(WA Opera Society

Total Page:16

File Type:pdf, Size:1020Kb

(WA Opera Society W.A.OPERA COMPANY (W.A. Opera Society - Forerunner) PR9290 Flyers and General 1. Faust – 14th to 23rd August; and La Boheme – 26th to 30th August. Flyer. 1969. 2. There’s a conspiracy brewing in Perth. It starts September 16th. ‘A Masked Ball’ Booklet. c1971. D 3. The bat comes to Perth on June 3. Don’t miss it. Flyer. 1971. 4. ‘The Gypsy Baron’ presented by The W.A. Opera Company – Gala Charity Premiere. Wednesday 10th May, 1972. Flyer. 5. 2 great love operas. Puccini’s ‘Madame Butterfly’ ; Rossini’s ‘The Barber of Seville’ on alternate nights. September 14-30. Flyer. 1972. D 6. ‘Rita’ by Donizetti and ‘Gallantry’ by Douglas Moore. Sept. 9th-11th, & 16th, 17th. 1p. flyer. c1976. 7. ‘Sour Angelica’ by Puccini, Invitation letter to workshop presentation. 1p..Undated. 8. Letter to members about Constitution Amendments. 2p. July 1976. 9. Notice of Extraordinary General Meeting re Constitution Change. 1p. 7 July 1976. 10. Notice of Extraordinay General Meeting – Agenda and Election Notice. 1p. July 1976. 11. Letter to Members summarising events occurring March – June 1976. 1p. July 1976. 12. Memo to Acting Interim Board of Directors re- Constitutional Developments and Confrontation Issues. 3p. July 1976. 13. Campaign letter for election of directors on to the Board. 3p. 1976. 14. Short Biographies on nominees for Board of Directors. 1p.. 1976. 15. Special Priviledge Offer. for ‘The Bear’ by William Walton and ‘William Derrincourt’ by Roger Smalley. 1p. 1977. 16. Membership Card. 1976. 17. Concession Vouchers for 1976 and 1977. 18. The Western Australian Opera Company 1980 Season. Fold-out leaflet. 1980. 19. Notice to members of Annual General Meeting and agenda. 2p. 1981. 20. Ballot paper and short biographies on nominees for Board of Directors. 3p. 1981. 21. Save up to $36 a double on 1982 Season. Fold-out leaflet. 1982. D 22. The Joan Sutherland Recital. 9th March, 1982. Flyer. 23. Opera 1983 – savings up to 25%. Fold out leaflet. 1983. WEST AUSTRALIAN OPERA COMPANY (W.A. Opera Society - Forerunner) PR9290 Musical Date Venue Title Director Producer Principals Flyers and General Cont. 24. The Merry Widow. Flyer. 1984. 25. News Flash of events for members. 1p. 1985. 26. 1986 Season. Flyer. 1986 27. Opera ’85. Fold-out leaflet. 1985. D 28. Opera 1984. Fold-out leaflet. 1984 D 29. The Western Australian Opera Company presents its 1976 programme . .. Flyer. 1976 30 Invitation to ‘The Musicantes’ 27 June 1986. A4. 1986. D 31. Celebrating 20 years of Opera in 1987. Fold-out leaflet. 1987 D 32. 1987 Anniversary Season Subscription Order Form. 1987. D 33. Opera ’88. A4 booklet. 1988. 34. West Australian Opera 1993. Booklet. 1993 D 35. Carmen. Flyer. 1968. 36. Sunday Serenade – A Christmas Special. Sunday 5 December. Card. c1993. 37. West Australian Opera Subscription Series 1996. Booklet. D 38. W.A Opera Company & The Society of W.A. Opera Lovers present David Brennan in Recital. Flyer. Undated 39. W.A Opera presents Don Pasquale. April 9, 11, 14, 15, 16. Flyer. c1994. D 40. Donizetti’s ‘The Elixir of Love’. August 1, 3, 5, 7, 8 12. Flyer. c1995. 41. The Majestic ’95 Subscription Series. Booklet. 1995. 42. West Australian Opera presents Fledermaus. April 13-27. Flyer. 1996. D 43. Western Australian Opera Company presents The Magic Flute. Programme. 10p. 1981 44. Tristan und Isolde by Richard Wagner. Flyer. 2006. 45. An evening with Dennis O’Neill ‘Welsh National Treasure’. Flyer. 5 September 2004. 46. 2001 season. Booklet. 20p. 2001. 47. Opera Carmen by Bizet. Leaflet. Aug & Sept 1992. 48 Celebrating 20 years of opera in 1987. Fold-out leaflet plus separate subscription order form. 1987. 49. Fall freshly in love with opera. Booklet. 24p. 2002. 50. The Merry Widow. Leaflet. 2003. 51. West Australian opera, thirty years. Booklet. 