West Australian Opera TOSCA 2017

WEST AUSTRALIAN OPERA

50 1967 - 2017

TOSCA PUCCINI

Director’s Message “the heroine is a renowned prima donna, her hero is a famous painter and the villain is the head of the Secret Police, the whole thing culminating in a murder ... Extraordinary their circumstances may be, but these characters are deeply human” Sublime one moment, gut-wrenching the next, Tosca is one of the brightest jewels in Puccini’s crown and a pinnacle of the ‘Verismo’ school of opera. This late-19th/ early-20th century approach rejected the standard ‘myth and monarch’ fare of previous operatic plots, as well as the out-of-hand grandiosity that had come to govern French opera. Instead, the full force of the operatic form was used to tell the story of real people experiencing real life, or, as the man himself put it, to express ‘great griefs in small souls’.

But let’s be honest, on first sight the souls we encounter in Tosca seem anything but small.

After all, the heroine is a renowned prima donna, her hero is a famous painter and the villain is the head of the Secret Police, the whole thing culminating in a murder, a couple of suicides and a death by firing squad.

Extraordinary their circumstances may be, but these characters are deeply human, Puccini painting them with searing honesty and profound emotional intensity.

Though originally set against the background of the Napoleonic Wars, Tosca is possibly the least political opera ever written. The political turmoil’s main purpose is to fuel the fire of the characters, not the other way around. The piece is fundamentally about the perennial two men/one woman triangle, its context a device to raise the stakes to life and death territory.

Our political setting has moved to the Cold War, an equally fraught period in Italy’s

political history. World War II left Italy bankrupt and bitterly divided. However, the country remained a global concern: on its western side, Italy shared a border with Yugoslavia - a communist state making its allegiance to the Western allies over the Soviet Union crucial for intelligence gathering and air bases.

Under such circumstances, NATO became convinced that the Communist Party could never govern Italy, and in 1947, Italy bowed to pressure from the American government, expelling the party from parliament. In 1948, the Christian Democrats won the general election, with the full support of both NATO and the immensely powerful Catholic Church.

The mafia seized the opportunity and became an ally to the ruling political party. The arrangement was simple: the mafia would keep any hint of communist uprising at bay using whatever means necessary. Meanwhile, the government would turn a blind eye to the mafia’s unsanitary business activities, effectively giving the main families free reign over Italy.

A time of terror, suspicion and unparalleled corruption. It’s within this precarious context that Tosca and Cavaradossi find themselves fighting for their love, and the deck is well and truly stacked against them.

Stuart Maunder DIRECTOR

Conductor’s Message “...the orchestra almost deafens us at the outset with the panic and volatility of Angelotti’s fugitive quest, and Puccini keeps the screw tight for the remainder of the opera”

Puccini was always an avid theatregoer, in search of stories which would both stimulate his creativity and be suitable for adaptation as operas. Like Verdi, his quest was for strong subjects, and what Verdi called “situations” moments of conflict, revelation, or theatrical impact. We think of Butterfly, waiting quietly for Pinkerton’s return, and the galvanic shock of the harbour cannon. Or Musetta bursting in on the boys’ high jinks in Act IV of La bohème, and the shock of Mimi’s arrival.Contrast drives these situations. Tosca, originally a stage play starring the great actress Sarah Bernhardt, immediately struck Puccini with its potential to be transformed into an opera. Puccini makes it almost nothing but situations - the orchestra almost deafens us at the outset with the panic and volatility of Angelotti’s fugitive quest, and Puccini keeps the screw tight for the remainder of the opera. Lyrical moments are always set in the context of danger, violence and threat.

The lurid, unremitting drama of Puccini’s Tosca attracted criticism from the start. It was called “a shabby little shocker” by one writer - a salutary reminder that the most established masterpieces of the opera repertoire (including Il barbiere di Siviglia, Carmen and La traviata, to name only a few) received distinctly mixed receptions at the start. Now, the high colours and pace of Tosca sit comfortably in our media culture, but in the early twentieth century they were thought well, frankly, a little vulgar. How times change.

