West Australian Opera's Macbeth

MACBETH

WESF1486 9/2019

MACBETH 7.30pm His Majesty’s Theatre 19 | 22 | 24 | 26 October 2019

A co-production with State Opera of South Australia Composer Giuseppe Verdi Liberettist Francesco Maria Piave Conductor Brad Cohen Director Stuart Maunder AM Set & Costume Designer Roger Kirk Lighting Designer Trudy Dalgleish Fight Director Lawrence Hassell Chorus Master Chris van Tuinen Repetiteur Tommaso Pollio Off Stage Conductor Leanne Puttick Macbeth James Clayton Lady Macbeth Antoinette Halloran Banquo Jud Arthur Macduff Paul O’Neill Lady in Waiting Ashlyn Tymms Malcolm Matthew Lester Doctor Kristin Bowtell Duncan Bruce Denny Fleance Thomas Denver Featuring West Australian Opera Chorus West Australian Symphony Orchestra

Stage Manager Karen Farmer Assistant Stage Manager Hugo Aguilar Lopez Assistant Stage Manager Jacinta Wajon Head of Wardrobe Sue Kerr Wardrobe Assistant Mandy Elmitt Wardrobe Assistant Dani Paxton Wardrobe Assistant Meg McKay Dressmaker Remy Benn Dressmaker Holly Sansalone Courtiers accessories Nora Stelter Leatherwork & Weaponry Louise Grimshaw Sword Painter Sam Knox Crowns Andy Cross Head of Wigs Virginia Hawdon Wigs Assistant Philip Cox Head of Make Up Sharon Kyrwood WAAPA Design Secondment Gabrielle Clark WAAPA Wardrobe Secondment Sorcha Whalley Program Notes Annie Patrick Surtitle Operator Allison Fyfe Surtitles by Simon Rees Head Mechanist Ian Studham Scenery constructed by Plumb Arts Workshop

Brad Cohen Conductor

Conductor’s Notes

“Verdi’s obsession with Shakespeare comes from his keen grasp of both situation and character. He always besought his librettists to provide situations - scenes of conflict and crisis - which in turn would fully reveal the characters on stage” There are (too) many operas based on Shakespeare.

But few composers have been as continuously obsessed with Shakespeare as was Verdi. Apart from Macbeth, Verdi’s last two operas returned him late in his life to the character of Falstaff and to the play Othello. The great, unrealised project of his maturity was King Lear - he wrestled with setting it for years before putting it aside. We can only imagine the power and complexity of that lost opera.

I think that Verdi’s obsession with Shakespeare comes from his keen grasp of both situation and character. He always besought his librettists to provide situations - scenes of conflict and crisis - which in turn would fully reveal the characters on stage. The best test of character is how one responds to a crisis. In Macbeth, those critical scenes of confrontation include the witches’ prophecy, the banquet scene and the arrival of Macduff in the final act. But Lady Macbeth’s sleepwalking scene, for me the high point of the entire opera, is a situation of a different kind. Not the vague sleepwalking of Amina in Bellini’s earlier La sonnambula, but a nightmarish confrontation with a subconscious, unassuageable, internal guilt.

Macbeth can lay claim to be the first operatic psychodrama. And also the first operatic two-hander: the longest and most complex scenes are between the Macbeths, many conducted in a whisper. Verdi’s concentration of material and energy in Macbeth is awe-inspiring. And he was a demanding colleague - he insisted on having a final rehearsal with the Macbeths five minutes before the curtain rose on the opening night.

I think Macbeth is far and away Verdi’s greatest early opera - approached only by Nabucco for ambition, reach and power. It is an honour to present it for the first time in West Australian Opera’s history.

Brad Cohen Conductor

Director’s Message “..it is a roller coaster of terror with no time for detours and no chances to wallow in ‘bel canto’ singing.

There is no relief from the opera’s relentless plunge into darkness.”

I well recall reading the Sydney Morning Herald critic’s glowing review of the 1977 Australian Opera production of Macbeth.

As a second year Arts/Law student taking a subject Shakespeare on the Open Stage I hastened to the Opera House, bought myself a $5 Student Rush ticket… and was bitterly disappointed. This wasn’t Shakespeare, this was a leaden version which clunked to a stop at every scene change. The curtain descended and mounds of fibreglass were pushed on and off, providing a platform for singers, dressed in more fake fur than Cruella De Vil, to wail in Italian. Ah, how we change…

Now I realise I was watching two of the great Verdi singers at the height of their powers - John Shaw and Elizabeth Connell, under the distinguished baton of Carlo Felice Cillario.

I had gone to the theatre expecting Shakespeare’s short, sharp shock of a play, moving as it does without pause to its shattering conclusion. What I got was glorious singing, short scenes, curtain calls at the end of each act, two intervals, and a very long night. I blamed Verdi.

