Il trovatore
West Australian Opera
An original co-production by West Australian Opera, State Opera South Australia and Opera Queensland
16 - 25 October 2025, His Majesty’s Theatre, Perth
Composer Giuseppe Verdi
Librettists Salvadore Cammarano, Leone Emanuele Bardare
Conductor Asher Fisch
Assistant and Backstage Conductor Jen Winley
Original Director Elke Neidhardt
Revival Director Matthew Barclay
Set Designer Michael Scott-Mitchell
Costume Designer Judith Hoddinott
Lighting Designer Nick Schlieper
Count di Luna James Clayton
Manrico Paul O’Neill
Leonora Naomi Johns
Azucena Nicole Piccolomini
Ferrando Warwick Fyfe
Ruiz Stuart Laing
Inez Jessica Blunt
A Soldier Ben Del Borrello
West Australian Opera Chorus
West Australian Symphony Orchestra
Production Manager Mandy Farmer
Stage Manager Karen Farmer
Assistant Stage Managers Holly Ballam, Claire Mayers
Head of Wardrobe Nora Stelter
Wardrobe Assistants Rose o’ Sharon Finlay, Heather Freeman
Dressers Brooklyn Rowcroft, Holly Sansalone, V. Wyllie
Wardrobe Maintenance Amy Webb
Head of Wigs Virginia Vona
Head of Make Up Sharon Kyrwood
Head Mechanists Todd Westbrook, Michelle Bain
Senior Technicians Aidan Massie-Taylor, Ian Studham
Surtitles Allison Fyfe
Italian Language Coach Nicole Ludwig
Photography: James Rogers, West Australian Opera, Il trovatore (2014).
Warning: This production contains some nudity.
West Australian Opera acknowledges the Traditional Owners of the land on which we work, the Whadjuk people of the Noongar nation. We pay our respects to Elders past and present. Kalyakoorl, ngalak warangka (forever we sing).
THE HONOURABLE CHRIS DAWSON AC APM
Vice Regal Patron’s Message
I am proud to be the Vice-Regal Patron of the state opera company, one of the State’s leading arts organisations, West Australian Opera. Opera is an artform that tells stories, with big emotions, sweeping music, and high stakes.
I encourage you to continue to support West Australian Opera, in the presentation of world-class performances, education and community programs, regional tours, and young artist development through the Wesfarmers Arts Young Artist Program and Roberts Emerging Artist Program.
Opera is an artform that tells stories, with big emotions, sweeping music, and high stakes.
West Australian Opera continues to enrich the performing arts in the State as does the West Australian Symphony Orchestra whom I acknowledge as performance partner for opera seasons.
In the leadup to the festive season, Mrs Dawson and I wish you well for your summer and encourage you to book for a new year of opera in 2026.
CAROLYN CHARD AM
Executive Director’s Message
West Australian Opera is proud to present Elke Neidhardt’s production of Il trovatore
The late Ms Neidhardt originally directed this work as a co-production by West Australian Opera, State Opera of South Australia and Opera Queensland.
Thank you to Revival Director Matthew Barclay, Set Designer Michael Scott-Mitchell, Costume Designer Judith Hoddinott, Lighting Designer Nick Schlieper, Repetiteur Tommaso Pollio.
Thank you to the cast including James Clayton (Count di Luna), Paul O’Neill (Manrico), Naomi Johns (Leonora), Nicole Piccolomini (Azucena), Warwick Fyfe (Ferrando), Stuart Laing (Ruiz), Jessica Blunt (Inez).
Thank you to Conductor Asher Fisch and thank you to the West Australian Symphony Orchestra for making their Principal Conductor available for this very special season.
Thank you to the West Australian Opera Chorus and West Australian Symphony Orchestra, and thank you stage management, crew, and backstage teams.
At West Australian Opera, our dream is to speak to the heart through the human voice and to unite people through the joy of music.
The excitement of taking your seat for a performance, the anticipation of the curtain rising, and the drama that is set to unfold on stage make live performances such a special experience.