The sadism, rapacity and power of Scarpia, as an agent of the Roman church, continues a line of anti-clerical sentiment in Puccini, and it’s a useful reminder that Cavaradossi and Angelotti may well be republicans - but audiences in 1900 Italy were still not in a republic.

The social agenda of much of Puccini’s work is sometimes shaded by its popularity, but Scarpia is meant to be hideous. The voice which carries the role should be beautiful, but the character is vile. So there is contrast at this level also.

What distinguishes Puccini as a dramatist, and what makes his work so robust, despite changing social mores, is his unfailing instinct for the right pace. Never congested or tedious, each of his mature operas grips us from the start and never once lets go.

I hope that you enjoy this evening’s wild ride of Tosca as much as we will, in the pit and on stage.

Brad Cohen CONDUCTOR

TOSCA

A New Zealand Opera Production ACT ONE Rome is ruled by fear. Scarpia, head of the secret police, is persecuting republicans. One of these republicans, Angelotti, escapes from prison into a church, where he meets his Cavaradossi.

Cavaradossi hides him in the church.

Scarpia arrives, hunting Angelotti, but finds the singer Tosca there. She is Cavaradossi’s lover.

Scarpia tricks Tosca into going to Cavaradossi’s house and has his henchmen follow her.

ACT TWO In the Farnese Palace, Scarpia hears that his men cannot find Angelotti, but have arrested Cavaradossi. Scarpia tortures Cavaradossi for information, without success. Scarpia shows Tosca her tortured lover, and Tosca reveals Angelotti’s location to Scarpia. Scarpia condemns Cavaradossi to death. Tosca begs Scarpia to save his life. In exchange Scarpia demands that Tosca give herself to him. As Scarpia goes toward Tosca, she stabs him.

ACT THREE Tosca runs to Cavaradossi who is in the prison of Sant’Angelo. The firing squad is instructed to shoot Cavaradossi. When Scarpia’s men try to arrest Tosca for Scarpia’s murder she kills herself.

7.30pm | His Majesty’s Theatre 28, 30 March & 1, 4, 6, 8 April 2017

Composer Giacomo Puccini Conductor Brad Cohen Director Stuart Maunder Set Designer Jan Ubels Costume Designer Elizabeth Whiting Lighting Designer Jason Morphett Stunt Coordinator Peter West Assistant Stunt Coordinator John Fairhead Stunt Assistant Lee Burns Floria Tosca Antoinette Halloran Mario Cavaradossi Paul O’Neill Baron Scarpia Teddy Tahu Rhodes Cesare Angelotti Wade Kernot Sacristan/ Jailer Andrew Foote Spoletta Matthew Lester Sciarrone Paull-Anthony Keightley 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 Dressers Mandy Elmitt, Erin Minervini Costume Maintenance Holly Sansalone Child Chaperone Jenny Poh Language Coach John Kinder Surtitle Operator Allison Fyfe Repetiteur Tommaso Pollio Pre-Performance Talks Annie Patrick

Vice Regal Patron’s Message

Chairman’s Message

I welcome you to the 2017 opera season as West Australian Opera celebrates its golden 50th anniversary year.

Welcome to ‘Tosca’ which we are proud to present in this New Zealand Opera production directed by Stuart Maunder, the General Director of New Zealand Opera.

West Australian Opera enjoyed a wonderful start to the year with City of Perth’s Opera in the Park. Thousands of people gathered together in Supreme Court Gardens, and around the State, to enjoy this free event supported by the City of Perth, Lotterywest and Healthway with the message ‘Alcohol Think Again’.

Now at His Majesty’s Theatre, we commence the 50th main stage season with Puccini’s masterpiece TOSCA in the New Zealand production, directed by Stuart Maunder.

For 50 years, West Australian Opera has contributed to the arts in our State 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 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.

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

We welcome Antoinette Halloran as Tosca, Paul O’Neill as Cavaradossi, Teddy Tahu Rhodes as Scarpia, the creative team, the West Australian Symphony Orchestra and West Australian Opera Chorus including the childrens’ chorus, conducted by Brad Cohen who together 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 during the 50th anniversary year (see waopera.asn.au or Ticketek.com.au).

