Australian Music Foundation Young Musician Awardees 2013 - 2014

Total Page:16

File Type:pdf, Size:1020Kb

Australian Music Foundation Young Musician Awardees 2013 - 2014 Australian Music Foundation Young Musician Awardees 2013 - 2014 Proudly supporting young Australian Musicians studying in the UK, Europe the USA 2013- 2014 AMF Young Musician Awardees - studying in the UK & EUROPE Kate Howden, Mezzo-Soprano - Riddiford Trust Scholar ezzo-soprano Kate Howden was awarded a Master of Arts with DipRAM from the Royal Academy of Music, where she continues to study with Elizabeth Ritchie and Jonathan MPapp on the Royal Academy Opera course. She also holds a First Class BMus (Hons) from Trinity College of Music London, where she studied with Ameral Gunson. Her opera credits include Cendrillon (Cendrillon, RAO), Hansel (Hansel and Gretel, Opera Holloway, Edinburgh Fringe), Un patre and un bête (L’enfant et les Sortiléges, RAO), Dorothée (Cendrillon, Blackheath Opera), Cherubino (The Marriage of Figaro, Harrow Opera) and Annio (La Clemenza di Tito, Riverside Opera and Hampstead Garden Opera). Recent soloist performances include Ravel Trois poémes de Stéphane Mallarmé, Bach Christmas Oratorio, Bach St John Passion, Mozart C Minor Mass and Mozart Requiem. In 2012 Kate was honoured to sing at the Australian High Commissioner’s residence in London, for a dinner for Members of the Order of Australia. Suyeon Kang, Violin - Guy Parsons Awardee orn in South Korea, Suyeon received her first violin lessons in Australia with Josette Esquedin-Morgan, continuing with Alice Waten and Goetz Richter as a scholarship Bstudent in leading Australian music institutions. Currently a masters student at the Hochschule für Musik Berlin ‘Hanns Eisler’, under the tutelage of Professor Antje Weithaas, she graduated her Diploma with honours in 2011 (in Nürnberg) having studied with, and worked as assistant to Professor Daniel Gaede. Recent competition successes include: 3rd prize in the 2nd International Violin Competition Buenos Aires (2012); 3rd prize (senior section) in the Yehudi Menuhin International Violin Competition, (2010); one of the five semifinalists and the recipient of a special prize in the International Leopold Mozart Violin Competition (2009). Prior to commencing her studies in Germany, Kang won Australia’s most prestigious award: the Symphony Australia Young Performer’s Awards, in 2005 at the age of 16. Sally Law, Violin ally began playing violin at the age of 8. She is currently a Neville Wathen scholar studying at the Royal College of Music in London. Prior to her college studies, Sally Sachieved her violin Licentiate diploma in 2008 and piano Associate and Licentiate diploma, both with Distinction in 2010 and 2013, respectively. After winning 1st prize in the Young Instrumentalist Competition in 2012, she made her first solo orchestral debut with the Queensland Symphony Orchestra. In 2010 and 2012, she was a recitalist at the National Youth Concerto Competition. She was also a finalist in the Somerville House Nuova Musica in 2012, and won 1st prize in the Strings Open Somerville House Solo Instrumental and Vocal Competition in 2011. Sally has won various competitions at the Brisbane Eisteddfod including Junior String Championship. Sally has also participated in the Queensland Youth Symphony in 2009 and the Australian Youth Orchestra in 2011, both as first violinist. Rhia Parker, Recorder graduate of the Sydney Conservatorium of Music, Rhia is currently undertaking her Masters at the Guildhall School of Music and Drama. Outside her study, . Rhia has won Athe Sydney Conservatorium of Music’s Early Music Concerto Competition, was a guest recording artist for the Baroque chamber group, Salut! Baroque, and has been a guest soloist for the Ku-Ring Gai Philharmonic Orchestra. She has also collaborated on theatre projects, including touring with Big hART’S Production of “Namatjira” in 