Edition 15 Summer 2016

FROM THE SCHOLARS’ REHEARSAL ROOM

LESSONS IN MAKEUP AND STYLING

OUR BEST AUDITION TIPS

WELCOMING BACK OUR ALUMNI

Siobhán Stagg, performing in while touring with Roberto Alagna. Photo by Joseph Byford. CONTENTS A NOTE FROM THE PAGE 2 • A Note from the Managing Director MANAGING DIRECTOR • A Change of Cast: Thanking Our Man on a Mission quantity and quality of applicants daughter Charlotte.) scholars looms large as competition are gratifying, and once again we finalists and cast members in Olivia’s exceptional skills and depth PAGE 3 have been presented with a national every Australian professional of experience has sustained the pool of talented singers. company. Internationally, our alumni Zoe Drummond – Winner – 2016 Lady Fairfax New York Scholarship • Melbas Conquer Trust’s momentum during Amy’s are successfully competing and Nicholas with his patrons Elizabeth and John Wright-Smith Nicolas Tolputt - Credit: WinkiPop Media The Opera Foundation for young Australians - Photograph: David Otott While this ‘changing of the guard’ absence. As the newest member of • Season’s Greetings performing on the stages of Europe, has become the norm for our scholar the management team, the fresh North America and Asia. PAGE 4-5 cohorts, this year’s annual ritual is insights that Olivia has brought to • Professional Polish : complemented by two significant the role are some of the dividends We look forward to announcing early • Etiquette and Elegance transitions in the Trust’s ‘engine of the parental leave system. in the New Year the 2017 cohort of MELBAS CONQUER SYDNEY room’. Firstly, the leadership of our Amy has recently returned and is Melba Opera Trust scholars and to • Face First governing Council is changing, as working with Olivia to complete the rolling out the program with another • A Word from the Scholars Peter Garnick Chair Rob Logie-Smith hands the transition. In the meantime, I would year of top practitioner-mentors A national scholarship program, Melba Opera Trust scouts said that his confidence to apply for In a dream turn of events, Opera, performing in Pigmalion and PAGE 6-7 baton to Roz Zalewski-Ruskin. Rob like to formally record our gratitude from and overseas. for talent from across Australia to find exceptional young the scholarships initially came from scholar Zoe Drummond was cast in Coronation of Poppea respectively, took up leadership during a time of to Olivia for her outstanding Melba Opera Trust Artistic Advisor, a principal role for ’s and Stacey Alleaume will reprise • There Is Nothing Like A Dame This edition of The Melba amplifies opera singers and repetiteurs, to offer mentoring and As this edition of The Melba is going extreme uncertainty and he passes commitment and the quality of her Sharolyn Kimmorley, who “insisted” exciting production Sydney Opera her role as Micaëla in On the scholars’ voice, and shares • Questions for Dame Kiri Te to press, the annual scholarship on to Roz a successful organisation work. Needless to say the Trust opportunities through our year-long program. We’re thrilled to that he give it a go. His admirable House – The Opera (The Eighth The Harbour with Opera Australia in training highlights from throughout Kanawa by Bronwyn Douglass cycle is nearing the top of the with a bright future. Below are Rob’s wishes Olivia well in her future share Melba scholar success – past and present – in Sydney effort resulted in major successes, Wonder). A testament to her work March and April. Melba Opera Trust the year. We hope you enjoy hearing • Questions for Dame Felicity dial. Our 2016 scholars - having reflections on his 11-year tenure. endeavors. which have been the catalyst for a ethic, and having sung once or twice will also conduct mentor program from your scholars. In closing, I over the past year. Lott by Timothy Newton completed the year’s program - number of exciting engagements in for artistic director Lyndon Terrancini blocks in the sunny state of New For the past 18 months, Olivia Giglia As Melba Opera Trust’s 2016 would like to thank and acknowledge are in the throes of auditions and Nicholas Tolputt was shocked to Leo Schofield, director of the 2017. We are thrilled for Nicholas, during her participation in the Melba South Wales in the New Year. has been performing the role of program is nearing the finish line, the growing family of Melba Opera PAGE 8-9 competitions around the world, hear his name called out not at just acclaimed Brisbane Baroque festival, and invite you to follow his progress mentor blocks, Zoe is ecstatic to be Acting General Manager while Amy it is appropriate to reflect on the Trust supporters who make all of Keep up to date on Melba scholar • Finding the Next Melba that will invariably lead to future one major competition final, but wrote a moving article about in the years to come as a Melba cast in the role of Clare Goldring – Black has been on maternity leave. success of propagating Dame this possible. and alumni activity on the Melba • Audition Tips from the opportunities. Meanwhile, the two in 2016, sweeping up the major Nicholas’ success for the Tasmanian alumnus. and was thrilled with the reception (A year ago in this column I noted Nellie’s legacy vicariously through Opera Trust Facebook page or on Melba Scholars selection process for the 2017 Peter Garnick prizes in both the IFAC Australian Times after his success in the IFAC after the opera’s late October the arrival of the newest member of our young singers. Around the Repetiteur scholar, Jonathan Wilson, our website. You’re also welcome scholars is well underway. The Singing Competition and the Sydney ASC, reminiscing about the first time premiere. Zoe is also the recipient • Baroque & Roll the ‘Melba family’, Amy and Clayton’s country, the community of Melba tried his hand as a musical director to call us for more information Eisteddfod Opera Scholarship. He is he saw him Nicholas in concert, and of the prestigious 2016 Lady Fairfax for brand new opera company, about our scholarship program, to PAGE 10 still overwhelmed about taking out the musical journey he had made New York Scholarship, offered Bare Bones Opera. In a triple bill engage our singers for your public or • Melbas at Home the top prizes of two of the most since that time in 2013. In the first through the Opera Foundation of works by Salieri and Mozart, private event, or to contribute to our significant Australian competitions three-minutes of Nicholas’ first aria Awards – an incredible achievement • Alumna Takes Home the Prize Jonathan ably conducted from endowment to make scholarships for opera singers, insisting that the three years ago, Leo recalls nudging that will see her travel to the USA the piano, an experience he called and the Melba program for opera PAGE 11 best advice he had ever been offered his companion to “give him a furtive next year. A CHANGE OF CAST: THANKING OUR MAN ON A MISSION “thrilling”. With wonderful feedback development available in perpetuity, • Letter From Abroad – was to take his glasses off before lap-level thumbs up”. Nicholas’ was for the musicians and the singers, Sydney has much to look forward to please call us on (03) 9944 2100. Alexandra Flood he goes on stage, not because it a “fine voice indeed”, and one that Jonathan’s debut has proven fruitful, in 2017 too: alumni scholars Jeremy to study music at university as he just exceptional Dean and Director of the thanks to Rob for his dedication, changes his technique, but because has since grown substantially in [email protected] PAGE 12 and he looks forward to continuing Kleeman and Morgan Balfour missed out on a scholarship, when Melba Conservatorium, recognized passion and ongoing support. it gives him confidence in the fact “power and colour”. Heralded by www.melbaoperatrust.com.au • An Evening of Opera at Roy finished as the director of music Amy Black (née McPartlan) as an We asked a few members of the that he can give it his best when he several critics and adjudicators for his development as a conductor in have been announced as leads Stowell Park at College, he recommended incredibly talented person as well organization for their thoughts on steps out to sing. his “depth of emotion”, Nicholas the coming years. in the 2017 season for Pinchgut • Supporters of the Melba that the school employ Dad. So he as being a great singer, and once Rob’s contribution: became the director of music. From we got going, we appointed her Opera Trust Amy Black: The Melba could not there, he went on to run Glee Club as General Manager, which was a • About Melba Opera Trust have hoped for a more enthusiastic performing the brilliant decision. Once Amy was on and dedicated leader than Rob. comic at Geelong College. board we were able to engage the Throughout his time as Chair, Rob He set up the Geelong Orchestra and amazing Sharolyn Kimmorley as our SEASON’S has worked tirelessly to support Choral Society, and became a well- Artistic Advisor which meant we were and celebrate the remarkable known adjudicator of competitions, as able to establish a quality process GREETINGS young musical talent we have here Robert Logie-Smith AM well as adjudicating for the Australian for identifying talented scholars. in Australia, initially through the Music Examinations Board (AMEB). We were able to build such a strong students of Melba Conservatorium We’ve had an amazing year, Music was always in the family, and I program on two major aspects of and more recently the scholars After a decade as the used to go to all of Dad’s concerts, but Dame Nellie Melba’s philosophy. and you, as a Melba supporter, and alumni of Melba Opera Trust. chairman of the Melba it wasn’t until later that I got involved Firstly, the importance of caring for benefactor, family member Thanks to his vision, commitment Melba Opera Trust Board Conservatorium and Melba with opera. and understanding of the individual, and determination Australia now and friend, have played a Robert Logie-Smith, Chair which we achieve by tailoring Roz Zalewski-Ruskin, Deputy Chair Opera Trust, the esteemed When I joined the Conservatorium, has a ground-breaking scholarship large role. Dmitry Danlovich, Treasurer our artistic program to suit each Robert Logie-Smith AM I decided I needed to learn more program which has already Peter Reilly singer personally, and secondly, her You are part of our village: Kate Shelmerdine about the art form, so I began to influenced the professional careers will step down to take philosophy that a brilliant voice is not encouraging our Mentor Program Peter Garnick, Managing Director & spend more time exploring opera and of over 40 outstanding young Company Secretary a well-deserved break. enough, which we say all the time. So achievements, Melba Artist attending performances by singers Australian singers and repetiteurs. Melba Opera Trust From November 2016, Roz we teach business skills through the performance opportunities and and repetiteurs. I think we do a good His inspiring legacy underpins what ABN 96 424 419 725 mentor program, as well as artistic personal projects alike, which has Zalewski-Ruskin will lead the job in Australia at the opera form, and has been a remarkable chapter in L8, 440 Collins Street, VIC 3000 skills. At the beginning, we were helped us grow not only as singers, T: (03) 9944 2100 F: (03) 9867 3364 Trust into its next phase of I am passionate, like my Dad was, Melba’s history. www.melbaoperatrust.com.au able to excite several benefactors, but as well-rounded artists – ready about not favouring international development from the solid and establish a tight administrative Roz Zalewski-Ruskin: Under Rob’s to face the challenges that come as Design by Charles Lin Design performers at the expense of www.charleslin.com.au foundations established over organization, and that initial package stewardship, Melba Opera Trust has part of our operatic career. Thank Australian performers. There is, of Copy and editing by Jillian Graham the last eight years. We had is the reason it works so well today. I been extremely successful, and it you for being our champion every course, a lot to be done to provide www.articulatewritingsolutions.com and get enormous satisfaction following is a little daunting but largely an step of the way, celebrating our Megan Steller the opportunity to speak to more exceptional opportunities to our the success and achievements of our exciting prospect to build on his successes and helping us through Rob about his time with the young instrumentalists and singers Images by Joseph Byford, Jodie Hutchinson, scholars who are now making a name excellent work. The group of people difficult times. We look forward to David Mackay, Daniele Martinie and Trust, and his passion for the in Australia. This is a gap that Melba Les O’Rourke for themselves in Australia, Europe that I have the pleasure of working sharing our news with you as alumni Opera Trust fills exceptionally well for arts and opera. and the USA. Their success is the key with are incredibly inspirational of the Melba Opera Trust program To unsubscribe in relation to receiving this talented singers. We’ve demonstrated publication, please contact Melba Opera Trust. to our future and the growth in our and dedicated, and thanks to the and for now, wish you a safe, restful “We gave my father’s library of over our initial eight years that there’s benefactor base. It has been the most resources Rob has developed, the and happy holiday season. music to the Melba Conservatorium, absolutely extraordinary talent in this wonderful decade working with Melba Trust has a very exciting future. which included a huge collection of country if we nurture it properly. We Opera Trust, and I wish Roz all the miniature scores of chamber and do this through the Mentor Program, Peter Garnick: When Rob invited best for her time as chair of the Melba orchestral works. The Conservatorium by Sharolyn Kimmorley AM (Melba me in 2010 to meet to explore a Opera Trust board, and look forward at the time was well-renowned for Opera Trust Artistic Advisor) and relationship with the newly-formed to watching the company go from having an amazing community, and a her audition panel selecting the Trust, I was inspired by the vision strength-to-strength in the coming great understanding of their students, right young scholarship recipients, that he painted and intrigued with years.” and so when Dad said “we’re going to and through getting some great the challenge. Six years on, the This newsletter is printed on Sovereign give it all to Melba”, that was great. benefactors, who wish to be involved On behalf of the entire team at success of our young singers is the Offset derived from well-managed forests When I grew up, the only radio station result of that vision under Rob’s and other controlled sources certified in the process. Melba Opera Trust, and the staff and against Forest Stewardship Council ® we listened to was 3AR – classical scholars that have passed through leadership, commitment and drive. There have been so many highlights standards, a non-profit organisation devoted to music was extremely important. Dad the program and the offices, we encouraging the responsible management of during my time as Chairman. the world’s forests. learnt piano from Roy Sheppard, and would like to extend our sincere though he never got the opportunity Professor Mel Waters, who was the

