Underworld Program

An Operatic Journey to Hell and Back

DIRECTOR

JOHANNES FRITZSCH

CONDUCTOR

MICHAEL GOW

WElcoME

This year’s operatic production, Underworld, offers an exciting fresh take on a story which sits timelessly in history. In his introduction, Michael Gow speaks of four creative inputs (please see page I) but I would seek here to acknowledge two further people who have been fundamental in bringing this vision together! While both, respectively as Director and Music Director, are intrinsic to the production delivery, Michael Gow and Johannes Fritzsch have also been fundamental in conceiving the project and bringing to it such dramaturgical intensity. As a conservatorium, we are grateful to them both for their conception and realisation of a highly innovative approach – multiple composers, multiple languages, multiple times, and settings – which has the potential to travel far. In a very real sense, this is a world premiere!

Behind such an epic undertaking are a large team of contributors, all coming together in alignment. Thank you to all in the extraordinarily professional creative team for their energy and creativity and to everyone back of house for your capacity to bring the project to its detailed realisation. A particular thanks to Jill Stoll for her capacity to draw all the elements together and to schedule (alongside her detailed musical input).

Thanks also to all the voice and instrumental faculty involved for your detailed guidance and care, and indeed to those who lead the multiple areas, but particularly Margaret Schindler, Michele Walsh, Paul Dean, Peter Luff and Rebecca Lloyd-Jones, as well as to Peter Morris (with Daniel Fossi) for his oversight of all things Ensemble and Engagement. A special thanks to Michael Hibbard and his front of house team and to Stuart Jones and Liz TysonDoneley for their support in operational management. For all here, this is one of many projects often happening in parallel so a special acknowledgement too for how you find balance through the mix.

Already it should be clear that undertaking such a project involves significant resource and commitment. The Conservatorium is very fortunate indeed to have such strong support from Griffith University’s Senior Executive, led by Professor Carolyn Evans, Vice Chancellor and President, alongside Professor Scott Harrison, Pro Vice Chancellor of the Arts, Education and Law Group, to which the Conservatorium belongs.

But, of course, none of this would lead to anything without the students’ capacities, commitment, and investment. I am conscious as I write that many who read this as audience will be family of those on stage and in the pit: thank you for all you have gifted to those to whom you are close, and for being with us tonight as they come together with their peers. To all who join us for the event, we are grateful for your belief in us – I trust this event will be richly rewarding for all involved. Wishing you a wonderful experience.

Best wishes,

Bernard Lanskey Director Queensland Conservatorium

Design by Hanon Taira, Liveworm, Queensland College of Art and Design, Griffith University

DIREcToR’S NoTE

The story of Orpheus and Eurydice has inspired writers, painters and composers for thousands of years; Love and Death are the two great themes of art. And the power of art to overcome death, to enter a realm beyond death and even rescue those we love from its power, has been the spur for so many wonderful versions, from Homer to the Netflix series Stranger Things.

The three masterpieces Johannes Fritzsch wanted to reference to tell this story were written, give or take a decade, a century apart. They are products of different values, different ways of seeing the world. But they are all driven by the energy of love, of the life force; as Orpheus sings in the Philip Glass section, “Every world is moved by love”. In these operas we experience the faith that love conquers all in the Gluck, the terror of a universe without love in the Glass and the liberating joy of human urges off the leash in the Offenbach.

But how to knit the three into one whole? In fact, there are four masterpieces involved in this project; the libretto of Philip Glass’ Orphée is actually the dialogue from Jean Cocteau’s landmark 1950 film of the same name. For his version of the story, Cocteau created three extraordinary characters; The Princess, who is the Angel of Death; and her two offsiders, the dead, street brawling poet Cégeste and the kindly Heurtebise, who conveys souls to the Underworld.

I’ve woven this trio through all three operas. Like the angels in Wim Wender’s film Wings of Desire, The Princess, Heurtebise and Cégeste long for human contact, for the touch of a living person. This leads them to kill Eurydice, sending her to the Underworld without permission, breaking all hell’s rules. But despite being censured, they can’t let go of Orpheus and Eurydice and follow them on a journey through hell and back to the land of the living.

