Underworld Program

9–16 SEPTEMBER 2023

An Operatic Journey to Hell and Back

CONDUCTOR

JOHANNES FRITZSCH

DIRECTOR

MICHAEL GOW

Welcome This year’s operatic production, Underworld, offers an exciting fresh take on a story which sits timelessly in history. In his introduction, Michael Gow speaks of four creative inputs (please see page I) but I would seek here to acknowledge two further people who have been fundamental in bringing this vision together! While both, respectively as Director and Music Director, are intrinsic to the production delivery, Michael Gow and Johannes Fritzsch have also been fundamental in conceiving the project and bringing to it such dramaturgical intensity. As a conservatorium, we are grateful to them both for their conception and realisation of a highly innovative approach – multiple composers, multiple languages, multiple times, and settings – which has the potential to travel far. In a very real sense, this is a world premiere!

Behind such an epic undertaking are a large team of contributors, all coming together in alignment. Thank you to all in the extraordinarily professional creative team for their energy and creativity and to everyone back of house for your capacity to bring the project to its detailed realisation. A particular thanks to Jill Stoll for her capacity to draw all the elements together and to schedule (alongside her detailed musical input).

Thanks also to all the voice and instrumental faculty involved for your detailed guidance and care, and indeed to those who lead the multiple areas, but particularly Margaret Schindler, Michele Walsh, Paul Dean, Peter Luff and Rebecca Lloyd-Jones, as well as to Peter Morris (with Daniel Fossi) for his oversight of all things Ensemble and Engagement. A special thanks to Michael Hibbard and his front of house team and to Stuart Jones and Liz TysonDoneley for their support in operational management. For all here, this is one of many projects often happening in parallel so a special acknowledgement too for how you find balance through the mix.

Design by Hanon Taira, Liveworm, Queensland College of Art and Design, Griffith University

Already it should be clear that undertaking such a project involves significant resource and commitment. The Conservatorium is very fortunate indeed to have such strong support from Griffith University’s Senior Executive, led by Professor Carolyn Evans, Vice Chancellor and President, alongside Professor Scott Harrison, Pro Vice Chancellor of the Arts, Education and Law Group, to which the Conservatorium belongs.

But, of course, none of this would lead to anything without the students’ capacities, commitment, and investment. I am conscious as I write that many who read this as audience will be family of those on stage and in the pit: thank you for all you have gifted to those to whom you are close, and for being with us tonight as they come together with their peers.

To all who join us for the event, we are grateful for your belief in us – I trust this event will be richly rewarding for all involved. Wishing you a wonderful experience.

Best wishes, Bernard Lanskey Director Queensland Conservatorium

Director’s Note

Set me as a seal upon thine heart, as a seal upon thine arm: for love is strong as death; jealousy is cruel as the grave: the coals thereof are coals of fire, which hath a most vehement flame.

Song of Solomon 8:6 I’ve woven this trio through all three operas. Like the angels in Wim Wender’s film Wings of Desire, The Princess, Heurtebise and Cégeste long for human contact, for the touch of a living person. This leads them to kill Eurydice, sending her to the Underworld without permission, breaking all hell’s rules.

But despite being censured, they can’t let go of Orpheus and Eurydice and follow them on a journey through hell and back to the land of the living.

The story of Orpheus and Eurydice has inspired writers, painters and composers for thousands of years; Love and Death are the two great themes of art. And the power of art to overcome death, to enter a realm beyond death and even rescue those we love from its power, has been the spur for so many wonderful versions, from Homer to the Netflix series Stranger Things.

The three masterpieces Johannes Fritzsch wanted to reference to tell this story were written, give or take a decade, a century apart. They are products of different values, different ways of seeing the world. But they are all driven by the energy of love, of the life force; as Orpheus sings in the Philip Glass section, “Every world is moved by love”. In these operas we experience the faith that love conquers all in the Gluck, the terror of a universe without love in the Glass and the liberating joy of human urges off the leash in the Offenbach.

In Cocteau’s film, using a spectacular special effect long before CGI, access to the Underworld is gained via mirrors.

By donning protective gloves (it’s hot down there) Orpheus confronts his own image, opens the door hidden behind the mirror and embarks on his rescue mission. The mirror and the gloves also connect the three operas in this production.

