Victorian Opera 2012 Season - The Rake's Progress Program

Your Opera Company

Igor Stravinsky

The Rake’s Progress 17 - 27 March

Music Director’s Message It is a great pleasure to welcome John Bell to Victorian Opera to direct our production of The Rake’s Progress. For some time we have tried to engage this great Australian director to work with us and now we are all enjoying his time with us.

Leon Krasenstein, designer of the costumes and set, makes his Victorian Opera debut. We welcome him together with Matt Scott, one of our regular lighting designers.

The Rake’s Progress is the first of our major works for 2012 and balances our production of The Marriage of Figaro to be presented in July. Stravinsky’s neo-classical opera is directly inspired by Classical conventions. Judith Armstrong’s excellent essay provides fresh insight into this work and places Rake’s in context.

Stravinsky was a major musical force. Love him or hate him, he’s here to stay. It is nearly seven years since Victorian Opera presented Mozart’s Cosi fan tutte, a work Stravinsky references in The Rake’s Progress. For me, these seven years have been some of the most wonderful years I have spent with music.

Working with directors, designers, singers, composers, orchestral musicians and the greatly dedicated staff at Victorian Opera under Lucy Shorrocks’ management, has been an experience for which I am eternally grateful. We have broken new ground and placed this company at the forefront.

Your support, your enthusiasm for our work and your commitment to staying with us is inspiring.

Thank you.

Richard Gill Music Director

Managing Director’s Message Welcome to 2012. I am delighted you can join us for the next chapter in Victorian Opera’s glorious story with these performances of Stravinsky’s The Rake’s Progress.

Stravinsky was an incredible intellect – but also iconoclastic in his view of the world.

For a composer to write `I haven’t understood a bar of music in my life, but I have felt it’ in a period when the prevailing view was focused on an academic reading of works, demonstrates how instinctive and honest he was.

I am delighted to lead a great team at Victorian Opera who understand music – but also have an instinct for helping it connect with as many people as possible. Richard Gill’s artistry, passion and generosity of knowledge and spirit underpin the way we work as an organisation and I know these values are now embedded in our organisational DNA. An example of this was our regional tour at the end of last year. Victorian Opera toured a range of performances, education and audience participation work (including youth opera) which connected with communities in a profound and direct way. Diverse audiences engaged with opera for the first time and could not wait to share their experiences with us.

One of the great joys of running Victorian Opera is the range of work we perform.

As an organisation we are nimble and fleet of foot – to move from regional touring to a full pantomime in Her Majesty’s and now Stravinsky’s The Rake’s Progress is challenging, invigorating and ensures there are actively engaged artists, staff and audiences.

I would like to take this opportunity to thank all our individual and corporate supporters who give very generously to support the work you see on stage tonight as well as the significant and extensive education work. They include John Holland, The Robert Salzer Foundation, City of Melbourne, RACV and opening night and presenting partner for The Rake’s Progress, Foxtel. In between the performances of The Rake’s Progress we have created hour long performances of Rossini’s La Cenerentola for primary school children performed by our Master of Music (Opera Performance) students. Last year, when we piloted the Education Program over 2,000 children and young people attended Victorian Opera’s mini Magic Flute.

Maybe this range of work for diverse audiences suggests the devil really does have the best tunes....

Thank you for your support – and I look forward to welcoming you to another performance soon Regards Lucy Shorrocks Managing Director

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The Rake’s Progress Composer Igor Stravinsky Librettist W.H. Auden & Chester Kallman An opera in three acts and an epilogue First performed in 1951, Venice Sung in English with surtitles Running time approximately 2 hours and 45 minutes including one interval Performed at the Arts Centre Melbourne, Playhouse 17 - 27 March 2012 Conductor Director Set & Costume Designer Lighting Designer Choreographer & Assistant Director Assistant Conductor/Rehearsal Pianist Stage Manager Assistant Stage Manager Technical Coordinator/Head Electrician Head Mechanist Costume Supervisor Props Buyer

Richard Gill John Bell Leon Krasenstein Matt Scott Steven Heathcote Philip Jameson Emma Beaurepaire Jessica Smithett Peter Darby Jack Grant Ross Hall Tia Clark

Repetiteur English Coach

Phillipa Safey Eilene Hannan

CAST Anne Trulove Tom Rakewell Trulove Nick Shadow Mother Goose Baba the Turk Sellem Keeper of the Madhouse

Tiffany Speight Benjamin Namdarian Jerzy Kozlowski Andrew Collis Jonathan Bode Roxane Hislop Jonathan Bode Oliver Mann

ORCHESTRA Orchestra Victoria Concert Master Roger Jonsson

CHORUS Margaret Arnold, Jonathon Bam, Paul Batey, Anna-Louise Cole, Frederica Cunningham, Angus Grant, Michael Lapina, Oliver Mann, Anna Margolis, Cheryl MacDonald, Marianne Pierce and Matthew Tng. These performances of The Rake’s Progress by Igor Stravinsky are given by permission of Hal Leonard Australia Pty Ltd, exclusive agents for Boosey and Hawkes Music Publishers Ltd of London.

Synopsis Act I

scene i Garden of Trulove’s house in the country. Afternoon in Spring.

The scene opens with a duet celebrating the idyllic love of Tom Rakewell and Anne Trulove. Anne’s father, Trulove offers Tom a position in a counting house. Tom’s refusal makes Trulove ‘uneasy’.

Somewhat offended at Trulove’s comment, Tom sings of the merits of Fortune. Nick Shadow appears and tells Tom of an inheritance. Tom calls in Anne and Trulove to hear the news. Nick insists that Tom leaves for London immediately. In the matter of wages, Nick insists the account will be settled in a year and a day and thus, “the progress of a rake begins”.

scene ii London, Mother Goose’s Brothel.

