performances will include Beethoven’s Symphony No.9 with Adelaide Symphony Orchestra.

CAST

Jacqueline Dark – Mrs Sedley

Jeffrey Lloyd-Roberts – Reverend Horace Adams

Mezzo-soprano Jacqueline Dark is one of Australia’s favourite

Welsh tenor Jeffrey Lloyd-Roberts read music at Lancaster

singers. In 2016 she starred as The Mother Abbess in The Sound

University before studying at the Royal Northern College of Music.

of Music before returning to Opera Australia as Fricka in its revival of Der Ring des Nibelungen. In 2017, she sang Santuzza in Cavalleria Rusticana for State Opera of SA, the title role in Prima Donna for the Adelaide Festival, Anna in Black River for

His concerts include performances with the City of Birmingham Symphony, BBC Symphony, BBC Philharmonic, Orquesta Sinfònica de Barcelona, Musikfabrik and the Malaysian

Victorian Opera/Malthouse Theatre, and major concerts with the

Philharmonic, and with conductors including Sir Simon Rattle,

Sydney Symphony, Sydney Philharmonia and Darwin Symphony

Matthias Bamert and Vassily Sinaisky,

Orchestra. In 2018, Jacqui returns to OA in The Nose and debuted with New Zealand Opera in Candide.

Jeffrey has worked regularly with all the major UK opera companies in works including Julietta (English National Opera);

Her many roles for Opera Australia have included Amneris in

Peter Grimes and Pique Dame (Opera North); Anna Nicole and a

Aida, Suzuki in Madama Butterfly, Herodias in Salome, Rosmira in

new production of Mahagonny (Royal Opera House); and Billy

Partenope, Donna Elvira in Don Giovanni, Marcellina in Le nozze di Figaro, Lady Billows in Albert Herring and Maddalena in Rigoletto.

Budd (Glyndebourne). His many roles with Grange Park Opera include Peter Quint (The Turn of the Screw), Lenski (Eugene Onegin),

For the Wiener Staatsoper Jacqueline has sung Giovanna in

Yuri (The Enchantress), Nicias (Thaïs), Alexei (The Gambler) and the

Rigoletto, Grimgerde in Die Walküre, Mercedes in Carmen, Ines in Il

Prince (Rusalka).

trovatore and Countess Ceprano in Rigoletto. For Victorian Opera, The Composer in Ariadne auf Naxos and Dorabella in Così fan tutte.

Other recent engagements include Rossini’s Stabat Mater for the West Australian Symphony, Messiah for the New Zealand Symphony and Herodias for Opera Hong Kong.

Jeffrey made his debut in Salzburg singing Erik (Die fliegende Höllander) and returned to sing Arthur in Harrison Birtwistle’s Gawain. He has sung at the Cheltenham and Edinburgh festivals and the BBC Proms, most recently for the UK premiere of Birtwistle’s Angel Fighter. Recent and future roles include Prince/ Manservant/Marquis in Lulu (ENO), The Mayor in Albert Herring for

In August 2014, Jacqueline received her second

the Buxton Festival, Polonius (Hamlet) for Glyndebourne on Tour

consecutive Helpmann Award, for her work as Fricka in

and The Drunken Prisoner in Janáček’s From the House of the Dead

Der Ring des Nibelungen.

for La Monnaie, Brussels, Opera de Lyon and the Royal Opera, Covent Garden.

Michael Honeyman – Ned Keene

Jud Arthur – Hobson

Michael Honeyman began his vocal training at the Australian

New Zealand-born bass Jud Arthur has been based in Australia

National University, graduating with First Class Honours in a

since 2003.

Bachelor of Music Performance before he continued his training at the Australian Opera Studio, Perth.

