Victorian Opera - 2016 - Lucia di Lammermoor Programme

LUCIA DI LAMMERMOOR A H A UN T IN G TA L E O F S TA R - C RO S S E D L O V E R S 12 - 21 April _ 1

DAVID MC S KIMMIN G OA M

A DEDICATION

Victorian Opera would like to dedicate this season of Lucia di Lammermoor to David McSkimming OAM. David McSkimming, Victorian Opera’s founding Head of Music was a brilliant musician, an incredible teacher and dear friend to so many in the performing arts industry. He inspired countless singers and emerging artists with his supportive style of coaching and unsurpassed musical insight. His wicked sense of humour brought a welcome joy to the rehearsal room.

We are deeply saddened by his passing and our thoughts are with his wife Barbara and family.

We are working towards finding more permanent and ongoing ways to continue his legacy with Victorian Opera.

Donations can be made in the name of David McSkimming to Motor Neurone Disease Australia. Contact 1800 777 175 or visit www.mnd.asn.au _ 2

ART IS T IC DIREC TOR ' S ME S S AGE

RICHARD MILLS Bringing this great work to the stage is always an interesting project. Donizetti wrote many operas for the Teatro San Carlo in Naples, an institution that was a central part of the nineteenth century Italian Opera industry – an industry not unlike the film industry of our times with a star system, gossip and vigorous public engagement.

Victorian Opera has now established a critical reputation for the bel canto literature with Norma, I Puritani, Lucia and more to come in the future – productions cast to showcase fine international singers like Celso Albelo, Saioa Hernández, Jessica Pratt and others alongside Australian artists with the potential to achieve something special in this wonderful literature.

This is especially appropriate for Melbourne, the home of Melba herself. The art of bel canto is the basis of all singing – it begins with the poetic fusion of music and text in the 16th century Italian madrigal and continues to the advent of verismo. The vocal culture of any serious opera company has its principles as core values – values which inform the present and, hopefully, the future of Victorian Opera as a state icon and national leader.

Bel canto operas are really theatrical texts able to be freshly invented each performance by performers skilled in the Italian traditions. We have such a group led by dear friend and colleague Jessica Pratt, one of the world’s greatest exponents of the role in theatres from La Scala to Dutch National Opera. Jessica is also a real team player and has helped in so many ways to inspire everyone to achieve their best, aided by her great knowledge and generous spirit. Her regular returns to Victorian Opera contribute so much to our company.

Richard Mills Artistic Director & Conductor, Victorian Opera

In the modern world the norm is to conceal emotion; much popular culture is based on action, violence and spectacle, and not on poetry and refinement. This work is profoundly human insofar as it reaches into the core of human suffering and raises it to the level of tragic dignity through the enduring language of music and poetry. The experience of this art helps us discover our feelings and express them – in the deepest sense, it makes us more civilised as a community.

_ 3

M AN AGING DIREC TOR ' S ME S S AGE

ANDREW SNELL Following the premiere of two critically acclaimed new works, Voyage to the Moon and Banquet of Secrets, Victorian Opera welcomes you to our season of Donizetti’s bel canto masterpiece Lucia di Lammermoor.

have developed into brilliant performers and we are proud to further nurture their careers.

Recently nominated for a Green Room Award for directing Victorian Opera’s production of The Grumpiest Boy in the World, Cameron Menzies returns to direct this production.

He last directed Victorian Opera’s box-office hit Seven Deadly Sins, starring Meow Meow.

In our year of Different Dreams, this production marks Victorian Opera’s grandest production of the season and our return to Her Majesty’s Theatre – a venue made all the more appropriate for this production given its historical ties to both Dame Nellie Melba and Dame Joan Sutherland.

Victorian Opera is able to continue to present productions of the scale and quality of Lucia di Lammermoor thanks to 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 our many corporate partners. I would also like to thank our friends and colleagues at West Australian Opera for their assistance in presenting this iconic production.

We are delighted to welcome Jessica Pratt back to the company after her captivating performances in La traviata (2014) and I Puritani (2015). Ahead of her debut at The Metropolitan Opera in December, we are excited for audiences to witness Jessica in her most celebrated role as Lucia. Since making her professional debut in the role in 2007, she has performed it in many productions across the world and is only the third Australian to have sung the role at La Scala, after Melba and Sutherland.

We hope you are enthralled by this work and thank you for joining us at the theatre.

Andrew Snell Managing Director, Victorian Opera

Starring opposite Jessica, Victorian Opera is proud to present Carlos E. Bárcenas and Michael Petruccelli. Both are former Victorian Opera Developing Artists – students of the Master of Music (Opera Performance) program presented in partnership with The Conservatorium of Music at The University of Melbourne. Testament to the quality of training provided in this program, these two singers

_ 4

DIREC TOR ' S ME S S AGE

CAMERON MENZIES Donizetti’s Lucia di Lammermoor is in my opinion one of the best operas in the bel canto repertoire. It is not only virtuosic vocal writing but it contains a strong clear narrative that allows the audience to totally engage in this epic tale. Making its premiere in Naples in 1835, Lucia di Lammermoor was the first opera to break from tradition by not bringing its leading lady back from the brink of madness.

