DOCSLIB.ORG

Home Sweet Home for Siobhán Stagg

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Home Sweet Home for Siobhán Stagg Home Sweet Home for SiobhÁn Stagg 2 014 Alumni News: On the road with Opera Australia Coombe – The Melba Estate opens to the public Plus lots of Scholar News SPRING SPRING edition 11 edition Alexandra Flood performing at De Bortoli Yarra Valley Magazine of the Melba Opera Trust The Melba SPRING 2014 The Melba SPRING 2014 A Note From The Scholar Managing Director Siobhán Updates 2014 Page 2 returns to Cranlana – A Note from the Our General Manager Amy Black is Managing Director overseas – more on this in a moment Melba – About Melba Opera Trust – 2014 Melba Scholars – and thus I have the privilege Page 3 of welcoming you to this spring Scholars – Siobhán returns to Cranlana – Scholar Updates edition of The Melba. Amelia Joscelyne Memorial Scholar from Page 4 Dame Nellie Melba Scholarship While 2014 has so far provided much leading Australian arts companies – More Scholar Updates Patrick & Vivian Gordon Award 2009-2012 Siobhán Stagg, now at the outset to celebrate, sadly we also reflect are in development to create exciting – A Manic Month of Mentoring [Photograph of Jeremy Kleeman performing on the recent death of Trust Council performance opportunities in 2015 for – Melba Mentors at Mantra Jade Moffat of an exciting international career, is in Into the Woods kindly provided by member Lorraine Elliott AM. My own our young singers. Watch this space... Victorian Opera/Jeff Busby] Page 5 no stranger to the Melba Opera Trust association with Lorraine dated back And speaking of precious assets, – A Scholar’s Diary Jeremy Kleeman to her time as a parliamentarian with increasing the size of our endowment Amelia Joscelyne Memorial community. As the Melba Trust’s first – Impressions the Arts portfolio. I was struck by her is a priority second only to our remit Scholarship scholar, she was the first to experience • Performed the role of Marquis Page 6 passionate advocacy for the nobler to Dame Nellie to train young singers. D’Obiginy in La traviata for – Away with Words: Alexandra things that distinguish our species: Of course, the two objectives are Rebecca Gulinello our unique and ever-evolving program, Victorian Opera. Flood in Salzburg education, literature, music and the intimately entwined! Over the past arts in general. Lorraine was another the first to realise the Trust’s objective of • Performed the role of Rapunzel’s Page 7 12 months, the generosity of our Prince in Into the Woods for in the line of exceptional women supporters reached new heights. While feeding into international competitions, – On the Road who have featured in the history and John & Elizabeth Wright-Smith Victorian Opera. – Dame Heather Begg Award News this is a resounding vote of confidence, success of Dame Nellie Melba Opera we still have a fair way to go until Scholarship and our first scholar ‘ambassador’, • Won the Welsh Male Choir’s Page 8 Trust. our endowment is large enough to inspiring singers and other professionals Singer of the Year competition. – Home Sweet Home Brenton Spiteri fund our programs – let alone our • Has been cast in Victorian Opera’s – 2015 Audition Panel to become involved in our program. Ultimately, we judge our success by the trajectories of aspirations. 2015 productions of I puritani, Page 9 our current and former scholars. It is gratifying to Sweeney Todd and Seven Deadly The Trust is fiercely proud of its total Joseph Sambrook Opera – Heroic Singers Perform for reflect that, of the 28 singers who have participated in independence from government Sins. Heroic Tenor our program over the past 6 years, 12 are successfully funding – indeed Lorraine often Scholarship – Melba Artists: Bayside establishing themselves as international artists reminded us of the fickle nature of Currently on contract at the Deutsche opportunities are only really useful impressed! Another helpful element and Beyond Jeremy Kleeman and another 12 are professionally engaged with the public purse. As a consequence, Oper in Berlin, Siobhán was back if you are ready for them and can was the acting training. In the very Page 10 opera companies throughout Australia. Several of we are vigilant for opportunities to downunder recently to visit family deliver the goods while coping busy German opera houses, rehearsal – Coombe: An Iconic Landmark our former scholars have generously shared their grow our support base. In this regard, and friends, and for several singing with the challenges as required. As time can feel slim, so one must be well Opens to the Public experiences with the Melba community; their our spirited program of friend-raising Harold Blair Opera Scholarship engagements. Particularly special was these exciting opportunities present prepared beforehand. I often recalled stories are featured in these pages. Page 11 in Sydney is generating a promising Shauntai Batzke a reception and soirée at Cranlana, the themselves, I’m always so glad that Chuck Hudson’s sessions on character – A Melba Medal source of new patronage. magnificent Toorak mansion owned I had access to