HEROIC VICTORIAN PRESENTS HEROIC BEL CANTO

CONCERT WITH ORCHESTRA

Composers , and

Conductor AM Director Elizabeth Hill-Cooper

Jessica Pratt Daniela Barcellona mezzo-soprano Carlos E. Bárcenas Kathryn Radcliffe soprano Samuel Piper Shakira Dugan mezzo-soprano Raphael Wong baritone Nathan Lay baritone Matthew Thomas -baritone Stephen Marsh baritone

Concertmaster Yi Wang Production Manager Peter Darby Stage Manager Emma Wenlock-Bolt Principal Repetiteur Phoebe Briggs Repetiteur Phillipa Safey

14 JULY 2019 Arts Centre , Hamer Hall

Approximate timings Part one: 1 hour Interval: 20 minutes Part two: 1 hour Photo: Alessandro Moggi

3 ORCHESTRA WELCOME

CELLO HORN Welcome to Victorian Opera’s bel canto excursion for 2019. The ideals and Section Principal Section Principal techniques of this vocal repertoire are at the core of our practice at Melissa Chominsky Jasen Moulton Associate Principal Anton Schroeder ++++ Victorian Opera, and are indicative of the value we place on singing and the Diane Froomes § Principal Third poetry of performance. CONCERTMASTER Sarah Cuming Linda Hewett Yi Wang* Philippa Gardner Sydney Braunfeld § DEPUTY CONCERTMASTER Tania Hardy-Smith Rachel Shaw § The first part of our concert focuses on The selection of music also illustrates Roger Jonsson § Andrea Taylor § Robert Shirley + the prodigious genius of Rossini, with the richness of this tradition and its Melanie Simpson + VIOLIN DOUBLE BASS three which frame his working life variety and interest. Certainly, titles Principal 1st Violin Section Principal as a composer; the early like Ciro in Babilonia, Don Sebastiano Yi Wang Stuart Riley Section Principal (1812) to (1823) – also set and Le convenience ed inconvenience Principal 2nd Violin Associate Principal Mark Fitzpatrick in Babylon – to Guillaume Tell (1829). teatrale are probably Australian first Monica Naselow Kylie Davies + Associate Principal Associate Principal 1st Violin Matthew Thorne § Anthony Pope § These pieces demonstrate the heroic performances – yet the music of these Tomomi Brennan Giovanni Vinci + Jenna Smith +++ side of Rossini: his subject matter being operas is wonderful with a consistently Associate Principal 1st Violin historical and epic, with plots revolving fine theatricality and lyric felicity. Erica Kennedy Section Principal Section Principal Rebecca Adler around the conflicts of the public and the Lisa-Maree Amos Scott Evans It had to be, because the nineteenth Binny Baik private worlds of the principal characters. Associate Principal Associate Principal century Italian opera industry was not Alyssa Conrau § Karen Schofield Robert Collins + The music is formally structured with Rachel Gamer all that different from the Hollywood Principal Piccolo Principal Bass Trombone phenomenal virtuosity in the vocal Matthew Hassall movie industry of our own time – both Sally Walker + Benjamin Anderson § Rachael Hunt § writing and a growing awareness of the Elijah Cornish ++ being driven by the imperatives of direct Philip Nixon possibilities of the orchestra – from engagement with the audience, and the John Noble Section Principal CIMBASSO the dazzling effects of the Overture to Chris Ruiter need to delight, entertain and move them, Joshua de Graaf* Karina Filipi ++ Semiramide to the horn and viola solo Lucy Warren Principal all in a fiercely competitive environment. TIMPANI Tony Zhai Dafydd Camp passages in the arias from Ciro. Zoe Freisberg + Section Principal For me, it is the generous spirit of this The second part of our program shifts Edwina Kayser + Guy du Blêt music, its implicit humanity, its implicit Natalia Harvey + Section Principal emphasis to Donizetti via Bellini. Here PERCUSSION compassion and understanding of the Miranda Matheson + Paul Champion § the modes of expression are more lyrical Lynette Rayner + Associate Principal Section Principal human condition (life was generally Mathew Levy and personal, and the playfulness and Lisa Reynolds + Justin Beere shorter in those days remember) – all Lloyd Van’t Hoff + Associate Principal humour of Rossini come to the fore in the VIOLA Matthew Brennan + rendered through the power and artistry excerpts from L’Italiana in Algeri and the Section Principal of the voice, which make it a treasure HARP finale from . The program Paul McMillan Section Principal worth celebrating and preserving. Associate Principal Lucinda Cran Section Principal also offers opportunities for our own team Yuko Tomonaga + Welcome and enjoy the concert. Jason Bunn* Associate Principal of younger singers to work alongside Catherine Bishop § Matthew Ockenden ≠ * Acting § On Leave Jessica Pratt and Daniela Barcellona – two Nadine Delbridge Principal Contrabassoon + Guest Musician Thomas Higham + Timothy Murray ++ Guest Principal RICHARD MILLS +++ Guest Associate Principal of the most important bel canto singers in Matthew Laing + ++++ Guest Section Principal Artistic Director, Victorian Opera ≠ Courtesy of Orchestra the world today.

