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Welcome Message Since 2003, the five artistic directors of Queensland Music Festival have delighted in bringing the finest voices and instrumentalists to Jimbour to celebrate great opera classics. This iconic event was created by Lyndon Terracini AM - the current Artistic Director of Opera Australia - in 2003, and since then has been a biennial calendar favourite for lovers of fine music in regional Queensland. Jimbour audiences have continued to flourish and through Queensland Music Festivals’ partnership with our wonderful friends at Opera Queensland we have created events of artistic excellence with our largest audience reaching 8,500. In 2019, our festival’s 20th year, we are partnering with Opera Queensland once again to bring you what I like to call ‘all killer no filler’ opera classics! This year, we invite you to soar with the voices of Internationally renowned tenor Simon Kim, Opera Queensland’s fantastic Jason Barry-Smith, Hayley Sugars, Shaun Brown, Sarah Crane and the Queensland Conservatorium’s Xenia Puskarz-Thomas and Queensland Youth Orchestra – all under the masterful baton of Maestra Vanessa Scammell. Enormous thanks to all our sponsors for continuing to support our dream to bring world class music to regional Queensland and I sincerely hope you enjoy our concert and sing along! Yours in song, A huge heartfelt thanks to our incredible Queensland Music Festival Opera at Jimbour team led by Erica and Gabby, our beautiful artists Jason, Simon, Hayley, Shaun, Sarah, Vanessa and the musicians of the Queensland Youth Orchestra and the lovely Patrick, Sandra and their Opera Queensland team.


Welcome to Jimbour Station for the ninth staging of Opera at Jimbour – a country experience with a classical twist. This year’s event will feature iconic opera classics that can be enjoyed by the whole family. This showcase of the very best music, food and wine in this spectacular setting is a wonderful partnership between Queensland Music Festival and Opera Queensland, proudly supported by the Queensland Government through Tourism and Events Queensland’s Destination Events Program. We support events which bring visitors to the region, support local tourism jobs and create community pride. The event also contributes to the state’s It’s Live! in Queensland events calendar which will generate $800 million for Queensland’s economy in 2019. Congratulations to the event organisers, volunteers, and all of those who are involved in delivering the event. If you are visiting the beautiful Southern Queensland Country region for the event, I encourage you to make some time to explore the diverse tourism experiences on offer – from award-winning wines and fresh seasonal produce to stunning natural wonders, lush hinterland and legendary Queensland country hospitality.


As we once again celebrate the biennial Opera at Jimbour, I’d like to express my sincere gratitude to the community and our visitors for continuing to support this marvellous event, which has become as iconic to us over the last 16 years as the Jimbour Homestead itself. It is always an exciting time when our region comes together to showcase our local produce and talents, and to demonstrate our creative side. It’s especially thrilling to see thousands of new and familiar faces celebrating with us. We’re a proud region, and we’re grateful for every opportunity to show the rest of the nation, and the world, just how much we have to offer. Opera at Jimbour has become one of my favourite events, and I always look forward to seeing and hearing the incredible performances and spectacular showmanship that our artists provide. I look forward to another outstanding day of glorious classical performances, and I especially look forward to seeing you there!


On behalf of AGL, welcome to Opera at Jimbour. AGL is proud to partner with QMF to bring this unique cultural experience to the region. We value the importance of such events for uniting the local community and showcasing all the region has to offer. AGL has commitments in the area, with one of Australia’s largest wind farms, Coopers Gap Wind Farm, in the midst of construction. The project is being developed by the Powering Australian Renewables Fund. Sit back and enjoy the music and the local country hospitality.

AGL, proudly supporting our communities.

Repertoire Brindisi from La traviata by Giuseppe Verdi Sarah Crane, Simon Kim, Toowoomba Chorus Premiered in 1853. Libretto by Francesco Maria Piave In the most performed operas in the world last year, La traviata (The fallen woman) tells the story of Violetta, the darling of the Parisian social scene, who falls in love for the first time as her time is running out with a fatal illness. La traviata is based on the true story of Marie Duplessis, who was an iconic and famous woman, and who died at the tragic young age of 23. This drinking song from Act 1 is possibly one of the most well-known of operatic melodies, during which we see Violetta and Alfredo’s flirtatious first meeting, and the party guests enjoying themselves. It takes place at a party celebrating Violetta’s return to health, after a period of illness away from the Parisian social scene.