the Mentor Program. development and role preparation, not – Welcome of Ross Elliott: While the Trust’s major focus is the On another front, several individuals by Melbourne’s preeminent Myer Its intensity and scope afforded me to mention the countless voice lessons, Our Newest Director provision of elite training here in family, generously hosted by Lady countless skills which have proved master classes and coaching sessions have arranged legacies via the Melba’s Ruskin Opera Award & Mel and – De Bortoli Delights Australia, our emerging international Will Bequest Program launched 12 Southey AC. Exceptional donors to the invaluable in my first year working in the Melba Trust facilitated. I’ve always Page 12 profile is creating some exciting months ago. Please get in touch if you Nina Waters Award Melba Trust, members of our recently- the European opera world.” appreciated my involvement with – An Evening of Opera opportunities. To this end, General would like to receive information on established bequest program Melba’s Melba Opera Trust, and in my first year [Photograph of Alexandra Flood in Manager Amy Black is currently Nikki Hill Will and some new friends gathered in as a full-time professional, I feel more La Cenerentola provided by Salzburger at Stowell Park Estate how you can also help to secure the Festpiele/Dorike Van Genderen] in Europe and the UK meeting future of Dame Nellie Melba Opera the gracious music room at Cranlana grateful than ever.” on the evening of Thursday 23 July with leading opera houses to Trust. It should not be forgotten that, as Alexandra Flood gather intelligence on young artist RJ Hamer Opera Scholarship to experience a program reflecting In the meantime, we remain most Dame Nellie Melba herself always opportunities and to forge beneficial Siobhán’s recent musical journeys and believed, to succeed one must be • Sang the role of Blonde in the relationships for the Trust. Amy is also grateful to our current and past donors Alexandra Flood triumphs throughout Europe, and her Salzburg Festival young artist and sponsors – the contents of this “more than a voice”. A singer must expanding our industry networks to homecoming to Australia. take every opportunity for further production of Die Entführung recruit leading professionals to our magazine are a testament to their aus dem Serail für Kinder, and investment. Lady Southey AC warmly welcomed development, have determination Mentor Program. Margaret Schofield Opera guests with a short history of Cranlana, and resilience, and must work hard. Clorinda in La Cenerentola für Kinder. Also covered Konstanze The important associations that Amy’s Peter Garnick Scholarship & Beleura-Tallis and expressed her respect for our One anecdote Siobhán shared on this Managing Director in Die Entführung. groundwork is yielding highlight one Opera Scholarship program as the next step for singers occasion is testament to this: of the Trust’s most valuable assets: preparing to become professionals on “After recently winning the Prize of the • Performed the role of Modistin a culture of collaboration. As an Matthew Reardon the world stage. General Manager Amy International Media-Jury at the Hans in the Salzburg Festival’s new example, new alliances with several Black introduced Siobhán, highlighting Gabor Belvedere Singing Competition production of Der Rosenkavalier, her role as a Trust ‘trail-blazer’ for the in Berlin, my boss (the Operndirektor directed by Harry Kupfer and many outstanding recent achievements at the Deutsche Oper Berlin) said he conducted by Franz Welser-Möst. of our scholars and alumni, including, was proud of me, and reported to • Commences a Master of Opera among many, our 2013 Herald Sun Aria my agent at the reception afterwards degree at the Munich Hochschule and 2014 Royal Opera Covent Garden that he’d been impressed that I didn’t für Musik und Theater / successes. She also acknowledged Lady get sick once all this year. This wasn’t Bayerische Theaterakademie Southey AC’s beneficent hospitality. quite true – I’d had my normal share in October. This newsletter is printed on Sovereign Offset derived from well-managed forests and other Accompanied by 2013 Melba Trust of colds and under-the-weather days, controlled sources certified against Forest Repetiteur Scholar Amir Farid, Siobhán but I was able to recover quickly and Stewardship Council ® standards, a non-profit organisation devoted to encouraging the performed a carefully-chosen musical continue my work, without the upper responsible management of the world’s forests. selection – a balance of operatic arias, powers realising! I think that’s key – it Dame Nellie Melba Opera Trust About art song and a little jazz. Attendees isn’t about every day being perfect ABN 96 424 419 725 had the opportunity to hear her further and easy; it’s about building the Suite 501 434 St Kilda Road, Melbourne VIC 3004 Phone (03) 9867 4833 Facsimile (03) 9867 3364 vocal development, and to learn tools, coping strategies, wisdom and www.melbaoperatrust.com.au something of the “whirlwind” of the resilience to be able to cope when you that fosters international artists.
