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Home , Ossia, The Barber of Seville, Warwick Fyfe

GIOACHINO ROSSINI THE BARBER OF PRESENTING PARTNER

VICTORIAN PRESENTS

SEMI-STAGED CONCERT IN TWO ACTS

Composer Librettist

Conductor Richard Mills AM Director Elizabeth Hill-Cooper Costume Realisation Kate Glenn-Smith Lighting Designer Peter Darby Associate Director Laura Hansford

CAST Count Almaviva Brenton Spiteri Doctor Bartolo Warwick Fyfe Rosina Chiara Amarù Figaro José Carbó Don Basilio Paolo Pecchioli Fiorello / Ambrogio Stephen Marsh Berta Kathryn Radcliffe Officer Darcy Carroll

Orchestra Victoria

12, 14 DECEMBER 2019 Melbourne Recital Centre, Elisabeth Murdoch Hall

Original premiere 20 February 1816, Teatro Argentina, Rome Approximate timings: Act One 85 mins / Interval 20 mins / Act Two 65 mins Sung in Italian with English José Carbó (Figaro) 3 PRODUCTION ORCHESTRA

PRODUCTION TEAM CELLO BASSOON Section Principal Section Principal Production Manager Eduard Inglés Melissa Chominsky Lucinda Cran Stage Manager Laura Hansford Associate Principal Associate Principal Diane Froomes Matthew Ockenden ≠ Sarah Cuming Principal Contrabassoon MUSIC STAFF Philippa Gardner Timothy Murray Yi Wang * Tania Hardy-Smith Principal Repetiteur and Continuo Phoebe Briggs HORN DEPUTY CONCERTMASTER Andrea Taylor § Section Principal Repetiteur Phillipa Safey Roger Jonsson § DOUBLE Jasen Moulton Erica Kennedy * Section Principal Chair supported by Mr Robert Albert AO RFD RD and Mrs Elizabeth Albert ENSEMBLE VIOLIN Stuart Riley Principal Third Principal 1st Violin Chair supported by Don and Angela Mercer Linda Hewett Yi Wang Associate Principal Sydney Braunfeld § Principal 2nd Violin Carlos E. Bárcenas Kylie Davies + Monica Naselow Robert Shirley + Alastair Cooper-Golec Matthew Thorne Associate Principal 1st Violin TRUMPET Michael Dimovski Tomomi Brennan § FLUTE Section Principal Associate Principal 1st Violin Douglas Kelly Section Principal Mark Fitzpatrick Erica Kennedy Lisa-Maree Amos Associate Principal Rebecca Adler Chair supported by Peter Griffin AM Bass / Anthony Pope Binny Baik and Terry Swann TIMPANI Darcy Carroll Alyssa Conrau ** Associate Principal Karen Schofield § Section Principal Rachel Gamer Stephen Coutts Rebecca Johnson ++ Guy du Blêt Matthew Hassall ** Chair supported by Igor and Jenny Oliver Mann Rachael Hunt OBOE Zambelli with Libby and Jim Cousins AO Section Principal Kiran Rajasingam Philip Nixon PERCUSSION Joshua de Graaf * John Noble Section Principal Principal Cor Anglais ACKOWLEDGEMENTS Chris Ruiter Mathew Levy Lucy Warren Dafydd Camp Chair supported by Ms Linda Herd Associate Principal Surtitles courtesy of Tony Zhai Scott Weatherson + Stephanie Dixon + VIOLA CLARINET Section Principal Section Principal Paul McMillan Paul Champion Associate Principal Associate Principal Nadine Delbridge * * Acting Justin Beere § ** Acting Associate Principal Jason Bunn § Chair supported by Susan and Leith § On Leave Catherine Bishop Campbell + Guest Musician ++ Guest Associate Principal Cora Teeuwen + Lloyd Van’t Hoff + ≠ Courtesy of Opera Australia Orchestra

