The Elixir of Love Program

WEST AUSTRALIAN OPERA 2016

THE ELIXIR OF LOVE

DONIZETTI

Presented by Alcohol.Think Again

Director’s Message “It’s bright, it’s bucolic, and hopefully, despite the tone of this note, it’ll be a barrel of laughs”

The Elixir of Love falls into that territory which mixes classic opera buffa with a more sentimental lyricism, so you have to establish a tone which allows both styles to co-exist. The scenario has some interesting challenges. The romantic leads, Nemorino and Adina, are in themselves tricky – obviously he’s a complete nong who believes in a love potion so it’s imperative he wins us over with sincerity and charm. She can be viewed as either an early feminist seizing the right to make choices and determine her own destiny or a capricious minx with scant regard for the feelings of anyone but herself.

Either way, the bottom line is that she falls for that old curly one, you want what doesn’t want you. It’s actually in the process by which Adina’s affections slowly turn to Nemorino that the opera is at its most psychologically observant and amusing.

One would obviously be foolish to take it all too seriously, but by the same token the more coherent the framework into which you put silliness, the more enjoyable it is.

Unless the director wishes to fly deliberately in the face of the libretto, a rural setting seems unavoidable and indeed one of sufficient naivety to believe in the spiel of a snake-oil merchant. (Mind you I toyed briefly with the idea of late night television infomercials).

I’m not saying that these are conscious themes of the opera, but they are connections which, at least in the Australian context, give the work a little extra bite.

Furthermore, the society and era needs to accommodate army recruitment. There are constraints of time and place and challenges to rationality, but then it’s a comedy and the whole thing’s unashamedly a bit silly.

My instinct is always to bring something as close to home in time and place as the scenario will allow. And you can’t get much more rural than Australia. In my mind this allowed me and my designers to draw on some of the aesthetics of both the real Australian landscape and its depiction in art, making some amusing connections but also capturing a lyricism of line and colour which seemed appropriate to the piece.

The presence of soldiers basically dictated one of the two world wars. I went for the first, partly because of the required naivety of the community, and because I became interested in a couple of interesting social phenomena associated with that era.

If somewhere at the heart of Nemorino’s story lies the exploitation of the naive and trusting by the opportunistic (the quack Dulcamara) and self-serving (the officer Belcore), it seemed appropriate that the opera be set on the brink of Australia’s exploitation by two imperialist superpowers, Britain and America. (continued)

“Phillips seamlessly slips the original 18th century Basque setting somewhere into rural Australia in 1915” The Herald Sun

Thus Belcore is an English officer, leading his Australian recruits off to that ultimate colonial exploitation, so richly captured in Peter Weir’s film Gallipoli. Dulcamara on the other hand brings with him what has become the ultimate symbol of capitalist colonisation: fortuitously it was just before World War I that Coca-Cola™ was introduced to Australia. By introducing these ideas it seems to me that the satirical energy of the opera, capturing as it does the gullibility of humankind and the perverse complexity of emotional manipulation, would be particularly vibrant.

I have been made aware since conceiving of this production that the idea of re-inventing the elixir as Coke, successfully marketed indeed as a love potion guaranteed to make all the babes on the beach fancy all the boys, is not a new one. (An English production did the same thing a decade or so ago).

Girl pla ys ha

rd to get

But it seemed so integral to the idea of this production, especially in the Australian setting, that we decided not to change it for the sake of that proverbially non-existent originality.

So this is the context into which the design team and I have thrown The Elixir of Love.

It’s bright, it’s bucolic, and hopefully, despite the tone of this note, it’ll be a barrel of laughs.

Simon Phillips DIRECTOR

Boy wins girls heart

Conductor’s Message “Donizetti always has this remarkable melodic gift in his writing that is underlined by incredible rhythmic vitality which like the potion itself is so intoxicating and alluring”

I believe that Donizetti has given us one of the great comic operas ever written and rehearsing Elisir d’Amore at West Australian Opera has reminded me how, touching, moving and downright hilarious opera can be.

The music for all the lead characters is always sharply defined and expertly observed and all the time oozes the charm that you would expect from this most fluent of composers.

With the stellar cast that you will see and hear this evening, I hope that what will come across is not just the detail of the story but the sense of fun and creativity that we have had in drawing out the themes of misplaced jealousy, desire and of course true love in all its ridiculous, painful and beautiful aspects.