Previously the insane woman would return to sanity through love or through the guidance of a man, however Lucia is the first not to follow suit. This finality for Lucia and for the audience to experience is something that I feel is one of the many reasons this opera and the character of Lucia still fascinate today.

Lucia di Lammermoor also contains what is arguably one of the best pieces of ensemble writing in all of the operatic repertoire. The very famous sextet ‘Chi raffrena il mio furore’ is a truly sublime moment where I feel time slows so much that we as the audience get to hear what is privately in each character’s head before snapping back into real time driving towards the end of Act 2.

I want to thank this strong cast and chorus for being open to examining and questioning everything that we think we know about these characters. This means that we are looking at them with a fresh sense of understanding so that they are able to impinge on and affect each other just as our families do on a daily basis.

This production of Lucia is the second that I have had the great honour to direct and coming to this work for a second time has been very satisfying as an artist. In directing this production for Victorian Opera and having the great luxury to re-imagine it, the cast and I have taken great delight in looking at each character and have tried to honour each and every facet of them. We look to not only portray but to celebrate the great flaws and contradictions within their very human construction. Ultimately, we are all beautifully flawed and capable of good and bad things. Donizetti and librettist Salvadore Cammarano have given us such three dimensional characters and situations to play out for you tonight, it would be remiss of us not to play them for every ounce of truth.

Cameron Menzies Director

_ 5

P RODU C T ION

LUCIA DI LAMMERMOOR 12 - 21 AP RIL 2016 H E R M A J E S T Y ’S T H E AT R E

Cast

Composer Gaetano Donizetti

Sir Edgardo di Ravenswood Carlos E. Bárcenas

Lucia Jessica Pratt

Librettist Salvadore Cammarano

Lord Enrico Ashton José Carbó

Running time is approximately 2 hours and 50 minutes with two intervals.

Raimondo Bidebent Jud Arthur Lord Arturo Bucklaw Michael Petruccelli

Sung in Italian with English surtitles.

Alisa Shakira Tsindos

Acknowledgements

Normanno Michael Lapiña

Lucia di Lammermoor is presented in association with West Australian Opera.

Victorian Opera Chorus

Surtitles provided by Opera Australia - prepared

by Brian FitzGerald.

Victorian Opera would like to thank Sounds Solo, Show Works, Norwest, MTC Props Hire, Resolution X, CVP, Jim Atkins, Zev Eleftheriou, and Gilles Gundermann.

Creative Team Conductor Richard Mills Director Cameron Menzies Lighting Designer Donn Byrnes Production Management Marina Milankovic, Kieran Santoso, Luke Hales, Peter Darby Head Electrician Peter Darby Stage Manager Marina Milankovic

Soprano Kate Amos Kirilie Blythman Rebecca Rashleigh Fiona Jopson

Cristina Russo Diana Simpson Emily Uhlrich Nicole Wallace

Mezzo Kerrie Bolton Rebecca Bywater Shakira Tsindos Emma Muir-Smith

Ursula Paez Anna Plotka Belinda Paterson Lynlee Williams

Tenor Jonathon Bam Paul Batey Paul Biencourt Michael Lapiña

Alister Lamont Jacob Lawrence Ernst Ens Tomas Dalton

Baritone/Bass Daniel Carison Matthew Thomas Jerzy Kozlowski Nathan Lay Alex Pokryshevsky Michael Lampard Raphael Wong Julian Wilson

Deputy Stage Manager Meg Deyell Assistant Stage Manager Luke Hales Assistant Stage Manager Katharine Timms Wardrobe Supervisor Kim Bishop Repetiteurs Phoebe Briggs, Phillipa Safey, Simon Bruckard Original Set Design Henry Bardon Original Costume Design Michael Stennett

_ 6

Orchestra Victoria Concertmaster Roger

Clarinet Paul Champion Principal~, Justin Beere Principal^, Andrew Mitchell Principal Bass Clarinet

Jonsson~

Deputy Concertmaster Yi Wang+ Violin Erica Kennedy Acting Principal, Tomomi Brennan Associate Principal, Binny Baik, Alyssa Conrau, Lubino Fernandes~, Rachel Gamer, Matthew Hassall, Rachael Hunt, Mara Miller, Philip Nixon, John Noble, Martin Reddington, Christine Ruiter, Rebecca Adler*, Miranda Matheson*, Charlotte Ryssenbeek*

Bassoon Lucinda Cran Principal, Timothy Murray Principal Contrabassoon Horn Jasen Moulton Principal, Linda Hewett Principal Third Horn, Sydney Braunfeld, Rachel Shaw Trumpet Mark Fitzpatrick Principal~, Rosie Turner Associate Principal, Anthony Pope