4 5 WELCOME DIRECTOR’S NOTE

When Rossini revealed The Barber of Seville to the world in Rome in 1816, he gave It is with great pleasure that we welcome you to Victorian Opera’s final audiences not only a great night in the theatre, but also a great essay on the power presentation for 2019, The Barber of Seville. This work has so much to offer – great of love and its capacity to change lives. tunes, comic characters, a farcical storyline, and some fabulous singing and orchestral playing. The opera does not require elaborate and exotic settings – its meaning, its dramatic process and its sparkling joy live in the music, so a production that makes The moral of the tale is ‘love conquers all’, but the journey to get there takes singing and music its focus, in the framework of a simple manifestation which some interesting turns along the way. To accompany me along this journey, I references the mobilities of commedia dell’arte has been our choice for these am ever grateful to my colleagues Laura Hansford, our Associate Director, and performances in Launceston and Melbourne. Peter Darby, our Lighting Designer. Both these individuals bring a fresh and often thought-provoking point of view to be considered. It is always a true collaboration, The wonderful Sicilian mezzo- Chiara Amarù makes her Australian debut, and in the end the results are far greater with three keen heads of ideas rather alongside another great Italian artist, basso cantante Paolo Pecchioli. They are than just one. I am indebted to their generous contributions and guidance. joined by some of our finest established and emerging singers in this repertoire: José Carbó, Warwick Fyfe and Brenton Spiteri. Stephen Marsh and Kathryn It goes without saying that without a great leader, the path can lead you anywhere! Radcliffe complete an ensemble tasked with revealing and revelling in the follies With Richard Mills, our path is very clearly defined and always interesting to tread. of the human condition: exploring the pathways of the heart given to us by a I can’t thank him enough for all his support and expertise. What a special year the composer whose unconditional love for humanity shines forth in every bar he Victorian Opera family has enjoyed. The company is lucky to have you at the helm, wrote. Mills. Enjoy. Please join us again in 2020 when we continue to demonstrate our capacity for great music, brilliant productions and the excellence of singing at the highest level. Come as you are, as we reimagine the potential of opera and music theatre, for RICHARD MILLS everyone. Artistic Director and Conductor

ELIZABETH HILL-COOPER Chief Executive Officer and Director

6 7 SYNOPSIS

ACT ONE ACT TWO Rosina is serenaded by the Count Assuming another disguise, the Count Almaviva who is disguised as Lindoro, a enters the house dressed as Don Alonso, poor student. He keeps his true identity a substitute music teacher for Rosina as secret as he wants Rosina to love him, Don Basilio is ‘unwell’. During the music unaware of his rank and wealth. Doctor lesson, Don Alonso reveals that he is Bartolo, Rosina’s guardian, plans to Lindoro. He and Rosina express their love marry her himself. for each other and make plans to escape. Figaro, former servant of the Count Bartolo decides to hasten his own and a regular employee in Bartolo’s wedding to Rosina, and orders Don residence, is enlisted to help the Count Basilio to organise a notary so that he get into the house to make contact with can marry Rosina at midnight. Bartolo Rosina. then tells Rosina that Lindoro has been deceiving her and he is acting on behalf In the meantime, Bartolo has heard that of the Count. Rosina is heartbroken and Count Almaviva is in town and, worried agrees to marry Bartolo. that he will steal Rosina away from him, moves his wedding to her to the Later that evening during a violent storm next day. Figaro learns of the Doctor’s the Count and Figaro break into Bartolo’s intentions and devises a plan. house through the balcony window. Rosina, angry that she has been deceived, The Count arrives pretending to be a confronts Lindoro. The Count reveals his drunken soldier billeted at Bartolo’s true identity, and the lovers are reunited. residence, but Bartolo sees through his Figaro urges them to escape before ploy and refuses the Count entry. The Bartolo catches them. To their horror, situation heats up and the local police they discover that Bartolo has moved the arrive to restore the peace, arresting ladder from the balcony, thwarting their the Count. Amidst the commotion, the escape. Count manages to slip Rosina a note before whispering his identity to the Don Basilio returns to the house with officers, who immediately release him. the notary who is to marry Rosina and Bartolo. After some threats and bribes, Basilio is convinced to witness the marriage of Rosina and the Count. Bartolo arrives too late, and he must admit that he has lost Rosina to the Warwick Fyfe (Doctor Bartolo) and Count Almaviva. Paolo Pecchioli (Don Basilio)