DARREN LEWSEN
Chair’s Message
West Australian Opera is grateful for the continued support of the Federal Government through Creative Australia, the WA Government and Lotterywest.
We appreciate and acknowledge the generosity of our valued Principal Partner, Wesfarmers Arts. We thank major partners City of Perth, Lotterywest, Healthway, MM Electrical, Feilman Foundation and JCDecaux. We also recognise the significant contribution of the Roberts Emerging Artist Program which supports developing young talent in WA. To all of our partners, patrons, trusts, foundations, donors, and government funders, we express our unreserved gratitude.
The Board, management, company, and artists wish to express our enormous appreciation to the opera family of supporters and audience members who enable us to continue to share the power of music. Your support plays a critical role in the life of West Australian Opera and the artistic vibrancy of Western Australia.
Thanks to the opera family of supporters and to you, our audience members, who enable us to continue to share the power of music.
ASHER FISCH
Conductor’s Notes
Recently, I had the privilege of conducting three Verdi operas on consecutive nights, presented in concert form with stellar casts. Composed remarkably close together— between 1851 and 1853—these three works rank among the most beloved and frequently performed operas in the repertoire. In chronological order, they were Rigoletto, Il trovatore, and La traviata. Each evening, while conducting, I debated which of the three was the finest, and pondered the source of their enduring appeal—a popularity that remains as strong today as it was at their premieres.
The concert format—allowing the singers some improvised action but devoid of sets or costumes—proved most effective for Il trovatore.
This opera epitomizes a glorious paradox: an absurd plot paired with divine music. The narrative—a dizzying mix of decades-long revenge, mistaken identities, and an infamous case of accidental infanticide—is wildly improbable. But Verdi, at the absolute height of his powers, transforms this melodramatic chaos into pure, visceral energy.
When watching a staged version of Il trovatore, it is vital to understand that for Verdi what was paramount was that the plot and the drama supplied him with enough inspiration to compose great music, and the plot of Il trovatore is a treasure chest of such moments.
English Synopsis
The Barracks
Ferrando tells the soldiers of an unknown troubadour, Manrico, who has been serenading Leonora, the subject of the Count’s passion.
Leonora’s house
Leonora is hoping to be visited by Manrico. She tells Inez that she is in love with him. The Count is hiding outside Leonora’s home. She sees him in the shadows and mistakes him for her lover Manrico. She goes to embrace him just as Manrico arrives and accuses Leonora of being unfaithful. The two rivals fight.
The Camp
Azucena tells Manrico about the death of her mother and demands he avenge her death. A message arrives informing Manrico that Leonora, thinking Manrico has been killed, is about to enter a convent. He hastily departs.
A Convent
The Count and his men lie in wait for Leonora at the convent. Just as the Count attempts to seize her, Manrico and his men arrive. He escapes with Leonora.
The Barracks
The Count and his army wait for reinforcements before they attack Manrico’s rebel forces. Azucena is discovered wandering near their camp and is brought before the Count. Admitting that she is Manrico’s mother, Ferrando recognises her as the woman who stole the Count’s brother years before. The Count orders Azucena be taken prisoner.
Outside Church
Manrico and Leonora are about to be married. Ruiz arrives with the news that Azucena has been captured by the Count. Manrico and his men set off to rescue his mother.
Outside Prison
Having failed in his rescue, Manrico is now held prisoner under sentence of death. Ruiz brings Leonora to the place where Manrico is being held. Leonora plans to plead for his release, and is horrified when she hears Manrico bidding her farewell. The Count appears and Leonora offers herself to him if he will spare Manrico. The Count agrees, and gives her permission to free Manrico herself.
Prison
Manrico is comforting Azucena. After secretly taking some poison, Leonora arrives to tell Manrico that he is free. Suspicious of her actions, Manrico rejects Leonora. As she confesses what she has done, the poison starts to take effect. Manrico is filled with remorse. As she dies the Count realises he has been tricked. He decides to kill Manrico. Azucena achieves her revenge, revealing that Manrico is the Count’s long-lost brother.
