DOCSLIB.ORG

Presenter Information Pack

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Presenter Information Pack PRESENTER INFORMATION PACK Photo by Sherbet Birdie Contents COMPANY PROFILE .......................................................................................................................... 3 ABOUT THE SHOW ........................................................................................................................... 3 CREATIVE TEAM ............................................................................................................................... 4 BIOGRAPHYS .................................................................................................................................... 4 PERFORMANCE SPECIFICS ................................................................................................................ 5 PERFORMANCE HISTORY .................................................................................................................. 5 AUDIENCE ENGAGEMENT ................................................................................................................ 5 MARKETING ..................................................................................................................................... 6 TECHNICAL RIDER ............................................................................................................................. 6 CONTACTS ....................................................................................................................................... 8 COMPANY PROFILE Cre8ion is a dynamic and energetic company specialising in producing and touring theatrical shows and events both in Australia and internationally. Theresa Famularo the founding director of the company, brings a wealth of knowledge, experience and passion for creating, producing and bringing together innovative and vibrant teams to develop a diverse range of unique productions. Cre8ion has produced, developed and managed major events including Vivid Sydney, Advance Queensland Innovation & Investment Summit and Startup Festival, World AIDS Day, World Malaria Day, the Helpmann Awards and the 100 Mile Challenge. Cre8ion has produced the national tours of Amanece Tour from Argentinean- singer Barbara Luna (music), Dirty Pretty Songs and Songs to Self-Destruct to… with Virginia Gay (cabaret), The Fabulous Frances Faye in Australia with Nick Christo (cabaret), Double Exposure featuring comedians Paul “Flacco” Livingston and Marty Murphy (comedy) and Flacco & Sandman Live featuring Paul Livingston and Steve Abbott (comedy), Random Musical by John Thorn (theatre for youth), The 7 Sopranos (operatic concert), Treasures (classical concert) and the international tours of Fluff – A Story of Lost Toys (theatre for youth) to U.S.A, Canada, Hong Kong & UK, The 7 Sopranos (operatic concert) to Dubai, Abu Dhabi, Hong Kong, China & New Zealand, Treasures (classical concert) to France. Cre8ion continues to produce a number of independent productions including Fluff: A Story of Lost Toys devised and performed by Christine Johnston, Lisa O’Neill & Peter Nelson (theatre for youth), Random Musical by John Thorn (theatre for youth), The 7 Sopranos (operatic concert), Treasures (classical concert) and is proud to be producing the new work of The 7 Sopranos – Songs from Stage and Screen. ABOUT THE SHOW Take a step back in time to 1956. Think nylons, record players and eye poppin’ lipstick. It was the year when Marilyn Monroe sizzled in Gentlemen Prefer Blondes and families gathered around the wireless for their news and entertainment each night. Radio broadcasters predict that television will be the death of radio. For five years the voices of Australia’s favorite radio show have seduced audiences across Australia every Saturday night. With gorgeous harmonies and perfect arrangements from acclaimed composers such as Rodgers & Hammerstein, Gershwin, and Mancini the sopranos have captured the hearts of a nation. Our stars, The 7 Sopranos must transform themselves from radio stars to TV stars. Will they succeed? So, channel your inner Doris Day, Marilyn Monroe or Judy Garland and let The 7 Sopranos take you on a glamorous journey though the hits of 1950’s radio and television. CREATIVE TEAM Writer & Director Tarita