WAO's Lucia di Lammermoor Program

WEST AUSTRALIAN OPERA

50 1967 - 2017

LUCIA DI LAMMERMOOR DONIZETTI

Director’s Message “In the fabrics and furniture of this Lucia can be found the fabled ghosts of past performances. They inspire us to take full advantage of the talents and intelligence of this wonderful new cast to find new meaning, while respecting the traditions of the past ” In Flaubert’s Madame Bovary (1857), Emma is attending Donizetti’s opera Lucia di Lammermoor and is deeply moved by the experience, so much so that “the voice of a prima donna seemed to her but the echo of her own consciousness”. Trapped by marriage and abandoned by her lover, Emma ‘recognised all the intoxication and anguish that had almost killed her.”

Flaubert’s Emma is fictional, but her response to Lucia’s turmoil is real and over time, generations of readers have similarly connected with her inner struggle between duty and desire. The story of a young girl forced by her brother to marry against her will, who is so victimised and distraught she murders the groom on her wedding night, first appeared in print as The Bride of Lammermoor by Walter Scott in 1819. Donizetti’s masterstroke was to turn a few pallid sentences of the novel into a marathon display of vocal dexterity and a gruelling examination of psychosis – Lucia’s iconic mad scene.

The scene is today celebrated as the ultimate test for bel canto soprano; it was a hallmark of Maria Callas’ career, for Joan Sutherland it was her breakout role in 1959 at the Royal Opera House, Covent Garden. In this landmark 50th year for WAO, audiences will see and hear WA’s own Emma Pearson perform Lucia for the first time on local soil – a thrilling prospect for opera audiences.

WAO’s production of Lucia di Lammermoor can trace its lineage quite nobly all the way back to Covent Garden in 1959 and Franco Zeffirelli’s classic production. Renowned for definitive, highly-detailed period designs and exquisite taste, Zeffirelli’s approach was well-known to a young staff director at the time, John Copley, who would himself become a leading director of his generation. When Copley was invited to create a new Lucia di Lammermoor for Australia in 1980, he chose to leave Zeffirelli’s imprint on the production and reproduce some of those original staging ideas to once again, best showcase Sutherland.

Since then, John Copley’s marvellous production has toured across the country and become the means by which Australian audiences have fallen (madly) in love with Donizetti’s opera.

In the fabrics and furniture of this Lucia can be found the fabled ghosts of past performances.

They inspire us to take full advantage of the talents and intelligence of this wonderful new cast to find new meaning, while respecting the traditions of the past - to create an experience that’s unique for our audience in 2017. It’s an honour to join the company in its 50th year as the wonderful story that is West Australian Opera continues to unfold…

Matthew Barclay DIRECTOR

Conductor’s Message “From being a fragile flower at one extreme, to an avenging angel on the other, the opera allows for different perspectives on this one character.

Is she mad? Or is she sane in her reaction to intolerable abuse?”

Lucia di Lammermoor is a case study in what the Germans call reception theory - the history of how a work of art is received and understood, separate from the work itself. And Lucia’s journey is more interesting than most.

Sir Walter Scott, who wrote the novel which is the basis for the story, may mystify us today by his immense popularity in the nineteenth century, since the language and length of his novels often defeats modern endurance. But Scott is the single richest source for nineteenth century opera plots, bar none. His novels are full of characters, local colour, and a leisurely outworking of plot and consequence. In the history of the Ashton and Ravenswood families, the feud goes back generations, and we join the narrative at the point where a crisis is reached. Old money is unseated by new political alliances, and the children of both families pay the cost.

What cost does Lucia herself pay? In traditional productions, she loses her mind under the force of situations which she cannot control. In newer perspectives, she acts out from a position of power, through the one tool she has - a dagger. Our explanations for who Lucia is, and why she acts as she does, mirror the cultures we live in. And these explanations have varied extensively over the one hundred and eighty years since the premiere. From being a fragile flower at one extreme, to an avenging angel on the other, the opera allows for different perspectives on this one character. Is she mad? Or is she sane in her reaction to intolerable abuse?

What’s rewarding about reception theory is that it gives us a way out from regarding artworks as fixed and defined. In fact, just as readers can be said to define books as they read them, so as opera audiences we infuse what we see and hear with our own prejudices and ideologies.

The person in the seat next to you this evening may well (and probably will) have a very different experience to yours, and they will have their own view on Lucia’s state of mind.

Does any of this matter? Yes, I believe it does. If art, in this case opera, exists to confirm us, to reinforce our certainties and frame our world, it has limited power and a definite shelf life since times, and with them views, change. If it exists (as I believe it does) to question, to open doors, to celebrate diversity and surprise, its potential for our future is limitless. Lucia is for me an opera which poses questions, and does not interest itself in easy answers..

