Your Opera Company
A PANTOMIME BY RICHARD GILL
Cinderella
DearGirls and Boys, Thank you for coming to our Pantomime, the story of Cinderella. I hope you’ll enjoy taking part in our Pantomime by singing and calling out when asked to by Buttons, or indeed any other of the characters. You’ll know who Buttons is - he is the first character to appear and he is wearing a blue and yellow costume. You’ll know also that the Pantomime has started once the lights go out and Buttons says the famous words, ‘once upon a time.’ For the younger girls and boys there are colouring- in activities and there are prizes. For the older children there are questions to answer again with prizes attached. Every child who sends in a coloured-in page or, answers to the questions will receive a certificate which will have the autographs of the Cinderella cast members. The child’s name will also be written on the certificate. We really hope that you’ll enjoy the Pantomime today and will take part as much as possible. I wish you happy listening and watching.
Richard Gill Music Director
Music Director’s Message For some time I have wanted to present a pantomime as part of our work. Pantomime has origins in Ancient Greece, and indeed was evident in Ancient Rome. Pantomime was considered by the serious playwrights to be unworthy of their attention because of the insubstantial nature of its themes, its excessive use of erotic content and coarse jokes and its highly stylised dancing which was considered to be effeminate. Nonetheless, pantomime survived and continued its life in Italy, where, in the form of commedia dell’arte, it became a vital part of the cultural life of most Italian communities, teaching its special lessons and evolving a series of stock characters – lovelorn maid, handsome man, clown, deceitful servant, incompetent servant and so on. In England, during the Middle Ages, the Mummers Play, a traditional play performed throughout the land by travelling players, contained many of the elements of pantomime including fighting, coarse language, lewd jokes and role-reversal, that is girls playing boys and boys playing girls. The origins of role- reversal within a play can be traced to feasts or festival days which were set aside just for the purpose of the reversal of the natural order of things such as Twelfth Night or Midsummer, the Feast of Fools and the like. From pantomime’s ancient beginnings; music, songs and dances were integral to the action together with spoken word. The parallels with much of what happens in opera are obvious. It makes sense, in the interest of audience development, for an opera company performing at the beginning of the 21st Century to include pantomime as part of its work. By doing this we acknowledge the long tradition of theatre and the extraordinary heritage of fairy tales and story-telling. In the United Kingdom, the traditional English pantomime historically opens on Boxing Day, December 26th, and is a very special part of Christmas celebrations. Again, stock characters, lewd jokes for adults and special effects for children, all go to make up the magic of pantomime. In our pantomime we have eschewed lewdness and have taken the moral high ground as proposed by Aeschylus and the musical inspiration of Sir Arthur Sullivan, that paragon of English musical virtue. In writing the libretto and music for this pantomime I am well aware that I have deprived serious librettists and composers of an income. However, the opportunity to write for the lyric stage is one which cannot be resisted especially as my first memory of theatre is a pantomime at the then Tivoli Theatre in Sydney. It was Jack and the Beanstalk: I was seven years old and it changed my life.
Richard Gill Music Director
Director’s Message ‘Cinderella’ returns to Her Majesty’s Theatre. In 1900, J C Williamson took over the lease on the Alexandra Theatre, Melbourne and re-named it Her Majesty’s Theatre in honour of Queen Victoria. The first production of ‘Cinderella’ at The Maj opened on 19th December 1914. Almost a century later, it is exciting to think that Cinderella, Buttons, the Fairy Godmother and the Handsome Prince will again tread the boards at The Maj and tell their story to a new audience. Why after so long are we telling the same story on the same stage? Pantomimes are often based on fairy tales, which in turn are based on morality and cautionary tales. Essentially they are to educate children about life and their place in the world. What better way to achieve this than through the magic of theatrical storytelling, music and dance? When Richard Gill first spoke to me about directing ‘Cinderella’ I was excited at the opportunity to help create a live performance for a very discerning, often first time theatre going audience. The sense of wonder at seeing something from our imagination turn into something tangible before our eyes is very exciting and can be remembered for a lifetime. Many of us clearly recall our first live theatre experience and it could well be why we attend theatre today. Richard and I shared a desire that this production should be presented in a traditional late 19th, early 20th century manner. I feel very fortunate to have a design team in Julie Nelson (Set & Costume Designer) and Richard Vabre (Lighting Designer) who were enthusiastic to realise that vision. They have expertly created a magical world in which the characters’ lessons, and therefore the lessons of the audience are learnt. Richard Gill has written a moving, grand and sometimes downright silly version of the Cinderella story. Perfect! Having the opportunity to be a part of creating a new work with not only the composer, but also with a cast of talented performers, and a fantastic design team has made it a wonderful experience. Derek Taylor Director and Choreographer