And we’ve made Eurydice, often merely a pretext for Orpheus’ suffering and heroics, an artist in her own right.

She too, goes on a journey of discovery, finally returning to life understanding that she, like Orpheus, must not look back; after such an intense experience, there’s no way she can go back to her old life.

But how to knit the three into one whole? In fact, there are four masterpieces involved in this project; the libretto of Philip Glass’ Orphée is actually the dialogue from Jean Cocteau’s landmark 1950 film of the same name. For his version of the story, Cocteau created three extraordinary characters; The Princess, who is the Angel of Death; and her two offsiders, the dead, street brawling poet Cégeste and the kindly Heurtebise, who conveys souls to the Underworld.

Michael Gow Director

I

Conductor’s Note

It was a challenge for me to find composers from three centuries and to retell the story: Gluck’s “Orfeo ed Euridice”, Glass’s “Orphée” and Offenbach’s “Orpheus in the Underworld”. Three great composers with distinctive musical language as one opera? I couldn’t have wished for a better partner for this challenge than Michael Gow, who has woven the threads of the three different works into one narrative.

Orpheus has been singing for more than 2500 years. He is the archetype of the musician, the artist and a testament to the life-changing power of art. In Orpheus’ story, his music can even overcome death.

No wonder artists of all times have succumbed to the fascination of their ancestor and have retold the story in countless versions. It is no surprise that musicians in particular were obsessed with the myth of the death-defying singer.

I wish you all a moving and entertaining evening with a contemporary opera spanning three centuries.

The Orpheus myth was the overarching theme for the vocal department this year. After the presentation of two excerpts in the “Val Machin Scenes” in May, we now experience the Orpheus story as a full-length opera, but with a twist.

Johannes Fritzsch Conductor

Set concept sketch by Set and Costume Designer Penny Challen

II

Synopsis ACT I Eurydice and Orpheus are artists. They live and work together. The Angel of Death, aka The Princess, has fallen in love with Orpheus, and visits his room when he’s asleep. She commands an offsider, the late poet Cégeste, to send Orpheus strange messages. Orpheus becomes obsessed with the messages, using them in his work and ignoring Eurydice. To make him jealous, Eurydice agrees to spend time with Cégeste. But Cégeste has another task; to murder Eurydice so The Princess can have Orpheus to herself.

Amore appears and tells Orpheus his grief is so intense he’s been granted special leave to go to the Underworld and bring Eurydice back. On one condition. He must not look at her nor speak with her until they are back in the world. Orpheus accepts the challenge, puts on protective gloves, looks into a mirror and a door to the Underworld opens.

But the Princess has broken Underworld laws. She, Cégeste and Heurtebise are put on trial. The Princess admits she’s in love with Orpheus and had Eurydice killed. Heurtebise admits he’s in love with Eurydice.

Everyone is given provisional pardons and Eurydice’s death can be reversed, as long as Orpheus doesn’t look at her. Ever.

Orpheus is tormented with guilt and grief. At Eurydice’s wake Orpheus begs friends and neighbours to leave him, their sorrow is making his own even worse. Eurydice comes back but no one can see her; she’s dead. Heurtebise, another of The Princess’ offsiders, gently leads her from the land of the living.

Left alone, Orpheus wishes he could follow Eurydice, contemplating ending his own life.

Back home, domestic life is a nightmare for two people who can’t look at each other. Orpheus goes on listening to the strange messages still being sent.

Eurydice and Orpheus accidentally look at each other and once again she’s escorted to the Underworld.

ACT II Eurydice has been promised non-stop fun in the Underworld but the party won’t get started. She’s being kept in Pluto’s boudoir in the care of the extremely boring servant John Styx. Jupiter has his eye on Eurydice and to gain entry to the boudoir he disguises himself as a fly. He promises Eurydice once everyone is drunk at the party Pluto is throwing, they’ll fly up to Olympus.

Once again, Eurydice is allowed to leave with Orpheus, as long as he doesn’t look at her.

Eurydice is getting pretty fed up with this. She and Orpheus look like they’ll make it out so Jupiter hurls thunderbolts. In the panic, Orpheus and Eurydice look at each other and she’s taken to the Underworld yet again.

Orpheus laments his loss. He contemplates suicide.