Stuart Stratford CONDUCTOR

The rugged design and ‘Australiana’ of this production by Simon Phillips is an ideal setting to bring the characters off the page and gives an ideal authenticity to the world in which they inhabit...and provides ample opportunity for some fantastic gags!

What I love about conducting a piece like this is the sense of dialogue and dynamic collaboration between myself, the singers and the orchestra so that it seems as if we are one huge living and breathing machine.

Donizetti always has this remarkable melodic gift in his writing that is underlined by incredible rhythmic vitality which like the potion itself is so intoxicating and alluring.

Vocal acrobatics abound and each character is asked at times to sing at break neck speed or pushed to the very top of their range. At other times the composer simply asks us to luxuriate in the warmth and precious intensity of the human voice in its bare simplicity.

Jealousy, Desir e

and T rue Love

THE ELIXIR OF LOVE Presented by Alcohol.ThinkAgain 7.30pm | July 14, 16, 19, 21, 23 His Majesty’s Theatre ACT ONE Nemorino yearns for Adina, a wealthy farmer, who is also being pursued by the sergeant Belcore. Nemorino asks a quack doctor, Dulcamara, for an elixir which will make Adina return his love. Dulcamara gives him a placebo.

As Nemorino takes the elixir his confidence grows so much that when Adina appears he feigns disinterest in her. Astonished by his change in behaviour, she accepts Belcore’s proposal of marriage.

ACT TWO Nemorino is desperate for the elixir to take effect. Dulcamara assures him that a second dose will speed things up, but Nemorino has no money left. Belcore tricks him into signing up for the army in return for cash, so that Nemorino can buy more elixir. Belcore is delighted to have tricked his rival to enlist in the army.

Meanwhile, Nemorino’s uncle dies, leaving him a fortune. The village girls hear the news and flock around Nemorino - who thinks the elixir is working. Adina, humbled, realises that she cares for Nemorino after all.

Composer Gaetano Donizetti Conductor Stuart Stratford Director Simon Phillips Rehearsal Director Cathy Dadd Set Designer Michael Scott-Mitchell Costume Designer Gabriela Tylesova Lighting Designer Nick Schlieper Nemorino Aldo Di Toro Adina Rachelle Durkin Belcore José Carbó Dr Dulcamara Marco Nisticò Giannetta Jennifer Barrington Driver/Notary Brodie Masini Stage Manager Karen Farmer Assistant Stage Manager Erryn Hanson Assistant Stage Manager Josh Marsland Head of Wardrobe Sue Kerr Wardrobe Maintenance Holly Sansalone Dressers Sacha Mahboub Head of Wigs Christopher Lyons Wigs Assistant Lee-Anne McKinley Head of Make Up Sioxane Martincic Surtitle Operator Allison Fyfe Repetiteur Tommaso Pollio Pre-Performance Talks Annie Patrick Opera Australia Mechanist Todd Westbrook Opera Australia Props Gerard Foley West Australian Opera Chorus West Australian Symphony Orchestra

Governor’s Message

Chairman’s Message

As Vice Regal Patron of West Australian Opera, I am delighted to welcome you to enjoy the opera The Elixir of Love. West Australian Opera was established in 1967 and will celebrate its 50th anniversary in 2017. This is an exciting milestone for the company and for our community as we join to celebrate the contributions the opera company has made to the cultural landscape of our state. At His Majesty’s Theatre this evening you will see Simon Phillips’ wonderfully Australian production of The Elixir of Love. West Australian Opera is proud to present Donizetti’s famous opera.

We welcome West Australian artists Rachelle Durkin and Aldo di Toro home to Perth to sing the roles of Adina and Nemorino.

West Australian Opera presents the Simon Phillips’ production of Donizetti’s The Elixir of Love under the baton of conductor Stuart Stratford making his debut with us in Perth.

He will conduct the West Australian Symphony Orchestra and West Australian Opera Chorus with an outstanding cast including Aldo di Toro, Rachelle Durkin, Jose Carbo, Marco Nistico and Jennifer Barrington. On behalf of the company I would like to thank the creative team and artists for bringing this production to life on stage for us here at His Majesty’s Theatre and I acknowledge and thank rehearsal director Cath Dadd.

As we look ahead this year we will have the pleasure of welcoming Michael Gow’s Opera Conference production of Bizet’s The Pearl Fishers in October and I invite you to join us if you haven’t already booked your seats.