Cinderella - a traditional pantomime by Richard Gill Composer/Librettist
Richard Gill
World premiere season 25 -28 January 2012, Her Majesty’s Theatre, Melbourne Conductor Richard Gill Director and Choreographer Derek Taylor Ballet Choreographer Amber Hobson Set & Costumer Designer & Program Illustrator Julie Nelson Lighting Designer Richard Vabre Sound Designer Peter Sforcina Assistant Conductor Daniel Carter Assistant Choreographer Jack Feehan Stage Manager Emma Beaurepaire Assistant Stage Manager Melanie Stanton Technical Coordinator/ Head Technician Peter Darby Head Mechanist Jack Grant CAST (in order of appearance) Buttons James Pratt The Four Willies; Lilly Ashleigh Hauschild Billy Mark Morabito Milly Laura O’Sullivan Philly Jack Feehan Ticketty-Boo, a Fairy Godmother Suzanne Johnston Cinderella Georgina Darvidis Lady Griselda, Cinderella’s ugly stepsister Julian Wilson Lady Grissini, Cinderella’s other ugly stepsister Roger Lemke Count Magnifico, Cindererlla’s father James Payne Countess Magnifico, Cinderella’s stepmother Roxane Hislop Dandini, the Prince’s servant Jonathon Bode Prince Ferdinand Flinders Janet Todd Ballet Ensemble* Madeleine Hobson, Hannah Jones Rebecca Leith, Amelia Ouchtomsky Natalie Sciacca & Abby Zerle. Orchestra Manager Khat Kerr Principal Repetiteur Phillipa Safety Second Reptiteur Phoebe Briggs Trumpet Anthony Pope Trombone Bob Collins Reed 1 Stuart Brownley Reed 2 Stuart Byrne Keyboard Richard Gill Drums/Percussion Gareth Thomson Violin Lucas O’Brien Double Bass Nic Synot *Ballet Ensemble - students from Glen Iris School of Dance, costumes by Rebecca Docherty and Maria Donato from The Dancer’s Secret. Vocal and orchestral score preparation David McSkimming, Phillipa Safety & Daniel Carter. With thanks to Show Works, Scenic Studios, Melbourne Theatre Company, Malthouse Theatre, Opera Australia, The Australian Ballet and Her Majesty’s Theatre staff and crew.
Colour-in Cinderella
Cinderella needs your help to get ready for the ball!
Cast Biographies Conductor Richard Gill Richard Gill is one of Australia’s pre-eminent and most admired conductors specialising in opera, musical theatre and vocal and choral training and is internationally respected as a music educator. He is Music Director of Victorian Opera and Artistic Director of the Education Program for the Sydney Symphony Orchestra. He has been Artistic Director of OzOpera, Artistic Director and Chief Conductor of the Canberra Symphony Orchestra, and the Adviser for the Musica Viva In Schools program. Richard has received numerous accolades, including an Order of Australia Medal, the Bernard Heinze Award, Honorary Doctorates from the Edith Cowan UWA and ACU, and the Australia Council’s Don Banks Award. Director and Choreographer Derek Taylor Cinderella is Derek’s directorial debut having been Assistant Director for Victorian Opera’s 2010 production of Julius Caesar. A graduate of the Elder Conservatorium of Music and the Queensland Conservatorium, Derek began working professionally as a singer in 1987 with the State Opera of South Australia, then Opera Queensland. Derek’s musical theatre performing credits include Grease and The Secret Garden as well as playing the roles of Tobias Ragg in Sweeney Todd, Mary Sunshine in Chicago, Padre Perez in Man of La Mancha, Mr Snow in Carousel, Artie Green in Sunset Boulevard, Gus in Cats and Monsieur Andre in The Phantom of the Opera. Set & Costumer Designer & Program Illustrator Julie Nelson Julie has extensive experience in all departments of Film and Theatre covering 18 years with a comprehension of the wide-ranging technical aspects of design. Julie began her professional career a day after graduating from Wimbledon School of Art with a degree in Theatre design in 1995, opening a production of Don Juan that was voted Critics Choice in The Independent newspaper. She went on to follow a successful career in London as a freelancer and resident designer in set and costume design. She has designed over 40 productions including a production of The Clandestine Marriage attended by the Her Majesty the Queen! Recent highlights in Australia include her first design on ice for the Icehouse Christmas Spectacular and a new production The Cockatoos based on Patrick White’s short story, for Victorian Opera. Julie has also worked in Film and TV since arriving in Australia in 2001 has worked in feature films as an Art Director and Production Designer. Notable projects include Tom White, Call Me Mum and Noise which were all AFI nominated for Production Design. She went on to design Em 4 Jay for Alkinos Tslimidos and more recently Playing for Charlie. She haslectured in Australia at the VCA at undergraduate level, and to postgraduates in the UK at the Guildford Conservatoire.