Nick brings Tom to the brothel of Mother Goose where ‘her children’ toast to Venus and Mars. Questions of nature, beauty, pleasure and love evoke in Tom a terror, which he quickly dismisses as wine, women and song take over. Mother Goose leads Tom away for a night of pleasure.

scene iii Trulove’s garden.

Anne hears nothing from Tom, yet devoted to her father asks for God’s guidance. She decides, in the name of love, to go to London.

Act II

scene i Room of Tom’s house in London. Morning.

Disillusioned by his life in London, Tom declares “I wish I were happy”. Immediately Nick enters with a broadsheet featuring Baba the Turk. Nick suggests Tom marries her. Tom, after little consideration agrees.

scene ii Street in front of Tom’s house, London. Autumn. Dusk.

Alone in London, Anne calls on her love of Tom for strength. Tom urges Anne to return home as he is now married to Baba. Anne leaves, Baba and Tom enter the house.

Mother Goose © Leon Krasenstein

Synopsis scene iii Tom’s room in London.

Tom and Baba are having breakfast and Baba speaks of her trinkets and treasures.

Baba questions Tom’s silence. Tom pushes Baba away, she bursts into tears and rage, seizing objects and smashing them as she rebukes him. Tom silences Baba and declares his ‘heart is cold’ and falls asleep. As he sleeps, Nick enters with a machine and a pantomime ensues where upon he appears to create bread from a stone. Tom wakes declaring “I wish it were true” and tells Nick of his dream about a machine that converts stone to bread. Nick shows Tom the machine and produces a loaf of bread. Tom believes this machine can end hunger and he can become worthy of Anne’s love. Nick suggests Tom tell his wife of his good fortune. Tom declares his has no wife.

Act III

scene i Tom’s room in London.

Baba is still seated motionless at the table and a crowd appears examining objects and commenting on Tom’s fate. Anne appears and asks of his whereabouts.

Auctioneer Sellem arrives and an auction begins. Bidding is frantic until the final lot, an unknown object. The crowd disperse and Baba urges Anne to save Tom and declares she will return to the stage.

scene ii A starless night. A churchyard.

A year and a day have passed and Nick asks for payment: not money, but his soul.

Nick offers Tom an opportunity to win his life in a game of chance. Evoking the memory of Anne and her love, Tom wins the game. As Nick Shadow dies, he renders Tom mad.

scene iii Bedlam.

Tom, now mad believes he is Adonis and sings of Venus. The inmates mock him.

Anne arrives and Tom believes her to be Venus. Anne addresses him as Adonis and Tom is happy to be proven right in front of the inmates. Trulove arrives to take Anne home. Tom awakes, calls to Venus and dies.

Epilogue – Baba, Tom, Nick, Anne and Trulove appear concluding “for idle hands and hearts and minds, the Devil finds a work to do”.

“For idle hands and hearts and minds the Devil finds a work to do.”

How did it come about that in 1947 a Russian composer, Igor Stravinsky, invited an English poet, W. H. Auden, to collaborate, in America, on an opera based on The Rake’s Progress - a series of eight canvases painted by one William Hogarth over two hundred years earlier in London?

Quite simply, really.

Stravinsky had moved to the United States in 1939, settling in Los Angeles; in the same year Auden had relocated from Britain to New York. A few years later Stravinsky viewed the Hogarth paintings on exhibition at the Chicago Art Institute, and saw in their debauched, gin-soaked subjects the answer to his longstanding ambition to compose an opera. But this meant he first had to find a librettist. His friend and neighbour, the writer Aldous Huxley, recommended his friend W.H., who’d already had a creative association with the British composer Benjamin Britten. Stravinsky sent out a feeler and was rewarded by an enthusiastic reply.

Auden came for a week to Los Angeles, during which the two attended a local production of Così fan tutte. Although the ‘orchestral’ accompaniment was performed on a couple of pianos, Stravinsky began to plan a ‘Mozartian’ kind of work, while Auden envisioned a more allegorical story than the satirical realism of Hogarth’s pictures.

The near-decade both men had lived in the US had been very happy for Stravinsky, who had finally been able to marry his long-time mistress, Vera Sudeikin (home movies of the time indicate domestic bliss encircled by a group of self-exiled British and European writer friends), but were more sombre for Auden, whose confidence was profoundly shaken by the outbreak of the World War 2. A lapsed Anglo-Catholic, he had started attending Episcopalian services, while at the same time working through his moral dilemmas in a long three-part poem entitled ‘New Year Letter’ (published in 1941), whose middle section is devoted to a meditation on the ways Satan harries us human beings through appeals to our pride, our self-delusion, and our propensity for half-truths. Auden was already famous for his assertion that ‘poetry makes nothing happen’, yet Stravinsky’s proposition was an opportunity to focus more deeply on the issues that were still troubling him. The Letter had suggested a strong belief in the moral role of art, whether poetic or operatic.

While the two men were sitting together after the Così performance in California, Auden voiced his opinion that the librettist should aim to satisfy the composer rather than the audience, but it would seem that Stravinsky was perfectly happy to allow Auden’s preoccupations to shape the story of his new composition. Auden returned to New York to start work, but in January wrote to say that his ‘old friend’ Chester Kallman would also be a collaborator. Fortunately Stravinsky accepted this suggestion just as happily, especially after meeting Kallman and finding him charming. The libretto was completed by the end of March 1948, but it took the best part of three years for Stravinsky to compose the music.

In the resulting work the Hogarthian tableaux are subsumed in three primary myths, all announced in the opening scene, an Eden-like garden. Within this setting, sweet Anne Trulove stands for the possibility of (Christian) redemption; but the mind of her would-be lover Tom is more on pagan hedonism, as he extols Venus, the goddess of erotic Love. A Faustian pact is subsequently made after Anne and her father have quit the stage and been replaced by Nick Shadow – whose name alone conjures up the Devil. Shadow, playing on Tom’s dislike of honest labour and his leaning towards easy money, promises him an inheritance. Tom will only have to repay his debt to Shadow in a year and a day, but to get his hands on the money he must go to London.

