HER MAJESTY’S THEATRE Principal Production Sponsor: Lady Primrose Potter AC CMRI Major Sponsors: Dr Alastair Jackson AM, e Angior Family Foundation Sponsors: Henkell Brothers Investment Managers, Dr Douglas & Mrs Monica Mitchell, Robert Salzer Foundation, Roy Morgan
melbourneopera.com
VERDI’S
OPERA IN FOUR ACTS BY GIUSEPPE VERDI LIBRETTO BY FRANCESCO MARIA PIAVE AND ANDREA MAFFE Premiere 14 March 1847, Teatro della Pergola, Florence.
Macbeth BARITONE Simon Meadows Lady Macbeth SOPRANO Helena Dix Banquo BASS Adrian Tamburini Eddie Muliaumaseali'i 20, 23 Macduff TENOR Samuel Sakker Malcolm TENOR Robert Macfarlane Michael Dimovski 23 Dama (Lady in waiting) SOPRANO Eleanor Greenwood Doctor BASS Alex Pokryshevsky Apparitions SOPRANO Jane Magão Messenger BASS Darcy Carroll Assassin BASS Roger Howell Duncan David Preston
Director Bruce Beresford Conductors Greg Hocking, Raymond Lawrence 23, 26 Head of Music & Chorus Master Raymond Lawrence Set & Costume Designer Greg Carroll Movement Director Lisa Petty Lighting Designer Rob Sowinski Assistant Lighting Director Bryn Cullen Stage Manager Will Barker Assistant Stage Managers Olivia Clark, Kaite Head Set Construction Shane Lee, Daniel Madrigali Hair, Make-up & Wigs Madison Levett Principals' Costumes Anie Zanazanian Chorus Wardrobe/Dresser Jason Chalmers Projections Filming Cordelia Beresford Fight Coordinator Charlie Mycroft Surtitles Operator Molly Ward Company Manager Robbie McPhee Producer Greg Hocking AM
MELBOURNE OPERA CHORUS & ORCHESTRA The performance lasts approximately 2 hours 50 minutes, including 2 intervals
Principal Production Sponsor: Lady Primrose Potter AC CMRI Major Sponsors: Dr Alastair Jackson AM, The Angior Family Foundation Sponsors: Henkell Brothers Investment Managers, Dr Douglas & Mrs Monica Mitchell, Robert Salzer Foundation, Roy Morgan
3 FROM OUR PATRON-IN-CHIEF
What a pleasure it is for Melbourne Opera to return to the beautiful Her Majesty’s Theatre. Melbourne Opera re-opened the theatre for opera in 2004 (after the famous Sutherland- Williamson season in 1965) with our memorable production of Madam Butterfly starring Rosamund Iling, Roxane Hislop and Roger Howell. And now we are thrilled to be presenting Verdi's great opera Macbeth with a most distinguished Victorian cast led by Bruce Beresford, the legendary film and opera director and a great supporter of the company. Of course Covid has caused a great deal of disruption nationally and particularly in the arts industry. We were fortunate to start our Ring Cycle in February with a highly successful Das Rheingold and to be the first major stage production back on in the state. Unfortunately our esteemed national company's presence in Melbourne has been greatly reduced as a result of the pandemic and OA will only present two productions here this year. Melbourne Opera is thrilled to add a third Verdi production in addition to the two splendid productions from Opera Australia. Melbourne Opera's longstanding commitment to main stage productions of mainstream opera means we will, with your help, continue as the main local presenter of the acknowledged masterpieces of our art form for Victorian audiences. And, importantly, to offer professional performance opportunities to local artists both established and up-and-coming. Our Ring Cycle continues next February at this splendid theatre with Die Walkuere, and between now and then we will present full productions of Brecht/Weill's timely The Rise and Fall of the City of Mahagonny at the Athenaeum and an innovative production of The Marriage of Figaro at the Australian Club. There will also be several concerts including an exciting Bel Canto Masterpiece concert featuring the wonderful Helena Dix, our chorus, orchestra and special guests in July. All this activity takes place, extraordinarily enough, without any ongoing government support whatsoever. We remain indebted to our generous sponsors, supporters and you our audience to keep the company thriving in its third decade. Remember, our Company is truly your Company. Lady Potter AC CMRI Patron-in-Chief
Participants in the Belcanto Masterclass with Maestro Richard Bonynge AC and Lady Potter AC CMRI
4 FROM THE CHAIRMAN
Melbourne Opera welcomes you this evening to another colourful story of evil, ambition and destructive forces in Macbeth, but all brought to life in beautiful music, voice and production. Our company has produced opera of the very highest quality and acclaim, including Wagner’s Das Rheingold in February 2021 at the Regent Theatre, and in the broken year of 2020, Beethoven’s Fidelio, preceded by Bellini’s Norma, Wagner’s Lohengrin and The Flying Dutchman. The company has established an enviable reputation for wonderful major productions rarely performed in Australia. Tonight, Bruce Beresford returns to Melbourne Opera to direct this production of Macbeth. The cast includes the return to Melbourne of Helena Dix and Sam Sakker, both performing internationally. Simon Meadows returns from his fabulous role in Das Rheingold. They are supported by a very talented cast and the 60-strong Melbourne Opera chorus. I am sure you will enjoy the production. Melbourne Opera is able to produce such high-quality operas with your financial support, by donation, bequest, attendance at performance and generally your goodwill. We do not receive any government support and in the world of opera, with high production costs, limited revenue, that support is its lifeblood. We have many events year round by our Friends of Melbourne Opera and we encourage you to join FOMO to come along and take part in dinners, outdoor events and many smaller intimate Opera events, where you can meet the singers, directors and musicians. Such events are always fun. You can be very involved the world of opera. I take this opportunity on behalf of all in the company to thank you most sincerely for your continued support of the company and I hope that you will have a wonderful evening at Macbeth. Thank you for joining us tonight. Remember, our Company is your Company. Michael Flemming Chairman - Melbourne Opera
FRIENDS OF MELBOURNE OPERA (FOMO) With over 150 members, FOMO enables opera lovers to engage with others to support Melbourne’s own opera company and emerging artists. FOMO members enjoy many special events during the year including masterclasses, talks, the Annual FOMO On-Stage dinner, open rehearsals and soirees, discounted tickets and pre-production lectures. FOMO is particularly proud to support The Richard Divall Emerging Artists Program, Australia’s foremost initiative for supporting emerging operatic talent. There are four tiers of membership ranging from platinum membership ($500pa) to youth membership ($30pa). FOMO has recently initated a schools program which offers complimentary membership and highly discounted tickets to performances and rehearsals. To join please contact Robbie McPhee on 9600 2488 or email [email protected]
Richard Divall Emerging Artists performing at Rylands of Hawthorn RICHARD DIVALL EMERGING ARTISTS PROGRAM
