The Melba – Summer 2016
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Ryman Healthcare Full Year Result - 31 March 2018 Full Year Highlights
Ryman Healthcare Full year result - 31 March 2018 Full year highlights . Underlying profit up 14.2% to $203.5 million . Reported profit up 8.8% to $388.2 million . Full year dividend 20.4 cents per share; up 14.6% . $5.8 billion of total assets . 16 new villages in the pipeline Kevin Hickman myRyman Four year certification 70% 60% 60% 50% 39% 40% 35% 32% 33% 30% 27% 20% 15% 13% 10% 0% Note: Percent of villages with 4 year certification. Includes aged care providers with 15 or more villages. Data as at 23 April 2018 Aberfeldie Melbourne Nellie Melba Wheelers Hill, Melbourne Coburg Melbourne Burwood East Melbourne Geelong Victoria Mount Eliza Mornington Peninsula, Melbourne Mount Martha Mornington Peninsula, Melbourne Victoria Logan Campbell Greenlane, Auckland Devonport Lynfield Auckland Auckland Karori Havelock North Wellington, New Zealand Hawkes Bay, New Zealand $100m $150m $200m $250m 16 years of underlying profit growth underlyingprofit 16 years of $50m $0m 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 $100m $200m $300m $400m $500m Reported profit growth profit Reported $0m 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 FY18 investing cash flows $600m $500m $44 $35 $45 $27 $400m $300m $350 $296 $200m $100m $97 $111 $0m Mar-17 Mar-18 Purchase of land New villages Projects Village upgrades $0bn $1bn $2bn $3bn $4bn $5bn $6bn $7bn Total assets Total 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 Bank facilities $700m $600m $500m $400m $300m $200m $100m $0m 1 Year 2 years 3 years 4 years 5 years Gearing Mar-18 Mar-17 (millions) (millions) Net debt $1,060 $838 Net assets $1,941 $1,652 Gearing ratio * 35% 34% * Gearing ratio calculated as net debt / net debt plus equity Development margin 30% Target range 20% 10% 0% 2012 2013 2014 2015 2016 2017 2018 Group development margin Margin excluding Bob Scott Note: 2018 margin restated to exclude Bob Scott. -
Myra Hess Had to Wait for Her Ultimate Breakthrough in Her English Homeland; for This Reason, She Initially Had to Earn Her Living by Teaching
Hess, Myra Irene Scharrer. However, Myra Hess had to wait for her ultimate breakthrough in her English homeland; for this reason, she initially had to earn her living by teaching. Her first major success abroad was her debut in Amster- dam, where she performed Schumann's Piano Concerto in A minor, Op. 54 with the Concertgebouw Orchestra un- der Willem Mengelberg in 1912. In 1922 followed her de- but in New York, where she was celebrated with equal en- thusiasm. Her career advanced rapidly from that point onwards, and she rose to the position of one of the most successful pianists in her homeland during the ensuing years. During the 1930s, she undertook extended concert tours throughout all of Europe, including the Scandinavi- an countries, Czechoslovakia, Hungary, Rumania, Tur- key, Yugoslavia, Germany, France and Holland. At the be- ginning of the Second World War, when all of London's concert halls were closed, she founded the legendary "Lunchtime Recitals" at the National Gallery, offering the London public a broad spectrum of high-quality pro- grammes with both young and established musicians. She herself performed at the National Gallery 146 times. The concerts were held without interruption until 10 Ap- Die Pianistin Myra Hess ril 1946. In 1941 Myra Hess was honoured with the title "Dame Commander of the Order of the British Empire" Myra Hess for her special efforts on behalf of musical life in her ho- meland. After the Second World War, the meanwhile fa- * 25 February 1890 in Hampstead (im heutigen mous pianist regularly gave concerts in her native count- Londoner Stadtbezirk Camden), England ry and in the USA, where she enjoyed great popularity. -
