Contents Note from the Acting Chief Executive Officer Page 2 Note from the Acting Chief Welcome to the second of two We are grateful to everyone who Melba Opera Trust’s achievements Executive Officer commemorative editions of has played a part in the evolution remain underpinned by the Welcome to the 2020 Artists The Melba, to celebrate the of the organisation’s successes to strong and generous community 10-year anniversary of providing date: the artists themselves, the of donors who share our vision Page 3 scholarships to exceptional mentors leading a pathway through towards sustainability and keep The Melba approach young artists. the industry, the generous and loyal Dame Nellie Melba’s legacy alive; donors who believe in our vision we would not be where we are This edition comes at an Page 4-5 of investing in world class artist today without your enduring unprecedented moment in modern development, and the dedicated belief and trust. Your support Behind the scenes history. The COVID-19 pandemic Board of Directors and management has helped launch 51 careers has changed the way we live and A vital element team who make it happen. to date and it is your continued work, for the time being at least. The Melba Mentors generosity that enables us to However, thanks to the largely agile As well as a brief welcome to our provide our Program to current nature of Melba Opera Trust, we are dynamic 2020 Melba Artists, the Page 6-19 artists during this unprecedented still able to deliver our world class following pages capture the impact Alumni updates time. program via digital platforms for the of the Melba Program through The Melba Mentors moment. In line with some of the reflections and updates from our I am grateful for the opportunity leading opera programs in London, alumni and mentors. Sharolyn to lead the Melba during Amy’s Page 20 Melba Opera Trust adopted systems Kimmorley AM, Artistic Manager family leave, after welcoming Benefactors and supporters to enable artists to continue their Kimmorley AM, Johannes Fritzsch, and Artist Advisor, talks about the her son, James, to the world in learning, albeit in a re-imagined Teresa Desmarchelier, Giuseppe “grit” of the Melba Program and November 2019 and I look forward setting. Languages, vocal coaching, D’Orazzi, Dr Erin Helyard, Yvonne depth of the training modules to the next chapter. stagecraft and business skills Kenny AM, Constantine Costi, alongside artistic development and development continue to remain Monica O’Brien, Kris Neill, Graham performance; the evolution of it is About Melba Opera Trust our focus for this year’s artists, Pushee, Steven Richardson and recounted by some of our longest Olivia Giglia Melba Opera Trust is Australia’s under the guidance of Sharolyn Richard Thomas – to name a few! serving staff. Acting Chief Executive Officer premier scholarship program for promising young opera singers and repetiteurs. Driven by Dame Nellie Melba’s conviction “a beautiful voice Welcome to the 2020 Melba Artists is not enough”, the program Demonstrating the resilience necessary in a changing world, this year’s Melba Artists have nurtures artistic development alongside business training, enthusiastically embraced the beginning of their Melba journey. mentoring and performance experience. We are the next step for artists preparing to become professionals on the world stage. Inspiring Excellence Realising Potential Forging Careers

Cover images Photographers: Clive Barden; Andrew Beveridge; Brett Boardman; Mihaela Bodlovic; Jeff Busby; Victoria Cadisch; Mark Donet; Neill Gillespie; Michelle Grace Hunder; Alysa Grigoriev; Daniele Martinie; Fi Mims Photography; Michael Pöhn; Andrea Russell; Todd Rosenberg; Paul Sirochman; Fiona Susanto; Ben Symons Photography; Stuart Walmsley

Melba Opera Trust Board Roz Zalewski-Ruskin, Chair Kate Shelmerdine, Deputy Chair Dmitry Danilovich, Treasurer Chris Arnold AM L to R: Louis Hurley, Chloe Harris, Georgia Melville, Su Choung, Emilia Bertolini, Nathan Bryon and Rebecca Hart. Kristine Neill Peter Reilly The Melba Program for 2020 was In February, artistic and business connect artists with their mentors modules now complete and more Amy Black underway with the usual sense mentoring took place alongside online. Sharolyn Kimmorley AM to come over the following months. of anticipation and excitement a photo shoot and preparations saw the opportunity for the 2020 At a time in their professional Melba Opera Trust greeting this dynamic new group towards the much-anticipated artists to focus on languages careers when momentum is ABN 96 424 419 725 of Melba Artists in January. Meet the Artist performances in and embrace a level of detail in critical, we are proud to keep Sydney and in Melbourne, that their preparation that their busy delivering the Melba Program, In addition to bringing together T: (03) 9944 2100 were planned for March and April. lives often do not allow. “Finally, through technology. The health www.melbaoperatrust.com.au mentors and artists from around Of course, this took a sharp turn Australia to Melbourne, the first preparation as I believe it should and safety of our artists and with the impact of the global happen at all times!” mentors remain a priority and we Design by Kerry Aker mentor module included the pandemic. Although we didn’t will continue to comply with the annual artists’ Melba Pilgrimage The artists took to it immediately Editing by Andrew Stephens. know it at the time, the Meet the necessary restrictions at this time. to the Yarra Valley to learn and were most grateful to be Contributors and research: Artists performance in Sydney We are also ready to reinstate face Amy Black, Bronwyn Douglass, about Dame Nellie Melba and able to continue their program, on 16th March would be the last to face interactions as soon as we Olivia Giglia, Sharolyn Kimmorley AM, visit her memorial at Lilydale as noted by tenor Nathan Bryon. opportunity for Melba Artists to are able. Bruce Raggatt, Peter Reilly, Lawn Cemetery, the permanent “Thank you for doing such an Andrew Stephens. perform live for the time being. Melba exhibition at Yarra Ranges amazing job of keeping the A very warm welcome to our Thank you to the Melba Alumni and Regional Museum – including With the March mentor module Program going despite all this 2020 artists. Mentors who contributed their stories some specially chosen personal scheduled in Melbourne just one COVID-19 stuff, it’s been really to form part of this special edition. artefacts not usually seen by the week after travel restrictions were wonderful”. If you would prefer not to receive general public – and her family imposed, Melba Opera Trust was Read our Melba Artists’ this publication, please contact home, “Coombe, The Melba determined to remain present for It has remained a focussed biographies on the website: Melba Opera Trust. Estate”. our artists and quickly pivoted to time for them, with four mentor www.melbaoperatrust.com.au

2 | Special Edition Celebrating 10 Years – Part 2 Beleura House and Garden Siobhan Stagg Stephanie Gibson

THE MELBA APPROACH A commitment to excellence has resulted in a rich and challenging program for the Melba’s annual intake of emerging artists.

Melba Opera Trust’s program and the Performance Program has been informed by Dame offered by the Melba were both Nellie Melba’s holistic approach firmly in place. The new Mentor to operatic development. Today, Program began to support it is carried forward by Sharolyn scholarship recipients with a fully Kimmorley AM, Artistic Manager holistic experience, nurturing all and Artist Advisor and Bruce aspects of the performer and Raggatt, Program Coordinator. demonstrating Melba’s philosophy 2019 Melba Artists in performance with Sharolyn Kimmorley AM. Image: Anna Kucera for young singers to be “more than Each time a performer steps a voice”. on stage, it is like being in the Olympics, says Sharolyn. This These continue to include sessions dramatically changed delivery of Language proficiency affords the great opera houses of the is why mental health, sports- on style, presentation, public the planned 2020 program. performers freedom of thinking world. Success can mean, in style psychology and general and speaking in different some cases, a realisation that speaking, time management, “Fortunately, many of our wellness figure so importantly languages, which is difficult to skills could be diverted to pursue networking, stage presentation mentors are happy to present as components of Melba Opera quantify. It enables flexibility another career. in recital, legal and accounting their workshops via the digital Trust’s comprehensive and long- concepts for freelance artists, and spontaneity to adapt a platform and to date our program “Success is fulfilment – that running Mentor Program. media training, recording and performance because the subject is largely intact. Of course, nothing your life has a meaning. Music, vocal health. Audition preparation, is intimately known in whatever “Becoming a professional singer can substitute for face-to-face for me, is about doing something movement and stagecraft language the performer is singing, is a lifestyle choice and it is like coaching, which helps truly that can put a smile on people’s workshops have also become rather than learning something in being a professional athlete,” develop an artist’s communication faces and give them joy in their part of the many seminars in parrot-fashion. Sharolyn says. “And you can’t be with their subject and audience. lives.” Such attitudes are enriching, which experts in a particular field in the Olympics if you don’t do the This is something that will be Changing attitudes more generally and young singers thrive when share their experience. In 2011, 50 training. In singing, there is a lot reinstated as soon as we’re able.” is crucial and the Melba Program they grasp the importance of of rejection. I don’t think people sessions were piloted, but by 2019, strives to impress an awareness More broadly, Sharolyn says sessions dealing with wellness, are always prepared for that. To more than 100 were delivered. As of the hard work required artists need to take on all aspects mental health and sports-style move through that is about not you will read in this issue of The for success. “Life is fast with of what the Mentor Program psychology. beating yourself up, but having Melba, in which some of these resources available on the internet offers. “One thing we have boosted courage, strength, belief and the mentors are interviewed, the quickly. Preparing for a career as “This is especially important in a over the years is language training. appropriate tools.” depth of training is exceptional. a professional singer, however, profession where you have to open Language is such an integral can’t be like that. I observe that up your soul. You bare yourself Acquiring these tools is central to Sharolyn says that the Mentor aspect and it takes a lot of time many have an ability, but are not on that stage, so you have to be the mentor sessions, which were Program has evolved with and hard work to grasp a language prepared to make the sacrifices comfortable with who you are and launched in 2011 as one aspect changing demands and an altered to the point where you are fluent. necessary and then try to take deal with any demons. of the three-part program for landscape, noting that performers We can do only so much – we the short cut.” which Melba is now renowned. have needed to become much open the door, but the artists “We give the Melba Artists tough At that time, the intensive more flexible – especially so with have to make the choice to walk Even so, success doesn’t love. Later in their careers they Artistic Development Program the advent of COVID-19, which has through the door.” necessarily mean performing in realise how valuable that was.”

Special Edition Celebrating 10 Years – Part 2 | 3 2010 Melba Artists Fiona Jopson

THE MELBA MENTORS JOHANNES FRITZSCH Johannes is a German-born BEHIND THE SCENES Tasmanian-based professional conductor. He discusses ensemble Determination, inspiration and dedication have been the foundations underpinning training and professional rehearsal preparation. the success of Melba Opera Trust during its first decade of operations. Working closely with singers for most of his career, Johannes not only does work on ensemble preparation with the Melba Artists, The scholarship-based Melba Melba Conservatorium of Music) 10-year anniversaries with the the same, and we are always but he also offers coaching in his Program, the continuing and became the General Manager Melba this year. looking to refine and improve how native German. “German language achievements of the 51 alumni in 2008, says the evolution of this we can best support Australia’s skills are very important as there Amy feels immensely fortunate and nurturing the broader Melba world-class program has been exceptional opera artists. I love are so many operas in German. to have had leadership support community are all outcomes possible thanks to all staff involved what I do, I love why we do it and I And working on ensemble is an from her managers, Professor that are significantly a result of over the past 10 years, particularly can’t wait to continue introducing absolutely crucial training for the Mel Waters, Peter Garnick and the people in the wings: the staff those with lasting tenures such as fresh ideas in support of a bright young singers’ future careers.” the Board of Melba Opera Trust. behind the efforts that enable the Peter Garnick, Managing Director future for this very special “My journey has meant that my As a younger man, Johannes Melba Program. (2010-2019), Bruce Raggatt, company.” role has continued to evolve in studied piano and conducting Program Coordinator, and Finance Amy Black, who has been with the line with the organisation. No The Melba Program is structured full-time for five years at the Manager Simon Suen, who are Melba since 2004 (when it was the year with Melba has ever been in such a way that it affords Carl Maria von Weber Music both celebrating their Academy in Dresden. Part of the training involved coaching opera singers, and learning how best to work with them. “When I left university, my first position was in an opera house as vocal coach and conductor, so that was my daily work: to work with singers, coach them their new roles and prepare the ensembles. It is something that has been very familiar to me for the past 40 years.” Working on ensemble with the Melba Artists has several components, including a focus on how to prepare the individual parts before coming together to sing in ensemble. “All of them have had experiences with ensemble, some more than others, but it is a vital part of what they do,” Johannes says. “They learn to listen to what the other singers do. Pronunciation, colour of the voice: the aim is to sing together in a really perfect way. My part as the coach is to help the singers to bring the various elements together for the best possible result in ensemble perfection.” L to R: Amy Black, CEO; Bruce Raggatt, Program Coordinator and Simon Suen, Finance Manager.

“German language skills are very important A vital element as there are so many Peter Garnick was appointed Managing Director of Melba Opera Trust in 2010, and his contribution operas in German.” over nine years was critical in building Melba Opera Trust’s success story.

In early 2010, the Melba Board Orchestra for six years, managing Cranlana, the Myer family home. Sharolyn that ultimately led to her commissioned John Hood to its corporatisation, and later Lady Southey AC’s generosity deep and sustained involvement. search for a successor to retiring Orchestra Victoria for 11 years, in hosting these was a direct Through his relationship with Managing Director, Professor Mel navigating its transition to result of Peter’s work with her at Moffatt Oxenbould AM, Peter was Waters. Chairman, Rob Logie- independence. Orchestra Victoria, where she was instrumental in establishing the Smith AM and Director Barbara a major benefactor and guardian partnership between Melba Opera Yeoh AM were charged by the This trajectory enabled Peter angel. Trust and the Dame Heather Begg Board with interviewing a shortlist to bring to Melba Opera Trust Memorial Award, which supports Peter’s industry networks were and selecting the successful insights to and a grasp of the early professional Australasian also beneficial to the embryonic candidate. vital elements of the industry, opera singers. including fundraising, marketing, Trust. He worked in the mid- They were unanimous in people management and 1980s at Opera Australia (then Leadership, staff development, recommending Peter because of teamwork. The Australian Opera) where strategic thinking and governance, his scientific training, his career he forged relationships with as well as empathy with artists, as a violinist and subsequently His fundraising expertise, Sharolyn Kimmorley AM and team members and benefactors as an orchestral manager. His underpinned by his wide network, Moffatt Oxenbould AM. When were all features of Peter’s nine experience as a CEO began with was a key ingredient in the the Trust was seeking artistic years at the helm. He was also four symphony orchestras in organisation’s financial success. leadership to work with Amy to a mentor to his colleagues, in the USA. He subsequently led One outstanding example is develop the training program, particular to his successor, current the West Australian Symphony the Melba master classes at Peter facilitated meetings with CEO Amy Black.

