MADAMA BUTTERFLY
Madama Butterfly
West Australian Opera
This production is presented by arrangement with Opera Australia
26 July - 9 August 2025, His Majesty’s Theatre, Perth
Composer Giacomo Puccini
Librettists Luigi Illica, Giuseppe Giacosa
Conductor Christopher van Tuinen
Original Director Moffatt Oxenbould
Revival Director Matthew Barclay
Set and Costume Designers Russell Cohen & Peter England
Lighting Designer Robert Bryan
Lighting Realised by David Parsons
Repetiteur Tommaso Pollio
Cio-Cio-San Mariana Hong
Pinkerton Paul O’Neill
Sharpless Samuel Dundas
Suzuki Fleuranne Brockway
Goro Kohsei Gilkes
Prince Yamadori Lachlann Lawton
The Bonze Jake Bigwood
Kate Pinkerton Ruth Burke
The Official Registrar David Dockery
The Imperial Commissioner David Valsamidis
Cousin Claire Condipodero
Mother Belinda Butler
Aunt Caitlin Cassidy
Sorrow Edward Quarterman
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 Assistant Rose Finaly
Dressers Laura Hill, Holly Sansalone
Wardrobe Maintenance Heather Freeman
Head of Wigs Virgina Vona
Wigs Assistant Christopher Lyons
Head of Make Up Sharon Kyrwood
Make Up Assistant Olivia Ellis
Senior Technician Aidan Massie-Taylor
Head Mechanist Ian Studham
Surtitles Allison Fyfe
OA Mechanist
Italian Language Coach
Child Chaperone
Photos courtesy of Opera Australia @ Prudence Upton.
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.
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.
Opera is an artform that tells stories, with big emotions, sweeping music, and high stakes.
CAROLYN CHARD AM
Executive Director’s Message
West Australian Opera is proud to present Moffatt Oxenbould’s Opera Australia production of Madama Butterfly.
Thank you to our friends at Opera Australia for making this original and beautiful production available for us to present in Perth for the first time.
Thank you to revival director Matthew Barclay, set and costume designers Russell Cohen & Peter England, lighting designer Robert Bryan, repetiteur Tommaso Pollio.
Thank you to the cast including Mariana Hong (Cio-CioSan), Paul O’Neill (Pinkerton), Samuel Dundas (Sharpless), Fleuranne Brockway (Suzuki), Kohsei Gilkes (Goro), Lachlann Lawton (Prince Yamadori), Jake Bigwood (the Bonze), Ruth Burke (Kate Pinkerton), David Dockery (Registrar) and David Valsamidis (Imperial Commissioner).
Thank you to conductor Christopher van Tuinen with 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.
Whether this is your first performance with West Australian Opera or a return visit, we hope it is memorable for you and we thank you for supporting West Australian Opera.
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.
CHRISTOPHER VAN TUINEN
Conductor’s Notes
It is often said that Puccini had more interest in his female characters than male ones, certainly that he gave a greater sense of dramatic shading in the music he composed for them.
Nowhere is this more evident than in Madama Butterfly, in the archetypal, romantic heroine present in Cio-CioSan. Her tragic path through adversity, innocence, love, and ultimately betrayal is brought to us through some of the greatest music ever to grace the operatic stage. With her maid Suzuki as the perfect foil, both musically and dramatically, this music and shape forms the soul of this tragic domestic love story.
Not that the men don’t have an easy time of it, both Pinkerton and Sharpless have heavy burdens, key moments of musical emotion to land and perspectives to present. Especially at the beginning of Act 1 their callousness needs full ventilation, the audience to understand that both men feel this is just the way of things, that arrangements like this are both understood and normal.
Further on, Sharpless’s words of caution, sympathy, and increasing intervention in Acts 2 and 3 present subtle challenges for this singer, in line with Suzuki’s increasingly vehement attempts to have her mistress see sense. Pinkerton’s understanding and remorse in Act 3 are of course far too little and too late, and, even if well expressed, have led to the tradition of this character being regularly booed during the curtain calls.
