laughter and tears

WHEN MEETS CIRCUS 13 - 18 August

_ 1 _ 2 _ 3 THROUGH THE MIRRORS OF HISTORY COMMEDIA AND PAGLIACCI

Pagliacci is a masterpiece that grows from the practice and formulae, and the lazzi or comic enduring vibrancy of the theatrical tradition, turns – which hold a benign mirror up to nature – Commedia dell’Arte, which had its defining through which the audience can see at a safe period in the 16th and 17th centuries. It was distance the pains of being human and laugh theatre of convention played by absolute at them as a cathartic experience. The clown professionals, with a line-up of standard somehow heals our sorrow through sharing it and characters such as Arlecchino, Colombina, demonstrating its lurking absurd potentials. Pulchinello, Capitano, Servetta and the Zanni The structured formality of modern circus figures who rendered improvised text. The resonates with the emotional objectivity of influence of Commedia on Italian opera is Commedia, underscored by technical brilliance profound, its traditions animating many Italian which is a resonance of the rhetorical brilliance composers during the 17th and 18th centuries of “tirata”, the formal improvised speeches of and persisting into the early 19th century and Commedia practice. Thus, the circus practice beyond – the plot of Rossini’s The Barber of in our double bill becomes a physical metaphor Seville being an excellent example. for the aesthetic of Commedia, manifesting The genius of Leoncavallo’s Pagliacci is in the relationship of this aesthetic to music by its stated ambition to abandon the “vecchie expressing the texts of the arias and ensembles usanze”, the old customs of Commedia, and to in physical action which sometimes assumes make a theatre based on “truth” – real passions a comedic life of its own. The eclectically as opposed to stylised archetypes. These real synthesised score of ‘Laughter’ is drawn from passions are explored in the opera plot in the the early Madrigal comedies of Vecchi (1597) context of those formal archetypes via the and Banchieri (1598) and the tradition of “play within a play” and finally break free of them Arie Antiche – whose lyrics are often situationally to make a gesture based on the hyper-reality derived from the plots of Commedia. of the passions. In the end, they defy the In essence, ‘Laughter’ is a pasticcio intermezzo, formal conventions and break free from the a form with some interesting antecedents. Here formal constraints of the situational comedy is a description by Massimo Troiano of the of Commedia. Nevertheless, the Commedia festivities for the marriage of Duke Wilhelm and characters are mirrors of many of the less Renata of Lorraine in 1568, which consisted comfortable predicaments of human life: illicit of a Commedia cobbled together by the great love, the sting of unrequited desire in old age, composer Orlando di Lasso: servants outwitting masters and opportunistic charm seducing those with wealth and power. “After the prologue, Messer Orlando arranged for a Madrigal in five parts to be sung while However, in the world of Commedia, these all too Massimo, who now played the lover changed human discomforts are contained within the two his clothes… From the other side of the dimensional perspective of the mask, rhetorical stage appeared Messer Orlando dressed as _ 4 Magnifico… with a mask that drew roars of Thus, both ‘Laughter’ and ‘Tears’ have the laughter at first sight.” construct of ‘play within a play’ – images of a working theatre and the lives of the actors and The traditions of Commedia were essentially technical crew who staff them. This construct is slapstick, as the critic Muratori points out over resonated by our foyer exhibition by the 100 years later: “These comedies consist of Tonti Filipini Opera Company, formed during buffooneries and lewd intrigue, in fact a tangle the exigencies of WWI in Sydney by itinerant of absurd situations, in which we find not the Italian singers: art interrupted and reformed smallest trace of verisimilitude… and whose across the tides of history. only concern is to make people laugh.” Moreover, the antics of ‘Laughter’ are often Despite the high-minded disdain for Commedia mirrored in the business of ‘Tears’, characters found in the 18th century, the fact that juxtaposed and cross-referenced with the audiences like to be amused kept vigour in the Commedia traditions explored in a light- Commedia traditions, and the form alive in hearted way. This rich web of correspondence practical theatre making up to the present day. extends sub-textually to the Gesualdo Madrigal Our process of synthesis of a score from sung as a lament when the ‘Laughter’ rehearsal extant sources around an absurd plot is interrupted; Gesualdo murdered his wife and exactly mirrors operatic practice in the late her lover in a fit of jealous rage and spent the 16th and 17th centuries, the age of the remainder of his life in penitential seclusion made-to-order pasticcio. In that spirit of composing astonishing music. authenticity, I have unashamedly used a Both ‘Laughter’ and Pagliacci mirror each 21st century symphony orchestra and its other, their theatrical processes reflect the resources of colour in the orchestrations. richness of the theatrical and musical traditions Director Emil Wolk has constructed another from which they draw sustenance. All their mirror, placing the proceedings of the evening action is mirrored in the idea of their placement in a fictional working theatre near Montalto in the working life of an actual theatre in a (the alleged scene of the murder in Pagliacci – time when events of history intervened. The Leoncavallo’s father was a magistrate). The first theatre and life may “not be the same thing”, part of our show is an imagined final rehearsal of according to Canio, but at the deepest level, a traditional Commedia, still popular in Italy in the they are mirrors of each other. Mirrors which 1930s, interrupted by the declaration of WWII. distort and reinvent perspectives, but mirrors The action of Pagliacci takes place five years later, which upon inspection provide glimpses of the as the theatre reanimates post-war and the theatre deepest truths of the human condition. Enjoy! workers attend a run-through by a reconstituted Commedia company whose tangles of personal Artistic Director & Conductor, relationships unravel as the show progresses. Victorian Opera _ 5 MANAGING DIRECTOR'S MESSAGE ANDREW SNELL

Welcome to this evening’s performance and Collaboration is at the heart of our work back to the Palais Theatre! Victorian Opera is and mindset at Victorian Opera and we’re thrilled to return to this iconic seaside venue for delighted to be co-producing this work a second outing following last year’s epic 3D with the State Opera of South . reimagining of Wagner’s The Flying Dutchman. Opera lovers across South Australia will Laughter and Tears seems like the perfect be in for a treat when Laughter and Tears production to return with too; another bold is remounted there in a future season. reimagining of an operatic classic. Victorian Opera is able to continue to present In this production, the focus is on Leoncavallo’s productions of the scale and quality of masterpiece Pagliacci and the Commedia Laughter and Tears thanks to the generous dell’Arte roots of the opera. A desire to assistance of The State Government of contextualise the work for a modern audience through Creative Victoria, The Robert Salzer provided an opportunity to explore the Foundation, our philanthropic supporters; colourful world of Commedia, and who better especially our Artistic Director’s Circle and our to do that than our friends and collaborators at many corporate partners. Their contributions Circus Oz. This production boasts incredible are vital to our company’s ongoing success. aerial acrobatics and hilarious hijinks alongside Thank you for joining us at the Palais Theatre breathtaking performances from our cast of for a night of comedy and tragedy; opera and internationally acclaimed singers, headed by circus. You’ll laugh, you’ll cry, you’ll love it! and Elvira Fatykhova. Laughter & Tears marks Victorian Opera’s first collaboration with Circus Oz – an icon Andrew Snell of Australian performing arts and it’s been a Managing Director, Victorian Opera joy! We extend our great thanks to Circus Oz General Manager Lou Oppenheim and her wonderful team for their input and hospitality. The working styles of an opera and circus company certainly vary but this production has come together magnificently.