Italian Synopsis
La Caserma
Ferrando racconta ai soldati di uno sconosciuto trovatore, Manrico, che sta facendo una serenata a Leonora, oggetto della passione del Conte.
La casa di Leonora
Leonora spera di ricevere la visita di Manrico e dice a Inez che è innamorata di lui. Il Conte si nasconde fuori dalla casa di Leonora. Lei lo vede nell’ombra e lo scambia per il suo innamorato Manrico. Lei va ad abbracciarlo proprio mentre arriva Manrico che accusa Leonora di tradimento. I due rivali litigano.
Il campo
Azucena racconta a Manrico della morte della madre e gli chiede di vendicarla. Arriva un messaggio che comunica a Manrico che Leonora, credendo che Manrico fosse stato ucciso, è in procinto di entrare in convento. Manrico allora parte frettolosamente.
Un convento
Il Conte ed i suoi uomini stanno aspettano Leonora al convento, ma proprio mentre il Conte tenta di sequestrarla, arriva Manrico che, insieme ai suoi uomini, fugge con Leonora.
La Caserma
Il Conte e il suo esercito attendono rinforzi prima di attaccare le forze ribelli di Manrico. Azucena viene scoperta nei pressi del loro accampamento e viene portata al cospetto del Conte. Ferrando ammette che Azucena è la madre di Manrico e riconosce in lei la donna che anni prima aveva rapito il fratello del Conte. Il Conte ordina che Azucena venga imprigionata.
L’Esterno della Chiesa
Manrico e Leonora stanno per sposarsi. Ruiz arriva con la notizia che Azucena è stata catturata dal Conte. Manrico e i suoi uomini partono per salvare sua madre.
L’Eesterno del Carcere
Fallito il suo salvataggio, Manrico è ora tenuto prigioniero e condannato a morte. Ruiz porta Leonora nel luogo in cui è tenuto Manrico. Leonora ha intenzione di implorare il suo rilascio ed inorridisce quando sente Manrico dirle addio. Appare il Conte e Leonora si offre a lui in cambio della salvezza di Manrico. Il Conte è d’accordo e le dà il permesso di liberare lei stessa Manrico.
Prigione
Manrico conforta Azucena. Dopo aver assunto di nascosto del veleno, Leonora arriva per comunicare a Manrico che è libero, ma, insospettito dalle sue azioni, Manrico la rifiuta. Mentre Leonora confessa ciò che ha fatto, il veleno inizia a fare effetto. Manrico è pieno di rimorsi. Mentre lei muore, il Conte si rende conto di essere stato ingannato e quindi decide di uccidere Manrico. Azucena realizza la sua vendetta, rivelando che Manrico è il fratello perduto del Conte.
Biographies
CONDUCTOR
Asher Fisch
Asher Fisch is a renowned symphonic and operatic conductor, celebrated for his interpretative mastery of the core German and Italian repertoire of the Romantic and post-Romantic eras. Since 2014, he has been the Principal Conductor & Artistic Adviser of the West Australian Symphony Orchestra (WASO).
Born in Israel, Fisch began his career as Daniel Barenboim’s assistant and Kappellmeister at the Berlin Staatsoper. He has conducted at major opera houses worldwide, including the Metropolitan Opera, Vienna Staatsoper, and Semperoper Dresden. He has led prestigious orchestras such as the Berlin Philharmonic, Munich Philharmonic, and London Symphony Orchestra.
In 2023, Fisch was appointed Music Director of the Tiroler Festspiele in Erl, Austria. Known for its dedication to the works of Wagner, the Tiroler Festspiele presented Parsifal during Easter 2025.
In 2025, Fisch’s engagements include La bohème, Parsifal, and three Verdi operas at the Tiroler Festspiele, Il trovatore with the West Australian Opera, Britten’s War Requiem in Düsseldorf, among others.
ASSISTANT AND BACKSTAGE
CONDUCTOR
Jen Winley
Jen Winley is the inaugural Associate Conductor of the West Australian Symphony Orchestra, following two years as Assistant Conductor. An accomplished percussionist and timpanist, she has performed with WASO, the Melbourne Symphony Orchestra and Orchestra Victoria. Jen returned to the MSO in 2024 to conduct the ensemble for the first time.