Verdi’s Macbeth, I now realise, is not all that dissimilar to the Bard’s. In the original 1847 version of Macbeth, Verdi has composed an opera that is startling in its brevity, and masterful in its vocal characterisations. The operatic traditions of the 1970s and the design, and maybe the limitations of the stage machinery, had created the longueurs in my first experience of this opera.

Verdi had never seen a production of the play Macbeth when he started composing but rather had developed a love of the piece by reading rather flowery Italian translations. It was not until seven months after the premiere of his first version of Macbeth that he finally saw the play, in London. His is a Victorian version of the piece including an interpolated final soliloquy for the title role courtesy of the tradition created by David Garrick.

Macbeth was a turning point in Verdi’s career. After making his own draft of the libretto, he wrote to Piave: ‘This tragedy is one of the greatest creations of the human spirit. If we can’t do something great with it, let us at least try to do something out of the ordinary.’

From the premiere of Macbeth in Florence, it was clear that Verdi had achieved his goal. It is without precedent in the Verdi canon both in its fierce vocal characterisations and unexpected orchestral writing. From the otherworldly cor anglais in Lady Macbeth’s sleepwalking scene to the haunting, hollow woodwinds which accompany the appearance of the Kings in Act 3 to the hisses and snarls demanded in the vocal writing, no other Verdi opera ‘sounds’ like his Macbeth. Save for a jaunty march which accompanies King Duncan to his untimely death, the predominant colour of the opera is one of dark foreboding. The 1847 version of Macbeth is not typical of an ‘early Verdi’ opera with its series of arias, cabalettas and ensembles. Rather it is a a roller coaster of terror with no time for detours and no chances to wallow in ‘bel canto’ singing. There is no relief from the opera’s relentless plunge into darkness.

Even though the opera was a great success throughout Verdi’s lifetime, and one of his personal favourites, the composer jumped at the chance to revise the opera for its Paris premiere in 1865.

In reality he didn’t change much of the piece. Rather, it was more about substituting arias to suit new singers and satisfying the traditions demanded by the Parisian public including the necessity for a ballet in Act 3. Verdi also ended the new version with a chorus of hope for a new future, very much in keeping with his patriotic fervour, crowned as he was as musical father of the new united Italy. He also cleaned up much of the youthful ‘take no prisoners’ feel of the opera.

Some of the elements of the 1865 revision are wonderful in their own right. So much so that in the 20th Century it became traditional to ‘mix and match’ the two versions of the opera. Many elements of the more ‘refined’ 1865 version were included: Lady Macbeth’s aria La luce langue, a more concerted version of the Patria oppressa chorus, Macbeth’s final aria, and the choral finale. The ballet was more often than not cut and, in the best ‘cut and paste’ fashion many productions also interpolated the final death aria of Macbeth from the 1847 version. As a consequence, the opera became less focussed and the cumulative effect less powerful. There is nothing like the raw, unbridled energy of the original version.

It is concise, thrilling, gut wrenching and bold. And it is in this version that we present Macbeth tonight.

Macbeth is a great tragic opera; one of Verdi’s most powerful, terrifying and original works. Everything about this ‘opera senza amore’, as the Italians dubbed it, is bold and unexpected. After experiencing the opera in the theatre with all its bombast, spectral colour, and hellfire and brimstone, we know Verdi has indeed achieved all he set out to do and more.

Stuart Maunder AM Director

Executive Director’s Message Macbeth is a gripping telling of Shakespeare’s classic and one of Verdi’s most renowned scores. We are proud to present this co-production with the State Opera of South Australia driven by a fantastic creative team led by Stuart Maunder (director) with Roger Kirk (set and costumes), Trudy Dalgleish (lighting) with a wonderful cast and chorus under the baton of Brad Cohen conducting the West Australian Symphony Orchestra.

Verdi admired Shakespeare and he was inspired to create opera based on Shakespeare’s literature. Macbeth is grand opera at its best with heart racing storytelling, tense moments of drama and glorious music.

We are proud to present this season to you. We are the oldest opera company in Australia still trading under the same name and same constitution in the same place. At West Australian Opera we love the arts. We want to present opera that moves you, enchants you and makes you think about the magic of being alive in the world today. We speak to the heart through the human voice.

We share the joy of music, theatre, dance, acting and visual arts.

We bring people together and make them feel alive by igniting emotions and imaginations with the power of sung stories. We hope you have a sense of this magic in Macbeth.

Carolyn Chard AM EXECUTIVE DIRECTOR West Australian Opera

Vice Regal Patron’s Message As Vice Regal Patron of West Australian Opera, I am pleased to see the State opera company presenting a new production of Verdi’s opera Macbeth. Collaboration is king in the arts and it’s wonderful to see this work come to fruition through a copresentation with the State Opera of South Australia in a new production of this opera which was built here in Western Australia.