Toreador’s Song from Carmen by Georges Bizet Shaun Brown, Toowoomba Chorus Premiered in 1875. Libretto by Henri Meilhac and Ludovic Halévy In the most performed operas in the world last year, Carmen is one of the most well-known operas of all time. The Toreador’s song and the Habanera in this Opera at Jimbour program are some of the most recognised melodies and are the entrance arias of Escamillo and Carmen. ‘Votre toast’ represents the triumphant arrival of the famous bullfighter, Escamillo, as he introduces himself and makes his advances on Carmen, who snubs him as if he was one of the cigarettes at the cigarette factory where she works with the fellow gypsy girls.

Habanera from Carmen by Georges Bizet Hayley Sugars Premiered in 1875. Libretto by Henri Meilhac and Ludovic Halévy Carmen is a sexy gypsy girl in Seville, working in a cigarette factory. During a break from work at the factory, the gypsy girls go outside and engage in banter and flirtation with the soldiers, who ask when she will love them. Carmen responds with this instantly recognisable entrance aria, based by composer Bizet on the popular Cuban dance.

Au fond du temple saint from The Pearlfishers by Georges Bizet Simon Kim and Shaun Brown Premiered in 1863. Libretto by Eugène Cormon and Michel Carré

Flower Duet from Lakmé by Léo Delibes Sarah Crane and Hayley Sugars Premiered in 1883. Libretto by Edmond Gondinet and Philippe Gille One of the most popular operatic duets for operatic voices in concert today. It is most well known in popular culture as being used in the British Airways commercials since 1989. Less well-known is the story of the opera, which is set in

British India in the 19th century. In this Act 1 duet, we meet Lakmé, the daughter of Nilakantha, a Brahmin priest, and her servant, Mallika, who are gathering flowers to prepare for a bath in the river. As they remove their jewels and clothing, the women sing this Flower Duet, describing the white jasmine, roses, and other flowers that adorn the riverbanks.

Voi che sapete from The Marriage of Figaro by Wolfgang Amadeus Mozart Xenia Puskarz-Thomas Premiered in 1786. Libretto by Lorenzo Da Ponte From Act 2 of the opera, the young page, Cherubino, sings of the trials of first love. Cherubino has an adolescent crush on the Countess – who happens to be his godmother but is nonetheless amused and touched by the attention. He has written her a love song which, with some embarrassment, he’s persuaded to sing while she listens. Susanna accompanies on a guitar. And it turns out to be the song of a young boy struggling to deal with powerful, unfamiliar, uncontrollable emotions.

Letter Duet from The Marriage of Figaro by Wolfgang Amadeus Mozart Sarah Crane and Hayley Sugars Premiered in 1786. Libretto by Lorenzo Da Ponte Susanna and the Countess are plotting to trick the Count, who has been attempting to seduce Susanna. They have planned for Susanna to meet the Count this evening. The Countess dictates a letter to Susanna that informs the Count where he can meet Susanna. She repeats the Countess’s words as she writes.

Farewell Trio from Così fan tutte by Wolfgang Amadeus Mozart Sarah Crane, Hayley Sugars and Shaun Brown Premiered in 1790. Libretto by Lorenzo da Ponte Enjoy this melodic and serenely beautiful moment where sisters Fiordiligi and Dorabella say goodbye to their respective fiancées, Guglielmo and Ferrando who have been called off to war. Little do the ladies know, that their men haven’t actually been called off to war, and that this is the beginning of a rather absurd plot to test the fidelity of the ladies, proposed by the old philosopher Don Alfonso, who believes that women cannot be faithful. Guglielmo and Ferrando have decided to pretend to be called to war, come back dressed up as different men, and attempt to seduce each other’s partner, and see if they will be faithful to them.

