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Home , Deutsche Oper Berlin, Heather Begg, Lisa Gasteen, Richard Divall, Stuart Skelton

Edition 19 Spring 2018

HONOURING A LEGEND MASTERS AT WORK RAISING AN SINGER Contents Note from the General Manager

Page 2 Several years ago, we reaffirmed our approach that focuses on artistic In the meantime, I would like to take Note from the General Manager mission with the concise statement: development alongside personal this opportunity to sincerely thank ‘Inspiring excellence, realising development and the gaining of our loyal and generous supporters A Place to Call Home potential, forging careers’. For the professional skills. We recognise who help make our program page 3 team at Melba HQ, these are the that developing potential takes time, possible. The 2018 scholars have Honouring a Treasure intentions that drive our program and our repeat scholars continue to benefited from more than 70 Reflections: The 2018 Scholars and we remain firmly focused demonstrate what can be achieved mentor sessions in addition to Paull-Anthony Keightley on preparing ’s most given sufficient time, expert their tailored vocal, language and exceptional young operatic talents guidance and nurturing support. stagecraft development, and we page 4 presented 35 performances to a for professional careers on the world Our success in forging careers is variety of audiences. We rely entirely Letter from Abroad stage. probably best demonstrated on on private giving and each offer of Reflections: The 2018 Scholars page 10 of this magazine. Here We believe the key to inspiring support is enormously valuable to Cleo Lee-McGowan you will find details for our alumni excellence rests with the Mentors the organisation. Should you wish performing professionally all around page 5 involved in our program. Working to find out more about our private the globe. It has been particularly Amy Black and learning from experts who giving or bequest program, Peter Introducing the Cast rewarding this year that several are at the absolute pinnacle of the Garnick and I would welcome the Reflections: The 2018 Scholars of our European-based alumni opera world –Thomas Hampson, opportunity to speak with you and Samuel Piper have returned for performances in As the end of the 2018 scholarship Stuart Skelton and Simon O’Neill to can be contacted through the Melba Australia: Samuel Sakker in Hamlet page 6 year approaches, I am proud to bring name but a few – establishes the office 03 9944 2100. for the Adelaide Festival, Alexandra Masters at Work you this latest edition of The Melba. bar to which our scholars strive. Flood in William Tell for Victorian Please enjoy our Spring edition of Thomas Hampson In its pages you will read highlights Our program is proudly national: our scholars are selected from Opera, Siobhán Stagg in Pelleas The Melba. Reflections: The 2018 Scholars from the second half of our year along around Australia and our training and Melisande for Victorian Opera Jessica Harper with some impressive achievements from scholars and alumni. takes place within Australia. Our and Emily Edmonds in Artaserse for page 7 focus, however, is on developing Pinchgut Opera. The image to the right captures one Masters at Work exceptional artists who will perform Next year marks 10 years since our of our great moments from the year, to an international standard. Stuart Skelton our Meet the Scholars concert at first Melba Opera Trust scholarships Reflections: The 2018 Scholars Deakin Edge. It was a rare opportunity Realising potential – this begins to Siobhán Stagg (2009-2012) and Stephen Marsh to hear our young artists perform with our selection process, where Stephanie Gibson (2009-2010). potential is first recognised. We We’re enormously proud of how page 8 together and a great showcase of the talent within the 2018 ensemble. are currently preparing for 2019 far the program has evolved, the Touchdown in Wiesbaden Since then, we have farewelled two auditions, and once again our successes of the alumni and the Reflections: The 2018 Scholars of the group, with Paull-Anthony incomparable Artistic Advisor, milestones of our fundraising Adam McMillan Keightley relocating to to Sharolyn Kimmorley AM, will journey to build a capital endowment that will sustain this world-class page 9 work with chair the panel. Sharolyn will be and Fleuranne Brockway moving to joined by internationally acclaimed program for the future. We are A Spotlight on London to commence her Masters director, Moffatt Oxenbould OAM looking forward to celebrating our Reflections: The 2018 Scholars with the Royal College of Music. and renowned Finnish , Topi anniversary throughout 2019 and I Fleuranne Brockway Back here in Australia, their fellow Lehtipuu. Selection is only the look forward to sharing more details in due course. page 10 scholars continue to go from strength beginning. The raison d’etre of to strength and you can read of their the Melba program is to realise Alumni update progress in the pages that follow. that potential through a tailored The 2018 scholars performing at Deakin Edge. Dame Memorial Award page 11 Raising an Opera Singer page 12 Objects of Fame A place to call home

Cover image Fleuranne Brockway performing at Deakin Edge. In latest news, the Nellie than 30 villages throughout New Scholarship to one of Australia’s “There is still a lot that looks like Zealand since 1984, Ryman has most promising young opera singers. a construction site. It is a big Melba Opera Trust Board Melba Retirement Village now expanded into Australia with its endeavour to get people settled, but Roz Zalewski-Ruskin, Chair in Brandon Park made its In the meantime, Ryman’s Facebook Kate Shelmerdine, Deputy Chair first village, Weary Dunlop Village in those who are there are loving it,” page has several inspiring video- Dmitry Danilovich,Treasurer debut in August, welcoming Wheelers Hill and the second, Nellie Chris Arnold the spokesman says. its earliest residents. The Melba Retirement Village in Brandon portraits of new residents sharing Kristine Neill their delight at being the first Dame Nellie’s great-great- Peter Reilly official grand opening remains Park. Five more villages are planned Peter Garnick, Managing Director & to open throughout Melbourne in the inhabitants. Early next year, the village granddaughter and Melba Opera Company Secretary expected for early next year. coming years. centre will open, as well as the care Trust’s Honorary Patron, the Melba Opera Trust retirement village centre with 200 beds. Ryman offers Hon. Saffron Foster, said the family ABN 96 424 419 725 Ryman Healthcare and Melba Opera provider Ryman Healthcare named a “continuum of care”, with services were delighted to hear of the L8, 440 Collins Street, Melbourne VIC 3000 Trust shared a strong association T: (03) 9944 2100 F: (03) 9867 3364 the village after Dame Nellie as ranging across the spectrum of needs, progress and are looking forward to www.melbaoperatrust.com.au throughout the naming process; from completely independent living attending the official opening next part of its long-standing tradition an association that will proudly Design by Kerry Aker to serviced apartments and much year. The family will continue to be of honouring exceptional people, continue through an endowment Copy and editing by Andrew Stephens including Sir Edmund Hillary, Dame higher-level care. involved with the village along with and Amy Black pledged by Ryman Healthcare. Coombe – The Melba Estate. and Dame Malvina 2019 will see the awarding of the By the time it is finished, the Melba Images by Stephen Fitzgerald, James Glossop, Major. Building and operating more David Ng, Les O’Rourke, Keith Saunders, Ben inaugural Ryman Healthcare Opera village will have 420 apartments. Symons, Brandon Voight, Robert Workman

If you would prefer not to receive this publication, please contact Melba Opera Trust. About Melba Opera Trust

Melba Opera Trust is Australia’s premier scholarship program for promising young opera singers and repetiteurs. Driven by Dame Nellie Melba’s conviction ‘a beautiful voice is not enough’, the program nurtures artistic development alongside business training, mentoring and performance experience. This newsletter is printed on Sovereign Offset derived from well-managed forests We are the next step for artists preparing to become professionals on the world stage. and other controlled sources certified against Forest Stewardship Council ® standards, a non-profit organisation devoted to Inspiring Excellence – Realising Potential – Forging Careers encouraging the responsible management of the world’s forests.

Page 2 The Melba – Magazine of Melba Opera Trust Above, the performers, special guest and audience. Below, Mary-Jane Joscelyne is honoured by Siobhán Stagg at South Melbourne Honouring a Treasure Town Hall.

