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Arts Centre Melbourne, Hamer Hall 6 November 2015 1

WELCOME Victorian Opera has turned ten! Tonight your state opera company celebrates with new works by emerging composers, showcasing our bright young stars, alongside Berliner Kabarett with a devilish diva. To everyone past and present who has come on this journey, our audience, our supporters, our artists, the State Government of Victoria, our Artistic Director Richard Mills, our Founding Music Director Richard Gill, our board and staff, we give our heartfelt thanks. In 2016, we continue to present opera without boundaries. Join us and experience our season of different dreams.

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RICHARD MILLS The notion of Australian cities as emblems for the deadly sins is a fertile blueprint for creative response. It has proved to be an interesting idea on which to base a co-operatively made new work and provide an opportunity for four young Australian composers to create a companion piece to a classic via their own text and music. Julian Langdon, Mark Viggiani, Jessica Wells and Ian Whitney were allocated two sins each (Julian, a sin, a prologue and an epilogue). The cameos were developed by a process of workshops at Victorian Opera and an orchestral workshop as part of the Tasmania Symphony Orchestra's Composer Development Program. What has surprised, delighted and occasionally disconcerted is the complete unpredictability of each composer's response to the given brief. The involvement of our young artists has also added a dimension of possibilities for feedback and artistic growth.

The vicarious contemplation of sin has always been a fascinating pastime for humanity. From the Book of Genesis, the spy thriller or the murder mystery to the circles of hell in Dante's Inferno, the notion of evil-doing and its pageant of consequent causality as a kind of perverse spectator sport has had a continuing potency as a basis for story - in all media.

In Die Sieben Tods端nden, Brecht's text is satirical. When Anna tries to behave morally, she is scolded by her alter ego and her family for committing one of the seven sins. Meow Meow brings her own sultry "weltschmerz" to proceedings here. The Antipodes hold no such complex, world-weary attitude. Here we revel in our sins with gusto and enthusiasm. Enjoy.

Under the care of two young talented ringmasters, director Cameron Menzies and conductor Tahu Matheson, tonight's spectacle draws on this tradition from across three worlds: our own country and the perceived foibles of its capital cities as images of corruption - the "seven teeming sores" of poet A.D.Hope, and the ironic satire of Brecht and Weill, two Europeans locating the deadly sins in Memphis, Los Angeles, Philadelphia, Boston, Baltimore and San Francisco.

Richard Mills Artistic Director, Victorian Opera



TA H U M AT H E S O N Die Sieben Todsßnden is a piece that, though harmonically quite complex, constantly uses immediately recognisable and simple musical forms (admittedly through a lens of questioning irony and piercing satiric wit!). Barbershop quartets, marches, waltzes and ballads, sometimes simply constructed, sometimes grotesquely transformed, shape this piece into a brilliantly satirical take on the conventional idea of sin. Weill's virtuosic orchestration, superb melodic invention and sure dramatic instinct propel us through the work, and inspire in us a certain delectation that perhaps we would rather not admit to‌ A musical framework which interweaves canonical works and newly minted pieces always makes for interesting listening, but the idea of juxtaposing a single masterpiece against a reimagining of the same subject matter is, I think, something very unusual, and something that I have found to be completely fascinating.

As most other people, my first contact with the music of Kurt Weill was the ballad Mack the Knife - an amazingly evocative song that has the ability to co-opt us gently, seductively and effortlessly into a seamy netherworld. This song is, of course, only the most minuscule part of Weill's work, and, starting with the Weill-Brecht collaborations, I began to discover his other works. I was absolutely captivated.

Learning these extremely accomplished, inventive, surprising, and, at times, genuinely beautiful compositions has been interesting and intriguing. The pieces are quite different: each of the brilliant young composers has a definite style (not an easy thing to come by), an individual way of dealing with the orchestra and a unique use of harmony. The works are filled with pastiche, parody, comedy, wit, beauty and virtuosity. Together they make a compelling and engaging whole that promises to be as entertaining as it is fascinating.

Weill's famous comment that he had 'never acknowledged the difference between serious music and light music, only good music and bad music', was like an apologia for his own work. The ability to find meaning in candid simplicity was an idea that thrilled and influenced many composers, and is something that still resonates powerfully in today’s overcomplicated, over-stimulated world. A new interest in simple melody, folk song and even popular culture began to influence music that had been subjugated to the powerfully enthralling hold of Wagnerian chromaticism and philosophical complication.

