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Home , Jessica Pratt (soprano), Salle Le Peletier, Teddy Tahu Rhodes, William Tell (opera)

GIOACHINO ROSSINI Armando Noguera (William Tell) VICTORIAN PRESENTS WILLIAM TELL

Composer Librettists V.J Etienne de Jouy and H.L.F. Bis

Conductor Richard Mills AM Director Rodula Gaitanou Set and Lighting Designer Simon Corder Costume Designer Esther Marie Hayes Assistant Director Meg Deyell

CAST Armando Noguera Rodolphe Paul Biencourt Arnold Melcthal Carlos E. Bárcenas Ruodi Timothy Reynolds Walter Furst Jeremy Kleeman Leuthold Jerzy Kozlowski Melcthal Teddy Tahu Rhodes Mathilde Gisela Stille Jemmy Alexandra Flood Hedwige Liane Keegan Gesler Paolo Pecchioli*

Orchestra Victoria

14, 17 and 19 JULY 2018 Palais Theatre, St Kilda

Original premiere 3 August 1829, Running Time is 3 hours and 15 minutes, including interval Sung in French with English surtitles

*Paolo Pecchioli appears with the support of the Faculty of Fine Arts and Music, University of Melbourne.

3 PRODUCTION

PRODUCTION TEAM Production Manager Eduard Inglés Stage Manager Marina Milankovic Deputy Stage Manager Meg Deyell Assistant Stage Manager Jessica Frost Assistant Stage Manager Luke Hales Wardrobe Supervisor Kate Glenn-Smith

MUSIC STAFF Principal Repetiteur Phoebe Briggs Chorus Preparation Richard Mills, Phoebe Briggs Repetiteur Phillipa Safey

CHORUS Jordan Auld*, Kirilie Blythman, Jesika Clark*, Rosie Cocklin*, Alexandra Ioan, Millie Leaver*, Rebecca Rashleigh, Diana Simpson, Emily Uhlrich, Nicole Wallace Mezzo Soprano Kerrie Bolton, Shakira Dugan, Jessie Eastwood*, Kristina Fekonja*, Hannah Kostros*, Eliza O’Connor*, Ursula Paez, Belinda Paterson, Juel Riggall, Lynlee Williams Jonathon Bam, Paul Batey, Alastair Cooper-Golec, Tomas Dalton, Irving Dekterev, Michael Dimovski, Ernst Ens, Tom Harvey, Jack Jordan*, Douglas Kelly, Zachary McCulloch, Joshua Morton-Galea*, Samuel Rowe*, Nathan Wright* Nicholas Christie*, Stephen Coutts, Nick Cowall, Jean-Paul D’Aubbonnett*, David Eckstein, Angus Grant, Jerzy Kozlowski, Callum MacDonald*, Stephen Marsh, Aidan McGartland*, Timothy Newton, Alex Pokryshevsky, Kiran Rajasingam, Raphael Wong

ACKNOWLEDGEMENTS Professor Jane Davidson, David Barnard (Tutor in Music, Repetiteur, University of Melbourne) Show Works, Baaclight, Norwest Special Effects Angelo Sahin Armoury Len Steel Surtitle Preparation Simon Bruckard *In association with the Faculty of Fine Arts and Music, University of Melbourne

4 ORCHESTRA

CELLO Section Principal Section Principal Melissa Chominsky Lucinda Cran Associate Principal Associate Principal Diane Froomes Matthew Ockenden*** CONCERTMASTER Sarah Cuming** Principal Contrabassoon Seiki Ueno+ Philippa Gardner Timothy Murray Yi Wang* Tania Hardy-Smith HORN Andrea Taylor DEPUTY CONCERTMASTER Section Principal Nils Hobiger+ Roger Jonsson** Jasen Moulton Erica Kennedy* Principal Third Horn Section Principal Linda Hewett Stuart Riley Sydney Braunfeld Principal 2nd Violin Associate Principal Rachel Shaw** Monica Naselow* Kylie Davies* Rebecca Luton+ Associate Principal 1st Violin Matthew Thorne Tomomi Brennan Christopher Bainbridge+ Associate Principal Violin Section Principal Rebecca Adler* Mark Fitzpatrick Binny Baik Section Principal Associate Principal Alyssa Conrau Lisa-Maree Amos Anthony Pope Rachel Gamer Associate Principal Karen Schofield Matthew Hassall** Section Principal Principal Piccolo Rachael Hunt Scott Evans Rebecca Johnson+ Philip Nixon Associate Principal John Noble Tony Gilham Martin Reddington Section Principal Principal Bass Trombone Christine Ruiter Stephen Robinson Benjamin Anderson** Lucy Warren Associate Principal Charles MacInnes+ Tony Zhai Joshua de Graaf TUBA Jo Beaumont+ Principal Principal Lynette Rayner+ Dafydd Camp Ioana Tache+ Karina Filipi+ Section Principal Section Principal Section Principal Paul Champion** Guy du Blêt Paul McMillan** Associate Principal Jason Bunn* Justin Beere PERCUSSION Catherine Bishop** Principal Bass Clarinet Section Principal Nadine Delbridge Andrew Mitchell Scott Weatherson+ Suying Aw+ Robin Henry+ Associate Principal Beth Hemming+ Stephen Falk+ Matthew Laing+ *Acting HARP Cora Teeuwen+ +Guest Section Principal **On Leave *** Courtesy of Orchestra Delyth Stafford*

5 WELCOME

This opera is a challenge for any company, the principal roles are extremely demanding vocally and the orchestra itself almost becomes a character in the opera in its own right. The original version was written for the Paris Opera – it was Rossini’s last opera.