Viola Paul McMillan Principal, Jason Bunn, Catherine Bishop, Nadine Delbridge, Beth Hemming*, Christian Read*

Trombone Scott Evans Principal, Bob Collins Associate Principal^, Benjamin Anderson Principal Bass Trombone

Cello Melissa Chominsky Principal~, Diane Froomes Associate Principal, Sarah Cuming, Philippa Gardner, Tania Hardy-Smith~, Andrea Taylor

Timpani Guy du Blêt Principal Percussion Conrad Nilsson Principal, Daniel Richardson Associate Principal^

Double Bass Davin Holt Principal, Stuart Riley Principal^ Dennis Vaughan Associate Principal~, Matthew Thorne

Harp Delyth Stafford Principal^ + = Concertmaster for this performance

Flute Lisa-Maree Amos Principal, Karen Schofield Associate Principal, Kate Proctor Principal Piccolo~, Rebecca Johnson Principal Piccolo^

* = Guest Musician ^ = Guest Musician Acting in a Principal Role ~ = Orchestra Victoria musician not appearing

in this performance

Oboe Stephen Robinson Principal~, Joshua de Graaf Associate Principal, Dafydd Camp Principal Cor Anglais

_ 7

_ 8

LU CIA DI L A MMER MO OR

SYNOPSIS ACT 1 Lord Enrico di Lammermoor, brother of Lucia, is informed that an intruder suspected to be Edgardo di Ravenswood, son of a rival family, is within the grounds. Enrico wants Lucia to marry the wealthy Lord Arturo, but she loves Edgardo, whom she meets in secret.

Her maid, Alisa, recalls the ominous legend of a girl killed by a Ravenswood, but Lucia's love is unshakeable. Edgardo appears, saying he must leave for France immediately; he suggests making peace with Enrico in order to woo Lucia. Lucia answers that Enrico's hatred for the Ravenswoods is implacable, and their love must remain hidden. They exchange rings and vows.

ACT 2

ACT 3

Enrico and Normanno plan to force Lucia to marry Arturo that very afternoon. Enrico produces a forged letter, purportedly from Edgardo saying he has broken his vow and married another. Raimondo, Lucia's chaplain, supports the hoax. The wedding ceremony begins, but Edgardo bursts in. Observing Lucia about to marry Arturo, he turns on her. Lucia collapses and Edgardo is thrown out.

In the castle, Raimondo announces that Lucia has gone mad and killed Arturo. Lucia appears, clearly out of her mind. Edgardo enters and berates Lucia, before realising she is deranged.

Next morning Edgardo, unaware of what has happened, prepares to die by Enrico's sword but hears wedding guests discussing Lucia’s death.

When this is confirmed by Raimondo, Edgardo takes his own life. © Judith Armstrong

Photo Credits © Bri Hammond (p. 4) © Michele Crosera (p. 8) © Charlie Kinross (pp. 9, 11, 24, 26) © Sara Krulwich/New York Times/Headpress (p. 19) © Martin Philbey (p. 23)

_ 9

P RO GR A MME NOT E S

GAETANO DONIZETTI Unlike many operas with vastly complicated plots, the storyline of Lucia di Lammermoor is simple: the mutual desire of young lovers is ruthlessly destroyed by a scheming family.

Sadly, the health of his little family was compromised. The first child, born deformed, died after thirteen days; another was stillborn, and a third survived only a few hours.

Their distraught father's operatic output continued nevertheless. After the March 1835 première of Marino Faliero in Paris, his next project was Lucia di Lammermoor, for the San Carlo theatre in Naples, with a libretto

by Salvatore Cammarano. Premièring on September 26, it was a triumph. The composer wrote to his publisher, Ricordi: 'It pleased and it pleased very much, if I can believe the applause and the compliments I have received...' Its instant popularity contributed largely to the vogue for Romantic tragedy in Italian opera.

The libretto was derived from a novel by Sir Walter Scott, but Gaetano Donizetti knew only too well the agony of lost love. In his case, though, it was fate, in the form of disease, that served it up to him.

The musically inclined Donizetti family lived in poverty, but their home-town, Bergamo, was wealthy enough to sponsor a music school which trained choristers and instrumentalists for its church, and during the annual summer fair put on operas in a temporary theatre.

Gaetano was unerringly encouraged in these activities by an unusually gifted local music teacher. After carrying off prizes for most aspects of musicianship except, notably, singing, the young man went to Bologna to study with Rossini's former teacher, and a few years later, in 1821, was recommended to an impresario and librettist in Rome. He boarded with a family called Vasselli, whose son Antonio became his lifetime friend, and with whose daughter Virginia - thirteen at the time - he fell irresistibly in love.

But further successes - Maria Stuarda and Belisario - preceded a tragic blow. In 1837, during a cholera epidemic, Virginia died.

