Giuseppe Verdi Presented in association with Fondazione Pergolesi Spontini Her Majesty's Theatre 17-29 May 2014

Artistic Director & Conductor’s Message

Violetta in a contemporary theatrical language which embraces both realism and profound psychological insight simultaneously. Such a theatrical process is at once consonant with the nature of , which is by nature of the form, an exploration of interior reality and state of being through music. And it is Verdi, the master dramatist through music, forged with such technical mastery, clarity, humanity, and human understanding and impeccable taste and judgement who has given the world such a treasure for exploration and interpretation. La traviata is both a dramatic and musical masterpiece: because the opera contains such I am delighted to welcome Australian soprano an abundance of memorable and great musical to Melbourne for these performances. moments, its power and logic as a dramatic text Jessica has carved an important career in in the are often not completely appreciated. Moreover repertoire, most recently as Lucia (Lucia di its very popularity and familiarity can make us Lammermoor) at . Similarly, it is a pleasure take it for granted. to welcome Alessandro Scotto di Luzio for his Australian debut and to invite the great Australian This production sees the work afresh, capturing baritone, José Carbó back to the company. All have the essence of the piece, presenting the factual been generous colleagues, and have been great reality of the Parisian mid-century “demi-monde” mentors and examples for our young artists. as the background to the trajectory of the principal characters – which is realised in a non-realistic I would like to thank director Henning Brockhaus narrative mode, via an inspired scenography which – a man of great spirit and intellect – and a great refi nes and distils the emotional journey of Violetta, European, and his wonderful colleague Valentina Germont and Alfredo. Escobar who have been a joy in the rehearsal room and our colleagues at the Fondazione Pergolesi Victorian Opera is proud to present the work Spontini in Jesi, especially General Manager of legendary designer, Josef Svoboda, in William Graziosi, who has helped greatly to make Australia for the fi rst time. His partnership with this La traviata possible in our company. Enjoy. director Henning Brockhaus has bequeathed to us a production which itself has become - Richard Mills, Artistic Director & Conductor iconic, manifesting the world and the story of

Richard Mills / ARTISTIC DIRECTOR & CONDUCTOR'S MESSAGE Director’s Message

“Ce cloaque splendide”. What is usually seen is a bonbonière of costumes and stagings, in which an almost abstract love story takes place. Instead, it is extremely important to understand that Violetta is a “whore”, as clearly and literally stated by . The world of La traviata and the male customs that were called “La maladie du Siècle” – that is, the refusal of the rational bourgeois world, the search for adventure, pleasure and amusement, as well as the serious physical repercussions linked to sex and prostitution – are aspects which are often concealed or just evoked. In order for certain In most of the stagings of La traviata, even from situations and attitudes to emerge, what Dumas’ the very beginning of its history it could be said, novel tells us is more useful. So, we start with the the sharp point of the social and moral criticism fi nancial and social defeat of Violetta, the selling inherent in the story of Marié Duplessis, then of of her furniture, followed by her mental defeat Marguerite Gautier in “La dama delle camelie”, which follows the death of her great love. The and then of Violetta Valéry, has been deliberately point that interests us is her personal journey, from removed. Verdi himself had had premonitions the superfi ciality of a society in which she lived the about this and gave in on this very important aspect life of a happy commodity, towards her human by shifting the entire story to the 18th century, in the emancipation, her choice of a life of real and hope that the temporal distance would make the deep sentiments and, obviously, Alfredo’s inability topic of the opera, which burned with scorching to follow her. This is the story’s currency, and it is contemporaneity, as Dumas desired, acceptable always contemporary because it is true and human, to the audience. La traviata was too “close”. Even beyond the ages. setting the story in the right period, in 1850 or a little later, as is now common usage, the perspective In this staging, the action takes place around does not change, for La traviata remains an opera 1870, not long before the Paris Commune. This in costume and not, as was originally conceived, is for aesthetic and social reasons: the fashion at an opera in contemporary costume. The historical the time was much more sensual and refi ned than distance persists in any case, obstructing every that of twenty years earlier, and the social opulence possible actualisation of the facts and problems and decadence are historically delineated with represented in the scene. clarity. The costumes are inspired by the paintings of Giovanni Boldini, the bard of the female Another crucial matter is that nothing is left of that beau monde in Paris at the end of the century; which Dumas characterised with the expression impalpable dresses, characters who are not well “demi-monde”, or in reference to Violetta’s salon:

DIRECTOR'S MESSAGE / Henning Brockhaus clothed or are very lightly dressed, because the truth a voyeur who spies through the keyhole to watch is that this here is not a banquet in a distinguished action which takes place independently beyond residence, but the parlour of the most beautiful the curtain, external and foreign. The voyeuristic prostitutes in Paris. component is not negated here – on the contrary, it is exalted through repeated mechanisms of mixings As for the sets, the only fi xed element is an and refl ections that lead to an identifi cation with the enormous mirror in front of the wall, which on one narration which is as concrete as it is psychological. hand limits and concentrates the action on one focal point, and on the other, acts as a refl ection As well as telling the story, we are also telling and estrangement of the truth of a drama which is that which is not written, neither with words just that, in that it refl ects, for the umpteenth time, nor with music. At the same time, we are also the sacrifi ce of a creature who is the tragic outcome telling that which happened before a particular of erotic male voyeurism. The mirror, therefore, situation, obviously that which is found “below refl ects the action on stage. The individual scenes the text” – that is, intentions and real states of are instead painted on large canvases that lie mind, the contradictions between the lines. In this on the fl oor like enormous carpets above which sense, the mirror acts perfectly as an attractor the actors move; a collage of various paintings of reality, offering at the same time a multiplicity with erotic motifs taken from period prints. of perspectives. The spectator sees the scene This mix between painting and reality creates, horizontally but also sees the vertical refl ection, metaphorically, a kaleidoscope of associations and where everything that takes place is viewed from suggestions, and when, in the end, there are no above, “zenithly”. This vision is entirely new in more images and the fl oor is desolately bare, this theatre, and seems to offer information which means that the time of illusions is over. is additional, almost not permitted. The mirror incontrovertibly and unavoidably throws the All the necessary props are situated on the two audience into the action, blurring the victim and the sides outside the action of the mirror, and are in guilty, all of us responsible today against that world view. The directorial methodology is intentionally of “weaknesses” of which Violetta was a part. “epic” according to the Brechtian model: in front of the audience, a story materially constructed in - Henning Brockhaus, Director real time is told; minor fi gures and members of the chorus enter the action, bringing what they need with them and openly showing the scene. This is because we are interested in the actions, the feelings, the attitudes and how they change – we know the plot by heart. In traditional theatre, the audience watches like an eye-witness, or rather, like

Henning Brockhaus / DIRECTOR'S MESSAGE Managing Director’s Message

This production also marks the role debut of Jessica Pratt as Violetta, straight from her triumph as Lucia at La Scala. Perhaps more importantly, this is Jessica’s debut in a production in her home country and we are incredibly proud that she has chosen Victorian Opera for this honour. We also welcome tenor Alessandro Scotto di Luzio in his Australian debut in the role of Alfredo and acclaimed international director Henning Brockhaus in his fi rst Australian production. In the role of Giorgio, we are delighted to welcome back baritone José Carbó to the company. On behalf of Victorian Opera I welcome you to Verdi’s masterpiece, La traviata. This production Victorian Opera exists to provide experiences marks the opening of Chapter Two; Richard Mills’ to Victoria on a variety of levels. This year, our second year at the helm of the company. mainstage work takes us from the glamour of this celebrated production of La traviata, For me personally though, it marks my fi rst staged through music theatre (Into the Woods) to the production as Managing Director of what I believe commissioning of new work (The Riders). However, to be Australia’s most exciting and innovative our work exists on much more than the Melbourne opera company. stage; our education and community engagement This production truly is an opera of fi rsts. It is the programs around the state continue to amaze me fi rst time the company has staged a Verdi opera, as we ‘Enable Victoria to Sing’. Our Master of the fi rst time the company has collaborated with Music (Opera Performance) course mentors and Fondazione Pergolesi Spontini to bring one of their develops the next generation of Australian singers famed productions to an Australian theatre, and the and repetiteurs our access initiatives enable more fi rst time the renowned designer Josef Svoboda’s and more people to experience the extraordinary work has been seen on an Australian stage. window on the world that we call opera. I hope you enjoy this evening of ‘fi rsts’ and truly hope that you come back for seconds!

- Andrew Snell, Managing Director

MANAGING DIRECTOR'S MESSAGE / Andrew Snell Victorian Opera wishes to create a world that is magnifi cent, immense and exhilarating.

Through the generosity of your donation, we can be at the forefront of creating new Australian opera, engage exemplary artists, share the magic of live opera and develop the new generation of opera audiences. For more information about our Annual Giving Campaign, please contact Caroline Buckley, Philanthropy Executive, on 03 9012 6659.