Amore turns up again and stops him. To break this cycle, she brings Eurydice back to the land of the living herself. There is general rejoicing the couple is reunited at last. It looks like love really does conquer all.

The Gods enjoy themselves at Pluto’s party, though to appease Juno, Jupiter leads everyone in a restrained Minuet. But, still bored, Eurydice subverts the proceedings by kicking off a crazy dance.

Before Jupiter and Eurydice can escape, Orpheus returns to the Underworld, along with Public Opinion, who insists people behave normally.

III

Creatives

CONDUCTOR

DIRECTOR

JOHANNES FRITZSCH

MICHAEL GOW

Johannes Fritzsch is currently the Principal Guest Conductor of the Queensland Symphony Orchestra, having previously served as their Chief Conductor (2008-2014). Since 2018, he has held the position of Principal Guest Conductor of the Tasmanian Symphony Orchestra.

Michael Gow’s plays include the Australian classic Away, Toy Symphony, The Kid, On Top of the World, Europe, Sweet Phoebe, Live Acts on Stage, 17 (for the Royal National Theatre of Great Britain), Toy Symphony and Once in Royal David’s City. He translated Brecht’s Mother Courage and Her Children for Belvoir.

From 2006 – 2013 he was Chief Conductor and Artistic Director of the Oper Graz, Grazer Philharmonisches Orchester (Austria).

Prior to his appointment in Graz, Johannes held the position of Chief Conductor and Artistic Director of the Staatsoper Nürnberg. From 1993 until 1999, he was Chief Conductor and Artistic Director of the Städtische Bühnen and the Philharmonic Orchestra in Freiburg. He has conducted many leading orchestras, both within Germany and internationally.

He regularly conducts the major Australasian orchestras as well as leading productions for Opera Australia, Opera Queensland, West Australian Opera and State Opera South Australia.

Michael has been Associate Director of Sydney Theatre Company and Artistic Director of Queensland Theatre Company. He has directed for all the major Australian theatre companies as well as Opera Australia, Australian Theatre for Young People and the Lincoln Centre Washington D.C.’s New Visions New Voices programme.

For Opera Australia he has directed Iphigenie en Tauride, The Abduction from the Seraglio and The Pearl Fishers, as well as directing OA’s touring productions of Don Giovanni, The Magic Flute and The Marriage of Figaro, for which he also wrote the English libretti.

In 2016 he wrote the English libretto and directed the critically acclaimed Voyage to the Moon for Victorian Opera / Musica Viva.

In January 2015, Johannes was appointed Adjunct Professor, The Conservatorium of Music, School of Creative Arts and Media at the University of Tasmania; in June 2019, he joined the Queensland Conservatorium, Griffith University as Professor of Opera and Orchestral Studies.

Michael’s awards include two NSW Premier’s Literary Awards, two Sydney Theatre Critics Circle Awards and an AFI Award for the ABC miniseries Edens Lost.

For Queensland Conservatorium Michael has directed productions of Hansel and Gretel in 2015 and Street Scene in 2021.

Over the past twenty years, Johannes has given many Masterclasses for the German conductor training and development organisation Dirigentenforum des Deutschen Musikrates. Similarly, he was active and enthusiastic in the training of conducting participants selected to take part in Symphony Services’ International Conductor Development Program.

In 2017, the Tasmanian Symphony Orchestra invited him to design and lead the newly founded Australian Conducting Academy.

IV

SET AND COSTUME DESIGNER

LIGHTING DESIGNER

CHOREOGRAPHER (MINUET)

PENNY CHALLEN

KEITH CLARK

LOIS REDMAN

Penny Challen trained at QCA and NIDA before becoming Resident Trainee Designer at the Royal Shakespeare Company (RSC). Whilst living in London, Penny designed productions for the Bush Theatre (When You Cure Me; Bites), Soho Theatre (Protection - costumes), The Gate Theatre (Hair - costumes), and RSC (The Taming of the Shrew). She also worked closely with renowned designers Es Devlin, Rae Smith, and Tom Piper, creating & delivering over 40 mainstage projects for the RSC, Royal Opera House, English National Opera, National Theatre, and others across Europe and America.