8 BIOGRAPHIES

RICHARD MILLS ELIZABETH HILL-COOPER BRENTON SPITERI Conductor Director Count Almaviva Richard is one of Australia’s Elizabeth began her career Formerly a Young Artist at most prolific and as a classical ballet dancer Opéra de Lyon, Brenton internationally recognised with West Australian Ballet. Spiteri has performed for composers. He pursues a Moving into choreography the majority of Australia’s diverse career as composer, and directing, she discovered state opera companies and conductor and artistic her love of opera. symphony orchestras. His director, with an extensive She has created or restaged roles include Tamino (The discography of orchestral productions for several Magic Flute), Almaviva (The works including his own state opera companies and Barber of Seville), Ashley compositions. He has held Opera Australia. Her credits Crowther (Fly Away Peter), numerous prestigious include: Fledermaus, The Rinuccio (Gianni Schicchi), posts, and received many Gypsy Princess, The Tales of Telemaco (The Return of scholarships, fellowships Hoffmann, My Fair Lady, The Ulysses), Ernesto (Don and awards including an AM Pirates of Penzance, Rusalka, Pasquale) and Soldato/ in 1999. Currently Artistic Lakme and . Elizabeth Mercurio (The Coronation of Director of Victorian Opera, regularly collaborates with Poppea). He recently created he was previously Artistic Stuart Maunder and Roger the title role in Oscar and Director of West Australian Kirk. Lucinda, a performance that Opera 1997–2012, Director of Joining Victorian Opera in Australian Book Review the Australian Music Project 2012, Elizabeth has directed described as ‘remarkable’. for the Tasmanian Symphony mainstage productions such He currently holds the Gwen Orchestra 2002–2008 and as Pelleas and Melisande and Catley Opera Scholarship at Musica Viva’s Composer was the company’s Executive the Guildhall School of Music of the Year in 2008. This Producer from 2014 - 2019. and Drama, and the Australia year Richard has conducted She was appointed Victorian Council’s Marten Bequest Victorian Opera’s , The Opera’s CEO in May. Travelling Scholarship for Barber of Seville and Heroic Bel Opera. Chiara Amarù (Rosina) Canto. 11 WARWICK FYFE CHIARA AMARÙ JOSÉ CARBÓ PAOLO PECCHIOLI STEPHEN MARSH KATHRYN RADCLIFFE Doctor Bartolo Rosina Figaro Don Basilio Fiorello Berta Warwick Fyfe is a Helpmann Born in 1984, Chiara Argentine-Australian Bass Paolo Pecchioli Stephen is a Victorian Winner of the 2014 Herald Award-winning singer Amarù made her debut as baritone José Carbó is started his career more Opera Emerging Artist. He Sun , Melbourne-based and is considered one of Dorabella (Così fan tutte). one of the most exciting than 25 years ago. Since currently holds a Melba Trust soprano Kathryn Radcliffe Australia’s finest . She began her collaboration operatic artists of his then, he has developed Scholarship and is part of has recently made several Recent appearances with the Rossini Opera generation; he has an international career Melbourne Opera’s Richard important débuts - Delia in include Beckmesser (Die Festival in Pesaro as performed in the leading and has sung more than Divall Emerging Artist for Opera Meistersinger von Nürnberg), Amenofi (Mosè in Egitto). houses of the world 60 leading roles in major Program. After participating Australia, The Queen in Alberich (Der Ring des Her other roles include in several Victorian Opera Nibelungen), Sancho Panza including Teatro alla Scala, theatres around the world: The Princess and the Pea Angelina () Teatro Real Madrid, Los Washington DC, Barcelona, Youth , Stephen for Victorian Opera and (Don Quichotte), Amonasro Idamante (Idomeneo), (), Geronio (Il turco Angeles Opera, Teatro Tokyo, Moscow, Dallas, made his professional Frasquita in Carmen for Isabella (L’Italiana in Algeri), in Italia) and Klingsor dell’Opera di Roma, Seattle Pittsburgh, New York, debut in the company’s the Tasmanian Symphony. Marianna (Signor Bruschino), (Parsifal) for Opera Opera and Opera Australia. Munich, Dresden, Chicago, Sleeping Beauty in 2017. For Victorian Opera, she Isaura (), Malcolm Australia, Alberich (Das Valencia, Soul, Milan, Rome, Since then he has been a has also sung First Flower (), Rosina In 2018, José toured Rheingold) for the Japan Venice, Florence, Bari and regularly featured artist with Maiden in Parsifal and (Il barbiere di Siviglia) Australia with superstar Philharmonic and Tianjin Turin. He has worked with Victorian Opera, performing Herodias/The Raven in at ROF, Sara (Roberto and sang Germont Symphony Orchestras numerous conductors roles in Hansel and Gretel, Three Tales. and Peter (Hansel and Devereux) in Florence, (La traviata) for Opera including Riccardo Chailly, Heroes and Villains, The Snow Gretel) in Singapore. Isolier () at Australia; he returned to In 2016, Kathryn worked Zubin Mehta, Riccardo Queen, Pelléas et Mélisande, 2019 appearances Teatro alla Scala, Preziosilla OA in 2019 as Sharpless for several months at the Muti, Riccardo Frizza, Parsifal, Alice Through the include Athanaël (Thaïs) (La forza del destino) at the (Madama Butterfly) and Vienna State Opera – Richard Mills, and Carlo Opera Glass, Heroic Bel and Amonasro for Verdi Festival in Parma and sang Scarpia in Opera covering a range of roles Verona. Rizzi. Canto and The Selfish Giant. Finnish National Opera, Queensland’s new such as Pamina, Fiordiligi Barone di Trombonok In 2018, Stephen was the Recent and future production of . In A repertoire in Così fan tutte, Ortlinde (Il viaggio a Reims) for winner of the ‘Melbourne engagements include 2015, José joined the roster specialist, his role credits in Die Walküre, Pousette Opera Australia and in Moscow, Così Welsh Male Choir Singer Bartolo (Il barbiere di of principal artists at The include La Cenerentola of the Year’ Competition, in Manon, Echo in Ariadne fan tutte in Rome, Fra , New (also recorded for Sony auf Naxos and The High Siviglia) for Victorian Diavolo in Palermo, a new second place recipient of Opera. Warwick was the York. For Victorian Opera, Classical), , Priestess in Aida. She made production of L’ Italiana the inaugural ‘Limestone recipient of a Helpmann he has appeared in Lucia di I Puritani, Il barbiere di her Vienna debut in a small in Algeri at , Il Coast Aria’ Competition and Award for his 2013 Lammermoor and Opera on Siviglia, Le nozze di Figaro, role in The Cunning Little barbiere di Siviglia in Parma, a finalist in the Herald Sun performance as Alberich a White Night Gala Concert. and Don Giovanni. Vixen. Palermo and Melbourne. Aria Competition. in the Melbourne Ring

