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Home , Alexander Lewis (actor), Antoinette Halloran, Dennis Olsen (actor), Don Burrows, Green Room Awards, Lindy (opera)

& JAMES LAPINE SUNDAY IN THE PARK WITH GEORGE a masterpiece comes to life 20 - 27 July 2013

ARTISTIC DIRECTOR’s MESSAGE

In the 1880’s Georges Seurat created a masterpiece with a ‘... a piece which has highly individual vision and technique – a painting which froze a special place in the a moment in time, a moment in the lives of the subjects on that idyllic Sunday in Paris. Seurat died alone, he never sold a single consciousness of a painting, but held fast to his inner conviction as an artist despite company which has the changing vicissitudes of his brief life. In the 1980’s, a young American artist named George – great a singular interest in grandson of Georges Seurat, is spiritually lost despite his success. This season is dedicated to of new He searches for meaning in his quest to make art. Stephen Sondheim and James Lapine, in this great work, explore the Wolfe Gosheven Rodwell-Aulich, work, development of nature of artistic creation, affirming the transcendence of art over the hostilities of time. The mysteries and difficulties of “the the son of Tirion Rodwell young people and in act of making art” becomes the inspiration for this great work of being different.’ , which celebrates the power of the creative act and her husband Dan Aulich. over the flux of time and circumstance.

Richard Mills Both acts mimic the process of pictorial composition in their Tirion works in our Costume department creating magic from large dramatic rhythms; assembling characters, situations, a piles of multi-coloured material and transforming designers’ sketches geography of emotions in simultaneous spatial and musical into the beautiful costumes you will see on stage. Her husband is perspectives that are the result of the sure and masterful control a highly skilled Video Technician/Project Manager for the music of theatrical process that are the hallmarks of this masterpiece. industry - and their life is full of wonderful art. Therefore, to succeed, this work requires above all, a deep Wolfe was born with a heart condition which kept him in sense of commitment to the notion of ensemble from all The Royal Children's Hospital . Every day for three months concerned – a notion that is also at the heart of the company Tirion and Dan sang to him and made him smile. Their strength spirit of Victorian . This cast and creative team have was an inspiration to everyone who works at Victorian Opera embraced this idea from the first day of rehearsal, generating as well as their friends and family. a wonderful energy in the rehearsal room which I am sure will One of the arias you will experience in Sunday in the Park with George - achieve a similar energy in the theatre. 'Children and Art' - explores our two greatest legacies, children and art. Yet all in this journey are also part of a larger work in This reason - together with the costumes Tirion has created on her progress; beginning on day one and ending on the final return to Victorian Opera - is why our season is dedicated to Wolfe. curtain of the last show – in words from the text – “Pretty isn’t beautiful, Mother. Pretty is what changes. What the eye arranges...is what is beautiful.” Wolfe Gosheven Rodwell-Aulich “Children and art” are what we bequeath to the future. Most importantly, Sunday in the Park with George is a piece 7/11/2012 – 13/02/2013 which celebrates the wonder of making art – both collectively and individually – and therefore a piece which has a special place in the consciousness of a company which has a singular interest in the creation of new work, development of young people and in being different. “Anything you do, let it come to you…then it will be new” – these words are more for us than a quote from the production, they provide all of us at Victorian Opera with a certain inspiration for the future. “A blank page of canvas…so many possibilities.” Enjoy the show and join us for the future.

Richard Mills Artistic Director LUCY SHORROCKS PHOEBE BRIGGS MANAGING DIRECTOR’S MESSAGE CONDUCTOR’s MESSAGE

‘... one of Sondheim's Three years ago, I found myself in a rehearsal room watching ‘... soundscape of When thinking of Stephen Sondheim and James Lapine’s Pulitzer a group of performers from opera and music theatre paint Prize winning musical Sunday in the Park with George, it is hard most prominent a wickedly compelling picture of a decadent city. After the soaring melodies, not to think in terms of Impressionism – which may seem odd as rehearsal, one of the opera singers quietly revealed that the work was written in 1984, a century after the Impressionist contributions to the despite their initial concerns, watching their music theatre shimmering colours, era (1875-1925)! However, as the musical is inspired by the canon of American counterparts prepare and rehearse had transformed their fragile fragments and famous painting A Sunday on La Grand Jatte by preeminent own dramatic approach. The collaboration, The Threepenny French Impressionist Georges Seurat, it’s appropriate that there musical theatre.’ Opera, went on to become a runaway success but more extraordinarily witty are strong links between the content of the score and libretto importantly it had created its own life-changing magic, and moving lyrics.’ and the Impressionist style of painting, in particular Pointillism. Lucy Shorrocks which is something we have always aspired to do. Impressionism as a movement in art has been described in It was inevitable after the success of The Threepenny Opera Phoebe Briggs various ways but all seem to come back to the idea of a focus that Victorian Opera would again seek out a production on colour and light. What we see at the beginning of Sunday to rediscover the magic created when music theatre and in the Park with George is a blank white canvas onto which opera performers come together. For us, that was Sunday in the characters are gradually introduced. Sondheim 'frames' his the Park with George, one of Sondheim’s most prominent work with this image as the musical finishes in the same way, contributions to the canon of American musical theatre. with the audience left with “White. A blank page or canvas. His favourite. So many possibilities.” Musicals have long been performed by opera companies around the world as a way of exploring different repertoire Sondheim’s soundscape of soaring melodies, shimmering and connecting with new audiences. For Victorian Opera, colours, fragile fragments and extraordinarily witty and moving we simply couldn’t ignore a work that reflects both the lyrics creates the “design, composition, balance, light and strengths of the company and its performers especially harmony” of Seurat’s painting. He uses 'colours' or leitmotifs in his music to introduce each character. A perfect example of when the production of music theatre has been part of our this is the musical accompaniment - as well as the vocal line company’s constitution from the very beginning. for George – the first time we see him painting in his studio. It seems fitting in our pursuit of the new, that we bring to life The song itself is called "Color and Light". It features a repeated a musical inspired by an individual with his own pursuit of the staccato quaver figure which starts on the piano then is added new, Georges Seurat, the father of Pointillism and the creator to strings, woodwind and finally in George’s vocal line itself of the impressionist masterpiece, A Sunday on La Grande (“Red red red red red red orange….”). There is one syllable Jatte. What better way to herald our return to musical theatre or word per note, giving the impression of George’s rapid than with a brand new Australian production and a unique movement and 'dotty' pointillist style of painting. It’s worth and beautiful interpretation of a work that will remain close to noting at this point that Seurat’s technique of painting was the heart of any Sondheim fan. in fact small, deliberate brushstrokes rather than dots. The musical explores the imagined stories of the characters Lucy Shorrocks depicted in Seurat’s painting, including the woman with the parasol in the foreground of the painting, who is cast as Managing Director George’s mistress and long-suffering muse; Dot. The choice of name would seem to be an obvious reference to Pointillism and a convenient link to the style of painting, however Sondheim has said it was merely a coincidence, and that Dot was a popular name in Paris at the time of the painting! In researching for this production, I found a lovely article written by Michael Starobin, the orchestrator of Sunday in the Park with George. He discusses a theory that his use of 11 musicians for this work reflected the 11 colours that Seurat uses in his painting. Starobin, however, clarified that this is a coincidence and merely what the Broadway show budget and pit size would allow! It has been an absolute joy working with this cast and creative team on such a magnificent work.