When Siobhán Stagg made Siobhán, an Amelia Joscelyne Siobhán has long had a close legacy of Amelia’s scholarship. stories of her daughter as a five- a diversion mid-aria at a Memorial Scholar from 2009- relationship with Mary-Jane, and Along with Joscelyne alumna Fiona year-old, going to Lauriston Girls’ 12, was singing the Contessa di she wanted to somehow integrate Jopson (2010) and current scholars School with her red hair in bunches; special concert in honour of Folleville’s aria from Rossini’s opera this much-loved woman into her Paull-Anthony Keightley and Adam her participation in “everything and Mary-Jane Joscelyne OAM on Il viaggio a Reims to the crowd at performance. Having just finished McMillan, Siobhán helped to honour more”, including musicals; and of 23 July, the crowd – and South Melbourne Town Hall when a full production of this Rossini this extraordinary woman, whose the many families and friends she Mary-Jane – were at first she decided – even keeping the opera at the Deutsche Oper Berlin, daughter treasured her time at made connections with through surprise from the pianist – to go it was fresh in her mind, and so she the Melba when it was the Melba school, university, work and the surprised, then amused, and “looking” for Mary-Jane amid the adapted the comedic scene in which Memorial Conservatorium of Music. Conservatorium, many of them still ultimately delighted. audience. the fashion-obsessed Contessa is in Mary-Jane’s life and associated The Amelia Joscelyne Memorial devastated to learn her luggage has with the Melba today. Scholarship is a cornerstone of been destroyed in transit, but joyous Melba Opera Trust’s program and “I think a bit of Amelia has been on discovering a beautiful bonnet is cherished by recipients for the sprinkled on this scholarship, it has a has survived unscathed. opportunities it provides, along lot of the warmth and style she had.” Instead of a bonnet, Siobhán with the supportive and nurturing Mary-Jane says the memorial discovered Mary-Jane. “I wandered network the Joscelyne community scholarship was set up in a loving through the crowd, searching offers. Established in 1989 by fashion by all these friends of the unsuccessfully through to the back family and friends of Amelia, it Joscelyne family, growing over the row, and finally collapsed against has provided precious support to years. “Who knew what was going a wall in mock tears. As the music 26 gifted young singers thanks to happen with the scholarship? We changed to the happy section, I to the vibrant community of more have had such wonderful recipients. pretended to catch sight of Mary- than 400 supporters who make the It has been a part of their lives and Jane in her seat of honour in the scholarship possible. has always had a lovely warmth front row, and delightedly led her Mary-Jane says that Siobhán in some about it. When it was set up we back up on stage with me.” ways is a bit like her daughter, who had thought it might go for five or ten Though she didn’t know it was an aura about her. “Very individual,” years, now we think it will go forever. coming, Mary-Jane sportingly went she says. “Siobhán has a really smart “It has been a source of great joy, along with the game, chuckling and brain and has her feet firmly on the and very inclusive.” improvising, much to the delight of ground; she epitomises everything onlookers. Siobhán sat her down on that is good about a person.” Paull-Anthony Keightley says he a chair in the middle of the stage still gets goosebumps thinking While Mary-Jane feels she is getting and finished off the aria “with all its about the concert in honour of better at speaking about Amelia in glittery coloratura” in celebration of Mary-Jane. “Meeting and singing public, she does not find it easy, “finding” Mary-Jane. with Siobhán and Fiona was filled but she was buoyed by the fact that with such joy as we celebrated “It went down really well – everyone many people present were those Mary-Jane, Amelia and the whole laughed and got into the spirit of the who had connections with Amelia Joscelyne community. The look on occasion,” Siobhán says. “Mary-Jane during her life. “It is extraordinary Mary-Jane’s when she saw the three beamed the whole way through. It all these people are still there, of us rehearsing with Adam was was the perfect example of Mary- coming to Melba events, because pure magic.“ Jane’s generosity of spirit and quest of Amelia’s personality,” she says. to share joy with those around her.” “Which is a real compliment.” “I have been so fortunate to have such a wonderful soul come into my Siobhán was one of many In her talk about Amelia at the life, but I know I am not alone. Thank celebrating Mary-Jane and the day-of-honour, Mary-Jane related you, Mary-Jane. From all of us!”

Reflections: the 2018 Scholars Paull-Anthony Keightley – Bass

Amelia Joscelyne Memorial Scholarship to be self-sufficient. This to me was my biggest goal – to try things out, let myself fail and learn from my mistakes before taking this next step.” Having recently moved to Berlin on a year-long contract with Deutsche Oper Berlin, under The Opera Foundation for Young Australians Deutsche Under the guidance of Melba’s Sharolyn Kimmorley AM, his priority Oper Berlin Award, Paull-Anthony has swapped an extraordinarily busy before departing was to fully prepare and memorise as many of his roles time in Australia for an even busier diary in the German capital. as possible – he managed ten out of fourteen, with only the smaller roles now left to finish. “I also made great progress with my German language He says it was a baptism by fire on arrival, with his first two skills. Despite being a little shy to use them with confidence in Germany, weeks spent staging and opening La traviata (as Dr Grenvil) and I am able to get by in rehearsal when they are split between German Il barbiere di Siviglia (as the Officer) while beginning rehearsals and English.” for Nabucco (as the High priest of Baal) which opened the following week. “This workload is certainly a major step up from This all came on top of an important season spent with West Australian what I was used to in Australia,” he says. “I have been welcomed Opera, where he had the bass roles of Colline (La bohème), Badger/ with open arms by my new colleagues from all over the world. Parson (The Cunning Little Vixen) and Zuniga (). While he hopes Many of the singers in the company started on the same now to learn much from his Deutsche Oper colleagues, especially in scholarship program as I and are now among the most loved stagecraft, musicality and stamina, he would also like to audition for faces of the company.” other European opera houses “to see if this is the place for me to call home for the time being”. Paull-Anthony says his Melba scholarship has strongly supported his professional development and skills, giving him One of the great benefits has been having other Melba alumni around at an excellent start of his life as a working opera singer. “All of the Deutsche Oper, including Siobhán Stagg and Samuel Dale Johnson. the lessons I learned from my coaching, singing lessons and “Sam, in particular, has been such a wonderful face to see around the the mentor program allowed me to refine what skills I needed opera house.”

Edition 19 Spring 2018 Page 3 Letter from Abroad Samuel Dale Johnson

listen and talk to the masters of the young career. We were extremely wasn’t for these incredible Hello everyone! profession. fortunate to have Oliver Mears individuals! Margaret (Director of Opera for The Royal Schindler gave me the I was a Young Artist at ROH for For nearly nine months, I’ve been on Opera House) and his vision of technique I rely on today. two years before moving to Berlin, the road with other companies, but Onegin with us. To study, discuss We still talk about how I will where I’ve made my base, but I now I’m back to my German home and discover Onegin with him each approach a new role and do of course have the opportunity here in Berlin and I’m enjoying life. day was thrilling from day one I’m forever sending her to explore projects outside of the It is busy: so far this season I’ve had until the day that curtain finally little clips as I never get to company. When I finished the Jette my debut as Figaro in Il barbiere di came down. sing for her in person. Parker Program at the ROH, my Siviglia, after which I went straight first project in the UK was Il Conte I always talk to my colleagues Anna Sweeney AM into a concert in Prague, followed by in Mozart’s Le nozze di Figaro with about adopting “baggage” from our didn’t just give me my debut. . This was directed characters, but I can comfortably my stagecraft and Before the end of the year, I will also by Sir Thomas Allen CBE, one of the say that I didn’t just adopt some of help me focus my have once again sung Escamillo in best, if not the most highly regarded Onegin, but he actually helped me instincts, but she Carmen, a role which I performed baritones to perform the role. The grow and find the direction in which put into perspective three times recently for Deutsche work we did together to prepare for I was moving. This is ridiculous, what is expected of Oper Berlin, and I will have made my the role was invaluable and I was I know, as his character has high us in our industry. debut as Dr Falke in Die Fledermaus. given information that I will hold ideals, but no motive to find The attention Here in Berlin I have the pleasure of dearly for the rest of my life. direction himself! she gave us all during my time at being part of one of the most highly I’ve been lucky enough to return to As to my own future, fortunately, Griffith University regarded ensembles in the world. In the company in Scotland on two I don’t have to think about it too was awe-inspiring and this ensemble we have Australians other separate occasions this past much at the moment: the repertoire her work ethic and passion were Siobhán Stagg, Derek Welton and year. After debuting Guglielmo I’ve been asked to sing for the next infectious. She opened the door, Alexandra Hutton; and joining us in Così fan tutte and returning to four years is exactly where I saw my led me into this maze and carefully this season we have Paull-Anthony House to debut voice moving on my future vocal explained which path to take, Keightley as a Stipendiat (fellow). the lover Silvio in Leoncavallo’s timeline. I don’t want to push myself which to avoid, and how to stay Pagliacci I began my study for my into rep that’s too heavy, too soon. Looking back, I see how extremely resilient. fortunate I’ve been, beginning with next project with Scottish Opera: In the last two years, I have felt a my Melba scholarship, and then the title role of . change to my voice and I now have It would be a dream to perform for continuing my operatic career at Five months earlier we had just an ever-present security I perhaps them both again. the , London finished our run of didn’t have when I was still in my in the Jette Parker Young Artist performances at the Deutsche Oper mid-twenties. Berlin and Russian was at that Warmest regards Programme, which is regarded I do miss home! My family are time a new experience for me. But as one of the most prestigious, always my first thought waking I was ridiculously grateful for this Sam J. x unique operatic training programs up. I also miss my great operatic fortuitous head start toward my in the world. Not only do you mentors, Margaret Schindler and RJ Hamer Opera Scholarship, 2013 Russian education. receive training toward your vocal Anna Sweeney AM. I am 100 per development and stagecraft, but you Working on Onegin was one of the cent certain that I wouldn’t be Samuel Dale Johnson in the title role of the Scottish Opera’s Onegin also have the opportunity to see, most fulfilling experiences of my halfway to where I am today if it and as Figaro in Il barbiere di Siviglia for Deutsche Oper Berlin.