2012. Also in 2012, she was awarded the Australia Council’s ArtStart Grant for lessons in America from electronic violinist Todd Reynolds. In 2011, Rhia premiered her solo electroacoustic work Isolate at the Adelaide Fringe Festival and participated in the Bang on a Can Contemporary Music Festival in Massachusettes, USA and her electronic composition, Recordered, was played as part of the AIR/ EAR Installation in Argentina. Gérard Schnieder, Tenor érard studies voice with Yvonne Kenny at the Guildhall School of Music and Drama as a member of the highly regarded Opera course. His recent engagements Ginclude repertoire at the State Opera of South Australia, Co-Opera, West Australian Opera, and the Royal Melbourne Philharmonic in operatic roles including Rodolfo (La Bohème), Ferrando (Così Fan Tutte), Bardolfo (Falstaff), Don Riccardo (Ernani), and as both Don Basilio and Don Curzio (Le Nozze di Figaro) in Wiesbaden Germany and the Bregenz Festspielhaus, Austria. At the Guildhall roles include Ramon (La Navarraise), Jacopo (I due Foscari), and the title roles in both Werther and La Clemenza di Tito in Opera Scenes. In November, Gérard will sing the title role in L’Enfant Prodigue at the Guildhall before singing the title role in La Clemenza di Tito in Salzburg, Austria in 2014. Emily Sun, Violin mily was born in Sydney and began playing the violin at age five, taught by her late father, Dr Daniel Yi Sun, a recognized Australian composer. She made her concerto debut with the EEast-West Philharmonic Orchestra at age 10, and has since been a regular soloist with the most of Australia’s Symphony Orchestras, including the SSO, TSO, QSO and the CSO, and the Australian Chamber Orchestra. She now studies at the Royal College of Music in London with Itzhak Rashkovsky as a John Acroyd Scholar. In 2011 Emily was named Strings Winner of the ABC Young Performer of the Year, following her performance of the Tchaikovsky Violin Concerto with the Queensland Symphony Orchestra. In 2012, Emily was the winner of the annual Royal College of Music Violin Competition. She was awarded the ‘Best Newcomer’ from Australia’s classical arts ‘Limelight’ magazine ‘2012 Limelight Awards’. Her recent success in 2013 includes the Vadim Repin Mozart Prize in the 20th International Johannes Brahms Competition in Austria. 2013- 2014 AMF Young Musician Awardees - studying in the USA Cameron Burnes, Bassoon ameron is pursuing a Master of Music Performance and Pedagogy at the University of Colorado in Boulder, USA and is actively developing a career as a soloist and Cchamber musician. He received his Bachelor of Music (Bassoon Performance) in 2011 at the University of Sydney Conservatorium of Music studying with Andrew Barnes. Through their robust orchestral performance program, Cameron toured to New Caledonia and subsequently met his current teacher Yoshiuki Ishikawa and was also offered a teaching assistantship. He has performed throughout Europe including Austria, the Czech Republic and Poland, and as a soloist has participated in competitions in Australia, Taiwan, USA, and Canada. In 2014 he will be returning to Australia for engagements with the Australian Youth Orchestra (AYO) and the Tasmanian Symphony Orchestra through an AYO fellowship. Rosie Gallagher, Flute osie is completing her Bachelor of Music at The Juilliard School, studying under the tutelage of Robert Langevin. Born and raised in Sydney, Rosie began her musical Rstudies on the flute at 9. Her musical passions have been supported by her mentor Jocelyn Fazzone who remains a significant influence in her musical career. At Julliard, she has played with the Juilliard Orchestra, Chamber Orchestra, New Juilliard Ensemble, New York Woodwind Quintet Seminar and the Winds Harp Guitar Seminar. In 2013 Rosie performed as principle flautist of the New York String Seminar Orchestra, at Carnegie Hall, where she also made her solo debut in 2012 in the Weill Recital Hall, as first prize winner of the Alexander and Buono International Flute competition. She has also been the first prize winner at both the New York Flute Club and the Philadelphia Flute Club Competition. 