La donna è mobile from Rigoletto by Giuseppe Verdi Simon Kim Premiered in 1851. Libretto by Francesco Maria Piave This catchy, popular melody appears often in today’s popular culture. At the premiere of the piece in 1851, Verdi was so sure it would be a hit that, for fear of a premature leak, he forbade his cast from singing or whistling the tune in public before the premiere. Further to that, he only gave the music to the tenor a few hours before the premiere! In the context of the opera the irony of this aria is that while the Duke of Mantua sings about how women are fickle and untrustworthy, it is his own character who shows just these qualities throughout, and gets him killed by Rigoletto’s assassin soon after he sings this in Act 3!

Veil Song from Don Carlo by Giuseppe Verdi Hayley Sugars, Sarah Crane and the Toowoomba Chorus Premiered in 1867. Libretto by Joseph Méry and Camille du Locle Introducing Princess Eboli in the opera, in this scene she sings a Moorish love song, entertaining the Queen’s ladies in waiting, about an encounter between a young veiled woman and the King who has tired of the Queen’s attention. It is only at the end of the song that the King finds out the veiled woman is actually the Queen herself. More than an entertaining song, we see an indication of the drama to come between Princess Eboli, King Carlo and Queen Elisabeth. Interestingly, no other Verdi opera exists in so many versions. Verdi made many versions of this opera as he improved and modified it for years after its original premiere. At its full length (including the ballet and the cuts made before the first performance), it contains close to four hours of music and is Verdi’s longest opera.

Chorus of Hebrew Slaves from Nabucco by Giuseppe Verdi Toowoomba Chorus Premiered in 1842. English text by Narelle French This iconic melody established Verdi as a leading composer in 19th century italy. Some critics believe that Verdi deliberately makes parallels in this opera between the Hebrews and the Italians, who in Verdi’s time were living— some say suffering—under Austrian rule. In fact, after the curtain fell on the opera’s final act at the conclusion of its premiere at La Scala on March 9, 1842, shouts of “Freedom for Italy,” came from members of the audience, who recognized themselves in the Hebrews.

Quartet from Rigoletto by Giuseppe Verdi Sarah Crane, Hayley Sugars, Simon Kim and Shaun Brown Premiered in 1851. Libretto by Francesco Maria Piave While Rigoletto anticipates the vengeance that he has planned against the Duke for seducing his daughter, the Duke attempts to make another conquest by wooing Maddalena. Maddalena responds with her belief that all he really wants is her body. Gilda meanwhile despairs over what the Duke has done to her.

Humming Chorus from Madama Butterfly by Giacomo Puccini Toowoomba Chorus Premiered in 1904. Libretto by Luigi Illica This famous melancholy tune, hummed by a chorus, guides us through the overnight vigil of Cio-cio san (Madama Butterfly) at the end of Act 2, as she awaits the return of her American husband Pinkerton into the port of Nagasaki, where she has waited years for him for to return. Puccini has had an influence on the repertoire of today’s musical theatre. You may hear a resemblance to Bring Him Home from Les Miserables, which is known for being influenced by Puccini, and Miss Saigon was of course based on Madama Butterfly. Madama Butterfly was #10 on the most performed operas in the world last year.

O soave fanciulla from La bohème by Giacomo Puccini Sarah Crane and Simon Kim Premiered in 1896. Libretto by Luigi Illica La bohème (The bohemians) was the fourth most performed opera in the world last year. Rodolfo, a painter, has just met his neighbour, the humble seamstress Mimì who came into his house searching for a light for her candle. The pair immediately connect and fall in love, and in the moment of the beginning of this duet, with the moonlight shining through the window onto the beautiful face of Mimì, we hear them both declare their love for one another in one of the most beautiful and well known love duets in all of opera.

Barcarolle from The Tales of Hoffmann by Jacques Offenbach Sarah Crane and Hayley Sugars and the Toowoomba Chorus Premiered in 1881. Libretto by Jules Barbier In The Tales of Hoffmann, a poet tells the story of his three loves; Olympia – a mechanical doll, Antonia – a famous singer, and the courtesan Giulietta. This barcarolle, a traditional Venetian song, is heard in the beginning of Act 3, by Hoffmann’s third love, the courtesan Giulietta, in her Venetian palace and Hoffmann’s muse Nicklausse.

