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Home , I puritani, Jessica Pratt (soprano), La sonnambula, Lella Cuberli

5 May 2017 Arts Centre Melbourne, Hamer Hall Welcome

Welcome to Victorian ’s We welcome a cast of old and new friends, performance of Bellini’s . , Carlos E. Bárcenas and Roxane Hislop, along with Paolo Pecchioli holds a special place in and Greta Bradman. the heart of our company. Tonight’s performance of La Sonnambula is our Jessica returns following her recent debut third of great Bellini masterpieces, with The as Queen of following concert stagings of and the Night in . Carlos, who . sings with so much heart, has inspired us all with his love for beautiful singing, which after all is what the tradition of bel canto represents. Many exciting things are happening at Victorian Opera. Tonight’s performance will be filmed and then streamed on the Opera Platform website from July 2017. Our commitment to sharing opera with everyone transcends borders (literally!) and we’re thrilled to contribute our music to the world. More news to follow. From the Victorian Opera family, thank you for joining us tonight for this concert performance of La Sonnambula. As we draw closer to winter, we hope it warms your soul.

ANDREW SNELL Managing Director

2 3 Bellini Knew Best Richard Mills

During my tenure at Victorian Opera, Bellini had great regard for the quality we have embarked on a project to of his chosen texts. His most successful perform all the major Bellini collaborator was (1788-1865) in concert. The cynic might well ask who was the librettist for seven of Bellini’s “why”? – and add prevailing criticisms greatest works, including Norma and La about poor orchestration, formulaic Sonnambula (and would have been for I accompaniments and lack of dramatic Puritani had he not missed the deadlines for differentiation between characters. Beatrice de Tenda). All well and good – and perhaps Romani produced nearly 100 for intellectually sustainable points of composers as diverse as Mercadante, view – which overlook one important Rossini, Meyerbeer, Donizetti and Verdi; phenomenon: an individuality of musical he was a lawyer, interested in mythology, personality, which has an emotional French literature and antiquities. With eloquence of uncommon power that this rather formidable background as an engages the public because of its lasting academician, one would be disinclined to vitality. expect the prodigious lyrical gifts Romani displays so frequently. He possessed the ability to find a union of image and rhetorical form that provided a framework for melody, making text, which needs an encounter with music to realise the final potentials of its ideas.

Consider the first entrance of Norma: her first majestic utterances are preceded by music entirely for men, preparing the way for the magical imagery of Casta Diva. I think Puccini was at least subliminally aware of this process in La Fanciulla del West – the entrance of Minnie is architecturally a tour de force as the female voice is revealed for the first time in the opera, preceded as it is by an elaborate ensemble for the men.

Bellini’s famous letter to Agostino Gallo published in 1843, and, strangely,

4 of sometimes disputed authenticity states: Of course, the period music industry has “Believing as I do that a great part of the appropriated Bellini – and we have the much success of a work depends on the choice of vaunted recent Bartoli recording of the ‘new an interesting subject with strong contrast edition’ by Maurizio Biondi and Riccardo of passions and harmonious and deeply felt Minasi. For our 2014 Norma, I purchased verses… my first object is to obtain a perfect these materials at some expense, only to find drama from a good writer”. Bellini is also them pretty well identical to the old Ricordi reported as saying: “Give me good verse and set I used in Perth years ago – but of course I will give you good music”. with fresh wrong notes, so who’s kidding who here? This feeling for poetry and drama also extends to a profound ability to convey Bellini’s influence is subtle and profound. character. The argument that one of Bellini’s His friendship with Chopin and influence on characters’ music could just as well be Liszt, Wagner and Stravinsky are well known. rendered by another is nonsense: Adalgisa Donizetti and Verdi admired him greatly, singing Casta Diva or Lisa singing Ah, non and provided the sincerest form of flattery: credea, I don’t think so! Even in the duets imitation. and trios, there is individuality of gesture that Bellini has left us a canon of enduring value; renders the whole passage cohesive. a unique and inimitable feeling for poetic Of course, there are still those who voice expression in music, a dramatic sense which criticisms of the orchestration. Yet attempts manifests in noble and heroic situation, and a to ‘improve’ Bellini’s orchestration have legacy of melodies that unfold as if they were led great musical minds to despair. Bizet made in heaven for singers on earth. His art discovered when he was commissioned is in stark contrast to the current climate to re-orchestrate Norma that “it would where much entertainment is based on the be impossible to place any other fetishized violence of film and computer accompaniments under these melodies”. game. The art of Bellini perhaps creates its For me, sensitive playing, remembering the own need in barbarous times. characteristics of the horns, trumpets and trombones of the day in particular will iron out any functional infelicities – for the rest, RICHARD MILLS the poetic intention is always served by the Artistic Director & Conductor instrumentation – what more can one ask for? This article was originally printed in the April 2017 edition of Limelight Magazine.