2013- 2014 AMF Young Musician Awardees - studying in the USA Paull-Anthony Keightley, Baritone aull-Anthony Keightley is a first year Master’s student at the Manhattan School of Muisc, studying with Maitland Peters. He graduated from the Western Australian Academy of PPerforming Arts with both a Bachelor of Music and Graduate Diploma of Music. His operatic credits at WAAPA included Rev. Mr Jones, Major Peter Labelliere, Alderman Birch, Mr. Worrall and Phillip Thicknesse in English Eccentrics, Frank in Die Fledermaus and Baptista in the Australian Premier of Goetz’s The Taming of the Shrew. He recently performed as Littore, Famigliari and Tribuno in L’incoronazione di Poppea at the Manhattan Summer Voice Festival. Upcoming roles in 2014 include Pasquale in Orlando Paladino in the MSM fall main stage production, as well as Papageno in the New York Opera Exchange’s production of ‘Die Zauberflöte’. He will also be presenting Schumann’s famous song cycle, Dichterliebe with MSM. Sam Nester, Trumpet am Nester graduated with a bachelor of Music Studies from the Queensland Conservatorium in 2007, furthering his studies and receiving first class honors from the SWestern Australian Academy of Performing Arts in 2009. In 2010 he was awarded an Australian-American Fulbright Scholarship, enabling him to study trumpet performance with Mark Gould at the Manhattan School of Music, where he graduated with a master of music degree in 2012. He is the recipient of grants from the Dame Joan Sutherland fund, PPCA, Ian Potter Cultural Trust, Australia Council and was awarded a Brian Boak developing artist award in 2011. He holds positions with Ensemble Moto Perpetuo, Tempus Continuum Ensemble, and BERG. Sam is currently completing his Doctor of Musical Arts at the Manhattan School of Music. Rebecca Proietto, Cello ebecca is currently completing a two year Masters degree at Stony Brook University, USA, studying with cellist Colin Carr. Previous to this she spent two years at the Australian RNational Academy of Music after finishing her Bachelor of Music at the University of Melbourne, where she was awarded the Gwen Prokter Violoncello Scholarship in her final year of study. Rebecca began cello at the age of 3 and attained her LmusA with distinction and her AmusA on oboe.
Recommended publications
  • A Midsummer Night's Dream
    Monday 25, Wednesday 27 February, Friday 1, Monday 4 March, 7pm Silk Street Theatre A Midsummer Night’s Dream by Benjamin Britten Dominic Wheeler conductor Martin Lloyd-Evans director Ruari Murchison designer Mark Jonathan lighting designer Guildhall School of Music & Drama Guildhall School Movement Founded in 1880 by the Opera Course and Dance City of London Corporation Victoria Newlyn Head of Opera Caitlin Fretwell Chairman of the Board of Governors Studies Walsh Vivienne Littlechild Dominic Wheeler Combat Principal Resident Producer Jonathan Leverett Lynne Williams Martin Lloyd-Evans Language Coaches Vice-Principal and Director of Music Coaches Emma Abbate Jonathan Vaughan Lionel Friend Florence Daguerre Alex Ingram de Hureaux Anthony Legge Matteo Dalle Fratte Please visit our website at gsmd.ac.uk (guest) Aurelia Jonvaux Michael Lloyd Johanna Mayr Elizabeth Marcus Norbert Meyn Linnhe Robertson Emanuele Moris Peter Robinson Lada Valešova Stephen Rose Elizabeth Rowe Opera Department Susanna Stranders Manager Jonathan Papp (guest) Steven Gietzen Drama Guildhall School Martin Lloyd-Evans Vocal Studies Victoria Newlyn Department Simon Cole Head of Vocal Studies Armin Zanner Deputy Head of The Guildhall School Vocal Studies is part of Culture Mile: culturemile.london Samantha Malk The Guildhall School is provided by the City of London Corporation as part of its contribution to the cultural life of London and the nation A Midsummer Night’s Dream Music by Benjamin Britten Libretto adapted from Shakespeare by Benjamin Britten and Peter Pears