Tahu Matheson Conductor



CAMERON MENZIES The first half looking at Australia in 2015 through the sins of its capital cities takes us into a strange and somewhat nationalistic journey around this vast island where we explore things like the Lust of Sydney, the Greed of Melbourne and the Anger of Perth. Simply put, the second half takes us into the world of the two Annas. They have been sent away from their home and are struggling to survive, whilst trying to still provide for their family who are back at home. Written by two exiled Germans in 1933, who could no longer call Berlin their home, they write a piece that premiered in France but is set in America. These facts alone lead me to explore the ideas around survival, the search for a new home and safe passage to it.

Directing Seven Deadly Sins for Victorian Opera has been filled with many great joys. I have had the all too rare opportunity to work again with my dear friend and colleague, the incomparable star herself Meow Meow and then if that wasn’t enough, another friend and long time collaborator, the highly acclaimed couture designer Linda Britten agreed to come on board to design costumes for the ladies in the new commission and for Meow Meow in the well loved Weill/Brecht creation.

The opportunity to direct Kurt Weill and Bertolt Brecht’s Die Sieben Todsßnden (their last major collaboration together) is certainly a career highlight. I have always had a very strong love for the works of Weill and Brecht and for the period of history in which such works were being written. I am also thrilled to be able to premiere another new work in 2015 commissioned by Richard Mills for Victorian Opera. This is again a wonderful opportunity to create something unique.

Even though both halves were composed for very different reasons and in seemingly different times, the themes that surround all seven of the deadly sins bring an unnerving darkness and a satirical world that one can delve into.

Cameron Menzies Director



ANDREW SNELL of Melbourne. Following two years of performing on our stages, working in our rehearsal rooms, receiving individual coaching and master classes and touring regionally and interstate (all the while studying at the University of Melbourne), these young artists are now perfectly placed to take the next step in their burgeoning professional careers. Their graduation, however, also marks the end of the program after two intakes over the last four years. Due to the discontinuation of program-specific Government funding, the cost of providing a course of this scale has become unfeasible for our company. While remaining committed to reinstating a Masters program in future years, Victorian Opera will implement a Professional Development Program in 2016; where emerging talent will work and study with the company and feature in our productions. Victorian Opera’s unswerving commitment to the future of our art form remains just as strong at the end of our 10th season as it did when the company was conceived in 2005.

Welcome to an evening of temptation and musical gluttony: Victorian Opera’s final offering for our 2015 Season, Seven Deadly Sins. In this devilish double bill, Victorian Opera revisits the work of Weill and Brecht with their final collaboration Die Sieben Todsünden. We’re thrilled to welcome the sensationally talented Meow Meow in her debut with Victorian Opera.

Victorian Opera is able to continue doing such important work thanks to its many supporters. The company would like to acknowledge the generous assistance of the State Government of Victoria through Creative Victoria, The Robert Salzer Foundation, our philanthropic supporters; especially our Artistic Director’s Circle and New Work Syndicate, and our many corporate partners.

As a partner to this iconic work, we present a new commission, supported by the Composer Development Program at the Tasmanian Symphony Orchestra and Symphony Services International. Four of the country’s brightest composers, Julian Langdon, Mark Viggiani, Jessica Wells and Ian Whitney, have reimagined the Seven Deadly Sins inspired by seven of Australia’s major cities.

With this support, Victorian Opera is able to continue its important work as a state icon and a national leader.

Tonight marks the graduating performance of our Master of Music (Opera Performance) students, a unique collaboration between Victorian Opera and Melbourne Conservatorium of Music at the University

Andrew Snell Managing Director, Victorian Opera



GARY MCPHERSON with the University’s Faculty of Arts and music electives with MCM lecturers. It is this partnership from some of Australia’s education and industry leaders that sets this program apart. The vision and support of the State Government through Creative Victoria for the program has been vital to its creation and success. The first artists to graduate in 2013 have already brought their considerable skills to local, national and international opera companies, and we look forward to similar successes from this company of performers you see tonight. To our friends at the Victorian Opera, its Artistic Director Richard Mills and dedicated staff, I say a warm thank you. The professional knowledge and expertise that you share with the students on a daily basis is fundamental to this program’s success.