5 Synopsis La Sonnambula

ACT I apologises for his jealousy (Duet: “Son In the village, wedding preparations are geloso del zeffiro errante”). under way: Elvino and Amina are in love. Only Lisa the innkeeper (once engaged At the inn, Lisa recognises the mysterious to Elvino) who is being enthusiastically man as the lost heir of the former local pursued by the hapless Alessio, is count. While they flirt, there is a sudden disappointed by the engagement. Amina noise and Lisa hides in the closet, dropping enters to express her happiness and her handkerchief. Amina sleepwalks into gratitude to all, especially to Teresa who the room. Rodolfo realises she must be raised her after she was orphaned (“Come the village “ghost”. Lisa assumes Amina is per me sereno”). Elvino rushes in late coming to meet Rodolfo and sneaks away. to sign the marriage contract, offering Rodolfo is moved by Amina’s expressions Amina a beautiful bouquet as an apology. of love for Elvino and leaves her to sleep He gives her a ring that belonged to his innocently on his bed. mother (Duet: “Prendi, l’anel ti dono”). Suddenly, a mysterious man arrives – it’s The villagers enter to catch a glimpse Count Rodolfo, in disguise. He sees a of the mysterious Count. Lisa appears resemblance in Amina of a great love from with Elvino and Teresa. Everyone in the his past. village is shocked to find Amina in the Count’s bed. Awakened by the crowd, she As darkness comes, the villagers become proclaims her innocence (“D’un pensiero apprehensive and Teresa explains to the e d’un accento”). In spite of Teresa’s pleas mysterious man that a ghost haunts the and Amina's objections, Elvino cancels the town. The man is amused and says he’d wedding and together with the villagers, like to see the ghost before departing. rejects Amina (“Non più nozze”). Elvino and Amina begin to argue over the Count’s interest in Amina, but Elvino soon

6 ACT II The villagers visit Count Rodolfo’s castle to plead Amina's cause. Teresa and Amina enter and hear Elvino grieving ("Tutto è sciolto”). He reproaches Amina again and takes his ring from her. The villagers return to say that Rodolfo has confirmed Amina’s innocence and is on his way, but Elvino refuses to see him and leaves in despair. Teresa leads Amina away in sorrow.

Elvino decides to marry Lisa after all. As they leave for the church they are interrupted by Rodolfo who proclaims Amina's innocence once more. Teresa appears, concerned, and asks for quiet as Amina has fallen asleep from exhaustion. She is shocked to see that Lisa is Elvino’s bride to be. Teresa suddenly produces the handkerchief Lisa had dropped that night in the Count's room. Elvino realises that Lisa has told lies.

Amina appears, sleepwalking at a great height along a perilous ledge. Afraid she might wake, the villagers watch and pray she reaches safety. In her sleep, Amina mourns the loss of Elvino, remembering the beautiful flowers he gave her that have since wilted. She searches for her lost ring (“Ah! Non credea mirarti”). Now convinced of her innocence, Elvino puts the ring back on her finger. Amina wakes and seeing Elvino her despair turns to joy. The whole village rejoices in the happiness of the bride and bridegroom.

