The Franz Lehár

THE

FRANZ LEHÁR Proud Production Sponsor

of State Opera 2018 State Opera South Australia presents

29 NOVEMBER – 6 DECEMBER 2018 Adelaide Festival Theatre

Conductor – Wyn Davies Lighting Designer – Damien Cooper Director & Choreographer – Graeme Murphy AO Assistant Director & Choreographer – Shane Placentino Creative Associate – Janet Vernon AM English Version – Justin Fleming Set Designer – Michael Scott-Mitchell Sound Designer – Murray Keidge Costume Designer – Jennifer Irwin Chorus Master – Simon Kenway

Hanna Glavari – Antoinette Halloran Dominik Bogdanovich – Norbert Hohl Count Danilo Danilovich – Alexander Lewis Sylviane – Deborah Caddy Baron Mirko Zeta – Andrew Turner Raoul de St Brioche – Adam Goodburn Valencienne – Desiree Frahn Viscount Nicolas Cascada – Jeremy Tatchell Camille de Rosillon – John Longmuir Olga Kromov – Sarah-Jane Pattichis Njegus – Mark Oates Konrad Pritschich – Joshua Rowe Alexis Kromov – Nicholas Cannon Praskovia – Catherine Campbell

STATE OPERA CHORUS ADELAIDE SYMPHONY ORCHESTRA

Duration: 190 Minutes including two intervals This production proudly sponsored by: TRILITY

www.trility.com.au 2 3

SOSA 2018.indd 1 27/04/2018 15:25 welcOme

PRODUCTION SPONSOR STATE OPERA TRILITY is delighted to partner an organisation like State Welcome to State Opera’s glorious finale to the operatic Opera South Australia. They are renowned for their rich year – and what a way to end! There is so much to artistic practices and with this production of Merry Widow; celebrate in this brand new production of Lehar’s classic State Opera continues a tradition in bringing this much- operetta The Merry Widow. With settings by Michael loved operetta; with its exquisite music, magnificent waltzes Scott-Mitchell (best remembered in Adelaide for his and lavish art-deco sets to life in a fresh production which is stunning Ring Cycle in 2004), glamorous costumes by both beautifully romantic and devilishly funny. Director and Jennifer Irwin, illumination by Damien Cooper and direction choreographer Graeme Murphy weaves his magic in this by the inimitable Graeme Murphy; this production has sumptuous production, designed by Michael Scott-Mitchell triumphed all over Australia. We are also delighted to and Jennifer Irwin and we as South Australian’s benefit from present the State Opera debut of Wyn Davies conducting work such as this in so many ways. your Widow, Antoinette Halloran, alongside Alexander Lewis as Danilo, a glorious cast, the State Opera Chorus TRILITY too welcomes exciting challenges, and is actively and our own Adelaide Symphony Orchestra to showcase pursuing projects across the nation including South Australia, this much-loved score. whilst preserving very high service levels to our many sites in urban and regional South Australia. Many of you will know what a busy and inspirational last few months we have had here at State Opera; the launch The Merry Widow is a glitzy, glamorous good time and of our 2019 season has been greeted with enthusiasm and there’s no doubt this bubbly, beautiful, and full of tunes delight, our sell-out production of Dido and Aeneas at performance will have you humming as you leave the Plant 4 Bowden has put a new cool venue on the map, by theatre. TRILITY is very proud to be a part of this outstanding the time you read this we will be announcing the recipient production and we hope this operetta is the highlight of your of our inaugural 2019 Director Fellowship, and our new cultural life in 2018. 2019 Opera Club is shaping up to be the hottest ticket in Opera by its very nature is expensive because it combines town (buy to 7 or more events next year and automatically all the dramatic, musical and visual arts in a single creative receive exclusive entrée). Exciting times ahead my friends! vision. It needs sponsors. This is why TRILITY is very proud to Thank you to the State Opera Board, our precious donors, support the State Opera South Australia. sponsors, opera lovers everywhere, and you especially, our South Australian audience, who bring this company to life FRANCOIS GOUWS every year. My very special thanks also to our long-term Managing Director and valiant sponsors TRILITY who are genuine believers in TRILITY Group the value of the performing arts to our society. We hope you enjoy this wonderful production and I look forward to seeing you many more times in 2019 at the opera.

YARMILA ALFONZETTI Executive Director State Opera South Australia

IMAGE: Stephanie Do Rozario, Courtesy of Opera Queensland. DIRECTOR’S nOte

My first formal dance step was definitely a waltz. It was adaptation which respects the original while injecting most certainly in a community hall in country Tasmania pace and clarity. This clarity is reflected in the elegant and my mum Betty was, as always, at an upright piano Art Deco set design by Michael Scott-Mitchell, which pumping out the 3/4 rhythm of a progressive barn dance. transports us to a world far from the babble of the now. I was perhaps 9 years old and would have stepped on Costume designer Jennifer Irwin drapes the cast in dreams the toes of many a farmer’s wife. that float through subconscious memory and lighting design by Damien Cooper paints this lost world with The first time I heard the iconic Merry Widow waltz was faceted mirrors and shards of impressionistic gossamer. on a tinny music box at my Uncle Hinton’s house in the big smoke, Launceston. Little did I know how often that If this all sounds escapist, how right you are! Yet, there waltz and I would get together! Fast forward and I am is at the heart of this operetta a grounding force: our waltzing in one of The Australian Ballet’s most successful protagonists Hanna and Danilo, who because of proud ballets, The Merry Widow - choreographed by Ronald vanity risk losing the great love of their lives - each other. Hynd, directed by Sir Robert Helpmann, with a wordless The Merry Widow touchingly reminds us of the universal score adapted by and conducted by John Lanchbery, and and all-pervasive need to love and be loved. starring, among other luminaries, Dame Margot Fonteyn. To you, dear audience, I offer a warm invitation to submit With The Australian Ballet, I waltzed through countless to an amazing cast in the service of a timeless musical performances and thousands of miles, from the London gem. Palladium to Broadway’s Shubert Theater and beyond. I remember joking with Janet Vernon, my sometimes dance partner, my current creative associate, and my always life GRAEME MURPHY AO partner, that we were doomed to waltz in ‘The Weary Director & Choreographer Meadow’ till our legs became stumps! Fast forward to now and...SHE’S BACK, once again filling my life not just with lush orchestration but this time with vocal magic and sparkling dialogue. What an absolute pleasure to be working with State Opera under Stuart Maunder’s artistic direction, ASO and conductor Wyn Davies. How thrilling to have Justin Fleming’s new