    [Show full text]
  • Verdi Week on Operavore Program Details
    Verdi Week on Operavore Program Details Listen at WQXR.ORG/OPERAVORE Monday, October, 7, 2013 Rigoletto Duke - Luciano Pavarotti, tenor Rigoletto - Leo Nucci, baritone Gilda - June Anderson, soprano Sparafucile - Nicolai Ghiaurov, bass Maddalena – Shirley Verrett, mezzo Giovanna – Vitalba Mosca, mezzo Count of Ceprano – Natale de Carolis, baritone Count of Ceprano – Carlo de Bortoli, bass The Contessa – Anna Caterina Antonacci, mezzo Marullo – Roberto Scaltriti, baritone Borsa – Piero de Palma, tenor Usher - Orazio Mori, bass Page of the duchess – Marilena Laurenza, mezzo Bologna Community Theater Orchestra Bologna Community Theater Chorus Riccardo Chailly, conductor London 425846 Nabucco Nabucco – Tito Gobbi, baritone Ismaele – Bruno Prevedi, tenor Zaccaria – Carlo Cava, bass Abigaille – Elena Souliotis, soprano Fenena – Dora Carral, mezzo Gran Sacerdote – Giovanni Foiani, baritone Abdallo – Walter Krautler, tenor Anna – Anna d’Auria, soprano Vienna Philharmonic Orchestra Vienna State Opera Chorus Lamberto Gardelli, conductor London 001615302 Aida Aida – Leontyne Price, soprano Amneris – Grace Bumbry, mezzo Radames – Placido Domingo, tenor Amonasro – Sherrill Milnes, baritone Ramfis – Ruggero Raimondi, bass-baritone The King of Egypt – Hans Sotin, bass Messenger – Bruce Brewer, tenor High Priestess – Joyce Mathis, soprano London Symphony Orchestra The John Alldis Choir Erich Leinsdorf, conductor RCA Victor Red Seal 39498 Simon Boccanegra Simon Boccanegra – Piero Cappuccilli, baritone Jacopo Fiesco - Paul Plishka, bass Paolo Albiani – Carlos Chausson, bass-baritone Pietro – Alfonso Echevarria, bass Amelia – Anna Tomowa-Sintow, soprano Gabriele Adorno – Jaume Aragall, tenor The Maid – Maria Angels Sarroca, soprano Captain of the Crossbowmen – Antonio Comas Symphony Orchestra of the Gran Teatre del Liceu, Barcelona Chorus of the Gran Teatre del Liceu, Barcelona Uwe Mund, conductor Recorded live on May 31, 1990 Falstaff Sir John Falstaff – Bryn Terfel, baritone Pistola – Anatoli Kotscherga, bass Bardolfo – Anthony Mee, tenor Dr.
    [Show full text]
  • Ernani Program
    VERDI PATRON-IN-CHIEF DR HARUHISA HANDA Celebrating the return of World Class Opera HSBC, as proud partner of Opera Australia, supports the many returns of 2021. Together we thrive Issued by HSBC Bank Australia Limited ABN 48 006 434 162 AFSL No. 232595. Ernani Composer Ernani State Theatre, Giuseppe Verdi (1813-1901) Diego Torre Arts Centre Melbourne Librettist Don Carlo, King of Spain Performance dates Francesco Maria Piave Vladimir Stoyanov 13, 15, 18, 22 May 2021 (1810-1876) Don Ruy Gomez de Silva Alexander Vinogradov Running time: approximately 2 hours and 30 Conductor Elvira minutes, including one interval. Carlo Montanaro Natalie Aroyan Director Giovanna Co-production by Teatro alla Scala Sven-Eric Bechtolf Jennifer Black and Opera Australia Rehearsal Director Don Riccardo Liesel Badorrek Simon Kim Scenic Designer Jago Thank you to our Donors Julian Crouch Luke Gabbedy Natalie Aroyan is supported by Costume Designer Roy and Gay Woodward Kevin Pollard Opera Australia Chorus Lighting Designer Chorus Master Diego Torre is supported by Marco Filibeck Paul Fitzsimon Christine Yip and Paul Brady Video Designer Assistant Chorus Master Paul Fitzsimon is supported by Filippo Marta Michael Curtain Ina Bornkessel-Schlesewsky and Matthias Schlesewsky Opera Australia Actors The costumes for the role of Ernani in this production have been Orchestra Victoria supported by the Concertmaster Mostyn Family Foundation Sulki Yu You are welcome to take photos of yourself in the theatre at interval, but you may not photograph, film or record the performance.