Brad Cohen CONDUCTOR

Lucia di Lammermoor

His Majesty’s Theatre 26, 28 October and 2, 4 November 2017 West Australian Opera Chorus West Australian Symphony Orchestra

Composer Gaetano Donizetti Libretto Salvadore Cammarano Conductor Brad Cohen Original Director John Copley Rehearsal Director Matthew Barclay Set Designer Henry Bardon Costume Designer Michael Stennett Lighting Designer Donn Byrnes Lucia Emma Pearson Enrico Samuel Dundas Edgardo Aldo di Toro Arturo David Woodward Raimondo Wade Kernot Normanno Matthew Lester Alisa Fiona Campbell Stage Manager Karen Farmer Deputy Stage Manager Josh Marsland Assistant Stage Manager Erryn Hanson Head of Wardrobe Sue Kerr Wardrobe Assistant Louise Arcus Head of Wigs Virginia Hawdon Wigs Assistant Christopher Lyons Head of Make Up Sharon Krywood Dresser Mandy Elmitt Dresser Erin Minervini Dresser Sacha Mahboub Dresser Katherine MacKay Costume Maintenance Holly Sansalone Repetiteur Tommaso Pollio Pre-Performance Talks Annie Patrick Dancers Andrew Searle, Ron Van Den Borgh Alexander Perrozzi, Zachary Lopez Talitha Maslin, Alexandra MacNish, Floeur Alder, Fiona Hull Actors Adam Perkins, Samuel Cutler, Peter Neaves, Lachlan Stewart, Tristan Balz, Ben Weirheim Josh Hannah, Christopher Sansoni

Two noble Scottish families, the Ashtons and the Ravenswoods, are sworn enemies. Enrico Ashton, who is almost bankrupt, has arranged for Arturo to marry his sister, Lucia, who is in love with Edgardo Ravenswood.

ACT 1 Ashton’s servants search the castle for an intruder, while Lucia waits for Edgardo in the garden. Edgardo tells Lucia he must leave for France, but first hopes to make peace with Enrico so that he may marry Lucia. They exchange rings ACT 2 Enrico decides Lucia must marry Arturo at once. He knows she will resist, so he shows her a forged letter suggesting Edgardo’s unfaithfulness. Lucia is crushed. Arturo and the stunned Lucia sign the marriage contract.

Edgardo suddenly arrives and discovers Lucia’s signature on the marriage contract. He curses her, and throws his ring to the floor.

ACT 3 Arturo and Lucia have retired to the bridal chamber. Raimondo interrupts the festivities in the Great Hall and announces that Lucia has stabbed her husband to death. Lucia enters, smeared with blood. She collapses and is carried away. Outside the castle, Edgardo learns that Lucia has died, and stabs himself, hoping to be united in death with Lucia

Vice Regal Patron’s Message

As Vice Regal Patron of West Australian Opera, I welcome you to this production of Lucia di Lammermoor.

Set in 17th century Scotland, Lucia di Lammermoor is a musical masterpiece with melodic moments that are both beautiful and tragic.

In West Australian Opera’s 50th year this season is a nod to the company’s first patron, Dame Joan Sutherland, who was renowned for singing this title role and indeed performed in this production.

For 50 years the state opera company has contributed to the arts in Western Australia by presenting world class opera at His Majesty’s Theatre, offering education and community programs, and developing young artists through the Wesfarmers Arts Young Artist Program. I invite you keep the passion for opera alive and subscribe to the 2018 opera season.

I join the Chairman, Terry Bowen, and General Manager, Carolyn Chard, in acknowledging the generous support of State and Federal governments, as well as expressing appreciation to our private and corporate supporters. Their support is very important and much valued.

Her Excellency The Honourable Kerry Sanderson AC GOVERNOR OF WESTERN AUSTRALIA Vice Regal Patron West Australian Opera

Chairman’s Message

Welcome to Donizetti’s masterpiece Lucia di Lammermoor in the very production that West Australian Opera patron, Dame Joan Sutherland, made her own. I thank the artists, the creative team, West Australian Symphony Orchestra and West Australian Opera Chorus conducted by Brad Cohen, who will bring this production alive on the stage.

Opera is a beautiful but expensive art form and we value the contribution of our sponsors, patrons, donors, board and you, our audiences. Subscribers play an important role in the life of West Australian Opera and I encourage you to subscribe to the 2018 season (see waopera.asn. au).I acknowledge our highly valued and appreciated Principal Partner Wesfarmers Arts, Major Partners Healthway, Minderoo Foundation and APN Outdoor, Civic Partner the City of Perth, Official Airline Partner Qantas and Principal Artist Partner EY. 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 and the Arts and Lotterywest.

And I thank you, our audiences, for being here to celebrate our 50th anniversary year.