Macbeth is a story that has stood the test of time with themes of power and greed still as relevant as when it was written.

West Australian Opera contributes much to the arts in our State by presenting world-class opera at His Majesty’s Theatre, offering education and community programs, school workshops and regional touring and developing young artists through the Wesfarmers Arts Young Artist Program. I join the company in acknowledging the generous support of both 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

As Chairman of West Australian Opera, I am proud that we have been able to coproduce a new opera with our colleagues at the State Opera of South Australia.

Opera is a beautiful but expensive art form and we appreciate the invaluable support of our sponsors, partners, trusts, foundations, patrons, donors, and our audiences. Your attendance plays an important role in the life of West Australian Opera and I encourage you visit waopera.asn.au to learn more about our activities and performances.

I acknowledge Principal Partner Wesfarmers Arts who have been the foundation of our partnership portfolio for many years and I thank Major Partners 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.

For over 50 years, West Australian Opera has been Western Australia’s full time, professional opera company. Opera can touch the heart of everyone, we invite you to come on this journey with us and learn more about our 2020 season offering at www.waopera.asn.au Andrew Pascoe CHAIRMAN West Australian Opera

Creative Team

Brad Cohen

Stuart Maunder AM

Brad first came to public attention when, a year after winning the 1994 Leeds Conductor’s Competition, he conducted the world premiere of Thomas Adès’ Powder her Face. Over the succeeding decades he has conducted a wide-ranging repertoire at opera companies including English National Opera, New York City Opera, Scottish Opera, Luzern Opera, Nederlands Reisopera, Opera Australia and at festivals including Edinburgh, Cheltenham, Adelaide, Hong Kong, and Rossini in Wildbad.

Brad is also the Founder of Tido Music.

For the last thirty years Stuart has been directing musical theatre and opera in Australia.

He joined The Australian Opera as Stage Manager in 1978, becoming a Resident Director in 1981. In 1992 he joined The Royal Opera (UK) as a Staff Director whilst continuing to direct in Australia, regional UK, France and the USA.

Conductor

From 2015 to 2018 Brad Cohen was Artistic Director of West Australian Opera, where he conducted Faust, Gianni Schicchi, The Riders, The Pearl Fishers, Opera in the Park: 50th Anniversary Gala, Tosca and Lucia di Lammermoor and Opera in the Park - La Bohème.

Prior to 2015 he conducted Carmen, Lucia di Lammermoor and The Magic Flute for the company.

This year, Brad returns to West Australian Opera to conduct La Traviata at Opera in the Park and Macbeth.

Director

In 1999 Stuart was appointed Artistic Administrator of Opera Australia, becoming Executive Producer 2004 - 2008 . His OA productions include Tales of Hoffmann, Manon, Gypsy Princess, Don Pasquale, My Fair Lady and A Little Night Music.

His Trial by Jury, HMS Pinafore and Pirates of Penzance have been televised nationally on ABC TV. Recent Australian productions have included Cunning Little Vixen, Into the Woods, Sunday in the Park with George and Sweeney Todd (Victorian Opera) Tosca, La Boheme, The Cunning Little Vixen and Sweeney Todd (West Australian Opera) and Candide and The Mikado (New Zealand Opera).

Stuart is currently Artistic Director of State Opera South Australia.

Roger Kirk

Trudy Dalgleish

Lawrence Hassell

Roger Kirk is a Tony Awardwinning set and costume designer for theatre, film and television. He has designed costumes for productions such as The Boy From Oz with Hugh Jackman, The King and I and King Kong the Musical. Roger was the costume designer for the film Jesus Christ Superstar, other credits include Andrew Lloyd Webber’s Whistle Down The Wind (London), The King and I (London Palladiu), Hugh Jackman’s The Boy from Oz Arena Spectacular, Silver Rose, Le Corsaire for Munich Opera House, Dusty – The Original Pop Diva, and Shout!.

His Broadway credits include The King & I (Tony Award), Jesus Chris Superstar, and 42nd Street (Tony Award Nomination).

Trudy Dalgleish is one of Australia’s most sought-after Lighting Designers. She has received many prestigious awards including a Helpmann Award (White Devil), ENTECH Award (Best Lighting Designer Live Events), John Truscott Award (Design Excellence), and two Green Room Awards (Eureka and Hairspray).

Lawrence Hassell is a Fight Director and Stage Combat Instructor who has trained and completed various stage combat certification workshops with 5 different organisations accross the world. He is currently part of Stage Combat Perth the premier provider of stage and screen combat solutions to the entertainment industry in W.A. with services including Fight Direction & Choreography, Instruction & Training, Weapon Hire and Events & Performances.

