West Australian Opera CARMEN 2018

CARMEN BIZET

Taryn Fiebig, Soprano

Director’s Message is a woman who chooses the way in which she will live, love and die - rights taken for granted by me and my contemporaries. Yet when Carmen was first performed, this was enough to create moral controversy and turn a factory-worker into a cult, an enigma, a cliché, larger than life and ironically, a male fantasy.

Returning to this production of Carmen is something of a mid-life rite-of-passage for me, having first created it for West Australian Opera in 1992. Back then I had just turned 30, an ambitious, idealistic and fiery young director working for the first time with Dan Potra, a TransylvanianAustralian designer fresh out of NIDA. Both our careers began with this Carmen. Since then Dan and I have enjoyed a rich creative partnership over dozens of operas that have taken us to America, Belgium, Switzerland, Germany, Sweden, NZ and all over Australia. Neither of us imagined that this would be a “breakthrough” production; we just wanted to tell this iconic story without all the usual clichés, in a way that contemporary women could relate to. This was surprisingly controversial. Angry (mostly male) opera goers wrote to tell me I’d ruined Carmen, that I’d “emasculated the men and defeminised the women” but audiences and critics (mostly female) loved it. One review called it “the feminist Carmen” and the name stuck for decades.

Opera Australia picked it up for presentation on stages all over Australia for two decades. Last year it travelled to NZ and later this year it will be completely recreated with new scenery and costumes for Leipzig Opera. Not a bad history for a show created in Perth on a shoestring budget 26 years ago.

Now I am more middle-aged, pragmatic feminist than angry young woman, but I’m still a fan of all Carmen stands for. As anyone who has been following the women’s equality and #MeToo movements over the last couple of years knows, there’s still a long way to go in terms of male/ female power imbalance and male violence against women. These are themes that underpin the action in Carmen.

The society which created Carmen clearly did not anticipate the advent of feminism, yet Carmen’s personal values and philosophy are totally in sympathy with contemporary feminist thinking.

While certainly sexual, Carmen is not the whore/ goddess whose myth has been perpetuated by countless incarnations over the years. Rather, she

I find parallels between the myth of Carmen and that of Don Giovanni. Like Don Giovanni, Carmen is provoked into rebellious action by anyone, or society, saying ‘you can’t do that’. Like him she believes utterly in herself, welcoming death as her ultimate statement. Yet where Don Giovanni has wealth, power and breeding to allow him his total freedom, Carmen has no name, no money, only temporary work. Her most powerful tool is her brain and her belief in herself. That’s what makes her potent, dangerous and different to other women – that’s what’s so sexy about Carmen to me.

Don José, whose life is defined by his narrow societal structure, cannot begin to understand Carmen. Where she thinks universally, he is a villager, like Micaëla, who represents strong existing social values relating to wives and mothers. José’s conventional upbringing has not emotionally equipped him for a dynamic woman who freely crosses the clearly marked lines which define ‘male’ and ‘female’ behaviour.

Carmen exploits the female armoury of seduction to perfection, all the while somehow mocking the process. On the other hand she proves herself a better ‘man’ than anyone else in the story except Escamillo, her soulmate, who can match her audacity, bravery, passion and ultimate deathwish blow-for-blow. The short lived dynamism of this relationship throws all else into dull contrast: Escamillo knows his fame and life are fleeting and only Carmen really understands this. Their love is a meeting of kindred spirits.

Bizet has a knack in this opera of turning normal human situations into searing epic statements.

In this production we question everything from the use of the overture to the means of Carmen’s death, separate the naturalistic from the epic in the production and design, presenting the two styles interspersed with each other. This ‘warping’ device evokes the sense of distended reality in highly emotional situations, and is another way of telling this too-famous story in an unconventional way while retaining the themes and characters audiences know so well.

Lindy Hume DIRECTOR

Conductor’s Message

On the 3rd of March in 1875 perhaps no-one in the audience for Carmen at the Opéra-Comique in Paris thought that they might be witnessing the first performance of work that would become arguably the most famous opera in the repertoire. Georges Bizet was 36 years old, not particularly successful as an opera composer, and would die within the year from an unknown heart condition. Significantly, though, the composer of The Pearl Fishers had already demonstrated in this piece a distinct flair for creating exotic atmosphere.

Bizet had never been to Spain, yet he wrote the best known opera set in that country (even taking into account The Barber of Seville and Don Giovanni). He managed to capture the sultry atmosphere of Seville, the sensuous free spirit of the gypsy (“gitana”) woman Carmen, and even the machismo of the Latin male temperament. Bizet incorporated some Spanish melody into his score, as well as rhythms and harmonies of flamenco, to create a wonderfully atmospheric and vibrant score that underpins a story that begins with humour, elegance and flirtation, and ends in obsession, violence and death.

I always look forward to conducting Carmen, as it is a brilliantly composed and orchestrated work that genuinely keeps us engaged from the beginning to the end. Country and city folk, soldiers, Romani gypsies, bull fighters and smugglers all appear in this fast moving story set in four distinct places, all with very specific musical and cultural reasonances.Carmen’s independent, forthright and anti-authoritarian character still challenges us now: imagine how she challenged the first night bourgeous audience in Paris. Her violent murder at the hands of her jealous and deranged ex-lover still has the power to shock us today: imagine how it shocked 19C opera patrons. Carmen is a work set just before its own time period that conversely is actually ahead of its time, as it confronts us with its themes of love, loyalty, class, feminism, duty and freedom of choice.

Bizet could not have written music of such authenticity and assurance without the inspiration of author and historian Prosper Mérimée, who wrote the novella that the libretto was based upon. Mérimée claims to have heard the story of Carmen from the Countess of Montijo, whilst he was traveling in Spain, and much of the intense Andalusian flavour of his novella was translated into a libretto by the duo of Meilhac and Halévy, who were famous for their witty libretti for Offenbach, and for whom Carmen was very much a one-off experiment.