Page 2 The Melba - Magazine of Melba Opera Trust Edition 15 Summer 2016 Page 3 ‘While we don’t want to be obsessed been able to apply many of the directors are now aiming for a more with a very natural stage look, which Those entering the performing arts, with image as a celebrity might suggestions she made. Good natural look that is not so different I explained could also be used for and more specifically the world of be, it is a dramatic component of presentation and style are also from photographic makeup, so I a photoshoot, for headshots, or for opera, need to be armed with all how people perceive us. The way essential in our industry, and my started with this. In chatting with a concert or recital. This basically the knowledge they can acquire we present ourselves leads to session with Suzanne was extremely the scholars at the beginning of involved concealing any blemishes for their stage craft, and makeup assumptions being made about useful. It has helped me in starting the session, I discovered that two or complexion irregularities and application is a major factor in this. our ability to lead and perform. to create a dress guide for myself, were mezzo- and one a powdering to reduce shine, brushing They won’t always have the luxury Our appearance can affirm what and to structure my ideas as to soprano. It’s not uncommon in opera through the eyebrows, removing any of a professional makeup artist, so a our brand stands for, or counter it how I want to present myself for mezzo-sopranos to be called on makeup from the lips and applying a little bit of basic knowledge, skill and and lead to doubt about our skills professionally and in performance.’ to play the part of a young boy or clear lip balm to reduce dryness. practice goes a long way in adding to and our ability to follow through. adolescent (‘pants’ roles), so this was their confidence in performing a role. In following through on Suzanne’s After that we made the makeup a little No one needs that in a competitive our first task, which demonstrated excellent work, our male Melba heavier, adding a natural eyeshadow The sessions were really enjoyable, workplace environment.’ how using a very small amount of scholars have been fortunate to define the eyes more. Makeup for and there was clearly a good bond makeup can completely change one’s Suzanne adds that we can all be in enough on two occasions to be the eyes is fantastic in changing the between the singers, who were eager appearance. We gave the face a ‘no control of how people perceive us, fitted with D’URBAN dinner suits look of a character; it can make the to learn as much as they could. I still makeup’ look, and made the eyebrows even before we open our mouths, by expert Andrew Wallace-Smith of eyes pop and appear more youthful, feel very passionate about stage subtly heavier and less manicured. and lists some visual cues that may Helder Distributors. These are luxury or make them darker and deeper to makeup, and felt very privileged to We then added some soft shadow on work against us: wrinkled, ill-fitting, garments made from a high-quality help create a more sinister character. have the opportunity to meet the the top lip to mimic the soft down worn out, faded or stained clothing; pure wool fabric woven in Biella, We used eyebrow shapes to show singers and play my part in their a boy grows as he enters puberty. scuffed shoes or worn-out heels; Northern Italy using Australian wool. how this creates a different character, learning journey. I look forward to the This was entertaining for the girls as unkempt hair, crooked, bent or dirty It’s not only the fabric that makes from friendly arched eyebrows to opportunity to work with them again. they transformed into their younger glasses; jewellery that distracts from these suits, but also their complex more evil pointed eyebrows. From What a fantastic group!’ brothers! the face; and for men, untrimmed construction that leads to a tailored here, we developed a more aged The feeling was obviously mutual. beards, unshaven faces or dry skin. garment. This is achieved in several Next we worked with very natural look by adding character lines where Melba scholar Daniel Carison ways, primarily by the ‘floating chest stage makeup, using natural brown they would naturally appear through So how does Suzanne work with our describes how he put his upgraded piece’, which allows the front of the and soft pink tones to create a fresh the expressions of the face: bags PROFESSIONAL scholars in her sessions? knowledge of stage makeup into suit to follow the natural lines of the look, with rose-coloured lips and under the eyes, crows’ feet, furrows practice for his role as Cinderella’s ‘In the women’s session, we body. ‘Good stage makeup is vital, both natural mascara. This gives young in the forehead, frown lines, snarl father Pandolfe in Victorian Opera’s determine each participant’s FACE FIRST for performers and audience. For characters a vibrant and fresh lines beside the nose, and cracked POLISH To Andrew, it is ‘most important that production of Massenet’s Cendrillon individual body shape, and then use the performer, it gives confidence to ‘peaches and cream’ look for the lips using foundation stippled onto these gentlemen feel relaxed and STAGE MAKEUP: DIARY OF A in July: “line and design” techniques to work take on a character removed from stage. We added to this to develop a a puckered lip and jowls. We used essential tools for opera singers. people will never forget how you confident in their dinner suit and ETIQUETTE & out how best to dress to highlight MENTOR PROGRAM SESSION themselves. This is particularly more dramatic look, applying liquid contouring and shading to highlight ‘I had to do my own makeup, which According to Cecellia Telkes, who made them feel”.’ that it “fits the occasion” of their their best features and camouflage relevant when playing a character gel eyeliner along their top lashes to different facial features and soften is why it is an important skill to runs her own Melbourne etiquette performance’. Each scholar was For the first time this year, ELEGANCE The opportunity to work with the their least favourite. In the men’s whose appearance is quite different achieve a classic,1950s-style flick. others to create a new character, and have as a performer. I needed to and protocol consultancy, and who fitted individually for comfort and last two groups of Melba scholars session, we go through all the rules Andrew Keshan from Opera from theirs – more mature, younger, This can look fantastic with plenty also stippled a five o’clock shadow age myself somewhat in order to has worked with our scholars in fit, which sometimes required trying As Dame Nellie Melba wisely has been very much appreciated by of wearing a suit, as well as tie Australia mentored Melba of different ethnicity, for example of mascara and a strong red lipstick, onto the face, progressing from a look significantly older than my 2015 and 2016, there are certain, on many sizes to get ‘that perfect pointed out, in order to Cecellia: and lapel synergy and appropriate scholars in the essential – or with a different personality – and it’s a commonly-used look that slightly unshaven look to a more colleague, Kate Amos, who was key points of etiquette that opera silhouette’. ‘It was great to see how accessories. Then each scholar has sinister, clumsy, naïve, innocent, can be varied with eyeshadow and substantial shadow. playing Cinderella. I achieved this in really succeed in a career as singers should note. She believes ‘They have impressed me with their excited they were with the finished area of stage makeup. a flexible, one-on-one session with dangerous, jolly, and so on. As a lipstick colours. We then aimed for several ways: I grew my facial hair an opera singer, one must that adopting good manners is one humility and interest in presenting product. They couldn’t wait to show Andrew took this session The men found this entertaining as me. We do things such as shopping performer has makeup applied, or something stronger with highlighting out and left it somewhat unkempt in way of making people feel special, themselves well. They all come in it off’, Andrew added, and he looks well as informative, and seemed to be ‘more than a voice’, and trips, colour consultations, and in the professional makeup applies it themselves, and their and shading to help contour the face, order to look a bit worn down. I used and of being remembered positively. with the intention to learn, and are forward to crossing paths with them have lots of fun discovering what this is increasingly the case answering more in-depth, personal room at the State Theatre appearance changes in the mirror, it working from subtle to stronger as a very light foundation throughout active participants. You can teach again during their singing careers. their own faces could do with the aid in the highly-competitive Cecellia runs run a three-hour questions relating to the individual.’ during the busy Melbourne helps them become the new character the singers became more confident. my hair and beard to take the skills, but you can’t teach good Melba scholar Daniel Carison of some basic makeup skills. In both workshop with our scholars: that emerges, and to take on the The goal of this exercise was to make darkness out of my beard, and then international opera world. Our attitude. These young singers have Suzanne finds it ‘extremely gratifying attests to the quality of D’URBAN opera season in May. classes, the singers were first shown personality, traits, mannerisms – even them less fearful of heavy makeup, used a white chalk palette to create Mentor Program is carefully ‘I share with them key principles to all shown a positive attitude, and working with young, talented singers suits, and to the helpfulness of the Having worked at OA for 21 a demonstration on half of a face. the way they walk and stand. This can as well as to get used to their own strong whiteness in my hair. I added designed to arm our scholars good etiquette, and we discuss as were a pleasure to coach!’ before they land on the world stage’, fitting sessions. He has bought two years, 10 of those as Head They then worked on their own faces many relevant scenarios as possible. be likened to putting on a costume or face and features, learning what bags under my eyes with eye shadow with the skills to achieve just Taking good care of your deriving ‘satisfaction from being able suits now - a tuxedo last year and a of Performance Wigs and to complete the look. Everyone had The workshop includes a dry run on a mask. And from an audience point to bring out and what to disguise and, using a combination of shadow appearance goes hand in hand with to contribute in a small way to their standard suit this year - and is very the opportunity to be a model, and this. Broadly speaking, the various dining styles (continental, Makeup, Andrew is supremely of view, good stage makeup gives in order to change the look of a and pencils, accentuated my brow demonstrating appropriate etiquette future success’. happy with both. everyone completed each task. Program could be divided American, Asian), and Diplomatic- qualified for this role. After visual insight into the character, even character, and how to make features lines and any wrinkles that I have.’ and knowledge of acceptable Bronwyn Douglass, like all scholars Perhaps this comment from softer or sharper depending on the I think it was a very worthwhile into three categories: vocal level ‘meet and greet’ protocol working with our scholars, before the plot unfolds, and helps in Bronwyn Douglass similarly found protocol. Suzanne Dekyvere of involved, was enthusiastic in her Suzanne Dekyvere best sums up the type of character. We then went even exercise for the singers, as it and scenarios they will encounter, the story-telling. her session with Andew Keshan development, business Melbourne consultancy ‘An Air response to these two sessions: importance to our scholars of all he generously provided the further, using a darker shadow in the simplified what can be a complex, for example proper handshakes, I decided to work with the women ‘excellent’: skills and presentation. In of Distinction’ runs two general these sessions: following in-depth report on eye socket for a dramatic look, false complicated and daunting process. excusing oneself from a networking ‘Cecellia was wonderful to work and men in separate, smaller groups, this article, we focus on the sessions (one for the men and the experience. It offers a eyelashes and strong red lipstick. My aim was to take the fear and ‘To have guidance from someone scenario, and showing gratitude and with. There’s no doubt that etiquette ‘How you dress, groom and present as it is much easier to give individual one for the women), lasting about By the end of the class, I think they uncertainty out of it, and to provide with so much experience working latter, and particularly on acknowledgement of supporters and protocol are really important, yourself speaks volumes, it always wonderful insight, both for attention, and also because I wanted two hours each, during which they all looked like young divas, ready to the scholars with skills to confidently within the industry is invaluable. As personal styling, etiquette and - all using appropriate words and and she was very thorough in going has and it always will. When you stop opera lovers and for those to teach them skills specific to discuss the importance of image, hit the stage in the most dramatic of approach the task when they are a mezzo-soprano, it was also really gestures. I always end the session through common encounters we paying attention to this fundamental their gender. So it was ‘ladies first’. protocol. and work on deciphering Melba’s people potentially interested operas! required to do their own makeup. I useful to start exploring makeup with a quote from Maya Angelou, might face and how we should principle, you’re likely to stay static in While some productions still call Appropriate etiquette and a good dress codes. She believes that in pursuing a career in this art chose the most common scenarios so options for pants roles, and ways to “People will forget what you said, proceed. I was certainly grateful your professional growth or even lose for the more traditional, theatrical A few days later I worked with the understanding of protocol are appearance matters far more than form. that when they are faced with those look more boyish on stage.’ people will forget what you did, but for the guidance, and have already ground.’ stage makeup, many designers and four guys: a bass, a , a many people realise: situations, it won’t be the first time. and a countertenor. We started off