Reflections: the 2018 Scholars Cleo Lee-McGowan – Soprano

Joseph Sambrook Opera Scholarship (2017, 2018) In September, she had the good fortune to sing with another fantastic orchestra: for the finals of the IFAC Handa Australian Singing Cleo Lee-McGowan says she has seen wonderful changes in her Competition, she sang with the Orchestra under the voice since embarking on her Melba journey. “This year I have had baton of Nicholas Milton. the opportunity to spend more time in Sydney thanks to my Melba scholarship,” she says. “Making regular trips from Melbourne to Sydney “It was undoubtedly a highlight of my singing life. I was very honoured to see my singing teacher and work with various language and vocal to be the recipient of the Guildhall School of Music and Drama Award, coaches has facilitated a dramatic improvement in my voice.” Pasqualina Lipari Prize, Sydney Symphony Orchestra Award, Sydney Philharmonia Choirs Prize and the MOST Audience Prize.” Cleo has had a big year, working with Simon O’Neill ONZM and Andrew Sinclair in the March Mentor Block, and making her exciting debut Cleo says she is looking forward to continuing to work on her vocal with the Tasmanian Symphony Orchestra in April in Mendelssohn’s A technique and language skills. “My success in the ASC has granted me Midsummer Night’s Dream. She says she hopes these experiences and a place at the Guildhall in London, so the next twelve months I will be other skills she is learning as a Melba scholar will embellish her in a preparing for my move to the UK. It’s an exciting prospect to be starting professional context, and help her make the best musical choices. a new adventure overseas. There are many opportunities over there and I want to prepare fully for this change.” “I’ve had some very exciting engagements this year,” she says. “I was able to reprise my role of Gretel in Victorian Opera’s Hansel and Gretel at the Arts Centre in Melbourne in June. Gretel is such a fun role, involving a lot of running around and dancing! I also travelled to Hobart and performed with the Tasmanian Symphony Orchestra; it was a wonderful experience to sing with such an amazing orchestra.”

Page 4 The Melba – Magazine of Melba Opera Trust Introducing the Cast Kris neill

While Kris Neill was on an chair of the Macquarie Group there is a difference between getting opera tour in 2017, she Collection Committee. by and being fluent. But I had no aspirations for a musical career – I met and was enthused by Kris started her career as a journalist didn’t believe I was good enough.” several people with strong at The Sydney Morning Herald and associations to Melba has since held key positions such Going on to study arts at university, as Director of Corporate Affairs at with a strong interest in history and Opera Trust. News Limited, Chief of Staff to the political science, she then began Annie McFarling and Sharolyn former Premier of New South Wales, her career in communications. Kimmorley AM, among others, the Hon. Bob Carr, and advisor to During her extensive experiences talked to her about the extensive the former Deputy Prime Minister, here and abroad, she became deeply work Melba does with young singers the Hon. Brian Howe. Now director acquainted with the principles of and musicians. Kris was deeply of her own consulting business, she corporate brand-building and its impressed. is also one of the founding board relationship to building a personal members and Chair of a not-for- brand, which is so important to “Everyone spoke about it with such profit called Women’s Community emerging artists. “I am a big believer pride and passion and I thought Shelters, which partners with in mentorship,” she says. “It can be what a fantastic organisation it communities to set up and staff incredibly valuable for the mentee was,” she recalls. “On my return, shelters for women and children and very rewarding for the mentor in I offered to help out as a mentor, who are homeless or escaping terms of what they get back. if there was an opportunity there. domestic violence. The group is “At Macquarie, I assisted young That was how I made the about to open its sixth shelter. “It is people to present themselves in connection.” Then, earlier this year, very rewarding work,” she says. she accepted a place on the Board, the best way they possibly could to the first Sydney-based Director – a Kris’s association with music, further their career. Some people key development for Melba with its however, goes back much further in might be incredibly talented, but remit as a national organisation. her life. “My parents loved opera,” need some developmental help to Kris recalls. “As I child I wasn’t put their best self forward and that Kris has had extensive experience particularly a fan, but it was really is, in essence, my approach: to lend working in both government and the only music that was played in a hand in giving them confidence in private sectors, and has been the house.” themselves and in doing things that particularly active mentoring young might not come entirely naturally something of a reverse mentorship the Melba was its promotion of the employees during her time as the It was when she was in her teens to them.” happening there – she mentored me idea that a singer or a musician is Executive Director and Global Head and studying piano and music more in the dark arts of digital technology much more than just their voice or of Corporate Communications and generally that she developed a real As an active mentor at Macquarie, and I mentored her in regards to instrument. “The idea that there is a Investor Relations at Macquarie love for opera as a musical artform. Kris would work in particular with her career. That was a fantastic whole person to develop if they are Group Limited (2007-2017). “From there, I have been listening young people in line for promotion, exchange of knowledge and going to be successful musicians During her time at Macquarie, to opera and learning as much helping them through the process of experience.” Kris pursued many philanthropic about it as I can,” she says. “I really preparation for interviewing panels. and singers, particularly in these interests as a Director of the enjoyed learning music – it was a “One young woman was very good It followed, then, that one of the very competitive contract-focussed Macquarie Group Foundation and bit like learning a language, in that with digital technology so there was things that really attracted Kris to times, really attracted me.”

Reflections: the 2018 Scholars Samuel Piper – Baritone

John & Elizabeth Wright-Smith Scholarship (2017-2018) Clearly, he has been auditioning well, as he is soon to make his main stage debut with Opera Queensland as Masetto in Don Giovanni. “I’ve worked The year has been full of learning and performing roles for Sam, who with the company sporadically over the past few years and it’s a privilege joined Opera Australia for three shows, and also performed in Athalia with now to be able to sing such a wonderful role. I’m looking forward to Pinchgut Opera. If that was not enough, he also had several wins and developing the character and putting my study and training to use.” placements in various sections of the Sydney Eisteddfod, and he says that singing in the Opera & Arts Support Group Final was definitely a highlight Following the final Melba mentor block in November, Sam will head to of this busy period. Treviso, Italy, as the recipient of the Pellegrino Scholarship through the Italian Consulate. “The scholarship will enable me to undertake four weeks “Performing so often has certainly helped me develop a more well-rounded of intensive Italian language study alongside lessons with renowned understanding of stage technique,” Sam says. “Generally speaking, having American voice teacher, Sherman Lowe. I’m looking forward to exploring the continuing financial assistance of my Melba scholarship, going towards Italy for the first time, seeing and enjoying the rich cultural heritage professional expenses, has been extremely helpful. My main focus this this beautiful country offers.” year has been on developing my vocal technique and pursuing intensive lessons and coachings would have been difficult without the scholarship. After that, his main goals are to continue developing a solid vocal technique as the foundation for a sustainable career and to learn a few “Through ongoing technique work, I have found an ability to do more with great lyric baritone roles, such as Guglielmo, Il Conte, Dandini and Belcore. my voice. I’m able to use my more solid technique to ‘say’ more with my voice in terms of expression, colour, timbre and so on.” Sam also appreciated Melba’s focus on developing his audition technique. “Auditioning is one of the most difficult aspects of our profession and often neglected by tertiary institutions.”

Edition 19 Spring 2018 Page 5 Thomas Hampson Masters Master classes are a critical feature of Melba Opera Trust’s Mentor Program – and while the artistic wisdom imparted is vital, the classes also offer the opportunity to establish and develop important relationships with industry leaders. No two singers put the ‘master’ more into master class than Thomas Hampson and Stuart Skelton, and Melba Opera Trust’s 2018 scholars were fortunate to work with both internationally renowned artists earlier this year.