Donizetti, utterly bereft, foreseeing he would be 'eternally unhappy', masked his despair by throwing himself into frenzied composition, starting at seven in the morning and working until four in the afternoon. Although Lucia had achieved great fame, he revised it for French audiences, and went on to enchant Paris with The Daughter of the Regiment. His operatic achievements brought unimagined honours: the Pope dubbed him a Knight of the Order of St Sylvester, the French gave him the Legion of Honour, and the Ottoman Empire awarded him the Order of Nichan-Iftikar.

A born Romantic deeply responsive to poetry, Donizetti could easily expand fragments of poems into full-scale operas. A line or two would inspire a melody, with full orchestration to follow as soon as he found a suitable librettist. Five prolific years in Naples and Milan produced enough successes for him to be able to marry Virginia on 1 June 1828.

_ 10

The première of Don Pasquale at the Théâtre-Italien in Paris marked the climax of Donizetti's career. Celebrated also in Vienna, throughout Italy, and in North and South America, he described himself as 'content' but 'stunned by fortune'.

He began to suffer from incessant bolts of pain in the head. He found he could not bear to enter the room in which Virginia had died, and reluctantly agreed to sell the house they had shared in Naples. His ability to control his affairs diminished and he was preyed upon by vultures.

His Parisian banker, Auguste de Coussy, used Donizetti's money to pay his own gambling debts, while de Coussy's wife ensnared him with what he later described as ‘inconceivable wiles'.

His nephew Andrea found his uncle in such a state he tricked him into entering a mental asylum at Ivry, outside Paris. From there, Donizetti wrote heart-breaking letters of appeal: 'Pity, pity, they have arrested me - Ivry.

Come, come, for the love of God ... What have I done? O my God!' His moments of lucidity were intermittent, and he was suffering the onset of paralysis. The story reached the newspapers, which accused the Donizetti family of 'not caring'. Andrea was doing his best but encountering problems with the French bureaucracy. Ultimately the sick man was moved to Bergamo, where he died in the house of some friends. The cause was a form of syphilis which had also infected his beloved wife and caused the deaths of their children. Yet the entwined tragedies of Donizetti and his heroine have lived on even in unpredictable ways: when Tolstoy's Anna Karenina is ostracised at the St Petersburg Opera before subsequently throwing herself under a train, she is at a performance of Lucia di Lammermoor. Š Judith Armstrong

_ 11

B ANQUE T OF SECRE TS

BIOGRAPHIES

RICHARD MIL L S

C A MERON MEN Z IE S

D ONN BYRNE S

Conductor

Director

Lighting Designer

Richard Mills is one of Australia’s most prolific and internationally recognised composers. He pursues a diverse career as a composer, conductor and artistic director.

He has held numerous prestigious posts, and received many scholarships, fellowships and awards including an AM, in 1999. He is currently Artistic Director of Victorian Opera, and has previously been Artistic Director of the West Australian Opera 1997 – 2012, Director of the Australian Music Project for the Tasmanian Symphony Orchestra 2002 – 2008 and Musica Viva’s Composer of the Year in 2008. Richard regularly conducts the leading orchestras and opera companies of Australia and has an extensive discography of orchestral works including his own compositions.

Cameron Menzies is a multi award winning director who has worked with Opera Australia, Victorian Opera, Malthouse Theatre, Sydney Theatre Company, Oper Köln, Deutsche Oper Berlin, Diva Opera UK & MSO. He was awarded the 2011 Berlin New Music Opera Award, 2008 Bayreuth Opera Award (Opera Foundation Australia/DAAD), and The Besen Family Artist Program (Direction), Malthouse Theatre.

He has directed acclaimed productions of Lucia di Lammermoor, Le Nozze di Figaro and Don Giovanni in the United Kingdom. Cameron will return to London in April to direct a new production of Così fan Tutte.

He will also direct Pecan Summer at the Sydney Opera House in September this year.

Donn Byrnes has designed lighting for most of Australia’s theatre and opera companies.

Opera lighting designs include: Tosca, Peter Grimes, Manon, Lucia di Lammermoor, Lohengrin, Cavalleria Rusticana, I Pagliacci, Arabella (Opera Australia); Le Nozze di Figaro, Aida, Madama Butterfly, Adriana Lecouvreur, Dead Man Walking (State Opera of South Australia); Madama Butterfly, Lucia di Lammermoor, Cavalleria Rusticana, I Pagliacci (West Australian Opera); Aida, La traviata, Tosca, Madama Butterfly, Lucia di Lammermoor, The Mikado (Opera Queensland); and Die Frau ohne Schatten (Melbourne International Festival). Awards include: Green Room Awards for Die Frau ohne Schatten (Melbourne International Festival) and Arabella (Opera Australia).

