VINCENZO BELLINI 5 May 2017 Arts Centre Melbourne, Hamer Hall
Welcome
Welcome to Victorian Opera’s performance of Bellini’s La Sonnambula. Bel canto holds a special place in the heart of our company. Tonight’s performance of La Sonnambula is our third of great Bellini masterpieces, following concert stagings of Norma and I Puritani.
We welcome a cast of old and new friends, Jessica Pratt, Carlos E. Bárcenas and Roxane Hislop, along with Paolo Pecchioli and Greta Bradman. Jessica returns following her recent debut with The Metropolitan Opera as Queen of the Night in The Magic Flute. Carlos, who sings with so much heart, has inspired us all with his love for beautiful singing, which after all is what the tradition of bel canto represents. Many exciting things are happening at Victorian Opera. Tonight’s performance will be filmed and then streamed on the Opera Platform website from July 2017. Our commitment to sharing opera with everyone transcends borders (literally!) and we’re thrilled to contribute our music to the world. More news to follow. From the Victorian Opera family, thank you for joining us tonight for this concert performance of La Sonnambula. As we draw closer to winter, we hope it warms your soul.
ANDREW SNELL Managing Director
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Bellini Knew Best Richard Mills
During my tenure at Victorian Opera, we have embarked on a project to perform all the major Bellini operas in concert. The cynic might well ask “why”? – and add prevailing criticisms about poor orchestration, formulaic accompaniments and lack of dramatic differentiation between characters. All well and good – and perhaps intellectually sustainable points of view – which overlook one important phenomenon: an individuality of musical personality, which has an emotional eloquence of uncommon power that engages the public because of its lasting vitality.
Bellini had great regard for the quality of his chosen texts. His most successful collaborator was Felice Romani (1788-1865) who was the librettist for seven of Bellini’s greatest works, including Norma and La Sonnambula (and would have been for I Puritani had he not missed the deadlines for Beatrice de Tenda). Romani produced nearly 100 librettos for composers as diverse as Mercadante, Rossini, Meyerbeer, Donizetti and Verdi; he was a lawyer, interested in mythology, French literature and antiquities. With this rather formidable background as an academician, one would be disinclined to expect the prodigious lyrical gifts Romani displays so frequently. He possessed the ability to find a union of image and rhetorical form that provided a framework for melody, making text, which needs an encounter with music to realise the final potentials of its ideas. Consider the first entrance of Norma: her first majestic utterances are preceded by music entirely for men, preparing the way for the magical imagery of Casta Diva. I think Puccini was at least subliminally aware of this process in La Fanciulla del West – the entrance of Minnie is architecturally a tour de force as the female voice is revealed for the first time in the opera, preceded as it is by an elaborate ensemble for the men. Bellini’s famous letter to Agostino Gallo published in 1843, and, strangely,
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of sometimes disputed authenticity states: “Believing as I do that a great part of the success of a work depends on the choice of an interesting subject with strong contrast of passions and harmonious and deeply felt verses… my first object is to obtain a perfect drama from a good writer”. Bellini is also reported as saying: “Give me good verse and I will give you good music”. This feeling for poetry and drama also extends to a profound ability to convey character. The argument that one of Bellini’s characters’ music could just as well be rendered by another is nonsense: Adalgisa singing Casta Diva or Lisa singing Ah, non credea, I don’t think so! Even in the duets and trios, there is individuality of gesture that renders the whole passage cohesive. Of course, there are still those who voice criticisms of the orchestration. Yet attempts to ‘improve’ Bellini’s orchestration have led great musical minds to despair. Bizet discovered when he was commissioned to re-orchestrate Norma that “it would be impossible to place any other accompaniments under these melodies”. For me, sensitive playing, remembering the characteristics of the horns, trumpets and trombones of the day in particular will iron out any functional infelicities – for the rest, the poetic intention is always served by the instrumentation – what more can one ask for?