DONATE ONLINE Please visit victorianopera.com.au/support LA TRAVIATA 17 - 29 May 2014 CREATIVE TEAM Her Majesty's Theatre Melbourne Conductor Richard Mills Composer Giuseppe Verdi Director/Lighting Designer Henning Brockhaus Librettist Assistant Director/ Valentina Escobar Choreographer First performed in 1853, . Set Designer Josef Svoboda Costume Designer Giancarlo Colis Running time approximately 2 hours 50 minutes Set Designer for Adaption Benito Leonori including two intervals. Production Manager Michele Bauer Stage Manager Jessica Smithett La traviata is presented in association with Deputy Stage Manager Andrea Corish Fondazione Pergolesi Spontini. Principal Repetiteur Phoebe Briggs Repetiteurs Phillipa Safey ACKNOWLEDGEMENTS Simon Bruckard Harp provided by Melbourne Symphony Orchestra. CAST Violetta Valéry Jessica Pratt Surtitles provided by Opera Australia - prepared Alfredo Germont Alessandro Scotto di Luzio by Brian FitzGerald. Giorgio Germont José Carbó Percussion provided by Barry Quinn. Flora Bervoix Dimity Shepherd With thanks to: Jim Atkins, CVP, Element Rigging, Gastone de Letorières Carlos E. Bárcenas Norwest, Orchestra Victoria, Resolution X. Barone Douphol Nathan Lay Marchese d’Obigny Jeremy Kleeman Dottore Grenvil Jerzy Kozlowski Annina Kirilie Blythman Giuseppe Michael Petruccelli Servant/Commissioner/ Simon Meadows Messenger Dancers Adam Bishop Rebecca Blenkinsop Stephanie Blundell Luisa Bomba Georgina Hagerty Dylan Henry Madeleine Magetti Kyle Stevens Jack Traylen

PRODUCTION INFORMATION / La traviata VICTORIAN OPERA CHORUS 2nd Violin Monica Curro* Soprano Kate Amos Mick Loftus-Hills** Kirilie Blythman Aaron Barnden Madeleine Featherby Alyssa Conrau Fiona Jopson Francesca Hiew Margaret Orr Clare Miller Joanna Patocs Lynette Rayner Cristina Russo Kate Sullivan Diana Simpson Viola Gabrielle Halloran* Mezzo Margaret Arnold Christopher Cartlidge** Kerrie Bolton Lauren Brigden Rebecca Bywater Ceridwen Davies Frederica Cunningham Matthew Laing Elizabeth Lewis Catherine Turnbull Emma Muir-Smith Cello Rachel Tobin* Marianne Pierce Paul Ghica** Anna Plotka Anna Pokorny Tenor Jonathon Bam Zoe Wallace Paul Biencourt Double Bass Damien Eckersley* Steven Crosby Stephen Newton** Michael Edwards Flute Sarah Beggs* Tobias Glaser Taryn Richards Trevor Maitland Piccolo Paula Francis Michael Petruccelli Dom Chaseling Raphael Wong Oboe Ann Blackburn* Baritone/Bass Robert Campbell Rachel Curkpatrick Nicholas Cowall Clarinet Philip Arkinstall* Angus Grant Cameron Smith Kristian Gregory Bassoon Jack Schiller* Robert Latham Chris Martin Michael Lampard French Horn Geoff Lierse* Simon Meadows Kara Hahn Matthew Tng Georgia Ioakimidis Rachel Shaw VICTORIAN OPERA CHAMBER ORCHESTRA Trumpet Shane Hooton* Concertmaster Sarah Curro Tristan Rebien Associate Lorraine Hook Trombone Bob Collins* Concertmaster Keiren Conrau

1st Violin Rebecca Adler Bass Trombone Charles MacInnes* Briar Goessi Cimbasso Jon Woods* Deborah Goodall Timpani Brent Miller* Oksana Thompson Percussion Greg Sully* Jenny Khafagi Evan Pritchard Kathryn Taylor Harp Julie Raines

* Denotes Principal Musician La traviata / PRODUCTION INFORMATION ** Denotes Associate Principal Musician Credit: Fondazione Pergolesi Spontini © Foto Binci SYNOPSIS