Although reluctant to leave Anne, he is soon on the other side of the gate, while Shadow gloats to the audience: ‘The progress of a Rake begins’. Hogarth’s theme thus takes up Auden’s argument that when people deny God, they inevitably serve Satan, the ‘Great Denier’, the ‘shadow’ who stands ‘just behind the shoulder’ claiming ‘it is wicked to grow older’. In London, Tom lands up in Mother Goose’s squalid brothel, where the classical rites of Venus and the innocent chants of nursery rhymes are equally degraded; soon he is reciting Nick’s catechism to hedonism. Meanwhile, the loving Anne intuits from her rural home that Tom needs her. She too leaves the Garden.

By the start of Act 2 Tom has tired of following ‘unnatural’ Nature, and expresses his second wish to be happy. Nick tells him that happiness can be attained by freeing oneself from passion, reason , duty and even pleasure by performing an ‘acte gratuit’, an act unencumbered by moral considerations or consequences. First promoted by the French writer André Gide, the ‘acte gratuit’ was later taken up by the Existentialists, Jean-Paul Sartre explaining publicly in October 1945 that, since God patently does not exist, man is responsible for his own destiny. Nick parodies both the ‘acte gratuit’, and Tom’s view of himself as an Adonis, in the absurdist proposition that the young man should marry the Bearded Lady, Baba. Anne, arriving in London in the hope of bringing Tom back to wholesome country life, finds herself betrayed, and retreats. But the acte gratuit proves no basis for a long-term relationship.

Tom moves on to his third wish, an inane form of do-goodery - turning stones into bread via a machine Anne Trulove © Leon Krasenstein provided by Nick Shadow. This, Tom believes, will re-establish his lost Eden and regain Anne’s trust. It will also make money for Tom, because greedy men will invest in it. Auden said in a letter to Stravinsky that in this scene, Tom wants to become God.

When Act 3 opens, those taken in by Tom’s swindle have exposed him, and all his goods are being sold off. Even Baba wants to leave him. But it is also time for Shadow to reveal his identity as the devil, appropriately enough in a graveyard, and to claim his wages - Tom’s soul. Yet instant gain is dull sport. Shadow says he will let Tom off if, in a game of chance, Tom can name the three cards Shadow has selected. After Tom correctly names the Queen of Hearts and the two of Spades, Nick is confident of tricking him by secretly choosing, once again, the Queen of Hearts. But, hearing Anne sing off–stage her arioso from Act II, Tom abandons Luck (Chance) in favour of Anne and (Christian) Love; he names the Queen of Hearts for the second time. Tricked of his prize, Nick returns to Hell, but in revenge sends Tom insane. The final scene is set in Bedlam, where neither Love nor Hope exist. When Anne visits him, Tom is convinced that he is Adonis and Anne Venus; he begs forgiveness from the ‘goddess’. Anne plays along, singing him to sleep with a lullaby, but Trulove arrives to lead her home. After they are gone, Tom wakes up, finds his Venus gone, and dies.

The curtain finally drops on this opera-cum-morality play after an epilogue in which various characters point a moral derived from their own perceptions. With hands joined they sing ‘for idle hands and heartsand minds the Devil finds a work to do.’

It is important neither to ignore nor to take too literally the opera’s Audenesque context. In other writings the poet says that when he refers to Satan as the Prince of ‘this World’, he means us, the crowd. As a Christian he was anxious to find and suggest ways in which the ordinary person can attune his will to that of God – or in simpler words, try to be good; his interpretation of the devilis best read as a metaphor for the temptation to venality, laziness and self-interest that besets most mortals. Auden’s Satan, though still a danger to mankind, is a diminished form of the Prince of Darkness – no more, really, than God’s ‘errand-boy’. Even when he is trying to lure man away from the things of God, he forces us to pause, think, and search out the truth. In the ‘New Year Letter’ the poet tells Satan ‘Retro (get thee behind me) but do not go away’. This view ofthe devil as a necessary evil, a goad, is not new. In Goethe’s Faust, Mephistopheles, asked to declare his identity, paradoxically answers: ‘That power I serve/Which wills forever evil/But does forever good.’ The same enigmatic lines also form the epigraph to Mikhail Bulgakov’s great, humorous novel The Master and Margarita.

Tom Rakewell © Leon Krasenstein All of these works - Hogarth’s drawings, Goethe’s Faust, Bulgakov’s novel, and Stravinsky’s Rake’s Progress - should be seen as admonitions, but in showing us what not to do, they also imply that faith, hope and love are keys to the happiness that Tom was too feckless to strive for.

Professor Judith Armstrong

© 2012

Richard Gill Conductor Background: 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 also 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. He has received numerous accolades, including an Order of Australia Medal, the Bernard Heinze Award, an Honorary Doctorate from the Edith Cowan University of WA, Hon. Doc. (ACU), the Australian Music Centre’s award for Most Distinguished Contribution to the Presentation of Australian Composition by an individual, and the Australia Council’s prestigious Don Banks Award.

Victorian Opera Repertoire: Opera: Cinderella a pantomime, The Magic Flute, How to Kill

Your Husband, The Bear/Angelique, Threepenny Opera, Julius Caesar, Don Giovanni, Carmina Burana, Ariadne auf Naxos, The Parrot Factory, The Cockatoos, the world premiere of Rembrandt’s Wife, Noyes Fludde, The Snow Queen, Cosi fan tutte, Metamorphosis.