Botsman Musical Director Glenn Amer Choreography Joseph Simons Lighting Designer Daniel Anderson Production Designer Tarita Botsman BIOGRAPHYS Tarita Botsman Link: tarita.com.au Distinguished opera singer Tarita Botsman has a passion for delivering innovative and contemporary performing arts performances with a view to promoting a love of all music, especially classical. Formally trained and qualified through the Queensland Conservatorium of Music and the Guildhall School of Music, Tarita is the founder and creative director of The 7 Sopranos. Tarita has developed a unique skill set through opera and theatre from 24 years in the performing arts industry and in the last fifteen years has directed and performed in over 500 events and concerts worldwide; cast and auditioned hundreds of performers and written and directed performances nationally. Tarita has an active teaching studio in Brisbane and Sydney and some of her recent students have included Clarissa Spata and Zoe Drummond, both winners of the Lady Fairfax New York Opera Award and current artists with Opera Australia. Tarita regularly adjudicates competitions and vocal awards Glenn Amer Link: glennamer.com As a renowned pianist, conductor, performer and teacher, Glenn Amer is in constant demand. A voice teacher and vocal coach at the Australian Institute of Music from 1997-2004 and a current guest coach for the National Academy of Music, Glenn continues to use his extensive knowledge and skills to teach students nationally and regularly adjudicates national Eisteddfods. Glenn has worked with renowned sopranos; Rita Hunter CBE, Adele Johnson, Bernadette Cullen, Tarita Botsman and tenor - Horst Hoffman. Glenn regularly tours and accompanies Yvonne Kenny, David Hobson and The 7 Sopranos in concert. In 2014 Glenn joined Opera Australia as a pianist and conductor and continues to be in demand for coaching and teaching. Glenn has recorded albums for ABC Classics and continues to be one of the few artists to record with the Mastertouch Piano Roll Company, creating timeless pianola recordings, whilst also making acoustic cylinder recordings for the Vulcan Cylinder Record Company in the United Kingdom. Joseph Simons Link: josephsimonsdance.com Since graduating Western Australian Academy of Performing Arts (WAAPA) in 2008, Joseph Simons has become one of Australia’s busiest performers, and innovative young creators. Touring extensively throughout USA, UK, Asia and Australia, Joseph has worked for major dance companies including Chunky Move (Connected, I Like This), Lucy Guerin Inc. (Structure and Sadness, Untrained) and West Australian Ballet (soloist: Dolly, Suite No. 2). He has also been in development casts for Force Majeure, Australian Dance Theatre and DV8 Physical Theatre, London. Joseph was awarded the Tanja Liedtke Fellowship in 2013 and has since choreographed Reception: The Musical, which received two Green Room nominations before winning Best Cabaret in the 2014 Melbourne Fringe, for the West Australian Ballet (Man Alive, Self Destruct), and developed Storm for the Flying Fruit Fly Circus. Daniel Anderson Link: daniel-anderson.com Daniel Anderson is an Australian based Lighting Designer for stage, live performance, cityscapes and architecture. In 2012 Daniel was nominated for a Matilda Award for the Billie Brown Award for the Best Emerging Artist, and holds a Bachelor of Fine Arts (Technical Production) from the Queensland University of Technology. Daniel has collaborated with a range of artists over varying art forms and has created designs for Queensland Theatre Company, Red Stitch Actors Theatre, La Boite Theatre Company, Brisbane Festival, Brisbane Powerhouse, Motherboard Productions, Next-Wave Festival, Brisbane City Council, JUTE Theatre Company, Metro Arts, Black Honey Company and many more. Daniel is a professional member of the Association of Lighting Designers. PERFORMANCE SPECIFICS Duration 110 minutes (including interval) Act I 40 minutes Interval 20 minutes Act II 50 minutes Suitable Ages All ages Suitable Venues Proscenium Arch, Thrust, Black Box Touring Party 10 People 7 Artists 1 Musical Director/ Piano Player 1 Production Stage Manager 1 Company Manager/ Costume Supervisor/ Resident Director PERFORMANCE HISTORY 2017 Griffith Regional Theatre, NSW Orange Civic Theatre, NSW Dubbo Regional Theatre & Convention