I join the Chairman, Terry Bowen, and General Manager, Carolyn Chard, in acknowledging the generous support from the State and Federal governments, Principal Partner Wesfarmers Arts and season sponsor Healthway as well as expressing appreciation of private and corporate supporters.

Her Excellency The Honourable Kerry Sanderson AC GOVERNOR OF WESTERN AUSTRALIA

Opera is a beautiful but expensive art form and we value the contribution of our sponsors, patrons, donors, board and you, our audiences.

I acknowledge Principal Partner Wesfarmers Arts, Civic Partner the City of Perth, Official Airline Partner Qantas, Conductor Partner NAB and Media Partners Channel Seven Perth and The West Australian.

This season is presented by Healthway with the message ‘Alcohol. Think Again’ and we thank them for their support and partnership.

We are grateful for the continued support of the Federal Government through the Australia Council and the State.

Terry Bowen CHAIRMAN West Australian Opera

General Manager’s Message

This season The Elixir of Love is conducted

by Stuart Stratford, Music Director of Scottish Opera and acclaimed conductor.

West Australian Opera was established in 1967 and celebrates its golden anniversary in 2017.

It is a pleasure to welcome him to West Australian Opera for the first time.

We are proud of being the only opera company in Australia trading under the same name, the same constitution and in the same theatre.

I am pleased to acknowledge West Australian Opera’s newly appointed Head of Music, Thomas Johnson who has prepared the chorus for this opera and who is working behind the scenes with the ‘backstage chorus and conducting’ duties.

Simon Phillips’ direction, revived by Cath Dadd with Michael Scott-Mitchell’s set design, Gabriela Tylesova’s costume design and Nick Schlieper’s lighting design will be an absolute delight for you in the theatre tonight as noted in a glowing review from the Herald Sun which said “The Elixir of Love is the opera that truly sparkles”.

Featuring the famous and much loved aria “Una furtiva lagrima”, Donizetti’s opera is an age old tale of money, inheritance, romance and true love.

The dreamer Nemorino yearns for the love of Adina and with the boost from an “elixir” of love, Nemorino finds the courage to declare his love for her.

He finally works out that she loves him too, not for his money or status, but for his sweet nature.

Opera ‘tells stories’ and we invite you to submit your memories and stories. It is hoped that this will capture some of the history of the company in ‘your own words’ and build a picture of Fifty Years of Opera in Western Australia (1967-2017).

You may be an audience member, a singer, performer, chorus member, a member of the orchestra, the theatre, or the company and we welcome your backstage stories, front of house stories, theatre stories, rehearsal stories and so on.

Stories can be submitted to the 50th Anniversary section of the WAO website or can be emailed to cchard@waopera.asn.au Carolyn Chard GENERAL MANAGER West Australian Opera

Simon Phillips

Stuart Stratford

Cathy Dadd

Simon was Artistic Director of the State Theatre Company of South Australia from 1990 to 1993 and Artistic Director of the Melbourne Theatre Company from 2000 to 2011.

Stuart Stratford is the Music Director of Scottish Opera.

His most recent credits with the company include a new production of Jenůfa and Rusalka.

Stuart is a sought after guest conductor at opera companies throughout the UK including many appearances at Opera North, Opera Holland Park, Birmingham Opera Company, Welsh National Opera and English National Opera, where he conducted a highly acclaimed Satyagraha.

Cathy joined Australian Opera as a member of Stage Management in 1987 and worked on over 50 productions until 1991.

Director

His directing credits range from new works to contemporary and Shakespearean classics to musicals to opera.

He has also directed the premieres of many new works by leading Australian writers, including, most recently, Joanna Murray-Smith’s Pennslyvania Avenue, which toured nationally.

Among his many classical productions The Tempest, Julius Caesar, A Comedy of errors, and The Importance of Being Earnest also toured nationally in Australia.

Simon recently directed the Barry Humphries’ farewell tour, Eat, Pray, Laugh which toured Australia, the UK, the US and Canada.

Simon’s opera credits include: The Turk in Italy, La Boheme, Falstaff, L’Elisir d’Amore and Lulu for Opera Australia, The Magic Flute and Don Giovanni for Opera New Zealand and A Midsummers Night Dream and Bilyl Buddfor Hamburg State Opera.

Simon is the recipient of eight Australian Green Room Awards and four Helpmann Awards.