4 | Special Edition Celebrating 10 Years – Part 2 Janet Szepei Todd David Jones, Siobhan Stagg and Michael Coleman Sophie Yelland BEHIND THE SCENES THE MELBA MENTORS Determination, inspiration and dedication have been the foundations underpinning the success of Melba Opera Trust during its first decade of operations.

artists the gift of time. Without wisdom and time, which in turn “I have striven to make sure Cleo Lee-McGowan speaking at having to rush overseas or creates such a wonderful spirit of the quality of the mentors is the Meet the Artists in her final accept opportunities before they reciprocity among the artists.” always improved and that what of three years in the program. are ready, the program and its they present is crafted to be Her speech was delivered An integral part of the community funding allows our artists time as pertinent to our artists as with such calm assurance and comprises the incredibly to develop – both artistically possible. It is important to tailor confidence – it was testament supportive donors, who take and professionally – to prepare, the program as much as we can to a significant transformation in such a keen interest in the young make contacts, experiment with to each cohort of artists. As a not only her capacity but also her artists coming through the Melba. performance and save precious result, I have ongoing dialogues sense of who she is as a person Everyone working together to with mentors to hone, shape and and an artist. So many of the YVONNE funds, all while working with some create a sustainable financial update content. This is a process artists emerge after their time of the world’s best, here future has created a sense of that I know our mentors love with Melba as more polished, KENNY AM in Australia. common purpose. “It’s clear that because they believe in our artists better presented and more An international soprano being a part of our artists’ journey “The program has altered the and our program and want what artistically mature – it is always and teacher at London’s is very moving for our donors, course for operatic development they deliver to be as accessible tremendously rewarding to Guildhall School of Music and and there is a real sense of drastically in Australia and I’m and relevant as it can be.” observe these changes.” Drama, Yvonne mentors vocal shared involvement, which feels pleased to have played a role in development at Melba Opera Trust. creating that opportunity for rewarding to be around.” Engaging mentors has had As for Finance Manager Simon several facets: sometimes, Yvonne directs her focus as a our artists.” Bruce Raggatt’s role as Program Suen, he says joining the Melba a particular needs have evolved – mentor to the artistry of singing – Coordinator has involved him decade ago meant participating Of course, the many local and such as stage-makeup training – as she says, to make the sound as in two key parts of the Melba in the transformation of the international achievements of and Bruce has sought people with free as possible and to optimise a Program: Performances and Melba Conservatorium of Music alumni are usually marked by appropriate industry expertise. At singer’s strengths. “Singing has to Mentor Modules. Initially, his into the Melba Opera Trust. “My significant challenges. “Time other times, the Melba has been be as close to speech as possible role included dealing with role is to support my fellow team after time I have seen alumni approached by professionals. to make it believable. That is always clients seeking to engage Melba members with relevant, accurate forge ahead in the face of “This is an affirmation of the my focus: finding the pulse in all of Artists, organising venues and and timely financial information disappointment, and it’s their standing of Melba Opera Trust those languages.” accompanists, devising some and advice, and to report our sacrifice and resilience that in the industry. And others, like musical programs and looking financial status to the Board Living mostly in London with two inspires me to make the program Stuart Skelton for example, had after invoicing and budgeting, and other stakeholders. During periods in Australia each year, the best that it can be... they such a great time working with alongside Jo Beaumont. This the years the financial planning, Yvonne has been taking classes at deserve it!” our singers that he has returned reporting and controls have been later expanded to take in to Melba Opera Trust many times, the Melba since the Mentor Program strengthening to support the The vibrant community that has working on the Mentor Modules, but has also encouraged other launched in 2011. In her sessions, extensive programs we continue grown up around these young managing their logistical side international artists like Susan she encourages Melba Artists to to offer.” singers includes the support (booking venues or organising Bullock CBE to work with us…and find their own voice, rather than they provide to each other. “Our catering) and helping to shape she loved her experience too!” Simon’s work has become just parroting what they are told. artists are talented, but they the content in artistic, business “Then it comes alive off the page. For Bruce, the most inspiring an integrated part of the are also exceptional colleagues and professional development I am very interested in freedom of moments involving the artists professionalism and high and the friendships that have sessions. standards set by Melba Opera the voice, optimal resonance and have been those when they beauty of tone: that is my goal with emerged as a result of the With a background as a singer, Trust. He says his biggest have demonstrated how far everybody with whom I work. I want program is undoubtedly one of Bruce’s priority has been to achievement “is a clean bill of they have come artistically and to find their best possible sound its great strengths. This extends ensure the content is tailored to financial health for a decade personally as a result of being and best possible way of expressing to the Melba mentors who reflect what skills they need now endorsed by the Board and in the program. “Most recently themselves with passion and drama. remain generous in sharing their and as their careers progress. the auditors”. perhaps, I am thinking of Not catching that passion and drama on the throat, but keeping it always on supported breath.” Yvonne believes the benefit of group coaching followed by one-to-one sessions is that singers can hear Peter Garnick’s notable achievements include: positive results in others before they can sense it in themselves. Creating a proud team of staff, artists and benefactors “It is my job to help people find their own expression and to work in great Nurturing outstanding Australian talent towards detail. I think this is one of the most opera stages around the world through the important things I can offer. We all work with very good coaches and Undoubtedly the most significant internationally renowned scholarship program consequence is the 51 Melba prepare our work wonderfully, but it needs to be at a very refined level. I alumni who are pursuing operatic Building the Melba endowment and establishing careers both here and overseas – think opening peoples’ eyes to how Melba Opera Trust as an industry-standard brand a unique Australian success story. detailed that needs to be, they can then step forward.” Peter’s legacy is well captured Increasing the number of Melba supporters fivefold from one of his earliest quotes: to more than 500 With her Melba sessions Yvonne “Our work is to build bridges to often opens some segments to the professional sphere. We select Establishing a bequest program (currently 10) supporters so they can observe the the small number of people who learning in action. “In a performance have the talent, drive and instinct Increasing philanthropic trust supporters from four situation, you see what happens under pressure and you see what to be successful. Then, through to eight financial support, networks and needs to be assisted or developed in order to cope with that. And for the mentoring, we build that bridge so Cultivating Mentor Program supporters people who are attending, it helps that they can take the next steps.” (currently nine) their understanding of just how As we are fond of saying... complex learning to be a fine singer “Once a Melba, always a Melba” Exceeding $10 million in total philanthropic support really is. And how much detail and and Peter will always be a Melba. hard work is involved.” Peter Garnick Peter

Special Edition Celebrating 10 Years – Part 2 | 5 Amy Black, Lady Primrose Potter AC, Siobhan Stagg, Janet Szepei Todd, Lauren Fagan, for the 150th birthday of Elizabeth Chernov, The Hon. Alex Chernov AC QC and Betty Amsden AO Jacqueline Porter with Cheryl Barker AO Dame Nellie Melba at the Dame Nellie Melba Kindergarten

THE MELBA MENTORS In the following pages, Melba Alumni reflect on their scholarship journey and how their careers have evolved. Cleo Lee-McGowan

Soprano Joseph Sambrook Opera Scholarship – 2017, 2018, 2019 When she joined the Melba, Cleo was fresh out of university and at a very formative time in her career. She was especially grateful for the Melba focus on striving for excellence, hard work and dedication. The area that helped her most, apart from singing TERESA development, was public speaking. “This was something DESMARCHELIER that once terrified me, but during Teresa is a language and diction my three years I was able to coach, assisting with Italian and become a more polished speaker. French diction. This adds depth to a concert and sets you apart as a poised and Equipping singers with the skills accomplished performer.” for linguistic preparation across a range of languages, so they can be Cleo always enjoyed the Meet expressive and pronounce the basics the Scholars concerts. “It felt like well, is Teresa’s primary objective in a celebration of the exciting and challenging work that we were her Melba Mentor Modules. Fritzsch in 2019. It was an — ready to take on for the year. Cleo Lee-McGowan and Samuel Piper at the Singers are expected to perform in enlightening experience of the 2019 Meet the Artists concert at Deakin Edge. Cleo won the Sydney several languages – usually Italian, “Under the musical direction work required preparing a role Eisteddfod Operatic German, French and English, and of Sharolyn Kimmorley AM, before it is ready to be performed Aria and moved to London sometimes others – and also to we had the most fantastic professionally. It was fantastic where she is currently be highly expressive and convey repertoire to sing. And my most to work with someone who is so studying at the Guildhall meaning in each language while memorable moment was the knowledgeable, and I definitely School of Music and Drama. singing. The challenge, Teresa says, workshop with Maestro Johannes gained a lot from it.” is to give the artists a method that allows them to achieve correct pronunciation basic to every aspect of language. “Until you can read words and phrases correctly and well, there is no point singing them.” Siobhan The method she teaches involves listening and discriminating sounds, just as a native speaker acquires Stagg his or her language from infancy. Using a variety of techniques, Teresa Soprano guides them through phonetics, various language registers, Amelia Joscelyne vocabulary and grammar. “We work Memorial Scholarship – on a dynamic level so that they 2009, 2010, 2011, 2012 can hear and pick up rhythm, style, accentuation and intonation and When she became one of the what I would describe as prosodic inaugural Melba Artists in 2009, delivery. Ultimately, what we try to it seemed to Siobhan that the achieve is a synergy of language and Melba team saw her potential music working hand-in-glove. Even more clearly than she could see though that is obvious, it is amazing it herself. “This endorsement how neglected it can be.” gave me the courage to prioritise this vocation and to give it the During the sessions, Teresa records time and energy it deserves. Ten the artists and plays it back. “When years and many life lessons later, they start to see and hear how even — I still can’t believe I get to make Siobhan Stagg in recital with pianist a tiny mispronunciation can give music for a living. I draw upon the Timothy Young, for the 2020 Adelaide Festival. a totally different meaning to the philosophies and skills I learnt Image: Andrew Beveridge intended one, it can be very funny through Melba Opera Trust each – and instructive,” she says. “To and every day. This profession progress linguistically they find they is not without its challenges, but of negotiation on a daily basis, been invaluable to put Peter’s was to accumulate these early have to start at the beginning. I give the wonderful soprano Nadine some obviously more significant lessons into practice along performance experiences through them the building blocks.” Sierra put it beautifully when she than others. It’s been helpful to the way.” said that an artist’s duty is to the Melba Opera Trust Program.” call upon Peter’s sage advice ‘showcase the beauty of human Siobhan remembers a wonderful when I’ve found myself at various imperfection’. What an honour it farewell concert the Melba held crossroads – to put aside my is to serve the community in this for her just before she moved instinctive reactions and consider way; to bring people together to Siobhan has performed her things objectively from a business overseas in 2012. At the concert “Until you can read experience the transformative signature role of Pamina perspective. Sometimes we she performed Richard Strauss’ power of music.” across Europe, including words and phrases have to make tough calls about magnificent Four Last Songs with a chamber orchestra in the at The Royal Opera House, Siobhan says she often reflects contracts and roles which are Covent Garden. In 2019 correctly and well, South Melbourne Town Hall. on the negotiation techniques tricky in the short term but an she sang the title role of “Nowadays when I sing these there is no point taught to her by former Managing investment in our longer-term Cendrillon for Lyric Opera songs in mainstage symphonic singing them.” Director Peter Garnick. “Each goals. We need a healthy balance of Chicago. of us faces numerous forms of head and heart in life, and it’s programs, I realise how lucky I

6 | Special Edition Celebrating 10 Years – Part 2 Lauren Fagan, for the 150th birthday of Fiona Jopson, Stephanie Gibson, Siobhan Stagg, Dame Nellie Melba at the Dame Nellie Melba Kindergarten Angela Brun Chuck Hudson and Janet Szepei Todd Janet Szepei Todd, Nathan Lay and Lauren Fagan