IMAGE: Stephanie Do Rozario, Courtesy of Opera Queensland. A LOVE AFFAIR

Australia has had a love affair with the Widow since In 1978 Designer Kristian Frederickson transformed the Carrie Moore, a Geelong-born 25-year old opened as Concert Hall of the Sydney Opera House into a cream, The Merry Widow in 1908 at Melbourne’s Her Majesty’s grey and white Art Nouveau confection to showcase the Theatre. Over 100,000 people enjoyed Carrie Moore’s Widow of Dame Joan Sutherland. The company certainly ‘dreamily alluring’ dancing and for the next twenty years got their monies worth from this extravagant production The Merry Widow continued to play all round the country. as it played numerous revivals with equally numerous Widows over the following 35 years. Despite being remembered today for only one role, the Maid in The Maid of the Mountains, Gladys Moncrieff In 2004 director Simon Phillips and designers Michael always maintained her favourite role was The Merry Scott-Mitchell and Hugh Coleman created an Art Deco- Widow. ‘Our Glad’ waltzed her way through the thirties inspired showcase for the Widow of Yvonne Kenny. and forties in a highly corseted black velvet gown with the Resplendent in black and pink, Yvonne appeared from an debonair matinee idol Max Oldaker as her Danilo. oversized- cigarette box and waltzed down an equally oversized fan which opened to become a staircase. In J C Williamson mounted a new production of The Widow what was to be the penultimate version to this production, in 1943 to showcase Australia’s celebrated song and 2010 saw Amelia Farrugia and David Hobson headlining dance partnership in the mould of Fred Astaire and Ginger a revival of Giles Havergal’s Opera North version. Rodgers; Cyril Ritchard and Madge Elliot. Dubbed by the press as ‘the greatest love story in Australian theatre’ the The Merry Widow has never enjoyed a major revival in two had consistently denied that they were romantically Australia because It has virtually never been out of the involved. According to Madge, they were ‘just good repertoire. companions’ who danced. And Cyril commented that they The ‘heart’ in The Merry Widow is irresistible. It is married ‘after ten years of whirlwind courtship’. charming, romantic, amusing, tuneful… and sentimental. This production ran for eight months and continued to tour “Sentimental” is, of course, a dangerous word to use Australia from 1944 until the end of World War 2 playing today, but remember what composer Richard Rogers (a to troops in Cairo, Alexandria, Italy, Paris, Holland and man who acknowledged that his first experience with Brussels. The Merry Widow began his life-long obsession with the waltz) once said in response to the charge that The Sound The 1950s was a ‘Widow-free zone’ in Australia. Perhaps of Music is sentimental: there were deemed no possible Widows in Australia at the time. Certainly, the one Australian singer who became ‘Too much of anything is harmful. No one is comfortable most associated with the role of the Widow was learning with an excess of hearts and flowers, but there is no valid her craft in England; June Bronhill. The classic 1957 reason for hiding honest emotion... it’s my conviction that Sadlers Wells production made her a star; the role and anyone who can’t, on occasion, be sentimental... is sadly ‘Vilja’ becoming her calling card. This production was maladjusted.’ brought to Australia in 1960 playing to sell-out houses throughout the country. STUART MAUNDER AM Opera Australia has produced the operetta four times. The Artistic Director 1972 production provided a showcase for the undeniable State Opera South Australia onstage chemistry of Suzanne Steele and Robert Gard.

IMAGE: Jeff Busby ACT TWO SYNOPSIS Hanna’s home in Paris, the next day. Hanna holds a Pontevedrian party. Valencienne, the young wife of the Pontevedrian ambassador, Baron Zeta, continues a fragile romance with a young Frenchman, Camille, who has written a ACT ONE dangerous confession of love on her fan. The intrigue deepens when Hanna and Camille are discovered in the summer house and the hope of her reunion with Danilo appears doomed. The Pontevedrian embassy, Paris. The Balkan state of Pontevedro is facing financial ruin. Its best hope is that Hanna Glavari, a young rich widow, should marry a Pontevedrian and keep her fortune in Pontevedro, rather than risk INTERVAL marrying a Parisian and losing the money to France. The Pontevedrian Embassy holds a state ball to which Hanna and her former lover, Danilo Danilovich are invited. Before her marriage into wealth, Hanna was a poor farm girl whom Danilo’s uncle forbade him to marry. Now the pressure is on to ACT THREE reunite them in marriage. But as Danilo loved the poor farm girl, can he love the wealthy widow? Maxim’s Nightclub, later the same evening. Hanna has reserved the popular nightspot, where she sparks Danilo’s anger by her coquettish INTERVAL antics with the grissettes. The various love intrigues are resolved by vital discoveries about Valencienne’s fan – and the will of Hanna’s late husband!

IMAGE: Stephanie Do Rozario, Courtesy of Opera Queensland.