Conductor

International engagements have taken him in recent seasons to Musica Aeterna Perm, Hong Kong, the Theater St Gallen and the Finnish National Opera and he appears regularly with national orchestras including the London Philharmonic Orchestra, the Philharmonia, and the City of London Sinfonia. This season sees his debut for West Australian Opera with L’elisir d’amore.

Recordings include Mercadante’s I Normanni a Parigi (Philharmonia Orchestra, Opera Rara) and the joint Channel 4 and Australian Broadcasting Corporation film opera, The Eternity Man (Australian Chamber Orchestra).

Stuart read music at Trinity College, Cambridge, studying conducting with David Parry and later in Russia, at the Saint Petersburg State Conservatoire with Ilya Aleksandrovich Musin.

He was the Junior Fellow in Conducting at the Royal Northern College of Music in 1999 and 2000.

Rehearsal Director

In 1992 Cathy joined the Lyric Opera of Queensland (now Opera Queensland) as their Company Stage Manager and Resident Assistant Director and in 1994 joined the Victoria State Opera as an assistant and spent the next three years commuting between Brisbane and Melbourne.

Cathy re-joined Opera Australia as a Resident Director in 2000 and in 2004 she directed her own production of Wagner’s Der fliegende Holländer as well as Fidelio.

Since leaving Opera Australia in 2012, Cathy has been freelancing as a consultant and working in state companies rehearsing productions for their upcoming seasons.

In 2015 saw Cathy directing Barber of Seville in the Park for West Australian Opera.

In 2016 she will rehearse Donizetti’s L’Elisir d’Amore for West Australian Opera and restage Tosca for State Opera of South Australia as well as assist Bruce Beresford on a new production of Albert Herring in Brisbane.

Michael Scott-Mitchell

Gabriela Tylesova

Nick Schlieper

Michael Scott-Mitchell is one of Australia’s most outstanding designers working on the Cauldron, Sydney Olympics; Cauldron, Ceremonial and Cultural Segments, Asian Games Doha 2006; Broadway production of Doctor Zhivago. Founding director of D4DESIGN (Rockpool Restaurant, Regents Court).

Gabriela Tylesova was born in Czech Republic. She studied Art in Europe and Australia, graduated in Design at The National Institute of Dramatic Arts, Sydney.

Nick Schlieper has designed for all of the major performing arts companies in Australia, and his many international credits include The Royal Shakespeare Company, State Theatres of Berlin, Hamburg and Munich, in Norway, Capetown, and Hedda Gabler, Uncle Vanya, The Maids and Streetcar Named Desire, all with Cate Blanchett, in New York.

Set Designer

Awards include Helpmann Der Ring des Nibelungen, Green Room - Ying Tong, L’elisir d’amore, Adelaide Theatre Critics - Il trovatore, Glug - Les Parents Terrible, APDG – Tosca, Storm Boy, La fanciulla del West, Dr Zhivago. Photographs for Der Ring des Nibelungen are held by the National Library.

Head of Design/Director, Undergraduate Studies NIDA. OA repertoire includes; La fanciulla del West, Tannhäuser, Rinaldo, L’elisir d’amore, Andrea Chénier, Il trovatore, Don Giovanni, Tosca Other Companies: Der Ring des Nibelungen (SOSA); Opening Ceremony of CHOGM, Perth; Shout! (Jacobsen Entertainment); over 33 STC productions including Arms and the Man, Switzerland, Storm Boy, Ying Tong; Dr Zhivago, Cabaret (GFO); Freeze Frame (Brisbane Festival); Jesus Christ Superstar (Harry M Miller); Bell Shakespeare’s inaugural designer, 11 productions including Troilus & Cressida, Merchant of Venice.

Costume Designer

She studied Cinematography for Designers at The Australian Film Television and Radio School, 2015. Gabriela was the creative Director of Aviatrix, international design house specialising in wall coverings and textiles.

Repertoire includes Il Turco in Italia, Sweeney Todd (Green Room Award), Salome, Baroque Masterworks, Così fan tutte (Helpmann Award), The Rabbits (Helpmann Award), Opening and Closing Ceremony 15th Asian Games, Qatar (Sets and Costumes); Love Never Dies (Really Useful Company, Japan, Germany) (Green Room Award, Helpmann Award, Sydney Theatre Award, APDG Award); Sleeping Beauty (The Australian Ballet); Rosencrantz and Guildenstern are Dead (Sydney Theatre Award - Best Set and Costume Design), Volpone (STC); Can We Afford This (DV8 Physical Theatre, Sydney Olympic Arts Festival); The Clockwork Forest (Windmill/ STC); Urinetown – The Musical, Cyrano de Bergerac; The Visit (Green Room Award); Macbeth; Boomerang (Bangarra 2006 Green Room Award); Broadway adaptation of First Wives Club The Musical (USA).