The Paris Opera, the , eventually gives them the strength to was the grandest of houses overcome the foreign tyrant Gesler and of 19th century Europe, where taste for achieve new freedom, in which their unmatched spectacle and ballet was connection to nature is reaffirmed. formed by the members of the Parisian Against this public struggle for liberty, Jockey Club. Much of the artistic decision there are the private dilemmas of Arnold making was made by committee – and Mathilde, with their star-crossed scenographic and production. Rossini attraction and also the family dramas responded when an excited fan gushed of father and son: Melcthal and Arnold, that he had just seen William Tell: ‘What? Guillaume and Jemmy, both involving the All of it?’ absolute of death. These words give us a clue. The composer This rich narrative finds expression in provided plenty of ballet music and wonderful music, thrilling ensemble and orchestral material to be used at the chorus work, and arias whose brilliance discretion of the production in hand. The and difficulty are legendary. This is the ballet music is superfluous and, although first production in Australia since 1876. quite pretty, simply holds up the action Welcome to the operatic event of 2018. for a modern audience. My job has been to make a version which comes in at three hours – not five – and has narrative RICHARD MILLS direction, while also including all the great Artistic Director and Conductor set pieces. Our director, Rodula Gaitanou and I worked to achieve clear storytelling, strong drama and unfussy, lucid staging. The opera documents the struggle of an oppressed, rural society against a military power which is mechanical and technological. Their connection to the land and their pastoral way of life, with its strong bonds of family and community,

6 DIRECTOR’S NOTE

William Tell is Rossini’s last opera; written in the style of grand , a piece of monumental dimensions and dramatic impact. This is the story of peaceful rural communities uniting to rise against the occupying forces of an empire which endangers local culture and tradition, freedom of thought and speech, and the possibility of existing in harmony with their natural surroundings.

Thinking of this western European oppression, and the passion for the legend inevitably led me to draw cause, in an extraordinary way. Many parallels with the future we are amongst our audience will know the creating: a technologically advanced famous but the real surprise army against unarmed peasants who try and star of the show for me is the to protect nature, their culture, who glorious finale: the voices of the people will struggle to offer the generations rise to sing a hymn to freedom and the that follow a clean, safe, free place to beginning of a new life. live. I reflect on the conflicts that erupt It has been a great pleasure to bring this around the world today, the oppressed piece to life for an Australian audience, communities that stand against almost 150 years since it was first tyrannical forces with dignity and staged on these shores. courage, led by a passion for freedom. The fight is never glorious, bloodshed will occur, lives will be taken from both RODULA GAITANOU sides, people will be forever changed. Director Inspiration for the world that we’ve created scenically came from the piece itself and from contemporary tales of a dystopian future (film and television such as The Hunger Games and The Handmaid’s Tale). Rossini’s music depicts the alpine landscape perfectly, the sense of clean air and endless perspective, the rituals and traditions of a peasant community. It also portrays the sense of violence, danger and

7 SYNOPSIS

Place. Occupied in a and badly behaved, refuses to row dystopian future. The invaders are a Leuthold to safety, protesting the technologically superior force intent tempestuous waters of the lake. Tell on the destruction of a simple and readily volunteers and he and Leuthold wholesome community life in harmony depart. Almost immediately Gesler with the rhythms of nature. and his soldiers arrive and arrest Melcthal, who is summarily executed ACT ONE by Rodolphe, Gesler’s henchman, in In a pastoral community on the full view of the fearful community, who shores of , villagers have been overrun by the tyrannical, are celebrating a harvest festival polluting and murderous invading centred around veneration of the forces. earth and the blessing of couples and community members by Melcthal, ACT TWO the village elder. Melcthal chides Mathilde, alone in the solitude of his son Arnold for not having found nature, reflects on the difficulties of a wife and notices his deliberate her love for Arnold. He joins her and separation from the ceremonies. Later, they declare their love by exchanging William Tell is concerned by Arnold’s rings while cognisant of the difficulties apparently divided soul and provokes surrounding them. They plan for Arnold his confession of his love for Mathilde, to achieve military glory. Tell and an Austrian Royal Princess, whom patriot Walter Furst interrupt this tryst he had previously rescued from an and reveal the heroic and ignominious avalanche. Tell exhorts him to fight for death of Arnold’s father, Melcthal, at liberation, in a classic juxtaposition of the hands of the enemy. Arnold now love versus duty, but as the hunting embraces his duty and joins the Swiss horns announce the impending cause wholeheartedly. Tell summons the approach of Gesler, Arnold slips away men of the Swiss Cantons – Unterwald, to find Mathilde. The village festivities Schwitz and Uri – who make an oath are interrupted by the appearance of of fealty to overthrow the tyranny or Leuthold, who has killed an invading bravely face death in the attempt. soldier who attempted to abduct his daughter. The cowardly and mean-spirited Ruodi, previously drunk