_ 6 CIRCUS OZ MESSAGE Lou Oppenheim

Circus Oz and Victorian Opera are both proud Crucially, the work that Kate, Geoffrey, DJ and performing arts organisations. Luke have developed within their independent Through this unique project, we look forward to theatre ensemble, Dislocate, has also made inviting our audiences to experience a new art an important contribution to this overall form, or to delight in a familiar art form in collaboration. We are delighted to be working a new light. with Director Emil Wolk again, who was the Guest Director for the Circus Oz 30th Birthday Since its ancient beginnings, Circus has been a Bash and our Bicentennial Show. bricolage of art forms – theatre, music, comedy, dance, puppetry, just to name a few – and this It has been a treat for us to be part of this collaboration gives us an exciting opportunity collaboration, and thank you for coming on to weave new creative realms into our work. this exciting journey with us. While music inspired by the likes of Vecchi, Banchieri and Leoncavallo may have appeared briefly in our eclectic soundtracks before, it has Lou Oppenheim been a delight and a privilege to explore first General Manager, Circus Oz hand how this language can inspire and shape our world. The creation of a circus show is not based on a pre-written script. Rather, the skills of the artists are brought to the rehearsal floor, and through collaboration and exploration of ideas and scenarios, a work begins to emerge. Fitting this type of process within the bounds of a tight operatic structure was always going to be part of the intrigue of this project, and it has been exciting to see the exchange of artistic cultures begin on the floor – even with occasional singing acrobats and juggling singers. This project has brought together Circus Oz Founding Member and Senior Circus Artist Tim Coldwell, Circus Oz Company Member Luke Taylor, and our long term circus alumni Kate Fryer, Geoffrey Dunstan and DJ Garner.

_ 7 PRODUCTION LAUGHTER AND TEARS

13 - 18 AUGUST 2016 Head Electrician Peter Darby PALAIS THEATRE, ST KILDA Chorus Preparation Richard Mills, Phoebe Briggs Pagliacci Repetiteurs Phillipa Safey, Tom Griffiths

Composer and Librettist Cast in order of appearance Running time is approximately 2 hours and Stage Hand/Columbina Kate Fryer 15 minutes with one 20 minute interval. Stage Hand Geoff Dunstan Sung in Italian with English surtitles. Stage Hand DJ Garner Acknowledgements Stage Hand Luke Taylor Arlecchino/Beppe Michael Petruccelli Laughter and Tears is a co-production of Victorian Opera and State Opera of South Minstrel Kate Amos Australia, presented in association with Minstrel Daniel Carison Circus Oz. Minstrel Michelle McCarthy Surtitles prepared by Simon Bruckard, with Minstrel Shakira Tsindos thanks to the Centre of Italian Studies. Capitano/Stage Hand Tim Coldwell Nedda Elvira Fatykhova Creative Team Canio Rosario La Spina Conductor Richard Mills Tonio James Clayton Director Emil Wolk Silvio Fabio Capitanucci Set Designer Julie Nelson Victorian Opera Chorus Costume Designer Harriet Oxley Soprano Lighting Designer/Production Manager Kate Amos, Elizabeth Barrow, Kirilie Blythman, Eduard Ingles-Sancho Michelle McCarthy, Rebecca Rashleigh, Assistant Director Libby Hill Cristina Russo, Diana Simpson, Nicole Wallace Stage Manager Felicity Hollingbery Mezzo Deputy Stage Manager Elise Stewart Kerrie Bolton, Fleuranne Brockway, Assistant Stage Manager Louise Miller Rebecca Bywater, Ursula Paez, Belinda Paterson, Emma Muir-Smith, Circus Oz Performer Rigger Shakira Tsindos, Lynlee Williams Christian Schooneveldt-Reid Circus Oz Production Assistant Jonathon Bam, Carlos E. Bárcenas, Tom Dalton, Cath Carmody Michael Edwards, Ernst Ens, Alister Lamont, Costume Supervisor Kate Glenn-Smith Timothy Reynolds, Shanul Sharma Head Mechanist Kieran Santoso

_ 8 Baritone/Bass Clarinet Daniel Carison, Paul Hughes, Jerzy Kozlowski, Paul Champion Principal, Nathan Lay, Timothy Newton, Alex Pokryshevsky, Robert Schubert Associate Principal^, Matthew Tng, Julian Wilson Andrew Mitchell Principal Bass Clarinet Bassoon Orchestra Victoria Lucinda Cran Principal, Timothy Murray Concertmaster Roger Jonsson Principal Contrabassoon, Matthew Angus* Deputy Concertmaster Yi Wang Horn Violin Jasen Moulton Principal, Heath Parkinson ~ Erica Kennedy Acting Principal , Associate Principal^, Linda Hewett Principal Tomomi Brennan Associate Principal, Third Horn, Sydney Braunfeld, Rachel Shaw~ ~ Binny Baik, Alyssa Conrau, Lubino Fernandes , Trumpet Rachel Gamer, Matthew Hassall, Rachael Hunt, Mark Fitzpatrick Principal~, Rosie Turner Mara Miller, Philip Nixon, John Noble, Associate Principal, Anthony Pope, Martin Reddington, Christine Ruiter, Tristan Rebien* Rebecca Adler*, Miranda Matheson*, Edwina Kayser*, Lisa Reynolds*, Christine Wang* Trombone Scott Evans Principal, Tony Gilham Viola Associate Principal, Benjamin Anderson Paul McMillan Principal, Catherine Bishop, Principal Bass Trombone Jason Bunn, Nadine Delbridge, Suying Aw*, Cora Teeuwen* Tuba Jon Woods Principal^ Cello Melissa Chominsky Principal, Timpani Diane Froomes Associate Principal, Guy du Blêt Principal~, Sarah Cuming, Philippa Gardner, Scott Weatherson Principal^ Tania Hardy-Smith, Andrea Taylor Percussion Double Bass Richard Gleeson Principal^, Damien Eckersley Principal, Dennis Vaughan Conrad Nilsson Associate Principal Associate Principal, Davin Holt, Matthew Thorne Harp Flute Delyth Stafford Principal^, Lisa-Maree Amos Principal~, Karen Schofield Alannah Guthrie-Jones Associate Principal^ Associate Principal, Kate Proctor Principal Piccolo, Dominique Chaseling* * = Guest Musician ^ = Guest Musician Acting in a Principal Role Oboe ~ Stephen Robinson Principal, = Orchestra Victoria musician not appearing in this performance Joshua de Graaf Associate Principal~, Dafydd Camp Principal Cor Anglais