_ 12

CARLOS E. B ÁRCEN A S

JOSÉ CARB Ó

Lucia Jessica Pratt gave her operatic debut in 2007 in the title role of Lucia di Lammermoor and has established herself ever since as one of the finest and most sought-after interpreters of the Bel Canto repertoire. Opera companies and festivals she has performed with include La Scala, Covent Garden, Opera Zürich, Liceu Barcelona, Deutsche Oper Berlin, Dutch National Opera Amsterdam, La Fenice Venice, San Carlo Naples, the festivals in Pesaro, Verona, Caramoor New York, Lima and Rome (Caracalla).

Among her many recordings: her solo album Serenade, La Sonnambula, Aureliano in Palmira, Adelaide di Borgogna, Ciro in Babilonia, Otello, La sposa di Messina and the New Year's Gala from Venice.

Sir Edgardo di Ravenswood 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), for which he received a Green Room Award, Norma (Flavio, understudy Pollione), Hansel and Gretel (the Witch) , La traviata (Gastone, understudy Alfredo) a soloist for Opera on a White Night (2013); Master Peter’s Puppet Show in 2012; and Michael in Deborah Cheetham’s opera Pecan Summer with Short Black Opera (2010 & 2011). Carlos is excited to appear as Edgardo, opposite Jessica Pratt, in Victorian Opera’s Lucia di Lammermoor.

Australian/Argentine baritone José Carbó’s international engagements have included the title role in Il barbiere di Siviglia in Madrid and Seattle, Mozart’s Figaro in Rome, Belcore (L’elisir d’amore) in Madrid; his La Scala debut in Il viaggio a Reims and Riolobo in Florencia for Los Angeles Opera. José’s album My Latin Heart (recorded with Slava & Leonard Grigoryan) reached No.1 on the Limelight Magazine Classical Music charts. In 2016, he sings Zurga (The Pearl Fishers) for Opera Australia, Belcore for West Australian Opera and appears as soloist with the Adelaide, West Australian and Christchurch Symphony Orchestras.

J E S S I C A P R AT T

_ 13

Lord Enrico Ashton

B ANQUE T OF SECRE TS

BIOGRAPHIES

JUD ART HUR Raimondo Bidebent A New Zealander, Jud Arthur has been Australian based since 2003. He has performed over 40 operatic bass roles in Australia for Opera Australia, West Australian Opera, Victorian Opera, South Australian Opera, and Queensland Opera, as well as regularly performing with New Zealand Opera.

A particular highlight for Arthur was creating the role of both Hunding and Fafner in Opera Australia's Ring Cycle, receiving critical acclaim. He was a state rugby player for the NZ Otago team; his success there saw him poached by the Italian Mirano Rugby Club where he played for three years. Jud is also a farrier and former NZ under 21 show jumping champion title holder.

MICHAEL P E T RU C C E L L I

S H A K IR A T S IND O S

Lord Arturo Bucklaw

Shakira holds a Bachelor of Music from the University of Melbourne, and graduated with Honours. Performance experience includes the Mother in Victorian Opera’s Youth production The Grumpiest Boy in the World, Ensemble in Victorian Opera’s Remembrance, Snow White in Gordon Kerry’s Snow White and Other Grimm Tales and Carmen in Carmen in the Caves performing alongside tenor David Hobson. For 2016, Shakira is the recipient of the Joseph Sambrook Opera Scholarship with the Melba Opera Trust. Earlier this year, Shakira made her Melbourne Symphony Orchestra debut as the soloist in Hitchcock and Herrmann. Lucia di Lammermoor marks Shakira’s professional operatic debut and she is thrilled to do so alongside such incomparable artists.

Recognised as an engaging and passionate performer, Michael Petruccelli is establishing himself as one of Melbourne’s emerging operatic tenors. With Victorian Opera, he has performed the roles of Giuseppe in La traviata, the Sandman in Hänsel and Gretel, and the White Rabbit in Alice’s Adventures in Operaland. This year Michael will be performing the role of Beppe in I Pagliacci as part of Victorian Opera’s Laughter and Tears and will make his debut for Opera Australia performing Stephen Goldring in Sydney Opera House, The Opera.

Michael is also the recipient of the RJ & AF Hamer Opera Scholarship with the Dame Nellie Melba Opera Trust.

_ 14

Alisa

MICHAEL L AP IÑ A Normanno Michael’s roles for Victorian Opera include First Armed Man and First Priest in The Magic Flute and the covers of Nemorino in L’Elisir D’Amore, and Der Tanzmeister in Ariadne Auf Naxos. Other engagements include, for Melbourne Opera, Faust, Remendado in Carmen, Goro in Madam Butterfly, Beppe and the covers of I Pagliacci, and Cavaradossi in Tosca, the Emperor in Turandot for Monash University, Alfredo in La traviata and Manrico in Il trovatore for Stonnington’s Opera In The Park and the cover of Alvaro in SOSA’s Forza del Destino. Concerts include Messiah and Verdi's Requiem for Camberwell Choral Society and opera concerts throughout China during 2012.