Since her professional conducting debut in 2020, Jen has led WASO in mainstage performances, regional tours, education and family concerts, films in concert, and cross-genre projects. Highlights include Home Alone in Concert, Star Wars: The Force Awakens, Toy Story in Concert, and Drapht and WASO: How the West Was Won. She was Music Director for West Australian Opera’s Into the Woods and has also appeared with the Tasmanian and Queensland Symphony Orchestras.
A passionate advocate for music education, Jen conducts the Western Australian Youth Orchestra and recently worked with the Melbourne Youth Orchestra. She also oversees WASO’s Conducting Fellowship Program and helps shape their innovative programming for young audiences.
ORIGINAL DIRECTOR
Elke Neidhardt
1941 - 2013
A graduate of the Stuttgart Drama and Opera School, Elke Neidhardt pursued a career as an actress in theatre, film and television in Europe as well as working as an Assistant Director at the Aix-en-Provence, Salzburg and Vienna Festivals. She was Resident Director at The Australian Opera for 13 years, Principal Resident Director and Director of Productions at Oper der Stadt Köln, Germany for 6 years, and lectured at NIDA and the Sydney Conservatorium of Music.
Among her many credits are the 2004 Ring Cyle and Parsifal (State Opera South Australia); Tannhäuser, Werther, Fidelio, Lohengrin, Salome, Andrea Chenier, and Don Giovanni (Opera Australia); The Flying Dutchman, and I Puritani (Victorian State Opera); A Midsummer Night’s Dream (Bell Shakespeare).
REVIVAL DIRECTOR
Matthew Barclay
Matthew trained as a chorister at St Paul’s Cathedral, Melbourne, studied dance at the Victorian College of the Arts and graduated from the Australian Ballet School. He later completed postgraduate studies in arts management at Deakin University. After performing in Cats he moved to directing and choreography, with early credits including Into the Woods, Mack and Mabel and National Opera Workshop’s The Eighth Wonder
Until 2020, Matthew was Senior Resident Director at Opera Australia, directing over forty productions at the Sydney Opera House and beyond, including a new production of Carmen that toured WA in 2021. International highlights include directing for Los Angeles Opera, Pittsburgh Opera, Opéra de Montréal, Macau Music Festival, Hanoi Opera House, three new works for Kaohsiung Arts Festival, Taiwan and opera across China. His recent physical theatre works Night Songs at Coney Island with Sydney Philharmonia Choirs, and Chorus! featured in recent Sydney Festival and Opera Australia programs respectively.
His previous directing for WAO includes Faust, Don Giovanni, Il trovatore and Lucia di Lammermoor in the company’s 50th anniversary year.
Biographies SET DESIGNER
Michael Scott-Mitchell
Michael Scott-Mitchell is a formidable force within the arts, in Australia and internationally.
He has designed highly acclaimed productions for stage and screen, events and exhibitions, as well as restaurants and hotels. Amongst Michael’s career-defining triumphs were his designs for Wagner’s Ring Cycle, State Opera of South Australia 2004, 2000 Olympic Games CauldronOpening and Closing Ceremonies, Asian Games Doha 2006 Opening Ceremony and the UAE48 National Day Celebrations Abu Dhabi 2019, many seen by billions worldwide.
COSTUME
DESIGNER
Judith Hoddinott
Judith Hoddinott is an Australian costume designer with extensive experience across theatre companies nationwide. She trained at the University of New England and the National Institute of Dramatic Art (NIDA). Her credits include productions for Sydney Theatre Company (Phedre, Away, Oleanna, Antony and Cleopatra, A Delicate Balance), Bell Shakespeare (The Merchant of Venice), and Jacobsen Entertainment (Shout!). She has also worked with State Theatre Company of South Australia (Gary’s House), Griffin Theatre Company, Q Theatre, Playbox Theatre Company, Ensemble Theatre Company, and the Australian Theatre for Young People. Additional credits include All’s Well That Ends Well (Nimrod) and Guys and Dolls (New Moon). Beyond her design work, Judith has contributed to theatre education, having taught design at East Sydney Technical College, the University of Western Sydney, and UTS. She currently teaches at Newtown High School of the Performing Arts in Sydney.