_ 9 LAUGHTER AND TEARS THE MUSIC OF ‘LAUGHTER’

1. Intrada Anon, 16th century 2. Minstrels Entry – Italian keyboard Album Anon, 16th century 3. Minstrels Prologue – Prologue to L’Amfiparnusso (1597) Orazio Vecchi, 1550 - 1605

4. ‘Udite tutti quanti’ from La Pazzia Senile (1598) Adriano Banchieri, 1568 - 1634 5. Già il sole dal Gange Alessandro Scarlatti, 1660 - 1725 6. Giga – from Violin Sonata in G minor Antonio Vivaldi, 1678 - 1741 7. Corrente from Violin Sonata in D minor Francesco Durante, 1684 - 1755 8. Danza, danza, fanciulla gentile Francesco Durante, 1684 - 1755 9. Quella fiamma che m’accende Bernedetto Marcello, 1686 - 1739 10. Teco sì...vengo anch'io Leonardo Vinci, 1690 - 1730 11. Canon Antonio Vivaldi, 1678 - 1741 12. Sonata in D major, K. 96 Domenico Scarlatti, 1685 - 1757 13. ‘Lasciatemi morire’ from L’Arianna (1608) Claudio Monteverdi, 1567 - 1643 14. ‘Pulchinell che vostu far’ from La Pazzia Senile (1598) Adriano Banchieri, 1568 - 1634 15. ‘Balleto di Villanelle’ from La Pazzia Senile (1598) Adriano Banchieri, 1568 - 1634 16. Fuor di periglio from Floridante G.F. Handel, 1685 - 1759 17. Vado ben spesso cangiando loco Salvator Rosa, 1615 - 1673 18. Sarabanda from Violin Sonata in G minor Antonio Vivaldi, 1678 - 1741 19. Sebben, crudele Antonio Caldara, 1670 - 1736 20. ‘Pur ti miro’ from L’incoronazione di Poppea Claudio Monteverdi, 1567 - 1643 21. Il teatro è la vita Sigismondo Molino, 1628 - 1701 22. Ecco morirò Carlo Gesualdo, 1566 - 1613 23. Moro lasso Carlo Gesualdo, 1566 - 1613

_ 10 LAUGHTER AND TEARS SYNOPSIS

ACT I Forty five minutes before WWII is declared in 1938, a final dress rehearsal of a traditional Commedia dell’Arte pantomime is taking place in a provincial Italian theatre. It includes a chorus of minstrels whose music comes from the very first madrigal comedies of Vecchi (1577) and Banchieri (1598). An intrada sets the scene, with the stage hands not quite ready. The show begins despite the interruptions of a wilful clown, el Capitano, who becomes the jealous and finally outwitted buffone. The minstrels who are a ‘play within a play’ This first half is a play being rehearsed like enter and invite the audience into the world the play within the play in Pagliacci, where of the Commedia. Arlecchino/Beppe and Colombina/Nedda are similarly lovers. Confused? Good, this is the A beautiful young ward is trapped in an old essence of Commedia. man’s house. We see Nedda, playing the traditional Innamorata, appear on the balcony Arlecchino/Beppe, still desperate to rescue obsessively “supervised” by her guardian or old Innamorata/Nedda garners a second attempt husband. She sings of the new day and one of to extract Innamorata/Nedda from her house. the minstrels, as Arlecchino, becomes smitten. A minstrel comforts Capitano who weeps for He seeks the help of the zanni troupe to get his lost love. Seven o’clock chimes and the into Capitano’s house and rescue Innamorata/ other minstrels remind Arlecchino and his new Nedda. Capitano is seduced by a zanni stage conquest that theatre and life are not the same hand, disguised as Colombina who entertains thing. The rehearsal run is interrupted by Canio him and by trickery gains entrance to his house. with the news of the declaration of WWII. Meanwhile Arlecchino/Beppe and Innamorata/ © Richard Mills Nedda declare their love and he, with assistance from the zanni troupe, attempts to bring her down from the balcony prison. This is foiled by the sudden appearance of Capitano and a chase ensues. Innamorata/ Nedda sings a lament.

Photography © Charlie Kinross (pp. 2, 3, 12, 30) Illustrations © Harriet Oxley (pp. 11, 13) _ 11 _ 12 LAUGHTER AND TEARS SYNOPSIS

ACT II – PAGLIACCI Tonio, as a prologue, bids farewell to the old customs of Commedia. He tells us that what we are about to see is not artifice, but real flesh and blood, real passions, real dilemmas and a slice of life as it is really lived, as distinct from the world of fantastic comedy. He introduces Pagliacci and invites us into the reality of a theatre company and the human relationships of its members. Their aspirations, hopes, desires and foibles which will be the focus of new exploration. He gives us this concept and invites us to see how it unfolds. The Commedia masks are removed and real people enact their destinies. On the 15th of August, 1945, the theatre reopens with a reunion of its former employees. Tonio meanwhile, hoping to compromise Canio is welcomed back and invites all to a Nedda, has gone to fetch Canio from drinks. rehearsal of their new spectacle to take place The two return to surprise Nedda and Silvio. that evening. The crew invite Canio and others He manages to escape without his identity being for a drink, Tonio says he’ll join them later. discovered. Canio is furious and heartbroken in betrayal, but the performance must proceed. Nedda is alone and muses on the life giving warmth of summer filled with longings she All the theatre crew return from vespers and cannot rationalise. She sees the freedom of drinks to see the new show, a Commedia play the birds as two company acrobats rehearse politicised by the war years. Canio is unable to an aerial routine. Tonio intrudes on this happy contain his passion, and his emotion fractures contemplation with an unwelcome advance the traditional persona of his character as he and swears revenge for her rejection. scolds Nedda for her duplicity and demands the name of her lover. He kills her. As she dies Silvio, Nedda’s lover, appears and they talk she calls for help from Silvio, Canio also kills about the reality of Nedda’s loveless marriage him, dropping the knife as Tonio observes to Canio and her dislike of the nomadic life ‘La commedia è finita’. of theatre. They resolve to run away together after the performance that evening. © Richard Mills

