February 2013

MAGAZINE

VLADIMIR ASHKENAZY The Mystery of Music

CORRALLING THE MASSES Philharmonia Choirs

THE MUSIC- MATH MYTH Simon Tedeschi

MASTER OF MODERNISM - Elliott Carter

BIRTH OF AN OPERA Un Ballo in Maschera FROM THE ROYAL OPERA LA BOHEME

MARCH 1, 2, 3 & 6

www.palaceoperaandballet.com.au CONTENTS EDITOR’S DESK In our cover story there’s a classic master-meets- Vol 40 No 2 apprentice moment as Robert Clark endeavours 4 COVER STORY to find some insights into how the great Vladimir Vladimir Ashkenazy, Principal Conductor of Ashkenazy achieves what he does. Clark finds however, that the practice of making music in the the Sydney Symphony, talks with Robert Clark maestro’s realm is more spiritual than tangible. and ponders the mysteries of making music Just one month into the Wagner anniversary year 3 Simon Says and we appear to be pleasantly awash with all things 6 Brett Weymark Interview Wagnerian. In a one page special review, Randolph Magri-Overend lifts the lid on a commemorative 8 Un Ballo in Maschera – Solti Ring cycle 14 CD Box set limited edition and the Wagner Society in NSW unveils a Birth of an Opera packed calendar of events. 11 Presenter Profile – Tom Zelinka Over at the Sydney Symphony, Chief Conductor and Artistic Director designate David Robertson is set to mark the 200th anniversaries of Verdi and Wagner with two July 12 Young Virtuosi events - Verdi’s Requiem and a concert version of Wagner’s Flying Dutchman. 13 Meet Kathryn Selby These two concerts are among seven this year where the Sydney Symphony teams up with the Brett Weymark-led Sydney Philharmonia Choirs. Writer Barry Walmsley 14 What’s On meets Weymark to talk about the season and he finds a deep thinker who is willing 16 Wagner Events Calendar to take risks. On air, you’ll find many hours dedicated to Verdi and Wagner including a new Fine 17 CD Reviews Music Network 10-part series designed to unravel the practical intricacies and cultural 21 Swinging on the Vine fascination related to Wagner’s epic Ring cycle production. The series, supported with funding from the Community Broadcasting Foundation and Hans Henkell, has its own 54 Directors, Committees, Staff blog where you can find more details - www.countdowntothering.com 55 Fine Music Friends Sascha Kelly chats with Tom Zelinka, one of the station’s top talents, who is drawing on a background rich in broadcasting knowledge to lead Fine Music into the digital future. 56 Crossword and Trivia Quiz And, Troy Fil pays tribute to master of American modernism, Elliott Carter, who passed away last year aged 103. The creative team behind Opera ’s Un Ballo in Maschera share insights into their ground-breaking production and we meet leading light of chamber Digital Channel – fine mus music, Kathryn Selby. On Fine Mus between noon and 4pm weekdays you’ll find new trial Happy reading, programs covering classical up to 3pm and Jazz in Concert until 4pm. Lizzie