    [Show full text]
  • Il Trovatore Was Made Stage Director Possible by a Generous Gift from Paula Williams the Annenberg Foundation
    ilGIUSEPPE VERDItrovatore conductor Opera in four parts Marco Armiliato Libretto by Salvadore Cammarano and production Sir David McVicar Leone Emanuele Bardare, based on the play El Trovador by Antonio García Gutierrez set designer Charles Edwards Tuesday, September 29, 2015 costume designer 7:30–10:15 PM Brigitte Reiffenstuel lighting designed by Jennifer Tipton choreographer Leah Hausman The production of Il Trovatore was made stage director possible by a generous gift from Paula Williams The Annenberg Foundation The revival of this production is made possible by a gift of the Estate of Francine Berry general manager Peter Gelb music director James Levine A co-production of the Metropolitan Opera, Lyric Opera of Chicago, and the San Francisco principal conductor Fabio Luisi Opera Association 2015–16 SEASON The 639th Metropolitan Opera performance of GIUSEPPE VERDI’S il trovatore conductor Marco Armiliato in order of vocal appearance ferr ando Štefan Kocán ines Maria Zifchak leonor a Anna Netrebko count di luna Dmitri Hvorostovsky manrico Yonghoon Lee a zucena Dolora Zajick a gypsy This performance Edward Albert is being broadcast live on Metropolitan a messenger Opera Radio on David Lowe SiriusXM channel 74 and streamed at ruiz metopera.org. Raúl Melo Tuesday, September 29, 2015, 7:30–10:15PM KEN HOWARD/METROPOLITAN OPERA A scene from Chorus Master Donald Palumbo Verdi’s Il Trovatore Musical Preparation Yelena Kurdina, J. David Jackson, Liora Maurer, Jonathan C. Kelly, and Bryan Wagorn Assistant Stage Director Daniel Rigazzi Italian Coach Loretta Di Franco Prompter Yelena Kurdina Assistant to the Costume Designer Anna Watkins Fight Director Thomas Schall Scenery, properties, and electrical props constructed and painted by Cardiff Theatrical Services and Metropolitan Opera Shops Costumes executed by Lyric Opera of Chicago Costume Shop and Metropolitan Opera Costume Department Wigs and Makeup executed by Metropolitan Opera Wig and Makeup Department Ms.
    [Show full text]
  • Featuring the Brandenburg Choir Noël! Noël! Featuring the Brandenburg Choir
    Noël! Noël! Featuring the Brandenburg Choir Noël! Noël! Featuring the Brandenburg Choir Morgan Balfour (San Francisco) soprano 2019 Australian Brandenburg Orchestra Brandenburg Choir SYDNEY Matthew Manchester Conductor City Recital Hall Paul Dyer AO Artistic Director, Conductor Saturday 14 December 5:00PM Saturday 14 December 7:30PM PROGRAM Wednesday 18 December 5:00PM Mendelssohn Hark! The Herald Angels Sing Wednesday 18 December 7:30PM Anonymous Sonata à 9 Gjeilo Prelude MELBOURNE Eccard Ich steh an deiner Krippen hier Melbourne Recital Centre Crüger Im finstern Stall, o Wunder groβ Saturday 7 December 5:00PM Palestrina ‘Kyrie’ from Missa Gabriel Archangelus Saturday 7 December 7:30PM Arbeau Ding Dong! Merrily on High Handel ‘Rejoice greatly, O daughter of Zion’ NEWTOWN from Messiah, HWV 56 Friday 6 December 7:00PM Head The Little Road to Bethlehem Gjeilo The Ground PARRAMATTA Tuesday 10 December 7:30PM Vivaldi La Folia, RV 63 Handel Eternal source of light divine, HWV 74 MOSMAN Traditional Deck the Hall Wednesday 11 December 7:00PM Traditional The Coventry Carol WAHROONGA Traditional O Little Town of Bethlehem Thursday 12 December 7:00PM Traditional God Rest Ye Merry, Gentlemen Palmer A Sparkling Christmas WOOLLAHRA Adam O Holy Night Monday 16 December 7:00PM Gruber Stille Nacht Anonymous O Come, All Ye Faithful CHAIRMAN’S 11 Proudly supporting our guest artists. Concert duration is approximately 75 minutes without an interval. Please note concert duration is approximate only and subject to change. We kindly request that you switch off all electronic devices prior to the performance. This concert will be broadcast on ABC Classic on 21 December at 8:00PM NOËL! NOËL! 1 Biography From our Principal Partner: Macquarie Group Paul Dyer Imagination & Connection Paul Dyer is one of Australia’s leading specialists On behalf of Macquarie Group, it is my great pleasure to in period performance.
