Opera Australia 2012 Melbourne Season Brochure

Metropolitan Opera production photo: Š Cory Weaver/Metropolitan Opera 2009

OPERA OPERA AUSTRALIA 2012 MELBOURNE

www.opera-australia.org.au

WELCOME TO OPERA AUSTRALIA’S 2012 YEAR-LONG FESTIVAL OF OPERA Within this brochure you will find some wonderful productions which we hope will allow you, our audience, to see old friends from a different perspective and to discover new acquaintances which may signal the beginning of an important long-term relationship.

From Julie Taymor’s inspired production of Mozart’s The Magic Flute to a spectacular production of La Traviata on Sydney Harbour. With a bold new production of Salome and a fabulous production of South Pacific, we hope that this year you make discoveries that you will treasure and carry with you forever.

Within this program narrative we are endeavouring to articulate what a national opera company might be in the 21st century.

An opera company that respects and honours the traditions of the past but also has a clear voice and vision for the future.

We look forward to your company on this journey.

Lyndon Terracini Artistic Director

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Metropolitan Opera production photo: © Ken Howard/ Metropolitan Opera 2006

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WELCOME TO OPERA AUSTRALIA’S 2012 YEAR-LONG FESTIVAL OF OPERA Within this brochure you will find some wonderful productions which we hope will allow you, our audience, to see old friends from a different perspective and to discover new acquaintances which may signal the beginning of an important long-term relationship.

From Julie Taymor’s inspired production of Mozart’s The Magic Flute to a spectacular production of La Traviata on Sydney Harbour. With a bold new production of Salome and a fabulous production of South Pacific, we hope that this year you make discoveries that you will treasure and carry with you forever.

Within this program narrative we are endeavouring to articulate what a national opera company might be in the 21st century.

An opera company that respects and honours the traditions of the past but also has a clear voice and vision for the future.

We look forward to your company on this journey.

Lyndon Terracini Artistic Director

2

Metropolitan Opera production photo: © Ken Howard/ Metropolitan Opera 2006

3

WELCOME TO OUR WORLD It is a place where animals dance, children fly and love conquers all. Where ideas matter, and music saves the day.

A world of glamour and passion, spectacle and fantasy, where everything is big, bold and beautiful.

BIG, because with opera you have to think on a grand scale – big ideas, intense emotions, and larger-than-life characters.

BOLD, because here in Australia, we have a unique opportunity.

Australia is very different to the rest of the world and that gives us licence to create an opera company that is different to any other. We can ask questions, say ‘what if?’ And ‘why not?’ What if we do a classical musical with opera singers?

Why not bring opera to the people with festival-style events?

BEAUTIFUL, because the music is so wonderful, the stories are so moving, and in everything we do, we are responding to this beauty.

Welcome to our world of opera.

BOOK EARLY for your chance to Zoom-Zoom away Get your subscription or renewal to us by 5pm Friday 9 September 2011 and you could be driving away in a brand new Mazda3 SP20 SKYACTIV. 4

This latest addition to the Mazda3 range will be equipped with the company’s all-new SKYACTIV-G 2.0 litre direct injection petrol engine mated to the all-new SKYACTIV-Drive 6-speed automatic transmission. This combination of new SKYACTIV technologies will deliver more performance and class-leading levels of fuel efficiency.

The Mazda3 SP20 SKYACTIV, when launched in October 2011, will become Australia’s most fuel efficient, petrol-powered automatic small car.

In addition to making the Mazda3 SP20 SKYACTIV even more fun to drive, it will be the first Mazda model in Australia to feature i-stop, the company’s award-winning idling stop system.

Inside, the Mazda3 SP20 SKYACTIV will impress with its long list of standard features that includes satellite navigation, Bluetooth connectivity and climate control air conditioning. The Mazda3 SP20 SKYACTIV in Luxury specification will also include leather seats and Bose sound system.

For full competition terms and conditions visit www.opera-australia.org.au

The prize pack includes all on-road charges, 12 months registration and stamp duty.

Authorised under NSW Permit No. LTPS-11-06209 Vic Permit No. VIC 11/1411 ACT Permit No. TP 11/02769

5

WELCOME TO OUR WORLD It is a place where animals dance, children fly and love conquers all. Where ideas matter, and music saves the day.

A world of glamour and passion, spectacle and fantasy, where everything is big, bold and beautiful.

BIG, because with opera you have to think on a grand scale – big ideas, intense emotions, and larger-than-life characters.

BOLD, because here in Australia, we have a unique opportunity.

Australia is very different to the rest of the world and that gives us licence to create an opera company that is different to any other. We can ask questions, say ‘what if?’ And ‘why not?’ What if we do a classical musical with opera singers?

Why not bring opera to the people with festival-style events?

BEAUTIFUL, because the music is so wonderful, the stories are so moving, and in everything we do, we are responding to this beauty.

Welcome to our world of opera.

BOOK EARLY for your chance to Zoom-Zoom away Get your subscription or renewal to us by 5pm Friday 9 September 2011 and you could be driving away in a brand new Mazda3 SP20 SKYACTIV. 4

This latest addition to the Mazda3 range will be equipped with the company’s all-new SKYACTIV-G 2.0 litre direct injection petrol engine mated to the all-new SKYACTIV-Drive 6-speed automatic transmission. This combination of new SKYACTIV technologies will deliver more performance and class-leading levels of fuel efficiency.

The Mazda3 SP20 SKYACTIV, when launched in October 2011, will become Australia’s most fuel efficient, petrol-powered automatic small car.

In addition to making the Mazda3 SP20 SKYACTIV even more fun to drive, it will be the first Mazda model in Australia to feature i-stop, the company’s award-winning idling stop system.

Inside, the Mazda3 SP20 SKYACTIV will impress with its long list of standard features that includes satellite navigation, Bluetooth connectivity and climate control air conditioning. The Mazda3 SP20 SKYACTIV in Luxury specification will also include leather seats and Bose sound system.

For full competition terms and conditions visit www.opera-australia.org.au

The prize pack includes all on-road charges, 12 months registration and stamp duty.

Authorised under NSW Permit No. LTPS-11-06209 Vic Permit No. VIC 11/1411 ACT Permit No. TP 11/02769

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Giacomo PUCCINI

Turandot The mythical Princess Turandot rules her people with an iron fist and a heart of ice. Many have tried to melt her heart and win her hand, but all have failed. Can Prince Calaf be the one who succeeds?

And what price will he have to pay?

Puccini’s late, great masterpiece opens the 2012 Season, in a production which has become a modern classic in Opera Australia’s repertoire.

Director Graeme Murphy’s bold choreography and designer Kristian Fredrikson’s larger-than-life sets and costumes balance Puccini’s gorgeous swathes of orchestral and choral colour to produce a spectacular night in the theatre. And then there are those unforgettable arias – Turandot’s spinetingling ‘In questa reggia’, Liù’s heartrending ‘Signore, ascolta!’ and the great anthem, ‘Nessun dorma!’ – romantic opera at its intoxicating best.

Conductor Andrea Licata Director Graeme Murphy Associate Director Kim Walker Set & Costume Designer Kristian Fredrikson

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Choreographer Graeme Murphy Lighting Designer John Drummond Montgomery

It is with great pleasure that we welcome back the magnificent Elizabeth Connell to sing the title role. Liù, the faithful slave girl at the emotional heart of the story, is played

by Hyeseoung Kwon. And as Calaf, the valiant challenger torn by love and loyalty, we present the powerful Australian tenor Rosario La Spina, with rising star Carlo Barricelli singing the final performances.