Torna a Surriento by Ernesto De Curtis arr. Giancarlo Chiaramello Simon Kim and Shaun Brown and the Toowoomba Chorus Words by Giambattista De Curtis, 1902 This classic Neapolitan song has become one of the most popular songs of this traditional genre. Crossing boundaries of genre and singing technique, this beautiful song has been performed and made famous by a diverse range of singers including as Mario Lanza, Beniamino Gigli, Frank Sinatra and Elvis Presley.

Santa Lucia, Trad/Teodoro Cottrau arr. Giancarlo Chiaramello Sarah Crane, Hayley Sugars and the Toowoomba Chorus Translated from Neapolitan into Italian by Teodoro Cottrau, 1849 This traditional Neapolitan song, long associated with Mario Lanza and Enrico Caruso, has also been recorded by Elvis Presley and Bing Crosby, among many others. It is a traditional song translated for the first time into Italian by Teodoro Cottrau in 1849 during the first stage of Italian unification, and as such was the first Neapolitan song to be given Italian lyrics.

Evening Prayer from Hansel and Gretel by Engelbert Humperdinck Sarah Crane, Xenia Puskarz-Thomas and the Toowoomba Chorus Premiered in 1893. English text by Constance Bache This evening prayer from Humperdinck’s fairy-tale opera is one of the most well known excerpts from the opera. Its calming, beautiful legato composition and harmony comes

at the end of Act 2 when the children have had a terrifying experience while lost in the forest. It is a beautiful moment where, even though the two children are scared and lost in the forest, they are safe in their brother and sisterhood and connected to their family through this evening prayer.

Nightmare song from Iolanthe by Arthur Sullivan Jason Barry-Smith Premiered in 1882. Libretto by W.S.Gilbert

Admiral’s Song from H.M.S. Pinafore by Arthur Sullivan Jason Barry-Smith and Toowoomba Chorus Premiered in 1878. Libretto by W.S.Gilbert

“Meine Lippen, sie küssen so heiß” from Giuditta by Franz Lehár arr. Herbert Schneider Sarah Crane and Toowoomba Chorus Having made his name with The Merry Widow, Lehár went on to compose a string of operettas including Der Graf von Luxemburg (The Count of Luxembourg), Zigeunerliebe (Gypsy Love) and Das Land des Lächelns (The Land of Smiles). This song, ‘Meine Lippen, sie küssen so heiss’ (My lips, they give so fiery a kiss), comes from his last stage work, Giuditta, which was premièred at the Vienna State Opera in 1934. Giuditta is set for the most part in North Africa, where the title character, who becomes a famous nightclub performer, lives with her soldier lover, Octavio. ‘Meine Lippen, sie küssen so heiss’ is one of the songs that Giuditta performs as part of her act.

Waltz Duet from The Merry Widow by Franz Lehár Full Company Premiered in 1905 The Merry Widow (original title: Die lustige Witwe) was the work that brought Hungarian-born Lehár to international attention. Premièred in Vienna in 1905, it soon went on to

conquer the stages of the world. Up to that point Lehár had eked out an existence as a military bandmaster and enjoyed only moderate success as a composer of operetta. But all that changed with The Merry Widow. The story revolves around the (eventually successful) attempts to reunite the former lovers, Hanna and Danilo, so that Hanna’s inherited fortune may remain in the kingdom of Pontevedro. In this duet “Lippen, Schweigen,” a tune better known as The Merry Widow Waltz, Hanna and Danilo express their rekindled love.

Champagne from Die Fledermaus by Johann Strauss Jnr (English text L. Hume) Premiered in 1874. English text by L. Hume This popular operetta premiered at the Theater an der Wien in Vienna and has been part of the regular repertoire ever since. The Champagne ensemble celebrates the inebriating effects of this sparkling beverage!