    [Show full text]
  • Amelia Farrugia
    Amelia Farrugia One of Australia's best loved sopranos Amelia Farrugia is one Australia’s best-loved sopranos. Since her opera debut in 1994, she has sung many leading roles for Opera Australia, performed with all the ABC Orchestras and appeared internationally with distinguished conductors Richard Bonynge, Edo de Waart, Richard Hickox, Carlo Felice Cillario, Markus Stenz, Simone Young, Emmanuel Plasson, Paul Dyer, Andrea Licata, Alexander Briger, Brad Cohen, Robin Ticciati, Giovanni Reggioli and composers Gian Carlo Menotti, Richard Mills and George Palmer. More about Amelia Farrugia: Amelia is renowned for her dazzling portrayal of Manon in Massenet’s Manon, her show-stopping Adele in Johann Strauss’ Die Fledermaus (performed for Glyndebourne Festival Opera UK and OA’s production recorded by ABC Classics), her Musetta in Puccini’s La Boheme, Maria Corona in Menotti’s Saint of Bleeker Street (Spoleto Festival Italy), Adina in Donizetti’s L’elisir d’amore, Tytania in Britten’s A Midsummer Night’s Dream, Nannetta in Verdi’s Falstaff, Rosina in Rossini’s Il barbiere di Siviglia, Susanna in Mozart’s Le nozze di Figaro, Nedda in Leoncavallo’s Pagliacci and Oscar in Verdi’s Un ballo in maschera for which she received a Green Room Award (2008). Amelia’s debut solo recording, Joie de vivre! (BBC Symphony Orchestra, Alexander Briger) was released by Universal Music/ Decca in Australia in 2005 and the UK in 2006 and nominated for a Classical Aria (2006). Amelia is the first Australian solo artist to record on the prestigious Decca label since Dame Joan Sutherland in 1959. Amelia is a television favourite, most recently appearing in Carols in the Domain and Opera Australia’s La Boheme (ABC).
    [Show full text]
  • Verdi's Rigoletto
    Verdi’s Rigoletto - A discographical conspectus by Ralph Moore It is hard if not impossible, to make a representative survey of recordings of Rigoletto, given that there are 200 in the catalogue; I can only compromise by compiling a somewhat arbitrary list comprising of a selection of the best-known and those which appeal to me. For a start, there are thirty or so studio recordings in Italian; I begin with one made in 1927 and 1930, as those made earlier than that are really only for the specialist. I then consider eighteen of the studio versions made since that one. I have not reviewed minor recordings or those which in my estimation do not reach the requisite standard; I freely admit that I cannot countenance those by Sinopoli in 1984, Chailly in 1988, Rahbari in 1991 or Rizzi in 1993 for a combination of reasons, including an aversion to certain singers – for example Gruberova’s shrill squeak of a soprano and what I hear as the bleat in Bruson’s baritone and the forced wobble in Nucci’s – and the existence of a better, earlier version by the same artists (as with the Rudel recording with Milnes, Kraus and Sills caught too late) or lacklustre singing in general from artists of insufficient calibre (Rahbari and Rizzi). Nor can I endorse Dmitri Hvorostovsky’s final recording; whether it was as a result of his sad, terminal illness or the vocal decline which had already set in I cannot say, but it does the memory of him in his prime no favours and he is in any case indifferently partnered.