Welcome to the graduating performance of our Master of Music (Opera Performance) students. Chosen from over 70 applicants from Australia and overseas in 2013, they represent some of the nation’s most promising operatic talent. They have been working hard over the past two years in the demanding components of this unique graduate program and we are excited to share the results with you.

Tonight is the first opportunity that many of you will have had to enjoy this talented group of young artists but it also marks the end of a chapter for our students. We wish them well in their future endeavours and we thank their families and friends who have provided support and care over the past two years.

The relationship between the Melbourne Conservatorium of Music (MCM) and our partner Victorian Opera provides developing artists with the opportunity to become established members of a professional opera company.

I hope you enjoy the performance. Professor Gary McPherson Ormond Chair of Music and Director, Melbourne Conservatorium of Music at the University of Melbourne

The comprehensive program includes intensive vocal and performance training with Victorian Opera and MCM, language and diction studies



SE VEN DEADLY SINS 6 November 2015 Arts Centre Melbourne Hamer Hall

Creative Team Conductor Tahu Matheson Director, Production Concept & Design Cameron Menzies

Running time approximately 1 hour 50 minutes with one 20 minute interval.

Lighting Designer Joseph Mercurio


Costume Designer Linda Britten

Resolution X, Norwest Productions, The Team at LB, Sounds Solo, Darren Cooper, Show Works.

Sound Designer Jim Atkins

Commissions supported by Symphony Services International and the Composer Development Program of the Tasmanian Symphony Orchestra.

Stage Manager Andrea Corish

Production Coordinator Luke Hales Technical Coordinator Peter Darby Head Mechanist Kieran Santoso Repetiteurs Phoebe Briggs, Phillipa Safey, Simon Bruckard*

Surtitles provided by The Kurt Weill Foundation For Music and translated by Michael Feingold.

SEVEN DEADLY SINS Prologue Composer Julian Langdon Cast Kate Amos*, Nathan Lay*, Elizabeth Lewis*, Emma Muir-Smith*, Michael Petruccelli*, Cristina Russo*, Matthew Tng* Hobart/Envy Composer Mark Viggiani Cast Mr Zee Michael Petruccelli Prince Alfredo Matthew Tng Maria Kate Amos Benita Elizabeth Lewis Katya Emma Muir-Smith




Composer Julian Langdon

Composer Mark Viggiani

Cast Bob Michael Petruccelli Gustus Nathan Lay

Cast Rosanna Elizabeth Lewis Gianina Cristina Russo Mr Big Nathan Lay

Brisbane/Sloth Composer Ian Whitney


Cast Milton’s Angel Cristina Russo Pete Nathan Lay Joh Matthew Tng

Composer Ian Whitney Cast Helene Elizabeth Lewis Lotte Kate Amos Marianne Emma Muir-Smith Anna Cristina Russo Fred Matthew Tng Kurt Nathan Lay Julian Michael Petruccelli

Melbourne/Greed Composer Jessica Wells Cast Kate Amos, Nathan Lay, Elizabeth Lewis, Emma Muir-Smith, Michael Petruccelli, Cristina Russo, Matthew Tng



Composer Julian Langdon

Composer Jessica Wells

Cast Kate Amos, Nathan Lay, Elizabeth Lewis, Emma Muir-Smith, Michael Petruccelli, Cristina Russo, Matthew Tng

Cast Commentator 1 Kate Amos Commentator 2 Emma Muir-Smith Commentator 3 Elizabeth Lewis Julia Gillard Cristina Russo John Howard Matthew Tng Tony Abbott Nathan Lay Kevin Rudd Michael Petruccelli

*Students from the Master of Music (Opera Performance), presented in partnership with Melbourne Conservatorium of Music at the University of Melbourne.




