An Operatic Fantasia on Selling the Skin and the Teeth 4–8 February 2017 Melbourne Recital Centre | Elisabeth Murdoch Hall Welcome

Welcome to Victorian Opera’s first We’re thrilled to open our season with production for 2017, ’Tis Pity: An Operatic yet another new work and one that reunites Fantasia on Selling the Skin and the Teeth. the creative forces of anarchic diva Meow Meow, director Cameron Menzies and our Artistic Director . In ’Tis Pity, Richard shares with us his depth of musical knowledge, and his brilliance as a composer and orchestrator.

Each season, Victorian Opera continues to build its reputation for commissioning new work, and for diverse and innovative programming. The year ahead is bursting with beautiful music and wild imagination, such as our next production: a unique retelling of Respighi’s The Sleeping Beauty, featuring a cast of extraordinary life-sized puppets. It’s guaranteed to transfix audiences during its season from 11–18 March at Arts Centre Melbourne.

From the Victorian Opera family, thank you for joining us at the theatre tonight and helping us launch what will be an incredible season.

ANDREW SNELL Managing Director

2 3 © Magnus Hastings ’Tis Pity Whores and Mores of Society

This project was written at breakneck Women were classified, regulated and speed in the month of November last enthusiastically… taxed… by men, in their year, when Meow returned from patriarchal enthusiasm for the regulation her London triumphs. I started the of pleasure. Mostly, the girls had little process writing a text which conveyed choice but to conform to these patriarchal the state of prostitution through history – functions and get on with their work, while from the UR-Goddess to the present masculine hypocrisies tread a tortuous day – and in doing so uncovered enough line of keeping virtuous wives walled material for many shows. We finally up at home and prostitutes firmly under set on a sequence which turns the idea organised control in designated areas. of historical survey back on itself – via Of course, as the history of prostitution a recognition that the story of ‘the was, until recently, written largely by men, courtesan’ is essentially the same in we find not a great deal written about male every age – be it in contemporary whores – though it seems from the odd St Kilda (though one would not want tidbit of information that they were pretty to give this suburb a bad name) or busy as well. ancient Athens. The wider metaphysical resonances of the act of prostitution, the process of selling “the skin and the teeth”, find sympathetic correspondences in the arts of the stage – the business of self-presentation being not too far removed in essence from selling the body for hire. Both spheres of activity have their share of the “magnificent and strange”, comic and tragic in their attempt to forestall the flux of earthly time, provide the distraction of the marvellous, soothe existential sadness and mollify the fear of death.

4 Freedom from desire, through sleep or In all of this rich material for theatre we self-denial and prayer, brings peace – but have been guided, provoked, assisted and a peace whose fragility is daily assaulted occasionally editorially circumscribed by by the prolific and gaudy joy of sexuality the razor sharp intelligence of Meow to whose sting touches us, humbles us, makes form a collaboration under the watchful us able to love and reach the full richness eye of director and writer Cameron Menzies. of our human possibilities. Love and death I have explored my fascination and respect are different sides of the same coin and for the craft and traditions of both the our literature and history afford many “show tune” and the golden years of examples of this dichotomy. The sting of Hollywood (remember I made six CD’s the flesh is also a rich resource for comedy of Franz Waxman’s film music many years – desire strips away artifice and leaves ago) in what I hope will prove a diverting us at our most vulnerable and consequently and entertaining romp through the raunchy, ridiculous – as both Lysistrata and Falstaff, ridiculous, tragic and comic arena of human restoration comedy and many more examples experience. Yes – of course there is a demonstrate. serious side to this piece: but there is a lot of fun as well in the recognition of human frailty and capacity for self-delusion, relieved by the occasional tune. Enjoy.