I had the great fortune to travel to Andalusia for the first time last year (to celebrate my 50th birthday), and in Seville I visited the Royal Tobacco Factory, Maestranza (bullring) and ramparts, that are all featured in Carmen, as well as the Triana (the distinctive former Romani district across the Guadalquivir River from both the Factory and Maestranza). The story of Carmen became even more vivid to me, especially as this trip rekindled not only my love for Spanish language and culture, but also Flamenco. I had been peripherally involved in this magnificent artform in my 20s, when I briefly worked with the phenomenal dancer Antonio Vargas and legendary guitarist Paco Peña.

Having conducted Carmen in Europe, North America and Australia, my love and admiration for this incredible opera is stronger than ever before.

I look forward to sharing my passion for this work with you all tonight.

Antony Walker CONDUCTOR

Vice Regal Patron’s Message

I am pleased to accept the invitation to become Vice Regal Patron of West Australian Opera and in this capacity, I welcome you to Bizet’s famous opera, Carmen.

Bizet’s opera has become known as ‘the most popular opera in the world’. His music is both exotic and alluring as well as upbeat and melodic. Hear the principals, the West Australian Opera Chorus and the West Australian Symphony Orchestra, come together under the baton of conductor Antony Walker in this popular production by Lindy Hume.

West Australian Opera first presented Carmen in 1968 and it is wonderful that fifty years on Carmen still draws capacity crowds to His Majesty’s Theatre.

As the state opera company, West Australian Opera contributes to the arts in Western Australia by presenting world-class opera at His Majesty’s Theatre, offering education and community programs, regional touring, and developing young artists through the Wesfarmers Arts Young Artist Program.

I join the company in acknowledging the generous support of State and Federal governments, Principal Partner Wesfarmers Arts and private donors and corporate supporters.

The Honourable Kim Beazley AC Governor of Western Australia Vice Regal Patron West Australian Opera

Chairman’s Message

We are proud to bring Carmen, one of the world’s most popular operas, to His Majesty’s Theatre in this production by Lindy Hume and conducted by Antony Walker. We welcome and thank the entire cast, the creative team, the West Australian Symphony Orchestra, West Australian Opera Chorus and the West Australian Opera Children’s Chorus. Welcome to Milijana Nikolic in the title role of Carmen making her debut with the company.

Opera is a beautiful but expensive art form and we value the contribution of sponsors, patrons, donors, board and you, our audience. Your attendance plays an integral role in the life of West Australian Opera and we encourage you to join us throughout 2018 (see waopera.asn.au).

I particularly wish to acknowledge Principal Partner Wesfarmers Arts, Major Partner Healthway, the Minderoo Foundation, Civic Partner the City of Perth and Official Airline Partner Qantas. We are grateful for the continued support of the Federal Government through the Australia Council and the State Government through the Department of Local Government, Sport and Cultural Industries.

I am confident you will enjoy this production and hope for your continued support and engagement with your State opera company.

Andrew Pascoe CHAIRMAN West Australian Opera

Executive Director’s Message

The heart-racing world of Carmen has been coming alive at West Australian Opera. From the show stopping melodies to wonderful performances, we are proud to present this much-loved production directed

by Lindy Hume and conducted by Antony Walker.

Often cited as a favourite opera, Carmen remains a work presented regularly by opera houses around the world and it was the first production staged by West Australian Opera in 1968.

Opera touches hearts, minds and souls. We encourage you to follow us on social media and please do book for Don Giovanni later this year.

Carolyn Chard AM EXECUTIVE DIRECTOR West Australian Opera

Carmen’s story is universally appealing, transcending generations and continuing to find relevance in a modern world.

Bizet’s score is rich and full of colour with evocative storytelling and well-known melodies that remain with you long after you leave the theatre.

I thank my colleagues at West Australian Opera and the creative team, singers, West Australian Opera Chorus, West Australian Opera Children’s Chorus, the West Australian Symphony Orchestra, stage management and backstage teams for bringing this production to life on stage for you tonight.

I warmly welcome you, our audience, to share in the strength, spirit and the intrigue that is Carmen.

For over 50 years West Australian Opera has been Western Australia’s state opera company.

Images: West Australian Opera’s Carmen 2010 season

Proud supporter of West Australian Opera.

www.apnoutdoor.com.au

CARMEN

7.30pm His Majesty’s Theatre 21, 24, 26, 28 July 2018 3 hours including one interval Sung in French with English Surtitles

Composer Georges Bizet Libretto Ludovic Halévy & Henri Meilhac Conductor Antony Walker Director Lindy Hume Set Designer Dan Potra Costume Designer Vicki Feitscher Lighting Designer Stephen Wickham Lighting realised by Matthew Mashall Fight Director Andy Fraser Carmen Milijana Nikolic Don José Paul O’Neill Escamillo James Clayton Micaëla Emma Pearson Zuniga Paull-Anthony Keightley Moralès Sam Roberts-Smith Fraquita Rebecca Castellini Mercédès Fleuranne Brockway Dancaïre Mark Alderson Remendado Matt Reuben James Ward Lillas Pastia Michael Loney Actors Olivia Naudini, Alexander Circosta, Joshua Hannah, Lloyd Hopkins, Ryan Mitchell, Chewe Nkole, Adam Perkin, Joshua Walker

Stage Manager Karen Farmer Deputy Stage Manager Josh Marsland Assistant Stage Manager Jenny Poh Mechanist Dan Paine Guest Chorus Master Ian Westrip Repetiteur Tommaso Pollio Language Coach Helen Brown Head of Wardrobe Sue Kerr Wardrobe Assistant Erin Minervini Head of Wigs Virginia Hawdon Wigs Assistant Christopher Lyons Head of Make Up Sharon Krywood Dresser Sacha Mahboub Dresser Phillip Cox Dresser Mandy Elmit Dresser Holly Sansalone Child Chaperone Pauline Clayton Surtitle Operator Allison Fyfe Pre-Performance Talks Annie Patrick Surtitles provided by Opera Australia and prepared

by Brian FitzGerald.