Lighting Designer

In Australia, most recently for STC: King Lear, The Present, Endgame, Switzerland, Macbeth Waiting for Godot, Rosencrantz and Guildenstern Are Dead, and Big and Little in Sydney, London Paris and Vienna; Malthouse Theatre: Pompeii LA, (and set), Belvoir Street: Royal David’s City (and set); MTC: Death and the Maiden (and set); and Patyegarang (Bangarra Dance Theatre).

He lit Priscilla Queen of the Desert, in Australia, New York and London, and Love Never Dies in Australia, Hamburg and Tokyo.

Recent opera engagements include: Tosca, Turk in Italy (Opera Australia); Otello (Opera Queensland); and Wagner’s Ring Cycle in Adelaide (also Associate Set Designer).

He has received six Green Room Awards, five Sydney Critics Awards and four Helpmann Awards.

Aldo Di Toro

Rachelle Durkin

Nemorino

Adina

Aldo Di Toro graduated from the WA Conservatorium of Music and made his debut as Oronte (Alcina) for WAO. He won two awards from Opera Foundation Australia for further study in Italy and Austria.

In 2014/2015, Rachelle Durkin sang Adina (L’elisir d’amore) and Norina (Don Pasquale) for Opera Australia, Lisa (La sonnambula) and Clorinda (Cenerentola) at the Metropolitan Opera New York, Violetta (La traviata) in Forth Worth, Texas and Donna Anna (Don Giovanni) for Kansas City Opera. Rachelle also joined international bass-baritone Bryn Terfel at the annual Leeuwin Estate Gala Concert.

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

Now living in Italy, recent/ forthcoming roles include, in Germany: Masel in Janacek’s The Adventures of Mr Boucek (Trier), his debut as Pinkerton in Madama Butterfly(Magdeburg Opera) and Riccardo in Un Ballo in Maschera(Braunschweig); Ernesto in Don Pasquale (Scottish Opera); Steva (Jenufa) and Loris (Fedora), Nemorino, Edgardo, and Rodolfo (Opera Holland Park); Alfredo, The Duke and Canio (Pagliacci) in Italy; and Roméo (Roméo and Juliette), The Duke and Pollione (Norma) in Innsbruck.

In 2016, she sings Adina for West Australian Opera, Helena (A Midsummer Night’s Dream) for Hawaii Opera Theater and the title role in Armida for Pinchgut Opera.

Other appearances have included Norina and Miss Schlesen (Satyagraha) at the Metropolitan Opera; the title role in Alcina, Violetta, Angelica (Orlando), Donna Anna, Countess Almaviva, Tytania, Fiordiligi and Eurydice for Opera Australia; Amina, Musetta and the Four Heroines (The Tales of Hoffmann) for West Australian Opera; and as soloist with the Metropolitan Opera Orchestra, Auckland Philharmonia, Hong Kong Philharmonic Orchestra and the Sydney, Melbourne, Adelaide, Queensland, Tasmanian and West Australian Symphony Orchestras.

José Carbó

Marco Nisticò

Jennifer Barrington

Belcore

Dr Dulcamara

Giannetta

José Carbó made his La Scala debut in 2009 in Il viaggio a Reims and his American debut in 2011 as Rossini’s Figaro in Seattle.

Italian born baritone Marco Nisticò’s impressive combination of beautiful tone, exquisite artistry, and superior stagecraft has delighted audiences throughout North America, South America, and Europe.

Perth born Soprano Jennifer Barrington graduated from WAAPA and in 2009/2010 was a young artist with the West Australian Opera. Jennifer made her professional stage debut as Papagena in Die Zauberflöte with WA Opera and has performed numerous roles including Barbarina Le nozze di Figaro, Yum-Yum The Mikado, Niece 1 Peter Grimes, Adele Die Fledermaus and Kate Pinkerton in Madame Butterfly.

Other overseas engagements have included Figaro for Teatro Real Madrid and Seattle Opera, Riolobo (Florencia en el Amazonas) for Los Angeles Opera and Belcore (L’elisir d’amore) in Madrid. In 2015, he joined the roster of principal artists at The Metropolitan Opera, New York.