Centre, NSW The Art House Wyong, NSW SunPAC, QLD AUDIENCE ENGAGEMENT At the conclusion of each performance the artists always hold a ‘meet and greet’ with audiences. This allows audiences to have direct conversations with artists and vice-versa. The experience and calibre of the artists touring with this show has allowed us to propose the following workshops to venues, particularly in regional areas. Presentation, polish and style with Tarita Botsman & Glenn Amer Suitable for all amateur and professional singers Age bracket – 13 to 60 2-hour master class Capacity – 6 students This master class hones in on refining all elements of presentation for those singers who are auditioning for roles and entering singing competitions. Attendees will be required to have 2 pieces of music of differing styles learnt and provide music for use in the master class Mindset and Resilience in the Singing World with Deborah Rogers, mezzo soprano Suitable for young aspiring artists and performers Age bracket – 15 to
Load more

Recommended publications
  • Jonathan Summers B) CATEGORY: Opera Singer / Baritone C) POSITION: Freelance
    1a) NAME: Jonathan Summers b) CATEGORY: Opera singer / baritone c) POSITION: Freelance 2a) PERSONAL DETAILS: date of birth / place / country 2nd October, 1946; Melbourne; Australia b) MARITAL STATUS: date of marriage / name of spouse / number of children 29th March 1969, Melbourne Australia; Lesley; 3 children 3) PREVIOUS OCCUPATIONS: dates / occupation 1965-1974 Freelance singer/concert artist 1970-1974 Technical operator/recording engineer Australian Broadcasting Commission, Melbourne 4) EDUCATION: dates / institution / city / teacher Secondary : Melbourne; Macleod High School Tertiary : Melbourne; Prahran Technical College (Art School) 1964-1974 Melbourne; Bettine McCaughan, voice teacher 1972-1973 Melbourne;National Theatre Opera School 1974-1980 London; Otakar Kraus, voice teacher 5) PROFESSIONAL DEBUT: date / opera company / role / opera / cast Nov 1975; Kent Opera; title role in Verdi's Rigoletto; Congress Theater, Eastbourne, UK; producer: Jonathan Miller; conductor: Roger Norrington; David Hillman (Duke), Meryl Drower (Gilda), Sarah Walker (Maddalena), Malcolm King (Sparafucile) 6) EARLY CAREER WITH BRIEF RESUME: dates / opera house or company / role / opera Feb 1976; University College London Opera; title role in Macbeth (orig. 1847 version); producer: John Moody; conductor: George Badachoni Sep 1976; Glyndebourne Touring Opera; title role in Falstaff; producer: Jean-Pierre Ponnelle; conductor: Kenneth Montgomery Oct 1976; joined the Royal Opera House, Covent Garden, London, as a company principal Nov 1976; English National Opera
    [Show full text]
  • (WA Opera Society
    W.A.OPERA COMPANY (W.A. Opera Society - Forerunner) PR9290 Flyers and General 1. Faust – 14th to 23rd August; and La Boheme – 26th to 30th August. Flyer. 1969. 2. There’s a conspiracy brewing in Perth. It starts September 16th. ‘A Masked Ball’ Booklet. c1971. D 3. The bat comes to Perth on June 3. Don’t miss it. Flyer. 1971. 4. ‘The Gypsy Baron’ presented by The W.A. Opera Company – Gala Charity Premiere. Wednesday 10th May, 1972. Flyer. 5. 2 great love operas. Puccini’s ‘Madame Butterfly’ ; Rossini’s ‘The Barber of Seville’ on alternate nights. September 14-30. Flyer. 1972. D 6. ‘Rita’ by Donizetti and ‘Gallantry’ by Douglas Moore. Sept. 9th-11th, & 16th, 17th. 1p. flyer. c1976. 7. ‘Sour Angelica’ by Puccini, Invitation letter to workshop presentation. 1p..Undated. 8. Letter to members about Constitution Amendments. 2p. July 1976. 9. Notice of Extraordinary General Meeting re Constitution Change. 1p. 7 July 1976. 10. Notice of Extraordinay General Meeting – Agenda and Election Notice. 1p. July 1976. 11. Letter to Members summarising events occurring March – June 1976. 1p. July 1976. 12. Memo to Acting Interim Board of Directors re- Constitutional Developments and Confrontation Issues. 3p. July 1976. 13. Campaign letter for election of directors on to the Board. 3p. 1976. 14. Short Biographies on nominees for Board of Directors. 1p.. 1976. 15. Special Priviledge Offer. for ‘The Bear’ by William Walton and ‘William Derrincourt’ by Roger Smalley. 1p. 1977. 16. Membership Card. 1976. 17. Concession Vouchers for 1976 and 1977. 18. The Western Australian Opera Company 1980 Season.