Nick Schlieper has designed for all the major performing arts companies in Australia and works regularly internationally. He’s received seven Sydney Theatre Awards (two for set design and five for lighting design), six Green Room and five national Helpmann Awards.
His extensive work in opera includes Nabucco, Tannhäuser, Il trovatore, L’elisir d’amore, and Falstaff for Opera Australia; Ken Russell’s Madama Butterfly for Victorian State Opera; and set and lighting designs for Macbeth for Opera New Zealand and Don Giovanni for Opera Queensland.
His productions for Sydney Theatre Company include The Picture of Dorian Gray (also West End and Broadway) and Hedda Gabler, Streetcar Named Desire, Uncle Vanya and The Maids, all also in New York. He has lit many productions for Melbourne Theatre Company, Bangarra, Belvoir St and was lighting and associate set designer for the first Australian production of Ring Cycle in Adelaide.
Internationally Nick’s work has been seen at the Salzburg Festival, Hamburg State Opera, Royal Shakespeare Company and in Hamburg, Munich, Berlin and Vienna.
COUNT DI LUNA
Nick Schlieper James Clayton LIGHTING DESIGNER
James Clayton is one of Australia’s most versatile baritones, praised for his rich vocal colour and commanding stage presence. A long-standing principal artist with West Australian Opera, he has sung the title roles in Falstaff, Macbeth, The Mikado, Il barbiere di Siviglia, and Le nozze di Figaro, as well as Escamillo (Carmen), Germont (La traviata), Iago (Otello) and Sharpless (Madama Butterfly).
Elsewhere, he has performed Demetrius (A Midsummer Night’s Dream) at the Adelaide Festival, the Forrester (The Cunning Little Vixen) and Macbeth for State Opera South Australia, and Don Alfonso (Così fan tutte) for Biwako Hall in Japan. He made his Opera Australia debut in La traviata on Sydney Harbour and starred in the New Zealand Opera seasons of Rigoletto, Carmen, The Mikado and Tosca.
Equally active on the concert stage, James has worked with the Sydney, Melbourne, West Australian, Tasmanian and New Zealand Symphony Orchestras, as well as Orchestra Wellington and the Queensland Symphony Orchestra.
Ensemble Artist James Clayton is supported by MM Electrical.
Biographies MANRICO
Paul O’Neill
Australian tenor Paul O’Neill has forged a compelling international career singing in opera houses and concert halls throughout Europe and Australasia.
Most recently, he sang Pinkerton (Madama Butterfly) and Alfredo (La traviata) for Opera Australia, Macduff (Macbeth) for State Opera South Australia and The Prince (Rusalka), Don José (Carmen), Cavaradossi (Tosca), Alfredo, Rodolfo (La bohème), Turiddu (Cavalleria rusticana) Canio (Pagliacci) and Otello for West Australian Opera.
He was tenor soloist in Britten’s War Requiem and Siegmund in Die Walküre for West Australian Symphony Orchestra and appeared with the Melbourne and New Zealand Symphony Orchestras. In 2025, he sings Pinkerton and Manrico (Il trovatore) for West Australian Opera, Eisenstein (Die Fledermaus) for WASO and returns to Opera Australia in Verdi Gala concerts.
Paul has also sung Don José at the Glyndebourne Festival, Laca (Jenůfa) for Opéra de Lille, the title role in Faust at Theater Hagen and the Mainz State Theatre and Radamès (Aida) at the St Margarethen Opera Festival.
Ensemble Artist Paul O’Neill is supported by MM Electrical.
LEONORA
Naomi Johns
Naomi Johns is a Perth-based Australian Soprano. She has worked professionally in Music Theatre and Opera around the country since finishing her studies at the Sydney Conservatorium of Music. She is known to demonstrate versatility and substance across both Lyric and Coloratura repertoire and recently has shown her ability to “capture the purity and pathos” of more serious lyric roles.