8 ACT THREE ACT FOUR Arnold and Mathilde meet and mutually Arnold visits his ancestral home and acknowledge the impossibility of laments the death of his father. He their situation. They bid impassioned arms his followers and prepares for farewells. Gesler now presides over battle. Mathilde returns Jemmy to his a celebration of years of imperial mother Hedwige and joins the Swiss rule. Tell and his son Jemmy refuse to cause, offering comfort and support venerate his golden bust. Rodolphe to the beleaguered women. Leuthold recognises Tell as the rebel leader. announces the appearance of the boat Gesler, struck by Tell’s love for his son carrying Tell and Gesler, which has been and his fame as an archer, improvises battered by the stormy waters, and a cruel punishment: Tell is to shoot an which Tell, now freed from his chains by apple from Jemmy’s head. Sustained by the cowardly Gesler, steers to safety. Jemmy’s filial support, Tell succeeds. They land and Gesler is isolated among Gesler notices a second arrow, which the rebels who attack on a pre-arranged Tell confesses was prepared for him. signal. Tell kills Gesler. Arnold and his Gesler orders immediate execution, companions complete the liberation of but Mathilde, as a representative Altdorf, the scene of Gesler’s previous of the throne, orders clemency for perverted celebration, and the soldiers the boy Jemmy. Gesler, as a hateful flee in confusion. The community compromise, insists on accompanying assembles, Arnold remembers his Tell – across the stormy waters – to the father, and the opera concludes with a prison on the other side of the lake. The canticle to freedom and the beauty of populace, outraged beyond endurance the natural world. by the cruelty they have witnessed, erupt in a violent denunciation of Gesler and his occupation in a hate- filled finale. The yoke of imperialism has become intolerable and the subjugated express their defiance heedless of the consequences. Tell assumes the mantle of spiritual leader of a potentially defeated people.

9 BIOGRAPHIES

RICHARD MILLS RODULA GAITANOU SIMON CORDER Conductor Director Set and Lighting Designer Richard is one of Australia’s Rodula is an Athens born, Simon Corder left school most prolific and Paris trained, London in 1978 and joined the internationally recognised based international opera circus as a ring boy. In composers. He pursues director. She has created 2017 he was made a Knight a diverse career as a new productions for the of Illumination. He was composer, conductor Covent a winner at the Lighting and artistic director, Garden, Opera Holland Design Awards 2006, was and has an extensive Park, Scottish Opera, UK; nominated for an Irish Times discography of orchestral GöteborgsOperan, Sweden; Theatre Award in 2013, and works including his own Teatro Nacional São Carlos, nominated for an Olivier compositions. He has held Portugal; Wexford Festival Award in 2004. numerous prestigious Opera, Ireland; Teatro Simon’s career spans 40 posts, and received many Verdi di Trieste, Italy; Xi’an years or so. As a designer scholarships, fellowships Concert Hall, China; the he has completed over and awards including Greek National Opera and three hundred projects an AM in 1999. He is Opera 8 Lab in France ranging from grand opera currently Artistic Director amongst others. Rodula to night zoo lighting, from of Victorian Opera, and trained as a violinist in contemporary dance to was Artistic Director of Athens, studied Musicology avant-garde theatre to light West Australian Opera at La Sorbonne in Paris, art installations. 1997 – 2012, Director Opera Staging at Paris 8 of the Australian Music and physical theatre at His practice embraces Project for the Tasmanian the International Theatre lighting for performance, Symphony Orchestra School Jacques Lecoq. She set and production design, 2002 – 2008 and Musica is a former Royal Opera light-art, zoo design, Viva’s Composer of House – Covent Garden event production, lighting the Year in 2008. This Jette Parker Young Artist. for exhibitions, and year Richard conducts She was nominated for two photography. Victorian Opera’s (Sydney

BIOGRAPHIES William Tell, The Capulets 2013) and an Irish Theatre and The Montagues, and Award (Dublin 2017). 10 Pelleas and Melisande. ESTHER MARIE HAYES ARMANDO NOGUERA CARLOS E. BARCENAS Costume Designer Guillaume Tell Arnold Melcthal Esther Marie Hayes Born in Argentina, Armando Born in Cali, Colombia, graduated from the Noguera has sung on the Carlos studied with Victorian College of the most beautiful stages: Gustavo A. Marquez Arts in 2006 with a BA of Paris Théâtre des Champs- before moving to Australia Dramatic Art. For Victorian Elysées, Paris Opéra in 2007. He holds a Bachelor Opera, Esther has designed Comique, La Monnaie of Music Performance and costumes for Nixon in in Brussels, , a Master of Music (Opera China, Midnight Son, and The Accademia Santa Cecilia, Performance) at The Baroque Triple Bill. Glyndebourne Festival. University of Melbourne where he was awarded the Other costume credits From Mozart (Die Zauberflöte, Keith G. Chapman Memorial include Macbeth, Double Così fan tutte, Le Nozze di Scholarship. His roles for Indemnity, The Beast, Figaro) to Italian (Il Barbiere Victorian Opera include Other Desert Cities, The di Siviglia, , Steuermann (Der fliegende Heretic, , All About L’Italiana in Algeri, L’Elisir Holländer, Wagner), Edgardo My Mother, Richard III, d’Amore, Simon Boccanegra, (, Rockabye (Melbourne Falstaff) and French Donizetti), Elvino (La Theatre Company); Curtains (Pelléas et Mélisande, La Vie Sonnambula, Bellini), Sir (The Production Company). parisienne, ), without Bruno (, Bellini), As the Sisters Hayes, a forgetting Eugene Onegin, Flavio (, Bellini), sibling artist group, she has Die Fledermaus, The Rape of Gastone de Letorières (La designed set and costume Lucretia, he approaches an Traviata, Verdi), Prince for Going Down, Antigone, extensive repertoire. April (The Sleeping Beauty, Walking into the Bigness and Among his upcoming Respighi) and Ramiro (La Blood Wedding (Malthouse projects, Madama Butterfly Cenerentola, Rossini). Carlos Theatre). in Rouen, Fantasio in received a Green Room Montpellier, Turandot in Award for his performance Marseille, in Nice, Le of Steuermann in Der Comte Ory in Metz, but also fliegende Holländer. concerts and recitals.