Of course, the period music industry has appropriated Bellini – and we have the much vaunted recent Bartoli recording of the ‘new edition’ by Maurizio Biondi and Riccardo Minasi. For our 2014 Norma, I purchased these materials at some expense, only to find them pretty well identical to the old Ricordi set I used in Perth years ago – but of course with fresh wrong notes, so who’s kidding who here? Bellini’s influence is subtle and profound. His friendship with Chopin and influence on Liszt, Wagner and Stravinsky are well known. Donizetti and Verdi admired him greatly, and provided the sincerest form of flattery: imitation. Bellini has left us a canon of enduring value; a unique and inimitable feeling for poetic expression in music, a dramatic sense which manifests in noble and heroic situation, and a legacy of melodies that unfold as if they were made in heaven for singers on earth. His art is in stark contrast to the current climate where much entertainment is based on the fetishized violence of film and computer game. The art of Bellini perhaps creates its own need in barbarous times.
RICHARD MILLS Artistic Director & Conductor This article was originally printed in the April 2017 edition of Limelight Magazine.
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Synopsis La Sonnambula
ACT I In the village, wedding preparations are under way: Elvino and Amina are in love. Only Lisa the innkeeper (once engaged to Elvino) who is being enthusiastically pursued by the hapless Alessio, is disappointed by the engagement. Amina enters to express her happiness and gratitude to all, especially to Teresa who raised her after she was orphaned (“Come per me sereno”). Elvino rushes in late to sign the marriage contract, offering Amina a beautiful bouquet as an apology. He gives her a ring that belonged to his mother (Duet: “Prendi, l’anel ti dono”). Suddenly, a mysterious man arrives – it’s Count Rodolfo, in disguise. He sees a resemblance in Amina of a great love from his past. As darkness comes, the villagers become apprehensive and Teresa explains to the mysterious man that a ghost haunts the town. The man is amused and says he’d like to see the ghost before departing. Elvino and Amina begin to argue over the Count’s interest in Amina, but Elvino soon
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apologises for his jealousy (Duet: “Son geloso del zeffiro errante”). At the inn, Lisa recognises the mysterious man as the lost heir of the former local count. While they flirt, there is a sudden noise and Lisa hides in the closet, dropping her handkerchief. Amina sleepwalks into the room. Rodolfo realises she must be the village “ghost”. Lisa assumes Amina is coming to meet Rodolfo and sneaks away. Rodolfo is moved by Amina’s expressions of love for Elvino and leaves her to sleep innocently on his bed. The villagers enter to catch a glimpse of the mysterious Count. Lisa appears with Elvino and Teresa. Everyone in the village is shocked to find Amina in the Count’s bed. Awakened by the crowd, she proclaims her innocence (“D’un pensiero e d’un accento”). In spite of Teresa’s pleas and Amina's objections, Elvino cancels the wedding and together with the villagers, rejects Amina (“Non più nozze”).
ACT II The villagers visit Count Rodolfo’s castle to plead Amina's cause. Teresa and Amina enter and hear Elvino grieving ("Tutto è sciolto”). He reproaches Amina again and takes his ring from her. The villagers return to say that Rodolfo has confirmed Amina’s innocence and is on his way, but Elvino refuses to see him and leaves in despair. Teresa leads Amina away in sorrow. Elvino decides to marry Lisa after all. As they leave for the church they are interrupted by Rodolfo who proclaims Amina's innocence once more. Teresa appears, concerned, and asks for quiet as Amina has fallen asleep from exhaustion. She is shocked to see that Lisa is Elvino’s