Concert: Damnation of Faust, Duke Bluebeard’s Castle, Viva Verdi Gala concerts, Mozart’s Requiem, St John Passion, Les Noces/Oedipus Rex and Sing Your Own Opera.

Other Companies: All the major Australian opera companies, orchestras as well as Sydney Philharmonia, Canberra Symphony Orchestra and the Australian, Sydney, and Western Australian Youth Orchestras.

Recordings: Discovery with Sydney Symphony (ABC Classics, 2007).

John Bell AO OBE Director Background: John Bell is Artistic Director of Bell Shakespeare and one of Australia’s most acclaimed theatre personalities. After graduating from Sydney University in 1962 John worked for the Old Tote Theatre Company, all of Australia’s state theatre companies and was an Associate Artist of the Royal Shakespeare Company in the United Kingdom. As co-founder of Sydney’s Nimrod Theatre Company, John presented many productions of landmark Australian plays.

John Bell has an Honorary Doctorate of Letters from the Universities of Sydney, New South Wales and Newcastle. In 1997 he was named by the National Trust of Australia as one of Australia’s Living Treasures. In 2003 the Australia Business Arts Foundation awarded John the Dame Elisabeth Murdoch Cultural Leadership Award. John also holds a Helpmann Award for Best Actor (Richard 3, 2002), a Producers and Directors Guild Award for Lifetime Achievement, the JC Williamson Award (2009) for extraordinary contribution to Australia’s live entertainment industry and the 2010 Sydney Theatre Award for Lifetime Achievement.

Other Companies: In 1990 John founded The Bell Shakespeare Company where his productions have included Much Ado About Nothing, Hamlet, Romeo And Juliet, The

Taming Of The Shrew, Richard 3, Pericles, Henry 4, Henry 5, Julius Caesar, Antony And Cleopatra, The Comedy Of Errors and Macbeth as well as Goldoni’s The Servant Of Two Masters, Gogol’s The Government Inspector and Ben Jonson’s The Alchemist. His Shakespeare roles include Hamlet, Shylock, Henry V, Richard III, Macbeth, Malvolio, Berowne, Petruchio, Leontes, Coriolanus, Prospero, King Lear and Titus Andronicus. He played the title Queensland Theatre Company’s Richard 3, Heiner Müller’s Anatomy Titus Fall Of Rome: A Shakespeare Commentary and performed the role of Mephistopheles in the most recent co-production, Faustus. John has also directed a production of Madame Butterfly for Oz Opera and performed as the Professor in Sydney Theatre Company’s Uncle Vanya, presented in association with Bell Shakespeare.

Leon Krasenstein Set & Costume Designer Background: Born in Perth, Leon is a Design Graduate from the Western Australian Academy of Performing Arts.

Other Companies: Credits incude Rhapsody, NICA, Graeme Murphy’s production of Firebird for the Australian Ballet (nominated for a 2009 Green Room Award), Opera Queensland’s production of Die Fledermaus (2005) and The Marriage of Figaro The Australian Opera Studio (2004); Chrissie Parrott’s A Midsummer Night’s Dream (nominated for a 2006 Helpmann Award for Best Costume Design), Simon Dow’s productions of Dangerous Liaisons, The Red Shoes and Alice (set and costume design) for the West Australian Ballet; Opera Australia’s The Barber of Seville (2005) with director John Milson and Tears From a Glass Eye for Black Swan Youth Theatre Company. In 2010, Leon designed sets and costumes for TasDance’s production of Heart Matters and for Perth Theatre Company’s The Removalists. Most recently Leon has been doing numerous TVC’s for Jungleboys, he was Costume Designer on Sick a TV pilot for MTV, and Set and Costume Designer on Drag Queensland (Queensland Music Festival).

Matt Scott Lighting Designer Background: Born in Australia, Matt has worked as a lighting designer for almost all of Australia’s leading performing arts companies for the past 17 years. Awards include a 2005 Helpmann Award for his lighting on Urinetown, which followed his 2003 Helpmann Award for The Blue Room.

Victorian Opera Repertoire: Baroque Triple Bill, The Turn of the Screw, Xerxes, Orphée et Eurydice .

Other Companies: Opera credits include- La Sonnambula, La bohème (Opera Australia); Cinderella, Così fan tutte (Opera Queensland). Theatre credits include The Seed, Tribes,

The Importance of Being Earnest, Clybourne Park, , Ther Joy of Text, Next To Normal, A Behanding in Spokane, Life Without Me, All About My Mother, The Ugly One,The Drowsy Chaperone, God of Carnage, August: Osage County, Blackbird, Who’s Afraid of Virginia Woolf?, The Pillowman, Festen, Urinetown, The Blue Room (Melbourne Theatre Company); Betrayal, Titus-Anatomy,(Queensland Theatre Company); The Grenade, Rock and Roll, Doubt, Blithe Spirit, The Glass Menagerie (Sydney Theatre Company); Much Ado About Nothing, The Alchemist, As You Like it, Macbeth (Bell Shakespeare); Paul, The Sapphires (Company B Belvoir); Rising Water, The Year of Magical Thinking (Black Swan); Dance credits includes Where the Heart Is (Expressions Dance Company); Sync, Orhpheus, Cloudland, Petrushka (Queensland Ballet).

Steven Heathcote Choreographer and Assistant Director Background: Born in Wagin, Western Australia, began ballet lessons at age 10. Accepted into Australian Ballet School at age 16 and offered corps de ballet contract with Australian Ballet in 1983. Promoted to Principal Artist in 1987 and danced all major roles in repertoire until retiring in 2007. Received A.M. for services to dance in 1991.Three Helpmann Awards, two MO Awards and two Green Room Awards.

Victorian Opera Repertoire: In 2012 conceived and directed Julius Caesar.