11 JEREMY KLEEMAN TEDDY TAHU RHODES ALEXANDRA FLOOD Walter Furst Melcthal Jemmy A graduate of Victorian Teddy has performed in Australian coloratura Opera’s Developing Artist major houses throughout soprano Alexandra Flood Program and of Melbourne the USA and Europe made her professional Conservatorium of Music, including San Francisco, European opera debut in Jeremy has been a Melba New York, Hamburg, Paris, June 2014 as a young artist Opera Trust Scholar, the Vienna, Welsh National at the Salzburg Festival. recipient of the Dame Opera and Scottish Opera Since then Alexandra has Heather Begg Award Companies. performed the roles of and both Helpmann Roles include: Escamillo Marguerite/Le Petit Faust and Green Room Award (Hamburg, Paris, Munich, (Hervé, Staatstheater am nominations. He has Bilbao, , Gärtnerplatz,), the title role performed with Opera OA), (OA, in The Cunning Little Vixen Australia, State Opera of WA Opera), Scarpia (WA (Pacific Opera), Blonde South Australia, Sydney Opera), Emille de bec/ (Vorarlberger Landestheater Chamber Opera, Pinchgut (OA) , King of in Bregenz), Strictly Opera, Brisbane Baroque, Siam/ (OA), Gershwin (Queensland Ballet Musica Viva, Royal Méphistophélès (OA, SOSA, and Symphony Orchestra), Melbourne Philharmonic WA Opera), Sweeney Todd Violetta/Traviata Remixed Society, Consort of (Victorian Opera/NZO) (co-production between Melbourne, Melbourne Opera Front and the Bach and the Teddy has been awarded Metropolitan Opera Canberra International an ARIA, two Helpmann New York’s “Met2Go”), Music Festival. His 2018 Awards, a Limelight Award, Sepetta/La finta Giardiniera engagements include a Green Room Award plus a (Niedersächsische The Magic Pudding MO Award. Musiktage), Norina/Don for Victorian Opera, In 2018 Teddy released his Pasquale (Opera Krakow), the 3MBS Marathon, new CD, “I’ll Walk Beside world premiere of Miranda/ Collatinus in The Rape of You” with ABC Classics. Caliban (Opera Forward Lucretia at Dark Mofo, Festival), Maria/West Side Nielsen Symphony No.3 Story (Bolzano, Italy), Merry with MSO , Aeneas (Dido Widow (Langenlois, Schloss and Aeneas) at MRC and Haindorf) as well as many Second Elder (Susanna, concerts and European BIOGRAPHIES Handel) for Handel In festivals. The Theatre, Canberra. 12 PAOLO PECCHIOLI PAUL BIENCOURT TIMOTHY REYNOLDS Gesler Rodolphe Ruodi Bass, Paolo Pecchioli Paul’s roles for Victorian Melbourne based, Timothy started his career more Opera include Brighella in has worked in Europe, the than 25 years ago. , Mick in UK and across Australia. Since then, he began an The Cockatoos, and all six In Europe he performed international career and has tenor roles in Rembrandt’s with The Gesualdo Consort sung more than 60 leading Wife. Amsterdam, The Bach roles in all the major Akademie Stuttgart For Melbourne Opera he theatres around the world with Hans Christoph has appeared as Rodolfo in in: Washington DC, Rademann, Opera Holland La Bohème, Don Basilio in Barcelona, Tokyo, Moscow, Park, Philharmonischer , St Dallas, Pittsburgh, Chor Esslingen, at the Brioche in The Merry Widow, New York, Munich, Edinburgh Fringe, and Remendado in Carmen, Dresden, Chicago, Valencia, understudied a number of Ferrando in Così Fan Tutte, Soul, Milan, Rome, Venice, roles at Oper Stuttgart, Goro in Madam Butterfly Florence, Bari, and Turin. Germany. In Australia, and Pedrillo in The Abduction He has worked with he has worked with From Seraglio. numerous conductors many groups including including Riccardo Chailly, Music theatre credits Victorian Opera, Opera Zubin Mehta, , include Noel Weiderberg Australia, the Melbourne Riccardo Frizza, Nicola in the national production Symphony Orchestra with Luisotti, and Carlo Rizzi. of Shout-The Musical for Simone Young and Sir Jacobsen Entertainment Andrew Davis, Ludovico’s A bel canto repertoire and eight seasons for The Band, the Australian specialist, his roles include Production Company. Brandenburg Orchestra, La Cenerentola (also the Melbourne Bach Choir, His recent concerts include recorded for Sony Classical) La Compania, and the City of Stonnington’s 2017 , Puritani, Consort of Melbourne. In Christmas In The Park. Barbiere di Siviglia, Le nozze 2018 Timothy appears with di Figaro, and Don Giovanni. Victorian Opera in multiple productions. Paolo Pecchioli appears with the support of the University of Melbourne.