Set & Costume Designer

Roger’s most recent credits include Sweeney Todd for Victorian Opera, Miracle City for Luckiest Productions, King Kong on Broadway, 42nd St in London and sell-out shows in Sydney and Melbourne for Hugh Jackman’s Broadway to Oz: Hugh Jackman Live in Concert, World Tour.

Lighting Designer

Recent lighting designs include A Little Night Music (Victorian Opera), Cunning Little Vixen (Victorian Opera, West Australian Opera and State Opera of South Australia), which Michael Shmith described in The Age as “…richly illuminated with the sense of the passing seasons by Trudy Dalgleish’s atmospheric lighting”; Saturday Night Fever (Gordon Frost Organisation), In the Heights at the Hayes Theatre and Sydney Opera House which was described in Kevin Jackson’s Theatre Diary as “nuanced lighting design…that covers general atmospheric deliberation balanced with an intimacy of detail…”; Cat Stephens’ Cat in an Attic in New Zealand and Melba at Hayes Theatre.

Fight Director

In 2014 Lawrence started training in stage combat, doing workshops in Perth run by Andy Fraser, who has taken him on as an apprectice in 2017. Since then he has worked on various shows and with a wide variety of companies including Black Swan Theatre Company, Barking Gecko Theatre Company & Yirra Yaakin Theatre Company.

Lawrence has also worked on a list of independent films and commercials.

Additionally, Lawrence teaches at a wide selection of institutions including W.A.A.P.A, Central Institute of Technology and a independent classes that he runs on the weekends.

Cast

James Clayton

Antoinette Halloran

Jud Arthur

In 2018, James Clayton sang Marcello (La bohème), Escamillo (Carmen), Leporello (Don Giovanni) and The Forrester (The Cunning Little Vixen) for West Australian Opera; he appeared in concert with the Tasmanian and West Australian Symphony Orchestras and Orchestra Wellington. In 2019, he sings Germont (La traviata), Judge Turpin (Sweeney Todd) in Perth, The Forrester in Adelaide and Peter (Hansel and Gretel) in Melbourne.

A multi-Helpmann Award nominee, Antoinette Halloran’s most recent engagements have included the title roles in Tosca for West Australian Opera and The Merry Widow for State Opera of SA, The Fox in The Cunning Little Vixen for Victorian Opera and associate artist for José Carreras’ National Tour. In 2019, she sings The Fox in Adelaide and Mrs Lovett (Sweeney Todd) in Perth.

New Zealander, Jud Arthur has been Australian based since 2003.

Macbeth

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.

2016/2017 appearances included Tonio (Pagliacci) for Victorian Opera, Scully (The Riders) for West Australian Opera, Escamillo and the title role in The Mikado for New Zealand Opera.

Concert engagements have included Messiah and Le damnation du Faust (NZSO), Mass in Time of War and Puccini’s Messa di Gloria (TSO), Beethoven’s Symphony No. 9 and Verdi’s Requiem (West Australian Symphony Orchestra).

Lady Macbeth

Leading appearances for Opera Australia have included the title roles in Madama Butterfly and Rusalka, Mimi in La bohème, Stella in A Streetcar Named Desire (Green Room Award) and many others; for New Zealand Opera – Mimi, Cio-Cio-San and Mrs Lovett; for Victorian Opera – Fiordiligi in Così fan Tutte, Adina in L’elisir d’amore and Mrs Lovett (Helpmann Award nomination).

Antoinette also featured as a guest judge and panelist on the ABC television series Operatunity Oz and has appeared regularly on the hit show Spicks and Specks; she was a presenter for ABC’s Art Nation – covering stories on opera and music theatre.

Banquo

Arthur has performed over 40 operatic, bass roles in Australia for Opera Australia, Western Australian Opera, Victorian Opera, Adelaide Opera, and Queensland Opera, as well as regularly performing with the New Zealand Opera company.

A particular highlight for Arthur was creating the role of both Hunding and Fafner in Opera Australia’s first Ring Cycle, for which he received critical acclaim.

Concert performances include Verdi, Mozart and Faure Requiems, Beethoven’s 9th Symphony, Handel’s Messiah, Haydn’s Creation, with all the major symphonies in both Australia and New Zealand.

Jud has regularly sung the National Anthem for New Zealand’s, All Blacks tests and had the honour of singing at the launch of the New Zealand America’s Cup defense.

Apart from his love of opera singing Jud has been a state rugby player for the NZ Otago team, his success there saw him poached by the Italian, Mirano Rugby Club where he played for 3 years.

Jud is also a farrier and former NZ under 21 show jumping champion title holder.

