DOCSLIB.ORG

VICTORIAN OPERA 2016 2016 Highlights

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

VICTORIAN OPERA 2016 2016 Highlights An audience of over 59,000. A fully-staged opera with Circus OZ. Three new works: Voyage to the Moon, Banquet of Secrets and the Family Opera The Pied Piper. Over 4,900 students and teachers engaged through Welcome Education Workshops and Performances. Victorian Opera operated its first live-streamed In eleven years, over 300,000 concert, The Darkest Night. audience members have experienced a performance Victorian Opera extended its reach nationally with a by Victorian Opera – over coproduction with Musica Viva touring in Melbourne, 20,000 of those attending Sydney, Canberra, Perth, Adelaide and Brisbane. regional performances. On the international scene, 12,317 New Zealanders saw Victorian Opera’s coproduction with New Zealand Opera, Sweeney Todd, in Auckland, Wellington and Christchurch. During our short history, we have created 17 new Australian works and collaborated with some of Australia’s leading Victorian Opera received City of Melbourne’s companies, venues and learning institutions. We employ Melbourne Award. hundreds across the theatre industry and recruit some of the finest singers from Australia and around the world. We are committed to the accessibility of opera through tactile The National Opera Review recommended Victorian tours, and audio described and relaxed performances. Opera joins the Australian Major Performing Arts Group (AMPAG). We have inspired over 500 young singers through our Youth Opera Program and developed over 30 emerging artists. Our vision – to create a state opera company that is a state icon and a national leader. 2 | Victorian Opera 2016 Annual Report Victorian Opera 2016 Annual Report | 3 State Icon, National Leader In 2016, Victorian Opera continued to joyously comic and tragically dark “We continued to re- grow, develop and define itself as a double bill: Laughter and Tears. As a imagine the potential state icon and national leader in the prelude to Leoncavallo’s I Pagliacci, a of the art-form and Australian operatic landscape. The new work was created from 16th and company’s 11th season featured three 17th century music to form a classic ensured that opera distinctly different new works, new commedia dell’arte first act. A true remained accessible approaches to classic repertoire and highlight to our season! an Australian premiere of one of the to everyone.” Children and families across world’s quirkiest operas. Melbourne and regional Victoria were It was a year of great pride for our treated to two offerings: Massenet’s young company. The National Opera Cinderella and a new community Review’s Final Report acknowledged opera, The Pied Piper, written and Victorian Opera’s ongoing composed by our Artistic Director contributions to Australian opera with Richard Mills. Performed across the the recommendation that the company state, community choirs in six regional joins the Australian Major Performing Victorian towns participated in the Arts Group (AMPAG). Similarly, City of new opera, performing as the citizens, Melbourne also recognised Victorian schoolchildren and rats of Hamelin. Opera with an esteemed Melbourne Victorian Opera continued to embrace Award. new technologies and advance our Our season opened with our first art form. We presented the Australian co-production with Musica Viva premiere of Virgil Thomson and Australia, Voyage to the Moon. The Gertrude Stein’s Four Saints in Three work was inspired by Ariosto’s poem Acts featuring a youth cast and quirky Orlando Furioso and featured music 3D digital scenery created by Deakin from various period composers Motion.Lab. The company also drawn together to create a new launched podcast The Art of Opera Baroque opera. A star cast of singers, and ventured into live-streaming with A Year to Celebrate including soprano Emma Matthews an exclusively online concert, The in her Victorian Opera debut, and Darkest Night, on the eve of Winter From an artistic perspective, Victorian accordingly. It opened to great acclaim artist whom shares a long association period instrumentalists toured the Solstice. Opera’s 2016 Season was immensely in Melbourne before touring nationally. with our company, Carlos is a former acclaimed production in Melbourne, satisfying; a year filled with many VO Developing Artist and, with great Critical to Victorian Opera’s success Victorian Opera celebrated Melbourne Sydney, Canberra, Perth, Brisbane and milestones and daring new approaches tenacity and talent, has continued is the ongoing support of the State itself in Banquet of Secrets: a musical Adelaide. to our art form. From collaborations to develop to become one of the Government of Victoria, through about enduring friendships and with Circus Oz to our biggest regional country’s finest