In the following pages, Melba Alumni reflect on their scholarship journey and how their careers have evolved. THE MELBA MENTORS CONSTANTINE Morgan Balfour (CON) COSTI Melba Artists develop their The majority of young singers Soprano stagecraft in lessons with this are unmanaged; I had no idea Sydney-based theatre and Amelia Joscelyne that contract negotiation was opera director. Memorial Scholarship – something I was even allowed to do, yet alone how to do it. After One of the fundamental principles 2015 my year at Melba, I was aware Con works with is that successfully Spending time with the other that I had to think of myself as a staging a performance is 80 per Melba Artists in her year was a ‘brand’ as well as a musician. cent preparation. Whilst working highlight for Morgan. “It is a big This was especially beneficial on arias and doing scene work with family that you become a part when I recently applied for and the Melba Artists, he also spends of and meet up with all over the received my Artist Visa in the a lot of time focussing on the texts world,” she says. “I learnt so United States.” being used in a performance. “We much from my peers and am analyse what it means and how A standout performance for truly grateful that everyone it is structured – the context, the Morgan during her Melba year was willing to share so much characters, who they are and what was with her colleague Nicholas with one another.” they want. We analyse the music Tolputt.“At our first Meet the — and storytelling. Arguably the Morgan particularly appreciated Scholars concert, Nick and I sang Morgan singing with the Australian Brandenburg most important thing in an opera Orchestra in Sydney for Noël Noël in December 2019. the negotiation session with ‘Io t’abbraccio’ from Handel’s performance is working out the Image Keith Saunders Peter Garnick. “My Bachelor’s Rodelinda together. I had never emotions, the emotional journey Degree set me up with language sung with a countertenor before the composer is trying to take the skills, stagecraft and vocal and Nick is a gorgeous singer – I Morgan moved to the United States to undertake a Master’s audience on.” pedagogy, but there was zero remember calling him a musical Degree at the San Francisco Conservatory of Music and she discussion about the fact that unicorn during our first rehearsal The final piece of the puzzle is the has now joined the Lyric Opera of Kansas City as their Soprano as a singer you are essentially – as well as a great friend.” artists and their own experiences. Resident Artist. your own business or company. “A great performer makes what they do personal and they give away a part of themselves. I am really interested in the performers, for Jeremy has since performed they are the ones up there doing it. Jeremy Kleeman with Pinchgut Opera, Absolutely it is very new for them, Sydney Chamber Opera, but for me it is about empowering Victorian Opera, the Dark them to make sure they know their Baritone how valuable an investment it can MoFo Festival, Melbourne point of view is just as valid as the b e .” Symphony Orchestra, material they are working with and Joseph Sambrook Queensland Symphony that their interpretation is what can Jeremy says another incredibly Orchestra and Musica Viva. make something really special.” Opera Scholarship – practical aspect of the program He also presented a lieder Con says it is always such a 2014, 2015 was learning about negotiating recital with fellow Melba from former Melba Managing rewarding experience in his Melba Jeremy’s decision to relocate to alumna Alexandra Flood at Director Peter Garnick. “It has coaching to “start small and end London to pursue an international the Northern Lights Festival had a lasting impact on me. I up with a very meaningful and career was inspired by his Melba in Trømso, Norway. He is love his phrase, ‘That sounds detailed performance”. His sessions experiences. “Many of my fellow currently completing post- great in principle, would you be are usually built around a Meet the alumni have taken their singing graduate opera studies at able to send me the details in Artists performance. “I’ve found overseas with success, and the Royal College of Music an email?’. That way you can be that the artists have relished this Melba’s Sharolyn Kimmorley AM in London. positive without committing to approach and they feel like they has been regularly encouraging a ‘yes’ and you get everything in have ownership over what they are me to do the same. A strong writing. I have used this on many doing. They are proud of the work value I gained through my time at “Something about the Jeremy also points to his meeting occasions.” they put forward and eventually Melba, that has carried into my performance just clicked. Stephen with Sir Bryn Terfel as a very show to an audience.” professional life, was that if I put Personal styling tips have also McIntyre’s narration and concept special moment, “especially when the hard work into my preparation stuck with Jeremy. “I finally is so charming. My colleagues he complimented my speaking Con says one of the wonderful for any given performance, it will learnt a nice way to do my hair Stefan Cassomenos, Morgan voice!”, while Chuck Hudson’s things about working with the Melba pay many dividends. The devil is for performance, which clothing Balfour and Zoe Drummond and I acting and movement classes is that when he begins his sessions, in the detail, as Sharolyn would colours are a great pairing for me had a great energy together. The stand out as highly motivating and the young artists are always “very say. I was so fortunate that Melba and the correct length for a tie!” repertoire was beautiful, too. It rewarding. “I regularly apply his much in the zone and ready to provided the funding for the This was no doubt noticed at one was the first time I sang ‘Ye banks work on motivating action and am go. They are a very focussed, coaching and lessons I needed of his favourite performances: and braes o’ Bonnie Doon’, and careful not to fall into the common enthusiastic and hardworking team, to prepare thoroughly for all of Nellie in Her Own Write at the discovered that I had a real affinity opera singer’s trap of symmetrical which makes my job better.” my engagements and taught me Port Fairy Festival in 2015. for the song.” gesturing that he alerted me to.” Bronwyn Douglass

Mezzo-soprano “One of the arias we worked on performances and it has forever was ‘Things change, Jo’ from created a special bond between Amelia Joscelyne Little Women. With our extra time, Andrew, me and the donors that Memorial Scholarship – we had the luxury of an in-depth were there.” discussion about the character 2016, 2017 Meg. We tapped into some of Receiving extra coaching from my own experiences growing up Bronwyn studied overseas director Andrew Sinclair was with two sisters and found such in 2018 and 2019, including one of the most wonderful powerful, meaningful connection three months in New York at experiences, among many, that with the text. What we created The Metropolitan Opera and Bronwyn cherishes from her was pure magic. By the last time The Juilliard School, as well time at the Melba. Ill health had I sang the aria through, most of as attending the Georg Solti unfortunately affected some of the room was in tears. It was the Accademia in Italy, working the other singers in her group first time that I felt that level of with Barbara Frittoli, and they could not sing, so connection with my performance. Alessandro Corbelli and Bronwyn jumped at the chance of It has made me strive to have that Maestro Richard Bonynge. additional learning with Andrew. level of connection in all of my

Special Edition Celebrating 10 Years – Part 2 | 7 Sue Logie-Smith AM, Rob Logie Smith AM, Elizabeth Chernov, The Hon. Alex Chernov AC QC, Deborah Cheetham AO, Tiriki Onus, Dorothy Blair and guest Sharolyn Kimmorley AM, Dennis O’Neill, Siobhan Stagg and Amy Black Amir Farid with Brenton Spiteri and Siobhan Stagg THE MELBA MENTORS Nicholas Tolputt

Countertenor — Performing in The Return of Ulysses An established artist with John & Elizabeth Wright- with Pinchgut Opera in 2019. the Hobart and Brisbane Smith Opera Scholarship Image: Brett Boardman Baroque Festivals, Nicholas has also performed with – 2015, 2016 Pinchgut Opera, Sydney Two years as a Melba Artist Philharmonia Choirs, influenced every aspect of Melbourne Symphony Nicholas’ singing career. “I had no Orchestra, Western idea what challenges or hurdles Australian Symphony an operatic career might present, Orchestra, New Zealand but the Melba equipped me with Dance Company (for practical knowledge across a Orpheus: The Dance diverse range of areas. There isn’t Opera) and in the Adelaide a day in my current schedule that Festival’s Helpmann Award I’m not thankful for the advice winning production of and guidance that this program Handel’s Saul. gave me.” Among these was learning to JUDITH speak publicly. “This skill is surprisingly rare in classical and comfortable on stage, in since graduating from the Melba celebration at their beautiful FIELD musicians; they prefer to stay interviews and in auditions. The Program.” property and in front a large group confidence to express myself of John’s family and friends. I felt As a public speaking teacher, behind the music and are daunted Having the opportunity to sing for without music backing me up instantly welcome and at ease. I’ve Judith’s mentor sessions assist by the idea of having to stand his scholarship supporters John has made me a better performer maintained contact with John and with how to present at public and deliver any type of speech. and Elizabeth Wright-Smith was a and has helped open many Liz and feel very fortunate to be engagements. For me, this experience has heartfelt occasion. “I was invited helped me feel more natural great opportunities in my career part of their Melba family.” With eight years of mentoring Melba to perform for John’s birthday Artists behind her, Judith’s focus on public speaking is warmly welcomed by the young performers. While they may be comfortable performing music on a stage, she says, speaking directly to an audience can seem Nathan Lay like a foreign activity. Yet the two are aligned, Judith Nathan – who recently joined assures them. “You have to breathe Baritone the full-time chorus at Opera from your diaphragm, but one of the John & Elizabeth Wright- Australia – has had great big differences is that when you sing successes since leaving the you don’t really look at the audience. Smith Opera Scholarship Melba, especially over the past But when you speak, particularly if – 2011 five years during which he was you are in front of fewer than 100 Nathan completed his in the Young Artist Program people or so, you have to do a sort Bachelor of Music at the Melba at Victoria Opera, while also of ‘laser beam’ look if you are going Conservatorium between 2006- undertaking a Master of Music to engage them.” 2008 and so has been part of in Opera Performance at the During her sessions Judith uses the Melba circle for a long time. University of Melbourne. In props to stimulate ideas for He still recalls highlights within 2016 he won the Australian impromptu speeches. She also the Melba Opera Trust Program International Opera Award, asks the artists to practise such as working with American which allowed him to study for introducing a piece of music or to director Chuck Hudson, a week- a year with highly acclaimed talk about their scholarship and long workshop that involved international tenor Dennis how they are using it. a focus on movement and O’Neill at the Wales International stagecraft. “One thing that stood Academy of Voice during his “I say that public speaking is scarier out to me at the time was how Master of Arts in Advanced than both singing and acting. When Christian Gillett much he stressed the importance Vocal Studies. you are singing, you are in a role; of knowing what every other when you act, you are becoming a character thinks and says about and encouragement gained from character and you are not actually Bass-baritone your character throughout a the many master classes – with yourself. What makes public show. He really opened my eyes Beleura-Tallis Opera extraordinary artists such as speaking scarier for some people, I on text analysis.” Cheryl Barker AO, Yvonne Kenny think, is that you are being yourself Scholarship – 2013 AM and Stuart Skelton, to name and that means you need to let your Another memorable moment Developing an individual identity but a few – is something I take personality, your eyes, your voice was time spent with Sir Bryn as an artist has been one of with me to this day.” and everything work with you so Terfel, during which Nathan the greatest gifts Christian has that you look relaxed, confident and picked his brain about how he received from Melba Opera Trust, comfortable. has approached things during his especially as he has moved from very successful career. opera to “crossover fare”, including “You need to speak from your heart musical theatre and cabaret. “I Christian also emphasises and your head, alternating between was always encouraged to stick an opportunity to work with facts and feelings, emotions and with my strengths and passions. Chuck Hudson, renowned logic, evidence and personal I’ll be eternally grateful for the American opera director and experience.” support and assistance that acting coach. “He helped everyone at the program gave me.” make our pieces come alive and has absolutely Working with one of his opera helped shape the way I inspirations, Cheryl Barker AO, approach how I perform a was “definitely one of those ‘pinch piece, regardless of genre. Nathan joined the classical me’ moments” of the Melba The numerous workshops crossover group The Ten Program. So too was having a long that helped with things Tenors and has now toured chat with Sir Bryn Terfel about such as accounting, grant “I say that public with them around the USA the role of Sweeney Todd, one of applications and branding several times, as well as Christian’s dream roles. “Above all – something that I was not speaking is scarier appearing in performances was the amazing professional and skilled in before the program than both singing and in Australia, Dubai and the personal relationships that I was – has also informed how I Netherlands. able to develop during my year operate as a freelance artist.” acting...” as a Melba Artist. The knowledge

8 | Special Edition Celebrating 10 Years – Part 2 Stuart Skelton and Kyla Allan Siobhan Stagg with Yvonne Kenny AM Stacey Alleaume with Dennis O’Neill CBE

THE MELBA MENTORS Lauren CHUCK Fagan HUDSON Chuck is an American theatre Soprano and opera director. His Melba workshops focus on movement Dame Nellie Melba and aria interpretation. Scholarship – Helping singers to stand out from 2011, 2012 the hundreds of others during auditions is one of the primary Lauren’s Melba experience goals for Chuck during his sessions was unique. While working with Melba Artists. New York-based full-time in a sales role, she Chuck has been a mentor at the was simultaneously beginning Melba since 2011. He assists singers work towards all the necessary in helping to exercise dramatic skills required to succeed in an control over any piece of music, international operatic career. regardless of where it is being “Before I left for London, whilst performed. “Even under the high I was in no way a complete stress and limiting conditions of an artist, I certainly felt very well audition or competition, I provide prepared and fully aware of just singers with the tools they need to how hard I would need to work prepare audition material that is to become an opera singer both grounded in tradition and that worthy of the world stage. The dares to create a unique, honest and amazing mentors and staff motivated performance.” from Melba Opera Trust have given invaluable, personalised Chuck’s group classes revolve advice (and still do!) which Image: Victoria Cadisch around four elements: a “psycho- has helped in a career which physical” warm-up, exploring is constantly exposing difficult dramatic movement techniques, analysing a dramatic text to create choices.” Motivation and attitude was a strong sense of how multi- Melba alumni at Stowell Park, a Lauren completed her underpin her approach towards character and action, and discussion faceted a professional opera family estate in the Cotswolds Opera Masters at Guildhall consistent high standards as well of how these all combine in singer needs to be. “Improving my owned by Dame Nellie Melba’s School of Music and Drama as greeting each opportunity with and became a member of performance. In individual sessions voice is the core to opera singing, direct descendants. “It reinforced enthusiasm. the prestigious Jette Parker with Chuck, the singers apply what but the program quickly made the ongoing support and Young Artist Programme at they have learnt to arias in several “This self-motivation and me aware of how much I needed strength of the Melba family. It The Royal Opera. She has languages. determination to grow as an to work on my acting, language, was quite surreal to be singing continued to perform with artist definitely helped with physical presentation and ‘Home, Sweet Home’ and Chuck maintains that there are The Royal Opera as well as relatively quick progress from audition skills. I can honestly say ‘Waltzing Matilda’ with Melba’s specific acting challenges for opera performing Violetta in La the moment I arrived in the UK I use these skills from the Melba direct descendants Lord and singers. “Any performer must traviata for Opera Holland seven years ago.” Program every day of my life.” Lady Vestey present as well as behave truthfully under imaginary Park and Mimì in La bohème wearing one of Melba’s original circumstances. We want the One of the main skills Lauren A highlight performance with the for Opera North. Cartier necklaces.” opera singer to be able to perform developed in the Melba Program Melba was singing with other truthfully just like actors in the theatre or on film; however, the demands of the opera world are not always those of cinematic realism. There are no close-ups when you are on stage. Paull-Anthony Keightley “In a world where a character sings rather than speaks, we need the singer to discover and portray the dramatic truth, but not the factual Bass discussed every possible element of the career, some of which at reality.” For this reason, Chuck’s Amelia Joscelyne the time I honestly didn’t fully work with the Melba Artists helps to understand. But in the years inform their singing with meaning, Memorial Scholarship – character and action. 2018 that followed, the value of all the lessons has become very “These techniques provide a genuine “I’m still amazed with the variety clear. They were pivotal in my multi-dimensional structure that of opportunities that were on preparation to move to Berlin – a helps singers create a grounded, offer to us,” says Paull-Anthony. move that has allowed me to call motivated and honest performance “I think the whole Mentor Europe home.” when they have ‘nothing’ around Program allows the artists to Paull-Anthony has a respect for them. They are then confident to do become better people on and the art of preparation which he their best moment-to-moment work off the stage.” developed strongly at the Melba. in the audition room itself.” A Melba scholarship came at an “From learning your music and important time in Paull-Anthony’s accepting that there is always career, affording him the more to learn, to being on time resources to prepare adequately for rehearsal with the correct for life as a full-time singer. “We music in hand, preparation is always the common denominator.” After leaving Melba, Some of his most memorable Paull-Anthony commenced experiences at the Melba an ensemble position at included a concert for Mary-Jane Deutsche Oper Berlin, Joscelyne’s birthday and OAM thanks to The Opera award celebration. “I joined past Foundation for Young Amelia scholarship recipients Australians Deutsche Oper Siobhan Stagg and Fiona Jopson Berlin Award. He has now with Adam McMillan on the piano. joined the OperAvenir Singing with Siobhan Stagg and program at Theatre Basel, Fiona Jopson was formative and singing Colline in La our paths have now crossed — bohème and Hobson in 2018 Meet the Scholars performance at many times in Europe. The Melba Peter Grimes. Deakin Edge, Federation Square. family ties are very strong!”

