CLAUDE DEBUSSY PELLEAS AND MELISANDE VICTORIAN OPERA IN ASSOCIATION WITH AUSTRALIAN NATIONAL ACADEMY OF MUSIC (ANAM) PRESENT PELLEAS AND MELISANDE

DRAME LYRIQUE IN FIVE ACTS AND 12 SCENES

Composer Claude Debussy Librettist Maurice Maeterlinck

Conductor Richard Mills AM Director Elizabeth Hill Set and Costume Designer Candice MacAllister Lighting Designer Joseph Mercurio Assistant Director Laura Hansford

CAST Pelleas Angus Wood Yniold Sophia Wasley Melisande Siobhan Stagg* Shepherd/Physician Stephen Marsh Golaud Samuel Dundas Women of Allemonde Arkel David Parkin Erinn Arnel Chloé Henderson Genevieve Liane Keegan Maria Peker

ANAM Orchestra

11 and 13 OCTOBER 2018 Palais Theatre, St Kilda

Original premiere 30 April 1902, Opéra Comique, Running Time is approximately 3 hours, including interval Siobhan Stagg Sung in French with English surtitles (Melisande) and Samuel Dundas (Golaud) *Siobhan Stagg’s appearance is generously supported by Siobhan Lenihan. 3 PRODUCTION ORCHESTRA

PRODUCTION TEAM TRUMPET SECOND VIOLIN Christopher Grace (VIC) Production Manager Eduard Inglés Jo Beaumont (guest) Principal Principal Meg Cohen (NSW) Stage Manager Marina Milankovic Sophie Spencer (NSW) Liam Oborne (VIC) Deputy Stage Manager Laura Hansford Anthony Frantz (alumnus) Elliott Plumpton (QLD) Jasmine Baric (NSW) FLUTE TROMBONE MUSIC STAFF Dale Vail (NZ) Principal Natasha Hanna (VIC) Cassandra Slater (QLD) Mana Ohashi (VIC) Principal Repetiteur Phoebe Briggs Principal Pius Choi (NSW) Emma Buss (alumna) Repetiteur Phillipa Safey Nichaud Munday (guest) BASS TROMBONE VIOLA Chorus Preparation Simon Bruckard PICCOLO Simon Baldwin (VIC) Principal Caroline Henbest (ANAM Eliza Shephard (NSW) Faculty) Principal Principal CHORUS TUBA Alexander MacDonald (NZ) Mezzo Soprano OBOE Jason Catchpowle (alumnus) Cora Fabbri (NSW) Principal Kerrie Bolton, Emily Briggs Rebecca Crabtree, Shakira Dugan, Ursula Paez, Edward Wang (VIC) Principal Molly Collier-O’Boyle (QLD) Jared Yapp (WA) Belinda Paterson, Joanna Patocs, Juel Riggall, Lynlee Williams Jonathan Ryan (guest) TIMPANI Ruby Shirres (VIC) COR ANGLAIS Jason Connors (guest) Principal Tom Higham (alumnus) Tenor Owen Jackson (QLD) Madeleine Coco (guest) Carlos E. Bárcenas, Paul Batey, Alistair Cooper-Golec, Principal PERCUSSION Ernst Ens, Tom Harvey, Alister Lamont CELLO CLARINET James Townsend (alumnus) Principal Liam Meany (NSW) Principal Mitchell Jones (QLD) Baritone Vicky Zhang (NSW) Principal HARP Stephen Coutts, Nathan Lay, Stephen Marsh, Matthew Tng Caleb Murray (NSW) Cameron Smith (VIC) Melina van Leeuwen (alumna) Principal Jeremy Garside (WA) Bass BASSOON Samantha Ramirez (guest) David Moran (SA) Darcy Carroll, Nick Cowall, Angus Grant, Oliver Mann, Alex Pokryshevsky Carol Wang (NZ) Principal Howard Penny (ANAM Matthew Ventura (NSW) FIRST VIOLIN Facaulty) ACKNOWLEDGEMENTS Christopher Haycroft Roger Jonsson (Orchestra (alumnus) Victoria) Concertmaster DOUBLE BASS Show Works, Baaclight, Norwest, Kent Storage, Rob Hails, George Kulikovskis, Phoebe Masel (QLD) David Barlow (NSW) HORN Principal Amanda Silk, Lynn Hunt (Diploma of Live Production & Technical Services from Hana King (NSW) Emily Newham (QLD) Giovanni Vinci (WA) Polytechnic) Sunkyoung Kim (QLD) Principal Simon Pauperis (alumnus) Johnny van Gend (QLD) Surtitles Brian FitzGerald (Courtesy of Opera ) Maraika Smit (TAS) Isabella Brown (guest) Freya Hombergen (WA) Harry Ward (NSW) William Tanner (QLD) Kyla Matsuura-Miller (QLD) Laura Barton (NZ) William Huxtable (WA) Cameron Jamieson (alumnus)