Nessun dorma from Turandot by Giacomo Puccini Simon Kim and full company Premiered in 1926. Libretto by Giuseppe Adams and Renato Simoni The most famous and well known operatic aria of all time. The title of the opera refers to the powerful and beautiful, but cold Princess Turandot, who Prince Calaf falls in love with at first sight. In order to win the heart of Princess Turandot, a man must first answer her three riddles; and if he fails, he is beheaded. No man has ever succeeded. This aria appears at the beginning of Act 3 of this opera, in which Calaf exclaims his belief and knowledge that the next day, he will succeed and win the heart of Princess Turandot. Pavarotti’s recording of Nessun dorma was used as the theme song for the 1990 FIFA World Cup in Italy, and it has been used in many film soundtracks. Puccini died during the composition of this opera, and it was finished by Franco Alfano.

Creative Team



In 2017, Vanessa Scammell conducted a new production of The Merry Widow for West Australian Opera and Opera Australia; she will lead the Opera Queensland season of Lehár’s masterpiece in 2018.

Jason Barry-Smith studied at the Queensland Conservatorium Griffith University and the Hochschule für Musik und Theater in Munich. Jason has been Artistic Director of the Queensland Youth Choir, Director of the Opera Queensland Young Artistic Program, Creative Director for Opera Queensland’s Open Stage program, and a member of the 2013 Emerging Leaders Development Program at the Australia Council for the Arts.

Vanessa graduated from Melbourne Conservatorium and the Sydney Conservatorium of Music as a pianist and conductor; she was the recipient of both the Brian Stacey Award for young conductors and The Robert and Elizabeth Albert Conducting Fellowship for The Australian Ballet. For Opera Australia, she has conducted South Pacific, the national tour of La traviata and was Musical Director for their acclaimed 2015 television opera – The Divorce. For The Australian Ballet, her credits include Body Torque, Tchaikovsky’s The Nutcracker and The Dream. For the Really Useful Company, she was Musical Director for The Phantom of the Opera in Beijing, Taipei, Athens, South Korea, South Africa and Australia; West Side Story Australian Tour for Farrelly Productions; Chicago Australasian Tour for Gordon Frost Organisation; The Producers and Damn Yankees for The Production Company and Fiddler on the Roof for TML Enterprises. For Andrew McKinnon Presentations, she conducted the national tour of From Broadway to La Scala (starring Teddy Tahu Rhodes, David Hobson, Lisa McCune and Greta Bradman). From 2007 to 2017, she has acted as Music Director for the Helpmann Awards. Most recently, Vanessa Scammell has conducted David Bowie tribute concerts for the Melbourne Symphony, Swing on This for West Australian Symphony, Magic of the Musicals for Auckland Philharmonia, Hello Dolly for The Production Company and the Australian premiere of The Light in the Piazza.

He has performed in some of Opera Queensland’s most successful productions including Pish-Tush in The Mikado, Count Danilo Danilowitsch in The Merry Widow, Papageno in The Magic Flute, Doctor Malatesta in Don Pasquale, Guglielmo in Così fan tutte, Dandini in Cinderella, Gabriel von Eisenstein and Doctor Falke in Die Fledermaus, Mercutio in Romeo and Juliet, Schaunard in La bohème, and in the title roles in The Barber of Seville and Don Giovanni. Jason has also performed the title role in Billy Budd for the Brisbane Biennial Festival of Music, Guglielmo in Così fan tutte for the Tokyo Arts Foundation, Papageno in The Magic Flute for Opera Australia – Opera on the Beach, Mathieu in Andrea Chénier and Belcore in L’elisir d’amore for the State Opera of South Australia, Julian in Quartet, Mamoud in The Death of Klinghoffer and the title role in The Barber of Seville for New Zealand Opera, Enjolras in Les Misérables for the Wellington Operatic Society and Major- General Stanley in The Pirates of Penzance for Essgee Entertainment. In recognition of his outstanding contribution to opera, Jason has received the Queensland Conservatorium Medal for Excellence, Marianne Mathy Scholarship, and Opera Foundation Australia’s Italian Opera Award. In 2017, Jason joined Opera Queensland in An Afternoon With Jason Barry-Smith and performed the role of Sir Despard Murgatroyd in Gilbert & Sullivan’s Ruddigore, or The Witch’s Curse! He will join Opera Queensland again in 2018 for the regional tour of Ruddigore, or The Witch’s Curse!, and will also perform in The Merry Widow and direct Opera Romance.