She was overjoyed to be the first female winner of the Bel Canto Award from The Joan Sutherland and Richard Bonynge Opera foundation before studying extensively overseas and debuted the role of Mimi in Puccini’s La bohème in Canada before being called home to Perth.
Since her return to Australia, Naomi made her principal debut in 2020 with West Australian Symphony Orchestra (WASO) for the Last Night at the Proms concert series and also made her West Australian Opera principal debut as Berta in Rossini’s Il barbiere di Siviglia which was followed by her role debut as Desdemona in Verdi’s Otello and later as The Foreign Princess (Rusalka).
For Opera Australia, Naomi has covered the role of Madama Cortese in their production of Rossini’s Il viaggio a Reims and has also made her principal debut with Opera Australia as the opera singer Carlotta Giudicelli in the Handa Opera on Sydney Harbour production of Phantom of the Opera in 2022.
Ensemble Artist Naomi Johns is supported by MM Electrical. Naomi Johns is supported by The Roberts Emerging Artist Program.
Nicole Piccolomini
American mezzo Nicole Piccolomini is in demand throughout the USA, Asia and Europe in repertoire ranging from Tango to Wagner. Operatic engagements include the title-role of Piazzolla’s Maria de Buenos Aires and Klytämnestra Elektra with Theater Bonn, Erda Das Rheingold & Siegfried at Oper Leipzig, Countess Pique Dame and La Contessa di Coigny Andrea Chenier at Deutsche Oper Berlin, Erste Norn Götterdämmerung at Opéra National de Paris, Deutsche Oper Berlin, Staatstheater Stuttgart and Dutch National Opera, Grimgerde Die Walküre at Teatro alla Scala and Staatsoper Berlin, Solokha Cherevichki at Teatro Lirico di Cagliari, Ulrica Un ballo in maschera at Teatro Regio di Parma and Teatro Massimo Bellini di Catania, Mistress Quickly Falstaff with Shanghai Opera, the Page Salome with Daegu Opera (South Korea), Maddalena Rigoletto at Santa Fe Opera and Lyric Opera of Chicago and Bianca The Rape of Lucretia at Teatro Petruzzelli, Bari. Other engagements include de Falla’s El Amor Brujo with the Orchestra Filarmonica Campana and Leonid Desyatnikov’s Russian Seasons with New York City Ballet.
FERRANDO
Warwick Fyfe AZUCENA
A Helpmann Award-winning artist, Warwick Fyfe is considered one of Australia’s finest baritones.
Recent highlights include his role debut as Hans Sachs (Die meistersinger von Nürnberg) for Melbourne Opera and Vodnik (Rusalka) with Opera Australia. Later in 2025, he appears as Alberich (Siegfried) in concert with the Sydney Symphony.
Other notable appearances include Wotan/The Wanderer (Der ring des nibelungen) for Melbourne Opera; Scarpia (Tosca), Amonasro (Aida), Alberich (Der ring des nibelungen), Barone di Trombonok (Il viaggio a Reims), Klingsor (Parsifal), and Sancho Panza (Don Quichotte) for Opera Australia; Vodnik for West Australian Opera; and Alberich (Das rheingold) with the Japan Philharmonic and Tianjin Symphony Orchestras. He has also performed Athanaël (Thaïs) and Amonasro for Finnish National Opera; Bartolo (Il barbiere di Siviglia) for Victorian Opera; and Peter (Hansel and Gretel) and Wotan (Die walküre) in Singapore.
Warwick’s concert work includes appearances with all major Australian symphony orchestras, as well as leading ensembles in Asia and New Zealand.
Biographies
Stuart Laing
Stuart Laing is a Perth-based tenor whose recent performances include Dr. Blind in Die fledermaus with WASO and the Gamekeeper in Rusalka for West Australian Opera. He spent 14 years in the UK and Ireland, including seven years as a full-time chorister with Opera North, performing and covering more than 30 roles across 50 productions and 20 tours. Highlights include Lensky (Eugene Onegin), Beppe (Pagliacci), Daniel Buchanan (Street Scene), and Tinca (Il tabarro), with further appearances at Buxton Festival Opera, Grange Park Opera, and Ireland’s National Opera House in Wexford.