4 5 WELCOME

I am very proud to welcome you to our first mainstage collaboration with the Australian Academy of Music (ANAM) to celebrate the 100th anniversary of the death of Claude Debussy. His single opera Pelleas and Melisande is unique in the canon: it changed the language of music.

The approach to both the orchestra and useful influence on their subsequent the process of operatic storytelling and careers. It has also been a great pleasure the way in which text is set is utterly to welcome Siobhan Stagg and Angus individual. Debussy created an important Wood home to Melbourne, and former and lasting legacy to the remainder of the Victorian Opera young artist Samuel 20th century. Dundas back to the company. We have a wonderful, all-Australian cast Our fine cast and creative team have and creative team for this classically formed a wonderful collaboration, simple production of the opera – which enriched by the talent, enthusiasm and follows the composer’s stage directions dedication of both students and staff at and does not indulge in ‘interpreting’ the ANAM – a great Australian institution. symbolism of the work. Enjoy. It has been a great pleasure to realise this production with my frequent collaborator RICHARD MILLS Elizabeth Hill, and similarly with emerging Artistic Director, Victorian Opera and designer Candice MacAllister, in their Conductor mainstage opera debuts. Victorian Opera has always taken its obligation to education and talent development very seriously. The young artists of ANAM have had a first-hand encounter with this masterwork, a life-changing experience for a young professional. Similarly, with the exception of Angus Wood and Liane Keegan, every member of our talented cast is making role debuts Phillipa Safey (Repetiteur), Samuel Dundas (Golaud), which will have, I am sure, a positive and Richard Mills (Conductor) and Siobhan Stagg (Melisande)

6 DIRECTOR’S NOTE

Opera is an art form that requires a balance of relationships. The balance between the musical score, the vision of the production’s creative team, and each individual artist is delicate and extremely powerful. If well balanced, the work can be extraordinary.

Debussy’s score of Pelleas and Melisande for this opera and his haunting design is prodigious, terrifying and incredibly reiterates why. beautiful. It is an honour to realise his Richard has assembled a cast who inhabit opera and give it fresh life with this these richly complex characters and our production. I thank Richard Mills for his time creating this production has been trust, guidance and incredible insight. a genuine collaboration. I thank them all The hours we have spent together in his for their focus and individual insights. We studio analysing the opera have formed have worked hard to remain true to the some of the most joyous learning text, score and stage direction asked of experiences of our seven-year working us by Debussy. relationship. Our aim has been to allow you to take When I first started working with from it what you see, hear and feel. Candice MacAllister three years ago, We have many questions and very I quickly identified her as a young few answers, and this was the joy of designer of great talent and we have discovery for every member of our since collaborated on many projects. For team. We now invite your interpretation Pelleas and Melisande, our work began and encourage your own sense of a year ago: a year of devising, adapting curiosity and discovery. and developing ideas. As we explored the relationships between the central characters, the opera’s symbolism and ELIZABETH HILL its inherent architecture of time, we Director found a design that we believe honours the grandeur and simplicity of the work. Lighting Designer Joe Mercurio and I have known one another for many decades, and our projects have always Samuel Dundas (Golaud), proved inspiring, challenging and Siobhan Stagg (Melisande) and rewarding. There was no other choice Elizabeth Hill (Director)