That Cio-Cio-San ignores Suzuki, Sharpless (and everyone else) in the pursuit of love is, of course, the tragedy, one which centers around the folly of holding onto the idea of a relationship in the absence of its participants. The message is clear that misunderstandings and crossed dreams lead at least to disappointment and often to sorrow.
For the audience, watching the inevitable unfold to its terrible conclusion, accompanied by extraordinary music, it’s a reminder that the follies of relationships, especially a lack of empathy, can lead to disaster, the tearing apart of innocent lives and the waste of great love.
English Synopsis
Lieutenant Benjamin Franklin Pinkerton of the United States Navy is stationed in Nagasaki. He has paid for an arranged marriage with a 15-year-old geisha, Cio-Cio-San, known as Madama Butterfly. In addition, he has bought a hill-top house on a 999-year lease with a monthly option. As the action begins, he is inspecting the house with Goro, the marriage broker, the wedding is to take place there in a few minutes’ time. Sharpless, the US consul, arrives. He tells Pinkerton that he heard Butterfly’s voice at the consulate and is convinced she is deeply in love. He fears that Pinkerton will destroy her, Pinkerton does not take the marriage seriously, but regards it merely as a convenience. Pinkerton dismisses his fears but affirms that he waits for the day he will make a ‘genuine’ marriage to an American woman. Cio-Cio-San arrives with her friends. She charms with her cultivated manners and child-like appearance, she is from a noble family that has been reduced to penury, and has had to earn a living as a geisha. It emerges that her father committed suicide at the request of the emperor. The remaining wedding guests and officials arrive and a perfunctory ceremony takes place. As the toasting begins, the voice of The Bonze, the high priest, is heard. He reveals that Butterfly has converted to Christianity. He and the entire Japanese contingent renounce her. They disperse, shouting curses as they go. Pinkerton tries to comfort Cio-Cio-San. Suzuki, her faithful servant, prepares her for the night. The newlyweds are left alone. Darkness has fallen, the sky is full of stars.
Three years have passed. Pinkerton left Nagasaki soon after he ‘married’ Cio-Cio-San, promising that he would return in the spring ‘when the robins nest’. Cio-Cio-San and Suzuki are on the verge of destitution. Suzuki tries to make Cio-Cio-San see that Pinkerton will not return, but Cio-Cio-San is determined to wait for him. Sharpless visits. He has a letter from Pinkerton. He tries in vain to read it through Cio-Cio-San’s constant chatter. They are interrupted by Goro and Prince Yamadori, Cio-Cio-San’s rich suitor. Cio-Cio-San has rejected his offer of marriage many times and does so again, insisting that she is already married. Goro points out that, under Japanese law, deserted women are automatically divorced. She is American, she says, and will only recognise American law. The two leave Sharpless and Cio-Cio-San alone. He resumes his attempt to read the letter. It is clear that Pinkerton has asked Sharpless to tell Cio-Cio-San that he will not be returning to her. Sharpless tries gently to guide her towards facing the truth and suggests she should accept Yamadori’s proposal. She produces her trump card, she has borne Pinkerton’s son. Surely he will not forget her now? Sharpless, at a loss, leaves her to her waiting. A cannon shot is heard from the harbour. Pinkerton’s ship has returned.
Cio-Cio-San has waited all night, but Pinkerton has not come. Suzuki persuades her to rest. Sharpless arrives with Pinkerton hoping to find Suzuki alone. She must be the one to explain to Cio-Cio-San that Pinkerton has an American wife, Kate, and that they wish to adopt the son that Cio-Cio-San bore him. Pinkerton is aghast at what has happened and leaves Sharpless and Kate with Suzuki. Cio-Cio-San bursts in on them. Now at last she has to face the truth. For her it is the end.