    [Show full text]
  • Scratch Pad 77 March 2011 TARAL WAYNE :: NIALL Mcgrath & TIM TRAIN :: DITMAR (DICK JENSSEN) :: BRUCE GILLESPIE :: ABC CLASSICS Top 100 Scratch Pad 77 March 2011
    Scratch Pad 77 March 2011 TARAL WAYNE :: NIALL McGRATH & TIM TRAIN :: DITMAR (DICK JENSSEN) :: BRUCE GILLESPIE :: ABC CLASSICS Top 100 Scratch Pad 77 March 2011 Based on the non-mailing comments section of *brg* 67 and 68, a fanzine for ANZAPA (Australia and New Zealand Amateur Publishing Association) written and published by Bruce Gillespie, 5 Howard St, Greensborough VIC 3088. Phone: (03) 9435 7786. Email: [email protected]. Member fwa. Website: GillespieCochrane.com.au Contents 3 Unsolved mysteries of the hereafter — by Taral Wayne 6 The brand new Scratch Pad poetry spot — by Niall McGrath and Tim Train 9 Ditmar’s best and favourite films of 2010 — by Ditmar (Dick Jenssen) 15 Shining shores: Bruce Gillespie’s favourites 2010 — by Bruce Gillespie 36 ABC Classic 100 ten years on: 2010 — introduced by Bruce Gillespie Cover graphic — ‘Evening Phenomenon’ by Ditmar (Dick Jenssen) Cartoon p. 3: ‘Unsolved mysteries’ — by Taral Wayne 2 Unsolved mysteries of the hereafter by Taral Wayne I think some scholar, or someone who wanted to be mistaken for one, claimed that the translation from the Koran was wrong, and it wasn’t ‘seventy virgins’, but something like ‘seventy figs’, that a good Muslim could expect in Paradise, and that it only meant the blessed would be in the midst of plenty. I’m not sure I buy that. It was only 1500 years ago, and I don’t think Arabic then was so different from modern Arabic that millions of Arab Muslims make such an elementary mistake. But who knows ... maybe Allah really only did mean that the nearly arrived would be greeted with a plate of figs ..
    [Show full text]
  • Is She Dead Yet? Rehearsing La Bohéme at Opera Australia
    Is she dead yet? Rehearsing La Bohéme at Opera Australia Avi Michael Casebook submitted in partial fulfilment of the requirements of the degree of Bachelor of Arts (Honours). Department of Performance Studies University of Sydney 2009 Many thanks to my supervisors, Dr. Ian Maxwell and Dr. Amanda Card. 2 | Is she dead yet? Table of Contents Introduction ...................................................................................................................................... 4 Introduction ................................................................................................................................................. 4 Causality: My Method of Operating ...................................................................................................... 7 Context .............................................................................................................................................. 12 The Project ................................................................................................................................................. 12 My Musical Inertia ................................................................................................................................... 14 A Rehearsal Space in Surry Hills ......................................................................................................... 15 Personnel ...................................................................................................................................................