    [Show full text]
  • Jeffrey Black's Presentation Speech
    Jeffrey Black on Richard Bonynge 18 August 2016 "The person in question was born 29th September 1930. Through a strange happenstance which curiously occurs in music frequently they studied piano with a lady who had for a time been the accompanist for Dame Nellie Melba. How prescient were those early steps in his musical life. He was a gifted pianist first studying at the Sydney Conservatorium and thence on scholarship to the Royal College of Music in London. Here he studied with Herbert Fryer. However, his fascination for the voice and singers in general led him to accompany singers in lessons. Building as he did so, a vast Knowledge of vocal pedagogy and vocal styles. The rest as they say is history. As Musical Director he led the famous J. C. Williamson tour to Australia in 1965. It remains the benchmarK for great operatic performances. Here was operatic history writ large. Outstanding opera performers from all over the world, including a young unKnown Italian tenor – one Luciano Pavarotti - as well as Australian ex- pat talent who were carving careers with distinction in Europe, were unveiled to an unsuspecting Australian public. Opera in Australia was re-born and would within a few short years would be housed in the iconic architectural structure at the end of Bennelong Point. As Music Director for many years for the National Opera Company Known in those days as the Australian Opera he was responsible for identifying, supporting and nurturing many fine young singers. He expected for us all to aspire to the highest standards in beauty of tone, musicianship, interpretation, musicality, linguistic and stylistic fidelity.
    [Show full text]
  • Regent Theatre Ulumbarra Theatre, Bendigo
    melbourne opera Part One of e Ring of the Nibelung WAGNER’S Regent Theatre Ulumbarra Theatre, Bendigo Principal Sponsor: Henkell Brothers Investment Managers Sponsors: Richard Wagner Society (VIC) • Wagner Society (nsw) Dr Alastair Jackson AM • Lady Potter AC CMRI • Angior Family Foundation Robert Salzer Foundation • Dr Douglas & Mrs Monica Mitchell • Roy Morgan Restart Investment to Sustain and Expand (RISE) Fund melbourneopera.com Classic bistro wine – ethereal, aromatic, textural, sophisticated and so easy to pair with food. They’re wines with poise and charm. Enjoy with friends over a few plates of tapas. debortoli.com.au /DeBortoliWines melbourne opera WAGNER’S COMPOSER & LIBRETTIST RICHARD WAGNER First performed at Munich National Theatre, Munich, Germany on 22nd September 1869. Wotan BASS Eddie Muliaumaseali’i Alberich BARITONE Simon Meadows Loge TENOR James Egglestone Fricka MEZZO-SOPRANO Sarah Sweeting Freia SOPRANO Lee Abrahmsen Froh TENOR Jason Wasley Donner BASS-BARITONE Darcy Carroll Erda MEZZO-SOPRANO Roxane Hislop Mime TENOR Michael Lapina Fasolt BASS Adrian Tamburini Fafner BASS Steven Gallop Woglinde SOPRANO Rebecca Rashleigh Wellgunde SOPRANO Louise Keast Flosshilde MEZZO-SOPRANO Karen Van Spall Conductors Anthony Negus, David Kram FEB 5, 21 Director Suzanne Chaundy Head of Music Raymond Lawrence Set Design Andrew Bailey Video Designer Tobias Edwards Lighting Designer Rob Sowinski Costume Designer Harriet Oxley Set Build & Construction Manager Greg Carroll German Language Diction Coach Carmen Jakobi Company Manager Robbie McPhee Producer Greg Hocking AM MELBOURNE OPERA ORCHESTRA The performance lasts approximately 2 hours 25 minutes with no interval. Principal Sponsor: Henkell Brothers Investment Managers Sponsors: Dr Alastair Jackson AM • Lady Potter AC CMRI • Angior Family Foundation Robert Salzer Foundation • Dr Douglas & Mrs Monica Mitchell • Roy Morgan Restart Investment to Sustain and The role of Loge, performed by James Egglestone, is proudly supported by Expland (RISE) Fund – an Australian the Richard Wagner Society of Victoria.