Italian Synopsis
Il tenente Benjamin Franklin Pinkerton della Marina degli Stati Uniti è di stanza a Nagasaki. Ha pagato per un matrimonio combinato con una geisha di 15 anni, Cio-Cio-San, conosciuta come Madama Butterfly. Inoltre, ha acquistato una casa in collina con un contratto per 999 anni con rate mensili. All’inizio della storia, Pinkerton sta ispezionando la casa con Goro, il mediatore matrimoniale, dove pochi minuti dopo si celebrerà il matrimonio. Arriva Sharpless, il console americano. Dice a Pinkerton di aver sentito la voce di Butterfly al consolato ed è convinto che lei sia profondamente innamorata di Pinkerton. Sharpless teme che il tenente possa fare del male a Butterfly, perché per lui il matrimonio esiste solo per covenienza e non per amore. Pinkerton respinge i timori di Sharpless, ma afferma che verrà il giorno in cui si sposerà seriamente in un “vero” matrimonio con una donna americana. Cio-Cio-San arriva con le sue amiche. Affascina con i suoi modi colti e l’aspetto infantile, proviene da una famiglia nobile che è stata ridotta alla miseria e ha dovuto guadagnarsi da vivere come geisha, dopo che suo padre si suicidò su richiesta dell’imperatore. Una volta arrivati tutti gli invitati al matrimonio e i funzionari, la cerimonia può avere inizio. Al primo brindisi parla il Bonzo, il sommo sacerdote, che rivela che Butterfly si è convertita al cristianesimo. Il Bonzo e l’intero contingente giapponese la disconoscono, andandosene dalla cerimonia mentre imprecano a voce alta. Pinkerton cerca di confortare Cio-Cio-San. Suzuki, la sua fedele domestica, la prepara per la notte. Gli sposi rimangono soli. È scesa l’oscurità, il cielo è pieno di stelle.
Sono passati tre anni. Pinkerton lasciò Nagasaki subito dopo aver “sposato” Cio-Cio-San, promettendo che sarebbe tornato in primavera “nella stagione beata che il pettirosso rifà la nidiata”. Cio-Cio-San e Suzuki sono sull’orlo della miseria. Suzuki cerca di far capire a Cio-CioSan che Pinkerton non tornerà, ma Cio-Cio-San è determinata ad aspettarlo Sharpless visita Cio-Cio-San, portando una lettera da parte di Pinkerton. Cerca invano di leggerla, nonostante Cio-Cio-San non smetta di parlare. Vengono interrotti da Goro e dal principe Yamadori, il ricco corteggiatore di Cio-Cio-San. Cio-Cio-San ha rifiutato più volte la sua proposta di matrimonio e lo fa ancora una volta, insistendo di essere già sposata. Goro sottolinea che, secondo la legge giapponese, le donne abbandonate vengono automaticamente divorziate. Lei è americana, dice, e riconoscerà solo la legge americana. I due lasciano soli Sharpless e Cio-Cio-San. Sharpless riprende il tentativo di leggere la lettera. È chiaro che Pinkerton ha chiesto a Sharpless di dire a Cio-Cio-San che non tornerà da lei. Sharpless cerca gentilmente di guidarla ad affrontare la verità e le suggerisce di accettare la proposta di Yamadori. Lei tira fuori la sua carta vincente, ha dato alla luce il figlio di Pinkerton. Sicuramente non la dimenticherà adesso! Sharpless, perplesso, la lascia ad aspettare. Dal porto si sente un colpo di cannone. La nave di Pinkerton è tornata.
Cio-Cio-San ha aspettato tutta la notte, ma Pinkerton non è ancora arrivato. Suzuki la convince a riposare. Sharpless arriva con Pinkerton sperando di trovare Suzuki da sola, perché dovrà essere lei a spiegare a Cio-Cio-San che Pinkerton ha una moglie americana, Kate, e che intendono adottare il figlio che Cio-Cio-San gli ha dato alla luce. Pinkerton è inorridito da questa storia e lascia Sharpless e Kate con Suzuki. Cio-Cio-San li interrompe. Ora non può più evitare la verità. Per lei è la fine.
Biographies CONDUCTOR
Christopher van Tuinen
Christopher graduated with a B.Mus from the Victorian College of the Arts in 2001. In 2005 he completed a Masters in Conducting at the VCA. He also holds a B.A. from the University of Queensland, an LLB from Q.U.T. and an A.Mus.A from the AMEB. He has been nominated by the Musical Theatre Guild and Green Room Awards in the ‘Best Conductor’ category.