RICHARD MILLS Artistic Director, Composer & Conductor

5 Director's Message Cameron Menzies

’Tis Pity: An Operatic Fantasia on Selling This Song Cycle of Ten Vignettes takes the Skin and the Teeth came about from us on a Vaudevillian romp through the discussions with Richard Mills after I ages, in which Meow and Kanen as clowns directed the production of the Brecht/ of the theatre portray many tropes of life Weill’s Die Sieben Todsünden in 2015 through song and dance. We are joined by which starred Meow Meow as both Anna 1 three extraordinary dancers, who will be and Anna 2. Richard was interested in an integral part the way our world will exploring the idea of the history of the metamorphose in front of your very eyes. courtesan and so we started talks about This is the fifth new commission that I have what his new commission could be and had the great honour and joy to work on how it might come to life. Broadening with Victorian Opera. Pulling brand new this idea, we looked at the life of the works off the page for the first time is both showgirl and the workers of the theatre thrilling and terrifying at the same time. and the ideas of transaction in life. It is however a wonderfully creative way to We are all selling or buying something. work as there are no established rules or expectations to deal with.

It has been wonderful to collaborate with Richard Mills on such a creative level and to come back together with Meow Meow for this brand new production.

CAMERON MENZIES Director

6 7 © Charlie Kinross Production ’Tis Pity: An Operatic Fantasia On Selling the Skin and the Teeth

4–8 February 2017 Cast Melbourne Recital Centre Meow Meow Elisabeth Murdoch Hall Kanen Breen

Composer & Arranger Richard Mills Dancers Operatic Libretto Richard Mills Alexander Bryce Thomas Johansson Additional Material Meow Meow, Cameron Patrick Weir Menzies Concept by Richard Mills, Meow Meow, Orchestra Victoria Cameron Menzies Concertmaster Roger Jonsson Running time is approximately 1 hour and 15 Violin minutes without interval Yi Wang Principal 1st Violin~ Tomomi Brennan Associate Principal 1st Creative Team Violin Conductor Richard Mills Erica Kennedy Associate Principal 1st Violin~ Director Cameron Menzies Binny Baik Design Meow Meow, Cameron Menzies Alyssa Conrau ~ ~ Lighting Designer Eduard Inglés Lubino Fernandes Rachel Gamer Sound Designer Jim Atkins Matthew Hassall Choreographic Consultant Rachael Hunt ~ Kate Denborough Mara Miller ~ Illusion Consultant Ross Skiffington Philip Nixon ~ Stage Manager Laura Hansford John Noble Martin Reddington ~ Deputy Stage Manager Luke Hales Christine Ruiter Production Manager Eduard Inglés Rebecca Adler* Repetiteurs Phoebe Briggs, Phillipa Safey Jo Beaumont* Miranda Matheson* Ruby Paskas* Ioana Tache*

8 Viola Trumpet Paul McMillan Principal ~ Mark Fitzpatrick Principal Jason Bunn Acting Associate Principal Anthony Pope Associate Principal Catherine Bishop Trombone Nadine Delbridge Scott Evans Principal Suying Aw* Tony Gilham Associate Principal ~ Cello Benjamin Anderson Principal Bass Trombone Melissa Chominsky Principal Timpani Diane Froomes Associate Principal ~ Guy du Blêt Principal ~ Sarah Cuming ~ Philippa Gardner Percussion Tania Hardy-Smith Richard Gleeson Principal^ ~ Andrea Taylor Conrad Nilsson Associate Principal

Double Bass Harp Damien Eckersley Principal Melina Van Leeuwen Principal^ Dennis Vaughan Associate Principal ~ Piano Davin Holt ~ Phoebe Briggs+ Matthew Thorne Ondes Martenot Flute Jacob Abela+ Lisa-Maree Amos Principal * = Guest Musician Karen SchofieldAssociate Principal ^ = Guest Musician Acting in a Principal Role ~ = OV Musician not appearing in this performance Oboe + = VO Music Staff Stephen Robinson Principal ~ Acknowledgements Joshua de Graaf Associate Principal With thanks to National Institute of Dafydd Camp Principal Cor Anglais ~ Circus Arts, MTC Costume Department, Clarinet Professor Mel Gordon, Show Works, Paul Champion Principal Technical Direction Company and Andrew Mitchell Principal Bass Clarinet sex-lexis.com/sex-Dictionary/lick-spigot

Saxophone Supported by Justin Kenealy Principal^ Victorian Opera New Work Syndicate

Bassoon Lucinda Cran Principal Timothy Murray Principal Contrabassoon~

Horn Jasen Moulton Principal Heath Parkinson Associate Principal ~ Linda Hewett Principal Third Horn ~ Braunfeld ~ Rachel Shaw 9 10 © Charlie Kinross ’Tis Pity: An Operatic Fantasia on Selling the Skin and the Teeth