_ 13 LAUGHTER AND TEARS BIOGRAPHIES

RICHARD MILLS EMIL WOLK JULIE NELSON Conductor Director Set Designer Richard Mills is one of Emil Wolk, born in Julie has designed the sets Australia’s most prolific and City, has worked as a stage and costumes for over 40 internationally recognised director and screen actor with productions in Australia and composers. He pursues a Royal Shakespeare Company, the UK, including a production diverse career as a composer, and of The Clandestine Marriage conductor and artistic director. Royal Exchange, Manchester. attended by Queen Elizabeth II. He has held numerous He was awarded the Laurence This is her fourth design for prestigious posts, and received Olivier Award as ‘Best Actor Victorian Opera. She has many scholarships, fellowships in a Musical’ (Kiss Me, Kate). completed set and costume and awards including an AM, Professional highlights include: designs for Victorian Opera’s in 1999. He is currently Artistic Circus Oz’s 30th Anniversary Sleeping Beauty (2012), Director of Victorian Opera, Show; Puck in Britten’s Cinderella (2013) and and has previously been Artistic A Midsummer Night’s Dream The Cockatoos (2010). She Director of the West Australian at , dir. Robert Carsen; was Associate Designer for the Opera 1997 - 2012, Director Ariel in Peter Greenaway’s Australian Ballet’s production of the Australian Music Project Prospero’s Books, Samuel in of Romeo and Juliet. Julie also for the Tasmanian Symphony Escape from Sobibor for HBO, designs for commercial events, Orchestra 2002 - 2008 and Judge Kieren Webster in Rake most recently for Jamie Oliver’s Musica Viva’s Composer of the for ABC TV, Charley’s Aunt with Food Revolution at Sydney Year in 2008. Richard regularly for the , Concert Hall. conducts the leading orchestras Exchange Manchester. He also and opera companies of worked as a Vaudeville Consultant Australia and has an extensive in David McVicar’s Pagliacci at discography of orchestral works The Metropolitan Opera. including his own compositions. _ 14 HARRIET OXLEY E D U A RD LIBBY HILL Costume Designer INGLES-SANCHO Assistant Director Harriet studied at RMIT Lighting Designer Libby trained as a classical and VCA and now designs Eduard has created lighting dancer, performing with the costumes primarily for music designs for some of the most West Australian Ballet for and movement. For Victorian prestigious dance, theatre, ten years before moving into Opera, Harriet designed and opera companies in freelance choreography, Into the Woods, Assembly, both Europe and Australia. working primarily with opera The Bear, Angelique, and Since moving to Melbourne productions. During this time, The Snow Queen. Her design from Barcelona in 2004, he she developed an interest in for Angelique won the 2011 has worked as a designer for the artistic management and Green Room Award for Design theatrical productions and administration of companies. for Opera. In contemporary exhibitions including; She was the Company Manager dance, she has worked for The Key (Dislocate), Dance of at , followed award-winning choreographers the Bee (Astra), Rembrandt's by Artistic Liaison Manager. such as Gideon Obarzanek Wife (Victorian Opera), Since 2012, Libby has been (Chunky Move and Sydney If These Walls Could Talk…? Executive Producer for Victorian Dance Company), Stephanie (Dislocate), Bradman Hall Opera. In addition to this role, Lake, Michelle Heaven, Of Fame (Bradman Museum), she has also directed several Ros Warby, Victoria Chiu, and Leap of Faith (National Institute productions for the company, is soon to work with Lucy Guerin, of Circus Arts), Racing Gallery including Hansel and Gretel, and Dancenorth. Harriet has (National Sports Museum), The Play of Herod and Alice’s designed circus costumes A Newcastle Story (Newcastle Adventures in Operaland. for Dislocate and NICA, and Museum), Silverscreen Libby most recently directed costumes for VCA’s Music (Callum Morton), Last Orders Victorian Opera’s production Theatre department, as well (National Institute of Circus of Cinderella. as the big budget musical Arts), and Curiosity (Dislocate). Moonshadow the Musical. _ 15 Laughter and Tears BIOGRAPHIES

KATE FRYER GEOFFREY DUNSTAN DJ GARNER Stage Hand/Columbina Stage Hand Stage Hand Kate Fryer has been a Geoffrey has been a physical DJ Garner has spent 29 years performer, director, teacher theatre performer, and producer honing his skills, producing and writer of circus and for almost 20 years. He has a physical vocabulary of physical theatre for 20 years. danced, sung, composed, acrobatics and slapstick to Combining story-telling and directed, produced, clowned, defy the eye and tantalise physical mayhem she has rigged and somersaulted your funny bone. After a travelled the globe performing his way around the world staggering 17 years training at street festivals, major events working for companies such in gymnastics and 12 years and in some of the world’s as Circus Oz, Rock’n’Roll judo competing both nationally most prestigious theatres. Circus, Dislocate, Circa, and internationally, DJ Garner She is a founding member and Queensland Theatre Company, completed a Diploma of Artistic Director of Dislocate’s Melbourne Theatre Company, Circus Arts at the National Theatre Program and has Torque show, Y Space, JOLT, Institute of Circus Arts in worked with Circus Oz, QTC, Hothouse Theatre, Horned 2003. Most recently, after Legs on The Wall, Strut & Fret, Moon Productions, QPAT, returning to Australia from Rock n Roll Circus, Circa, Chambermade Opera, the USA on completion of his Olympic and Commonwealth Snuff Puppets, MDPE, Cirque du Soleil contract in Games Cultural Programs The Australian Shakespeare the internationally acclaimed and festivals worldwide. Company and Legs on the Wall, Quidam DJ has taken on As a director she has to name a few. He is a founding the role of Artistic Director helped create circus acts, member of Dislocate Circus of the Corporate and Special ensemble productions Theatre and currently the Artistic Event side of things in the and curated parades. Director of Children’s Theatre. Dislocate team. Geoffrey is also the Director of Ruccis Circus School. _ 16 L UK E TAY L OR MICHAEL PETRUCCELLI TIM COLDWELL Stage Hand Arlecchino/Beppe Capitano/Stage Hand Luke’s circus career started Recognised as an engaging Tim is an acrobat, trumpeter when he joined the Flying and passionate performer, and clown with Circus Oz, Fruit Fly Circus at aged Michael Petruccelli is a member of the Board of 12, and toured nationally establishing himself as one Directors, the Executive in and internationally with the of Melbourne’s emerging charge of Production and, from Fruities. Luke spent a year with operatic . With time to time, tent designer, Lunar Circus touring Western Victorian Opera, he has props engineer, inventor and Australia and the Northern performed the roles of director. He has previously Territory performing, teaching Giuseppe in La Traviata, the been the Artistic Director and workshops, and taking turns Sandman in Hansel and Gretel, Chair of the Board. Tim started driving a large bus across the White Rabbit in with Ashton’s Circus in 1974, the Nullarbor. He completed Alice’s Adventures in Operaland and co-founded New Circus in the Bachelor of Circus Arts and Lord Arturo Bucklaw Adelaide later the same year. at the National Institute of in . He toured with New Circus and Circus Arts, refining his solo He will make his debut for Circus Royale and co-founded juggling and extending his Opera Australia performing Circus Oz in 1978. Tim used group acrobatic skills. Since Stephen Goldring in Sydney to stand on his head on a graduating Luke has performed Opera House, The Opera. high wire, and ride the group with various companies Michael is also the recipient bike. He also originated and including Circus Oz, Circa, of the RJ & AF Hamer Opera performed the signature Circus Risque, Dislocate, Scholarship with the Dame Circus Oz Roofwalk Act and Chipolatas and Throw Down, Nellie Melba Opera Trust, walked across the Torrens River and co-founded the circus and is a current artist in on a highwire. show Caravan with other Victorian Opera's Professional circus school graduates. Development Program. _ 17 Laughter and Tears BIOGRAPHIES