I acknowledge 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 Culture and the Arts and Lotterywest.

Terry Bowen CHAIRMAN West Australian Opera

General Manager’s Message

West Australian Opera is pleased to present this New Zealand Opera production directed

by Stuart Maunder. Stuart, who is also the General Director of NZO, has teamed with set designer Jan Ubels, costume designer Elizabeth Whiting and lighting designer Jason Morphett to bring you a treat in the theatre.

Puccini’s dramatic opera is a tale of passion, sacrifice and betrayal and arguably one of the greatest operas in the canon of popular work.

Puccini weaves his magic, including Tosca’s breathtaking aria “Vissi d’Arte, to leave your heart racing and spine tingling.

West Australian Opera celebrates its 50th anniversary with a number of special free events including Opera at the Pinnacles, Opera in Greenough and Opera in the Valley of the Giants. Supported by the state government, Royalties for Regions funding, Minderoo Foundation and Principal Partner Wesfarmers Arts please visit the website at waopera.asn.au to reserve your seats as each event has a limited capacity.

Opera tells stories and I encourage you to submit your favourite West Australian Opera memory which will build a picture of Fifty Years of Opera in Western Australia (19672017).

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 website at waopera.asn.au.

Carolyn Chard GENERAL MANAGER West Australian Opera

Stuart Maunder

Brad Cohen

For the last thirty years Stuart has been directing musical theatre and opera in Australia. For West Australian Opera he has directed The Merry Widow, Patience, Pearl Fishers, Tosca and Rigoletto.

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.

Director

Stuart 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. 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, Lindy, 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. Stuart is currently General Director of New Zealand Opera where he has directed Tosca, Sweeney Todd and The Mikado.

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.

Jan Ubels

Set Designer Jan was born in Oamaru . He has a BA in Art History. He taught art at secondary school level for many years.

During his time as a teacher he illustrated “The Bloke” and an educational early reader book of poetry.

Jan designed and made custom Hot Rods for his own company and won the Best Ford” at the Kumeu Hot Rod show in 2008. He also designs and makes custom motorbikes Jan won the South Pacific section of World of Wearable Art in 2012 with his piece named Harpigornis.Jan is a compulsive sculptor and furniture designer and maker, as a trip to the Opera Technical Centre will attest. His pieces are largely held in private collections. But he also has a piece- “Kereru” in the Auckland Botanic Potters Garden.

Jan has worked in film and television in set construction, (Zena, Jack of all Trades, Cleopatra 2525) He constructed sets for NZ Opera from 2009 till 2016.

For NZ Opera, Jan designed Barber of Seville, The Elixir of Love and Don Pasquale for the education in schools project and Tosca for the main theatre.

Elizabeth Whiting

Jason Morphett

Peter West

Elizabeth has designed costumes for The New Zealand Opera, Auckland Theatre Company, The Silo, Court Theatre, Red Leap and Okareka Dance, Black Grace, Douglas Wright Dance, Michael Parmenter, Atimira, Shona McCullagh and the Royal New Zealand Ballet. She designed costumes for Pop-Up Theatre London for Edinburgh Festival.

Jason Morphett’s professional career started in the West End, London’s theatre land, during his college years. He soon graduated from follow spot operator to charge hand electrician to programmer and onto Chief Electrician. Moving out of the West End he started touring, first nationally then internationally, and hasn’t really stopped since. In that time he has run the lighting departments for Birmingham Royal Ballet, London City Ballet, Royal New Zealand Ballet, New Zealand Arts Festival and recently New Zealand Opera. During his tenures with these companies he has designed for all of them and dealt with all the relighting of the company’s repertoire on tour.

Peter West has over 40 years film & television experience as a stunt coordinator, safety supervisor, stunt performer, 2nd unit director, actor and writer.

He started his stunt career performing in live arena shows - no second takes if you got it wrong.

Costume Designer

Elizabeth designed the costumes for The World of Wearable Art core show in Wellington for six years.