OPERA, COMIC OPERA, MUSICAL Box 4/1
Enid Robertson Theatre Programme Collection MSS 792 T3743.R OPERA, COMIC OPERA, MUSICAL Box 4/1 Artist Date Venue, notes Melba, Dame Nellie, with Frederic Griffith 12.11.1902 Direction Mr George (Flute), Llewela Davies (Piano) M. (Second Musgrove Bensaude (Vocal) Signorina Sassoli Concert:15.11) Town Hall, Adelaide (Harp)Louis Arens, (Vocal)Dr. F. Matthew Ennis (Piano) Handel, Thomas, Arditi. Melba, Dame Nellie with, Tom Burke 15.6.1919 Royal Albert Hall, (Tenor), Bronislaw Huberman (Violin) London Frank St. Leger (Piano) Arthur Mason (Organ) Verdi, Puccini, etc. Melba, Dame Nellie 4.10.1921 Manager, John Lemmone, With Una Bourne (Piano), W.F.G.Steele (Second Concert Town Hall, Adelaide (Organ), John Lemmone (Flute) Mozart, 6.10.21) Verdi Melba, Dame Nellie & J.C. Williamson 26.9.1924 Direction, Nevin Tait Grand Opera Season , Aida (Verdi) Theatre Royal Adelaide Conductor Franco Paolantonio, with Augusta Concato, Phyllis Archibald, Nino Piccaluga, Edmondo Grandini, Gustave Huberdeau, Oreste Carozzi Melba, Dame Nellie & J.C. Williamson, 4.10.1924 Direction, Nevin Tait Grand Opera Season, Andrea Chenier, Theatre Royal Adelaide (Giordano) First Adelaide Performance, Franco Paolantonio (Conductor) Nino Piccaluga, Apollo Granforte, Doris McInnes, Antonio Laffi, Oreste Carozzi, Gaetano Azzolini, Luigi Cilla, Luigi Parodi, Antonio Venturi, Alfredo Muro, Vanni Cellini Melba, Dame Nellie & J.C. Williamson, 6.10.1924 Direction, Nevin Tait Grand Opera Season, DonPasquale, Theatre Royal, Adelaide (Donizetti) First Performance in Adelaide, Arnaldo -
Opera Australia's 60Th Anniversary Costume and Memorabilia
MEDIA RELEASE Own a piece of opera history: Opera Australia’s 60th anniversary costume and memorabilia exhibition and auction Exhibition | Saturday 24 – Thursday 29 June 2017 | The Opera Centre, Surry Hills, Sydney Auction | Friday 30 June – Saturday 1 July 2017 | The Opera Centre, Surry Hills, Sydney Opera Australia is diving into sixty years of costumes, accessories, artworks and memorabilia in an anniversary exhibition at The Opera Centre. The week-long event will culminate in an auction where the public can bid for an exclusive piece of Australia’s operatic story. This is the first time Opera Australia has opened its vaults to give thousands of opera fans the opportunity to get up close to over 2,000 items costumes, accessories, artworks and memorabilia worn and inspired by their idols. Highlights of the exhibition and auction include: Costumes from Baz Luhrmann’s famous 1990 production of La Bohème Dame Kiri Te Kanawa ONZ DBE AC’s costume for the role as ‘Violetta’ in the 1978 production of La Traviata Yvonne Kenny AM’s costume for the roles of ‘Sylva Varescu’ in the 2001 production of The Gypsy Princess, ‘Hanna’ in the 2004 production of The Merry Widow and ‘Armida’ in the 1999 production of Rinaldo Sigrid Thornton’s costume for the role of Desirée in 2009 production of A Little Night Music. Dame Heather Begg DNZM OBE’s costume for the role of ‘The Countess Di Coigny’ in the 2001 production of Andrea Chénier Cheryl Barker AO’s costume for the role of ‘Lauretta’ in 2007 production of Gianni Schicchi Opera Australia CEO Craig Hassall explained the motivation behind the historic move. -
The Melba Magazine of Melba Opera Trust
