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Parsifal Victorian Opera Presents

Parsifal Victorian Opera Presents

RICHARD VICTORIAN PRESENTS

PRESENTING PARTNER PARSIFAL

STAGE DEDICATION FESTIVAL PLAY (BÜHNENWEIHFESTSPIEL) IN THREE ACTS

Composer and Librettist

Conductor Richard Mills AM Director Roger Hodgman Set Designer Richard Roberts Costume Designer Christina Smith Lighting Designer Matt Scott Associate Conductor Daniel Carter Assistant Director Brock Roberts Choreographer Elizabeth Hill-Cooper

CAST Parsifal Burkhard Fritz Kundry Gurnemanz Peter Rose Amfortas James Roser Klingsor* Derek Welton Teddy Tahu Rhodes Grail Knights Squires Stephen Marsh, Timothy Reynolds Georgia Wilkinson, Shakira Dugan, Flower Maidens Carlos E. Bárcenas, Paul Biencourt Kathryn Radcliffe, Rebecca Rashleigh, The Voice from Above Emily Uhlrich, Georgia Wilkinson, Heather Fletcher Shakira Dugan, Juel Riggall

Australian Youth Orchestra (AYO)

20, 22 and 24 FEBRUARY 2019 Palais Theatre, St Kilda

Original premiere 26 July 1882, Festival Approximate timings: Act One 105 minutes / Dinner Break 90 minutes / Act Two 65 minutes / Interval 20 minutes / Act Three 75 minutes Finishing time: 10:25pm (weekdays) / 8:55pm (Sunday) Sung in German with English surtitles

In the rehearsal room: James Roser (Amfortas) *The Richard Wagner Society Inc (Vic) is supporting the role of Klingsor

3 PRODUCTION ORCHESTRA

PRODUCTION TEAM CELLO HORN Caleb Wong Principal Timothy Allen-Ankins Principal Production Manager Eduard Inglés Caleb Murray Oscar Schmidt Deputy Production Manager Peter Darby Hamish Jamieson Sunga Lee Michael Gibson Christian Fisalli Stage Manager Felicity Hollingbery VIOLIN 1 Mason Stanton Gemma Lawton Deputy Stage Manager Liam Murray Annabelle Traves Concertmaster Nick McManus Leanne McGowan Tess Hickey Assistant Stage Manager Carli Griffin Sophie Spencer Principal Jasmine Baric Joe Kelly Alfred Carslake Grace Wu MUSIC STAFF DOUBLE Laura Jones Emily Beauchamp David Barlow Principal Music and Chorus Preparation Richard Mills, Phoebe Briggs, Phillipa Safey Sola Hughes Monty Wain Marcus Michelsen Jarrod Callaghan Principal Bryn Keane CHORUS Darcy Dauth Will Kinmont Adrian Whitehall Mezzo Soprano Samantha Chiu Holly Little BASS TROMBONE Kate Amos, Eleanor Blythman, Kerrie Bolton, Lisette Bolton*, Eleanor Hill Meg McWilliams Phillip Soalheira Principal Kirilie Blythman, Saffrey Brown*, Rebecca Crabtree, Frederica Cunningham, Liam Freisberg Grace Gallur*, Alexandra Ioan, Heather Fletcher, Millie Leaver*, Lily McCann Eliza O’Connor*, Cristina Russo, Kristen Leich, Lisha Ooi*, Ursula Paez, Julian Duthoit Cassie Slater Principal Marcel Kocbek-Malepa Principal Diana Simpson, Caitlin Toohey*, Belinda Paterson, Anna Plotka, Rachel Kim Megan Barbetti Kyla-Rae Ashworth Nicole Wallace, Barbara Zavros Elizabeth Potter* VIOLIN 2 Thomas Robertson Principal Phoebe Masel Principal Huon Bourne Blue Bass Scarlett Gallery Callum Hogan Principal Jonathon Bam, Paul Batey, Darcy Carroll, Nicholas Christie*, Runa Murase Alexandra Allan PERCUSSION Ryan Bentley*, Ernst Ens, Nick Cowall, James Emerson*, Clare Cooney Mikaela Sukkar Jet Kye Chong Principal Irving Dekterev, Michael Dimovski, Jerzy Kozlowski, Nathan Lay, Oliver Mann, Rebekah Hall HARP Tom Harvey, Jack Jordan*, Aidan McGartland*, Alexander Owens*, Noam Yaffe Kate Mostert Principal Isla Biffin Principal Douglas Kelly, Joshua Morton-Galea*, Alex Pokryshevsky, Kiran Rajasingam, Harry Egerton Kate Moloney Timothy Reynolds, Nathan Wright* Raphael Wong Jade Blanchard-Paterson Jordan Hall Andrew Fong Principal BANDA – TRUMPET *In association with the Faculty of Fine Arts and Music, University of Melbourne Robyn Blann Claudia Jelic Matthew Carter Victorian Opera Youth Chorus Ensemble (VOYCE) Georgina Chan Clare Fox Darcy O’Malley Molly Kennedy-Moore Prepared by Angus Grant BANDA – TROMBONE Jessica Gregory William Clarke, Georgia Costa, Mia Costanzo, Maia Hanrahan, Olivia Harrison, VIOLA Jarrad Linke Principal Gregory Bennett Georgia Harrison, Oscar Harwood, Hayley Jobson, Tiernan Maclaren, Saskia Mascitti, Kate Worley Principal Hayasa Tanaka Harrison Steele-Holmes Annabella Merakis, Zac Mistri, Chloe Taylor, Anushka Tiwari, Emilie Washington, Ruby Shirres Alison Wormell Principal BANDA – BASS TROMBONE Olivia White, Danielle Zuccala, Michael Zuccala Isabella Fonti Tasman Compton Kiran Samuel Phoebe Gilbert Nicholas Zengoski ACKNOWLEDGEMENTS Ariel Postmus Victorian Opera would like to thank Jim Atkins, Sounds Solo, Norwest, Show Works, Murray Kearney Emma Morrison Principal Element Rigging, Quality Event Hire, Onsite Portables, Kent Specialised Storage, Matthew Ryan Andrew Crothers Classic Piano Carriers, BaacLight, Arts Centre Melbourne, MediaVision, Jonathan Bruhl Phaseshift Productions, Capricorn Rigging, Simons Boilers. Surtitles Courtesy of 4 5 WELCOME