Lindy Hume

Antony Walker

Dan Potra

Lindy Hume, artistic director of Ten Days on the Island and formerly Opera Queensland, Sydney Festival, Perth International Arts Festival, West Australian Opera, Victoria State Opera, and OzOpera has created more than 50 major productions across Australasia, Europe and the United States.

International productions include Barber of Seville and Comte Ory (Seattle Opera), Carmen and Don Pasquale (Oper Leipzig), La bohème (Deutsche Staatsoper, Berlin), Radamisto (Handel Festspiele, Halle), Streetcar Named Desire and Norma (Opera Theatre St Gallen, Switzerland), Albert Herring and Phaedra (Aldeburgh Festival), The Barber of Seville, Rigoletto and Fledermaus for Houston Grand Opera. Her production of “Cenerentola”, has been presented by New Zealand Opera, Oper Leipzig, San Diego Opera and the Royal Swedish Opera, Stockholm.

As Music Director of Pittsburgh Opera, Antony Walker enjoys the distinction of serving as one of the youngest music directors of a regional company in the United States. A prodigiously gifted musician, he made his professional conducting debut in 1992 in Sydney, and since that time, has conducted well over 100 operas, as well as many large scale choral/orchestral works, symphonic and chamber works with companies in Europe, the United States and Australia.

Recent conducting engagements include The Barber of Seville, The Pearlfishers and The Magic Flute with the Metropolitan Opera, New York, Falstaff with Opera Australia, I Masnadieri and Il Corsaro with Washington Concert Opera, Aida, La Fille du Regiment, La Favorit, The Rake’s Progress, The Barber of Seville, Turandot, The Marriage of Figaro, and Tosca with Pittsburgh Opera, his debut with Maggio Musicale Fiorentino, Italy (Semiramide), West Australian Opera (The Marriage of Figaro), Armida for Pinchgut Opera and La Pietra del Paragone (Rossini) for Wolftrap Opera. In 2018 Antony continues his leadership of both Washington Concert Opera and Pittsburgh Opera, conducting Moby Dick and the World Premier of Bhutto

by Mohammed Faiouz for the latter, as well as well as returning to Australia to conduct Carmen for West Australian Opera.

Dan is a NIDA-graduate designer across the full spectrum of the arts, designing sets, costumes, concepts and animation for opera, theatre, large scale events, dance and film. Dan has received six Helpmann Award nominations for his design work in opera and theatre. International opera and theatre productions include The Portrait for Opera North and Opera de Lorraine, Cyrano De Bergerac for the National Theatre of Greece, Sweeney Todd at Southbank London, The Barber of Seville for Houston Grand Opera, A Streetcar Named Desire for St Gallen Opera in Switzerland, Double It directed by Shi Zheng in China, Hoffmans Adventure with Folkoperan in Sweden and Dracula for the Royal Swedish Opera. Dan has designed large scale sporting and cultural events such as the Sydney 2000 Olympic Games and Clusters of Light in Egypt. He also designed ceremony segments for the 2018 and 2006 Commonwealth Games, as well as the opening of the 2010 FIFA World Cup. Dan has recently completed designs for Turandot, Sydney Opera House: The Opera, Le Comte Sory, Satyahraha and Askungen for the Royal Swedish Opera. In 2018 he has completed productions of Jesus Christ Superstar and La Boheme on Sydney Harbour.

Director

Recent productions include Gianni Schicchi (WAO Opera in the Park), Snow White, Ruddigore and Barber of Seville for Opera Queensland, Athalia and Theodora (Pinchgut). Upcoming productions include Don Giovanni (Opera Queensland) and Carmen (Oper Leipzig).

Conductor

Set Designer

Vicki Feitscher

Stephen Wickham Lighting Designer

Lighting Realised by

Background: Born, Austria.

Studied design at East Sydney Technical College.

Background: Started lighting design in 1978 at Salisbury Playhouse in the UK, later becoming resident designer at the Theatre Royal Plymouth and the Everyman Theatre in Cheltenham as well as freelancing. Stephen has worked for many legendry music artists such as Ella Fitzgerald, Oscar Peterson, Lionel Hampton, Buddy Rich and numerous rock and roll tours and events. He spent three years with English National Opera at The London Coliseum prior to moving to Australia in 1987.

Matthew Marshall is a graduate from the West Australian Academy of Performing Arts (WAAPA) based in Sydney, who has earnt critical acclaim and recognition including The Helpmann Awards (Best Lighting Design nominations 2012 & 2017) and Australian Production Design Guild (Lighting Design nominations 2013 & 2014).

Recent works American Idiot (2018 Australian Tour, Shake & Stir/QPAC), VELVET (2017 Australian/NZ Tour), Band of Magicians ( Tropicana Casino Las Vegas) and Billy Elliot opening the new ASB Waterfront Theatre (Auckland Theatre Company) Other highlights include Home - the opening event of Perth International Arts Festival 2016, Domain 2015 (Sydney Festival), New Breed 2015 premiering in Ludwigshafen Germany (Sydney Dance Company), Beatbox (DreamWorld), iOTA in B Girl (Sydney Opera House),Smoke & Mirrors (Sydney Festival) & Language of Living (New Zealand Dance Company).

Costume Designer

WAO Repertoire: Carmen.

Other Companies: Costume and Set Designer, Lenz and The Affair; costume designs for The Rise and Fall of the City of Mahagonny, La Bohème, Tosca, Carmen, Romeo and Juliet and The Gypsy Princess (Opera Australia). Designed a ballet for the Dance Company of New South Wales; costume designs for Hay Fever (Old Tote); The Sunny South (Sydney Theatre Company); designed The Float and What the Butler Saw (State Theatre of South Australia); Young Mo, Cloud Nine, Tales from the Vienna Woods, Top Girls, The Comedy of Errors, Uncle Vanya, A Toast to Melba (Nimrod Theatre); costumes for the film Remember Me.

WAO Repertoire: La Boheme, The Magic Flute.