Special Edition Celebrating 10 Years – Part 2 | 9 Hannah Dahlenburg, Nathan Lay and Janet Szepei Todd Tiriki Onus Leilah Fox, Rebecca Gulinello and Emily Edmonds

THE MELBA MENTORS DR CAMPBELL Damian Arnold THOMPSON Tenor Performance manager for the Eleanor Blakemore Opera New Zealand Commonwealth Games and Olympic Games, Society Vocal Scholarship Campbell brings a sports-informed – 2017 perspective to performance issues. As a result of being in the Melba When performance is a large part Program for the year preceding of a person’s life and identity, it can his move to London, Damian also be a source of anxiety about the felt very well prepared to enter outcomes. Campbell’s work in sports study at the Guildhall School of psychology segues well into the Music and Drama. The Melba, world of opera because both involve he says, provided incredibly huge amounts of hard work, practice well-balanced training at a and personal investment to ensure a particularly important point in his successful public performance. development. In working with Melba Artists, While he has many memorable Campbell emphasises that worries moments from his time at the about “meeting the mark” can be as Melba, he says the master classes a result either of the goals artists set were a highlight. “In my year we for themselves, or those set by the were lucky to have master classes with Australian operatic legends — larger world. “But these worries are World premiere of The Angel Esmerelda common to all performers at some such as Yvonne Kenny AM, at Guildhall School of Music and Drama. stage in their careers. We explore in Stuart Skelton, Emma Matthews Image: Mihaela Bodlovic the sessions why that is so and how and Patrick Nolan. I was always we can work with our minds in order struck by the professionalism of Damian is continuing his to look after our performance and each master and their passion study at the Guildhall wellbeing, while still pursuing our for the development of the next developing time management to thank the Opera Society School of Music and Drama goals in a way that is enjoyable and generation. Master classes are to enable balance between the for their support so, despite Opera School, where he is fulfilling for us.” often open to the public, but I many projects I have had whilst feeling unwell, I decided to the recipient of the Ewen appreciated the intimate nature at Guildhall.” perform anyway. I announced Balfour Award. He has had Campbell first looks at artists’ of our sessions where we felt safe I wasn’t feeling my best and, the opportunity to sing learning and growth mindset, which A performance Damian to make mistakes and get stuck although I did not sing to my with the London Symphony often means adjusting attitude remembers from his Melba year into what it means to be a singer.” full potential, I left the lunch Orchestra under the so the focus is not on outcomes allowed him to put this training baton of Sir Simon Rattle Dealing with stress is critical. “At feeling so appreciated. To me alone but on “having your heart in into practice. “As recipient of the and covered the role of particularly stressful times, I have it was an amazing example of improving and learning in areas that Eleanor Blakemore Opera Society Eurymachus in The Royal been able to lean on my Melba the supportive environment are meaningful to you as a person”. scholarship, I was scheduled to Opera’s production of training. This has really helped sing at one of their lunches, but that Melba Artists are “If we put our energy into that, we The Return of Ulysses. me. A part of this process was I had a cold. I wanted the chance surrounded by.” don’t worry so much about the outcome and we are going to get better; we are going to explore our full potential as a performer and a person. Where the heart goes, the mind follows.” Michael Petruccelli Part of this means bringing focus and attention into the present moment rather than imagining a Tenor future performance. Drawing on the Michael is currently concept of mindfulness, Campbell RJ & AF Hamer Opera based in Germany where encourages artists to focus on Scholarship – 2016 he is a member of Opera Frankfurt’s Opera Studio the music, being connected to Better understanding his strengths for the 2019/20 season. an audience and being “in” the and weaknesses as an operatic In Australia, Michael performance rather than focussing performer has been a valuable has performed with on what is coming next. learning experience from the Opera Australia and Melba for Michael. He says being Campbell emphasises how much he Victorian Opera as well able to recognise what you perform enjoys working with Melba Artists. as participating in opera well and why is vitally important “I find it really easy to help them development workshops for in choosing repertoire that will because I think they are amazing. two new works: Ned Kelly, allow a singer to audition well. The level of talent and the beauty of for Lost and Found Opera in what they are able to produce blows “Having discovered and polished the Perth Festival and a me away. I want them to see what I my audition repertoire throughout new opera by Tim Finn, see in them.” He finds it a privilege to my year with Melba Opera Trust I for New Zealand Opera in help them find their “inner coaching was able to audition successfully — Auckland, New Zealand. voice” to replace their “inner critic”. for the Oper Frankfurt Opera Singing in master class for Studio. This in turn has led to Deborah Humble at Cranlana, Melbourne. many performance opportunities on the Oper Frankfurt mainstage with boosted confidence as a never to push the voice’, which that we must continue to work on intimately how your character fits performer at the international has stuck with me since! When throughout our careers.” into the narrative of the opera. level. It also expanded my I sang through the aria again, I In his work with Sharolyn international network, leading to focussed on being relaxed and “At Oper Frankfurt, I have found Kimmorley AM, the art of future opportunities.” concentrated on consistent that being prepared is especially preparation crystallised. “She vital, particularly when being cast airflow. This allowed me to be freer Michael emphasises working with often stressed the importance in a revival production. Revivals in my singing and consequently Yvonne Kenny AM in a master of being prepared for rehearsals. are put on here with very little – and what can seem initially as class as a highlight of the Melba Knowing the notes is not enough! rehearsal (usually a week and a a bit of a paradox – much more Program. “It was a public master It is extremely important to know half). Coming to the first rehearsal resonant. Not driving the voice class and I was singing Don the word-for-word translation not knowing your translations, can be a difficult thing to keep Ottavio’s aria ‘Il mio tesoro’ from only of your character’s text but knowing your character and in mind, especially when you are Mozart’s Don Giovanni. My first also the text of the character with having studied the staging allows singing over an orchestra and time through I remember singing whom you are singing. Equally you to enter the rehearsal room on in an opera house of over 1500 okay, but definitely not at my crucial is to work through the the front foot. It shows the opera best. Yvonne’s first phrase after seats. Nonetheless, maintaining pronunciation of the text – spoken company that you are a reliable I had finished was, ‘Remember this vocal freedom is something first, and then sung – and to know and easy singer to work with.”

10 | Special Edition Celebrating 10 Years – Part 2 Leilah Fox, Rebecca Gulinello and Emily Edmonds Merlyn Quaife AM with Christian Gillett Robert Barbaro Panayiota Kalatzis and Susan Bullock CBE Tessa Hayward THE MELBA MENTORS

Soprano renowned conductor [Maestro Fisch] who has worked for many Dame Nellie Melba opera companies and orchestras Scholarship, Annie and conducted more than seventy operas. I learnt a lot regarding McFarling Opera repertoire, breathing, taking cues Scholarship and Patrick from the conductor, ensemble & Vivian Gordon Award work and moving the phrases.” And working with Maestro Fritzsch on – 2019 Mozart ensembles was “a wonderful Learning the art of preparation was and challenging experience”. very significant for Tessa during “Finally, I loved my singing her Melba year; it is a professional lessons with Yvonne Kenny AM. skill that she believes touches She has always been an idol for every aspect of a final operatic — me; therefore, to sing through performance, from language and Tessa performing at the roles she has performed was music, to stagecraft, presentation Melba Opera Trust 10 Year Celebrations event in Melbourne, August 2019. incredible. She gave me tips for and character portrayal. “I now have a higher level in my breathing, preserving the voice, preparation of music. This allows chest voice and when to give and MONICA me to be completely immersed in detailed insight into all facets and that, with preparation, hard take musically. I learnt so much my performance and connect with needed to become an opera singer, work, perseverance and of course incredible detail.” O’BRIEN the audience to a greater degree. I from marketing, health care and some luck, it is possible.” As a Sydney-based counsellor feel more secure in my technique grant-writing to acting, languages Tessa is currently a Young Among her memorable moments and life coach, Monica presents so I can let out the emotional and vocal coaching. “The program Artist with Pacific Opera. She was working with Maestros Asher wellbeing and guides the artists colours and story within the music.” has given me guidance as an regularly performs in concert artist whilst providing incredible Fisch and Johannes Fritzsch. “It with Pacific Opera and in the with time management and Tessa says the program has contacts in the industry. It has was incredible to sing some of my Chorus of Opera Australia. conflict resolution. offered her an incredible and helped me realise this is my dream favourite arias for such a world- Having worked with creative people for decades, Monica is well acquainted with the difficulties they face in navigating a tough industry while also trying to be creative Janet Szepei Todd and grow into a sense of self. In wellness workshops with the Melba Soprano She credits the broad range of taught the skills to be a well- Artists, she emphasises that their skills acquired during her time rounded professional as a young empowerment lies in rising to the Beleura-Tallis Opera at Melba for supporting her singer entering the music world.” challenge of learning to manage Scholarship – 2010, everyday working life, especially themselves in practical, physical the professionalism required to — and emotional ways. 2011, 2012 Janet Szepei Todd in Madama Butterfly manage herself as a business. in Los Angeles, 2019. “When I talk to them about One-on-one work with prestigious “From presentation, to conduct, wellness, what typically comes tax and finances…I can’t stress international artists opened After leaving Melba, Janet to mind is exercise or nutrition. enough how essential this has Janet’s eyes to overseas learning completed a Master of I don’t approach it from that level been as a freelancer in the music opportunities and the potential Opera at Manhattan School of only: wellness is an inside job. I try industry.” After all, Janet says, for an international career. “Melba Music. She is currently based to encourage them to do those Dame Nellie Melba herself was helped steer my path toward the in Los Angeles where she physical things, but if a person’s not only a brilliant talent, but also US where I’ve lived, studied and regularly sings in the chorus mental, emotional and spiritual a fine businesswoman. “It was worked as a singer for the past of the Los Angeles Opera. health is not balanced, there will five and a half years”. extremely valuable to have been be symptoms.” Monica stresses the importance of living in the present moment and — being aware of habitual thinking Performing with Opera Australia for processes in which we play the the operetta Two Weddings, One Bride. Zoe Drummond “B-movie” in the stories we tell Image: Jeff Busby ourselves about who we are. “I tell them we have a choice. Our reptilian One of the wonderful Soprano brain will play a movie around, say, opportunities provided by the a rehearsal or performance and the RJ Hamer Opera Melba was the chance to perform mind naturally goes to anticipate often, in many different venues, Scholarship – 2015 what that will be like. If we change to many different audiences. Dame Nellie Melba that story and play the A-grade “Becoming comfortable movie, we get into a resourceful Scholarship and Patrick performing under a range of state and our performance is likely conditions has been incredibly & Vivian Gordon Award to be our best selves.” – 2016, 2017 helpful for my career,” she says, citing experiences earlier this year Using both group and individual Zoe was so inspired by mentoring when she performed on the icy settings, Monica ensures her sessions with Yvonne Kenny AM cold island of Islay in Scotland. sessions are very practical, during her time at the Melba that providing Melba Artists with the Less romantically, the Melba she made it her top goal – one tools to jettison negative self-beliefs sessions on tax, accountancy, she achieved – to move to London that have often been unintentionally negotiating and contract reading and study opera for the Master passed on to them. This involves were also crucial. “It prepares of Performance at the Guildhall helping to build up a resilience and you for the essentials of a self- School of Music and Drama under competence grounded in a sense of employed singing business. I Yvonne’s tuition. This achievement self, rather than in external approval. and others in her career since always read contracts thoroughly Zoe performed the role of Clorinda (La Cenerentola) with were also enabled by her work and know the questions to ask “But it doesn’t happen overnight so West Green House Opera before beginning work with Scottish with Melba’s Sharolyn Kimmorley to make sure I am in control of we talk a lot about establishing tools Opera covering Tytanya in A Midsummer Night’s Dream and AM. “She really raised the bar my situation.” to move forward.” performing in their Spring Highlights Opera Tour singing with of my music-making. With her A treasured memory from her fellow Melba alumna Jade Moffat. Zoe is also a principle artist international reputation and three years as a Melba Artist is a with Opera Australia and won one of Australia’s most prestigious experience she inspired me to master class at the Sydney Opera awards, the 2018 IFAC Handa Australian Singing Competition pursue a career overseas. She is House with Renée Fleming. Marianne Mathy Scholarship. still one of the best coaches with whom I have ever worked.”