7 Production La Sonnambula

5 May 2017 Chorus Arts Centre Melbourne Hamer Hall Elizabeth Barrow, Olivia Cranwell, Michelle McCarthy, Joanna Patocs, Composer Vincenzo Bellini Rebecca Rashleigh, Diana Simpson, Librettist Felice Romani Emily Uhlrich, Nicole Wallace Running time is approximately 3 hours Mezzo Soprano with one 20 minute interval Kerrie Bolton, Fleur Brockway, Sung in Italian with English surtitles Rebecca Bywater, Ursula Paez, Belinda Paterson, Anna Plotka, Creative Team Juel Riggall, Lynlee Williams Conductor Richard Mills Lighting Designer Peter Darby Jonathon Bam, Paul Batey, Paul Biencourt Production Manager Eduard Inglés Irving Dekterev, Tomas Dalton, Michael Edwards, Ernst Ens, Stage Manager Luke Hales Timothy Reynolds Principal Repetiteur Phoebe Briggs Repetiteur Phillipa Safey Paul Hughes, Michael Lampard, Chorus Preparation Stephen Marsh, Timothy Newton, Alex Pokryshevsky, Kiran Rajasingam, Phoebe Briggs, Richard Mills Julian Wilson, Raphael Wong Cast Amina Jessica Pratt Acknowledgements Elvino Carlos E. Bárcenas Surtitles prepared by Brian FitzGerald. Count Rudolfo Paolo Pecchioli Lisa Greta Bradman Please Note Tonight's performance will be filmed and Teresa Roxane Hislop then streamed on the Opera Platform Alessio Timothy Newton website from July 2017. More information Notary Tomas Dalton will be available at victorianopera.com.au from June.

8 Orchestra Victoria Flute Deputy Concertmaster Roger Jonsson Lisa-Maree Amos Principal Karen SchofieldAssociate Principal Violin Yi Wang Principal First Violin Oboe Erica Kennedy Associate Principal First Violin Stephen Robinson Principal Tomomi Brennan Associate Principal First Violin Joshua de Graaf Associate Principal Binny Baik Dafydd Camp Principal Cor Anglais Alyssa Conrau Clarinet Lubino Fernandes Paul Champion Principal Rachel Gamer Justin Beere Associate Principal Matthew Hassall Andrew Mitchell Principal Bass Clarinet Rachael Hunt Bassoon Mara Miller Lucinda Cran Principal Philip Nixon Hugh Ponnuthurai Associate Principal^ John Noble Timothy Murray Principal Contrabassoon Martin Reddington Christine Ruiter Horn Jasen Moulton Principal Viola Heath Parkinson Associate Principal Paul McMillan Principal Linda Hewett Principal Third Horn Catherine Bishop Sydney Braunfeld Jason Bunn Rachel Shaw Nadine Delbridge Trumpet Cello Mark Fitzpatrick Principal Melissa Chominsky Principal Anthony Pope Associate Principal Diane Froomes Associate Principal Trombone Sarah Cuming Scott Evans Principal Philippa Gardner Tony Gilham Associate Principal Tania Hardy-Smith Benjamin Anderson Principal Bass Trombone Andrea Taylor Timpani Double Bass Guy du Blêt Principal Damien Eckersley Principal Dennis Vaughan Associate Principal Percussion Richard Gleeson Principal^ Matthew Thorne Conrad Nilsson Associate Principal

^ = Guest Musician Acting in a Principal Role 9 Music Index La Sonnambula

Act One, Part One Scene: Davver, non mi dispiace (Rodolfo, Lisa) Viva Amina! (Chorus) Recitative and Duet: Che veggio? – Oh Cavatina: Tutto è gioia, tutto è festa (Lisa, come lieto è il popolo (Amina, Rodolfo) chorus) Osservate. L’uscio è aperto (Chorus) Viva Amina! - In Elvezia non v’ha rosa (Alessio, Lisa, Chorus) Quintet: È menzogna – D’un pensiero e d’un accento (Elvino, Lisa, Amina, Teresa, Recitative and Cavatina: Care compagne Alessio, Chorus) – Come per me sereno (Amina, Chorus) Finale Act One: Non più nozze (Elvino, Recitative: Io più di tutti (Alessio, Amina, Amina, Lisa, Teresa, Alessio, Chorus) Lisa, Teresa, Notary, Chorus)