THE MELBA MAGAZINE OF MELBA OPERA TRUST EDITION 24 | Autumn 2021 160 YEARS OF AN AUSTRALIAN ICON Contents From the CEO From the Chief Executive Officer 2 Carrying forward the name of an Australian icon is both a privilege and a great responsibility. This Board announcements 2 year and every year we honour Dame Nellie Melba The enduring synergy of art and music 3 by developing exceptional Australian opera singers and repetiteurs through the Melba program. We New faces of Dame Nellie Melba 3 see her impact in the performances of our alumni throughout Australia and the world. The 2021 Artists on Melba’s legacy and the onward journey 4 Melba was a pioneer in so many ways. A fierce proponent of the arts in Australia, she used her ALUMNI FEATURE celebrity to advance the careers of countless young Stacey Alleaume: On the rise 6 singers, artists, actors and poets. Her generous spirit is as famous as her voice, as is her love for Australia. In conversation with Constantine Costi 8 An ‘influencer’ by today’s standards, Melba was Deborah Cheetham AM on the an ambassador for Cartier and Louis Vuitton Harold Blair Scholarship 9 in Australia. A motoring enthusiast, supporter of the suffragette movement, connoisseur of VR at Nellie Melba Retirement Village 10 fashion, and an astute, financially independent Introducing: Melba Amphora by De Bortoli 10 businesswoman, Melba was a woman ahead of Dame Nellie Melba’s bequest established a her time with values that belong more today, than scholarship ‘in the hope that another Melba Meet the Artists, 2021 11 they did in the early 20th century. -
Many People Think a Peace Treaty Was Signed After the Vibrato Wars of The
Cover Story Vibrato Wars any people think a peace treaty was signed after the vibrato wars of the M1970s, when the plush string textures of the modern symphony orchestra were challenged by the leaner sound of historical instruments. Eliminating vibrato, along with playing on gut strings, was the most noticeable mark of historically informed performance style. Before it was even called HIP, employing “authentic instruments” set early-music players apart from symphony orchestras, and singing with a pristine, boy-like sound marked a new vocal coloring. Above: A spectrogram shows the pitch D5 on the written vowel “ah” from measure 35 of Mozart’s “Porgi amor” from Le Nozze di Figaro. From left to right, Nellie Melba, Leontyne Price, Renée Fleming, and Maria Callas. According to Ian Howell, “In these one-second clips, note the similar rate of vibrato (the number of peaks per second in the wavy lines) of all four singers. Melba, Price, and Fleming all share a similar extent (how far up and down they move) of a little more than a quarter-step; Callas’s vibrato is differentiated by a wider extent of about a half-step. Despite their similarities visually, Melba, Price, and Fleming’s vibratos sound distinct from one another. This paradox invites a deeper consideration of the manner in which we perceive vibrato on recordings (both historical and modern).” 30 EMAg Summer 2015 x To vibrate or not to vibrate: It’s a question instrumentalists and singers continue to ponder in their search for expressive truth. by Judith Malafronte the fingers, lips, or diaphragm to ripen the sound with this oscillating procedure, and pop singers often employ a wobbling or warbling effect on long notes. -
OQS0762 Subs 2011 Brochure Text V6.Indd
SEASON 2011 SUBSCRIBE Truly. Madly. Deeply. AND SAVE! From the From the Premier of Queensland and Chief Executive/Artistic Director Minister for the Arts Come and celebrate Opera Queensland’s Welcome to Opera Queensland’s fi rst 30 years with 120 years of season for 2011. superlative creation. For nearly three decades, Opera After the success of our Verdi double Queensland has been presenting operas and musicals in 2009, it seems only fair to pay Puccini the same courtesy. across our state and, recently, across state borders. While there is a 43-year overlap in ages, in operatic terms, these two composers are not contemporaries, representing Not only is Opera Queensland expanding in its reach and as they do two musical traditions. Puccini sweeps us into scope, the company has found new ways to connect with the 20th century with melody to delight us all and a masterly