_ 15

_ 16

_ 1317

L AU GH T ER AND T E ARS

RE-IMAGINING I PAGLIACCI Olivier Award winner Emil Wolk recently worked at New York’s Metropolitan Opera as a Vaudeville consultant on David McVicar’s new production of I Pagliacci. He now directs the captivating tragedy in the highly anticipated collaboration between Victorian Opera and Circus Oz that features two connecting episodes, 'Laughter' and 'Tears'.

'Laughter' is set during the 40s in a small Italian town and serves as a unique prologue to the tragic events of I Pagliacci. A troupe of military entertainers prepares to perform a comedy of forbidden love for the local townspeople, complete with feats of physical acrobatics and beautiful singing. In 'Tears' (I Pagliacci), the curtain comes down on this whimsical theatre as the offstage lives of the performers unravel following the revelation of an affair.

L AU GH T ER AND T E ARS (featuring I Pagliacci) 1 3 , 1 6, 1 8 A U G U S T 7 : 3 0 P M P A L A I S T H E AT R E , S T K I L D A Tickets from $55.50 Bookings | victorianopera.com.au | Ticketmaster 136 100 Laughter and Tears is a co-production of Victorian Opera and State Opera of South Australia, presented in association with Circus Oz.

_ 18

_ 19

VIC TORIAN OP ER A

PATRONS Ian Merrylees John & Elisabeth Schiller Tim & Lynne Sherwood Felicity Teague Earl & Countess of Wilton Anonymous (1)

Founding Patrons The Late Dame Elisabeth Murdoch AC DBE Lady Potter AC Leadership Circle ($20,000+) Deanne Bevan & Guy Russo Hans & Petra Henkell* Anonymous (1)

Silver Patrons ($1,000+) Ian Baker & Cheryl Saunders Laurie Bebbington & Elizabeth O’Keeffe Kirsty Bennett Buckett Family David Byrne Terry & Christine Campbell Deidre Cowan Ernest Dawes OBE & Nola Dawes Jean Dunn John & Gaye Gaylard Brian Goddard Nance Grant AM MBE & Ian Harris Lesley Griffin Gras Foundation Irene Irvine Simon L Jackson & Brian Warburton Rod & Daniele Kemp John & Lynne Landy Dr Paul Lejins & Mrs Glenys Lejins Anne Lierse John & Kerry Lovering Margaret Mayers & Marie Dowling Douglas & Rosemary Meagher Melbourne ADFAS Ken Muirden AO Greg Noonan Ruth & Tom O’Dea Jillian Pappas Jane Patrick & Robert Evans John Rickard Michael Rigg Judith Robinson & Michael Robinson AO Judith Rodriguez

Artistic Directors Circle ($10,000+) Rob & Caroline Clemente William J Forrest AM John & Diana Frew Mrs Jane Hemstritch Peter & Anne Laver Geraldine Lazarus & Greig Gailey* Anonymous (2) Platinum Patrons ($5,000+) Beth Brown & Tom Bruce AM Susan Harley Suzanne Kirkham* Siobhan Lenihan* Kaye Marion Marian & Ken Scarlett OAM* Greg Shalit & Miriam Faine Wesfarmers Arts Anonymous (1) Gold Patrons ($2,500+) Joanna Baevski Tanya Costello & Peter Costello AC Craig D’Alton & Peter Sherlock The Late Neilma Gantner Bob Garlick Dr Jennifer George & Rev Matthew Williams Murray Gordon Peter & Jenny Hordern Stewart & Denise Jackel Ian Kennedy AM & Dr Sandra Hacker AO Peter Lovell

_ 20

Tomasz & Elzbeita Romanowski Joseph Sambrook & Mary-Jane Gething Graeme Samuel AC & Jill Davies Michael Sassella Aubrey Schrader Phillip & Sue Schudmak Andrew Snell Lady Southey AC Caroline Travers OAM Michael Troy Liz & Peter Turner Catherine Walter AM Russell Waters & Marissa Barter-Waters Ian A Watts Anonymous (7)

John & Marion Poynter Merlyn Quaife Ralph & Ruth Renard Mary Ryan John & Thea Scott Mr Sam Smorgon AO & Mrs Minnie Smorgon Elsdon Storey Penny Stragalinos Hugh & Liz Taylor Caroline Vaillant Euahana Varigos John Ward Peronelle Windeyer Anonymous (14)

Bronze Patrons ($500+)

Lesley Bawden Frank and Danielle Chamberlin Tony Wildman and Robert Gibbs G Bawden and L DeKievet Colin Gunther and Richard Laslett Anonymous (3)