The cast is completed by Andrew Moran, Graeme Macfarlane and David Corcoran as the three inscrutables, Ping, Pang and Pong, Jud Arthur as the ill-fated Timur, with Andrea Licata conducting.

Turandot Elizabeth Connell Calaf Rosario La Spina (until 25 April) Carlo Barricelli Liù Hyeseoung Kwon Timur Jud Arthur

Ping Andrew Moran Pang Graeme Macfarlane Pong David Corcoran Mandarin Shane Lowrencev

Evenings at 7:30pm: April 10, 13, 17, 20, 25.

May 2, 5, 11.

Matinee at 1pm: April 28.

Performed in Italian with English surtitles.

Running time: Approximately two hours and forty minutes including two twenty-minute intervals.

Orchestra Victoria Opera Australia Chorus Opera Australia Children’s Chorus Opera Australia Dancers

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Giacomo PUCCINI

Turandot The mythical Princess Turandot rules her people with an iron fist and a heart of ice. Many have tried to melt her heart and win her hand, but all have failed. Can Prince Calaf be the one who succeeds?

And what price will he have to pay?

Puccini’s late, great masterpiece opens the 2012 Season, in a production which has become a modern classic in Opera Australia’s repertoire.

Director Graeme Murphy’s bold choreography and designer Kristian Fredrikson’s larger-than-life sets and costumes balance Puccini’s gorgeous swathes of orchestral and choral colour to produce a spectacular night in the theatre. And then there are those unforgettable arias – Turandot’s spinetingling ‘In questa reggia’, Liù’s heartrending ‘Signore, ascolta!’ and the great anthem, ‘Nessun dorma!’ – romantic opera at its intoxicating best.

Conductor Andrea Licata Director Graeme Murphy Associate Director Kim Walker Set & Costume Designer Kristian Fredrikson

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Choreographer Graeme Murphy Lighting Designer John Drummond Montgomery

It is with great pleasure that we welcome back the magnificent Elizabeth Connell to sing the title role. Liù, the faithful slave girl at the emotional heart of the story, is played

by Hyeseoung Kwon. And as Calaf, the valiant challenger torn by love and loyalty, we present the powerful Australian tenor Rosario La Spina, with rising star Carlo Barricelli singing the final performances.

The cast is completed by Andrew Moran, Graeme Macfarlane and David Corcoran as the three inscrutables, Ping, Pang and Pong, Jud Arthur as the ill-fated Timur, with Andrea Licata conducting.

Turandot Elizabeth Connell Calaf Rosario La Spina (until 25 April) Carlo Barricelli Liù Hyeseoung Kwon Timur Jud Arthur

Ping Andrew Moran Pang Graeme Macfarlane Pong David Corcoran Mandarin Shane Lowrencev

Evenings at 7:30pm: April 10, 13, 17, 20, 25.

May 2, 5, 11.

Matinee at 1pm: April 28.

Performed in Italian with English surtitles.

Running time: Approximately two hours and forty minutes including two twenty-minute intervals.

Orchestra Victoria Opera Australia Chorus Opera Australia Children’s Chorus Opera Australia Dancers

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Wolfgang Amadeus MOZART

The Magic Flute Dazzling costumes, puppetry, pacy English dialogue and theatrical ingenuity meet the radiant melodies of a musical genius. This is sure to be a perfect introduction to opera.

Welcome to a world where animals dance and children fly, where princes battle dragons and hope battles despair.

To a world where ideas matter, and music saves the day. Welcome to a magical experience for the whole family in an enchanting new production of Mozart’s The Magic Flute.

A feisty young Australian cast brings this landmark production to Melbourne.

Andrew Brunsdon is Tamino, Andrew Jones is Papageno and Taryn Fiebig is Pamina. Lorina Gore takes on the towering role of Queen of the Night, and David Parkin and Richard Anderson share the role of Sarastro.

Running time: Approximately one hour and forty minutes - no interval.

When New York’s Metropolitan Opera was commissioning a new The Magic Flute, it looked to Julie Taymor, director of Disney’s The Lion King, for inspiration.

She took Mozart’s fairy tale and turned it into a show that, in the spirit of the original, speaks to the child in all of us.

Tamino is a noble prince on a quest.

He discovers strange lands, inhabited by wondrous creatures - scary women, wise children and even a bird man - but that is not what he is looking for. Will Tamino finally discover the truth? And will he find true love?

Conductor Paul Kildea Director Julie Taymor Set Designer George Tsypin Costume Designer Julie Taymor

Pamina Taryn Fiebig Tamino Andrew Brunsdon Papageno Andrew Jones Queen of the Night Lorina Gore

Evenings at 7:30pm: April 21, 24, 26, 28. May 1, 3, 7, 9, 12.

Matinee at 1pm: May 5.

Performed in English with surtitles.

NEW PRODUCTION

Puppetry Designers Julie Taymor & Michael Curry Lighting Designer Donald Holder

Family Friendly

Sarastro David Parkin (until 1 May) Richard Anderson First Lady Jane Parkin Second Lady Sian Pendry Third Lady Tania Ferris

Monostatos Kanen Breen Orchestra Victoria Opera Australia Chorus

This production was reproduced by Opera Australia from the original production of THE MAGIC FLUTE by the Metropolitan Opera, New York.

Translation by J.D. McClatchy Performed by arrangement with The Metropolitan Opera, publisher and sole copyright holder

Metropolitan Opera production photo: © Cory Weaver/Metropolitan Opera 2009

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Wolfgang Amadeus MOZART

The Magic Flute Dazzling costumes, puppetry, pacy English dialogue and theatrical ingenuity meet the radiant melodies of a musical genius. This is sure to be a perfect introduction to opera.

Welcome to a world where animals dance and children fly, where princes battle dragons and hope battles despair.

To a world where ideas matter, and music saves the day. Welcome to a magical experience for the whole family in an enchanting new production of Mozart’s The Magic Flute.

A feisty young Australian cast brings this landmark production to Melbourne.

Andrew Brunsdon is Tamino, Andrew Jones is Papageno and Taryn Fiebig is Pamina. Lorina Gore takes on the towering role of Queen of the Night, and David Parkin and Richard Anderson share the role of Sarastro.

Running time: Approximately one hour and forty minutes - no interval.

When New York’s Metropolitan Opera was commissioning a new The Magic Flute, it looked to Julie Taymor, director of Disney’s The Lion King, for inspiration.

She took Mozart’s fairy tale and turned it into a show that, in the spirit of the original, speaks to the child in all of us.

Tamino is a noble prince on a quest.

He discovers strange lands, inhabited by wondrous creatures - scary women, wise children and even a bird man - but that is not what he is looking for. Will Tamino finally discover the truth? And will he find true love?

Conductor Paul Kildea Director Julie Taymor Set Designer George Tsypin Costume Designer Julie Taymor

Pamina Taryn Fiebig Tamino Andrew Brunsdon Papageno Andrew Jones Queen of the Night Lorina Gore

Evenings at 7:30pm: April 21, 24, 26, 28. May 1, 3, 7, 9, 12.

Matinee at 1pm: May 5.

Performed in English with surtitles.

NEW PRODUCTION

Puppetry Designers Julie Taymor & Michael Curry Lighting Designer Donald Holder

Family Friendly

Sarastro David Parkin (until 1 May) Richard Anderson First Lady Jane Parkin Second Lady Sian Pendry Third Lady Tania Ferris

Monostatos Kanen Breen Orchestra Victoria Opera Australia Chorus

This production was reproduced by Opera Australia from the original production of THE MAGIC FLUTE by the Metropolitan Opera, New York.