Born, Korea. Graduated in voice from Kyung-Hee University in 1992. Moved to Italy later that year and undertook postgraduate studies in Genoa, Perugia and at the Salzburg Mozarteum in Austria. In Italy, Simon has won several top prizes including 1st place in many international vocal competitions and appeared as soloist in numerous concert performances around the country. Moved to Sydney in 2009 and has become a principal artist with Opera Australia.

Brisbane soprano Sarah Crane is the winner of several prestigious competitions, including Opera Foundation Australia’s German and Metropolitan Opera Awards. Sarah has worked extensively in Europe with engagements at Cologne Opera, Opéra National du Rhin - Strasbourg, Basel Opera, Freiburg Opera as well as Opera Australia, Opera Queensland, Opera Victoria and State Opera of South Australia.

OA repertoire: Calaf: Turandot, Rodolfo: La Bohème, Nisias: Thais, Macduff: Macbeth, Herald: Don Carlos, Remendado: Carmen, Great Opera Hits, 2018 Mazda Opera in the Domain. Other Companies: Ferrando: Così fan tutte, Nemorino: L’elisir d’amore, Alfredo: La Traviata, Rodolfo: La Bohème, title role: Werther. Also sang major roles in professional productions of Korean operas – with these companies, he toured to China and Germany. On the concert platform, he has appeared with all the major Korean symphony orchestras as well as the Central Russia National Orchestra and the Ukraine Symphony Orchestra. In 2008, Simon was invited to give a solo recital at the Russian National Art Academy in Vladivostok

Operatic repertoire includes Hansel and Gretel, The Rape of Lucretia, Die Zauberflöte, Ariodante, Der Vampyr, Fidelio, Marcello’s Arianna, Carmen, Hyperion, Romeo et Juliette, Le Nozze di Figaro, The Merry Widow, The Love of the Nightingale, Rusalka, Alcina, Werther, Orlando and The Perfect American. Concert engagements include Brahms’ Requiem, Orff’s Carmina Burana, Mozart’s Requiem, Handel’s Messiah for The Queensland Orchestra and Hong Kong Philharmonic Orchestra, Martin’s Maria-Triptychon as well as the Stabat Mater by Szymanowski with the Philharmonic Orchestra Freiburg. Sarah is now a Vocal Lecturer at The University of Queensland where she also lectures in German and French Lyric Diction and Stagecraft. Forthcoming engagements include Mozart Airborne – a collaboration with OperaQ and Expressions Dance Company, as well as a new radio opera by Dr Eve Klein. Sarah also maintains a busy private teaching studio.

HAYLEY SUGARS MEZZO- SOPRANO, OPERA QUEENSLAND Mezzo soprano Hayley Sugars commenced her vocal training at the University of Southern Queensland and subsequently undertook postgraduate study at the Queensland Conservatorium of Music. During her studies, Hayley was the recipient of many academic and performance awards including the Elizabeth Muir Postgraduate Scholarship (QCM) and the Joyce Campbell Lloyd Overseas Scholarship (USQ). Hayley was a member of the Opera Queensland Young and Developing Artist Program (2007-2009) and has enjoyed success in national competitions, including winning the German-Australian Opera Grant in 2010. This success resulted in contracts with the Hessisches Staatstheater Wiesbaden and the Landestheater Coburg. While in Germany, operatic repertoire included Donna Elvira in Don Giovanni, the title role in Rinaldo, Mrs Grose in Turn of the Screw, Rosina in Il barbiere di Siviglia, Varvara in Katja Kabanova, Flora Bervoix in La traviata, Mirabella in Der Zigeunerbaron and Suzuki in Madama Butterfly – a production which was named a finalist in Germany’s prestigious Der Faust Awards. Since returning to Australia, Hayley has performed to great acclaim for Opera Queensland, The Brisbane Festival and most recently, New Zealand Opera. In 2018, Hayley sang Auntie in Peter Grimes for Brisbane Festival and will once again perform Donna Elvira in Opera Queensland’s production of Don Giovanni.