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Registered Offices & Studios: 87 Chandos Street, St Leonards 2065 Tel: 02 9439 4777 Fax: 02 9439 4064 Email: [email protected] Web: finemusicfm.com Facebook, Twitter and YouTube: finemusicfm Frequency: 102.5 Transmitter: Governor Philip Tower, Circular Quay. ABN 64 379 540 010 Art Direction: Shoebox Design [email protected] Printing: Megacolour, Unit 6, 1 Hordern Place. Camperdown, NSW, 2050 Advertising Enquiries: [email protected] Editor: Lizzie Herbert Subeditors: Chris Blower, Helen Milthorpe Contributors: Robert Clark, Judy Deacon, Troy Fil, Richard Gate, Lizzie Herbert, Kevin Jones, Sascha Kelly, Patrick D Maguire, Michael Morton-Evans, Randolph Magri-Overend, Derek Parker, Chris Shain (imagesforbusiness.com.au - St James’ photography), Simon Tedeschi, Barry Walmsley, Richard Wong. Subscribe to Fine Music Magazine: visit www.finemusicfm.com or email [email protected] ADVERTISING & SPONSORSHIP The views expressed by contributors to this magazine do not necessarily Promote your product and events to our discerning reflect or represent the views of the publisher, Fine Music 102.5. readership and 240,000 listeners every week. Cover image: Vladimir Ashkenazy, Principal Conductor and Artistic Advisor, Sydney Email - [email protected], or call 02 9439 9025 Symphony. Image - www.keithsaundersphotography.com Tel +61 418497791 FINE MUSINGS FINE MUSIC USA AMBASSADOR Thanks to streaming on the internet, Fine Music 102.5 has fans and pen pals from around the world and one of the ‘faithful’ is honorary Fine Music Ambassador to the USA - New Yorker, Judith Byrnes-Enoch. Judith is pictured with daughter Hannah and below she corresponds with presenter Maureen Meers who dedicated a couple of special music pieces to celebrate a family wedding.

Dear Maureen, What a delightful friend you are! I have missed many of the jazz team’s programs over the last few weeks due to my now familiar technological black holes. Very sad loss indeed but it does make me even more appreciative when one or two of the 2MBS jazz programs sneaks through. One of these, I am thrilled to say, was your fabulous and thoughtful tribute that began with the Saratoga Drag and ended with Golden Wedding. How incredible of you! And, however did you find an old-time, big band song with Saratoga in the title!!! “Wedding” was probably not so easy either but “Saratoga” astonished me. You gave me a good chuckle at Crouching tiger what was probably a tense pre-wedding time period. How to say thank you for that personal touch of yours - but thank you none the less. At the wedding itself,there was so much love and laughter in the air along Tan Dun’s Martial with hugs and smiles galore. In classic style, the sun poured through just in time following a wet and wild morning. The historic building with its vaulted and stained glass colors was stunning. In terms of music, there was a lot of rock from the 80s for some reason, Bach Arts Trilogy and Vivaldi were played during dinner while later, my son and I danced to a Van Morrison classic: Have I Told You Lately That I Love You. A very moving and The big orchestra meets the big screen joyful occasion. Later on, when the older crowd had toddled off, I am told that in a concert trilogy based on Tan Dun’s other genres appeared. All tastefully done! epic film scores forHero , The Banquet We can probably live for years on the memories alone but the photos will and Crouching Tiger, Hidden Dragon. be a blast to see. I pass along two for now and perhaps more when the professional photographer’s work comes our way. For now, a picture of the Tan Dun conductor TWO NY Ambassador with part of the family and a photo of my daughter with CONCERTS the bride, my new daughter-in-law. 22 & 23 February 8pm ONLY!

Book Now! Tickets from $35* sydneysymphony.com or call 8215 4600 Mon-Fri 9am-5pm

Tickets also available at sydneyoperahouse.com 9250 7777 | Mon-Sat 9am-8.30pm | Sun 10am-6pm Finally, in terms of jazz [programs]…what fun! Just as with guitar jazz, I wouldn’t choose Latin Jazz on my own but now, with your help, I truly

* Booking fees of $7.50-$8.95 may apply. Pre concert talk before both performances. enjoyed it. A good teacher opens eyes and ears of her disciples! Fondly, Judith 2 Music FM 102.5

fine Simon says:

DISPELLING THE MUSIC-MATHS MYTH Geometry, calculus, algebra, “ “arithmetic, you name it, I hated it.. My paternal grandmother, like many of her generation, was an immigrant. A Berliner born into the prosperous middle class, she fled Germany with her family when her parents saw the writing on the wall. The other side of my family were not so lucky, but that’s another story. Ruth settled in Australia, met my grandfather and slowly began to build a life in this oasis that was so far from the ravages of Europe, a new life that signified both emancipation and a sacrifice. In time, she became a maths teacher and a very good one. Like my father, she cultivated a perfect synergy of didacticism and empathy. One could not help but learn from her. Her readiness to help coupled with an unswerving logic and infinite patience inculcated in her students a strong grasp of the subject that would remain with them for the remainder of their lives. That is, until I came along.