Highlights include Orphée and Salome (ROH); Twelfth Night and As You Like It (RSC); Oliver Twist (American Repertory Theatre) and Cabaret (West End). Locally, Penny has designed productions for Opera Queensland (La bohème, Are You Lonesome Tonight), Queensland Theatre (Happy Days), Belloo Creative (Boy Lost, Motherland), La Boite Theatre (The Glass Menagerie, Water Wars), and others. She is the Co-Artistic Director (with Alicia Cush) of Little Match Productions (The Owl and The Pussycat; Babushka in Happily Ever After, Bilum Mamma), and the creative delivery of the Powerkids program for Brisbane Powerhouse.

Keith Clark’s lighting design work includes Single Asian Female (La Boite Theatre Company), Boy Girl Wall and Packed (The Escapists), Handle with Care (Joymas Creative), De-Generator, Opposite of Prompt, Angel-Monster and The Machine that Carries the Soul (Phluxus Dance Collective), Moon Spirit Feasting (Elision Music Ensemble), Juice (The Crash Collective), Kazka and Legend (Lehenda Dance Company), The Laramie Project (Forward Movement), The Wind in the Willows (La Boite Theatre Company) Die Opernprobe and Der Häusliche Krieg (Lisa Gasteen National Opera Program) and Tarnished (La La Parlour). At the Queensland Conservatorium his lighting designs include Grease, Street Scene, Beatrice and Benedict, Iolanthe, Dido and Aeneas, and 42nd Street. Improvised designs have been for such artists as The Necks, Jeff Lang, The Ordinary Fear of God, Aaron Goldberg, Kate Miller-Heidke, and Nakhane.

Lois Redman is a classical voice graduate of the Queensland Conservatorium Griffith University. She has taught voice in her home studio for twenty-three years. Lois has been trained in Movement for Singers

by Anna Sweeny AM HonRAM, enjoying a long association for over twenty years, and has been teaching this subject to the classical voice students at the Queensland Conservatorium since Ms Sweeny’s retirement in 2018. In 2019 and 2020 Lois participated in the Summer Course in Early Dance in Sydney presented by Fiona Garlick of The Early Dance ConsortRenaissance and Baroque Dance, and in 2019 studied Gesture in Vocal Performance with Dr Daniela Kaleva.

Keith’s designs for various productions have toured nationally and internationally to Europe and America. He is also a member of the award-winning independent theatre group The Escapists.

V

Lois choreographed Dido and Aeneas for the Queensland Conservatorium in 2020 and was responsible for movement and choreography in the Val Machin Opera Scenes in 2019 and 2021. She has taught classes in Period Dance and Movement to the Bachelor of Acting students at QCQU and in 2021 supplied Movement Support and Choreography to their production of The Rover. Lois choregraphed QCGU’s productions of Street Scene in 2021, and Iolanthe in 2022. She directed the 2022 and 2023 Val Machin Opera Scenes.

Cast and chorus Orfeo ed Euridice, Act 1 & final part of Act 3,

by Christoph Willibald Gluck.

Orfeo, a Thracian poet and musician.

Morgan Rosati+ Aylish Ryan*

Amore/Cupid, God of desire, Venus’ son Rebecca Goobanko+ Tashana Hardy*

Euridice, a nymph.

Gianna Guttilla+ Caitlin Weal*

Orphée, Act 2, Scenes 1-7, by Philip Glass.

Orphée, a Thracian poet and musician.

Dallas Tippet Heurtebise, a conveyor of souls to the Underworld.

Kevin Gomez The Judges, Minos and Rhadamanthus, who control the laws of the Underworld.

Jack Bolton Vikram Goonawardena

The Princess, Angel of Death.

Kira Dooner+ Sarah Hubbard* Eurydice, a nymph.

Gianna Guttilla+ Caitlin Weal* Cégeste, a dead poet who is in the service of The Princess.

Freddie Klein

Poet David Upcher

Policeman Harrison Hammett

Glazier Lauren Towns* Clair Wheatley+

Motorcyclists Nicholas Russell Gabriel Shaw

Aglaonice Erin Power+ Matilda Smith*

Stenographer Emily Davies

Orpheus in the Underworld, Acts 3 & 4 by Jacques Offenbach.

English version by Jeremy Sams.

Eurydice, a nymph.

Gianna Guttilla+ Caitlin Weal*

Orpheus, a Thracian poet and musician.