SHAUN BROWN BARITONE, OPERA QUEENSLAND Australian baritone Shaun Brown has worked and studied in England, Germany, Italy and the United States of America where he is currently completing a Doctorate of Musical Arts at the University of North Texas. His professional operatic repertoire includes the major baritone roles in Così fan tutte, La fanciulla del West, The Merry Widow, Billy Budd, Don Giovanni, Otello, Rigoletto, La bohème, L’elisir d’amore, Carmen, Le nozze di Figaro, Roméo et Juliette, Il barbiere di Siviglia and Die Fledermaus. Internationally, Shaun has sung in Opéra de Lyon’s production of The Lindbergh Flight at the New Zealand International Arts Festival and has performed in New York at the Center for Contemporary Opera in works by Jake Heggie. He has also appeared to acclaim as a soloist in concert repertoire including Britten’s War Requiem, Brahms’ Ein deutsches Requiem, Bach’s St Matthew Passion, Handel’s Messiah, Fauré’s Requiem, and Mendelssohn’s Elijah. In high demand as an adjudicator for vocal and choral competitions and eisteddfods, Shaun also holds a position as an examiner for the Australian Music Education Board. Shaun is currently employed in the position of Voice Performance Fellow at the University of Queensland. In 2017, Shaun performed in The Pearlfishers and Ruddigore, or The Witch’s Curse! for Opera Queensland. In 2018 Shaun joined Opera Queensland for The Merry Widow, the regional tour of Ruddigore, or The Witch’s Curse! and sings Leporello in Don Giovanni. He will also be premiering a new radio opera by Dr Eve Klein.

XENIA PUSKARZ-THOMAS MEZZO SOPRANO, QUEENSLAND CONSERVATIRIUM GRIFFITH UNIVERSITY Brisbane-born mezzo-soprano Xenia Puskarz-Thomas began her formal studies with her mentor Margaret Baker Genovesi at 16 years of age and continued her training with Dr Margaret Schindler at the Queensland Conservatorium Griffith University. Last year, she was awarded a Bachelor of Music with first class honours and the University Medal for Academic Achievement. During her studies, Xenia performed excerpts from Idomeneo (Idamante) and Cendrillon (Le Prince Charmant) and the roles of L’Enfant (L’Enfant et les sortilèges) and Mrs Gladys Callaway (Dry River Run). Competition success in 2018 included the Tinkler Encouragement Award at the IFAC Handa Australian Singing Competition, and the Opera Foundation for Young Australians’ Lady Fairfax New York Scholarship, which she will undertake in October this year. Xenia is supported by the 2019 Amelia Joscelyne Memorial Scholarship with the Melba Opera Trust.



CHORUS MASTER Arthur Johnson


Joel Bolitho Richard Chiverall Lynn Michelle Clayton John Dakin Wendy Evans Mary Louise Fraser Alex Grimmett Zachariah Harbort Ian Kammholz Kylie Lee Michelle Major Candice Moore Penny Muller Caitlin Nass Kaitlyn Orange Greg Ottaviano Annie Rose Paroz Alanah Philp Chloe Retschlag Marina Salomon Joy Schmidt Faye Seng Ian Sharpe Christopher Stritch Brendan Thomas Rosalie Venz Susan Wheatley Nick Williams Kate Wolyncevic

VIOLIN 1 Emilia Jarvela Chae Eun Oh Kevin Hsu Sophia Goodwin Miriam Niessl Thomas Riethmuller Noah van den Berg Lucia Hughes VIOLIN 2 Julia Hill James Tudball Julia Zhu Josie Askey-Doran Forté-Avant KiwiKiwi Liang-Kai hen Olivia Lambert Sally Waterhouse VIOLA Daniel You Elizabeth Simmers Amy Bernays Catherine Custance Sebastien Masel Courtney Schuurs CELLO Felicity Mohr Connor Scott Isabella Busby Dakotah Love Jianing Wang Renee Edson DOUBLE BASS Georgia Lloyd Thomas Crilly Amelia Cherry Alexandra Elvin George Korenevski