Cast Biographies Lighting Designer Richard Vabre Richard Vabre is a freelance lighting designer who has lit productions for Melbourne Theatre Company, Malthouse Theatre, Victorian Opera, Windmill Theatre, Arena Theatre Company, NICA, The Darwin Festival, Stuck Pig’s Squealing, Chambermade, Rawcus, Hit Productions, Red Stitch, Polyglot, Melbourne Worker’s Theatre and Aphids Awards: Green Room Award Association’s John Truscott Prize for Excellence in Design (2004). Green Room Award Association Award for Outstanding Lighting Design in a Fringe or Independent Production 2005 (Smashed, Test Pattern, The Black Swan of Trespass). In 2009 Richard receive 3 Green Room Award Nominations and was the recipient of the Green Room Award Association Award for Outstanding Lighting Design in a Fringe or Independent Production 2009 (Progress and Melancholy). Assistant Conductor Daniel Carter Daniel Carter graduated from Melbourne University with a Bachelor of Music (Honours) in 2011 having studied composition and piano. During 2010 and 2011 he was a Developing Artist with Victorian Opera. In 2011 Daniel also conducted performances of Threepenny Opera at Sydney Theatre Company as well as preparing the chorus for the Australian Ballet’s Elegy and working on Victorian Opera and Chunky Move’s Assembly for the Melbourne Festival. 2012 sees Daniel working in various conducting capacities for Opera Australia, Sydney Symphony Education, the Sydney Festival and Victorian Opera, where he will make his mainstage debut conducting a double bill of Manuel de Falla’s Master Peter’s Puppet Show and the Australian premiere of Elliott Carter’s only opera What Next? Daniel will also continue his association with Symphony Services International, participating in master-classes in Tasmania and New Zealand. Daniel studies conducting with Richard Gill. Dandini, the Prince’s servant Jonathan Bode Jon has performed as an actor and singer in theatre, musical theatre and opera in Australia and around the world. He studied at the Western Australian Academy of Performing Arts before working with the Melbourne Theatre Company, Playbox, State Theatre Company of South Australia and in touring musicals such as South Pacific, Me and My Girl and Assassins. Since Jon returned to Australia from living overseas in 2004 (where he also toured with European Chamber Opera, Columbia Artists and Opera in Concert Productions Worldwide) he has been employed as a soloist with Opera Australia and Victorian Opera.
Cast Biographies Cinderella Georgina Darvidis Georgina began her classical training when she moved to the Victorian College of the Arts Secondary School in 2007 to complete her VCE. She studied classical voice under some of Melbourne’s finest practitioners and was invited to perform in top class in 2008. Since then, her attention has been turned towards the more contemporary art of improvisation and composition. She sings in a number of different ensembles and recently performed in the 2010 Melbourne Jazz Festival and the 2011 Melbourne Arts Festival. She recently completed her Bachelor of Music at the Victorian College of the Arts in Vocal Improvisation. Philly Jack Feehan Jack’s performing career began in country Victoria as a competitive Latin and Ballroom dancer. A passion for theatre led him to Melbourne, where he was accepted into APO Arts Academy’s Music Theatre Program. At APO, Jack completed a Diploma in Dance Techniques, Certificate III in Performing Arts (Music Theatre) and Diploma of Arts (Music Theatre). Jack made his professional debut in Magnormos’ Sondheim Triptych in 2010 at the Melbourne Recital Centre; the following year he was asked to return as part of the Jerry Herman Triptych. Recently, Jack originated the role of Gene Clarke in the world premiere of
Flowerchildren – The Mamas and Papas Story.