Special Edition Celebrating 10 Years – Part 2 | 11 Nikki Hill, David Aronson and Stefan Cassomenos Toni Lalich, Shauntai Batzke and Deborah Cheetham AO Samuel Dale Johnson Samuel Sakker THE MELBA MENTORS Amir Farid

Repetiteur In addition to his work in Repetiteur Scholarship the Vocal Arts Department (supported by Helen of The Juilliard School, New York City, Amir is also McPherson Smith Trust) rehearsal pianist with the – 2013 New York Philharmonic. Working now as a staff pianist for the Vocal Arts Department at The Juilliard School in New and allowed us to refine what we York City, Amir says the skills learnt to help propel our careers and experience he acquired further.” as a Melba Artist played a substantial role in his pathway to Amir was the Melba’s inaugural

this prestigious role. “Studying — repetiteur. He says a highlight with my mentor Sharolyn With fellow Melba Alumni Siobhan Stagg was an opportunity through Kimmorley AM for a number of and Rebecca Gulinello. Melba to sit with Sharolyn as her years and working with countless page turner, while she performed singers and coaches through with Sir Bryn Terfel on the stage GRAHAM Melba Opera Trust, gave me York City. I developed the skills Opera Trust provided us all with of the Sydney Opera House in the experience necessary to to play orchestral reductions in the opportunity to apply our skills front of a packed and highly ABBOTT establish myself as a sought- the most meaningful, useful and in the real world on a regular basis enthusiastic audience. “It is still Graham is a former ABC radio after collaborative pianist in New imaginative way possible. Melba through public performances strong in my memory.” presenter and professional classical conductor. He mentors the artists in concert introductions and media management. Having worked in radio for many years and having been on both sides Xenia Puskarz Thomas of the interviewer’s microphone, Graham stresses to the Melba Artists that when in an interview even etiquette – are necessary Mezzo-soprano Following her Melba situation, one of the most important for each performance. Having scholarship, Xenia headed things to understand is the context. Amelia Joscelyne Memorial the capacity to be both your own to New York to undertake This means seeing the experience Scholarship – 2019 manager and the performer, too, private study after winning from the interviewer’s point of view: is essential to be able to keep “We are given a taste of so many the 2019 Opera Foundation what do they need the interview working. Through the Melba different things in this program, for Young Australians for, where will it appear, is there a Program I learnt to become the beyond music and language, Lady Fairfax New York specific agenda and what sort of best manager I can be.” which can reveal aspects that Scholarship. She recently audience do they have. one is passionate about. Dancing, Xenia appreciated each undertook the 2020 Song In taking the artists through a musician’s health, learning performance opportunity with Studio workshops at detailed presentation about what spoken languages are just some Melba. “At every concert there Carnegie Hall where she an interview is and its various of my new passions that have were always new and old faces worked with Melba mentor purposes and possible outcomes, emerged from the program.” of the Melba community to Renée Fleming, as well as one of Graham’s main aims is to network with afterwards. It was other artists, Harmut Höll, Xenia understands that a high make them aware of the realities of significant to have their support Elīna Garanča and Gerald level of professionalism is vital for these situations. “Often you don’t and kindness radiate from the Martin Moore. a successful musician’s career. know until you encounter it. It is an audience. I developed some — “Some of the business skills we interesting field, but a minefield for friendships over the year of which Performing in Sydney for Melba Opera worked on – negotiation, tax, the unwary.” Trust’s Autumn Soiree, April 2019. I’m very fond. They made every social media, networking and performance dear to me.” Graham also conducts mock interviews, using various scenarios, to convey the different situations in which performers might find — themselves when being interviewed By the Light of the Moon by media. “Examples might include with Opera Australia. being interviewed for a local Shakira Tsindos newspaper – by someone who usually reports on sports – about something you are doing at an Mezzo-soprano sparked Shakira’s interest in Another workshop she greatly outdoor venue. Or you are going to developing her career in the UK. appreciated was with ABC radio be interviewed on an ABC specialist Joseph Sambrook Opera “Four years later, I’m in my final presenter Mairi Nicolson. “We opera show about a concert. These Scholarship – 2016 year of my master’s degree at performed mock radio interviews are very different scenarios.” the Guildhall School of Music with Mairi following a workshop Connecting with other Melba and Drama and am already on dos and don’ts for dealing with In the second part of his classes, alumni who were studying and performing professionally in the the media. Promoting your work Graham has a focus on preparing working overseas was what UK. Melba provided skills and and the company you are working effective concert introductions. tools to best prepare me as a for is part of the job and I have He emphasises catering for the professional performer.” had so many instances where Before leaving for the specific audience which, in his Mairi’s words of advice have kept UK, Shakira continued When preparing the role of Zerlina mock scenarios, might range me on target to present our best to perform as a principal for a UK tour of Mozart’s Don from a primary school group, to a work to a radio audience.” general audience, or to one filled with Victorian Opera as Giovanni earlier this year, Shakira with opera aficionados. “The way well as performing in could not help but think back to Towards the end of her Melba their imaginations sparked was Opera Australia’s Schools working with incredible directors year, Shakira and her Melba fantastic. They thought in the Company tour of By the and coaches such as Chuck colleagues performed in the first person and even made the Light of the Moon. She is Hudson and Sharolyn Kimmorley Melbourne Recital Centre’s introduction in character as part of currently completing her AM during her Melba scholarship. Primrose Potter Salon. “That is the performance.” master’s at the Guildhall “They continued to challenge a very special venue for me as I School of Music and Drama and push me to be the best actor had first performed at the MRC These concerts also gave us the Opera School and recently and singer that I could be. These in high school for our school’s opportunity to present unknown performed the role of Zerlina standards and expectations have showcase. To be presenting a arias, ensembles and songs that in Merry Opera’s production ensured that I can hold my own recital-long concert for our family, I have since revisited in concerts of Don Giovanni in Kent, UK. in a rehearsal room and on the friends and Melba community and recitals in Melbourne and world’s stage.” was something to cherish. the UK.”

12 | Special Edition Celebrating 10 Years – Part 2 Jeremy Kleeman, Alexandra Flood Jade Moffat, Zoe Drummond and Morgan Balfour Morgan Balfour Bronwyn Douglass with Dame Kiri Te Kanawa ONZ DBE and Nicholas Tolputt

THE MELBA MENTORS Alexandra Flood GLENN

Soprano — WINSLADE Alexandra Flood in La traviata. In 2014 Alexandra was a RJ Hamer Opera young artist at the Salzburg As a former international tenor, Scholarship – 2014 Festival, where she sang Glenn is a highly sought-after the roles of Blonde in Die Australian singing teacher. He Making her recital debut with Entführung aus dem Serail presents on vocal health and the Nicholas Tolputt, Jeremy für Kinder, Modistin in Der importance of knowing about Kleeman and Stefan Cassomenos Rosenkavalier with the history’s great singers. remains a wonderfully strong Vienna Philharmonic, and Bodily awareness is vital for memory for Alexandra. Held at Clorinda in La Cenerentola performers, and the crucial role of the Melbourne Recital Centre, für Kinder. Since then she the throat, ear and nose in a singer’s the event included Alexandra has performed extensively life cannot be underestimated. singing Monteverdi’s ‘Pur ti miro’ in Europe both in opera and When Glenn takes his sessions on with Nicholas. “It was my first- concert. Highlights include: vocal health, he emphasises the ever experience performing with Norina in Don Pasquale for importance of professionals such a countertenor,” she says. “It Vorarlberger Landestheater, as speech pathologists and ear/ was truly magical and prepared Bregenz; Marguerite in nose/throat specialists in helping me so well for when I performed Le Petit Faust (Hervé) to maintain singers’ health and in that same piece three years later with the Staatstheater assisting when problems arise. with Russian countertenor Iurii am Gärtnerplatz, Munich; Going to an ear, nose and throat Iushkevich and the St Petersburg Blonde at the Vorarlberger specialist can be confronting for young Philharmonic Orchestra.” Landestheater in Bregenz, singers, especially when it might Austria; and Maria in West As a Melba Artist, Alexandra involve having their nasal cavities Side Story in Bolzano, Italy. discovered that one of the most anesthetised so that a camera can be important things to be aware of fed through for inspection. “Yet every as an opera performer was one’s singer has a point in their career where individual skills as an artist. “What they may have an allergy or another makes you unique? What can you it was up to us to develop our some of the Melba Excel sheet to sing Violetta. But Mr Rozin problem that has arisen. Thus, it is vital share that no one else can? This artistic plan and decide how resources!” heard the lyrical potential in my to attain images of the vocal tract while awareness of who I am and what voice and encouraged a healthy, it is in good form and means visiting an many singing lessons we needed, Of her mentoring sessions, a I have to give helped me so much whether the German or the bel canto approach to the role. ENT specialist early in their careers.” throughout the first years of my coaching lesson with visiting Italian course would best serve Two years later I made my debut During his sessions with Melbas, career and continues to guide my Semyon Rozin, during which she us, how many scores we could as Violetta in Amsterdam. I am Glenn also discusses issues such choices today.” worked on Violetta’s aria ‘Sempre (or should!) purchase. This smart libera’ from Verdi’s La traviata was so grateful for those early Melba as reflux. “We talk about what the She also appreciated learning approach to financing my career memorable. “The aria was new moments, many of which gave triggers and treatments are. A lot of about budgeting. “With the has been immensely useful as I to me and I had received some me the strength and confidence singers don’t realise that the worst generous scholarship funds, set out as a freelancer. I still use feedback that I wasn’t destined to continue along this path.” thing you can do is eat spicy food late at night and then go to bed.” This can have profound effects on the voice. Making young singers aware of how the body responds in certain situations can also be revelatory. “Recently in New Zealand at Jessica Harper a performance, the director – unbeknownst to me – had decided to use stage smoke. Even though you good manners and punctuality Soprano know the smoke is safe and it isn’t definitely help you to stick out going to hurt you, psychologically your Dame Nellie Melba in the real world. Dame Nellie eyes see the smoke and they start to herself was famous for her fierce Scholarship and Patrick close to protect the lungs. It affected and unyielding Scottish work all the singers because it is a set-up & Vivian Gordon Award ethic; this is something I try to with which they are not familiar. There – 2018 emulate every day.” are ways we can mentally balance that Magical is the way Jessica The traditional Melba Pilgrimage out, but you need to know how the describes her year at Melba during which artists visit sites body responds to such situations.” Opera Trust, having been deeply in the Yarra Valley that were Glenn talks to Melba Artists about stimulated by the high standard significant in Dame Nellie’s life, singing history, too. “I explain to of preparation required. Now this was a highlight for Jessica. “I have them what to listen for in the singers strongly informs her artistic and admired Dame Nellie Melba for they come across. We are incredibly career choices. my entire life and receiving her lucky that we have recordings of “The Melba Program carries so scholarship was so touching for some of the singers singing music by much distinction that it demands me. We visited her estate and composers they knew, such as Melba excellence from the artists in even her grave in Lilydale. who worked with Puccini and Verdi.” every performance, workshop It was enormously inspiring.” The class also investigates certain and master class. Thorough The annual Meet the Scholars performance practices that are no preparation, organisation, concert at Deakin Edge was a longer fashionable and examining wonderful experience, too. “The why this is so. program, performers (if I may be so bold!) and venue were all Jessica has won many absolutely stunning. I had the awards including The Opera joy to perform not only an aria, Foundation for young but also several ensembles with Australians Dalwood-Wylie my Melba colleagues, all of AIMS Graz Award and AIMS whom I still count among my Sundell Study Award, the very dear friends.” — Inaugural Limestone Coast Performing in finals for the Underscoring all of this, though, Glyndebourne Opera Cup in March, 2020. Opera Lucca Competition were interactions with mentors and the Gertrude Opera such as Sharolyn Kimmorley AM Glyndebourne Cup Asia and Teresa Desmarchelier. “I have Pacific Regional Final always been a proud language music. This opened up a world your character analyses and which led to her being a lover, and during my Melba year of language nuance for me, then to come up with your acting finalist in the illustrious I was given the skills to keep which has totally changed how choices. Not just that, but once Glyndebourne Opera Cup in perfecting my understanding I approach learning new roles you have your vowels perfectly the UK in 2020. of language prosody as it and works. The text gives you lined up, the voice also sounds at informs melodic line in classical everything you need to inform its most beautiful.”

Special Edition Celebrating 10 Years – Part 2 | 13 Simon Bruckard and Shakira Tsindos Coombe, The Melba Estate Deborah Humble with Michael Petruccelli Timothy Newton with Dame Felicity Lott DBE

THE MELBA MENTORS KATIJA Emily Edmonds VLATKOVICH Mezzo-soprano “In my work as a singer now, I As a social media specialist, Katija aim to embody that well-rounded leads workshops on understanding Dame Nellie Melba and ‘whole’ artist approach; it’s the importance of social media, Scholarship and Patrick vital to the very essence of the advantages and pitfalls. kind of work that I am a part of & Vivian Gordon Award making. I value making work that Katija has found that personal – 2013 connects, feels meaningful, and branding is something a lot of The most powerful legacy of the incorporates all the elements of young artists haven’t thought too Melba Program Emily continues to who I am as a performer: singing, deeply about, and it can be far enjoy is the relationships that were acting and creating.” more complex than many imagine. forged around her. “Some of my Teaching artists about the potential One of her most enduring dearest friends and colleagues, all successes and pitfalls of social memories of her Melba time is around the world, are past-Melbas. media and online self-promotion performing at Dame Nellie Melba’s I’m grateful that I’ll always be part is her focus during mentoring home, Coombe Cottage, which she of this Melba family.” sessions. Katija wants to inspire describes as magical. “The Melba them to use it well, but judiciously. Emily believes the program community is also a special part of the program, so performances “We go through the fundamentals of remains vital, having prioritised a well-rounded approach to artistic were often a joyful way to connect how to make sure you have a clear with the wider Melba family.” positioning online, ensuring branding development, vocal development is all on point and not having and the acquisition of skills that In her endeavours since anything questionable. The idea is support the making of an artist. graduating from the Melba, to teach artists how to showcase Emily has stretched well beyond themselves by putting their best foot performance. “As well as exciting forward, so I offer examples of other After Melba, Emily became performances internationally, I’ve artists who are doing it well.” a member of the prestigious created a podcast for performers, Jette Parker Young Artist entitled Show Notes. As someone During the classes, Katija teaches Programme at The Royal who has been supported in my Melba Artists about which Opera 2015-2017. She is artistic development, I’m moved communications channels are currently an Associate that now I can give support to best to focus on and how to create Artist with Classical Opera other performers as well.” content that is going to connect with Company for which she Melba training helped with their most appropriate audiences. has recently performed this, too. Emily says she vividly “It is setting them up with the basics the role of Dorabella in remembers a “practice” interview so they can create a clear and Così fan tutte. She has also in the ABC Melbourne radio cohesive brand online.” performed as a principle studios as part of a workshop One of Katija’s rules of thumb is to with The Royal Opera, with Mairi Nicolson. “I recall that ensure that online posts, whether Covent Garden, Komische moment with a lot of gratitude video, images or text, are done well. Oper Berlin, Pinchgut and joy every time I sit down She also emphasises the importance Opera, Music Theatre Wales to be interviewed or interview of good research into target and Opera Philadelphia. someone!” audiences. “If they are intending to go to Italy to work, for example, it is important to do research so that they position themselves in front of the right people, influencers and supporters. It is about being more strategic about where you want to Stephen Marsh be rather than posting content for the sake of it.”