In 2010 she won the Chapman Tripp Costume Design Award for The Arrival. (Red Leap) She represented New Zealand at the Prague Design Quadrennial in 2003 with her costumes for ‘Falstaff’, and again in 2007 with a team of designers who created the exhibition Blow. Her designs for Marriage of Figaro have just been seen in Seattle and had a great reception. Her Tosca costumes will be seen in Perth this year.

Lighting Designer

Over the years he has toured all over the world with shows as diverse as The Chemical Brothers in New York, Holiday on Ice throughout Europe, CA Awards Show at the Pyramids in Egypt, Birmingham Royal Ballet in New York and Royal Galas at the Ritz Hotel in London in the presence of Her Royal Highness the Queen.

Stunt Coordinator

He continues to work in all fields in WA.

John Fairhead

Antoinette Halloran

Assistant Stunt Coordinator Floria Tosca

One of Australia’s most accomplished and best-loved sopranos, Antoinette Halloran performs regularly with all the major Australasian opera companies and symphony orchestras and appears frequently on national television Since 1993 John has collaborated and radio. with Peter West on numerous In 2015/2016, she sang the feature films, television projects title role in Madama Butterfly and commercials. and Fata Morgana in The Love Whilst delivering a high standard for Three Oranges for Opera of creative film action, both have Australia and Mrs Lovett in a a relaxed professional approach new production of Sweeney to their work, however the safety Todd for Victorian Opera and of all involved is always a priority New Zealand Opera (Helpmann and never negotiable. Peter and Award nomination).

John are proud of their excellent Leading appearances for Opera safety record. They also mentor film students at both WAAPA and Australia have included the title roles in Madama Butterfly Murdoch universities. and Rusalka, Mimi in La bohème, Stella in A Streetcar Named Desire (Green Room .

Award), Donna Elvira in Don Giovanni and Rosalinde in Die Fledermaus.

John Fairhead has 30 years film & television experience as a safety supervisor, assistant stunt coordinator, and stunt performer, assistant director, actor and credits in several other departments.

Antoinette featured as a guest judge on the ABC television series Operatunity Oz and appeared regularly in the hit show Spicks and Specks.

2017 engagements include the title role in Tosca for West Australian Opera, The Fox in The Cunning Little Vixen for Victorian Opera and associate artist for José Carreras’ National Tour.

Paul O’Neill

Mario Cavaradossi Paul O’Neill graduated from the Western Australian Academy of Performing Arts and studied with Dennis O’Neill at the Cardiff International Academy of Voice.

He is a former member of the National Opera Studio in London and the Staatsoper Berlin, appearing in roles such as Kunz Vogelgesang/Die Meistersinger von Nūrnberg, Italian tenor/Der Rosenkavalier, Hirt und Seeman/ Tristan und Isolde, Spoletta/ Tosca and Gastone/La Traviata.

Past and future opera engagements include his debut as Don José/Carmen for Glyndebourne Festival Opera, Laca/Jenůfa and Janek/The Diary of one who disappeared at Opéra de Lille, Il Duca di Mantova/ Rigoletto at Opera Holland Park, London, Opera Australia Sydney and Staatstheater Karlsruhe, Cavaradossi/Tosca, Rodolfo/La Bohème, Radames/I and Prince/ Rusalka.

His concert repertoire includes numerous sacred works, such as Rossini’s Petite Messe Solennelle and Stabat Mater, Handel’s Ode on Saint Cecilia’s Day and Haydn’s Nelson Mass, working with conductors such as Bruno Bartoletti, Stefan Blunier, Steven Sloane, Neeme Järvi, Alexander Soddy, Dirk Kaftan, Omer Meir Wellber, and Andris Nelsons.

Teddy Tahu Rhodes

Wade Kernot

Andrew Foote

Teddy has rapidly established an international career on the opera stage and concert platform. He has performed with the San Francisco, Austin, Washington, Philadelphia, Dallas, Cincinnati, Houston, New York, the Hamburg Staatsoper, Bayerische Staatsoper/Munich, Theatre du Chatelet/Paris, in Vienna, Welsh National Opera and Scottish Opera Companies.