ELVIRA Fatykhova ROSARIO LA SPINA JAMES CLAYTON Nedda Canio Tonio Russian soprano Elvira Fatykhova Rosario La Spina’s American In 2016, James Clayton sang debuted in Australia as Violetta debut was as Rodolfo Scully (The Riders) for West (La Traviata) with the Tasmanian (La bohème) for Australian Opera and The Symphony Orchestra and in 2007; he returned to Seattle Speaker (The Magic Flute) for has since sung many of the as Radames () and made Opera. He also leading lyric coloratura roles, his first Canadian appearances appears as a soloist with the such as Gilda (), in the same role. Since 2013, Melbourne and New Zealand Lucia di Lammermoor, Rosina he has appeared as Radames Symphony Orchestras. Most (The Barber of Seville), Manon in Detroit, Sydney, Melbourne, recently, he has sung Escamillo (Massenet), Donna Anna Adelaide and New Zealand; () for Opera Australia (), Countess Don Alvaro (La forza del and several roles for West (), with destino) in Adelaide; Gaston Australian Opera – the title Opera Australia, New Zealand (Jérusalem) in Fidenza, roles in Rigoletto, Le nozze di Opera, all the Australian Don José (Carmen) in Japan Figaro and Il barbiere di Siviglia, State opera companies, and throughout Australia; Leporello (Don Giovanni), Salzburg Opera, Ankara State Pollione (Norma) for Iago (Otello) and Conte di Luna Opera, Croatia State Opera, Victorian Opera; Manrico (Il trovatore). A regular soloist Bashkirian State Opera and (Il trovatore) for West Australian with all the major Australasian Opera Holland Park, . Opera and Calaf () symphony orchestras, James Elvira’s concert appearances for Opera Australia. In 2016, made his Japanese debut as include Opera Australia’s he sang The Prince (Love for Don Alfonso in Così fan tutte New Year’s Eve Gala, Hong Three Oranges) in Sydney for Biwako Hall. Kong Philharmonic Orchestra, and will perform Samson Haydn Orchestra, Bolzano, (Samson et Dahlia) in Tokyo and and the Presidential and Bilkent Cavaradossi () in Adelaide. Symphony Orchestras of Turkey. _ 18 FABIO CAPITANUCCI KATE AMOS DANIEL CARISON Silvio Minstrel Minstrel At the age of 23 Fabio Maria Kate is a young Melbourne- Daniel holds a Bachelor of Capitanucci won the Teatro born soprano and she holds a Music at The University of Lirico Sperimentale di Spoleto BMus (Honours) and Dip. Lang Melbourne, is a current artist in competition, and from 1999 (Italian) from The University of Victorian Opera’s Professional until 2001 worked at the Melbourne, and is a current artist Development Program and a Accademia di Perfezionamento in Victorian Opera’s Professional scholar with The Melba Opera of Teatro alla Scala. In 2002 Development Program. In 2015, Trust. Performance highlights he was awarded the Premio Kate completed a Masters of with Victorian Opera include; Renato Bruson at its first Music (Opera Performance) at Pandolfe in Cinderella, Ensemble edition. Since 1999, he has the MCM in conjunction with in The Flying Dutchman and been a regular guest at Teatro Victorian Opera. A prestigious Sweeney Todd along with alla Scala in Milan. In the past Sleath Lowrey Scholarship winner, Balthazar in The Play of Herod. seasons: Falstaff at La Scala Kate studied at the Fondazione Daniel is a seasoned concert and in San Francisco; Pergolesi Spontini in Italy winning and oratorio performer and has La Traviata at Wiener a study scholarship through received tremendous ovations Staatsoper and in Munich; the Italian Acclaim Awards particularly for his performances in Barcelona; and recently was an Australian of Schubert’s Winterreise, Les Troyens at la Scala; Singing Competition finalist his live radio performance of La Vedova allegra in Genoa, winning the Symphony Australia Schumann’s Dichterliebe on Falstaff in Bamberg and Prize, Merenda Scholarship and 3MBS and the World Premiere of Luzern, La Bohème in Genoa, UK Royal-Overseas League Cassomenos’ For The Madama Butterfly in Bergen. Award under maestro Johannes End of Time. Daniel is the winner Fritzsch. She recently performed of a number of highly regarded the title role in Victorian Opera’s singing competitions including; production of Cinderella. The Royal Philharmonic Aria and 3MBS’ The Talent. _ 19 Laughter and Tears BIOGRAPHIES