BIOGRAPHIES Cycle.

12 13 IN DEPTH

Rossini for our times: Reflections on The Barber of Seville require performers of the highest of rhythmic and dynamic emphasis, technical accomplishment. The singers its capacity for flexibility and rhetoric of Rossini’s time were trained like should transfer seamlessly from the The first point to make is my firm where many characters are joined in instrumentalists – only after years of voice to the instrumental forces, and in belief that Rossini is a master for all ensemble but, even in these situations, training did they get to sing any songs turn inspire soloistic flair from the wind time. His music speaks to us today with the intention is always clear. Rossini’s at all – the pedagogy was aimed at instruments in particular contexts. Also, an immediacy that is formed by the harmony is simple, though that does forming the voice as an instrument. The the patterns of string articulation need perfect fusions of technique, inspiration not mean, in any way, simple-minded. singers were the superstars of the day, to derive their energy from the voice, and profound humanity – reaching Rather than subjective introspection, much like Hollywood actors are today. with its soft and hard consonants, its from the early 19th century to the 21st Rossini favours an objective application Impresarios like Domenico Barbaja, who beautiful and its ever-present century with a clarity and capacity for of his musical language in a vocal style was also a gambling magnate setting expressive intention, which comes, of engagement undiminished by time and formed from the classical ideals of bel up casinos front-of-house to cross- course, from the text. fashion and capable of lasting and yet canto: an instrumental perfection of the subsidise his opera business, controlled immediate vitality. How then, does voice, absolute control of legato with In all this, the conductor needs to the careers of Pasta, Malibran, Rubini, a performer prepare to recreate the the potential for achieved mobility with honour the subliminal presence of Rossini (who he brought to Naples), enduring magic of this literature for agile and focused ornamentation, plus 18th century performance practice Bellini and many others. the audiences of our time? Probably the capacity to deliver text with clarity in rhythmic shaping. Of course, the the best way forward is to reconsider and imagination. Many operas were written at breakneck editions of the Fondazione Rossini, the essence of the Rossini style and its speed – Il barbiere di Siviglia (The developed by the scholars surrounding One could observe that in Baroque origins. Barber of Seville) was composed in the famous Rossini festival in opera, gods became men through just over two weeks – and there was a Pesaro, are indispensable for serious The most important element in Rossini song; in Rossini, men can become like considerable amount of reusing already preparation – but one has to temper is the voice, and an understanding gods through song. But Rossini’s art is composed material. The to the philological elegance of these of the vocal traditions of bel canto is grounded in logic and humanity, there Il barbiere is a case in point, having editions with the practical necessities essential to good Rossini style – it is are no abstract or mythical beings – the been re-purposed from one of the and realities of contemporary good to remember that the origins closest being Alidoro in La Cenerentola Neapolitan operas, Elisabetta regina performance, and the use of modern of bel canto lie in the Baroque era (Cinderella) – rather a concentration d’Inghilterra (Elizabeth, Queen of brass and wind instruments. Rossini’s where the word was of paramount on character and human predicament England), that he wrote for Barbaja and notation only goes so far, and he wrote importance. Rossini for the most part via a musical apparatus that shares San Carlo. No matter, in Rossini’s own with great speed, adjustments have to had a very direct relationship to the some commonalities with classical words opera is about ‘voice, voice and be made – but always with faithfulness texts he worked with – it is only after ballet; both art forms having a highly more voice’. to the primacy of voice, the overall the initially clear representation of developed vocabulary of gestures Rossini style and with the application of the words is accomplished that the applied to the business of storytelling But the inspiration of the voice flows to musical common sense. composer proceeds to more elaborate and creating a supporting emotional the orchestra – its syllabic energy, its vocalisations. This is not always the case geography. Interestingly both forms sparkling variety of attack, its palette