24p. 1997. 52. Mozart, the Magic Flute. Brochure. 53. Healthway introduces a fresh approach to opera. Nutrition sheets to promote Magic Flute by sponsor Healthway. 2p. 2003. PR9290 4/11/2020 WEST AUSTRALIAN OPERA COMPANY (W.A. Opera Society - Forerunner) PR9290 Musical Date Venue Title Director Producer Principals 54. Celebrate 1967-2007. West Australian Opera 40 years of passion. Booklet. 2006. 55. 1991 season. Leaflet promoting subscription to Tristan & Isolde, The turn of the Screw. 56. The Turn of the Screw. Leaflet. 1991. 57. Smarter than smoking. Opera in education. Workshop Series. Semester 1, Semester 2. Card. 2004 58. Bride of Fortune. Octagon Theatre. Invitation. 15 February 1991. 59. West Australian Opera presents Don PasQuale.. Leaflet. Undated. 60. West Australian Opera presents Giuseppe Verdi’s Rigoletto in concert. Flyer. Undated. 61. West Australian Opera presents The Marriage of Figaro. Leaflet. Undated. 62. 1981 Election for directors to the board of The Western Australian Opera Co. (Inc.). 1p. Typescript. Undated 63. 2001 Christmas concert. West Australian Opera at Perth Zoo. Card. 22 December 2001. 64. West Australian Opera presents Romeo & Juliet by Charles Gounod. Card. 1999. 65. 1996 Season Calendar. Pamphlet. 1996. 66. Rossini’s Cinderella.”great fun, great singing, a great night out”. Card. 2004. 67 West Australian Opera. Folder containing the following leaflets / Pamphlets / cards: • Smarter than smoking. Opera in education workshop series. Card • Be a non smoker and blow the crowd away! Leaflet. • West Australian Opera 2005. Don Giovanni, La Traviata, Carmen. Pamphlet. • 05 BlackSwan Theatre Company. Education program. Pamphlet. • Cover letter addressing teachers about the upcoming education programs. Leaflet. 2005. • West Australian Opera Smarter than Smoking Opera in Education Contact List. Blank Form. Leaflet. • 05 Behind- the – scenes Production Workshops. Flyer. • 05 Education Season Ticket. Flyer. • 05 Smarter than Smoking Opera in Education. Don Giovanni by Wolfgang Amadeus Mozart. Flyer. • 05 Smarter than Smoking Opera in Education. 05 In School Workshops. Leaflet. • 05 Smarter than Smoking Opera in Education. Past productions’ teacher resource packs. • West Australian Opera. Fleur Allen. Business card. 68. Heloise & Abelard by Peter Tahourdin. Invitation. Postcard. 1-6 March 1993. 69. Orpheus in the Underworld by Jacques Offenbach. Invitation. Postcard. 17-28 August 1993. 70. Madama Butterfly by Giacomo Puccini. Invitation. Postcard. 22-30 April, 1 May 1993. 71. Donizetti’s The Elixir of Love. A deliciously romantic opera. 1-12 Aug. 1996? PR9290 4/11/2020 WEST AUSTRALIAN OPERA COMPANY (W.A. Opera Society - Forerunner) PR9290 Musical Date Venue Title Director Producer Principals 72. Fall freshly in love with opera in 2003. Season program. Booklet. 2003. 73. A special offer for 1983. Subscription leaflet. 1982. 74. A night to remember. Invitation and acceptance slip for 30 November 1982. 75. Christmas party. Invitation and booking form. 1982. PR9290 4/11/2020 WEST AUSTRALIAN OPERA COMPANY (W.A. Opera Society - Forerunner) PR9290 Musical Date Venue Title Director Producer Principals 1940s____________________________________________________________________________________________________________________ 1948? His Majesty's Tales of Hoffman Hans Briner Beryl Seward R.Dowd, A.Chappelle, Theatre Offenbach R.Allan, E.Haglund, Perth P.Lawrie,L.Drummond, M.Buchan, B. Hooper, E.Longwell, F.O'Grady, H.Freedman, G.Frieze, W.Frankish, A.Biggs, G.Chrystal, M. Lewis, W. Harper, N. Yiend, C.Spencer, G.Rossi. _________________________________________________________________________________________________________________________ 3 March 1949 His Majesty's La Traviata Hans Briner Beryl Seward F.Nowotny, R.Allen, Theatre Verdi M.Mendelson,E.Sibbritt Perth W.Hurford,B.Demarest