Wagner’s final opera is one of our culture’s greatest treasures. It is so much more at the beginning of their lives – an than just a great opera: it takes the artform into the realms of philosophy and encounter which they will never forget, mystic visions, as well as being a profound exploration of the great questions at and a challenge which they will rise to the core of our human experience. with their usual spirit. This is a matrix where tradition is made How can we understand suffering, prodigious energy, yet the forward anew, where youth meets experience, desire, love and death? How can motion of the music is never abandoned where the transforming riches of mankind live rightly and well in the face in an oasis of temporal indulgence. We cultural heritage are manifested with of these imponderable absolutes? are in the hands and heart of the great unique energy of our company. It is with storyteller from the first note of the These questions form the basis of the great pride that I welcome you to these Prelude to the mystic afterglow of the consummate musical dramaturgy of performances. Act Three finale. Parsifal through which Wagner embarks on an epic quest, both through the These performances are at the core of individual journeys of the fascinating Victorian Opera’s mission ‘to RICHARD MILLS characters and through parallel re-imagine the potential of opera, for Artistic Director, Victorian Opera philosophical, spiritual and metaphysical everyone’. We have assembled a cast mirrors; a quest which extends their that would be admired and respected predicament forward and backwards anywhere in the world, with notable across the horizons of time, space and Australians like Derek Welton and spectrum of human experience through James Roser returning home in the the power of a unique musical and company of great international stars. poetic language. But this star power is being shared by The music creates a synthesis from our local artists: our Flower Maidens, the great German traditions of sacred Knights and Squires as well as by our music and the unique resources of chorus and the young singers from Wagner’s own complex and completely the Victorian Opera Youth Chorus individual musical style. The result Ensemble (VOYCE). Completing our of this is quite unlike anything else in outreach to developing musicians opera; the piece moves and breathes is our wonderful partnership with with an immense heartbeat which the Australian Youth Orchestra, encompasses the epic and universal our star orchestra of young musical nature of its subject matter. Its local Olympians who will encounter the In the rehearsal room: Richard Mills (Conductor) and Roger Hodgman (Director) details of musical invention have a uncompromising genius of Wagner

6 7 DIRECTOR’S NOTE

Parsifal presents fascinating challenges for directors and designers.

When I first met with Richard Roberts, represents the last part of a story – Christina Smith and Matt Scott (all the earlier parts of which are revealed valued long term collaborators) to through the evening. discuss the design, we were faced We felt that Wagner’s elaborate with the inevitable question – what descriptions of the location of the is it about? Many books have been various scenes are impractical to written on the subject (with remarkably achieve in a contemporary production different interpretations) and although and would take the focus away from the the central theme of redemption incredibly intense (almost slow motion) achieved through empathy seems clear, nature of the story telling and the as Bryan Magee writes in his terrific divine music. Wagner and Philosophy ‘there is no way that anyone can explain to anyone in The design does hint at some elements five minutes what Parsifal is about’. in the story – the already partly fractured world of the Grail community, We rejected the idea of a ‘conceptual’ its modest, devout asceticism and the production – setting the piece in contrasting, outlandish, almost inhuman some specific time or place with some world of Klingsor. implied interpretation. There have been numerous such versions including, for And we agreed to embrace stillness. example, one set in the future with images of spaceships, one placed during the Holocaust or one with the Flower ROGER HODGMAN Director Maidens in hajibs. Some of these have been wonderful, but we felt as we were slowly discovering and coming to love this remarkable piece, we wanted the audience to have the same experience. We sought to achieve this by a very simple and dynamic space that puts the focus squarely on the performers, the music and the slowly revealed story. In fact, the action of the opera really In the rehearsal room: Roger Hodgman (Director)