Load more

Recommended publications
  • Opera Australia's 60Th Anniversary Costume and Memorabilia
    MEDIA RELEASE Own a piece of opera history: Opera Australia’s 60th anniversary costume and memorabilia exhibition and auction Exhibition | Saturday 24 – Thursday 29 June 2017 | The Opera Centre, Surry Hills, Sydney Auction | Friday 30 June – Saturday 1 July 2017 | The Opera Centre, Surry Hills, Sydney Opera Australia is diving into sixty years of costumes, accessories, artworks and memorabilia in an anniversary exhibition at The Opera Centre. The week-long event will culminate in an auction where the public can bid for an exclusive piece of Australia’s operatic story. This is the first time Opera Australia has opened its vaults to give thousands of opera fans the opportunity to get up close to over 2,000 items costumes, accessories, artworks and memorabilia worn and inspired by their idols. Highlights of the exhibition and auction include: Costumes from Baz Luhrmann’s famous 1990 production of La Bohème Dame Kiri Te Kanawa ONZ DBE AC’s costume for the role as ‘Violetta’ in the 1978 production of La Traviata Yvonne Kenny AM’s costume for the roles of ‘Sylva Varescu’ in the 2001 production of The Gypsy Princess, ‘Hanna’ in the 2004 production of The Merry Widow and ‘Armida’ in the 1999 production of Rinaldo Sigrid Thornton’s costume for the role of Desirée in 2009 production of A Little Night Music. Dame Heather Begg DNZM OBE’s costume for the role of ‘The Countess Di Coigny’ in the 2001 production of Andrea Chénier Cheryl Barker AO’s costume for the role of ‘Lauretta’ in 2007 production of Gianni Schicchi Opera Australia CEO Craig Hassall explained the motivation behind the historic move.
    [Show full text]
  • Carmen Carmen
    CARMEN CARMEN Saturday 12 August 7.30pm Federation Concert Hall Hobart Marko Letonja Conductor Teddy Tahu Rhodes Escamillo Elena Schwarz Assistant Conductor Emma Pearson Micaëla June Tyzack Chorusmaster Shane Lowrencev Zuniga 4 SPECIAL HOBART Elizabeth Hill Staging Samuel Dundas Moralès/Le Dancaïre Ingrid Rahlén Stage Manager Kathryn Radcliffe Frasquita Phoebe Briggs Music Preparation Sally-Anne Russell Mercédès With a long and rich Elena Maximova Carmen Jonathan Abernethy Le Remendado relationship spanning Marcelo Puente Don José TSO Chorus more than a decade, The20 are proud to be Opéra comique in Four Acts by Georges Bizet to a libretto by Henri Meilhac and Ludovic Helévy, after Prosper Mérimée’s novel. First performed at the creative collaborators Opéra-Comique, Paris, 3 March 1875. with the cultural icon Act I Act III that is the Tasmanian A public square in Seville; a tobacco A rocky place near Seville at night. Symphony Orchestra. factory on the right faces a guardroom on Duration 36 mins the left with a covered gallery in front. Duration 47 mins Act IV Outside the bullring in Seville. Act II Duration 21 mins Lillas Pastia’s tavern. Duration 36 mins INTERVAL Performed in French with surtitles. Duration 20 mins This concert will end at approximately 10.30pm. Presented in association with Tasmanian Symphony Orchestra concerts are broadcast and streamed throughout Australia and around the world by ABC Classic FM. We would appreciate your cooperation the20.com.au Cover image: Elena Maximova as Carmen © ROH. Photographer Catherine Ashmore in keeping coughing to a minimum. Please ensure that your mobile phone is switched off.