Terry Bowen CHAIRMAN West Australian Opera

General Manager’s Message

Donizetti’s Lucia di Lammermoor, in this original production by John Copley, Michael Stennett and Henry Bardon with lighting

by Donn Byrnes, was rehearsed for us by Matthew Barclay.

The famous mad scene aria il dolce suono is technically difficult and has often paved the way for well-known coloratura sopranos, e.g.

WAO’s first patron Dame Joan Sutherland, and you will love hearing Emma Pearson sing the title role.

This opera, for the 50th celebratory season, is conducted by Brad Cohen with the West Australian Opera Chorus and the West Australian Symphony Orchestra.

West Australian Opera was established in 1967. Our artform relies on people. We trade in human emotion, we tell stories. The people you see on stage are our singers, actors, chorus, musicians, conductors, directors and designers. Backstage are our production and stage managers, crew, back of house and front of house and off stage the efficient team of people carrying out the daily tasks of breathing life into this grand and intricate artform.

Our Principal Partner Wesfarmers Arts have taken a leadership position in supporting the arts in Western Australia for some decades and I would like to acknowledge and thank Richard Goyder and Terry Bowen.

Opera is a total and layered art form with all of human emotion and passion working together. We are proud to present some of the great works from the opera canon.

In our 50th year this included Tosca, The Merry Widow and Lucia di Lammermoor. In our 51st year this will include The Cunning Little Vixen, Carmen and Don Giovanni Carolyn Chard GENERAL MANAGER West Australian Opera

Brad Cohen

Matthew Barclay

Henry Bardon

Since being appointed Artistic Director of WAO in 2015, Brad Cohen has conducted Faust, Gianni Schicchi , The Riders and The Pearl Fishers for the Company. Prior to 2015 he conducted Carmen, Lucia di Lammermoor and The Magic Flute for WAO. In 2017 he will conduct Opera in the Park, Tosca and Lucia di Lammermoor.

Matthew Barclay studied music as a chorister at St Paul’s Cathedral, Melbourne, dance at the Victorian College of the Arts and Australian Ballet School and graduated from Deakin University in arts management.

He is currently Senior Resident Director at Opera Australia where he has staged over forty opera productions, most recently King Roger at The Arts Centre, Melbourne.

Born Czechoslovakia; died 1991. Trained in the United Kingdom and made his debut as a theatre designer in 1961 with the Royal Shakespeare Company. Is a foremost designer for theatre, opera and television, having designed for companies in Vienna, Stockholm, United States, Holland, Portugal and throughout the United Kingdom. Has held numerous exhibitions of his paintings, particularly in London and New York.

Conductor

Brad conducted the world premiere of Thomas Adès’ Powder her Face, just a year after winning the 1994 Leeds Conductor’s Competition. His career spans a wide ranging repertoire at English National Opera, New York City Opera, Opera Australia, Opera North, opera companies including Luzern, Nantes/Angers, Nederlands Reisopera, and at festivals including Edinburgh, Cheltenham, Adelaide, Hong Kong, and Rossini in Wildbad.

Most recently, a concert with Melbourne Symphony, Otello with State Opera of SA, Stiffelio at London’s South Bank with Chelsea Opera Group and Flight with Opera Holland Park.

Complementing his performing career, Brad is the Founder of London-based Tido Music, a major new platform for the digital enjoyment of notated and recorded music.

Rehearsal Director

His directing credits include Madama Butterfly for Pittsburgh Opera and Opéra de Montréal; Giulio Cesare for Los Angeles Opera; Il Trovatore at the Macau International Music Festival; Carmen for National Symphony Orchestra, Taipei; La Boheme for Hanoi Opera House, Vietnam; Faust, Il Trovatore, Don Giovanni for West Australian Opera; L’Elisir D’amore, Don Giovanni, Madama Butterfly for State Opera of SA; Carmen for Opera Queensland; La Clemenza di Tito for VCA Opera; Die Fledermaus for the Sydney Conservatorium and Carmen for Kaohsiung Symphony Orchestra, Taiwan.

He lectures in opera for NIDA’s MFA Directing Program and is currently opera director for the Ising Young Artist Festival held annually in Beijing, Shanghai and Suzhou, China.

Set Designer

Other Companies: The Marriage of Figaro, Così fan tutte, Madama Butterfly, La Traviata, Fra Diavolo, Lucia di Lammermoor, La fille du regiment, La Bohème, I Puritani, the Australian tour of HMS Pinafore, Andrea Chénier (Opera Australia); Suor Angelica (Royal Opera House, Covent Garden).