Translation by J.D. McClatchy Performed by arrangement with The Metropolitan Opera, publisher and sole copyright holder

Metropolitan Opera production photo: © Cory Weaver/Metropolitan Opera 2009

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Gioachino ROSSINI

The Barber of Seville The Barber of Seville is a grand parade of crazy characters, woven into a heart-warming romantic comedy.

Meet Figaro, one of the handiest chaps in town. He’ll carry your bags, he’ll trim your hair. Why, he’ll even arrange your marriage! Make way for the Mr Fixit of Seville!

The dashing José Carbó puts on a striped blazer and bowtie for the return of everyone’s favourite operatic barber.

Elijah Moshinsky’s handsome and much-loved production of The Barber of Seville transports Figaro and his cronies back to the natty 1920s, complete with Buster Keaton stunts and Keystone Kops chases. Meanwhile, Rossini’s music more than keeps up with the action, from the helter-skelter overture, to Figaro’s lickety-split ‘Largo al factotum’, via Rosina’s melting ‘Una voce poco fa’ and a feast of delicious ensembles.

Conductor Maurizio Barbacini Director Elijah Moshinsky Set Designer Michael Yeargan Costume Designer Dona Granata Lighting Designer Howard Harrison

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Figaro José Carbó Rosina Dominica Matthews Count Almaviva John Longmuir Dr Bartolo Andrew Moran Don Basilio Conal Coad

There is Count Almaviva, the softcentred nobleman. There is the lovely Rosina, who falls instantly for Almaviva’s sweet nothings. Then there is Rosina’s guardian Dr Bartolo, a hard-hearted businessman who intends to marry Rosina himself. It is going to take some fast talking to sort out this sticky situation. Sounds like a job for Figaro!

Join our merry band of singers as they create Rossini’s delightful world.

Joining José Carbó is young Australian tenor John Longmuir as Almaviva with Dominica Matthews as Rosina, and Andrew Moran as Dr Bartolo.

Conal Coad, Teresa La Rocca and Samuel Dundas complete the cast, with Maurizio Barbacini conducting.

Evenings at 7:30pm: April 30.

May 4, 8, 10, 15, 17.

Matinee at 1pm: May 12.

Performed in Italian with English surtitles.

Running time: Approximately two hours and fifty minutes including one twenty-minute interval.

Fiorello/Ambrogio/Notary Samuel Dundas Berta Teresa La Rocca Orchestra Victoria Opera Australia Chorus

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Gioachino ROSSINI

The Barber of Seville The Barber of Seville is a grand parade of crazy characters, woven into a heart-warming romantic comedy.

Meet Figaro, one of the handiest chaps in town. He’ll carry your bags, he’ll trim your hair. Why, he’ll even arrange your marriage! Make way for the Mr Fixit of Seville!

The dashing José Carbó puts on a striped blazer and bowtie for the return of everyone’s favourite operatic barber.

Elijah Moshinsky’s handsome and much-loved production of The Barber of Seville transports Figaro and his cronies back to the natty 1920s, complete with Buster Keaton stunts and Keystone Kops chases. Meanwhile, Rossini’s music more than keeps up with the action, from the helter-skelter overture, to Figaro’s lickety-split ‘Largo al factotum’, via Rosina’s melting ‘Una voce poco fa’ and a feast of delicious ensembles.

Conductor Maurizio Barbacini Director Elijah Moshinsky Set Designer Michael Yeargan Costume Designer Dona Granata Lighting Designer Howard Harrison

10

Figaro José Carbó Rosina Dominica Matthews Count Almaviva John Longmuir Dr Bartolo Andrew Moran Don Basilio Conal Coad

There is Count Almaviva, the softcentred nobleman. There is the lovely Rosina, who falls instantly for Almaviva’s sweet nothings. Then there is Rosina’s guardian Dr Bartolo, a hard-hearted businessman who intends to marry Rosina himself. It is going to take some fast talking to sort out this sticky situation. Sounds like a job for Figaro!

Join our merry band of singers as they create Rossini’s delightful world.

Joining José Carbó is young Australian tenor John Longmuir as Almaviva with Dominica Matthews as Rosina, and Andrew Moran as Dr Bartolo.

Conal Coad, Teresa La Rocca and Samuel Dundas complete the cast, with Maurizio Barbacini conducting.

Evenings at 7:30pm: April 30.

May 4, 8, 10, 15, 17.

Matinee at 1pm: May 12.

Performed in Italian with English surtitles.

Running time: Approximately two hours and fifty minutes including one twenty-minute interval.

Fiorello/Ambrogio/Notary Samuel Dundas Berta Teresa La Rocca Orchestra Victoria Opera Australia Chorus

11

Franz LEHÁR

The Merry Widow “A production that remains true to Lehar’s spirit of gaiety and romance.”

The Telegraph (UK) She’s rich, she’s beautiful, she’s newly widowed, and she might just be the answer to a bankrupt principality’s financial woes. If, that is, she can be persuaded to marry the right man.

Will Hanna Glawari marry for her country? Will she marry for love?

Or can she do both?

Evenings at 7:30pm: May 16, 18, 19, 22, 23, 24, 25.

Matinees at 1pm: May 19, 26.

Matinee at 3pm: May 27.

Performed in English with surtitles.

Running time: Approximately two hours and thirty minutes with one twenty-minute interval.

Franz Lehár’s sparkling operetta, The Merry Widow, comes waltzing back into town in a glamorous new production directed by Giles Havergal and starring our very own Amelia Farrugia and David Hobson as Hanna Glawari and Danilo Danilovitch. They are joined by Nicole Car, making her role debut as Valencienne, Henry Choo as the lovable Camille and John Bolton Wood as Zeta, with Maestro Andrew Greene in the pit.

Conductor Andrew Greene Director Giles Havergal Set & Costume Designer Leslie Travers

Choreographer and Movement Director Stuart Hopps Lighting Designer Oliver Fenwick

Produced in collaboration with Opera North (UK), this show is everything an operetta should be: full of gorgeous frocks and fancy footwork, top hats and tails, with a bit of twenty-first century theatrical wizardry thrown in for good measure.

See the Opera Australia Chorus dance their way through Lehár’s exuberant score and hear show-stopping favourites such as ‘I’ll head off to Maxim’s’ and ‘Vilja’. But above all, enjoy the delicious story of a perfect couple playing hard to get, while those around them get increasingly agitated.

It will be a hoot, a giggle, and a gorgeous night in the theatre.

Hanna Amelia Farrugia Danilo David Hobson Valencienne Nicole Car Camille Henry Choo Zeta John Bolton Wood

Cascada Stephen Smith Orchestra Victoria Opera Australia Chorus Opera Australia Dancers A co-production with Opera North (UK)

NEW PRODUCTION

David Hobson and Amelia Farrugia

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Franz LEHÁR

The Merry Widow “A production that remains true to Lehar’s spirit of gaiety and romance.”

The Telegraph (UK) She’s rich, she’s beautiful, she’s newly widowed, and she might just be the answer to a bankrupt principality’s financial woes. If, that is, she can be persuaded to marry the right man.

Will Hanna Glawari marry for her country? Will she marry for love?

Or can she do both?

Evenings at 7:30pm: May 16, 18, 19, 22, 23, 24, 25.

Matinees at 1pm: May 19, 26.

Matinee at 3pm: May 27.

Performed in English with surtitles.

Running time: Approximately two hours and thirty minutes with one twenty-minute interval.

Franz Lehár’s sparkling operetta, The Merry Widow, comes waltzing back into town in a glamorous new production directed by Giles Havergal and starring our very own Amelia Farrugia and David Hobson as Hanna Glawari and Danilo Danilovitch. They are joined by Nicole Car, making her role debut as Valencienne, Henry Choo as the lovable Camille and John Bolton Wood as Zeta, with Maestro Andrew Greene in the pit.