singers. One new work was immediately Creative Victoria’s Organisations our love of fine food and wine. This tour to date, our company worked followed by another, Banquet Investment Program, The Robert production boasted a rare intimacy One of the other great joys of our 2016 tirelessly to create vibrant and of Secrets: A new musical from Salzer Foundation and Helen between its cast and creative team; Season was writing and composing meaningful productions to engage the the creative talent of two iconic Macpherson Smith Trust. We also a musical written by lifelong friends community opera, The Pied Piper. imagination of every member of our Melbournians: Paul Grabowsky and thank our generous Patrons and Paul Grabowsky and Steve Vizard, This work was specifically crafted to community. Steve Vizard. The celebrated new Supporters, particularly our Artistic then performed by lifelong friends engage community choirs state-wide Australian work brought four of Director’s Circle and New Work and Voyage to the Moon, a new Baroque Antoinette Halloran, Kanen Breen, and invited the involvement of singers Victorian Opera’s audience favourites Education Syndicates, as well as our pasticcio, was assembled with such Dimity Shepherd and David Rogers- aged eight to eighty. Following its back to the stage: Antoinette Halloran, loyal subscribers and audiences. As inventiveness and respect for the Smith. Naturally, the poignancy of this Melbourne season, the opera was Kanen Breen, Dimity Shepherd and always, we must thank our Board and heritage of this form, though not work was palpable. performed in Port Fairy, Mildura, David Rogers-Smith. It was presented Staff for their ongoing dedication and without unexpected challenges. When Bendigo, Warragul, Shepparton As a conductor, I led two of the in association with Arts Centre hard work – without them, none of this the production’s original composer and Albury-Wodonga. It was a pure company’s major productions in 2016: Melbourne and the Melbourne Food would be possible. Dr Alan Curtis died suddenly during delight seeing it performed in so many Donizetti’s Lucia di Lammermoor and Wine Festival. It also toured to the opera’s creation, various hurdles different communities and noting the and Laughter and Tears, featuring Brisbane, in collboration with Brisbane presented themselves: the sadness joy it provided. Jane Hemstrich Leoncavallo’s I Pagliacci. I applaud the Powerhouse. of losing a colleague as well as the Chairman, Victorian Opera creative teams and casts behind both I must thank all members of the loss of a world renowned expert with In the first Australian performance operas. Both works thrilled Melbourne Victorian Opera community for very particular specialist knowledge. of her career-defining role, soprano Andrew Snell with their musical richness and enabling us to produce such a rich and Co-produced with Musica Viva Jessica Pratt made our production of Managing Director, Victorian Opera emotional intensity. rewarding season. Australia and in association with The Donizetti’s Lucia di Lammermoor: one Australian Research Council Centre Working alongside Jessica Pratt of the country’s most anticipated opera performances in 2016. of Excellence for the History of on Lucia di Lammermoor was a Richard Mills AM Emotions, our talented creative teams memorable highlight of the year, as it Artistic Director, Victorian Opera Victorian Opera also marked its first and cast worked diligently to finish it was her co-lead Carlos E. Bárcenas. An co-production with Circus Oz; a 4 | Victorian Opera 2016 Annual Report Victorian Opera 2016 Annual Report | 5 Productions in 2016 Banquet of Secrets Lucia di Lammermoor “Of all the company’s new work in “The company’s 16th commission, “The audience was totally caught up in “For a piece of operatic history...This recent years , it’s probably the most Banquet of Secrets, is an elegantly the characters and drama on stage. An Lucia is a must see.” accomplished…. Banquet Of Secrets crafted, emotionally complex and absolute triumph.” can be harmony on the palate: sweet – Herald Sun superbly evocative work that explores – Stage Whispers and salty, bitter and umami. Get it while the affirming role of enduring it’s hot.” friendships in our imperfect lives.” – Daily Review – The Australian Lucia di Lammermoor “Jessica Pratt’s Lucia truly worthy of Laughter and Tears international acclaim. “Energetic, inspired opera performance – The Australian hits the heights.” Voyage to the Moon – The Age “A work of pure gold … I hope this Laughter and Tears partnership between Victorian Opera and Musica Viva leads to “Laughter and Tears, staged with other enterprises. Now they have drive and imagination, is a tribute the moon, they can reach for the to the company. This is not simply stars.” another
Recommended publications
  • 02-27-2020 Cosi Fan Tutte Eve.Indd