Katija believes that younger artists Baritone Stephen has continued are sometimes unaware of their Paulette Bisley Opera performing with Victorian broader footprint online; they don’t Scholarship and Eleanor Opera and Melbourne necessarily know how to keep their Opera. In 2020 he received brand and personal life separate in Blakemore Opera Society a scholarship from The an online context. “It is very easy to Scholarship – 2018, 2019 Richard Divall Emerging upload something, but very hard to Artist Programme and take it down.” Diverse performance Rotary Central Melbourne At the same time, she aims to inspire opportunities stand out for to study in Germany for emerging artists about how much Stephen during his two Melba three months. reach they can achieve with just a years, most notably one at phone and how they can potentially Cloudehill Gardens and Nursery monetise content. “It is about using in the Dandenong Ranges in the tools available to build their January 2019. “We performed all the skills he learnt through confidence. You don’t have to be in this beautiful natural the program, from negotiating polished and perfect to get your amphitheatre surrounded by contracts to public speaking. name out there.” all the sights and smells of the gardens. The concert was an “Everything has been incredibly absolute blast and the icing useful, and I find myself drawing on the cake was that at the on many Melba aspects, on a conclusion of the concert the sun daily basis.” had not quite set and the clouds The 2018 mid-year performance glowed a beautiful pink and at Deakin Edge in his first year as orange colour. It has stayed in my a Melba Artist has left a lasting mind ever since.” — impression. “I had so much 2018 Meet the Scholars performance fun performing with Cleo Lee- That romantic vision helps at Deakin Edge, Federation Square. balance the enormous amount McGowan, Samuel Piper, Adam of hard work invested and McMillan, Fleuranne Brockway, the amount of information he Paull-Anthony Keightley and absorbed from across all areas world. Through this combined before making choices that will Jessica Harper. “At the end of of the opera profession. “We had mentorship, I have a much better ultimately define my career that performance I felt that, in rare insights from mentors who understanding of what is required direction.” addition to working with some are professional performers in for a successful career as a pretty amazing colleagues and some of the largest and most performer. Now I allow myself Stephen says he has been human beings, they will also be prestigious opera houses in the to take the time to think clearly lucky enough to put into action lifelong friends.”

14 | Special Edition Celebrating 10 Years – Part 2 2017 Melba Artists at Government House, Melbourne Teresa Desmarchelier Panayiota Kalatzis THE MELBA MENTORS

Soprano website development. I had performance opportunities… and these skills, but had not quite to do that while being able to fully Ruskin Opera Award mastered them.” focus on my artistry in a safe and nurturing environment.” and Mel & Nina Waters Pana says the generosity and Award – 2013 modesty in the Melba family has been wonderful. “They welcome Much of the know-how Pana with open arms and nurture the Pana won the Australian developed at the Melba is development of young singers. International Opera Award regularly used not only in her This is something I am very in 2014 to study under singing, but in her everyday grateful for and that I try to Dennis O’Neill at the Wales life. “Melba Opera Trust has a emulate in my life.” International Academy of very organised program which Voice and in 2016 won the opened my eyes and helped She well remembers being Herald Sun Aria competition. me plan, organise, understand able to perform in Dame Nellie She has performed roles and develop many important Melba’s home Coombe Cottage with The Mediterranean skills. This ranged from daily as an absolute honour and Opera Studio and Festival lessons and coaching planning, privilege. “My year at Melba was in Caltagirone, Sicily and time-management for travel filled with so many wonderful Berlin Opera Academy and preparing music and roles, memories that I will cherish. The and is a regular performer to other important tools that master classes with industry with The 7 Sopranos and CECELLIA help build you professionally. professionals, social gatherings, The Underground Opera — These include networking, vocal meeting and greeting and Herald Sun Aria Competition winner 2016. Company. Pana is also a TELKES health, mentor master classes, working alongside other amazing Image: Stuart Walmsley singing teacher. An extremely experienced stagecraft, public speaking and singers and mentors, the corporate trainer, Cecellia brings an international level of expertise to all that our artists need to know about etiquette and protocol. From international dining customs Robert Barbaro to graceful ways to exit a prolonged handshake, the art of etiquette includes a range of useful skills Tenor exploring appropriate repertoire take on responsibilities not initially to which young artists may not as a tenor, Robert says the Melba asked of us.” In a recent West End have previously been introduced. Opera Society Vocal scholarship introduced him to all London show called Opera Undone The training that Cecellia shares Scholarship – 2013 aspects of singing. Not having (a mini double bill of Puccini’s is based on international and come from a conservatorium Tosca and La bohème), Robert official visits practised by various From vocal development to how to background, he initially felt he was required to prepare the tenor governments when hosting foreign prepare roles, language coaching, didn’t belong in the classical music role of Cavaradossi in Tosca, but dignitaries and, while these musicianship, musical/operatic world. That changed. “It not only also the soprano role of Mimì for can never cover every possible style, physical awareness and gave me the confidence to keep a new gay version of La bohème. situation, they are superb guiding going, but the program planted “When I encounter these requests, principles for decision-making in the seed of discipline needed to I am reminded of the times that any given scenario. Residing in London, pursue opera as a career.” Melba mentors such as Sharolyn Robert’s professional life Kimmorley AM stressed to us the Cecellia’s sessions range As well as many performance crosses opera, musical importance of taking on the tasks from image management and skills, Robert was encouraged theatre and the solo concert head-on and being flexible and perceptions – both personal to value other endeavours platform with performances prepared. It is super advice and it and professional – and the such as building contacts and across Europe. In 2019 he has continued to pay dividends in various cultural differences professional relationships, and also acted as a benchmark of completed a Young Artist my international singing career.” affecting meeting and greeting, Program at The National to be a courteous and organised success and inspiration for us to networking, joining and leaving Opera Studio in London and professional. Flexibility was a key Performing at Dame Nellie Melba’s to push ourselves to make it on a group, and the art of making performed with The Ten notion he explored, too. “Flexibility estate was a highlight of Robert’s the international stage. There is a conversational small talk. Tenors on their world tour. in terms of being prepared to think Melba days, immersing him in sense of familial belonging in the outside the box or perform and the singer’s life and history. “It Melba Opera Trust community.” “These are essentially life skills that we hope the artists will embrace and practise. I always emphasise that it’s not about showing what you know, but to give them the confidence to modify and adjust Stefan Cassomenos their actions and reactions to make people around them comfortable. It’s also to give them Repetiteur It also informed the Festival’s singers, working collaboratively the confidence to speak to anyone commissioning and collaborative with them on their compositions about anything and be able to Associate Repetiteur – development of new works like At or his own and working with network and mingle in order to 2014, 2015 Sea and Continuum composed school-aged singers. have authentic conversations and by Melba Opera Trust alumna interactions.” Performing during his Melba Stefan’s immersion in the study Shauntai Batzke, premiered at Cecellia has had many different of opera during his years at Melba the 2019 Festival.” time was special. “A particularly Opera Trust has been formative memorable Melba performance positive responses from Melba for career pathways in following Stefan’s ongoing work in opera was Stephen McIntyre’s fabulous Artists to the content of her years. “It inspired me with skills to has included being guest presentation entitled Nellie in Her etiquette sessions, but they are continue working with singers in performer with the Adelaide Own Write at the Port Fairy Spring generally surprised by the different various contexts.” Symphony Orchestra in Brett Music Festival in 2015. A definite dining styles practised within Dean’s opera Hamlet for its highlight.” certain cultures. Among these have been his Australian premiere in 2018. experiences as the Co-Artistic He has also developed his own “I generally receive good feedback Director (together with Monica chamber opera composition A highly accomplished, about the segment on networking, Curro) of the Port Fairy Spring Herodias with Victorian Opera, versatile and in-demand how to interact positively (breaking Music Festival, as a curator and as part of the triple-bill Three musician, Stefan performs into groups and exiting) and tips as a collaborator. “The knowledge Tales that has culminated in three extensively with chamber on how to address someone when I acquired about operatic voices performances in VO’s planned group Plexus and with their name absolutely slips your has been extremely helpful 2020 season. Stefan notes that Melbourne Symphony mind. This can happen very easily in programming works like — his deep engagement with opera Orchestra, whilst also when you meet so many gracious Beethoven’s Ninth Symphony and Stefan as repetiteur in a master singers through Melba is only part developing and performing and enthusiastic patrons and class given by Yvonne Kenny AM at supporters at each event!” Mahler’s symphonic masterpiece Cranlana in August, 2015. of what he received. Other artistic his own compositions. Das Lied von der Erde. skills now help him to coach opera

Special Edition Celebrating 10 Years – Part 2 | 15 Xenia Puskarz Thomas and Samuel Piper Nikki Hill Matthew Reardon and Daniel Carison Cleo Lee-McGowan and Emma Matthews THE MELBA MENTORS Samuel Sakker

Tenor After completing the Margaret Schofield Opera Melba Program Samuel Scholarship – 2011, 2012 became a member of the prestigious Jette Parker “I built a strong sense of Young Artist Programme accountability for my own at The Royal Opera. He development and trajectory.” has performed extensively Sam believes his Melba study overseas with companies plan made him take stock of including Scottish Opera, areas for development and with Danish National Opera whom he wanted to work. and Opera Holland Park. Discovering his “colours” at a In Australia, Samuel has Melba styling session was an sung with West Australian unforgettable experience. “As Opera, State Opera of someone generally oblivious to South Australia and fashion, it was fascinating to be Opera Australia. categorised as ‘Winter’ by styling mentor Suzanne Dekyvere and — JAMES have pointers on what styles As Federico in L’arlesiana with suit my distinctly oblong body Opera Holland Park, 2019. WILLIAMS shape. It serves my performance wardrobe well, to this day.” James is a Sydney-based lawyer and trained tenor, who mentors A session with a L’Oréal the importance of moisturiser Sam values connections with into fellow Royal Opera Young the artists in legal issues. consultant about make-up and and how to cope with heavy stage other Melba alumni. “It’s great to Artists and Melba alumni skin care was an eye-opener, too. make-up. I also learnt how to do a take stock, compare notes and Lauren Fagan and Samuel It is impossible to compress an “It was only then I learnt about killer ‘smokey eye’.” gossip. I love regularly running Dale Johnson.” entire law degree into one mentor session, but James manages to cover an enormous amount of territory about legal issues as they might affect opera singers and performers. Starting with an overview of the constitutional Stephanie Gibson basis of Australian law and basic rights, he outlines the levels of government, the rule of law, various Soprano confidence to come out of my opening her mind to “the way the court systems and specialist courts, shell.” body talks” artistically. “This is an Dame Nellie area I pursued with great interest common statutes, torts and equity, This was also enhanced by the over time.” and the kinds of actions – civil and Melba Scholarship different artists she met through criminal – that can be brought – 2009, 2010 Melba. The mentoring gave against someone. Developing confidence was Stephanie confidence for work After Melba, Stephanie studied at the Wales Part two of his work with them a crucial part of her valuable internationally with conductors International Academy of examines copyright and contracts time at the Melba, Stephanie and how to connect meaningfully Voice. She has performed – the two areas most likely to come says. “The key opportunities within the industry. “This the roles of Queen of the into an artist’s orbit. James teaches I took from Melba were the has made my career flexible, Night in Die Zauberflöte, them about the circumstances in performances that gave me enjoyable and hugely fulfilling.” Frasquita in Carmen, covered which contracts arise, how they the time I needed to develop The performance part of the the role of Violetta in La are constructed and how courts my confidence. This was the Melba Program had an impact traviata and performed in handle them when in dispute. backbone of Stephanie’s audition on Stephanie. “At Melba, we were Opera Australia’s La bohème “With a contract for singers, we process where she learned from regularly given the opportunity discuss what is important, what on Sydney Harbour. She both failures and achievements. to sing for people who really you commit to do, exclusivity, and if has also been an English “The ability to focus and to felt connected to music”, which there are agents acting for you.” In National Opera Operaworks develop an inner voice in my is at the heart of the craft. She the copyright arena, he examines Scholarship Holder. audition approach has given me also recalls movement classes giving permissions, making recordings, who owns copyright in a performance, moral rights and the types of defences used for a breach — of copyright. Fiona in Götterdämmerung with Wiener Staatsoper James also covers areas some Fiona Jopson Image: Michael Pöhn artists may not have contemplated as being relevant, such as vehicle law and insurance, relationships Soprano and to Sydney for coaching. “The (marriage and de facto), making following year I moved back to a will, establishing a business Amelia Joscelyne Melbourne and from that time I and structuring financial affairs. Memorial Scholarship – was working and furthering my Defamation and slander are also 2010 career as a professional opera covered, as are confidentiality singer until I moved to Vienna in clauses, legal privilege and what Joining the Melba when the 2017 to commence work at the happens if a court appearance Mentor Program was being Vienna State Opera.” is required as either a party or a developed has meant Fiona One of her Melba highlights was witness. has benefitted from many opportunities to receive the 30-year celebrations of the “I can’t turn them into lawyers continuing support and advice Amelia Joscelyne Memorial in a short space of time, but this “on our journeys in this career” Scholarship, which she had is a way of introducing them to from the Melba family. received. “I made a surprise trip areas they may not have thought back to Australia to perform. It Fiona won the Herald Sun about, areas I think may be useful Fiona was living in regional NSW was a wonderful night celebrating Aria in 2015 and The Opera for performers and singers, and and working full-time when Amelia’s legacy with her family Foundation for Young areas of which they really should she started her scholarship, and with award recipients from “She was the most giving, Australians Vienna State be aware. It is fantastic the way the discovering “a new level of the past thirty years.” supportive and encouraging Opera Award in 2017. Melba wants to equip them for a life commitment, passion and the mentor I’ve worked with. From Fiona is now a full-time as elite performers.” strength to follow my chosen Invited back to Melba for a this session I forged a wonderful Ensemble member at the career path” as she travelled to master class with Yvonne Kenny working relationship with her Vienna State Opera. Melbourne for Melba classes AM in 2013 also stood out. that is ongoing to this day.”

