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Regent Theatre Ulumbarra Theatre, Bendigo melbourne opera Part One of e Ring of the Nibelung WAGNER’S Regent Theatre Ulumbarra Theatre, Bendigo Principal Sponsor: Henkell Brothers Investment Managers Sponsors: Richard Wagner Society (VIC) • Wagner Society (nsw) Dr Alastair Jackson AM • Lady Potter AC CMRI • Angior Family Foundation Robert Salzer Foundation • Dr Douglas & Mrs Monica Mitchell • Roy Morgan Restart Investment to Sustain and Expand (RISE) Fund melbourneopera.com Classic bistro wine – ethereal, aromatic, textural, sophisticated and so easy to pair with food. They’re wines with poise and charm. Enjoy with friends over a few plates of tapas. debortoli.com.au /DeBortoliWines melbourne opera WAGNER’S COMPOSER & LIBRETTIST RICHARD WAGNER First performed at Munich National Theatre, Munich, Germany on 22nd September 1869. Wotan BASS Eddie Muliaumaseali’i Alberich BARITONE Simon Meadows Loge TENOR James Egglestone Fricka MEZZO-SOPRANO Sarah Sweeting Freia SOPRANO Lee Abrahmsen Froh TENOR Jason Wasley Donner BASS-BARITONE Darcy Carroll Erda MEZZO-SOPRANO Roxane Hislop Mime TENOR Michael Lapina Fasolt BASS Adrian Tamburini Fafner BASS Steven Gallop Woglinde SOPRANO Rebecca Rashleigh Wellgunde SOPRANO Louise Keast Flosshilde MEZZO-SOPRANO Karen Van Spall Conductors Anthony Negus, David Kram FEB 5, 21 Director Suzanne Chaundy Head of Music Raymond Lawrence Set Design Andrew Bailey Video Designer Tobias Edwards Lighting Designer Rob Sowinski Costume Designer Harriet Oxley Set Build & Construction Manager Greg Carroll German Language Diction Coach Carmen Jakobi Company Manager Robbie McPhee Producer Greg Hocking AM MELBOURNE OPERA ORCHESTRA The performance lasts approximately 2 hours 25 minutes with no interval. Principal Sponsor: Henkell Brothers Investment Managers Sponsors: Dr Alastair Jackson AM • Lady Potter AC CMRI • Angior Family Foundation Robert Salzer Foundation • Dr Douglas & Mrs Monica Mitchell • Roy Morgan Restart Investment to Sustain and The role of Loge, performed by James Egglestone, is proudly supported by Expland (RISE) Fund – an Australian the Richard Wagner Society of Victoria. The Wagner tubas purchased for this Government Initiative production are proudly supported by the Wagner Society in NSW Inc 3 Sway-pole Performers Emily Ryan, Lily Paskas Goodfellow Nibelungen Rebecca Rashleigh, Louise Keast, Karen Van Spall, Jane Magão, Eleanor Greenwood, Rose Nolan, Will Barker, Emily Ryan, Lily Paskas Goodfellow Stage Manager Lachlan O’Connor Assistant Stage Managers Will Barker, Cointha Walkenden Repetiteur Konrad Olszewski Set Design Assistant Max Bowyer Associate Lighting Designer Bryn Cullen Head of Wardrobe Jillian Wilson Assistant Director Will Barker Hair, Make-up & Wigs Julz Mayberry Rheinmaidens Choreographer Miki Oikawa Sway-pole Choreographer Phillip Gleeson Surtitles Operator Eleanor Smith Wagner working on the stage of the Bayreuth Festspielhaus, during preliminary rehearsals of The Ring. Drawing by Adolf Von Menzel, 1875. 4 FROM OUR PATRON-IN-CHIEF How wonderful to find ourselves back in the theatre and enjoying beautiful productions and performances after the 12 months we’ve been through. We at Melbourne Opera are thrilled to be leading the recovery for the performing arts with the first large scale production for the year, and reopening the beautiful Regent Theatre, with Das Rheingold. There are many exciting aspects to this production. For any opera company, embarking on The Ring is the apogee of a company’s aspirations. We are particularly proud to be presenting an all Victorian cast and creative team with the vital addition of Maestro Anthony Negus, one of the world’s leading Wagnerian conductors at the musical helm. Anthony’s thrilling performances of Tristan and Isolde, The Flying Dutchman and Fidelio (our last production before lockdown) have greatly enhanced the company’s reputation both here and internationally. We are also delighted that several important roles are taken by members of the Richard Divall Emerging Arts Program, now recognized as perhaps the nation’s best program for emerging artists. The company’s efforts in leading the arts recovery have been recognized by the Federal Minister for the Arts, the Hon. Paul Fletcher, with a RISE grant for Das Rheingold. This has helped us – and particularly all the artists involved - enormously. However we were both disappointed and perplexed not to receive Victorian Government Creative Victoria assistance for the same project-the inconsistency is surprising. So, in this our 20th year of operation we thank our generous philanthropic sponsors, supporters and audience as we enter our third decade and commence our Ring adventure. Melbourne Opera could not have achieved all it has without your ongoing and generous support. Lady Potter AC CMRI Patron-in-Chief Participants in the Belcanto Masterclass with Maestro Richard Bonynge AC and Lady Potter AC CMRI 5 FROM THE DIRECTOR Preparing and rehearsing Das Rheingold has been unlike this has been influential in the creation of the production the preparation of any other opera I have undertaken. This style. The other operas