9 SYNOPSIS

Mythical kingdom of Allemonde ACT TWO him that Melisande is expecting a child of happiness. Golaud appears from the and, as she is very fragile, Pelleas must shadows. He kills Pelleas, and Melisande Pelleas and Melisande sit by a well. She ACT ONE stay away from her. flees in terror. plays with her wedding ring and it slips Golaud, King Arkel’s grandson, is lost through her fingers into the depths of Golaud interrogates his son, Yniold, ACT V in the forest when he comes upon a the well. about Pelleas and Melisande’s strange girl weeping at a fountain. She relationship and is frustrated by the As Melisande lies gravely ill, the Doctor At the same moment, in another part cannot or will not reveal anything of her boy’s childish responses. Golaud asks tells Golaud that her death will not of the kingdom, Golaud is thrown from past, but Golaud manages to draw out him to spy on Melisande in her room be caused by the insignificant wound his horse. Melisande later tends to him her name – Melisande – and persuades and Yniold reports seeing Pelleas in the inflicted by him. Golaud feels remorse by his bedside and she weeps, telling her to follow him out of the dark woods. room, but observes nothing untoward. for killing his brother and he reflects on him that she feels ill living in the cold, the pair’s innocence. He asks Melisande King Arkel and his daughter Genevieve dark castle. As Golaud comforts her, ACT IV for her forgiveness but continues read a letter written by Golaud to his he notices her ring is gone. She lies and to press her for the truth about her half-brother, Pelleas. Golaud has been says she lost it in a sea grotto. Angrily, Pelleas tells Melisande that he must talk relationship with Pelleas. Arkel carries married to Melisande for six months but he sends her out into the night to look to her as, now that his father’s health in Melisande’s baby daughter but she is he still knows nothing of her past. He for it with Pelleas. has improved, he is setting off on his too weak to hold the child. is worried that his grandfather won’t travels the following day. They arrange In the dark grotto, Melisande is accept his marriage because Arkel to meet by the well. Melisande dies and Arkel observes that frightened by three sleeping beggars. has other marriage plans in place for the cycle will continue with the next Arkel tells Melisande that he pities her Golaud. Arkel decides to forgive him generation. ACT THREE unhappiness, but he hopes her youth and tells Pelleas to give Golaud the sign and beauty will bring on a new era. to return. Pelleas wants to leave the Melisande combs her hair in the Golaud enters, angrily challenging castle to visit a dying friend but Arkel window of the castle tower. Pelleas Melisande’s innocence, and throws her urges him to remain to attend to his comes to the base of the tower to say across the room. sick father and to await his brother’s goodbye, as he is leaving the next day. return. As she leans over, her long hair covers Yniold is trying to retrieve his ball from Pelleas and he plays with it. Golaud behind a boulder when a shepherd Melisande arrives at the castle and catches them and scolds them for their passes by. is struck by its gloominess. She is childishness. comforted by Genevieve who assures Realising it may be the last time he sees her that she will get used to it. Golaud leads Pelleas down to the her, Pelleas confronts his feelings and Pelleas and Melisande watch the ship castle vaults, a chilling place with the tells Melisande all the things he has that brought her to the castle as it suffocating atmosphere of death. left unsaid. They confess their love for disappears into the distance. After exiting the vaults, Golaud tells each other and share a brief moment