Other companies: Guest Artist with major International companies performing at the Metropolitan Opera House New York, Royal Opera House Covent Garden, Mariinski Theatre St Petersburg.  In 2007, he played Bobby Cordner in Mao’s Last Dancer, directed

by Bruce Beresford.

Assistant Conductor/Rehearsal Pianist Philip Jameson Background: Born in London, Philip attended Sydney Grammar school from 1998 to 2011 on a music scholarship, where he studied piano with Ransford Elsley and Dave Levy. During this time, he also studied composition with Richard Gill. While Philip began his musical studies as a jazz pianist and played with acclaimed musicians, Wycliffe Gordon and James Morrison, he is now most interested in playing and conducting classical repertoire, especially from the 20th Century. As a composer, Philip has a strong relationship with the Sydney Symphony Orchestra, and his work has been commissioned and performed by such American organisations as The Worcester Chorus, The Hotchkiss School and the Manhattan-based Dessoff Choirs. In the future, Philip will continue to compose, conduct and perform at Yale University, where he starts in August 2012.

Other companies: Philip has provided a wide range of compositions for Australian and international companies, including Tango (2011) for The Worcester Chorus (USA), Sonata for Byron (2010) and Night Journey (2009) for The Hotchkiss School (USA) and The Wind in the Hemlock (2010), Hysteria (2009) and Pebbles and Stuff (2008) for the Sydney Symphony Orchestra.

Jonathan Bode Mother Goose and Sellem Background: Jonathan 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 (Bachelor of Musical Theatre) 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 Jonathan 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 Victorian Opera and Opera Australia. Jonathan was the winner of the Male Welsh Voice choir competition.

Victorian Opera Repertoire: Monostatos, Die Zauberflöte; Dandini, Cinderella.

Other Companies: Opera: Lindoro, The Italian Girl in Algiers, Remendado, Carmen, Goro, Madame Butterfly, (Melbourne Opera); Tamino, The Magic Flute, Sid, Sid the Serpent, Prince, Cinderella, Almaviva, The Barber of Seville, (OzOpera); Goro, Madame Butterfly, (Columbia Artists); Ferrando, Cosi fan tutti, Ernesto, Don Pasquale, (European Chamber Opera); Albert Herring, Albert Herring, (Opera Live) and Benoir, La bohème, (Opera and Concert Productions World Wide). Musicals: Professor, South Pacific, (Gordon/ Frost); Lelio, Venetian Twins, (State Theatre Company of South Australia); Zangara, Assassins, (Melbourne Theatre Company).

Recordings: Otter, The Wind in the Willows, (The Australian Shakespeare Company).

Andrew Collis Nick Shadow Background: Australian born Andrew Collis became a member of Cologne Opera in 1993, singing more than eighty roles which included music from the baroque era to the twenty-first century. Andrew returned regularly to Cologne as a guest artist and has performed throughout Germany, as well as at The Hong Kong Festival, New Zealand International Festival, The Lyric Opera of Singapore, San Diego Opera and the Vienna Festival.

Victorian Opera Repertoire: Speaker: The Magic Flute, Luka: The Bear, Duke Bluebeard: Bluebeard’s Castle, Leporello: Don Giovanni.

Other Companies: Ashby: La Fanciulla del West, Angelotti: Tosca, Dr Dulcamara: L’Elisir D’amore, title roles in Don Pasquale and Le Nozze di Figaro, Monterone: Rigoletto (Opera Queensland), Dr. Grenvil: La Traviata (OQ and Brisbane Festival), Swallow: Peter Grimes, Sarastro: Die Zauberflöte (West Australian Opera), Count Rodolfo: La Sonnambula (WAO and State Opera of SA), Friar Lawrence: Roméo et Juliette (WAO, Opera Australia and OQ), Mr Flint: Billy Budd (OA, Cologne Opera), Crespel, Luther and Spalanzani: The Tales of Hoffmann, Fasolt: Das Rheingold (SOSA and Melba Recordings), Colline: La bohème, Hobson: Peter Grimes (San Diego Opera), Messiah (Sydney Philharmonia) and soloist in Beethoven Symphony no. 9 (Tasmanian Symphony Orchestra).

Recordings: Zemlinsky's Der Zwerg (EMI Classics, 2002).

Roxane Hislop Baba the Turk Background: Born, Australia. Green Room Awards for Maddalena: Rigoletto and Olga: Eugene Onegin.

Victorian Opera Repertoire: Jocasta: Oedipus Rex, Amastre: Xerxes, Dryad: Ariadne auf Naxos, Geertje Dircx: Rembrandt’s Wife, Third Lady: Magic Flute, Stepmother: Cinderella.

Other Companies: Title roles in Carmen and Pericole, Rosina: Il barbiere di Siviglia, Dalila: Samson et Dalila, Meg: Falstaff, Varvara: Katya Kabanova, Giulietta: Tales of Hoffmann, Magdalene: Die Meistersinger, Siegrune: Die Walküre, Cherubino: Marriage of Figaro, Siebel: Faust, Nancy: Albert Herring, Tisbe: La Cenerentola, Tessa: Gondoliers, Stasi: Gypsy Princess, Second Lady: Magic Flute, Lola: Cavalleria rusticana, Emilia: Otello, Mistress Bentson: Lakmé, NYE Galas, Nicoletta: Love for Three Oranges, Gertrude: Hansel and Gretel, Maddalena/Giovanna: Rigoletto, Gertrude: Roméo et Juliette, Hippolyta: Midsummer Night’s Dream. Oz Opera – Medoro: Orlando, Grace: Love in the Age of Therapy - Melbourne: Sydney Festivals (Opera Australia); Cornelia: Giulio Cesare, Maddalena, Marcellina (OQ); Carmen (WAO, Melbourne City Opera); Flowermaiden, Squire, Voice: Parsifal, Gertrude (SOSA); Suzuki: Madama Butterfly, Maddalena (Melbourne Opera); Concert repertoire includes: Emilia: Otello, la tasse, la chatte, la bergère and l’écureuil: Ravel’s L’Enfant et les Sortileges (Melbourne Symphony Orchestra); Beethoven Symphony No. 9 (WASO, MSO), Elijah, Messiah, The Dream of Gerontius (Royal Melbourne Philharmonic).