A WORD FROM THE SCHOLARS After a jam-packed year of “2016 has been a rollercoaster! “A highlight from the Melba mentor “The master class with Dr. Erin “In the first week of September I had “There have been many highlights “Working with AM was “To be a part of Victorian Opera’s “A real highlight for me this year was “The opportunity to work with Dr performances, mentoring and I’ve been fortunate enough to blocks has definitely been working Helyard was a particularly inspiring the chance to sing for one of my this year, particularly having the the most wonderful experience, as most recent production of the Mietta Song Competition. The Erin Helyard in master class was a training, we asked our scholars to win both the Sydney Eisteddfod with Yvonne Kenny AM. I really part of the program. Erin’s passion idols AC, CBE as opportunity to work with Yvonne she’s such an incredible wealth of Laughter and Tears was an exciting opportunity to perform at the South real highlight for me. It’s great to share their highlights, and let us Aria and the Australian Singing admire her technique and style. It for early music was infectious and I part of the Award. I was Kenny AM and Dr Erin Helyard. I knowledge. Not only is she a great professional project. Once again it Melbourne Town Hall for a very work with someone who is an expert know what they have planned for Competition, which was an absolute was wonderful to hear her tips and felt immensely curious and excited honoured to be awarded the 3rd enjoyed taking part in the singer, she’s a brilliant teacher with was a joy to work with American distinguished jury was fantastic, and in their field, and I received a lot of the near future. 2016 was a year dream come true. Singing in both tricks for the Mozart ‘tightrope’ to learn more. I’m thrilled to be Prize DECCA Award, Universal Prize chorus with Victorian Opera, and a wonderful way of communicating director Chuck Hudson for the winning was an added bonus! I also practical advice. Conducting Richard of brushing up on skills for our competitions have been absolutely arias. This has been an incredibly performing the role of Papageno in and Sydney Philharmonia learning to Cuban dance for Our with young singers. Performing second time this year. After a tried my hand at being a musical Mills’ The Pied Piper for Victorian performers, and next year takes incredible experiences. I loved busy time, but very, very exciting! for the Malaysian Prize. I was also lucky enough to Man in Havana with Lyric Opera (I in a lead role in Victorian Opera’s successful season of Cinderella and director for the first time with Bare Opera was a great experience them all over Australia, and into getting the opportunity to sing I have been enjoying the events Philharmonic in January, under the make the finals of the prestigious was reluctant at first, but found it Laughter and Tears was an amazing The Pied Piper with Victorian Opera, Bones Opera, in an exciting triple bill for me. It’s good to work with Europe. Prizes and auditions were for Dr. Erin Helyard, who was very celebrating The 7 Sopranos new baton of Guillaume Tourniaire who I Herald Sun Aria! I’m excited to be rewarding in the end!). I am looking experience and next year, I’ll be I am excited to be a member of the of works from Mozart and Salieri. community groups and children’s won and tours were conquered. inspiring for me. In 2017 I am album, ‘Popcorn- Songs of Stage and was lucky enough to be introduced performing in Handel’s with forward to the Lisa Gasteen National performing the role of Der Minister in cast presenting these two operas I’m looking forward to learning choruses, which make for a very Stay in touch with our scholars excited to understudy the role of Screen’ as well as receiving my first to through the Melba Mentor the Royal Melbourne Philharmonic in Opera School, and playing the the company’s The Princess and the to the students and communities of more with Melba Artistic Advisor fun production! I’m looking forward and alumni by visiting us on David in Handel’s masterpiece, contract with Opera Australia for Program. Following that, I have an Melbourne Town Hall in December” – principal role of Olin Blitch in Carlisle Pea which I’m really looking forward Regional Victoria on our upcoming Sharolyn Kimmorley when I head to to the Lisa Gasteen National Opera social media, or online at Saul, presented as part of the ‘- The Opera’.” – exciting 2017 recital program, with Bronwyn Douglass, Mezzo-Soprano Floyd’s Susannah with Opera New to! I also plan on heading overseas tour!” – Shakira Tsindos, Mezzo- Queensland to take part in the Lisa School this year, and then heading www.melbaoperatrust.com.au Festival! It’s an amazing Zoe Drummond, Soprano fellow Melba, Jonathan Wilson!” – England in January.” – Timothy to do some auditions around Europe” Soprano Gasteen National Opera School.” – to London in 2017 to work in the opportunity.” – Nicholas Tolputt, Daniel Carison, Baritone Newton, Bass – Michael Petruccelli, Tenor Jonathan Wilson, Repetiteur opera industry.” – Simon Bruckard, Countertenor Repetiteur