ACT ONE ACT THREE The courtesan Violetta Valéry hosts a party in her Six months have passed and Violetta is dying. Paris salon, where she is introduced to Alfredo Germont has written to Violetta to inform her Germont, an admirer. When they are alone, Alfredo that Alfredo was not injured in the duel, and has confesses his love. At fi rst Violetta protests but then told Alfredo about her sacrifi ce for him. Alfredo, relents and asks him to meet her the following day. discovering the truth, rushes to her bedside. The After the party, Violetta feels torn between her desire lovers plan to leave but after a last resurgence for freedom and love. She chooses freedom and of strength Violetta falls dead at her lover’s feet. Alfredo can be heard singing outside. © Dr Sharon Lierse ACT TWO Months later they are living in a country house near Paris. Alfredo discovers that Violetta has been selling her possessions to support their lifestyle. He immediately leaves for Paris to procure funds. Violetta receives a party invitation from her friend Flora. In Alfredo’s absence, his father Giorgio Germont visits to try to persuade Violetta to end the relationship with his son. She relents and writes Alfredo a farewell letter. Alfredo returns and Violetta declares her love before departing for Paris. She attends the party with Barone Douphol, her new lover. Alfredo arrives and challenges the Barone to a game of cards. Alfredo then accuses Violetta of betrayal. Violetta faints and Germont arrives and denounces his son’s behaviour. The Barone challenges Alfredo to a duel.

La traviata / SYNOPSIS PROGRAM NOTES

LA TRAVIATA deemed a failure. While the end of the fi rst act was met with polite applause, during the second act the audience began to turn against the performance and their boos were now directed towards both the tenor and the baritone as well. Following the premiere, Verdi famously wrote “La traviata last night was a failure. Was the fault mine or the singers’? Time will tell”.

With a revision of the score and improved casting, the opera was subsequently relaunched in 1854, again in Venice, with further productions in Vienna (1855) and New York and Paris (1856). When it was La traviata is Verdi’s eighteenth opera and one fi rst performed in London in 1856 it was considered of his most famous and regularly performed. The morally questionable. The Church of England tried to period between 1851 and 1853 was particularly put an injunction in place to prevent its performance productive for Verdi, containing not only La traviata and Queen Victoria refused to visit the theatre, but also (1851) and (1853). although it was reported that “the music, words and La traviata epitomised great romantic opera with all, were not unheard at the palace”. a marriage of the arts - a drama full of passion, From these seasons, La traviata gained popularity glorious song, soaring arias, rousing choruses, and became entrenched in the standard operatic extravagant costumes, a large orchestra, and repertoire. It is currently listed by Operabase as the spectacular sets. The title La traviata can be most regularly performed opera in the world. translated as ‘the lost one’, or ‘the fallen woman’. In La traviata, Verdi explores the idea of opera The opera is based on the play La dame aux as human drama. The libretto (by Francesco Camélias, adapted from a novel by Alexandre Maria Piave) is not only emotionally charged, Dumas, fi ls. Although Verdi conceived the work but is melodramatic; exploring the strongest as contemporary to the 1850s, pressure from the human emotions; love and grief. These emotions management of the at are manifested in the music through expressive (Venice) ensured that the premiere production was, melodies, virtuosic vocal writing, rich harmonies, in fact, set in the 17th century. This, combined expansive orchestration and the transformation of with the limitations of the soprano Fanny Salvini- poetry into drama. Donatelli (including that she was deemed a little too overweight to credibly play a woman dying of With thanks to Dr Sharon Lierse for tuberculosis) ensured that the fi rst performance was contribution to program notes. Credit: Fondazione Pergolesi Spontini © Foto Binci

Credit: Fondazione Pergolesi Spontini © Foto Binci BIOGRAPHIES

RICHARD MILLS HENNING BROCKHAUS VALENTINA ESCOBAR Conductor Director/Lighting Designer Assistant Director/Choreographer Richard Mills is one of Australia’s German born Henning Brockhaus Following musical and theatrical most prolifi c and internationally has directed major works around studies, Valentina Escobar has recognised composers. the world, including Théatre de worked in prestigious theatres l’Europe in Paris, Piccolo Teatro including Piccolo Teatro (Milan) He pursues a diverse career as a in Milan, and theatres in Tokyo, for Strehler’s shows, La Scala composer, conductor and artistic Hamburg, Amsterdam, Madrid Academy, Petruzzelli in Bari, director. He has held numerous and now Melbourne. Project Massimo in Palermo, Verdi in prestigious posts, and received highlights include , , Trieste and Busseto, Pavarotti many scholarships, fellowships Elektra, La traviata, Macbeth in Modena, Ravenna, Piacenza, and awards including an AM, in and Rigoletto for main stage and Fondazione Pergolesi Spontini in 1999. He was Artistic Director festival seasons. An acclaimed Jesi, Macerata, the Royal Opera of the West Australian Opera director, Henning has also taught House of Muscat and more as a 1997 – 2012, Director of the in the fi eld of opera and theatre choreographer, assistant director Australian Music Project for the production: fi rst at the University of and director. She has worked with Tasmanian Symphony Orchestra Venice and later at the Accademia notable artists including Robert 2002 – 2008 and Musica Viva’s di Belle Arti at Macerata. Carsen and Henning Brockhaus Composer of the Year in 2008. (La Serva Padrona, Macbeth, Richard regularly conducts the In 2004 he founded the Rigoletto, La traviata and Otello). leading orchestras and opera “Bottega del Teatro Musicale” at companies of Australia and has Macerata, an academy for young an extensive discography of directors and set designers. orchestral works including his own compositions.