bride to be. Teresa suddenly produces the handkerchief Lisa had dropped that night in the Count's room. Elvino realises that Lisa has told lies. Amina appears, sleepwalking at a great height along a perilous ledge. Afraid she might wake, the villagers watch and pray she reaches safety. In her sleep, Amina mourns the loss of Elvino, remembering the beautiful flowers he gave her that have since wilted. She searches for her lost ring (“Ah! Non credea mirarti”). Now convinced of her innocence, Elvino puts the ring back on her finger. Amina wakes and seeing Elvino her despair turns to joy. The whole village rejoices in the happiness of the bride and bridegroom. 7
Production La Sonnambula
5 May 2017 Arts Centre Melbourne Hamer Hall Composer Vincenzo Bellini Librettist Felice Romani Running time is approximately 3 hours with one 20 minute interval Sung in Italian with English surtitles Creative Team Conductor Richard Mills Lighting Designer Peter Darby Production Manager Eduard InglĂŠs Stage Manager Luke Hales Principal Repetiteur Phoebe Briggs Repetiteur Phillipa Safey Chorus Preparation Phoebe Briggs, Richard Mills Cast Amina Jessica Pratt Elvino Carlos E. BĂĄrcenas
Chorus Soprano Elizabeth Barrow, Olivia Cranwell, Michelle McCarthy, Joanna Patocs, Rebecca Rashleigh, Diana Simpson, Emily Uhlrich, Nicole Wallace Mezzo Soprano Kerrie Bolton, Fleur Brockway, Rebecca Bywater, Ursula Paez, Belinda Paterson, Anna Plotka, Juel Riggall, Lynlee Williams Tenor Jonathon Bam, Paul Batey, Paul Biencourt Irving Dekterev, Tomas Dalton, Michael Edwards, Ernst Ens, Timothy Reynolds Bass Paul Hughes, Michael Lampard, Stephen Marsh, Timothy Newton, Alex Pokryshevsky, Kiran Rajasingam, Julian Wilson, Raphael Wong Acknowledgements Surtitles prepared by Brian FitzGerald.
Count Rudolfo Paolo Pecchioli Lisa Greta Bradman Teresa Roxane Hislop Alessio Timothy Newton Notary Tomas Dalton
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Please Note Tonight's performance will be filmed and then streamed on the Opera Platform website from July 2017. More information will be available at victorianopera.com.au from June.
Orchestra Victoria Deputy Concertmaster Roger Jonsson Violin Yi Wang Principal First Violin Erica Kennedy Associate Principal First Violin Tomomi Brennan Associate Principal First Violin Binny Baik Alyssa Conrau Lubino Fernandes Rachel Gamer Matthew Hassall Rachael Hunt Mara Miller Philip Nixon John Noble Martin Reddington Christine Ruiter Viola Paul McMillan Principal Catherine Bishop Jason Bunn Nadine Delbridge Cello Melissa Chominsky Principal Diane Froomes Associate Principal Sarah Cuming Philippa Gardner Tania Hardy-Smith Andrea Taylor Double Bass Damien Eckersley Principal Dennis Vaughan Associate Principal Matthew Thorne
Flute Lisa-Maree Amos Principal Karen Schofield Associate Principal Oboe Stephen Robinson Principal Joshua de Graaf Associate Principal Dafydd Camp Principal Cor Anglais Clarinet Paul Champion Principal Justin Beere Associate Principal Andrew Mitchell Principal Bass Clarinet Bassoon Lucinda Cran Principal Hugh Ponnuthurai Associate Principal^ Timothy Murray Principal Contrabassoon Horn Jasen Moulton Principal Heath Parkinson Associate Principal Linda Hewett Principal Third Horn Sydney Braunfeld Rachel Shaw Trumpet Mark Fitzpatrick Principal Anthony Pope Associate Principal Trombone Scott Evans Principal Tony Gilham Associate Principal Benjamin Anderson Principal Bass Trombone Timpani Guy du BlĂŞt Principal Percussion Richard Gleeson Principal^ Conrad Nilsson Associate Principal ^ = Guest Musician Acting in a Principal Role
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Music Index La Sonnambula
Act One, Part One
Viva Amina! (Chorus) Cavatina: Tutto è gioia, tutto è festa (Lisa, chorus)