R.Dowd, A.Chappelle, G.Frieze, A. Biggs, R.Farrago, H.Neate, G.Chrystal, B.Copley M.Lewis. _________________________________________________________________________________________________________________________ PR9290 4/11/2020 WEST AUSTRALIAN OPERA COMPANY (W.A. Opera Society - Forerunner) PR9290 Musical Date Venue Title Director Producer Principals 16 Nov 1949 His Majesty's Die Fledermaus Hans Briner Dr. Pusenjak A.Chappelle,H.Browne Theatre Strauss P.Lawrie, F.Nowotny, Perth G.Frieze, H.Phipps, M.Lewis,M.Mendelson, B.Demarest, S.Foley, N.Yiend, G.Chrystal, H.Freidman. 1950s____________________________________________________________________________________________________________________ 26 July 1950 His Majesty's Don Pasquale William A. Stefan Haag F.Lisle, S.Haag, Theatre Donizetti Rayner R.Dowd, S.Biddle, Perth D.Van Val _________________________________________________________________________________________________________________________ 25 May 1950 Perth Town Hall Concert William A. R.Allen, S.Hillman Rayner F.Nowotny, I.Archer, G.Chrystal, M.Lewis Mrs.Eglitis,G.Meyers, D.Hall. _________________________________________________________________________________________________________________________ (PERTH METROPOLITAN OPERATIC SOCIETY -Forerunner) 4 Nov 1952 His Majesty's The Gypsy Baron James Penberthy B.V.Pusenjak B.Hooper, A.Sapalis Theatre Strauss Mary Moir S.Nicholls, L.Baxter, Perth E.Kesacoff, B.Manning B.Howarth, J.Mann, I.Conochie,V.Gorringe, J.Hall, D.Glendinning, P.Kriger, M.Jones J.Schreurs, D.Gilchrist, W.Jenkin, J.Snook. PR9290 4/11/2020 WEST AUSTRALIAN OPERA COMPANY (W.A. Opera Society - Forerunner) PR9290 Musical Date Venue Title Director Producer Principals _________________________________________________________________________________________________________________________ 16 Mar 1953 Open Air Opera Melodies of the James Benberthy B.V.Pusenjak K.O'Louchlin,E.Sibbritt, House Heart Mary
Recommended publications
  • Sebastian Lang-Lessing Chief Conductor & Artistic Director
    2 0 0 9 SEBASTIAN LANG-LESSING Chief Conductor & Artistic Director 3 2009 3 HIGHLIGHTS WORLD PREMIERES The TSO and TSO Chorus under conductor Richard Mills gave the world première of Mills’s Passion According to St Mark in Hobart on 4 April, a Ten Days on the Island event. Lux Aeterna, by New Zealand composer Kenneth Young, received its world première under conductor Nicholas Milton in Hobart on 24 July. AUSTRALIAN PREMIERE Elena Kats-Chernin’s Ornamental Air, co-commissioned by the TSO, received its Australian première under conductor Baldur Brönnimann in concerts in Launceston and Hobart on 3 and 5 December. CONTENTS ACOUSTIC UPGRADE Highlights 2 The acoustics in Federation Concert Hall received a significant upgrade thanks to an acoustic screen and purpose- Chairman 4 built risers funded by a special one-off grant from the State Government. Managing Director 4 AUSTRALIAN COMPOSER SERIES VOL 3 TSO Holdings Board of Directors 5 The Hon. Peter Garrett, Federal Minister for the Arts, launched the Australian Composer Series Volume 3 at Moorilla on Strategies, Goals, KPIs 7 31 March. The five-CD box set, which features the music of Gerard Brophy, Brett Dean, Peggy Glanville-Hicks, Concerts 9 Richard Meale and Malcolm Williamson, brings the total number of CDs in the Australian Composer Series to 18. Artists 10 (L-R) Richard Mills, Lyndon Terracini, Core Repertoire Sebastian Lang-Lessing, the Hon. Peter Garrett and Nicholas Heyward. Classical and Early Romantic Music 11 Australian Music 13 CD Releases 14 Recordings 16 Marketing and Business Development 17 Education and Training 17 ABAF AwaRDS Orchestra 19 The TSO took out national honours at the Australia Business Arts Staff 20 Foundation (AbaF) awards in the ‘Giving Award’ category at a ceremony TSO Chorus 20 held in Brisbane on 15 October.