During this time Jud has performed to critical acclaim most of the standard bass repertoire for Opera Australia, including Angelotti

Michael is now a principal artist with Opera Australia where

in Tosca, Sarastro/Speaker in Die Zauberflöte, Colline in La bohème,

his leading roles include the title role of King Roger in Sydney

Nightwatchman in Die Meistersinger von Nürnberg, Nourabad in Les

and Melbourne, for which he received the Green Room Award

pêcheurs de perles, Mikado, Comte de Grieux in Manon, The Bonze

for male lead in an opera and a nomination for a Helpmann

in Madama Butterfly, Sparafucile/Monterone in Rigoletto, Timur in

Award for Best Male Performer in an opera, the title role in Simon

Turandot, Bartolo in Il barbiere di Siviglia, Ferrando in Il Trovatore,

Boccanegra, Miller in Luisa Miller, Sciarrone in Tosca, Escamillo

Raimondo in Lucia di Lammermoor, Varlaam in Boris Godunov,

in Carmen, Ford in Falstaff, Di Luna in Il Trovatore, Sharpless in

Banquo in Macbeth, Zaccaria in Nabucco, and Zaretski in

Madama Butterfly, and Donner in Das Rheingold. He has performed

Eugene Onegin.

Amfortas in a concert performance of Parsifal, Amonasro in Aida at Opera on the Beach and at Handa Opera on Sydney Harbour,

Jud also performs frequently with West Australian Opera,

and appeared as a soloist in Opera Australia’s New Year’s Eve

Opera Queensland, New Zealand Opera, Sydney Symphony

Gala. He has also worked with both West Australian Opera and

and the State Opera of South Australia.

State Opera of South Australia performing the role of Valentin in Faust, and performed in Beethoven’s Symphony No.9 as part of the 40th birthday celebrations of the Sydney Opera House.

Upcoming engagements with Opera Australia will include the roles of Amonasro in Aida and Ortel in Die Meistersinger von Nürnberg.

Career highlights include international acclaim for his performance as Fafner/Hunding in Opera Australia’s Ring Cycle.

Jud’s 2018 performances include Gravedigger, Ghost of Hamlet’s Father and Player 1 in Brett Dean’s Hamlet for Adelaide Festival; Fauré and Mozart Requiems (Victoria Chorale), Some Enchanted Evening concerts at the White Horse Theatre, Melbourne, The King in Aida for Opera Australia and Il Commendatore in Don Giovanni for West Australian Opera.

Off the stage, Jud Arthur is a former New Zealand provincial rugby player for Otago and No.8 for the Italian team Mirano.

CAST

Riley Brooker – John

Wa lt W e b s t e r - C u r r a n – J o h n

Riley Brooker has performed professionally in both musical and

Walt Webster-Curran is an aspiring young actor and musician.

dramatic theatre, as well as national TV commercials. His credits

He is currently in Grade 11 at St Laurence’s College, where he

include Louis Leonowens in The King and I for Opera Australia/

has been actively involved with the choral program and drama

John Frost; Buster in Cat on A Hot Tin Roof for Queensland

projects since 2012. He studies piano, voice and contemporary

Theatre/Black Swan State Theatre Company; children’s chorus

dance, and with school friends performs in a rock band called

in A Midsummer Night’s Dream for Opera Australia; and Stephen in

Don’t Trip On The Wire. In 2018 he joined the Queensland Theatre

Chitty Chitty Bang Bang for TML Enterprises. Film credits include

Youth Ensemble to expand his development as an actor.

the lead Finn in Alienation (Ryan Greaves Griffith Film School), which showcased at Cannes Film Festival – Short Film Corner

Walt’s performance experience includes The Holidays for

2015 and also won Best Australian Film – 2015 SciFi Film Festival.

Queensland Theatre – Qld Premier’s Drama Award Winner, Welcome To Sameville for Shock Therapy Productions –

Riley’s love of performing started at the age of 4 when he began

Commonwealth Games Festival 2018, Faure’s Requiem for SLC Big

studying musical theatre and dance at Kim Bowkett’s Theatre &

Brotherhood with UQ Symphony Orchestra and Choir, and 1984

Dance performance school. Now 14 years old, Riley studies drama

for shake & stir theatre co. His screen work includes a featured

with Queensland Theatre’s Youth Ensembles and acting for film

appearance in a national advertising campaign for Dreamworld.

with mentor Thomas Larkin.

Currently attending Villanova College, Riley has successfully auditioned for Queensland Academies – Creative Industries Campus (QACI) and will complete his senior schooling years at the academy from 2019.

Riley is thrilled to perform the role of John in this production of Peter Grimes and grateful for the opportunity to work with such an amazing cast and creative team.