PETIT FANFARE

[Kanen as Puppet Master with Meow Meow as Puppet]

Come now, come now, please be still Attention to our vaudeville

Ten vignettes of selling skin Through the ages drenched in sin

Lush and louche we’ll form a nexus For the indiscriminate mingling of the sexes

We are both the question and the answer In this sumptuous extravaganza

We are certain to amaze ya With our free for all fantasia

[Meow Meow pushes her own pedestal to centre stage] Biographies ’Tis Pity

RICHARD MILLS AM CAMERON MENZIES Composer/Conductor Director Richard Mills is one of Australia’s most prolific Cameron has worked with , and internationally recognised composers. Victorian Opera, Short Black Opera, He pursues a diverse career as a composer, Malthouse Theatre, STC, ANAM, MSO, conductor and artistic director. AIOC, Oper Köln, the Deutsche Oper Berlin and Diva Opera United Kingdom. He has held numerous prestigious posts, Cameron is a Helpmann Nominated and and received many scholarships, fellowships Green Room Nominated Director, the and awards including an AM, in 1999. He is recipient of the 2011 Berlin New Music currently Artistic Director of Victorian Opera, Opera Award, the 2008 Bayreuth Opera and has previously been Artistic Director Award from Opera Foundation Australia/ of the West Australian Opera 1997–2012, DAAD and The Besen Family Artist Director of the Australian Music Project Program (Direction), Malthouse Theatre. for the Tasmanian Symphony Orchestra In 2014 he made his international directorial 2002–2008 and Musica Viva’s Composer debut with his critically acclaimed of the Year in 2008. production of Don Giovanni for Diva Opera Richard regularly conducts the leading UK. His international productions have orchestras and opera companies of toured Europe, South Africa and China. Australia and has an extensive discography of orchestral works including his own compositions.

12 EDUARD INGLÉS JIM ATKINS Lighting Designer Sound Designer Eduard has created lighting designs Jim Atkins’ recent work includes sound for some of the most prestigious dance, design and operation for Nixon in China theatre and opera companies in both (Auckland Festival) and the 2016 Ring Cycle Europe and Australia. Since moving to (Opera Australia). Recent work for Melbourne from Barcelona in 2004, Victorian Opera includes Sondheim trilogy he has worked as a designer for theatrical (Sunday in the Park with George, Into the productions and exhibitions including; Woods, Sweeney Todd) plus productions Laughter and Tears (Victorian Opera), of Banquet of Secrets, The Riders, The Key (Dislocate), Dance of the Bee (Astra), The Flying Dutchman, Nixon in China and Rembrandt's Wife (Victorian Opera), Maria de Buenos Aires. Other productions If These Walls Could Talk…? (Dislocate), include: Chroma (The Australian Ballet); Bradman Hall Of Fame (Bradman Museum), Songs From the Middle (Eddie Perfect/ Leap of Faith (National Institute of Circus ANAM); Acoustic Life of Sheds, Namatjira Arts), Racing Gallery (National Sports (Big hART); En Masse (Genevieve Lacy); Museum), A Newcastle Story (Newcastle Pleasure Gardens sound installation Museum), Silverscreen (Callum Morton), (Sydney Festival/Genevieve Lacy/Jan Last Orders (National Institute of Circus Bang), and Jeff Mills and Derrick May Arts), and Curiosity (Dislocate). (Melbourne Symphony Orchestra). Future productions include Victorian Opera’s Cunning Little Vixen and The Black Rider.