    [Show full text]
  • Presenter Information Pack
    PRESENTER INFORMATION PACK Photo by Sherbet Birdie Contents COMPANY PROFILE .......................................................................................................................... 3 ABOUT THE SHOW ........................................................................................................................... 3 CREATIVE TEAM ............................................................................................................................... 4 BIOGRAPHYS .................................................................................................................................... 4 PERFORMANCE SPECIFICS ................................................................................................................ 5 PERFORMANCE HISTORY .................................................................................................................. 5 AUDIENCE ENGAGEMENT ................................................................................................................ 5 MARKETING ..................................................................................................................................... 6 TECHNICAL RIDER ............................................................................................................................. 6 CONTACTS ....................................................................................................................................... 8 COMPANY PROFILE Cre8ion is a dynamic and energetic company specialising in producing
    [Show full text]
  • Jonathan Summers B) CATEGORY: Opera Singer / Baritone C) POSITION: Freelance
    1a) NAME: Jonathan Summers b) CATEGORY: Opera singer / baritone c) POSITION: Freelance 2a) PERSONAL DETAILS: date of birth / place / country 2nd October, 1946; Melbourne; Australia b) MARITAL STATUS: date of marriage / name of spouse / number of children 29th March 1969, Melbourne Australia; Lesley; 3 children 3) PREVIOUS OCCUPATIONS: dates / occupation 1965-1974 Freelance singer/concert artist 1970-1974 Technical operator/recording engineer Australian Broadcasting Commission, Melbourne 4) EDUCATION: dates / institution / city / teacher Secondary : Melbourne; Macleod High School Tertiary : Melbourne; Prahran Technical College (Art School) 1964-1974 Melbourne; Bettine McCaughan, voice teacher 1972-1973 Melbourne;National Theatre Opera School 1974-1980 London; Otakar Kraus, voice teacher 5) PROFESSIONAL DEBUT: date / opera company / role / opera / cast Nov 1975; Kent Opera; title role in Verdi's Rigoletto; Congress Theater, Eastbourne, UK; producer: Jonathan Miller; conductor: Roger Norrington; David Hillman (Duke), Meryl Drower (Gilda), Sarah Walker (Maddalena), Malcolm King (Sparafucile) 6) EARLY CAREER WITH BRIEF RESUME: dates / opera house or company / role / opera Feb 1976; University College London Opera; title role in Macbeth (orig. 1847 version); producer: John Moody; conductor: George Badachoni Sep 1976; Glyndebourne Touring Opera; title role in Falstaff; producer: Jean-Pierre Ponnelle; conductor: Kenneth Montgomery Oct 1976; joined the Royal Opera House, Covent Garden, London, as a company principal Nov 1976; English National Opera
    [Show full text]
  • “Voice of Ireland”. Today Tommy Is One of Ireland’S Top Entertainers with Over 6.5 Million Youtube Hits and Over 3.5 Million Album Sales Worldwide
    TOMMY FLEMING BIOGRAPHY With his powerfully distinctive voice, Tommy Fleming has been described as the “Voice of Ireland”. Today Tommy is one of Ireland’s top entertainers with over 6.5 million YouTube hits and over 3.5 million album sales worldwide. The youngest of six children, Tommy was born in 1971 in Aclare, County Sligo. His natural singing ability was evident at a young age whilst participating in local talent competitions. While still at school, Tommy formed his first rock band, The Face of February, and embarked on gigging in local pubs. After leaving school Tommy joined a quartet, Jarog, gaining a legion of fans. However, despite this success, record companies weren’t exactly knocking on Tommy’s door. Then a chance encounter with renowned producer and composer Phil Coulter changed all that. In July 1993, Phil heard Tommy performing at a charity event in Westport, County Mayo. Within days Tommy was guesting with Phil and his orchestra at the Opera House (Cork), the National Concert Hall (Dublin) and The University Concert Hall (Limerick). Four months later he was playing to huge audiences across the US and Canada, culminating in two shows in the Boston Symphony Hall and the legendary Carnegie Hall in New York. Tommy’s career then took another leap forward when he was invited by Galway traditional group De Danann, to join them as lead vocalist, following in the footsteps of living legends as Mary Black, Maura O’Connell, Dolores Keane and Paul Brady. The collaboration lasted three years and introduced Tommy to a worldwide audience touring Australia, Hong Kong, China and the US.