Page 4 The Melba - Magazine of Melba Opera Trust Edition 15 Summer 2016 Page 5 and Deborah have again shared Tourniaire. Daniel was subsequently Felicity Lott was surprisingly very Dame Felicity demonstrated her AC kindly hosted her in master class their wisdom and expertise with our invited by Tourniaire to audition for gentle, almost self-effacing in the unassuming nature, telling us how at Cranlana. It was an enlightening THERE IS scholars. the principal role of Papageno in way she advised the young singers. much she missed her beautiful opportunity for the singers involved, Mozart’s The Magic Flute with the She treated them with great respect, farm on the coast in Cornwell, and who received wonderful “industry We work hard to enlist international Malaysian Philharmonic (January and seemed to be attempting to put particularly her husband and her truths” and helpful technical experts like these to train our NOTHING 2017), and was awarded the role. them at ease and get the best out lovely cows! She also voiced her support. Having created the Kiri scholars to the highest possible of them by making suggestions, but displeasure at getting her Wellies Te Kanawa Foundation over ten standard, and to cultivate in these We are particularly excited to also seeking their opinion. I also stuck in mud during the English years ago, Dame Kiri is passionate young singers the essential global have added two new, renowned LIKE A found it fascinating how the singers Summer!” about assisting young singers understanding of the industry and highly-respected mentors were able to remember and take on with financial support, judicious necessary if they are to further to our program in 2016: British And more generally on master board these gentle hints. It’s rather mentoring and career assistance, their study and careers overseas. soprano Dame Felicity Lott and classes of this nature offered DAME like crafting something by adding and as such, had huge amounts of Most importantly, the opportunity soprano Dame Kiri Te through our Mentor Program, John layers, feelings and colour. We are knowledge to impart on participants exists for our scholars to build Kanawa. On Monday July 18 in the and Liz had this to say: very happy to be part of the Mentor Fiona Jopson (alumna, 2010), Melba Opera Trust, founded on the and maintain contact with these Tallis Pavilion at Beleura House & Program, particularly as it accords “Students attending master classes Lee Abrahmsen (guest of MOT), philosophy of Australia’s operatic mentors, extending their individual Garden in Mornington, Dame Felicity with John Tallis’ hope that the discover what the real world of opera Bronwyn Douglass and Timothy royalty, Dame Nellie Melba, had the networks, and facilitating career gave a master class where alumni Foundation can help young people, is like. The information and guidance Newton. The day, which included a great privilege of welcoming two opportunities, both in the short and sopranos Hannah Dahlenburg and and what better way than through given by the top national and long discussion with Dame Kiri over new Dames into our fold during longer term. Fiona Jopson performed, along expert mentoring!’ international artists is invaluable, lunch, was “incredibly interesting”, 2016. It was a great pleasure to with current scholars, countertenor We have concrete instances of the and would probably be unobtainable according to Bronwyn, who learnt add Dame and Dame Nicholos Tolputt and bass Timothy Munificent Mentor Program value for our scholars of making otherwise at this stage of their a lot from “the discussion about Felicity Lott to our exceptional line Newton. Among the audience supporters John and Elizabeth these contacts. For example, in 2013 careers. Each mentor is welcoming how to use colours when you’re up of Melba mentors. members was Anthony Knight OAM, Wright-Smith were also present, at the ‘Hobart Baroque’ festival, and affirmative, and has different performing. Bringing colours to your An integral aspect of Melba Opera Director of the Tallis Foundation, and kindly told us about their David Gowland, Director of the experiences to share. For example, sound and also to your character Trust’s multi-faceted Mentor which generously supports the experience, “Dame Felicity was Covent Garden I remember clearly when, back in makes the piece much more Program is the opportunity provided Mentor Program. He shared his gracious and softly spoken, allowing Jette Parker Young Artists Program, 2013, Bryn Terfel told the scholars exciting. She was an absolute wealth to our scholars to participate in impressions with us: the singers to continue for many gave a master class for four Melba he had auditioned 102 times before of knowledge!” minutes before commenting. She master classes with international Opera Trust scholars. Against ‘I suspect there is no better way he achieved success as a young stood to one side, only walking to Melba Opera Trust would like and Australian opera singers who extremely fierce competition, two to perfect something than being singer!! There is always hope. The centre stage to make suggestions. to acknowledge the generous have developed successful careers of these scholars – Emily Edmonds guided by a master in the field – an more our scholars can be exposed This she did respectfully, offering benefactors of our Mentor Program: performing in the major opera and Samuel Dale Johnson – experienced person at the peak of to such high standards through comments like, “Of course you have John and Elizabeth Wright-Smith, houses of the world. In 2015, for subsequently auditioned and were their career and somebody who has these master classes, the more likely a beautiful voice, now let’s try that”. Charles Allen AO, Joseph Sambrook example, our singers worked with accepted into House given and achieved so much, and they are to develop into world class She worked on body language and and Mary-Jane Gething, the sopranos Daria Masiero, Emma Covent Garden Jette Parker Young been through the ranks, the mill, the singers.” facial expressions – for example Opera Society, Opus 50 Charitable Matthews, Yvonne Kenny AM, Merlyn Artists Program. More recently, lot! For a non-musician to see how in conveying emotions such as We had the great privilege to Foundation, and of course the Quaife AO and Renée Fleming, as current scholar, bass-baritone Daniel a master class works is fascinating, jealousy and anger – and the welcome Dame Kiri Te Kanawa in Beleura Tallis Foundation. We remain well as with mezzo-soprano Deborah Carison, sang in a master class given and especially when the master response was quick. During the late October, where Lady Southey deeply grateful to all of them. Humble and tenor Simon O’Neill. this year by conductor Guillaume is of international repute. Dame And to date in 2016, Daria, Yvonne sumptuous afternoon tea break, L-R: Fiona Jopson, Lee Abrahmsen, Dame Kiri Te Kanawa, Timothy Newton, Bronwyn Douglass - Photograph: Daniele Martinie