13 JERZY KOZLOWSKI GISELA STILLE LIANE KEEGAN Leuthold Mathilde Hedwige Jerzy has performed in Since 2001 Gisela has been a Born in Australia, Liane is over 60 operas as soloist principal at the Royal Opera a specialist in the works and chorus member. Copenhagen. Her repertoire of Mahler and is a regular With Victorian Opera he includes Violetta (La soloist with MSO in concert has performed the role traviata), Mími (La bohème), and oratorio repertoire. of Christus in Bach’s St Lulu (Lulu), Desdemona Her extensive career has John Passion, Trulove in (), and much more. been divided between Stravinsky’s The Rake’s leading roles in Australia and She recently sang Agathe Progress, bass soloist in Europe. She has performed in Der Freischütz at the Stravinsky’s Les Noces, for Victorian Opera (The Semperoper Dresden, toured in Così fan Tutte, Flying Dutchman, The Donna Anna in Don Giovanni the Dottore in Verdi’s La Sleeping Beauty); SOSA at the Savonlinna Opera traviata and Arthur in Iain (Erda, First Norn and Festival, and Pamina in the Grandage’s The Riders, a Waltraute: Der Ring Des spectacular new production performance for which Nibelungen, Azucena: Il of at the he earned a Green Room Trovatore); OA (Erda: Der Bregenzer Festspiele. Award nomination. Ring Des Nibelungen, Ulrica: He has performed in She has received the Un ballo in Maschera); ENO many premieres by Leonine Sonning Music (First Norn: The Twilight Australian composers Prize, and was the recipient of the Gods); Theater including works by David of the Birgit Nilsson Hagen (Klytämnestra: Chisholm, Richard Award in 2001. She was Elektra, Mistress Quickly: Mills, Peter Sculthorpe, also bestowed a Ridder af Falstaff, Leocadja Begbick: Johanna Selleck and Dannebrogen (Knight of Aufstieg und fall der Stadt Helen Gifford, and has Dannebrog) by Her Majesty Mahagonny) and Deutsche had two song cycles the Queen of Denmark. Oper Berlin (Anna: Les written especially for Troyens, Emilia: Otello, him by Michael Bertram Marcellina: Le Nozze di and Lawrence Whiffin. Figaro, Siegrune: Die Walküre). BIOGRAPHIES

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GUILLAUME TELL FOR compared to the 21st century, people had time on their hands, particularly the OUR TIMES middle and upper classes. This masterwork first saw the light of These facts, as well as the inheritance day on 3 August 1829, in Paris, at the of a long and complex social tradition Salle Le Peletier, which was the home dating back to the 1600s, make of the Paris Opera from 1821 until the the elaborate web of social mores building burned down in 1873. This surrounding the opera in 19th century theatre was steeped in the traditions Paris something quite foreign to our of French ballet and saw the premieres contemporary sensibilities. The late of (1832), (1841) and 19th century Wagnerian reformation Coppélia (1870). It was at the centre resulted in the notion of the theatre of the social and artistic life of 19th as a ‘temple of ideas’ – rather than century Paris and in 1858 was the an elaborate platform for social setting for one of the most famous interactions which took place in the games in the history of chess – played context of performances, substantially by American master Paul Morphy and informed by many inherited two French aristocrats, the Duke of conventions. Brunswick and Count Isouard – during a performance of Norma. Composers, to survive, had to bow to the fact that, particularly in Paris, these This fact tells us a great deal about conventions, social and otherwise, the place of opera as entertainment reigned supreme. Wagner’s Tannhäuser for the bourgeoisie and aristocracy of lasted only four performances in 1861 19th century Paris – and the concept because the ballet was in the first act of the opera house as a focus of – members of Parisian Jockey Club civic pride and a place for meetings, arrived after dinner, usually for Act Two dinners, socialising and mischief. This and expected to see their favourite range of activities, over and above ballerinas on duty. actually listening to the singers, gives an indication of the listening habits of However, some great music was written early 19th century opera goers. We do for this theatre and these conditions well to remind ourselves that there was including Gounod’s Faust, Verdi’s Don no cinema, one of the loudest noises Carlos and Donizetti’s , and anyone heard was the steam train and, of course Guillaume Tell.