10 11 CREATIVE TEAM

WYN DAVIES GRAEME MURPHY AO JANET VERNON AM MICHAEL SCOTT-MITCHELL JENNIFER IRWIN DAMIEN COOPER SHANE PLACENTINO JUSTIN FLEMING Conductor Director & Choreographer Creative Associate Set Designer Costume Designer Lighting Designer Assistant Director & English Version Choreographer Wyn Davies works extensively as Graeme studied at The Australian Adelaide-born, Janet Vernon studied Michael Scott-Mitchell is Jennifer’s career spans 38 years Damien is a lighting designer Justin Fleming’s work for music a conductor and teacher. He has Ballet School; danced with The at The Australian Ballet School, regarded as one of Australia’s designing costumes for ballet, working in theatre, Opera and Adelaide born Shane Placentino theatre includes Satango (Griffin been Director of Music to New Australian Ballet, Sadler’s Wells danced with The Australian Ballet, most outstanding designers and drama, opera and film. She has dance; he has designed over 300 joined The Australian Ballet Theatre/Riverside Theatres, Zealand Opera since 2005 and Ballet (London), Ballets Felix Blaska Ballets Félix Blaska (France) and educators. His extensive credits designed some of the largest shows. Company, ans was promoted music by Stewart D’Arrietta), The was formerly Director of Music for (France); was Artistic Director, Sydney Dance Company, where include set design of State Opera scale spectacular productions to Leading Soloist in 1997 until Ninth Wonder (Sydney Theatre In 2018 Damien lit Force Majeure’s Carl Rosa Opera. Sydney Dance Company 31 years, with Graeme Murphy, remained at South Aaustralia’s Ring Cycle, staged in Australia, including 2000. Sydney Dance Company Company), Accidental Miracles Sydney Festival production of You creating over 60 works. the artistic helm 31 years, Graeme World Youth Day - Stations of co-designing costumes for the 2002 until 2008. Stage manager (Cameron Macintosh/STC/ Wyn’s Opera repertoire includes Animal, You, Top Girls for Sydney creating numerous roles for her. the Cross and the Cauldron & Sydney 2000 Olympic Games for SDC’s 360° and Rehearsal WAAPA), Crystal Balls (Sadler’s Candide, L’Elisir d’Amore, The Choreographed for: The Australian Theatre Company, The Merry Ceremonial Stage for the Sydney Closing Ceremony, and The Director for SDC’s 6 Breaths/ Wells), Tess of the D’Urbervilles Magic Flute, La Traviata, La Ballet; Bayerisches Staatsballett; Creative Associate credits include: Widow for Opera Australia, 2000 Olympic Games. Official Commemorative Ceremony We Unfold. Assistant Director to (Savoy Theatre & UK Tour, music Cenerentola, The Italian Girl in Shanghai Ballet; RNZ Ballet; Sydney Dance Company; The Murphy for the Australian Ballet, Graeme Murphy’s opera Aida by Stephen Edwards), Laid in Earth Recent and upcoming designs marking the Centenary of Algiers (also Scottish Opera), Tasdance; MADE; Mikhail Australian Ballet; Shanghai Song AB [INTRA] at Sydney Dance for WA Opera, OA, State Opera (Queensland Music Festival, score include Dr Zhivago on Broadway, Australian Federation 2001 & 2018 Jenůfa, Falstaff, Don Giovanni, Baryshnikov; Torvill & Dean; & Dance Ensemble; Bayerisches Company, as well as The Sugar South Australia and OQ. Guest by Damian Barbeler) and Odyssey: for which he won the 2015 Commonwealth Games. Don Pasquale (also Tokyo) all for Canadian Opera Company; Staatsballet, Munich; Universal House and A Taste Of Honey at teacher at Adelaide College of They Came with Songs into Battle, Australian Production Design Guild NZO; La boheme, The Spanish Metropolitan Opera NY; movie, Ballet, Seoul; Shanghai Ballet; Commissions include 30 years of Belvoir. Performing Arts and Terry Simpson (score by Brendan Collins.), librettist Hour, Gianni Schicchi, Janaček Mao’s Last Dancer; Andrew Lloyd Tasdance; MADE; Opera Australia; Award; over 40 productions for repertoire with Bangarra Dance Damien’s opera credits include Studios. Assisting Bruno Ravella for for Opera Australia’s The Merry Cycles (also Scottish Opera), Webber musical, Love Never Dies. Adelaide Festival, Ainadamar; Sydney Theatre Company: Arcadia, Theatre, 36 ballets for Sydney Neil Armfield’s The Ring Cycle David McVicars’ opera Faust, for Widow in 2017/18, and Justin is L’incoronazione di Poppea, Eugene movie, Mao’s Last Dancer; Andrew Switzerland and Still Point Turning; Dance Company, The Australian Directed: Metamorphosis, Turandot, and Peter Grimes, as well as Cosi OA, State Opera of South Australia librettist on Whiteley for Opera Onegin (WNO); The Magic Lloyd Webber musical, Love Never for Ensemble Theatre: Diplomacy, Ballet, Sydney Theatre Co, Belvoir, Salome, The Trojans, Aida, The Fan Tutte for Opera Australia, and WA Opera. Assistant Director Australia’s 2019 season. Flute, The Barber of Seville, The Dies. The Appleton Ladies’ Potato Race Opera Australia, WA Ballet, Merry Widow (OA); Turandot The Magic Flute for Chicago Lyric to Graeme Murphy’s opera The Mikado (ENO); The Cunning Little and The Last Five Years; Tosca, Opera WA, Singapore Dance Plays include Hammer (Ensemble); (Opera de Montreal); Ainadamar Awards include: AM for Services Opera, The Rape Of Lucretia for Merry Widow for WA Opera, Vixen, Show Boat (UK tour) (Royal Carmen and Madama Butterfly for Theatre, Royal New Zealand The Cobra, Harold In Italy, The (Adelaide Festival). to Dance (1989); Sydney Opera Sydney Chamber Opera, Chorus! OA, OQ and State Opera South Shakespeare Company); The Secret Opera Australia, and The Merry Ballet, Universal Ballet of Korea, Ninth Wonder (STC); A Land Awards include: AO, Distinguished House Honours (1993); ‘One of for Houston Grand Opera, Australia. Revival Choreographer Marriage, The Barber of Seville, Widow for Opera Conference; Melbourne Theatre Company. Beyond the River (Bakehouse), Service to the Performing Arts Australia’s top five female dancers Midsummer Night’s Dream for for John Bell’s Madame Butterfly for Madama Butterfly, La voix humaine, and Freeze Frame for Debbie Joffrey Ballet, and The Adelaide Moliere’s Tartuffe (The Hypocrite) (2012); AM, Services to Dance of all time’, Dance Australia (1996); Houston Grand Opera, Chicago OA’s regional tour. Dido & Aeneas (Opera North); Die Allen Dance Academy in LA and Festival Trust. The international box for MTC and The School for Wives (1982); Hon. D. Lit. Tas (1990); Green Room Award for Concept Lyric Opera and Canadian Opera Fledermaus, Blue Beard, Il Turco Washington DC. At NIDA, he was office phenomenon ‘Dirty Dancing, Dance repertoire: Swan Lake, for Bell Shakespeare’s national tour. Hon. D. Phil. Qld (1992); Hon. D. Lit. and Realisation, Swan Lake (2003); Company, Aida for West Australian in Italia, The Beggar’s Opera (also Head of Design (2008-2017), the musical’ is also still playing Giselle, Don Quixote, The Merry Burnt Piano (Belvoir/MTC/Herbert UNSW (1999); Cultural Leader of Centenary Medal for Services to Opera, State Opera South Lyric Belfast), Véronique (Buxton Director Undergraduate Studies worldwide since 2004. Widow, Jardi Tancat, Romeo and Berghof Playwrights’ Theater, Festival). the Year, ABAF (2004); Award for Society and Dance (2003); Lifetime (2011-2017) and Deputy Director/ Australia and Queensland Opera, Juliet, Nutcracker, Beyond Twelve, Centaur Theatre Montreal) won the Contribution to Cultural Exchange, Achievement, Australian Dance CEO (2016-2017), and for his Jennifer was nominated for Best and Ainadamer for State Opera Ellipse, ‘Jack’ in Tivoli, Underland, New York New Dramatists’ Award. Orchestral engagements - Hallé Ministry of Culture, the People’s Awards (2006); Green Room invaluable contribution to education, Costume Design in the 2017 South Australia. Some Rooms, Grand, Hua Mulan, Coup D’Etat (MTC/Bakehouse/ Orchestra, L’Orchestre Royal de Republic of China (2008); Fred & Award, Outstanding Contribution AACTA awards for the feature film Michael was appointed Adjunct Damien won three Sydney Theatre Berlin. Western Canada Theatre) won Chambre de Wallonie, Scottish Adele Astaire Award for Excellence to Dance (2006); Fred & Adele SPEAR, she was awarded Service Professor of the UNSW in 2017. Awards for Best Lighting Design and the Banff PlayRites Residency. The Chamber Orchestra, BBC National in Choreography in Film, Mao’s Last Astaire Award for Excellence in to Dance 2017 at the Australian Opera repertoire: Aida, Madama four Green Room awards for Best Department Store and His Mother’s Orchestra of Wales, BBC Scottish Dancer (New York, 2011). Choreography in Film, Mao’s Last Dance Awards, a Theatre Board Butterfly, Faust, The Merry Widow Lighting Design. Voice won the Mitch Mathews Symphony Orchestra, English Dancer (New York, 2011). Grant to Study at La Scala Opera Award. Origin was produced at Chamber Orchestra, APO, A Child Milan, and a Centenary Medal for The Art of Evolution Conference, of our time with the NZSO, National Service to Community and the Arts. Courtauld, London. Shellshock was Youth Orchestra and National Youth commissioned by Riverside Theatres Choir. and Molière’s The Literati and The Misanthrope were produced by Bell Shakespeare and Griffin Theatre. Dresden is part of KXT’s 2018 season.