In Cocteau’s film, using a spectacular special effect long before CGI, access to the Underworld is gained via mirrors. By donning protective gloves (it’s hot down there) Orpheus confronts his own image, opens the door hidden behind the mirror and embarks on his rescue mission. The mirror and the gloves also connect the three operas in this production. And we’ve made Eurydice, often merely a pretext for Orpheus’ suffering and heroics, an artist in her own right. She too, goes on a journey of discovery, finally returning to life understanding that she, like Orpheus, must not look back; after such an intense experience, there’s no way she can go back to her old life.

Michael Gow Director

Set me as a seal upon thine heart, as a seal upon thine arm: for love is strong as death; jealousy is cruel as the grave: the coals thereof are coals of fire, which hath a most vehement flame.

Song of Solomon 8:6

coNDucToR’S NoTE

Orpheus has been singing for more than 2500 years. He is the archetype of the musician, the artist and a testament to the life-changing power of art. In Orpheus’ story, his music can even overcome death.

No wonder artists of all times have succumbed to the fascination of their ancestor and have retold the story in countless versions. It is no surprise that musicians in particular were obsessed with the myth of the death-defying singer.

The Orpheus myth was the overarching theme for the vocal department this year. After the presentation of two excerpts in the “Val Machin Scenes” in May, we now experience the Orpheus story as a full-length opera, but with a twist.

It was a challenge for me to find composers from three centuries and to retell the story: Gluck’s “Orfeo ed Euridice”, Glass’s “Orphée” and Offenbach’s “Orpheus in the Underworld”. Three great composers with distinctive musical language as one opera? I couldn’t have wished for a better partner for this challenge than Michael Gow, who has woven the threads of the three different works into one narrative.

I wish you all a moving and entertaining evening with a contemporary opera spanning three centuries.

Johannes Fritzsch Conductor

Set concept sketch by Set and Costume Designer Penny Challen

Sy NoPSIS

ACT I

Eurydice and Orpheus are artists. They live and work together. The Angel of Death, aka The Princess, has fallen in love with Orpheus, and visits his room when he’s asleep. She commands an offsider, the late poet Cégeste, to send Orpheus strange messages. Orpheus becomes obsessed with the messages, using them in his work and ignoring Eurydice. To make him jealous, Eurydice agrees to spend time with Cégeste. But Cégeste has another task; to murder Eurydice so The Princess can have Orpheus to herself.

Orpheus is tormented with guilt and grief. At Eurydice’s wake Orpheus begs friends and neighbours to leave him, their sorrow is making his own even worse. Eurydice comes back but no one can see her; she’s dead. Heurtebise, another of The Princess’ offsiders, gently leads her from the land of the living. Left alone, Orpheus wishes he could follow Eurydice, contemplating ending his own life.

Amore appears and tells Orpheus his grief is so intense he’s been granted special leave to go to the Underworld and bring Eurydice back. On one condition. He must not look at her nor speak with her until they are back in the world. Orpheus accepts the challenge, puts on protective gloves, looks into a mirror and a door to the Underworld opens.

But the Princess has broken Underworld laws. She, Cégeste and Heurtebise are put on trial. The Princess admits she’s in love with Orpheus and had Eurydice killed. Heurtebise admits he’s in love with Eurydice. Everyone is given provisional pardons and Eurydice’s death can be reversed, as long as Orpheus doesn’t look at her. Ever.

Back home, domestic life is a nightmare for two people who can’t look at each other. Orpheus goes on listening to the strange messages still being sent. Eurydice and Orpheus accidentally look at each other and once again she’s escorted to the Underworld.

ACT II

Eurydice has been promised non-stop fun in the Underworld but the party won’t get started. She’s being kept in Pluto’s boudoir in the care of the extremely boring servant John Styx. Jupiter has his eye on Eurydice and to gain entry to the boudoir he disguises himself as a fly. He promises Eurydice once everyone is drunk at the party Pluto is throwing, they’ll fly up to Olympus.

The Gods enjoy themselves at Pluto’s party, though to appease Juno, Jupiter leads everyone in a restrained Minuet. But, still bored, Eurydice subverts the proceedings by kicking off a crazy dance.

Before Jupiter and Eurydice can escape, Orpheus returns to the Underworld, along with Public Opinion, who insists people behave normally.