17 Artistic committees made many of the essence of this great work inspires decisions of the Paris Opera in Rossini’s a reverence because of its quality as time in the areas of scenography, dramatic music and real seriousness of costume and illuminations. And, purpose at its core. Rossini’s greatness of course, ballet was essential. Tell transcends the prevailing conditions provides opportunities for visual illusion of his age and bequeaths a work which (alpine scenery, archery tricks, a raging speaks to our times and, I think, times storm) that would satisfy the populace’s to come. appetite for scenic spectacle and The concerns of the opera emerge dance, but which contribute almost as surprisingly contemporary, finding nothing to the progress and substance many parallels in our own world. A of the drama at hand. While the balletic rural community who live simply, in and scenic effects helped ensure the harmony with nature, are oppressed success of the work with 19th century by an occupying power who mock this Parisians, this material for a 21st century simplicity of life, ban their rituals and do public – who have no real expectation not hesitate to use violence and murder of scenic extravagance (we have cinema as a means of subjugation. Two father- for that) and who also have no interest son relationships are fractured by this in acres of balletic spectacle – is of force: Melcthal and his son Arnold, limited interest. and William Tell and his son Jemmy. Interestingly, this Parisian fascination Melcthal’s brutal murder provokes for scenic spectacle persists today, Arnold to join the struggle and Gesler’s for example at the Folies Bergère. I cruel and sadistic ‘trial by apple and remember – many years ago – sitting arrow’ proves to be the last straw for through a pageant of ‘the great queens the enslaved populace. Gesler is finally of France’ (sic) and the lady in front revealed as coward, dies in ignominy of me exclaiming to her companion and the community rediscovers the about the scenic drapery, ‘O Chérie, majesty of nature and freedom, les mauves!’ (‘Oh darling, those purple celebrating in one of the greatest drapes!’) concluding ensembles in opera. Well, we have no purple drapes in our Director Rodula Gaitanou and I Guillaume Tell – not even the marks have cleaned away the 19th century where they might have been – as the paraphernalia from the score and

18 returned to its essence – with strong simple storytelling underpinned by similarly strong musical continuity and careful editing to preserve the important features of Rossini style. I suppose it’s similar to restoring an old master painting: the original vibrancy of the work is re-affirmed, its great musical inventiveness, dramatic power and content emerge to engage with issues that are part of our own immediate world. The enduring capacity of a masterpiece to renew itself and be rediscovered by succeeding generations is completely present in this opera. It started life among the perfumed fantasy and exoticism of French Romantic theatre, it is reborn for us as a document of struggle, a drama of courage, the strength of family, community and humanity expressed through wonderful dramatic music made by a great heart and soul – Rossini.

RICHARD MILLS Artistic Director and Conductor

Armando Noguera (William Tell) Kirilie Blythman (Chorus), Kiran Rajasingam (Chorus) and Jeremy Kleeman (Walter Furst) ABOUT US

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21 OUR TEAM

CONDUCTOR EMERITUS MARKETING Richard Gill AO Marketing, Media and Sales Manager Henri Marron VICTORIAN OPERA BOARD Marketing Content Producer Chairman Genevieve Overell Beata Bowes Roger Box, Vivienne Corcoran, Siobhan Media and Communications Executive Lenihan, Selina Lightfoot, Stephen Scott Whinfield McIntyre, Grant Powell, Penny Stragalinos, Sasha Zegenhagen (Board Observer) CRM and Ticketing Executive Nichole O’Duffy EXECUTIVE DEVELOPMENT Artistic Director Dr Richard Mills AM Development Manager Louise O’Loughlin Managing Director Andrew Snell Individual Giving Manager Pooja Dutt Executive Producer and Artistic Associate Elizabeth Hill SEASON STAFF ARTISTIC, ENGAGEMENT & PRODUCTION Head Mechanist Mark Bradford Head of Music Phoebe Briggs Costume Makers David Anderson, Lara Barwick, Emma Ikin, Repetiteur Amelia Peace, Lauren Trivett, Jillian Wilson, Phillipa Safey Brian Misson, Simon Doe, Carletta Childs, Assistant Company Manager Brynna Lowen Candice MacAllister, Elise Fowles Millinery Education Officer/Administration Phillip Rhodes Ioanna Salmanidis Handmade Shoes Production Manager Claire Best Eduard Inglés Masks Technical and Operations Coordinator Simon Bainbridge - All Props Peter Darby Wigs and Makeup Production Coordinator Linda Cowall Luke Hales VOYCE Director Angus Grant FINANCE & ADMINISTRATION Special thanks to Beata Bowes, Phoebe Briggs, Finance and HR Manager Louise O’Loughlin and Scott Whinfield for their John Orr contribution in creating this programme. Finance Assistant Claire Voumard © Photography: Charlie Kinross pp 2, 9, 16, 19, 20