Now in its fourth year, the Richard Divall Programme in The Pearlfishers at the Sidney Myer Music Bowl in continues to develop singers of great potential to a April. Chloe Harris is bound for the Royal Academy of performance-ready standard. The focus is on providing Music in London to undertake her Masters in Opera in opportunities for emerging opera singers to experience September and Rebecca Rashleigh is in constant demand the pressure of intensive role preparation, rehearsal and across all companies in Victoria. performance in a professional setting whilst continuing artistic development with tailored high-quality coaching, The Richard Divall Emerging Artists Program is named language classes, workshops, master classes and to honour the memory of one of Australia's most lauded mentoring. conductors, Maestro Richard Divall AO OBE. It is supported by a generous bequest made by Melbourne Many of the current programme members along with born international soprano, Sylvia Fisher (1910-1996). Associate Artists of the Richard Divall Programme Upon her death, Sylvia Fisher's wish was to ensure the performed in Melbourne Opera’s internationally continuing support of the development of new artists of acclaimed production of Das Rheingold in February operatic excellence in her hometown. It is managed and 2021. Melbourne Opera is thrilled to again engage many coordinated by opera director Suzanne Chaundy, with programme members in this production of Macbeth. Melbourne Opera’s Artistic Director Greg Hocking Eleanor Greenwood features as the lady-in-waiting to AM, Head of Music Raymond Lawrence and singers Lady Macbeth. This follows fast on the heels of her Margaret Haggart, Geoffrey Harris and Roger Howell. outstanding portrayal of Annio in La clemenza di Tito The programme collaborates with various Melbourne for the National Opera. Louise Keast is covering this based institutions including 16th Street Actors Studio, role. Michael Dimovski shares the role of Malcolm with the Goethe Institute and the Italian Institute of Culture Robert Macfarlane. Darcy Carroll features in various plus many wonderful guest mentors and teachers. roles, plus covers the role of Banquo. Jane Magão sings the apparition. This feature of learning within productions, in We are so grateful for all the support we receive from a supportive environment and sharing the rehearsal room the Ian Potter Foundation, Friends of Melbourne and stage with singers of international standing, is the Opera and the Sylvia Fisher Fund. If you are interested point of difference that this programme offers, alongside in finding out more about the programme, booking no cut-off age, recognising that singers need support at singers for an event, becoming a one-off donor or a different stages of their careers and development. major ongoing supporter of the programme please contact Melbourne Opera Company Manager – The programme also offers wonderful concert Robbie McPhee on (03) 9600 2488 or by email: performance opportunities. Recently Georgia Wilkinson, [email protected]. Eleanor Greenwood, Michael Dimovski and Darcy Carroll performed a very special Opera Gala ‘in-house’ Suzanne Chaundy for Rylands of Hawthorn. We hope this will be the Programme Director first of many such events. All programme members performed in Mozart by Moonlight at the Royal Botanic Gardens in March. All began the year with the benefit of individual coaching by Maestro Anthony Negus. Following Macbeth, programme members will undertake a masterclass with the wonderful Helena Dix, perform in the Melbourne Opera Concert Gala, then move onto preparations for The Rise and Fall of the City of Mahagonny and the presentation of an entirely Richard Divall Programme cast Marriage of Figaro at The Australia Club in October.
Our Associate Artists (past programme members), have been doing many wonderful things including Shakira Dugan performing the title role of the new Australian opera Cassandra at Playhouse (Arts Centre Melbourne), Louis Hurley played the role of Frances Flute in Benjamin Britten’s A Midsummer Night’s Dream for the Adelaide Festival and appeared in Pinchgut Opera’s Vespers. Stephen Marsh made his role debut as Zurga Richard Divall Emerging Artists, 2021
6 SYNOPSIS
ACT I ACT III
Scotland. Macbeth and Banquo, leaders of the Scottish The witches gather again, and Macbeth visits them, army, meet a group of witches who prophesy the future. demanding more prophecies. Apparitions warn him to They address Macbeth as Thane of Cawdor and King of beware of Macduff and assure him that “no man of woman Scotland, and tell Banquo that he will be the father of born” can harm him, and that he will be invincible until kings. The two men try to learn more, but the witches Birnam Wood marches on his castle. In another vision, vanish. Messengers arrive with news that Duncan, the he sees a procession of future kings, followed by Banquo. current king of Scotland, has made Macbeth Thane of Horrified, Macbeth collapses. The witches disappear and Cawdor. The first part of the witches’ prediction has come his wife finds him. They resolve to kill Macduff and his true. family.
In Macbeth’s castle, Lady Macbeth reads a letter from her husband telling her of the events that have just transpired. ACT IV She resolves to follow her ambitions. A servant announces that Duncan will soon arrive at the castle, and when On the Scottish border, Macduff has joined the refugees. Macbeth enters, she tells him that they must kill the king. His wife and children have been killed. Malcolm appears Duncan arrives. Macbeth has a vision of a dagger, then with English troops and leads them to invade Scotland. leaves to commit the murder. On his return, he tells his wife how the act has frightened him, and she tells him that Lady Macbeth is sleepwalking, haunted by the horrors of he needs more courage. They both leave as Banquo enters what she and her husband have done. with Macduff, a nobleman, who discovers the murder. Macbeth and Lady Macbeth pretend to be horrified and Macbeth awaits the arrival of his enemies and realizes that join the others in condemning the murder. he will never live to a peaceful old age. Messengers bring news that Lady Macbeth has died, and that Birnam Wood INTERVAL - 20 minutes appears to be moving. English soldiers appear, camouflaged with its branches. Macduff confronts Macbeth and tells him that he was not born naturally but had a Caesarean birth. ACT II He kills Macbeth and proclaims Malcolm King of Scotland. 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 and his son, Fleance, as well. As Macbeth leaves to prepare the double murder, Lady Macbeth hopes that it will finally make the throne secure.
Outside the castle, assassins wait for Banquo, who appears with his son, warning him of strange forebodings. Banquo is killed, but Fleance escapes.
Lady Macbeth welcomes the court to the banquet hall and sings a drinking song, while Macbeth receives news that Banquo is dead and that his son has escaped. About to take Banquo’s seat at the table, Macbeth has a terrifying vision of the dead man accusing him. His wife is unable to calm her unsettled husband, and the courtiers wonder about the king’s strange behavior. Macduff vows to leave the country, which is now ruled by criminals.