Conductor Andrew Greene Director Giles Havergal Set & Costume Designer Leslie Travers

Choreographer and Movement Director Stuart Hopps Lighting Designer Oliver Fenwick

Produced in collaboration with Opera North (UK), this show is everything an operetta should be: full of gorgeous frocks and fancy footwork, top hats and tails, with a bit of twenty-first century theatrical wizardry thrown in for good measure.

See the Opera Australia Chorus dance their way through Lehár’s exuberant score and hear show-stopping favourites such as ‘I’ll head off to Maxim’s’ and ‘Vilja’. But above all, enjoy the delicious story of a perfect couple playing hard to get, while those around them get increasingly agitated.

It will be a hoot, a giggle, and a gorgeous night in the theatre.

Hanna Amelia Farrugia Danilo David Hobson Valencienne Nicole Car Camille Henry Choo Zeta John Bolton Wood

Cascada Stephen Smith Orchestra Victoria Opera Australia Chorus Opera Australia Dancers A co-production with Opera North (UK)

NEW PRODUCTION

David Hobson and Amelia Farrugia

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13

Giacomo PUCCINI

Madama Butterfly You know they will fall in love. You know they will part. You know Butterfly will wait, faithfully, until the one fine day he returns. You know these things.

But even if you have experienced the rich colours, the gracious choreography and the poetic elegance of this production, even if you have already lived the heart-breaking story, Puccini’s desperately romantic music will still move you, will still make you fall in love with opera all over again.

We promise.

Lieutenant Pinkerton has just arrived in Nagasaki, where his ship will be stationed for an extended tour of duty.

While he is there, he intends to live well. The local fixer, Goro, has rented a house with a view for him, and hired the staff. All that is missing is a little wife to come home to. Goro can provide. He knows a girl. Her name is Butterfly.

Conductor Giovanni Reggioli Director Moffatt Oxenbould Set & Costume Designers Peter England & Russell Cohen Lighting Designer Robert Bryan

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Cio-Cio-San Hiromi Omura Pinkerton James Egglestone Suzuki Sian Pendry Sharpless Barry Ryan (until 29 Nov) Michael Honeyman

Puccini’s Madama Butterfly is one of the world’s favourite operas, and this is one of Opera Australia’s most celebrated productions. It returns in 2012 for a strictly limited run of just ten performances with celebrated Japanese soprano Hiromi Omura in the title role.

She is joined by young Australian tenor James Egglestone as the dastardly Pinkerton, with Barry Ryan, and later Michael Honeyman as Sharpless, and Sian Pendry as Suzuki. And to conduct, we welcome back Giovanni Reggioli.

Evenings at 7:30pm: November 14, 17, 20, 26, 29.

December 3, 11, 14.

Matinees at 1pm: November 24.

December 8.

Performed in Italian with English surtitles.

Duration: Approximately two hours and thirty-five minutes including one twentyminute interval.

Goro Graeme Macfarlane The Bonze Jud Arthur Yamadori Samuel Dundas Orchestra Victoria Opera Australia Chorus

15

Giacomo PUCCINI

Madama Butterfly You know they will fall in love. You know they will part. You know Butterfly will wait, faithfully, until the one fine day he returns. You know these things.

But even if you have experienced the rich colours, the gracious choreography and the poetic elegance of this production, even if you have already lived the heart-breaking story, Puccini’s desperately romantic music will still move you, will still make you fall in love with opera all over again.

We promise.

Lieutenant Pinkerton has just arrived in Nagasaki, where his ship will be stationed for an extended tour of duty.

While he is there, he intends to live well. The local fixer, Goro, has rented a house with a view for him, and hired the staff. All that is missing is a little wife to come home to. Goro can provide. He knows a girl. Her name is Butterfly.

Conductor Giovanni Reggioli Director Moffatt Oxenbould Set & Costume Designers Peter England & Russell Cohen Lighting Designer Robert Bryan

14

Cio-Cio-San Hiromi Omura Pinkerton James Egglestone Suzuki Sian Pendry Sharpless Barry Ryan (until 29 Nov) Michael Honeyman

Puccini’s Madama Butterfly is one of the world’s favourite operas, and this is one of Opera Australia’s most celebrated productions. It returns in 2012 for a strictly limited run of just ten performances with celebrated Japanese soprano Hiromi Omura in the title role.

She is joined by young Australian tenor James Egglestone as the dastardly Pinkerton, with Barry Ryan, and later Michael Honeyman as Sharpless, and Sian Pendry as Suzuki. And to conduct, we welcome back Giovanni Reggioli.

Evenings at 7:30pm: November 14, 17, 20, 26, 29.

December 3, 11, 14.

Matinees at 1pm: November 24.

December 8.

Performed in Italian with English surtitles.

Duration: Approximately two hours and thirty-five minutes including one twentyminute interval.

Goro Graeme Macfarlane The Bonze Jud Arthur Yamadori Samuel Dundas Orchestra Victoria Opera Australia Chorus

15

Gaetano DONIZETTI

Lucia di Lammermoor Late one night, under a storm-clad sky, two lovers meet in secret. Stalked by fate, haunted by tragedy and kept apart by the heartless machinations of two feuding families, their vows of devotion seem doomed.

But then they sing, and the dazzling hope and desperate passion of Donizetti’s music fills the stage with light.

Evenings at 7:30pm: November 19, 24, 27, 30.

December 5, 8, 12.

Matinee at 1pm: December 15.

Performed in Italian with English surtitles.

Running time: Approximately three hours including two twenty-minute intervals.

Opera Australia presents Donizetti’s Lucia di Lammermoor, in a new coproduction with Teatro La Fenice and Houston Grand Opera. John Doyle directs this fresh new interpretation, with lighting and projections by Jane Cox and period costumes by Liz Ascroft. The result is an atmospheric, psychologically searching take on a thrilling tale.

Conductor Guillaume Tourniaire Director John Doyle Set & Costume Designer Liz Ascroft Lighting Designer Jane Cox

Lucia Emma Matthews Edgardo Aldo Di Toro Enrico Giorgio Caoduro Raimondo David Parkin Arturo Stephen Smith

Donizetti’s score is full of gracious melody and intricate vocal colours, which reach their climax in Lucia’s final aria. It is a mad scene to end all mad scenes, an Olympian display of the power of the human voice, and there are few singers in the world who can do it justice. Emma Matthews is one of them.

Leading exponent of the bel canto repertoire, Emma Matthews, leads a spectacular cast which includes Giorgio Caoduro as Lucia’s cruel brother Enrico, Aldo Di Toro as Edgardo, Stephen Smith as Arturo, and David Parkin as Raimondo.

Alisa Teresa La Rocca Normanno Andrew Brunsdon

A co-production with Houston Grand Opera and Teatro La Fenice.

Orchestra Victoria Opera Australia Chorus

NEW PRODUCTION

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17

Gaetano DONIZETTI

Lucia di Lammermoor Late one night, under a storm-clad sky, two lovers meet in secret. Stalked by fate, haunted by tragedy and kept apart by the heartless machinations of two feuding families, their vows of devotion seem doomed.

But then they sing, and the dazzling hope and desperate passion of Donizetti’s music fills the stage with light.

Evenings at 7:30pm: November 19, 24, 27, 30.

December 5, 8, 12.

Matinee at 1pm: December 15.

Performed in Italian with English surtitles.

Running time: Approximately three hours including two twenty-minute intervals.

Opera Australia presents Donizetti’s Lucia di Lammermoor, in a new coproduction with Teatro La Fenice and Houston Grand Opera. John Doyle directs this fresh new interpretation, with lighting and projections by Jane Cox and period costumes by Liz Ascroft. The result is an atmospheric, psychologically searching take on a thrilling tale.