Having spent considerable Legend Award by the Library of “What followed can only be time listening to recordings of Congress, where he has served as described as a sort of crude dancing Thomas Hampson, one of the Special Advisor to the Study and lesson,” Roz recalls. “With each Performance of Music in America. scholar’s permission, he stood world’s foremost baritones, Thomas also maintains an active behind them, asked them to spread Melba scholar and baritone interest in research, education, their arms as if they were wings and Stephen Marsh was excited musical outreach and technology, to move around. largely through the Hampsong this year to work with him in a “I felt for the scholars, glad it wasn’t Foundation, which he founded in master class environment. me and would have understood if 2003, which employs the art of song one or more of them felt awkward “I was lucky as I had the chance to to promote intercultural dialogue and chose to leave the room. But work with Thomas Hampson in two and understanding. they all quickly settled into the separate master classes,” Stephen activity, the aim of which, I think, says. “I was able to take away a lot The scholars and master class was to open up the diaphragm and of different information from both observers were thrilled to have body to enable the voice to expand sessions as I worked on two arias him aboard. “When working with accordingly. At least, this seemed that are from very different time someone who is the same voice to be the effect of the exercise. As periods.” type in a master class setting I feel as the student you can relate each scholar repeated their aria, Stephen has long been impressed by a little more,” Stephen says. “They they appeared to be more expansive Thomas Hampson’s extraordinary can push you a little harder as they in voice and presentation, and they career. Thomas has received many have an understanding how this all said they felt more comfortable honours and awards for his artistry specific voice-type works, as they singing. They were clearly eager and cultural leadership, and has have lived it themselves. I really to learn and they drew a lot of been honoured as a Metropolitan enjoyed working with Mr Hampson. admiration from the observers.” Opera Guild Met Mastersinger and The changes he asked for were Roz says that of the many master inducted into both the Gramophone easily explained and I have now classes she has attended, this one Hall of Fame and the American adapted them in how I approach my seemed to be the most physically Academy of Arts and Sciences Hall singing every day. It was a fantastic demanding. “It made me realise of Fame. experience.” how resilient and hardworking our Hampson has an opera repertoire Chair of Melba Opera Trust, Roz scholars are.” of more than eighty roles, has Zalewski-Ruskin, recalls Thomas Melba Opera Trust is grateful to the sung in all the major opera houses as being especially charming and Melbourne Symphony Orchestra for of the world, has a discography erudite with both scholars and making this opportunity possible. of more than 170 albums, and in observers in the room during the 2010 was honoured with a Living master class. Having noted that even for young singers with great voices it is difficult to have a career in opera, Thomas first invited the scholars to each sing an aria, and kept his focus initially on the Thomas Hampson working with Fleuranne Brockway and Adam McMillan physical aspects of their work and and, left, demonstrating an exercise with the need to be aware of what the Cleo Lee-McGowan. body is doing while singing.

Reflections: the 2018 Scholars Jessica Harper – Soprano

Dame Nellie Melba Scholarship and Patrick & Vivian Gordon Award or the UK. There are far more opportunities for musicians, and my partner Joseph (a classical cellist) will be undertaking his Masters in Dresden, so it Thanks to winning the inaugural Limestone Coast Opera Lucca Competition makes sense for both of us to live there.” in Mount Gambier earlier this year, Jessica has just returned from Italy, where she was part of the Accademia del Bel Canto Rodolfo Celletti in Martina Jessica says the Melba has been crucial to her development and the year Franca. There, she spent a month working on Bel Canto style and technique, spent polishing her skills has more than lived up to her expectations. Italian language and studying music history and philosophy. “The standard of performance expected of Melba scholars has meant that I am much more prepared with all of my work than what I have been used to “It was a gift for my life and career,” Jessica says. “Absolutely everything was producing,” she says. “Initially, the adjustment to this depth of research in Italian, so I picked up what I needed to understand quickly – nothing like (I was already researching to a high standard) was a challenge, but I am now immersion to help you learn a language! We also performed all over Martina used to it and as a result am discovering fascinating things about composers, Franca, marking the first set of international performances of my career – a librettists, operas etc. It is such compelling stuff and also means that my very special moment.” performances are much more nuanced. Most of the time I am achieving Jessica then travelled to Germany and the UK, finishing with a week in Florence a standard of performance of which I am very proud. where she auditioned for the Accademia del Maggio Musicale Fiorentino “That is not to say that I feel I am ‘fully cooked’ at all – I’ll never stop learning! Young Artist Program. “I am thrilled to say I made it through to the final – but I am thrilled that I have been pushed to achieve so much more than I round for this audition (top 40), after making the top 200 in the semi-finals.” was doing before I began the program and knowing that I can expect even She hopes to return to Germany after her Melba scholarship ends. “Germany more of myself.” is the mecca of operatic performance at the moment. You can barely turn a Jessica will be applying all of these newfound focuses on her preparations corner without bumping into an Opera House! It’s time for me to relocate to for the Opera Foundation for Young Australians Lady Fairfax New York Award Europe for a few years and see if I can crack into the profession over there Finals and The Acclaim Awards Italian Opera Fellowship later in the year.

Page 6 photo credit: John Smith The Melba – Magazine of Melba Opera Trust at work Stuart Skelton Master classes are a critical feature of Melba Opera Trust’s Mentor Program – and while the artistic wisdom imparted is vital, the classes also offer the opportunity to establish and develop important relationships with industry leaders. No two singers put the ‘master’ more into master class than Thomas Hampson and Stuart Skelton, and Melba Opera Trust’s 2018 scholars were fortunate to work with both internationally renowned artists earlier this year.

When he began his recent makes you not want to work on beneficial. “I was excited to work master class with the 2018 something more than having it with him again in July this year,” Melba scholars, renowned go ‘wrong’ in front of others. Find she says. “It goes without saying something that needs polishing or that Stuart is not only a wonderfully heldentenor Stuart Skelton something that you, as a master talented musician and artist, but was getting ready for his own class teacher, know the singer can also a generous and skilled teacher. performances as Siegmund do spectacularly, and coax them into I was happy to bring Nannetta’s in Die Walküre at the Royal it in front of an audience. aria ‘Sul fil d’un soffio etesio’ from Verdi’s Falstaff after he suggested Opera House, London, and “It is a confidence-boost for a young that it would be a good fit for me singer that is entirely necessary. the title role in at the last year.” , New York. Oh, and make both singer and audience enjoy it. Make them laugh While he was in town, Stuart made This busy and successful man, and empathise with the singer.” his Melbourne Recital Centre debut. though, says it is always a wonderful “I had an absolute blast with it. Stuart says this class went brilliantly challenge and an immense enjoyment Some repertoire that has been very working with Melba scholars. He and some excellent questions were close to my heart for some time was pleased to put aside the time, asked. Also, some great technical and repertoire that I am sure was especially as hosts Peter Reilly and work was done with the singers in new to most in the audience. And Linton Soderholm generously opened the private class before the audience the level of care that MRC showed their home Astolat for the special arrived. to me and my dear friend and occasion. “An incredible venue and “The look on a singer’s face when collaborator, Richard Peirson, was hosts,” Stuart says. “And such a I bet them they can do something truly wonderful.” giving and warm audience.” they’re not sure they’re capable As if all this were not enough activity, Stuart is well-known as a Grammy of and then they do pull it off: that Stuart also recently released a new Nominee and winner of the 2014 look of joy on their faces (and the album. “Once we had decided on the International Opera Award for audience’s) is wonderful. And I have repertoire, a certain timeline seemed Best Male Singer, as well as two yet to lose that bet!” to suggest itself,” he says. “This was Helpmann Awards. He appears Stuart says he is always impressed an exploration of Wagner’s music regularly on the leading operatic with the Melba scholars’ level of from his earliest to his final works stages of the world, and has sung preparation and attention to detail and then taking a glimpse at the with many acclaimed conductors. and their desire to improve, learn, world of music that was influenced With all this experience, Stuart’s and take everything they possibly by him. And mostly I am relieved. It’s approach to a master class situation can from a teacher. “And the young out there now and people can make is interesting: he says he is generally baritone, Stephen Marsh, is a baby up their own minds about me, my looking to find one or two things Verdi baritone, I am convinced of it. singing and the repertoire. I do hope that a singer can already do, but Of course, no-one should tell him that they enjoy it.” about which he is convinced they this for some time, but that is where Stuart Skelton’s work with Melba can do better. he is headed. No doubt.” Opera Trust was made possible The 2018 Mentor Program is made possible by: “In a public master class I think that 2018 Melba scholar Cleo Lee- thanks to the Melbourne Recital John and Elizabeth Wright-Smith Centre. Reilly & Logie-Smith Mentor Endowment nothing is gained by having a singer McGowan says she was fortunate to Lady Southey AC work on anything with which they work with Stuart also in 2017, and Hamer Family Fund Tallis Foundation are struggling,” he says. “Nothing found her time with him extremely Stuart Skelton working with Samuel Piper. Stuart Leslie Foundation