John McNeill – Dr Crabbe John McNeill is one of Australia’s most versatile actors. His extensive stage experience includes The Readers (Belvoir), The Dapto Chaser (Apocalypse), Endgame (shake & stir theatre co – nominated for a Matilda Award for Best Supporting Actor), Of Mice and Men (Sport for Jove), Away (Sydney Theatre Company), Ruben Guthrie (La Boite), Thrall (Tamarama Rock Surfers) and many others, ranging from musicals Anything Goes to a variety of Shakespearean roles including The Tempest and Richard III. On television he played Lennie McPherson in seasons two and three of Underbelly, and has appeared in Doctor, Harrow, Homecoming Queens (nominated for Melbourne International Webfest award for Best Supporting Actor), Hoges, The House of Bond, The Gods of Wheat Street, Rescue Special Ops, Tricky Business, Crownies, Blue Murder, Rake, Water Rats, All Saints, McLeod’s Daughters, The Cut, White Collar Blue, Heartbreak High, Home and Away and others.

Feature films include Australia Day, Candy, Dirty Deeds, Kangaroo Jack, The View From Greenhaven and Burns Point.

John is also a playwright and his play Pikers was produced at Belvoir St and Stables theatres. Other plays produced in Sydney include Big Double Draws Stumps, Jesus of Marrickville and Slapping Leonard Cohen.

John has worked as a singer/guitarist and was lead singer in the rock band Blood Money.

Brisbane Festival staff BOARD DIRECTORS

TECHNICAL

Paul Spiro, Chair Philip Bacon AM, Deputy Chair Cory Heathwood Ian Klug AM Simon Morrison Amanda Newbery Mick Power AM Alison Smith Professor Mandy Thomas Chris Tyquin

Tim Pack Lew Bromley Louisa Lachi Cameron Ricketts Terri Richards Bill Hazard Michael Richardson Donovan Wagner Brenton Slattery Isaac Ogilvie Dale Norris Katie Hurst Jaimeson Gilders Anne Boyd Vashti Greder Amy McKenzie Blue Walker Bethany Scott Brooke Coleman Caitlyn Kidney Jacob Wall Jasmine Kennedy Michael Trevisan Melissa Herburg

ARTISTIC DIRECTOR David Berthold

CHIEF EXECUTIVE OFFICER Charlie Cush

PROGRAMMING Stefan Greder Giannina Periz Alyssa Kielt Troy Armstrong Damien Cassidy Chris Twite Kat Murphy Stephanie Suess Alexander Butt Aaron Austin-Glen Josh Cook Ashleigh Wheeler Sarah Farnsworth Skye Murphy Stu Syme Leigh Walker Margie Bowen Metal McCammon Bebe Majstorovic Dylan Gospel Kate McHugh Jay Lind

Program Director Senior Producer Producer Producer Producer Contemporary Music Programmer Associate Producer Associate Producer Associate Producer Associate Producer Program Coordinator Program Assistant Program Administrator Logistics Manager Logistics Coordinator Logistics Coordinator Logistics Administrator Resources Coordinator Program Intern Program Intern Program Intern Ground Transport Driver

Technical Director Operations Manager Technical Administrator Technical Manager Technical Manager Technical Manager Technical Manager Technical Coordinator Technical Coordinator Technical Coordinator Technical Coordinator Technical Coordinator Technical Coordinator WHS Coordinator Signage Coordinator Site Design Manager Site Design Intern Site Management Secondment Site Design Secondment Technical Management Secondment Technical Management Secondment Technical Management Secondment Technical Management Secondment Technical Management Secondment

BUSINESS DEVELOPMENT Danica Bennett Dana Brown Fabienne Cooke Kirsty Adams Jenny Usher Anina Warrener Kinsey Downs

Business Development Director Sponsorship Manager Philanthropy Manager Corporate Hospitality Manager Philanthropy Administrator Business Development Coordinator Hospitality and Functions Intern

MARKETING AND COMMUNICATIONS Michael Adams Carrie Barber Jen Hall Zoe White Angela Kohler Liana Praekelt Emma Symons Jo Michel Jennifer Laing Glenys Tristram Karlicca Culalic Chenea Rooke Laura Pineda Stella Sit

Marketing and Communications Director Marketing Manager Brand and Content Manager Digital Marketing Manager Marketing Executive Marketing Administrator Social Media Specialist Ticketing Manager Ticketing Assistant Marketing Intern Media Communications Intern Motion Graphics and Design Intern Ticketing Intern Ticketing Intern