Paul O’Neill

Matthew Lester

Ashlyn Tymms

Australian tenor Paul O’Neill has forged a compelling international career singing in opera houses and concert halls throughout Europe and Australasia.

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.

Most recently, he sang Don José in Carmen for West Australia Opera, Rodolfo in La bohème for Opera Australia, the title role in Faust for Theater Münster, Pinkerton (Madama Butterfly) throughout China and Cavaradossi (Tosca) in both Perth and Magdeburg.

2019 engagements include Narraboth (Salome) for Opera Australia, Sweeney Todd for West Australian Opera, The Cunning Little Vixen for State Opera of SA and major concert appearances with the West Australian and Tasmanian Symphony Orchestras.

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

Ashlyn made her debut with West Australian Opera in the roles of Lapák and Mrs Pásková in the 2018 production of The Cunning Little Vixen. Earlier this year Ashlyn performed as Flora in La Traviata, Opera in the Park. In 2018 concerts with WAO included Opera in the Pinnacles, Opera in the Quarry and Opera in The Valley of The Giants. Ashlyn is currently supported by the Bendat Scholarship.

Macduff

Other roles include: The Duke in Rigoletto with Opera Holland Park, Opera Australia, West Australian Opera, Staatstheater Karlsruhe and Staatstheater Mainz; Turridu in Cavalleria rusticana, Cavaradossi in Tosca, Carlo VII in Giovanna d´Arco for Theater Bielefeld; Jason in Médée for Theater Bielefeld and Staatstheater Mainz and The Italian Tenor (Der Rosenkavalier) for Berlin Staatsoper.

Malcolm

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 performed as Spoletta in Tosca and as Normanno in Lucia di Lammermoor.

When not performing for West Australian 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.

Lady in Waiting

Ashlyn performed as Rosimonda in Handel’s Faramondo at the London Handel Festival whilst graduating as an HF Music Scholar at the Royal College of Music, Master of Performance with Distinction. Other performed roles include: Diana (Actaeon), La Marchande de Journaux (Les Mamelles de Tirésias); Dido (Dido and Aeneas); Euridice (Orpheus in the Underworld); Berenice (Rossini’s L’occasione fa il ladro) and Judith (The Two Sisters) Tête à Tête, London.

Ashlyn will sing the role of Hänsel in WAO production of Hänsel and Gretel 2020 as well as making her debut with the West Australian Symphony Orchestra, Beethoven’s Missa solemnis.

Madeline Kelly Snail / Fox Cub

Cast

Kristin Bowtell

Bruce Denny

Thomas Denver

Baritone Kristin Bowtell studied at UWA, and choral conducting in Cardiff with Simon Halsey.

Bruce started his acting career in community theatre before progressing to professional work.

Roles include The Loudspeaker The Emperor of Atlantis, Male Chorus Medée, Harlekin Ariadne auf Naxos, Lescaut Manon, Water Goblin Rusalka, Angelotti Tosca, and Bottom A Midsummer Night’s Dream.

Recent performance in Yirra Yaakin production ‘Cracked’.

Won Best Actor Award for short film ‘Speed Date’ at the 48 Hour Film Festival in NZ, and a theatre award for his role in Frankenstein produced by Garrick Theatre.

Role in 600 Seconds at the Blue Room as part of the Fringe Festival was Critics Choice for ‘Best of the Best’ night. Other theatre credits include various development workshops with Yirra Yaakin Theatre Company and the BSSTC; productions with WA Opera including the upcoming Macbeth, and also Tristan & Isolde, Nabucco, Madam Butterfly, Carmen, La Traviata, The Magic Flute, Rigoletto and Aida.

Born in Perth, Thomas Denver has always had a passion for performing. At the age of 12 he was fortunate to perform with The London Palladium Production of ‘The Sound of Music’ as ‘Kurt Von Trapp’. From then he has performed in numerous stage productions at the Regal Theatre.

Doctor

Concert repertoire includes Schubert Mass in G and Mozart Missa Brevis in D minor (WASO), Ted Hearne Katrina Ballads (Perth Festival), Orff Carmina Burana, Handel Messiah, Haydn The Creation, Nelson Mass and Missa Sancti Nicolai, Mozart Requiem and Coronation Mass, Puccini Messa di Gloria, Stainer Crucifixion, and Requiems by Rosetti, Fauré and Duruflé.

Kristin has conducted Fauré and Mozart Requiems, Elgar The Music Makers and Poulenc Gloria for WAAPA; with the Giovanni Consort, David Lang little match girl passion, Joby Talbot Path of Miracles and Nico Muhly Bright Mass with Canons.

Kristin commences as Music Director of the UWA Choral Society in October, and will sing Carmina Burana with the Darwin Symphony Orchestra in December.