INTERVAL - 15 minutes
Verdi, at the time of the composition of Macbeth, aged 33
7 FROM THE DIRECTOR
Macbeth, unquestionably a masterpiece, has a curious history. are quite small, while Macbeth is a baritone and Banquo It is an early work by Verdi, written when he was 33. It was a bass – vocal registers usually assigned to sidekicks and his first adaption of Shakespeare - of a play he considered villains. Yet another problem for opera houses have been “one of the greatest creations of man”. Awestruck, he forced that the key role of Lady Macbeth is so demanding it can the two librettists to make numerous alterations to the lyrics be performed only by a limited group of dramatic sopranos and structure as he was anxious to preserve and enhance the with the necessary coloratura facility. powerful drama of the original. He stated that he wanted the singers to “serve the poet more than the composer”. Verdi lightened the intensity of the drama by introducing a chorus of 30 witches, around 27 more than in Shakespeare’s The premiere, in 1847, was a huge success. Nevertheless, play. The music he wrote for them is surprisingly sprightly Verdi made a number of changes for the Paris production of and melodic as they revel in their power and evil. Similarly, 1865. A fashion of the period demanded a ballet sequence he introduced a large group of unexpectedly jaunty assassins – rarely performed today and - for an inexplicable dramatic for the murder of Banquo. reason - Macbeth’s final aria was removed. The current production is predominantly the 1847 version, although Verdi went on to write two more operas adapted from Macbeth’s superb last aria has been restored, following Shakespeare, “Othello” and “Falstaff ” (his last opera, written skilled sleuthing through an early score at the Melbourne in his 80’s), neither of which has ever suffered a loss in library. popularity. Sadly, the “King Lear” he often talked about never eventuated. The Paris version of the opera was a flop. Hostile reviews ensured “Macbeth” plunged into obscurity, an eclipse probably There are numerous other operas based on Shakespeare’s aided by the immense popularity of “Traviata”,“Rigoletto” plays, written by a variety of composers although very few and “Aida”. In 1952 a production of the opera at La Scala have regular performances. not only established Maria Callas as a superstar through her Britten’s “Midsummer Nights Dream” is popular. “Hamlet” performance as Lady Macbeth (four major arias and duets) written by Ambroise Thomas in 1868 appears occasionally. but returned the opera to the standard repertoire. Samuel Barber’s “Anthony and Cleopatra” is a melodic work Still, the extraordinary power of the music and the force staged all too rarely. Another “Hamlet” by the Australian and beauty of the arias, duets, and the glorious choral composer Brett Dean premiered at Glyndebourne in 2018 settings make it difficult to understand how “Macbeth” was and has been widely acclaimed. ignored for over a hundred years. Contributing factors may have been the lack of a romantic story line and romantic Bruce Beresford characters; also, the two tenor roles (Malcolm and Macduff ) Director
MELBOURNE OPERA 2021 Season
DAS RHEINGOLD THE RISE & FALL OF THE CITY Richard Wagner OF MAHAGONNY | Brecht/Weill Regent Theatre, February 3,5,7 Co production with iOpera, Athenaeum Theatre, September Ulumbarra Theatre, Bendigo, February 21 THE MARRIAGE OF FIGARO MOZART BY MOONLIGHT W.A. Mozart Royal Botanic Gardens, March 7 Australian Club, Promenade Production, October
MACBETH | Giuseppe Verdi THE RING CONTINUES Her Majestys Theatre, May 2022 DIE WALKÜRE BEL CANTO GALA Richard Wagner Athenaeum Theatre, July Her Majestys Theatre, February 2022 Helena Dix leads a concert of Bel Canto favourites including highlights from Norma, Roberto Devereux, Melbourne Opera Soloists, Orchestra Lucia di Lammermoor, The Barber of Seville, plus and Chorus are available for surprises. Melbourne Opera Chorus & Orchestra. freelance engagements. melbourneopera.com (03) 9600 2488 8 BRUCE BERESFORD: DIRECTOR
Born in Sydney. Degree from Sydney University, 1963. Head of Production for British Film Institute Production Board (London) 1966-71, and film advisor to Arts Council of Great Britain.
Bruce Beresford has directed over 30 feature films. Probably his best known film is “Driving Miss Daisy” (written by Alfred Uhry) which won the Academy Award for Best Picture in 1989. He was nominated for an Academy award for the script of “Breaker Morant” (1979), & direction of “Tender Mercies” (1981), “Black Robe” (1992) won the Canadian academy award and Best Director award. Other films include “Crimes of the Heart” (1995), “The Fringe Dwellers” (1996) “Double Jeopardy” (1999), “Evelyn” ( 2002), “Paradise Road” (2001),“Mao’s Last Dancer” (2009), a 3 hour “Bonnie and Clyde” (2013) for TV. Recent films are “Mr Church” (2015) with Eddie Murphy and part 4 of a TV series “Roots” (2015). “Flint” with Queen Latifah and Betsy Brandt, “Ladies in Black” with Angourie Rice, Julia Ormond, Vincent Perez etc. (2018/19). His most recent film (2021) is a documentary – “An Improbable Collection.”
He has directed operas in Italy, USA and Australia. For Opera Australia he directed Andre Previn’s “A Streetcar Named Desire” (2007) & Carlisle Floyd’s “Of Mice and Men” in 2011. In 1982 he directed the Australian premiere of Richard Strauss’s “Elektra” (premiered in Europe in 1911!). In 2012 he directed, at the Sydney Opera House, the Australian premiere of Erich Korngold’s “Die Tote Stadt” (“The Dead City”). He has also directed “Rigoletto” for LA opera, “The Crucible” for Washington Opera, “Cold Sassy Tree” for Houston Grand Opera, “Sweeney Todd” for Portland Opera, “Girl of the Golden West” for Spoleto. Britten’s “Albert Herring” for Brisbane Opera and the Australian premiere of Rossini’s “Otello” for Melbourne Opera. Bruce is pleased to be back with the company directing Verdi’s “Macbeth” for Melbourne Opera.
In 2012 Bruce’s production “Of Mice and Men” won the Green Room award for Best Opera Production and Best Direction. Part of his diaries were published in a book titled “Josh Hartnett Definitely Wants to do This”. “There’s a Fax from Bruce” (2016) is a collection of faxes between Bruce and producer Sue Milliken. His most recent book, a collection of reminisences about films and people is “The Best Film I never Made.”
SIMON MEADOWS: MACBETH Baritone Simon Meadows is a stalwart of the Australian opera stage and is much-loved by audiences across the country. His roles have included Musiklehrer in Ariadne auf Naxos (Victorian Opera), Count Almaviva in Mozart’s Le Nozze di Figaro (Opera Australia), the Lieutenant in Kate Miller-Heidke’s The Rabbits (Opera Australia) and Alberich in Das Rheingold (Melbourne Opera). He is also an acclaimed concert singer, performing as the baritone soloist in the world premiere of Richard Mills’ song cycle “In Tempore Bello”. He performed the lead role of Rupert Brooke in Nicholas Vines’ opera The Hive (Chamber Made Opera) for which he received a Green Room Award nomination. Other roles include Morales in Bizet’s Carmen, the Imperial Commissioner and Yamadori in Puccini’s Madama Butterfly, The Gaoler in Puccini’s Tosca and the Messenger in Verdi’s La Traviata (all for Opera Australia), as well as the title role in Le Nozze (Australian International Opera Company), Almaviva (VCA Opera studio and Eastern Metropolitan Opera), Sprecher in Mozart’s Die Zauberflote (Athenaeum Opera series), and Guglielmo in Cosi fan Tutte (Melbourne Opera).
9 HELENA DIX: LADY MACBETH
Described by critics as ‘The most exciting voice since Joan Sutherland’, Australian born Helena Dix has secured her name on the operatic stages all around the world. Helena’s recent operatic engagements include the title role in Feroni’s Cristina Regina Di Svezia for Wexford Festival Opera, Oldenburg Staatstheater and Chelsea Opera Group, Elettra (Idomeneo) and Odabella (Attila) for Staatstheater Nürnberg and Lubeck opera, the title- role La Gioconda for Teatro Calderón, Valladolid, Flowermaiden (Parsifal) for English National Opera and the title-role Iris, Rosalinde (Die Fledermaus) and Hanna Glawari (The Merry Widow) for Scottish Opera.
Her concert engagements include: Rossini Petite Messe Solennelle Mozart Coronation Mass in C, Requiem and Mass in C Minor, Richard Strauss Four Last Songs, Mahler Rückert Lieder, Mendelssohn Elijah, Beethoven 9th Symphony, Mozart Exsultate Jubilate, Faure Requiem, Britten War Requiem and Haydn Creation,
Helena works regularly at The Metropolitan Opera where she has covered the roles of Elvira (Ernani), Elisabetta (Roberto Devereux), Elettra, the title-role Semiramide, Vitellia (La Clemenza Di Tito) and the title-role Norma. In 2019 Helena made her Metropolitan Opera stage-debut as Alice Ford (Falstaff ).