Bequests

Ines & Dr Don Behrend David Bernshaw & Caroline Isakow John & Nancy Bomford Pam Caldwell Angela Dhar Catrionadh Dobson & Charles Windeyer Beatrice Donkin Dr M Elizabeth Douglas Dennis Freeman Richard & Isabella Green Jill & Robert Grogan Angela Kayser Irene Kearsey Angela Kirsner Peter & Barbara Kolliner Jane Kunstler Joan & George Lefroy Gillian Montgomery Ian Morrey & Dr Geoffrey Minter Patrick & Nichole O’Duffy Margaret Plant

*Victorian Opera would like to thank the following patrons for their support of our Education and New Work Syndicates: Education Syndicate Hans & Petra Henkell Geraldine Lazarus & Greig Gailey Anonymous (1) New Work Syndicate Beth Brown & Tom Bruce AM Suzanne Kirkham Siobhan Lenihan Marian & Ken Scarlett OAM

If you would like to get more involved in the work of Victorian Opera by becoming a Patron, please contact Pooja Dutt, Individual Giving Manager on 03 9001 6408 or poojad@victorianopera.com.au

_ 21

S H A P E O P E R A'S FUTURE Help Victorian Opera deliver their Professional Development Program, a critical program that identifies and develops new talent. Your support will give emerging singers and repetiteurs access to elite-level training for one year. Become a VOcal Benefactor and sponsor an artist today.

For more information on becoming a VOcal Benefactor contact: Pooja Dutt, Individual Giving Manager | 03 9001 6408 | poojad@victorianopera.com.au

_ 22

VIC TORIAN OP ER A

STARS OF THE FUTURE C ARLOS E. B ÁRCEN A S Edgardo di Ravenswood in Lucia di Lammermoor It is such an honour to make my debut as Edgardo, one of my favourite roles in the bel canto repertoire. Over several years, Victorian Opera has given me the chance to perform, learn stage craft, and make mistakes.

I wouldn’t feel ready at all if it wasn’t for my professional development. It was through this program I met Jessica Pratt and observed Richard’s great sensibility to the art of music.

They are great mentors for me and have helped me grow as an artist and as a person.

MI C H A E L P E T RU C C E L L I Arturo in Lucia di Lammermoor A professional development program is the bridge between undergraduate study and professional operatic work. Under the mentorship of Victorian Opera, I learnt how to prepare a role, work with Directors and vocal coaches, and importantly work with conductors.

When I walk into rehearsal at Horti Hall I feel as though I am being welcomed by family – this atmosphere creates a very safe space, which allows me to take risks, grow as a member of the arts community and reach my full potential.

I thank Victorian Opera’s Patrons: your support is instrumental in the success of my career.

_ 23

VIC TORIAN OP ER A

FIND YOUR VOICE

Schools Workshop

Youth Opera During its 11 year history Victorian Opera has performed a youth opera annually. In 2016, our Youth Opera is an early 20th century work Four Saints in Three Acts, and will feature VOYCE. Rehearsals will take place during the September school holidays. Interested singers between the ages of 15 - 25 can audition in 2016 for principal or supporting roles.

Inspire a school group through the transformative power of story, song and theatre. Schools purchasing tickets to Cinderella (primary) or Laughter and Tears (secondary) can apply for a free workshop. Victorian Opera will visit the school and help those students discover the magical world of opera.

Education Resources

VOYCE

Teachers can access online education resources aligned with curriculum, including practical activities to further engage and develop their student’s creative thinking. Go online and view our latest Education resources for Lucia di Lammermoor and recent productions Voyage to the Moon and Banquet of Secrets.

VOYCE, the company’s Youth Chorus Ensemble, is for students in secondary school. It brings together like-minded classically trained singers on a weekly basis to prepare them for an opera chorus performance.

If you would like to find out more about Victorian Opera’s Education Program contact Victorian Opera Education Officer Deborah Vanderwerp on deborahv@victorianopera.com.au or (03) 9001 6413.

_ 24

OPERA FOR UNDER 30S Tickets under $35. Incredible operas and musical theatre. Young people with a passion for the arts. Join our VOyage eNews List and win a double pass to Laughter and Tears.

Send your name and D.O.B. to voyage@victorianopera.com.au

@victorianopera #victorianopera #VOyage Government Partner

Foundation Partner

_ 25

VOyage Partner

VIC TORIAN OP ER A

ABOUT US In our ten year history, over 300,000 audience members have experienced a performance with Victorian Opera – over 20,000 of those attending regional performances. We have created 16 new Australian works and collaborated with some of Australia’s leading companies. We employ hundreds across the theatre industry and recruit some of the finest singers from Australia and around the world. We are committed to the accessibility of opera through tactile tours, audio described and relaxed performances.

We have inspired over 500 young singers through our youth opera program and developed over 30 emerging artists. In 2016 under Artistic Director Richard Mills we continue to reimagine opera and present opera without boundaries.

Explore the world of Victorian Opera Go behind the scenes of our latest production, listen to our podcast The Art of Opera, read our blog Behind the Curtain and more.