Viva Amina! - In Elvezia non v’ha rosa (Alessio, Lisa, Chorus) Recitative and Cavatina: Care compagne – Come per me sereno (Amina, Chorus) Recitative: Io più di tutti (Alessio, Amina, Lisa, Teresa, Notary, Chorus) Recitative and Duet: Perdona, o mia diletta – Prendi: l’anel ti dono (Amina, Elvino, Notary, Teresa, Lisa, Chorus) Recitative: Domani, appena aggiorni (Elvino, Amina, Chorus) Recitative and Cavatina: Come noioso e lungo – Vi ravviso, o luoghi ameni (Rodolfo, Lisa, Amina, Teresa, Elvino, Chorus) Act One, Part Two Recitative and Chorus: Contezza del paese avete voi, signor? – A fosco cielo, a notte bruna (Elvino, Rodolfo, Teresa, Lisa, Amina, Chorus) Recitative: Basta così (Rodolfo, Teresa, Amina, Lisa, Elvino, Alessio, Chorus) Scene and Duet: Elvino!...E me tu lasci – Son geloso del zefiro errante (Amina, Elvino) 10
Scene: Davver, non mi dispiace (Rodolfo, Lisa) Recitative and Duet: Che veggio? – Oh come lieto è il popolo (Amina, Rodolfo)
Osservate. L’uscio è aperto (Chorus) Quintet: È menzogna – D’un pensiero e d’un accento (Elvino, Lisa, Amina, Teresa, Alessio, Chorus) Finale Act One: Non più nozze (Elvino, Amina, Lisa, Teresa, Alessio, Chorus) Interval Act Two
Qui la selva è più folta ed ombrosa (Chorus) Scene and Aria: Reggimi, o buona madre – Tutto è sciolto (Elvino, Amina, Teresa, Chorus) Scene and Aria: Lasciami – De’ lieti auguri a voi son grata (Lisa, Alessio, Chorus) Quartet: E fia pur vero, Elvino – Signor Conte, agli occhi miei (Lisa, Elvino, Alessio, Rodolfo, Teresa, Chorus) Finale Act Two: Signor?... che creder deggio? – Ah non credea mirarti (Amina, Elvino, Rodolfo, Teresa, Lisa, Alessio, Chorus)
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Biographies La Sonnambula
RICHARD MILLS Conductor
JESSICA PRATT Amina
Richard Mills pursues a diverse career as a composer, conductor and artistic director which has seen him working with almost all of the nation’s music organisations and develop an extensive discography of orchestral works. Richard is currently Artistic Director of Victorian Opera. He has previously held the post of Artistic Director of the West Australian Opera, Director of the Australian Music Project for the Tasmanian Symphony Orchestra and has been Musica Viva’s Composer of the Year. In 2007/8 he was awarded an Ian Potter Foundation Fellowship.
Jessica Pratt completed her vocal studies in Italy with Renata Scotto and Maestro Gianluigi Gelmetti at Rome Opera. She now prepares roles with Lella Cuberli.
Since making his debut at Opera Queensland with The Magic Flute Richard now has a large repertoire of standard and contemporary opera as well as his own compositions. His compositions range from Flute Concerto, commissioned by James Galway, Soundscapes for Percussion and Orchestra, performed by Evelyn Glennie at the City of Birmingham Symphony Proms, Passion according to St Mark, Songlines of the Heart’s Desire song cycle and the operas: Love of the Nightingale, Summer of the Seventeenth Doll, Batavia, The Pied Piper and 'Tis Pity. 12
Since her debut in 2007 in the title role of Donizetti’s Lucia di Lammermoor, Jessica has established herself as one of the finest and most sought-after interpreters of the bel canto repertoire. As one of the most active singers in her field, over the last 10 years Jessica has performed in 87 productions for 68 different organisations around the world. She has interpreted 32 different roles of which the most popular is Lucia Ashton in Donizetti’s Lucia di Lammermoor, followed by Amina in Bellini’s La Sonnambula and Elvira in Bellini’s I Puritani. In May 2013, Jessica was awarded the prestigious international prize for coloratura sopranos La Siola d’Oro and in September last year was awarded the Oscar della Lirica international award for Best Soprano of the Year. Opera companies she has performed with include La Scala, Covent Garden, Opera Zurich, Liceu Barcelona, Deutsche Oper Berlin, Dutch National Opera Amsterdam, La Fenice Venice, San Carlo Naples and most recently The Metropolitan Opera.