12 13 cast

ANTOINETTE HALLORAN ALEXANDER LEWIS ANDREW TURNER DESIREE FRAHN JOHN LONGMUIR MARK OATES NICHOLAS CANNON NORBERT HOHL Hanna Glavari Count Danilo Danilovich Baron Mirko Zeta Valencienne Camille de Rosillon Njegus Alexis Kromov Dominik Bogdanovich A multi-Helpmann Award nominee, With worldwide operatic Andrew studied at the Elder South Australian soprano Desiree After making his professional debut Mark is an Adelaide based Opera, Nicholas is a versatile singer, actor Earlier this year, Norbert sang the Antoinette Halloran’s most recent engagements and acclaimed Conservatorium and the Luxembourg Frahn is a graduate of the Elder as Ismaele (Nabucco) in Japan, Music Theatre, Cabaret and Big and director. Nicholas has studied role of Player 3 in the Helpmann engagements have included the title performances in musical theatre, Conservatoire de Musique. With the Conservatorium and a participant in John Longmuir joined Opera Band singer. Mark has toured Lecoq Technique in Barcelona and Award-winning Adelaide Festival role in Tosca for West Australian Australian tenor Alexander Lewis State Opera South Australia, he has the 2014-16 State Opera of South Australia where he has sung all the SA with State Opera, SINGular Paris and at WAAPA, completing a opera Hamlet. 2017 saw him Opera, The Fox in The Cunning is forging a unique career as a performed the roles of Frank/Dr. Blind Australia James and Diana Ramsey major tenor leggiero repertoire Productions and the Adelaide Art Music Theatre Degree. perform the roles of Triquet and Little Vixen for Victorian Opera and “cross-over” artist. He performed the in Die Fledermaus, Cantaor in La Vida Foundation Opera Program. including: Tamino in The Magic Orchestra. Lensky in Co-Opera’s Eugene associate artist for José Carreras’ role of John Wormley in the world Breve, Ping in Turandot, Dancairo Flute, Narcisco in Il Turco in Italia, His roles have included Quick Onegin and lively chorister in National Tour. In 2019, she sings The première of Matthew Aucoin’s in Carmen, Silvio in Pagliacci, First For the company she has performed Don Ottavio in Don Giovanni, As well as performing regularly with Lamb – Cloudstreet!,Papageno – the acclaimed Adelaide Festival Fox in Adelaide and Lady Macbeth opera Crossing, inspired by Walt Soldier in Salome, Eachus in Orpheus Lauretta in Gianni Schicchi, Rose Ernesto in Don Pasquale, Camille the State Opera Chorus, Mark’s The Magic Flute with State Opera production of Saul. For State Opera in Macbeth and Mrs Lovett in Whitman’s journals. in the Underworld, Daggoo in Moby Pickles in Cloudstreet! - World in The Merry Widow, Almaviva in roles for State Opera include: John South Australia, Kalif – Der Barbier South Australia, Norbert created Sweeney Todd, Perth. Dick, Bello in La Fanciula del West, Premiere, Pamina in The Magic The Barber of Seville, Nemorino in Styx Orpheus in the Underworld von Bagdad and Graf Homonay the role of Joey in the sold-out This season’s engagements include Marullo in Rigoletto, Prince Yamadori Flute, Rosalinde in Die Fledermaus, L’elisir d’amore and many others. (Offenbach), The Cantor Maria de – Der Zigeunerbaron at Coburg production In the Dome Room at Leading appearances for Opera performances as the title role in in Madama Butterfly, Marquis Bastienne in Bastien und Bastienne, Buenos Aires (Astor Piazzolla) for Landestheater, Germany. Soloist Two O’Clock and sang Gherardo in Australia have included the title roles Candide with Sydney Philharmonia D’Obigny in La Traviata, Horemhab and Kate Pinkerton in Madama He has sung Almaviva and Camille Leigh Warren and Dancers / Opera Singer in Encore! – Tokyo Disney Gianni Schicchi. in Madama Butterfly and Rusalka, Choirs, Tony in West Side Story in Akhnaten and Kallenbach in Butterfly and sung as a soloist in in West Australian Opera, Carmina - AFC Playhouse and Brisbane Sea. The Cranky Bear with Patch Mimi in La bohème, Stella in A with Opera Australia as part of its Satyagraha. their regional tours, concerts and Burana with MSO and the New Festival, Arjuna Einstein on the Beach Theatre Company. Tritone - Gavin Trained at the Elder Conservatorium Streetcar Named Desire (Green Handa Opera on Sydney Harbour radio broadcasts. Other notable National Theatre in Tokyo, Elijah (Phillip Glass), Joe The Station Bryars’ Marylin Forever in the of Music, engagements have Room Award) and many others; for series, and Laca in Jenufa with He has toured Australia with Co- performances include the role of with Sydney Philharmonia Choirs, (Howard Blake). Adelaide Festival of Arts. Eugene included over forty opera and New Zealand Opera – Mimi, Cio- Santa Fe Opera. Last season’s Opera, singing Figaro in The Barber Stephanie in the Australian premiere Bach’s Mass in B minor with QSO, Onegin – Onegin, Dr Falke - Die operetta productions with State Cio-San and Mrs Lovett; for Opera engagements included reprisals of of Seville, Escamillo in Carmen, Falke of Jake Heggie’s To Hell and Back Messiah with Royal Melbourne Mark has performed many roles Fledermaus, Figaro - The Marriage Opera, Co-Opera and the Lehár Queensland – the title role in The Count Danilo in The Merry Widow and Dr. Blind in Die Fledermaus, with Gertrude Opera in Melbourne Philharmonic, Rossini’s Stabat Mater for The Adelaide Festival including; of Figaro, Sharpless - Madama Festival in Bad Ischl, Austria. He Merry Widow. with West Australian Opera and Silvio and Tonio in Pagliacci, which she will be reprising later in with WASO, Israel in Egypt with the Adelaide Festival, Street Singer Butterfly, Don Alfonso - Cosi Fan performed the roles of Giuseppe in Opera Australia, John Wormley in a Guglielmo in Cosi fan tutte, Giuseppe 2018. the Berliner Cappella and Faure’s in the Bernstein Mass and Ruffiak Tutte, and Marcello - La Boheme La Traviata, First Prisoner in Fidelio, Antoinette also featured as a guest remounting of Crossing at Brooklyn in The Gondoliers and The Pirate La naissance de Vénus at the Le Grande Macabre (Ligeti). Mark with Co-Opera. Michael - It’s A and Love Policeman in Orpheus in judge and panelist on the ABC Academy of Music, and the title role King in The Pirates of Penzance. In She has performed in leading Konzerthaus Berlin. has performed the role of Jean Dad Thing with Singular Productions. the Underworld for State Opera. television series Operatunity Oz and of The Nose with Opera Australia the last five Adelaide Fringe Festivals, roles throughout South Australia ValJean in 3 sold out seasons of Les Chris Barnes - Metro Street in the Norbert was one of few singers to has appeared regularly on the hit and the Komische Oper Berlin. he directed sold-out seasons of The with Co-Opera, the Gilbert and Future appearances include Camille Miserables, winning a Curtain Call Adelaide Cabaret Festival. Soloist sing in all three operas (Akhenaten, show Spicks and Specks; she was Pirates of Penzance on Popeye, also Sullivan Society of SA and the (State Opera South Australia); John Award, an Advertiser Oscart and – Camelot and Ralph – Kiss Me Satyagraha, and Einstein on the a presenter for ABC’s Art Nation – playing the role of the Pirate King. Therry Dramatic Society, and has also takes principal roles in Turandot, being nominated for an Adelaide Kate with The Production Company, Beach) of the Ruby Award-winning covering stories on opera and music Last year he performed the role of been a soprano soloist in both Salome, Wozzeck, Il viaggio a Critic’s Circle Award. Mark has Melbourne. Lord - Shakespeare’s As Philip Glass trilogy in 2014. theatre. Don Jose in Carmen for Elephant in new and established works with Reims and Anna Bolena in Opera also performed in several sold out You Like It with The Principal Theatre the Room. the Adelaide Symphony Orchestra, Australia’s 2019 Season. seasons of self-produced shows at Company – London. Young Ray - Norbert regularly performs chamber Elder Conservatorium Orchestra the Adelaide and Perth Fringe. Autumn Minds Alma by The Think music and lieder and is a soloist with and the Adelaide University Choral Collective at Royal Central School some of Adelaide’s finest choirs and Association. of Speech and Drama – London. orchestras (Verdi Spectacular with the ASO; Haydn’s Theresienmesse Sponsored by Peter and Pamela with Kapelle Singers; Respighi’s McKee. Lauda per la Natività del Signore with the Graduate Singers; Mozart’s Coronation Mass; Mendelssohn’s Symphony no. 2).