4 5 Daniela Barcellona Photo: Amati Bacciardi MUSIC INDEX

Rossini, Semiramide - Overture

Rossini, Semiramide – ‘Eccomi alfine in Babilonia: Ah, quel giorno ognor rammento’ (Barcellona)

Rossini, Ciro in Babilonia - ‘Avrai tu pur vendetta’ (Bárcenas)

Rossini, Semiramide - ‘Bel raggio lusinghier’ (Pratt)

Rossini, Ciro in Babilonia - ‘Chi disprezza gl’infelici’ (Dugan)

Rossini, Guillaume Tell - ‘Asile héréditaire’ (Bárcenas)

Rossini, Semiramide - ‘Ebben ... a te; ferisci’ (Pratt and Barcellona)

– INTERVAL –

Bellini, - Overture

Rossini, L’Italiana in Algeri - ‘Cruda sorte’ (Barcellona)

Rossini, L’Italiana in Algeri - ‘Ai capricci della sorte’ (Barcellona and Marsh)

Donizetti, - ‘O luce di quest’ anima’ (Pratt)

Donizetti, Don Sebastiano - ‘Deserto in terra’ (Bárcenas)

Donizetti, La Favorite - ‘O mon Fernand’ (Barcellona)

Donizetti, Le convenienze ed inconvenienze teatrale - ‘Livorno, dieci Aprile’ (Radcliffe, Dugan, Piper, Marsh, Lay, Wong, Thomas)

Rossini, Le Comte Ory - Trio and Finale ‘A la faveur de cette nuit obscure’ (Pratt, Barcellona, Bárcenas, Radcliffe, Dugan, Piper, Marsh, Lay, Wong, Thomas)