    [Show full text]
  • Alumni Recognition Ceremony & Reunion Concert
    SYDNEY CONSERVATORIUM OF MUSIC ALUMNI RECOGNITION CEREMONY & REUNION CONCERT TUESDAY 22 MARCH 2011 CONTENTS 1 COLUMN CONTENTSALUMNI RECOGNITION CEREMONY A celebration to VENUE recognise the Sydney The Great Hall, The Quadrangle The University of Sydney Conservatorium of Music’s pre-1990 RECOGNITION CEREMONY alumni as part of 2pm the University of The academic procession enters the Great Hall, Sydney family. the assembly standing March from Ode for Saint Cecilia’s Day, GF Handel Introduction by Professor Kim Walker, Dean and Principal of the Sydney Conservatorium of Music The proceedings are opened by the Chancellor, Her Excellency Professor Marie Bashir AC CVO Presentation of alumni recognition certificates Address by Dr Michael Spence, Vice-Chancellor and Principal of the University of Sydney Address by Lyndon Terracini, alumni guest speaker Closing remarks by Professor Kim Walker The academic procession retires, the assembly standing Final from the First Organ Symphony, Louis Vierne Refreshments served in the Quadrangle Organ music performed by Amy Johansen, University of Sydney Organist and Carillonist Carillon recital prior to the ceremony by Hans Hielscher, guest carillonist (Wiesbaden) Carillon recital following the ceremony by Isaac Wong, Honorary Carillonist Coaches to the Sydney Conservatorium of Music depart from the Clocktower between 4 and 4.30pm. Miss Terry Greene, opera diva, Alumni Recognition Ceremony 2010 GUEST SPEAKER LYNDON TERRACINI Diploma of Operatic Art 1973 Lyndon Terracini studied opera at the NSW State Conservatorium of Music, and made his debut as a professional singer in 1976 as Sid in Benjamin Britten’s Albert Herring with the Australian Opera at the Sydney Opera House. After moving to Italy – opera’s spiritual home – Terracini sang many of the great baritone roles in opera houses all over Europe.
    [Show full text]
  • Wagner Quarterly 135, December 2014
    WAGNER SOCIETY nsw ISSUE NO 8 CELEBRATING THE MUSIC OF RICHARD WAGNER WAGNER QUARTERLY 135 DECEMBER 2014 PRESIDENT’S REPORT Welcome to the fourth and last Quarterly for 2014. It has been a big year for your Society. Not quite as big as last year, the bicentenary, when there was a giant surge of Wagner events and performances. But we have definitely maintained the momentum. The last events of the year at the Goethe Institute and the Mosman Art Gallery were well attended, and– if the feedback I personally received is any indication–they were very much enjoyed. One of our most unusual and entertaining functions this year was given by Dr James Wierzbicki on the topic of the Ride of the Valkyries. We are privileged that he has agreed for his talk (in a version slightly edited by our Editor) to be reproduced in this issue of the Anke Höppner (soprano) with her husband baritone Barry Ryan (on her left) with Quarterly, along with a small selection of the Members Pauline Holgerson and William Brooks at Anke’s recital at Mosman Art Gallery many and varied Valkyrie images he showed. Your Society continues its membership of the Friends of Our final function of the year was a recital by Anke Höppner, Bayreuth, and this provides us with two tickets each year, accompanied by pianist David Miller, at the Mosman Art generally taking in all the operas which are performed that Gallery of Wagner-influenced songs by Alexander Zeminsky year. But this is only a small proportion of the tickets which and Arnold Schönberg.