Michael Stennett

Donn Byrnes

Emma Pearson

Born England. Studied at the Wimbledon College of Theatre Design. Was commissioned in 1993 by the Queen to undertake a portrait of Dame Joan Sutherland for the Order of Merit. Finished design career in 1995 and since then has concentrated on painting. Other Companies: The Marriage of Figaro, Così fan tutte, I Puritani, Lucia di Lammermoor, Daughter of the Regiment, La Traviata, A Masked Ball, Rigoletto, I masnadieri, Fra Diavolo, Les Huguenots, Madam Butterfly, Tosca, Jenufa, Peter Grimes, Cavalleria Rusticana & Pagliacci (Opera Australia); The Marriage of Figaro, Wether, Lucrezia Borgia, Alceste and Falstaff for Covent Garden and Dame Joan Sutherland’s costumes for Il Trovatore; Anna Bolena (Canadian Opera – a co-production with San Francisco and Chicago); Orlando, Idimeneo, A Midsummer Night’s Dream, The Makropoulus Case (San Francisco Opera); Ariodante (Sante Fe Opera); Julius Caesar, Semiramide (Metropolitan Opera, New York); Eugene Onegin (Ottawa Festival); Tancredi, The Barber of Seville (Chicago Lyric Opera); L’elisir d’amore (Gothenburg Opera); Tosca (Sante Fe Festival).

Donn Byrnes has designed lighting for most of Australia’s theatre and opera companies, as well as leading commercial producers. Donn’s opera lighting designs have included Le Nozze di Figaro, Lucia di Lammermoor, Tosca,Rigoletto, Aida, Otello, Madama Butterfly, Macbeth, Adriana Lecouvreur,Dead Man Walking (State Opera of South Australia) Tosca, Jenufa, Peter Grimes, Il barbiere di Seviglia, Lucia di Lammermoor,Katya Kabanova, Otello, Lohengrin, Le Nozze di Figaro, Die Fledermaus, Cavalleria rusticana, Pagliacci, Arabella-(Green Room Award) (Opera Australia) Madama Butterfly, Countess Maritza, Lucia di Lammermoor, Cavalleria Rusticana, Pagliacci (West Australian Opera) Rigoletto, Aida, Don Pasquale, Die Fledermaus, La Boheme, La Traviata, Tosca, Madama Butterfly, Lucia di Lammermoor,The Barber of Seville, Fidelio.

(Opera Queensland) Die Frau ohne Schatten (Melbourne International Festival) - ( Green Room Award.) Aida Arena Spectacular (Edgley International) Other projects include two World Expos, designs for the Singapore Government and a Gala ball at the Hoffburg Palace,Vienna.

Principal artist at the Hessisches Staatstheater, Wiesbaden from 2005-2014, Emma’s repertoire 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), and Norina (Don Pasquale). On departing she was the youngest singer to be awarded the honorary title of “Kammersängerin”.

Costume Designer

Lighting Designer

Lucia

Recent engagements include Beethoven Missa Solemnis (Budapest), Micaela (Carmen) for NBR New Zealand Opera and Tasmanian Symphony Orchestra, Violetta (La Traviata) Opera Queensland; Gilda (Rigoletto) for NBR New Zealand Opera, Theater St Gallen and Staatstheater Saarbrücken; Clorinda (La cenerentola) Semperoper Dresden; Sophie for Opera Australia, Minneapolis and Valencia; Hilda Mack in Henze ‘s Elegy for Young Lovers in Wiesbaden; Nanetta (Falstaff) in Nationaltheater Mannheim and Susanna (Le Nozze di Figaro) for WA Opera. Emma has been a finalist in many international and Australian awards including the Australian Singing Competition‘s Marianne Mathy Scholarship.

Samuel Dundas

Aldo di Toro

David Woodward

Samuel Dundas is a graduate of the Melba Conservatorium of Music, Melbourne. Samuel made his opera debut with Opera Queensland, before joining Victorian Opera’s Artist Development program and subsequently the Moffatt Oxenbould Young Artist program. His repertoire with Opera Australia includes the title role in Don Giovanni, Papageno (The Magic Flute), Guglielmo (Così fan tutte), Belcore (The Elixir of Love), Dr Malatesta (Don Pasquale), Marcello (La Bohème), Prosdocimo (Il turco in Italia), Pish Tush (The Mikado), Sid (Albert Herring), and Starveling (A Midsummer Night’s Dream).

For West Australian Opera he has performed Valentin (Faust) and Count Almaviva (The Marriage of Figaro). Samuel has also sung Marcello in Hanoi and Papageno for NBR New Zealand Opera.

Aldo Di Toro graduated from the WA Conservatorium of Music and made his debut as Oronte (Alcina) for WAO.

Sydney born Tenor, David Woodward graduated in music from the Newcastle Conservatorium of Music and in Opera Performance from the Western Australian Academy of Performing Arts.