Reflections: the 2018 Scholars Stephen Marsh – Baritone

Paulette Bisley Opera Scholarship and currently undertaking language study, stagecraft workshops and then as Eleanor Blakemore Opera Society Scholarship developing artists we have the opportunity to put these skills into practice by both covering and performing roles throughout the Working with some of the world’s finest operatic performers in master performance season,” he says. “It is fantastic as I have found that the classes, private coachings and mentor sessions has been a highlight of training that I have undertaken with Melba Opera Trust and also with the the year for Stephen. “This year I personally feel I have grown so much as RDEAP program is complementary.” a performer and professional and this is due to the training, coaching and opportunities that Melba Opera Trust provides,” he says. “The knowledge Stephen has also been a developing artist with Victorian Opera for the past that has been imparted to us as young professionals has been invaluable.” 18 months and has been in several mainstage productions. Most recently Stephen performed the role of the Shepherd and the Doctor for Pelléas et The hard work is already paying off: in August, Stephen won the Melbourne Mélisande. “I have been truly fortunate to be a member in three developing Welsh Male Choir Singer of the Year Competition and was also selected as a artist programs this year, as it has been my first year working full-time as a Emerging Artist with Melbourne Opera. Earlier in the year, he singer. These diverse programs have given me support as a developing artist was runner-up at the Inaugural Limestone Coast Aria Competition. and also the opportunity to perform on stage.” Stephen greatly enjoyed the Melbourne Welsh Male Choir competition Stephen says the Melba mentor sessions on language, administration, experience. “It was a great opportunity to put into practice some of the mental health, tax, law, media and diction – to name a few – have been vital new skills I have learnt throughout this year in the Melba Program, as in preparing him for his career. “I am still learning but, compared with the competitions are a relatively new frontier for me.” start of the year before I joined Melba Opera Trust, I feel I understand these As for Melbourne Opera, with which he has been involved for six years, the administrative components much better and no longer find it as daunting as Richard Divall Emerging Artist Program provides aspiring professionals I once did.” the opportunity to develop in a fully functioning opera company. “We are Stephen was recently a finalist in the 2018Herald Sun Aria Competition.

Edition 19 Spring 2018 Page 7 alumni update Touchdown in Wiesbaden Daniel Carison

Opera Society Vocal Scholarship and Beleura-Tallis Opera Scholarship (2015) Paulette Bisley Opera Scholarship and Ruskin Opera Award (2016, 2017)

Throughout his three years with von Nürnberg and shortly after “I am fortunate to have a wonderful Melba Opera Trust (2015-17), hopping into my rehearsal costume, group of colleagues around me who are Daniel Carison had his sights on I was approached by the casting both supportive of this new venture and Germany. Finally, he is there – and director who informed me that prepared to challenge me,” he says. within a week of his June arrival, a colleague had fallen ill and a He is looking forward to the demands of the he was asked to make his company cover was desperately required 2018/19 Season at the Staatstheater when debut with just a day’s notice. for the upcoming performance of he will reprise roles in Die Meistersinger Don Giovanni the next day. Given Each year, the German Australian von Nürnberg as Ortel, and Masetto in that I was programmed to perform Opera Grant, in conjunction with Don Giovanni. In following months, he will the role of Masetto in the next the Hessisches Staatstheater sing Stárek in Janáček´s Jenůfa, Marullo in season, it wasn’t beyond the realm Wiesbaden, enables one fortunate Rigoletto, Reinmar von Zweter in Tannhäuser, of possibility that I could step in. singer the opportunity to work in Brother in Die sieben Todsünden, Yamadori Suddenly I was pulled out from the Germany. The successful applicant in Madama Butterfly and the Zweiter rehearsals and was immediately is offered a twelve-month working Nazarener in . sworn into a series of last-minute contract with Staatstheater where preparations.” they perform in various productions during the season. While he was anxious, he wasn’t traumatised by the prospect. “In When Daniel was at the Melba, he the hours leading up to the show, it auditioned for the grant in 2015 is safe to say I was fairly panicked. and made the finals. “But I knew I wasn’t so much concerned with then I still had a way to go before my own performance as I was with I was ready to tackle the German hindering the performance of my opera scene. After two more years fellow colleagues.” By the time he of rigorous study with the Melba, set foot on the stage, however, the I knew I was ready for all the nerves transformed into adrenaline responsibilities and challenges that and “suddenly I was alive”. would follow.” “Before I knew it, the show was He won the grant for 2018 and over and I couldn’t believe I’d had in the week of his arrival, Daniel so much fun in such a potentially received the unexpected call to horrible situation.” Following the step-in as Masetto in Mozart’s two performances of Don Giovanni, Don Giovanni. “Stepping into a it was made clear his efforts and role at the last minute isn’t entirely poise under such pressure had not uncommon in the world of opera, gone unnoticed. but when that last-minute swap is also a European debut, the Although it is still early days in his stakes are raised significantly,” contract, Daniel says the experience he says. “That being said, it all has been “exhilarating and stressful came to hand rather simply. I was all at the same time”, with his rehearsing for Die Meistersinger theatre work immensely positive.

Reflections: the 2018 Scholars Adam McMillan – Repetiteur Margaret Schofield Opera Scholarship and Adam says that working with Sharolyn Kimmorley AM and Jennifer Marten- Mel & Nina Waters Award Smith has greatly helped improve the way he accompanies singers, and to refine his perception of all the things to listen for when coaching singers. With his first foray into the world of opera beginning with his Melba “They both have helped me to grow as a pianist through challenging me to scholarship, Adam McMillan has had some extraordinary growth over the refine my ear to orchestral sounds when playing, and to play in a way that past year. Next month the immersion continues when he goes on a four-day supports the voice,” he says. tour of northern Victoria with other Melba scholars, presenting concerts at “As language is such an enormous part of the study of opera, the Melba various venues. program provides strong support for our language studies (especially Italian), and many of the blocks include diction coaching. Working with Teresa Adam says his Melba scholarship has enabled him to receive repetiteur Desmarchelier on Italian diction during the blocks has been very helpful in coaching, to expand his language skills (specifically focussing on Italian) and my training this year. Having a strong grasp of diction is a very challenging to learn more about all aspects of the business side of musical life. pursuit, but one that will help me greatly in working with singers.” “I’ve been able to gain greater familiarity with some of the repertoire through Adam’s work with singers is complemented by his busy performance working alongside the vocal scholars,” he says. “I would say the strongest schedule as a solo pianist and chamber musician. Other successes areas of growth for me have been in my Italian language proficiency, in my have included playing in the Peninsula Summer Music Festival early this ability to sight-read music when required, and in my improved abilities as a year, giving a recital of Chopin’s 24 Preludes, and playing in Camerata – pianist to approach my playing in a more orchestral way (as is required when Queensland’s Chamber Orchestra. playing an orchestral reduction). “I’m looking forward to a few things to come later this year including “I’ve also gained a lot from the professional training we have had to do with performing in a Musica Viva master class for Sir András Schiff, performing public speaking and performance psychology; these are such crucial skills to in the Australian Piano Duo Festival, and giving a violin-piano duo recital at have alongside our musical skills.” the Melbourne Recital Centre.”

Page 8 photo credit: John Smith The Melba – Magazine of Melba Opera Trust A Spotlight on Sydney In August, Melba was in Sydney for a week-long program of Mentor sessions and activities.

Below: Discussing legal and public liability considerations for artists with expert, James Williams

Left and above: Week-long intensive acting, audition and movement technique with US Director, Chuck Hudson

Above: Left and below left: Exploring the art of stage makeup with Opera Australia’s Recording for auditions with Andrew Keshan sound engineer, Virginia Read

Left and above: Private coaching with renowned Australian soprano AM.