8 SYNOPSIS

ACT ONE his recklessness. Parsifal says he was mother using in dream. He turns to Parsifal tells Gurnemanz about his raised by his widowed mother in the find Kundry who has been transformed wanderings and how he kept the Spear In the forest, Gurnemanz, a senior Grail woods but ran away to follow a group of into a woman of beauty. She tells him undefiled through many battles. Parsifal knight, and two squires prepare for King knights. of his mother’s death and offers him learns that the knights are in a pitiful Amfortas’s bath. Amfortas is in agony a mother’s blessing, pressing her lips state now that Amfortas refuses to from a wound in his side that will not Gurnemanz suspects that Parsifal is the to his. Suddenly understanding the unveil the Grail. Without the Grail to heal. A wild, dishevelled woman called innocent fool they have been waiting significance of Amfortas’s wound, prolong his life, Titurel has died. Kundry rushes in with a balsam for for. He invites Parsifal to join the Parsifal attempts to escape. Amfortas’s pain. The squires begin to knights for their feast, stating that if he Moved by Parsifal’s remorse, torment her, but Gurnemanz defends is pure the Grail will give him food and Kundry tries to seduce him again. She Gurnemanz realises that he is the one Kundry’s loyalty to the knights. drink. reveals that she is cursed to walk the for whom the Grail knights have been earth eternally because she laughed at waiting. Kundry washes his feet and Gurnemanz tells of how Amfortas’s At the gathering, Titurel orders Christ during his crucifixion. Parsifal Gurnemanz anoints him as the new Grail wound was inflicted by the sorcerer Amfortas to uncover the Grail so that rejects her a second time and Kundry king. As his first duty, Parsifal baptises Klingsor using the Sacred Spear. The his life might be prolonged another calls for help. Klingsor appears with the Kundry. Spear and the were originally day. Amfortas hesitates, as doing so will Spear and hurls it at Parsifal, but the entrusted to Titurel, Amfortas’s father, reopen his wound, but he relents and Spear stops, suspended above Parsifal’s Together they proceed to the Grail Hall. who formed the brotherhood of unveils the Grail. Angered at the lack head. Parsifal grabs the spear and makes Knights enter carrying Titurel’s coffin. knights to protect the relics. Klingsor, of reaction from Parsifal, Gurnemanz is the sign of the cross with it, causing The knights demand that Amfortas a former knight rejected from the convinced that Parsifal is simply a fool the castle to collapse and the garden to unveil the Grail, but he resists and brotherhood despite having castrated and throws him out of the hall. vanish. begs them to kill him. Parsifal steps himself to prove his chastity, created a forward and places the tip of the spear garden of bliss to lure the knights into ACT TWO ACT THREE on Amfortas’s wound, miraculously damnation. After Amfortas assumed curing him. The Grail glows brightly. From his castle, Klingsor spots Parsifal Years later, it is Good Friday morning. the kingship, he tried to defeat Klingsor Kundry sinks lifeless to the ground approaching and summons Kundry to Gurnemanz is now a hermit and Kundry, but was distracted by the lures of a as Gurnemanz and Amfortas kneel in bring about the youth’s destruction. a penitent woman. An unknown figure beautiful woman, allowing Klingsor to respect, and Parsifal offers the Grail’s She cries out for death and Klingsor wearing black approaches. Gurnemanz seize the Spear. As Amfortas prayed blessing to the knights. tells her that only the one who resists berates him for being dressed in such for salvation a prophesy told him to her can set her free. a way on a holy day. He removes his await ‘an innocent fool, enlightened by helmet and they recognise him as the compassion.’ Parsifal enters Klingsor’s magic garden where a group of Flower Maidens boy who killed the swan. Gurnemanz Suddenly, a swan is shot out of the sky throw themselves at him, inviting sees that Parsifal is carrying the Spear by the youth Parsifal, who is brought him to play with them. Parsifal hears and rejoices that he is alive to see its before Gurnemanz and rebuked for his name, which he remembers his return.