Enrico

Samuel’s concert repertoire has seen him perform with the Adelaide, Melbourne, Tasmanian and West Australian Symphony Orchestras, the Australian Youth Orchestra, Sydney Philharmonia Choirs and Auckland Philharmonia.

Samuel was the recipient of the 2013 Lady Fairfax New York Scholarship and the inaugural Dame Heather Begg Award in 2014.

Edgardo

He has sung with all the major Australian companies, for OA: Rodolfo (La Bohème), Alfredo (La Traviata), title role (Werther), Gerald (Lakmé), Tebaldo (Capuleti e i Montecchi), Edgardo (Lucia di Lammermoor), Elvino (La Sonnambula) and Nemorino (L’elisir d’amore); OQ :Cassio (Otello) and Alfredo; WAO:Tamino (The Magic Flute), Elvino and Nemorino; SOSA: Alfredo, Nemorino, Elvino and the Duke of Mantua (Rigoletto); and Bill in Flight, Adelaide Festival.

Now living in Italy, roles include Masel ,The Adventures of Mr Boucek (Trier);Pinkerton, Madama Butterfly (Magdeburg Opera);Riccardo, Un Ballo in Maschera (Braunschweig); Ernesto, Don Pasquale (Scottish Opera); Rodolfo (Opera North); Steva (Jenufa), Loris (Fedora), Rodolfo, Nemorino and Edgardo(Opera Holland Park); in Italy: The Duke, Alfredo, Rodolfo, Canio (I Pagliacci) Rinuccio (Gianni Schicchi) and The Duke; in Innsbruck: Roméo (Roméo and Juliette), The Duke, and Pollione (Norma). In 2017, Nadir, The Pearlfishers (OQ), and Edgardo (WAO); and in 2018, Cavardossi, Tosca (Magdeburg Opera).

Arturo

Before moving to the United Kingdom in 2013, David held chorus positions and sang principal roles and covers with Opera Australia and the West Australian Opera.

Highlights include Alfredo (Die Fledermaus), Arturo (Lucia di Lammermoor) and Pong (Turandot).

Since moving to London he has sung principal roles and covers with Glyndebourne Opera, the English National Opera, Garsington Opera and with touring companies around England and France in roles such as Duke (Rigoletto), Pinkerton (Madame Butterfly), Alfredo (La Traviata), Fernand (La Favorite) and a recent highlight as Lehrbuben (Die Meistersinger von Nürnberg).

In March 2017, David is making his debut at the Royal Opera House Covent Garden as Lehrbuben in Die Meistersinger von Nürnberg.

Wade Kernot

Matthew Lester

Fiona Campbell

Principal artist at Theater St Gallen, Switzerland, from 20102015, Wade’s roles included Monterone (Rigoletto), the Forester (The Cunning Little Vixen), Osmin (Die Entführung aus dem Serail), Zuniga, Père Laurent (Roméo et Juliette), Gubetta (Lucrezia Borgia), Jacopo Loredano (I due Foscari), Wotan (Siegfried), Truffaldino, Il Pedone di Schnals (La Wally), Commendatore (Don Giovanni), Melisso (Alcina), Méphistophélès (La Damnation de Faust), Sarastro, Sprecher, Erster Priester and Zweiter Geharnischter (Die Zauberflöte), Sam (Un Ballo in Maschera), the main bass roles in Purcell’s The Fairy Queen, Frank (Die Fledermaus), Comte des Grieux, 1st Nazarene (Salome), and Handwerkbursche (Wozzeck).

Matthew Lester is a tenor who has performed a variety of minor principal roles for West Australian Opera and has been a member of the Chorus since 1999.

Fiona Campbell is one of Australia’s most versatile and beloved classical singers - a producer and guest ABC presenter, accomplished international performer, recitalist and recording artist. 2017 engagements include Thaïs for the Melbourne Symphony, Hansel and Gretel in Singapore, Lucia di Lammermoor for West Australian Opera, Beethoven’s Symphony No. 9 for the Tasmanian Symphony and Bach’s Christmas Oratorio for the Australian Chamber Orchestra.

Raimondo

In 2017 Wade performs Zuniga in Carmen for New Zealand Opera; Angelotti (Tosca) and Raimondo (Lucia di Lammermoor) for West Australian Opera.

In 2016 his engagements included the role of Fred in a new work by Ross Harris (libretto by Vincent O’Sullivan): Brass Poppies, for New Zealand Festival, Sarastro for New Zealand Opera and Nourabad in The Pearl Fishers for West Australian Opera.

Normanno

Since 2013 he has performed as Parpignol in La Boheme, Roderigo in Otello, Spoletta in Tosca, Ruiz in Il Travatore and Goro in Butterfly.

In 2016 he appeared as Gherardo in Gianni Schicci for Opera in the Park and as Alex the painter in the operatic adaptation of Tim Winton’s the Riders. In 2017, Matthew will perform as Spoletta in Tosca and as Normanno in Lucia di Lammermoor.