    [Show full text]
  • Decca Discography
    DECCA DISCOGRAPHY >>V VIENNA, Austria, Germany, Hungary, etc. The Vienna Philharmonic was the jewel in Decca’s crown, particularly from 1956 when the engineers adopted the Sofiensaal as their favoured studio. The contract with the orchestra was secured partly by cultivating various chamber ensembles drawn from its membership. Vienna was favoured for symphonic cycles, particularly in the mid-1960s, and for German opera and operetta, including Strausses of all varieties and Solti’s “Ring” (1958-65), as well as Mackerras’s Janá ček (1976-82). Karajan recorded intermittently for Decca with the VPO from 1959-78. But apart from the New Year concerts, resumed in 2008, recording with the VPO ceased in 1998. Outside the capital there were various sessions in Salzburg from 1984-99. Germany was largely left to Decca’s partner Telefunken, though it was so overshadowed by Deutsche Grammophon and EMI Electrola that few of its products were marketed in the UK, with even those soon relegated to a cheap label. It later signed Harnoncourt and eventually became part of the competition, joining Warner Classics in 1990. Decca did venture to Bayreuth in 1951, ’53 and ’55 but wrecking tactics by Walter Legge blocked the release of several recordings for half a century. The Stuttgart Chamber Orchestra’s sessions moved from Geneva to its home town in 1963 and continued there until 1985. The exiled Philharmonia Hungarica recorded in West Germany from 1969-75. There were a few engagements with the Bavarian Radio in Munich from 1977- 82, but the first substantial contract with a German symphony orchestra did not come until 1982.
    [Show full text]
  • Sir Colin Davis Discography
    1 The Hector Berlioz Website SIR COLIN DAVIS, CH, CBE (25 September 1927 – 14 April 2013) A DISCOGRAPHY Compiled by Malcolm Walker and Brian Godfrey With special thanks to Philip Stuart © Malcolm Walker and Brian Godfrey All rights of reproduction reserved [Issue 10, 9 July 2014] 2 DDDISCOGRAPHY FORMAT Year, month and day / Recording location / Recording company (label) Soloist(s), chorus and orchestra RP: = recording producer; BE: = balance engineer Composer / Work LP: vinyl long-playing 33 rpm disc 45: vinyl 7-inch 45 rpm disc [T] = pre-recorded 7½ ips tape MC = pre-recorded stereo music cassette CD= compact disc SACD = Super Audio Compact Disc VHS = Video Cassette LD = Laser Disc DVD = Digital Versatile Disc IIINTRODUCTION This discography began as a draft for the Classical Division, Philips Records in 1980. At that time the late James Burnett was especially helpful in providing dates for the L’Oiseau-Lyre recordings that he produced. More information was obtained from additional paperwork in association with Richard Alston for his book published to celebrate the conductor’s 70 th birthday in 1997. John Hunt’s most valuable discography devoted to the Staatskapelle Dresden was again helpful. Further updating has been undertaken in addition to the generous assistance of Philip Stuart via his LSO discography which he compiled for the Orchestra’s centenary in 2004 and has kept updated. Inevitably there are a number of missing credits for producers and engineers in the earliest years as these facts no longer survive. Additionally some exact dates have not been tracked down. Contents CHRONOLOGICAL LIST OF RECORDING ACTIVITY Page 3 INDEX OF COMPOSERS / WORKS Page 125 INDEX OF SOLOISTS Page 137 Notes 1.