Conductor Guillaume Tourniaire Director John Doyle Set & Costume Designer Liz Ascroft Lighting Designer Jane Cox

Lucia Emma Matthews Edgardo Aldo Di Toro Enrico Giorgio Caoduro Raimondo David Parkin Arturo Stephen Smith

Donizetti’s score is full of gracious melody and intricate vocal colours, which reach their climax in Lucia’s final aria. It is a mad scene to end all mad scenes, an Olympian display of the power of the human voice, and there are few singers in the world who can do it justice. Emma Matthews is one of them.

Leading exponent of the bel canto repertoire, Emma Matthews, leads a spectacular cast which includes Giorgio Caoduro as Lucia’s cruel brother Enrico, Aldo Di Toro as Edgardo, Stephen Smith as Arturo, and David Parkin as Raimondo.

Alisa Teresa La Rocca Normanno Andrew Brunsdon

A co-production with Houston Grand Opera and Teatro La Fenice.

Orchestra Victoria Opera Australia Chorus

NEW PRODUCTION

16

17

Richard STRAUSS

Salome Salome is sexy. She is subversive. She is a femme fatale. Like an earthy spirit of decadence, her song blows the civilised sensibilities of the world apart. Tanz für mich, Salome…Dance for me, Salome.

Richard Strauss’s Salome caused a sensation when it premiered in Europe in 1905. It has been shocking and enthralling audiences ever since.

The music is by turns ravishing and disturbing, pushing the boundaries of romantic music with burnished tones and fiery harmonies.

And who will play Salome?

Now Gale Edwards, who thrilled audiences with her edgy and brilliant La bohème in 2011, directs a new production of Richard Strauss’s explosive one-act opera, with sets

by Brian Thomson and Simon Hewett conducting.

Who else, but one of the world’s leading interpreters of the great Strauss heroines, Cheryl Barker, recreating a role she first sang to great acclaim at London’s English National Opera. On stage with her is the magnificent Peter Coleman-Wright as Jokanaan, a moral beacon in a sea of decadence, and tenor John Pickering in the role of Herod.

Jacqueline Dark plays Herod’s wife Herodias, David Corcoran is Narraboth, and a grand ensemble cast peoples the court of Herod.

Conductor Simon Hewett Director Gale Edwards Set Designer Brian Thomson Costume Designer Julie Lynch Lighting Designer John Rayment

Page to Herodias Sian Pendry Jew 1 Kanen Breen Jew 2 Andrew Brunsdon Jew 3 Graeme Macfarlane Jew 4 John Longmuir

Strauss throws all his musical powers into the biblical story of a princess, a prisoner, a dance and a death.

Herod John Pickering Herodias Jacqueline Dark Salome Cheryl Barker Jokanaan Peter Coleman-Wright Narraboth David Corcoran

Jew 5 Richard Anderson First Nazarene Shane Lowrencev Second Nazarene Luke Gabbedy Soldier 1 Richard Anderson A Cappadocian Andrew Moran

Evenings at 7:30pm: December 1, 4, 7, 10, 13, 15.

Performed in German with English surtitles.

Running time: Approximately one hour and forty minutes – no interval.

Orchestra Victoria An Opera Conference co-production.

NEW PRODUCTION

18

19

Richard STRAUSS

Salome Salome is sexy. She is subversive. She is a femme fatale. Like an earthy spirit of decadence, her song blows the civilised sensibilities of the world apart. Tanz für mich, Salome…Dance for me, Salome.

Richard Strauss’s Salome caused a sensation when it premiered in Europe in 1905. It has been shocking and enthralling audiences ever since.

The music is by turns ravishing and disturbing, pushing the boundaries of romantic music with burnished tones and fiery harmonies.

And who will play Salome?

Now Gale Edwards, who thrilled audiences with her edgy and brilliant La bohème in 2011, directs a new production of Richard Strauss’s explosive one-act opera, with sets

by Brian Thomson and Simon Hewett conducting.

Who else, but one of the world’s leading interpreters of the great Strauss heroines, Cheryl Barker, recreating a role she first sang to great acclaim at London’s English National Opera. On stage with her is the magnificent Peter Coleman-Wright as Jokanaan, a moral beacon in a sea of decadence, and tenor John Pickering in the role of Herod.

Jacqueline Dark plays Herod’s wife Herodias, David Corcoran is Narraboth, and a grand ensemble cast peoples the court of Herod.

Conductor Simon Hewett Director Gale Edwards Set Designer Brian Thomson Costume Designer Julie Lynch Lighting Designer John Rayment

Page to Herodias Sian Pendry Jew 1 Kanen Breen Jew 2 Andrew Brunsdon Jew 3 Graeme Macfarlane Jew 4 John Longmuir

Strauss throws all his musical powers into the biblical story of a princess, a prisoner, a dance and a death.

Herod John Pickering Herodias Jacqueline Dark Salome Cheryl Barker Jokanaan Peter Coleman-Wright Narraboth David Corcoran

Jew 5 Richard Anderson First Nazarene Shane Lowrencev Second Nazarene Luke Gabbedy Soldier 1 Richard Anderson A Cappadocian Andrew Moran

Evenings at 7:30pm: December 1, 4, 7, 10, 13, 15.

Performed in German with English surtitles.

Running time: Approximately one hour and forty minutes – no interval.

Orchestra Victoria An Opera Conference co-production.

NEW PRODUCTION

18

19

Patrons & Friends Opera Australia takes its role as the guardian of opera in this country very seriously. Our role is not only to nurture and develop the finest artists in this country but also to develop our audience to reach as many people as possible so that opera has a vibrant future. A dynamic professional opera company can enrich the intellectual and emotional lives of us all.

Box office revenue only covers a portion of our costs. So if opera moves you, consider joining the Patron Program, becoming a Friend, or contributing to the Challenge Fund, which provides support for the Moffatt Oxenbould Young Artist Program.

All donations are tax deductible and go towards creating a bright future for opera in Australia.

PATRON PROGRAM Yvonne Kenny AM, Patron-in-Chief For more than 30 years members of our Patron Program have helped to build and extend Opera Australia, which in its role as Australia’s largest performing arts company, proudly reaches more than 413,000 people with live performances each year.

Our Patrons’ shared love of opera, their enthusiasm and their generosity have been vital to the development of our artists and our performances. We salute their patronage which helps us to: • Operate year-round with major seasons in Melbourne and Sydney

The Ring Festival

• P erform opera to more then 70,000 school children nationally, including specially designed productions for hearing and sight impaired children • Nurture artists and craftspeople of the highest calibre • Work with local, state-based and international artists and companies • Take opera to remote regional areas around the country

FRIENDS OF OPERA AUSTRALIA

Our Patron Manager Melbourne, Sally Percival provides a special personal service for Patrons including: • Access to premium seats, even at late notice • Priority assistance with subscriptions, bookings and ticket exchanges • Invitations to special events and Opera Insight evenings • Access to open dress rehearsals • Discounted ‘rush’ tickets to selected performances • Acknowledgement in all Opera Australia programs

As lovers of the art form, Friends of Opera Australia have the opportunity to expand their appreciation and knowledge of opera and our productions.

For more information please contact Sally Percival on (03) 9685 3752 or email sally.percival@opera-australia.org.au

By joining the Friends of Opera Australia you can be more than just an audience member – you can become an integral member of our opera community.

Friends of Opera Australia become part of the great Australian opera family, playing a role in supporting a national company dedicated to diverse and artistically vibrant opera in Australia.