    [Show full text]
  • Monteverdi's L'orfeo
    Australian Brandenburg Orchestra MONTEVERDI’S L’ORFEO Paul Dyer, Artistic Director and Conductor Brendan Ross, Staging Justin Nardella, Styling Teresa Desmarchelier, Italian Diction Coach Narelle French & Lynne Murray, Surtitles Joanna Tondys, Surtitle Operator SINGERS Markus Brutscher – Sara Macliver Fiona Campbell – Wolf Matthias Friedrich Tobias Cole – Robert MacFarlane – Morgan Pearse Sarah Ampil – Siobhan Stagg – Anna Sandström Richard Butler – Nick Gilbert – Paul Sutton ORCHESTRA Brendan Joyce – Aaron Brown – Monique O’Dea – Marianne Yeomans Jamie Hey – Kirsty McCahon – Laura Vaughan Melissa Farrow – Mikaela Oberg – Matthew Manchester – Russell Gilmour Roslyn Jorgensen – Nigel Crocker – Jamie Kennedy – Keal Couper – Brett Page Brian Nixon – Jess Ciampa – Tommie Andersson – Samantha Cohen Marshall McGuire – Paul Dyer – Donald Nicolson This concert will last approximately 2 1/2 hours including interval. We request that you kindly switch off all electronic devices during the performance. The Australian Brandenburg Orchestra is assisted The Australian Brandenburg by the Australian Government through the Australia Orchestra is assisted by the NSW 1 Council, its arts funding and advisory body. Government through Arts NSW. PRINCIPAL PARTNER LORFEO Program_FINAL.indd 1 13/09/12 7:37 PM CAST AND CHARACTERS PROLOGUE: La Musica (Music) Sara Macliver THE UPPER WORLD Apollo, god of music and the sun Morgan Pearse Orfeo, son of Apollo Eurydice, loved by Orfeo Markus Brutscher Sara Macliver La messagiera (Messenger), friend of Eurydice Fiona Campbell
    [Show full text]
  • 2014 Annual Report
    2014 Annual Report SOLD Five sell-out seasons,including Bellini’s Norma, new OUT Australian opera The Riders, Sondheim’s Into the Woods, children’s production Hansel and Gretel and youth opera The Play of Herod. In partnership with Arts Centre Melbourne, Victorian Opera staged the first ‘relaxed performance’ for children with disabilities attempted in Victoria with children’s production Hansel and Gretel. Two new works staged: Iain Grandage and Alison Croggon’s The Riders, co-produced with Malthouse Theatre, and Richard Mills’ The Play of Herod. Children’s production Hansel and Gretel was staged in a special performance at The Royal Children’s Hospital. Aspiring singers from across Melbourne and regional Victoria joined Victorian Opera and Orchestra Victoria to perform in The Big Sing at Hamer Hall. Regional community choir workshops and masterclasses conducted in Mildura, Wodonga, Stawell, Bendigo and Warragul. The Riders received critical acclaim and two Green Room Awards including ‘New Australian Opera’. The second intake of the National Graduate Opera Program, including seven opera singers and a répétiteur, commenced their Master of Music (Opera Performance) delivered in partnership between Victorian Opera and Melbourne Conservatorium of Music, The University of Melbourne. Victorian Opera launches Australia’s first year-round youth Opera Chorus VOYCE (Victorian Opera Youth Chorus Ensemble). [Image credit: The Riders (cover) photograph by Jeff Busby.] Contents Company Profile 2 Mission 2 Chairman’s Report 3 Artistic Director’s Report 5 Managing Director’s Report 7 Education and Community Engagement Report 9 Activities 2014 11 Artists & Creatives 2014 19 Individual Giving 21 Partners 23 Victorian Opera Board, Staff & Developing Artists 24 Financial Report 27 1 / Victorian Opera Annual Report // 2014 2 Company Mission Profile Victorian Opera: Uniquely Victorian, Victorian Opera aspires to present Uniquely Australian.