    [Show full text]
  • September 2017
    AUGUST - SEPTEMBER 2017 คณะกรรมการบริหารสถานีวิทยุแห่ง ประวัติรายการดนตรีคลาสสิก จุฬาลงกรณ์มหาวิทยาลัย ทีป รึกษา รายการดนตรีคลาสสิกของสถานีวิทยุจุฬาฯ ดําเนินการมา อย่างต่อเนืองเป็นเวลาเกือบ 50 ปี โดยเริมออกอากาศ ผู้ช่วยศาสตราจารย์ขวัญเรือน กิติวัฒน์ หลังจากสถานีวิทยุจุฬาฯก่อตงไั ด้ไม่นาน ประธาน (สถานีวิทยุจุฬาฯ ก่อตังเมือปี พ.ศ. 2508) ผู้ช่วยศาสตราจารย์ ดร.พิรงรอง รามสูต รองอธิการบดี ผู้จัดทํารายการในระยะแรก คือ คณาจารย์จุฬาฯ และ อาจารย์ดนตรีทีมีใจรักดนตรีคลาสสิก อาทิ ศาสตราจารย์ กรรมการ ดร.กําธร สนิทวงศ์ ณ อยุธยา ศาสตราจารย์ ไขแสง ศุขะ- ศาสตราจารย์ ดร.ปาริชาต สถาปิตานนท์ วัฒนะ ผู้ช่วยศาสตราจารย์ สมัยสารท สนิทวงศ์ ณ อาจารย์สุภาพร โพธิแก้ว อยุธยา และอาจารย์ ปิยะพันธ์ สนิทวงศ์ เป็นต้น ผู้ช่วยศาสตราจารย์ ดร.ณัฐชานนท์ โกมุทพุฒิพงศ์ อาจารย์ ดร.อลงกรณ์ ปริวุฒิพงศ์ ตังแต่ปี พ.ศ.2511 อาจารย์ ชัชวาลย์ ทาสุคนธ์ และ นางสาวอรนุช อนุศักดิเสถียร อาจารย์ สมโภช รอดบุญ ซึงเป็นเจ้าหน้าทีประจําของ นายณรงค์ สุทธิรักษ์ สถานีรับช่วงดําเนินรายการต่อมา อาจารย์ สมโภช ถึงแก่ กรรมในปี พ.ศ.2531 และทางสถานีได้ดําเนินงานต่อมา โดยได้ รับความร่วมมือจากบุคลากรผู้ทรงคุณวุฒิหลาย ท่านของจุฬาฯ จุลสารรายสองเดือน Music of the Masters เป็นของ สถานีวิทยุแห่งจุฬาลงกรณ์มหาวิทยาลัย (FM 101.5 ตังแต่ปี พ.ศ. 2533 สีส้ ม เอียมสรรพางค์ และ สดับพิณ MHz) บทความทีตีพิมพ์ในจุลสารและบทวิทยุของ รัตนเรือง รับช่วงดําเนินงานต่อมาจนถึงปัจจุบัน และตังแต่ รายการดนตรีคลาสสิกเป็นลิขสิทธิของผู้ จัดทํา ห้ามผใดู้ ปี พ.ศ.2536 เป็ นต้นมา รายการดนตรีคลาสสิกออก นําไปตีพิมพ์หรือเผยแพร่ซาในํ ทุกๆ ส่วน อากาศทุกคืน ระหว่างเวลา 21:35-23:55 น. ผ้จู ัดทํา : สดับพิณ รัตนเรือง ปลายปี พ.ศ.2538 ทางรายการเปิดรับสมัครสมาชิกราย
    [Show full text]
  • WILLIAM TELL Armando Noguera (William Tell) VICTORIAN OPERA PRESENTS WILLIAM TELL
    GIOACHINO ROSSINI WILLIAM TELL Armando Noguera (William Tell) VICTORIAN OPERA PRESENTS WILLIAM TELL Composer Gioachino Rossini Librettists V.J Etienne de Jouy and H.L.F. Bis Conductor Richard Mills AM Director Rodula Gaitanou Set and Lighting Designer Simon Corder Costume Designer Esther Marie Hayes Assistant Director Meg Deyell CAST Guillaume Tell Armando Noguera Rodolphe Paul Biencourt Arnold Melcthal Carlos E. Bárcenas Ruodi Timothy Reynolds Walter Furst Jeremy Kleeman Leuthold Jerzy Kozlowski Melcthal Teddy Tahu Rhodes Mathilde Gisela Stille Jemmy Alexandra Flood Hedwige Liane Keegan Gesler Paolo Pecchioli* Orchestra Victoria 14, 17 and 19 JULY 2018 Palais Theatre, St Kilda Original premiere 3 August 1829, Paris Opera Running Time is 3 hours and 15 minutes, including interval Sung in French with English surtitles *Paolo Pecchioli appears with the support of the Faculty of Fine Arts and Music, University of Melbourne. 3 PRODUCTION PRODUCTION TEAM Production Manager Eduard Inglés Stage Manager Marina Milankovic Deputy Stage Manager Meg Deyell Assistant Stage Manager Jessica Frost Assistant Stage Manager Luke Hales Wardrobe Supervisor Kate Glenn-Smith MUSIC STAFF Principal Repetiteur Phoebe Briggs Chorus Preparation Richard Mills, Phoebe Briggs Repetiteur Phillipa Safey CHORUS Soprano Jordan Auld*, Kirilie Blythman, Jesika Clark*, Rosie Cocklin*, Alexandra Ioan, Millie Leaver*, Rebecca Rashleigh, Diana Simpson, Emily Uhlrich, Nicole Wallace Mezzo Soprano Kerrie Bolton, Shakira Dugan, Jessie Eastwood*, Kristina Fekonja*, Hannah Kostros*,
    [Show full text]
  • President's Letter