    02-27-2020 Cosi Fan Tutte Eve.Indd

    WOLFGANG AMADEUS MOZART così fan tutte conductor Opera in two acts Harry Bicket Libretto by Lorenzo Da Ponte production Phelim McDermott Thursday, February 27, 2020 PM set designer 7:30–11:05 Tom Pye costume designer Laura Hopkins lighting designer Paule Constable The production of Così fan tutte was revival stage director made possible by generous gifts from Sara Erde William R. Miller, and John Sucich / Trust of Joseph Padula Additional funding was received from the The Walter and Leonore Annenberg Endowment Fund, and the National Endowment for the Arts general manager Peter Gelb Co-production of the Metropolitan Opera and jeanette lerman-neubauer English National Opera music director Yannick Nézet-Séguin In collaboration with Improbable 2019–20 SEASON The 203rd Metropolitan Opera performance of WOLFGANG AMADEUS MOZART’S così fan tutte conductor Harry Bicket in order of vocal appearance ferrando skills ensemble Ben Bliss* Leo the Human Gumby Jonathan Nosan guglielmo Ray Valenz Luca Pisaroni Josh Walker Betty Bloomerz don alfonso Anna Venizelos Gerald Finley Zoe Ziegfeld Cristina Pitter fiordiligi Sarah Folkins Nicole Car Sage Sovereign Arthur Lazalde dorabella Radu Spinghel Serena Malfi despina continuo Heidi Stober harpsichord This performance Jonathan C. Kelly is being broadcast cello David Heiss live on Metropolitan Opera Radio on SiriusXM channel 75 and streamed at metopera.org. Thursday, February 27, 2020, 7:30–11:05PM RICHARD TERMINE / MET OPERA A scene from Chorus Master Donald Palumbo Mozart’s Così Musical Preparation Joel Revzen,
  • Emma Matthews

    Emma Matthews

    Emma Matthews Soprano Curriculum Vitae Opera Repertoire Monteverdi LIncoronazione di Poppea Damigella OA Gillian Whitehead Bride of fortune Fiorina WAO Offenbach Orpheus in the Underworld Cupid WAO Les Contes d’Hoffmann Olympia, Giulietta, Antonia, Stella OA, SOSA Berg Lulu Lulu, OA Handel Alcina Morgana OA Rinaldo Almirena OA Orlando Angelica OA Giulio Cesare Cleopatra OA Mozart Die Zauberflote Papagena, WAO, OA Pamina OA Queen of the Night OA Le Nozze di Figaro Barbarina WAO, OA Cherubino OA Idomeneo Ilia OA La Clemenza di Tito Servillia OA Die Entfuhrung aus dem Serail Blonde OA, Konstanze OA Mitridate, Re di Ponto Ismene, Sydney Festival Gilbert and Sullivan The Priates of Penzance Mabel OA The Mikado Yum Yum OA Alan Johns The Eighth Wonder Sky, Tour Guide Aunt Olive OA Bellini La Sonnambula Amina OA, SOSA I Capuleti e I Montecchi Giulietta OA Donizetti Lucia di Lammermoor Lucia OA, WAO La Fille du Regiment Marie OA L’Elisir d’amore Giannetta WAO Delibes Lakme Lakme OA Bizet Les Pecheurs de Perles Leila OA, WAO, OQ Janacek The Cunning Little Vixen The Vixen OA, ROH Richard Mills Batavia Zwaantie OA, WAO The Love of the Nightingale Philomele OA, WAO Gounod Romeo et Juliette Juliette OA Puccini Suor Angelica Genovieffa OA Kalman The Gypsy Princess Stasi OA J. Strauss Die Fledermaus Adele OA Massenet Werther Sophie OA R. Strauss Arabella Zdenka OA Der Rosenkavalier Sophie OA Rossini Il Barbiere di Siviglia Rosina OA, WAO Il Turco in Italia Fiorilla OA Il Signor Bruschino Sofia OA Verdi Un Ballo in Maschera Oscar OA Falstaff Nannetta OA Rigoletto Gilda OQ, OA La Traviata Violetta HOSH, OA Berlioz Beatrice et Benedict Hero OA Orchestral Repertoire Faure Requiem, Carmina Burana, C.
  • The Performer As Classical Voice Teacher