They enjoy special benefits that include: • access to selected dress rehearsals • discounted ‘rush’ tickets to selected performances • invitations to exclusive events such as Opera Insight evenings.

Plus, subscribers receive a 50% discount on their membership.

For more information please contact Sally Percival on (03) 9685 3752 or email sally.percival@opera-australia.org.au Level

Subscriber Membership 50% discount Fee

Mimì

$160

$320

Rodolfo

$95

$190

Rodolfo (under 30) $40

$80

In 2013, the 200th anniversary of the birth of Richard Wagner, Opera Australia presents its first ever staging of his epic opera cycle, Der Ring des Nibelungen (The Ring of the Nibelung) at the Arts Centre, Melbourne.

Across four nights in the theatre over 350 singers, dancers, orchestral musicians, designers, costume-makers and backstage staff will perform the four mighty operas Das Rheingold (The Rhinegold), Die Walküre (The Valkyrie), Siegfried and Götterdämmerung (Twilight of the Gods), which make up Wagner’s epic vision. There will be three complete cycles performed through November and December 2013.

This four-week festival will present a wide range of activities including comedy, cabaret, mini versions of The Ring of the Nibelung, concert performances of some of Wagner’s contemporaries, the Opera Australia Chorus, Melbourne Conversations, Film, Food and Wine and of course pre-performance talks, lectures, demonstrations and quirky, fascinating events in Melbourne’s atmospheric laneways and unexpected venues!

This is an Australian-led production, with celebrated director Neil Armfield and conductor Richard Mills at the helm, supported by renowned film and theatre designer Robert Cousins. The international cast will include English soprano Susan Bullock as Brünnhilde, Finnish bass-baritone Juha Uusitalo as Wotan, American Heldentenor Gary Lehman as Siegfried and Australian Helden baritone John Wegner as Alberich.

Join us for this complete Wagner experience.

To celebrate The Melbourne Ring Cycle, Opera Australia has devised a festival of discussion, dialogue and diversity to amplify this major event.

Further details about the program for The Ring Festival and casting for The Ring of the Nibelung will be announced over the coming months.

Tickets for The Ring Festival will go on sale at the beginning of 2012. Make sure you do not miss out by registering now for The Ring Festival mailing list. You can register your email details on your subscription application, or online at our website.

Left to right: Adrian Collette, Neil Armfield and Lyndon Terracini at the launch of the Melbourne Ring Cycle, the Arts Centre, Melbourne.

20

21

Patrons & Friends Opera Australia takes its role as the guardian of opera in this country very seriously. Our role is not only to nurture and develop the finest artists in this country but also to develop our audience to reach as many people as possible so that opera has a vibrant future. A dynamic professional opera company can enrich the intellectual and emotional lives of us all.

Box office revenue only covers a portion of our costs. So if opera moves you, consider joining the Patron Program, becoming a Friend, or contributing to the Challenge Fund, which provides support for the Moffatt Oxenbould Young Artist Program.

All donations are tax deductible and go towards creating a bright future for opera in Australia.

PATRON PROGRAM Yvonne Kenny AM, Patron-in-Chief For more than 30 years members of our Patron Program have helped to build and extend Opera Australia, which in its role as Australia’s largest performing arts company, proudly reaches more than 413,000 people with live performances each year.

Our Patrons’ shared love of opera, their enthusiasm and their generosity have been vital to the development of our artists and our performances. We salute their patronage which helps us to: • Operate year-round with major seasons in Melbourne and Sydney

The Ring Festival

• P erform opera to more then 70,000 school children nationally, including specially designed productions for hearing and sight impaired children • Nurture artists and craftspeople of the highest calibre • Work with local, state-based and international artists and companies • Take opera to remote regional areas around the country

FRIENDS OF OPERA AUSTRALIA

Our Patron Manager Melbourne, Sally Percival provides a special personal service for Patrons including: • Access to premium seats, even at late notice • Priority assistance with subscriptions, bookings and ticket exchanges • Invitations to special events and Opera Insight evenings • Access to open dress rehearsals • Discounted ‘rush’ tickets to selected performances • Acknowledgement in all Opera Australia programs

As lovers of the art form, Friends of Opera Australia have the opportunity to expand their appreciation and knowledge of opera and our productions.

For more information please contact Sally Percival on (03) 9685 3752 or email sally.percival@opera-australia.org.au

By joining the Friends of Opera Australia you can be more than just an audience member – you can become an integral member of our opera community.

Friends of Opera Australia become part of the great Australian opera family, playing a role in supporting a national company dedicated to diverse and artistically vibrant opera in Australia.

They enjoy special benefits that include: • access to selected dress rehearsals • discounted ‘rush’ tickets to selected performances • invitations to exclusive events such as Opera Insight evenings.

Plus, subscribers receive a 50% discount on their membership.

For more information please contact Sally Percival on (03) 9685 3752 or email sally.percival@opera-australia.org.au Level

Subscriber Membership 50% discount Fee

Mimì

$160

$320

Rodolfo

$95

$190

Rodolfo (under 30) $40

$80

In 2013, the 200th anniversary of the birth of Richard Wagner, Opera Australia presents its first ever staging of his epic opera cycle, Der Ring des Nibelungen (The Ring of the Nibelung) at the Arts Centre, Melbourne.

Across four nights in the theatre over 350 singers, dancers, orchestral musicians, designers, costume-makers and backstage staff will perform the four mighty operas Das Rheingold (The Rhinegold), Die Walküre (The Valkyrie), Siegfried and Götterdämmerung (Twilight of the Gods), which make up Wagner’s epic vision. There will be three complete cycles performed through November and December 2013.

This four-week festival will present a wide range of activities including comedy, cabaret, mini versions of The Ring of the Nibelung, concert performances of some of Wagner’s contemporaries, the Opera Australia Chorus, Melbourne Conversations, Film, Food and Wine and of course pre-performance talks, lectures, demonstrations and quirky, fascinating events in Melbourne’s atmospheric laneways and unexpected venues!

This is an Australian-led production, with celebrated director Neil Armfield and conductor Richard Mills at the helm, supported by renowned film and theatre designer Robert Cousins. The international cast will include English soprano Susan Bullock as Brünnhilde, Finnish bass-baritone Juha Uusitalo as Wotan, American Heldentenor Gary Lehman as Siegfried and Australian Helden baritone John Wegner as Alberich.

Join us for this complete Wagner experience.

To celebrate The Melbourne Ring Cycle, Opera Australia has devised a festival of discussion, dialogue and diversity to amplify this major event.

Further details about the program for The Ring Festival and casting for The Ring of the Nibelung will be announced over the coming months.

Tickets for The Ring Festival will go on sale at the beginning of 2012. Make sure you do not miss out by registering now for The Ring Festival mailing list. You can register your email details on your subscription application, or online at our website.

Left to right: Adrian Collette, Neil Armfield and Lyndon Terracini at the launch of the Melbourne Ring Cycle, the Arts Centre, Melbourne.

20

21

COMING SOON TO MELBOURNE Opera Australia will present Lincoln Center Theater’s breathtaking production of Rodgers and Hammerstein’s South Pacific in Melbourne in 2012.

Principal Partner

Strategic Partner

Opera Australia Government & Hero Partners

“RAPTUROUS AND REVELATORY”

“A SHOW YOU WILL REMEMBER FOREVER”

“AN UNABASHEDLY BEAUTIFUL SCORE”

New York Times

Star-Ledger

Newsweek

Opera Australia subscribers will be the first to know all the details, so stay tuned.

23

COMING SOON TO MELBOURNE Opera Australia will present Lincoln Center Theater’s breathtaking production of Rodgers and Hammerstein’s South Pacific in Melbourne in 2012.