6 BIOGRAPHIES

RICHARD MILLS JESSICA PRATT DANIELA BARCELLONA CARLOS E. BÁRCENAS SHAKIRA DUGAN NATHAN LAY Conductor Soprano Mezzo-soprano Tenor Mezzo-soprano Baritone Richard is one of Australia’s Since her debut in the Daniela Barcellona was Colombian-born tenor Shakira Dugan, mezzo Nathan completed his most prolific and title role of Donizetti’s born in , Italy, where holds a Bachelor of Music soprano has established Bachelor of Music at the internationally recognised in she completed her musical Performance and a Master of herself as a vibrant and Melba Conservatorium of composers. He pursues a 2007, Jessica Pratt has studies under the guidance Music (Opera Performance) gifted operatic performer. Music in 2008. He has won diverse career as composer, established herself as one of of Alessandro Vitiello. from the University of She is currently a Young the National Liederfest, conductor and artistic the world’s finest and most After winning numerous Melbourne. His roles have Artist with Victorian Opera Australian Music Events’ director, with an extensive sought-after interpreters prestigious international included Alexander (Il Re and Emerging Artist in the Opera Scholar of the Year, discography of orchestral of bel canto repertoire. competitions including Pastore, Mozart) Michael Emerging the Royal Melbourne the Adriano Belli Award works including his own She has performed in 103 (Pecan Summer, Cheetham), Artist Program with Philharmonic Aria, and placed in Spoleto, Iris Adami compositions. He has held productions for 78 different Tony (Masterclass by Terrence . 3rd in the Herald Sun Aria. numerous prestigious Corradetti in Padua, and McNally 2018), Arnoldo Nathan also won the 2016 organisations, in 70 cities posts, and received many the Pavarotti International (Guillaume Tell, Rossini), Shakira made her operatic Australian International over 12 countries, including scholarships, fellowships Voice Competition in Elvino (, debut with Victorian Opera Opera Award, allowing him seasons at , La and awards including an Philadelphia, she made Donizetti), Tebaldo (I playing the role of Hansel in to study with acclaimed Fenice, San Carlo, Covent AM in 1999. Currently her debut in the title role Capuleti e I Montecchi, Hansel and Gretel in 2017. In tenor Dennis O’Neill at Garden and The Met. Artistic Director of of at the Rossini Bellini), Edgardo (Lucia di 2018, her roles included a the Wales International Victorian Opera, he Jessica was awarded the Opera Festival in in Lammermoor, Donizetti), reprise of Hansel in Hansel Academy of Voice whilst was previously Artistic prestigious international 1999, establishing herself as Steuermann (The Flying and Gretel, Watkin Wombat undertaking a Master of Arts Director of West prize for coloratura an interpreter of pants roles, Dutchman, Wagner), Third in The Magic Pudding – The in Advanced Vocal Studies. Australian Opera 1997- La Siola d’Oro which have brought her Squire (, Wagner), Opera, , covered Nathan has performed with to the stages of the most 2012, Director of the in 2013, the International Sir Bruno (, Bellini), the role of Octavian in Der Opera Australia, Melbourne prestigious opera houses Australian Music Project Opera Award for Best Flavio (Norma, Bellini), Rosenkavalier and recently Opera, Sydney Chamber for the Tasmanian worldwide. Winner of the Gastone (La Traviata, Verdi), Opera, Royal Melbourne Soprano of the Year in made her international and Symphony Orchestra Abbiati Prize, Barcellona also Saint Chavez (Four Saints in Philharmonic, TSO and 2016, and was honoured role debut as Cherubino 2002-2008 and Musica is a recipient of the Lucia Three Acts, Thomson), Maese extensively with Victorian with a signature dessert by in Australian International Viva’s Composer of Valentini-Terrani Award, the Pedro (Master Peter’s Puppet Opera including their her friend Maggie Beer, La Production’s Le Nozze di the Year in 2008. This Aureliano Pertile Award, the Show, de Falla) Prince April Developing Artist Program/ Figaro. year Richard conducts Dolce Jessica. International Opera Award, (Sleeping Beauty, Respighi). Master of Music (Opera Victorian Opera’s Jessica performed an CD Classica, Rossini d’Oro, Carlos received a Green Performance) in conjunction

BIOGRAPHIES Parsifal, The Barber of acclaimed solo recital at La San Giusto d’Oro, Oscar Room award for Steuermann with The University of

Seville and Heroic Bel Scala in May. della Lirica Award, and the (Flying Dutchman). Melbourne. 8 Canto. Laurence Olivier Award. 9