Reflections: the 2018 Scholars Fleuranne Brockway – Mezzo-soprano Ruskin Opera Scholarship and which is a huge part of the profession and one that is hard to gain experience Annie McFarling Opera Scholarship in before you start working.” Fleur’s success in not one, but two major competitions this year has created Fleuranne Brockway says she has had a whirlwind of a year, going from not a pathway for her operatic future. Last month, she relocated to London to knowing what she would be doing in six months’ time to having her next two commence an Artist Diploma in Opera at the Royal College of Music, thanks years mapped out. to the Australian International Opera Award. After completing the course, “It takes an army to raise an opera singer, and this year I have truly had an Fleur will turn her sights to Wiesbaden and Munich for German language army of great mentors and colleagues to support my development,” she training and work experience before joining the principle ensemble with says. “The Melba program caters to the needs of each individual singer and Hessisches Staatstheater Wiesbaden thanks to the German-Australian Opera is highly focussed on how to maximise their potential. I would never have Grant. “Melba Opera Trust has a history of winners in both awards and I am been able to achieve what I did without the support of Melba Opera Trust and incredibly grateful to add to this legacy.” am incredibly grateful for their support.” Apart from these two awards, Fleur’s other non-Melba successes this year Western Australia-based Fleur says one of the great benefits of the Melba included her debut with West Australian Opera in the role of Mercédès in their program has been access to world-class coaches across Australia. “I have production of Carmen. “It was an absolute joy to share that moment with Roz and travelled to Melbourne, Sydney, and Tasmania this year, all to work Jeremy Ruskin, two of my scholarship providers who flew all the way to Perth to with top industry professionals. Alongside developing my artistic skills, this share it with me.” A croquet champion, she also kept up her game. “Thankfully time travelling the country for Melba allowed me to put many of the business London has many croquet clubs, so I won’t be putting down my mallet any time skills we have learned into practice. “I have had to plan out my own study soon.” In the meantime, Fleur is improving her fluency in German and Italian, and, trips, network, negotiate different opportunities and manage my finances like learning flamenco dance, ballroom and Alexander Technique. “All skills can be a business, which are all necessary skills for the life of a freelance singer. I useful in the creative arts, and now that I have another year of time to focus have also learned a lot about how to look after myself when travelling alone, on working on these, I intend to make the most of it.”

Edition 19 Spring 2018 photo credit: John Smith Page 9 alumni update

Siobhán Stagg as Mélisande in Did you hear... Victorian Opera’s production Damian Arnold in I Capuleti e i Montecchi. of Pelléas et Mélisande (11-13 Photography by Stephen Fitzgerald Stacey Alleaume as Fiorilla in Opera October), as a featured artist at Australia’s production of The Turk in the Australian Festival of Chamber Italy (Sydney Season – August) Music (July) and a soloist with the Tasmanian Symphony Orchestra Damian Arnold as Tebaldo for across Tasmania and Victoria Opera Studio’s production (August-September) of I Capuleti e i Montecchi (August) Brenton Spiteri as Mathan in Robert Barbaro as Ferrando for Pinchgut Opera’s production of Dulwich Opera’s production of Così Athalia (June), soloist in Bernstein fan tutte (June-November) on Broadway with Melbourne Symphony Orchestra and Benvolio Shauntai Batzke as a featured in Tasmanian Symphony Orchestra’s Symphony Orchestra with Jacqueline Porter as soloist the soloist in Stand By Your Woman Roméo et Juliette (20 October) Christopher Moore Royal Melbourne Philharmonic with Spire Ensemble at Hamer Hall (29-31 May 2019) and for Ghost Messiah (9 December 2018) and (September) Nicholas Tolputt as soloist for Stories (3 November 2019) the Melbourne Symphony Orchestra Bernstein Classics with Melbourne for Fantasy and the Firebird Daniel Carison as Masetto Emily Edmonds as Semira in Symphony Orchestra (15 August) (8 March 2019) in Hessisches Staatstheater Pinchgut Opera’s production of Wiesbaden’s production of Don Janet Szepei Todd as Brianne in the Artaserse, Varvara in Royal Opera Samuel Sakker as Tokhon Kabanov Giovanni (July) LA premiere of Mark Lanz Weiser’s House’s 2019 production of Kátya in Scottish Opera’s 2019 Kátya new opera Place Where You Started Kabanová and L’enfant in Komishe Kabanová, Erik in Angers-Nantes Hannah Dahlenburg as Melba (May), Alison in the Facebook-based Oper Berlin’s 2019 production of Opéra and Opéra de Rennes’ 2019 in Yarra Valley Opera Festival’s opera Someone Like Me (2018) and L’Enfant et les Sortilèges Der fliegende Holländer, and as adaptation of Der Schauspieldirektor Stacey Alleaume in The Turk in Italy. Photography by Keith Saunders Cio-Cio San in Opera Columbus’ a soloist for Royal Philharmonic in A Tale of Two Divas Madama Butterfly (28-30 September) Lauren Fagan as in 2019 Internationale Händel-Festspiele’s Orchestra 2019 Valentine’s Day Gala Zoe Drummond was named the Jeremy Kleeman as Collatinus in Sophie Yelland has commenced production of Alcina and Tippett’s A Child of our Time for winner of the 2018 Marianne a full-time contract with Welsh Bournemouth Symphony Orchestra Victorian Opera’s production of Georgia Hall as a soloist with Marthy Scholarship from the IFAC The Rape of Lucretia with Sydney National Opera in 2019 Australian Singing Competition Australian Dance Theatre’s Chamber Opera and Dark Mofo The Beginning of Nature touring Brenton Spiteri as Aquilio in Lauren Fagan as Woglinde in Das (June) throughout Germany, Belgium Pinchgut Opera’s Farnace Rheingold and Götterdämmerung at Timothy Newton as Colline in New Listen out for… and The Netherlands (November- (4-10 December 2019) Royal Opera House (September) December 2018) Zealand Opera’s new production of Stacey Alleaume at Opera Australia Siobhan Stagg in the title role Amir Farid in his Lincoln Centre La bohème (September-October) for their 2019 season performing Samuel Johnson at Deutsche for ’s debut with Mark Morris Dance Group and is the winner of 2018 Deutsche Susanna in The Marriage of Figaro, Oper Berlin for the 2019/2019 production of Massenet’s Cendrillon for the Mostly Mozart Festival NYC Oper Berlin Award from the Opera Sophie in Werther and Gilda in season performing Dr Falke in Die (November-December 2018), at the (August) Foundation for Young Australians Rigoletto Fledermaus, Escamillo in Carmen, 2019 Mozartwoche Festival as a Michael Petruccelli as Goro and Juan in Don Quichotte, Angelotti in soloist for Mozart Mass in C Minor, Alexandra Flood as resident artist Daniel Carison at Hessisches Matthew Reardon as Pinkerton in , and Ping in in her role debut at Deutsche Oper for the Bangalow Music Festival Staatstheater Wiesbaden in their Opera Australia’s touring production Berlin for the 2018/2019 season with Southern Cross Soloists 2018/2019 season performing Jeremy Kleeman in recital with of Madama Butterfly (July- performing Micaëla in Carmen (August) and Jemmy in Victorian Hermann Ortel in Die Meistersinger Stephen Cassomenos for Musica September) (February 2019) and Soloist for Opera’s production of William Tell von Nürnberg, Die Zweiter Nazarener Viva at the Melbourne Recital Centre Messiah with Melbourne Symphony (14-19 July) Jacqueline Porter as Susanna with in Salome, Marullo in Rigoletto, (26 March 2019) and Melbourne Orchestra (7-8 December 2019) Jeremy Kleeman as Second Elder in Reinnar von Zweter in Tannhäuser, Symphony Orchestra for Messiah Samuel Dale Johnson as Figaro for Handel in the Theatre’s production Yamadori in Madama Butterfly and (13 December 2019) Nicholas Tolputt in Messiah with Deutsche Oper Berlin’s production of of Handel’s Susanna (September) Altgesel in Jenůfa Melbourne Symphony Orchestra Il barbiere di Siviglia (September) Michael Petruccelli at Frankfurt Samuel Sakker as David in Die Stefan Cassomenos in his first Oper for the 2018/2019 Opernstudio (15-16 December 2018) and Fiona Jopson has commenced a Meistersinger von Nürnberg with season as Artistic Director of the performing Don Basilio/Don Curzio Feace I, Melanto and Marittimo I full-time contract as a member of State Opera South Australia Port Fairy Spring Music Festival in Le nozze di Figaro, Ein Offizier in Pinchgut Opera’s The Return of the principal ensemble for Vienna (4 August) and Don José in Carmen alongside Monica Curro in late 2019 in and Ein Ulysses (13-19 June 2019) State Opera for Den Jyske Oper (October) and a soloist with the Melbourne italienischer Sänger in Capriccio