Principal Partner

Strategic Partner

Opera Australia Government & Hero Partners

“RAPTUROUS AND REVELATORY”

“A SHOW YOU WILL REMEMBER FOREVER”

“AN UNABASHEDLY BEAUTIFUL SCORE”

New York Times

Star-Ledger

Newsweek

Opera Australia subscribers will be the first to know all the details, so stay tuned.

23

Subscribe and save

Take the challenge

If you love a night at the opera, if you like the idea of being at the front of the queue for the big events, and if you want to enjoy great discounts and benefits, then it’s time to consider taking out a subscription.

The world of opera is full of challenges. Getting on stage, singing the right notes, doing the right moves in a costume which restricts your movement and a wig which makes your head feel twice its size, dodging the set, doing the dance and getting your Italian (or German, or Russian, or French) accent just so.

But for Australia’s national opera company there is a much bigger challenge. It is the challenge of making opera accessible and relevant to a wider audience, and investing in talent and bright ideas to build a future for this wonderful art form.

What is a subscription? tWith a subscription you can experience three or more Opera Australia productions at a significantly discounted price and enjoy a range of exclusive subscriber benefits, including:

Free exchanges If you need to change your tickets for another date or opera there is no exchange fee charged before 31 December 2011. You will also receive one Free Exchange voucher that can be used during 2012 and any further exchanges attract a small fee.

24

Subscriber Benefits Program Your Opera Australia Subscriber Card gives you access to a range of benefits at hotels and restaurants.

Visit www.opera-australia.org.au throughout the year for information on special discounts and offers.

Insider knowledge You’ll receive invitations to exclusive subscriber events, and be the first to know about any special events like 2012’s Handa Opera on Sydney Harbour and The Melbourne Ring Cycle in 2013.

Which subscription is right for me?

Instalments If you would prefer not to pay all at once, you can pay in four easy instalments and receive all the benefits of being a subscriber. See page 30 for more information about instalments.

Let us do the planning for you with a Set Series, or design your own year of opera with a Choose Your Own. Each option comes with its own special benefits.

Priority seating With subscriptions on sale well before single tickets are available to the general public, subscribers are guaranteed the best available seats.

Set Series subscriptions offer: • Set dates and productions • The same seats for each performance • The option to renew your seats year to year

Additional tickets Subscribers receive a 10% discount on additional tickets purchased throughout the season, great for gifts, special occasions or unexpected visitors!

Subscribers are given a priority period to buy these additional single tickets from Monday 14 November 2011.

Choose Your Own subscriptions offer: • Your choice of dates and productions • The greatest flexibility

If you are new to the opera then you might like to consider Series Z: Mazda Introduction to Opera Package.

Comprising three popular operas, it is an ideal way to begin your love affair with the greatest of entertainment. If you are 30 years or younger, consider the Youth Series. Choose between three and five operas and pay only $60 per performance. See page 27 for more information.

Some Choose Your Own suggestions are overleaf, and if you have any questions please contact our Customer Service Representatives on (03) 9685 3700.

When the curtain goes down at the Arts Centre, Melbourne or the Sydney Opera House, our work is just beginning.

GREAT OPERA FOR EVERYONE

OPERA IN THE COMMUNITY

Every year Opera Australia’s Oz Opera takes a fully staged touring version of opera with chamber orchestra to venues in regional and remote Australia: one year audiences might see Carmen in Cairns and the next La traviata in Tennant Creek. An important part of the Regional Tour is the education workshops and master classes with local schools and community involving the singers, orchestra members, creative artists and the technical crew.

For the first time in 2012, Opera Australia will be launching a community choir program where we can share the enthusiasm and expertise of our singers and music professionals to get together and SING! Stay tuned for more details.

AUDIENCES FOR THE FUTURE Through Oz Opera’s Schools Company between 60,000 to 80,000 students in primary schools across NSW and Victoria will experience opera, performed live in their school by Opera Australia’s professional artists. For many children this is the first time they have seen an opera or a live performance.

INVESTING IN THE STARS OF TOMORROW

These are just some of the many initiatives Opera Australia is taking to meet the challenge of building a great future for opera in Australia. You can take the challenge too, by joining our many supporters who have invested in the Challenge Fund. You can do so by adding a donation to your subscription payment. All donations over $2 are fully tax-deductible, and all donations go towards building a great future for opera in Australia.

In 2012 four artists have been selected to join the Moffatt Oxenbould Young Artist Program. Nicole Car, Kiandra Howarth, John Longmuir and Sam Roberts-Smith will follow in the footsteps of singers like Emma Matthews, Henry Choo and Amelia Farrugia, who are all graduates of the Young Artist Program. The participants perform in productions in Sydney and Melbourne, participate in workshops and master-classes with leading singers and conductors, and are mentored by experienced artists.

25

Subscribe and save

Take the challenge

If you love a night at the opera, if you like the idea of being at the front of the queue for the big events, and if you want to enjoy great discounts and benefits, then it’s time to consider taking out a subscription.

The world of opera is full of challenges. Getting on stage, singing the right notes, doing the right moves in a costume which restricts your movement and a wig which makes your head feel twice its size, dodging the set, doing the dance and getting your Italian (or German, or Russian, or French) accent just so.

But for Australia’s national opera company there is a much bigger challenge. It is the challenge of making opera accessible and relevant to a wider audience, and investing in talent and bright ideas to build a future for this wonderful art form.

What is a subscription? tWith a subscription you can experience three or more Opera Australia productions at a significantly discounted price and enjoy a range of exclusive subscriber benefits, including:

Free exchanges If you need to change your tickets for another date or opera there is no exchange fee charged before 31 December 2011. You will also receive one Free Exchange voucher that can be used during 2012 and any further exchanges attract a small fee.

24

Subscriber Benefits Program Your Opera Australia Subscriber Card gives you access to a range of benefits at hotels and restaurants.

Visit www.opera-australia.org.au throughout the year for information on special discounts and offers.

Insider knowledge You’ll receive invitations to exclusive subscriber events, and be the first to know about any special events like 2012’s Handa Opera on Sydney Harbour and The Melbourne Ring Cycle in 2013.

Which subscription is right for me?

Instalments If you would prefer not to pay all at once, you can pay in four easy instalments and receive all the benefits of being a subscriber. See page 30 for more information about instalments.

Let us do the planning for you with a Set Series, or design your own year of opera with a Choose Your Own. Each option comes with its own special benefits.

Priority seating With subscriptions on sale well before single tickets are available to the general public, subscribers are guaranteed the best available seats.

Set Series subscriptions offer: • Set dates and productions • The same seats for each performance • The option to renew your seats year to year

Additional tickets Subscribers receive a 10% discount on additional tickets purchased throughout the season, great for gifts, special occasions or unexpected visitors!

Subscribers are given a priority period to buy these additional single tickets from Monday 14 November 2011.

Choose Your Own subscriptions offer: • Your choice of dates and productions • The greatest flexibility

If you are new to the opera then you might like to consider Series Z: Mazda Introduction to Opera Package.

Comprising three popular operas, it is an ideal way to begin your love affair with the greatest of entertainment. If you are 30 years or younger, consider the Youth Series. Choose between three and five operas and pay only $60 per performance. See page 27 for more information.

Some Choose Your Own suggestions are overleaf, and if you have any questions please contact our Customer Service Representatives on (03) 9685 3700.

When the curtain goes down at the Arts Centre, Melbourne or the Sydney Opera House, our work is just beginning.