Other Companies: Aida, Carmen, The Force Of Destiny, Romeo and Juliette, La Boheme, Simon Boccanegra, Salome, Orlando and Madeline Lee (Opera Australia); Life Love and Beauty, Satu Langit, Fish and Barking Mad (Chrissie Parrott Dance Co.); Bonehead (Chunky Move); The Edge of Night (The Australian Ballet); The Deep End, Possessed and Wild Swans (Meryl Tankard); Cats (Really Useful Company); events for Tiffany & Co in NYC and at the Handover of Hong Kong, Candy Man, Australian tour for Wayne Scott Kermond.

Matthew Marshall

Matthew’s opera credits include La Boheme (Opera Australia), Iphigenie En Tauride, Bajazet, Armida, & Rameau Triple Bill (Pinchgut Opera), The Barber of Seville (Seattle Opera, Opera Queensland), La Cenerentola (Oper Leipzig, New Zealand Opera, Royal Swedish Opera) Carmen (New Zealand Opera), Götterdämmerung, St Mathew Passion, A Flowering Tree and Candide (Perth International Arts Festival).

Andy Fraser

Fight Coordinator

Carmen

Milijana Nikolic

Paul O’Neill

Andy Fraser is a fully certified Fight Director and Stage Combat Instructor holding accreditation from the Society of Australian Fight Directors Inc., the British Academy of Dramatic Combat and Fight Directors Canada. His company, Stage Combat Perth, is the premier provider of stage and screen combat solutions to the entertainment industry in W.A.

Milijana Nikolic’s most recent performances include Jane Seymour (Anna Bolena) for The Metropolitan Opera New York, Eboli (Don Carlo), Amneris (Aida), Verdi’s Requiem and the title role in Carmen for Opera Australia, Pantasilea (Bomarzo) for Teatro Real Madrid, Carmen for Fujiwara Opera Japan and Dalila (Samson et Dalila) with the Tokyo Philharmonic Orchestra.

Australian tenor and WAAPA graduate Paul O’Neill has, over the past decade, forged for himself a compelling international career. “Listening to O’Neill...one had a sense of intelligent musicianship, refined technique and a sophisticated theatrical instinct placed utterly at the service of the music.” – Limelight.

O’Neill was an ensemble member of the Berlin Staatsoper for five years.

Operatic roles include: Duca di Mantua in Rigoletto with Opera Holland Park, Opera Australia, West Australian Opera, Staatstheater Karlsruhe and Staatstheater Mainz; Turridu in Cavalleria Rusticana, Carlo VII in Verdi’s Giovanna d´Arco for Theater Bielefeld; Jason in Cherubini’s Médée for Theater Bielefeld and Staatstheater Mainz and Cavaradossi with Theater Bielefeld, Theater Madgeburg and Western Australia Opera; Don José in Carmen at Glyndebourne; Laca in Jenufa and The Diary of one who disappeared for Opéra de Lille; Gounod’s Faust for Theater Hagen, Münster and Staatstheater Mainz; Rodolfo in La Bohème for Oper Halle, West Australian Opera and most recently Handa Opera on Sydney Harbour; Elvino in La Sonnambula and Laca in Jenufa with Oper Graz; Radames in Aida in St. Margarethen and Prince in Rusalka for Staatstheater Saarbrücken among others.

Since emigrating to Perth in 2001, Andy has worked on a wide range of productions for a variety of companies including Black Swan State Theatre Company, WA Opera, Perth Theatre Company, Deckchair Theatre, Yirra Yaakin Theatre Company, Barking Gecko Theatre Company and numerous independents. Andy has also worked extensively in film and television on projects encompassing feature and short films, advertisements and TV series.

Andy teaches at several institutions including W.A.A.P.A., Central Institute of Technology, Principal Academy of Dance and he has also been a Workshop Co-ordinator and Senior Instructor on several Stage Combat workshops across Australia and internationally.

In 2018, she sings Amneris for Seattle Opera and Opera Australia, Carmen for West Australian Opera and Azucena (Il trovatore) in Trieste, Bari and Japan.

Serbian-born, Milijana won a two-year scholarship to attend the Academy for Soloists at Teatro alla Scala, Milan. Since this time, she has sung leading mezzo-soprano roles (especially Carmen, Dalila, Amneris and Eboli) throughout Europe, Asia, North America, Australia and New Zealand.

In Asia, Milijana has sung Eboli (Don Carlo) in Korea and for Opera Hong Kong; she has also appeared with the Hong Kong Philharmonic Orchestra, the Hong Kong Sinfonietta and the Kanasawa Festival in Japan.

Don José

James Clayton

Escamillo

Micaëla

Emma Pearson

Paull-Anthony Keightley

Praised for his vocal phrasing and colour, James Clayton is one the most versatile singers to emerge from Australia in recent years.

Principal artist at the Hessisches Staatstheater, Wiesbaden from 2005-2014, where she was the youngest singer to be awarded the honorary title of “Kammersängerin”, Emma Pearson’s repertoire there included the title roles in Lucia di Lammermoor, Lulu and La Calisto; Queen of the Night (Die Zauberflöte), Zerbinetta (Ariadne auf Naxos), Jenny (The Rise and Fall of the City of Mahagonny), Nanetta (Falstaff), Woglinde, Gerhilde and Waldvogel (Wagner’s Ring Cycle), Sophie (Der Rosenkavalier), Norina (Don Pasquale) and Hilde Mack (Elegy for Young Lovers). Recent and forthcoming engagements for West Australian Opera include the title role in Lucia di Lammermoor, Susanna (Le Nozze di Figaro); Micaela (Carmen) and Donna Elvira (Don Giovanni); title role (Athalia) for Pinchgut Opera; UKARIA 24; 4 Winds Festival; Beethoven Missa Solemnis (Budapest); Micaela for New Zealand Opera and Tasmanian Symphony Orchestra; Violetta (La Traviata) Opera Queensland; Gilda (Rigoletto) for New Zealand Opera, Theater St Gallen and Staatstheater Saarbrücken; Clorinda (La Cenerentola) Semperoper Dresden; Sophie for Opera Australia, Minneapolis and Valencia; and Nanetta in the Nationaltheater Mannheim.