His many roles for Opera Australia have included the tile roles in Rigoletto, Don Giovanni and The Barber of Seville, Fritz in Die tote Stadt (Helpmann Award), Germont in La traviata, Anckarström in Un ballo in maschera, Rodrigo in Don Carlo and Zurga in The Pearl Fishers. He is a regular soloist with all of Australia’s state opera companies and symphony orchestras.

José’s debut album, My Latin Heart (recorded with Slava & Leonard Grigoryan and released by ABC Classics) debuted at No. 1 on the Limelight Magazine Classical Music charts.

Most recently he appeared as Tonio in Pagliacci with Opera Memphis, Amonasro in Aïda with Opera Colorado and Sarasota Opera, and appeared with Florida Grand Opera as Malatesta in Don Pasquale.

Upcoming bring his return to Sarasota Opera in Don Pasquale and L’amore dei tre re, as well as appearances with San Diego Opera, Dallas Opera, and Opera Colorado.

In 2013-14 he returned to the Metropolitan Opera for the premiere of Nico Muhly’s Two Boys, sang Dulcamara in L’elisir d’amore and Dancaïro in Carmen with Teatro dell’ Opera in Rome, and returned to Sarasota Opera as Figaro in Il barbiere di Siviglia.

Additional recent highlights include Tonio in Leoncavallo’s I pagliacci and Posa in Verdi’s Don Carlos with Sarasota Opera, Dulcamara with Landestheater Bregenz and Guglielmo in Così fan tutte with Teatro Regio Torino.

Solo concert appearances and broadcasting includes Orff’s Carmina Burana - West Australian Symphony Orchestra, Composer and Conductor workshop’s - Tasmanian Symphony Orchestra, Herald Sun Finals - Orchestra Victoria, Handel’s Messiah - Heidelberg Symphony, Gorecki’s Symphony of Sorrowful songs and Orff’s Carmina Burana - Fremantle Symphony, Beethoven’s Mass in C, Haydn’s Die Jahrezeiten, Faure’s Requiem, Handel’s Messiah – UWA Choral Society and Transient States – Tura New Music festival - Attica Ensemble.

She most recently debuted internationally in New Zealand as soprano soloist in Orff’s Carmina Burana as well as soprano soloist in the world premiere of “Erebus” by New Zealand composer David Hamilton.

West Australian Opera Chorus SOPRANOS

MEZZO SOPRANOS

TENORS

BASSES

Alexandra Bak

Anne Millar

Cian Elliott

Charles Bogle

Emma Pettemerides

Courtney Pitman

David Jones

David Dockery

Harriet O’Shannessy

Rebecca Bunn

Jonathan Brain

David Penco

Jenna Robertson

Sonni Byrne

Matthew Dixon

Dudley Allitt

Leilah Fox

Liz Vale

Simon Wood

Mark Alderson

Mary-Attracta Connolly

Yann Kee

Tim McNamara

Paull Anthony Keightley

Tim Schoenmakers

Thomas Friberg

Program Notes

“Magic love potions and spells have played an important thematic role in both literature and opera.”

Magic love potions and spells have played an important thematic role in both literature and opera. Handel’s opera Alcina (1735) is based on a sorceress in Arioso’s epic poem Orlando Furioso, where his eponymous heroine Alcina casts love spells on men who land upon her enchanted island. Wagner based his three act drama Tristan und Isolde (1865) on a version of the Celtic myth inscribed by Gottfried von Strassburg, in which the two lovers drink a love draught believing it is poison. The results are catastrophic.** Gaetano Donizetti (1797-1848) and his librettist Felice Romani (1788-1865) drew on a more contemporary source for their comic opera L’elisir d’amore (The Elixir of Love): Romani adapted an earlier French libretto Le Philtre by Eugene Scribe (1791-1861). This was originally set by the composer Auber (1782-1871) and performed in Paris in 1831, less than a year before Donizetti’s L’elisir was successfully premiered at Milan’s Teatro alla Canobbiana in 1832.

Donizetti was one of the most prolific composers of the Bel Canto period, with more than sixty operas to his credit: including Lucia di Lammermoor and Don Pasquale. Romani collaborated with the composer on several of his best-known operas, including Anna Bolena, Lucrezia Borgia and, of course L’elisir d’amore. This latter work was written in haste in less than two months, although legend has it in that it was composed in a couple of weeks. Through necessity Romani stuck fairly closely to Scribe’s libretto, however Donizetti insisted on a number of changes, including the insertion of Nemorino’s popular tenor aria “Una furtive lagrima” in Act ll.