BIOGRAPHIES / Creative & Cast JOSEF SVOBODA (1920-2002) GIANCARLO COLIS BENITO LEONORI Set Designer Costume Designer Set Designer for Adaptation Josef Svoboda was born in Cáslav, Giancarlo Colis was born in A graduate of the Academy Czech Republic. He studied Spoleto, where he studied of Fine Arts in Macerata, scenography at the Prague scenography and costume Benito attended the Theatre de Conservatory and architecture during the Festival dei l’Europe’s biennial for young at the Academy of Applied Arts. due Mondi, graduating in designers. He has worked with He later became the principal stagecraft. Following this he director Henning Brockhaus designer at the Czech National graduated in scenography from and designer Josef Svoboda Theatre in 1948. His multimedia the Academy of Fine Arts in on numerous projects including installations, Lanterna Magika Rome. Giancarlo has worked , Rigoletto and Polyekran, realized together in theatre, television and fi lm, and Macbeth with the likes of with director Alfréd Radok for including with director Mauro Macerata Opera, Opera di the Expo ‘58 in Brussels, made Bolognini and actress, writer Roma, Budapest Opera and him an international name. and director Franca Valeri. Fondazione Pergolesi Spontini, Svoboda is responsible for His work for cinema includes Jesi. Since 2005 Benito has introducing modern technologies The Mission, The Last Emperor, been Technical Director of and materials such as plastics, The Seventy Scoll, Il Conte di Fondazione Pergolesi Spontini, hydraulics and lasers into his Melissa and Joe Petrosino for and won the Franco Abbiati designs. Svoboda’s honors Rai 1. From 1989 to 1992 he Critics Award in 2012. Benito and awards include honorary collaborated with Ellen Stewart opened the last season of La doctorates from the Royal College at La Mama Experimental traviata at Teatro San Carlo of Arts in London and awards Theatre Club in New York. Since in Naples as scenographer. from the United States Institute for 2006 Giancarlo has designed Theatre Technology (USITT). costumes for a number of directed by Henning Brockhaus.

Creative & Cast / BIOGRAPHIES BIOGRAPHIES

KIRILIE BLYTHMAN CARLOS E. BÁRCENAS JOSÉ CARBÓ Annina Gastone de Letorières Giorgio Germont Kirilie completed a Bachelor of Carlos was born in Colombia Australian/Argentine baritone Music at the Victorian College and moved to Australia in José Carbó’s international of the Arts, Melbourne University 2008, where he completed his engagements have included the in 2011. She was awarded the Bachelor and Masters in Music title role in Il barbiere di Siviglia Athenaeum Competition vocal (Opera Performance) at the and Belcore in L’elisir d’amore for prize and the Walter Kirby University of Melbourne. With the in Madrid; his La Singing Scholarship. Recently Victorian Opera in 2014, Carlos Scala debut in Il viaggio a Reims a developing artist with Victorian performed in Games of Love and his American debut in 2011 Opera, she completed the Masters and Chance and in 2013, the as Rossini’s Figaro in Seattle. of Music (Opera Performance) Judge in The Magic Pudding – José’s album My Latin Heart program through the Melbourne the opera, the Miller in Puss in (recorded with Slava & Leonard Conservatorium of Music, Boots, as a soloist in Opera on Grigoryan) reached No. 1 on University of Melbourne in 2013. a White Night, and understudied the Limelight Magazine Classical For Victorian Opera, Kirilie has Mao in Nixon in China. Work Music charts. In 2014, he sings performed the roles of Tisbe (La with other companies includes the title role in Rigoletto for Opera Cenerentola) and Princess (Puss in Alexander in for Australia, Riolobo in Florencia for Boots) as part of their education Melbourne Lyric Opera, Don Los Angeles Opera and is soloist program. Other appearances José in Carmen for Opera in with the Adelaide and Canberra include Soloist (2014 Opera on a Good Company, Michael for Symphony Orchestras. White Night), Narrator (The Magic Deborah Cheetham’s Pudding – the opera), Soloist new opera Pecan Summer, (Rush Hour), Chorus (Nixon in Sigmund & Siegfried for More China), Soloist (2013 Opera on Than Opera’s production of a White Night Gala Concert). The Ring - Wagner Animated.