10 11 BIOGRAPHIES

RICHARD MILLS ELIZABETH HILL CANDICE MACALLISTER Conductor Director Set and Costume Designer Richard is one of Australia’s Elizabeth began her career An emerging designer, most prolific and as a classical ballet dancer Candice graduated from internationally recognised with West Australian Ballet. the Victorian College of composers. He pursues Moving into choreography the Arts in 2015 where she a diverse career as a and directing, she was awarded the Cassidy SEASON 2019 composer, conductor discovered her love of Bequest Scholarship. and artistic director, opera. and has an extensive She made her professional discography of orchestral She has created or restaged debut in 2016 as the works including his own productions for several state Production Designer for compositions. He has held opera companies. Elizabeth Victorian Opera’s Cinderella numerous prestigious joined Opera Australia in and The Pied Piper, and posts, and received many 1999 where she regularly Costume Designer for scholarships, fellowships collaborated with Stuart Four Saints in Three Acts. and awards including Maunder, several guest She became the company’s an AM in 1999. He is directors and designers. Her inaugural Developing currently Artistic Director credits include: Fledermaus, Artist (Design) in 2017 and of Victorian Opera, and The Gypsy Princess, The Tales subsequently designed was Artistic Director of of Hoffmann, My Fair Lady, The Princess and the Pea and West Australian Opera The Pirates of Penzance, A The Snow Queen. 1997 – 2012, Director Little Night Music, Rusalka, With the support of the of the Australian Music Lakmé and Arabella. Project for the Tasmanian Ian Potter Cultural Trust, Symphony Orchestra Joining Victorian Opera in Candice interned with the 2002 – 2008 and Musica 2012, Elizabeth has created Royal Opera House, Covent Viva’s Composer of a suite of education and Garden on Coraline in the Year in 2008. This community engagement March. Pelleas and Melisande Book your subscription now via year Richard conducts productions and now moves marks her first mainstage Victorian Opera’s onto the mainstage with production design. victorianopera.com.au BIOGRAPHIES William Tell, The Capulets Pelleas and Melisande. and the Montagues, and 12 Pelleas and Melisande. JOSEPH MERCURIO ANGUS WOOD SIOBHAN STAGG SAMUEL DUNDAS DAVID PARKIN LIANE KEEGAN Lighting Designer Pelleas Melisande Golaud Arkel Genevieve Joseph Mercurio was born Angus Wood completed Siobhan Stagg is one of Samuel Dundas is a Winner of the Born in Australia, Liane in Melbourne and raised his Bachelor of Music Australia’s most outstanding graduate of the Melba State Opera Award and is a specialist in the in Fremantle, Western (Honours) at the University young sopranos. Recent Conservatorium of Music, Lady Fairfax New York works of Mahler and is a Australia before moving to of Melbourne and Master opera highlights include Melbourne. He made his Scholarship, among many regular soloist with MSO in 1993, working of Music at the University Pamina Die Zauberflöte opera debut with Opera others, David Parkin has in concert and oratorio in a wide range of styles in of Michigan, Ann Arbor. (Royal Opera House, Queensland, before joining performed with Opera repertoire. Her extensive Australia and touring the He was a young artist with Covent Garden), Gilda Victorian Opera’s Artist Australia, Pinchgut Opera, career has been divided world extensively. He has Victoria State Opera and Rigoletto ( State Development program and West Australian Opera, between leading roles collaborated with some of the Australian Opera, and Opera), Najade Ariadne Opera Australia’s Moffatt State Opera of South in Australia and Europe. Australia’s leading theatre a resident principal artist auf Naxos (Bavarian State Oxenbould Young Artist Australia, Melbourne and She has performed for Opera) and Zerlina Don makers, including Stephen with the Australian Opera, program. He subsequently West Australian Symphony Victorian Opera (The Flying Giovanni, Musetta La Page, Angela Chaplin, and also at the Hessisches became a principal artist Orchestras and recently Dutchman, The Sleeping bohème and Contessa Sue Healey, Juliàn Reta Staatstheater, , with Opera Australia, and for Sydney Opera House Beauty, William Tell); SOSA di Folleville Il viaggio a Fuentes, Phillip Adams, the Anhaltisches Theater in has also performed with Trust as Henry Kissinger (Erda, First Norn and Reims (Deutsche Oper Natalie Weir, Roger Dessau and from 2011–2015 West Australian Opera. In (The Nixon Tapes). David’s Waltraute: Der Ring Des ). Concert highlights Nibelungen, Azucena: Il Hodgman, Chrissie Parrot at the theatre in Heidelberg, include Brahms’ Requiem concert, he has performed repertoire encompasses and Graeme Murphy. He with guest engagements (Berliner Philharmoniker), with the , Sarastro (The Magic Trovatore); OA (Erda: Der was Lighting Coordinator throughout Australia, Zemlinsky’s Lyric Symphony Melbourne, Tasmanian and Flute), Raimondo (Lucia di Ring Des Nibelungen, Ulrica: at WAAPA for four years , Germany, (BBC Proms), Mozart arias West Australian Symphony Lammermoor), Ramfis (Aida), Un ballo in Maschera); ENO and was Coordinator of Austria, and (Salzburg Mozartwoche), Orchestras, the Australian Frate (Don Carlos), Basilio (First Norn: The Twilight Performance Technology the . Concert Australian tour with Roberto Youth Orchestra, Sydney (Barber of Seville), Colline of the Gods); Theater at the Victorian College engagements in Australia Alagna, Haydn Creation Philharmonia Choirs and (La bohème), Angelotti Hagen (Klytämnestra: of the Arts. After include performances (Melbourne Symphony the Philharmonia. (Tosca), Commendatore Elektra, Mistress Quickly: working as a freelance with the Melbourne, Orchestra) and the 2018 He was the recipient of (Don Giovanni), Sparafucile Falstaff, Leocadja Begbick: lighting designer in Sydney, Tasmanian and Australian Festival of the 2013 Lady Fairfax New (Rigoletto), Walter (Luisa Aufstieg und fall der Stadt for three years West Australian Symphony Chamber Music. Upcoming: York Scholarship and the Miller), Ferrando (Il Mahagonny) and Deutsche he is now lecturing in Orchestras, the Australian U.S. debut, title role of inaugural Dame Heather trovatore), and Titurel Oper Berlin (Anna: Les Shanghai at the Western Brandenburg Orchestra and Massenet’s Cendrillon at the Begg Award in 2014. (Parsifal) and the Requiems Troyens, Emilia: Otello, International School of the Sydney Philharmonia Lyric Opera of . of Mozart and Verdi. Marcellina: Le Nozze di Shanghai (WISS). Choirs. Figaro, Siegrune: Die Siobhan Stagg’s appearance is