Phoebe Briggs Conductor

STUART MAUNDER SYNOPSIS DIRECTOR’S MESSAGE SUNDAY IN THE PARK WITH GEORGE

‘We experience, in In the second half of the nineteenth century Georges Seurat ACT I pushed the boundaries and forced the Art Establishment to ‘The characters in In 1884 George is completing his masterpiece which is look at the world through new eyes. In Sunday in the Park a very real way, the the painting come to simultaneously the backdrop and the feature of the musical. with George, Stephen Sondheim and James Lapine have The characters in the painting come to life and discuss their bliss of the creator, the created a work which asks audiences to look at the Broadway life and discuss their relationships with each other and their thoughts and feelings. musical in a new way. Sondheim delights in breaking the intense concentration, George is so obsessed with his work he neglects his mistress rules. This is not a conventional musical in the Rodgers and relationships with Dot, the main character of the painting. Dot then leaves Hammerstein sense. From the first moments we are in the the sheer hard work, each other...’ George for a pastry baker, Louis, and emigrates to America. hands, or rather the mind of the painter; trees disappear, the craft, the passion, dogs talk, scenes merge. Just as Seurat created dozens of Act I the desire.’ miniature studies before tackling his monumental painting, so ACT II we experience these little snapshots of Parisian life. We meet The second act is set in New York in 1984, one hundred various members of Parisian society with all their arguments, Stuart Maunder years later where George (Seurat’s grandson) is working with liaisons, insecurities and jealousies. We also experience light sculptures. He is suffering from an equivalent of writer’s George's tempestuous relationship with his love, his muse: the block and is also struggling with the modern art world where model, Dot. But ultimately all these ideas, issues and conflicts his creations are dependent on commissions and patronage. remain unresolved, all pale into insignificance, all exist just to At the end of the musical, George makes a pilgrimage to provide inspiration for the creation of one of the greatest neo- Paris where the painting in Act I is set. Dot appears and helps impressionist paintings of all time, Seurat’s masterpiece George to put his life together and move on. A Sunday on La Grand Jatte. All that counts is the work. Although the relationship of George and Dot is at the heart of the piece, Sunday in the Park with George is not a conventional love story, indeed we have to wait four generations for the relationship built and destroyed in Act I to find some sort of resolution. What we have is rather the love affair with art, with the act of creation of art. We experience, in a very real way, the bliss of the creator, the intense concentration, the sheer hard work, the craft, the passion, the desire: "To make things that count, things that will be new. And then the realisation that Anything you do, let it come from you. Then it will be new." Sunday in the Park with George is, at its essence, an examination of what makes artists tick, how and why they must create. Sondheim brings the same intense, systematic intellectual precision to the composition of his words and music that Seurat brought to his paintings. Studied up close, both the paintings and the music reveal the precision and meticulous attention to detail, the technique of the artist. Viewed from a distance, or experienced as a whole in the theatre, what is revealed is a perfect and complete vision, satisfying and edifying. The final lines ofSunday in the Park with George provide his challenge to us all: "White. A blank page or canvas. So many possibilities."

Stuart Maunder Director

SUNDAY IN THE PARK WITH GEORGE STEPHEN SONDHEIM & JAMES LAPINE

20 – 27 July 2013 Conductor Phoebe Briggs Act II Playhouse, Director Stuart Maunder George, an artist Alexander Lewis Composer Stephen Sondheim Set & Costume Designer Anna Cordingley Marie, his grandmother Christina O'Neill Librettist James Lapine Lighting Designer Niklas Pajanti Dennis, a technician Lyall Brooks First performed in 1984, New York. Sound Designer Jim Atkins Bob Greenberg, David Rogers-Smith Production Manager Michele Bauer the museum director Running time approximately 2 hours Stage Manager Jessica Smithett Naomi Eisen, composer and 40 minutes including one interval. Deputy Stage Manager Armando Licul Harriet Pawling, Dimity Shepherd Music and Lyrics by Stephen Sondheim. Repetiteurs Phillipa Safey a patron of the arts Book by James Lapine. Loclan Mackenzie-Spencer Webster, her friend Nathan Lay Originally Directed on Broadway by James Lapine. Craig Dalton A photographer Kirilie Blythman Originally produced on Broadway by The Shubert Dialogue Coach Anna McCrossin-Owen A museum assistant Daniel Todd Organisation and Emanuel Azenberg. Charles Redman, John Brunato By arrangement with Playwrights Horizon, Inc. New a visiting curator York City which produced the original production CAST (in order of appearance) Alex, an artist Matthew McFarlane of Sunday In The Park with George in 1983. Betty, an artist Noni McCallum Act I By arrangement with Hal Leonard Pty Ltd Lee Randolph, Jeremy Kleeman Exclusive agent for Music Theatre International (NY). George, an artist Alexander Lewis the museum's publicist Dot, his mistress Christina O'Neill Blair Daniels, art critic Nancye Hayes An old Lady Nancye Hayes ACKNOWLEDGEMENTS A waitress Olivia Cranwell Her nurse Dimity Shepherd With thanks to: Elaine, George's Carrie Barr Jules, another artist David Rogers-Smith former wife CVP, Deakin Motion.Lab, Hit Productions, Yvonne, his wife Antoinette Halloran Joe Petrolo, Just Imagine Productions, A boatman John Brunato , Melbourne Brass and Woodwind, Celeste #1, a shop girl Olivia Cranwell Melbourne Theatre Company, Norwest, Celeste #2, another Carrie Barr ORT CHES RA VICTORIA , Planet Engineering, Resolution X, shop girl Saxony, Show Technology. 1st Violin Matthew Hassall Louise, the little daughter Monique Heath/ 2nd Violin Rachel Gamer of Jules & Yvonne Emily Chessum Viola Jason Bunn Franz, coachman Lyall Brooks Cello Andrea Taylor to Jules and Yvonne Horn Anton Schroeder Frieda, a cook for Noni McCallum Harp Mary Anderson Jules & Yvonne and Percussion Conrad Nilsson wife to Franz Reed 1 Stuart Byrne A soldier Matthew McFarlane Reed 2 Lachlan Davidson Louis, a baker Nathan Lay Piano/Celeste Phillipa Safey Mr. & Mrs., Lyall Brooks Keyboard Loclan MacKenzie-Spencer an American couple Dimity Shepherd Hornplayer Jeremy Kleeman A boy playing in the river Monique Heath/ Emily Chessum A young man sitting Kirilie Blythman on bank A man lying on bank Daniel Todd

Dot Illustration: Anna Cordingley.

ARTWORK CREDITS SUNDAY IN THE PARK WITH GEORGE

2

7 8

1 3 4

9 10

5 6 11 12 13

1: Young woman (study for Un dimanche a la Grande Jatte), 4: Poseuses. The Barnes Foundation, Philedelphia, PA, USA. 8: Parade de Cirque. The Metropolitan Museum of Art, 11: The Couple. The British Museum, London, UK. Conte Kroller-Muller Museum, Otterlo, The Netherlands. 31.2 x 16.2 Oil on Canvas; 200 x 250cm. Georges Seurat. 1887 - 1888. New York, NY, USA. Oil on canvas. 99.7 x 149.9cm. Crayon on Paper; 31.2 x 23.6cm. Georges Seurat. 1884. cm; conte crayon on paper. Georges Seurat. 1884 -1885. 5: Bathing Place, Asineres. The National Gallery, London. Georges Seurat. 1887 – 1888. 12: Landscape, Island of La Grande Jatte (Study for La 2: Standing Man. The National Gallery, London. Oil on Oil on Canvas; 201x300cm. Georges Seurat. 1883 -1884. 9: Compositional Study (large sketch) for La Grande Jatte. Grande Jatte). The British Museum, London, UK. Conte Panel; 15.2 x 24.3cm. Georges Seurat. 1884. 6: Seated and Standing Women. Albright - Knox Art Gallery. The Metropolitan Museum of Art, New York, NY, USA. Crayon on Paper; 42.2 x 62.8cm. Georges Seurat. 1884. Oil on Canvas; 70.5 x 104.1cm. Georges Seurat. 1884, 3: Young Woman Powdering herself. The Samuel Oil on Panel; 15.5 x 24.3cm. Georges Seurat. 1884. 13: La Tour Eiffel. Fine Arts Museum of San Francisco, CA, painted border 1889 - 1890. Courtauld Trust, The Courtauld Gallery, London. Oil on 7: Chahut (Naturalist Quadrille). Kroller-Muller Museum, USA. Oil on Wood; 24 x 15cm. Georges Seurat. 1889. Canvas; 95.5 x 79.5cm. Georges Seurat. 1888 - 1890. Otterlo, The Netherlands. Oil on Canvas; 170 x 141cm. 10: Circus. Musée d'Orsay, Paris, France. Oil on canvas. Georges Seurat. 1889 - 1890. 186.2 x 151cm. Georges Seurat. 1890 – 1891.