Melbourne Sun Aria, Mobile Song interested in developing a varied what music suits you. My greatest is the best advice you could give to a I must be brutally honest now and who is right for you and be prepared I spent 6 months learning the QUESTIONS FOR DAME KIRI TE KANAWA Quest and various other singing repertoire, what is your advice for successes have been in opera. As young singer moving overseas? say the singing profession that I to accept less than your own role of the Countess in Italian at competitions it was decided that switching between operatic and a rule in opera you do not sing with knew and worked in is no longer expectations. You will need £30.000 Covent Garden. Whilst doing so, the I set up the Kiri Te Kanawa BY BRONWYN DOUGLASS I should go to London to study musical theatre or popular styles? a mic and as such you rely on your there and the opportunities for sterling minimum per year to study opportunity to sing the role came Foundation in 2004 with the formally at the London Opera Centre. natural voice without the assistance young singers are far fewer, with far abroad and may need to finance 4 up in Santa Fe, New Mexico first, I consider myself to be an opera principal aim of identifying How did you first become exposed the age of 12, at which point my church music. By the age of 14 my At 22 I was fairly clear that I wanted of amplification. The musical styles more competition. years of study. except I had to sing in English. This singer and feel my voice is suited exceptionally talented singers to operatic repertoire and when did mother decided to move the family voice had developed to the point to sing classical music. are also very different. As I say you meant relearning the role in English, to classical music, however I have and musicians, then nurturing You have to be the stand out from Your first international success was you realise that it was your artistic from Gisborne to so that I where I was introduced to classical cannot be both – decide early what performing 6 shows in the United I have read that in your late teens sung lighter music, cross-over, and mentoring that talent to the the start, be the ‘total package’: as the Countess in Mozart’s Marriage calling? could have singing lessons. Once in music. suits your voice and stick with that. States, then returning and relearning Auckland my mother enrolled me in and early twenties you performed a show tunes etc. I enjoyed singing point where the individual has the have the voice, languages, style, of Figaro at the Royal Opera House. My mother discovered I could sing By the age of 18 I was studying the role in Italian for Covent Garden. to St Mary’s Catholic School, to be lot of popular music in New Zealand. lighter music but always feel I am The Kiri Te Kanawa Foundation technique, ability, self-confidence, interpretation, looks, repertoire, Can you tell us about this initial at the age of 3 – initially I sang privately but still not sure what It basically took a year to get the role taught music by Sister Mary Leo, a Do you still enjoy singing cross- naturally comfortable with the creates so many opportunities for up drive, ambition, determination, maturity, etc. You must have your experience at Covent Garden, and only very simple songs, I sang on direction I wished to pursue. At in to my voice. Looking back I would renowned singing teacher. Initially over material as well as classical classical repertoire. You cannot be and coming performers to help them business awareness, etc. finances in place, the right Visa, what it was like preparing for a the Radio at the age of 6 and I the age of 21 with pressure from say I was fully prepared for the role I became a member and sang repertoire? As a young singer both and will very quickly discover develop international careers. What accommodation, singing teacher principal role? continued singing light rep until my mother and having won the and enjoyed it immensely.

I sang in the school choir and the advise young singers to explore this How do you know which roles are but a little caution is perhaps a good I have really no idea what I could to do this, but you shouldn’t do it.’ many things to do. I have missed out a huge difference if you can go to QUESTIONS FOR church choir so I knew quite a lot of repertoire and to try to popularise it right for you, and how would you thing. have done. I’m a reasonable cook…I My lucky break came when I was on some wonderful roles as a result the country and be immersed in religious music, Handel’s Messiah, once more. advise young singers struggling like to garden a bit, used to sew a understudying Pamina at English and I’m not proud of myself. the language, but the internet is a Your illustrious career has taken you DAME FELICITY LOTT BY Britten’s Ceremony of Carols. I read to navigate the labyrinth of advice lot of my own clothes. I like to visit National Opera and had to go on – tremendous help now. And there The tradition of song singing is around the world; is there any place In Australia, we suffer from the French at university and thought and recommendation from coaches, art galleries and I like to read, but in 197…5, I think. I was very bad at must be good coaches around for all sadly diminishing in the age of to which you have an affinity or to tyranny of distance, which makes TIMOTHY NEWTON maybe I could be an interpreter, but conductors, and directors alike making money in another career auditions, but if I could get on stage the more ‘usual’ opera languages? technology in which we live – how which you are drawn back? it difficult to learn and practise I always kept up my singing lessons. regarding appropriate repertoire and would have been a problem. and forget about being me, I was a can we preserve this tradition and languages other than English. How Do you like to sing any cross-over I spent a year in France and found roles? Well, my great love was always bit better. keep the art both alive and relevant Was a career in music something do you prepare arias or songs in repertoire such as music theatre? a teacher there; she sent me on France and the French language, so to a modern progressive society? I didn’t really know much opera that was planned meticulously At the expense of asking a so- foreign languages, and how do What is your favourite music to sing a summer course in Nice and the I go there as often as I can. I’ve sung – there are still huge gaps in or something that came about by called “leading question”, does your you imbue the text with a genuine outside the classical cannon? teacher there made me learn some Singing songs with piano is very at the Opera Bastille, Garnier, Opera my knowledge – so if someone chance (or perhaps a mixture of preparation of a song or aria start understanding and comprehension French songs by Debussy which I good for the voice so is to be Comique and the Châtelet, as well My attempt at crossover began with suggested a role I tried to find the two)? with a strong understanding of the of the words? loved. I heard another student sing recommended for young singers. as Lyon and Lille, and have given Offenbach arias, not crossover at a recording to get some idea. text? Ravel’s ‘Asie’ from Sheherazade and Good program planning is essential recitals all over the country. Because The teacher I found in France We are luckier in Europe, but I all really, but they started me on Then I could see whether a) I had thought it was amazing. I realised I if you want to win over an audience: I have always said how much I love said that perhaps if I worked a bit Obviously understanding the text is suppose it all started with school the slippery slope to lighter French the notes b) I sympathised with wouldn’t be an interpreter, at least, a whole program of songs about France, they are very kind to me. I harder at my singing I might be crucial or you can’t put it across. I as far as French was concerned. music which I love. I have so far the character c) I could imagine not that kind, and finished my degree death is perhaps not such a good also loved singing in Vienna, Munich, able to do something with that; will admit that I haven’t always been I had excellent teachers and also resisted Piaf and Brel because they myself saying/singing what was and auditioned for the music schools idea, however beautiful the music. Chicago and New York, but France is I was completely at a loss as to as prepared as I should have been in went to spend time in France from are so distinctive and I don’t think I required of me. I hope I would have in London. When I went to study at Our modern society seems to want where I love to be. what I might do after my French languages I don’t speak. I must have quite an early age. German was could get close to interpreting their someone intelligent whom I trusted the Royal Academy of Music I met variety and soundbites, but if you degree. When I was a student at the given some bland performances. I harder: I didn’t like it! But I loved songs. I’ve sung ‘Losing my Mind’ to help me decide: a teacher or a It is customary in questionnaires of As well as being acclaimed I began with song, like most people, I Graham Johnson who loved/ loves can get them interested, song is Royal Academy I sang the roles of am interested in language though, the songs, particularly Schumann. by Sondheim, which I think is a coach who didn’t have a vested this kind to ask what you would do worldwide for your operatic roles, suppose. Everybody sang all the time all kinds of songs and we performed so personal and so intimate, and Dorabella and Pamina – we weren’t and need to know how a sentence Graham played me a recording of great song, and a whole program of interest. Sometimes conductors if you weren’t a singer. Do you have you have been a strong advocate in my family. I loved Rodgers and a lot of Lieder and French song, and in recital you can speak to your put into such strict ‘boxes’ then, and is constructed. I speak French Lotte Lehmann, famous Marschallin Richard Rodgers which I loved, but don’t understand voices. You other interests outside of music for song repertoire and devoted a Hammerstein, Gershwin, Cole Porter. Britten and Walton. The repertoire is audience and tell them what you realised that I enjoyed performing. I and German and a bit of Italian. I in Der Rosenkavalier, reciting poems I don’t feel as at home there as I do need a trusted ally, or to be very and singing, and do those interests significant portion of your career to I had singing lessons and learnt so vast and so varied. Each song is like about the songs and what to was never particularly ambitious, but find it very difficult to learn noises of Goethe, and it was so beautiful, with the French musical numbers. I determined. It’s so flattering if inform your musical decisions and song, chanson and Lieder – what ‘Voi che sapete’ (Cherubino’s aria in a way a mini-opera, full of emotion listen for. I was most impressed in people asked me to do interesting without understanding exactly what I changed my mind. When I began do have a secret wish to do a kind of someone you admire thinks you your interpretation of songs or drew you to this repertoire and from Figaro) in English: Say, ye who and drama. I always managed Australia with your naturalness and roles and I kept saying yes to them. they mean; that’s the main reason to sing Strauss’ operas, the words high-class cabaret in French, English would be just wonderful in a roles? Music is after all a reflection would you advise young singers to borrow…..can’t remember what they to keep a balance between song your introductions to songs and I had a very good agent – the same I haven’t sung in Russian or Czech. I had to say/sing were so beautiful and German, with songs from the demanding role. Sometimes it can of life’s varied experiences and invest their time in developing their borrowed; that was opera of course. recitals and opera performances arias. Audiences love that. We are one for the whole of my career – and I would have to learn the language and so profound that I began to love 1930s/40s. Would you have a venue work, but it’s a bit of a gamble. I’ve events. song repertory? I didn’t think I would be a singer of throughout my career. I would involved in a niche market though… he was clever and not greedy. He and I always seemed to have too this language. It certainly makes for me? probably always been over-cautious, any kind, and certainly not of opera. would often say ‘You’ve been asked