In school, when I wasn’t playing piano, I did well and even achieved some academic honours, especially in the “humanities”, where I excelled. The problem was maths. I just couldn’t hack it. Simon Tedeschi. Geometry, calculus, algebra, arithmetic - you I am dreadful at maths and I am a musician. was just pushing the button no more intuitively name it, I hated it because I wasn’t good at That combination, like a sensitive-fishwife than a gerbil on a spinning wheel. It felt good it - or maybe it was vice versa, but I didn’t/ or a ballerina-lumberjack, is supposedly not to be told I was a genius, but that feeling don’t care and thus the cycle repeated itself in possible. But here I am, proof in the flesh. I was quickly dispatched when perhaps the only modular thinking I will ever want to dispel the whole ‘music-maths’ myth introduced the dreaded GST and I had to work understand. once and for all. Please let me qualify this out what 10 percent was. Don’t even tell me

When iPhones came in, I further - I am good at the maths in music, if about carbon tax. “surrendered even the most “ one considers metre and rhythmic subdivision In desperation, I consulted my friend, the radio menial mathematical tasks.. mathematical. I ultimately regard everything in announcer and mathematician extraordinaire music as musical. Maybe that’s just the problem Adam Spencer. Adam’s brain is perhaps wired In desperation, my parents sent me to my - the negative association with the word in exactly the opposite way to mine, which grandmother who did her damndest. I’m not maths. The very hemisphere of my brain that is why we have become firm friends. I asked sure how many lessons I received but the begins to throb whenever I am doing Sudoku Adam whether my complete inability to count verdict was grim. A pervasively patient, giving (or even bingo) is not even in use when I am anything was unusual. He replied that some of woman with an unusually progressive mind dissecting John Adams. the very greatest mathematical academics he for her generation, she nevertheless conveyed “ had encountered were dreadful at ‘real world’ to my folks that I had a “mathematical It felt good to be maths but could reason abstractly at a level disability”. This judgement sealed my fate and “told I was a genius.. that very few could understand. It buoyed my I never tried again. When iPhones came in, I spirits. Is music such a form of maths, up there promptly surrendered even the most menial When I was about nine years old, a gentleman with quantum physics and infinity theory and mathematical tasks and my neocortex went doing his PhD in the relationship between dark matter? The mind boggles. In any case, I into early retirement. Ask anybody who has maths and music tested me. He placed me must give up. [Editor] Lizzie Herbert has given toured with me. Money, CDs, hotel bills - before a machine that emitted hundreds of me a commission of 800 words per article and hopeless. And yet - give me the most obtuse, robotic beeps. My job was to identify when I would hate to think that I am in breach. Thank convoluted piece of contemporary music and I the ‘pattern’ changed. The results showed that God for the word-count function. will devour it like a hyena. Why is this? That’s an I had an exceptional ability in both maths and - Simon Tedeschi answer for a neurologist, perhaps. music. I swear to God that on this very day I Music FM 102.5 3