When not performing for WA Opera, Matthew works in state government in the area of Public Health. His workplace is very accommodating toward his operatic pursuits and his work colleagues have developed a strong tolerance to sudden outbursts of song.

He has a great appreciation of the opportunities West Australian Opera have offered him to work with esteemed and talented musicians, singers and conductors.

Alisa

Career highlights include several concerts with the legendary tenor José Carreras in Japan and Korea; she has also been a touring favourite with Barbara Bonney, making her debut at Suntory Hall in Tokyo and Cadogan Hall in London with the renowned international soprano. Other international collaborations have included those with the Brodsky Quartet, Tokyo Philharmonic, Hong Kong Philharmonic, Glyndebourne Festival Opera and Opera North.

Fiona has recorded many recitals and national broadcasts including her solo album Love & Loss, Baroque Duets, which features a world premiere recording of Handel (Vexations840), Mozart’s Idomeneo and Vivaldi’s Juditha Triumphans.

West Australian Opera Chorus SOPRANOS

MEZZO SOPRANOS

TENORS

BASSES

Alexandra Bak

Fleuranne Brockway

Jonathan Brain

Mark Alderson

Rebecca Bunn

Helen Brown

David Gething

Dudley Allitt

Mary-Attracta Connolly

Belinda Fox

David Jones

Kristin Bowtell

Leilah Fox

Yann Kee

Jason Kroll

Callen Dellar

Robert Littlewood

Thomas Friberg

Naomi Johns

Chelsea Kluga

Lucy Mervik

Anne Millar

Tim Schoenmakers

Mark Hurst

Emma Pettemerides

Stephanie Parr

Nathan Stark

Paull-Anthony Keightley

Pennny Shaw

Elizabeth Vale

Simon Wood

David Penco

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Donizetti’s Lucia di Lammermoor Little did Sir Walter Scott realize that his novel, The Bride of Lammermoor (1819) would inspire one of the greatest romantic operas of the nineteenth century. His narrative inscribes all the ingredients of romantic literature: Feuding families; star-crossed lovers; a brooding Byronic hero and a damsel in distress, who eventually goes mad and dies. All perfect subjects for an opera.

In fact, three Italian operas based on Scott’s novel had already been performed before Donizetti accepted the contract to set Lucia di Lammermoor for the Téatro San Carlo in Naples. His libtrettist, Salvatore Cammarano’s book passed the Neapolitan censors (always a worry), Donizetti ratified the hiring of the cast, and the premiere set for mid 1835.

Initially, however, the drama was all offstage. The theatre was going bankrupt, the soprano engaged to sing Lucia refused to rehearse unless paid in advance and Donizetti had concerns about his contracted fee. Finally all was saved when the King of Naples replenished the theatre’s coffers, appointed new management and underwrote the production.

By then time was running out. Fortunately Donizetti and Cammarano were both experienced men of the theatre with well-honed dramatic skills, and they completed Lucia in six weeks! Together they formed a perfect partnership that was to last for several years.

Cammarano’s libretto bypasses the historical aspects of Scott’s novel, and concentrates on the central characters of Lucia and Edgardo: Star-crossed lovers who are fighting a losing battle against the background of family feuds. The Ashtons and the Ravenswoods are sworn enemies – it’s another version of the Romeo and Juliet scenario.

Lucia, the heroine is young, impressionable, emotionally unstable and, as Donizetti found, she proved to be perfect diva material for his bel canto masterpiece. He wanted his opera to wield “love without which operas are cold – and let it be violent love”. Initially Lucia is a passive character, but she is also repressed, and when finally she is forced into an arranged marriage with a man she does not love, she reacts with desperate violence.

The epicentre occurs in the Act II scene ii septet, set in the great hall of the castle. Lucia has been forced to sign the wedding contract to Arturo; Edgardo, her lover, bursts in to claim her, but Raimondo the priest shows him the signed contract. Enraged, Edgardo throws his betrothal ring at Lucia, cursing her faithlessness.

The famous Mad Scene is Donizetti’s coup de theatre, creating a brilliant scenario for Lucia as she descends the staircase, dagger in hand, covered with her husband’s blood. A solo flute obbligato symbolises her crazed emotional state. Initially Donizetti scored this cadenza for glass harmonica, but later rewrote it for flute. Another instance, not sanctioned by Donizetti, occurred in Paris in 1889 when Mathilde Marchesi, a world renown teacher, composed a new Mad Scene cadenza for one of her (ex)students, Nellie Melba!

Over half a century later another great Australian diva, Joan Sutherland, made her Covent Garden role debut as Lucia. This spectacular success at the Royal Opera House on February 19, 1959 launched her international career. Since then Donizett’s Lucia de Lammermoor, has held centre stage in the repertoires of opera houses worldwide.