In her native Australia, Helena’s recent engagements have included Elsa, (Lohengrin) and Elisabetta (Roberto Devereux) for Melbourne Opera, Verdi Requiem at the Melbourne Town Hall and the title-role of Norma for Melbourne Opera.
Engagements elsewhere have included the title role Ariadne Auf Naxos for Longborough Festival Opera, the title-role of Norma with Chelsea Opera Group and Elisabetta (Roberto Devereux) for Badisches Staatstheater Karlsruhe. Helena also made her commercial recording debut with the Missa Sabrenesis by Howells with the BBC Concert orchestra and The Bach choir which was released on Hyperion records in May 2020.
Helena’s upcoming engagements include Carmina Burana at the Royal Albert Hall, Elisabetta (Roberto Devereux) for Chelsea Opera Group and her company debut with Seattle Opera as Contessa in Le Nozze di Figaro in 2022.
ADRIAN TAMBURINI: BANQUO
Adrian has enjoyed a long and varied career as an opera singer, concert performer, music educator, director and producer. In 2017, Adrian was the winner of Australia’s prestigious singing award, the Australian Opera Awards (YMF, MOST). His singing has featured on cinema releases of opera, DVD, international recordings, motion picture soundtracks, radio, television. His operatic debut was in 1997 and ever since has had a varied career as an operatic soloist (Opera Australia, West Australian Opera, Melbourne Opera, Lost and Found Opera), a concert performer (Melbourne Symphony Orchestra, Zelman Symphony Orchestra, Sydney University Graduate Choir, Melbourne Bach Choir, West Australian Symphony Orchestra, Canberra Symphony Orchestra). Over the past few years he has focused on sharing his passion for music by teaching singing and piano to the next generation of musicians in Melbourne. Adrian has worked with renowned conductors and directors such as Jessica Cottis, Asher Fisch, Andrea Molino, Philippe Auguin, Andrea Battistoni, Jonathan Darlington, Pietari Inkinen, Carlo Montanaro, Renato Palumbo, Guillaume Tourniaire, David McVicar, Barry Kosky, Bruce Beresford, John Bell, and Francesca Zambello. Most recently Adrian has performed in the world premiere of Luke Styles’ symphonic song cycle, No Friend But the Mountains based on the book of the same name by Behrouz Boochani. In 2021 Adrian is proud to make his debut in productions by Pinchgut Opera and National Opera.
10 EDDIE MULIAUMASEALI’I: BANQUO
Eddie has a career spanning three decades in opera as well other artistic genres. He has been a stalwart for Melbourne Opera since 2000 singing many roles including: King Heinrich in Lohengrin, Der Landgraf in Tannhäuser, Mephistopheles in Faust, Henry the 8th in Anna Bolena, Oroveso in Norma, Osmin in Die Enfurung aus dem Serail, Commendatore in Don Giovanni, Bonze in Madama Butterfly, Colline in La Boheme, Lord Cecil in Maria Stuarda. He began his opera career in New Zealand for the Mercury Theatre in 1987 to 1992 singing in operas and musicals. He was a natural singer with no training in voice or music but was hired by the Mercury and honed his crafts on the job. He took up formal training at The Brisbane Conservatorium of Music in1994. Since then he has won many vocal prizes including the Sydney Eisteddfod Opera Scholarship, as well being a finalist in the Metropolitan Opera Finals. He has sung in the UK, New York, China, Samoa and has worked for Opera Express, Sydney, Opera NZ, Co-Opera in Adelaide, Opera Queensland, South Australian Opera, More than Opera, Gafa Arts Collective in London, Sydney Symphony, Christchurch Symphony, and from 1999 to 2005 was selected by Brigitte Fassbender to work for the Tiroler Landestheatre in Innsbruck, Austria. Other favourite roles he has sung are Leporello in Don Giovanni, Porgy, Crown and Jake in Gershwin's Porgy and Bess. Eddie’s versatility as a performer has allowed him to work in music theatre as well as in plays. He has played the role of Chief Bromden in One Flew Over the Cuckoo's Nest for Monster Media at the MTC. For the Melbourne's Sondheim Company, Watch This, he played the role Carl Magnuss in A Little Night Music and has just sung the role of the Russian villain, Molokov in Chess the Musical in Melbourne which will tour to Adelaide, Perth and Brisbane. In February 2021, Eddie sang the leading role of Wotan for Melbourne Opera's Das Rheingold to great acclaim.
SAMUEL SAKKER: MACDUFF
London-based Australian tenor Samuel Sakker studied Music at the Queensland Conservatorium and was a member of the Jette Parker Young Artist Programme at the Royal Opera House from 2014-16. Winner of the Bournemouth Symphony Orchestra prize at the inaugural Grange Festival International Singing Competition, Sam has also received awards from the Ian Potter Cultural Foundation, and the International Opera Awards. A former Royal Opera House company principal, his career highlights include: Pollione Norma (Melbourne Opera); Alfredo La traviata (The Royal Opera, Covent Garden); Erik Der Fliegende Holländer (Opéra du Rennes & Opéra Angers-Nantes; Nederlandse Reisopera; Cape Town Opera); Don Josè Carmen (Danish National Opera); Federico L'arlesiana (Opera Holland Park); Laertes in the Australian premiere of Brett Dean’s Hamlet (Adelaide Festival); Tikhon & Boris Katya Kabanova (Scottish Opera); David Die Meistersinger von Nürnberg (State Opera of South Australia); Cavaradossi Tosca (English Touring Opera); and roles for Opera Australia, West Australian Opera, and Opera Queensland. On the concert platform he has appeared as tenor soloist Mozart’s Requiem on The Royal Opera Japan Tour under Sir Antonio Pappano; title role in Lili Boulanger’s Faust et Hélène (Royal Stockholm Philharmonic Orchestra & BBC Symphony Orchestra); Das lied von der Erde (Stadttheater Klagenfurt, The Royal Ballet & English National Ballet); tenor soloist A Child of Our Time (Bournemouth Symphony Orchestra); Beethoven’s 9th Symphony (Royal Philharmonic Orchestra); Verdi’s Messa da Requiem (Anghiari Festival, Italy); title role in Liszt's unfinished opera Sardanapalo (Souni dal Golfo Festival, Italy); James Nolan in the Grammy nominated recording of Doctor Atomic (BBC Symphony Orchestra) and in concert at the Barbican under the baton of John Adams; Bottesini’s Messa da Requiem (Brisbane Festival); tenor soloist (Last Night of the BBC Proms in Hyde Park); and Nessun Dorma at the British Summer Time Festival in London’s Hyde Park.