14 15 To move on now from ‘bread and 1816 was itself revolutionary. butter’ practical questions to consider Il barbiere di Siviglia has endured in the the opera in a wider context. The affections of humanity because it unites opera’s original focus in 1816 was the worlds of the 18th century opera Count Almaviva, in fact the with something much greater – was called Almaviva, ossia L’inutile the exploration of the human soul by precauzione (Almaviva, or The Useless a composer whose love for humanity, Precaution) and composed for the in its glories and in its foibles and famous Manuel Garcia, who founded weaknesses, shines forth on every page. a dynasty of singers and teachers. Nowadays, the emphasis has shifted to Rosina. Beaumarchais’ comedy (on RICHARD MILLS which Cesare Sterbini based his Artistic Director and Conductor for Rossini) ran into difficulties with magistrates because of its exultation of the idea of marriage for love and the aristocratic bridegroom’s familiarity with the ‘low life’ of Seville. So, we have the ‘new’ or ‘modern’ characters: Rosina, Almaviva and Figaro, unconstrained by pre-French- Revolutionary aristocratic and societal conventions; and the ‘old order’: Bartolo, Basilio and Berta. Both groups are defined by the value they place on money – the secret character of the opera. For the wealthy Bartolo – as for his class and their servants (including Basilio and Berta) – marriage is the means to secure and increase a fortune. For Almaviva, a rebel, and Rosina, a fiercely independent idealist, it is the fulfilment of romantic attraction. For the cynically opportunistic Figaro it is whatever is convenient and well paid. It is well to remember that the obvious dignity accorded to love and women in

Brenton Spiteri (Count Almaviva)

16 ABOUT US

Reimagining the potential of opera, for everyone.

Based in Melbourne, Victorian Opera around the world, and collaborate with Coriole Vineyards is proud to be the official wine supply is a national leader in presenting Australia’s leading companies, venues partner of Victorian Opera. unforgettable opera experiences. As and learning institutions. The next the state opera company of Victoria, generation of talent is developed from we are committed to making creative the ground up through the Victorian Hugh and Molly Lloyd released their first wine under and accessible opera and musical Opera Youth Chorus Ensemble the Coriole label in 1969. Today Coriole Vineyards is still theatre for everyone, and evolving the (VOYCE) and our innovative Access All owned and managed by the Lloyd family. art form in adventurous ways. Areas: Livestream Program. As part of our commitment to developing the art From opera diehards to first-timers, form, we also stage opera annually in over 30,000 people experience Coriole is situated in the undulating hills of the Tasmania. our work annually through live McLaren Vale wine region - just within sight of the sea, performances and streamed events Recognised for our unique voice and and less than an hour from Adelaide. throughout Victoria. We premiere at contribution to the country’s operatic least one new Australian work each year landscape, Victorian Opera became and have staged 22 new works since the an Australian Major Performing Arts www.coriole.com company formed in 2005. company in 2019. Celebrating 50 years in 2019 While we do not have our own opera Victorian Opera inspires eclectic house, we do perform in Victoria’s best audiences with an imaginative approach theatres and concert halls, choosing to opera, and we invite you to join us. our venue to suit the scale of each Visit victorianopera.com.au to discover production and to give our audiences more about the company through the best possible experience. Some of blogs, videos and podcasts. our wonderfully characteristic venues include Arts Centre Melbourne, Palais Theatre, Melbourne Recital Centre and