BIOGRAPHIES generously supported by Siobhan Walküre). Lenihan 14 15 SOPHIA WASLEY STEPHEN MARSH Yniold Shepherd/Physician Sophia Wasley commenced Stephen is studying with her musical education Roger Howell and has by studying violin. After performed with Victorian seven years of violin, she Opera, Australian Music decided to commence Events and Melbourne vocal training. In 2016, Opera. He received the Sophia auditioned and esteemed Betty Amsden was accepted into the AO Scholar of the Year Victorian Opera Youth Award with Opera Scholars Chorus Ensemble Australia and is the (VOYCE). During the recipient of numerous vocal same year, Sophia was scholarships, including a cast in the principal full scholarship for Opera role of Saint Theresa in Scholars Australia’s young Victorian Opera’s Youth artist program. He has Opera Four Saints in Three performed at Opera in Acts. In 2017, Sophia the Alps and Opera in the performed the roles of Market alongside Teddy Cricket, Pepik and a Fox Tahu Rhodes and Roy Best. Cub in Victorian Opera’s Cunning Little Vixen. A current Youth Artist for Currently completing Victorian Opera, his credits her VCE, she is delighted include The Sleeping Beauty, to perform Yniold in The Grumpiest Boy in the Pelleas and Melisande. In World, Hansel and Gretel, 2019, Sophia will appear Heroes and Villains, The in Victorian Opera’s Snow Queen and The Magic production of A Little Pudding - The Opera. Night Music.