Dame Heather Begg Memorial Award announced for 2018

Melba alumna, soprano Lauren “After her long and incredible Lauren loves waking up to news from Fagan, has continued her operatic career Heather wanted to Australia and when she received the year of wonderful success by support the development of other email about winning, she was in mild young opera singers,” she says. shock. “The thing about this award becoming the sixth recipient “The path that Heather followed to is you don’t put yourself forward of the esteemed Dame Heather achieve such a wonderful and varied so it came as a complete and very Begg Memorial Award. career definitely resonates with me. welcome surprise.” She was born in New Zealand and Lauren says the unique nature of The annual Award was established after being recognised as having the Award will allow her to clearly through Dame Heather Begg’s considerable vocal potential moved ‘assess’ what she needs to improve to estate and continues the legacy over to study in the UK and her reach her operatic goals by removing of the internationally-renowned career developed from there. New Zealand mezzo-soprano any financial stress. “I have already by providing a $25,000 grant to “After leaving for London six years begun intensive German lessons process. “I feel like I mention it path of a healthy vocal technique support the artistic development of ago, I have now completed my twice a week, as I am determined all the time, but I cannot impress and a healthy mind.” a gifted emerging Australian or New studies and begun working at many to be able to converse in German enough how important my inner Zealand opera singer. of the opera companies over here before my contract in Karlsruhe early Lauren joins a growing list of circle of mentors is to me – Glenn in the UK. It is extremely exciting next year. I am also looking into recipients for this unique award: Lauren describes this Award as Winslade and Sharolyn Kimmorley to see that Dame Heather’s debut the possibility of a fest contract in extremely generous, and wonderful AM are my rocks! Like everyone, I 2017 Emily Edmonds with the Royal Opera was in 1959 Germany down the line and know that in the way it supports a crucial have good and not so good days 2016 Jeremy Kleeman in Wagner’s Die Walküre, and right this will really help with this, too.” 2015 Amina Edris stage in a singer’s career, when now I am about to make my Royal vocally, but essentially it’s the they are established as young Lauren says she is really enjoying mental strength which can keep it all 2014 Janet Szepei Todd Opera debut as a principal artist (not 2013 Samuel Dundas artists, but require important artistic as a Jette Parker Young Artist) as the journey of her burgeoning together and enable you to continue development to carry forward their operatic career and stresses the improving. My mentors help me all Woglinde in Wagner’s Rheingold and Lauren Fagan in La traviata. career goals. GÖtterdämmerung.” importance of mentoring in the the time to keep myself on the right Photography by Robert Workman

Page 10 The Melba – Magazine of Melba Opera Trust Zoe Drummond Soprano Raising an today Wins the Mathy Award with IFAC Handa Australian Singing Competition 2017-19 Full scholarship to Guildhall School Opera singer of Music and Drama; Artist Masters in Opera Performance 2017 Principal Artist for Opera Australia e’re fond of saying Melba’s role is a constant within and Victorian Opera “it takes a village to the village; preparing scholars for 2016 Wins Lady Fairfax New York Scholarship with The Opera raise an opera singer”, the rigours of life as a professional Foundation for Young Australians butW what does that look like for operatic artist. We are proud 2015-17 Melba Opera Trust promising young opera singers to have helped forge so many 2015 National Opera School in Australia? promising careers. 2013 Pacific Opera Young Artist The path to an operatic career Listed is just a sample of the is varied and at times uncertain, many paths our Melba scholars but fortunately there are many have followed in pursuit of their organisations committed to aspirations. ensuring our talent is supported each step of the way. Top: Lindsay Kearney, Opera Australia Middle: Lisa Gasteen National Opera Studio Bottom: Lindsay Kearney, Opera Australia

Stacey Alleaume Soprano today Principal Artist with Opera Australia 2016 Moffatt Oxenbould Young Artist, Opera Australia 2016 Wins Scholarship – Australian Opera Awards Committee 2015 Wins scholarship to Music Academy of the West, USA Michael Petruccelli 2014 Opera Australia ensemble and principal artist for regional tour Tenor 2013 Wins Herald Sun Aria today Joined Oper Frankfurt 2012 Melba Opera Trust and wins Opernstudio (2018/19) Sydney Eisteddfod Opera Scholarship 2011 Opera Australia school’s company 2017 Principal artist for Opera Australia 2010 Melba Opera Trust and Victorian Opera 2009 Opera Studio Melbourne 2016 Melba Opera Trust (now Gertrude Opera) 2015-16 Victorian Opera Developing Artist Program

Top: The Acclaim Awards Above: Royal Melbourne Philharmonic Middle: Prudence Upton, Opera Australia Top right: Charlie Kinross, Victorian Opera Bottom: Georges Antoni, Opera Australia Bottom: Charlie Kinross, Victorian Opera

Fleuranne Brockway Mezzo-soprano today Wins German-Australian Opera Grant which will see her joining the Hessisches Staatstheater Wiesbaden for the 2019/20 season Wins Australian International Shakira Tsindos Opera Award; full scholarship Mezzo-soprano at the Royal College of Music International Opera School, today Scholarship at Guildhall School London of Music and Drama, London completing an Artist Masters 2018 Melba Opera Trust 2017-18 West Australian Opera Wesfarmers in Performance Young Artist Program 2018 Opera Australia Victorian schools tour 2017 Wins National Liederfest, 2017 Wins Acclaim Award Fellowship Franz Schubert Institute Prize 2016 Melba Opera Trust 2016 Victorian Opera Developing Artist 2016 Victorian Opera Developing Artist Program Program 2014-16 Lisa Gasteen National Opera School 2013-16 Opera Scholars Australia; scholar of the year Top: James Rogers, West Australian Opera Above: Hopkins Sinfonia Middle: James Rogers, West Australian Opera Top right: Jeff Busby, Victorian Opera Bottom: Charlie Kinross, Victorian Opera Bottom: Opera Scholars Australia

Edition 19 Spring 2018 Page 11 Objects of Fame

A new exhibition at the University Melba experienced fame in the way difficulties of being famous. Blue satin shoes worn by Nellie Melba and of Melbourne’s Grainger Museum that mega-stars do now 100 years She undertook demanding tours, black leather lace-up shoes worn by Percy is exploring the concept of fame as later — the upsides, the downsides, encountered negative press Grainger. Australian Performing Arts Collection, and it affected Dame Nellie Melba and the media over-exposure, the reports and unkind rumours, and Grainger Museum Collection innovative pianist and composer personal cost of the slog of touring suffered costs to her personal life. Cloak worn by Nellie Melba as Elsa in Percy Grainger. endlessly around the world so that In her 1925 memoir, she reflected , c.1891. Designed by you can be heard to a clamouring that, ‘One of the drawbacks of Jean-Philippe Worth. Gift of Pamela, Contrasting the effects of public – I think this will resonate Fame is that one can never escape Lady Vestey, 1977. Australian international fame and highlighting immediately with the exhibition from it’. Performing Arts Collection, Arts their remarkable achievements, Centre Melbourne audiences,” Dr Gaunt says. the show Objects of Fame: Nellie “I’m sure that visitors will enjoy the Melba and Percy Grainger is a Ms Marshall says the fact that opportunity to view rare costumes collaboration between the university Nellie Melba and Percy Grainger worn by Melba in performance, and Arts Centre Melbourne, which knew each other – that their lives along with photographs, personal houses an enormous collection intersected both personally and letters and other intriguing items.” of artist-related outfits and professionally – adds a particularly Melba Opera Trust was pleased to paraphernalia. interesting layer to the exhibition. have been involved in the grand According to curators Margaret She says that because Dame Nellie opening of this impressive Marshall, curator for the Australian was was one of the most famous exhibition, with featured Performing Arts Collection, Arts women in the world in the late performances by current Centre Melbourne, and Dr Heather nineteenth and early twentieth scholar Cleo Lee-McGowan. Gaunt, curator of Exhibitions and centuries, mixing with members of Collections at the Grainger Museum, royalty, high society and the artistic the exhibition looks at Melba’s and elite, and being dressed by leading Grainger’s international stardom French couturiers, her fame reached in the modern world and also beyond the opera stage. Objects of Fame: Nellie highlights their connections to “She became a celebrity of the Melba and Percy Grainger each other. glittering Belle Époque,” she says. is at the Grainger Museum, the “Realising that these semi-mythical “Despite the adulation Melba figures like Grainger and Nellie received, she also endured the until 17 February.