    The Performer As Classical Voice Teacher

    THE PERFORMER AS CLASSICAL VOICE TEACHER: EVALUATING THE ROLE OF THE PERFORMER-TEACHER AND ITS IMPACT ON THE STUDENT LEARNING EXPERIENCE MARGARET SCHINDLER S368294 QUEENSLAND CONSERVATORIUM GRIFFITH UNIVERSITY in fulfilment of the requirement of the degree of Doctor of Musical Arts TABLE OF CONTENTS Table of Contents ..................................................................................................................................... i ABSTRACT ....................................................................................................................................... iii ACKNOWLEDGEMENTS .................................................................................................................. iv BOOK CHAPTERS AND PRESENTATIONS ......................................................................................... v STATEMENT OF AUTHENTICITY ...................................................................................................... vi Chapter One: Setting the Scene ................................................................................................ 1 1.1 Introduction .............................................................................................................................. 1 1.2 An auto-ethnography ................................................................................................................ 3 1.3 Rationale for this thesis .......................................................................................................... 10 Chapter Two:
  • La Traviata Synopsis 5 Guiding Questions 7

    La Traviata Synopsis 5 Guiding Questions 7

    1 Table of Contents An Introduction to Pathways for Understanding Study Materials 3 Production Information/Meet the Characters 4 The Story of La Traviata Synopsis 5 Guiding Questions 7 The History of Verdi’s La Traviata 9 Guided Listening Prelude 12 Brindisi: Libiamo, ne’ lieti calici 14 “È strano! è strano!... Ah! fors’ è lui...” and “Follie!... Sempre libera” 16 “Lunge da lei...” and “De’ miei bollenti spiriti” 18 Pura siccome un angelo 20 Alfredo! Voi!...Or tutti a me...Ogni suo aver 22 Teneste la promessa...” E tardi... Addio del passato... 24 La Traviata Resources About the Composer 26 Online Resources 29 Additional Resources Reflections after the Opera 30 The Emergence of Opera 31 A Guide to Voice Parts and Families of the Orchestra 35 Glossary 36 References Works Consulted 40 2 An Introduction to Pathways for Understanding Study Materials The goal of Pathways for Understanding materials is to provide multiple “pathways” for learning about a specific opera as well as the operatic art form, and to allow teachers to create lessons that work best for their particular teaching style, subject area, and class of students. Meet the Characters / The Story/ Resources Fostering familiarity with specific operas as well as the operatic art form, these sections describe characters and story, and provide historical context. Guiding questions are included to suggest connections to other subject areas, encourage higher-order thinking, and promote a broader understanding of the opera and its potential significance to other areas of learning. Guided Listening The Guided Listening section highlights key musical moments from the opera and provides areas of focus for listening to each musical excerpt.
  • The Firebird

    The Firebird

    EDUCATION Education RESOURCE THE WITH PAQUITA SUPPORTED BY NATIONAL TOURING SUPPORTING EDUCATION CHOREOGRAPHER VAL CANIPAROLI PARTNER rnzb.org.nz facebook.com/nzballet CONTENTS Curriculum links 3 The Firebird 4 The characters 4 The story 5 The creatives 7 Q&A with Loughlan Prior 12 The history of The Firebird 14 Dance activities 16 Crafts and puzzles 18 What to do at a ballet 22 Ballet timeline 23 THE FIREBIRD 29 JULY – 2 SEPTEMBER 2021 2 CURRICULUM LINKS In this unit you and your students will: WORKSHOP LEARNING • Learn about the elements that come OBJECTIVES FOR together to create a theatrical ballet LEVELS 3 & 4 experience. Level 3 students will learn how to: • Identify the processes involved in Develop practical knowledge making a theatre production. • Use the dance elements to develop and share their personal movement vocabulary. CURRICULUM LINKS IN Develop ideas THIS UNIT • Select and combine dance elements in response to a variety of stimuli. Values Communicate and interpret Students will be encouraged to value: • Prepare and share dance movement • Innovation, inquiry and curiosity, individually and in pairs or groups. by thinking critically, creatively and • Use the elements of dance to describe dance reflectively. movements and respond to dances from a • Diversity, as found in our different cultures variety of cultures. and heritages. • Community and participation for the Level 4 students will learn how to: common good. Develop practical knowledge • Apply the dance elements to extend personal KEY COMPETENCIES movement skills and vocabularies and to explore the vocabularies of others. • Using language, symbols and text – Develop ideas Students will recognise how choices of • Combine and contrast the dance elements to language and symbols in live theatre affect express images, ideas, and feelings in dance, people’s understanding and the ways in using a variety of choreographic processes.
  • Tobias Ringborg