16 | Special Edition Celebrating 10 Years – Part 2 Cleo Lee-McGowan and Emma Matthews 2018 Meet the Scholars, Melbourne Simon O’Neill and Paull-Anthony Keightley Paull-Anthony Keightley and Jessica Harper Jonathan Wilson with Johannes Fritzsch

THE MELBA MENTORS Shauntai Batzke GIUSEPPE Soprano D’ORAZZI Harold Blair Opera Giuseppe is a PHD candidate and a tutor in applied linguistics Scholarship – 2014, 2015 at University of Melbourne. “I was so excited and incredibly He coaches Melba Artists in grateful for the opportunity to Italian language. be a Melba Artist and represent Giuseppe necessarily divides his Indigenous singers, following the Melba classes into those artists likes of Harold Blair and Deborah with more or less proficiency with Cheetham AO.” Shauntai knew she the Italian language – some may be was at the beginning of a journey beginners, while others may have but immediately felt surrounded studied it throughout university. by family at the same time. Tailoring in this way means he can A performance highlight during focus on getting them ready for her scholarship was singing at the the sorts of encounters they are Melbourne Cricket Club Australia likely to have as professional artists, Day Lunch at the MCG. This especially when working in Europe. event also inspired her ongoing For the more advanced, he composition work. “On this prepares them to have any sorts occasion I prepared an a capella of conversations with actors, medley of ‘My Island Home’ Shauntai is a Principal directors or musicians in an artistic and ‘We are Australian’. The Artist at Short Black environment. Various scenarios arrangement included my own Opera and in 2020 made are set in which this might occur, lyrics that represented the many her debut with Melbourne such as being in the foyer of a nationalities of which Australia Symphony Orchestra at theatre, ordering drinks and talking is now comprised. I felt so proud — the Sidney Myer Music about their performance, or the that day singing of my heritage, Performing at the 2015 Artist Farewell Soiree at Cranlana. Bowl. Among a number performance of other singers, with culture and community.” This was of achievements since an Italian person. enriched knowing her late father, leaving Melba, Shauntai Wally Carr, the famous boxing has sung roles with The The beginner level sessions are champion, has his name on the Shauntai says that throughout I have collaborated on exciting Production Company more basic, rooted in grammar and Boxing Hall of Fame showcased her career so far, she has drawn new projects enriching and world premiered her vocabulary. “We have to give them at the MCG. “I recall a warm on all aspects of her Melba further musical and creative original compositions as more essential, basic tools, the and grateful reception from the training, strengthening her development. The experience at an Emerging Composer at foundations of the language in order audience and I later read they had confidence as an artist and a Melba is ever-present with me, the Port Fairy Spring Music to be able to speak.” This might even mentioned my medley in person. “Based on relationships I especially when making career Festival. include learning how to introduce their newsletter to members.” built with fellow Melba Artists, choices.” oneself, or ask for directions to a theatre, but it is always related to opera in some way. Giuseppe says most Australians have a monolingual mindset, but the Melba Artists have an advantage Brenton Spiteri because, as opera singers, they tend to be acquainted with Italian words and phrases through their and meaning. I became more Tenor repertoire. “When we have lessons, determined than ever to commit they can memorise the meaning of John & Elizabeth Wright- to my passions and sort out why words really quickly because they I wanted to sing and how I could Smith Scholarship – are exposed to the Italian language best do it. That is definitely an through opera, even if it is a passive 2012, 2013, 2014 ongoing journey, but my time on knowledge.” Whether he is thinking about his the Melba Program enabled me performing presence, industry to take the first few steps.” Giuseppe finds the Melba Artists very interesting because, while and career issues, or about more Brenton says it was a big moment they all have differing backgrounds practical skills, Brenton says he for him in 2012, during his first in terms of their Italian language brings his Melba-learnt skills into Melba year, when he won the understanding and knowledge, life on a daily basis. “There is so Herald Sun Aria award. “I had they all help each other. “You much that I experienced during never stepped onto such a big would imagine they just compete those years that helps me almost stage or sung with such a large with each other, but when they every day.” orchestra before. I was as nervous study together, they form a really as nervous can be, but I had such This includes the diversity of the good group. They cooperate and great support from Melba staff, Melba Mentor Program. “I think whenever someone doesn’t know mentors and community, as the most important practical skill something, they help each other well as from my own wonderful I developed during that time was instead of showing off. That was friends and family. I will never simply the ability to sing a little striking for me.” better and with more confidence forget the incredible people who were part of my life at that time and who helped me through that ©Ryman Healthcare unforgettable experience.” “I’m still friends with many of Brenton spent two seasons the singers who went through in the Young Artist Program Melba during those three years or at Opéra de Lyon where he just after, as well as some of the performed multiple roles. amazing supporters from among After returning to Australia, the Melba community. I will he performed with Victorian cherish those friendships forever. Opera, State Opera South They often remind me that I’m Australia, Opera Australia not on this crazy adventure and Pinchgut Opera. alone and that is about the most Brenton has now relocated valuable piece of knowledge one to London to study at the — can have in this industry.” Celebrating the 30 year anniversary Guildhall School of Music of the Amelia Joscleyne Memorial and Drama Opera School. — Scholarship in August, 2019. Mentoring Melba alumna Jessica Harper©Pier Carthew

Special Edition Celebrating 10 Years – Part 2 | 17 2019 Melba Artists Cleo Lee-McGowan and Xenia Puskarz Thomas 2019 Melba Artists ©Michelle Grace Hunder

THE MELBA MENTORS RICHARD ALUMNI UPDATES THOMAS Kyla Allan – Mezzo-soprano A Melbourne-based accountant Melba Opera Trust Scholarship and music theatre singer, Richard – 2012 presents a seminar on accounting with an emphasis on tax. Since Melba, Kyla has performed regularly with Opera Australia Because he is also a performer, as both a principal in its Schools Richard brings an inside view on Company and a chorus member the importance of accounting and in their mainstage productions. tax when he has sessions with the She is also a regular member of Melba Artists. Explaining how tax The 7 Sopranos having toured works regarding prize money and extensively with them as well scholarships, what are the available as being featured on their CD Stacey Alleaume – Soprano Fleuranne Brockway deductions and specific tax rulings Popcorn. Melba Opera Trust Scholarship – Mezzo-soprano that are applied to performing – 2010 Ruskin Opera Scholarship artists: these are just some of the Amelia Joscelyne Reserve and Annie McFarling Opera finer details he covers. Scholarship and Ruskin Opera Scholarship – 2018 “I think because I can get on Award – 2012 In 2018 Fleuranne was the their level and know what they After Melba, Stacey performed recipient of the Australian are thinking as performers, I can with Opera Australia, first as a International Opera Awards’ Royal demystify tax and accounting for principal in their Schools Company College of Music Scholarship them. Tax can seem boring, so of and Oz Opera tour whilst covering and the winner of the German- course they ask the usual questions roles on the mainstage. In 2016 Australian Opera Grant. She about what they can deduct, what she became a member of the relocated to London for her incentives there are and I can let Moffatt Oxenbould Young Artist studies at the Royal College of them know what to be wary of.” Program and has since sung many Music before moving to Germany roles for the company including in 2019 to take up an ensemble More broadly, Richard discusses Leïla in Les Pêcheurs de perles, position at the Hessisches contract negotiations with the Micaëla in Carmen, Violetta Staatstheater Wiesbaden. artists, explaining that they will Simon Bruckard – Repetiteur Angela Brun – Soprano Valéry in La traviata, Susanna in Fleuranne continues to perform initially not have a lot of bargaining Margaret Schofield Opera Melba Opera Trust Scholarship Le nozze di Figaro and Gilda in there regularly and has just been power so should not expect to be Scholarship – 2016 – 2011 Rigoletto. In 2019 she also made renewed for the 2020/2021 setting out a list of demands. Conductor, composer and pianist, Before leaving Australia, Angela her international debut singing season. He encourages them to absorb Simon works regularly with was a regular artist with Opera Gilda for the Bregenzer Festpiele the idea that they should only take Opera Australia and Victorian Australia. She now resides in the Seebühne. on doing free gigs with a specific Opera. He won the 2020 Musical UK where she is a freelance singer reason in mind. “In the world of Achievement Green Room Award and has directed the Guildhall opera, you can find there are people for his new Australian youth opera Singers Choir in Norfolk. who might be seemingly influential The Selfish Giant, premiered by Leilah Fox – Soprano but when you talk money, careers Victorian Opera in 2019. Margaret Schofield Opera or introductions that can fall by the Scholarship – 2013 wayside.” While it is a fine balance Leila has relocated to Western between doing free work and doing Australia where she has free work with the possibility of performed with the WA Opera advancing one’s career, Richard chorus and the WASO chorus. encourages them to understand She also runs a singing studio that the reality is they are going in Perth. into an industry with a lot of unemployment. At the same time, it is important not to put aside visions of grandeur on stage. “I hope they come away with a clear message that they have to keep up to date with their tax compliance. Daniel Carison Hannah Dahlenburg Rebecca Gulinello – Soprano As far as what new knowledge they – Baritone – Soprano Amelia Joscelyne Memorial get out of it, hopefully that they have Scholarship – 2013-2014 a business mindset and a personal Opera Society Vocal Scholarship Melba Opera Trust Scholarship profile mindset and that they come and Beleura-Tallis Opera and Mel & Nina Waters Award Rebecca is completing a four- away thinking of themselves as a Scholarship – 2015 – 2011-2012 year resident artist program at business. The tax is a by-product Paulette Bisley Opera Scholarship Beyond her Melba scholarships, the prestigious Academy of Vocal of that.” and Ruskin Opera Award Hannah found success through Arts in Philadelphia. She has – 2016-2017 numerous singing competitions recently performed the roles of During his last year with Melba, and also completed a Master 2nd Wood Sprite in Rusalka, Una Daniel was the winner of the of Music with Distinction at novizia in Suor Angelica and Anna German-Australian Opera Grant. the Royal Northern College of in Le Villi. Other highlights include He relocated to Germany in 2018 Music in 2015 as the Leverhulme Tait Memorial Trust Award, 2016; Georgina Hall – Soprano Finalist, Herald Sun Aria, 2015; to take up an ensemble position Scholar. She has performed Harold Blair Opera Scholarship her signature role of Queen of Finalist, IFAC, Australian Singing at the Hessisches Staatstheater and Mel & Nina Waters Award the Night from Mozart’s Die Competition, 2015; Lisa Gasteen Wiesbaden where he continues to – 2017 Zauberflöte to great acclaim over National Opera School, 2015; perform. Daniel is set to make his Harold Blair Opera Scholarship debut with Landestheater Coburg 200 times throughout Australia, Acclaim Awards Scholarship and Ruskin Opera Scholarship this year as Lord Enrico Ashton in Germany and the UK, in addition Winner, 2015; and Grant winner, – 2019 Lucia di Lammermoor. to several other roles, and is Ian Potter Cultural Trust, 2015. a frequent concert and recital In October 2020 Georgina performer. Still performing, Hall will join the cast in Short Hannah is also completing a Black Opera’s production of Master of Music Psychology and Pecan Summer. She will be Performance Science by research understudying Shauntai Batzke’s at University of Melbourne under role of Old Alice and Deborah renowned music psychologists Cheetham’s role of Ella. Professor Jane Davidson and Dr Margaret Osborne.

18 | Special Edition Celebrating 10 Years – Part 2 Brenton Spiteri and Morgan Balfour Celebrating Mary-Jane Joscelyne OAM with Adam McMillan, Paull-Anthony Keightley, Fiona Jopson and Siobhan Stagg Stephen Marsh