16 IN DEPTH

WHY PELLEAS? This year marks the centenary The gestures of Pelléas et Mélisande of Debussy’s death, so we were are inseparable from the particular especially excited to collaborate with qualities of the French language: the the Australian National Academy text of the opera could be spoken as it of Music (ANAM) on a project to exists, there are no repetitions, verse celebrate the extraordinary heritage structures, etc. It is a prose text, albeit of this composer, his legacy to the very subtle and full of poetic gestures 20th century, and to the music of the and the sometimes curious non-sequiturs present day. Debussy broke away from of symbolist poetry. Golaud asks the conventions of the 19th century Melisande, ‘how old are you’, and she and, despite his pèlerinages passionnés replies, ‘I am beginning to feel cold’. to Bayreuth, eventually rejected the The kind of causality that is found in Wagnerian apparatus and established his the ‘well-made play’ is absent here. own approach to opera ‘post Wagner’, The composer wanted a short libretto rather than as a disciple of Wagner. with mobile scenes and no discussions between the characters whom he saw Nevertheless, there is a lot of at the mercy of life and destiny. subliminal Wagnerian process in Pelléas et Mélisande – almost direct quotes This literary quality of the text reflects from Tristan und Isolde, Parsifal and one of the major influences on Die Walküre – but filtered through Debussy’s evolution as an artist – the Debussy’s own musical personality work of the symbolist poets, particularly to such an extent that they remain Mallarmé. He attended Mallarmé’s suggestions rather than outstanding ‘Tuesday evenings’, soirées where the signposts. symbolist aesthetic was explored and individuals offered up spontaneous Debussy also appropriated the improvisations for the group. Here is Wagnerian ‘stream of consciousness’ an example from the famous sonnet of Tristan und Isolde, the Ring operas – untitled, but commonly referred to and Parsifal; each singer is a solo entity, as le cygne – the swan – which is also a there are no ensembles – only the homonym for le signe – a sign: obviously backstage chorus of sailors in Act I (iii) a symbolist conceit. offers a commonality with operatic Angus Wood (Pelleas) and conventions of chorus and ensemble. Siobhan Stagg (Melisande)

19 Le vierge, le vivace et le bel When from sterile winter that is found in classical architecture, A fairly modest and understated aujourd’hui proceeds a splendid listlessness. for example, the Parthenon in the summary of a work which not only Va-t-il nous déchirer avec un coup Acropolis. All the harmony can be changed the history of opera – but, Dear readers, we can argue over d’aile ivre analysed around the way the composer indeed, of music itself. the details of this forever, however, Ce lac dur oublié que hante sous le partitions the 12 semitones of the the point that is important for an givre octave around the interval of the understanding of Debussy is this: Le transparent glacier des vols qui augmented fourth (the first notes of RICHARD MILLS there is not a word of this text (in n’ont pas fui! ‘Maria’ in West Side Story). Artistic Director and Conductor both French and English) that is not Un cygne d’autrefois se souvient commonplace. It’s the relationships, But in all this incredible sophistication, que c’est lui the juxtapositions of meaning and there is a transcendent humanity. Magnifique mais qui sans espoir se the devolved syntax that make the Debussy himself says that his intention délivre utterance unique and fascinating – was to have his characters sing Pour n’avoir pas chanté la région and, some would say, pretentious and naturally, not in an ‘arbitrary language où vivre nonsensical – as Australia’s ‘Ern Malley’ made from superannuated traditions’. Quand du sterile hiver a resplendi hoax famously illustrated years later. There is melody, but not the kind of l’ennui. emotional tune – something that the However, Debussy pursued the same composer says can be purchased on the This is almost untranslatable, but might disconnect in his harmony. All of his street for a couple of sous – rather a go this way, in a very literal sense: chords can be found in Wagner (and declamation which follows the tides of Massenet), it is his use of them as The virgin, vivacity and the feeling and perception underscored by independent entities, relating to each beautiful today an orchestral fabric which continuously other outside the traditions of classical Will it be torn up by us with the evolves and transforms with great tonality, which makes his music unique. blow of a drunken wing subtlety, formal poise, colour and This hard lake, forgotten, which I hasten to add that this ‘free dramatic intention, and art conceals art haunts under the frost association’ is governed by a masterful at almost every turn. The transparent glacier of flights sense of structure which operates on Let the composer have the last word: not flown! many levels, informed by an infallible dramatic sense. For example, the tuba ‘I don’t pretend to have discovered A swan of other times remembers has 28 notes in the entire opera, but everything in Pelleas, but I have tried to that it is him all carefully associated with darkness. clear a road that others may follow, an Magnificent, but who without Every scene, every act and the whole enlargement from personal discoveries hope frees himself opera are constructed around the which perhaps can free music drama For not having sung the region ‘Golden Section’: the ratio a/b = from the heavy constraints which it has where lives (a+b)/a, the purest form of a rectangle laboured under for some time.’