CARLOS BARCENAS Elvino
PAOLO PECCHIOLI Count Rudolfo
Born in Cali, Colombia. Studied with Gustavo A. Marquez before moving to Australia in 2007. He holds a Bachelor of Music Performance and a Master of Music (Opera Performance) at University of Melbourne where he was awarded the Keith G. Chapman Memorial Scholarship.
Bass, Paolo Pecchioli has sung in theatres around the world including Washington National Opera, Gran Teatro Liceu Barcelona, the Bolshoi, Dallas Opera, Pittsburgh Opera, Hanoi State Theatre, the Korean State Theatre, Staatsoper Dresden. Italian theatres include Teatro Petruzzelli, Maggio Musicale Fiorentino, Torre del Lago, Teatro Regio Torino, Fondazione Arena di Verona, Teatro Verdi Trieste, Teatro Comunale Bologna, Teatro Lirico di Cagliari and Teatro Verdi Pisa.
His roles have included Marco (The Gondoliers), Alexander (Il Re Pastore) Michael (Pecan Summer). For Victorian Opera Steuermann (The Flying Dutchman), Edgardo (Lucia di Lammermoor), Sir Bruno (I Puritani), Flavio (Norma), (La Traviata), title role (The Pied Piper), Saint Chavez (Four Saints in Three Acts), Maese Pedro (Master Peter’s Puppet Show) Prince April (The Sleeping Beauty), Witch (Hansel and Gretel), Prince Charming (Cendrillon) and Ramiro (La Cenerentola). Carlos received a Green Room award for his performance of Steuermann in The Flying Dutchman.
Paolo has worked with conductors such as Riccardo Chailly, Alberto Zedda, Esa-Pekka Salonen, Zubin Mehta, Riccardo Frizza, Nicola Luisotti, Carlo Rizzi, Jonathan Webb, Daniele Callegari and Bruno Campanella. Renowned for his bel canto repertoire, his roles include Alidoro (La Cenerentola), Assur (Semiramide), Conte Rodolfo (La Sonnambula), Oroveso (Norma), Giorgio (I Puritani), Don Pasquale, Don Bartolo and Don Basilio (Il Barbiere di Siviglia), Selim (Il Turco in Italia), MustafĂ (L'Italiana in Algeri), Dulcamara (L'Elisir d'Amore), Raimondo (Lucia di Lammermoor), Maometto II, Attila, Silva (Ernani), Il Conte di Walter (Luisa Miller), Zaccaria (Nabucco), Figaro (Le nozze di Figaro) and Leporello and the title role in Don Giovanni. 13
Biographies La Sonnambula
GRETA BRADMAN Lisa
ROXANE HISLOP Teresa
Australian soprano Greta Bradman commenced her professional career in 2010. She has presented over 1,000 performances with international and Australian orchestras. Greta completed a Fellowship at the Australian National Academy of Voice in 2013 and was the winner of the Australian International Opera Award. She moved to Cardiff where she undertook further training at the Wales International Academy of Voice. Recent highlights include the title role in Handel’s opera Rodelinda, regina de’Longobardi, Eurydice (L’anima del filosofo), the Australian/NZ tour of Broadway to La Scala and an international tour with Zubin Mehta and the Australian World Orchestra. In 2017, Greta debuted the role of Mimi (La Bohème) for Opera Australia. In 2015, Greta recorded her debut album My Hero. It became the highest ever charting Australian classical album on the pop chart, debuting at number 1 on the classical chart. Awards include critic’s choice award, an APRA/AMCOS Performance of the Year award and numerous OzCart awards. Greta has been nominated for Helpmann, MusicOz and ARIA awards and in 2015 was named Limelight Magazine’s Artist of the Year.
Roxane Hislop is a graduate of Sydney University, the NSW Conservatorium of Music and RMIT University. The winner of many awards including the Sydney Sun Aria and the Australian Regional finals of the Metroplitan Opera Auditions . Miss Hislop has been nominated five times for a Green room award and was named best female artist in a supporting role for Maddalena (Rigoletto) and Olga (Eugene Onegin).