STEPHEN MARSH SAMUEL PIPER KATHRYN RADCLIFFE MATTHEW THOMAS RAPHAEL WONG Baritone Baritone Soprano Bass-baritone Baritone Stephen made his Samuel Piper, baritone, is Winner of the 2014 Herald- Matthew began his career Critics have described professional debut the 2019-2020 recipient of Sun Aria, Melbourne-based with Opera Queensland’s Raphael as having a voice in Victorian Opera’s the Lord Mayor’s Young and soprano Kathryn Radcliffe schools company and has of ‘superb heavyweight Sleeping Beauty in 2017 Emerging Artist Fellowship, has recently made several since gone on to sing or baritone resonance’ (Paul and was a Developing enabling him to realise a important débuts - Delia in cover over thirty roles Selar, OperaChaser/Herald Artist for the 2017-2018 year-long study project for Opera for companies including Sun), ‘with gorgeous seasons, performing both in Treviso, Italy, from Australia, The Queen in Opera Australia, Victorian legato phrasing and sweet in regional tours and September 2019. The Princess and the Pea Opera, Tokyo Experimental unwavering tone’ (Simon mainstage productions. for Victorian Opera and as Opera, Melbourne Opera, Parris, Man in Chair). Most recently Stephen Samuel made his debut Frasquita in Carmen for the Chambermade and the Lyric performed as Second with Opera Queensland as A two-time finalist in the Tasmanian Symphony. Opera of Melbourne. Grail Knight in Parsifal. Masetto () in a Herald Sun Aria, runner-up Other roles include: The new production directed by In 2016, Kathryn worked His repertoire spans in the National Liederfest, Woodcutter in Respighi’s Lindy Hume and conducted for several months at the from the baroque to the and a Green Room Award Sleeping Beauty, Peter by Johannes Fritzsch in – contemporary and includes nominee, Raphael has also (Hansel and Gretel) 2018. covering a range of roles the Australian premieres performed in Germany, and Shepherd/Doctor such as Pamina, Fiordiligi of works by Peter Maxwell Other recent engagements China, and the USA, as well (Pelléas et Mélisande). in Così fan tutte, Ortlinde Davies and Gyorgy Ligeti. as with many of Australia’s Upcoming roles with the include: Mozart Airborne in Die Walküre, Pousette major opera companies. with Expressions Dance He is an alumnus of company include The in Manon, Echo in Ariadne Giant (The Selfish Giant) Company/Opera Victorian Opera’s 2019 engagements include auf Naxos and The High and Fiorello (Il barbiere Queensland, Moralès Developing Artist Program Schaunard, La Bohème Priestess in Aida. She made di Siviglia). (Carmen) for QSO, and as a and has sung as a finalist in (Opera in the Park, her Vienna debut in a small soloist in Mendelssohn’s St most of Australia’s major Stonnington); Louis, Sunday Last year Stephen role in The Cunning Little Paul. He joined the chorus singing competitions. in the Park with George made his debut Vixen. of Opera Australia in La (Watch This); workshops and with the Tasmanian On the concert platform, bohème on the Harbour, Kathryn appeared as the 1st further performances with Symphony Orchestra Matthew has appeared as Aida and Shostakovich’s The Flower Maiden in Victorian Victorian Opera, Lyric Opera in Gounod’s Roméo a soloist with ensembles Nose, and Pinchgut Opera Opera’s production of and Opera Australia. et Juliette. Stephen including Sydney for Athalia. Parsifal in February, and is also an inaugural Philharmonia, Canberra member of Melbourne will star as Berta in the company’s production Symphony, the Melbourne Opera’s Richard Bach Choir and the Arcko Divall Emerging Artist of in BIOGRAPHIES Symphonic Project. Program 2018/2019. November/December. 10 11 IN DEPTH

Bel canto and tradition: From the past to the future of vocal expression were shared and dramatic genius of Monteverdi could generated by the singers responding find the inspiration to produce the first to each other in ensemble, introduces real opera, L’Orfeo (1607). The essence of bel canto is Italian, but and established the glorious traditions an element of performance energy the precise meaning of the term is of that building which made possible Thus, the energies which animate which is so important for opera. These a little harder to define. The Oxford the great works of the Gabrielli the later evolution of bel canto are traditions of the polyphonic madrigal Dictionary of Opera says that it is: family, first Andrea, and then his nascent in its origins. The seamless form part of the inheritance of Claudio nephew, Giovanni, some years later. marriage of the Italian text to musical ‘The traditional Italian art of singing Monteverdi – the first real opera The hallmarks of this late Renaissance gesture, the devices of vocal rhetoric in which beautiful tone, fine legato composer. public ecclesiastical style, rhythmic – accents, messa di voce (or ‘swells’), phrasing and impeccable technique energy, polyphonic exuberance, and Monteverdi wrote nine books of variety of articulation, ornamentation, are emphasized, though not at dramatic expression were shared by madrigals – which stylistically bridge portamento (‘gliding’ from one the total expense of dramatic the corresponding domestication of the gap between the Renaissance note to the other) and the sense of expression.’ these gestures in the madrigal, and and the Baroque. His fifth and sixth declamation and dramatic purpose These words convey some – but its associated genres: the frottola, books of madrigals contain not only in the vocal text are all essential nowhere near all – of the truth about the ballata, the canzonetta, and the contrapuntal works but also pieces for ingredients of the bel canto style – the particular term. To understand mascherata. This ‘house’ or chamber solo voice and basso continuo – which from Monteverdi in 1607 and before it better it is necessary to pinpoint music was disseminated via the Italian exemplify the traditions of monody to Donizetti in the nineteenth century its origins, which are to be found in printing presses all over Europe – pioneered by the Florentine camerata, and beyond. This vocal aesthetic, the Italian madrigal of the 1520s. This beginning with the first collection from the 1570s onwards. These focused the marriage of text, harmony, genre was formed from the confluence of madrigals by Jacques Arcadelt, on the declamation of text for single melody, ornamental elaboration, and of a variety of factors: the edition of published in 1539, and proceeding via voice and accompaniment and were gesture, united in expressive purpose, Petrarch’s sonnets by Pietro Bembo the mid-1500s with the achievements in turn inspired by the dramatic style prevailed through the seventeenth (1501); the Italian Renaissance interest of Cipriano da Rore and later exponents of ancient Greece and inspired in century. These traditions persisted in Italian as a vernacular language; and such as Alessandro Striggio, Andrea turn the forerunners of Monteverdi, until the late classical era, despite the composers from France and the Gabrielli and Luca Marenzio, who composers such as Caccini and Peri. All some reformation by the likes of Netherlands who migrated to Italy and preceded the unique genius of Carlo of these contrapuntal and monophonic Gluck, which were provoked in turn brought with them the contrapuntal Gesualdo whose mannered and traditions were present in the elaborate by a certain ossification found in the ‘know-how’ of the Franco-Flemish extreme chromaticism astonishes even scenographic extravagances which traditions of the Metastasian opera tradition – as exemplified by masters today. were part of the wedding celebrations seria – a mannered style of opera in such as Ockeghem, Obrecht, and of Grand Duke Ferdinando de’ Medici which formal convention triumphed The dynamic relation of melody and Josquin des Près. and Christine of Lorraine in 1589. The over dramatic realism, and in which text we find in this repertoire in an event symbolised the wealth, power and the ornamental vanities of singers One such Flemish-trained composer, atmosphere of intimacy – as vocal cultural prestige of Florentine culture often trumped the intentions of the Adrian Willaert, became the first chamber music – in which felicities and the milieu in which the musical and composer. organist of St Marks in Venice in 1527

