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Seven Deadly Sins Julian Langdon, Mark Viggiani, Jessica Wells & Ian Whitney Die Sieben Todsünden Kurt Weill & Bertolt Brecht

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Seven Deadly Sins Julian Langdon, Mark Viggiani, Jessica Wells & Ian Whitney Die Sieben Todsünden Kurt Weill & Bertolt Brecht SEVEN DEADLY SINS JULIAN LANGDON, MARK VIGGIANI, JESSICA WELLS & IAN WHITNEY DIE SIEBEN TODSÜNDEN KURT WEILL & BERTOLT BRECHT Arts Centre Melbourne, Hamer Hall 6 November 2015 1 WELCOME Victorian Opera has turned ten! Tonight your state opera company celebrates with new works by emerging composers, showcasing our bright young stars, alongside Berliner Kabarett with a devilish diva. To everyone past and present who has come on this journey, our audience, our supporters, our artists, the State Government of Victoria, our Artistic Director Richard Mills, our Founding Music Director Richard Gill, our board and staff, we give our heartfelt thanks. In 2016, we continue to present opera without boundaries. Join us and experience our season of different dreams. Discover more victorianopera.com.au victorianopera.com.au/blog facebook.com/victorianopera twitter.com/victorianopera instagram.com/victorianopera youtube.com/victorianoperapage 2 ARTISTIC DIRECTOR'S MESSAGE RICHARD MILLS The notion of Australian cities as emblems for the deadly sins is a fertile blueprint for creative response. It has proved to be an interesting idea on which to base a co-operatively made new work and provide an opportunity for four young Australian composers to create a companion piece to a classic via their own text and music. Julian Langdon, Mark Viggiani, Jessica Wells and Ian Whitney were allocated two sins each (Julian, a sin, a prologue and an epilogue). The cameos were developed by a process of workshops at Victorian Opera and an orchestral workshop as part of the Tasmania Symphony Orchestra's Composer Development Program. What has surprised, delighted and The vicarious contemplation of sin has always occasionally disconcerted is the complete been a fascinating pastime for humanity. unpredictability of each composer's response From the Book of Genesis, the spy thriller or to the given brief. The involvement of our the murder mystery to the circles of hell in young artists has also added a dimension of Dante's Inferno, the notion of evil-doing and its possibilities for feedback and artistic growth. pageant of consequent causality as a kind of perverse spectator sport has had a continuing In Die Sieben Todsünden, Brecht's text is potency as a basis for story - in all media. satirical. When Anna tries to behave morally, she is scolded by her alter ego and her family Under the care of two young talented for committing one of the seven sins. Meow ringmasters, director Cameron Menzies and Meow brings her own sultry "weltschmerz" to conductor Tahu Matheson, tonight's spectacle proceedings here. The Antipodes hold no such draws on this tradition from across three complex, world-weary attitude. Here we revel worlds: our own country and the perceived in our sins with gusto and enthusiasm. Enjoy. foibles of its capital cities as images of corruption - the "seven teeming sores" of poet Richard Mills A.D.Hope, and the ironic satire of Brecht and Artistic Director, Victorian Opera Weill, two Europeans locating the deadly sins in Memphis, Los Angeles, Philadelphia, Boston, Baltimore and San Francisco. 3 CONDUCTOR'S MESSAGE TAHU MATHESON Die Sieben Todsünden is a piece that, though harmonically quite complex, constantly uses immediately recognisable and simple musical forms (admittedly through a lens of questioning irony and piercing satiric wit!). Barbershop quartets, marches, waltzes and ballads, sometimes simply constructed, sometimes grotesquely transformed, shape this piece into a brilliantly satirical take on the conventional idea of sin. Weill's virtuosic orchestration, superb melodic invention and sure dramatic instinct propel us through the work, and inspire in us a certain delectation that perhaps we would rather not admit to… A musical framework which interweaves As most other people, my first contact with the canonical works and newly minted pieces always music of Kurt Weill was the ballad Mack the makes for interesting listening, but the idea Knife - an amazingly evocative song that has of juxtaposing a single masterpiece against a the ability to co-opt us gently, seductively and reimagining of the same subject matter is, I think, effortlessly into a seamy netherworld. This song something very unusual, and something that is, of course, only the most minuscule part of I have found to be completely fascinating. Weill's work, and, starting with the Weill-Brecht collaborations, I began to discover his other Learning these extremely accomplished, works. I was absolutely captivated. inventive, surprising, and, at times, genuinely beautiful compositions has been interesting Weill's famous comment that he had 'never and intriguing. The pieces are quite different: acknowledged the difference between serious each of the brilliant young composers has music and light music, only good