Page 6 The Melba - Magazine of Melba Opera Trust Edition 15 Summer 2016 Page 7 “My main tip is to practise “It is particularly important to “Pick music that you are not only “My biggest tip for prospective To be eligible to apply, singers and pianists must be AUDITION singing the vocal lines with the make a good first impression and comfortable with and favourable applications of the Melba Opera FINDING THE NEXT MELBA aged 21-28 years old (though this can be extended in accompaniment. Be able to sing, or to this end it is advisable to enter towards, but that have been singing Trust Repetiteur Scholarship, is exceptional circumstances), and need to have completed TIPS FROM at least play, every vocal part. Even the room with confidence and to for some time. With all the doubts to spend time getting to know the (or nearly completed) an undergraduate degree in voice if you have to simplify the piano introduce yourself to the panel, and nerves that come into play text of the set excerpts for the or piano (for our repetiteur scholarship), or an equivalent THE MELBA reduction, this is an important part shaking hands with each panellist during an audition, one thing we can audition. Spend time learning the program of operatic/vocal/piano studies. of the audition. The other main thing individually, if appropriate. It also control is our preparation. Know correct diction for the pieces you SCHOLARS is to know the orchestration. Write goes without saying that it is an the music well, be clear about your are playing, and look carefully at the into your score when it is strings, obvious advantage to know about artistic choices and get the music full orchestral score. Also expect Aspirants need to meet the selection criteria: to Learning how to nail an audition winds etc and listen to recordings the organisation or company for into your body. Forget that there is the audition to be an educational demonstrate outstanding potential, including relevant is an art form in and of itself. No to get an idea of how it actually which you are applying, and why an audition panel in front of you and experience, as it involves a coaching skills, dedication and commitment, self-motivation, strangers to the process, we asked sounds. You can decide not to play the scholarship/program will be present your work as though you with esteemed vocal coach and organisation, availability for Mentor Program sessions our nine current scholars to dish everything as written, as long as it advantageous to you and your career were in recital or concert. If you can accompanist Sharolyn Kimmorley.” – and Melba Artists performances, and the potential to be the dirt on their success secrets. sounds like the orchestra.” – Simon as a professional singer.” – Timothy do this, the audition will take care of Jonathan Wilson, Repetiteur ambassadors for Melba Opera Trust. The verdict? Be yourself and be as prepared as your possibly can. Bruckard, Repetiteur Newton, Bass itself.” – Daniel Carison, Baritone

Naturally, there’s also a list of rules: decisions of the panel are final; successful applicants must use the funds in Australia; and material provided in online applications must Repetiteur scholar Jonathan Wilson in rehearsal be in the correct file formats and of high quality.

There are no other scholarship programs like it in Australia and Melba Opera Trust is fortunate to Armed with this information, and hopefully undaunted, applicants complete an online application form in which receive very high-level applicants. Each year, applications continue to increase in numbers and they identify key challenges to their development and how standard, and a competitive edge is critical to be successful in receiving one of up to eight coveted they plan to meet them, and describe their understanding Melba opera Trust scholarships for a year. Here is the lowdown on the necessarily comprehensive of the expression, ‘In order to succeed in opera you need and rigorous selection process, from initial online applications to live audition. to be “more than a voice”’. Applications include a CV and a brief performance biography along with a high quality On visiting Melba Opera Trust’s ‘How to Apply’ page, potential scholars learn that online applications open on 1 recording that follows specific repertoire guidelines, to be September, and must be submitted by 30 September each year. Clear and detailed application information includes shared with the adjudicating panel via YouTube or Vimeo. facts like Melba Opera Trust invests $80,000 per scholar across the following three programs:

Finally, they must devise a proposal for their artistic Artistic Development development, including vocal, languages, stagecraft The Artistic Development Program, provides scholars with a and movement (e.g. acting classes, dance, gesture, cash component to underwrite an individually-tailored program physiotherapy, Feldenkrais, Alexander Technique), and addressing a balance of vocal development, languages, professional development (e.g. headshots, media training, stagecraft, movement and professional development activities. website creation, performance psychology, recordings, In consultation with Melba Opera Trust’s Artistic Adviser, singers purchase of scores and performance attire). and pianists nominate their preferred training providers. From 1 October, it is then the selection panel’s task to Mentor Program choose a shortlist of applicants to be invited in for a live audition and interview. This year’s panel, chaired A key scholarship benefit is access to the internationally by Sharolyn Kimmorley AM, includes Deborah Humble, regarded Mentor Program, consisting of a series of workshops Graham Pushee and Amy Black. and seminars that take place in Melbourne and Sydney over the course of the year. National and international experts are enlisted as Mentors in the Program that focuses on equipping scholars ‘Firstly, there’s one thing that is essential: applicants should sing appropriate “I think the most important thing “My approach to the auditions has “Auditioning for Melba Opera Trust “For me, being successful in an “Remember your strengths! I know with practical business, performing and independent thinking repertoire. Singers often choose music that is beyond their current level of for auditions is to have your music always been to really (really) know for the first time was not nearly audition is all about the preparation. it sounds simple but I think it’s skills for life as freelance artists, whilst also establishing and development, and this does not allow them to “perform” to their capacity totally prepared and confident. your repertoire, back-to-front. After as scary as I anticipated. The It is imperative that you know your common as young singers to work growing the essential professional and supportive networks for in their audition. As to what we’re seeking, we’ll be looking for outstanding Auditions are daunting, and this I’ve always tried finding just one panel of highly esteemed industry arias back to front and inside out. so much on improving and “getting continued development. vocal potential – artists who we feel have the capacity to pursue a career as unexpected things happen – so it thing to focus on and try my hardest. professionals and artists hope to If you are auditioning with arias in things right” that we forget what professional singers. This implies a secure vocal technique, knowledge of is a comfort to know exactly what This can be the acting of the piece, find great potential in young singers different languages make sure you we do well. By all means focus on Melba Artists languages, stagecraft experience, and most importantly, that certain, indefinable you are presenting. If you perform the text, the vocal quality, anything and repetiteurs in order to nurture have translated them word for word polishing your audition pieces as “special” quality that makes each performer unique.’ – Sharolyn Kimmorley AM to your best, then the rest of the definite that you can feel confident and support the beginning of their so you are able to colour the text. much as possible, but I always find Thirdly, the Melba Artists Performance Program creates experience is out of your control. about. Going into the audition with careers. This means that you should Also take the time to meticulously it useful to leave some time to go performance opportunities for scholars to put their learning Live auditions take place in early November and this is It sounds cliché, but just give them this one idea in your mind I find to in no way feel the need to present check the pronunciation of each over what I do well, so that I’m not into practice, from large concerts in metropolitan and where the audition panel work incredibly hard to determine your best! If they like it – yay! and if be a lot more grounding and calming yourself as ‘a finished project’. As word and any other language only working on those tricky corners regional venues to intimate private gatherings and special which of Australia’s outstanding young opera singers will they don’t – you can still hold your than trying to offer everything a young singer and performer, the specific nuances, for example but also playing to my strengths.” – events. Singers learn how to prepare and execute their own granted the opportunity to join the Melba community head high and just try again. Be the at once!” – Nicholas Tolputt, MOT creates many opportunities liasons and elisions in French arias Bronwyn Douglass, Mezzo-Soprano performances and interact with clients and audiences, while as a scholar. 2017 Melba Opera Trust scholars will be constant in the variable situation!” – Countertenor to further develop your skills.” – and double consonants in Italian also raising their performance profiles. announced early in the New Year. Good luck to you all! Zoe Drummond, Soprano Shakira Tsindos, Mezzo-Soprano arias.” – Michael Petruccelli, Tenor

BAROQUE & ROLL The company has become Opera Trust scholars were three Melba moments for 2016. found him very inspirational.” For daily practice for repetiteurs, and and other well-known Baroque and known for unearthing lucky enough to participate in Baritone Daniel Carison “learnt a countertenor, the opportunity one that comes with trial and error early classical writers. Helyard a huge amount” in what was an to work with such an expert was and consistent work. Having the demonstrated from the piano, rarely performed Baroque a master class with Helyard “engaging and inspiring session” “thrilling”. The Baroque repertoire, opportunity to witness Helyard offering our repetiteur scholars to and early Classical gems, in September, a most exciting with a master. “He had a wonderful which is notoriously hard for the conduct from the piano was view his technical methods and inviting opera lovers to opportunity for both the way of making every piece of tricky ornamentation that comes insightful for Melba Opera Trust how he uses gesture and breath to discover something new both singers and pianists. music he worked on with individual as part and parcel of the era’s repetiteur scholars, Simon Bruckard guide a singer through their aria and aesthetically and musically. scholars relevant for the rest of the writing, is exactly the style in which and Jonathan Wilson. Both pianists recitative. Heralded for his exceptional participants, offering anecdotes and a countertenor will obtain most of have begun their conducting and An overwhelming success, the first The orchestra performs on authority as both a conductor and advice that we could all work with their work. Bass scholar Timothy artistic directorial journeys in the Baroque master class run by Helyard period instruments, creating harpsichordist, Dr. Erin Helyard is and take away”. Newton noted that each participant past year, with Simon conducting the will, most likely, not be the last. a sound that is in one breath an exciting addition to the Melba “improved substantially” as the day premiere performances of Richard For Nicholas Tolputt, current John & Tenor scholar, Michael Petruccelli Opera Trust Mentor Program, progressed, impressing that it was a Mills’ The Pied Piper for Victorian historically informed and Elizabeth Wright-Smith Scholarship summed the experience up perfectly, bringing his knowledge of early “great privilege” to work with such an Opera, and Jonathan taking on the electrifyingly new. The work holder, it was a “dream come true saying “Dr. Erin Helyard helped us LEARNING THE ART OF across Europe, and since music performance practice to the expert in his field. role of artistic director for Bare to sing for Dr. Erin Helyard, because unravel the mystery of Baroque BAROQUE ORNAMENTATION 2002, specialist opera of artistic director Dr. Helyard scholars. As well as his versatile Bones Opera’s Mozart and Salieri he is absolutely one of the world’s Leading from the harpsichord or the ornaments, and it was a really has attracted huge praise from performance career, Helyard’s work – A Triple Bill. In Jonathan’s case, AND STYLE WITH DR. ERIN company Pinchgut Opera led leading experts when it comes piano requires an extra something enlightening day especially for those critics and audiences, with as a senior lecturer in musicology his debut as an artistic director HELYARD. by expert Dr. Erin Helyard to Baroque repertoire. To be able of the conductor – the ability not of us who sing a lot of romantic and historical performance was threw him right into the deep end and Antony Walker, has Australian and international to pick his brain about baroque only to become the orchestra, but repertoire. Today opened up the Baroque opera has, in the noted fondly by the scholars who of leading from the piano bench, as stars of opera flocking to sing style and ornamentation was also to navigate through dense possibilities of Baroque repertoire, past few decades, enjoyed brought the thrilling genre were lucky enough to participate, was the norm during the lifetime for the company. The Melba almost all including it in their top fantastic, and his approach was scores while supporting the singers and made us a little more confident.” to Australian audiences. of composers like Mozart, Salieri Dr Erin Helyard demonstrates a passage to repetiteur scholar Simon Bruckard a resurgence of popularity really refreshing and engaging. I you are accompanying. This is a