Lilly Ashleigh Hauschild Ashleigh recently graduated from The APO Arts Academy, where she studied Musical Theatre. During her time at the Academy, she performed in Hello, Dolly! at the Melbourne Recital Centre, alongside Susan-Ann Walker and Robert Grubb, had various roles in Kander & Ebb’s And The World Goes Round, appeared in Rich & Happy (Graduation Showcase) and performed her cabaret The Sweetest Thing at The Butterfly Club. As well, Ashleigh sang at the Victorian Cancer Council’s Tuxedo Junction Raise the Roof concert at the Regent Theatre’s Plaza Ballroom. Prior to moving to Melbourne last year, Ashleigh appeared in various productions in Adelaide including Spring Awakening (Wendla) for Gin and Vodka Productions; Hansel and Gretel for The State Opera of South Australia; Elvis If I Can Dream (starring Mark Anthony); SHOUT! The Legend of the Wild One (The New Girl), and a range of corporate events. Ashleigh is thrilled to be making her debut with Victorian Opera, in Cinderella.
Cast Biographies Countess Magnifico, Cinderella’s stepmother Roxane Hislop Roxane Hislop graduated from the NSW Conservatorium of Music Opera School. She was awarded the Victorian Green Room Award for her performances as Maddalena Rigoletto and Olga Eugene Onegin. She has performed over 40 roles for Opera Australia including Carmen, Pericole, Rosina, Dalila, Guilietta, Siegrune (Die Walküre), Lola (Cavalleria Rusticana), Magdalene (Die Meistersinger von Nürnberg), Meg Page (Falstaff) and Maddalena (Rigoletto). Roxane’s 2012 engagements include Baba the Turk in The Rake’s Progress, Marcellina in The Marriage of Figaro, multiple roles in the new opera Midnight Son by Gordon Kerry and Morning Melodies concerts. Ticketty-Boo, a Fairy Godmother Suzanne Johnston Suzanne’s operatic career encompasses the prestigious European Festivals of Glyndebourne and Salzburg, as well as Australia’s major opera companies. Awards include the Sydney Opera Critics’ Award, MO Award, Churchill Fellowship and three Green Room Awards. Discography includes the ARIA award-winning Perfect Strangers with Judi Connelli and the Tasmanian Symphony Orchestra.Video/DVD recordings include Hansel and Gretel, Les Huguenots, La Cenerentola, The Gondoliers, Fledermaus and Pirates of Penzance. For Victorian Opera, Suzanne performed in Through the Looking Glass (2009) and as Mrs Herring in Albert Herring (2011). Lady Grissini, Cinderella’s other ugly stepsister Roger Lemke Roger is one of Australia’s leading singers, who has achieved the rare success of combining a successful career as an opera, concert and music theatre performer. In opera, he has appeared with all the major companies in Australia and New Zealand in leading baritone roles. On the concert platform he has performed at Carols by Candlelight in Sydney and Melbourne and is a regular freelance concert performer. Roger’s music theatre appearances include Cats (Old Deuteronomy) and Javert in the tenth anniversary Cameron Mackintosh production of Les Miserables. He appears in a variety of CD’s and videos available through ABC Classics and has appeared in The Wiggles Movie.
Cast Biographies Billy Mark Morabito Mark has been involved in community-based musicals (The Producers, FAME The Musical and Oklahoma!), state school spectaculars (Retrospect, Pacific School Games Opening & Closing Ceremony) and school musicals since he was 11 years old. In 2010, he graduated from the University of Ballarat gaining a Bachelor of Arts in Music Theatre. During his time at university, Mark had the opportunity to play roles such as Floyd Collins (Floyd Collins), The Life (Lacy), and Urinetown (Officer Barrel). In 2011, Mark was delighted to be involved in Magnormos’ Hello Dolly! and The Production Company’s Kismet both as an ensemble member. This is Mark’s first Victorian Opera show and he is very grateful for the opportunity. Milly Laura O’Sullivan New Zealand born, Laura has had a strong background in performing arts since she was a child. Over the years she has been a part of many musical productions with highlights being Rent with Amici Productions at the Civic Theatre (2010) as female cover, and later that year joined the same company with 42nd Street choreographed by Kelli Barclay (original Broadway revival Associate Choreographer) as Peggy Sawyer. Laura then moved to Melbourne in 2011 to study in Music Theatre at APO Arts Academy during which she featured in And The World Goes Round and Rich and Happy. Laura is delighted to be a part of this original production of Cinderella which will be her Australian professional debut. Count Magnifico, Cinderella’s father James Payne Canberra born James commenced his vocal studies at the Canberra School of Music with Jeanette Russell and Anthea Moller, and continued at the Sydney Conservatorium with Michael Halliwell. He is currently studying with Anna Connolly. For Victorian Opera, he appeared as Papageno in the education performances of The Magic Flute in 2011, and in Angelique in 2010. He also understudied major roles in Rembrandt’s Wife and The Bear. Younger Victorian audiences may recognise James from OzOpera’s Schools program, having performed in primary schools across the state in The Sound Garden, Sid the Serpent and Hansel and Gretel in recent years. As a member of theOpera Australia chorus (2000-2007), James sang in well over 1200 performances on the main stages in Sydney and Melbourne while understudying and performing numerous supporting roles. He has performed with The Australian Ballet, Australian Brandenburg Orchestra, IMG, and Melbourne City Opera among many others. Recent highlights include David Chisholm’s Kursk in the 2011 Melbourne Festival, and Morales in Melbourne Opera’s recent production of Carmen.