10 11 BIOGRAPHIES

RICHARD MILLS ROGER HODGMAN RICHARD ROBERTS CHRISTINA SMITH MATT SCOTT DANIEL CARTER Conductor Director Set Designer Costume Designer Lighting Designer Associate Conductor Richard is one of Roger has directed well over Richard’s designs include: Christina has worked Matt is one of Australia’s Recently appointed Australia’s most prolific a hundred plays, musicals Cunning Little Vixen, Nixon extensively as a set and leading lighting designers Kapellmeister at the and internationally and in Australia and in China, , costume designer over the with 23 years experience in Deutsche Oper, Berlin, recognised composers. He internationally as well as Baroque Triple Bill, The last 20 years, designing the industry designing more Daniel Carter has been pursues a diverse career many hours of television Marriage of Figaro; The for companies including than 200 productions for Kapellmeister at Theater as a composer, conductor drama. Coronation Of Poppea, Don Victorian Opera, New Theatre, Opera, Dance and Freiburg since 2015. During and artistic director, Giovanni (Victorian Opera); Zealand Opera, Seattle Music Theatre. He returns this time his conducted He was Artistic Director and has an extensive , Don Pasquale, The Opera, State Opera of to Victorian Opera having repertoire includes The Tales discography of orchestral of MTC for twelve years. of Hoffmann, Katja Kabanova, Magic Flute, South Australia, Opera previously lit Banquet of works including his own He has won Green Room La Bohème, Angels in America (Opera Australia); Queensland, Melbourne Secrets, Voyage to the Moon, compositions. He has held Awards for Best Director of (Eötvös), Love Life (also Rigoletto (New Zealand Theatre Company, The Flying Dutchman, Nixon numerous prestigious a Play, Musical and Opera for Bern Opera), Eugene Opera); Ruddigore (Opera Malthouse Theatre, Playbox, in China, Baroque Triple Bill, posts, and received many (for The Flying Dutchman). Onegin, Die Fledermaus, Queensland). Dance: Black Swan State Theatre Turn of the Screw, Xerxes scholarships, fellowships He has a Helpmann Award Pelleas and Melisande, Don Requiem, Molto Vivace, Company, Queensland and Orphee et Eurydice and awards including for Best Director (Music Giovanni, Hulda (Franck),and Raymonda (The Australian Theatre Company, The for the Company. Other an AM in 1999. He is Theatre) and numerous numerous symphonic Ballet); La Sylphide (WA Production Company, more recent work includes currently Artistic Director nominations for both Ballet); La Fille mal gardée programs. Daniel has also Belvoir, Sydney Theatre The Lady in the Van, The made his debuts at Cologne of Victorian Opera, and awards. (WA Ballet/Queensland was Artistic Director of Company, Bell Shakespeare, Architect (MTC); The Opera (La Bohème), and Ballet). Theatre: The Season West Australian Opera Operas include Cenerentola WA Ballet and Australian Dance of Death (Belvoir); with the Chamber (Sydney Festival); Fiddler 1997 – 2012, Director and Rigoletto for Opera Ballet. Recent productions A Gentleman’s Guide to Orchestra and the Academy on the Roof (TML); Death of the Australian Music Queensland, Lakme, for Victorian Opera include Love and Murder (The of the Bavarian Radio of a Salesman, Noises Off, Project for the Tasmanian Rigoletto and Don Pasquale Voyage to the Moon, Production Company) and Orchestra. ’s Much Ado About Nothing Symphony Orchestra for Opera Australia and Banquet of Secrets, and The Pearlfishers (SOSA). assistant and repetiteur at (Queensland Theatre); Last 2002 – 2008 and Musica for Victorian Opera: Xerxes The Flying Dutchman (set). Hamburg State Opera from Man Standing, Solomon and Viva’s Composer of (also NZ Opera), Baroque Christina is also currently 2013 - 2015, Daniel has also Marion, Next to Normal, the Year in 2008. This Triple Bill, Nixon in China a Performance Design conducted for Victorian The Gift (MTC); True West, year Richard conducts (Green Room Award for lecturer at the Victorian Opera, Opera Australia, the Australia Day (STC); The Victorian Opera’s Best Producton), The Flying College of the Arts. Sydney and Queensland

BIOGRAPHIES Caucasian Chalk Circle, Parsifal, The Barber of Dutchman and Banquet of Symphony Orchestras and (Black Swan); The Sapphires Seville and Heroic Bel Secrets. the AYO. 12 Canto. (Belvoir). 13