    [Show full text]
  • Part V Soloists, Guest Ensembles, and Guest Conductors, 1926-2001
    174 Part V Soloists, Guest Ensembles, and Guest Conductors, 1926-2001 The following list does not include soloists for staged opera performances. I have also excluded soloists who performed art songs or chamber works. This list does include “Pops” performers, even though their repertoire might be listed only as “selections” and thus excluded from Part II. See the table of contents (p.iii) for the organization of the following. Pippa Borisey (Steenbock Award - twice) Piano Beethoven, Concerto No.1 for Piano and Steve Allen Orchestra (first mvt.) / 3/11/84(y) Pops soloist / 5/7/77(p) Schumann, Concerto for Piano and Orchestra Augustin Anievas (first mvt.) / 5/18/86(y) Rachmaninoff, Rhapsody on a Theme of Paganini, Gerald Borsuk for Piano and Orchestra / 10/24/70 Beethoven, Concerto No.2 for Piano and Claudio Arrau Orchestra (first mvt.) / 2/19/35 Beethoven, Concerto No.5 for Piano and Gershwin, Concerto in F for Piano and Orchestra / Orchestra, "Emperor" / 2/3/79 4/11/51 David Askins (Steenbock Award) John Browning Mozart, Concerto No.20 for Piano and Orchestra, Barber, Concerto for Piano and Orchestra / K.466 (first movement) / 4/6/74(y) 10/9/99 Emmanuel Ax Beethoven, Concerto No.3 for Piano and Chopin, Concerto No.1 for Piano and Orchestra / Orchestra / 12/8/73 9/29/79 Mozart, Concerto No.23 for Piano and Orchestra, Paul Badura-Skoda K.488 / 10/15/77 Beethoven, Concerto No.5 for Piano and Prokofiev, Concerto No.3 for Piano and Orchestra Orchestra, "Emperor" / 4/10/68 / 4/27/91 Allen Barker Ravel, Concerto in D Major for Piano Left Hand,
    [Show full text]
  • Richard Strauss's Ariadne Auf Naxos
    Richard Strauss’s Ariadne auf Naxos - A survey of the major recordings by Ralph Moore Ariadne auf Naxos is less frequently encountered on stage than Der Rosenkavalier or Salome, but it is something of favourite among those who fancy themselves connoisseurs, insofar as its plot revolves around a conceit typical of Hofmannsthal’s libretti, whereby two worlds clash: the merits of populist entertainment, personified by characters from the burlesque Commedia dell’arte tradition enacting Viennese operetta, are uneasily juxtaposed with the claims of high art to elevate and refine the observer as embodied in the opera seria to be performed by another company of singers, its plot derived from classical myth. The tale of Ariadne’s desertion by Theseus is performed in the second half of the evening and is in effect an opera within an opera. The fun starts when the major-domo conveys the instructions from “the richest man in Vienna” that in order to save time and avoid delaying the fireworks, both entertainments must be performed simultaneously. Both genres are parodied and a further contrast is made between Zerbinetta’s pragmatic attitude towards love and life and Ariadne’s morbid, death-oriented idealism – “Todgeweihtes Herz!”, Tristan und Isolde-style. Strauss’ scoring is interesting and innovative; the orchestra numbers only forty or so players: strings and brass are reduced to chamber-music scale and the orchestration heavily weighted towards woodwind and percussion, with the result that it is far less grand and Romantic in scale than is usual in Strauss and a peculiarly spare ad spiky mood frequently prevails.