audiences of many ages through programs with primary workmanship set to please even the most discerning. And students and young people in regional communities. so it is in May, that we bring you a wonderful new production My government provides key funding to Opera Queensland of The Girl of the Golden West, an opera never before seen as one of the state’s fl agship arts companies. in Queensland. While in October, we present John Copley’s I would like to acknowledge Opera Queensland’s corporate celebrated production of Tosca in all its traditional glory. After partners, many of whom have been onboard for more than an eight-year gap it is a great joy to return this magnifi cent a decade and who, along with government support, help piece to the Lyric Theatre. -
Carmen Carmen
CARMEN CARMEN Saturday 12 August 7.30pm Federation Concert Hall Hobart Marko Letonja Conductor Teddy Tahu Rhodes Escamillo Elena Schwarz Assistant Conductor Emma Pearson Micaëla June Tyzack Chorusmaster Shane Lowrencev Zuniga 4 SPECIAL HOBART Elizabeth Hill Staging Samuel Dundas Moralès/Le Dancaïre Ingrid Rahlén Stage Manager Kathryn Radcliffe Frasquita Phoebe Briggs Music Preparation Sally-Anne Russell Mercédès With a long and rich Elena Maximova Carmen Jonathan Abernethy Le Remendado relationship spanning Marcelo Puente Don José TSO Chorus more than a decade, The20 are proud to be Opéra comique in Four Acts by Georges Bizet to a libretto by Henri Meilhac and Ludovic Helévy, after Prosper Mérimée’s novel. First performed at the creative collaborators Opéra-Comique, Paris, 3 March 1875. with the cultural icon Act I Act III that is the Tasmanian A public square in Seville; a tobacco A rocky place near Seville at night. Symphony Orchestra. factory on the right faces a guardroom on Duration 36 mins the left with a covered gallery in front. Duration 47 mins Act IV Outside the bullring in Seville. Act II Duration 21 mins Lillas Pastia’s tavern. Duration 36 mins INTERVAL Performed in French with surtitles. Duration 20 mins This concert will end at approximately 10.30pm. Presented in association with Tasmanian Symphony Orchestra concerts are broadcast and streamed throughout Australia and around the world by ABC Classic FM. We would appreciate your cooperation the20.com.au Cover image: Elena Maximova as Carmen © ROH. Photographer Catherine Ashmore in keeping coughing to a minimum. Please ensure that your mobile phone is switched off. -
Appendix 1 – Trustees & Advisors
Appendix 1: FNT13 Agenda item for WDC Forum North Trust Current Members CALVIN GREEN C0-CHAIR Calvin Green is a local business owner and co-chair of the Forum North Trust. Calvin has a passion for working with and for Community Development and is honoured to have an opportunity to work on and progress the concept of a New Zealand Unique Performance Centre in Whangarei. He has a BSc, MSc (University of Auckland, Psychology) and senior management experience at both Government of Ontario Canada and Whangarei District Council and Northland Business Development Trust.. He has started more than 20 Green Field Companies (NZ and International) and is currently Director of PGNZ Ltd, Gifts and Games Online; Florian and Green Ltd : Avocado Orchard (Export and Domestic markets) Calvin has been a lecturer at the NorthTec School of Business teaching Bachelor of Applied Management: Business Transformation and Change, Marketing and Applied Management. Community Boards Calvin has served on include: Chair -Whangarei Youth Orchestra, Chair – Tikipunga High School Board, Co-Chair of Forum North Trust and other community groups. ROS MARTIN CO-CHAIR Ros Martin has been connected to performing arts in Whangarei for many years both on stage and behind the scenes. During the late 1980’s and early 1990’s she served as chair of the Forum North Trust – a role she relished. She is now co – chair of Forum North Trust 2013 and is excited about the opportunities for reviving the vibrant community connections and involvement of the proposed Performing Arts Centre . Ros is semi – retired and works part – time as a consultant to the Retirement Village industry.She has worked in Education, Marketing, Communications, Fundraising, Events Management and a variety of leadership roles in the Retirement Village sector. -