Cast Biographies Buttons James Pratt James is an alumnus of the Adelaide and Sydney Conservatoria, and has performed with Opera Australia, The State Opera of South Australia, Western Australian Opera, and now Victorian Opera. James played the role of Fabrizio Naccarelli in the Australian premiere of The Light in the Piazza, and Ecclittico in the Australian premiere of Haydn’s opera Il Mondo Della Luna. He is the 2011 recipient of the Brian Stacey Conductors Award, and a graduate of the Symphony Australia Conductor Development Program, having conducted the Melbourne Symphony Orchestra, Adelaide Symphony Orchestra and Orchestra Victoria. He has musically directed productions of Iolanthe, The Mikado, The Gondoliers, Trial by Jury, The Pirates of Penzance, The Sorcerer, Camelot, Oliver and Guys and Dolls. Professional performing credits include; The Phantom of the Opera, South Pacific, Glad Rags (SA Filmcorp), Israel in Egypt, Britten’s Serenade for Tenor, Horn and Strings, Les Mamelles de Tiresias (State Opera of South Australia Young Artist) Adelaide Cabaret Festival, Perth Festival, Adelaide Festival, Channel 9 Telethon and Adelaide Chamber Singers. Prince Ferdinand Flinders Janet Todd Janet Todd completed her Bachelor of Music at the Victorian College of the Arts. While studying, her performances included Galatea (Acis and Galatea), Belinda (Dido and Aeneas) and Tytania (A Midsummer Night’s Dream). Janet’s roles with Victorian Opera include Liesgen in Bach’s Coffee Cantata, Pamina in The Magic Flute, Gossip in Noye’s Fludde, and Gerda in The Snow Queen. Other performances have included Love and the Art of War with Ensemble E21 and Ludovico’s Band, soprano soloist in The Australian Ballet’s double bill Elegy, and Marsinah in Kismet with The Production Company. Janet has received numerous prizes and awards and is a Dame Nellie Melba Opera Trust Scholar. Lady Griselda, Cinderella’s ugly stepsister Julian Wilson In 2011, Julian made his principal debut with Victorian Opera in the role of Sid in Albert Herring. He is, however, no stranger to the company, having covered the roles of Guglielmo, Harlequin, and Leporello in previous years. Julian sang roles in Victorian Opera’s workshops, The Cockatoos and The Devil Builds a Chapel, as well as singing regularly in the chorus. As a developing artist with Opera Queensland (2005), Julian covered the roles of Benoit and Don Basilio in The Marriage of Figaro. He also sang the tenor principal in their touring show The Food of Love, showing a penchant for character repertoire. Upon returning to Victoria, Julian made the move from tenor to baritone under the guidance of Michael Lewis. Victorian born, he performs regularly around town, is a VCA graduate and in his spare time, works as a builder.
Colour-in Coach
Decorate the coach for Cinderella!
Designs - Lilly and Milly’s Costumes
Receive a certificate signed by the Cinderella cast! If you are 12 years or younger - answer these questions and send to: Victorian Opera, PO Box 524, Carlton South, Victoria, 3053 or email info@victorianopera.com.au. This offer closes February 15 2012!
1. How many characters were in today’s Pantomime? 2. Who played Cinderella? 3. Who played Prince Ferdinand Flinders? 4. What was the character name of the tall Ugly Sister? 5. What was the voice type of Cinderella? ( tenor, bass, soprano, mezzo-soprano) 6. How many instruments were in the orchestra? 7. Which was the highest instrument in the orchestra you heard today? 8. Which was the lowest instrument in the orchestra you heard today? 9. What is an aria? 10. What special thing did you notice about Ticketty-Boo’s aria?