Clarinet Paul Champion Principal, Richard Sholl Associate Principal, Robin Henry Acting Associate Principal*, Andrew Mitchell Principal Bass Clarinet

Composer Kurt Weill Librettist Bertolt Brecht Cast Anna 1 / Anna 2 Meow Meow Tenor 1 Michael Petruccelli Tenor 2 Carlos E. Bárcenas Baritone Nathan Lay Bass Jeremy Kleeman

Bassoon Lucinda Cran Principal, Hugh Ponnuthurai Associate Principal*, Timothy Murray Principal Contrabasoon

Orchestra Victoria

Trumpet Mark Fitzpatrick Principal, Anthony Pope Associate Principal, Tristan Rebien*, Allison Wright*

Horn Jasen Moulton Principal, Linda Hewett Principal Third Horn, Sydney Braunfeld, Rachel Shaw, Anton Schroeder*, Heather McMahon*

Concertmaster Roger Jonsson Deputy Concertmaster Yi Wang^

Trombone Scott Evans Principal, Benjamin Anderson Principal Bass Trombone, Robert Collins*

Violin Erica Kennedy Acting Principal, Tomomi Brennan Associate Principal, Binny Baik, Lubino Fernandes, Rachel Gamer, Matthew Hassall, Rachael Hunt, Ceridwen Jones, Mara Miller, Philip Nixon, John Noble , Martin Reddington, Christine Ruiter, Markiyan Melnychenko*, Holly Piccoli*, Lynette Rayner*, Olga Vakoussevich*, Tim Veldman*

Tuba Jon Woods Principal* Timpani Guy du Blêt Principal, Daniel Richardson Principal* Percussion Conrad Nilsson Principal Harp Delyth Stafford Principal*

Viola Paul McMillan Principal, Jason Bunn, Catherine Bishop, Nadine Delbridge, Suying Aw*, Tom Higham*, Josh Stilwell*

Piano Simon Bruckard+ Banjo/Guitar John Paine*

Cello Melissa Chominsky Principal, Diane Froomes Associate Principal, Sarah Cuming, Philippa Gardner, Andrea Taylor

^ Concertmaster for this performance * Denotes Guest Artist +Victorian Opera Music Staff

Double Bass Davin Holt Principal, Dennis Vaughan Associate Principal, Matthew Thorne Flute Lisa-Maree Amos Principal, Karen Schofield Associate Principal, Melissa Doecke* Oboe Stephen Robinson Principal, Joshua de Graaf Associate Principal, Dafydd Camp Principal Cor Anglais


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Sydney/Lust Three couples brunch at a café in Sydney’s inner west. Married couple, Kurt and Lotte, sit together while Fred and Julian, who are dating, sit with Marianne and Anna, long-term partners. The couples' lives intertwine.

Perth/Anger A bitter, angry feud rages between Rosanna and Gianina about Mr Big’s fortunes. Gianina wants desperately to protect her inheritance from her father’s new wife, his maid Rosanna. Hobart/Envy On the latest episode of glitzy game show Pick a Princess, Prince Alfredo must choose his wife. Host Mr Zee introduces three princesses, Benita, Katya and Maria, all vying for the Prince; each princess offers a different allure to Prince Alfredo. Adelaide/Gluttony Food critic Bob is trying to part ways with his arch nemesis Appetite. Melbourne/Greed Who was John Wren? A corrupt and selfinterested criminal or a man of the people? Did he deserve celebration in his death or to be forgotten for his crimes? Canberra/Pride


From Howard, Rudd, Gillard and Abbott, who will lead Team Australia? What made them and what made them walk the plank? GST, apologies, mining tax and more.

Sent out by the family into the hungrily sinful world, Anna must raise enough money to send home, to build a house in Louisiana. Each new city presents Anna with a formidable deadly sin to confront, as she slowly becomes a commodity to society and the family, under the guise of capitalism.

Brisbane/Sloth Joh and Pete endure the heat on their verandah in the late afternoon, desperate for their next beer yet too lazy to fetch one. An angel appears, speaking extracts from John Milton’s ‘On His Blindness’. Joh and Pete are unphased; only interested in eventually getting their next beer.

Image credit: © Magnus Hastings (p.12, p.13, p.16)







Tahu has been working for Opera Australia since 2007. In 2016, he will conduct The Magic Flute and The Pearl Fishers for Opera Australia and will conduct the Queensland Symphony Orchestra. In 2014, he conducted performances of L’elisir d’amore at Sydney Opera House and in 2012 & 2013 he conducted Oz Opera’s Don Giovanni. Tahu has assisted on numerous productions including the Ring Cycle, Bliss, Falstaff, Otello, Rigoletto, Carmen, Capriccio and Of Mice and Men. In 2008, he conducted Beethoven's Ninth Symphony for the 4MBS Festival in Brisbane and in 2004 he conducted a new opera, Nelson, for the Trafalgar Bicentenary in London.