    [Show full text]
  • Participating Artists
    The Flowers of War – Participating Artists Christopher Latham and in 2017 he was appointed Artist in Ibrahim Karaisli Artistic Director, The Flowers of War Residence at the Australian War Memorial, Muezzin – Re-Sounding Gallipoli project the first musician to be appointed to that Ibrahim Karaisli is head of Amity College’s role. Religion and Values department. Author, arranger, composer, conductor, violinist, Christopher Latham has performed Alexander Knight his whole life: as a solo boy treble in Musicians Baritone – Re-Sounding Gallipoli St Johns Cathedral, Brisbane, then a Now a graduate of the Sydney decade of studies in the US which led to Singers Conservatorium of Music, Alexander was touring as a violinist with the Australian awarded the 2016 German-Australian Chamber Orchestra from 1992 to 1998, Andrew Goodwin Opera Grant in August 2015, and and subsequently as an active chamber Tenor – Sacrifice; Race Against Time CD; subsequently won a year-long contract with musician. He worked as a noted editor with The Healers; Songs of the Great War; the Hessisches Staatstheater in Wiesbaden, Australia’s best composers for Boosey and Diggers’ Requiem Germany. He has performed with many of Hawkes, and worked as Artistic Director Born in Sydney, Andrew Goodwin studied Australia’s premier ensembles, including for the Four Winds Festival (Bermagui voice at the St. Petersburg Conservatory the Sydney Philharmonia Choirs, the Sydney 2004-2008), the Australian Festival of and in the UK. He has appeared with Chamber Choir, the Adelaide Chamber Chamber Music (Townsville 2005-2006), orchestras, opera companies and choral Singers and The Song Company. the Canberra International Music Festival societies in Europe, the UK, Asia and (CIMF 2009-2014) and the Village Building Australia, including the Bolshoi Opera, La Simon Lobelson Company’s Voices in the Forest (Canberra, Scala Milan and Opera Australia.
    [Show full text]
  • Project Tosca Overview
    PROJECT TOSCA OVERVIEW Project Tosca is a large, ambitious project in which Opera Queensland will work with seven Queensland communities to find and train local performers for a 2020 tour of Tosca. Tosca is an opera by Giacomo Puccini, which premiered 120 years ago in Rome. The story follows the powerful Tosca, a famous opera singer who is devoted to the painter Cavaradossi but Scarpia, the tyrannical Chief of Police, has his own plans for her. What ensues is a gripping tale of lust, betrayal and cold-blooded murder that careens at breakneck pace. The production is set in 1970 Italy and takes a step back into a world of iconic style and lush glamour at a time of dramatic political and social change. Opera Queensland stars Antoinette Halloran, Rosario La Spina and José Carbó shine alongside the Company’s Principal Artists, Community Chorus and Queensland Symphony Orchestra Ensemble, conducted by Dane Lam. Aspiring performers from seven communities – Cairns, Townsville, Mackay, Rockhampton, Gladstone, Toowoomba and Gold Coast – will have the opportunity to audition for a coveted spot. During Project Tosca, around 400 successful applicants will participate in a program of free professional training in singing, stagecraft and Italian language skills before taking to the stage in their local theatres alongside Queensland’s best singers and with the support of an ensemble of musicians from the Queensland Symphony Orchestra. Auditions to find 40 adult and 16 children chorus members in each community will occur throughout March, April and May 2020, with Tosca regional tour commencing on Saturday 8 August in Cairns and closing at the Gold Coast on Saturday 29 August.
    [Show full text]
  • John Russell's Experience
    John Russell’s experience John Russell, Soldiers’ Band member 1972–1974 from the UK has fond memories of his time in Ballarat. I started my involvement in music at a young age. First, trying the violin at about three years of age and taught by my father who was a good amateur violinist. In fact I really do not remember learning to read music; it just happened. Several years were spent at the piano and finally the cornet and trumpet. I played with an assortment of bands in and around my home town of Northampton both pure brass and also big bands for dances. All the time listening and learning from those around me. Finally I was off to uni to become a teacher with interests in both science and maths. Whilst in College Hall I met up with a fellow student and was introduced the ‘A’ Grade band sponsored by Watneys Brewery. The two guys that ran this band, Albert Meek (MD for the Royal Scots Greys) and its principal cornet Gwynne Price were also tutors at the army school of music, Kneller Hall, and were valuable contributors to my development as a player. I certainly had several interesting years with this band. However, in contesting terms there was another band in London that always seem to make top spot: Hanwell Silver Band. In due course I got invited to join Hanwell on soprano cornet and spent the rest of my time in England with them. Yes, many ‘A’ Grade contests were won and a number of recordings made.
    [Show full text]
  • Marie Collier: a Life
    Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family.
    [Show full text]