The proliferation and superiority of his ‘hit tunes’ separates L’Elisir from dozens of comedies composed around the same time. They also serve to develop dramatic characterisation: The bass’s comic patter entrance song “Udite, udite, o rustici” is both funny and difficult and establishes Dulcamara as a charlatan, but ultimately harmless and rather likeable.

The potion he is flogging is a cure-all for just about every illness known to man, however the special elixir of love he sells to the gullible Nemorino is labelled TRISTAN—it is infact a rather dodgy bottle of Bordeaux red.

Onstage Adina is initially seen reading a book.

When asked by the villagers (chorus), she reveals that it is a love story telling how Tristan won the heart of Isolde by drinking a magic love potion.

Simple farmhand, Nemorino, is in love with the wealthy landowner, Adina, but he needs a miracle if he is to attract her attention…or perhaps an elixir of love, just like Isolde’s? Ironically, Nemorino (literally ‘little nobody’) finally finds the courage to declare his love for Adina through drinking Dulcamara’s magic potion.

In Act ll Dulcamara boasts to Adina about the power of his TRISTAN elixir, offering to sell her a bottle to rekindle Nemorino’s ardour. She replies that she will recapture his love in her own fashion. Finally the lovers are united and Dulcamara reveals the news of Nemorino’s inheritance, and brags about how his miraculous potion can make people fall in love and even turn poor peasants into millionaires.

Despite Donizetti’s dissatisfaction with his opening night cast, stating in a letter: “a German soprano [singing Italian], a stammering tenor, a French baritone ‘not worth much’ and a buffo with the voice of a goat”, the premiere on May 12, 1832 was an unalloyed success. Donizetti’s teacher and mentor, composer Johann Simon Mayr, proudly described the opera “inspired throughout with joy and happiness,” and both critic and audiences concurred. **Interestingly Wagner, who was notoriously short of cash, arranged Donizetti’s L’elisir d’amore for piano in 1840---Perhaps it gave him some ideas for his libretto of Tristan und Isolde?

Annie Patrick 2016

West Australian Opera Donors

LEADERSHIP CIRCLE ($10,000+) Warwick Hemsley Richard Tarala & Lyn Beazley AO Ernst & Young PRINCIPAL PATRON ($5,000+) Dr Jack Bendat AM CitWA & Mrs Eleanor Bendat Liz & Erich Fraunschiel Dr Patricia Kailis The Robert Kimpton Family Dr Robert Larbalestier Dr Bryant Macfie Joyce Westrip OAM BENEFACTOR ($2,500+) Neil Archibald & Alan R Dodge AM Eleanor John & Finn Barrett Annie & Neil Patrick Anonymous (1) SUPPORTER ($1,000+) Her Excellency The Honourable Kerry Sanderson AC Mrs Gaysie Atkinson Betty Barker Peter Blaxell Robert Branchi Dr and Mrs Breidahl Jennifer Brukner Lynne Burford Publicity Mrs Joan Carney Helen Carroll Dr C & Mrs C Denz Lorraine Ellard Catherine Ferrari Dr Dennis Hayward Kathryn Hogan & Graham Droppert Francis & Suzette Landels John McKay & Claire Brittain

Patrick Lilburne Arthur Metaxas Richard Noble & Co Len & Sue Roberts-Smith Dr Peter Simpson OAM Mrs Elizabeth Syme Dana Trtica Peter Wheatley The Late Mrs Robin Wheatly 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.

TRUSTS AND FOUNDATIONS Bendat Family Foundation James Galvin Family Foundation Minderoo Foundation Stan Perron Charitable Trust Tuite Family Foundation Wright Burt 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 (1)

West Australian Opera is grateful for the generosity of all our donors.