MICHELLE McCARThY SHAKIRA TSINDOS Minstrel Minstrel Michelle completed a Bachelor Shakira holds a Bachelor of of Music at the Melbourne Music from the University of Conservatorium of Music in Melbourne, and graduated with 2013, and is a current artist in Honours. She is a current artist Victorian Opera’s Professional in Victorian Opera’s Professional Development Program. Upon Development Program and graduation Michelle was cast made her major operatic debut as the title role in the Opera opposite Jessica Pratt in Australia Schools Company Lucia di Lammermoor in April. production of Cinderella. In 2015 Other roles for Victorian Opera Michelle starred as Williamson include Dorothée in Cinderella, Girl in the Australian premiere the Mother in The Grumpiest of The Difficulty of Crossing a Boy in the World and Ensemble Field as part of the Nagambie- in Remembrance. Other credits: Lakes Opera Festival. Concert Snow White in Gordon Kerry’s engagements include soloist Snow White and Other Grimm in Carmina Burana, Mozart Tales and Carmen in Carmen Requiem, Handel Dixit Dominus, in the Caves alongside David Kodaly Missa Brevis and with the Hobson. Shakira is the 2016 MSO in Jeff Mills and Derrick recipient of the Joseph Sambrook May’s performance at the Opera Scholarship with the Sidney Myer Music Bowl. She Melba Opera Trust. Earlier this recently performed the role of year, Shakira made her successful Fairy Godmother in Victorian MSO debut as the soloist in Opera’s production of Cinderella. Hitchcock and Herrmann. _ 20 BRINGING OPERA TO THE REGIONS TOURING

Victorian Opera is excited to tour regional Warragul Victoria with two productions – The Pied Piper West Gippsland Arts Centre and Cinderella. Cinderella Richard Mills’ kooky new opera, The Pied Piper, Tuesday 25 October, 10:30am & 1:30pm has been specifically written for community The Pied Piper involvement and features local community Thursday 27 October, 11:00am & 7:30pm members, children through to adults, performing as rats and the citizens of Hamelin Bendigo alongside the cast and orchestra in each The Capital region. Our music staff have enjoyed working Cinderella with over 380 Victorians who will perform on Wednesday 2 November, 10:30am & 1:30pm stage in their local arts centres. The Pied Piper We’re proud to share the joy of singing and Friday 4 November, 6:00pm & live performance across the state and can’t wait 5 November, 2:00pm to visit Port Fairy, Mildura, Warragul, Bendigo, Shepparton Shepparton and Albury/Wodonga. Westside Performing Arts Centre Port Fairy Cinderella Southcombe Park Stadium Tuesday 8 November, 10:30am & 1:30pm The Pied Piper The Pied Piper Sunday 9 October, 3:30pm Friday 11 November, 7:30pm

Mildura Albury/Wodonga Mildura Arts Centre Albury Entertainment Centre Cinderella The Pied Piper Tuesday 18 October, 10:30am & 1:30pm Wednesday 16 November, 7:30pm The Pied Piper Thursday 20 October, 7:30pm

Government Partners Foundation Partner Regional Partners

_ 21 VICTORIAN OPERA PATRONS

Founding Patrons Ian Merrylees The Late Dame Elisabeth Murdoch AC DBE John & Elisabeth Schiller Lady Potter AC Tim & Lynne Sherwood Lady Southey Leadership Circle ($20,000+) Felicity Teague Earl & Countess of Wilton Deanne Bevan & Guy Russo Anonymous (1) William J Forrest AM Hans & Petra Henkell* Silver Patrons ($1,000+) Dr John & Elizabeth Wright-Smith* Ian Baker & Cheryl Saunders Artistic Directors Circle ($10,000+) Laurie Bebbington & Elizabeth O’Keeffe Kirsty Bennett Rob & Caroline Clemente Buckett Family John & Diana Frew The Hon David Byrne Jane Hemstritch Terry & Christine Campbell Suzanne Kirkham* Deidre Cowan Peter & Anne Laver Ernest Dawes OBE & Nola Dawes Geraldine Lazarus & Greig Gailey* Bill Fleming Dr Richard Mills AM John & Gaye Gaylard Platinum Patrons ($5,000+) Brian Goddard Nance Grant AM MBE & Ian Harris Beth Brown & Tom Bruce AM* Gras Foundation Siobhan Lenihan* Lesley Griffin Kaye Marion Irene Irvine Don & Angela Mercer Simon L Jackson & Brian Warburton Marian & Ken Scarlett OAM* Sean Kelly Greg Shalit & Miriam Faine Rod & Daniele Kemp Anonymous (1) Angela & Richard Kirsner John & Lynne Landy Gold Patrons ($2,500+) Dr Paul & Glenys Lejins Joanna Baevski Dr Anne Lierse Tanya Costello & Peter Costello AC Margaret Mayers & Marie Dowling Dr Terry Cutler Douglas & Rosemary Meagher Craig D’Alton & Peter Sherlock Jane Morris Bob Garlick Greg Noonan Dr Jennifer George & Rev Matthew Williams Ruth & Tom O’Dea Mary-Jane Gething and Joseph Sambrook Jillian Pappas Murray Gordon Jane Patrick & Robert Evans Peter & Jenny Hordern Lynette Payne Stewart & Denise Jackel Prof Margaret Plant Ian Kennedy AM & Dr Sandra Hacker AO Prof Dimity Reed AM Alun & Patricia Kenwood Prof John Rickard Peter Lovell Michael Rigg _ 22 If you would like to get more involved in the work of Victorian Opera by becoming a Patron, please contact Pooja Dutt, Individual Giving Manager on 03 9001 6408 or [email protected]