    [Show full text]
  • Australian Youth Orchestra 2000 Perth International Festival of Arts Perth Conductor: Tadaaki Otaka
    Australian Youth Orchestra 2000 Perth International Festival of Arts Perth Conductor: Tadaaki Otaka Australian Youth Orchestra Sydney (Olympic Arts Festival), Canberra, Melbourne, Adelaide Conductor: Robert Spano Soloist: Pinchas Zukerman Australia Day Celebrations “Lighting of the Flame” Sydney Conductor: Brian Buggy Featuring: The Sing 2001 Choir Listed Orchestra: Olympic Arts Festival (Program Book Note: Principals of string sections are listed first, all other players are listed alphabetically thereafter) Violin 1 Cello French Horn Monica Grosman, Leader Gillian Pratten Carla Blackwood Rebecca Bertoncello Martin Barker Carla-Marie Brown Madeleine Boud Bronwyn Lobb Dianna Gaetjens Marianne Broadfoot Pei-Jee Ng Elizabeth Honess Wendy Cawse Pei-Sian Ng Rachel Silver Neela De Fonseka Sally Pollard Max Holzner Imogen Reeves Trumpet Jye Hong Rachael Tobin Danyelle Clem David Le Guen Penelope Witt Matthew Dempsey Kate Mumford Anthony Rees Jennen Ngiau Double Bass Quynh-Nhu Nguyen Louise Kefford Trombone Kathleen O’Hagan Charles Chatain Julian Bain Neridah Oostenbroek Sarah Clare James Campbell Jane Stanley Jacqueline Dossor Warwick Taylor Christopher Gilbert Bass Trombone Nicole Teo Stephen Newton Brett Page Ben Searl Violin 2 Evan Stevens Tuba Lerida Delbridge Alex Hurst Georgina Cameron Flute Brielle Clapson Sarah Broughton Timpani/Percussion Andrew Dias Michael Hallit Stacey Borich Belinda Gehlert Bryony MacGillivray Susannah George Robyn Sarti Jenny Winley Anthea Hetherington Oboe David Irving Rainer Gibbons Harp Emily Long Nadia Johnson
    [Show full text]
  • 660268-69 Bk Strauss EU
    660293-94 bk Wallace 30/3/10 15:32 Page 16 William Vincent Wallace 2 CDs William Vincent WALLACE Lurline Lewis • Silver Soar • Maxwell Earle • Janes Cullen • Ferris Victorian Opera Chorus and Orchestra Courtesy of the Richard Bonynge Archive Richard Bonynge 8.660293-94 16 660293-94 bk Wallace 30/3/10 15:32 Page 2 Victorian Opera is grateful to the enthusiastic singers, musicians, sponsors and subscribers who have made the William Vincent revival of this neglected music possible. The group is indebted to the following for their generous financial support: Luke & Sara Baxter of Longford; Skipton Building Society; Julie Howell; The Ida Carroll Trust; WALLACE Virgin Trains; The Friends of Wallace, Waterford; The Donizetti Society; Barbara Herd; Michael Banks; (1812-1865) Mr P. K. Berry; Robert and Beryl Farr; Derek Walsh; The Tait Memorial Trust; Bang & Olufsen, Wilmslow; The Emerson Foundation; John Wright; Revd. Tom Murray; The Evans Arts Trust; Clonmel Healthcare; Colm Gildea; Meda Health Ltd; PCO Ltd; Sainsbury’s Ltd; Sundrelle Ltd; Uniphar Ltd; Cheshire East Council. A Grand Legendary Opera in three acts Libretto by Edward Fitzball (1792-1873) New Performing Edition by Richard Bonynge Richard Bonynge and Victorian Opera wish to thank the following for their valuable assistance: Richard Burgess Rupert (a young Nobleman) . Keith Lewis, Tenor Ellis and Jeremy Silver for the immense undertaking of preparing the full score; David Grant for procuring the Guilhelm (his friend) . Paul Ferris, Tenor autograph score and providing the Overture parts; our guest soloists for their interest in taking part; Mark Wolstencroft of the Martin Harris Centre, David Fallows and Richard Whalley of the Department of Music, Rhineberg (the River King) .