A SUNDAY ON LA GRAND JATTE BEHIND THE MASTERPIECE

‘Art is Harmony. • The painting was first displayed in Paris May 1886 Harmony is the at the final Impressionist exhibition. • Two other artists refused to have Georges Seurat’s analogy of opposites, painting exhibited alongside their own and his painting the analogy of similar was to be viewed separately in the last room of the show. • The picture was largely ignored by critics but championed elements of tone, of by critic, Félix Fénéon who boldly stated that what was colour, and of line, important about the painting was its revolutionary technique. • In 1900 Lucie Breu Cousturier was the first proud owner considered according of the painting after her father bought it for her from to their dominants and Seurat’s family for 800 francs. under the influence of • Several decades later the astute American art collector (and trustee of the Art Institute of ) Frederick Clay lighting in gay, calm, Bartlett purchased the painting from Lucie Breu Cousturier or sad combinations.’ for $20,000 and soon the U.S. owned the painting. • In the summer of 1924, Seurat’s painting was proudly 1 Georges Seurat, August 1890 displayed at the Art Institute of Chicago. • In 1930 a French consortium was unsuccessful in reportedly offering huge sums of money to reacquire the painting. • French officials say the painting is the only true great French masterpiece that is not in France. ASTOR PIAZZOLLA & HORACIO FERRER • La Grande Jatte in French means a shallow bowl or basin. It is now the name of an affluent suburb of Paris. • In 1958 it left Chicago for the first time in 30 years. • The painting was on loan to MOMA in New York for a major exhibition of Seurat. This remains the first and last time the picture was lent to another gallery. 2 3 MARIA

DE BUENOS AIRES Research provided by Renee Atkinson, NGV Education 1: E. Lee. The Aura of Neo-Impressionism: The WJ Holliday Collection. Indianna University Press, 1983, p.12. 2: B. Thompson. The Post-Impressionists. Phaidon, New York, TANGO AND FATAL PASSION 1990, p.47. 21 -24 AUGUST 2013 3: Georges Seurat, French, 1859-1891, A Sunday on La Grande Jatte - 1884, 1884–86, Oil on canvas, 81 3/4 x 121 1/4 in. (207.5 x 308.1 cm), Helen Birch Bartlett Memorial Collection, Elisabeth Murdoch Hall, Melbourne Recital Centre 1926.224, The Art Institute of Chicago. Photography © The Art Institute of Chicago. 03 9699 3333 victorianopera.com.au

BIOGRAPHIES CREATIVE & CAST CREATIVE & CAST BIOGRAPHIES

Conductor DIRECTOR COSTUME & SET DESIGNER LIGHTING DESIGNER Phoebe Briggs Stuart Maunder Anna Cordingley Niklas Pajanti

Background: Phoebe Briggs completed a Background: Joined The Australian Opera as Background: Anna is an alumnus of the Background: Niklas studied Lighting Design at Bachelor of Music at Melbourne University. She Stage Manager 1978, Staff Director 1981-87. Victorian College of the Arts (Production Design) the Victorian College of the Arts and Architectural was a member of the Opera Australia music staff Moving to the United Kingdom in 1991, Stuart and a Masters Candidate at the University of Lighting at Royal Melbourne Institute of Technology. from 2002-2012 and was awarded the Foster joined as a Staff Director while Melbourne (Curatorship). His career path has ranged across contemporary Memorial Award for a Repetiteur as part of the continuing to direct in Australia as well as regional art forms and performance styles including opera, Australian Singing Competition. In 2012 Phoebe UK, France and the USA. In 1999 Stuart returned Other Companies: For Bell Shakespeare, circus, musical theatre, dance, drama, comedy, was appointed Head of Music at Victorian Opera. to Australia as Artistic Administrator of Opera Phedre, Macbeth, Julius Caesar; for White Night events, exhibitions and public spaces. He has Australia. He was Executive Producer of Opera Melbourne The Letter Project; for Festival, delivered designs nationally and internationally Victorian Opera Repertoire: Nixon in China, Australia from 2004 to 2009. Inside, Meow Meow’s Little Match Girl (with to Europe, Scandinavia, North America and Asia. Sleeping Beauty, Cinderella, The Bear, Angelique, Malthouse); for Chunky Move, An Act of Now, L’Elisir d’Amore. Other Companies: Directed for all the state Connected; for Lucy Guerin Inc, Human Interest Other Companies: Lighting designer: Angels In opera companies in Australia. For Opera Story; for MIAF, Richter/Meinhof-Opera, The Black America, Hollywood Costume, 247 Days (World Other Companies: Repetiteur: Opera Australia Australia: Tales of Hoffmann, Manon, Gypsy Arm Band’s Hidden Republic; for Malthouse, The Premiere), Inside (World Premiere), The Wild (over 45 ), IFAC (Tokyo), Opera Holland Park Princess, Don Pasquale, Lindy, , HMS Story of Mary Maclane By Herself, A Golem Story, Duck, An Act of Now, Game Masters (World (London), OzOpera, Chamber Made, Company B Pinafore, Pirates of Penzance. Most recent opera Tis Pity She’s A Whore, Sappho… in 9 Fragments, Premiere), Queen Lear, The School For Wives, (Belvoir St), Broome Opera Under the Stars, Victoria productions: Rigoletto (West Australian Opera), The Threepenny Opera (with STC), Elizabeth – William Kentridge-5 Themes, Australia Day (World State Opera, Operalive, Eastern Metropolitan (Opera ). He was Artistic Almost By Chance a Woman, Furious Mattress, Premiere), Babyteeth (World Premiere), Spicks and Opera. Conductor: Opera in the Paddock (Opera Director of APEC Cultural performance, Sydney One Night the Moon, Knives in Hens (with STCSA), Speck-tacular – The Finale, Spring Awakening, Northwest/OA), City Life Project (OzOpera). Opera House 2007 and Australia’s National Day Happy Days (with Belvoir), A Commercial Farce, When The Rain Stops Falling (World Premiere). Assistant/cover conductor: Don Pasquale (IFAC/ at Expo Shanghai 2010. Stuart also directed the Rogue, Not Like Beckett & Autobiography of Red; OA Tokyo), , , national tour of Dusty, Shout!, ‘Little Women’ for for Daniel Schlusser, Peer Gynt. Anna has designed , The Pearlfishers, Così fan tutte, Kookaburra, , for Simon Barley (Bambuco) with The Eighth Bridge A Little Night Music, The Mikado (OA), Guys and for Opera Australia and Music of Andrew Lloyd over Tyne (UK) and Spine, Lille 2004 (France). Her Dolls (Ambassador Theatre Group). Festivals: Webber (Australian, New Zealand and Asian tour). exhibition designs include War Horse & The Breath Coriole, Mahler, Edinburgh International Children’s of Life at Arts Centre Melbourne; An Account of Festival (including tour of UK and Northern Ireland), Recordings: Trial by Jury, HMS Pinafore, Pirates of Bridges at the Baltic Contemporary Art Centre/ Castlemaine. Music Theatre: Drowsy Chaperone, Penzance, , The Magic Flute, The Mikado. Sage Gateshead (UK); & facilitation for Brook The 25th Annual Putnam County Spelling Bee, Andrew in Colony in the 2007 Den Haag Sculpture Company (MTC), A Little Night Music, Sweeney Exhibition (The Netherlands). Anna was recipient Todd (OA), , The Sound of Music (SEL/ of both the 2012 & 2013 Greenroom Award for Gordon Frost), Phantom of the Opera, Oliver! Design & the 2012 Kristian Fredrikson Memorial (), Showboat (LiveEnt/Marriner Scholarship for Contribution to the Performing Arts Productions), Xanadu (Philmark Entertainment), in Australia. Mamma Mia!, Sunset Boulevard. Cabaret: An Evening with Dennis Olsen, Judy Glen, Per Musica. Recordings: Lakmé, The Mikado, Madeline Lee (OA), The Music of Henry Handel Richardson. CREATIVE & CAST CREATIVE & CAST BIOGRAPHIES BIOGRAPHIES