Page 8 The Melba - Magazine of Melba Opera Trust Edition 15 Summer 2016 Page 9 MELBAS AT HOME

In increasing numbers, our Orchestra, Brisbane Baroque, Sydney Grace’ at my grandfather’s funeral Melba alumni are enjoying Chamber Opera and Victorian Opera in Bairnsdale, and a distant cousin this year, as well as taking part in a said to my parents afterwards, “It’s success overseas in European number of concert performances. probably worth getting Siobhán and American opera houses, And no matter where he is, he aims some singing lessons. She’s got a bit validating our three-tiered to stay in touch: of a voice there”. As we were leaving, she slipped a 100-dollar bill into my approach, as well as these ‘I particularly enjoy maintaining hand with a note that said, “This is young singers’ own talent my connection with the Melba for your first singing lessons, and community through emails, social and hard work. It’s equally please invite me when you sing at media, and sometimes in person, gratifying to see them return the Sydney Opera House”. It took 16 even when I’m far away from to Australia for varying years, but the concert with Alagna Melbourne. It was wonderful on 21 July was the occasion!’ lengths of time to share their that Mary-Jane Joscelyne was able development and experience to visit me in Lyon and attend a Like her fellow Melba alumni, with Australian audiences, as performance of Le Roi Carotte. It’s Siobhán enjoys the opportunity to Alumnus Brenton Spiteri with founding patron Mary-Jane Joscelyne in Lyon several have recently done. great to know that I have such continue to perform in Australia as strong support, regardless of where I well as overseas: Earlier this year, tenor Brenton am in the world.’ Spiteri returned from Lyon, where he ‘A lot of singers go overseas, and you performed in the recently-discovered Performing alongside Brenton as don’t necessarily hear of them again LETTER FROM ABROAD: Offenbach work, Le Roi Carotte with Zelmira in Armida was 2015 Dame in Australia, but it’s important to the Opéra de Lyon. He also studied Heather Begg Memorial Award me to do both. It can be difficult to privately with the head of the opera winner, soprano Janet Todd, recently schedule, because often Australian ALEXANDRA FLOOD studio there, performed in small returned from her studies at the orchestras and opera companies concerts and continued his studies Manhattan School of Music. It’s clear cast later than their European in French – extremely important as that reviewers as well as audiences counterparts. But it can work for you he needed to speak dialogue audibly appreciated the opportunity to hear if you already have your calendar and clearly in an enormous theatre. the vocal development of these two for the next years, and you have THURSDAY, SEPTEMBER 1 2016 see how I would fit in. My voice was projects. The day after the Bel when I need help or advice. Olivia, alumni. Financial Times highlighted a gap that fits with an Australian one of the smaller instruments in Canto Award in September, I fly to Sharolyn and the team were an Brenton will be heading back Brenton’s ‘beautifully clean and engagement. The Alagna tour was Since moving to Munich in September 2014, I have managed the group, but what I lacked in size Hannover to start music rehearsals essential help in supporting my visa to Lyon in early 2017, but in the polished tones’, while Limelight an example of this, having been five trips home, all to sing. This letter comes to you from I made up for in musicianship and for La finta giardiniera, in which I will application to the United States this meantime has been extremely busy Magazine referred to Janet’s ‘agility’, organised about a year ago, which Sydney, where I am a finalist in the and Richard expression. A highlight for me was be singing Serpetta for the Lower year, which enabled me to work at in Australia, starting in February by ‘bell-like purity’ and ‘effortless top’ is actually relatively last-minute! I’m Bonynge Foundation Bel Canto Award, and recaps the year to stepping into rehearsals of L’opera Saxony Music Festival. Singing a Wolf Trap. Lawyers and agents alike singing Tamino in Mozart’s The Magic notes. happy that I have two projects here seria, for the soprano whom I was Mozart part is a welcome respite told me it would be highly unlikely Flute for the of South next year as well. I’m always going date of amazing performance experience, professional growth, covering, where I worked scenically following the Verdi. Mozart grounds for me to qualify for the specific It was equally delightful to have Australia, a role he’d learned over to try and keep the Australian part of incredible opportunity and travel. For the first time this year, the with Matthew Ozawa (one of the us. The voice is so exposed in visa I needed, but Melba’s help and former Amelia Joscelyne Memorial a number of years studying at the my schedule alive.’ Bel Canto Award held international auditions in London, Vienna, hottest directors in the USA), an the orchestration, that excellent support got me across the line, and I Scholar Siobhán Stagg back on Siobhán in concert with Roberto Alagna, by Joseph Byford Melbourne Conservatorium of Music incredible learning experience. I left technique must be a focus of the am forever grateful. our shores during a break from her Recently, the scholars were lucky and New York, which opened it up to the top young Australians and as a Melba Trust scholar: Wolf Trap feeling accomplished, but preparation. And Serpetta is the commitments on the European enough to be visited by Samuel globally and I am grateful to have been selected as one of six And here we are back to my little also acutely aware of how I could kind of fun Mozart character I don’t ‘I’d wanted to sing this role for a stage where alongside her role as Sakker (2012-2013 Margaret Airbnb. Today’s focuses are: finalists and to be sharing the stage with Melba sister Bronwyn further improve. I look forward to often get to play; she’s smart and long time, and was excited about a principal soloist for the Deutsche Schofield Opera Scholarship score study for Hannover, packing Douglass in a few days, to sing Dame Joan’s repertoire for warm returning to the United States in the spicy like Blonde, but as spikey as returning home to finally do so, at Oper, she is booked up into 2019 recipient) during his trip to Australia (always packing), squeeze in as and welcoming ears at Verbrugghen Hall. years to come. the Königin with her retribution. A what turned out to be exactly the with performances all over Europe between seasons at the Royal many moments with loved ones as pocket rocket, to say the least. right moment for my voice. I also and in her native Australia. On this Opera House. Initially accepted as Following the hot American summer, possible, and have an early night in had a great time playing the role occasion, Siobhán was back for a a young artist in the Jette Parker I returned to Amsterdam for the After the Hannover performances preparation for the Bel Canto final of Clotarco in Pinchgut Opera’s two-week tour as local support artist Young Artist Program, Samuel was Traviata Remixed premiere in August. at the end of September, the pace tomorrow. I will open with “Ruhe production of Haydn’s Armida with French-Italian tenor Roberto announced as a company principal I am at the tail end of what could rehearsal period in Amsterdam, I I felt so passionately about this picks up again with the opening sanft, mein holdes Leben.” The in June, alongside an extremely Alagna, during which they performed for their 2016/17 season in April be described as a world tour. After auditioned for Maria in West Side project. Because the scenic work gala concert of the Mallorca Music first lines of the aria are: “Peaceful talented Australian and international concerts at the Sydney Opera this year. finishing a long run ofDie Entführung Story in Italy, then over to Kraków for a few months earlier had been so Festival in Spain, where I will reprise rest, my precious life, sleep until cast, from whom I learned so much, House, Melbourne’s Hamer Hall and aus dem Serail in Bregenz, Austria in a 5-hour trip to audition as Norina in depth and creative, I felt I was my much loved “Sempre libera” happiness wakes you.” It is a piece The scholars were thrilled to in addition to gaining valuable the Brisbane Convention Centre. February, I returned to Munich for a in Don Pasquale for Opera Kraków – the first person in the world to ever (Always free – the aria from ACT 1 I’ve always seen as a lullaby to welcome back Samuel for an performance experience. I look For Siobhán, making her debut at brief period to continue my Master’s, and was pleasantly surprised to be perform this role. And in a way, I in La traviata). Following Spain, I myself. The peace that Mozart brings industry lunch in August. forward to taking this knowledge the Sydney Opera House was a before receiving the surprise call to offered both parts. was because every production of travel to Sydney to join Dame Kiri us is ethereal and yet grounding. So to my next engagements, whether We at Melba Opera Trust certainly audition for Violetta in a dramatic particularly poignant experience: At the end of May I returned to every performance is different in Te Kanawa and Teddy Tahu Rhodes if you’re ever on a long-haul flight, overseas or here in my home hope that we will continue to be re-working of La traviata by Lotte some way. There is no one identical for orchestral gala concerts on and you hear Zaide’s sweet melodies ‘Growing up in Mildura, I used to Australia as the soprano soloist country.’ able to derive pleasure from having de Beer, a young Dutch director. Violetta. Even between my own board a luxury cruise liner during wafting down the aisle, don’t worry. always sing around the house, but in the Queensland Ballet and our alumni return to share their It was unexpected and flattering performances, subtle changes, a 7-night tour of the Pacific. Then It’s just a delirious soprano, trying to Brenton has also worked had no formal training at that stage. Queensland Symphony Orchestra’s artistry and success with Australian to discover that someone on the choices, a different glance, a set jaw, I immediately return to Munich lull herself to sleep. Samuel Sakker as Alfredo Germont in La traviata (C) ROH. Photographer Neil Gillespie with the Sydney Symphony At the age of 12, I sang ‘Amazing record-breaking, 5 star production audiences. opera grapevine suggested to Lotte a graceful gesture, made Violetta to undertake my Master’s recital of Strictly Gershwin. Brisbane was a Until next time that she listen to me sing. Violetta brilliant experience. A full immersion fresh and dynamic every night. Just before preparing for my role debut is a dream role for me, but I was in the detailed artistry of ballet at as we learn and change as human as Norina in Don Pasquale at Opera apprehensive to take on such a once inspired and humbled me. I beings, so do our characters. I look Kraków in December, where I will role so young as I was hoping to thought opera singers had it tough, forward to coming back to Violetta sing alongside superstar baritone make my Violetta debut closer to but I have never seen anyone strive in the future, and discovering new Mariusz Kwiecień. 35, not 25. But Lotte’s company, nuances in her. ALUMNA TAKES HOME THE PRIZE for perfection like those dancers. I feel I am on a remarkable journey. Opreafront, flew me to Berlin and And the stakes were always so Lotte’s production was a wild The more I travel, and the more we immediately understood each high. One wrong turn could mean a success, with reviews of her work engagements I experience, the more We were thrilled to be in the Founded in 1924, the competition to go back to the , other. After singing both arias, the career-ending injury. One tiny lapse universally outstanding and so it I recognise how crucial my training audience on October 26 to hear has spurred on the careers of many having spent a considerable amount conductor, Steven Sloane, and Lotte of concentration, and the magic of was a privilege to be part of this and development with Melba Opera two Melbas in the finals of the major Australian and New Zealand of time there already studying for offered me the role on the spot. It A note from the Melba team: a performance could be lost. That significant reworking of a popular Trust was, even as a scholar for prestigious 2016 Herald Sun Aria at opera singers, with winners including her Masters in Advanced Vocal felt like a big risk to participate in a experience refocused development opera. I was overwhelmed by just one year. Today, for example, I We are thrilled for Alexandra’s Hamer Hall in Melbourne. Current Melba Mentor Dame Kiri Te Kanawa Studies at the Wales International radical re-working of Verdi’s classic, of my own craft, which was most the reception of it, and honestly made some major accountancy and successful year and on her behalf scholar Bronwyn Douglass (Amelia (1965), and alumnus scholars Academy of Voice. Singing ‘Ernani, but at the same time, I was thrilled useful for my arrival at Wolf Trap astounded at my own sense of tax moves, based on the knowledge share a particularly glowing review Joscelyne Memorial Scholarship) Brenton Spiteri (2012), Stacey ernani involami’ from Verdi’s Ernani, to accept it. Opera. of her Traviata Remixed performance and alumna scholar Panayiota Alleaume (2013) and Fiona Jopson and Massenet’s moving ‘Pleurez, achievement. As a direct result, I garnered from Melba seminars. The new production, Traviata in Amsterdam, in August. Kalatzis (Ruskin Opera Award and (2015). The Aria is one of the largest pleurez mes yeux’ from Le Cid, As a young artist at this wonderful other work offers have flowed The musical coaching and singing Remixed, was premiering in Mel & Nina Waters Award recipient, prizes for opera in the country, Pana impressed judges with her opera festival in sweltering, steamy through, including calls from some training I was afforded as a recipient “Alexandra Flood … debuts in one Amsterdam as part of Grachten 2013) both performed exceptionally with the name alone carrying stage presence and captivating top Virginia, USA, my vocal skills were of the major opera houses of the of the RJ & AF Hamer Scholarship role after the other, and was a Festival and rehearsals started well, with Pana taking home the considerable weight. Pana told the notes. Enormous congratulations tried and tested. The program was world, so taking the risk on Violetta was crucial in getting me to this perfect choice as Violetta. With her only a few weeks later. So, I quite grand prize in the end, including a Herald Sun that she “never thought to both Bronwyn and Pana – we are demanding, but supportive, with in Traviata Remixed has paid point and the Trust and its affiliates appearance and her highly dynamic suddenly found myself moving to $15,000 cash prize and a $22,500 it would happen”, but when it did it exceptionally proud of you. myriad vocal, musical, psychological incredible dividends. continue to be a major support to vocal she was the star of the show.” - Holland, and it became the start me. The Melba office is always one scholarship for overseas tuition. “changed everything. She now plans and spiritual coaches at hand. This Over the coming months, I look Place de l’Opera Magazine of my five-month tour. After an of the first contacts I email when was my first appearance in the forward to a number of exciting incredibly rewarding and creative United States and I was curious to I have exciting news to share! Or