The Coopers Malthouse. We employ hundreds of people across @VictorianOpera #VictorianOpera the creative industries, recruit some of the finest singers from Australia and

Photography: Nicholas Hanson pp. 2, 9, 10, 17 © Cover illustration: Julien Pacaud for Victorian Opera

19 OUR TEAM OUR PARTNERS

FOUNDING MUSIC DIRECTOR FINANCE & CORPORATE SERVICES We acknowledge and thank our partners who make our work possible. Richard Gill AO CRM and Ticketing Manager Nichole O’Duffy Government Partners VICTORIAN OPERA BOARD Finance Assistant Chairman Genevieve Overell Claire Voumard Roger Box, Vivienne Corcoran, Siobhan IT and Operations Coordinator Lenihan, Selina Lightfoot, Stephen Peter Darby McIntyre, Grant Powell, Patricia Foundation Partner University Partner Awards Stebbens, Anna Pitt (Board Observer) MARKETING Marketing Content Producer EXECUTIVE Beata Bowes Artistic Director Dr Richard Mills AM Media and Communications Executive Trusts and Foundations Major Partners Chief Executive Officer Scott Whinfield Elizabeth Hill-Cooper Graphic Designer Sharni Morter Head of Finance and Corporate Services Stephen Sweeney DEVELOPMENT Head of Development Henkell Family Fund 2 ARTISTIC, ENGAGEMENT & Ballandry (Peter Gri n Family) Fund PRODUCTION Louise O’Loughlin Gailey Lazarus Charitable Foundation Education Manager Ioanna Salmanidis Philanthropy Executive Peter Garnick Head of Music Phoebe Briggs Development Coordinator Official Partners Media Partners Rhylla Mitchell Repetiteur Phillipa Safey Office AdministratorSilvana Vaxelaire Company Manager Luke Hales

Assistant Company Manager SEASON STAFF Supply Partners Hannah Bullen Wardrobe Supervisor (Touring and Production Manager Eduard Inglés Production) Amelia Peace Deputy Production Manager Surtitle Operator Timothy Mallis Peter Darby Production and Music Coordinator Carlos E. Bárcenas VOYCE Director Angus Grant Performance Partners

20 21 THANK YOU

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PATRONS David Joseph Dennis Freeman John & Gaye Garlard The Hon Rod Kemp & Mrs Daniele Kemp Dr Irene Irvine & Prof. Iain Wallace Current at time of printing. 22 23 ORCHESTRA VICTORIA

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25 UPCOMING EVENTS

Salome SALOME Power, seduction, vengeance unveiled Prepare to be astounded and mesmerised by this horrifying yet exhilarating spectacle. Based on Oscar Wilde’s play, Strauss’ scandalous opera explores the outer limits of human nature. 22, 25, 27 February 2020 | Palais Theatre, St Kilda

Greta Bradman Talks Fascinating Friday night talks Join soprano Greta Bradman for two insightful talks as she explores fashion and relevance in music, and asks the question: ‘What makes a golden age?’ 5, 19 March 2020 | Horti Hall, Hemstritch Studio

Trivia Night: The Biggest Opera Buff(a) Think you know a few things about opera? Book a table, test your knowledge with your teammates, and win some fabulously operatic prizes at this special one-off Victorian Opera Trivia Night. 27 March 2020 | Horti Hall, Hemstritch Studio

Five Fridays in May Big Sing and cabaret evenings 22, 25, 27 FEBRUARY Join the chorus and celebrate your love of singing at our Big Sing evenings. Experience music at close range, confessional and PALAIS THEATRE, ST KILDA personal, with three original cabaret shows. 1, 8, 15, 22, 29 May 2020 | Horti Hall, Hemstritch Studio TICKETS FROM $39 PRESENTING PARTNER VICTORIANOPERA.COM.AU OR 136 100

26 victorianopera.com.au

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