Recent seasons include Escamillo (Hamburg, Théatre du Chatalet/Paris, Munich, Bilbao, Metropolitan Opera, OA), Don Giovanni (OA, WA Opera ), Scarpia - Tosca (WA Opera), Emille de bec - South Pacific (OA Australian Tour) and King of Siam – The King and I (OA Australian Tour).

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).

Andrew Foote first performed for West Australian Opera in the 1988 production of Eureka Stockade. (He insists there is no link to the company closing the following year.)

Baron Scarpia

Awards include an ARIA, two Helpmann Awards, a Limelight Award, a Green Room Award plus a MO Award. Recently Teddy debuted the roles of Méphistophélès (Faust/OA, SOSA and WA Opera), the title role in (Sweeney Todd/Victorian Opera), the title role in Don Giovanni (OA’s new production) as well as a concert tour (From Broadway to La Scala/Australia, and NZ). .

Cesare Angelotti

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.

Sacristan/Jailer

Since then he has performed more than 30 operatic roles for professional companies throughout Australia – including his acclaimed Ned Keene in Peter Grimes for which he received a Helpmann Award.

His performances as recitalist, oratorio soloist, recording artist, crossover cabaret artist, opera principal, opera director and more recently choral conductor have consistently drawn superb accolades.

Andrew is Head of Vocal Studies at the University of Western Australia and Vocal Coach to the WASO Chorus.

Matthew Lester

Paull-Anthony Keightley

Spoletta

Sciarrone

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.

Wesfarmers Young Artist PaullAnthony Keightley is a graduate of Manhattan School of Music, which he attended after completing his undergraduate studies at the Western Australian Academy of Performing Arts. He won the Royal Over-Seas League Singing Competition and was the recipient of awards from the Royal Schools of Music Club, Dame Joan Sutherland Fund and the Australian Music Foundation.

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 WA Opera have offered him to work with esteemed and talented musicians, singers and conductors. .

In Australia and America PaullAnthony’s operatic credits include Leporello in Don Giovanni, Papageno in Die Zauberflöte, Frank in Die Fledermaus, Fiorello in Il barbiere di Siviglia, Gloster Heming in The Mother of us All, Pasquale in Orlando Paladino and Don Andronico in Don Procopio.

Upon returning to Australia, PaullAnthony joined West Australian Opera making his debut as Pinellino in Gianni Schicchi in addition to productions of Faust, L’elisir d’amore and Les pêcheurs de perles. 2017 marks PaullAnthony mainstage solo debut with West Australian Opera in Tosca and joins the Western Australian Symphony Orchestra as the Baritone soloist in Faure’s Requiem.

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West Australian Opera Chorus SOPRANOS

MEZZO SOPRANOS

Rebecca Bunn

Fleuranne Brockway

Mary-Attracta Connolly

Sonni Byrne

Fiona Cooper-Smyth

Caitlin Cassidy

Priscilla Cornelius

Leilah Fox

Yann Kee

Chelsea Kluga

TENORS

Johnathan Brain

Ry Charleson

Louis Hurley

David Jones

Robert Littlewood

BASSES

Mark Alderson

Dudley Allitt

Kristin Bowtell

David Dockery

Thomas Friberg

Naomi Johns

Anne Millar

David Gething

Mark Hurst

Harriet O’Shannessy

Stephanie Parr

Tim Schoenmakers

Lachlann Lawton

Penny Shaw

Monique Simone

Simon Wood

David Penco

Tosca Children’s Chorus *Singing the role of Shepherd boy

Jetson Cook

Anton Coomblas

Declan Cooper

Thomas Denver

Hugh Fellows-Smith

Denver Havercroft

Kizito Mutoya

*Lachlan Ross

*Jordan Rabbone

Lukas Steinwandel

Joshua White

Sebastian Cruse

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

Working together to transform Music.

Alcohol can damage your fragile body Like those performing in the Opera, you too should care about the effects of alcohol on your health.

Health experts recommend no more than two standard drinks on any day.

Do you know what a standard drink is?