Recordings: The Gypsy Princess, Patience (Opera Australia).

Jerzy Kozlowski Trulove Background: Born in Salisbury, UK, Jerzy studied singing with Harold Child while at the Brighton College of Advanced Education and gained further choral experience in London, singing with numerous ensembles including the Academy of St Martin in the Fields Chorus, the Collegium Musicum of London and the Saltarello Choir. This led to many commercial recordings of choral music with conductors such as Sir Neville Marriner, Leonard Bernstein, Antal Dorati and Rudolf Kempe. He gained his Licentiate in Singing (L.Mus.A) in Melbourne in 1996.

Victorian Opera Repertoire: Christus: St John Passion, Bass soloist: Les Noces.

Other Companies: Mayor: Jenufa, 2nd Armed Man: Die Zauberflöte, Bob Becket: HMS Pinafore, Naval Captain: Manon Lescaut, Officer: The Barber of Seville,3rd Henchman: Batavia (Opera Australia), Dr Bartolo: Barber of Seville, Dottore/Marquis: La traviata (Oz Opera), Sparafucile: Rigoletto, Valton: I Puritani, Basilio: The Barber of Seville, Don Alfonso: Cosi fan tutte, Bonze: Madama Butterfly, Kromov: The Merry Widow (Melbourne Opera), Commendatore: Don Giovanni, Rocco: Fidelio, Leone: Attila (Melbourne City Opera), Doctor P: The Man Who Mistook His Wife For A Hat, Grandpa Moss: The Tender Land (Operalive). Recitals include performances of The Suite of Verses by Michelangelo and Four Verses of Captain Lebyadkin (Shostakovich) and world premiere performances of song cycles written especially for him - Lawrence Whiffin Time Steals Softer and Michael Bertram Underground Songs.

Recordings/Videos: HMS Pinafore (OA), Akathistos Fragments (ABC Classics).

Oliver Mann Keeper of the Madhouse Background: Oliver Mann is a bass-baritone from Melbourne. He completed a Bachelor of Music (Voice) from Monash University in 2003, where he won the Horace Keats Memorial Prize for vocal excellence.

Victorian Opera Repertoire: His recent roles include Pan in The Fight between Phoebus and Pan and the Second Priest and the Second Armed Man in The Magic Flute.

Other Companies: Since making his professional debut singing Agamemnon in La Belle Hélène for the Lyric Opera of Melbourne in 2009, Oliver has performed regularly with both Opera Australia and Victorian Opera Chorus. He will cover the role of Kromow in Opera Australia’s 2012 production of The Merry Widow.

Recordings: In addition to his operatic achievements, Oliver is also an accomplished singer and song-writer. Melding his classically-trained baritone voice with an acoustic guitar, he has written and recorded two celebrated albums of original solo material, Oliver Mann Sings (2005) and The Possum Wakes at Night (2008).

Benjamin Namdarian Tom Rakewell Background: Born in Melbourne, Ben shares twin passions for music and medicine. Currently a student of Anna Connelly and previously Dermot Tutty, he has also attained his A.Mus.A in violin. Ben completed a medical degree at the University of Melbourne, where he also attended Trinity College as the inaugural NHM Forsyth Choral Scholar with the Choir of Trinity College. He has toured internationally to the UK, USA and Asia with the choir. Ben is completing his surgical training in urology.

Victorian Opera Repertoire: Ben debuted with Victorian Opera in 2010 in the role of The Italian in Angélique for which he was nominated for a Green Room Award. Rory: How to Kill Your Husband. Covered Flinck, Torquinius, Auctioneer and Councillor: Rembrandt’s Wife, and Scaramuccio: Ariadne auf Naxos.

Other Companies: Moth: A Midsummer Night’s Dream (Opera Australia, 1994); 3rd Boy: The Magic Flute (Victorian State Opera, 1993); Malice and Mr By-Ends: Pilgrim’s Progress (Camberwell Chorale).

Recordings: Hélène/Nuit Persane (Melba); Greatest Choral Music of All Time (ABC Classics); The Best Ever Choral Music Collection (ABC Classics); O Blessed Light (ABC Classics); Rejoice (ABC Classics).

Tiffany Speight Anne Trulove Background: Born, Australia. Graduate of Victorian College of the Arts.

Vienna State Opera Award.

Victorian Opera Repertoire: Title role: L‘incoronazione di Poppea (Helpmann Award), Cleopatra: Giulio Cesare, Romilda: Xerxes, Despina: Così fan tutte, Donna Elvira: Don Giovanni.

Other Companies: European debut: Rigoletto (Vienna Staatsoper); Arminda: Rinaldo (Rheingau Music Festival, Germany); Despina: Così fan tutte, Pamina/Papagena: The Magic Flute, Susanna/Cherubino/Barbarina: Le nozze di Figaro, Johanna: Sweeney Todd, Valencienne: The Merry Widow (Green Room Award), Phyllis: Iolanthe, Yum-Yum : The Mikado, Micaëla/Frasquita: Carmen, Josephine: H.M.S. Pinafore (on DVD and ABC television), Ellen: Lakmé, Gretel: Hansel and Gretel, Zerlina: Don Giovanni (Opera Australia); Mimì: La bohème, Angelica: Orlando (Oz Opera); Johanna: Sweeney Todd, Susanna: Le nozze di Figaro (Opera Queensland); Pamina: The Magic Flute, Musetta: La bohème (NBR NZ Opera); Opera Under the Stars (Broome); Prime Minister’s Olympic Dinner; gala farewell with Seoul Symphony Orchestra; Sidney Myer Music Bowl and Gershwin Concerts (MSO); Who Killed Mario Lanza? (Riverside Theatres, Parramatta); concerts with the Adelaide Symphony Orchestra, Orchestra Victoria, Royal Melbourne Philharmonic and Australian Pops Orchestra.