A graduate of Manhattan School of Music and the Western Australian Academy of Performing Arts, Paull-Anthony made his professional debut with West Australian Opera in 2016. The following year Paull-Anthony was named the winner of the Opera Foundation for Young Australians’ Deutsche Oper Berlin Award, received the Richard Bonynge Award in the Joan Sutherland & Richard Bonynge Bel Canto Award and was named a finalist in both the Opera Foundation for Young Australians’ Lady Fairfax New York Scholarship and the IFAC Handa Australian Singing Competition.

In 2018, he sings Marcello (La bohème), Escamillo (Carmen), Leporello (Don Giovanni) and The Forrester (The Cunning Little Vixen) for West Australian Opera and Angelotti (Tosca) for New Zealand Opera; he appears in concert with the Tasmanian and West Australian Symphony Orchestra and Orchestra Wellington.

James made his Opera Australia debut as Baron Douphol in La traviata – in Handa Opera on Sydney Harbour – and his Japanese debut as Don Alfonso in Cosi fan tutte for Biwako Hall.

Other appearances include Escamillo (Carmen) for OA and NZO, Tonio (Pagliacci) for Victorian Opera and a plethora of major roles for West Australian Opera - Scully (The Riders), Leporello (Don Giovanni), Iago (Otello), Conte di Luna (Il trovatore) and the title roles in Rigoletto, Le nozze di Figaro and Il barbiere di Siviglia.

Zuniga

2018 sees Paull-Anthony as Colline (La Bohème), Parson/ Badger (The Cunning Little Vixen) and Zuniga (Carmen) with West Australian Opera, the recipient of the Amelia Joscelyne Memorial Scholarship from the Melba Opera Trust and Sir Robert William Askin Operatic Scholarship before joining the ensemble at Deutsche Oper Berlin for the 2018/19 season. Previously he won first place at the Royal Over-Seas League Singing Competition and was awarded scholarships from the Dame Joan Sutherland Fund, the Australian Music Foundation, the Australian Elizabethan Theatre Trust and the Royal Schools of Music Club and is the recipient of a 2017 Mike Walsh Fellowship.

Sam Roberts-Smith

Rebecca Castellini Frasquita

Mercédès

Australian baritone Sam RobertsSmith is a graduate of the Western Australian Academy of Performing Arts and is already widely recognised as one of the most exciting and talented performers of his generation.

Winner of numerous prizes and awards including the Marianne Mathy Scholarship: The Australian Singing Competition, Joan Sutherland Society of Sydney Award, Deutsche Oper Berlin Award: The Opera Foundation for Young Australians and various prizes at the Paris Opera Awards.

Rebecca Castellini made her professional debut with the West Australian Opera as the Cock/Jay in the 2018 production of The Cunning Little Vixen.

She will continue to work with West Australian Opera for the rest of their 2018 Season, singing the roles of Frasquita, in Carmen, and Zerlina, in Don Giovanni. Rebecca also debuted with Lost and Found Opera this year, singing the role of Kate Kelly, in the Workshop Presentation of the new opera, Ned Kelly.

Praised for her “lusciously dark centred” voice by the Herald Sun, Fleuranne was born in Perth and completed a Bachelor of Music in Classical Vocal Performance under the tutelage of Megan Sutton at UWA. She has since furthered her vocal studies working with Gregory Yurisich AM and attended the Lisa Gasteen National Opera School from 2014-2016 on a full scholarship. In 2015, Fleuranne made her debut with the Queensland Symphony Orchestra as Cherubino in scenes from Mozart’s Le nozze di Figaro, and returned in 2016 as Meg in scenes from Verdi’s Falstaff. In 2016, she joined Victorian Opera as one of their Developing Artists. In 2017, Fleuranne joined West Australian Opera as one of their Wesfarmers Young Artists and is a joint recipient of the Bendat Scholarship. Last year, she was awarded first place in the National Liederfest competition, which saw her fly to Austria to attend the famous Franz Schubert Institute in Vienna.

This year, Fleuranne joins Melba Opera Trust as the Annie McFarling Opera Scholarship and Ruskin Opera Scholarship recipient. She is the inaugural winner of the Australian International Opera Award to the Royal College of Music.

Moralès

He has recently finished his first season as a principal artist with the Deutsche Oper Berlin and is a former principal artist of Opera Australia. Even at this early stage of his career, Sam has collaborated with some of the biggest names in the operatic world including Leo Nucci, Patricia Racette, Simon Keenlyside, Stephen Costello, Charles Castronovo, Zeljko Lucic and Richard Bonynge.

Rebecca is a 2018 and 2017 Wesfarmers Young Artist with the West Australian Opera and Recipient of the Bendat Scholarship.

Rebecca studied at the Western Australian Academy of Performing Arts, completing a Graduate Diploma, Bachelor and Advanced Diploma of Music.

Until this year, Rebecca was working with West Australian Sam is a former mentored Artist Opera as a regular chorus of the West Australian Opera and member, performing in Lucia di dedicates his performance to his Lammermoor 2017, The Merry parents for their love and ongoing Widow 2017, Tosca 2017, Le support.

Pêcheurs de Perles 2016, L’elisir d’amore 2016, Faust 2015 and Madama Butterfly 2015.

Fleuranne Brockway

Fleuranne Brockway is a 2018 Wesfarmers Young Artist and appears courtesy of West Australian Opera.

Mark Alderson

Matt Reuben James Ward Remendado

Michael Loney

Mark completed his Bachelor of Music at the University of Western Australia in 1996. He completed further studies at the Opera School Wales in 2001 and The Australian National Academy of Music in 2003.

Matt Reuben James Ward is a graduate of the Royal College of Music London (RCM Yvonne Wells Award) and the West Australian Academy of Performing Arts.

Perth born Michael made his debut with the West Australian Opera Company last year playing Njegus in The Merry Widow. In 2017 Michael wrote and directed The Snake Pit for the Morning Melodies concert series for His Majesty’s Theatre celebrating the beginning of Rock and Roll in Western Australia at Scarborough Beach in the 1950s.

Dancaïre

West Australian Opera: Mark was young artist for the company in 1998 and 1999.