Recitative and Duet: Perdona, o mia Interval diletta – Prendi: l’anel ti dono (Amina, Elvino, Notary, Teresa, Lisa, Chorus) Act Two Recitative: Domani, appena aggiorni (Elvino, Amina, Chorus) Qui la selva è più folta ed ombrosa (Chorus) Recitative and Cavatina: Come noioso e lungo – Vi ravviso, o luoghi ameni (Rodolfo, Scene and Aria: Reggimi, o buona madre Lisa, Amina, Teresa, Elvino, Chorus) – Tutto è sciolto (Elvino, Amina, Teresa, Chorus) Act One, Part Two Scene and Aria: Lasciami – De’ lieti auguri Recitative and Chorus: Contezza del a voi son grata (Lisa, Alessio, Chorus) paese avete voi, signor? – A fosco cielo, a Quartet: E fia pur vero, Elvino – Signor notte bruna (Elvino, Rodolfo, Teresa, Lisa, Conte, agli occhi miei (Lisa, Elvino, Amina, Chorus) Alessio, Rodolfo, Teresa, Chorus) Recitative: Basta così (Rodolfo, Teresa, Finale Act Two: Signor?... che creder Amina, Lisa, Elvino, Alessio, Chorus) deggio? – Ah non credea mirarti (Amina, Scene and Duet: Elvino!...E me tu lasci Elvino, Rodolfo, Teresa, Lisa, Alessio, – Son geloso del zefiro errante (Amina, Chorus) Elvino)

10 Jessica and Richard 11 Biographies La Sonnambula

RICHARD MILLS JESSICA PRATT Conductor Amina

Richard Mills pursues a diverse career as a Jessica Pratt completed her vocal studies composer, conductor and artistic director in Italy with and Maestro which has seen him working with almost at Rome Opera. She now all of the nation’s music organisations prepares roles with . and develop an extensive discography Since her debut in 2007 in the title role of of orchestral works. Richard is currently Donizetti’s , Jessica Artistic Director of Victorian Opera. He has has established herself as one of the finest previously held the post of Artistic Director and most sought-after interpreters of the bel of the West Australian Opera, Director of the canto repertoire. As one of the most active Australian Music Project for the Tasmanian singers in her field, over the last 10 years Symphony Orchestra and has been Musica Jessica has performed in 87 productions for Viva’s Composer of the Year. In 2007/8 68 different organisations around the world. he was awarded an Ian Potter Foundation She has interpreted 32 different roles of Fellowship. which the most popular is Lucia Ashton in Since making his debut at Opera Donizetti’s Lucia di Lammermoor, followed by Queensland with The Magic Flute Richard Amina in Bellini’s La Sonnambula and Elvira in now has a large repertoire of standard and Bellini’s I Puritani. contemporary opera as well as his own In May 2013, Jessica was awarded the compositions. His compositions range from prestigious international prize for coloratura Flute Concerto, commissioned by James La Siola d’Oro and in September Galway, Soundscapes for Percussion and last year was awarded the Oscar della Lirica Orchestra, performed by Evelyn Glennie at international award for Best Soprano of the the City of Birmingham Symphony Proms, Year. Opera companies she has performed Passion according to St Mark, Songlines of with include , Covent Garden, Opera the Heart’s Desire song cycle and the operas: Zurich, Barcelona, Deutsche Oper Love of the Nightingale, Summer of the Berlin, Dutch National Opera Amsterdam, La Seventeenth Doll, Batavia, The Pied Piper Fenice Venice, San Carlo Naples and most and 'Tis Pity. recently The Metropolitan Opera. 12 CARLOS BARCENAS PAOLO PECCHIOLI Elvino Count Rudolfo