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 Buckett Family 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 Joy Selby Smith 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 Richard Green David & Megan Laidlaw Joan & George Lefroy Dr Anne Lierse 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 Buckett Family Beth Brown & Tom Bruce AM Jasmin Brunner Christine & Terry Campbell Lynda Campbell Caroline & Robert Clemente Mary & Frederick Davidson Elizabeth Douglas 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

Victorian Opera Patrons Victorian Opera acknowledges with great appreciation the gifts and pledges it has received from the following donors: Silver Patrons ($1,000+) 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 Dr Sam Ricketson & Dr Rosemary Ayton Hugh Rogers AM Elzieta & Tomasz Romanowski Aubrey G Schrader Phillip & Sue Schudmak John & Sue Sherman Tim & Lynne Sherwood Bernadette Slater Peter & Christine Smedley Darien Sticklen Felicity Teague Leslie Thiess Michael Troy Liz & Peter Turner Catherine Walter K & M Walton John & Gail Ward Earl & Countess of Wilton Anonymous (6)

Bronze Patrons ($500+) Dennis Altman AM Jeffrey & Debbie Browne Neil Burns David Byrne Pam Caldwell Melissa Conley-Tyler Dennis Freeman Hugh H Johnson & Loren Kings-Lynn April Hamer Hartley Higgins Mary Hoy Sue Humphries Dr Anthea Hyslop Anthony R Grigg & Paul D Williamson Angela Kayser Anne McLean Diana Mummè North East Newspapers Pty Ltd Kenneth W. Park Provincial Press Group John Rickard Joseph Sambrook & Mary-Jane Gething Delys Sargeant AM John & Thea Scott Gregory Shalit Mr Sam & Mrs Minnie Smorgon Don & Betty Sykes Hugh & Elizabeth Taylor Ian Watts Robyn Walton Caroline & George Vaillant Anonymous (4)

If you would like to get more involved in the work of Victorian Opera through our individual giving program, please contact Kimlarn Frecker, Individual Giving Manager on 03 9001 6405 or kimlarnf@victorianopera.com.au

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 which 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 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 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 Partners

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 business, trust or foundation partnerships, please contact Lynette Gillman, Development Manager on 03 9001 6408 or email lynetteg@victorianopera.com.au

CONCERTMASTER: Roger Jonsson First Violins: Yi Wang, Ceridwen Jones, Rachel Gamer, John Noble, Susan Pierotti Second Violins: Matthew Hassall, Binny Baik, Severin Donnenberg, Elizabeth Ambrose, Rachael Hunt, Christine Ruiter Violins: Jason Bunn, Nadine Delbridge, Catherine Bishop Celli: Melissa Chomisky, Andrea Taylor, Sarah Cuming Bassi: Thomas Kaufman, Matthew Thorne

Flutes: Lisa-Maree Amos, Michael Smith Oboes: Joshua de Graaf, Geoffrey Dodd Cor Anglais: Geoffrey Dodd Clarinets: Paul Champion, Andrew Mitchell Bassons: Glenn Prohasky, Hugh Ponnuthurai Horns: Anton Schroeder, Heather McMahon Trumpets: Anthony Pope, Louisa Trewartha Timpani: Guy du Blet

ORCHESTRA VICTORIA BOARD Chair: Hon. Mary Delahunty Paul Champion, Richard Hamer, Jane Gilmour OAM, Tony Osmond, Rob Perry, Lady Marigold Southey AC ORCHESTRA VICTORIA MANAGEMENT Managing Director Rob Robertson Deputy Managing Director Franca Smarrelli Marketing Coordinator Justin King Education Development Manager Joel Murray Director of Operations Heikki Mohell Corporate Services Manager Philip Bird Finance Officer Rose Dragovic Finance Assistant Jason Nguyen

Music Librarian Rob Smithies Orchestra Manager Mel Wilson Personal Assistant to the Managing Director Katie Tymms Production Manager Paul Doyle Production Coordinator James Foster Production Coordinator Ryan Barwood

EXECUTIVE GROUP Ms Judith Isherwood Chief Executive

FOR YOUR INFORMATION • The management reserves the right to add, withdraw or substitute artists and to vary the programme as necessary.

• The Trust reserves the right of refusing admission.

• Cameras, tape recorders, paging machines, video recorders and mobile telephones must not be operated in the venue.

• In the interests of public health, Arts Centre Melbourne is a smoke-free area.

Arts Centre Melbourne PO Box 7585 St Kilda Road Melbourne Vic 8004 Telephone: (03) 9281 8000 Facsimile: (03) 9281 8282 Website: artscentremelbourne.com.au Victorian Arts Centre Trust Ms Janet Whiting (President) Ms Deborah Beale Ms Terry Bracks Mr Paul Brasher Mr Julian Clarke Ms Catherine McClements Mr Graham Smorgon Prof Leon van Schaik AO Mr David Vigo

Mr Andy Avery Interim Executive, Visitor & Commercial Businesses Mr Tim Brinkman Performing Arts Mr Michael Burns Facilities & Asset Management Ms Pippa Croucamp Corporate Services (CFO) Ms Melindy Green Marketing Arts Centre Melbourne gratefully acknowledges the support of its donors through Arts Centre Melbourne Foundation Annual Giving Appeal.

Orchestra Victoria Supporters Major Gifts

Orchestra Victoria acknowledges the outstanding generosity of our very special donors.