fine ASHKENAZY: “LUCKY ME” THE MYSTERY OF MUSIC

Robert Clark seeks enlightenment but finds apartment. Ashkenazy is notoriously punctual You can’t evaluate what“ there are more questions than answers in and apologises profusely; I’m not bothered in “happens when you conduct. maestro Vladimir Ashkenazy’s spiritual realm. the least. It’s a mystery.. If you talk to any classical music fan in Sydney, With Sydney’s glistening harbour as our I can understand why this no-nonsense, all-in I’d wager they feel a sense of good fortune that backdrop, it’s very evident that Ashkenazy feels approach to music must appeal to Ashkenazy. Vladimir Ashkenazy has been at the helm of right at home here (“good climate, wonderful Watching him conduct the orchestra, I see the Sydney Symphony Orchestra for the past nature” he says). But musically speaking, he nothing cerebral about his performance - just five years. But to the internationally cherished, confesses that working with the musicians of sheer, joyous immersion. With furrowed brow multiple Grammy Award-winning pianist and the Sydney Symphony reminds him of quite and eyes clamped shut, he seems to react to conductor, the luck is all his. “When they asked a different climate indeed. “I feel like I’m in the music as much as direct it. I tell him of my me to be their principal conductor I thought, London,” he says thoughtfully, “there’s a very impression and he again gives a disarmingly well, ‘lucky me,’” he says, smiling as we sit down humble response. “That’s a fantastic to chat. similar attitude to music; a very thorough preparation, it’s terrific. There’s an absolute compliment!” he chirps with a broad grin. Yes that’s right, lucky him. I was taken aback devotion to what they do, without any show Spurred on by this I ask him to go on and define by such a humble statement coming from about it. Just: ‘we’re musicians, we must learn his approach to conducting, but of course, such the Russian maestro, but then again, as I sit it well, we must express it, that’s what we’re a cold dissection would be impossible. “I don’t comfortably in his serviced apartment at here for.’” He adds that he is fond of what he know. You can’t evaluate what happens when Circular Quay, such humility seems on par with calls the “British mentality to life in general” you conduct. It’s a mystery.” As famous for his warm hospitality. He had graciously invited because, to him, British musicians possess a anecdotes as he is for punctuality, Ashkenazy me in after a mix-up with the time of the certain stoic dedication that resonates with his illustrates his point in the form of a story. interview. We had rescheduled our meeting own work ethic. “I find that they don’t make “Once I had a meeting with Bernard Haitink, one of the greatest conductors, he’s a good and moved it to a cafe at the entrance to his too much fuss about anything, and yet inside friend. It was a long time ago because it was building, but he felt bad about the delay and them they know what is important and they the first time I was conducting Beethoven’s thought we’d be more comfortable in his own just do it.” Ninth, and I thought, I’ll ask him for a lesson.

Vladimir Ashkenazy. Photo - Keith Saunders

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fine So, why do we like certain composers more and colleague, Ashkenazy is not at all reticent. than others? I ask, with perhaps a touch of “He’s a fantastic player,” he says with a jolt. desperation as my list of prepared questions “We always joke about ‘Pinky’. Pinky doesn’t suddenly appears inept. He responds with an need to practice, he just takes the violin and avuncular tone: “Well again, you can’t describe it plays by itself; he’s a born violinist! It’s like it’s why some music is on a higher spiritual level in his system, it’s all there.” “Pinky” will join his than others. And we know when they reach wife Amanda Forsyth for the Brahms Double that level and it’s worth performing, but Concerto in Ashkenazy’s final concert for the we can’t describe it.” Mercifully, Ashkenazy year, with the last work on the program being indulges me and describes the Lemminkäinen Sibelius’ Symphony No. 5. Suite as “a wonderful piece” that he treats as a symphony given its four-movement structure Fear not though, it certainly won’t be the last and extended length. Kullervo for him is a rare time we see Vladimir Ashkenazy fronting the gem, not often performed due to its early Sydney Symphony. “They’ve asked me to come place in Sibelius’ oeuvre but still attractive in back every year, which I don’t mind at all” he

its own right. says reassuringly. “It’s my fortune that I have

such a great orchestra.” There we go again, his I don’t describe music, “ fortune indeed. - Robert Clark “ that’s my principle www.sydneysymphony.com