FINANCE Rebecca Drummond Lorelle Edwards

Finance Director / Company Secretary Finance Assistant

ADMINISTRATION Julia Herne Marcia Ferreira Samantha Paterson Melissa Hampton Shellie Ward Zac Reimers Peter Breuer Emma Blatz Lia Guziak

Administration Manager Administration Coordinator Administration Assistant Administration Intern Administration Intern Volunteers Coordinator Volunteers Assistant Volunteers Program Intern Volunteers Program Intern

CREATIVE DESIGN Arkhefield Sean Dowling Sarah Winter

Treasury Brisbane Arcadia Brisbane Festival Brochure Theatre Republic

FESTIVAL DESIGN AGENCY Rumble Speedwell

PUBLICITY Aruga Heapsaflash

FESTIVAL PHOTOGRAPHER Atmosphere Photography

INDIGENOUS ADVISORY GROUP Michelle Tuahine, Chair Raelene Baker Bridget Garay Bob Weatherall

SUNSUPER RIVERFIRE CREATIVE TEAM Foti International Gordon Hamilton

GIVING COMMITTEE Thomas Bradley QC, Chair Heidi Cooper Regina Cotter Simon Morrison Ben Poschelk Courtney Talbot

Fireworks Soundtrack

Brisbane Festival Donors Principal Donors

The Independents

Stuart Skelton appears courtesy of Philip Bacon AM Sally Matthews appears courtesy of Tim Fairfax AC and Gina Fairfax Mark Stone appears courtesy of Andy Greig and Ingrid Asbury Rory Macdonald appears courtesy of Shaun and Sue Kenny

Victor and Michelle Borzillo Melissa Brown Kerry and Greg Gillett goa Jeff and Amanda Griffin Will and Lauren Griffin Cory Heathwood Lesa and David Jackson Alvin Leach Susan Learmonth and Bernard Curran Rob and Nicole Martin Rob and Dinie McConnel Tanya and Graham McCarthy Daniel Morgan Greg and Rosamund Pankhurst Prue and James Pateras Candice Redmond Rumble Creative and Media Alison Smith Professor Mandy Thomas Andrew Tynan Jenny Usher and Peter Good Judy & David Usher Dr Phillip Vecchio and Marisa Vecchio AM

Chorus of Donors Anonymous Brian Bartley Gayle and Nick Carter CM and IG Furnival Ian and Cass George Ian Hanger AM QC and Dr Marika Hanger Valmay Hill and Russell Mitchell Wayne Kratzmann

High Commissioners Philip Bacon AM Thomas Bradley QC Paul and Sue Taylor

The Internationals Matt and Eliza Baxby Virginia Bishop BMD Group Simon Morrison Ben and Fiona Poschelk Courtney Talbot

The Commissioners Bryce Camm and Mark Lightfoot Fabienne & Marshall Cooke Heidi and James Cooper Regina and John Cotter JosĂŠ and Lucy Coulson Charlie and Alicia Cush Cate Heyworth-Smith QC and Ben Duke Michael Hodge QC and Kim Hodge Francine and Anthony John Martin Kerrigan Ian Klug AM and Jocelyn Klug Russell Mann and Margo McLay Amanda Newbery Sarah and Joseph O'Brien Susan and Matthew Pople Fraser Power Lynn Rainbow-Reid AM and John B Reid AO Paul Spiro Rupert and Penelope Templeman The Hon Justice David Thomas and Jane Thomas Tony Young

BFFs Robert Beech and Liz Ralston Penny Behan Hugo Clark-Ryan Tim and Cheryl Courtice John and Catherine Drakakis Leeor Groen Nancy and Allan Hartley Josephine Macmillan Adelaide McDonald Elizabeth McDonnell Diane Murphy Donna Orazio Tim and Katie Pack Dare and Andrea Power Charli Robinson Andrea and Craig Templeman Isabella Vecchio

opera queensland staff

opera queensland Donors

PATRON

PATRONS

His Excellency the Honourable Paul de Jersey, AC Governor of Queensland

Our Patrons and donors are an essential part of our company. Their personal relationship with Opera Queensland is crucial to the growth and development of our art and artists. Opera Queensland would like to acknowledge the vital role they play in revealing the beauty of opera to audiences across Queensland, and ensuring that its vibrancy and legacy endures.