BURKHARD FRITZ KATARINA DALAYMAN PETER ROSE JAMES ROSER DEREK WELTON TEDDY TAHU RHODES Parsifal Kundry Gurnemanz Amfortas Klingsor Titurel Hamburg born Heldentenor With a reputation for strong, Born in Canterbury UK, James Roser Hailed as a major Wagnerian Teddy has performed in Burkhard Fritz has been a dramatic interpretations Peter Rose is a regular guest initially began a career voice of the future, bass- major houses throughout fest member of the Berlin married with impeccable at the world’s greatest as an environmental baritone Derek Welton the USA and Europe State Opera and has musicianship, Swedish opera houses including the scientist, having completed has been a soloist at the including San Francisco, worked as a freelance artist soprano Katarina Dalayman New a Bachelor of Advanced since New York, Hamburg, Paris, since 2010. has sustained a long and York; Covent Garden; La Science in Sydney, before 2015, with roles including Vienna, Welsh National Klingsor, Wotan/Das Opera and Scottish Opera His repertoire includes: prestigious international Scala Milan; Vienna; Paris; commencing his musical Rheingold, Prus/Makropulos companies. Florestan (), Bacchus career in the dramatic Rome; Barcelona; Berlin and studies. He has performed Case, Mr Flint/Billy Budd, (Ariadne auf Naxos), Kaiser repertoire. the Salzburg and Bayreuth in operatic roles including Roles include: Escamillo Saint-Bris/Les Huguenots. (Die Frau ohne Schatten), Festivals. Rigoletto, Beckmesser (Hamburg, Paris, Munich, Dalayman has performed Guest engagements Max (Der Freischütz), (Die Meistersinger von Bilbao, Metropolitan a wide range of roles His enormous repertoire include Pandolfe/ , Parsifal, Stolzing Nürnberg), Gunther Opera, OA), Don Giovanni including Isolde (Tristan und includes Daland, King Cendrillon (Lyric Opera (Die Meistersinger von (Götterdämmerung), Wotan (OA, WA Opera), Scarpia Isolde), Marie (), Marke, Basilio, Banquo, of Chicago), Reimann’s Nürnberg), Paul (Die tote (WA Opera), Emille de bec/ Lisa (Queen of Spades), (), Papageno Lear (Salzburg Festival), Stadt), (Siegfried), Philip II, Boris, Prince South Pacific (OA) , King of Ariadne (Ariadne auf Naxos), (Die Zauberflöte), Don Heerrufer/Lohengrin Don José (Carmen), Faust Gremin, Leporello, Zaccaria, Siam/The King Giovanni, Il Conte (Le (Semperoper ), (La damnation de Faust), Katarina Ismailova (Lady La Roche, Claggart and and I (OA), Méphistophélès Nozze di Figaro), Guglielmo Escamillo (Hamburg State Hoffmann (Les contes Macbeth of Mtsensk) and Falstaff. Engagements this (OA, SOSA, WA Opera), (Cosi fan tutte), Escamillo Opera), Mozart’s Figaro d’Hoffmann) Pinkerton the title role of season include Baron Ochs Sweeney Todd (Victorian (Carmen), Owen Wingrave, (). As Klingsor, (), and Salome. With a strong Der Rosenkavalier at Wiener Opera/NZO), Melcthal/ Peter (Hänsel und Gretel), Welton has also appeared Cavaradossi (), Alvaro association to Wagner’s Staatsoper and Dresden William Tell, Lorenzo/ I Johann (Werther), Mr. at the (La Forza Del Destino). Brünnhilde, Dalayman has Semperoper, Osmin Die Capuleti e i Montecchi Gobineau (The Medium), and will début shortly at Fritz has appeared at appeared in Ring cycles at Entführung aus dem Serail, (Victorian Opera). Melchior (Amahl and the . Salzburg and Bayreuth The Metropolitan Opera, Gorjančikov From the the Night Visitors), Der Recent concert highlights Teddy has been awarded Festivals, Scala di Milano, Opéra National de Paris, House of the Dead for the include Martinů’s Epic an , two Helpmann Amsterdam, State Opera Wiener and Bayerische Feenkönig and Harald (Die Bayerische Staatsoper and of Gilgamesh (Czech Awards, a Limelight Award, Munich, State Opera staatsopers, Teatro alla Feen), with the Wiener Arkel Pelléas et Mélisande for Philharmonic), A Child of Our a Green Room Award plus a Vienna, La Monnaie in Staatsoper, Staatstheater Scala, and Deutsche Oper Dutch National Opera. Time (Leipzig Gewandhaus), MO Award. Brussels, Teatro Real Cottbus, Tiroler Festspiele Berlin. Kundry in Parsifal St Matthew Passion in Madrid, Lyric Opera Erl and Opera Australia. In 2018 Teddy released his is an other celebrated role (Rotterdam Philharmonic), Chicago, Opera Leipzig, CD, I’ll Walk Beside You with that she has interpreted in and Bruckner’s Mass in F Frankfurt Opera, ABC Classics. New York, Paris, Dresden minor (BBC Proms). Semperoper Dresden, BIOGRAPHIES and . State Opera Hamburg. The Richard Wagner Society Inc (Vic) is supporting the role of Klingsor. 14 15 IN DEPTH

Wisdom Through Compassion

Durch Mitleid wissend - ‘Enlightened tranquil scene of reawakened nature through compassion’ was the motto with the world’s ‘new beginning’ theme of Parsifal almost from its achieved through Christ’s sacrifice on conception. This Stage Dedication the cross on Good Friday. His mind Festival Play, as Richard Wagner called went back to Wolfram’s poem with its it, is his most subtle and many-layered references to Good Friday, and the work and the product of a lifetime’s juxtaposition of these ideas provided reading and reflection. the spark that ignited his imagination. Where to begin? Actually, there were In the earliest legends, the Grail was two beginnings. The first occurred in neither a chalice nor the cup of the 1845 when the composer was taking Last Supper. Those associations came a rest cure at the spa at Marienbad later. In Chrétien de Troyes’s poem in Bohemia and immersed himself of about 1180, the Grail was a serving in ’s early bowl; in Wolfram’s version it was a thirteenth century romance magic stone fallen from heaven. Even (as the name was originally spelt). before the Grail was given its Christian The immediate result was a ‘Romantic gloss by poets like Robert de Boron in Opera in Three Acts’ about Lohengrin, the twelfth century, it was described Parzival’s son. Wagner was unsure if, as possessing miraculous powers, or how, he could use other aspects of including the ability to provide all Wolfram’s poem and, some years later, kinds of food and drink and to extend he briefly considered introducing the the lives of those who gazed upon it. character Parzival into the third act of What we see in the Grail Temple in Act . Two of Parsifal is not a service of Holy Communion but an adaptation of these The second beginning for Parsifal medieval legends. occurred on a spring day in 1857. The exiled Wagner and his first wife Minna There were other important influences had moved to the estate of Otto and too. The philosophy of Arthur on the outskirts Schopenhauer and the teachings and of Zürich. Wagner associated the legends of Indian religions loomed large In the rehearsal room: Derek Welton (Klingsor) and Katarina Dalayman (Kundry)