SOUND DESIGNER CELESTE #2 / ELAINE YOUNG MAN / PHOTOGRAPHER FRANZ / MR. / DENNIS Jim Atkins Carrie Barr Kirilie Blythman Lyall Brooks

Background: Jim Atkins has a long career in audio Background: Carrie Barr studied a Bachelor of Background: Bachelor of Music Performance, Background: Lyall most recently appeared on production. He has credits on well over 100 major Music in Voice at the Conservatorium of Music in (Melbourne Conservatorium of Music, University of stage in Red Stitch’s Penelope. His previous label CD releases. Jim worked with the ABC from . She is one of Australia’s most versatile Melbourne) in 2011. Recipient of the 2011 Walter appearance for Red Stitch, in The Pride, earned the mid-seventies and specifically for ABC Classic performers in Opera and Music Theatre with Kirby Singing Scholarship and the Athenaeum him a nomination for a 2012 Green Room FM since the early nineties and has been involved leading roles spanning over the last 25 years. Competition vocal prize. Award. Other theatre credits include Melbourne in many concert broadcasts and radio feature She has also spent the last 12 years singing with Theatre Company’s The Heretic, Urban Display productions. Jim left the ABC at the beginning of Opera Australia and is a teacher at Melbourne Victorian Opera Repertoire: Princess: Puss in Suite for Ross Mollison International, Guys & 2010 and has since pursued a freelance career. Conservatorium of Music. Boots, Chorus in Nixon in China, Soloist: Opera on Dolls for Donmar/Ambassador, Sugar and Mame a White Night Gala Concert, 2012 Gala Concert, for , and several shows Victorian Opera Repertoire: This year Jim was Other Companies: Olga: Merry Widow (Opera Opera by Twilight (RACV Healesville Country Club), for Magnormos, including another Green Room sound designer for the Victorian Opera production Australia), First Bridesmaid: Marriage of Figaro Musical Lunchtime (Victorian Opera Christmas nomination for The Thing about Men. of Nixon in China. (Opera Australia), Isabel: Pirate of Penzance recital), Master of Music (Opera Performance) (Opera Australia), Catherine: Sound Garden (Oz Work in Progress, Sing Your Own Opera, Thisbe in On screen he has appeared in Rake, You’re Skitting Other Companies: Sound design/operator Opera), Valerie/Control: Software (Oz Opera) , La Cenerentola for Education Program, Moomba Me!, Ben Elton Live From Planet Earth, Tripping Namatjira (Big hART production); Sound operator Queen of the Night: The Magic Flute (Co Opera), Opening Night Concert and Master of Music Over, Neighbours and , and feature Bliss and The Merry Widow (Opera Australia). Annie/Bird lady cover: (Disney), (Opera Performance) student recital. films Any Questions for Ben? and the upcoming Recordings: Jim has engineering credits on the Paul Jerry Springer the Opera: Baby Jane cover (Opera film Dirt Cheap. He is also an established House), Cleo: Side show Alley (QPAC), Marie Other Companies: Soloist in Family Classic Kids animation voiceover artist, working on international Kelly release Conversations with Ghosts and a live 3 SING (Melbourne Symphony Orchestra) Ceclia: recording of Shane Warne - The Musical. Nostradamas: Nostradamas (Stage by Stage Prod), projects Get Ace, Sumo Mouse, SheZow, and the Carrie: Carousel (Production Co.), Jellylorum/ Bohemios, Cantaora: La Verbena de la Paloma, Australian Academy of Cinema and Television Arts Griddlebone: (Really Useful Co.), Cosette: Les Helen: La Belle Helene (Lyric Opera of Melbourne); Award (AACTA) nominated Flea-Bitten! Miserables ( Cameron Mackintosh), Gloria: Return Mercedes: Carmen (In Good Company); Susan: to the Forbidden Planet (Kevin Jacobson), Sheila: A Dinner Engagement, First Knitter: A Game of Other Companies: Tom: Fat Pig, George: Hair (Elston,Hocking &Woods). Chance (Music Vocal Company) ; soloist with Box Savages (World Premiere), Quinn: Penelope Hill Chorale, MUCS, Kapelle Singers, Melbourne (Australian Premiere), Father: House, Phillip: The Recordings: – Opera Australia (DVD), University Faculty Choir. Pride (Australian Premiere), Geoff: The Heretic Mikado - Opera Australia (DVD), H.M.A.S Pinafore/ (Australian Premiere), Andy: The Kiss of Death Trial By Jury – Opera Australia (DVD), Mary Poppins (World Premiere), Soloist: Urban Display Suite – Original Australian Cast, The Kind Of Country – (World Premiere), Knuckles: Sugar, Brandy Bottle ABC (radio play), Adelaide Jazz Connection with Bates: Guys & Dolls, Uncle Geoff: Mame, Man: Don Burrows and James Morrison (CD). The Thing about Men (Australian Premiere). Recordings: A Bunch of Ratbags: Premiere Cast Recording. CREATIVE & CAST CREATIVE & CAST BIOGRAPHIES BIOGRAPHIES

B OATMAN / CHARLES REDMAN LOUISE / BOY CELESTE #1 / WAITRESS YVONNE / NAOMI EISEN John Brunato Emily Chessum Olivia Cranwell Antoinette Halloran