During 2008 and 2009 he was a member of the Young Artists Program with Opera Australia. In 2007 Chris was appointed as the inaugural Conducting Fellowship at the Australian Ballet. He has worked with the WASO, Orchestra Victoria, AOBO and the QSO. Previous roles include Perth Festival, WASO, Musica Viva and Lost and Found Opera.
Previous opera credits include, Rusalka, Otello, La bohème, La traviata, Le nozze di Figaro, Cav/Pag, Cosi fan tutte, Iolanta, Elijah, Madama Butterfly, Hansel und Gretel, Don Procopio, Der Kaiser von Atlantis, Medeé, La voix humaine amongst others. He has recorded and been broadcast by the ABC.
He is currently the Artistic Director of West Australian Opera.
ORIGINAL DIRECTOR
Moffatt Oxenbould
Moffatt Oxenbould’s work in opera in Australia spans a period of more than 60 years. Graduating from NIDA in 1962 he joined the Australian Elizabethan Trust Opera Company as a stage manager.
At the conclusion of the 1965 Sutherland/Williamson Grand Opera Company Australian tour he took up a stage management position with Sadlers’ Wells Opera in London and returned to Australia in 1967 to rejoin the Opera Company and was appointed Artistic Administrator in 1974. From 1984 – 1999 he was Artistic Director of The Australian Opera, later Opera Australia.
He directed several works for Opera Australia and the state companies in Australia, and in Houston and Taiwan. His memoir, Timing is Everything was published in 2005.
He has served as Chairman of the NIDA Board of Studies and was also a member of the Australia Council’s Major Performing Arts Board and the 2016 National Opera Review. He was awarded membership of the Order of Australia in 1985.
REVIVAL DIRECTOR
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.
Matthew Barclay Russell Cohen
SET AND COSTUME DESIGNER
Russell Cohen is a set and costume designer based in Australia. He completed a Bachelor of Creative Arts at the University of Southern Queensland in 1992, followed by a Bachelor of Dramatic Art in Design at the National Institute of Dramatic Art (NIDA) in 1994.
His professional work includes contributions to several major opera companies and events across Australia. For Opera Australia, he co-designed productions of Madama Butterfly and La bohème, and designed costumes for Simon Boccanegra. His collaboration with the State Opera of South Australia also included co-designing Madama Butterfly, and he worked in a similar role on La bohème for West Australian Opera.
In addition to his work in opera, Cohen was responsible for set design at the 12th and 13th Annual ARIA Awards.
Biographies
SET AND COSTUME DESIGNER
Peter England
Peter England holds a Bachelor of Performing Arts (Design) from NIDA (1994) and a Bachelor of Landscape Architecture (Hons.) from UNSW (1986). He is a multi-award-winning designer, receiving four Helpmann Awards, three Green Room Awards, and a Mike Walsh Fellowship. His work on King Kong - Alive on Broadway earned Tony, Outer Critics Circle, and Drama Desk Award nominations in 2019.
Peter has designed over 50 theatrical productions, including How to Train Your Dragon – The Arena Spectacular (DreamWorks), Sweeney Todd; La bohème; and Madama Butterfly (Opera Australia), Orpheus and Eurydice (Victorian Opera), Bloodland; Betrayal; and The Jungle (Sydney Theatre Company), Hamlet and Richard III (The Shakespeare Theatre Company, DC), and Antony and Cleopatra (Bell Shakespeare). He has also designed for Bangarra Dance Theatre, The Australian Ballet, and Sydney Dance Company. His large-scale event work includes ceremonies for the 1996 Atlanta and 2000 Sydney Olympics, and three Sydney New Year’s Eve celebrations, including the Millennium.
LIGHTING DESIGNER
Robert Bryan
Born in Derby, he is a science graduate of Hull University. He was a founder member of Theatre Projects Limited under the leadership of Richard Pilbrow. He was Resident Lighting Designer at Glyndebourne and at the Royal Opera House for many years. His career has included lighting plays, musicals and operas throughout the world, working in all the leading opera houses and theatres. Among the many directors with whom he has worked are Thomas Allen, Michael Blakemore, John Cox, Peter Hall, Greg Hersov, Terry Johnson, Jonathan Miller, Christopher Morahan, Elijah Moshinsky, Braham Murray, Adrian Noble, Trevor Nunn, and Peter Wood; the distinguished designers he has collaborated with include Bob Crowley, Matthias Fischer-Dieskau, John Gunter, David Hockney, Richard Hudson, Stefanos Lazaridis, Timothy O’Brien, and Roni Toren.