Once again, Eurydice is allowed to leave with Orpheus, as long as he doesn’t look at her. Eurydice is getting pretty fed up with this. She and Orpheus look like they’ll make it out so Jupiter hurls thunderbolts. In the panic, Orpheus and Eurydice look at each other and she’s taken to the Underworld yet again.

Orpheus laments his loss. He contemplates suicide. Amore turns up again and stops him. To break this cycle, she brings Eurydice back to the land of the living herself. There is general rejoicing the couple is reunited at last. It looks like love really does conquer all.

cREaTIVES

CONDUCTOR JOHANNES FRITZSCH

Johannes Fritzsch is currently the Principal Guest Conductor of the Queensland Symphony Orchestra, having previously served as their Chief Conductor (2008-2014). Since 2018, he has held the position of Principal Guest Conductor of the Tasmanian Symphony Orchestra.

From 2006 – 2013 he was Chief Conductor and Artistic Director of the Oper Graz, Grazer Philharmonisches Orchester (Austria). Prior to his appointment in Graz, Johannes held the position of Chief Conductor and Artistic Director of the Staatsoper Nürnberg. From 1993 until 1999, he was Chief Conductor and Artistic Director of the Städtische Bühnen and the Philharmonic Orchestra in Freiburg. He has conducted many leading orchestras, both within Germany and internationally. He regularly conducts the major Australasian orchestras as well as leading productions for Opera Australia, Opera Queensland, West Australian Opera and State Opera South Australia. In January 2015, Johannes was appointed Adjunct Professor, The Conservatorium of Music, School of Creative Arts and Media at the University of Tasmania; in June 2019, he joined the Queensland Conservatorium, Griffith University as Professor of Opera and Orchestral Studies.

Over the past twenty years, Johannes has given many Masterclasses for the German conductor training and development organisation Dirigentenforum des Deutschen Musikrates. Similarly, he was active and enthusiastic in the training of conducting participants selected to take part in Symphony Services’ International Conductor Development Program.

In 2017, the Tasmanian Symphony Orchestra invited him to design and lead the newly founded Australian Conducting Academy.

DIRECTOR MICHAEL GOW

Michael Gow’s plays include the Australian classic Away, Toy Symphony, The Kid, On Top of the World, Europe, Sweet Phoebe, Live Acts on Stage, 17 (for the Royal National Theatre of Great Britain), Toy Symphony and Once in Royal David’s City. He translated Brecht’s Mother Courage and Her Children for Belvoir.

Michael has been Associate Director of Sydney Theatre Company and Artistic Director of Queensland Theatre Company. He has directed for all the major Australian theatre companies as well as Opera Australia, Australian Theatre for Young People and the Lincoln Centre Washington D.C.’s New Visions New Voices programme.

For Opera Australia he has directed Iphigenie en Tauride, The Abduction from the Seraglio and The Pearl Fishers, as well as directing OA’s touring productions of Don Giovanni, The Magic Flute and The Marriage of Figaro, for which he also wrote the English libretti. In 2016 he wrote the English libretto and directed the critically acclaimed Voyage to the Moon for Victorian Opera / Musica Viva.

Michael’s awards include two NSW Premier’s Literary Awards, two Sydney Theatre Critics Circle Awards and an AFI Award for the ABC miniseries Edens Lost.

For Queensland Conservatorium Michael has directed productions of Hansel and Gretel in 2015 and Street Scene in 2021.

SET AND COSTUME DESIGNER PENNY CHALLEN

Penny Challen trained at QCA and NIDA before becoming Resident Trainee Designer at the Royal Shakespeare Company (RSC). Whilst living in London, Penny designed productions for the Bush Theatre (When You Cure Me; Bites), Soho Theatre (Protection - costumes), The Gate Theatre (Hair - costumes), and RSC (The Taming of the Shrew). She also worked closely with renowned designers Es Devlin, Rae Smith, and Tom Piper, creating & delivering over 40 mainstage projects for the RSC, Royal Opera House, English National Opera, National Theatre, and others across Europe and America. Highlights include Orphée and Salome (ROH); Twelfth Night and As You Like It (RSC); Oliver Twist (American Repertory Theatre) and Cabaret (West End). Locally, Penny has designed productions for Opera Queensland (La bohème, Are You Lonesome Tonight), Queensland Theatre (Happy Days), Belloo Creative (Boy Lost, Motherland), La Boite Theatre (The Glass Menagerie, Water Wars), and others. She is the Co-Artistic Director (with Alicia Cush) of Little Match Productions (The Owl and The Pussycat; Babushka in Happily Ever After, Bilum Mamma), and the creative delivery of the Powerkids program for Brisbane Powerhouse.