Duncan

Bruce’s screen work includes The Heights, ITCH, Below, The Decadent and Depraved, Bad Girl, His Father’s Son, Death Bet plus Paper Planes, Gallipoli, Cloud Street, Bran Nue Dae, Leather, Mickelburgs Stitch, Leaky Boat, Sundowner, Speed Date, Storm World, Two Fists One Heart, Bush Patrol and The Hero.

Fleance

For West Australian Opera Thomas has performed the Children’s chorus of Tosca (2017), La Boheme, The Cunning Little Vixen and Carmen (2018).

When not performing Thomas is currently studying Year 10 at John Curtin College of the Arts.

He is exited to join West Australian Opera again and thankful for opportunity to perform in Macbeth.

Synopsis ACT I Scotland. Macbeth and Banquo, leaders of the Scottish army, meet a group of witches who prophesise the future. They address Macbeth as Thane of Cawdor and King of Scotland, and tell Banquo that he will be the father of kings. Messengers arrive with news that Duncan, the current king of Scotland, has made Macbeth Thane of Cawdor. The first part of the witches’ prediction has come true.

ACT III The witches gather again, and Macbeth visits them, demanding more prophecies.

Apparitions warn him to beware of Macduff and assure him that “no man of woman born” can harm him. In another vision, he sees a procession of future kings, followed

by Banquo. Horrified, Macbeth collapses.

The witches disappear and his wife finds him. They resolve to kill Macduff and his family.

In Macbeth’s castle, Lady Macbeth reads a letter from her husband telling her of the events that have just transpired. A servant announces that Duncan will soon arrive at the castle, and when Macbeth enters, she tells him that they must kill the king. Macbeth has a vision of a dagger, then leaves to commit the murder. Banquo enters with Macduff, a nobleman, who discovers the murder. Macbeth and Lady Macbeth pretend to be horrified and join the others in condemning the murder.

ACT IV On the Scottish border, Macduff has joined the refugees. His wife and children have been killed. Malcolm appears with British troops and leads them to invade Scotland.

ACT II Macbeth has become king. Duncan’s son, Malcolm, is suspected of having killed his father and has fled to England. Worried about the prophecy that Banquo’s children will rule, Macbeth and his wife now plan to kill him. As Macbeth leaves to prepare the double murder, Lady Macbeth hopes that it will finally make the throne secure.

Lady Macbeth welcomes the court to the banquet hall and sings a drinking song, while Macbeth receives news that Banquo is dead and his son has escaped. About to take Banquo’s seat at the table, Macbeth has a terrifying vision of the dead man accusing him. Macduff vows to leave the country, which is now ruled by criminals

Lady Macbeth is sleepwalking, haunted by the horrors of what she and her husband have done.

Macbeth awaits the arrival of his enemies and realizes that he will never live to a peaceful old age. Messengers bring news that Lady Macbeth has died. English soldiers appear, camouflaged with its branches. Macduff confronts Macbeth and tells him that he was not born naturally but had a Caesarean birth. He kills Macbeth and proclaims Malcolm king of Scotland.

West Australian Opera Chorus SOPRANOS

Alexandra Bak

*Celebrating over 10 years singing with WAO chorus

Leilah Fox

Claire Condipodero

Lucy Mervik

Mary-Attracta Connolly

Priscilla Cornelius

Penny Shaw

Xiaojia Zhang

*Celebrating over 25 years singing with WAO chorus

*Celebrating over 15 years singing with WAO chorus

*Celebrating over 5 years singing with WAO chorus

*Celebrating over 10 years singing with WAO chorus

Helen Brown

Sonni Byrne

Belinda Cox

Yann Kee

Anne Millar

Courtney Pitman

Prudence Sanders

Elizabeth Vale

Jonathan Brain

Ry Charleson

David Jones

Jason Kroll

Michael Lukin

Joshua Mitting

Tim Schoenmakers

Samuel Thomas-Holland

Callen Dellar

David Dockery

Thomas Friberg

Robert Hofmann

Theodore Murphy-Jelley

David Penco

*Celebrating over 10 years singing with WAO chorus

MEZZO SOPRANOS

*Celebrating over 15 years singing with WAO chorus

*Celebrating over 30 years singing with WAO chorus

*Celebrating over 10 years singing with WAO chorus

*Celebrating over 15 years singing with WAO chorus

*Celebrating over 5 years singing with WAO chorus

*Celebrating over 20 years singing with WAO chorus

TENORS

*Celebrating over 10 years singing with WAO chorus

BASSES

*Celebrating over 15 years singing with WAO chorus

*Celebrating over 15 years singing with WAO chorus

*Celebrating over 10 years singing with WAO chorus

*Celebrating over 15 years singing with WAO chorus

*Celebrating over 30 years singing with WAO chorus

*Celebrating over 5 years singing with WAO chorus

Steve Sherwood

*Celebrating over 20 years singing with WAO

*Chorus Milestones working with West Australian Opera

Verdi and The Bard

‘This tragedy is one of the greatest creations of the human spirit. If we can’t do something great with it, let us at least try to do something out of the ordinary.’