GREAT OPERA FOR EVERYONE

OPERA IN THE COMMUNITY

Every year Opera Australia’s Oz Opera takes a fully staged touring version of opera with chamber orchestra to venues in regional and remote Australia: one year audiences might see Carmen in Cairns and the next La traviata in Tennant Creek. An important part of the Regional Tour is the education workshops and master classes with local schools and community involving the singers, orchestra members, creative artists and the technical crew.

For the first time in 2012, Opera Australia will be launching a community choir program where we can share the enthusiasm and expertise of our singers and music professionals to get together and SING! Stay tuned for more details.

AUDIENCES FOR THE FUTURE Through Oz Opera’s Schools Company between 60,000 to 80,000 students in primary schools across NSW and Victoria will experience opera, performed live in their school by Opera Australia’s professional artists. For many children this is the first time they have seen an opera or a live performance.

INVESTING IN THE STARS OF TOMORROW

These are just some of the many initiatives Opera Australia is taking to meet the challenge of building a great future for opera in Australia. You can take the challenge too, by joining our many supporters who have invested in the Challenge Fund. You can do so by adding a donation to your subscription payment. All donations over $2 are fully tax-deductible, and all donations go towards building a great future for opera in Australia.

In 2012 four artists have been selected to join the Moffatt Oxenbould Young Artist Program. Nicole Car, Kiandra Howarth, John Longmuir and Sam Roberts-Smith will follow in the footsteps of singers like Emma Matthews, Henry Choo and Amelia Farrugia, who are all graduates of the Young Artist Program. The participants perform in productions in Sydney and Melbourne, participate in workshops and master-classes with leading singers and conductors, and are mentored by experienced artists.

25

2012 Melbourne Calendar

Support for Opera Australia

AUTUMN SEASON

Opera Australia relies heavily on the private sector to support its artistic endeavours. Corporate sponsorship and private patronage are crucial to the vitality of the Company. It allows us to continue to fulďŹ l the aspirations of Australian artists and to excite the imagination of Opera Australia audiences. It is private support of Opera Australia which enables us to maintain a high level of activity and quality of performance.

We salute the corporate citizenship of our sponsors and the leadership role taken by the members of our Patron Program. For more information please contact Amanda Michetti on (02) 9318 8241 or email amanda.michetti@opera-australia.org.au

Tuesday

Wednesday

Thursday

Friday

Saturday MAT

Saturday EVE

Sunday

9

10 Turandot 17 Turandot 24 Flute #

11

12

14

14

15

18

19

21

26 Flute

28 Turandot #

21 Flute 28 Flute #

22

25 Turandot

13 Turandot 20 Turandot 27

Tuesday

Wednesday

Thursday

Friday

Saturday MAT

Saturday EVE

Sunday

1 Flute 8 Barber 15 Barber # 22 Widow

2 Turandot # 9 Flute 16 Widow 23 Widow #

3 Flute * 10 Barber * 17 Barber 24 Widow

4 Barber # 11 Turandot # * 18 Widow 25 Widow *

5 Flute 12 Barber 19 Widow # * 26 Widow #

5 Turandot 12 Flute * 19 Widow 26

6

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday MAT

Saturday EVE

Sunday

12

13

15

16

17

20 Butterfly 27 Lucia #

22

23

24 Butterfly

17 Butterfly 24 Lucia #

18

19 Lucia 26 Butterfly

14 Butterfly 21 28

29 Butterfly #

30 Lucia

Monday

Tuesday

Wednesday

Thursday

16 23

HERO PARTNERS

APRIL Monday

29

30 Barber

7 Flute # 14 21

GOLD PARTNERS

MAY Monday

13 20 27 Widow (mat) *

SILVER PARTNERS

SPRING SEASON NOVEMBER

25 exhibition

Saturday MAT

Saturday EVE

Sunday

1

2

16

3 Butterfly # *

4 Salome #

5 Lucia

6

7 Salome

8 Butterfly *

1 Salome 8 Lucia *

10 Salome #

11 Butterfly # *

12 Lucia

13 Salome

14 Butterfly *

15 Lucia

15 Salome

Opening night

9

GOVERNMENT PARTNERS

Butterfly = Madama Butterfly Lucia = Lucia di Lammermoor # Free opera talk prior to the performance

PERFORMANCE PARTNERS

MAT = Matinee EVE = Evening Flute = The Magic Flute Barber = The Barber of Seville * The best seats available on these dates

26

Friday

MAJOR SPONSORS

DECEMBER

events lighting & AV

Final performance

26

Opera Australia is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

Opera Australia is supported by the Victorian Government through Arts Victoria.

Opera Australia is assisted by the NSW Government through Arts NSW.

Performances feature the Opera Australia Chorus and Orchestra Victoria.

2012 Melbourne Calendar

Support for Opera Australia

AUTUMN SEASON

Opera Australia relies heavily on the private sector to support its artistic endeavours. Corporate sponsorship and private patronage are crucial to the vitality of the Company. It allows us to continue to fulďŹ l the aspirations of Australian artists and to excite the imagination of Opera Australia audiences. It is private support of Opera Australia which enables us to maintain a high level of activity and quality of performance.

We salute the corporate citizenship of our sponsors and the leadership role taken by the members of our Patron Program. For more information please contact Amanda Michetti on (02) 9318 8241 or email amanda.michetti@opera-australia.org.au

Tuesday

Wednesday

Thursday

Friday

Saturday MAT

Saturday EVE

Sunday

9

10 Turandot 17 Turandot 24 Flute #

11

12

14

14

15

18

19

21

26 Flute

28 Turandot #

21 Flute 28 Flute #

22

25 Turandot

13 Turandot 20 Turandot 27

Tuesday

Wednesday

Thursday

Friday

Saturday MAT

Saturday EVE

Sunday

1 Flute 8 Barber 15 Barber # 22 Widow

2 Turandot # 9 Flute 16 Widow 23 Widow #

3 Flute * 10 Barber * 17 Barber 24 Widow

4 Barber # 11 Turandot # * 18 Widow 25 Widow *

5 Flute 12 Barber 19 Widow # * 26 Widow #

5 Turandot 12 Flute * 19 Widow 26

6

Monday

Tuesday

Wednesday

Thursday

Friday

Saturday MAT

Saturday EVE

Sunday

12

13

15

16

17

20 Butterfly 27 Lucia #

22

23

24 Butterfly

17 Butterfly 24 Lucia #

18

19 Lucia 26 Butterfly

14 Butterfly 21 28

29 Butterfly #

30 Lucia

Monday

Tuesday

Wednesday

Thursday

16 23

HERO PARTNERS

APRIL Monday

29

30 Barber

7 Flute # 14 21

GOLD PARTNERS

MAY Monday

13 20 27 Widow (mat) *

SILVER PARTNERS

SPRING SEASON NOVEMBER

25 exhibition

Saturday MAT

Saturday EVE

Sunday

1

2

16

3 Butterfly # *

4 Salome #

5 Lucia

6

7 Salome

8 Butterfly *

1 Salome 8 Lucia *

10 Salome #

11 Butterfly # *

12 Lucia

13 Salome

14 Butterfly *

15 Lucia

15 Salome

Opening night

9

GOVERNMENT PARTNERS

Butterfly = Madama Butterfly Lucia = Lucia di Lammermoor # Free opera talk prior to the performance

PERFORMANCE PARTNERS

MAT = Matinee EVE = Evening Flute = The Magic Flute Barber = The Barber of Seville * The best seats available on these dates

26

Friday

MAJOR SPONSORS

DECEMBER

events lighting & AV

Final performance

26

Opera Australia is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

Opera Australia is supported by the Victorian Government through Arts Victoria.

Opera Australia is assisted by the NSW Government through Arts NSW.

Performances feature the Opera Australia Chorus and Orchestra Victoria.