Background: John Brunato graduated from the Background: Emily Chessum started dancing Background: Bachelor of Music Performance Background: Graduate of Canberra School of Music with a Bachelor of at 2 years of age. Her love for dance has grown (Melbourne Conservatorium of Music, University and Victorian College of the Arts. Music. He then completed a Graduate Diploma over the years and she studies all types of dancing of Melbourne). Bachelor of Arts, University of Victorian Opera Repertoire: Fiordiligi: Così fan in music from the Queensland Conservatorium including jazz, tap, classical and contemporary. Melbourne. Graduate of Young Actor’s Studio, tutte; Adina: L'elisir d'amore; Maria: Midnight Son. of Music. Emily has been working with her singing coach NIDA. Opera Summer School 2011. for the past 6 years and recently sat her first Finalist, Herald Sun Aria 2011: Semi-finalist, IFAC Other companies: John was a young artist with Other Companies: title roles in vocal exam and received honours. In 2011 Emily Australian Singing Competition 2011: Winner, Opera Australia and then continued on as a and , Mimi in La bohème, Stella in A combined her love for dancing and singing with South Eastern Arts Festival Aria 2011: Third place, principal artist. John has also sung with Western Streetcar Named Desire (Green Room Award), her passion for musical theatre and has continued National Liederfest 2011. Australian Opera, and Donna Elvira in , Johanna in on this path ever since. Canberra Opera. Roles include Mephistofeles, Victorian Opera Repertoire: Puss: Puss in Boots, Sweeney Todd, Despina in Così fan tutte, Gianetta in , Ellen in Lakmé and Josephine Colline and Schaunard. He has also covered Don Other Companies: Tiny Tim in Ebenezer Scrooge Chorus: Nixon in China, Queen Clementine: in H.M.S. Pinafore (Opera Australia); title role Giovanni, Scarpia and Toreadore. (MOaRTZ Inc, 2013), Ensemble My Son Pinocchio Sleeping Beauty, Clorinda: La Cenerentola in Madama Butterfly, Mimi in La bohème (New (Latrobe Theatre Company, 2013), Marta in The for Education Program, Gossip: Angelique, Concert Repertoire: John’s concert repertoire Zealand Opera); Micaela: Carmen (State Opera Sound of Music (Latrobe Theatre Company, 2011). Cherubino (cover): , Sesto includes the Messiah, St Matthew Passion and (cover): Julius Caesar, Popova (cover): The Bear, of South Australia); title role in The Merry Widow Brahms’ . Robber Girl: Snow Queen, God: Noye’s Fludde. (Opera Queensland); Donna Elvira, Fiordiligi, Cio- Soloist: Opera on a White Night Gala Concert, Cio-San, Pamina in The Magic Flute and Musetta Gala Concert 2012, Master of Music (Opera in La bohème (). Performance) Work in Progress, Sing Your Own Concert Appearances: HK Philharmonic Opera, Moomba Opening Night Concert and Orchestra, Sydney Philharmonia, Royal Master of Music (Opera Performance) Student Melbourne Philharmonic, Brodsky Quartet and Recital, Assembly. the Melbourne, Adelaide, Tasmanian, Canberra, Other Companies: The Ring. Wagner: Animated Queensland Symphony Orchestras and concerts (More Than Opera); Young Woman and Reporter: in China, Japan and Indonesia. Regular television Pecan Summer (Short Black Productions); title role: appearances on Spicks & Specks, Operatunity Oz Carmen (In Good Company); Papagena: The and Art Nation. Magic Flute (VCA Symphony Orchestra); Plaintiff/ Recordings: Puccini Romance (ABC Classics). Angelina: Trial by Jury, Hebe: HMS Pinafore (Savoy Opera Company); Clytemnestra: The Greek Tragedies (NIDA); Chorus: Lucia di Lammermoor, Madama Butterfly (Opera Australia). CREATIVE & CAST CREATIVE & CAST BIOGRAPHIES BIOGRAPHIES

OLD LADY / BLAIR DANIELS LOUISE / BOY HORN PLAYER / LEE RANDOLPH LOUIS / BILLY WEBSTER Nancye Hayes Monique Heath Jeremy Kleeman Nathan Lay

Background: Nancye Hayes OAM is one of Background: Monique is a student at the May Background: Jeremy Kleeman studied a Bachelor Background: Nathan completed his Bachelor Australia’s favourite theatrical actresses. She is an Downs School of Dancing, where she has studied of Music at the Melbourne Conservatorium of of Music at Melba Conservatorium of Music in accomplished actor, dancer, singer, choreographer all types of dancing, singing, acting and musical Music (MCM) from 2009 to 2011. In 2012 he was 2008. Whilst completing this course, he was the and director. She began her career with J.C. theatre since she was two years old. accepted into Victorian Opera and the MCM’s new recipient of multiple scholarships including the Williamson Theatres Ltd as a chorus member in My two-year Master of Music (Opera Performance) Melba Conservatorium Scholarship and three time Fair Lady. A few years later she won the title role Other Companies: Ensemble: Chitty Chitty Bang course. Jeremy was a finalist in the 2012 IFAC recipient of the Robert Salzer Scholarship. Nathan in and her acclaimed performance Bang, Annie: Annie, Dancer: The Silver Rose, Australian Singing Competition, winning the was awarded the Gertrude Johnson Scholarship to quickly established her as a musical theatre star. and Candyman. Merenda Prize for study in Italy and the David attend The Opera Studio Melbourne in 2010. That Nancye has received Lifetime Achievement Awards Film/TV: Young Jane: Predestination, Footy Kid: Harper Award in the final held at the Sydney Opera same year, Nathan won the National Liederfest and from the Variety Club, the Problems, Mogs Macrory: The Eye of the Storm, House. At the MCM Jeremy was the recipient of was named Australian Music Events’ Opera Scholar Association and the Sydney Theatre Awards and Ruby: Rush Series 3. the Victor Fox Award (2009), Lady Turner Exhibition of the Year, enabling him to perform alongside the Helpmann Awards. in Music (2010), Cassidy Bequest (2011), Harold singers such as and Rosario La Fisher Opera Scholarship B’Nai B’rith (2011), Lady Spina. In 2012 Nathan was runner-up in the Other Companies: Theatre credits: Chicago, Turner Exhibition in Music (2011), Muriel Cheek Melbourne Welsh Male Choir’s ‘Singer of the Year’ Sweeney Todd, Guys & Dolls and . Memorial Scholarship (2011) and was an Awardee competition, winner of the Kantor Encouragement (J.C. Williamson Theatres Ltd) Annie (The Gordon of the Acclaim Sleath Lowrey Scholarship 2012. Award at the Melbourne Recital Centre’s ‘Great Frost Organisation) Grey Gardens, , The Romantics Competition’, and was runner-up and Music Man and (The Production Co.), Victorian Opera Repertoire: Ogre: Puss in winner of the People’s Choice Award at the 2012 Turns (CDP Theatre Productions), Murderers and Boots, Chorus: Nixon in China, Don Magnifico in Royal Melbourne Philharmonic Aria competition. Six Dance Lessons in Six Weeks (Ensemble), A Little La Cenerentola for Education Program. Soloist: Night Music and My Fair Lady (Opera Australia), Opera on a White Night Gala Concert, 2012 Gala Victorian Opera Repertoire: Chorus: Nixon in Metro Street (STCSA), and Summer Rain (STC). Concert, Master of Music (Opera Performance) China. King: Puss in Boots. Soloist: Opera on a White Directing credits: (The Production Work in Progress, In The Beginning Was The Word, Night Gala Concert. Chorus: Biographica, Soloist: Co.), Crazy for You and The World Goes Round Sing Your Own Opera, Moomba Opening Night 2012 Gala Concert. (WAAPA), Australia’s Leading Ladies Concert Concert and Master of Music (Opera Performance) ( Festival), The Wizard of Oz (GFO/SEL/ student recital, Assembly. Other Companies: Schaunard: La Bohème, Macks Entertainment), The 3 Divas (Christine Guglielmo: Così fan tutte (Melbourne Opera), Dunstan Productions). Concert Repertoire: Soloist: Fauré Requiem, Emperor: The Emperor of Atlantis (IOpera). Schubert Mass in G. Concert Repertoire: Mozart: Coronation Mass, Fauré: Requiem, Brahms: Requiem, Handel: Messiah, Paladilhe: Messe de St François d’Assise, Beethoven: Choral fantasia in C minor and Mass in C Major, Orff: Carmina Burana, Vaughan Williams: Fantasia on Christmas Carols and The First Nowell. CREATIVE & CAST CREATIVE & CAST BIOGRAPHIES BIOGRAPHIES

GEORGE FRIEDA / BETTY Soldier / AlEX DOT / MARIE Alexander Lewis Noni McCallum Matthew McFarlane Christina O'Neill