17 during the creation of Parsifal, as they of occidental and oriental legends did with Tristan und Isolde and much of and teachings is an extraordinary idea, . Schopenhauer but Wagner saw no conflict at all. He described compassion as the source identified many common elements in of morality, renunciation as the only Christian and Buddhist thought, and authentic act of free will, and our world saw a role for art in revealing truths of phenomena as illusory. These ideas that may have become obscured by had much in common with the ancient formalised religion. religions of India which Schopenhauer These many strands endow Parsifal admired and to which Wagner was with dense layers of meaning and a drawn after the mid-1850s. symbolism that is distinct from that In May 1856 Wagner drafted a sketch of Lohengrin. But its central theme, for a music drama to be called Die once identified, is straightforward: Sieger (The Victors) which dealt with Human salvation is to be found not in an event in the legendary life of the the satisfaction of selfish desires but in Buddha, one of whose titles is Jina compassion. The ‘innocent fool’ Parsifal (The Victor). His victory was over is made wise by his willingness to share human passions. was never the sufferings of others and, in the developed beyond a sketch but some process, he brings a new type of order of its ideas ended up in Parsifal: to the community of the Grail. The torment of unsatisfiable desire (Amfortas’s wound that never heals), redemption flowing from compassion PETER BASSETT (the ‘innocent fool’s’ awakening to Writer and Speaker on Richard Wagner Amfortas’s plight), and the implications of withholding compassion (Kundry’s interminable reincarnations after she had laughed at the crucified Christ). To these we can add the ephemeral ‘magic garden’ of an oriental Paradise, attempts to obstruct Parsifal’s path to enlightenment (the temptations of Klingsor’s Flower Maidens), and the need to show compassion towards all living creatures (the incident of the shooting of the swan). The blending

18 ABOUT US

Reimagining the potential of opera, for everyone.

A national leader and state icon, We employ hundreds of people across Victorian Opera is one of the most the creative industries, recruit some of celebrated opera companies in the finest singers from Australia and Australia. Recognised for its unique around the world, and collaborate with voice and contribution to the Australia’s leading companies, venues country’s operatic landscape, Victorian and learning institutions. Opera becomes an Australian Major We regularly tour Victoria with Performing Arts Company from 2019. community, family and concert We are committed to presenting productions and, in 2017, began an creative opera accessible to everyone, ongoing commitment to staging opera and evolving the art form in daring in Tasmania. ways. Whether commissioning new The next generation of talent is operas or reimagining century-old developed from the ground up through works for new generations, we believe the Victorian Opera Youth Chorus opera-making is a continuous process, Ensemble (VOYCE) and our innovative and with each production we are Access All Areas: Livestream Program. excited by the opportunity to bring something entirely new. Victorian Opera inspires eclectic audiences with an imaginative approach Victorian Opera is at the forefront to opera, and we invite you to join us. of creating opera in Australia. We premiere at least one new Australian Visit victorianopera.com.au to discover work each year and have staged 22 new more about the company through works since the company formed in podcasts, videos and blogs. 2005. From opera diehards to first-timers,

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In the rehearsal room: Burkhard Fritz (Parsifal) © Photography: Charlie Kinross pp 2, 7, 9, 16, 20

21 OUR TEAM

FOUNDING MUSIC DIRECTOR Media and Communications Executive Richard Gill AO Scott Whinfield CRM and Ticketing Executive VICTORIAN OPERA BOARD Nichole O’Duffy Chairman Genevieve Overell Roger Box, Vivienne Corcoran, Siobhan DEVELOPMENT Lenihan, Selina Lightfoot, Stephen Development Manager Louise O’Loughlin McIntyre, Grant Powell, Penny Stragalinos, Development Coordinator Rhylla Mitchell Anna Pitt (Board Observer) SEASON STAFF EXECUTIVE Head Mechanist Mark Bradford Artistic Director Dr Richard Mills AM Rehearsal Head Mechanist and Props Executive Producer and Artistic Associate Adam Brunskill (Acting CEO) Elizabeth Hill-Cooper Head Electrician Harrison Cope ARTISTIC, ENGAGEMENT & PRODUCTION Sound Technician John Warrington Head of Music Phoebe Briggs Costume Supervisor Isaac Lummis Repetiteur Phillipa Safey Head of Wigs and Makeup Linda Cowell Company Manager Luke Hales Surtitle Operator Timothy Mallis Assistant Company Manager Props Maker Tim Wells Candice MacAllister Mechanists Nathan Burmeister, Education OfficerIoanna Salmanidis Kelsey Henderson Production Manager Eduard Inglés Dome Operators Evan Anderson, Technical and Operations Coordinator Stephanie Morel Peter Darby Gentleman’s Cutter and Tailor Production and Music Coordinator Susan Skinner Carlos E. Bárcenas Ladies Cutter Tristan Seebohm VOYCE Director Angus Grant Cutter Alice Swing FINANCE & ADMINISTRATION Costumiers Jo Foley, Madeleine Somers, Finance and HR Manager John Orr Elizabeth Maisey, Melinda Brodie Finance Assistant Claire Voumard Wardrobe Buyer Debra Hallam Office AdministratorSilvana Vaxelaire Wardrobe Art Finishing Billy Heinemann Millinery Phillip Rhodes MARKETING & TICKETING Dressers Juliet Bennie, Natalie Gillis, Marketing, Media and Sales Manager Justine Haselton, Amy Masterson Henri Marron Specialty Makeup Wade Tuck Marketing Content Producer Beata Bowes Wigs and Makeup Emily Griffiths, Simon Zanker