CIO-CIO-SAN
Mariana’s has been a regular principal artist at Opera Australia singing such roles as Liu in Turandot, Mimi in La bohème, Pamina in The Magic Flute, the Countess in The Marriage Of Figaro, Fiordiligi in Cosi fan tutte, Donna Anna in Don Giovanni, Giulietta in I Capuleti e I Montecchi, Konstanze in Die entführung aus dem serail, both Alcina and Oberto in Alcina, Sirena in Rinaldo and Dorinda in Orlando, Lauretta in Gianni Schicchi, Genovieffa in Suor Angelica, Leila in The Pearlfishers, Frasquita and Micaela in Carmen, Nannetta in Falstaff, Freia in Das rheingold and Helmwige in Die walküre.
Other engagements include roles for Opera Qld and SOSA and performances of Madam Butterfly at London’s Royal Albert Hall and for the Finnish National Opera.
On the concert platform her appearances include Carmina Burana with Melbourne Symphony Orchestra and Beethoven’s Symphony No.9 conducted by Riccardo Chailly in Milan and throughout Italy, and also in Seoul with Pietari Inkinen.
PINKERTON
Mariana Hong 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 WA 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
Biographies SHARPLESS
Samuel Dundas
Samuel Dundas, formerly a member of Victorian Opera’s Artist Development Program and subsequently Opera Australia’s Moffatt Oxenbould Young Artist Program, now performs leading roles with Opera Australia, the Australian state opera companies, New Zealand Opera and appears with all the major Australian symphony orchestras and choral societies.
2023 engagements include the title role in the world premiere of Richard Mills’ new opera Galileo for Perth Festival and Victorian Opera; Wolfram (Tannhäuser) for Opera Australia; the Count (Capriccio) for Victorian Opera and ANAM, and Donner (Das rheingold) with Sydney Symphony Orchestra. He will also be heard in Beethoven’s 9th Symphony with Auckland Philharmonia, Faure’s Requiem with the Tasmanian and West Australian Symphony Orchestras, Rossini’s Petite Messe Solennelle for Festival of Voices and Haydn’s Missa Cellensis with the Allegri Ensemble, Hobart.
Most recently Samuel has performed the title role (Voss) for State Opera, Marcello for Opera Australia, Mozart’s Requiem for Tasmanian Symphony, Carmina Burana for Adelaide Symphony and Ebenezer Scrooge (A Christmas Carol) for Victorian Opera.
SUZUKI
Fleuranne Brockway
After winning the German Australian Opera Grant in 2018, Fleuranne Brockway relocated to Wiesbaden, Germany in 2019 - where she has quickly gained recognition as an emerging artist of enormous potential. At Staatstheater Wiesbaden, her roles have included Dorabella (Così fan tutte), Wellgunde and Rossweisse (Der ring des nibelungen), Hänsel (Hänsel und Gretel), Maddalena (Rigoletto), Third Maid (Elektra), Mercédès (Carmen), Sonyetka (Lady Macbeth of Mtsensk), Second Lady (Die zauberflöte), La zelatrice (Suor Angelica), Annina (Der rosenkavalier) and critically acclaimed performances of Charlotte in Werther and the title role in Carmen.
Fleuranne has also been heard recently as a guest artist in the roles of La Ciesca (Gianni Schicchi) for both Opera Frankfurt and Staatstheater Saarbrücken, as Suzuki (Madama Butterfly) and Maddalena (Rigoletto) for Theater Bonn and as Hänsel for the Oldenburgisches Staatstheater. She also made her debut at the Bregenz Festival as Suzuki.
Fleuranne was formerly a Young Artist with West Australian Opera, making her company debut as Mercédès in Carmen
Ensemble Artist Fleuranne Brockway is supported by MM Electrical
Kohsei Gilkes
Kohsei Gilkes is a half Japanese, half Australian tenor born and raised in Perth.