Verdi to librettist Piave

From early in his career, Verdi had planned to adapt and set Shakespeares’ plays. King Lear was his first choice, followed by The Tempest and Hamlet.

However, nothing eventuated because the composer could find no agreement between house managements and contracts with suitable singers.

Macbeth was his next choice: not because he was looking for a great tragic theme, but because Alessandro Lanari, the Florentine impresario could guarantee baritone Felice Varesi to perform the eponymous role of Macbeth. Contracts were signed and Verdi’s first Shakespearean opera opened at the Teatro della Pergola on March 14, 1847 sung in Italian (the revised Paris Macbeth in 1865 was sung in French).

According to Verdi’s biographer Julian Budden, Verdi worked closely with Varesi, asking for advice on scoring certain passages in the text and their interpretations: insisting “Varesi was to pay more attention to the words rather than to the music, to serve the poet rather than the musician.”

Shakespeare was also influenced by his subject and suitability of actors: Hamlet; Othello; Macbeth; and Mark Antony were all roles specifically written for the actor Burbage. Hence the affinity is demonstrated between two great dramatists from different centuries: Verdi and Shakespeare.

As an Elizabethan poet and dramatist, by mid-nineteenth century standards Macbeth was breaking new grounds. It was the first Italian opera to reflect the dramatic spirit of the Bard, orchestrally as well as vocally, with its doom and gloom proliferation of minor tonalities and dark instrumental colours. The Macbeths had no love duets and the opera is still often referred to as “l’opera senza amore”. A large female chorus, increasing Shakespeare’s three witches to eighteen, added to the dramatic impact.

His librettist of choice was a Francesco Maria Piave and in 1846 Verdi sent him the broad dramatic lines of the proposed opera based on Rusconi’s 1838 translation.

These included the witches’ prophecy and its partial fulfilment; Lady Macbeth’s soliloquy; the ‘dagger speech’; the murder of King Duncan; Banquo’s murder and apparition at the banquet; Macbeth’s second meeting with the witches; the meeting of Malcolm and Macduff; Lady Macbeth’s sleepwalking scene; and finally Macbeth’s death.

When the bass engaged to portray Banquo refused to reappear in the banquet scene in Act II, as Banquo’s ghost (who had nothing to sing), Verdi reacted angrily to Lanari: “Singers must be engaged to sing and to act. It would be monstrous to have someone else play the ghost!”

Verdi called well over a hundred piano and orchestral rehearsals and spent time endlessly coaching the lead singers, Varesi and soprano Marianna Barbieri-Nini his Lady Macbeth. In her memoir Barbieri-Nini recalls rehearsing for the sleepwalking scene:

“It took me three months to study….I tried to imitate those people who talk in their sleep, who uttered words (as Verdi assured me) almost without moving their lips, keeping eyes motionless. It was enough to drive you insane.”

As the premiere approached, Verdi constantly demonstrated particular interest in his opera. He literally bullied Piave into producing the text exactly to his specifications and engaged his friend Andrea Maffei to alter certain passages. The rift between composer and librettist deepened so much that Piave’s name was actually deleted from the first edition of the vocal score. Fortunately Piave’s reputation was restored and their partnership included Rigoletto (1851), La traviata (1854), La Forza del Destino (1861) and finally Simon Boccanegra (1881) with Arrigo Boito.

The premiere in Florence was a great success, with thirty-eight curtain calls.

Later the opera was performed in opera houses around Italy with Verdi still paying special attention to the revivals.

As he wrote to Barezzi, his father-in-law and patron “here now is this Macbeth which is dearer to me than all my other operas, and therefore I deem more worthy of being presented to you.” Verdi certainly had done “something out of the ordinary” with Macbeth, one of the Bard’s greatest creations.

Annie Patrick Program Notes, October 2019

Thank you

PRINCIPAL PATRON ($5,000+) Dr Jack Bendat AM CitWA Catherine Ferrari Warwick Hemsley Dr Patricia Kailis AM OBE The Robert Kimpton Family Dr Robert Larbalestier AO 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 Dr Dennis Hayward Eleanor John Francis Landels Dr Bryant Macfie Drs Mark & Fiona Newman Bill Reid Hon Kerry Sanderson AC Michael & Helen Tuite Joyce Young Anonymous (1) SUPPORTER ($1,000+) Gaysie Atkinson Betty Barker Gay & Robert Branchi Dr Peter & Mrs Rae Breidahl Claire Brittain & John McKay Lynne Burford Publicity Mrs Joan Carney Helen Carroll Maureen Connaughton Frank Cooper AO Lorraine Ellard John Evans Kathryn Hogan & Graham Droppert Jack Goodacre Ulrich & Gloria Kunzmann Simon Landers Ross & Frances Ledger Patrick Lilburne Richard Noble & Co Sonia Phelan The Hon Len & Sue Roberts-Smith Glenice Shephard Kim & Keith Spence Yannis Vrodos Dr Chris & Mrs Vimala Whitaker Anonymous (3)

TRUSTS AND FOUNDATIONS Minderoo Foundation 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.