    [Show full text]
  • Cheryl Barker's Tribute to Joan Hammond Queensland Symphony
    The tributes with piano accompaniment provide a contrast to the preceding drama, encore pieces beloved of Joan Hammond, the biggest selling recording artist during the war. Accompanying is pianist Timothy Young. Hammond’s recording of The Green Hills of Somerset became a best seller and Cheryl includes it as a homage here. The delightful rarity – Shadows – is a song written for Hammond by the Australian composer Ronald Settle. Conductor Guillaume Tourniaire directs the Queensland Symphony Orchestra, drawing performances that bring the emotional landscape vividly to life. lluminating CD Notes are by Peter Burch of Musica Viva and the late vocal commentator John Steane, who was an insightful Iwitness to Dame Joan Hammond and all the great singers of her era and those that followed. Hammond made best selling recordings of popular arias such as Love and Music (Vissi d’arte) from Tosca, One Fine Day (Un bel dì) from Madama Butterfly, and They Call Me Mimì (Mi chiamano Mimì) from La bohème. Lauretta’s then unknown aria from Puccini’s Gianni Schicchi, O My Beloved Daddy, (O mio babbino caro) was first released as the B-side to Tosca’s Love and Music on a 78rpm disc. The coupling Cheryl Barker’s tribute to became the first operatic recording to sell more than one million copies and went on to win a gold record in 1969. It has never been out of the Joan Hammond catalogue since. Queensland Symphony Orchestra, conductor Guillaume Tourniaire and Cheryl Barker’s relationship with Melba Recordings stretches back almost to the label’s beginning with Puccini=Passion, pianist Timothy Young her acclaimed 2003 collection of arias with Richard Bonynge Arias by Verdi, Tchaikovsky, Korngold, Offenbach, Purcell and, a conducting Orchestra Victoria.
    [Show full text]
  • The Australian Ballet 1 2 Swan Lake Melbourne 23 September– 1 October
    THE AUSTRALIAN BALLET 1 2 SWAN LAKE MELBOURNE 23 SEPTEMBER– 1 OCTOBER SYDNEY 2–21 DECEMBER Cover: Dimity Azoury. Photography Justin Rider Above: Leanne Stojmenov. Photography Branco Gaica Luke Ingham and Miwako Kubota. Photography Branco Gaica 4 COPPÉLIA NOTE FROM THE ARTISTIC DIRECTOR Dame Peggy van Praagh’s fingerprints are on everything we do at The Australian Ballet. How lucky we are to have been founded by such a visionary woman, and to live with the bounty of her legacy every day. Nowhere is this legacy more evident than in her glorious production of Coppélia, which she created for the company in 1979 with two other magnificent artists: director George Ogilvie and designer Kristian Fredrikson. It was her parting gift to the company and it remains a jewel in the crown of our classical repertoire. Dame Peggy was a renowned Swanilda, and this was her second production of Coppélia. Her first was for the Borovansky Ballet in 1960; it was performed as part of The Australian Ballet’s first season in 1962, and was revived in subsequent years. When Dame Peggy returned to The Australian Ballet from retirement in 1978 she began to prepare this new production, which was to be her last. It is a timeless classic, and I am sure it will be performed well into the company’s future. Dame Peggy and Kristian are no longer with us, but in 2016 we had the great pleasure of welcoming George Ogilvie back to the company to oversee the staging of this production. George and Dame Peggy delved into the original Hoffmann story, layering this production with such depth of character and theatricality.
    [Show full text]
  • RIGOLETTO Onciseness
    WARNING OF COPYRIGHT RESTRICTIONS1 The copyright law of the United States (Title 17, U.S. Code) governs the maKing of photocopies or other reproductions of the copyright materials. Under certain conditions specified in the law, library and archives are authorized to furnish a photocopy or reproduction. One of these specified conditions is that the photocopy or reproduction is not to be “used for any purpose other than in private study, scholarship, or research.” If a user maKes a reQuest for, or later uses, a photocopy or reproduction for purposes in excess of “fair use,” that user may be liable for copyright infringement. The Yale University Library reserves the right to refuse to accept a copying order, if, in its judgement fulfillment of the order would involve violation of copyright law. 137 C.F.R. §201.14 2018 OPERA 101 A COMPLETE GUIDE TO LEARNING AND LOVING OPERA FRED PLOTKIN it, iHYPERION N E W YORK • 189 • RIGOLETTO onciseness. Some people think that one of the highest compli- its c ments that can be paid to an opera is that "there is not an extra note in it." This means that every word and every note have meaning in 4. the opera and that the work would be less than perfect without them. An opera does not have to be short to merit this accolade. The RIGOLETTO same has been said of Wagner's five-and-a-half-hour Götterdäm- merung, and, with only the slightest hesitation, I would agree. But LEARNING YOUR FIRST OPERA the fact that Verdi can pack an equal musical and dramatic punch in half that time is in itself quite an achievement.
    [Show full text]