FRIEND ($200+) Ian & Kerry Adams Cathy Bardon & Bob Cassie David Black Peter Briggs Henry Boston Mrs Lynne Buzzard Mary Carr Dr Charlene Caspersz Carolyn Chard Douglas Clifford Janelle Coates Tony & Sheila Cockbain Helen Cook Christopher Edge Peter Edwards Mrs Shirley Egan John Evans Noel French Allison Fyfe Friends of His Majesty’s Theatre Isobel Glencross Mindy Green & Stephen McDonald Peter Hawkins Dr Penny Herbert Ian & Sue Hobson Robin Horne & Taui Pinker Margaret Jarman Dita Jevons Norma & Max Kay AM CitWA Jennie Kennedy Rosalind Lilley Jill Lowes Dr Toby Manford Bernard Mearns Anthony Munro Robert Nicolson Celia Patterson Jennifer Rankin Rosalin Sadler

Dr Louise Sparrow Alison Stevens Mrs Janet Thackray Diana Warnock OAM Miss Anne Watson Olive Wheeler-Brennan Dr Peter Winterton Anonymous (9)

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The Elix ir of Love

WASO Onstage Tonight

Perth Theatre Trust

Violin Laurence Jackson Concertmaster Graeme Norris Assoc Concertmaster Rebecca Glorie A/Principal 1st Violin Zak Rowntree* Principal 2nd Violin Sarah Blackman Fleur Challen Jane Johnston Sunmi Jung Christina Katsimbardis Ellie Lawrence Akiko Miyazawa Melanie Pearn Ken Peeler Graham Pyatt Louise Sandercock Jolanta Schenk Kathryn Shinnick Jacek Slawomirski Bao Di Tang Cerys Tooby David Yeh

Andrew Tait Mark Tooby

General Manager Duncan Ord

Flute Andrew Nicholson

Chairman Morgan Solomon

Piccolo Michael Waye

Trustees Julian Donaldson Max Kay AM CitWA

Oboe Peter Facer Elizabeth Chee Clarinet Alexander Millier Principal Bass Clarinet Lorna Cook Bassoon Adam Mikulicz Chloe Turner Principal Contrabassoon Horn David Evans Julia Brooke Trumpet Evan Cromie Peter Miller

Michelle Tremain Cr Jim Adamos Cr Janet Davidson Ex-Officio Colin Walker

His Majesty’s Theatre Manager Helen Stewart Assistant Manager James Nerva Acting Technical Manager Tony Gordon Event Ops Coordinator Alexandra MacNish

Viola Alex Brogan Kierstan Arkleysmith Nik Babic Benjamin Caddy Alison Hall Allan McLean Helen Tuckey

Trombone Joshua Davis Liam O’Malley Matthew Walker

Accounts Assistant Jenny May

Tuba Cameron Brook

Stage Door Keeper Narda McMahon

Cello Louise McKay Chair partnered by Penrhos College Shigeru Komatsu Oliver McAslan Eve Silver* Tim South Xiao Le Wu

Timpani Alex Timcke

Box Office Supervisor Jenny Franklin

Percussion Brian Maloney Chiron Meller Assoc Principal Percussion and Timpani

Archivist Ivan King

Double Bass Andrew Sinclair* Joan Wright Louise Elaerts

Harp Sarah Bowman Principal Associate Principal Guest Musician^ *Instruments used by these musicians are on loan from Janet Holmes à Court AC.

Administration Assistant Julianna Noonan

Head Mechanist Bryce Goddard Head Lighting Matthew Nankivell Head Audio Jeremy Turner

WEST AUSTRALIAN OPERA BOARD

WEST AUSTRALIAN OPERA STAFF

Chairman Terry Bowen

General Manager Carolyn Chard

Deputy Chairs Catherine Ferrari Andrew Pascoe

Artistic Director Brad Cohen

Board Directors Julian Burt Mario D’Orazio Warwick Hemsley Ingrid O’Brien Jan Stewart PATRONS Dr Jack Bendat AM CitWA Cav Uff Giuseppe Bertinazzo OMRI VICE REGAL PATRON Her Excellency the Honourable Kerry Sanderson AC Governor of Western Australia HONORARY LIFE MEMBERS Dario Amara Cav Uff Giuseppe Bertinazzo OMRI Hon Julie Bishop MP Frank Cooper Erich Fraunschiel Colin Goddard Francis Landels Margaret McManus Dr Richard Mills AM Marilyn Phillips Vincent A Warrener AM KHS

Production Manager Mandy Farmer Head of Music Thomas Johnson Development Manager Coralie Bishop Education Manager Terasa Letizia Accountant Debbie Liebgott Artistic Administrator Rebecca Kais Marketing Manager Danielle Ierace Office Coordinator Marion O’Connor Publicity Lynne Burford Financial Accountant Sue Hobson Sales Consultant Rachel Sait Regional Projects Manager Melanie Timms Music Librarian Allison Fyfe

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