Background: Alexander Lewis was born in Sydney Background: Noni McCallum was born in and Background: Matthew McFarlane studied Musical Background: Christina has worked extensively and studied Musical Theatre at WAAPA. His career raised in Geelong and studied at the Western Theatre at the West Australian Academy of in the Australian musical theatre, film & television began in Australia in musical theatre before he Australian Academy of Performing Arts (BA Music Performing Arts (WAAPA) and graduated in 2007. and theatre industries since graduating from the commenced his operatic studies at The Merola Theatre, 2004). Noni has travelled the world as Western Australian Academy of Performing Arts Opera Program in San Francisco and then joined understudy to popular children's pop group Hi-5 Other Companies: Benedict Perring: True Minds (BA Music Theatre) in 2005. Most recently, she the Metropolitan Opera's Lindemann Young Artist and can be seen on Series 9 and 10 as Chatterbox (Melbourne Theatre Company), Danny Zuko: featured in Midsumma Festival's production of Development Program (LYADP) in 2010. and Jup Jup. She has most recently returned from Grease (Court Theatre NZ), Phantom/Raoul Gaybies directed by Daniel Clarke and as April the United States where she has been studying Cover: Love Never Dies (), White in Savage in Limbo for Workhorse Theatre Other Companies: For the Metropolitan Opera; Improvisational Comedy and Musical Improvisation Liverlips Louis: (The Donmar Company, directed by Stuart Maunder. In 2012, Borsa: Rigoletto, First Guard: Manon (Debut). For at the Upright Citizens Brigade in . Warehouse), Nick/Schlomo Cover: FAME The she appeared as Victoria in The Motherf**ker with Metropolitan/LYADP; Ferrando: Cosi fan tutte, Musical (GFO), Linville: Damn Yankees (The the Hat directed by David Bell at Red Stitch Actors Vasek: . For The Really Useful Other Companies: Minnie Fay, Hello Dolly Production Company), Jules/Ensemble: Priscilla Theatre and proudly joins the company as an Group; Raoul: The Phantom of the Opera. For (Magnormos 2011), Kate O'Hare, Transport (New Queen of the Desert The Musical. Lally: Vernon ensemble member in 2013. Opera Australia; Anthony Hope: Sweeney Todd. Musicals Australia 2011). God Little (Really Useful Group). For Sea Biscuit Productions; Frederick Barrett: In 2010, Christina received a Helpmann Award Titanic - The Musical. Matt appeared as a Finalist in Channel 10's for Best Female Actor in a Supporting Role in I Will Survive. Matt has also appeared in guest a Musical for her portrayal of Christmas Eve in Concert Repertoire: Bangalow Music Festival roles on Neighbours and Blue Heelers. Avenue Q directed by Jonathon Biggins. Other 2013, Britten's Serenade for and Horn. Other career highlights have included playing Maddy in highlights include the Metropolitan's 2012 Summer Prodigal directed by Dean Bryant; Lady of the Lake Recital series, The 2012 Manchester Music Festival, (alternate) in Monty Python's Spamalot directed Poisson in The Opera Orchestra of New York's Mike Nichols; and as a Diva in Priscilla Queen performance of Andriana Lecouvreur, Australia of the Desert, the Musical directed by Simon Plays Broadway 2009 in Carnegie Hall, and APEC Phillips. Film and television credits include City Australia's 2007 Gala Cultural Performance. Homicide (Channel 7), The Great Raid (Miramax) Recordings: The Met Live in HD Rigoletto DVD (Borsa). and Jeopardy (BBC). Christina has been a proud member of Equity since 2006. Other Companies: Rose: Gaybies, April White: Savage in Limbo, Victoria: The Motherf**ker With The Hat, Maddy: Prodigal, Christmas Eve: Avenue Q, the Musical, Our Girl: Tell Me On A Sunday, Lady of the Lake (alternate): Monty Python's Spamalot, Diva: Priscilla Queen of the Desert, the Musical (World Premiere). Recordings: Priscilla Queen of the Desert: The Musical Soundtrack. CREATIVE & CAST BIOGRAPHIES

JULES / BOB GREENBERG NURSE / MRS. / HARRIET PAWLING MAN David Rogers-Smith Dimity Shepherd Daniel Todd

Background: David Rogers-Smith is highly Background: Dimity Shepherd was born in Background: Born in Malaysia and raised in regarded as a concert and opera singer as well as and is a graduate of WAAPA. Melbourne tenor Daniel Todd has attained a Bachelor enjoying enormous success in musical theatre. of Music (Hons) (Melbourne Conservatorium of Music) Victorian Opera Repertoire: Secretary to Mao and Bachelor of Law (University of Melbourne). After Other Companies: Piangi in The Phantom Of in Nixon in China, Dargonelle in Sleeping Beauty, participating in Victorian Youth Opera productions, The Opera for The Really Useful Company, Brujon Cherubino in The Marriage Of Figaro, Clara in Daniel joined VO’s Developing Artist Program from and Jean Valjean in Les Miserables for Cameron Midnight Son, Orphee in Orphee et Eurydice, Alice 2011-2013. He has won the RMP Aria, Opera Society Mackintosh, The Slave in for Kirov Opera/ in Through The Looking Glass, Arsamene in Xerxes, Young Artist Scholarship and Faculty Aria (Melbourne Melbourne International Festival, Canio in I Nireno in Julius Caesar and Lucy in The Threepenny Conservatorium of Music). He has also been a prize- Pagliacci, Pinkerton in Madam Butterfly, Danilo in Opera, Jazz in How To Kill Your Husband (And Other winner in the IFAC Australian Singing Competition, The Merry Widow, title role in Faust and Don José Handy Household Hints). German Australian Opera Grant, National Liederfest, in Carmen all for Melbourne Opera. Kromov in South-Eastern Aria and the Sleath Lowrey Award. The Merry Widow and The Ziegfeld Tenor in Funny Other Companies: Cherubino in The Marriage Of Girl both for The Production Company, Michelle Figaro and Rosina in both for Victorian Opera Repertoire: Puss: Puss in Boots, in The Saint Of Bleeker Street for Melbourne Lyric Opera Australia, Carmen for Oz Opera, Tisbe in La Chorus: Nixon in China, Prince Waldheim: Sleeping Opera and Gaugin-A Synthetic Life for Chamber Cenerentola and Stephano in Romeo & Juliet, both for Beauty, Don Curzio: The Marriage of Figaro, Testo: Made Opera/Melbourne International Festival. Opera Queensland, Carmen for Melbourne Opera Il Combattimento di Tancredi e Clorinda and Midas: and Ruggiero in Handel’s Alcina for Jung St. Polten The Fight Between Phoebus and Pan (Baroque Triple Concert Repertoire: Follies In Concert for Crown Oper in Vienna. She created the title role in the world Bill), Tamino: The Magic Flute, The Witch: Hansel and Showroom, concerts for Barossa Music Festival, Best premiere season of Jonathan Mill’s The Ghost Wife Gretel and Prince’s Messenger: La Cenerentola for Of British for Australian Pops Orchestra, Andrew at the Melbourne, Adelaide and Sydney festivals and Education Program, Tamino: The Magic Flute (Cover), Lloyd Webber concerts with Sydney Symphony the BITE02 festival in London, appeared as Rebecca in Tom Rakewell; The Rake’s Progress (Cover), Zen: What Orchestra, ’s Requiem with Opera Australia’s seasons of Paul Grabowsky’s Love Next and Master Peter: Master Peter’s Puppet Show Royal Melbourne Philharmonic Society, title role In The Age Of Therapy and created the lead role in (Double Bill) (Covers), Mick Davoren: The Cockatoos in St. Nicolas with Geelong Choral Society, soloist Chamber Made Opera’s premiere season of Crossing (world première), Ham: Noye’s Fludde. Soloist: Opera for Proms Series and Missa Live and the role of Elizabeth in the stage version of on a White Night Gala Concert, Assembly. Criolla for National Boys’ Choir. Helen Garner’s The Children’s Bach. Other Companies: Pluto: Orpheus in the Underworld Recordings: David Rogers-Smith – A Little Bit Of Love. Concert Repertoire: Sculthorpe’s String Quartet (Monash Opera Ensemble), Lord Tolloler: No.13 Island Dreaming in the Sydney Festival, (Gilbert & Sullivan Opera Victoria), Shepherd / Ravel's L'Enfant et le Sortilege and Messiah for the Soldier: King Arthur (Melbourne University Choral Melbourne Symphony, Vaughan-Williams' Serenade Society), Monteverdi’s Eighth Book of Madrigals (E21 to Music for the Melbourne Recital Centre, and the with Andrew Lawrence-King). Australian premiere performance of Goliyov’s Ayre Concert repertoire: JS Bach, Mass in B Minor, Messiah for the 2012 Fremantle Music Festival. She regularly (Handel and Mozart versions), Haydn: Creation, gives opera concert performances for Victorian Gounod St Cecilia Mass, Berlioz: Requiem, Puccini: Opera and is one of the founders of corporate and Messa di Gloria, Ramírez: Misa Criolla, Chisholm: major events entertainment group, Divas Inc. Kursk: An Oratorio Requiem (world première). George Illustration: Anna Cordingley.