LIGHTING DESIGNER KEITH CLARK

Keith Clark’s lighting design work includes Single Asian Female (La Boite Theatre Company), Boy Girl Wall and Packed (The Escapists), Handle with Care (Joymas Creative), De-Generator, Opposite of Prompt, Angel-Monster and The Machine that Carries the Soul (Phluxus Dance Collective), Moon Spirit Feasting (Elision Music Ensemble), Juice (The Crash Collective), Kazka and Legend (Lehenda Dance Company), The Laramie Project (Forward Movement), The Wind in the Willows (La Boite Theatre Company)

Die Opernprobe and Der Häusliche Krieg (Lisa Gasteen National Opera Program) and Tarnished (La La Parlour). At the Queensland Conservatorium his lighting designs include Grease, Street Scene, Beatrice and Benedict, Iolanthe, Dido and Aeneas, and 42nd Street. Improvised designs have been for such artists as The Necks, Jeff Lang, The Ordinary Fear of God, Aaron Goldberg, Kate Miller-Heidke, and Nakhane.

Keith’s designs for various productions have toured nationally and internationally to Europe and America. He is also a member of the award-winning independent theatre group The Escapists.

CHOREOGRAPHER (MINUET) LOIS REDMAN

Lois Redman is a classical voice graduate of the Queensland Conservatorium Griffith University. She has taught voice in her home studio for twenty-three years. Lois has been trained in Movement for Singers by Anna Sweeny AM HonRAM, enjoying a long association for over twenty years, and has been teaching this subject to the classical voice students at the Queensland Conservatorium since Ms Sweeny’s retirement in 2018. In 2019 and 2020 Lois participated in the Summer Course in Early Dance in Sydney presented by Fiona Garlick of The Early Dance ConsortRenaissance and Baroque Dance, and in 2019 studied Gesture in Vocal Performance with Dr Daniela Kaleva.

Lois choreographed Dido and Aeneas for the Queensland Conservatorium in 2020 and was responsible for movement and choreography in the Val Machin Opera Scenes in 2019 and 2021. She has taught classes in Period Dance and Movement to the Bachelor of Acting students at QCQU and in 2021 supplied Movement Support and Choreography to their production of The Rover. Lois choregraphed QCGU’s productions of Street Scene in 2021, and Iolanthe in 2022. She directed the 2022 and 2023 Val Machin Opera Scenes

c aST aND choRuS

Orfeo ed Euridice, Act 1 & final part of Act 3, by Christoph Willibald Gluck.

Orfeo, a Thracian poet and musician.

Morgan Rosati+

Aylish Ryan*

Amore/Cupid, God of desire, Venus’ son

Rebecca Goobanko+

Tashana Hardy*

Euridice, a nymph.

Gianna Guttilla+

Caitlin Weal*

Orphée, Act 2, Scenes 1-7, by Philip Glass.

Orphée, a Thracian poet and musician.

Dallas Tippet

Heurtebise, a conveyor of souls to the Underworld.

Kevin Gomez

The Judges, Minos and Rhadamanthus, who control the laws of the Underworld.

Jack Bolton

Vikram Goonawardena

The Princess, Angel of Death.

Kira Dooner+

Sarah Hubbard*

Eurydice, a nymph.

Gianna Guttilla+

Caitlin Weal*

Cégeste, a dead poet who is in the service of The Princess.

Freddie Klein

Poet

David Upcher

Glazier

Lauren Towns*

Clair Wheatley+

Aglaonice

Erin Power+

Matilda Smith*

Orpheus in the Underworld, Acts 3 & 4 by Jacques Offenbach. English version by Jeremy Sams.

Eurydice, a nymph.