Visit alcoholthingagain.com.au to find out.

Proud Partners of West Australian Opera

AUTHENTICITY IN TOSCA “..Puccini travelled to Rome to hear the morning church bells from the platform of Castel Sant’Angelo, in order to reproduce their pitches orchestrally at the beginning of Act Three. This attention to detail, leading to Tosca’s authenticity, would be a hallmark of Puccini’s operatic success..”

Authenticity plays a very important role, both lyrically and musically in Puccini’s Tosca.

All four protagonists (based on Sardou’s play La Tosca) lived during the Napoleonic wars and were involved, to varying degrees, in the political events across Europe in 1800. Secondly, the opera is set in three well-known Roman sites: Act One in the Basilica Sant’Andrea della Valle; Act Two in the Palazzo Farnese; and Act Three in the Castel Sant’Angelo. Thirdly, the religious observances and bell tones were carefully researched by the composer.

The eponymous soprano, Floria Tosca, was actually a peasant girl, raised by Benedictine nuns, and destined for a cloistered life until the Pope heard her sing and released her from her vows. In the opera she is currently singing in Rome in an opera by Paisiello, and has taken a lover, Cavaliere Mario Cavaradossi (tenor). He is a wealthy Roman gentleman who studied painting in Paris with David, and has volunteered to paint a fresco in Sant’Andrea as a ruse to cover his liberal and revolutionary activities, and also as a ‘legitimate’ meeting place with his lover Tosca where she comes to pray and place flowers before the statue of the Virgin.

Baron Scarpia (baritone), the evil Chief of Police, lusts after Tosca. Her love affair with Cavaradossi only whets his appetite…he will have her, by force if necessary! However, he has been ordered by Queen Maria Carolina of Naples to imprison the republican

politician, Cesare Angelotti (bass) a friend of Cavaradossi, who has now escaped from Castel Sant’Angelo and is hiding in Sant’Andrea. Ironically, the fate of Angelotti is the catalyst which sets in motion the events leading to the deaths of Scarpia, Cavaradossi, Tosca, as well as Angelotti himself.

To extend authentic elements into his score, Puccini wrote to a priest requesting some prayers for the spectacular entrance of the Cardinal in Act one: “I know it is not usual to say or sing anything before the Te Deum…but I should like to find something to be murmured during the passage from sacristy to the altar.”

The resultant answer was the Adjutorum nostrum in nomine Domini, chanted by the Cardinal and the choristers.

Later Puccini travelled to Rome to hear the morning church bells from the platform of Castel Sant’Angelo, in order to reproduce their pitches orchestrally at the beginning of Act Three. This attention to detail, leading to Tosca’s authenticity, would be a hallmark of Puccini’s operatic success from Madama Butterfly through to his last great (unfinished work) Turandot.

Annie Patrick Program Notes

Thank you

LEADERSHIP CIRCLE ($10,000+) Alex & Julian Burt Warwick Hemsley Richard Tarala & Lyn Beazley AO Sam & Leanne Walsh 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 Hon J McKechnie Joyce Westrip OAM BENEFACTOR ($2,500+) Neil Archibald & Alan R Dodge AM Eleanor John & Finn Barrett Catherine Ferrari Bryant Macfie Annie & Neil Patrick Anonymous (1) SUPPORTER ($1,000+) Her Excellency The Honourable Kerry Sanderson AC Betty Barker Gay & Robert Branchi Dr Peter & Mrs Rae Breidahl Jennifer Brukner Lynne Burford Publicity Mrs Joan Carney Helen Carroll Frank Cooper AO Dr C & Mrs C Denz Lorraine Ellard Dr Dennis Hayward Kathryn Hogan & Graham Droppert Francis Landels

John McKay & Claire Brittain Patrick Lilburne Richard Noble & Co Sonia Phelan Maria & Robert Radici Angela Roberts Len & Sue Roberts-Smith Dr Peter Simpson OAM Dana Trtica Anonymous (2) TRUSTS AND FOUNDATIONS Bendat Family Foundation James Galvin Family Foundation Stan Perron Charitable Trust Tuite Family Foundation 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 (2)