Cameron Menzies has worked with Opera Australia, Victorian Opera, Malthouse Theatre, Sydney Theatre Company, ANAM, Oper Köln, Deutsche Oper, Berlin & DivaOpera UK. He is the recipient of the 2011 Berlin New Music Opera Award, 2008 Bayreuth Opera Award from Opera Foundation Australia/DAAD and The Besen Family Artist Program (Direction), Malthouse Theatre. Cameron currently has acclaimed productions of Lucia di Lammermoor and Le Nozze di Figaro touring Europe for DivaOpera UK, while 2014 saw his international debut directing Don Giovanni for the same company. In 2016, Cameron will direct Lucia di Lammermoor for Victorian Opera at Her Majesty’s Theatre.

Melbourne-based composer Julian Langdon writes for film, television, games and the concert stage. His scores span a vast range of musical styles and contexts, featuring an array of soloists, bands, orchestras, electronic soundscapes, recorded objects and acoustic manipulations. His work has been featured internationally in high-profile advertising campaigns, broadcast television, film festivals, showcase events and concert halls. In 2007, the City of Melbourne awarded Julian the first Melbourne Prize for Music Development Award for his orchestral work, and in 2012 he was co-commissioned by the MSO and the TSO to compose a new work in celebration of the spectacular return of the redeveloped Hamer Hall.





Mark Viggiani is a Melbournebased composer whose music has been performed by various ensembles in Australia and Europe including the Tasmanian and Melbourne Symphony Orchestras, Orchestra Victoria, soprano Greta Bradman, Ensemble Liaison, the Mons Kinky Pinky Orchestra (Belgium), Z.O.O. Duo (Netherlands), The Song Company, and Speak Percussion. Amongst numerous awards and prizes, most recently Viggiani won the 2014 Melbourne Conservatory of Music / Melbourne Recital Centre award, and the 2012 Zavod Classical/Jazz Fusion Composition Award. Viggiani’s teachers have included Elliott Gyger, Stuart Greenbaum and Martin Bresnick, and he holds a Ph.D in Music Composition from the University of Melbourne.

Jessica Wells is a versatile composer, orchestrator, and arranger for concerts, films, theatre, and album recordings. Since obtaining her Master of Music in Composition (Sydney Conservatorium) and Master of Arts in Screen Composition (AFTRS), her career has gone from strength to strength. Her business of 12 years, Jigsaw Music, provides music preparation services for clients all over the country and overseas. Jessica has orchestrated over 50 films, including the recently successful kids' movies Paper Planes, Blinky Bill and Oddball. She has written the theme music for ABC TV’s Q&A program – which makes her kids think she’s famous.

Ian participated in the Symphony Services International/Tasmanian Symphony Orchestra Composers School in 2013 and 2015. His work has been commissioned by Plexus and by Christopher Cartlidge for the ABC/Symphony Australia 2015 Young Performers Award. He studied at the Queensland Conservatorium with Gerard Brophy, and as a student he was also the inaugural recipient of the Australian Youth Orchestra/National Institute of Dramatic Art Theatre Music Fellowship. Ian worked in the Cultural Affairs office of the Embassy of Australia, Washington DC 2005-2011 and now lives in Sydney.




LINDA BRITTEN Costume Designer

JOSEPH MERCURIO Lighting Designer

MEOW MEOW Anna 1 / Anna 2

Melbourne-born designer and RMIT graduate Linda Britten has been a much-loved and admired fixture on the couture scene since she launched her signature label. Linda was named “Australian Fashion Designer of the Year”, and has continued to be one of the most sought after labels. A couturier par excellence, her annual eveningwear and bridalwear collections are always revered. Linda Britten continues to design elegant and sophisticated eveningwear and wedding gowns in conjunction with personalised capsule collections. Her designs are worn by Australian and international personalities alike, with a particular emphasis on the red carpet and one-off pieces. She designs many performance gowns for opera singers, and now works closely with the MSO and the Australian Ballet School.