11 ROBERT MACFARLANE: MALCOLM
Robert Macfarlane studied at the Elder Conservatorium in Adelaide and subsequently at the Hochschule für Musik, ‘Felix Mendelssohn-Bartoldy’, Leipzig as winner of the Thomas Elder Overseas Scholarship. Recent engagements include his directorial debut – Radamisto (Handel) for Apollo Opera Collective, and performances including Chamber Landscapes at Adelaide Festival; Boy in Madeline Lee for State Opera South Australia; Bob Boles in Britten’s Peter Grimes with Sydney Symphony Orchestra; Bach’s St Matthew Passion (Evangelist) with the Royal School of Church Music and Sydney Philharmonia Choirs; Steve Hart in Ned Kelly with Lost and Found Opera; Messiah for Willoughby Symphony Choir, New Zealand and Melbourne Symphony Orchestras, Auckland Choral Society and Perth Symphonic Chorus; with The Song Company for Brett Dean’s Hamlet at Adelaide Festival; and Beethoven & Beyond with Auckland Choral Society. This year Robert will also direct two programs for The Song Company: Dances of Passion and Arms of Love. 2018 saw Robert co-create More Guilty than the Poet for Cirkidz; and perform the roles of Kunz Vogelgesang in Die Meistersinger von Nürnberg for State Opera South Australia, Ulrich Eisslinger in Die Meistersinger von Nürnberg for Opera Australia and Tanzmeister in Ariadne auf Naxos with Simone Young conducting in Brisbane. Robert made his European Opera Debut as Ircano in Hasse’s Semiramide in Graz and Leipzig. Further appearances include Tybalt in Boris Blacher’s Roméo et Juliette (Opera de Lyon); Monostatos (The Magic Flute) for West Australian Opera; Orfeo (Peri’s Euridice) for Woodend Winter Arts Festival; the title role in Rameau's Pygmalion for the Peninsula Festival; Beppe (Pagliacci) and 3rd Jew (Salome) for State Opera South Australia; Acis (Acis and Galatea) in Malaysia and Singapore; and Echo and Pastore in Monteverdi’s L'Orfeo with the Australian Brandenburg Orchestra.
MICHAEL DIMOVSKI: MALCOLM
Michael Dimovski is a Melbourne based tenor with a Bachelor of Music from The University of Melbourne. He is a member of Melbourne Opera’s Richard Divall Emerging Artist Programme, a recipient of the Rotary New Generations Service Exchange program to travel to Germany and participate in the Bayreuth Youth Artist Festival, Encouragement Award Recipient for the 2020 Welsh Male Singing Competition. Michael was also a finalist in the 2019 Australian Music Event’s Aria Competition. Michael’s most recent engagements include: Chorus in Opera Australia’s Ernani and Aida, Froh (Cover) in Melbourne Opera’s Das Rheingold, Jaquino and First Prisoner in Melbourne Opera’s Fidelio, AME’s Aria competition Finalist, Tenor Soloist for Melbourne Opera’s The Messiah, Don Curzio in RDEAP’s The Marriage of Figaro Showcase, Snow in Victorian Opera’s The Selfish Giant, Don Basilio/Curzio Cover in Australian International Production’s China Tour of Le Nozze di Figaro, Steuermann cover in Melbourne Opera’s Die Fliegender Holländer, Gondolier in Melbourne Opera’s Otello, The Innkeeper in Melbourne Opera’s Der Rosenkavalier, Tenor soloist in Essendon Choral Society performance of Mendelssohn’s Elijah, The Shepherd and Young Sailor cover in Melbourne Opera’s Tristan und Isolde. Michael also frequently performs as a chorus member in Victorian Opera’s recent productions of Il Barbiere di Siviglia, Parsifal, E Capuleti I Montecchi and Guillaume Tell.
12 ELEANOR GREENWOOD: DAMA
Eleanor Greenwood is a graduate of London's Royal Academy of Music Opera School and the Australian National University’s School of Music and first prize winner of the Sydney Eisteddfod Opera Scholarship Competition. Eleanor made her professional debut in Ireland at the Opera Festival in Wexford, in Statkowski's little known Polish Opera, Maria. Most recently she performed the role of Annio in La Clemenza di Tito for National Opera in Canberra. Thrilled to be in Melbourne and currently engaged as a Richard Divall Emerging Artist, Eleanor recently understudied the role of Wellgunde in Melbourne Opera’s production of Das Rheingold, directed by Suzanne Chaundy and performed in Mozart by Moonlight for the company. In the UK Eleanor sang at Grange Park Opera and the Dorset Opera Festival, and she returned to Wexford Festival Opera performing L'innocente in L'Arlesiana by Cilea and as La Ciesca in Puccini's comedy Gianni Schicchi. She sang as the Woodpecker, Forester’s Wife and Woodpecker at the Ryedale Festival in North Yorkshire in Janáček's The Cunning Little Vixen. Eleanor also performed Orlofsky in Die Fledermaus and Zerlina in Don Giovanni as a part of the Bloomsbury Festival in London, under musical director, Jessica Cottis. As an oratorio soloist, Eleanor has sung the soprano solos in Handel’s Messiah at Brisbane City Hall with the Queensland Choir and the Mozart Requiem with St Andrew’s Cathedral Choir in Sydney. An experienced recitalist, Eleanor has sung in concert at Opera by the Lake for Opera Queensland, appeared as part of the Music on Sundays programme with the Queensland Symphony Orchestra, hosted by Guy Noble, in Adelaide with the Italian Arts Society, hosted by Vincent Ciccarello and ‘Opera in the Paddock’ in Armidale NSW. Internationally, Eleanor has toured Chinese Poly Theatres with Australian International Productions performing in concert and opera. Eleanor is a grateful past recipient of a grant from the Ian Potter Cultural Society and the Wagner Society of NSW.
ALEX POKRYSHEVSKY: DOCTOR
Melbourne-based bass baritone, Alex Pokryshevsky, has been part of the Australian operatic scenery for many years. A graduate of the VCA, he was awarded numerous prizes and scholarships for excellence in music. Alex has been a regular performer with all major Australian Opera companies since 1998. In 2019, Alex was involved in Opera Australia’s productions of Turandot and in Victorian Opera’s productions of Parsifal, William Tell and Pelleas & Melisande. Other engagements in 2019 included the title role of Banquo, as part of the Gertrude Opera production of Macbeth, Rafael in Haydn’s The Creation with Frankston Symphony Orchestra and Jesus in St John Passion with Melbourne Chamber Choir. In 2020, Alex sang the role of the Soldier in Victorian Opera’s production of Salome. In 2021, Alex is also performing in Victorian Opera’s production of The Pearl Fishers and Opera Australia’s production of Aida. For Melbourne Opera, Alex has performed in the production of Lohengrin as one of the Branbantisch Elders and in February 2021, Alex covered the role of Fafner in the production of Das Rheingold. Alex is in great demand around Melbourne and regional Victoria and gives regular performances at various musical venues. His extensive repertoire comprises of classical, music theatre, art song, folk Yiddish, Russian and Ukrainian music.
JANE MAGÃO: APPARITIONS
Jane Magão is a Sunshine Coast born, Melbourne based soprano, graduating from the Queensland Conservatorium of Music with a Bachelor of Music in 2016 and currently studies with Carrie Barr. Jane is a current member of the Richard Divall Emerging Artist Programme with Melbourne Opera and has recently made her debut with Victorian Opera in their production of Echo and Narcissus. In addition to directing and making her role debut as Despina in IOpera’s recent production of Cosi fan tutte, Jane has also starred as Adele in Die Fledermaus, Barbarina and Susanna in Le Nozze di Figaro, Soeur Constance in Dialogues des Carmelites and the Dew Fairy in Hänsel und Gretel.
