Val Machin Program 2026

Val Machin Opera Scenes 2026 Peter Luff, Conductor Lois Redman, Director

Friday 15th May 2026 | 7:30pm Saturday 16th May 2026 | 2:30pm

Program Le Nozze di Figaro - Act 4 Mozart Sung in Italian (with English surtitles)

The Tales of Hoffmann Offenbach - Olympia Act Sung in English (with English surtitles)

Director’s Note Director Lois Redman 'The Figaro Trilogy' was written in the 18th Century by Pierre-Augustin Caron de Beaumarchais. King Louis XVI had initially banned the performance of the second play 'Le Mariage de Figaro' due to its controversial and highly politicised content. However Beaumarchais, in true Figaro-style, succeeded in seeing an official production mounted in 1784. Mozart and Da Ponte took this play and created one of the most popular operas in the repertory.

In today's excerpt, it is a case of 'Things are not as they seem'. Prejudice, betrayal, mistrust and manipulation abound as characters play a game of delusion, with the hope of bringing justice and reconciliation.

Similarly, the excerpt of The Tales of Hoffmann presents an example of mistaken identity. This time, a romantic, gentle soul believes a mechanical object to be his true love, much to the amusement and disdain of those around him. How quickly the crowd turns on those whom they look with condescension and superiority.

It has been a privilege and joy to work on these marvellous excerpts with our whole team. I am so thankful for Dr Glenda Powell's support in memory of her mother, Val Machin.

Program Synopses Le Nozze di Figaro - Act 4 Count Almaviva wishes to reinstate the previously abolished ‘droit du seigneur’, in order to bed his wife’s servant Susanna, on her wedding night.

Barbarina appears, having lost the pin that she has been instructed by the Count to return to Susanna, as a confirmation of their romantic assignation later that evening.

Marcellina enters with Figaro, her newly found long lost son.

Their peaceful stroll through the garden is disturbed as Barbarina thoughtlessly divulges the incriminating information concerning Figaro’s fiancée, Susanna. Furious and devastated, he vows to avenge all husbands.

As night falls, Barbarina reappears, ready to meet up with her current love interest, the teenager Cherubino, Countess Almaviva’s page. She is interrupted by the arrival of Bartolo and Basilio, whom Figaro has summoned to witness Susanna’s treachery.

As Figaro vehemently decries all women, Marcellina, Susanna and the Countess arrive. Marcellina has informed the ladies that Figaro believes his fiancée is about to betray him, so Susanna decides to punish him by winding him up just a little bit more.

Program Synopses cont.

Le Nozze di Figaro - Act 4 The Countess and Susanna then disguise themselves as each other, and the trap is set.

Cherubino throws a cat amongst the pigeons by arriving to meet Barbarina, but notices ‘Susanna’ i.e. the Countess - yet another woman with whom he is in love.

In fear that Cherubino is going to ruin the whole plan, the Countess tries desperately to send him off. Chaos ensues as the Count and Figaro interfere.

Seemingly left alone, the Count begins his seduction of ‘Susanna’, little realising he is seducing his own wife. Figaro interrupts the rendezvous, and the Countess slips away, with the Count promising to join her soon.

Susanna reappears, with Figaro initially believing her to be the Countess. He quickly realises that she is in fact Susanna, but continues the charade and enjoys giving her a taste of her own medicine.

The Count reappears, looking for ‘Susanna’, and much to his dismay, discovers Figaro seducing ‘the Countess’. Incensed that his ‘wife’ could do what he himself was about to do, the Count summons everyone for what he believes to be the unmasking of his wife’s infidelity.

Program Synopses cont.

Le Nozze di Figaro - Act 4 However, he is left mortified and humiliated as the women expose him for the man that he is. He pleads for mercy.

The esteemed Countess offers grace and forgiveness to the one who deserves none.

The Tales of Hoffmann - Olympia Act In the Prologue of ‘The Tales of Hoffmann’, at a tavern in Nuremberg, the poet Hoffmann, is persuaded to recount his three disastrous love stories, the first concerning Olympia.

The eccentric inventor Spalanzani has invited everyone over to meet his ‘daughter’, Olympia, whom everyone knows to be a mechanical doll created by the inventor- everyone, that is, except Hoffmann. He has seen her a couple of times through the window and fallen in love with her, never for a moment thinking she wasn’t real.