20 21 ABOUT US

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23 OUR TEAM

CONDUCTOR EMERITUS MARKETING Richard Gill AO Marketing, Media and Sales Manager Henri Marron VICTORIAN OPERA BOARD Marketing Content Producer Chairman Genevieve Overell Beata Bowes Roger Box, Vivienne Corcoran, Siobhan Media and Communications Executive Lenihan, Selina Lightfoot, Stephen McIntyre, Scott Whinfield Grant Powell, Penny Stragalinos, Sasha Zegenhagen (Board Observer) CRM and Ticketing Executive Nichole O’Duffy EXECUTIVE DEVELOPMENT Artistic Director Dr Richard Mills AM Development Manager Louise O’Loughlin Managing Director Andrew Snell Individual Giving Manager Pooja Dutt Executive Producer and Artistic Associate Elizabeth Hill Development Assistant Rhylla Mitchell ARTISTIC, ENGAGEMENT & PRODUCTION SEASON STAFF Head of Music Phoebe Briggs Costume Supervisor Kate Glenn-Smith Repetiteur Assistant Costume Supervisor Amelia Peace Phillipa Safey Wardrobe Staff Lara Barwick, Emma Ikin Assistant Company Manager Dressers Carletta Childs, Simon Doe Candice MacAllister Head of Wigs Linda Cowall Education Officer Wigs/Make-up Pauline Clauzon, Ioanna Salmanidis Simon Setter Production Manager Lighting Crew Dave Craven, Evan Anderson, Eduard Inglés Harrison Cope, Allee Richards, Jon Bargen, Technical and Operations Coordinator Siobhan Heenan Peter Darby Head Mechanist Andrew Dyson Production Coordinator Mechanists Jerem Leach, Nathan Burmeister, Luke Hales Adam Brunskill, Tiernan Maclaren, Bec Nesson, VOYCE Director Kelsey Henderson, Jacob Zacharias Angus Grant Sound Consultant Jim Atkins FINANCE & ADMINISTRATION Surtitle Operator Tim Mallis Finance and HR Manager Student Volunteers Hiroko Yamauchi, John Orr Thomas Wall, Hugh Benyon, Michelle Finance Assistant Chapman, Caroline Cody Richard Mills and Claire Voumard Elizabeth Hill

24 THANK YOU

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29 UPCOMING EVENTS

Lorelei Part cabaret, part opera, all seduction Ancient myth meets modern woman in an allegory of resilience and reclaiming one’s destiny. Three irresistible sirens await you at the rock for an intoxicating encounter with love and death. 3–10 November 2018 | The Coopers Malthouse, Merlyn Theatre

Parsifal* The ultimate operatic odyssey Immerse yourself in the legend of the Holy Grail and the knights who protect it. Witness the most memerising Wagnerian quest for redemption. 20, 22 and 24 February 2019 | Palais Theatre, St Kilda

Alice Through the Opera Glass** A marvellous adventure for the whole family Peer into the magic looking glass and come on a fantastical journey through opera’s most memorable music with Alice and EXPERIENCE ANAM the White Rabbit. The Australian National Academy of Music (ANAM) is a place where young 14 and 15 June 2019 | Arts Centre Melbourne, Playhouse musicians fulfil their potential, distinguished by their skill, imagination and courage, and by their determined contribution to a vibrant music culture. A Little Night Music** ANAM musicians share the stage with the world’s finest artists, performing in over 180 public performances across Australia. Alumni work in orchestras The most musical of musicals and chamber ensembles around the world, perform as soloists, educate the Musical theatre lovers rejoice - Sondheim is back! His next generation of musicians, and are the recipients of major national and bittersweet musical comedy about a group of romantically international awards. entangled characters captures the uncertainities of love with playfulness and heartbreaking accuracy. ANAM aims to inspire these future music leaders and invites audiences to share their journey. 27 June – 6 July 2019 | Arts Centre Melbourne, Playhouse

*Single tickets on sale Friday 12 October 2018 at 2pm. FIND OUT MORE **Only currently available as part of a Season 2019 subscription. Single tickets on sale Monday 12 November 2018. anam.com.au For more information, visit victorianopera.com.au. [email protected]

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