Judith Robinson & Michael Robinson AO Gillian Montgomery Judith Rodriguez Carmel Morfuni Tomasz & Elzbeita Romanowski Ian Morrey & Dr Geoffrey Minter Graeme Samuel AC & Jill Davies Patrick & Nichole O’Duffy Michael Sassella John & Marion Poynter Aubrey Schrader Merlyn Quaife Phillip & Sue Schudmak Greg J Reinhardt Andrew Snell Ralph & Ruth Renard Penny Stragalinos Mary Ryan Caroline Travers OAM Dr John & Thea Scott Dr Michael Troy Prof Michael Smith Chris & Helen Trueman Mr Sam Smorgon AO & Mrs Minnie Smorgon Liz & Peter Turner Prof Elsdon Storey Caroline Vaillant Hugh & Elizabeth Taylor David Valentine Tam Vu & Cherilyn Tillman Catherine Walter AM Dr John Ward Russell Waters & Marissa Barter-Waters Peronelle Windeyer Ian A Watts Anonymous (11) Anonymous (2) Bequests Bronze Patrons ($500+) G Bawden and L DeKievet Jenny Anderson Lesley Bawden Ines & Dr Don Behrend Frank and Danielle Chamberlin David Bernshaw & Caroline Isakow Colin Gunther and Richard Laslett John & Nancy Bomford Jane Kunstler Pam Caldwell Tony Wildman and Robert Gibbs Dr Jennifer Coghlan-Bell & A/Prof Simon Bell Anonymous (3) Angela Dhar Catrionadh Dobson & Charles Windeyer *Victorian Opera would like to thank the Beatrice & Richard Donkin following patrons for their support of our Dr M Elizabeth Douglas Education and New Work Syndicates: Jean Dunn Dennis Freeman Education Syndicate Richard & Isabella Green Hans & Petra Henkell Jill & Robert Grogan Geraldine Lazarus & Greig Gailey Dr Garry Joslin Dr John & Elizabeth Wright-Smith Angela Kayser I Kearsey & M J Ridley New Work Syndicate Robert & Pamela Knight Beth Brown & Tom Bruce AM Peter & Barbara Kolliner Suzanne Kirkham Jane Kunstler Siobhan Lenihan Joan & George Lefroy Marian & Ken Scarlett OAM Peter & Susan Martin _ 23 COME AND JOIN IN THE FUN AT CIRCUS OZ WITH A RANGE OF ENGAGING PROGRAMS FOR THE YOUNG AND FOREVER YOUNG!

THE MELBA CIRCUS SPIEGELTENT CLASSES HIGH FLYING Collingwood’s hidden A range of classes for kids, treasure. Catch a show and teens and adults. Learn TEAMS a drink, or hire the Melba for new skills in a safe and Corporate circus classes your own private function. friendly environment. to empower and build team communication, trust, risk- taking and leadership.

CIRCUSOZ.COM

50 PERRY ST COLLINGWOOD 9676 0300 _ 24 COME AND JOIN IN THE FUN AT CIRCUS OZ CIRCUS OZ WITH A RANGE OF ENGAGING PROGRAMS ABOUT US FOR THE YOUNG AND FOREVER YOUNG!

Founded in 1978, Circus Oz is credited with of art form development programs, including revitalising a traditional art form through the our award-winning BLAKflip masterclasses for creative collaboration of some of Australia’s Indigenous artists. most talented artists in physical theatre, circus, Circus Oz Chair Wendy McCarthy AO dance, music, and comedy. Celebrating breathtaking stunts, irreverent humour, cracking Artistic Director Rob Tannion live music and an all-human ensemble, Circus General Manager Lou Oppenheim Oz promotes the best of Australia: generosity, Senior Circus Artist Tim Coldwell diversity, death-defying bravery, and a fair Senior Artistic Associate Antonella Casella go for all. We have toured to 27 countries across five continents, performing our uniquely Australian form of contemporary circus to four million people of all ages and cultural backgrounds. With a strong focus on social justice, alongside our annual national, regional, remote and international tours, Circus Oz THE MELBA engages over 7,500 people each year through CIRCUS SPIEGELTENT our circus skills workshops and hosts a number Photography: © Robert Blackburn CLASSES HIGH FLYING Collingwood’s hidden A range of classes for kids, treasure. Catch a show and teens and adults. Learn TEAMS a drink, or hire the Melba for new skills in a safe and Corporate circus classes your own private function. friendly environment. to empower and build team communication, trust, risk- taking and leadership.

CIRCUSOZ.COM

50 PERRY ST COLLINGWOOD 9676 0300 _ 25 _ 2631 _ 27 Orchestra Victoria Corporate Partnerships Account Manager is a wholly owned subsidiary Fiona Gosschalk of . Trust & Foundations Manager T: (03) 9694 3600 Donna Cusack www.australianballet.com.au Philanthropy Manager James Worladge Management (03) 9669 2732 Artistic Director [email protected] Nicolette Fraillon Patrons Manager General Manager Olivia Passmore Julie Amos (03) 9669 2776 Operations Manager [email protected] Fiona Boundy Board Project Manager Margaret Lloyd Libby Christie Personnel Manager Peter Hough Sara Pheasant Angela Kelly David McAllister AM Deputy Orchestra Manager Harriette Blanden Philanthropy at Orchestra Victoria Operations Coordinator Mark Lowrey Endowment Funds Administration Coordinator Education Elise Lerpiniere Lesley & Bob Qualtrough Bequest Operations Assistant The Judith & Alasdair McCallum Fund Rachel Owen Hamilton and Western District Fund Orchestra Librarian Geoff and Helen Handbury Foundation Glynn Davies Estates Administration Trainee Mrs Neilma Baillieu Gantner Lucy Barker Trusts and Foundations HR Consultant Gandel Philanthropy Ange Park The William Buckland Foundation Marketing Specialist Planned Giving Melissa Ray GC Bawden & L de Kievit Operations Accountant Arnold Gschiel Government Relations & Strategic Communications Manager Dana Moran _ 28 Principal Regional Partner

Orchestra Victoria is assisted by Orchestra Victoria is supported the Commonwealth Government by the Victorian Government through the Australia Council, through Creative Victoria. its arts funding and advisory body

Annual Giving H. E. McKenzie The Conductor's Podium Peter McLennan & John Landers Mr Robert Albert AO RFD RD Ms Marilyn Meyer & Mrs Elizabeth Albert Michelle and Ian Moore Geoff and Helen Handbury Foundation Prof David Penington Lady Potter AC CMRI The Concertmaster's Ensemble Kerryn Pratchett Joan and Peter Clemenger Trust Mr John Redman Ms Linda Herd Judith Robinson Dr Peter A Kingsbury & Michael Robinson AO Avner Klein & Maria Pannozzo Adrienne Shaw The Prescott Family Foundation Libby Smith Principal Donors Bruce & Leona Sterling Betty Amsden AO H & EA Van Herk Gaye & John Gaylard Henry Winters Dr Alastair Jackson Helen & Wayne Worladge Judith & Alasdair McCallum Igor Zambelli & Jenny Lee Don & Angela Mercer Anonymous (2) Mrs Margaret S Ross AM Victor & Karen Wayne Current as at 17 July 2016 Patrons Orchestra Victoria Instrument Acquisition is supported by Creative Partnerships Australia through Plus1 David & Cindy Abbey Maple-Brown Abbott Marc Besen AC & Eva Besen AO Tom Bruce & Beth Brown Peter & Ivanka Canet Mr Jim Cousins AO & Mrs Libby Cousins Ms Jane Edmanson OAM Mr William J Forrest AM Louis J. Hamon OAM Henkell Family Fund Russell and Jenni Jenkins Peter & Carmel Johnson G C Bawden & L de Kievit Peter Kolliner OAM & Barbara Kolliner