Behind every great artist are are loyal supporters and 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 Peter Briggs Darryl Bruce Mrs Marilyn Burton Mary Carr Dr Charlene Caspersz Carolyn Chard Gary Chard Douglas Clifford & Cliff Eber Tony & Sheila Cockbain Helen Cook Peter Davies Ian Dewar Peter Edwards Mrs Shirley Egan John Evans Noel and Freida French Allison Fyfe Friends of His Majesty’s Theatre T & E Gerner Isobel Glencross Mindy Green & Stephen McDonald Peter Hawkins Christine Hedges Dr Penny Herbert Mary Hillman Ian & Sue Hobson Keith Holt & Anne Fuller Robin Horne & Taui Pinker 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 Celia Patterson Anne Pedlow Jennifer Rankin Ernie 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 (8)

WASO Onstage Tonight Violin Laurence Jackson Concertmaster

Rebecca Glorie A/Principal 1st Violin

Zac Rowntree

Double Bass Joan Wright Louise Elaerts Andrew Tait Christine Reitzenstein Mark Tooby

Principal 2nd Violin

Sarah Blackman Fleur Challen Beth Hebert Jane Johnston Sunmi Jung Christina Katsimbardis Ellie Lawrence Lucas O’Brien Ken Peeler Louise Sandercock Jolanta Schenk Jane Serrangeli Kathryn Shinnick Jacek Slawomirski Kate Sullivan Cerys Tooby David Yeh Viola Alex Brogan A/Principal Viola

Kierstan Arkleysmith Benjamin Caddy Alison Hall Rachel Kirk Allan McLean Helen Tuckey Cello Rod McGrath Louise McKay Chair partnered by Penhros College

Shigeru Komatsu Oliver McAslan Eve Silver* Fotis Skordas Xiao Le Wu

Flute Andrew Nicolso Mary-Anne Blades Piccolo Michael Waye Oboe Peter Facer Elizabeth Chee Cor Anglais Leanne Glover Clarinet Allan Meyer Lorna Cook Bassoon Adam Mikulicz A/Principal Bassoon. Chair partnered by Sue & Ron Wooller

Colin Forbes- Abrams Assoc Principal Bassoon

Contrabasson Chloe Turner Horn David Evans Doree Dixon^ Guest Principal 3rd Horn

Julia Brooke Francesco Lo Surdo

Trumpet Brent Grapes Matthew Dempsey Assoc Principal Trumpet

Peter Miller Trombone Joshua Davis Liam O’Malley Bass Trombone Philip Holdsworth Tuba Cameron Brook Timpani Alex Timcke Percussion Brian Maloney Chiron Meller

Assoc Principal Percussion an Timpani

Robyn Gray^ Paul Tanner^ Harp Sarah Bowman Guest Musician^ *Instruments used by these musicians are on loan from Janet Holmes à Court AC.

West Australian Opera VICE REGAL PATRON Her Excellency the Honourable Kerry Sanderson AC Governor of Western Australia Chairman Terry Bowen Deputy Chairs Catherine Ferrari Andrew Pascoe 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 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 PERTH THEATRE TRUST BOARD General Manager Duncan Ord Chairman Morgan Solomon Trustees Cr Jim Adamos Cr Janet Davidson Julian Donaldson Max Kay AM CitWA Michelle Tremain Tanya Sim Ex-Officio Colin Walker

WEST AUSTRALIAN OPERA STAFF General Manager Carolyn Chard Artistic Director Brad Cohen Production Manager Mandy Farmer Head of Music Thomas Johnson Development Manager Coralie Bishop Accountant Debbie Liebgott Artistic Administrator Rebecca Kais Education Manager Terasa Letizia 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 HIS MAJESTY’S THEATRE STAFF Helen Stewart James Nerva Matthew Nankivell Tony Gordon Alexandra MacNish Jenny May Julianna Noonan Narda McMahon Jenny Franklin Ivan King Bryce Goddard Michael Rippon Jeremy Turner Matt Mclay Cameron Routley

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50 1967 - 2017

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