Kohsei is currently training under the tutelage of Michael Lewis who he has been working with since he was accepted into WAAPA in 2018. During his time at WAAPA, Kohsei performed roles such as “Mars” from Offenbach’s Orpheus in the Underworld and “the Pirate King” from Gilbert and Sullivan’s Pirates of Penzance. Kohsei made his professional debut in 2021 after 4 years of study and continues to work with West Australian Opera.
Having transitioned from baritone to tenor in 2023, Kohsei debuted his first tenor role “L’Abate di Chazeuil” from Adriana Lecouvre with Freeze Frame Opera.
Kohsei hopes to springboard his career through the Wesfarmers Arts Young Artist program and aspires to continue his career abroad.
Lachlann Lawton GORO
PRINCE YAMADORI
Australian/British lyric baritone Lachlann Lawton was a 2022 and 2024 Joan Sutherland and Richard Bonynge Bel Canto Award Finalist and John Wegner Award recipient. He is a 2024 and 2025 Young Artist with Opera Queensland, and is a former Wesfarmers Arts Young Artist and Bendat Scholarship winner at West Australian Opera.
He is a graduate of the Royal Northern College of Music’s Master’s program as a Waverly Scholarship recipient and studied with Quentin Hayes. He completed a Graduate Diploma and Bachelor of Music at the Western Australian Academy of Performing Arts (WAAPA).
Recent engagements include Anthony Hope (Sweeney Todd) for Victorian Opera and Dubai Opera. Sailor and Aeneas cover (Dido and Aeneas) for Opera Queensland. Samuel (The Pirates of Penzance), Aeneas (Dido and Aeneas), Station Master (Eucalyptus), Schaunard (La bohème), Cinderella’s Prince and the Wolf (Into The Woods), Morales (Carmen), Marchese d’Obiney (La traviata), Duke Robert (Iolanta) for West Australian Opera.
Lachlann Lawton is supported by The Roberts Emerging Artist Program
Jake Bigwood Biographies THE BONZE
Winner of both the Regency Prize and AM Parker award for excellence; Jake Bigwood graduated from the Royal Academy of Music (RAM) with distinction alongside an honorary Diploma of the RAM.
In 2022 Jake joined West Australian Opera as a Bendat Scholar and Wesfarmers Arts Young Artist and he sang the roles of Il Maestro in The Duel and both Angelotti and Sciarrone in Tosca due to cast illness. He also sang the roles of Colline and Ashby for Freeze Frame Opera and was named a finalist in both the IFAC Handa Australian Singing Competition, winning the Nelly Apt prize, Joan Sutherland Richard Bonynge Bel Canto Competition where he was awarded the Friends of the Foundation award, and the Australian International Opera grant.
In 2023 Jake travelled to Montreal to sing Colline with the Canadian vocal arts institute, was a semi-finalist in the German Australian Opera Grant, and sang Zuniga and Colline for West Australian Opera.
Jake Bigwood is supported by The Roberts Emerging Artist Program
KATE PINKERTON
Ruth Burke
Ruth Burke is an Irish-Australian mezzo-soprano. Ruth graduated from the West Australian Academy of Performing Arts in 2022 and is currently a 2024/25 Wesfarmers Young Artist with West Australian Opera. In 2024 Ruth made her principal artist debut in WAO’s production of Dido and Aeneas singing the roles of Second Woman and Second Witch. This year, Ruth will be singing the role of Kate Pinkerton with West Australian Opera and made her debut with WASO as Prince Orlovsky in Die fledermaus.
Ruth has also performed as the mezzo-soloist with Darwin Symphony Orchestra in Beethoven 9 in 2022. Ruth has performed the roles of Rosina in Barber of Seville (Schools tour), Hansel in Hansel and Gretel, La Zelatrice in Suor Angelica, La Ciesca in Gianni Schicchi and Dangeville in Adriana Lecouvreur with Freeze Frame Opera.
In 2024/25 Ruth travelled to Austria to study at Stimme Leib und Seele where she worked with conductor Jennifer Condon as well as guest artists.