    [Show full text]
  • Decca Discography
    DECCA DISCOGRAPHY >>4 GREAT BRITAIN: digital, 1979-2008 In the early 1970s the advent of Anthony Rooley, the Consort of Musicke, Emma Kirkby, Christopher Hogwood and the Academy of Ancient Music brought a fresh look at repertoire from Dowland to Purcell, Handel, Mozart and eventually Beethoven. Solti recorded with the LPO from 1972 and the National Philharmonic was booked regularly from 1974-84. Also during the 1970s the London Sinfonietta’s surveys of Schönberg and Janá ček were recorded. Ashkenazy’s second career as a conductor centred initially on London, with the Philharmonia from 1977 and the RPO from 1987. Philip Pickett’s New London Consort joined the Florilegium roster in 1985 and Argo’s new look brought in a variety of ensembles in the 1990s. But after an LPO Vaughan Williams cycle was aborted in 1997, Decca’s own UK recordings comprised little more than piano music and recital discs. Outside London, Argo recorded regularly in Cambridge and Oxford. Decca engaged the Welsh National Opera from 1980-96 and the Bournemouth Symphony from 1990-96, but otherwise made little use of regional British orchestras. By the time they raised their performing standards to an acceptable level, Chandos, Hyperion and Naxos had largely replaced the old majors in the market for orchestral sessions. >RV0 VENUES One hundred and seventy different venues were used, eighty-eight in the London area and eighty-two elsewhere in Britain, but only one in ten (those in bold ) hosted thirty or more entries, whilst seventy were only visited once. LONDON AREA ABBEY ROAD STUDIOS , St.John’s Wood, London NW8 (1931), initially restricted to EMI labels, were opened to all from 1968.
    [Show full text]
  • Young Australians Achieving Their Dreams
    OPERA FOUNDATION AUSTRALIA 2015 AWARDS AND SCHOLARSHIP Young Australians achieving their dreams VERSION @ 26TH February 2015 Opera Foundation Australia CONTENTS Opera Foundation Australia 03 MUSIC ADVISORY COUNCIL History 03 CHAIR Winners of Awards and Scholarships 05 Malcolm Batty Calendar of Events 08 MEMBERS Summary of Awards and Scholarship 09 Margaret Baker-Genovesi Dalwood-Wylie American Institute of Musical Studies Award 10 Bradley Daley Berlin New Music Opera Award 11 Anke Höppner Vienna State Opera Award 12 Lady Fairfax New York Scholarship 13 GENERAL MANAGER General Regulations & Requirements 14 Alison Cole Auditions and Finals for 2015 Awards and Scholarship 16 Awards and Scholarship Application Form 17 FUNDRAISING COMMITTEE 2015 Awards and Scholarship Application Criteria Checklist 18 Opera Foundation Society (NSW) Arias and Payment Methods 21 Funds for the Private Masterclass / Workshop which forms part of the 2015 Lady Fairfax New York Scholarship Finals Adjudication process, have kindly been donated in memory of the Late Lady Galleghan. OPERA FOUNDATION AUSTRALIA FUNDING Opera Foundation Australia is supported by the generosity of our VICE-REGAL PATRONAGE sponsors and donors throughout Australia. His Excellency General The Honourable David Hurley AC DSC (Ret’d) Governor of New South Wales, & Mrs Linda Hurley. OPERA FOUNDATION AUSTRALIA FOUNDER AND LIFE GOVERNOR ABN 91 001 265 345 Lady Fairfax AC, OBE All mail and deliveries to: Opera Foundation Australia BOARD OF DIRECTORS PO Box 566 Double Bay NSW 1360 CHAIR Enquiries only NO APPLICATIONS by fax or email Anna Cleary Phone: +61 414 383848 Email: [email protected] DIRECTORS www.operafoundationaust.org.au The Hon Bronwyn Bishop MP CAVEATS Lady Fairfax AC OBE Contents of this brochure are subject to change and amendment.