13 Biographies ’Tis Pity Theatre: Brecht/Weill's Die Dreigroschenoper/Threepenny Opera (London Philharmonic, Paris Théatre des Champs-Elysées, Royal Festival Hall, cond Jurowski, Jenny), Die Sieben Todsünden/ Seven Deadly Sins (Victorian Opera, Hamer Hall dir Cameron Menzies), The Umbrellas of Cherbourg (West End, dir Emma Rice, La Maitresse), Le Bell Indifférent (Cocteau, Greenwich Music Festival US, dir Ted Huffman),De Materie (Andriessen, LA Philharmonic, Disney Hall, cond Reinbert de Leeuw). Im wunderschönen Monat Mai (Schubert/Schumann/de Leeuw, Australian National Academy of Music, MEOW MEOW dir Rodney Fisher). Original music theatre works from Sydney Opera House to NY Meow has written original repertoire Lincoln Center to Berlin's Bar Jeder Vernunft with Iain Grandage, Lance Horne, Jherek commissioned by numerous international Bischoff, Megan Washington and Thomas arts festivals as well as by Pina Bausch, Lauderdale. In concert she performs this David Bowie, and Mikhail Baryshnikov: and the Weimar and chanson repertoire to An Audience with Meow Meow (Berkeley Palmer and Radiohead, with San Francisco Rep, dir Emma Rice) (Boston Cutler Symphony, Oregon Symphony, American Majestic, dir Leigh Silverman). Pops Orchestra, Pink Martini and the Apocalypse Meow (Southbank Centre), NY Pops. Meow most recently performed as Feline Intimate (Sydney Opera House, Titania/Hippolyta in A Midsummer Night's London Wonderground, Edinburgh Dream at Shakespeare's Globe directed by international Festival Fringe prize), Emma Rice, in a programme of lost and Meow Meow in Concert (Apollo West End), banned Weimar works with Barry Humphries Vamp (Sydney Opera House, dir Michael and the Australian Chamber Orchestra for Kantor), Beyond Glamour (incl. Soho Edinburgh International Festival, London Theatre), Meow Meow's Little Matchgirl, Cadogan Hall and Tanglewood Music (Malthouse Theatre, Sydney Festival, Festival US. She has also performed in Queen Elizabeth Hall London, dir Marion concert with her show Meow Meow's Potts ) Meow Meow's Little Mermaid Pandemonium at Royal Festival Hall with (Malthouse Theatre/Sydney/Perth/ the London Philharmonic. Auckland International Arts Festivals, dir Michael Kantor).

14 KANEN BREEN Kanen’s past engagements for Victorian Other engagements include the 2016 Opera include the 2016 premiere season of Brisbane Festival season of Snow White, Paul Grabowsky’s Banquet Of Secrets and Nanki Poo in The Mikado, Nadir in the roles of Tweedledee, The White King The Pearlfishers, Ramiro in Cenerentola, and Violet in Through The Looking Glass, and Andy Warhol in The Perfect American The Beadle in Sweeney Todd and all for Opera Queensland, and other roles The War Correspondant in Remembrance. include Rodolfo in Baz Luhrman’s La Bohème on Broadway. Roles for Opera Australia include Camille in The Merry Widow, Nanki Poo in The Also during 2017 he appears in the role Mikado, Ralph Rackstraw in HMS Pinafore, of The Witch of Endor in the Glyndebourne Marco Palmieri in The Gondoliers, production of Handel’s Saul and Rufus Caius in Falstaff, Alfred in Die Fledermaus, Wainright’s Prima Donna at the Adelaide Monostatos in The Magic Flute, Sellem Festival. in The Rake’s Progress, Pong in Turandot, Andres/Cochenille/Pittichinaccio/Frantz/ Nathanael in The Tales Of Hoffmann, Pirelli in Sweeney Todd, Albert Herring and Johnny in Bliss at the Edinburgh Festival.