Name of child: Age: Date of Birth:
"
Best mailing address for Certificate:
Musical Numbers 1
THE WILLIES QUARTET
The Willies
2
OVERTURE
Orchestra
3
CINDERELLA’S SONG
Cinderella
4
GRISELDA AND GIRSSINI
Griselda, Grissini
4a
DID SOMEONE CALL OUR NAMES?
The Willies
5
QUARTET
Count, Countess, Griselda, Grissini
6
FAIRY DUST DANCE*
Buttons, The Willies
*Music by Laurence Matheson
7
TICKETTY-BOO SONG
Ticketty-Boo, Buttons, The Willies, Audience
8
DANDINI’S SONG
Dandini
9
TRIO
Countess, Griselda, Grissini
10
TICKETTY-BOO ARIA WITH WILLIES
Ticketty-Boo, The Willies
10a
ABCDEFG
Orchestra/Audience
10b
SPELL MUSIC
Orchestra
10c
MELODRAMA
Orchestra
11
WALTZ
Orchestra
12
ROYAL WALTZ
Orchestra
13
BALLET
The fairest dancers in the entire realm
14
ROYAL POLKA
Orchestra
15
TICK AND BUTT TANGO
Ticketty-Boo, Buttons
15a
SEXTET
Ticketty-Boo, Buttons, The Willies
16
SONG
Count Magnifico
17
FANFARE
Orchestra
17a
DRUM SONG
The Willies
18
PRESENTATION OF THE SLIPPER**
Orchestra
**Music by Jordan Obarzanek
19
PRINCE’S SONG
Prince, Cinderella, Company
20
FINALE
Full Company
Ticketty-Boo Sing-a-long!
Explore Victorian Opera! Did your child love today’s performance of Cinderella? See below for a special performance of Rossini’s version of this fairy story designed for primary schools.
“To hear them all humming tunes from the opera on the way home in the bus was just precious! “– Teacher Our Education Program offers a range of participative activities for all ages, as well as a Professional Development Program for teachers and singers. Take advantage of our $25 ticket offer for school groups to attend performances throughout our 2012 Season!
Rossini’s La Cenerentola Venue: Arts Centre Melbourne, Playhouse Dates: Thursday 22 March 10:30am & 12:30pm Monday 25 March, 10:30am & 12:30pm Rossini’s version of the wonderful Cinderella story La Cenerentola will be performed in our specially designed production for primary schools. Teachers introduce your young people to opera in the theatre in under an hour, with a narrator to help guide them through their very first opera experience. Bookings to be made directly through Victorian Opera by downloading a Booking Form from our website www.victorianopera.com.au/explore. Tickets are only $12, teachers free! A Resource Pack is also available to help further prepare students.
Victorian Opera Outreach to Schools Victorian Opera can support your school in the delivery of the curriculum. As a professional opera company, we have a broad range of creative and performing artists working with us year round as well as a group of experienced workshop leaders in our Education Associates. We can work with teachers to tailor a workshop visit to your school to suit the class. For any queries please contact our Education Manager, Melissa Harris on (03) 9012 6652 or melissah@victorianopera.com.au.
Photo by Peter Darby. Children from Sale rehearsing the children’s opera, / Brundibar by Hans Krasa.
Explore Victorian Opera! Professional Development Program We offer a range of Professional Development opportunities for singers as well as teachers of singing, drama, music, theatre and dance. • Directing School Productions (suitable for teachers of any of the performing arts) • Vocal Pedagogy with Anna Connolly • Choral Directing in the Primary School
Ornamentation and Improvisation in the Classical period with Richard Gill and Ludovico’s Band Our production of Mozart’s The Marriage of Figaro will be performed by Ludovico’s Band on period classical instruments. We would like to invite interested students to come and work with Richard Gill and members of Ludovico’s Band on topics specific to the classical period. This unique two day program is suitable for tertiary students, advanced secondary students and observing teachers and musicians.
Explore the world of opera online Visit Victorian Opera’s website www.victorianopera.com.au/explore to view photos, watch videos and catch a glimspe of the behind-the-scenes footage of Victorian Opera productions. To find out more about the wonderful world of opera, visit the Victorian Opera YouTube channel. Watch Victorian Opera’s new four part series exploring the origins and nature of opera and short videos from the Education Program.
For any queries please contact our Education Manager, Melissa Harris on (03) 9012 6652 or melissah@victorianopera.com.au or visit our website www.victorianopera.com.au for Booking Forms and further information.