Victorian Opera supports green printing initiatives

Discover More victorianopera.com.au victorianopera.com.au/blog facebook.com/victorianopera This programme has been printed using vegetable based inks with alcohol free printing initiatives on 100% recycled carbon neutral paper by Printgraphics under ISO 14001 Environmental certification.

twitter.com/victorianopera instagram.com/victorianopera youtube.com/victorianoperapage Stay Connected Keep up to date with our upcoming events, activities and special offers. Sign up to our eNews (General, Education, VOyage for Under 30) and our mailing list at: victorianopera.com.au/contact

_ 26

VIC TORIAN OP ER A

STAFF Conductor Emeritus

Finance and Administration

Richard Gill OAM

Finance & HR Manager Darren O'Beirne Finance Assistant Claire Voumard

Victorian Opera Board Chairman Jane Hemstritch

Development and Marketing

Deputy Chairman Greig Gailey

Development Manager Louise O’Loughlin

Roger Box

Individual Giving Manager Pooja Dutt

Francis Ebury, Earl of Wilton

Development Coordinator Meredith Dellar

Ross Freeman

Events Coordinator/Office Administration Maria Chetcuti

Anne Gilby

Marketing & Communications Manager Kanesan Nathan

Siobhan Lenihan Penny Stragalinos Catherine Walter AM

Marketing & Communications Coordinator Alexia Jordan

Executive

Media & Communications Executive Scott Whinfield

Artistic Director Dr Richard Mills AM

CRM & Ticketing Executive Nichole O’Duffy

Managing Director Andrew Snell Executive Producer Libby Hill

Victorian Opera 2016 Season Staff

Artistic, Engagement & Production

Head Mechanist Kieran Santoso

Head of Music Phoebe Briggs

Set Build Supervision John Mackay

Repetiteurs Phillipa Safey

Deputy Head Electrician Harry Cope

Artistic Administration Coordinator Kate Stephens

Costume Supervisor Kim Bishop

Artistic Administration Assistant Candice MacAllister Education Officer Deborah Vanderwerp

Costume Technicians Melinda Brodie, Renee Goodman

Technical & Operations Coordinator Peter Darby

Sound Enhancement Jim Atkins

Miss Pratt’s Gowns Narelle Wilson Surtitle Operator Tim Mallis

Production Coordinator Luke Hales

_ 27

_ 28 30

VIC TORIAN OP ER A

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

Foundation Partner

University Partner

Regional Partner

Supporting Partners

Markus Neilson Events

Education & Access Partners

Sylvia Fisher Fund

Gailey Lazarus Foundation

The Marian & E.H. Flack Trust

The Pierce Armstrong Foundation

William Angliss Charitable Fund

Performance Partners

Technology & Lighting Partners

For tailored business partnerships with Victorian Opera, please contact Louise O’Loughlin, Development Manager on (03) 9001 6405 or louise@victorianopera.com.au

_ 29

Corporate Partnerships Account Manager Fiona Gosschalk

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

T: (03) 9694 3600 www.australianballet.com.au

Trust & Foundations Manager Donna Cusack Philanthropy Manager James Worladge (03) 9669 2732 jamesw@australianballet.com.au

Management Artistic Director Nicolette Fraillon

Patrons Manager Olivia Passmore (03) 9669 2776 oliviap@australianballet.com.au

General Manager Julie Amos Personnel Manager Tony Gilham

Board

Operations Manager Fiona Boundy

Libby Christie Peter Hough Angela Kelly David McAllister AM

Project Manager Margaret Lloyd Deputy Orchestra Manager Harriette Blanden

Philanthropy at Orchestra Victoria

Operations Coordinator Mark Lowrey

Endowment Funds

Administration Coordinator Elise Lerpiniere

Education Lesley & Bob Qualtrough Bequest The Judith & Alasdair McCallum Fund

Operations Assistant Rachel Owen Orchestra Librarian Glynn Davies

The Hamilton & Western District Fund Geoff and Helen Handbury Foundation

Administration Trainee Lucy Barker

Planned Giving GC Bawden & L de Kievit

HR Consultant Ange Park

Trusts and Foundations Creative Partnerships Australia Gandel Philanthropy The William Buckland Foundation - Equity Trustees

Marketing Specialist Melissa Ray Operations Accountant Chelsea Collins Government Relations & Strategic Communications Manager Dana Moran

_ 30

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.

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

Annual Giving The Conductor's Podium Mr Robert Albert AO RFD RD & Mrs Elizabeth Albert Geoff and Helen Handbury Foundation The Concertmaster's Ensemble Joan and Peter Clemenger Trust Dr Peter A Kingsbury Avner Klein & Maria Pannozzo

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 Betty Amsden AO 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 Henkell Family Fund Ms Linda Herd Peter & Carmel Johnson Peter Kolliner OAM & Barbara Kolliner Maple-Brown Abbott H. E. McKenzie Ms Marilyn Meyer Michelle and Ian Moore Prof David Penington Lady Potter AC

_ 31

_ 32