    PRESIDENT’S LETTER February 2021 Dear Friends, Happy New Year! And welcome to our 35th year assisting the performing arts in Australia. 35th ANNIVERSARY Together, for three and a half decades, we have succeeded in honouring and strengthening Dr Seaborn’s generous and multifaceted legacy. We plan to celebrate this significant milestone with two special events - a daytime gathering (October 7th) and a Gala Fundraising Dinner (October 14th). We all hope that the COVID situation will be under control by then so that we can proceed with these events without restricting guest numbers. More details will be included in our future Newsletters. In the meantime, we have been planning a 35th Anniversary monthly WORDS & MUSIC series to be held throughout the year in our Seaborn Library. Each event will commence with morning tea at 10.30 am followed by entertainment at 11 am. Because of the early date and reduced numbers due to physical distance concerns, the first event on Feb 4th, With a Song in My Heart featuring Foundation Friend and jazz singer Evie Pikler, could not be widely publicised but will, we hope, be repeated later in the year and Friends should register their interest, by ringing Carol Martin on 99555444. On 4th March sensational young tenor Brad Cooper accompanied by Bev Kennedy will present MUSIC IN THE STRAND; on April 15th well-loved actor Peter Carroll will share some of Les Murray’s poetry arranged by John Senzcuk and on May 6th brilliant actress Sandy Gore will read from the letters of composers Alma Mahler and Clara Schumann with piano interludes provided by multi-talented singer, teacher, pianist Donna Balson.
    [Show full text]
  • Saturday 20 October 7.30Pm Federation Concert Hall Hobart Marko Letonja Elena Schwarz
    Saturday 20 October 7.30pm Federation Concert Hall Hobart Marko Letonja Elena Schwarz Opéra in Five Acts by Charles-François Gounod to a libretto by Jules Barbier and Michel Carré, after William Shakespeare’s play. First performed at the Théâtre Lyrique, Paris, 27 April 1867. Marko Letonja Conductor ACT I Elena Schwarz Assistant Conductor A masked ball at the Capulet residence. Swiss-Australian conductor Elena Schwarz June Tyzack Chorusmaster Duration 38 mins Marko Letonja is Chief Conductor Libby Hill Staging and Artistic Director of the Tasmanian was the Tasmanian Symphony Orchestra’s first Symphony Orchestra, Music Director ever Assistant Conductor in 2017 and will take Ingrid Rahlén Stage Manager ACT II of the Orchestre Philharmonique de up the position of Associate Conductor from Phoebe Briggs Music Preparation The Capulet garden by night. Strasbourg and Music Director of the the start of 2019. She is currently Assistant Jennifer Marten-Smith Répétiteur Duration 24 mins Bremen Philharmonic Orchestra from Conductor to Mikko Franck at the Orchestre Robert Pechanec Répétiteur/ the start of the 2018-19 season. Born Philharmonique de Radio France. Recent Vocal Coach ACT III in Slovenia, he studied at the Academy engagements include ‘Portrait’ concerts Brian Harris Lighting The cell of Frère Laurent; daybreak. A street in of Music in Ljubljana and the Vienna with the Orchestre Philharmonique de Radio Adriana Kučerová Juliette front of the Capulet house. Academy of Music. He was Music France (Nicolas Bacri), and the Lucerne Festival Director of the Slovenian Philharmonic Academy (Olga Neuwirth), concerts with the Duration 33 mins Pavol Breslik Roméo Orchestra from 1991 to 2003 and Music Trondheim Symphony Orchestra, Sinfonietta David Parkin Frère Laurent Director and Chief Conductor of both de Lausanne, Orchestre de Cannes and the Samuel Dundas Mercutio INTERVAL the Symphony Orchestra and the Opera 2016 Martha Argerich Festival in Lugano, Sally-Anne Russell Stéphano in Basel from 2003 to 2006.