Britten’s War Requiem in November is a concert Ashkenazy is clearly also looking Dina Kuznetsova. forward to. “It is one of my favourite pieces He opened the score and said, ‘ok well here by him. I think it’s one of his most expressive” it’s in four and here it’s in three...’ but he didn’t he says enthusiastically. He is also particularly give me anything! ‘Here’s the clarinet solo and proud of the soloists that the orchestra has here’s...’ Then I said, ‘but how do you do it?’ and procured for the event. Russian soprano Dina he said, ‘no idea.’ So, what was the point of the Kuznetsova, British tenor Andrew Staples, and lesson, you know? You can’t explain what you German baritone Dietrich Henschel will grace do - it’s your work but you can’t explain things.” the stage in keeping with Britten’s wishes to

have a singer from each of the three countries It’s my fortune that“ represented. “ I have such a great orchestra. Ashkenazy will also be conducting many more of his favourite works this year, as a way of Certain that any more detail about his technique celebrating his five years with the orchestra. would not be forthcoming, I swiftly move on Legends By The Sea will also include Debussy’s to discuss the Sydney Symphony’s 2013 season, La Mer and Mélisande’s Song from Fauré’s and in particular two programs in February that Pelléas et Mélisande featuring Jacqueline feature Sibelius: The Lemminkäinen Suite in its Porter, and A Finnish Epic will also feature Legends By The Sea program, and Kullervo in the Ravel’s Piano Concerto for the Left Hand with concert entitled A Finnish Epic. His fondness for French pianist Jean-Efflam Bavouzet. He will Sibelius is well known, so I ask what it is about then return in May to conduct Beethoven’s that composer’s music that he loves so much. Pastoral Symphony, and in a concert entitled Again it seems I’m asking an impossible question. Ashkenazy’s Favourites, he will conduct the “Well you see I don’t describe music, that’s Fantasy Overture from Tchaikovsky’s Romeo my principle, and I can’t tell you why I like his and Juliet, R. Strauss’ Oboe Concerto, and music. Basically I think, I hope, that I understand Walton’s Symphony No.1. what he wanted to say.” After a pause, he follows with a line that seems destined to be Only four days after the War Requiem, he will carved in gold somewhere: “Nobody who has return to conduct Mahler’s Symphony No. 5 and any understanding of what music is about will the Bruch Violin Concerto featuring none other describe anything about music.” than Pinchas Zukerman. Of his long-time friend Andrew Staples. Photo - Richard Ecclestone Music FM 102.5 5

fine CORRALLING THE MASSES A MAMMOTH MUSICAL JOURNEY

As one of the most popular composers of our time, Eric Whitacre is solely responsible for the worldwide hit of his Virtual Choir, a phenomenon receiving millions of views on YouTube. In the Opera House, not only will the choir sing his Lux Aurumque, Five Hebrew Love Songs, The Seal Lullaby and Cloudburst, Whitacre will personally be here to conduct the concert in the Opera House. “Eric has a small choir (VOX) and a large choir, the big full-throated choir of the Symphony Chorus to work with in the Opera House.”

...risky stuff is what the Brett Weymark. “Sydney Philharmonia Choirs“ Barry Walmsley interviews the Sydney is often more of an escape, a solitary activity does so well… Philharmonia’s Brett Weymark and finds a – almost a withdrawal. And this is where live Another engaging concert idea in Weymark’s deep thinker who is willing to take risks. performance is so crucial; it brings us together.” plans will be Tracing Time, the program that will present choral transcriptions of orchestral Every one of Weymark’s concerts has After 10 years at the helm of the Sydney and chamber pieces, along with classic pop something to impact its audiences, from the Philharmonia Choirs, Music Director Brett songs from the last four decades. Weymark is looking forward to another full modernity of Eric Whitacre in Light and Gold, year of exciting and challenging choral music to Opera’s Triple Threat (a birthday party for It might sound like risky stuff, but this is what for Sydney audiences. Verdi, Wagner and Britten). the Sydney Philharmonia Choirs does so well – bringing together great repertoire, sometimes With fifteen concerts scheduled for 2013, the In Whitacre’s music, audiences are brought in new settings (both musical and spacial) to Sydney Philharmonia Choirs will take audiences together by his haunting sounds, and the give audiences a really memorable event in on a mammoth journey of musical styles, wondrous relationship between text and music. which they feel totally immersed.