Roles include Schaunard in La Boheme, Antonio in The Marriage of Figaro, Wagner in Faust, Betto in Gianni Schicchi, Morales and Zuniga in Carmen, Cascada and Pritschich in The Merry Widow, Fiorello in Il Barbiere di Siviglia, and Gregorio in Romeo et Juliette. Mark has also been part of the company’s regional tours to Kalgoorlie, Mandurah, Geraldton, Broome, the Valley of the Giants, and the Pinnacles.

Mark has been a member of the West Australian Opera Chorus since 1994.

Other Companies: Baritone soloist for The University Choral Society, Perth Oratorio Choir, Collegium Symphonic Chorus, St George’s Cathedral and Albany Choral Society.

Credits include the Messenger in Stephen Fry’s Life to Come (Britten Theatre), Western Union Boy in English Touring Opera’s Olivier Award Winning Paul Bunyan (UK tour), Frantz in Tales of Hoffmann (ETO, UK tour), Giacomo in L’assedio di Calais (Armel Operafesztivál Budapest, Arte live broadcast, ETO), Monostatos in Die Zauberflöte (Mid Wales Opera), Borsa in Rigoletto (Opera Project), Jiminy Cricket in Pinocchio and Carter in King Tut (Charles Court Opera London). Previously for WAO Matt performed Mercury in Orpheus in the Underworld, A Lawyer in Peter Grimes, and as a soloist in PEET Young Artist Concert Series.

Matt also works extensively in opera community engagement, having worked on projects with Operasonic UK, Royal College of Music Sparks Family Orchestra & Chorus London, BBC Symphony Family Orchestra & Chorus, BBC Proms Sing Plus and Royal Philharmonic Orchestra Glyndebourne.

Lillas Pastia

Michael is a graduate of Curtin University, then WAIT, and the Bristol Old Vic Theatre School in England. His appearances on TV in the UK include Coronation Street, Howards’ Way and Tenko, and in Australia in Ship to Shore, Minty, Cloudstreet and The Great Mint Swindle.

Michael has worked with all the major theatre companies in WA appearing in over 100 productions. Roles include Martin in The Goat or who is Sylvia?, Sweeney in Sweeney Todd the Demon Barber of Fleet Street, Bottom in A Midsummer Night’s Dream, Pete in Speaking in Tongues, Noel in Noel and Gertie, Torvald in The Doll’s House and Sorin in The Seagull. He has been nominated five times for Best Actor at the Equity Guild Awards, winning twice.

West Australian Opera Chorus SOPRANOS

MEZZO SOPRANOS

TENORS

BASSES

Mary-Attracta Connolly

Helen Brown

Jonathan Brain

Dudley Allitt

Leilah Fox

Sonni Byrne

Ry Charleson

Jake Bigwood

Jillian Halleron

Belinda Cox

Matt Dixon

Kristin Bowtell

Naomi Johns

Nola Formentin

Perry Joyce

Callen Dellar

Yann Kee

Anne Millar

Jason Kroll

David Dockery

Lucy Mervik

Stephanie Parr

Rob Littlewood

Mark Hurst

Penny Shaw

Ashlyn Tymms

Tim Schoenmakers

David Penco

Xiojia Zhang

Elizabeth Vale

Simon Wood

Thomas Friberg

Carmen Children’s Chorus

Thomas Denver

Hugh Fellows-Smith

Ella Hagon

Ethan Kent

Genevieve Kessey

Lily Macliver

Austin Matthews

Sophia Matthews

Kate Temme

Matilda Wilson

Declan Zammit

Ryan Buckeridge Madeline Kelly Snail / Fox Cub

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Synopsis ACT ONE: SEVILLE Micaëla is searching for Don José but he is not amongst the soldiers on duty. The workers come out for their break, Carmen amongst them. Micaëla returns with a letter from Don José’s mother, which dispels his thoughts of Carmen and reminds him of his love for Micaëla. Screams erupt from the factory where Carmen has attacked another worker. She is arrested and Don José is left to guard her. Carmen convinces Don José to help her escape, promising a night of love in return.

ACT TWO: A TAVERN Don José has just finished a prison sentence for his part in Carmen’s escape.

Escamillo, the celebrated toreador and his group pass by. Carmen and Escamillo are attracted to one another. A band of smugglers arrive, and ask the gypsy girls to join them. Carmen refuses as she is waiting for Don José. He finally arrives, but shortly is recalled to the barracks. Carmen angrily accuses him of being more dedicated to duty than to love. Don José protests his devotion. Zuniga, Don José’s officer, enters looking for Carmen. A fight erupts between the two men. After this act of insubordination, Don José joins Carmen and the smugglers.

ACT THREE: THE SMUGGLERS’ HIDEOUT Don José is still infatuated with Carmen, but is brooding over the life he has sacrificed for her. Carmen has lost interest in him, and foresees her own death in the cards. Micaëla arrives to see Don José. Escamillo has also made his way to the hideout, seeking Carmen. A fight begins between the rival lovers, which is stopped

by Carmen’s return. Escamillo leaves, inviting the whole group to his next bullfight.

Micaëla implores Don José to return home. He eventually agrees, warning Carmen that they will meet again.

ACT FOUR: SEVILLE Escamillo and Carmen arrive at the bullfight. Carmen is warned that Don José is in the crowd, but she is not intimidated. Don José confronts Carmen outside the ring and begs her to begin a new life with him. A chant goes up for Escamillo inside the ring. Carmen takes Don José’s ring off her finger and throws it to the ground; Don José kills her.

Image: West Australian Opera’s Carmen 2010 season

CARMEN: FROM DISASTER TO LEGEND

“Why then, was Carmen’s premiere such a disaster?

The fact was that the critics were so overcome by the scandalous plot that they completely overlooked the music’s marvellous richness of melody, harmony and rhythm.”

If there is a single opera that can claim universal appeal, with its hit tunes recognized everywhere, it is Bizet’s Carmen. The production marked a turning point in operatic history and yet when it was premiered at the Opera-Comique in Paris on 3 March 1875 it was a resounding flop!

collaboration with operetta’s king, Jacques Offenbach, had made them famous, and on Carmen’s opening night they had four other shows running simultaneously (and successfully) in Paris. Ironically it is through Carmen that they have gained everlasting fame.