Born in Cali, Colombia. Studied with Gustavo Bass, Paolo Pecchioli has sung in theatres A. Marquez before moving to Australia around the world including Washington in 2007. He holds a Bachelor of Music National Opera, Gran Teatro Liceu Barcelona, Performance and a Master of Music (Opera the Bolshoi, Dallas Opera, Pittsburgh Opera, Performance) at University of Melbourne Hanoi State Theatre, the Korean State where he was awarded the Keith G. Theatre, Staatsoper Dresden. Italian theatres Chapman Memorial Scholarship. include , Maggio Musicale Fiorentino, Torre del Lago, His roles have included Marco (The Torino, Fondazione Arena di Verona, Teatro Gondoliers), Alexander () Verdi Trieste, Teatro Comunale Bologna, Michael (Pecan Summer). For Victorian Teatro Lirico di Cagliari and Teatro Verdi Pisa. Opera Steuermann (The Flying Dutchman), Paolo has worked with conductors such as Edgardo (Lucia di Lammermoor), Sir Bruno (I Riccardo Chailly, Alberto Zedda, Esa-Pekka Puritani), Flavio (Norma), (La Traviata), title Salonen, Zubin Mehta, Riccardo Frizza, role (The Pied Piper), Saint Chavez (Four Nicola Luisotti, Carlo Rizzi, Jonathan Webb, Saints in Three Acts), Maese Pedro (Master Daniele Callegari and Bruno Campanella. Peter’s Puppet Show) Prince April (The Renowned for his bel canto repertoire, his Sleeping Beauty), Witch (Hansel and Gretel), roles include Alidoro (La Cenerentola), Prince Charming (Cendrillon) and Ramiro (La Assur (), Conte Rodolfo (La Cenerentola). Sonnambula), Oroveso (Norma), Giorgio (I Carlos received a Green Room award for his Puritani), , Don Bartolo and performance of Steuermann in The Flying Don Basilio (Il Barbiere di Siviglia), Selim (Il Dutchman. Turco in Italia), Mustafà (L'Italiana in Algeri), Dulcamara (L'Elisir d'Amore), Raimondo (Lucia di Lammermoor), Maometto II, Attila, Silva (Ernani), Il Conte di Walter (Luisa Miller), Zaccaria (Nabucco), Figaro (Le nozze di Figaro) and Leporello and the title role in . 13 Biographies La Sonnambula

GRETA BRADMAN ROXANE HISLOP Lisa Teresa

Australian soprano Greta Bradman Roxane Hislop is a graduate of Sydney commenced her professional career in 2010. University, the NSW Conservatorium of She has presented over 1,000 performances Music and RMIT University. The winner of with international and Australian orchestras. many awards including the Sydney Sun Aria Greta completed a Fellowship at the and the Australian Regional finals of the Australian National Academy of Voice in Metroplitan Opera Auditions . Miss Hislop 2013 and was the winner of the Australian has been nominated five times for a Green International Opera Award. She moved to room award and was named best female Cardiff where she undertook further training artist in a supporting role for Maddalena at the Wales International Academy of () and Olga (Eugene Onegin). Voice. Recent highlights include the title Miss Hislop has an operatic repertoire of role in Handel’s opera Rodelinda, regina over 60 roles including the title roles in de’Longobardi, Eurydice (L’anima del Carmen and La Pericole, Rosina (Barber of filosofo), the Australian/NZ tour of Broadway Seville), Dalila (Samson et Dalila) and Varvara to La Scala and an international tour with (Katya Kabanova). She has appeared with Zubin Mehta and the Australian World every major opera company and symphony Orchestra. In 2017, Greta debuted the role orchestra in Australia and her concert of Mimi (La Bohème) for Opera Australia. In repertoire includes, Missa Solemnis, The 2015, Greta recorded her debut album My Messiah, The St Matthew and St John Hero. It became the highest ever charting Passion, Child of Our Times, Pergolesi’s Australian classical album on the pop chart, Stabat Mater, Brahms Alto Rhapsody and debuting at number 1 on the classical chart. numerous opera galas. Awards include critic’s choice award, an Recent performances include Mrs Herring in APRA/AMCOS Performance of the Year Albert Herring, Rossweisse in Die Walküre, award and numerous OzCart awards. Greta and Marcellina in for has been nominated for Helpmann, MusicOz Opera Australia. Later this year for Opera and ARIA awards and in 2015 was named Queensland, Roxane will perform Dame Limelight Magazine’s Artist of the Year. Hannah in Ruddigore. 14 TIMOTHY NEWTON TOMAS DALTON Alessio Notary