BIOGRAPHIES / Creative & Cast JEREMY KLEEMAN JERZY KOZLOWSKI NATHAN LAY Marchese d'Obigny Dottore Grenvil Barone Douphol Bass-Baritone Jeremy Kleeman Jerzy has performed in over sixty Nathan completed his Bachelor completed a Bachelor of Music at operas as soloist and chorus of Music at the Melba the Melbourne Conservatorium member. Choral music also Conservatorium of Music in of Music in 2011, and in 2013 plays an important part in his 2008, and has since established graduated from Victorian Opera career - he is a regular soloist his career in the Melbourne and the Conservatorium’s in the Bach Cantata Project opera and oratorio scene. collaborative degree, Master at St John’s Lutheran Church, In 2014 Nathan performed in of Music (Opera Performance). Melbourne, and also with the Games of Love and Chance for For Victorian Opera, Jeremy has Astra Chamber Music Society. Victorian Opera. He recently performed in Games of Love and Recent solo appearances include won the 2013 Royal Melbourne Chance (2014) and in 2013, as Martin Friedl’s Underworld Philharmonic Aria competition, Albert the Pudding in The Magic Songs and Max Reger’s Hebbel and also received third place Pudding – the opera and The Requiem. With Victorian Opera in the prestigious Herald Sun Ogre in El Gato con Botas. He he has performed Christus in Aria competition at Hamer Hall. performed Colline in La bohème Bach’s St John Passion, Trulove in Nathan performed Guglielmo for Opera New England. Jeremy Stravinsky’s The Rake’s Progress, in Cosi fan tutte for Melbourne was a prize-winning fi nalist in the bass soloist in Stravinsky’s Les Opera. He also performed The 2013 National Liederfest and the Noces and toured in Così fan King in El Gato con Botas, Louis 2012 IFAC Australian Singing tutte. Future engagements the Baker and Billy Webster in Competition, and is generously include Plutone in Euridice Sunday in the Park with George, supported in 2014 by the Joseph by Jacopo Peri (1600) at the and Bunyip Bluegum in the world Sambrook Opera Scholarship Woodend Winter Arts Festival. premiere of The Magic Pudding – with the Melba Opera Trust. the Opera for Victorian Opera.

Creative & Cast / BIOGRAPHIES BIOGRAPHIES

SIMON MEADOWS MICHAEL PETRUCCELLI JESSICA PRATT Servant/Commissioner/ Giuseppe Violetta Valéry Messenger Michael Petruccelli, a young Jessica Pratt gave her operatic VCA graduate Simon Meadows and passionate classical tenor, debut in 2007 in the title role of performed the role of Belcore in completed his Honours in Lucia di Lammermoor and has Donizetti’s L’Elisir D’Amore with performance at The University of established herself ever since UK company Opera up Close. Melbourne in 2012. Michael’s as one of the fi nest and most He also made his German performance highlights include: sought-after interpreters of the debut singing the Baritone Games of Love and Chance bel canto repertoire. Opera solo in Swiss composer Frank (Victorian Opera), Luis in The companies and festivals she Martin’s In Terra Pax at Berlin's Gondoliers, Richard Dauntless has performed with include La Heilige Kreuz Kirche. In 2012 in Ruddigore, Kurt in Laugh Scala, Covent Garden, Opera he performed the title role in out Loud, the tenor solos for Zurich, , Verdi’s Macbeth (Kennet Opera, the Mozart Requiem, Mozart’s Maestranza Seville, La Fenice UK), Villequier in Chabrier’s Le Solemn Vespers and for Bach Venice, San Carlo Naples, the Malgre Roi Lui (Wexford Festival Cantata BWV180. Recently, festivals in Pesaro, Garsington, Opera, Ireland), Escamillo in Michael performed in his fi rst Caramoor New York, Lima, Carmen (Opera Up Close, public recital series with Elyane Rome (Caracalla) and Parma London and Melbourne Opera) Laussade, performed as tenor (Verdi Festival). Among her many and Sonora in Puccini’s La soloist for Oratorio de Noël recordings: , Fanciulla del West (Opera Up by Camille Saint-Saëns with Viva la mamma, Adelaide di Close). He also performed the art of sound orchestra and Borgogna, , in new works in the NOVA has travelled to Germany and Otello, La sposa di Messina and workshop for Victorian Opera. New York where he worked with the New Year's Gala from Venice. world leading singing teachers and coaches.