Photograph: Stuart Walmsley

Page 10 The Melba - Magazine of Melba Opera Trust Edition 15 Summer 2016 Page 11 AN EVENING OF OPERA AT STOWELL PARK In early September Lord and proud. The diva often said “if you stating that the scholarship would Lady Vestey, alongside our wish to understand me at all, you be valued at £109, a considerable must understand that I am first and amount of money at the time. It patron The Hon. Saffron foremost an Australian”. would be available to all women, and Foster, generously opened would last an entire 12 months with In a particularly touching moment their home, Stowell Park, the possibility of extension for a leading up to the performance, year or two. This initial scholarship, to host An Evening of Opera Lady Vestey presented Lauren with intended to create young singers featuring Melba Opera Trust “Granny Melba’s” necklace to wear who were “more than a voice” has for the evening, a piece designed alumni. Set in the idyllic paved the way for all singers who especially for Melba by Cartier. Cotswolds countryside, have moved through the program. That night, Lauren became the first the evening celebrated the Since Melba Opera Trust first opened person to wear it since Dame Nellie its doors, the Dame Nellie Melba continued legacy of Lord herself. The performance was even Former Dame Nellie Melba Scholar Lauren Fagan shares a moment with Lady Scholarship has been awarded to six Vestey’s great grandmother, more popular than 2014, with more Vestey. Melba’s necklace shining brightly! Photograph: Lewis Horsley female singers including Jade and and more chairs brought out to allow Dame Nellie Melba and the Lauren, who are now forging careers for the growing audience! Raising scholarship awards annually on both Australian and international over $10,000 in ticket sales and through Melba Opera Trust. shores. The evening itself – a donations, proceeds from the event banquet of operatic classics, and A reprise of the hugely successful will support continuation of the heartfelt encores of Dame Nellie’s event held in late 2014, the evening Dame Nellie Melba scholarship. favourites - Home Sweet Home and featured superb performances by Established initially by bequest – was a testament alumni Lauren Fagan, Jade Moffat from Melba herself, the scholarship to Melba’s philosophy. Each of the and Samuel Sakker, all young artists has become a family affair – it’s highly skilled singers were more currently forging their careers in existence is still supported by Dame than their voices: a mantra that UK and Europe. Joining Lauren, Nellie’s great-grandchildren some 85 Melba fought to instill in all young Jade and Samuel was esteemed years since her death. In December opera singers. Melba’s legacy lives Australian vocal coach and pianist of 1934, The Adelaide Advertiser on, in no small part thanks to the Lauren, Jade and Samuel gather around Linnhe Robertson under the watchful Linnhe Robertson, making it a published an announcement about continued generosity of the Vestey eye of our youngest fan, Evie (daughter of The Hon. Saffron Foster) very special Australian line-up Photograph: Lewis Horsley the award’s inaugural availability, family. that would have made Dame Nellie

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PATRON IN CHIEF Judy Allen Judy & Michael Begg Dr Bruce & Dianne Livett FRIENDS CIRCLE (All gifts up to $999) The Hon. Linda Dessau AM, Governor of Victoria The lateJohn Bate OAM & Liz Bate Marc Besen AC & Eva Besen AO Colin Lovitt QC Melba Opera Trust also appreciates the & His Honour Judge Anthony Howard James & Judith Beattie Ann Blainey Noreen Maher generosity of over 200 supporters in our FOUNDING PATRONS Dr Dianne Bresciani OAM & Lino Bresciani, Youth Prof Henry & Jenny Burger Peter Mander & Walter van Nieuwkuyk Friends Circle. 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ABOUT MELBA OPERA TRUST

Melba Opera Trust is Australia’s premier scholarship program for promising young opera singers. 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. We are the next step for singers preparing to become professionals on the world stage.

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