Timothy is a bass originally from Queensland Tenor Tomas Dalton completed his voice and in 2016, he held the Stuart Leslie Opera studies at the Melbourne Conservatorium Scholarship with the Melba Opera Trust of Music and holds an AMusA in piano. and Val Vallis Memorial Scholarship at the In 2016 he was a finalist for the Opera Lisa Gasteen National Opera School. His Foundation for Young Australians: Deutsche recent performance highlights include Oper Berlin Award, finalist for the Royal Stonnington Opera in the Park, Olin Blitch Melbourne Philharmonic Aria, semi-finalist in Floyd’s Susannah (Opera New England), for the German Australian Opera Grant, Williamson’s Our Man in Havana (Lyric and winner of the Acclaim Awards Italian Opera of Melbourne) and Laughter and Tears Opera Fellowship. Performance highlights (Victorian Opera chorus). include The Villager in Respighi’s The In 2017 Timothy will undertake further study Sleeping Beauty (Victorian Opera), Ernest in Italy as recipient of the Acclaim Award. in the world premier tour of Women In War (Arts Centre Melbourne & Artek Productions, Greece), Lucia di Lammermoor and I Pagliacci (Victorian Opera chorus), and Götterdämmerung (Opera Australia chorus). Tomas is currently playing the role of Tamino in Opera Australia’s schools tour of The Magic Flute, and later this year will undertake further study in Italy as an Acclaim Awards Italian Opera Fellow.

15 16 Richard with the cast 17 Victorian Opera About Us

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

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

Join the Chorus Go behind the scenes to learn more about our work. victorianopera.com.au Stuart Maunder AM directsto direct Cunning Little Vixen @VictorianOpera #victorianopera 22 June - 1 July | Arts Centre Melbourne, Playhouse 18 Stuart Maunder AM todirects direct Cunning Little Vixen 22 June - 1 July | Arts Centre Melbourne, Playhouse 19 © New Zealand Herald/newspix.co.nz 20 Leoš Janácek Cunning Little Vixen

Hear the Forest Come Alive One of the greatest operas of the 20th century, Janácek’s Cunning Little Vixen marvels at the beauty of nature and the cycle of life. Set in an idyllic forest, we follow Vixen Sharpears’ lyrical journey from youth to adulthood.