THE OFFICIAL REGISTRAR
After graduating from the University of Western Australia with a Bachelor of Music Performance with honours, David was awarded a Churchill Fellowship to study piano with Peter Katin in London where he later studied singing with Russell Smythe.
He has given solo piano recitals at Fremantle Town Hall, the Sydney Conservatorium of Music, and national broadcasts on ABC FM’s Young Australia programme, as well as performing as a concerto soloist with the UWA Symphony Orchestra.
David first joined the chorus of West Australian Opera in 2001 and since then his roles have included The Imperial Commissioner in Madama Butterfly, Sciarrone in Tosca, Marchese D’Obigny in La traviata, Sid in The Girl of the Golden West and Abimilech in Samson and Delilah. He has performed as bass soloist in Handel’s Messiah and Dixit Dominus, Faure’s Requiem, Haydn’s Nelson Mass, Durufle’s Requiem and Mendelssohn’s Elijah. He has appeared at Art Song Perth both as a singer and a pianist.
David Dockery David Valsamidis
THE IMPERIAL COMMISSIONER
British bass-baritone David Valsamidis is delighted to be making his soloist debut with West Australian Opera in Madama Butterfly, having joined the chorus of the company earlier this year for Gilbert and Sullivan’s Pirates of Penzance. Having grown up in London, David moved north to the University of York and studied with Alex Ashworth. While there, he performed Belcore in Donizetti’s L’elisir d’amore and Papageno in Mozart’s Die zauberflöte with York Opera, as well as Polyphemus in Handel’s Acis and Galatea in Nottingham. At the University of York, he played The Earl of Dunmow in Lennox Berkeley’s A Dinner Engagement, and sang with British early music ensemble I Fagiolini in Monteverdi’s Orfeo. ln the UK, David has had a varied career in the choral and oratorio scene, having performed with Tenebrae, I Fagiolini, Siglo De Oro and the Choir of York Minster.
CIO-CIO-SAN (MADAMA BUTTERFLY)
One fine day we’ll see a trail of smoke rising from the edge of the sea.
West Australian Opera
Chorus and Actors
Mezzo Sopranos
Alexandra Bak*
Audrey Lombardi
Courtney Pitman**
Claire Condipodero
Brigitte Heuser
Prudence Sanders
Stephanie Thyer
Jessica Clancy
Caitlin Cassidy*
Lucy Mervik*
Rabiya Plush-Noad
Leilah Fox*
Xiaojia Zhang*
Elizabeth Vale**
Yann Kee*
Chelsea Kluga
Sopranos
Morgan Halket
* Celebrating over 10 years
** Celebrating over 20 years
*** Celebrating over 30 years
Tenors
Actors
Tom Buckmaster
Tim Schoenmakers***
Koken 1 Floeur Alder
Attendant 1 Zachary Wilson
Stuart Laing
Koken 3 Matthew Morris
Servant 1 Thomas Cole
Noah Humich
Vin Trikeriotis
Koken 2 Erin Barry
Attendant 2 Elliot Dunn
Keaton Staszewski-Hose
Koken 4 Noah Skape
Servant 2 Allain Ram Gumapon Sorrow Edward Quarterman
Koken 5 Macon Riley
Euan MacMillan
Jason Kroll
West Australian Symphony Orchestra
1st Violins
Riley Skevington
Alex Isted
Stephanie Dean
Rebecca Glorie
Christina Katsimbardis
Andrea Mendham
Akiko Miyazawa
Lucas O’Brien
Cerys Tooby
Samantha Wickramasinghe
2nd Violins
Zak Rowntree
Sarah Blackman
Amy Furfaro
Emma Hunt
Will Huxtable
Sera Lee
Melanie Pearn
Louise Sandercock
Violas
Alex Brogan
Ben Caddy
Alison Hall
Rachael Kirk
James Munro
Helen Tuckey
Principal Associate Principal Guest Musician^
Cellos
Rod McGrath
Shigeru Komatsu
Oliver McAslan
Nick Metcalfe
Fotis Skordas
Basses
John Keene
Robin Brawley
Christine Reitzenstein
Giovanni Vinci