Victorian Opera - Your Opera Company
“This rising company consistently punches above its weight and age� The Herald Sun Led by Music Director Richard Gill, Victorian Opera has a distinct artistic program, champions the creation of new Australian opera whilst presenting less familiar repertoire to audiences in Melbourne and across regional Victoria. Victorian Opera is committed to presenting new opera each year and engaging the widest possible audience with accessible ticket pricing and regional touring. Victorian Opera is also committed to collaborating and co-producing with different partners (including Chunky Move as well as festivals and other opera companies) and also maintains a vibrant education program. The company nurtures Victorian Youth Opera, a strong youth development initiative, and presents popular community events such as Sing Your Own Opera. As Victoria’s state opera company Victorian Opera has a unique role; to present professional opera in Victoria; maintain a commissioning program for new Australian work; create more employment and professional development opportunities for Victorian opera artists; and provide access to touring productions for regional Victorians. Victorian Opera has also established and maintains the only professional chorus in Victoria.
Victorian Opera 2012 Season The Rake’s Progress 17, 19, 21, 23, 25 & 27 March Stravinsky’s great opera, The Rake’s Progress is a battle between good and evil. Sing Your Own Opera 31 March A journey though the history of music through song. The Play of Daniel 13, 14 & 15 April Victorian Youth Opera and Nefes Ensemble present a medival miracle play. Midnight Son 16, 17, 19, 20, 22 & 23 May Midnight Son is a modern-day operatic tragedy. The Marriage of Figaro 18, 20, 22, 24, 26, 28 & 30 July - 1 & 3 August Mozart’s beautiful opera, The Marriage of Figaro explores style and social position. Master Peter’s Puppet Show/What Next? 15, 16, 18, 19, 21 & 22 August Master Peter’s Puppet Show/What Next? questions ideas of identity and our being. Gala Concert 19 December A night to celebrate Victorian Opera and Richard Gill’s seven years as Founding Music Director. Discover Series A wonderful way to gain insight into Victorian Opera’s season and hear from guest artists sharing their experiences and concepts for their work with the company. For full ticket information, visit victorianopera.com.au. Single tickets from $30.
Subscribe & Save! 2012 is your chance to be amazed and inspired with Victorian Opera. Many Victorian Opera performances sell out – subscribing guarantees the best possible tickets and priority for renewals in future seasons. By subscribing, you will also access special prices for additional tickets outside the subscription package, Sing Your Own Opera and the Discover Opera series and free entry to selected Discover Opera events. Three Opera subscription packages from $90. For more information visit victorianopera.com.au
Victorian Opera Patrons Victorian Opera acknowledges with great appreciation the gifts and pledges it has received from the following donors: Founding Patrons Dame Elisabeth Murdoch AC DBE Lady Potter AC Victorian Youth Opera Patron Betty Amsden OAM Victorian Opera Education Syndicate Betty Amsden OAM Hans & Petra Henkell Peter Kingsbury Anonymous (1) Victorian Opera New Opera Syndicate Beth Brown & Tom Bruce AM William J Forrest AM Ken & Marian Scarlett Joy Selby Smith Living Bequest Susan Harley Diamond Patrons ($10,000+) Betty Amsden OAM Lorraine Copley Hans & Petra Henkell Dr Geraldine Lazarus & Mr Greig Gailey Peter & Anne Laver Dame Elisabeth Murdoch AC DBE Anonymous (1) Platinum Patrons ($5,000+) William J Forrest AM Mrs Jane Hemstritch Mary Ryan Dr John & Elizabeth Wright-Smith Gold Patrons ($2,500+) Mark & Ann Bryce Tim & Rachel Cecil Bruce Curl Marj & Edward Eshuys The Hon Gareth Evans & Mrs Merran Evans Dr & Mrs JA Frew Neilma Gantner David & Megan Laidlaw