13 DARCY CARROLL: MESSENGER
Darcy Carroll is a current young artist with Melbourne Opera’s Richard Divall Emerging Artists Program (2019-2021) and recently made his professional debut in their production of Wagner’s Das Rheingold. Most recently, Darcy performed Guglielmo in Mozart’s Cosi Fan Tutte (iOpera). Darcy holds a Master of Music (Opera Performance) from the University of Melbourne. During this degree, Darcy performed several roles, including Sid in Britten’s Albert Herring, Jupiter in Offenbach’s Orphée aux enfers, Gianni Schicchi in Puccini’s Gianni Schicchi, and Papageno in Mozart’s Die Zauberflöte. Other credits include Frank in Strauss’ Die Fledermaus (Berlin Opera Academy), Colline in Puccini’s La Boheme (directed by Cameron Menzies), and the Officer in Rossini’s Il Barbiere di Siviglia (Victorian Opera). Darcy is the recipient of the 2020 German-Australian Opera Grant.
GREGORY CARROLL: SET & COSTUME DESIGNER
Greg Carroll has worked on theatrical productions for the APG, (The Pram Factory), La Mama, Playbox, Melbourne Theatre Company, Sydney Theatre Company, Theatreworks, Gilgul Autoworks, Melbourne Writer’s Theatre, Polyglot, Melbourne Opera Company, Gertrude Opera, The Australian Shakespeare Company and Red Stitch, as well as many commercial productions. Greg is a director and designer that has helped to set up over six theatres in Melbourne including the Carlton Courthouse Theatre, Gilgul Autoworks for Barry Kosky and assisted many theatrical companies in and beyond Melbourne. Greg has most recently directed and designed the monodrama Swansong in Sydney, Melbourne, Los Angeles and New York. Andre Devanny won best actor in the New York Solo festival. He also directed Andre in Glory Dazed at Red Stitch for which Andre won the Green Room Award for Best Actor. Greg designed and directed Howie the Rookie for Red Stitch. Designed Madame Butterfly and HMS Pinafore for Melbourne Opera and Comedy of Errors at the Athenaeum and the RBG for the Australian Shakespeare Company. Greg directed A Stretch of the Imagination by Jack Hibberd, that headlined at the Prague Fringe Festival. This production was designed by Peter Corrigan and was a remount of the very successful 25th anniversary season in Carlton and Belvior Street. Greg most recently designed Otello with Bruce Beresford directing. Macbeth is the second time around for this team. Greg has worked extensively in set design and construction for over 45 years. As far ranging as creating the magic illusions for Doug Tremlett to special effects for film and television.
ROB SOWINSKI: LIGHTING DESIGNER
Rob is a lighting designer with a practice spanning opera, music theatre, drama, consultancy and management. Opera credits include Das Rheingold, The Flying Dutchman, Iphigenie en Tauride, The Coronation of Poppea, Pygmalion, Stella, Trouble in Tahiti, Bluebeard’s Castle and The Tender Land. Green Room award nominations include best lighting for The Flying Dutchman (MO), Triangle (MKA), Pacific Overtures and A Little Night Music (Watch This), and The Trouble with Harry (MKA/ Melbourne Festival). Other projects include The Dressmaker, the critically acclaimed Angels in America (FortyFive Downstairs) lighting design for John Cameron Mitchell’s Australian tour, and tours of Strangers in Between and Resident Alien. For National: La Casa di Bernarda Alba, Orpheus/Eurydice, Summer of the Seventeenth Doll. Other work includes Die Knef, Into the Woods, Sweeney Todd, The Threepenny Opera, Cabaret and Palace of the End. Rob has undertaken touring production design for Chita Rivera, Ben Vereen, Lillias White, Lorna Luft and Macy Gray.
14 BRYN CULLEN: ASSISTANT LIGHTING DESIGNER
Bryn is a Melbourne based theatre designer, acrobatic rigger, and automation technician. Recent design highlights include co-lighting and scenic design of Spencer (Lab Kelpie), lighting design on L’incoronazione di Poppea (Lyric Opera of Melbourne), associate lighting design on Das Rheingold (Melbourne Opera) Cabaret (Showtune Productions), and co- lighting design of Angels in America (Cameron Lukey & Dirty Pretty Theatre). Bryn has also had the opportunity to work in a technical capacity on shows such as Harry Potter and the Cursed Child (Show Rigger), and Kurios and Amaluna for Cirque Du Soleil (Rigging, Automation, and Lighting).
RAYMOND LAWRENCE: HEAD OF MUSIC & CHORUS MASTER
Raymond has been Head of Music and Chorus Master at Melbourne Opera since 2012 and is one of Australia’s most highly regarded vocal coaches, accompanist and most experienced young opera conductors. He studied at the Queensland Conservatorium of Music and joined Opera Queensland’s Young Artist Program as a répétiteur.
In 2019, Raymond was nominated for a Green Room Award for his conducting of Melbourne Opera’s production of Bellini’s Norma. He has conducted performances of The Merry Widow, La Traviata, The Pearl Fishers, The Barber of Seville, Anna Bolena, The Abduction from the Seraglio, HMS Pinafore, Roberto Devereux and Rossini’s Otello for Melbourne Opera. Raymond is the Music Director for Opera Australia’s Victorian Schools Company and was Music Director of Stonnington Opera in the Park from 2014 to 2016. As a vocal coach, he has nurtured many Australian singers who have gone on to become members of the Jette Parker Programme at The Royal Opera House, the Moffatt Oxenbould Young Artist Programme at Opera Australia, ensemble member at the Wiener Staatsoper, as well as becoming finalists and prize winners in many prestigious singing competitions.
GREG HOCKING AM: PRODUCER
Greg graduated with a Bachelor of Arts at the University of Melbourne. He studied under Carlo Felice Cillario and Geoffrey Arnold. He worked at Queensland Opera and Australian Opera, and has run his own successful entrepreneurial business since 1979. As a conductor Greg has an extensive repertoire of more than 50 operas and produced and conducted Melbourne Opera’s inaugural season of La Traviata, The Pearl Fishers, and The Magic Flute. He has produced and conducted many of Melbourne Opera’s 42 productions since. In 2004 he conducted La Traviata in Fiesole and returned to Rome for concerts later that year. Recent international engagements include Germany and regular tours of China. Greg is chief adjudicator of the Herald Sun Aria. Greg is a founding director of Melbourne Opera. He also founded the Universal Theatre, the Comedy Club, and the Melbourne International Comedy Festival. As a theatrical producer his extensive credits range from Wogs out of Work to Beckett directs Beckett and Australian concert tours of many famous artists including Yehudi Menuhin, Mstislav Rostropovich, Roger Woodward, Ivo Pogorelich, Sir George Martin and Elvis Costello. In 2017, Greg was awarded an AM in recognition of his service to the performing arts and the comedy industry.