Supporters of Melba Opera Trust

PATRONS-IN-CHIEF MAESTRO CIRCLE ($5,000 – $9,999) Jillian Cobcroft Miki Oikawa Mentor Program made possible by: The Hon. Linda Dessau AM, Governor of Victoria Jim Allen OAM Libby Colenso Stephen O’Meara QC & Kate Galvin & His Honour Judge Anthony Howard Judy Allen Jim Cousins AO & Libby Cousins Jocelyn & the late John O’Neil FOUNDING PATRONS The Hon Justice David Beach & Marea Beach Caroline & Glenn Crane Sarah Patterson Mary-Jane Joscelyne OAM Marc Besen AC & Eva Besen AO Mr John Craven Joan Pigdon The late Pamela, Lady Vestey Dr Dianne & Lino Bresciani, Youth Music Shaneen Crouch & Roger & Catherine Poole Foundation of Australia the late Michael J Crouch AO Joy Potter HONORARY PATRON Elizabeth Brown Charles Curran AC and Eva Curran Probus Club of Melbourne Inc. The Hon. Saffron Foster Sandy Clark & Marie McDonald Mrs David Darling Clare & David Pullar IMPRESARIO ($500,000 and above) Catherine & Mark Clisby Arthur Day AM & Hilary Day Kenneth R Reed AM • John and Elizabeth Wright-Smith Warwick & Paulette Bisley Ann Cole Ros & John Dowling Janice Roberts & Achim Leistner • Reilly & Logie-Smith Mentor Endowment Joseph Sambrook & Mary-Jane Gething Kevin & Margaret Collecutt Terry & Linda Elliott Alexander & Rosemary Roche • Lady Southey AC John & Elizabeth Wright-Smith Rosie Cunningham Jack & Vivien Fajgenbaum Tom & Elizabeth Romanowski • Hamer Family Fund David Curtain QC & Sally Curtain Barbara Fleischer GRAND CIRCLE ($100,000 – $249,999) Dr Paul & Gay Rosen • Tallis Foundation Charles Allen AO & Jocelyn Allen Jane Douglass AM William J Forrest AM Margaret S Ross AM • Stuart Leslie Foundation A/Prof Andrew Cochrane Sir Andrew & Lady Fairley Foundation The Hon Saffron Foster The late Pamela Ruskin Dr Fiona Cochrane Dr Helen Ferguson Jenny Fullard Mr Nick Ruskin & Dr Annette Shiell • The Opera Society Joseph Diflo Catherine & the late Roger Freeman Peter Garnick Dr David Scott AM & Dr Lyndal Scott Diana Gibson AO Fleur Gibbs Annie Gibson Penelope Seidler AM Philanthropic Partners The late Lady April Hamer Peter & Elizabeth Goodman Dr R & Ms K H Grinberg The Hon. Justice Melanie Sloss SC John & Jo Grigg Peter Reilly & Linton Soderholm Elisabeth Guinness Prof Richard Smallwood AO & Carol Smallwood The Hon Peter Heerey AM QC & Sally Heerey Andrew Sisson AO Hugh Hallard Smedley Family Margaret & Trevor Holborow Roz Zalewski-Ruskin & Jeremy Ruskin QC Dr Martin & Jacqui Higgs Russell & Margaret Smith Darvell Hutchinson AM & Barbara Hutchinson Ryman Healthcare Robert Hook Lyn Stephenson Mary-Jane Joscelyne OAM Rosemary & David Houseman DRESS CIRCLE ($50,000 – $99,999) Jo Strutt Anne & Dr Milan Kantor Dr Sam & Margaret Howes Janet Calvert-Jones AO & John Calvert-Jones AM Swindel-Hurst Family Trust Bryan Keon-Cohen AM QC & June Keon-Cohen Christine Hughes Peter Griffin AM & Terry Swann Hugh & Elizabeth Taylor John Kiely & the late Lorraine Elliot AM Penelope Hughes Peter Laver AM & Anne Laver Rob & Kyrenia Thomas Her Honour Judge Kathryn Kings Alison Hyams Rob & Ruth Thomas GALLERY CIRCLE ($25,000 – $49,999) Dr Peter A Kingsbury Phillip D Isaacs OAM Dr George Tippett Ernest Dawes OBE & Nola Dawes Suzanne Kirkham Cynthia Jackson AM Sylvia Urbach Rose Downer & John Downer AM Suzanne Maple-Brown Barry & Prue Johnson Alexander G. White Louise Gourlay OAM Mary-Ruth & Peter McLennan Lewis & Paula Johnson Christine Williams Peter Hansen OAM & Neroli Hansen Margaret & Patrick Mills William M.P Jones James Williams Ian & Dale Johnson Susan Morgan George & Grace Kass David Jones The late Dame Elisabeth Murdoch AC; DBE Julia King Helen Woods & Lewis Rowell • Tallis Foundation Barbara Yeoh AM Ann & the late Ian McFarling Graeme Parncutt Lesley King • Cochrane Schofield Fund Kate & Stephen Shelmerdine Tony & Elizabeth Rayward Anonymous (13) Anthony Knight OAM & Beverley Knight • Hamer Family Fund Lady Southey AC Aubrey Schrader Peter Kolliner OAM & Barbara Kolliner FRIENDS CIRCLE (All gifts up to $999) Anonymous (1) Mr Phillip and Mrs Sue Schudmak Lynne Landy & John Landy AC MBE Melba Opera Trust also appreciates BALCONY CIRCLE ($10,000 – $24,999) Graham Sellars-Jones Joy Laurence the generosity of over 200 supporters Professional Support The late Betty Amsden AO John E Smith John & Erin Lidgerwood in our Friends Circle. Richard Stanley QC & Sue Stanley Chris Arnold & Margot Costanzo Julie & Athol Lidgett MELBA’S WILL BEQUEST CIRCLE James & Judith Beattie Gillian Storey AM Janet Limb The Lord & Lady Vestey Diane Morris Peter & Jan Clark Dr Bruce & Dianne Livett Dr Patricia Armstrong-Grant OBE Val Diamond & John Funder AC Prof Mel & Nina Waters Colin Lovitt QC & Margaret Lovitt Paul Worthington Mary Ryllis Clark Ian Dickson & Reg Holloway Noreen Maher Garry A Fehring Anonymous (1) Peter Mander & Walter van Nieuwkuyk OAM Frank & Judith Firkin Ian & Dale Johnson Marin Charitable Trust Nance Grant AM MBE & Ian Harris MELBA CIRCLE ($1,000 – $4,999) Mary-Jane Joscelyne OAM Hans & Petra Henkell David & Jane Martin C A Alston Ann McFarling Gill & Giles Hunt Dr Patricia Armstrong-Grant OBE B Mayes Anonymous (3) Event Partner Dr Alastair Jackson AM Philip Bacon AM Denys & Ingeborg McCullough Elizabeth Lithgow Robbie S. Barker Ian McDonald Robert G Logie-Smith AM & Sue Logie-Smith Judy & Michael Begg Dr Sue McNicol QC Patricia McKenzie Kenneth Betts Ross McPherson The Family of the late Jack McLeish Ann Blainey Dr Bryan Mendelson & Mrs Debora Mendelson The Hon Justice John & Mrs Judith Middleton Caroline Brain Fiona Menzies Tom & Ruth O’Dea Jonathan & Anne Breadmore James Mighell SC Lady Potter AC CMRI H & J Burger Diane & Tim Morris Recognised support as of September 2018 Judith Robinson & Michael Robinson AO The Hon Justice David Byrne & Jenni Harris Kristin Moses Margot & Warwick Ross Adrienne & the late Ross Cameron Dr Kenneth Muirden AO & Lesley Muirden Anita Simon The Hon Alex Chernov AC QC & Margaret Nevett Jennifer & David Sutherland Elizabeth Chernov Liz Nield Dr Michael Troy Mitchell Chipman Ms Rosemary Norbury Michael Wheelahan QC & Cathryn Wheelahan Janet & the late John Clark AM Geoffrey Norris www.melbaoperatrust.com.au