Joseph Mercurio was born in Melbourne and raised in Fremantle, Western Australia before moving to Sydney in 1993, working in a wide range of styles in Australia and touring the world extensively. He has collaborated with some of Australia’s leading theatre makers, including Stephen Page, Angela Chaplin, Sue Healey, Juliàn Reta Fuentes, Phillip Adams, Natalie Weir, Roger Hodgman, Chrissie Parrot and Graeme Murphy. He was Lighting Coordinator at WAAPA for four years and is currently Coordinator of Performance Technology at the Victorian College of the Arts.

Meow Meow has performed the contemporary and Weimar repertoires with the London Philharmonic, Los Angeles Philharmonic, the New York Pops, Oregon Symphony, Barry Humphries and the Australian Chamber Orchestra, ANAM, and in her own creations everywhere from the Sydney Opera House to Lincoln Centre New York to Berlin's Bar Jeder Vernunft and London's West End. Her original work has been curated by David Bowie, Mikhail Baryshnikov and Pina Bausch and she appears next with San Francisco Symphony's Soundbox and then in PIAF! A Celebration at Town Hall NYC and then with Pink Martini and the Oregon Symphony for the holiday season. The Malthouse Theatre / Sydney Festival commission Meow Meow's Little Mermaid premieres in January for an Australian festival tour.





Born in Colombia. Bachelor of Music Performance and Masters in Music (Opera Performance) at University of Melbourne. His work for Victorian Opera includes Sir Bruno Robertson in I Puritani (2015), Steuermann in The Flying Dutchman (2015), Norma (Flavio, understudy Pollione), Hansel and Gretel (the Witch), La traviata (Gastone, understudy Alfredo) and as a soloist for Opera on a White Night (2013); Master Peter’s Puppet Show in 2012, Michael in Deborah Cheetham’s new opera Pecan Summer with Short Black Opera (2010 & 2011). In 2016, Carlos will appear as Edgardo, opposite Jessica Pratt, in Victorian Opera’s Lucia di Lammermoor at Her Majesty’s Theatre.

Jeremy Kleeman is a graduate of Victorian Opera and Melbourne Conservatorium of Music's Master of Music (Opera Performance), and is currently on the Joseph Sambrook Opera Scholarship with Melba Opera Trust. In 2015, Jeremy received critical acclaim for his Brisbane Baroque Festival debut as Teobaldo in Faramondo, named Best Opera at the 2015 Helpmann Awards. In 2016, Jeremy will sing his first lead role for Victorian Opera as they collaborate with Musica Viva to present the baroque pastiche Voyage to the Moon. Jeremy has twice been a prize-winning finalist in the IFAC Australian Singing Competition, and won Welsh Male Choir Singer of the Year in 2014.

Kate is a young soprano versatile in performing repertoire that spans genres. Holding a BMus (Perf) (Hons), Dip. (Italian) from UoM, is currently completing the M.Mus (Opera Performance). As a Victorian Opera developing artist, various roles in: La traviata, Hänsel & Gretel, I Puritani, Norma, leading roles with companies in Pirates of Penzance, The Mikado, Sweeney Todd, The Phantom of the Opera (Christine, Lyrebird Award). Kate has studied on scholarship in Italy at Fondazione Spontini Pergolesi, receiving the Sleath Lowrey Award and was ASC 2014 finalist winning multiple awards including: Symphony Australia Prize. She was a guest soloist at NYE concerts 2014: Hamer Hall & SOH with the APO.







Since graduating from the Melba Conservatorium of Music, Nathan has established his career in the Melbourne opera scene. Nathan has won the National Liederfest, Royal Melbourne Philharmonic Aria, and placed 3rd in the Herald Sun Aria. He has performed with Opera Australia (A Masked Ball, Aida, Falstaff, Tosca), Melbourne Opera (Schaunard - La Bohème, Guglielmo - Cosi fan tutte), and is currently a developing artist at Victorian Opera, having performed The Baker/Billy Webster - Sunday in the Park with George, The King - Puss in Boots, Barone Douphol La traviata, Father - Hansel and Gretel, Bunyip Bluegum The Magic Pudding – the opera, and Young Recruit in Richard Mills’ Remembrance.