YOUNG ARTIST PROGRAM Bendat Family Foundation Scholarship James Galvin Family Foundation Mr Andrew Mitchell Society of WA Opera Lovers YOUNG LEADERS CIRCLE Thank you to the Young Leaders Circle partner Herbert Smith Freehills and Yannis Vrodos, program Ambassador.

Myles Barlow Marc Beattie Katie Brennan Rachel Dawson Melissa De Abreu Emma Hollins Pei-Yin Hsu Fiona Lander John Larbalestier Aaron McDonald Tahnee Sharp Gabrielle Sumich Sonja Tasovac Yannis Vrodos Eliza Wallace Bronte Young BEL CANTO FUND Thanks to the leadership donors of the Bel Canto Fund BEQUEST CIRCLE Anita & James Clayton Lorraine Ellard Ailsa West Anonymous (5)

FRIEND ($500+) Prof David Ambrose Cathy Bardon and Bob Cassie Siobhan Beilin Dr Colin Binns & Dr Mi Kyung Lee David Black Friends of His Majesty’s Theatre T & E Gerner Rosemary Grigg & Peter Flanigan Dr Rosalind Hampton Ian & Sue Hobson Dita Jevons Jock & Jennifer Laurie Darren Lewsen Anthony & Suzanne Maple-Brown Ingrid O’Brien Jenny Rankin Clare Thompson Agatha van der Schaaf Diana Warnock and the late Bill Warnock Peter & Hilary Winterton Anonymous (5) MACBETH SKETCH TO STAGE Gaysie Atkinson Larrisa Atkinson Joan Carney Carolyn Chard AM Feilman Foundation Jack Goodacre Darren Lewsen Suzanne Maple-Brown Inrid O’Brien Annie & Neil Patrick Jenny Rankin Gail Reading Bill Reid Agatha van der Schaaf Anonymous (1)

FROM THE LAND FOR THE LAND O R G A N I C A L LY F A R M E D, 1 0 0 % E S TAT E G R O W N A N D M A D E W I N E S O F P L A C E

West Australian Opera BOARD Chairman Andrew Pascoe Deputy Chair Catherine Ferrari Janet Barnes Anthony Gianotti Christiaan Heyning Darren Lewsen Ingrid O’Brien Jan Stewart

VICE REGAL PATRON The Honourable Kim Beazley AC, Governor of Western Australia PATRON Dr Jack Bendat AM CitWA HONORARY LIFE MEMBERS Dario Amara Julie Bishop Richard Bonynge AC CBE Terry Bowen Frank Cooper AO 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

Venue Acknowledgements PERTH THEATRE TRUST Chairman Morgan Solomon Julian Donaldson Andrew Hammond Gaye McMath Tanya Sim Michelle Tremain Nadia van Dommelen Ex officio Glen Kar Director General of Department of Local Government, Sports and Cultural Industries & Perth Theatre Trust General Manager Duncan Ord OAM

WAO STAFF Executive Director Carolyn Chard AM Music Director Chris van Tuinen Production Manager Mandy Farmer Artistic Administrator Kate Larkins Accountant Debbie Byrnes Education Manager Terasa Letizia Development Manager Coralie Bishop Marketing Manager Danielle Barlow Development & Marketing Coordinator Catherine Power Marketing Consultant Daniele Foti-Cuzzola Office Coordinator Holly Langford-Smith Financial Accountant Sue Hobson Publicity Lynne Burford Regional Programs Claudia Rayne Sales Consultant Rachel Sait Music Librarian Allison Fyfe

Venue Manager Helen Stewart Manager Venue Operations Alexandra Lehmann Event Operations Coordinator Fiona McNiece Admin and Accounts Assistant Laura O’Grady Administration Assistant Julianna Noonan Stage Door Keeper David Bell Box Office Supervisor Jenny Franklin Archivist Ivan King OAM Technical Manager Matthew Nankivell Assistant Technical Manager Tony Gordon Head of Audio Jeremy Turner Head Mechanist Eoin O’Brian Head Electrician Michael Rippon Head Flyman Matt Mclay Lighting Board Operator Shane Bowring

40

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