Bizet’s choice of protagonists—a promiscuous gypsy, a deserting corporal and a sporting hero—was not particularly outrageous, but his treatment of their actions and emotions appeared totally shocking to the Parisian audience of the day. He made Carmen, Don José and Escamillo react to love, jealousy and revenge, not in the conventional operatic manner, but as men and women of flesh and blood. He brought their suffering onto the operatic stage and there was no happy ending!

Given this genesis, it is no surprise that an opera like Carmen should run into trouble at rehearsal before it even reached the premiere and its public.

And Bizet’s inexperience and emotional outbursts didn’t help matters: he was relatively young and not a revered opera composer with an established reputation; he was quick tempered; and did not suffer fools. The theatre’s director Camille du Locle, who had been responsible for commissioning the work, didn’t like the music, and his co-director Adolphe de Leuven resigned in protest against the murder of Carmen on stage.

Despite strong opposition from both directors and librettists, Bizet chose to set Prosper Mérimée’s short novella, Carmen, in which the narrator meets José in a Spanish jail and hears him recount his stormy relationship with the gypsy Carmen. To convert this powerful story of love, jealousy and revenge into an operatic libretto, Bizet turned to Henri Meilhac to write the prose dialogue and Ludovic Halévy to supply the verse.

In Paris of the 1870s these two librettists were successful in their own right, but not because of Carmen, which was just a sideline. Their

However, both composer and librettists agreed that new characters were required to flesh-out Mérimée’s plot, which focused solely on Carmen and her lover. Hence the entrance of Micaëla, the sweet and conservative messenger sent by José’s mother—she is the perfect foil for Carmen, and Escamillo’s suavity and macho posturing gives Carmen a plausible alternative for her desire when love for José wanes.

The characters of Carmen were, and still are, very true to life. Consequently it was no surprise that audiences in 1875 were shocked—they were bound to be, considering French operatic traditions and the stuffiness and hypocrisy of French bourgeois society. It would be another twenty to thirty years, and in Italy not France, before the cult of operatic realism known as verismo would be born. Carmen was its precursor.

Despite the Spanish flavour of the piece, Carmen is actually a triumph of the French language and music, in which Bizet raises word-setting, character development and orchestration to new heights. However, it took audiences outside of France to appreciate his greatest work, and the popularity of Carmen grew rapidly after opera was revised in Vienna and then London. From there it moved into the repertoire of opera houses worldwide.

Bizet’s operatic language was not revolutionary, rather he was enlarging and elaborating on traditional forms. According to musicologist Winton Dean, it was Mozart who was Bizet’s principal model for portraying drama in musical terms: ‘In his combination of passionate involvement with dramatic detachment, its interpretation of the characters from within, so that each speaks with his own voice and in tone foreign to any of the others, Carmen belongs to the line of The Marriage of Figaro and Don Giovanni.’

Since then the opera has seen many different readings, including this current feminist slanted production originally directed by Lindy Hume. She believes “these people aren’t ‘good’ or ‘bad’, they are just who they are, ordinary people in messy, unresolvable situations…..For me, her [Carmen’s] story is an inspiration rather than a cautionary tale or tragedy. Cigarette girl becomes Legend with the words: ‘I was born free and I will die free.’”

Why then, was Carmen’s premiere such a disaster? The fact was that the critics were so overcome by the scandalous plot (ending in onstage murder), that they completely overlooked the music’s marvellous richness of melody, harmony and rhythm. In fact, one critic wrote “The music lacks novelty and distinction. There is no plan, no unity in its style…it is neither dramatic nor scenic!”

Annie Patrick Program Notes, July 2018

The season staggered on for forty-five performances after the premiere. However, audiences came to gloat over the “tawdry immorality” they read and heard about, rather than judge the opera on its merits It broke Bizet’s heart—worn out by disappointment and illness he died before the first season was even over. He was thirty-six.

Image: Caitlin Hulcup as Carmen West Australian Opera 2010

Thank you LEADERSHIP CIRCLE ($10,000+) Alexandra & Julian Burt Mario D’Orazio Warwick Hemsley & Melissa Parke Sam & Leanne Walsh Anonymous (1) PRINCIPAL PATRON ($5,000+) Dr Jack Bendat AM CitWA & Mrs Eleanor Bendat Catherine Ferrari Dr Patricia Kailis The Robert Kimpton Family Dr Robert Larbalestier Annie & Neil Patrick Dr Peter Simpson OAM Richard Tarala & Lyn Beazley AO Joyce Westrip OAM Anonymous (2) BENEFACTOR ($2,500+) Neil Archibald & Alan R Dodge AM Eleanor John Max Kay AM CitWA & Norma Kay Francis Landels Dr Bryant Macfie Michael & Helen Tuite Joyce Young Anonymous (1) SUPPORTER ($1,000+) Gaysie Atkinson Betty Barker Gay & Robert Branchi Dr Peter & Mrs Rae Breidahl Lynne Burford Publicity Mrs Joan Carney Frank Cooper AO Christene Dalla Riva Lorraine Ellard Rosemary Grigg & Peter Flanigan Dr Dennis Hayward Kathryn Hogan & Graham Droppert Ulrich & Gloria Kunzmann Ross & Frances Ledger Patrick Lilburne

Richard Noble & Co Celia & Neil Patterson Maria & Robert Radici Bill Reid Kerry Sanderson AC Kim & Keith Spence Yannis Vrodos Dr Chris & Mrs Vimala Whitaker Anonymous (3) TRUSTS AND FOUNDATIONS Bendat Family Foundation James Galvin Family Foundation McCusker Charitable Foundation Stan Perron Charitable Trust Wright Burt Foundation ANDREW AND NICOLA FORREST The generous gift of FMG shares is testament to the Forrest’s commitment to a strong and vibrant arts sector in Western Australia. We acknowledge the Minderoo Foundation.