Joan & George Lefroy Dr Anne Lierse Joy Selby Smith Betty Teltscher OAM C & H Trueman Anonymous (1) Silver Patrons ($1,000+) P.A. & B.J. Allen Joanna Baevski Kirsty Bennett Laurie Bebbington & Elizabeth O’Keeffe Sheila Bignell Dr Simon Bell & Dr Jennifer Coghlan-Bell Graham & Maren Buckett Beth Brown & Tom Bruce AM Christine & Terry Campbell Lynda Campbell Caroline & Robert Clemente Mary & Frederick Davidson Jean-Yves Didier Stephanie Dundas Rosemary Forbes & Ian Hocking Margaret Gardner & Glyn Davis Bob Garlick Robert Gibbs & Tony Wildman Brian Goddard Richard & Isabella Green Stuart & Sue Hamilton Nance Grant MBE & Ian Harris Penelope Hughes Simon L Jackson & Brian Warburton Stuart Jennings Kemp Family John & Lynne Landy Professor Kwong Lee Dow Barbara Loft Peter Lovell Professor John Lovering AO & Ms Kerry Lovering OAM Margaret Mayers & Marie Dowling Dr Ken Muirden AO Diana Mummé George & Jillian Pappas Ruth & Tom O’Dea
Dimity Reed Michael Rigg Dr Sam Ricketson & Dr Rosemary Ayton Hugh Rogers AM . Elzbieta & Tomasz Romanowski Aubrey G Schrader Phillip & Sue Schudmak John & Sue Sherman Tim & Lynne Sherwood Bernadette Slater Peter & Christine Smedley Darien Sticklen Felicity Teague Michael Troy Liz & Peter Turner Catherine Walter K & M Walton John & Gail Ward Earl & Countess of Wilton Tony Wildman & Robert Gibbs Noel R Whale Anonymous (7) Bronze Patrons ($500+) Dennis Altman AM Jeffrey & Debbie Browne Neil Burns David Byrne Pam Caldwell Dennis Freeman Jan Garner Dr Anthea Hyslop Anthony R Grigg & Paul D Williamson Bob & Pam Holden Hugh H Johnson & Loren Kings-Lynn Anne McLean North East Newspapers Pty Ltd Kenneth W. Park Joseph Sambrook & Mary-Jane Gething Delys Sargeant AM John & Thea Scott Don & Betty Sykes Leslie Thiess Ian Watts Robyn Walton Anonymous (4)
Victorian Opera 2012 Season Sponsors Victorian Opera is supported by the Victorian Government through Arts Victoria. Victorian Opera’s mainstage, youth opera, regional touring and education work is also sustained through partnerships with the corporate sector, trusts and foundations. The partners on this page have demonstrated their commitment to the strategic direction and growth of Victorian Opera and we are grateful for their ongoing support. Government Partner
Major Sponsor and Community Partner
Foundation Partner
Supporting Partners
Dr Michael Cohen (Deceased) for the Humanity Foundation Education and Regional Foundation Partners HV McKay Charitable Trust
William Angliss Charitable Fund
Performance Partners
If you would like to get more involved in the work of Victorian Opera through our patronage, business, trust or foundation partnerships, please contact Lynette Gillman, Development Manager on 03 9001 6408 or email lynetteg@victorianopera.com.au
Her Majesty’s Theatre Cinderella Crew Head Mechanist Mick Brown Head Lighting Randal Collins Flymen Rangi Nia, Jim Henry, Merlyn Brown Deputy Lighting/ Dome Operator Harry Cope Dome Tracey Baird Dresser Maree Mackenzie Wardrobe Maintenance Darren Noyes Radio Microphone Technician Chris O’Brien
Victorian Opera Board Graeme Willersdorf (Chairman), Francis Ebury, Ross Freeman, Greig Gailey, Anne Gilby, Jane Hemstritch, Barry Jones AO, Barry Sheehan, Catherine Walter AM
Executive
Technical
Music Director Richard Gill OAM Managing Director Lucy Shorrocks Finance Manager Ulrike Read Finance Assistant Claire Voumard Executive Assistant Sian Ellett
Operations Manager David Harrod Production Manager Khat Kerr Costume Coordinator Ross Hall
Marketing and Developement Media Relations Executive Miss Milou de Castellane Philanthropy Executive Erin Hewitson Development Executive Lynette Gillman Marketing & Communications Manager Elisha Wilson Marketing & Communications Coordinator Lisa Wallace Development & Marketing Assistant Erin Voth
Music/ Artistic Administration / Education Head of Music David McSkimming Education Manager Melissa Harris Company Manager Jill Quin Repetiteur Phillipa Safey Artistic Administrator Mark Wheeler
www.victorianopera.com.au Victorian Opera Horti Hall 31 Victoria Street, Melbourne VIC 3000 Phone +61 3 9001 6400 info@victorianopera.com.au
Victorian Opera 2012 Season Staff Stage Management Emma Beaurepaire, Melanie Stanton Technical Coordinator/ Head Technican Peter Darby Head Mechanist Jack Grant Costume Department Maruska Blyszcak, Tirion Rodwell, Madeleine Somers, Phillip Rhodes, Jung Min Oh, Jane Burt Sound Operator Peter Sforcina