A former Young Artist with West Australian Opera, Stuart has performed the roles of Nick (La fanciulla del west), Horace Adams (Peter Grimes), and both Basilio and Don Curzio (Le nozze di Figaro). He trained on the Opera Course at the Guildhall School of Music & Drama in London, where his roles included Lysander (A Midsummer Night’s Dream), the Stage Manager (Our Town), and Spärlich (The Merry Wives of Windsor). He is also a graduate of WAAPA and the Australian Opera Studio.
Jessica is a graduate of the Royal Academy of Music, London and Sydney Conservatorium of Music. She has sung with the English National Opera, Opera Australia, and West Australian Opera, and has coached at the Vienna State Opera. Jessica has performed as a soloist in New York’s Carnegie Hall, Sydney Town Hall and Perth Concert Hall. In 2022, she studied at the ‘Stimme, Leib und Seele’ (SLS) program in Salzburg, Austria and returned to SLS in January 2025 supported by West Australian Opera’s Roberts Emerging Artist Program. Operatic roles include: Adele (Strauss Jr: Die fledermaus, West Australian Symphony Orchestra), Belinda/First Witch (Purcell: Dido and Aeneas, West Australian Opera), Lucy (Menotti: The Telephone, West Australian Opera), Lucia (Donizetti: Lucia di Lammermoor, role study for Opera Queensland’s Bel Canto Festival) Countess (Mozart: Le nozze di Figaro, Mediterranean Opera Studio & Festival), First Lady (Mozart: Die zauberflöte, Manhattan Opera Studio). She is a 2024/2025 Wesfarmers Arts Young Artist with West Australian Opera.
Jessica Blunt
INEZ
See how the clouds melt away from the face of the sky when the sun shines.
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Artistic Director Circle ($25,000+)
Bruce & Charmaine Cameron
Leadership Circle ($10,000+)
Dr Robert Larbalestier AO
Ken & Yuko Lucas
Margaret & Rod Marston
Dr Peter Simpson OAM
Leanne & Sam Walsh AO
Anonymous (1)
Principal Patron ($5,000+)
Stewart Candlish & Bianca Panizza
Lorraine Ellard
Warwick Hemsley AO
The Estate of Robert Kimpton
Wally & Beverley Knezevic
Francis Landels
Annie & Neil Patrick
Helen & Michael Tuite
Benefactor ($2,500+)
Gaysie Atkinson
Neil Archibald & Alan R Dodge AM
Cathy Bardon & Bob Cassie*
Christine Burson
Dr Glenda Campbell-Evans & Dr Ken Evans AM*
Peter & Christene Dalla Riva
Catherine Ferrari
Thomas Gerner
The Goodlad Family
Christiaan Heyning
Eleanor John
Dr Maria Kailis
Ross & Fran Ledger
Patrick Lilburne
Andreas W Merk
Marie Mills & Anthony Crocker
Mark & Fiona Newman
John S Paterson
Bill & Barbara Reid
Kerry Sanderson
Anne Seghezzi
Ruth Stratton*
Ruth Thorn
Yannis Vrodos
Joy Wearne
Dr Chris & Mrs Vimala Whitaker*
Anonymous (3)
*Supporting the Masterclass Fund
Supporter ($1,000+)
Dr Carol Anderson
Zelinda Bafile
Prof Colin Binns AO & Dr Mi Kyung Lee OAM
David & Lois Black
In Memory of Lynne Buford
Terry Budge & Anne Fraser
Joan Carney
Helen Carroll
Frank Cooper AO
Tim & Wendy Davis
John & Ann Dawson
Brian Lindberg & Graham Douglas
Michelle & Bill Edwards
Peter Edwards
Robyn Edwards
Alison Gaines
Dr Barry Green
Steven Heath & Andrée Horrigan
Dr Penny Herbert
The Rev’d Luke Hoare
Kathryn Hogan & Graham Droppert