14 15 cast

DEBORAH CADDY ADAM GOODBURN JEREMY TATCHELL SARAH-JANE PATTICHIS JOSHUA ROWE CATHERINE CAMPBELL SIMON KENWAY Sylviane Raoul de St Brioche Viscount Nicholas Cascada Olga Kromov Konrad Pritschich Praskovia Chorus Master Deborah has recently returned Adam completed his Bachelor New Zealand born baritone Jeremy Sarah Jane completed her Josh Rowe has performed for Catherine is an actor and singer. Simon Kenway is a highly from an interstate tour of Opera of Music degree for vocal Tatchell completed performance Bachelor of Music with Honours opera companies around Opera and Music Theatre work respected orchestral/operatic Australia’s My Fair Lady ,directed performance at The Elder studies in both viola and voice at at Elder Conservatorium in 2006. Australia; including Opera has included The Front - Matron, A conductor, music educator and by Julie Andrews. Conservatorium, Adelaide University the ANU School of Music in 2001 She joined State Opera South Queensland, Victorian Opera Wild Party dir. Andrew Lippa, Take accompanist. He has held posts in 2003. Adam’s career highlights and joined the Adelaide-based Australia’s chorus in 2007, and was and State Opera South Australia. Flight with Richard Maltby and as Principal Chorus Master She has previously performed in have been performing the role company Co-Opera in 2003, a John & Diana Ramsay Young His many awards include the David Shire, Songs For A New of Opera Australia and Chief various productions of The Phantom of Nanki Poo in The Mikado for performing and touring numerous Artist in 2014 and 2015. Recent 2007 Queensland Arts Council World (Adelaide Cabaret Festival), Conductor and Vocal Coach for of the Opera as an ensemble Opera Australia; Goro in Madama roles throughout Australia, Asia and appearances include First Sprite Performing Arts Scholarship and Sweeney Todd (State Opera Sydney Conservatorium Opera member, off-stage swing and Butterfly, Pang in Turandot, Don Europe. in The Magic Flute, Adele in Die Runner Up in the Dame Joan South Australia),The Mikado School and now works as a Madame Giry cover. This included Basilio in The Marriage of Figaro, Fledermaus and Norina in Don Sutherland Awards. (Adelaide Festival Centre), Les freelance conductor. In 2015 he two world tours, featuring seasons in the comic roles Nathanael/ Moving to Adelaide in 2011, Pasquale. Miserables - Madama Thenadier was appointed Artistic Director of Hong Kong, Seoul, Singapore, and Cochenille/Pittichinaccio/Franz in Jeremy has performed numerous Josh has performed in many (MSSoc/Normie Rowe), Northern Pacific Opera. China, and two Australian tours. The Tales of Hoffmann, Orpheus in roles with State Opera South She has toured locally, nationally operas: including Romeo and Lights/Southern Cross - Claire Australia including Barone Douphol and internationally with Co-Opera, Juliet, Lucia di Lammermoor, Simon has conducted the Sydney, Deborah has also been a regular Orpheus in the Underworld for State (Tutti/Interact USA), Shouting Opera South Australia and Giorgio in La Traviata, Parsi Rustomji most recently as Yum Yum in The Nabucco, Turandot, The Magic Fence (Various People) and The Tasmanian, West Australian, performer with the State Opera in Satyagraha, Bluebeard in Mikado and Sesto in La Clemenza Flute, Otello and Tosca. Josh Canberra and Queensland South Australia for a number of in Ode to Nonsense for Slingsby. Witch in the SA Premiere of Into Bluebeard’s Castle, Masetto in Don di Tito, and with Opera Australia’s made his principal role debut The Woods. Symphony Orchestras, Opera years. She has performed the roles In 2007 Adam performed the Giovanni, Valentin in Faust, Angelotti Victorian schools outreach in 2007 with Richard Mills’ The Australia, West Australian Opera, of First Lady in The Magic Flute, role of Mahatma Gandhi in Philip in Tosca, Alfio in Cavalleria program as Pamina in The Magic Love of the Nightingale for Opera A member of State Opera Chorus Opera Queensland, Australian Flora in La Traviata, Queen Tye in Glass’s opera Satyagraha (State Rusticana, Silvio in I Pagliacci, Flute. Sarah has performed as a Queensland. Josh also performed since 1997, Catherine has also Ballet, Hong Kong Philharmonic, Akhnaten and Miss Schlesen in Opera/Adelaide Vocal Project and Manuel in La Vida Breve and soloist with many Adelaide music the role of Bottom in Benjamin appeared in Saul, Hamlet and Aldeburgh Productions in UK, Satyagraha in the highly regarded Leigh Warren & Dancers). The role Marco in Gianni Schicchi. groups, including Various People Britten’s A Midsummer Nights Writing To Vermeer (Adelaide Australian Youth Orchestra and Philip Glass trilogy. earned him a Helpmann Award Inc., Adelaide Chamber Singers Dream in 2008 for which he won Festival) and many notable State Beijing Symphony Orchestra. nomination for best male performer Jeremy’s extensive oratorio and and Unley Symphony Orchestra. the Sir Mostyn Hanger Opera Opera productions, including In addition, she has performed recital repertoire includes the In addition