THE MELBA MENTORS ALUMNI UPDATES

Adam McMillan – Repetiteur Margaret Schofield Opera Scholarship and Mel & Nina Waters Award – 2018-2019 Since honing skills as a repetiteur with Melba Opera Trust, Adam remains a sought-after pianist in recital and chamber music and has expanded his teaching online during the COVID-19 pandemic. Nikki Hill – Soprano Samuel Dale Johnson Ruskin Opera Award and – Baritone Mel & Nina Waters Award – 2014 RJ Hamer Opera Scholarship Margaret Schofield Opera – 2013 Scholarship and Ruskin Opera Samuel became a member of Award – 2015 the prestigious Jette Parker Nikki has moved on from singing Young Artists Programme at to complete a Master’s of Speech The Royal Opera in London. In SUZANNE Pathology. She completed the 2017 he joined the ensemble at graduate program at the Royal the Deutsche Oper Berlin where DEKYVERE Brisbane and Women’s Hospital, he has regularly performed ever Suzanne is a corporate and working with adults. Nikki has since. Performing highlights have personal style consultant. She recently relocated to Dubai with included the title role in Eugene assists the artists to manage her fiancé and is now providing Onegin for Scottish Opera and appearance, understand dress speech pathology services to Guglielmo (Così fan tutte) for Jade Moffat Timothy Newton – Bass codes and industry expectations. children, specialising in telehealth. Northern Ireland Opera. – Mezzo-soprano Stuart Leslie Opera Scholarship Suzanne gives Melba Artists group- Dame Nellie Melba Scholarship – 2016 based and individual sessions Tiriki Onus – Bass-baritone and Patrick & Vivian Gordon Award After Melba, Timothy sang and in which they learn much about – 2014-2015 covered principal roles with discovering their own style and Harold Blair Opera Scholarship Victorian Opera and performed personality, while also adhering to – 2012-2013 Jade has relocated to the UK where she completed the with Opera Australia’s Schools the sorts of expectations and codes Tiriki is a Yorta Yorta man and Guildhall School of Music and Company as Sarastro in its the industry holds dear. was the inaugural recipient of the Drama Opera Course. She has production of Die Zauberflöte. In Dividing the artists along gender Harold Blair Opera Scholarship. performed as Marcellina in Le 2018 he sang the role of Colline lines, Suzanne discusses what He is now Head of the Wilin nozze di Figaro with Clonter Opera in La bohème with Opera New clothes say about a person and Centre for Indigenous Arts and and has since been performing Zealand and was awarded The how to decipher dress codes. “But Cultural Development at the in the chorus and covering roles Opera Foundation for young it is also about their clothes being University of Melbourne and for Glyndebourne Festival Opera. Australians Deutsche Oper authentically them. It is not about continuing a career in visual art. Most recently she undertook Berlin Award. Timothy has now being a cookie-cutter and looking the Spring Highlights Tour with relocated to Berlin to take up a the same, but knowing that there Scottish Opera singing with fellow permanent ensemble position Jacqueline Porter – Soprano are expectations.” Melba alumna Zoe Drummond. with that company. Dame Nellie Melba Scholarship and With the female group, Suzanne Patrick & Vivian Gordon Award – 2010 takes them through discussions Jacqueline’s singing career in Sophie Yelland about line and design, tricks that Australia has flourished since her – Mezzo-soprano stylists use to accentuate height Melba scholarship. In addition Margaret Schofield Opera and width, “camouflaging bits to performing with State Opera Scholarship – 2010 they might not be so comfortable of South Australia and Victorian with and highlighting the parts of Opera, Jacqueline is a regular Sophie is currently based in themselves they like and are very featured soloist with many of Cardiff. She joined the Welsh comfortable with”. For the males, Australia’s choral societies and National Opera in 2014 and there is far less variety, but still a symphony orchestras including covered a role as well as singing lot of things to learn about wearing Samuel Piper – Baritone the Sydney, Melbourne, Adelaide in the chorus at The Royal Opera. John & Elizabeth Wright-Smith a suit, from buttons and vents to and Tasmanian Symphony Sophie is now a full-time chorus pockets, ties and lapels. Scholarship – 2017, 2018 and 2019 Orchestras. She is a sought-after member at Welsh National Opera. Ryman Healthcare Opera guest artist at major Australian Matthew Reardon – Tenor She has also performed with In the individual sessions, Suzanne Scholarship – 2019 goes into finer detail about the festivals and particularly enjoys Opera Arts & Support Group English National Opera chorus sorts of outfits and colours that are Following his Melba scholarship, giving recital performances. Award – 2013 and in the Glyndebourne Opera best suited to a particular person. Samuel has been based in Beleura-Tallis Opera Scholarship Festival. In 2017 she was part of “And I get really beautiful responses Treviso, Italy developing his and Margaret Schofield Opera the chorus in Opera Australia’s from them. It is confidence that bel canto repertoire and Scholarship – 2014 revival of Wagner’s Ring and Italian language skills. He covered the role of Rossweisse in they take away from it. They feel made his Italian debut at the Following Melba, Matthew Die Walküre. good and know what direction Teatro Pasolini in Cervignano completed his Master of Opera at they are heading in. It is not about del Friuli and sang in a matinee the Wales International Academy spending a lot of money, but about performance at Castello di of Voice in Cardiff with Dennis confidence. The thing I love about Roncade with partner and O’Neill while on a full scholarship the Melbas is that they are generally Melba colleague Xenia from the Australian International very receptive and they want to Puskarz Thomas. Opera Award and the Tait know all about it.” Memorial Trust. In 2016 he spent time working with Marilyn Horne at the Music Academy of the West Jonathan Wilson – Repetiteur Summer Festival in Santa Barbara, Margaret Schofield Opera California, where he sang the role Scholarship – 2016-2017 of Vašek in The Bartered Bride by Smetana. He made his role debut Jonathan won the 2017 Geoffrey as Don José in Carmen with Parsons Award for collaborative Festival Opera in New Zealand. In pianists. He continues to work Australia he performs with Opera as an accompanist and soloist Australia, WA Opera and Short in Sydney and is on staff with Black Opera, with roles in Pecan Opera Australia. Summer, Madama Butterfly, Così fan tutte and La bohème.

Special Edition Celebrating 10 Years – Part 2 | 19 Kyla Allan 2012 Hannah Dahlenburg 2011–2012 Rebecca Gulinello 2013–2014 Nathan Lay 2011 Xenia Puskarz Thomas 2019 Melba Stacey Alleaume 2010, 2012 Bronwyn Douglass 2016–2017 Georgina Hall 2017, 2019 Cleo Lee-McGowan 2017–2019 Matthew Reardon 2013–2014 Damian Arnold 2017 Zoe Drummond 2015–2017 Jessica Harper 2018 Stephen Marsh 2018–2019 Samuel Sakker 2011–2012 Morgan Balfour 2015 Emily Edmonds 2013 Tessa Hayward 2019 Adam McMillan 2018–2019 Brenton Spiteri 2012–2014 Alumni Robert Barbaro 2013 Lauren Fagan 2011–2012 Nikki Hill 2014–2015 Jade Moffat 2014–2015 Siobhan Stagg 2009–2012 Shauntai Batzke 2014–2015 Amir Farid 2013 Samuel Dale Johnson 2013 Timothy Newton 2016 Janet Szepei Todd 2010–2012 2009-2019 Fleuranne Brockway 2018 Simon Bruckard 2016 Alexandra Flood 2014 Fiona Jopson 2010 Tiriki Onus 2012–2013 Nicholas Tolputt 2015–2016 Angela Brun 2011 Leilah Fox 2013 Panayiota Kalatzis 2013 Michael Petruccelli 2016 Shakira Tsindos 2016 Daniel Carison 2015–2017 Stephanie Gibson 2009–2010 Paull-Anthony Keightley 2018 Samuel Piper 2017–2019 Jonathan Wilson 2016–2017 Stefan Cassomenos 2014–2015 Christian Gillett 2013 Jeremy Kleeman 2014–2015 Jacqueline Porter 2010 Sophie Yelland 2010

PATRON IN CHIEF Peter & Jan Clark John Kiely & the late Shirley Fong Ms Rosemary Norbury MENTOR PROGRAM HE the Honourable Linda Dessau Kevin & Margaret Collecutt Lorraine Elliott AM William J Forrest AM Stephen O’Meara QC & Kate Galvin AC, Governor of Victoria & Val Diamond & John Funder AC Kathryn Kings The Hon Saffron Foster Jocelyn & the late John O’Neil MADE POSSIBLE BY: Mr Anthony Howard AM QC Dr Helen M Ferguson Dr Peter A Kingsbury Jenny Fullard Sarah Patterson FOUNDING PATRONS Matthew Field Julie Lidgett Peter Garnick Joan Pigdon Mary-Jane Joscelyne OAM Nance Grant AM MBE & Ian Harris Peter Mander & Walter van Christina Gebhardt & the late Roger & Catherine Poole The late Pamela, Lady Vestey John & Jo Grigg Nieuwkuyk OAM Peter Gebhardt The late Joy Potter HONOURARY PATRON Hon Peter Heerey AM QC & Suzanne Maple-Brown Annie Gibson Ms Georgia Bassingthwaighte & The Hon. Saffron Foster Mrs Sally Heerey Mary-Ruth & Peter McLennan Dr R & Ms K H Grinberg Mr Andrew Powell IMPRESARIO Hans & Petra Henkell Margaret & the late Patrick Mills Elisabeth Guinness Clare & David Pullar • John & Elizabeth Wright-Smith ($500,000 and above) Margaret & Trevor Holborow Susan Morgan Hugh Hallard Kenneth R Reed AM • Reilly & Logie-Smith Mentor Endowment Warwick & Paulette Bisley Gill & Giles Hunt William & Andrew Morris The Hon Justice Hartley Hansen Greg J Reinhardt AM • Lady Southey AC Mary-Jane Gething & the late Dr Alastair Jackson AM The late Dame Elisabeth Murdoch QC & Mrs Rosalind Hansen Janice Roberts & Achim Leistner • Tallis Foundation Joseph Sambrook Suzanne Kirkham AC; DBE Bill Hayward OAM & Alison Mr & Mrs Alexander Roche John & Elizabeth Wright-Smith Elizabeth Lithgow Geoffrey Norris Hayward Tom & Elizabeth Romanowski PATRON Robert G Logie-Smith AM & Miki Oikawa Dr Martin & Jacqui Higgs Dr Paul & Gay Rosen ($250,000 – $499,999) Sue Logie-Smith AM The late Nancy Petersen and Her Hon Judge Frances Hogan Margaret S Ross AM Peter Reilly & Linton Soderholm Patricia McKenzie daughter, Dale Robert Hook Mr Nick Ruskin & Dr Annette Shiell Philanthropic Partners Roz Zalewski-Ruskin & The Hon Justice John & Tony & Elizabeth Rayward Peter Hordern Susan Santoro Jeremy Ruskin QC Mrs Judith Middleton Aubrey Schrader Rosemary & David Houseman Graham & Lorraine Schmidt GRAND CIRCLE Graeme Parncutt Graham Sellars-Jones Dr Sam Howes & the late Dr David Scott AM & Dr Lyndal Scott ($100,000 – $249,999) Helen Paterson Richard Stanley QC & Sue Stanley Margaret Howes Penelope Seidler AM Charles Allen AO & Jocelyn Allen Judith Robinson & the late Gillian Storey AM Penelope Hughes The Hon. Justice Melanie Sloss SC Janet Calvert-Jones AO & Michael Robinson AO The Lord & Lady Vestey Alison Hyams Prof Richard Smallwood AO & John Calvert-Jones AM Margot & Warwick Ross Prof Mel & Nina Waters Cynthia Jackson AM Carol Smallwood A/Prof Andrew Cochrane Phillip & Susan Schudmak Cameron Wenck Barry & Prue Johnson Smedley Family Dr Fiona Cochrane John E Smith Paul Worthington Lewis & Paula Johnson Russell & Margaret Smith Joseph Diflo Jennifer & David Sutherland Anonymous (2) William M.P. Jones Barbara Soulie Diana Gibson AO Dr Michael Troy MELBA CIRCLE Grace & the late George Kass Lyn Stephenson The late Lady April Hamer Michael & Cathryn Wheelahan ($1,000 – $4,999) Julia King Jo Strutt Peter Laver AM & Anne Laver MAESTRO CIRCLE C A Alston Lesley King Swindel-Hurst Family Trust David & Sallie Prior ($5,000 – $9,999) Dr Patricia Armstrong-Grant OBE Anthony Knight OAM & Beverly Knight Hugh & Liz Taylor Andrew Sisson AO Philip Bacon AM Robbie S. Barker Peter & Barbara Kolliner Leslie C. Thiess DRESS CIRCLE The Hon Justice David Beach & The Beale Family Lynne Landy & John Landy AC MBE Rob & Ruth Thomas • Cochrane Schofield Fund ($50,000 – $99,999) Marea Beach Judy & Michael Begg Joy Laurence Rob Thomas Andrew & Victoria Fox-Smith Marc Besen AC & Eva Besen AO Elizabeth Beischer Deirdre & The late Hon Justice Leo Dr George Tippett AM Louise M. Gourlay OAM Dr Dianne & Lino Bresciani, Youth Simon Bell & Jennifer Coghlan-Bell Lazarus Sylvia Urbach Peter Griffin AM & Terry Swan Music Foundation of Australia Kenneth Betts Valerie & Dr Roger Le Maitre Geoffrey Webb Peter Hansen OAM & Neroli Hansen Elizabeth Brown Ann Blainey John & Erin Lidgerwood Messrs Grant Johnson & Professional Support Ann & the late Ian McFarling The Hon Alex Chernov AC QC & Chris Blanden QC Janet Limb AO Steven Wharton Kate & Stephen Shelmerdine Elizabeth Chernov Caroline Brain Norma Lithgow Alexander G. White GALLERY CIRCLE Sandy Clark & Marie McDonald Jonathan & Anne Breadmore Dr Bruce & the late Dianne Livett Christine Williams ($25,000 – $49,999) Catherine & Mark Clisby H & J Burger Colin Lovitt QC & Margaret Lovitt James & Clytie Williams James & Judith Beattie Jillian Cobcroft The Hon Justice David Byrne & Probus Club of Melbourne Inc. Helen Woods & Lewis Rowell Ernest Dawes OAM OBE & Nola Dawes Ann Cole Jenni Harris Marin Charitable Trust Barbara Yeoh AM Ian Dickson & Reg Holloway Rosie Cunningham Adrienne & The late Ross Cameron David & Jane Martin Anonymous (18) Rose Downer & John Downer AM David Curtain AM QC & Sally Curtain J S Chambers Foundation Barbara Mayes FRIENDS OF THE MELBA Frank & Judith Firkin Arthur Day AM & Hilary Day Dr M P Chipman Denys & Ingeborg McCullough (All gifts up to $999) Dale & Ian Johnson Jane Douglass AM Janet Clark & the late John Clark AM Ian McDonald Melba Opera Trust also appreciates David Jones Sir Andrew & Lady Fairley Libby Colenso Dr Sue McNicol AM QC the generosity of over 300 Friends The Family of the late Jack McLeish Foundation Jim Cousins AO & Libby Cousins Ross McPherson AM of the Melba. Tom & Ruth O’Dea Catherine & the late Roger Freeman Caroline & Glenn Crane Dr Bryan Mendelson & MELBA’S WILL Lady Potter AC CMRI Fleur Gibbs Mr John Craven Mrs Debora Mendelson BEQUEST CIRCLE Anita Simon Peter & Elizabeth Goodman Shaneen Crouch & the late Fiona Menzies Dr Patricia Armstrong-Grant OBE Event Partners Lady Southey AC Christine Hughes Michael J Crouch AO James Mighell SC Michael Bertram Anonymous (1) Darvell Hutchinson AM & Charles Curran AC & Eva Curran Michael & the late Judy Morrison Garry A Fehring BALCONY CIRCLE Barbara Hutchinson Mrs David Darling Kristin Moses Ian & Dale Johnson ($10,000 – $24,999) Mary-Jane Joscelyne OAM Ros & John Dowling Dr Kenneth Muirden AO & Mary-Jane Joscelyne OAM Jim Allen OAM Anne Kantor AO & the late Terry & Linda Elliott Lesley Muirden Ann McFarling Judy Allen Dr Milan Kantor OAM Jack & Vivian Fajgenbaum Kris Neill Diane Morris The late Betty Amsden AO Bryan Keon-Cohen AM QC & The Hon Diana Fisher OAM Margaret Nevett Mary Ryllis Clark Chris Arnold AM & Margot Costanzo June Keon-Cohen Barbara Fleischer Liz Nield Anonymous (2) Recognised support as of 8 May 2020

20 | Special Edition Celebrating 10 Years – Part 2