PATRONS OR CHESTRA VICTORIA

Orchestra Victoria acknowledges the outstanding generosity of our very special donors. Every gift is important and appreciated and allows to continue to deliver high quality accessible music across Victoria.

MAJOR GIFTS John & Lorraine Redman through Arts Victoria provides Arts Centre Melbourne Orchestra Victoria Robert AO, RFD RD & Libby Albert Keith Richards the foundation from which Evelyn & Tom Danos Michael AO & Judith Robinson we present all our partner PO Box 7585 T: (03) 9694 3600 Charles Roxburg opera and ballet companies. St Kilda Road [email protected] Jane Edmanson OAM Lindsay Fox Mr Hendrik & Mrs Elizabeth Van Herk Further support from Local Melbourne Victoria 8004 www.orchestravictoria.com.au Victor & Karen Wayne Governments assists our T: (03) 9281 8000 Neilma Gantner Gaye & John Gaylard innovative Community & F: (03) 9281 8282 Board PRINCIPAL REGIONAL Education Programs. artscentremelbourne.com.au Geoff Handbury AO PARTNER Tony Osmond (Acting Chair) Peter A Kingsbury Jason Bunn Bendigo Bank Local Government Victorian Arts Centre Trust Heather McKenzie Paul Champion Don Mercer Partnerships Bendigo Bank’s strong Mr Tom Harley (President) Jane Gilmour OAM Richard Mills City of Melbourne community and regional Ms Deborah Beale Richard Hamer Baillieu AC & Mrs Sarah Myer City of Greater Bendigo focus has great synergies Mr Sandy Clark Sue Nattrass AO Margaret S. Ross AM Greater Shepparton City Council Mr Julian Clarke Rob Perry with Orchestra Victoria’s Mornington Peninsula Shire Ms Catherine McClements PRINCIPAL DONORS work across Victoria. Southern Grampians Shire Council Mr Graham Smorgon AM Management & Artistic Staff David & Cindy Abbey TRUSTS & FOUNDATION Sunshine Secondary College Swan Hill Rural City Council Mr David Vigo Artistic Director William Bamford SUPPORT Wellington Shire Council Adam Chalabi Barbara Bobbe Executive Group Edward W Brentnall William Angliss (Victoria) Concert Master Charitable Fund PERFORMANCE PARTNERS Ms Judith Isherwood Roger Jonsson Suzie Brown Collier Charitable Fund Orchestra Victoria is the Chief Executive Seconded Administrator Beth Brown & Tom Bruce AM Terry Campbell AO & Joan & Peter Clemenger Trust proud orchestral performance Ms Jodie Bennett Claire Stonier-Kipen The A.L. Lane Foundation partner of: Executive Corporate Services Finance & Corporate Services Manager Christine Campbell Peter & Ivanka Canet Sidney Myer Fund Mr Tim Brinkman David Hagan The Australian Ballet Sandy Clark The Myer Foundation Executive Performing Arts Director of Operations Opera Australia Anne Sophie Colin Australian Communities Foundation Ms Louise Georgeson James Foster The Production Company Grace Croft William Buckland Foundation General Manager – Development, Corporate Orchestra Manager Victorian Opera Dr E Durham Smith Ray & Joyce Uebergang Foundation Communications & Special Events Alex Morris Peter Duncan Ms Sarah Hunt Concert & Workshop Coordinator CORPORATE PRINCIPAL PRESENTING Lord Ebury & Lady Ebury PARTNERS General Manager – Edwina Dethridge Susan Fitzpatrick Ace Radio Marketing & Audience Development Operations Assistant Diana Frenkel Allens Arthur Robinson 3MBS 103.5FM Mr Kyle Johnston Estelle Hentze Jane P Gilmour OAM Primrose Properties P/L Arts Centre Melbourne Executive Customer Enterprises Production Coordinator Isabella OAM & Richard Green Kent Moving & Storage Capital Theatre Bendigo Brihony Dawson Richard W Hamer Maple-Brown Abbott Ltd Eastbank Centre Shepparton Arts Centre Melbourne gratefully acknowledges Orchestral Librarian Esso BHP Billiton Wellington Beatrice Head GOVERNMENT PARTNERS the support of its donors through Arts Centre Robert Smithies Hans & Petra Henkell Entertainment Centre Melbourne Foundation Annual Giving Appeal. Community Relations Alistair Jackson Australia Council for the Arts The Hamilton & Alexandra College Liz Welch Peter Johnson Arts Victoria Kantor Family Music and For Your Information HR Consultant Peter Kolliner OAM Performing Arts Centre The support received from Clare Blake David Geoffrey Penington Melbourne Recital Centre The management reserves the right to add, the Australian Government Finance & Payroll Officer Judith McCallum Melba Recordings withdraw or substitute artists and to vary the through the Australian Rose Dragovic Michelle & Ian Moore Swan Hill Town Hall Performing program as necessary. The Trust reserves Council for Arts and from Administration Officer Avi Paluch Arts & Conference Centre the right of refusing admission. Recording the Victorian Government devices, cameras and mobile telephones must Meredith Dellar Lady Primrose Potter AC not be operated during the performance. In the interests of public health, Arts Centre Melbourne is a smoke-free area. Principal Regional Partner