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THANK YOU

ARTISTIC DIRECTOR’S CIRCLE ($10,000+) M Gordon & L Norton Deanne Bevan & Guy Russo Ian Kennedy AM & Dr Sandra Hacker AO Rob & Caroline Clemente Richard Laslett & Colin Gunther John & Diana Frew Ian Merrylees Jane Hemstritch Vivienne & Richard Reed Hans & Petra Henkell Tomasz & Elzbeita Romanowski Suzanne Kirkham John & Elisabeth Schiller Peter & Anne Laver Lynne Sherwood Simone Lourey Lady Southey Don & Angela Mercer Penny Stragalinos Maureen Wheeler AO Diana & Robert Wilson Dr John & Elizabeth Wright-Smith Earl of Wilton Secret admirers (5) PLATINUM PATRON ($5,000+) SILVER PATRONS ($1,000+) Beth Brown & Tom Bruce AM Alan Chuck & Wendy Hughes Chuck Judith Augustine Richard & Isabella Green Laurie Bebbington & Elizabeth O’Keefe Peter & Jenny Hordern Kirsty A Bennett Siobhan Lenihan Nancy Bomford Peter Lovell Box Family Kaye Marion Anthony Buzzard Ruth & Tom O’Dea Keith Chivers & Ronald Peel Grant Powell & Sally McCutchan Ernest Dawes OBE & Nola Dawes Michael Rigg & Gerard Condon Beatrice & Richard Donkin Marian & Ken Scarlett OAM Dr M Elizabeth Douglas Joy Selby Smith Bill Fleming Greg Shalit & Miriam Faine Brian Goddard Rosemary & Dr Alan Tait Nance Grant AM MBE & Ian Harris Hartmut & Ruth Hofmann Simon L Jackson & Brian Warburton GOLD PATRONS ($2,500+) Dr Garry Joslin & Prof Dimity Reed AM Joanna Baevski Sean Kelly The Hon David Byrne Rod & Daniele Kemp Ian Baker & Cheryl Saunders Alun & Patricia Kenwood Craig D’Alton & Peter Sherlock Angela & Richard Kirsner Bob Garlick John & Lynne Landy John & Gaye Gaylard Prof Kathy Laster Dr Jennifer George & Canon Matthew Joan & George Lefroy Williams Dr Paul & Glenys Lejins Mary-Jane Gething & Joseph Sambrook Dr Anne Lierse Daniel Goodfellow & Matthew Burgess Douglas & Rosemary Meagher PATRONS

24 Ann Miller Jean Dunn Gillian Montgomery Dennis Freeman Jane Morris Dr Irene Irvine Prof Kerry Murphy Angela Kayser Greg Noonan Robert & Pamela Knight Anna Pang Jane Kunstler Jillian Pappas Jocelyn & Andrew McLeish Jane Patrick & Robert Evans Ian Morrey & Dr Geoffrey Minter Prof John Rickard Jill Page OAM Phillip & Sue Schudmak Greg J Reinhardt Rev Dr John & Thea Scott Ruth & Ralph Renard Dush Shan Charles Roxburgh Andrew Snell Graeme Samuel AC & Jill Davies James Syme Aubrey Schrader Andrea Tappe Prof Michael Smith Prof Hugh Taylor AC & Dr Elizabeth Dax AM Neil Twist Caroline Travers OAM & Richard Travers Caroline Vaillant OAM Hon Heidi Victoria Dr Michael Troy Catherine Walter AM Chris & Helen Trueman Rev Noel Whale David Valentine Secret admirers (9) Megan Waller Russell Waters & Marissa Barter-Waters BEQUESTS Ian A Watts Jenny Anderson Igor & Jenny Zambelli G Bawden and L DeKievet Secret admirers (4) Lesley Bawden Frank and Danielle Chamberlin BRONZE PATRONS ($500+) Colin Gunther and Richard Laslett Prof Dennis Altman AM Jane Kunstler Jenny Anderson Tony Wildman and Robert Gibbs Lesley Bawden Secret admirers (3) Ines & Dr Don Behrend Philip Benjamin & Sandy Benjamin OAM If you are interested in becoming a Maura Best Victorian Opera Patron, or having a Shirley Breese confidential discussion about leaving a Stuart Brown gift to Victorian Opera in your Will, please Susan Brownrigg contact Pooja Dutt, Individual Giving Pam Caldwell Manager on (03) 9001 6408 or email Dr Jennifer Coghlan-Bell & A/Prof Simon [email protected] Bell Brian & Kaye Dempster Current at time of printing.

25 ORCHESTRA VICTORIA

Orchestra Project Coordinator Laura Message Operations Coordinator Mark Lowrey Operations Assistant Rachel Owen Orchestra Victoria is a wholly owned subsidiary of Orchestra Librarian Glynn Davies The Australian Ballet. HR Consultant Kelly Henshall T: (03) 9694 3600 Marketing Specialist Keshia Contini www.australianballet.com.au Orchestra Accountant Senthil Radha Government Relations & Strategic Communications MANAGEMENT Manager Dana Moran Artistic Director Nicolette Fraillon AM Corporate Partnerships Account Manager General Manager Sara Pheasant Fiona Gosschalk Head of Orchestra Management Angela Chilcott Trust & Foundations Manager Jo McEniery Operations Manager Fiona Boundy Acting Patrons Manager Roxy Kavanagh Project Manager Elise Lerpiniere (03) 9669 2776 Deputy Orchestra Manager Harriette Blanden [email protected]