    Tobias Ringborg

    TOBIAS RINGBORG Tobias Ringborg is equally at home on the podium as a conductor and violinist, as well as in the opera house. His career started in 1994 when he, as a violinist, won the prestigious Swedish Soloist Prize. The same year he graduated with the highest honours from the Royal College of Music in Stockholm, and went on to study at the Juilliard School in New York, graduating in 1996. In 2000, Tobias Ringborg decided to expand his musical career after winning a conducting competition in Helsingborg. His lifelong passion for opera led to his operatic debut at the Stockholm Folkoperan in 2001, with Verdi’s La traviata. In 2002 he began a two year association with Malmö Opera, leading performances of a. o. Mozart’s Don Giovanni, Strauss’ Ariadne auf Naxos and Verdi’s Otello. In 2001 he made his debut at the Royal Swedish Opera with Puccini’s La Bohème, and has since then been strongly tied to that company, leading a.o. Mozart’s Don Giovanni and Die Zauberflöte, Donizetti’s L’elisir d’amore, Bizet’s Carmen, Verdi’s Don Carlo and Rigoletto, Tchaikovsky’s Eugene Onegin, Puccini’s Manon Lescaut, Tosca and Turandot, as well as the 2016 new production of Giordano’s Fedora (directed by Christof Loy). Specializing in Italian opera, as well as Mozart, operatic merits include Turandot at Dalhalla, Gounod’s Roméo et Juliette, Turandot and Mozart’s Le nozze di Figaro at Norrlandsoperan in Umeå, Puccini’s La fanciulla del West, Mozart’s Idomeneo, and Rossini’s Le comte Ory in Malmö, Turandot and L’elisir d’amore at Gothenburg Opera, Rossini’s Il barbiere di Siviglia, Tchaikovsky’s Swan Lake and J Strauss’ Die Fledermaus at the Norwegian Opera in Oslo, and Gounod’s Faust, Idomeneo, Don Giovanni and Bellini’s I Puritani at the Danish National Opera.
  • Sailing the Operatic Waka

    Sailing the Operatic Waka

    artist, any leader of an organization, but it doesn’t mean that comes without pain. SAILING THE OPERATIC WAKA When I arrived the company was facing quite substantial financial challenges, and I think that its principal funder Creative New Zealand—the equivalent of the Arts THOMAS DE MALLET BURGESS TALKS TO JOHN ALLISON Council in England—didn’t feel that the company had made sufficient progress in areas that demonstrated its public value. It’s not only a question of opera being an expensive art form—which it is if you are going to honour all the different elements fully, though t’s Friday morning in Auckland, and Thursday evening in London, and to emphasize that contrast further it’s also summer versus winter. Talking via Zoom I’ve produced it very cheaply, particularly when I was in Perth—in a country where with New Zealand Opera’s general director Thomas de Mallet Burgess, I probably benefaction is not as developed as in the US or even for that matter in the UK. A key I programme of this government is diversity, and we need to build a company that is sound just a touch envious when I suggest that he couldn’t have known quite what a clever move it would turn out to be when he took up the job two years ago—after all, more representative of New Zealand than perhaps it has been.’ he’s living in a country that (at the time of writing) is virtually Covid-free and able Although British colonists were never—anywhere in the empire—among the world’s to plan productions without fear of cancellation.
  • Presents Semele

    Presents Semele

    Presents __________________________________________________________________________ Semele By George Frideric Handel A RESOURCE PACK TO SUPPORT THE 2020 PRODUCTION The intention of this resource pack is to prepare students coming to see or taking part in tours or workshops focused on Semele Handel’s Semele Compiled by Callum Blackmore What is Opera? Opera is a type of theatre which combines drama, music, elements of dance or movement with exciting costumes and innovative set design. However, in opera, the actors are trained singers who sing their lines instead of speaking them. A librettist writes the libretto - the words that are to be sung, like a script. Often, the plots of the operas are taken from stories in books or plays. A composer writes the music for the singers and orchestra. An orchestra accompanies the singers. A conductor coordinates both the singers on stage and the musicians. An easy way to think of opera is a story told with music. In a lot of operas, the people on stage sing all the way through. Imagine having all your conversations by singing them! Opera Singers It takes a lot of training to become an opera singer. A lot of aspiring opera singers will take this route: Sing in choirs, volunteer for solos, take singing lessons, study singing and music at university, then audition for parts in operas. Opera singers hardly ever use a microphone, which means that they train their voices to be heard by audiences even over the top of orchestras. Singing opera can be very physical and tiring because of the effort that goes into making this very special sound.
  • YOUNG CAESAR, California Maverick Lou Harrison's