to his Artistic Diana in Orpheus in the in an opera. Adam is the co-founder Sarah was a state finalist in the Award. Josh made his role debut Dead Man Walking and Parsifal. of SINGular Productions and works of Verdi in Requiem, Orff Young Performer’s Awards in 2005, for State Opera as Krishna in Philip Cabaret includes: solo show Directorship, recent engagements Underworld, Frasquita in Carmen, in Carmina Burana, J.S. Bach in have included conducting The Berta in The Barber of Seville, Kate produced I Love You, You’re Perfect, 2006 and 2012, won the Barbara Glass’ Satyagraha in 2014 and My Blue Angel at the Adelaide Now Change; Elegies: A Song St Matthew & St John Passions, Howard Vocal Prize in 2006, the has gone on to perform many roles Cabaret Festival, Don’t Tell Mama Marriage of Figaro and The Pinkerton in Madama Butterfly, Magnificat, B Minor Mass Magic Flute (also Opera on Sister Catherine in Dead Man Cycle; Different Fields and It’s a dad Arnold Matters Vocal Scholarship for the company. (New York), and national tours thing: The Musical and is currently and Cantatas BWV 56, 82 & in 2014 and the Friends of the State in Australia; co-creator, comedy the Beach) on Regional Tour Walking, and ‘Elle’ in Poulenc’s one- 15 8 , Stravinsky in Les Noces & On the concert platform Joshua for Opera Australia, concerts woman opera La Voix Humaine. developing two new Australian Opera of South Australia Dawn trio Gentlemen Prefer Curves operas with State Opera South Mass, Faure in Requiem, Händel Wallace Award in 2015. has performed as soloist for (Adelaide Cabaret Festival, with Canberra Symphony and She has also written and performed Australia titled, ‘Innocence’ and a in Messiah, Israel in Egypt & numerous popular works: including Adelaide Fringe, Melbourne Willoughby Symphony, The Battle a one-woman cabaret show new chamber opera. Belshazzar, Schubert in Winterreise, Britten’s War Requiem, Vaughan Comedy Festival) and Berlin of the Somme (New Zealand featuring the music of Rogers and Schumann in Liederkreis Op.39 & William’s A Sea Symphony, Bach’s Cabaret – Greta (Adelaide Fringe, Symphony Orchestra), Verdi Hart, entitled Have you met Miss Spanische Liebeslieder Op.138 and St John Passion, Mendelssohn’s Cabaret Festival). Requiem (Australian Intervarsity Jones? in the 2016 Cabaret Fringe. Mussorgsky in Songs and Dances Elijah, Haydn’s The Creation and Choral Festival), and Conductor of Death. Handel’s Messiah to name a few. Acting credits include Doll’s and Music Director for Opera House, A Streetcar Named Australia’s Community Choirs Josh was a 2008 Opera Desire (Bakehouse Theatre), project (2012 – 2015). Queensland Developing artist Sisters (CPA) and Equus (State and a 2014 State Opera South Theatre Company). Training: AC Australia ‘James and Diana Arts (Acting); Hons Drama (Music Ramsay Foundation Emerging Theatre) Flinders Uni; Cabaret at Artist’. Yale (USA).

16 17 STATE OPERA CHORUS adelaide symphOny

Eleanor Brasted Kristen Hardy Martin Penhale Michaela Burger Erin Holmes Brock Roberts Orchestra David Cox Rosanne Hosking Alexandra Scott Andrew Crispe Deborah Johnson Lachlan Scott Michael Denholm Reece Keane Lynne Smythe Christian Evans Charlotte Kelso Valentyna Solowij VIOLINS CELLOS HORNS Laura Feier Rodney Kirk Jennifer Tranter Cameron Hill** (Acting Concertmaster) Ewen Bramble**(Acting Principal) Sarah Barrett**(Acting Principal) Jared Frost Nicolas Lock Hew Wagner Shirin Lim** (Acting Associate Concertmaster) Gemma Phillips~(Acting Associate) Emma Gregan Susan Ferguson Gerry Masi Alexis Milton* (Acting Principal 1st Violin) Sarah Denbigh Philip Paine Daniel Goodburn Rachel McCall Michael Milton** (Principal 2nd Violin) Christopher Handley Timothy Skelly Lachlan Bramble ~(Associate Principal 2nd Sherrilyn Handley Violin) Thomas Marlin TRUMPETS Janet Anderson David Sharp Owen Morris** Ann Axelby Timothy Kennihan Helen Ayers DOUBLE BASSES DANCERS Minas Berberyan David Schilling** TROMBONES Julia Brittain Jonathon Coco~ Colin Prichard** Hilary Bruer Jacky Chang Ian Denbigh Michael Braun Jayden Hicks Breanna Skewes Elizabeth Collins David Phillips Renata Commisso Teagan Lowe Chimene Steele-Prior Jane Collins Harley Gray BASS TROMBONE Jayden Grogan Christopher Politis Chen (Kevin) Wen Judith Coombe Howard Parkinson* Naomi Hibberd Grace Robinson Ned Zaina Alison Heike FLUTES Danielle Jaquillard Geoffrey Collins** TIMPANI Alexis Milton Sabine Daniels Paul Simpson-Smith* Jennifer Newman (Guest Principal) Julie Newman PICCOLO Alexander Permezel Sabine Daniels* PERCUSSION Kemeri Spurr Steven Peterka** OBOES Andrew Penrose VIOLAS Peter Duggan**(Acting Principal) Gregory Rush Linda Garrett**(Acting Principal) Renae Stavely Anna Hansen~(Acting Associate) HARP Martin Butler CLARINETS Suzanne Handel* Lesley Cockram Dean Newcomb** Michael Robertson Darren Skelton Cecily Satchell ** denotes Section Principal Heidi von Bernewitz BASSOONS ~ denotes Associate Principal Mark Gaydon** * denotes Principal Player Leah Stephenson

IMAGE: James Rogers, Courtesy of West Australian Opera.