Flutes
Andrew Nicholson
Mary-Anne Blades
Sonia Croucher
Oboes
Liz Chee
Stephanie Nicholls
Jonathan Ryan
Clarinets
Allan Meyer
Som Howie
Alexander Millier
Bassoons
Chloe Turner
Kina Lin-Wilmoth
Horns
David Evans
Robert Gladstones
Julia Brooke
Francesco Lo Surdo
Trumpets
Jenna Smith
Darcy O’Malley
Peter Miller
Trombones
Joshua Davis
Jeremy Alderson
Liam O’Malley
Tuba
Chloe Higgins
Timpani
Alex Timcke
Percussion
Brian Maloney
Francois Combemorel
Amanda Dean^
Robyn Gray^
Harp
Kira Gunn^
His Majesty’s Theatre (HMT)
Arts and Culture Trust Board
Morgan Solomon (Chairperson)
Zoë Atkinson
Shane Colquhoun AM
Lisa Montgomery
Nadia van Dommelen
Michelle Tremain
Melvin Yeo
Robert Taylor
CEO
Janis Carren
Administration
Venue Manager
Helen Stewart
Acting Manager Venue Operations
Marlaina Darmody
Event Operations Coordinator
Jenny Lee
Administration and Accounts Assistant
Dean Pruden
Administration Assistant
Fiona McNiece
Stage Door Keepers
Emily Dowden, Karl Galin
Box Office Supervisor
Jenny Franklin
Archivist
Ivan King OAM
Technical
Acting Director of Technical Services
Matthew Nankivell
Acting Deputy of Technical Services
Kerrie Wilshusen
Production Manager
Levi Caddy
Head of Audio and AV
Dylan Crosbie
Head of Lighting
Paul Parkes
Head of Staging
Harry Dunbar
Audio Supervisor
Noah Ivulich
Staging Supervisor
Radek Rubinski
Head Flyman
Morgan Caddy
Lighting Supervisor
Ian Stevens
West Australian Opera
Vice Regal Patron
The Honourable Chris Dawson AC APM
Governor of Western Australia
Board
Darren Lewsen (Chair)
Emma Cundale
Alison Gaines
Anthony Gianotti
Christiaan Heyning
Adam Santa Maria
Jan Stewart
Gina Williams AM
Honorary Life Members
Dario Amara
Richard Bonynge AC CBE
Hon Julie Bishop
Terry Bowen
Frank Cooper AO
Catherine Ferrari
Erich Fraunschiel
Colin Goddard
Warwick Hemsley AO
Francis Landels
Bruce Martin AM
Margaret McManus
Dr Richard Mills AO
Annie Patrick
Marilyn Phillips OAM
Wesfarmers Arts Young Artists
Patron – Emma Matthews AM
Jessica Blunt
Benjamin Del Borrello
Ruth Burke
Kohsei Gilkes
Brett Peart
WAO Staff
Executive Director
Carolyn Chard AM
Artistic Director
Chris van Tuinen
Production Manager
Mandy Farmer
Accountant
Debbie Byrnes
Artistic Administrator
Kate Larkins
Partnerships Manager
Terasa Letizia
Philanthropy Manager
Jane Campbell
Marketing Manager
Dharshini (Dee) Murugiah
Audience & Insights Manager
Danielle Barlow
Media Consultant
Daniele Foti-Cuzzola
Marketing and Events Coordinator
Rebecca Bencivenni
Education Manager
Olivia Ferguson
Choral Director, WAO Sings
Emma Jayakumar
CRM Consultant
Rachel Sait
Special Projects
Ginny van Tuinen
Financial Accountant
Kris Adrian
Stage Manager
Karen Farmer
Music Librarian
Allison Fyfe
Thank you, donors
Visionary Circle
The Roberts Emerging Artist Program
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
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
Jock & Jennifer Laurie
Warren & Gillian Lilleyman
Allison Low
Dr Hamish McGlashan
Anthony Munro
Liane Papaelias
Jerry Pinnow
Steve & Jane Sherwood
Lindsay & Suzanne Silbert
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 (9)
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
Donors ($200+)
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.
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
I do not think I am; I am.
MAKING A DIFFERENCE
Jessica Blunt, Soprano
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