YOUNG ARTIST PROGRAM The Bendat Scholarship James Galvin Family Foundation Mr Andrew Mitchell Society of WA Opera Lovers BEL CANTO FUND Thanks to the leadership donors of the Bel Canto Fund BEQUEST CIRCLE Anita & James Clayton Lorraine Ellard Ailsa West Anonymous (7)

Behind every great artist are loyal supporters and West Australian Opera is grateful for the kindness and generosity of our donors YOUNG LEADERS CIRCLE (Partnered by Herbert Smith Freehills) Amanda Ainslie Myles Barlow Alexander Beer Emma Cundale Rachel Dawson Melissa De Abreu Jane Gallop Danica Goodbody Amy Hallam Alana Herbert Jonathan Israel John Larbalestier Aaron McDonald Elizabeth Meredith Anne Nguyen Amna Omerhodzic Dean Rose Gemma Serjeant Gabrielle Sumich Sonja Tasovac Yannis Vrodos FRIEND ($200+) Ian & Kerry Adams A & H Anstey Tom Aram Cathy Bardon & Bob Cassie Siobhan Beilin Dr Colin W. Binns Claire Brittain & John McKay Lynne Buzzard Mary Carr Helen Carroll Dr Charlene Caspersz Carolyn Chard AM Gary Chard K & M Chester Ron & Helen Clements Douglas Clifford & Cliff Eber Tony & Sheila Cockbain Harvey Collins Helen Cook Susan Dry Mrs Shirley Egan

Friends of His Majesty’s Theatre T & E Gerner Isobel Glencross Ms Stephanie Rose Goodlad Dr Rosalind Hampton Peter Hawkins Dr Penny Herbert Ian & Sue Hobson Keith Holt & Anne Fuller Professor Lynne Hunt Margaret Jarman Dr Louis Landau Suzette Landels Jock & Jennifer Laurie Carolyn Lester Megan Lowe Jill Lowes Dr Toby Manford Bronwyn Meredith Anthony Munro Helen Nicholas Beverley & Tony Noakes Anne Pedlow Taui Pinker Len & Sue Roberts-Smith Thurston Saulsman Elizabeth Shelton Rosalind Smith Dr Louise Sparrow Jan Stacey Warren & Katharina Surtees Diana Warnock and the late Bill Warnock Peter & Hilary Winterton Rudy Zomer Anonymous (15)

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Venue Acknowledgements PERTH THEATRE TRUST Chairman Morgan Solomon Trustees Cr Jim Adamos Cr Janet Davidson Julian Donaldson Michelle Tremain Tanya Sim Nadia van Dommelen Colin Walker DIRECTOR GENERAL OF DEPARTMENT OF LOCAL GOVERNMENT, SPORT AND CULTURAL INDUSTRIES & PERTH THEATRE TRUST GENERAL MANAGER Duncan Ord OAM

HIS MAJESTY’S THEATRE ADMINISTRATION Venue Manager Helen Stewart Manager Venue Operations Alexandra Macnish Event Operations Coordinator Jenny May Administration Assistant Julianna Noonan Stage Door Keeper Narda McMahon Box Office Supervisor Jenny Franklin Archivist Ivan King

HIS MAJESTY’S THEATRE VENUE TECHNICAL Technical Manager Matthew Nankivell Assistant Technical Manager Tony Gordon Head of Audio Jeremy Turner Head Flyman Matt Mclay Lighting Board Operator Cameron Routley Head Electrician Michael Rippon

Company BOARD Chairman Andrew Pascoe Deputy Chair Catherine Ferrari Board Directors Julian Burt Mario D’Orazio Anthony Gianotti Darren Lewsen Ingrid O’Brien Jan Stewart PATRON Dr Jack Bendat AM CitWA HONORARY LIFE MEMBERS Dario Amara Hon Julie Bishop MP Frank Cooper OAM Erich Fraunschiel Colin Goddard

Francis Landels Warwick Hemsley Bruce Martin AM Margaret McManus Dr Richard Mills AM Annie Patrick Marilyn Phillips Vincent A Warrener AM KHS WEST AUSTRALIAN OPERA STAFF Executive Director Carolyn Chard AM Artistic Director Brad Cohen Production Manager Mandy Farmer Development Manager Coralie Bishop Acting Development Manager Claudia Rayne

Accountant Debbie Byrnes Artistic Administrator Rebecca Kais Education Manager Terasa Letizia Marketing Manager Danielle Ierace Development & Marketing Coordinator Tanner Davies Marketing Consultant Daniele Foti-Cuzzola Publicity Lynne Burford Financial Accountant Sue Hobson Sales Consultant Rachel Sait Regional Projects Manager Melanie Timms

WASO Onstage Tonight First Violins Lena Zeliszewska Rebecca Glorie Stephanie Dean Beth Hebert Christina Katsimbardis Lucas O’Brien Ken Peeler Jolanta Schenk Cerys Tooby Second Violins Kylie Liang Kate Sullivan Sarah Blackman Sunmi Jung Ellie Lawrence Akiko Miyazawa Melanie Pearn Jane Serrangeli David Yeh

Violas Alex Brogan Nikola Babic Ben Caddy Alison Hall Elliot O’Brien Helen Tuckey Cellos Rod McGrath Louise McKay Shigeru Komatsu Oliver McAslan Nicholas Metcalfe Eve Silver Fotis Skordas Tim South Xiao Le Wu Double Basses Andrew Sinclair Caitlin Bass

Christine Reitzenstein Andrew Tait Flutes Mary-Anne Blades Michael Waye Oboes Liz Chee Leanne Glover Clarinets Allan Meyer Lorna Cook Bassoons Jane Kircher-Lindner Adam Mikulicz Horns Robert Gladstones Julia Brooke Frankie Lo Surdo Dorée Dixon Sarah Brien

Trumpets Matt Dempsey Peter Miller Trombones Joshua Davis Liam O’Malley Philip Holdsworth Matthew Walker Timpani Alex Timcke Percussion Brian Maloney Francois Combemorel Robyn Gray Harp Sarah Bowman

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