    [Show full text]
  • Concert Collection 1 - 1180
    CONCERT COLLECTION 1 - 1180 2. THE CONCERTS 297. INDEX OF WORKS 335. INDEX OF ARTISTS 364. INDEX OF LOCATIONS - 1 - 1 2 3 4 Hindemith Miaskovsky Benjamin Berlioz Chamber Music n° 5 20’ Symphony n° 1 45’ Sudden Time 15’ Harold en Italie, op. 16 43’ Chamber Music n° 4 21’ Symphony n° 27 37’ Palimpsest I 7’ Symphonie fantastique, op. 14 51’ Chamber Music n° 1 (Finale) 6’ Palimpsest II 10’ Dance Figures 15’ Beethoven Symphony n° 1, op. 21 25’ State Academy Symphony Orch. Boulez Donald McInnes, viola Roman Belyshev , conductor Notations 1, 7, 4, 3, 2 (p.) 4’ Notations 1, 7, 4, 3, 2 (orch.) 15’ Orchestre national de France Moscow Leonard Bernstein, conductor Wolfram Christ , viola Malaya Nikitskaya Studio Kolja Blacher , violin Paris Friday 25 February 2005 Pierre-Laurent Aimard , piano Théâtre des Champs-Élysées Gustav Mahler Chamber Orch. Claudio Abbado , conductor SWR Sinfonieorchester Tuesday 02 November 1976 George Benjamin , conductor Luzern Kultur- und Kongresszentrum Strasbourg Palais de la Musique et des Monday 23 August 2004 Congrès, Salle Erasme Friday 23 September 2005 - 2 - 5 6 7 8 Milhaud Bernstein Ravel Thomas La Création du Monde 16’ On the Waterfront 21’ Miroirs : Alborada del gracioso 8’ Raymond ou le Secret de la reine, Le Boeuf sur le toit 19’ West Side Story 24’ Shéhérazade 11’ ouverture 9’ Corcovado 2’ Piano Concerto in G 22’ Rachmaninov Tzigane 11’ Saint-Saëns Schumann Piano Concerto n° 3, op. 30 16’ La Valse 13’ Le Rouet d’Omphale 10’ Cello Concerto, op. 129 23’ Boléro 15’ Roussel Bloch Symphony n° 3 27’ Schelomo 22’
    [Show full text]
  • 2011 IFAC Australian Singing Competition Finals Concert Programme
    Australia’s Richest Competition For Opera & Classical Singing Featuring the Marianne Mathy Scholarship 2011 Finals Concert Opera Theatre Sydney Opera House Sunday 30 October 2011 Australian Opera & Ballet Orchestra Compere Lyndon Terracini Guest Artist Zara Barrett aussing.org.au aussing.org.au The performance of the Australian Opera & Ballet Orchestra is proudly sponsored by the International Foundation for Arts and Culture (IFAC) and its Chairman, Dr Haruhisa Handa FRONT COVER Welcome For three decades, the Competition has helped discover and provide career opportunities and funding for Dr Haruhisa Handa Bernadette Cullen many of the finest young singers in Chairman, IFAC National Adjudicator our Australasia. As world chairman of the International One of the most vital stages of any singer’s Tonight’s Finalists are no exception. Foundation for Arts and Culture, I take pride in career is to take part in singing competitions. the arts projects we support around the world. The outcome is not always important but the We are privileged to present five young For 13 years, we have been principal sponsor evolutionary journey, which these five singers singers from across Australia and New of the Australian Singing Competition and have and I, as National Adjudicator, have been on Zealand — competing for prizes and provided the opportunity for talented young since July has been an education to us all. opportunities that exceed $220,000. classical singers to perform with Australia’s Opera is the highest form of art and therefore top orchestras. requires incredible vocal expertise. Throughout In addition, each of these young voices Seeing aspiring artists go on to realise their the adjudication process, we have endeavoured has had the benefit of being interviewed potential is, for me, a real thrill and especially to look for vocal quality, technique, artistry, and heard by eminent professionals satisfying knowing that we have been potential, language skills and the ability to from the Australian and international instrumental in helping them achieve their aims.
    [Show full text]