    [Show full text]
  • HONOURING a LEGEND MASTERS at WORK RAISING an OPERA SINGER Contents Note from the General Manager
    Edition 19 Spring 2018 HONOURING A LEGEND MASTERS AT WORK RAISING AN OPERA SINGER Contents Note from the General Manager Page 2 Several years ago, we reaffirmed our approach that focuses on artistic In the meantime, I would like to take Note from the General Manager mission with the concise statement: development alongside personal this opportunity to sincerely thank ‘Inspiring excellence, realising development and the gaining of our loyal and generous supporters A Place to Call Home potential, forging careers’. For the professional skills. We recognise who help make our program Page 3 team at Melba HQ, these are the that developing potential takes time, possible. The 2018 scholars have Honouring a Treasure intentions that drive our program and our repeat scholars continue to benefited from more than 70 Reflections: The 2018 Scholars and we remain firmly focused demonstrate what can be achieved mentor sessions in addition to Paull-Anthony Keightley on preparing Australia’s most given sufficient time, expert their tailored vocal, language and exceptional young operatic talents guidance and nurturing support. stagecraft development, and we Page 4 presented 35 performances to a for professional careers on the world Our success in forging careers is variety of audiences. We rely entirely Letter from Abroad stage. probably best demonstrated on on private giving and each offer of Reflections: The 2018 Scholars page 10 of this magazine. Here We believe the key to inspiring support is enormously valuable to Cleo Lee-McGowan you will find details for our alumni excellence rests with the Mentors the organisation. Should you wish performing professionally all around Page 5 involved in our program.
    [Show full text]
  • 'The Ring in Australia' by Peter Bassett
    The RING in Australia Wagner arrived in Australia (metaphorically speaking) on 18 August 1877, one year after the first Bayreuth Festival, when Lohengrin was performed at the Prince of Wales Theatre, Melbourne by William Lyster’s Royal Italian and English Opera Company. Melbourne in those days was the largest, most prosperous and most cosmopolitan of colonial cities, courtesy of the gold rush. The 1877 opera season also included Aida which was, at the time, Verdi’s latest opera. Lohengrin on the other hand was thirty years old and had long been surpassed by Tristan, Meistersinger, and the entire Ring, and yet how avant-garde it must have seemed to those Melbourne audiences. It was sung in Italian, with the principal singers coming from Europe and the United States. The music was under the direction of Alberto Zelman who, lacking a copy of Wagner’s orchestral score, simply took a piano version and orchestrated it himself. Zelman had arrived in Australia six years earlier from Trieste via India and, although he had conducted operas in northern Italy, it seems that he had never actually seen or heard a Wagner production. On his arrival in Sydney, he had joined the Cagli-Pompei Royal Italian Opera Company and toured the Australasian colonies, eventually coming under Lyster’s management. His son, by the way – also called Alberto Zelman – founded the Melbourne Symphony Orchestra. Soon after the Lohengrin performances, a local resident Emil Sander wrote to Wagner to inform him of this noteworthy event – a fact recorded by Cosima in her diary. The entry for 21 October 1877 reads: ‘He receives a letter from a theatre director in Melbourne, according to which Lohengrin last month made its ceremonious entry there, too.’ The following day, Wagner replied to Sander as follows: My very dear Sir, I was delighted to receive your news, and cannot refrain from thanking you for it.