Annie Patrick PROGRAM NOTES

Thank you

LEADERSHIP CIRCLE ($10,000+) Alexandra & Julian Burt Mario D’Orazio Liz & Erich Fraunschiel Warwick Hemsley & Melissa Parke Sam & Leanne Walsh PRINCIPAL PATRON ($5,000+) Dr Jack Bendat AM CitWA & Mrs Eleanor Bendat Dr Patricia Kailis The Robert Kimpton Family Dr Robert Larbalestier Hon J McKechnie Richard Tarala & Lyn Beazley AO Joyce Westrip OAM BENEFACTOR ($2,500+) Neil Archibald & Alan R Dodge AM Catherine Ferrari Eleanor John Bryant Macfie Annie & Neil Patrick Michael & Helen Tuite Anonymous (1) SUPPORTER ($1,000+) Her Excellency The Honourable Kerry Sanderson AC Betty Barker Gay & Robert Branchi Dr Peter & Mrs Rae Breidahl Peter Briggs Jennifer Brukner Lynne Burford Publicity Mrs Joan Carney Helen Carroll Frank Cooper AO Lorraine Ellard Dr Dennis Hayward

Kathryn Hogan & Graham Droppert Francis Landels Patrick Lilburne Richard Noble & Co Sonia Phelan Maria & Robert Radici Len & Sue Roberts-Smith Dr Chris and Mrs Vimala Whitaker Anonymous (5) TRUSTS AND FOUNDATIONS Bendat Family Foundation James Galvin Family 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 Ailsa West Anita & James Clayton Anonymous (3)

Behind every great artist are loyal supporters.

West Australian Opera is grateful for the kindness and generosity of our donors

FRIEND ($200+) Ian & Kerry Adams Prof David Ambrose Cathy Bardon & Bob Cassie Siobhan Beilin David Black Henry Boston Claire Brittain & John McKay Darryl Bruce Mrs Marilyn Burton Mary Carr Dr Charlene Caspersz Carolyn Chard Gary Chard Douglas Clifford & Cliff Eber Tony & Sheila Cockbain Helen Cook Harvey Collins Peter Davies Ian Dewar Peter Edwards Mrs Shirley Egan John Evans Noel and Freida French Friends of His Majesty’s Theatre George Gavranic T & E Gerner Isobel Glencross Mindy Green & Stephen McDonald Cameron Gruber Peter Hawkins Christine Hedges Dr Penny Herbert Ian & Sue Hobson Keith Holt & Anne Fuller Prof Lynne Hunt Margaret Jarman Dita Jevons Norma & Max Kay AM CitWA Ulrich & Gloria Kunzmann

Dr Louis Landau Suzette Landels Rosalind Lilley Megan Lowe Jill Lowes Dr Toby Manford Rosemary McGlashan Anthony Munro Katharine Nash Beverley and Tony Noakes Celia Patterson Anne Pedlow Jennifer Rankin Emie Robinson Henry Simmons Dr Louise Sparrow Kim Spence Jan Stacey Margaret Stockton Warren Surtees Mrs Janet Thackray Jeanette Thompson Yannis Vrodos Diana Warnock and the late Bill Warnock Miss Anne Watson Olive Wheeler-Brennan Dr Peter Winterton Anonymous (11)

West Australian Symphony Orchestra on stage tonight Violin Graeme Norris

A/Assistant Concertmaster

Rebecca Glorie

A/Principal 1st Violin

Zac Rowntree*

Principal 2nd Violin

Sarah Blackman Fleur Challen Stephanie Dean Beth Hebert Alexandra Isted Sunmi Jung Lucas O’Brien° Melanie Pearn Jane Serrangeli Jacek Slawomirski Bao Di Tang Cerys Tooby David Yeh Viola Nik Babic

Chair partnered by Lesley & Peter Davies

Rachael Kirk Allan McLean Elliot O’Brien Helen Tuckey

Cello Rod McGrath

Chair partnered by Tokyo Gas

Eve Silver* Fotis Skordas Tim South Xiao Le Wu

Double Bass Andrew Sinclair* Louise Elaerts Christine Reitzenstein Mark Tooby Flute Andrew Nicholson Mary-Anne Blades Piccolo Michael Waye Oboe Elizabeth Chee Cor Anglais Leanne Glover Clarinet Allan Meyer Lorna Cook

Trumpet Brent Grapes Peter Miller Trombone Joshua Davis Liam O’Malley Bass Trombone Philip Holdsworth Timpani Alex Timcke Percussion Brian Maloney

Chair partnered by Stott Hoare

Chiron Meller°

Assoc Principal Percussion and Timpani

Harp Sarah Bowman

Bassoon Colin Forbes-Abrams° Principal Contrabassoon Chloe Turner Horn David Evans Julian Leslie Julia Brooke Francesco Lo Surdo

Associate Principal Contract Musician° *Instruments used by these musicians are on loan from Janet Holmes à Court AC.