A graduate of the Queensland Conservatorium, Elizabeth holds a Bachelor of Music and Master of Music Studies. In 2013, Elizabeth became a member of the Opera Q Studio and in 2014, a developing artist for Victorian Opera. Some roles for Victorian Opera include Mother and Witch Hansel and Gretel, Adalgisa (Cover) - Norma and Mrs Lovett (Cover) - Sweeney Todd. Other roles include Dido - Dido and Aeneas (Brisbane Baroque Festival), Sorceress -Dido and Aeneas (Bangalow Festival) and Tolomeo - ABANDON (Opera Q). Elizabeth has also been the recipient of many scholarships and prizes, most notable among these are the Sydney Opera House Opera Award 2015, and the More Than Opera Development Award 2015.

Mezzo Soprano Emma MuirSmith is currently a developing artist with Victorian Opera, completing a Master of Music (Opera Performance), with Melbourne Conservatorium of Music at the University of Melbourne. During her time with Victorian Opera, Emma has covered several roles, and appeared in La traviata, Norma, The Flying Dutchman, I Puritani, and notably as Hansel in Hansel and Gretel, and Alice in Alice’s Adventures in Operaland. In addition to her operatic commitments, Emma is a frequent recitalist and oratorio soloist, with a particular interest in chamber music. She performed, recorded, and toured extensively with the Choir of Trinity College from 2009-2012.





Michael has recently performed the roles of Giuseppe in La traviata, the Sandman in Hansel and Gretel, and the White Rabbit in Alice’s Adventures in Operaland. Michael is also no stranger to the concert platform, having performed as a soloist in a number of Victorian Opera gala concerts as well as performing as a soloist for the various oratorios and masses around Melbourne and regional Victoria. He was awarded the Richard Bonynge Study Scholarship at the 2014 Melbourne Opera Bel Canto Masterclass. In 2016, Michael has been engaged by Victorian Opera to perform Arturo Ravenclaw, alongside Jessica Pratt, in Lucia di Lammermoor and Beppe in I Pagliacci, as part of Laughter and Tears.

Cristina completed BMus (Hons) and BA majoring in Italian at University of Melbourne and is a developing artist with Victorian Opera, studying a Master of Music. Notable roles include: Gretel in Hansel and Gretel, Violetta (cover) in La traviata, Elvira (cover) in I Puritani, and Valencienne in The Merry Widow. Chorus: La traviata, Norma, Der Fliegende Holländer (Victorian Opera) and Aida (Opera Australia). Cristina collaborated with Hollywood film composer Johnny Klimek singing and co-writing music for Chinese feature film Lord of Shanghai with Leipzig Radio Symphony Orchestra. Winner of Acclaim Italian Opera Study Award, Cristina studied in Italy with Valeria Esposito, Luciana Serra and Mirella Freni.

Baritone Matthew Tng completed a Bachelor of Music at The Melbourne Conservatorium of Music. He has performed in Victorian Opera's 2012 and 2013 seasons where he covered the role of Chou En Lai in Victorian Opera’s Nixon in China (John Adams). Matthew debuted as Marcello in Opera New England's production of La Bohème, and has performed in masterclasses conducted by Dame Kiri Te Kanawa, Andreas Scholl, Håkan Hagegård and Susan Graham. Matthew was a semi-finalist in the 2015 Herald Sun Aria competition. He is currently a developing artist with Victorian Opera, completing a Master of Music (Opera Performance) at Melbourne Conservatorium of Music, at the University of Melbourne.


T H E M E L B O U R N E C O N S E R VAT O R I U M O F M U S I C C O N G R A T U L A T E S T H E M A S T E R O F M U S I C (O P E R A P E R F O R M A N C E ) C L A S S O F 2015, FO R T H E I R PE R FO R M A N C E O F






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Wigs & Make Up Linda Cowell

Repetiteur Phillipa Safey

Wardrobe Supervisor Tiffany Abbott

Artistic Administration Coordinator Kate Stephens Artistic Administration Assistant Shakira Tsindos Education OfďŹ cer Deborah Vanderwerp Production Manager Darren Cooper Technical & Operations Coordinator Peter Darby Production Coordinator Luke Hales



PARTNERS Victorian Opera is supported by the Victorian Government through Creative Victoria. Victorian Opera would also like to acknowledge, with great appreciation, the contribution of the partners listed on this page. Government Partners