    [Show full text]
  • The Melba – Summer 2016
    Edition 15 Summer 2016 FROM THE SCHOLARS’ REHEARSAL ROOM LESSONS IN MAKEUP AND STYLING OUR BEST AUDITION TIPS WELCOMING BACK OUR ALUMNI Siobhán Stagg, performing in Brisbane while touring with Roberto Alagna. Photo by Joseph Byford. CONTENTS A NOTE FROM THE PAGE 2 • A Note from the Managing Director MANAGING DIRECTOR • A Change of Cast: Thanking Our Man on a Mission quantity and quality of applicants daughter Charlotte.) scholars looms large as competition are gratifying, and once again we finalists and cast members in Olivia’s exceptional skills and depth PAGE 3 have been presented with a national every Australian professional opera of experience has sustained the pool of talented singers. company. Internationally, our alumni Zoe Drummond – Winner – 2016 Lady Fairfax New York Scholarship • Melbas Conquer Sydney Trust’s momentum during Amy’s are successfully competing and Nicholas with his patrons Elizabeth and John Wright-Smith Nicolas Tolputt - Credit: WinkiPop Media The Opera Foundation for young Australians - Photograph: David Otott While this ‘changing of the guard’ absence. As the newest member of • Season’s Greetings performing on the stages of Europe, has become the norm for our scholar the management team, the fresh North America and Asia. PAGE 4-5 cohorts, this year’s annual ritual is insights that Olivia has brought to • Professional Polish : complemented by two significant the role are some of the dividends We look forward to announcing early • Etiquette and Elegance transitions in the Trust’s ‘engine of the parental leave system. in the New Year the 2017 cohort of MELBAS CONQUER SYDNEY room’. Firstly, the leadership of our Amy has recently returned and is Melba Opera Trust scholars and to • Face First governing Council is changing, as working with Olivia to complete the rolling out the program with another • A Word from the Scholars Peter Garnick Chair Rob Logie-Smith hands the transition.
    [Show full text]
  • ROBYN CATHCART: M.A. CANDIDATE in MUSICOLOGY the UNIVERSITY of VICTORIA, VICTORIA BC -The Singing School of Manuel Garcia
    ROBYNCATHCART: M.A. CANDIDATEIN MUSICOLOGY THEUNIVERSITY OF VICTORIA, VICTORIA BC -The Singing School of Manuel Garcia IZ- Supervisor: Dr. Gordana Lazarevich December 12,2003 University of Victoria PO Box 1700 STN CSC Victoria, BC V8W 2Y2 Canada Supervisor: Dr. Gordana Lazarevich A~STRACT Manuel Garcia 11 (1805-1906) is perhaps the greatest teacher of voice in history, and his approach, stated in A Complete Treatise on the Art of Singing, Parts One (1841) and Two (1847), became one of the principal methods of vocal instruction during his time. By tracing Garcia 11's methodology, based on the Italian Schools of Singing and be1 canto opera, it will become clear that his type of voice building holds many of the keys needed to unlock the voices of singers today. Analysis of Garcia II's vocal treatises, combined with first hand research conducted with faculty throughout three prominent Canadian university voice programs, will further substantiate the claim that Garcia 11 is a pivotal figure within the landscape of vocal pedagogy, also putting to rest several misconceptions (i.e. vocal onset and the coup de la glotte, and vocal registers) concerning his teachings. Respected internationally for his contributions to the worlds of classical voice and opera, performance practice, voice science, and pedagogy during his lifetime, Garcia II's theories on vocal production remain intact in current vocal pedagogy, despite shifts in the paradigms of musical, cultural, social and vocal aesthetics. List of Figures ............................................................................ 11 ... List of Appendices ...................................................................... 111 Acknowledgements ..................................................................... iv Preface ......................................................................................... v Chapter 1: Planting the Seeds of the Garcia 11 School ................. 1 (a) The Italian Schools ......................................
    [Show full text]