Enid Hopps
Peter Ingram
Dr Susan M Joubert
Ulrich & Gloria Kunzmann
Kay Lee & Richard Murphy
John & Beth McKechnie
Allan Miles & Steven Shadwell
Leeanda Paino
Dr Roger Paterson
Mary Petrie
Jennifer Rankin
Wayne Robinson
Kim & Keith Spence
Gail Spiers
Jan & Alan Stewart
Margaret Stockton
Robyn Tamke
Clare Thompson SC & Brad Power
Tessa Tieleman
Agatha van Der Schaaf
Peter & Hilary Winterton
Anonymous (13)
Friend ($500+)
Ron & Sue Bates
Dr Sue Boyd
Jane & Jamie Campbell
Carolyn Chard AM
M & K Chester
Douglas Clifford
Robert Clifton
Prudence Cowan
Janina Ivy Cusack
Peter Eadington
Judy Evans
Peter Flanigan & Rosemary Grigg
Lee Goddard-Williams
Dr Rosalind Hampton
David Hanly
V Harvey
Catherine & Will Henwood
Jessica Iannello
Samuel Joyce
Lorraine Kousins
Warren & Gillian Lilleyman
Allison Low
Anthony Munro
Liane Papaelias
Jerry Pinnow
Steve & Jane Sherwood
Lindsay & Suzanne Silbert
Jon & Jayne Smeulders
Warren & Katharina Surtees
Richard Tarala & Lyn Beazley AO
WA Opera Lovers Society
Leonard Walker
Diana Warnock & the late Bill Warnock
Robyn & Loren White
Alison Woodman
Anonymous (10)
Trusts and Foundations
Bendat Family Foundation
supporting Jessica Blunt, Ruth Burke, Ben Del Borrello, Kohsei Gilkes, Brett Peart
The James Galvin Foundation
Stan Perron Charitable Foundation
Wright Burt Foundation
Listing correct at time of publication.
Join our cast of supporters by donating online at waopera.asn.au. All donations over $2 are tax-deductible.
Donors ($200+)
Thank you to all our donors who support us and help us create and present the highest quality of opera in Western Australia.
Lifetime Recognition Donors
Neil Archibald & Alan R Dodge AM
Bruce & Charmaine Cameron
Warwick Hemsley AO
The Kimpton Family
The Kailis Family
Dr Robert Larbalestier AO
Annie & Neil Patrick
Dr Peter Simpson OAM
Helen & Michael Tuite
The Roberts Emerging Artist Program
Leanne & Sam Walsh AO
Anonymous (1)
Andrew Forrest AO
Nicola Forrest AO
The generous gift of FMG shares supports a strong and vibrant arts sector in Western Australia.
Bel Canto Fund
Thanks to the leadership donors of the Bel Canto Fund.
Bequest Circle
Cassandra Charlick & Stepan Libricky
Anita & James Clayton
Lorraine Ellard
Shane Pavlinovich
Ailsa West
Anonymous (5)
Estates
The Estate of Wendy Scanlon
The Estate of Clive Wannell
The Estate of Joyce E Young
The Estate of Noreen Riordan
CELEBRATING A SHARED COMMITMENT TO CREATIVITY
PROUD SUPPORTERS OF WEST AUSTRALIAN OPERA SINCE 2009
MAKING A DIFFERENCE
Jessica Blunt, Soprano
Each year, we present a vibrant program of concerts and events that showcase our young emerging artists and the finest musical talent locally, nationally and internationally music.uwa.edu.au
Photo Credit: Miles Noel Studio
GOVERNMENT PARTNERS
MAJOR PARTNERS
CIVIC PARTNERS
OPERA PARTNERS
WESFARMERS ARTS & WEST AUSTRALIAN OPERA
Giving voice to the stories that move us.
Through our long-term support for West Australian Opera’s world-class productions, new commissions and the Wesfarmers Arts Young Artist program, we are proud to help bring the joy of opera to everyone in Western Australia.
Image: La Traviata backstage
Photo: Owen Gregory