18 19 23 MARCH VICTORIA Georges Bizet SQUARE CARMEN IN THE SQUARE

Adelaide’s Victoria Square is transformed into Bizet’s Spain for one summer TICKETS night in March as Opera’s most famous heroine, the sultry, stunning and Platinum $260 dangerous seductress Carmen, takes over the city centre. Premium $170 A Res $150 This very special family-friendly event combines live opera, a full orchestra and opera chorus, and large screen projection of the action so that no matter where B Res $110 you sit in the Square you’ll have the best seat in the house. C Res $70 GA (Southern) $29 Starring mezzo-soprano Helen Sherman as Carmen, the cast includes some of GA (Southern) Under 16 FREE the finest Australian opera talent assembled from all over the world for one night only. Conducted by Oliver von Dohnányi and directed by Stuart Maunder. HOW TO BOOK MAKE A GROUP AND SAVE make your booking online Book 6 or more seats to Carmen and receive 20% off any reserve ticket price* (stateopera.com.au) or call BASS 131 246 PLATINUM PACKAGE *discount cannot be applied in conjunction A Platinum Package includes: the best seats in the house, food and beverage with any other offer. All ticket prices quoted offering from East End Cellars, in-show bar access and exclusive meet & greet are correct at time of printing and do not with the artists. include BASS booking fees of $8.95 per transaction Strutting bull-fighters, wild women, jealousy, passion… Carmen is un-missable! State Opera South Australia gratefully acknowledges the financial support of our donors who are instrumental in bringing our productions to life. Your ongoing friendship and sustenance DONORS ensures that our artistic vibrancy and important community connections continue.

Artistic Directors Circle $2,000 and above $500 and above $100 and above Mr & Mrs J Pike Joshua Jones John Irving Peggy Barker Dr Ilze Augstkalns Julie Almond Ann Rugless Beverley Koch Dr Geoff & Dr Sorayya Martin Dr & Mrs Paul Drysdale JW Baker Margaret Baker Elizabeth Smith Anne Levy Peter & Pamela McKee Meg & Jack Favilla Graeme & Susan Bethune Joy Bishop Linda Sampson John Lumsden Galina Podgoretsky GC & R Weir Gillian Brocklesby The Hon D J & Mrs E M Bleby Mrs Meredyth Sarah AM Ingrid Loesel Christine Rothauser Mr Bruce Debelle AO QC Martin Borg Dorothy Short Robert Manning Peter & Mary Sutherland $1,000 and above Jane Doyle Susan Coldicutt Stephanie Thomson Lois Otterspoor Andrew & Sibby Sutherland Graham Abbott Kay Dowling Michael Davey Kay Thorp Libby Parker Dr Margaret Arstall Frank Ford AM CW & EA Dunsford Dr Kathy Tiller Trish & Richard Ryan AO Rob Baillie DJ & RA Gilmour Helga Ebbinghaus Caroline Treloar Diana Roberts $15,000 and above Jeremy Clark Mr & Mrs PS & EA Hambly Eleanor Ethell Dr Lester Wright & Dr Kristine Gebbie Pam & David Rugless Peter & Pamela McKee Dr A F Connon AM Bill Harrod Robert Fletcher Barbara Wall Anna Shepherd RJ, LL & SJ Greenslade Peter & Helen Herriman Helen Haines Bill & Kerry Wood S Stuart $10,000 and above John Holmes John Dawes Valuations Pty Ltd Dr & Mrs HA Handley Bud Zekanovic Margaret Taylor Mrs PM Menz Joan Lyons SM Johnson David Hansman Anonymous x 2 Rl & GK Willing Dr DG & Mrs KC Morris Yvonne McMurray & John Sheat PM Hardy James Wilson $5,000 and above Dr Ruth Marshall & Mr Tim Muecke Roger Menz Dr Robert Hecker Under $100 Jane Wilson Tynte Flowers Chris & the late Donald Perriam Dr Kenneth O’Brien Dr Norman James Frances Anderson Dr Lesley Woodard-Knight Drs Geoff & Sorayya Martin Bruce Saint Philip H Page Bruno Krumins AM Ms Wilma Bajka-Van Velze Margaret Woodcock Kaaren & Kevin Palmer Elizabeth & John Shepherd Dr Brian Peat Ms Liz Kummerow & Mr Neil Kirby Pamela Brown Joan Young Dr Jane Lomax-Smith Mrs Susan Tarr Christopher Stone J A Langford Anthony Burt Anonymous x 7 Anonymous Mrs Margaret Scharer Joan Loftus Barbara Bond Mrs Anne Shadgett Alan Marriage Judith Brown Anne Sutcliffe Ann Matison Lindsay Doherty Barbara Walter Richard McGarvey Judy & David Ferguson Bart Wissink & Kaye Salisbury R Murray Dr Harry Green Barry Worrall Christina Palfelt Ms Penny Hewson Jacqueline Wright Jocelyn Parsons Susan Howlett

22 23 MAKE HISTORY ARTISTIC WITH US DIRECTOR’S OZ OPERA COMMISSIONING FUND State Opera has announced its outstanding commitment to Australian music through the Lost Operas of Oz program which presents CIRCLE three Australian operas each year for the next three years. By setting the benchmark for I am delighted and incredibly chuffed that we already have Australian content incredibly high, we aim to a small but perfect ensemble of members in my Artistic showcase both new and forgotten operas from Director’s Circle. In this first iteration we will be able to recent years which are worthy of re-invention. commence an intimate conversation where I can share some The pinnacle of this three-year celebration will of my thoughts about where this opera company can go, be the commissioning of a new Australian and what we can dream of achieving. I know that this circle opera to call our own. If you believe, as we do, of friends will form part of my thinking about opera in this that the foundation of our future arts industry State. I very much look forward to some bespoke events, the requires the active championship of our own very best wine and, without doubt, robust discussion about music, please consider contributing to the Oz opera – if you have been thinking about supporting State Opera Commissioning Fund and becoming Opera South Australia this is a wonderful way to be part an integral part of this creation. Please contact of what we do and I encourage you to contact Executive Yarmila Alfonzetti to talk more about this Director Yarmila Alfonzetti to discuss your involvement in exceptional opportunity. person – [email protected]

OWN THE SCORE Part of the excitement of bringing so many John Irving monumental works to life on the stage is the Dr Geoff & Dr Sorayya Martin Stuart Maunder AM, Artistic Director story behind each opera. If there is a special Peter & Pamela McKee place in your heart for one of the productions you see in our 2019 Season, or you have a Galina Podgoretsky loved one for whom a gift of the program Christine Rothauser naming rights to one of these operas would be Peter & Mary Sutherland beyond words, talk to us about how your Andrew & Sibby Sutherland donation can honour or commemorate a link between you or your family and a specific opera production or performance.