in cycle are largely about people – is not only because in the conception I am considering a albeit some heroic ones. We have asked ourselves what is further three operas and plotting the journey through these the essence of the characters; the Gods, Giants, Nibelungen over several years in a rapidly changing world. It has also and Rheinmaidens and how they can be presented in a way required a completely different mindset in the shadow that speaks to contemporary audiences, to reinforce the of the COVID lockdown. This has led to a six-month eternal relevance of this story of the machinations of power, postponement with the knock-on effect of significant entitlement and greed. My aim is to always be true to the changes to collaborators and singers, as well as significant storytelling and strive to understand how each moment in changes to our work practices. Wagner serves the work, then present it in a way that is detailed and fresh. In my preparation I was struck by how the New rehearsal and performance protocols have been put concept and structure of The Ring owes much to the ancient in place, including the distribution of the orchestra from Greek theatre festivals, and that ‘Das Rheingold’ can sit as beyond the pit to into the stalls. Our extraordinary stage a prologue, a kind of a Satyr play, a ‘joking tragedy’ where management team have had their workload increased as the actors play mythical heroes engaged in action drawn they diligently sanitise and deep clean our working space from traditional mythical tales.This production’s mythical and provide daily updates about the COVID situation in past refers to the heady and hedonistic times of the sixties Victoria. Everyone is committed to bringing opera back in and seventies when the rich had seemingly endless wealth this changed world. I am so proud to be a part of a project (approaching the ‘greed is good’ era of the eighties), where which is providing work for over 140 Victorian artists and many of the seeds were planted for our current malaise of production workers after a year when our industry has been the environment and democracy. hit so hard and giving you, our audience, this mainstage opera work in a full production. The production has a poetic and suggestive performance space which moves with the music through its scenic It is equal parts terrifying and thrilling to be a part of this shifts, so we never lose contact with story. It symbolically first major production coming out of the pandemic and renders the difference between the world of light which Melbourne Opera is to be congratulated for its flexibility, the gods inhabit, against the dark world of Nibelheim - the agility and bravery in commencing this project during these dichotomy of the overlords and the underworld. It was my times. wish to genuinely explore the magic Wagner demands in the transformation scenes and thewonder-filled watery world of Throughout 2020, in a world of ever escalating catastrophe, the Rhine maidens which Alberich stumbles into. I want to I reflected that Wagner’s Ring Cycle may be the story of make ‘Das Rheingold’ both fantastical and enjoyable. the ‘Twilight of the Gods’, but our world is currently feeling unnervingly like the ‘Twilight of Humanity’, with Therefore ‘Das Rheingold’ does feel like it is in ‘a’ past, but the outbreak of COVID-19, worldwide disasters linked to only compared to the rest of the cycle to come. It is a fresh, climate change and where a petulant man-child has ruled and highly theatrical production that does not always take “the land of the free.” In ‘Das Rheingold’ we meet aloof itself too seriously. This is Wagner with a nod to absurdism and indolent powerbrokers filled with self-interest who and the surrealism of the Italian master filmmaker of the will renounce love for personal gain, blithely ravage natural 1960’s and 1970’s, Frederico Fellini. resources and welch on deals; we appear to be living in a world fuelled by ancient tribal hatreds, teetering on the brink After a year of artistic inactivity, I am thrilled to work with of chaos. No wonder the operas which make up Richard every one of these outstanding Victorian artists to make Wagner’s Ring Cycle have such timeless appeal - this reads a production that celebrates the depth of Victorian artistic like a daily newsfeed. talent. This production allows our unique Wagnerian sensibility to flourish under the guidance of international With my creative team - Andrew Bailey (Sets), Harriet Wagner specialist, Maestro Anthony Negus, our irreplaceable Oxley (Costumes) and Rob Sowinksi (Lights) – we have Head of Music Raymond Lawrence and Dr David Kram. looked to create a world that does not drag the mythological characters of ‘Das Rheingold’ down to being ‘normal’ recognisable people. I found inspiration reading literature imagining Norse Gods in our contemporary world and 6 The Characters Alberich, is the Nibelung who dares to dream, coming out The giants, Fasolt and Fafner, come from a noble and skilled of the bowels of the industrial hub of Nibelheim to look for race, more practical than the gods but disdained by them.
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