Mr Robert Albert AO, RFD, RD & Mrs Libby Albert Miss Betty Amsden OAM Annamila Pty Ltd Evelyn & Tom Danos Mrs Neilma Gantner Gaye & John Gaylard Geoff Handbury AO Mr Richard Hamer Handbury Family Foundation Dr Peter A Kingsbury, Gippsland Dental Group Mr David Mandie AM, OBE Don & Angela Mercer Dame Elisabeth Murdoch AC, DBE Lady Southey AC Principal Donors

The ongoing work of Orchestra Victoria throughout Victoria is only possible with donations.

Every gift is important and appreciated.

Davis & Cindy Abbey Alan & Sally Beckett Peter & Ivanka Canet Sandy Clark Grace Croft Hon. Mary Delahunty Jane Edmanson OAM Ian Hocking & Rosemary Forbes Isabella Green OAM & Richard Green Jean Hadges Henkell Brothers Australia Pty Ltd Darvell M Hutchinson AM Dr Alastair Jackson Russell & Jenni Jenkins Maple-Brown Abbott Investment Managers Yvonne & Phillip Marshall David McAlpine Heather McKenzie Michelle & Ian Moore John & Lorraine Redman Michael Robinson AO & Judith Robinson Ross & Daphne Turnbull Drs Victor & Karen Wayne Erna Werner & Neil Werner OAM

Principal Regional Partner Bendigo Bank

Bendigo Bank’s strong community and regional focus has great synergies with Orchestra Victoria’s work across Victoria.

Trust & Foundation Support

Orchestra Victoria’s activities throughout the State are made possible with the generous support from the following Trusts and Foundations.

The Angior Family Foundation William Angliss (Victoria) Charitable Fund Collier Charitable Fund Harold Mitchell Foundation Helen Macpherson Smith Trust John T Reid Charitable Trusts Sidney Myer Fund Lord Mayor’s Charitable Foundation (Eldon & Anne Foote Trust) Perpetual Ltd Margaret Stewardson Charitable Trust Tattersall’s George Adams Foundation Corporate Partnerships

Partnerships with the business community through sponsorship ensure that Orchestra Victoria can continue to deliver high quality accessible music across Victoria.

Iluka Resources Limited Ace Radio Allens Arthur Robinson Kent Moving & Storage Chandler Direct Personalised Communication Universal Music HR Legal Government Partners

The support received from the Australian Government, through the Australia Council for the Arts, and from the VictorianGovernment, through Arts Victoriaprovides the foundation from whichwe present all our activities,particularly our work with ourpartner opera and balletcompanies. Further support from Arts Victoria and local Governments across Victoria support our innovative Community and Education Programs.

City of Greater Bendigo Shire of Campaspe Colac Otway Shire Council City of Melbourne City of Greater Shepparton East Gippsland Shire Council Echuca Moama Tourism Latrobe City Council Mildura Rural City Council Southern Grampians Shire Council Wyndham City Council Performance Partners

Orchestra Victoria is the proud orchestral performance partner of Australia’s premier performing arts companies.

The Australian Ballet Melba Recordings Opera Australia The Production Company Victorian Opera Principal Presenting Partners Orchestra Victoria enjoys working with companies and venues throughout Victoria to make music accessible.

3MBS 103.5 FM the Arts Centre City of Melbourne Melbourne Recital Centre NGV International Bequests

Leaving a legacy to Orchestra Victoria supports the Orchestra’s ongoing cultural contribution to Victorians.

Miss Betty Amsden OAM Alan Egan Rosemary Forbes Ian Hocking The late G.B. Hutchings The late James Minson Graeme Studd Michael Walker For more information about how you can support Orchestra Victoria please contact 03 9694 3600 info@orchestravictoria.com.au

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 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 Supervisor Ross Hall

Music/ Artistic Administration / Education Head of Music David McSkimming Education Manager Melissa Harris Artistic Administrator Elizabeth Hill Company Manager Jill Quin Repetiteur Phillipa Safey

Marketing and Development Development Manager Lynette Gillman Individual Giving Manager Kimlarn Frecker Marketing & Communications Manager Kanesan Nathan Media Relations Executive Milou de Castellane Philanthropy Executive Erin Hewitson Marketing & Communications Coordinator Lisa Wallace Development & Marketing Assistant Erin Voth

Victorian Opera 2012 Season Staff Stage Management Emma Beaurepaire, Elise Beggs, Roxzan Bowes, Tia Clark, Michele Forbes, Jess Keepence, Jessica Smithett, Melanie Stanton Technical Coordinator/ Head Technican Peter Darby Head Mechanist Jack Grant Costume Department Tirion Rodwell, Madeleine Somers, Jane Jericho, Jung Min Oh, Maruska Blysczak, Phillip Rhodes Surtitle Operator Edward Dowling Sound Operator Peter Sforcina

With thanks to ResolutionX, Showworks, CVP, Melbourne Theatre Company, Opera Australia Props Hire, Gavin Grey, Vladimir Chishkovsky and the Arts Centre Melbourne staff and crew.

www.victorianopera.com.au Victorian Opera Horti Hall 31 Victoria Street, Melbourne VIC 3000 Phone +61 3 9001 6400 info@victorianopera.com.au

The Rake’s Progress programme is printed on 100% recycled paper

everyday inspires

ARTIST HIJACKS TUESDAYS FROM 7.30PM

Australia’s best known arts personalities take over STUDIO. From Melbourne Festival Artistic Director Brett Sheehy to actor Barry Otto, each curate a night of their favourite programs, chat about their influences, and reveal what makes them tick.

JEREMY SIMS

BRETT SHEEHY

BARRY OTTO

SHANE HOWARD

EXCLUSIVE TO

For a sneak peek visit studiotv.com.au