15 MELBOURNE OPERA ORCHESTRA
VIOLIN I VIOLONCELLO HORN Ben Spiers - Concertmaster Christopher Raduly Evgeny Chebykin Felicite Heine Keryn Lientschnig Josiah Kop Willard Zhong Janet Butler Stuart McGregor Emma Martin Nicholas Jensen Phoebe Smithies Jessica Lambourn Imogen Manins Ray Chan TRUMPET Rennata Morrison CONTRABASS Bruno Siketa Emily Frazer Rob Nicholls Sarah Camm Emma Winestone Ian Crossfield Katrina Shilton Luke Richardson TROMBONE Rachel Williams Alexandra Giller Elizabeth Scarlett Spencer Nelson Kitt Millias HARP Glenn Bardwell VIOLIN II Samantha Ramirez Bernadette Baker Nino Ksovreli TUBA Vincy U FLUTE I Matthew van Emmerik Owen Halliday Vicki Stanko Nathan Jurianz TIMPANI Jack Cross PICCOLO Arwen Johnston Matheus Felipe Lessa Oliveira Penny Holmes Kat Tsyrilin PERCUSSION Raymond Wei Fintan Hocking Hannah Kuek CLARINET I Marcus Govan Kelli White VIOLA OFF STAGE BANDA Deborah Wirsu CLARINET II Laura Schulze Setsuko Minikawa Lisa Clarke Warren Wiggins Madeline Roycroft Catherine Turnbull Joel Hands-Otte Sabrina Yeh OBOE I Brendan Toohey Eugenie Lyons Jasper Ly Anne Brisk Stefanie Ghiocas Matthew Angus 23/5 OBOE II/COR ANGLAIS Jo Angus Andrew Jacobs
The Melbourne Opera Orchestra is available for freelance engagements and loves doing them.
MELBOURNE OPERA CHORUS Men’s Chorus Robert Van Keulen Tatiana Kaev Davy Harris Michael Behan Nick Webb Jordan Kahler Fletcher O'Leary Ian Cook David Woodberry Donna King Laurence Young David Cramond Sara Kogan-Lazarus Robin Czuchnowski Women’s Chorus Lana Lowry Children's Chorus Tim Daly Erin Absalom Joy Lukman Savannah Dickson Paul Dernelly Morgan Carter Maree Macmillan Miliah King Andrew Dickinson Ariel Chou Ania McInerney Harper Parlby Dick Dowling Lindell Claff Dominique Musico Marley Parlby Josh Erdelyi-Gotz Giuliana D'Appio Kate O'Callaghan Kershawn Theodore Finn Gilheany Cheryl Darvidis Debra O'Connor Ben Touzel Peter Hanway Jodie Debono Natalie Reid Chris Touzel Mark Henderson Annette Dick Millie Schirmer Roger Howell Kristina Fekonja Kayla Sims Apparition Actors Zac Kelty Alicia Groves Christine Storey Campbell Debono Geoff King Sue Halls Megan Whiteside Oliver Belsey Graeme Lock Kathy Hatton Cecily Woodberry Edgar Stirling Trevor Mills Angela Hennel Kershawn Theadore Robert Moroni Catherine Hoffman Supernumeraries Archi Jakab Bernie Nolan Cailin Howarth Andrew Cullimore Dante Tuscano James Park Teresa Ingrilli Tom Dray Felix Harris Roland Seidl Piri Jakab Cameron Grant MELBOURNE OPERA COMPANY BENEFACTORS
Principal Benefactors The Estate of Margaret May Attwood Dr Alastair Jackson AM Mr Kenneth Reed AM Mr Keith Beard Mr Barry Janes & Mr Paul Cross The Robert Salzer Foundation Mr Hans & Mrs Petra Henkell Lady Primrose Potter AC CMRI Roy Morgan Research Henkell Family Fund 2 Dr Douglas & Mrs Monica Mitchell Sylvia Fisher Fund Debra and Greg Hocking AM Mr Allan Myers AC QC & Vera Moore Foundation The Ian Potter Foundation Mrs Maria Myers AC
Benefactors Beverly & Geoff Abbott Mrs Kathy Franks Mr & Mrs Ken Neate Alan & Rosemary Abbott Ms Thelma Frey Mrs Anne Neil Mr Marcus Adamson Mr Neil Galbraith Mr Peter Newman Ms Seonaid Alexander Mr Peter Gallagher & Ms Karen Morley Dr Paul Nisselle AM & Mrs Sue Nisselle Mrs Valma Allaway OAM Mrs Vicki Gartly Mr & Mrs Tom O'Dea Peter Anderson George Hicks Foundation Ms Miki Oikawa Mr Christopher Arnold AM & Ms Margot Costanza Mr Robert Gibbs Mr & Mrs Vincenzo Paolucci Elspeth Arnold Ms Janet Gibson Jim & Nan Paterson Australian Communities Foundation Jenny Giles Mr Gregory Payne & Ms Alicia Payne Mr Philip Bacon AM Sir James & Lady Gobbo Mr Bill Pell Ballandry (Peter Griffin Family) Fund Charles & Cornelia Goode Foundation Mr Mario Perrone & Mr Rick Kruse Norm Bartley Ms Nance Grant AM MBE & Mr Ian Harris Mr Geoffrey & Mrs Jan Phillips Anthony & Amanda Battaini Mr & Mrs John Grigg Mr Ian Phipps Ms Laurie Bebbington & Ms Elizabeth O'Keeffe Ms Margaret Haggart David & Gayle Pitt Beleura - Tallis Foundation Mr Ken & Mrs Anne Hanlon Mr Fred Porter Dr Lois Bell Hansen Little Foundation Professor John & Mrs Marion Poynter Mr & Mrs Lewis Bell Margaret Harding & Eric Bates Peter Reilly OAM & Linton Soderholm Rita & Rob Benson Mr David Harper Professor Gregory Reinhardt AM Ms Marja Berclouw Harris Family Fund, Mr Chris Renwick AM & Mrs Margery Renwick Mr M Besen AC & Mrs Eva Besen AO a charitable fund account of LMCH Mrs Vivienne Ritchie Mr & Mrs Tim Bezencon Mr & Mrs Geoffrey Harris Mr & Mrs Tomas Romanowski Binks & Associates Management Pty Ltd Ken Harrison AM & Jill Harrison OAM Peter Rose & Christopher Menz Mrs Ann Blainey Mr Peter Hebbard Dr Ian Ross Mrs Shirley Breese Ms Catherine Heggen Mrs Margaret S Ross AM Mr Len Britton Mr John Heitlinger Ms Margaret Rush Mr Stuart Brown Ms Linda Herd Cheryl Saunders & Ian Baker Marion Brunt Mr Peter & Mrs Jenny Hordern Schapper Family Ms Diana Burleigh Mr Roger Howell Mr Aubrey Schrader Mr David Byrne Ms Suzanne Hume Mr Phillip Schudmak Frere & Farah Byrne Mr David & Mrs Marie Thérèse Hunt Mr Clive Scott Ms Pamela Caldwell Aileen Hyden Mr Paul Selar Mr Nicholas Callinan AO & Mrs Elizabeth Callinan Mr Ross Illingworth Di Sexton Mrs Jennie Cameron AM Mr David Jackson Mr William Sharpe Mrs Krystyna Campbell-Pretty Mr Basil & Mrs Rita Jenkins Mr John Shellard John & Janice Carpenter Mr Lester Johnson Mr & Mrs Jeffrey Sher Ms Deborah Cheetham AO & Ms Toni Lalich OAM Neil Kaplan CBE QC & Su Lesser Mr Andrew Sisson AO Mr & Mrs Peter Clark Mr Anthony Kennedy OAM Ms Libby Smith & Mr John Middleton Mr Sandy Clark AO & Ms Marie McDonald Mrs Margaret Kidd Mrs Felicity St John Moore Mr Marcus Clarke Mr Steve King Mr David Vivian & Ms Kristin Stegley OAM Mr & Mrs Marcus Clarke Ms Suzanne Kirkham Professor Elsdon & Mrs Christine Storey Ms Christine Clough Mr Philip Kneebone Mr John Studdert & Mr Dennis Mather Mr & Mrs Rob Collier Anna & Richard Kopinski Scott Sutherland John & Anne Connellan Mr Michael Landy Judith & Valdis Svars Ms Maxine Cooper Mrs Joy Laurence Mr Geoff Swanson Mrs Joan Cowan Ms Nicole Leung Mr Jamie Tait Lady Anna Cowen AM Helen Long Professor Hugh Taylor AC & Mr Stephen Crawford Lord Mayor's Charitable Foundation A/Professor Elizabeth Dax AM Hon Susan Crennan AC QC & Dr Michael Crennan Peter Lovell & Michael Jan William Taylor QC Ms Barbra MacDonald Craig Thomas & Graeme Moody Mrs Annie Cuming Ms Marga Macdonald Dr Celia Thompson & Mr Derek Leather Mr Greig Cunningham Ms Jennifer Marshall Diane Thomson Ian Dakin Ms Anne-Marie Maschio Dr Peter Tregear OAM Mrs Joan Darling Mrs Ann Mattingly Trikojus Education Fund Mrs Sue Darvall Mrs Margaret Mayers Dr Michael Troy Mr Ernest Dawes OBE & Mrs Nola Dawes Mrs Fairlie McColl Mr Peter Valder Dr Ian Dickson AM & Ms Lisa Dwyer Mrs Ann McFarling Mr Frank Van Straten & Mr Adrian Turley Mr & Mrs John Dowling Dr Judith McKenzie Dr Euanha Varigos Mr Michael & Mrs Rosemary Dowling Mrs Elizabeth McKern Dr John & Mrs Marilyn Viggers Ms Zoe Drobski Mrs Rosemary McLeish Mrs Pauline Walden Mr John Drury OAM & Dr Dianne Drury AM Peter & Mary-Ruth McLennan Mrs Marie Louise Warnock John Duggan Norman McLeod Ms Sue Westwood Mr John & Mrs Anne Duncan Lynne Merigan The Revd. Noel Whale Pauline & Geoff Eastmure Mr Vincent Mirabelli Mrs Lyn Williams AM Equity Trustees - Marshall-Hall Trust Mr Paul Mocnay Sue Wischer Mr Andrew Fairley AM & Ms Natasha Bowness Modean Family Trust Mr Rod Woolley Mr Knut & Mrs Toni Feddersen Mrs Carmel Morfuni Mr Renn Wortley Mr David Feighan Mr Dane Morrissy Mr H McM Wright QC Prue Ferguson Motet Fund, Mrs Prue Wright Mr Malcolm Fisk a charitable fund account of LMCH Mr Igor & Mrs Jenny Zambelli Mr Michael Flemming Professor Kerry Murphy Anonymous (4) Mrs Margaret Foster Ms Judith Neale ACKNOWLEDGEMENTS Melbourne Opera is grateful for the generous assistance of:
Set Construction and Painting: Daniel Madrigali, Shane Lee, Christina Logan-Bell, Shakira Dugan, Sello Molefi, Paul Mileham, Stephen Marsh, Rebecca Rashleigh, Cheryl Darvidis, Giuliana D’Appio, Fox Hay, Malouf Steel Supplies, Australian Shakespeare Company - Glenn Elston OAM, Opera Australia
Transport Captains: Craig Harding, Syd Brisbane
Lighting: Professor Ken Sloan, Jodie Hutchinson & Dean Schultz, Jason Bovaird, Peter Amesbury, Martin Bowman at Clearlight Shows
Wardrobe: Jason Chalmers, Karla Erenbots, Anie Zanazanian, Porsha Loughnan, Zoë Wilson
Hair, Wigs and Make Up: Senior Artists: Tayla Alexander, Fab Barone, Olivia White Assistants: Gavin Turnbull, Alana Jones, Elic Dimitrakopoulos, Robyn Gibson, Jasmine Taylor, Rosalide Roos
Children's Chaperone: Anabelle Barker
Projections: Filming: Cordelia Beresford, Operator: Janet Huang, Editor: Christopher Hocking
Her Majesty’s Theatre: Mr Mike Walsh AM OBE, Theatre Manager Adam McGurk, Technical Manager Justin Harper, Patron Services Manager Quan Tu
Mr Peter Reilly OAM, Scotchmans Hill
Holy Trinity Balaclava and Elwood Anglican Church – Vicar Reverend Kathryn Watt St John’s Camberwell – Vicar Father John Baldock, Administrator Dawn Sullivan East Bentleigh Primary School
Melbourne Digital Concert Hall – Adele Schonhardt and Chris Howlett 5 Stream - Tim Kelly VR Broadcast: Inverse - Darren Vukasinovic Hilton Melbourne Little Queen Street
Friends of Melbourne Opera Committee (FOMO): Lady Potter AC CMRI, Dr Ian Dickson AM, Ms Maxine Cooper, Dr Celia Thompson, Mr Chris Ryan, Mr Greg Hocking AM, Ms Tania Bezencon, Ms Robbie McPhee, Melbourne Opera Intern Anastasia Webb
Publicity: Rain Fuller, Keshia Hutchens – Fuller PR Website Management: Fred Porter, Steven Smith, David Woodberry Photographer: Robin Halls Videographer: Bradley De Vries Directors of the Athenaeum Theatre: Barry Janes, Glenn Elston OAM, Greg Hocking AM
18 MELBOURNE OPERA ABN 20103803774 Phone: 03 9600 2488 www.melbourneopera.com
PATRON-IN-CHIEF FOUNDING PATRONS Lady Potter AC CMRI Sir Zelman Cowen AK GCMG GCVO Professor Richard Divall AO OBE Sir Rupert Hamer AC KCMG PATRON Lady Hamer Maestro Richard Bonynge AC CBE Dame Elisabeth Murdoch AC DBE Dame Joan Sutherland OM AC DBE
BOARD OF DIRECTORS Michael Flemming Margaret Haggart Barry Janes Chairman Geoffrey Harris Anastasia Fai Kogan David Pitt Kenneth Harrison AM KSJ Kenneth Neate Deputy Chairman Greg Hocking AM Michael Wright AM QC Ian Dickson AM Roger Howell
MANAGEMENT Robbie McPhee - Company Manager · Kenneth Neate - Company Secretary
ARTISTIC COMMITTEE Michael Wright AM QC · Geoffrey Harris · Greg Hocking AM · Raymond Lawrence
GRAPHIC DESIGN & PUBLICITY designjunkies.com.au · FullerPR - Rain Fuller
MUSIC DEPARTMENT Greg Hocking AM - Resident Conductor Raymond Lawrence - Head of Music, Associate Conductor & Chorusmaster Cecily Woodberry - Assistant Chorusmaster Repetiteurs: Jane Matheson & Christopher Hillier
ORCHESTRA MANAGEMENT Christopher Raduly, Ben Spiers, Ella Jakins, Glenn Taylor
PRODUCTION DEPARTMENT Producer - Greg Hocking AM · Set Build & Construction - Greg Carroll, Shane Lee & Daniel Madrigali
FOMO COMMITTEE Lady Potter AC CMRI, Ian Dickson AM, Maxine Wright, Robbie McPhee, Michael Flemming, Chris Ryan, Celia Thompson, Greg Hocking AM
19 *Approx