VICTORIAN OPERA 2013 STAFF A BOLD NEW ADVENTURE VICTORIAN OPERA

Victorian Opera aspires to present distinctive and innovative Conductor Emeritus Development and Marketing ‘It is impossible to opera and music theatre which captures the public imagination, OAM Development Manager develops artists and builds a reputation for excellence. quantify the effects Lynette Gillman and influence of an Victorian Opera is committed to presenting new opera VICTORIAN OPERA BOARD Deputy Development Manager Cressida Griffith each year and engaging the widest possible audience Jane Hemstritch (Chairman) Individual Giving Manager encounter with the with accessible ticket pricing and regional touring. Victorian Francis Ebury Catrionadh Dobson Opera is also committed to collaborating and co-producing Ross Freeman marvellous in art: Philanthropy Executive with different partners (as well as festivals and other opera Greig Gailey Caroline Buckley such encounters companies) and also maintains a vibrant education program. Anne Gilby Development & Marketing Coordinator The Hon. Professor Barry Jones, AO change lives of all ages.’ The company nurtures Victorian Youth Opera, a strong youth Nichole O’Duffy development initiative, and presents popular community events. Catherine Walter AM Richard Mills Marketing & Communications Manager As Victoria’s state opera company Victorian Opera has a unique Executive Kanesan Nathan role; to present professional opera in Victoria; maintain a Marketing & Communications Coordinator Artistic Director commissioning program for new Australian work; create more Lisa Wallace Dr Richard Mills AM ‘Great innovative employment and professional development opportunities for Media Relations Executive Managing Director Victorian artists; and provide access to touring productions for Rohan Astley theatrical productions Lucy Shorrocks regional Victorians. Victorian Opera has also established and Finance & HR Manager maintains the only professional chorus in Victoria. Technical that communicate Darren O’Beirne Operations Manager Finance Assistant how powerful the David Harrod Claire Voumard Get Connected Production Manager combination of words Executive Assistant Share your love of opera with us, follow our behind-the- Michele Bauer Kate Stephens and music can be.’ scenes opera journey, hear the latest developments straight Costume Supervisor from the rehearsal room, read the latest news, reviews and Artistic AdminISTRATION/ Ross Hall Audience member exclusive artist interviews and enjoy the world of Victorian Technical Coordinator/ Head Technican Opera with us! Music/Education Peter Darby Artistic Administrator Elizabeth Hill Victorian Opera 2013 Season Staff Engage with us Head of Music @ facebook.com/vopera Stage Management Phoebe Briggs Andrea Corish, Rebecca Gibbs, Armando Licul, Repetiteur Jessica Nash, Jessica Smithett, Melanie Stanton Join in the conversation Phillipa Safey @ twitter.com/victorianopera #victorianopera Head Mechanist Education Manager Darren Cooper Melissa Harris Costume Department See our snapshots Company Manager Maruska Blyszczak, Ellen Doyle, Jane Jericho, @ instagram.com/victorianopera Jill Quin Jung-Min Oh, Phillip Rhodes, Tirion Rodwell, Madeleine Somers View our opera journey @ youtube.com/victorianoperapage sunday in the park with george season staff Discover our 2013 Season David Anderson, Bradley Barrack (stage management  @ victorianopera.com.au secondment), Alison Kid, Bryn Meredith, Tristan Seeboham. Read behind-the-scenes @ victorianopera.com.au/blog

PATRONS VICTORIAN OPERA

Victorian Opera acknowledges with great appreciation the gifts and pledges it has received from the following donors: Founding Patrons Paul & Sandra Salteri Phillip & Sue Schudmak The Late Dame Elisabeth Murdoch AC DBE Gregory Shalit & Miriam Faine Tim & Lynne Sherwood Lady Potter AC Felicity Teague Bernadette Slater Betty Teltscher OAM Lady Southey AC Patron in Chief John & Gail Ward Michael Troy The Honourable Alex Chernov AC QC Anonymous (1) Liz & Peter Turner Governor of Victoria Silver Patrons ($1,000+) Catherine Walter AM Andrea Walton Victorian Youth Opera Patron Joanna Baevski John & Gail Ward Betty Amsden OAM Lesley Bawden Lord & Lady Wilton ARTISTIC DIRECTOR’S CIRCLE Kirsty Bennett Anonymous (6) Jennifer Brukner Laurie Bebbington & Elizabeth O’Keeffe William J Forrest AM Sheila Bignell Bronze Patrons ($500+) John & Diana Frew Buckett Family John & Nancy Bomford Mrs Jane Hemstritch Ms Corrie Calegari & Mr Ian Law Jasmine Brunner Hans & Petra Henkell Jim & Diana Carlton Neil Burns Peter & Anne Laver Caroline & Robert Clemente Pam Caldwell Richard & Isabella Green Mary & Frederick Davidson Kathie Convery Victorian Opera Education Syndicate Martin Dickson AM Annette Cook Stephanie Dundas Tanya Costello Betty Amsden OAM Gareth & Merran Evans Professor Daryl & Nola Daley Buckett Family Rosemary Forbes & Ian Hocking DJ & LJ Delaney Hans & Petra Henkell Susan & Don Fry AO Catrionadh Dobson & Charles Windeyer Victorian Opera New Work Syndicate Mr Greig Gailey & Dr Geraldine Lazarus Elizabeth Douglas Beth Brown & Tom Bruce AM Bob Garlick Jean Dunn Ken & Marian Scarlett John & Gaye Gaylard Dennis Freeman Joy Selby Smith Anthony Grigg & Paul Williamson Nance Grant MBE Felicity Teague Brian Goddard Jill & Robert Grogan Living Bequest Stuart & Sue Hamilton April Hamer Geoff & Anthea Hone Mary Hoy Susan Harley Simon L Jackson & Brian Warburton Sue Humphries Diamond Patrons ($10,000+) Stuart T Jennings Dr Anthea Hyslop Betty Amsden OAM Ian Kennedy AM & Dr Sandra Hacker AO David Jones AO OBE The Late Dame Elisabeth Murdoch AC DBE Kemp Family Angela Kayser Schapper Family Foundation Sue Kirkham in memory of Ian Kirkham Irene Kearsey Platinum Patrons ($5,000+) John & Lynne Landy Dr Marion Lustig Kwong & Joanne Lee Dow David & Barbara McSkimming Neilma Gantner Anne Lierse North East Newspapers Pty Ltd Paul Little AO & Jane Hansen Barbara Loft Kenneth W Park Joy Selby Smith Professor John AO & Ms Kerry Lovering OAM Philanthropy Initiative Australia (L Copley) Dr John & Elizabeth Wright-Smith Duncan & Loraine McGregor Provincial Press Group Anonymous (1) Kaye E Marion John Rickard Gold Patrons ($2,500+) Margaret Mayers & Marie Dowling Judith Robinson Beth Brown & Tom Bruce AM Ann Miller Mary Ryan Lynda Campbell Ken Muirden AO Margarita & Paul Schneider Bruce Curl Ruth & Tom O’Dea John & Thea Scott Craig D’Alton & Peter Sherlock Sam Ricketson & Rosemary Ayton Mr Sam & Mrs Minnie Smorgon If you would like to get more involved Marj & Eduard Eshuys Michael Rigg Caroline Vaillant in the work of Victorian Opera through Dr Gavan Griffith AO QC Elžbieta & Tomasz Romanowski Robyn Walton our individual giving program, please David & Megan Laidlaw Joseph Sambrook & Mary-Jane Gething Russell Waters & Marissa Barter-Waters Joan & George Lefroy Michael Sasella Ian A. Watts contact Catrionadh Dobson, Individual Dimity Reed John & Elisabeth Schiller Anonymous (8) Giving Manager on 03 9001 6405 or Judith Rodriguez Aubrey G Schrader [email protected].

2013 SEASON PARTNERS VICTORIAN OPERA

Victorian Opera is supported by the Victorian Government through Arts Victoria. Victorian Opera would also like to acknowledge, with great appreciation, the contribution of the partners listed on this page.

Government Partners

Major Sponsor and Foundation Discover Opera Across Community Partner Partner Victoria Partner

Supporting Partners

Education, Regional & Access Partners

William Angliss Charitable Fund Foundation

Performance Partners University Partner

Victorian Opera creates tailored partnerships to enable businesses to meet their strategic priorities. Partnerships are available at various levels and activity is adapted to align with each company’s objectives. For a discussion about how your business can benefit from a partnership with Victorian Opera, please contact Lynette Gillman, Development Manager on (03) 9001 6408 or [email protected].