Dallas Tippet

Jupiter, king of the gods Aidan Hodder* Jake Lyle+

Public Opinion, guardian of morality Clair Wheatley

John Styx, ghost of the King of Beotians, Pluto’s friend Liam Jackson

Diana, goddess of the moon and hunting, Jupiter’s daughter Kira Dooner* Sarah Hubbard+

Pluto, god of the Underworld, brother of Jupiter Liam Waldock

Amore/Cupid, god of desire, Venus’ son Rebecca Goobanko+ Tashana Hardy* Venus, goddess of love and pleasure Louisa Nelson* Monica Ruggiero+ Juno, queen of the gods, Jupiter’s wife Zoe Catchpoole* Charlotte Wright+

Minerva, goddess of wisdom, Jupiter’s daughter Erin Power* Matilda Smith+ Mercury, god of messages and trickery Freddie Klein+ Jackson Muir* Mars, god of war, Jupiter’s son David Upcher Bacchus, god of wine, Jupiter’s son Elliott Beauchamp

Chorus Sopranos Minette Boyd Zoe Catchpoole Kira Dooner Shanna Goh Rebecca Goobanko Monique Grima Tashana Hardy Philomena Hoger Sarah Hubbard Sienna Jak Claire McCann Erin Power Matilda Smith Jemma West * Performing September 9, 14 + Performing September 12, 16

Mezzo Sopranos Xanthe Allen Emily Davies Louisa Nelson Monica Ruggiero Lauren Towns Caitlin Wans Clair Wheatley Charlotte Wright

Tenors Elliott Beauchamp Kevin Gomez Liam Jackson Freddie Klein Ryan Lawrence Jackson Muir Nicholas Russell Liam Waldock

VI

Basses Jack Bolton Vikram Goonawardena Harrison Hammett Aidan Hodder Alexander Innes Jake Lyle Nicholas Massouras Joseph Pestorius Gabriel Shaw Dallas Tippet David Upcher

Conservatorium Symphony Orchestra The Conservatorium Symphony Orchestra consists of approximately 90 of the most talented young instrumentalists in Queensland. The orchestra, from its home at the Griffith University South Bank campus, performs an annual series of orchestral concerts, large choral works, and operatic and musical theatre productions, in addition to a range of creative collaborations both on site as well as in the wider community.

Queensland Conservatorium supports an annual commissioning project, enabling the creation and performance of new works, and the orchestra collaborates regularly with other departments in the Conservatorium and across the University.

Students in the Queensland Conservatorium orchestral program have the unique opportunity to perform under the baton of a variety of conductors, instilling a flexibility required in the profession. Resident conductors Johannes Fritzsch, Peter Luff and Peter Morris are joined each year by distinguished guest conductors from around the world, providing students with the rich depth of experience they will find when entering the profession. Notable guest conductors have included Sir Neville Marriner, Peter Sculthorpe, Jessica Cottis, Nicholas Braithwaite, Natalia Raspopova, Larry Rachleff and Elim Chan, to name a few.

Viola Ella Pysden* Edmund Mantelli Rose-Ann Breedt Maddisyn Dixon Whitbourne Felix Hughes Chivers Eben Yeh Harriet Dykes

Concertmaster Haneulle Lovell* Violin 1 Theonie Wang Miriam Niessl Rhys Williams Yuro Lee Dylan Weder Madeleine Crosby Olivia Spyrou

Violoncello Kate Hwang* Stirling Hall Benjamin Crosby Faith Spriggs

Violin 2 Luke Hammer* Ingram Fan Amira Ryan Kaia Scheidler Alan Leslie Alisha Dunstan Jonathan Kositsin Yvonne Spina

Flute Jenna Choi* Bonnie Gibson

French Horn Jessica Piva* Matilda Monaghan

Oboe Ruby Cooper* Liam Robinson

Trumpet Matthew Nash* Cooper Williams

Clarinet Joshua Rosen* Hinata Nishimura

Trombone Glenn Schaffer* Jonnah Nakagawa

Bassoon Georgina Sinclair* Jake Busby

Bass Trombone Ethan Parfoot*

Contrabass Charlotte Scanlan* Sophia Buchanan Daniel Wilesmith

Timpani Connor Dinneen* Percussion Mikaela Thomsen* Jaymee Homeming Celesta/Harp/Piano Jonah Patuto* *Principal player