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6 costume makers 7 performers 8 costumes 12 fittings 50 metres of fabric 23 Gold Patrons ($2,500+) Patrons Joanna Baevski Victorian Opera Ian Baker & Cheryl Saunders Dr Terry Cutler Craig D’Alton & Peter Sherlock Bob Garlick Dr Jennifer George & Rev Matthew Williams If you would like to get more involved in Mary-Jane Gething and Joseph Sambrook the work of Victorian Opera by becoming M Gordon & L Norton a Patron, please contact Pooja Dutt, Peter & Jenny Hordern Individual Giving Manager on 03 9001 6408 Stewart & Denise Jackel or [email protected] Ian Kennedy AM & Dr Sandra Hacker AO Joan & George Lefroy Founding Patrons Peter Lovell The Late Dame Elisabeth Murdoch AC DBE Ian Merrylees Lady Potter AC Michael Rigg & Gerard Condon Leadership Circle ($20,000+) John & Elisabeth Schiller Hans & Petra Henkell* Tim & Lynne Sherwood Maureen & Tony Wheeler Lady Southey Dr John & Elizabeth Wright-Smith* Felicity Teague Earl & Countess of Wilton Artistic Directors Circle ($10,000+) Anonymous (1) Deanne Bevan & Guy Russo Rob & Caroline Clemente Silver Patrons ($1,000+) John & Diana Frew Laurie Bebbington & Elizabeth O’Keeffe Jane Hemstritch Kirsty Bennett Suzanne Kirkham* The Hon David Byrne Peter & Anne Laver Terry & Christine Campbell Geraldine Lazarus & Greig Gailey* Deidre Cowan Dr Richard Mills AM Ernest Dawes OBE & Nola Dawes Bill Fleming Platinum Patrons ($5,000+) John & Gaye Gaylard Beth Brown & Tom Bruce AM* Brian Goddard Siobhan Lenihan* Nance Grant AM MBE & Ian Harris Kaye Marion Richard & Isabella Green Don & Angela Mercer Lesley Griffin Marian & Ken Scarlett OAM* Hartmut & Ruth Hofmann Greg Shalit & Miriam Faine Simon L Jackson & Brian Warburton Sean Kelly Rod & Daniele Kemp Alun & Patricia Kenwood Angela & Richard Kirsner John & Lynne Landy

24 Dr Paul & Glenys Lejins Dr Irene Irvine Dr Anne Lierse Dr Garry Joslin Douglas & Rosemary Meagher Angela Kayser Jane Morris I Kearsey & M J Ridley Greg Noonan Michael Kirwan Ruth & Tom O’Dea Robert & Pamela Knight Jillian Pappas Jane Kunstler Jane Patrick & Robert Evans Peter & Susan Martin Lynette Payne Jocelyn & Andrew McLeish Prof Margaret Plant Gillian Montgomery Prof Dimity Reed AM Carmel Morfuni Prof John Rickard Ian Morrey & Dr Geoffrey Minter Tomasz & Elzbeita Romanowski Greg J Reinhardt Graeme Samuel AC & Jill Davies Aubrey Schrader Michael Sassella Dr John & Thea Scott Andrew Snell Prof Michael Smith Penny Stragalinos Prof Elsdon Storey Andrea Tappe Tam Vu & Cherilyn Tillman Hugh & Elizabeth Taylor Anonymous (8) Caroline Travers OAM Bequests Dr Michael Troy G Bawden and L DeKievet Chris & Helen Trueman Lesley Bawden Liz & Peter Turner Frank and Danielle Chamberlin Caroline Vaillant Colin Gunther and Richard Laslett David Valentine Jane Kunstler Catherine Walter AM Tony Wildman and Robert Gibbs Russell Waters & Marissa Barter-Waters Anonymous (3) Ian A Watts Youth Music Foundation of Australia *Victorian Opera would like to thank the Anonymous (3) following patrons for their support of our Education and New Work Syndicates: Bronze Patrons ($500+) Jenny Anderson Education Syndicate Ines & Dr Don Behrend Hans & Petra Henkell John & Nancy Bomford Geraldine Lazarus & Greig Gailey Pam Caldwell Dr John & Elizabeth Wright-Smith Dr Jennifer Coghlan-Bell & A/Prof Simon Bell New Work Syndicate Laurie David Beth Brown & Tom Bruce AM Beatrice & Richard Donkin Suzanne Kirkham Dr M Elizabeth Douglas Siobhan Lenihan Jean Dunn Marian & Ken Scarlett OAM Dennis Freeman Jill & Robert Grogan

25 Orchestra Victoria

Orchestra Victoria is a wholly owned Government Relations & subsidiary of The Australian Ballet. Strategic Communications Manager T: (03) 9694 3600 Dana Moran www.australianballet.com.au Corporate Partnerships Account Manager Fiona Gosschalk Management Artistic Director Trust & Foundations Manager Nicolette Fraillon Jo McEniery

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

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27 Greta Bradman 28 Staff Victorian Opera

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