    YOUNG CAESAR, California Maverick Lou Harrison's

    YOUNG CAESAR, California maverick Lou Harrison’s sublime and sinuous depiction of Caesar’s love for another man, was performed and recorded live at Walt Disney Concert Hall on June 13, 2017. The Industry’s new performance edition fuses Harrison’s original gamelan-inspired orchestration with his lush orchestral writing from later on. This performance and recording is presented in collaboration with the Los Angeles Philharmonic. Track Listing 3 Synopsis 4 Artistic & Production Credits 5 Yuval Sharon • Lou Harrison’s Capital Cs 7 Robert Gordon • Me and Lou and Gaius Julius Caesar 8 John Rockwell • Lou Harrison and His Young Caesar 11 Marc Lowenstein • A Legacy of Beauty, of Joy, of Integrity 13 Biographies 16 Recording Credits 21 About The Industry 22 About the LA Phil 23 Photo Credits 24 1 Prelude 2 Act I: Overture 3 Scene 1a: “The Day of the Ceremony” 4 Aria: “What Is So Fine About Becoming a Man” 5 Scene 1b: “Ceremony and Processional” 6 Scene 2: “Death of Caesar’s Father” 7 Aria: “Yesterday His Eyes Were Bright” 8 Scene 3: Introduction 9 Aria: “The Living Must Live” 10 Scene 3: “Campus Martius” 11 Scene 4: “Cossutia’s Despair” 12 Scene 5: “Gaius and Cornelia” 13 Aria and Lullaby: “Now Grasp Your Daughter” 14 Scene 6: “Caesar Wandering” 15 Scene 7a: “In Mitylene” 16 Scene 7b: “Caesar and Dionysus” 17 Act II: Overture 18 Scene 8a: “Procession” 19 Scene 8b: “The Throne Room” 20 Scene 9: “Caesar in the Royal Chamber” 21 Aria: “And That Crown of His” 22 Scene 10: “Banquet” 23 Aria: “Entertainment and Eroticon” 24 Scene 11: “Bed Scene” 25 Aria: “Take Your Chances, Gaius” 26 Scene 12: “Fuming Romans” 27 Scene 13: “The Voyage” 28 Aria: “One Year We Lose in Battle” 29 Air “It Is Very Strange” 30 Sailor’s Chorus: “Good Priapus of the Harbour” 31 Scene 14: “Caesar’s Departure” 32 Barcarolle: “Hail Gaius, and Pity Nicomedes” ACT II Scene 8: In Bithynia, King Nicomedes receives the ambassador of Rome—but because he was expecting someone more experienced, he mistakenly welcomes Caesar’s physician.
  • Sydney Opera House Annual Report 2006-2007

    Sydney Opera House Annual Report 2006-2007

    WORLD HERITAGE FOR LIVING PLACE THE WORLD SYDNEY OPERA HOUSE TRUST AnnuaL report 2006-07 Who We Are Key Dates CONTENTS The Hon. Frank Sartor, MP Sydney Opera House is a global One of the most popular visitor 1957 Jørn Utzon wins Sydney Opera House design competition (January) Who We Are 1 Minister for Planning, Minister for Redfern Waterloo landmark, part of our nation’s DNA attractions in Australia, Sydney and Minister for the Arts and provides a central element Opera House sees more than Key Dates 1 1959 Work begins on Stage 1 – building the of the emotional heart of the city 4 million people visiting the site foundations despite Utzon’s protest that Highlights 2006/07 2 Sir, we have the pleasure of presenting the Annual Report of of Sydney. The focal point of our each year. Some 1.2 million people plans were not finalised (March) the Sydney Opera House for the year ended 30 June 2007, for Chairman’s Message 4 magnificent harbour, it is a place attend performances and over 1966 Jørn Utzon resigns (February) presentation to Parliament. This report has been prepared in CEO’s Message 6 of excitement and of warmth, 328,000 people take a guided tour accordance with the provisions of the Annual Reports (Statutory 1973 First guided tours of Sydney Opera House Vision and Goals 8 of welcome and wonder, where to explore the magic inside of one of Bodies) Act 1984 and the Public Finance and Audit Act 1983. ( July) Key Outcomes 2006/07 and art and architecture uniquely the most recognised buildings in the 1973 First performance in Sydney Opera House Objectives 2007/08 9 combine to enchant and enliven world.
  • DON PASQUALE Directed by Jacqueline Coats and Designed by Elizabeth Whiting & Jan Ubels