ranging from the late Baroque through to Cole In the words of a London critic, “Whitacre is

that rare thing, a modern composer, who is both Porter and modern pop. It’s about what Weymark refers to as the “ popular and original.” (The Daily Telegraph) ..music reunites us..with our Performance Triangle: the powerful relationship “ society and ourselves. “We’re incredibly thrilled to be bringing out Eric between composer, performers and audience. Whitacre. Choirs seem to love singing his music. Knowing whether the right combinations are Sitting down with Brett Weymark immediately He’s also a very good conductor. He is one of the achieved is always a risk, but Weymark takes his following his last concert for 2012, he spoke few composers who’s looking at choral music in lead from two of the finest musicians. about his philosophy in directing the choirs this new electronic age with the virtual choir. (Symphony Chorus, Chamber Singers, Festival We’re really lucky to be bringing him out. It’s a “Anthony Rowley (from The Consort of Chorus and VOX). Revealing himself as a deep real coup for our company,” said Weymark. Musicke) has said ‘Music exists in the universe,

you are just acting as a conduit.’”

thinker, Weymark’s musical intent is to reach ..Whitacre is one of out to people right across the spectrum. “ the“ most popular composers So for Weymark it is about removing himself “In a growing age of disconnection, music of our time.. from the equation. reunites us, in a way that no other activity does Of course, such coups don’t just happen, and “Music happens best when it’s not about you. – with our society and ourselves,” said Weymark. this is where the imagination and planning skills of Weymark and his team come to the fore. It’s a wonderfully liberating force to remove “The unprecedented availability of music of all yourself from the music – this came to me from kinds is one of the privileges of our time. But “It came about over coffee in a Los Angeles café Simon Rattle on his recent tour of Tokyo, when this has changed music for us: listening to music some three years ago. We’ve kept in contact he said that if it suddenly becomes about you, ever since and the planets have aligned.” you’re then in crisis,” said Weymark. 6 Music FM 102.5

fine step out of the way and let the music really come alive.

Not only do audiences have a huge range of music from which to choose, there is also diversity in performance spaces, from the Opera House and City Recital Hall, Angel Place, but also to The Concourse, and venturing also into western Sydney with selected performances at Riverside Theatres (Parramatta) and the Performing Arts Centre (Penrith). Reaching out to more people will no longer be a lofty aim. With the choirs’ move into Western Sydney, it will be a reality.

There is a burning need “to communicate the great“ Tracing Time. Photo – Lisa Tomasetti themes of life.. The programming for Sydney audiences is and work with Brett Weymark to prepare the Probably the most ambitious program would about getting the right mix of music that will music (in German) over one weekend. For all be the Architecture of Sound concert, to be challenge, surprise and inspire. who join for this one-off event, it is a landmark held at The Carriageworks. This venture will life experience. explore choral music in ways that takes its lead In Remember Me: A Garland of Music, the from the space itself. Bach and Purcell will mix symbolism of flowers is carried through in Another opportunity for people to join singing with other supremely spiritual offerings from music such as Britten’s Five Flower Songs, Ross with the Sydney Philharmonia Choirs will be the Gorecki and Schultz, and the world premiere Edwards’ Flower Songs, and Mealor’s Now December performances of Handel’s Messiah. of Lyle Chan’s Chaconne (a Bach inspired work). Sleeps the Crimson Petal. One inspiration As it was originally premiered in Dublin with for Benjamin Britten was Henry Purcell, and proceeds going to charitable causes, so with It will be a thrilling year both for the Sydney in this concert, Dido and Aeneas will also be these performances the proceeds will be shared Philharmonia Choirs and its audiences. Don’t performed with Fiona Campbell and a period with The Children’s Hospital at Westmead. miss out on these performances, as there instrument ensemble. Members of the public can simply register to is something for everyone. In the words of sing Messiah, and no audition is required. Brett Weymark: “ There is a burning need to And of course, there is the wonderful communicate the great themes of life through partnership with the Sydney Symphony Getting the right music for the venue, then the the special blend of voices, that only a great Orchestra in six concerts. Vladimir Ashkenazy right music for the choirs, allows Weymark to choir can provide.” – Barry Walmsley will conduct the choir in Sibelius’ Kullervo (A Finnish Epic), and Britten’s War Requiem, whilst the incoming Chief Conductor, David Robertson will conduct Wagner’s The Flying Dutchman and Verdi’s Requiem.