12 13 In the Mozartian canon, however, ‘the voice sonorous, robust, and the teacher of ’s all been formed by the traditions of the ideals of bel canto were given a spacious, elastic, obedient, and agile; mother, as well as Mary Garden bel canto – rich in history but with an new manifestation through a new capable, in sum, of any expression (the first Mélisande), Australian Ada enduring vitality grounded in the reality literature of genius. All the features of whatsoever, so that even in the Crossley, and Estelle Liebling (1880– of singing, and producing artistry which Baroque opera remain present; such midst of other voices and various 1970) who taught and will continue to delight audiences for as as aria, recitative, duets, ensembles instruments, it makes itself heard as a young girl. I should long as we appreciate the beauty of the and ornamentation. – but realigned easily, and distinguished not by its also note the legacy of opera and the human voice. by a uniquely human creative force, hardness, as so often happens, but by (1797–1865) for whom Bellini wrote which laid the foundations for the bel the beauty of its formation.’ La sonnambula and Norma. She taught RICHARD MILLS canto school of the nineteenth century Carolina Ferni who taught Eugenia She inherited the schoolings of Tosi Artistic Director, Victorian Opera found in Bellini, Spontini, Rossini, and Burzio (1882–1922) who was a leading (1653–1752) who was the first to Donizetti – and, subliminally, also in exponent of verismo – but whose art advocate on the uniting and blending Wagner and Verdi. was firmly founded in the techniques of of head and chest voices, and Mancini bel canto. What exactly are these ideals and how (1714 – 1800) – both castrati and the are they reflected in vocal techniques? first to systematise vocal techniques of Another of Manuel Patricio’s students, the bel canto style. Celoni’s methods Anna E. Schoen-René (1864–1942), also Well, I suppose the ideals can be easily were inherited by Manuel Garcia studied with Pauline Viadot. Schoen- summarised as beautiful singing at the (1775–1832) and his son Manuel René emigrated to the USA where she expressive service of text, melodic Patricio Garcia (1805–1906). Manuel taught Margaret Henshaw (1909–1997) gesture, and drama. These ideals are Patricio had two sisters, Maria Malibran who, in turn, taught Vinson Cole, supported by a vocal technique that and Pauline Viardot. Malibran was Matthew Polenzani, Michael Sylvester, emphasises: a favourite of Rossini and enjoyed Laura Aiken, Teresa Stratas, and Nancy a) Breathing great success in operas by Bellini and Maultsby – well-known opera stars of b) Resonance Donizetti. Viardot was similarly famous, today. and also a fine pianist and a friend of c) Vowel formation and attack These are all fascinating examples – Chopin. d) Sustained tone rich in humanity and anecdote – of the e) Legato One should, in passing, note the persistence and revitalisations of great f) Portamento influence of Bellini on Chopin, Liszt singing traditions across time and space. and Wagner, and the way in which even In our Heroic Bel Canto concert you will g) Messa di voce, or spianata di voce composers such as Fauré and Saint- hear two of the greatest of the current h) Agility Saëns subsumed and appropriated the generation of European bel canto One of the earliest teachers of the melodic materials of the bel canto style artists: Australian Jessica Pratt (fresh later traditions of bel canto, Anna Maria into their own compositional craft. from the signal honour of a recital at La Scala) and Daniela Barcellona. Pellegrini Celoni (1777–1820) wished Manual Patricio passed on his pedagogy her students to achieve: to (1821–1913), These artists, along with our own Carlos who taught , Emma Calvé E. Bárcenas and our young artists, have