22 THANK YOU

ARTISTIC DIRECTOR’S CIRCLE ($10 000+) Richard Laslett & Colin Gunther Prof John Rickard Jane Kunstler Rob & Caroline Clemente Peter Lovell & Michael Jan Phillip & Sue Schudmak Jocelyn & Andrew McLeish John & Diana Frew Ian Merrylees John & Thea Scott Jill Page OAM & Roy Page Jane Hemstritch Tomasz & Elzbeita Romanowski Dush Shan Dr Fay Pearl Suzanne Kirkham Ian Baker & Cheryl Saunders James Syme Greg J Reinhardt Peter & Anne Laver John & Elisabeth Schiller Andrea Tappe Ralph & Ruth Renard Siobhan Lenihan Craig D’Alton & Peter Sherlock Prof Hugh Taylor AC & Dr Elizabeth Dax AM Dr Nigel Simpson Simone Lourey Lynne Sherwood Chris & Helen Trueman Michael Smith & Sonia Fuenteseca Hans & Petra Henkell Lady Southey AC Liz & Peter Turner Neil Twist Don & Angela Mercer Penny Stragalinos David Valentine Caroline Vaillant Maureen Wheeler AO & Tony Wheeler AO Diana and Ian Watts OAM & Rex Swanson The Hon Heidi Victoria Dr John & Elizabeth Wright-Smith Secret Admirers (3) Igor Zambelli & Jenny Lee Catherine Walter AM Secret Admirers (6) Ken & Merle Morris PLATINUM PATRON ($5 000+) SILVER PATRONS ($1 000+) BRONZE PATRONS ($500+) BEQUESTS Beth Brown & Tom Bruce AM Beatrice & Richard Donkin Alan Chuck & Wendy Hughes Chuck Dr M Elizabeth Douglas Judith Augustine Jenny Anderson Peter & Jenny Hordern Dr Helen M Ferguson Russell Waters & Marissa Barter-Waters G Bawden & L de Kievit Kaye Marion Bill Fleming Prof Richard Bearman Lesley Bawden Ruth & Tom O’Dea Brian Goddard Laurie Bebbington & Elizabeth O’Keeffe Frank & Danielle Chamberlin Grant Powell & Sally McCutchan Nance Grant AM MBE & Ian Harris Kirsty A Bennett Richard Laslett & Colin Gunther Michael Rigg & Gerard Condon AM Hartmut & Ruth Hofmann Nancy Bomford Jane Kunstler Marian & Ken Scarlett OAM Dr Alastair Jackson AM Box Family Tony Wildman & Robert Gibbs Joy Selby Smith Simon L Jackson & Brian Warburton Stuart Brown Secret Admirers (3) Greg Shalit & Miriam Faine David Joseph Anthony Buzzard & Dr Pamela Craig Rosemary & Dr Alan Tait Graham McCallum & Mary Kehoe Pam Caldwell If you are interested in becoming a The Hon Rod Kemp & Daniele Kemp Caroline Travers OAM & Richard Travers Victorian Opera Patron, or having a Alun & Patricia Kenwood OAM confidential discussion about leaving a GOLD PATRONS ($2 500+) Angela & Richard Kirsner Seonaid Alexander gift to Victorian Opera in your Will, please Joanna Baevski John Landy AC & Lynne Landy Prof Dennis Altman AM contact Louise O’Loughlin, Development The Hon David Byrne Prof Kathy Laster Jenny Anderson Manager on (03) 9001 6405 or email Vivienne & Dr Richard Reed Paul & Glenys Lejins Lesley Bawden [email protected] Earl of Wilton Dr Anne Lierse Ines & Dr Donald Behrend Bob Garlick Douglas & Rosemary Meagher Philip Benjamin & Sandy Benjamin OAM John & Gaye Garlary Ann Miller Stephen & Maura Best Current at time of printing. Dr Jennifer George & Canon Matthew Gillian Montgomery Ms Shirley Breese Williams Professor Kerry Murphy Susan Brownrigg Mary-Jane Gething & Joseph Sambrook Greg Noonan Dr Jennifer Coghlan-Bell & A/Prof Simon Bell Daniel Goodfellow & Matthew Burgess Anna Pang Brian & Kaye Dempster Murray Gordon & Lisa Norton Jillian Pappas & George Pappas AO Dennis Freeman Linda Herd Jane Patrick & Robert Evans Angela Kayser Dr Garry Joslin & Prof. Dimity Reed AM Keith Chivers & Ronald Peel Irene Kearsey PATRONS Ian Kennedy AM & Dr Sandra Hacker AO