_ 29 VICTORIAN OPERA ABOUT US

In our ten year history, over 300,000 audience We support green printing initiatives members have experienced a performance with Victorian Opera – over 20,000 of those attending regional performances. We have created 16 new

Australian works and collaborated with some To reduce our carbon footprint, this programme is printed on of Australia’s leading companies. We employ locally made paper. We’ve used vegetable based inks with alcohol hundreds across the theatre industry and recruit free printing initiatives on 100% recycled carbon neutral paper by Printgraphics under ISO 14001 Environmental certification. some of the finest singers from Australia and around the world. We are committed to the Explore our world accessibility of opera through tactile tours, Go behind the scenes of our latest productions, audio described and relaxed performances. listen to our podcast The Art of Opera and find We have inspired over 500 young singers through more online at victorianopera.com.au our youth opera program and developed over Connect 30 emerging artists. In 2016 under Artistic Director Richard Mills, we continue to reimagine opera and present opera without boundaries. @victorianopera #victorianopera

_ 30 VICTORIAN OPERA STAFF

Conductor Emeritus Finance and Administration Richard Gill OAM Finance & HR Manager John Orr Finance Assistant Claire Voumard Victorian Opera Board Chairman Jane Hemstritch Development and Marketing Deputy Chairman Greig Gailey Development Manager Louise O’Loughlin Roger Box Individual Giving Manager Pooja Dutt Vivienne Corcoran Development Coordinator Meredith Dellar Francis Ebury, Earl of Wilton Events Coordinator/Office Administration Anne Gilby Hayley Haynes Siobhan Lenihan Marketing & Communications Manager Henri Marron Penny Stragalinos Marketing & Communications Coordinator Executive Alexia Jordan Artistic Director Dr Richard Mills AM Media & Communications Executive Scott Whinfield Managing Director Andrew Snell CRM & Ticketing Executive Executive Producer Libby Hill Nichole O’Duffy

Artistic, Engagement & Production Victorian Opera 2016 Season Staff Head of Music Phoebe Briggs Deputy Electrician Daniel Gosling Repetiteur Phillipa Safey Costume Makers Justine Coultham, Artistic Administration Coordinator Marushka Blyszczak, David Anderson, John Van Kate Stephens Gastel, Lara Barwick, Pettie Danos, Emma Ikin, Artistic Administration Assistant Peggy Moad, Johanna Gallagher, Susan Skinner, Candice MacAllister Samantha Peerson, Madeleine Somers, Tristan Seebohm, Patricia Chircop – Knit Education Officer Deborah Vanderwerp Melbourne, Jan Szczepanik – Berenson Tailors, Technical & Operations Coordinator Phillip Rhodes Hats, Claire Best – Handmade Peter Darby Shoes, Simon Bainbridge – Allprops Production Coordinator Luke Hales Production Props Greg Taylor Sound Production Jim Atkins Surtitles Tim Mallis

_ 31 LAUGHTER AND TEARS 100 YEARS

Ercole and Nancy Filippini This year marks the centenary of the arrival of baritone Count Ercole Filippini in Australia. Born in Buenos Aires, Argentina in 1885 to Italian parents, he made his professional debut in his home city, before gaining a contract with Italy’s prestigious La Scala opera house in Milan in 1912. With the closure of theatres in Europe during World War I, Filippini joined the Gonsalez Opera Company for a tour that included India, China, and the Philippines, followed by 14 months in Australia and New Zealand from June 1916. When the tour ended Filippini remained in Australia and, in 1918, opened a school of opera in Sydney. One of his students was a Count Ercole Filippini as the ill-fated jester in Verdi’s Rigoletto young music graduate, Anne McParland (later known as Nancy), and by the end of the year the In the early 1930s they broadcast regularly on couple were married. In 1919 Filippini joined ABC Radio in Perth, even performing full Frank Rigo’s touring company, which featured with their company in the studio. other Italian principals and Australian singers. Ercole Filippini died at the age of 48 in During the 1920s, the Filippinis set up Grand 1934. Nancy continued her involvement with Opera companies in South Australia and singing, broadcasting, and leading choirs Western Australia, all the while envisioning a and orchestras; she died in 1987, aged 91. national audience. Ercole performed onstage Instrumental in sharing Italian opera across while Nancy produced and directed. She Australia, their musical legacy also continues became Australia’s first female conductor through many family members including of symphony orchestras and later joined her grandson, singer-songwriter Paul Kelly. husband in lead roles. Text courtesy of , Performing Arts Collection The pair were dedicated to making Italian opera widely accessible, touring regularly to Opera Pioneers in Australia the outback and remote corners of the country A display celebrating the contribution of Ercole as well as major cities. In order to make ends and Nancy Filippini to Italian opera in Australia meet, Ercole also sang in vaudeville venues and cinemas, and together with Nancy, Arts Centre Melbourne, experimented with shortened versions of operas. Smorgon Family Plaza, level 5 Until 30 August 2016 _ 32 VICTORIAN OPERA PARTNERS

Victorian Opera is supported by the Victorian Government through Creative Victoria. Victorian Opera would also like to acknowledge, with great appreciation, the contribution of the partners listed on this page.

Government Partners

Foundation Partner University Partner Regional Partner

Supporting Partners

Trusts & Foundations

Gailey Lazarus The Marian & The Pierce William Angliss Foundation E.H. Flack Trust Armstrong Charitable Fund Sylvia Fisher Fund Henkell Family Fund Foundation

Performance Partners

Technology & Lighting Partners

For tailored business partnerships with Victorian Opera, please contact Louise O’Loughlin, Development Manager on (03) 9001 6405 or [email protected] _ 33 FOUR SAINTS IN THREE ACTS

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3034 FOUR SAINTS IN THREE ACTS

First performed on Broadway in the 30s with a cellophane set, Virgil Thomson and Gertrude Stein's ground breaking masterpiece is inspired by jazz, gospel and folk music. Their fantasy world of 16th century saints is revivified for the 21st century with surreal 3D imagery.

30 September - 1 October Merlyn, The Coopers Malthouse

@victorianopera #victorianopera #voFourSaints

Proudly supported by Victorian Opera’s Education Syndicate

Government Partner Foundation Partner Performance Partner

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