14 15 ABOUT US

Reimagining the potential of opera, for everyone.

Based in Melbourne, Victorian Opera around the world, and collaborate with is a national leader in presenting Australia’s leading companies, venues 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 and accessible opera for everyone, and Opera Youth Chorus Ensemble evolving the art form in adventurous (VOYCE) and our innovative Access All 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 Tasmania. our work annually through live performances and streamed events Recognised for our unique voice and 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 company formed in 2005. company 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 , 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

Richard Mills Photo: Charlie Kinross for Victorian Opera

17 OUR TEAM

FOUNDING MUSIC DIRECTOR FINANCE & ADMINISTRATION AO Interim Finance Executive Stephen Sweeney VICTORIAN OPERA BOARD Finance Assistant Claire Voumard Chairman Genevieve Overell Office AdministratorSilvana Vaxelaire Roger Box, Vivienne Corcoran, Siobhan Lenihan, Selina Lightfoot, Stephen MARKETING & TICKETING McIntyre, Grant Powell, Anna Pitt Marketing, Media and Sales Manager (Board Observer) Henri Marron EXECUTIVE Marketing Content Producer Beata Bowes Artistic Director Dr Richard Mills AM Media and Communications Executive Chief Executive Officer Scott Whinfield Elizabeth Hill-Cooper CRM and Ticketing Executive ARTISTIC, ENGAGEMENT & Nichole O’Duffy PRODUCTION Graphic Designer Sharni Morter Head of Music Phoebe Briggs Repetiteur Phillipa Safey DEVELOPMENT Company Manager Luke Hales Development Manager Louise O’Loughlin Assistant Company Manager Candice MacAllister Philanthropy Executive Peter Garnick Education OfficerIoanna Salmanidis Development Coordinator Rhylla Mitchell Production Manager Eduard Inglés Technical and Operations Coordinator Peter Darby Production and Music Coordinator Carlos E. Bárcenas VOYCE Director Angus Grant

© Cover illustration: Julien Pacaud for Victorian Opera

18 THANK YOU

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PATRONS Alan Chuck & Wendy Hughes Chuck Hartmut & Ruth Hofmann Dr Jennifer Coghlan-Bell & A/Prof Simon Bell Current at time of printing. Earl of Wilton Dr Alastair Jackson AM 20 21 ORCHESTRA VICTORIA

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22 OUR PARTNERS

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Performance Partners

25 UPCOMING EVENTS

5 Fridays in August Friday night wine, cheese and music Join us at Horti Hall, the home of Victorian Opera, for a series of intimate Friday night performances, recitals and cabarets. Socialise with fellow music lovers over wine and cheese. 2, 9, 16, 23, 30 August 2019 | Horti Hall, Hemstritch Studio Costume Circle Appeal Three Tales - Music Workshop New opera in its rawest form To bring the charming new work The Selfish Giant to the Witness the next phase of development of our upcoming stage, we need your generous support. commission Three Tales – a trio of new Australian operas based on Flaubert’s Trois Contes – in a musical workshop. Your gift will contribute to the making of The Giant’s garb 21, 21 September 2019 | Horti Hall, Hemstritch Studio and the Children’s enchanting costumes.

The Selfish Giant To donate, visit Charming melodies bring Oscar Wilde’s fairy tale to life victorianopera.com.au/costumecircle This beautiful new opera, featuring a cast of emerging artists, will touch the hearts of audiences of any age with its subtle humour and real musical substance. 17, 18, 19 October 2019 | Gasworks Theatre, Albert Park

The Barber of Seville The funniest night you can have at the opera Prepare for an evening of laughs with Rossini’s most popular opera. This madcap masterpiece is a paean to impertinence that will make you beam with joy and grin with delight. 12 and 14 December 2019 | Melbourne Recital Centre

26 victorianopera.com.au

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