BOARD OF DIRECTORS Dr Sally Pitkin David Siddle Teresa Dyson Kim Challenor Anne Cross AM Dr Colin Furnival David Gow Daniel Tobin

Chair Deputy Chair Treasurer Directors

Ms Beverley Smith, Mr John Story AO and Mrs Georgina Story

Will Fellowes

Honorary Life Members James Christiansen OAM Lady Jane Edwards AM Sir Leo Hielscher AC Ray Jeppesen Martin Kriewaldt David Macfarlane OAM Marilyn Richardson Dr Nancy Underhill

GOLD PATRONS Mrs Kim and Mr Luke Challenor, Miss Adele Dickman, Dr John Gough and Ms Ann Page, Mrs Andrea and Mr Malcolm Hall-Brown, Mr Robert Hubbard & Ms Leanne Muller, Hon Justice Anthe Philippides, Dr Sally Pitkin, The Late Ms Rose Scheimann, Mr Trevor and Mrs Judith St Baker.

SILVER PATRONS

Artistic Director + CEO Patrick Nolan

Executive Director Sandra Willis Head of Business & Finance Head of Music Head of Learning, Regional & Community Head of Marketing Interim Head of Marketing Head of Technical Production Artist & Company Manager Digital Content Coordinator Marketing Campaigns Coordinator Head of Wardrobe Production Administrator Assistant Accountant Events Coordinator Public Relations

OPERA QUEENSLAND LTD ABN 83 010 258 750 Registered Office Queensland Conservatorium 140 Grey Street, South Bank, Qld 4101 Postal Address Telephone Facsimile Email

Mr Philip J Bacon AM, Thomas Bradley QC, Emeritus Prof Christa Critchley and Emeritus Prof David Siddle, Prof Ian Frazer AC † and Mrs Caroline Frazer, The Mather Foundation.

PLATINUM PATRONS

External Member of the Audit & Risk Committee

Rebecca Frizzo Narelle French Mark Taylor

Elisha Oatley Mark Elliott Ian Johnson Erica Fryberg Stephanie Do Rozario John Sullivan Karen Cochet Annette Kerwitz Thilini Ginige Cindy Maurice Aruga

FOUNDATION PATRONS

PO Box 5792, West End, Qld 4101 07 3735 3030 07 3844 5352 info@operaq.com.au

Dr Philip Aitken † & Dr Susan Urquhart†, Dr Glenise Berry, Prof Frank Clarke, Dr Samuel Cooke † and Dr Katherine Darch †, Ms Anne Cross AM, Hon Justice Geoffrey Davies AO and Mrs Thea Davies, Mrs Elva Emmerson, Drs C M† and I G Furnival †, The Honourable H G Fryberg QC & Mrs Jeraldene Fryberg, Prof Ian R Gough AM and Dr Ruth Gough†, Julia Gray and Ian Craig, Mr Robin Hazeldine, Mr William Heck OAM & Mrs Patricia Heck, Mrs Samantha Jorgensen, Drs Peter & Annette Kortlucke, Mr Martin and Mrs Andrea Kriewaldt, Dr Joan Lawrence AM, Prof Andrew and Mrs Kate Lister, Hon Justice Philip McMurdo § and Hon Justice Margaret McMurdo, Mr Russell Mitchell & Ms Valmay Hill, Dr John Morris, The Oxenford Family (In loving memory of Mrs Brenda Oxenford), Mr Ian Paterson, Mr Ray Poon, Mr Douglas & Dr Janet Porter, Dr John Quinn AM † and Mrs Deborah Quinn, Redsuit Advertising, Mr Douglas and Mrs Janine Ritchie, Mrs Karon and Mr Colin Roberts, The Geoff Ross Endowment Australian Philanthropic Services Foundation, Dr Dush Shan, Dr Marie Siganto AM, Mr Geoff § and Mrs Kristen Sinclair, Mrs Suzy and Mr Henry Smerdon AM, Mr Allen Smith and Mrs Mitzi Smith, Dr Ben Steinberg † and Mrs Janette Steinberg, Hon Justice David Thomas § and Mrs Jane Thomas, Dr Mark Walker †, Dr Michael & Mrs Margaret White, Ms Sandra Willis & Mr Nicholas Dwyer, Mr Rodney Wylie, Mr Nicholas and Mrs Paula Zappulla, Anonymous 3