Gianna Guttilla+

Caitlin Weal*

Jupiter, king of the gods

Aidan Hodder*

Jake Lyle+

John Styx, ghost of the King of Beotians, Pluto’s friend

Liam Jackson

Pluto, god of the Underworld, brother of Jupiter

Liam Waldock

Orpheus, a Thracian poet and musician.

Dallas Tippet

Public Opinion, guardian of morality

Clair Wheatley

Diana, goddess of the moon and hunting, Jupiter’s daughter

Kira Dooner*

Sarah Hubbard+

Chorus

Amore/Cupid, god of desire, Venus’ son

Rebecca Goobanko+

Tashana Hardy*

Venus, goddess of love and pleasure

Louisa Nelson*

Monica Ruggiero+

Juno, queen of the gods, Jupiter’s wife

Zoe Catchpoole*

Charlotte Wright+

Policeman

Harrison Hammett

Motorcyclists

Nicholas Russell

Gabriel Shaw

Stenographer

Emily Davies

Minerva, goddess of wisdom, Jupiter’s daughter

Erin Power*

Matilda Smith+

Mercury, god of messages and trickery

Freddie Klein+

Jackson Muir*

Mars, god of war, Jupiter’s son

David Upcher

Bacchus, god of wine, Jupiter’s son

Elliott Beauchamp

Sopranos

Minette Boyd

Zoe Catchpoole

Kira Dooner

Shanna Goh

Rebecca Goobanko

Monique Grima

Tashana Hardy

Philomena Hoger

Sarah Hubbard

Sienna Jak

Claire McCann

Erin Power

Matilda Smith

Jemma West

Mezzo Sopranos

Xanthe Allen

Emily Davies

Louisa Nelson

Monica Ruggiero

Lauren Towns

Caitlin Wans

Clair Wheatley

Charlotte Wright

Tenors

Elliott Beauchamp

Kevin Gomez

Liam Jackson

Freddie Klein

Ryan Lawrence

Jackson Muir

Nicholas Russell

Liam Waldock

Basses

Jack Bolton

Vikram Goonawardena

Harrison Hammett

Aidan Hodder

Alexander Innes

Jake Lyle

Nicholas Massouras

Joseph Pestorius

Gabriel Shaw

Dallas Tippet

David Upcher

coNSErVaToRIuM SyMPhoNy oRchESTRa

The Conservatorium Symphony Orchestra consists of approximately 90 of the most talented young instrumentalists in Queensland. The orchestra, from its home at the Griffith University South Bank campus, performs an annual series of orchestral concerts, large choral works, and operatic and musical theatre productions, in addition to a range of creative collaborations both on site as well as in the wider community. Queensland Conservatorium supports an annual commissioning project, enabling the creation and performance of new works, and the orchestra collaborates regularly with other departments in the Conservatorium and across the University.

Concertmaster

Haneulle Lovell*

Violin 1

Theonie Wang

Miriam Niessl

Rhys Williams

Yuro Lee

Dylan Weder

Madeleine Crosby

Olivia Spyrou

Violin 2

Luke Hammer*

Ingram Fan

Amira Ryan

Kaia Scheidler

Alan Leslie

Alisha Dunstan

Jonathan Kositsin

Yvonne Spina

Viola

Ella Pysden*

Edmund Mantelli

Rose-Ann Breedt

Maddisyn Dixon Whitbourne

Felix Hughes Chivers

Eben Yeh

Harriet Dykes

Violoncello

Kate Hwang*

Stirling Hall

Benjamin Crosby

Faith Spriggs

Contrabass

Charlotte Scanlan*

Sophia Buchanan

Daniel Wilesmith

Students in the Queensland Conservatorium orchestral program have the unique opportunity to perform under the baton of a variety of conductors, instilling a flexibility required in the profession. Resident conductors Johannes Fritzsch, Peter Luff and Peter Morris are joined each year by distinguished guest conductors from around the world, providing students with the rich depth of experience they will find when entering the profession. Notable guest conductors have included Sir Neville Marriner, Peter Sculthorpe, Jessica Cottis, Nicholas Braithwaite, Natalia Raspopova, Larry Rachleff and Elim Chan, to name a few.