BIOGRAPHIES / Creative & Cast ALESSANDRO SCOTTO DI LUZIO DIMITY SHEPHERD Alfredo Germont Flora Bervoix Alessandro Scotto di Luzio started Dimity is one of Australia’s his musical studies and career at most established performers. a very young age. His repertoire Victorian Opera credits include includes Rodolfo in La bohème, her Green Room award winning Tonio in La Figlia del Reggimento, Cherubino in The Marriage of Nemorino in L'elisir d'amore, Figaro, Orphée in Orphée et Ernesto in , Duca Eurydice, Alice in Through The di Mantova in Rigoletto, Edgardo Looking Glass, Arsamene in in Lucia di Lammermoor, Alfredo Xerxes, Nireno in Julius Caesar, in La traviata, Fenton in Falstaff. her Helpmann Award nominated His recent and future engagements Lucy in The Threepenny Opera, include Un giorno di regno and Clara in Midnight Son, and L’elisir d’amore in Verona and appearances in Nixon in China Florence, Rigoletto in Bari, Don and Sunday in The Park with Pasquale in Glyndebourne and George. She has sung Cherubino Tel Aviv, L'elisir d'amore in Tel for Opera Australia, Rosina in Aviv and several concerts with Barber Of Seville and Carmen the Luciano Pavarotti Foundation. for Oz Opera, major roles for Opera Queensland, the title role in The Ghost Wife at London’s BITE02, Melbourne and Adelaide festivals, and premieres for Chamber Made Opera. Concert performances include Melbourne Symphony and Sydney Festival. Creative & Cast / BIOGRAPHIES BOOK NOW Arts Centre Melbourne Tickets from $50 $30 tickets for 30 years & under 1300 182 183 (fees apply) victorianopera.com.au Into the Woods Music and lyrics by Stephen Sondheim Book by James Lapine Originally Directed on Broadway by James Lapine By arrangement with Hal Leonard Australia Pty Ltd Exclusive agent for Music Theatre International (NY) THE MAESTRO AND THE COOK An exclusive fundraising event

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FOUNDING PATRONS PLATINUM PATRONS ($5,000+) The Late Dame Elisabeth Murdoch AC DBE Neilma Gantner Lady Potter AC Paul Little AO & Jane Hansen Dr John & Elizabeth Wright-Smith PATRON IN CHIEF Anonymous (1) The Honourable Alex Chernov AC QC, Governor of Victoria GOLD PATRONS ($2,500+) Bruce Curl VICTORIAN YOUTH OPERA PATRON Craig D'Alton & Peter Sherlock Betty Amsden OAM Dr Gavan Griffi th AO QC LIVING BEQUEST Sue Kirkham Susan Harley Judith Rodriguez John & Elisabeth Schiller ARTISTIC DIRECTORS CIRCLE ($10,000+) Gregory Shalit & Miriam Faine Jennifer Brukner Tim & Lynne Sherwood William J Forrest AM Felicity Teague John & Diana Frew Anonymous (1) Richard & Isabella Green Mrs Jane Hemstritch SILVER PATRONS ($1,000+) Hans & Petra Henkell Joanna Baevski Peter & Anne Laver Laurie Bebbington & Elizabeth O’Keeffe Deanne Bevan & Guy Russo Professor Simon Bell & Dr Jennifer Coghlan-Bell Lady Southey AC Kirsty Bennett Anonymous (1) Sheila Bignell Beth Brown & Tom Bruce AM EDUCATION SYNDICATE Buckett Family Betty Amsden OAM Terry & Christine Campbell Hans & Petra Henkell Lynda Campbell Jim & Diana Carlton NEW WORK SYNDICATE Caroline & Robert Clemente Beth Brown & Tom Bruce AM Mary Davidson & Frederick Davidson AM Marian & Ken Scarlett OAM Stephanie Dundas Joy Selby Smith Gareth & Merran Evans Felicity Teague Rosemary Forbes & Ian Hocking DIAMOND PATRONS ($10,000+) Greig Gailey & Geraldine Lazarus Betty Amsden OAM Bob Garlick The Late Dame Elisabeth Murdoch AC DBE

VICTORIAN OPERA / Patrons If you would like to get more involved in the work of Victorian Opera through our individual giving program please contact Catrionadh Dobson, Individual Giving Manager on 03 9001 6405 or [email protected].