    DON PASQUALE Directed by Jacqueline Coats and Designed by Elizabeth Whiting & Jan Ubels

    2021 Opera in Schools Tour presents Gaetano Donizetti’s DON PASQUALE Directed by Jacqueline Coats and designed by Elizabeth Whiting & Jan Ubels - RESOURCE PACK – Proudly supported by Kia ora! To help prepare your tamariki for our visit, here is what to expect from the performance: New Zealand Opera will come to your school on the day arranged and set up for the performance in the school hall or another suitable space as discussed beforehand. We will bring our own set and costumes, which have been specially designed to pack up quickly and fit in the back of a van, along with the keyboard. We will usually do two performances a day on this tour and we are travelling from Auckland to Christchurch via Hamilton, Tauranga, Rotorua, Taupō, Whanganui, Wellington, Nelson, and Blenheim. Over the six-week tour we will perform to more than 9000 tamariki from years 1-8 around the country. The performance is of Don Pasquale, which is our adaptation of Donizetti’s opera of the same name. Our opera is 45 minutes long, in English, and is adapted especially for tamariki in schools. The whole presentation will be one hour long, as we will also have a 5min introduction to the performance as well as a 10 minute Q & A discussion with all of your tamariki afterwards. This is a great opportunity for your tamariki to ask any questions they may have about the cast, their training, the production etc. and to share anything they would like to say about what they have seen and heard. Please help us to prepare your tamariki for the event by taking them through the information in the pack and doing some of the activities with them.
  • JUL184619 FLYER NEW.Indd

    JUL184619 FLYER NEW.Indd

    CIRCUMNAVIGATION OF AUSTRALIA GRAND VOYAGE ROUNDTRIP SYDNEY December 15, 2018 | 36 Nights | Seven Seas Mariner® True travel adventurers will greatly appreciate our Circumnavigation of Australia Grand Voyage. This is a once-in-a-lifetime opportunity aboard the luxurious Seven Seas Mariner® and really see it all, from the sails of the famed Opera House in Sydney to the underwater wonder of the Great Barrier Reef. Explore Melbourne’s cultural side with tours through its finest museums and most architecturally rich neighborhoods, and in Perth sample exquisite wine and encounter Australia’s famous wildlife. Aboard Seven Seas Mariner®, enjoy an exclusive performance by Opera Australia in the intimate Constellation Theater plus an exclusive enrichment program which offers a variety of sessions with thought-provoking lectures by renowned experts. In addition to our standard all-inclusive amenities of FREE Unlimited Shore Excursions, FREE Unlimited Beverages including fine wines and spirits,FREE Specialty Dining, FREE Pre-Paid Gratuities, FREE Transfers between airport and ship, and FREE Unlimited WiFi guests on the Circumnavigation of Australia Grand Voyage will also enjoy the following Bespoke Amenities: • FREE Roundtrip Business Class Air* • FREE Pre-Cruise 1-Night Hotel Stay and Dinner in Sydney • FREE Exclusive Shoreside Experience - Australian Open Centre Court • FREE Exclusive New Year’s Eve Party in Bali • FREE Comprehensive Visa Package • FREE Phone Time per Suite • FREE Commemorative Gift • FREE Unlimited Laundry including Dry Cleaning and Pressing continued... FREE PRE- CRUISE 1 - NIGHT HOTEL STAY AND DINNER Sydney, Australia | DECEMBER 14 , 2018 Begin your unforgettable vacation with a FREE 1-Night Hotel stay at the Four Seasons Sydney.