15 Biographies ’Tis Pity

ALEXANDER BRYCE THOMAS JOHANSSON PATRICK WEIR Dancer Dancer Dancer

Alexander trained at the Thomas began his formal From NSW, Patrick has Anne Fraser School of dance training at the age performed with Byron Dance on the Sunshine of 16 at Ballarat Ballet Ballet, QL2 Youth Dance Coast Queensland for Centre before enrolling Company and STRUT nine years, before being in Dance World Studios' Dance in DecaDance accepted into the Diploma of Classical Ballet Perth by Batsheva Dance Queensland University (2005). He was awarded a Company's Artistic of Technology. Studying full scholarship to continue Director, Ohad Naharin. classical ballet from training at Ballet Theatre In 2012 Patrick travelled a young age, Alexander Victoria and graduated to the United Kingdom with has completed the RAD from their full time course a Cecchetti Ballet and Big syllabus. He graduated in 2008. Since graduating, Brother Movement (BBM) (Dux) with a Bachelor of Thomas has amassed an Scholarship. He graduated Fine Arts (Dance) and has impressive body of work from the Victorian College since worked with many including contracts with of the Arts with a Bachelor internationally renowned the Duprada Dance of Fine Arts (Dance), choreographers and artists Company, Tasmanian where he worked with such as Simon Hoy, Natalie Classical Ballet Company choreographers Rochelle Weir, Paul White, Lucas (TCBC), CATS (RUG) & Carmichael, Lee Serle, Jervis, Rani Luther, Tim Opera Australia. He looks Anna Smith, Stephanie Podesta and Daniel Jaber. forward to making his Lake, Rheannan Port and Working across a wide Victorian Opera debut with Prue Lang. In April, he range of genres and styles, ’Tis Pity. performs in Sir Matthew Alexander is presently a Bourne's New Adventures, principal dancer with the Re:Bourne and Arts Centre Melbourne Ballet Company. Melbourne’s production of Lord of the Flies as Simon. 16 Take off your skin and dance around in your bones …

15 September – 8 October Merlyn Theatre | The Coopers Malthouse

Presented by Victorian Opera and Malthouse Theatre.

17 Gold Patrons ($2,500+) Patrons Joanna Baevski Victorian Opera Ian Baker & Cheryl Saunders Dr Terry Cutler Craig D’Alton & Peter Sherlock Bob Garlick Dr Jennifer George & Rev Matthew Williams If you would like to get more involved in Mary-Jane Gething and Joseph Sambrook the work of Victorian Opera by becoming Peter & Jenny Hordern a Patron, please contact Pooja Dutt, Stewart & Denise Jackel Individual Giving Manager on 03 9001 6408 Ian Kennedy AM & Dr Sandra Hacker AO or [email protected] Joan & George Lefroy Peter Lovell Founding Patrons Ian Merrylees The Late Dame Elisabeth Murdoch AC DBE Michael Rigg & Gerard Condon Lady Potter AC John & Elisabeth Schiller Leadership Circle ($20,000+) Tim & Lynne Sherwood Hans & Petra Henkell* Lady Southey Maureen & Tony Wheeler Felicity Teague Dr John & Elizabeth Wright-Smith* Earl & Countess of Wilton Anonymous (1) Artistic Directors Circle ($10,000+) Deanne Bevan & Guy Russo Silver Patrons ($1,000+) Rob & Caroline Clemente Laurie Bebbington & Elizabeth O’Keeffe John & Diana Frew Kirsty Bennett Jane Hemstritch The Hon David Byrne Suzanne Kirkham* Terry & Christine Campbell Peter & Anne Laver Deidre Cowan Geraldine Lazarus & Greig Gailey* Ernest Dawes OBE & Nola Dawes Dr Richard Mills AM Bill Fleming John & Gaye Gaylard Platinum Patrons ($5,000+) Brian Goddard Beth Brown & Tom Bruce AM* Nance Grant AM MBE & Ian Harris Siobhan Lenihan* Richard & Isabella Green Kaye Marion Lesley Griffin Don & Angela Mercer Hartmut & Ruth Hofmann Marian & Ken Scarlett OAM* Simon L Jackson & Brian Warburton Greg Shalit & Miriam Faine Sean Kelly Rod & Daniele Kemp Alun & Patricia Kenwood Angela & Richard Kirsner John & Lynne Landy Dr Paul & Glenys Lejins

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19 20 21 © Charlie Kinross Victorian Opera About Us

Victorian Opera is a national leader in the Australian opera scene. The company has established itself with innovative programming, diverse repertoire and exciting new work. We’ve commissioned 17 new Australian operas in our 11 year history and have staged at least one new work annually. Employing hundreds across the arts each year, we recruit the finest local and international singers and collaborate with a wide range of musicians, creative teams and companies from around the country and overseas.

The next generation of talent is developed from the Youth Opera Chorus through to the company’s Developing Artist Program. Victorian Opera has inspired over 600 young singers through our youth opera program and developed over 30 emerging artists. Victorian Opera is committed to the accessibility of opera through tactile tours, and audio described and relaxed performances. The company annually tours its Education and Community Engagement Programs state-wide with an ongoing commitment to staging opera in Tasmania beginning from 2017.