FLUTE Isabel Lopez-Roldan Kenny Han PICCOLO Jemima Drews BASS Momo Misumi BASSOON James Dodd Sam Battock FRENCH HORN Chloe Matthews Claudia Leggett Natalie Douglas Mara Van Duyl TRUMPET Lachlan Luhrs Benjamin Oldham Akua Van Den Hooven TROMBONE John Rota Rhys Keane TUBA Neale Connor PERCUSSION William Elvin Willow Giles Jessica Postle

Acknowlegments Queensland Music Festival would like to acknowledge the Traditional Owners and Custodians of the lands on which Queensland Music Festival events are taking place, and pay our respects to Elders past, present and emerging.

PATRON His Excellency the Honourable Paul de Jersey AC Governor of Queensland BOARD OF DIRECTORS Dominic McGann – Chair Danielle Duell – Deputy Chair Darren Busine – Treasurer BOARD MEMBERS Diat Alferink Prof. Margaret Barrett Alison Mobbs Jim Reeves Jane Williams John Willsteed

QUEENSLAND MUSIC FESTIVAL EXECUTIVE TEAM Katie Noonan – Artistic Director Joel Edmondson – Executive Director Katrina Torenbeek - Program & Technical Director Simon Buchanan – Business Development Director Linda Gordon – Marketing & Communications Director Wendy Mansell – Regional Engagement Director PROJECT TEAM Erica Hart – Executive Program Producer Gabby Gregory – Associate Producer Bart Mangan - Technical Manager Jenna Robertson - Producer Placement FINANCE & ADMINISTRATION Tobias Hill – Secretariat to the Board Jodi Kelly – Finance Manager Beata Kennedy – Finance & Administration Peta Winters – Administration Manager

PROGRAMMING & TECHNICAL Jason Allen – Ground Transport Pip Boyce – Managing Producer Jake Cook – Production Coordinator Joc Curran – Creative Producer Kate Driscoll-Wilson – Managing Producer Aaron Dora – Project Coordinator Gabby Gregory – Associate Producer Erica Hart – Executive Program Producer Isabel Hart – Associate Producer Elverina Johnson – Managing Producer David Logan – Ground Transport Bart Mangan – Technical Manager Sally McRae – Managing Producer Kylie Mitchell – Senior Technical Manager Ruby Newport – Associate Producer Bernd Neumann – Technical Manager Lia Pa’apa’a – Co Producer Oliver Samson – Project Coordinator Deirdree Wallace – Ticketing Officer Jeff Warnick – Technical Manager MARKETING & COMMUNICATIONS Lauren Flint – Marketing Executive Natania Hinwood – Senior Digital Marketing Executive Alex Komarowski – Marketing Coordinator Yuverina Shewpersad – Marketing Executive SGC Media – Media Relations The M Agency – Festival Identity & Design Nude Agency – Creative Agency BUSINESS DEVELOPMENT Danielle Bentley – Development Manager Jacqui Grinzi – Partnership Manager Wendy Mansell – Philanthropy & Grants Consultant YOUTH TOURING Laura Bonner – Youth Touring Manager Katy Holmes-Brown - Touring Administrator Lizzie Moore – Touring Administrator STATE CO-ORDINATION OFFICE Jess Cuddihy – Communications & Events Coordinator Madonna Davies – Regional Arts Officer Amber Lenoy – Digital Marketing Coordinator

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Queensland Music Festival is an initiative of the Queensland Government through Arts Queensland.

The Queensland Government, via Tourism and Events Queensland’s Destination Events Program, is proud to support Opera at Jimbour, which features on the It’s Live! in Queensland events calendar, worth $800 million to the state’s economy in 2019. We would like to acknowledge the assistance of Empire Theatres for their support of the OperaQ Toowoomba Community Chorus.

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Opera at Jimbour Official Program  

The official program for Queensland Music Festival's Opera at Jimbour

Opera at Jimbour Official Program  

The official program for Queensland Music Festival's Opera at Jimbour