Photograph by James Rogers for West Australian Opera

Art and culture have a unique ability to draw communities together and enrich everyday life.

-Andrew & Nicola Forrest

Proudly supporting WA Opera

Staff WEST AUSTRALIAN OPERA STAFF General Manager Carolyn Chard

VICE REGAL PATRON Her Excellency the Honourable Kerry Sanderson AC Governor of Western Australia

Artistic Director Brad Cohen

Chairman Terry Bowen

Production Manager Mandy Farmer

Deputy Chairs Catherine Ferrari Andrew Pascoe

Head of Music Thomas Johnson Development Manager Coralie Bishop Accountant Debbie Liebgott Artistic Administrator Rebecca Kais Education Manager Terasa Letizia Marketing Manager Danielle Ierace Marketing Assistant Daniele Foti-Cuzzola Office Coordinator Marion O’Connor Publicity Lynne Burford Financial Accountant Sue Hobson Sales Consultant Rachel Sait Regional Project Manager Melanie Timms

Board Directors Julian Burt Mario D’Orazio Warwick Hemsley Darren Lewsen Ingrid O’Brien Jan Stewart PATRONS Dr Jack Bendat AM CitWA Cav Uff Giuseppe Bertinazzo OMRI WEST AUSTRALIAN OPERA HONORARY LIFE MEMBERS Dario Amara Cav Uff Giuseppe Bertinazzo OMRI Hon Julie Bishop MP Frank Cooper Erich Fraunschiel Colin Goddard Francis Landels Bruce Martin AM Margaret McManus Dr Richard Mills AM Annie Patrick Marilyn Phillips Vincent A Warrener AM KHS

Qantas Dreamliner.

Experience a new era.

Flying Melbourne to Los Angeles from December 2017 and Perth to London non-stop from March 2018.

Find out more at qantas.com/dreamliner *

Subject to regulatory approval. Schedule subject to change. ABN 16 009 661 901

PERTH THEATRE TRUST Chairman Morgan Solomon

VENUE ADMINISTRATION Manager Helen Stewart

VENUE TECHNICAL Technical Manager Matthew Nankivell

Trustees Cr Jim Adamos Cr Janet Davidson Julian Donaldson Max Kay AM CitWA Michelle Tremain Tanya Sim

Assistant Manager James Nerva

Assistant Technical Manager Tony Gordon

Event Operations Coorinator Alexandra MacNish

Head of Audio Jeremy Turner

Accounts Assistant Jenny May

Head Flyman Matt Mclay

Administration Assistant Julianna Noonan

Lighting Board Operator Cameron Routley

Stage Door Keeper Narda McMahon

Head Electrician Michael Rippon

Ex-Officio Colin Walker General Manager Duncan Ord

Box Office Supervisor Jenny Franklin Archivist Ivan King

UWA Music, proud Principal Education Partner of the West Australian Opera.

Working together to transform Music.

We can make your website really sing!

This is what we do for WA Opera and many, many others.

Plus top note techniques to put your business in front of your online targets.

Incorporating Star3Media and Search Group star3media.com.au searchgroup.com.au

COV E T E D BY R O YA L S , 16 T H C E N T U RY WRITERS AND N O W, P E R T H ’ S A RT L OV E R S .

A WINDOW ON ITALY MASTERPIECES FROM FLORENCE

GET THE FULL PICTURE 24 February – 18 June 2018 Tickets at artgallery.wa.gov.au

VORIAN AGENCY AD

The exhibition is organised by the Galleria Corsini, Florence; Auckland Art Gallery Toi o Tāmaki; Art Gallery of Western Australia, Perth; and MondoMostre, Rome.

Giovanni Martinelli Music 1650 (detail).

Oil on canvas. Galleria Corsini, Florence.

TOUCH THE CLOUDS...

IMAGINE WAKING UP IN YOUR PRIVATE APARTMENT. Friends of WA Opera choose to stay overnight at Quest East Perth – A brand new Apartment Hotel on Adelaide Terrace.

Visit questeastperth.com.au or call +61 8 6210 6000

40

YEARS PROUDLY AUSSIE

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Voyager Estate Chardonnay, 2016

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Thank You West Australian Opera thanks our partners for their valuable support.

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OPERA PARTNERS PRINCIPAL ARTIST PARTNER

GOVERNMENT PARTNERS This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

OPERA SUPPORTERS OFFICIAL CHARITY PARTNER

PRINCIPAL EDUCATION PARTNER

WEST AUSTRALIAN OPERA

50 1967 - 2017

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