BRONZE PATRONS Mr Robert Angel, Mrs Georgina Blomfield, Mr Graham and Mrs Barbara Buderus, Mr David and Mrs Margaret Crombie, Mr Rob Cumming, Dr Charmaine Davison, Ms Robyn Evans, Mr Peter Forster, Mr Richard Gibberd, Ms Marian Gibney, Sir Leo Hielscher AC, Mrs Marie Isackson, Dr Marie Jameson †, Ms Jennette Johnstone, Mr Michael Kenniger & Ms Jane Grealy, Mr Jason Lu, Dr Michael & Mrs Elizabeth Martin, Desmond B Misso ESQ, Dr Terry Sheahan † and Mrs Geraldine Sheahan, Ms Louise Simmons, Dr Margaret Soroka, Mr Mark & Mr William Taylor-Sinclair, Dr Donna Williams † and Mr Ed Williams, Mr Robert and Mrs Patricia Wilson, Anonymous 3

Opera Queensland respectfully acknowledges the Traditional Owners and Custodians of the Lands across Queensland and pays respect to their ancestors who came before them and to Elders past, present and emerging. § The Legal Chapter † The Medical Chapter

Queensland performing arts centre

QUEENSLAND PERFORMING ARTS CENTRE PO Box 3567, South Bank, Queensland 4101 T: (07) 3840 7444 W: qpac.com.au

Chair Professor Peter Coaldrake AO

Deputy Chair Leigh Tabrett PSM

Trust Members Dare Power Susan Rix AM Leanne de Souza

Executive Staff Chief Executive: John Kotzas Executive Director – Stakeholder Engagement Strategy: Jackie Branch Executive Director – Visitation: Roxanne Hopkins Executive Director – Business Performance: Kieron Roost Acting Executive Director – Curatorial: Bill Jessop

ACKNOWLEDGMENT The Queensland Performing Arts Trust is a statutory body of the State of Queensland and is partially funded by the Queensland Government The Honourable Leeanne Enoch MP, Minister for Environment and the Great Barrier Reef, Minister for Science and Minister for the Arts Director-General, Department of Environment and Science: Jamie Merrick QPAC respectfully acknowledges the Traditional Owners of the Lands across Queensland and pays respect to their ancestors who came before them and to Elders past, present and emerging.

Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

Queensland symphony orchestra Board of Directors Chris Freeman AM Rod Pilbeam Prof Margaret Barrett Mary Jane Bellotti Emma Covacevich Tony Denholder Simon Gallaher Tony Keane John Keep Cat Matson

Chair Deputy Chair

Management Deb Houlahan Ros Atkinson

Michael Clarke Amy Herbohn Barb Harding Shelley Adams

Interim Chief Executive Executive Assistant to Chief Executive and Board Chair Interim Chief Financial Officer Financial Controller General Finance Coordinator Human Resources Advisor

Timothy Matthies Michael Sterzinger Murray Walker Fiona Lale Judy Wood Pam Lowry Dale Truscott

Director - Artistic Planning Manager - Artistic Administration Artistic Administrator Artist Liaison Community Engagement Manager Education Liaison Officer Producer - WAVE

Matthew Farrell Nina Logan Ash Retter Peter Laughton Vince Scuderi Nadia Myers Murray Walker

Director - Orchestra Management Orchestra Manager Operations Assistant Operations and Projects Manager Production Coordinator Orchestra Librarian Assistant Librarian

Katya Melendez Carolyn Bowes Karen Towers

Manager - Development Manager - Corporate Partnerships Development Coordinator

Matthew Hodge RenĂŠe Jones Rachel Churchland Rex Cho Celia Casey Michael Hyde Emma Rule Mike Ruston Tatiana Anikieff

Director - Sales and Marketing Manager - Marketing Coordinator - Digital Marketing Coordinator - Marketing Design and Content Marketing Consultant Senior Manager - Sales Manager - Ticketing Services Coordinator - Ticketing Services Senior Sales Consultant

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