Hoffmann arrives early for the gathering, and is confused by Spalanzani’s talk of ‘science’ in relation to Olympia.

Hoffmann’s friend Nicklausse arrives, and tries to make Hoffmann understand that Olympia is not real, to no avail.

Program Synopses cont.

The Tales of Hoffmann - Olympia Act The sinister Coppelius enters. He supplied the eyes for Olympia, and has come to demand his share of the fortune Spalanzani is bound to make. Coppelius sells Hoffmann some enchanted glasses, which make Olympia appear human.

Spalanzani is angry at Coppelius’s attendance and tricks him into leaving. All the other guests arrive and Olympia is revealed. She thrills and charms her audience, none more so than Hoffmann. When they are left alone, Hoffmann declares his love. Again, Nicklausse’s warnings fall on deaf ears.

Furious that he has been tricked, Coppelius slips back into the workshop to repay Spalanzani.

The waltz begins, Olympia’s mechanics spiral out of control, and Coppelius wreaks his revenge. Hoffmann is heartbroken for the first, but not the last, time.

Artists

Peter Luff Conductor West Australian-born Peter Luff has a diverse conducting career encompassing symphonic repertoire, opera, dance and chamber music.

He has directed many ensembles including the Queensland Symphony Orchestra, Tasmanian Symphony Orchestra Brass Ensemble, Opera Queensland Chorus, Expressions Dance Company, Australian National Academy of Music Brass Ensemble, Queensland Youth Symphony Orchestra, the Brisbane Philharmonic, Brisbane Symphony Orchestra, Queensland Conservatorium Symphony and Opera Orchestras.

As a professional horn player who has held and guested in principal positions throughout Australia and abroad, Peter has acquired a wealth of orchestral knowledge and experience serving to shape his informed conducting style.

Artists continued.

Peter Luff Conductor He is in great demand as a Horn teacher and pedagogue, with many of his Horn graduates securing permanent playing positions in national and international professional symphony orchestras.

Lois Redman Director Lois Redman has been teaching Movement and Stagecraft to the classical voice students at the Queensland Conservatorium since 2018, upon the retirement of Anna Sweeny HonRAM. Anna has trained Lois in Movement for Singers and they have enjoyed a long association for over twenty-five years.

Artists continued.

Lois Redman Director 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. Lois was Assistant Director and Choreographer for QCGU’s production of Iolanthe in 2022.

From 2023-2026 Lois has mentored and directed the Melba Opera Trust Artists. She directed the QCGU’s Val Machin Opera Scenes from 2022-2025. In 2024, Lois directed Humperdinck’s Hansel and Gretel for Voxalis, and in 2023 Voxalis’s Two Queens production.

In 2026, Lois will direct Charpentier’s La Descente d’Orphee for Springboard Opera, and Debussy’s Pelleas et Melisande for Voxalis Opera.

Artists

Keith Clark Lighting Designer 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, AngelMonster, 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 & Der Häusliche Krieg (Lisa Gasteen National Opera Program) and Tarnished (La La Palour).

At the Queensland Conservatorium his lighting designs include Grease, Street Scene, Beatrice and Benedict, Iolanthe, Dido and Aeneas, 42nd Street and Legally Blonde. Improvised designs have been for such artists as The Necks, Jeff Lang, The Ordinary Fear of God, Aaron Goldberg, Kate Miller-Heidke, and Nakhane. 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.

Cast Act 4, Le nozze di Figaro - Mozart Count Jenson White Countess Rebecca Goobanko Matilda Smith (Cover) Susanna Victoria Evans Figaro Harrison Hammett Cherubino Scarlett Smith Marcellina Georgia Butland Honor Nicholson (Cover) Bartolo Gabriel Shaw Basilio Anthony van Stam Barbarina Helena Shearer Antonio Joseph Pestorius

Cast Olympia Act from The Tales of Hoffmann Offenbach Hoffmann Nick Russell Spalanzani Anthony van Stam Coppelius Silas Gregory Nicholas Massouras (Cover) Cochenille Sam Borgert Olympia Gabrielle Mizzi Nicklausse Amellie Zaitzev Keely McKenzie (Cover)