For further information, please call 08 8226 4790 or email [email protected]

You are also welcome to make IMAGE: Bernard Hull your donation directly via www.stateopera.com.au/donate/ OPERA DISCOVERY POP UP 2 Mar, 4 May, HOW TO BOOK 27 July, 26 Oct make your booking online with Graham Abbott (stateopera.com.au) or call BASS 131 246 CHORUS $55 PER PERSON Join Graham Abbott and special guests at the State Opera Studio for four unique Opera per day *discount cannot be applied in conjunction Discovery Days. Get to the core of what makes opera great, why it moves us, and how it gets with any other offer. All ticket prices quoted are with Graham Abbott from the page to the stage. At the same time, you’ll learn and experience everything you need For bookings visit correct at time of printing and do not include to prepare you for State Opera’s mainstage productions in 2019. stateopera.com.au BASS booking fees of $8.95 per transaction Do you have a passion for singing in a group? 17-19 May or Being part of a chorus of voices is arguably 18- 9 Oct THE FRENCH VIEW OF SPAIN JANACEK’S OPERAS THE SOPRANO OBSESSION A JAPANESE MELTING POT one of the most powerful and rewarding What is it about Spain that attracted French Leoš Janáček might still be almost unknown In preparation for the mighty concert of music State Opera presents perhaps the two most musical experiences. Join conductor and $160 PER PERSON artists, writers and composers? And why does outside the Czech Republic were it not by Richard Strauss, presented by State Opera famous operas set in Japan side-by-side in educator Graham Abbott for a weekend of for a weekend. Bizet’s Carmen continue to fascinate us? for the efforts of Sir Charles Mackerras. on 25 October, this Discovery Day explores November. Puccini’s Madama Butterfly is one exploration and celebration of the Opera With Carmen as our focus, this Discovery Day The Australian-born conductor discovered Strauss’ operas and songs, and his obsession of the most popular and most often-performed Chorus. Running twice in 2019, Pop Up Chorus For bookings visit will delve into the origins of Bizet’s last work, Janáček’s operas while studying in Prague and with the soprano voice. stage works in the world, while for fans of gives the opportunity to meet like minded music stateopera.com.au and the questions which still remain over the encouraged their performance in London. The Victorian operetta, Gilbert and Sullivan’s The enthusiasts and share in the joy of singing. composer’s real intentions for it. We’ll talk to Czech composer is now regarded as one of The day will include discussions of Strauss’ life Mikado is a perennial favourite. The former is a gut-wrenching tragedy, the latter a delightful Registration for a weekend includes: vocal people involved in State Opera’s outdoor the truly great opera composers of the early and work, and we’ll hear some of his music Minimum registration members required performance on 23 March, hear some of 20th century. performed live in the studio. We’ll also pay farce, yet both show the European fascination scores, teaching CD, souvenir t-shirt, snacks, to run each event. the work’s greatest moments, and explore close attention to the often forgotten but totally with the exotic, and in particular Japan. refreshments and light lunch. the wider legacy of French music inspired by This Discovery Day explores Janáček’s life essential partner in all opera – and especially Spain. and work, and specifically his wonderful The those of Strauss – the orchestra. This Discovery Day explores the history of both Cunning Little Vixen, which is being staged works, and we’ll hear from artists involved in by State Opera in May. You’ll meet people the productions as well as experience some of involved in the production and get an insider’s the music live in the studio. view of the challenges and delights presented by the score, and hear some of the music. If you’re a newcomer to Janáček, then you won’t be by the end of the day! acknOwledgements

PRODUCTION CREDITS HONORARY LIFE PATRON Stage Manager – Rohan Yates The late Diana Ramsay OAM Deputy Stage Manager – Jess Nash Assistant Stage Manager – Ashley Ng HONORARY LIFE MEMBERS Assistant Conductor – Josh Geddes Hugh Cunningham Richard Brown Principal Repetiteur – Penelope Cashman Repetiteur – Mark Sandon STATE OPERA BOARD OF MANAGEMENT Head Mechanist – Ben Brooks John Irving (Chair) Head of Props – Angela De Palma Imelda Alexopolous Wardrobe Supervisor – Emma Brockliss Elizabeth Olsson Wardrobe Assistant – Ashleigh Thomas Christine Rothauser PROUD TO SUPPORT Wardrobe Assistant – Denise Strawhan Brenda Wilson STATE OPERA SOUTH AUSTRALIA Sewer & Cutter – Martine Micklem Robina Weir Head of Wigs & Makeup – Sue Taylor Wigs & Makeup – Catrin Ehle, Cheryl La Scala, STATE OPERA STAFF Marie-Lynne Morant, Jennifer Rossiter, Executive Director – Yarmila Alfonzetti Natasha Stone Artistic Director – Stuart Maunder AM Touring Head Mechanist – Daniel Paine Chief Operating Officer – Alison Nadebaum Touring Technician – Tony Bergin Consulting Chief Financial Officer – Anthony Burt Senior Surtitle Operator – Elizabeth Holbert Creative Producer – Sidonie Henbest Surtitle Operator – Margot Holbert Production Manager – Dave McLean Youth and Education Coordinator – Libby Parker ADELAIDE FESTIVAL CENTRE STAFF Development Executive – Sylvie Huigen Head Mechanist – David Ash Marketing Coordinator – Jennifer Brunton Head Flyman – Ashley Knight Music Coordinator – Andrew Georg Financial Administrator – Sarah Hart Head Electrician – Paul McGee Administrator – Renèe Dawes Lx Board Op – Rick Worringham Office & Project Assistant – Xanthe Pettersen Follow Spots – Kate Skinner, Molly Breuker, Artist Operations – Dan Thorpe Simmone Myers, Luke Pilla Sponsorship Services – Jeanette McLeod FOH Sound Operator – Campbell Lawrence Sound Technicians & Radio – PROGRAMME CREDITS Patrick Pages-Oliver, Maddy Gibbons Programme design – tif.image DESIGN

All information correct at time of print.

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28 29 spOnsOrs

State Opera South Australia gratefully acknowledges the financial support of the Government of South Australia, and the Commonwealth Government through its arts funding and advisory body, the Australia Council.

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