HEURTEBISE CEGESTE

THE PRINCESS

Kira Dooner

Costume concept sketches by Set and Costume Designer Penny Challen

VII

Kevin Gomez

orpheus FreddieSarahKleinHubbard

CREDITS MUSIC CREDITS

PRODUCTION CREDITS

Vocal Coach, Repetiteur and Chorus Master Jillianne Stoll

Production Manager Len McPherson

Head Mechanist Darcy Adam

Italian/French Language Coach Teresa Desmarchelier

Production Stage Manager Bridget O’Brien

Flyman Dylan Smith

Orchestra Manager Daniel Fossi

Assistant Stage Managers Isabelle Markham, Josie James

Surtitles Preparation Jillianne Stoll, Michael Gow

Rehearsal ASMs Lachlan Paterson, Erin O’Shea

Crew Helen Ashdown, Jed Stoneman, Ben Gibson

Surtitles Technician Buck Outdoor Pty Ltd

Lighting Desk Operator Stu Cochrane

Surtitles Operator Mark Connors

Sound Desk Operator Tobias Trstenjak

ORPHÉE, Act II. Opera by Philip Glass.

Based on the Scenario of Jean Cocteau. © 1993 Dunvagen Music Publishers Inc. Used by Permission.

This performance of an excerpt from Orpheus in the Underworld

by Jacques Offenbach, arranged by Jeremy Sams, is given by permission of Hal Leonard Australia Pty Ltd, exclusive agents for Josef Weinberger Ltd.

PARTY IN HELL ! Long live Pluto! who doesn’t sing along

Set concept sketch by Set and Costume Designer Penny Challen

VIII

Costume Coordinator Desley Macpherson Costume Maker Fiona Warmbath Set Builders A Noble Event

Queensland Conservatorium and Griffith Film School present

Peter Morris, Conductor

Tickets on sale now queenslandconservatorium.com.au

Side

by Side Chamber Music

featuring the Australian String Quartet

Tickets on sale now queenslandconservatorium.com.au

Friday 13 October

7:30pm Conservatorium Theatre

CRICOS: 00233E | TEQSA: PRV12076

22–23 September 2023 Conservatorium Theatre

SPECIAL THANKS We extend our heartfelt thanks to Opera Queensland for the generous use of their rehearsal studio for our Production Calls.

Michelle Richards, Stephanie Banovich and Erin Bugden.

Philanthropy plays a vital role at Queensland Conservatorium. Only through your support can our students experience valuable learning opportunities through productions such as this one.

To invest in the future of music and performance in Queensland, contact us on +61 (0)7 5552 7218 or email giving@griffith.edu.au.

Queensland Conservatorium thanks our generous donors and supporters.

We would like to acknowledge our instrument bank donors: Boustred Violin – loaned by Mrs Maggie Goodfellow Petersson Violin – donated by Dr Irmtraud Petersson Rosemary Davies Viola – loaned

by Nicholas Davies

CONSERVATORIUM STAFF Director | Professor Bernard Lanskey Deputy Director (Engagement) | Professor Peter Morris Deputy Director (Learning and Teaching) | Associate Professor Donna Weston Deputy Director (Research) | Dr Alexis Kallio Conservatorium Manager | Stuart Jones Technical Team Leader | Cameron Hipwell Front of House Operations Manager | Michael Hibbard Executive Officer (Engagement) | Dr Natalie Lewandowski-Cox Ensembles Program Coordinator | Daniel Fossi Operations Administrator | Clare Wharton Technical Officers | Keith Clark, Amy Hauser, Len McPherson Venue Officers | Grace Royle, Joshua White, Joseph Gale-Grant Administration Officer | Liz Tyson-Doneley

QUEENSLAND CONSERVATORIUM GRIFFITH UNIVERSITY 140 Grey Street, South Bank Qld 4101 Concert enquiries: +61 (7) 3735 6241

CONNECT WITH US /queenslandconservatorium @qldcon griffith.edu.au/music griffith.edu.au queenslandconservatorium.com.au

Griffith University acknowledges the Traditional Custodians of the lands on which we work and pays respect to the Elders past and present.

Correct at time of print.

CRICOS 00233E | TEQSA PRV12076