music a definite style (not an easy thing to come by), and bad music', was like an apologia for an individual way of dealing with the orchestra his own work. The ability to find meaning in and a unique use of harmony. The works candid simplicity was an idea that thrilled and are filled with pastiche, parody, comedy, wit, influenced many composers, and is something beauty and virtuosity. Together they make a that still resonates powerfully in today’s over- compelling and engaging whole that promises complicated, over-stimulated world. A new to be as entertaining as it is fascinating. interest in simple melody, folk song and even popular culture began to influence music Tahu Matheson that had been subjugated to the powerfully Conductor enthralling hold of Wagnerian chromaticism and philosophical complication. 4 DIRECTOR'S MESSAGE CAMERON MENZIES The first half looking at Australia in 2015 through the sins of its capital cities takes us into a strange and somewhat nationalistic journey around this vast island where we explore things like the Lust of Sydney, the Greed of Melbourne and the Anger of Perth. Simply put, the second half takes us into the world of the two Annas. They have been sent away from their home and are struggling to survive, whilst trying to still provide for their family who are back at home. Written by two exiled Germans in 1933, who could no longer call Berlin their home, they write a piece that premiered in France but is set in America. These facts alone lead me to explore the ideas Directing Seven Deadly Sins for Victorian around survival, the search for a new home Opera has been filled with many great joys. and safe passage to it. I have had the all too rare opportunity to work The opportunity to direct Kurt Weill and Bertolt again with my dear friend and colleague, the Brecht’s Die Sieben Todsünden (their last major incomparable star herself Meow Meow and collaboration together) is certainly a career then if that wasn’t enough, another friend and highlight. I have always had a very strong long time collaborator, the highly acclaimed love for the works of Weill and Brecht and couture designer Linda Britten agreed to come for the period of history in which such works on board to design costumes for the ladies in were being written. I am also thrilled to be the new commission and for Meow Meow in able to premiere another new work in 2015 the well loved Weill/Brecht creation. commissioned by Richard Mills for Victorian Even though both halves were composed for Opera. This is again a wonderful opportunity very different reasons and in seemingly different to create something unique. times, the themes that surround all seven of the Cameron Menzies deadly sins bring an unnerving darkness and a satirical world that one can delve into. Director 5 MANAGING DIRECTOR'S MESSAGE ANDREW SNELL of Melbourne. Following two years of performing on our stages, working in our rehearsal rooms, receiving individual coaching and master classes and touring regionally and interstate (all the while studying at the University of Melbourne), these young artists are now perfectly placed to take the next step in their burgeoning professional careers. Their graduation, however, also marks the end of the program after two intakes over the last four years. Due to the discontinuation of program-specific Government funding, the cost of providing a course of this scale has become unfeasible for our company. While remaining committed to reinstating a Masters program Welcome to an evening of temptation and in future years, Victorian Opera will implement musical gluttony: Victorian Opera’s final offering a Professional Development Program in 2016; for our 2015 Season, Seven Deadly Sins. where emerging talent will work and study with the company and feature in our productions. In this devilish double bill, Victorian Opera Victorian Opera’s unswerving commitment to revisits the work of Weill and Brecht with their the future of our art form remains just as strong final collaborationDie Sieben Todsünden. We’re at the end of our 10th season as it did when thrilled to welcome the sensationally talented the company was conceived in 2005. Meow Meow in her debut with Victorian Opera. Victorian Opera is able to continue doing such As a partner to this iconic work, we present important work thanks to its many supporters. a new commission, supported by the The company would like to acknowledge the Composer Development Program at the generous assistance of the State Government Tasmanian Symphony Orchestra and Symphony of Victoria through Creative Victoria, The Robert Services International. Four of the country’s Salzer Foundation, our philanthropic supporters; brightest composers, Julian Langdon, Mark especially our Artistic Director’s Circle and New Viggiani, Jessica Wells and Ian Whitney, have Work Syndicate, and our many corporate partners. reimagined the Seven Deadly Sins inspired by seven of Australia’s major cities. With this support, Victorian Opera is able to continue its important work as a state icon and Tonight marks the graduating performance a national leader.
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