Other celebrated conductors will work with the choir in performances of Orff’s Carmina Burana, and Howard Shore’s The Lord of the

Rings: The Return of the King. ChorusOz..a landmark “ “ life experience… The German Requiem by Brahms will see ChorusOz perform. This is a choir that is made up of people from all over Australia and even from overseas. Choristers register to participate Architecture of Sound. Photo – Lisa Tomasetti Music FM 102.5 7

fine UN BALLO IN MASCHERA BIRTH OF AN OPERA

Julie Andrews said it best. “Let’s start at the very But first a definition of La Fura dels Baus and the King and his Count with all the other names beginning,” she sang. And it really is a very good their unusual name. Literally it means ‘The Ferret remaining the same. They have also updated place to start because the A, B, Cs of anything from Els Baus’ - a title which is lost in translation the era and the conditions the protagonists starts with the germ of an idea. Lyndon Terracini, but ‘Dels Baus’ is the toponym from two of the find themselves in. The production is now set Artistic Director of Opera Australia had that germ founders’ birthplaces. That’s what Wikipedia in “the near future or it could be the present” echoing through his brain roughly around the tells me and who am I to argue? They were according to Valentina, “and based on George middle of 2010. “I spoke to Alex Ollé from La Fura founded in 1979 as a street theatre company but Orwell’s vision of 1984. The set is designed to dels Baus about producing an opera in Brisbane have gone on to produce countless theatrical look dull and grey and we hope to give back to originally but it didn’t work out. We then put the events including the opening ceremony of Ballo the original atmosphere that was lost in

production of Ballo into the OA schedule for the 1992 Barcelona Olympics. Remember the the censored version.” In trying to portray the

the 2013 Verdi celebrations, the cast was chosen flaming arrow that set the Olympic torch alight? days of fascism and Stalinist Russia the locals and I went out and secured other opera houses “ are dressed in drab costumes, each sporting

as partners and now there are four of them who Their approach to staging individual numbers.

contribute a substantial amount of money making “ Ballo is quite innovative it cheaper for us to produce the opera.” Ulrica’s den is ‘..cold “ But before I start on that let’s try and recapture “ and grey.. like an That idea soon blossomed and in the next 1000 how the opera was born. Adolf Hitler bunker.’ or so words I’ll attempt to describe how the threads from many disparate ideas and many When Verdi decided in 1857 to compose an Taryn Fiebig is very up-beat about the designs creative forces coalesced to become one well- opera based on Scribe’s libretto Gustave III ou and the sets. “The staging is amazing. It oiled new production of Un Ballo in Maschera le bal masque based on the assassination of consists of one room which is continuously (hereafter called Ballo for short). During our King Gustavus III of Sweden (1746-1792), he soon being added to or taken away. We were shown travels you’ll hear from Terracini, from Alex Ollé, ran into trouble with the Italian censors. They a computerised version of the set when we (or his charming assistant Valentina Carrasco to insisted on all kinds of alterations and Verdi arrived for our first rehearsal in early December be exact because her English is far better than finished off by changing the locale to Boston, in Melbourne. It is multi-levelled with platforms my Catalan) from conductor Andrea Molino Massachusetts and altering the king’s name to emerging out of nowhere, ceilings flying up (whose English is far better than my Italian) and Richard, Earl of Warwick and his assassinator, and down and it is all stark and sterile. It’s the from cello-playing soprano Taryn Fiebig who Count Anckarstroem, to Renato. Fast forward kind of set that shows up the absolute power sings the vital role of Oscar (whose Western to 2012 and La Fura have reverted to the of the king and that corruption is rife. Except Australian is far better than my English). original Verdi locale and the original names for for the intimate moments, we always wear a

A Masked Ball

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fine