Nellie Melba CMYK
110334 rr RomMelba1EU 22/10/2004 04:16pm Page 1 CMYK N 8.110334 Nellie Melba Playing AXOS Historical ADD The Complete American Recordings, Vol. 1 Time h broadcasting and copying of this compact disc prohibited. translaations reserved. Unauthorised public performance, All rights in this sound recording, artwork, texts and 69:39 & 1907 8.110334 g 2004 Naxos Rights International Ltd. 1 VERDI: Rigoletto: Caro nome Helen Porter Mitchell adopted the 2 PUCCINI: La bohème: Sì, mi chiamano Mimì 3 PUCCINI: La bohème: O soave fanciulla * professional name, Melba, to 4 PUCCINI: Tosca: Vissi d’arte acknowledge her Australian birthplace, Melbourne. In 1887 she 5 GOUNOD: Faust: Ah! Je ris de me voir si belle 1 Vol. American Recordings, The Complete MELBA: [Air des bijoux] made her operatic début in Brussels 6 VERDI: La traviata: Ah! fors’ è lui... Sempre libera as Gilda, eventually winning acclaim 7 PUCCINI: La bohème: Donde lieta uscì al tuo grido at Covent Garden, the Metropolitan d’amore Opera and most of the leading opera 8 TOSTI: Good-bye houses of the world. This volume is the 9 TOSTI: La Serenata † first of a series of three Naxos discs 0 BLANGINI: Per valli, per boschi ‡ containing all the known recordings ! BEMBERG: Un ange est venu ‡ Melba made for the Victor Talking @ HAHN: Si mes vers avaient des ailes † # MOZART: Le nozze di Figaro: Voi che sapete Machine in Camden, New Jersey, and $ THOMAS: Hamlet: A vos jeux, mes amis, New York. The 1907 recordings permettez-moi de grâce [Mad Scene part 1] document some of Melba’s greatest % THOMAS: Hamlet: Pâle et blonde, dort sous l’eau hits with audiences of the period. -
WILLIAM TELL Armando Noguera (William Tell) VICTORIAN OPERA PRESENTS WILLIAM TELL
GIOACHINO ROSSINI WILLIAM TELL Armando Noguera (William Tell) VICTORIAN OPERA PRESENTS WILLIAM TELL Composer Gioachino Rossini Librettists V.J Etienne de Jouy and H.L.F. Bis Conductor Richard Mills AM Director Rodula Gaitanou Set and Lighting Designer Simon Corder Costume Designer Esther Marie Hayes Assistant Director Meg Deyell CAST Guillaume Tell Armando Noguera Rodolphe Paul Biencourt Arnold Melcthal Carlos E. Bárcenas Ruodi Timothy Reynolds Walter Furst Jeremy Kleeman Leuthold Jerzy Kozlowski Melcthal Teddy Tahu Rhodes Mathilde Gisela Stille Jemmy Alexandra Flood Hedwige Liane Keegan Gesler Paolo Pecchioli* Orchestra Victoria 14, 17 and 19 JULY 2018 Palais Theatre, St Kilda Original premiere 3 August 1829, Paris Opera Running Time is 3 hours and 15 minutes, including interval Sung in French with English surtitles *Paolo Pecchioli appears with the support of the Faculty of Fine Arts and Music, University of Melbourne. 3 PRODUCTION PRODUCTION TEAM Production Manager Eduard Inglés Stage Manager Marina Milankovic Deputy Stage Manager Meg Deyell Assistant Stage Manager Jessica Frost Assistant Stage Manager Luke Hales Wardrobe Supervisor Kate Glenn-Smith MUSIC STAFF Principal Repetiteur Phoebe Briggs Chorus Preparation Richard Mills, Phoebe Briggs Repetiteur Phillipa Safey CHORUS Soprano Jordan Auld*, Kirilie Blythman, Jesika Clark*, Rosie Cocklin*, Alexandra Ioan, Millie Leaver*, Rebecca Rashleigh, Diana Simpson, Emily Uhlrich, Nicole Wallace Mezzo Soprano Kerrie Bolton, Shakira Dugan, Jessie Eastwood*, Kristina Fekonja*, Hannah Kostros*, -
Decca Discography
DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.