John & Gaye Gaylard BRONZE PATRONS ($500+) Brian Goddard John & Nancy Bomford Anthony Grigg & Paul Williamson Jasmine Brunner Stuart & Sue Hamilton Neil Burns Geoff & Anthea Hone Pam Caldwell Stewart & Denise Jackel Ms Corrie Calegari & Mr Ian Law Simon L Jackson & Brian Warburton Deloitte Stuart T Jennings Catrionadh Dobson & Charles Windeyer Kemp Family Jean Dunn Ian Kennedy AM & Dr Sandra Hacker AO Dennis Freeman John & Lynne Landy Nance Grant AM MBE Kwong & Joanne Lee Dow Lesley Griffi n Joan & George Lefroy Jill & Robert Grogan Anne Lierse April Hamer Professor John Lovering AO & Ms Kerry Lovering OAM Angela Kayser Kaye E Marion Irene Kearsey Margaret Mayers & Marie Dowling David & Barbara McSkimming Duncan & Lorraine McGregor Douglas & Rosemary Meagher Dr Ken & Mrs Lesley Muirden Ann Miller Ruth & Tom O’Dea Kenneth W Park Jane Patrick & Robert Evans Lynette Payne Dimity Reed John Rickard Sam Ricketson & Rosemary Ayton Judith Robinson Michael Rigg Mary Ryan Elžbieta & Tomasz Romanowski Joseph Sambrook & Mary-Jane Gething Michael Sassella John & Thea Scott Schapper Family Foundation Mr Sam & Mrs Minnie Smorgon Aubrey G Schrader Liz & Hugh Taylor Phillip & Sue Schudmak Neil Twist Bernadette Slater Caroline Vaillant Liz & Peter Turner Robyn Walton Catherine Walter AM Russell Waters & Marissa Barter-Waters Andrea Walton Ian A Watts Earl & Countess of Wilton Anonymous (7) Anonymous (4)

Patrons / VICTORIAN OPERA

VICTORIAN OPERA STAFF

CONDUCTOR EMERITUS DEVELOPMENT AND MARKETING Richard Gill OAM Development & Corporate Partnerships Manager Jo De Jong VICTORIAN OPERA BOARD Jane Hemstritch (Chairman) Business Development Manager Greig Gailey (Deputy Chairman) Melissa Grenville Francis Ebury, Earl of Wilton Individual Giving Manager Ross Freeman Catrionadh Dobson Anne Gilby Philanthropy Executive The Hon. Professor Barry Jones, AO Caroline Buckley Penny Stragalinos Development & Marketing Coordinator Catherine Walter AM Nichole O'Duffy EXECUTIVE Marketing & Communications Manager Artistic Director Kanesan Nathan Dr Richard Mills AM Marketing & Communications Coordinator Managing Director Lisa Wallace Andrew Snell Media Relations Executive Executive Producer Rohan Astley Libby Hill PRODUCTION ARTISTIC AND EDUCATION Production Manager Head of Music Michele Bauer Phoebe Briggs Technical & Operations Coordinator Repetiteur Peter Darby Phillipa Safey Costume Supervisor Education & Community Engagement Manager Ross Hall Melissa Stark Artistic Administration Coordinator VICTORIAN OPERA 2014 SEASON STAFF Kate Stephens Head Mechanist Adam Graf Women’s Tailor Alice Swing FINANCE AND ADMINISTRATION Finance & HR Manager Men’s Tailor Maruska Blyszcak Darren O'Beirne Costumier Madeleine Somers Finance Assistant Wardrobe Coordinator Jane Jericho Claire Voumard Wigs Linda Cowell Offi ce Administrator Orchestral Management Luke Hale Kate Bailey Cameron Lukey

Staff / VICTORIAN OPERA Our Partners

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

Government Partners

Foundation Discover Opera Across University Partner Regional Partner Partner Victoria Partner

Supporting Partners

Education & Access Partners

William Angliss Charitable Fund Sylvia Fisher Foundation

Performance Partners

Victorian Opera creates tailored partnerships to enable businesses to meet their strategic priorities. Partnerships are available at various levels and activity is adapted to align with each company’s objectives. For a discussion about how your business can benefi t from a partnership with Victorian Opera, please contact Jo De Jong, Development & Corporate Partnerships Manager on (03) 9001 6408 or [email protected]. VICTORIAN OPERA / Season Partners

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