Performance Partner

University Partner

Technology Partner

Foundation Partner

University Partner

Regional Partner

Supporting Partners

Markus Neilson Events

Education & Access Partners

Sylvia Fisher Foundation

Gailey Lazarus Foundation

The Marian & E.H. Flack Trust

William Angliss Charitable Fund

Performance Partners

Technology Partner

Victorian Opera creates tailored partnerships to enable businesses to meet their strategic priorities. For a discussion about how your business can benefit from a partnership with Victorian Opera, please contact Louise O'Loughlin, Development Manager, on (03) 9001 6405 or


Orchestra Victoria


is a wholly owned subsidiary of The Australian Ballet. T: (03) 9694 3600

Libby Christie Peter Hough Angela Kelly David McAllister AM


Philanthropy at Orchestra Victoria

Artistic Director Nicolette Fraillon General Manager Julie Amos Personnel Manager Tony Gilham Project Manager Margaret Lloyd Orchestra Coordinator Harriette Blanden Operations Coordinator Paul Shannan Project Coordinator Kate Salvatore Administration Coordinator Elise Lerpiniere Operations Officer Bennett Mackenzie Librarian Glynn Davies HR Consultant Ange Park Accountant Chelsea Collins Philanthropy Manager James Worladge T: (03) 9669 2732 Patrons Manager Olivia Passmore (03) 9669 2776

Lifetime Giving $200,000 and Above Mr Robert Albert AO RFD RD & Mrs Elizabeth Albert Betty Amsden AO The Jack Brockhoff Foundation The William Buckland Foundation Colonial Foundation Geoff and Helen Handbury Foundation Helen Macpherson Smith Trust Lord Mayor’s Charitable Foundation The Late David Mandie AM OBE Dame Elisabeth Murdoch Charitable Trust Sidney Myer Fund & The Myer Foundation Lady Southey AC Tattersal’s George Adams Foundation John & Marcia Wertheimer $50,000 - $199,999 Joan & Peter Clemenger Trust Collier Charitable Fund Gandel Philanthropy The Late Mrs Neilma Gantner The Grosvenor Settlement Dr Peter A Kingsbury The Ian Potter Foundation John T Reid Charitable Trusts Irene & Margaret Stewardson Charitable Trusts


Principal Regional Partner

Orchestra Victoria is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body

Orchestra Victoria is supported by the Victorian Government through Creative Victoria.

Henkell Family Fund Peter & Carmel Johnson Peter Kolliner OAM & Barbara Kolliner Maple-Brown Abbott H. E. McKenzie Marilyn Meyer Prof David Penington Lady Potter AC Mr John Redman Judith Robinson & Michael Robinson AO Mrs Margaret S Ross AM Adrienne Shaw Libby Smith H & EA Van Herk Victor & Karen Wayne Mrs Helen Worladge OAM & Mr Wayne Worladge

Endowment Funds Education Lesley & Bob Qualtrough Bequest Planned Giving GC Bawden & L de Kievit Trusts and Foundations Creative Partnerships Australia The William Buckland Foundation Annual Giving The Conductor's Podium Mr Robert Albert AO RFD RD & Mrs Elizabeth Albert Geoff and Helen Handbury Foundation The Concertmaster's Ensemble Avner Klein & Maria Pannozzo Joan and Peter Clemenger Trust

Government Partners Australia Council for the Arts Creative Victoria The support received from the Australian Government through the Australian Council for Arts and from the Victorian Government through Creative Victoria provides the foundation from which we present all our partner opera and ballet companies. Further support from Local Governments assists our innovative Community & Education Programs.

Principal Donors The Late Mrs Neilma Gantner Gaye & John Gaylard Dr Alastair Jackson Judith & Alasdair McCallum Don & Angela Mercer Patrons David & Cindy Abbey Tom Bruce & Beth Brown Peter & Ivanka Canet Mr Jim Cousins AO & Mrs Libby Cousins Ms Jane Edmanson OAM Mr William J Forrest AM Louis J Hamon OAM

Orchestra Victoria is a wholly owned subsidiary of The Australian Ballet.





Profile for Victorian Opera

Victorian Opera - 2015 - Seven Deadly Sins Programme  

Victorian Opera - 2015 - Seven Deadly Sins Programme  


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