Flute

Jenna Choi*

Bonnie Gibson

Oboe

Ruby Cooper*

Liam Robinson

Clarinet

Joshua Rosen*

Hinata Nishimura

Bassoon

Georgina Sinclair*

Jake Busby

French Horn

Jessica Piva*

Matilda Monaghan

Trumpet

Matthew Nash*

Cooper Williams

Trombone

Glenn Schaffer*

Jonnah Nakagawa

Bass Trombone

Ethan Parfoot*

Timpani

Connor Dinneen*

Percussion

Mikaela Thomsen*

Jaymee Homeming

Celesta/Harp/Piano

Jonah Patuto*

*Principal player

Costume concept sketches by Set and Costume Designer Penny Challen

orpheus

THE PRINCESS

Sarah Hubbard Kira Dooner HEURTEBISE

Kevin Gomez CEGESTE Freddie Klein

cREDITS

MUSIC CREDITS

Vocal Coach, Repetiteur and Chorus Master

Jillianne Stoll

Italian/French Language Coach

Teresa Desmarchelier

Orchestra Manager

Daniel Fossi

Surtitles Preparation

Jillianne Stoll, Michael Gow

Surtitles Technician

Buck Outdoor Pty Ltd

Surtitles Operator

Mark Connors

ORPHÉE, Act II. Opera by Philip Glass. Based on the Scenario of Jean Cocteau.

© 1993 Dunvagen Music Publishers Inc. Used by Permission.

This performance of an excerpt from Orpheus in the Underworld by Jacques Offenbach, arranged by Jeremy Sams, is given by permission of Hal Leonard Australia Pty Ltd, exclusive agents for Josef Weinberger Ltd.

PRODUCTION CREDITS

Production Manager

Len McPherson

Production Stage Manager

Bridget O’Brien

Assistant Stage Managers

Isabelle Markham, Josie James

Rehearsal ASMs

Lachlan Paterson, Erin O’Shea

Lighting Desk Operator

Stu Cochrane

Sound Desk Operator

Tobias Trstenjak

Head Mechanist

Darcy Adam

Flyman

Dylan Smith

Crew

Helen Ashdown, Jed Stoneman, Ben Gibson

Costume Coordinator

Desley Macpherson

Costume Maker

Fiona Warmbath

Set Builders

A Noble Event

Long live Pluto! who doesn’t sing along

Set concept sketch by Set and Costume Designer Penny Challen

SPEcIal T haNKS

We extend our heartfelt thanks to Opera Queensland for the generous use of their rehearsal studio for our Production Calls. Michelle Richards, Stephanie Banovich and Erin Bugden.

Philanthropy plays a vital role at Queensland Conservatorium. Only through your support can our students experience valuable learning opportunities through productions such as this one. To invest in the future of music and performance in Queensland, contact us on +61 (0)7 5552 7218 or email giving@griffith.edu.au.

CONSERVATORIUM STAFF

Director | Professor Bernard Lanskey

Deputy Director (Engagement) | Professor Peter Morris

Deputy Director (Learning and Teaching) | Associate Professor Donna Weston

Deputy Director (Research) | Dr Alexis Kallio

Conservatorium Manager | Stuart Jones

Technical Team Leader | Cameron Hipwell

Front of House Operations Manager | Michael Hibbard

Executive Officer (Engagement) | Dr Natalie Lewandowski-Cox

Ensembles Program Coordinator | Daniel Fossi

Operations Administrator | Clare Wharton

Technical Officers | Keith Clark, Amy Hauser, Len McPherson

Venue Officers | Grace Royle, Joshua White, Joseph Gale-Grant

Administration Officer | Liz Tyson-Doneley

QUEENSLAND CONSERVATORIUM

GRIFFITH UNIVERSITY

140 Grey Street, South Bank Qld 4101

Concert enquiries: +61 (7) 3735 6241

CONNECT WITH US

/queenslandconservatorium

@qldcon griffith.edu.au/music

griffith.edu.au

queenslandconservatorium.com.au

Queensland Conservatorium thanks our generous donors and supporters. We would like to acknowledge our instrument bank donors:

Boustred Violin – loaned by Mrs Maggie Goodfellow

Petersson Violin – donated by Dr Irmtraud Petersson

Rosemary Davies Viola – loaned by Nicholas Davies

Griffith University acknowledges the Traditional Custodians of the lands on which we work and pays respect to the Elders past and present.