Join the Chorus Go behind the scenes to learn more about our work. victorianopera.com.au The Sleeping Beauty 11–18 March @VictorianOpera #victorianopera Arts Centre Melbourne | Playhouse

22 23 © Charlie Kinross 24 25 © Charlie Kinross Orchestra Victoria

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26 Philanthropy at Orchestra Victoria Patrons David & Cindy Abbey Endowment Funds G C Bawden & L de Kievit Education Marc Besen AC & Eva Besen AO Lesley & Bob Qualtrough Bequest Tom Bruce & Beth Brown The Judith & Alasdair McCallum Fund Peter & Ivanka Canet Hamilton and Western District Fund Mr Jim Cousins AO & Mrs Libby Cousins Geoff and Helen Handbury Foundation Ms Jane Edmanson OAM Estates Louis J. Hamon OAM Mrs Neilma Baillieu Gantner Russell and Jenni Jenkins Peter & Carmel Johnson Trusts & Foundations Dr Nicholas Lis and Mrs Gabrielle Michau Gandel Philanthropy Maple-Brown Abbott The William Buckland Foundation H.McKenzie Planned Giving Peter McLennan & John Landers G C Bawden & L de Kievit Ms Marilyn Meyer Michelle and Ian Moore Annual Giving Prof David Penington The Conductor's Podium Lady Potter AC CMRI Mr Robert Albert AO RFD RD & Kerryn Pratchett Mrs Elizabeth Albert Mr John Redman Geoff and Helen Handbury Foundation Katherine Shackell The Concertmaster's Ensemble Adrienne Shaw Joan and Peter Clemenger Trust Peter & Christine Smedley Mr Richard Guy OAM & Ms Claire Guy Libby Smith Ms Linda Herd Bruce & Leona Sterling Dr Peter A Kingsbury H & EA Van Herk Avner Klein & Maria Pannozo Henry Winters Prescott Family Foundation Helen & Wayne Worladge Igor Zambelli & Jenny Lee Principal Patrons Anonymous (5) Betty Amsden AO Gaye & John Gaylard Henkell Family Fund Dr Alastair Jackson Judith & Alasdair McCallum Don & Angela Mercer Mrs Margaret S Ross AM Victor & Karen Wayne

27 YAMAHA PIANOS PREMIUM CARE PROGRAM

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11–18 March Arts Centre Melbourne | Playhouse

29 Staff Victorian Opera

Conductor Emeritus Marketing Richard Gill OAM Marketing, Media & Sales Manager Henri Marron Victorian Opera Board Chairman Jane Hemstritch Marketing & Communications Coordinator Alexia Jordan Deputy Chairman Greig Gailey Media & Communications Executive Roger Box Scott Whinfield Vivienne Corcoran Francis Ebury, Earl of Wilton CRM & Ticketing Executive Nichole O'Duffy Anne Gilby Development Siobhan Lenihan Development Manager Louise O'Loughlin Penny Stragalinos Individual Giving Manager Pooja Dutt Executive Development Coordinator Meredith Dellar Artistic Director Dr Richard Mills AM Events Coordinator/Office Administration Managing Director Andrew Snell Annabel Balicki, Sharni Morter Executive Producer Libby Hill Victorian Opera 2017 Season Staff Artistic, Engagement & Production Costume Maker Leigh Buchanan, Karen Blinco Head of Music Phoebe Briggs Head of Wigs Linda Cowell Repetiteur Phillipa Safey Dresser Megan Cole Company Manager Kate Stephens Head Mechanist Tom Howie Assistant Company Manager Candice MacAllister Deputy Head Mechanist Will Meager Education Officer Deborah Vanderwerp Surtitles Tim Mallis Production Manager Eduard Inglés Secondment and Observer Helen Godfrey Technical & Operations Coordinator Photography © Peter Darby Magnus Hastings p. 2 Production Coordinator Luke Hales Charlie Kinross pp. 7, 10, 20-21, 22-23, 25 Costume Supervisor Joanne Paterson

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