PHILANTHROPY ANNUAL GIVING ENDOWMENT FUNDS The Conductor’s Podium ($35,000+) EDUCATION Mr Robert Albert AO RFD RD & Mrs Elizabeth Albert The Judith & Alasdair McCallum Fund The Concertmaster’s Ensemble ($10,000+) Lesley & Bob Qualtrough Bequest Mr Richard Guy OAM & Ms Claire Guy, Ms Linda Herd, Hamilton & Western District Fund Dr Peter A Kingsbury, Avner Klein & Maria Pannozzo, Geoff and Helen Handbury Foundation Don & Angela Mercer, The Hon. Howard Nathan AM Trusts and Foundations QC, Mrs Margaret S Ross AM The William Buckland Foundation, Gandel Philanthropy, Principal Patrons ($5,000-$9,999) Besen Family Foundation, Gwen & Edna Jones Gaye & John Gaylard, Hans & Petra Henkell Foundation Dr Alastair Jackson, Judith & Alasdair McCallum CELESTIAL INVESTMENT DONORS Patrons ($1,000-$4,999) Con Grazia ($25,000) David and Cindy Abbey, Matthew and Joanne Angus, Lady Southey AC Marc Besen AC & Eva Besen AO, Tom Bruce & Beth Con Vivo ($10,000-$24,999) Brown, Peter and Ivanka Canet, Mr Jim Cousins AO Ms Linda Herd & Mrs Libby Cousins, Peter Griffin AM & Terry Swann, Con Brio ($5,000-$9,999) Mrs Barbara Hamer, Louis J. Hamon OAM, Russell and Dr Alastair Jackson, The Mercer Family Foundation, Jenni Jenkins, Peter & Carmel Johnson, G Croft, Peter Igor Zambelli & Jenny Lee McLennan & John Lander, Michelle and Ian Moore, Con Moto ($1,000-$4,999) Marie Morton FRSA, Prof David Penington, Lady Ms Jane Edmanson OAM, Gaye & John Gaylard, Hans Potter AC CMRI, Kerryn Pratchett, Mr John Redman, & Petra Henkell, Michelle and Ian Moore, Mrs Margaret Jan & Keith Richards, Adrienne Shaw, Libby Smith, P & S Ross AM, Elizabeth & Hank Van Herk, Drs Victor & J Spark, Elizabeth & Hank Van Herk, Drs Victor & Karen Karen Wayne OAM , Anonymous (1) Wayne OAM , Igor & Jenny Zambelli, Anonymous (4) Con Amore (<$1000) Supporters ($100-$999) Peter and Ivanka Canet, G Croft, Ms Sarah Monaghan, (39) Kerryn Pratchett, Prof Greg Reinhardt, Megan Steller, Anonymous (1) Orchestra Victoria is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body. PLANNED GIVING Orchestra Victoria is supported by the Victorian Government through Creative G C Bawden & L de Kievit, Lesley M Bawden, Cusack- Victoria. Muller Bequest Estates Principal Regional Partner Mrs Neilma Baillieu Gantner

26 TEDDY TAHU RHODES WHY I READ

“In this age of technology I find it a beautifully tactile and intimate experience to hold and read from a book or magazine. I will always pick up a copy of Limelight magazine as it keeps me informed and inspired by what is happening in the glorious and creative world of classical music with a special focus on our wonderful Australian artists.” Teddy Tahu Rhodes Opera singer

READ THE REVIEW Limelight Magazine’s review of Victorian Opera’s William Tell will be available free-to-read online from July 15 limelightmagazine.com.au GET CLOSER TO THE MUSIC Sign up to a weekly newsletter of news, reviews and special offers, and recieve a FREE 16-page preview of our latest magazine limelightmagazine.com.au/newsletter WIN VICTORIAN OPERA TICKETS Subscribe to Limelight before July 31 for your chance to win a double pass to Victorian Opera’s Pelleas and Melisande at the Palais in October. To enter, use offer code PELLEAS at checkout secure.limelightmagazine.com.au “We aim to design for the experience of a space, crafting remarkably through a process of personalisation”

PARTNERS IN INNOVATION www.raraarchitecture.com.au OUR PARTNERS

We acknowledge and thank our partners who make our work possible.

GOVERNMENT PARTNERS FOUNDATION PARTNER

UNIVERSITY PARTNER AWARDS

TRUSTS AND FOUNDATIONS “We aim to design for the experience of a space, crafting remarkably through a William Angliss Leo and Mina Charitable Fund Fink Fund process of personalisation” Henkell Family Fund The Marian & E.H. Flack Trust

OFFICIAL PARTNER MEDIA PARTNERS

CORPORATE MEMBER SUPPLY PARTNERS

PERFORMANCE PARTNERS

PARTNERS IN INNOVATION www.raraarchitecture.com.au 29 UPCOMING EVENTS

The Capulets and the Montagues A thrilling finale to our Bellini concert series This rarely-heard masterpiece draws two of Australia’s finest singers home as Romeo and Juliet: internationally acclaimed mezzo-soprano Caitlin Hulcup and soprano superstar . 14 September (7:30pm) | Arts Centre Melbourne, Hamer Hall

Pelleas and Melisande A love too great for this world Discover the haunting beauty of Pelleas and Melisande, the only opera from Claude Debussy. This symbolist opera fuses text, ethereal harmonies and floating instrumental colour with an atmospheric poetry unlike any other work. 11 and 13 October (7:30pm) | Palais Theatre, St Kilda

Lorelei ‘I like my men like I like my whiskey...on the rocks’ Ancient myth meets modern woman in an allegory of resilience and reclaiming one’s destiny. Ali McGregor, Dimity Shepherd and Antoinette Halloran await you at the rock for an intoxicating encounter with love and death: part cabaret, part opera, all seduction. 3-10 November | Merlyn Theatre, The Coopers Malthouse

30 CLAUDE DEBUSSY PELLEAS AND MELISANDE A secret affair A family torn apart A love too great for this world

Thursday 11 and Saturday 13 October, 7:30pm Palais Theatre, St Kilda BOOK NOW victorianopera.com.au | 136 100 victorianopera.com.au

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