24 25 of Wagner’s Tristan and Isolde at Musicians will be joined by inspirational ABOUT THE AUSTRALIAN the Queensland Music Festival. The Polish conductor, Krzysztof Urbański orchestra has also presented concert and renowned performers Jan performances in prestigious concert Lisiecki and Daniel Müller-Schott YOUTH ORCHESTRA halls in Australia and overseas, working for an ambitious month of music alongside soloists of international making, culminating with a triumphant The Australian Youth Orchestra to performance and development acclaim including Joshua Bell, Hélène homecoming concert at the Sydney (AYO) has a reputation for being one opportunities that will enable them to Grimaud, Ray Chen and William Barton; . 2019 marks the 40th of the world’s most prestigious and launch a multi-faceted career. and performing under the baton anniversary of the 1979 tour, when AYO innovative training organisations for AYO has committed itself to improving of celebrated conductors such as became the first Australian orchestra young musicians. AYO occupies a the quality of music education in Vladimir Ashkenazy, Simone Young and to visit China. AYO has continued to special place in the musical culture of classrooms around Australia. To meet Christoph Eschenbach. establish itself as a cultural ambassador Australia, where one generation of on the world stage since its first tour in this need, the National Music Teacher In July 2019, the Australian Youth brilliant musicians inspires the next, 1970. Mentoring Program was launched in Orchestra will embark on an where aspiring musicians get a taste of 2014 by distinguished music educator international tour to Europe and China. life as professional musicians, and where the late Richard Gill AO under the like-minded individuals from all over auspices of the AYO, and continues to the country gather for intense periods support classroom teachers in building to learn from each other, study and their skills and confidence in teaching perform. music. The AYO training pathway has been AYO’s flagship ensemble, the Australian created to nurture the musical Youth Orchestra, undertakes two development of Australia’s finest young seasons per year. Aged up to 25 years, instrumentalists across metropolitan orchestra members are selected and regional Australia: from the through a highly competitive annual emerging, gifted, school-aged student, audition process and represent the to those on the verge of a professional country’s best young musical talent. career. AYO presents tailored training and performance programs each year Critically acclaimed appearances for aspiring musicians, composers, arts include performances of Wagner’s administrators and music journalists The Flying Dutchman with Victorian aged 12 to 30. Graduates of AYO’s Opera, Britten’s opera Peter Grimes training programs have the opportunity with West Australian Opera at the Perth to take part in Momentum Ensemble, a International Arts Festival, the award project designed to provide outstanding winning Beethoven cycle conducted by young performers on the cusp of John Nelson at the Adelaide Festival their professional career with access Centre, and a concert performance

26 27 FOR LEASE 499 Ballarat Road Sunshine OUR PARTNERS

We acknowledge and thank our partners who make our work possible.

Government Partners

Foundation Partner University Partner Awards

*Approx

*Approx 1165m2* OFFICE ACCOMMODATION Trusts and Foundations Major Partners AVAILABLE 2019

– Highly flexible floor plan For further information please contact: – Ample car parking Conrad Green 0417 406 811 – Melbourne Fringe [email protected] – Strategic location on major arterial road – Public transport within easy walking distance Official Partners Media Partners – 20 minutes from Melbourne Airport 499Ballaratroad.com.au – 4.5 star NABERS energy rating

Supply Partners

Established in 1980, Henkell Brothers manages a variety of commercial properties comprising of high profile office, retail and showroom spaces in Melbourne CBD, city fringes and surrounding suburbs. We operate on the principles of sustainability, reliability and transparency and our clients value our experience, our competence and our personal care. Performance Partners

203 Victoria Parade, Fitzroy VIC 3065 | T. +61 3 9417 4144 | henkell.com.au

Official Partner of Victorian Opera 29 UPCOMING EVENTS

3 Talks by Richard Mills Fun and fact-filled explorations of opera Join Victorian Opera’s Artistic Director Richard Mills for three fascinating evenings exploring the heritage of the tenor voice, the orchestra in opera and the social history of opera. 1, 15 and 22 March 2019 | Victorian Opera, Hemstritch Studio

Alice Through the Opera Glass A marvellous adventure for the whole family

Peer into the magic looking glass and come on a fantastical journey through opera’s most memorable music with Alice and the White Rabbit. The perfect introduction to opera for ages 6+. 14 and 15 June 2019 | Arts Centre Melbourne, Playhouse

A Little Night Music The most musical of musicals Musical theatre lovers rejoice - Sondheim is back! Nancye Hayes, Ali McGregor, Simon Gleeson and Samuel Dundas star in one of Sondheim’s most beloved and sophisticated musicals. 27 June – 6 July 2019 | Arts Centre Melbourne, Playhouse

Heroic SEASON 2019 The best of Bellini, Donizetti and Rossini Celebrate the inimitable art of bel canto with superstars Jessica SUBSCRIPTIONS CLOSE Pratt and Daniela Barcellona. Experience an evening of vocal prowess with famous , duets and ensembles. ON 4 MARCH 2019. 14 July 2019 | Arts Centre Melbourne, Hamer Hall BOOK NOW TO UNLOCK YOUR FULL SUBSCRIBER BENEFITS AND SAVE UP TO 30%. 30 victorianopera.com.au

SHARE YOUR THOUGHTS We’d love to know what you thought of Parsifal. Visit www.culturecounts.cc/s/parsifalopera to complete a short survey.

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