Cast CHORUS for The Tales of Hoffmann Sopranos Jemma West Rebecca Goobanko Youngah Lee Chloe Arentz Georgia Butland Matilda Smith Chelsea Baer Victoria Evans Esther Junker Jade Kelly Keely McKenzie Honor Nicholson Helena Shearer Elahe Atefi Olivia Brabham Shae Marshall Sarah Patino Amalia Safonova

Mezzo Sopranos Johanna Collins Lucinda Hopper Georgia Ogge Scarlett Smith Jacqueline Duckworth Chelsea Bernard Zoe Harris Loretta Melit Gabriella Nial Sarah Winn Tenors Ziggy Dutfield Basses Harrison Hammett Jenson White Gabriel Shaw Nicholas Massouras Joseph Pestorius

Conservatorium Opera Orchestra Conductor Peter Luff Violin I Yuro Lee * Claire Yeung Violin II Sophia Di Lucchio * Siobhan Mewes Viola Lucia Hwang * Eben Yeh

Clarinet Jack Goves * Yi-Shan Wangy Bassoon Ethan Henke * Val Yipi French Horn Thomas Ferreira-Montague * Craig King Trumpet Sophie Donohue *

Cello Gyorgy Deri * Francesca Masel

Trombone Alexander McLaughlin *

Bass Hilary Davis *

Timpani Christian Lanzafame *

Flute Laura Skorzewski * Adeline Cassidy

Percussion Camillo Lanzafame *

Oboe Logan Nutley * Lucinda Turunen *Principal

Harp Ariel Chang * Harpsichord Jillianne Stoll *

Music Credits Music Preparation Jillianne Stoll

Assistant Conductor James Dobinson

Italian Language Coach Teresa Desmarchelier

Orchestra Manager Dan Fossi

Surtitle Preparation & Supervision Buck Outdoor Pty Ltd

Assistant Orchestra Manager Intern Shelby Johnson

Surtitle Technicions & Operators Tammy Weller Stephanie West

Production Credits Production Manager Len McPherson

Fly Operator Helen Ashdown

Production Stage Manager Isabelle Markham

Choreography Assistant Keely McKenzie

Assistant Stage Manager Eloise Collins

Costumes, Hair & Makeup Jemma West

Lighting Operator Stu Cochrane

Conservatorium Staff Director Classical Voice Professor Vanessa Tomlinson A/Prof Margaret Schindler (Head) Shelli Hulcombe Deputy Director (Learning Dr Ron Morris and Teaching) Jillianne Stoll Associate Professor Donna Weston Strings A/Prof Michelle Walsh (Head) Graeme Jennings Deputy Director (Research) Dr Gyorgy Deri Professor Brydie-Leigh Bartleet Deputy Director (Performance & partnerships) Professor Peter Morris Conservatorium Manager Stuart Jones Front of House Operations Manager Michael Hibbard

Brass Dr Ben Marks (Head) Sarah Butler Woodwinds A/Prof Tim Munro (Head) Dr Martin Kay Percussion Dr Rebecca Lloyd-Jones

Conservatorium Staff Executive Officer (Engagement) Dr Natalie LewandowskiCox

Program Coordinator (Ensembles) & Orchestra Manager Daniel Fossi Shelby Johnson (Assistant)

Technical Officers Keith Clark Ben Gibson Amy Hauser Len McPherson

Venue Officers Brendan Cardiff Chloe Forbes

Operations Administrator Timothy Tate Timetabling Administrator Joshua White

Administration Officer Liz Tyson-Doneley

Special thanks Special thanks to Dr Glenda Powell AM, whose long-standing support of the Val Machin Opera Scenes, named in memory of her mother, has continued to provide our emerging opera students with invaluable experiences at the Conservatorium.

Special thanks to Queensland Conservatorium supporters and donors.

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 supporting the students in tonight’s performance.

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Queensland Conservatorium Griffith University 140 Grey Street, South Bank 4101 Concert enquiries: (07) 3735 6241 griffith.edu.au/music griffith.edu.au/queenslandconservatorium queenslandconser vatorium.com.au

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Correct at time of publication.

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