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Miss Hislop has an operatic repertoire of over 60 roles including the title roles in Carmen and La Pericole, Rosina (Barber of Seville), Dalila (Samson et Dalila) and Varvara (Katya Kabanova). She has appeared with every major opera company and symphony orchestra in Australia and her concert repertoire includes, Missa Solemnis, The Messiah, The St Matthew and St John Passion, Child of Our Times, Pergolesi’s Stabat Mater, Brahms Alto Rhapsody and numerous opera galas. Recent performances include Mrs Herring in Albert Herring, Rossweisse in Die Walküre, and Marcellina in The Marriage of Figaro for Opera Australia. Later this year for Opera Queensland, Roxane will perform Dame Hannah in Ruddigore.
TIMOTHY NEWTON Alessio
TOMAS DALTON Notary
Timothy is a bass originally from Queensland and in 2016, he held the Stuart Leslie Opera Scholarship with the Melba Opera Trust and Val Vallis Memorial Scholarship at the Lisa Gasteen National Opera School. His recent performance highlights include Stonnington Opera in the Park, Olin Blitch in Floyd’s Susannah (Opera New England), Williamson’s Our Man in Havana (Lyric Opera of Melbourne) and Laughter and Tears (Victorian Opera chorus).
Tenor Tomas Dalton completed his voice studies at the Melbourne Conservatorium of Music and holds an AMusA in piano. In 2016 he was a finalist for the Opera Foundation for Young Australians: Deutsche Oper Berlin Award, finalist for the Royal Melbourne Philharmonic Aria, semi-finalist for the German Australian Opera Grant, and winner of the Acclaim Awards Italian Opera Fellowship. Performance highlights include The Villager in Respighi’s The Sleeping Beauty (Victorian Opera), Ernest in the world premier tour of Women In War (Arts Centre Melbourne & Artek Productions, Greece), Lucia di Lammermoor and I Pagliacci (Victorian Opera chorus), and Götterdämmerung (Opera Australia chorus).
In 2017 Timothy will undertake further study in Italy as recipient of the Acclaim Award.
Tomas is currently playing the role of Tamino in Opera Australia’s schools tour of The Magic Flute, and later this year will undertake further study in Italy as an Acclaim Awards Italian Opera Fellow.
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Richard with the cast 17
Victorian Opera About Us
Victorian Opera is a national leader in the Australian opera scene. The company has established itself with innovative programming, diverse repertoire and exciting new work. We’ve commissioned 17 new Australian operas in our 11 year history and have staged at least one new work every season. Employing hundreds across the arts each year, we recruit the finest local and international singers and collaborate with a wide range of musicians, creative teams and companies from around the country and overseas. The next generation of talent is developed from the Youth Opera Chorus through to the company’s Developing Artist Program. Victorian Opera has inspired over 600 young singers through our youth opera program and developed over 30 emerging artists. Victorian Opera is committed to the accessibility of opera through tactile tours, and audio described and relaxed performances. The company annually tours its Education and Community Engagement Programs state-wide with an ongoing commitment to staging opera in Tasmania beginning from 2017. Join the Chorus Go behind the scenes to learn more about our work. victorianopera.com.au Stuart Maunder AM directs to direct Cunning Little Vixen @VictorianOpera #victorianopera 18
22 June - 1 July | Arts Centre Melbourne, Playhouse
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© New Zealand Herald/newspix.co.nz
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Leoš Janácek
Cunning Little Vixen Hear the Forest Come Alive One of the greatest operas of the 20th century, Janácek’s Cunning Little Vixen marvels at the beauty of nature and the cycle of life. Set in an idyllic forest, we follow Vixen Sharpears’ lyrical journey from youth to adulthood. Sung in English with playful sets and costumes, Victorian Opera's Cunning Little Vixen is perfect for families and opera first-timers. Don’t miss this exquisite production!
22 June - 1 July Arts Centre Melbourne, Playhouse Book Tickets victorianopera.com.au | 1300 182 183 Tickets from $67 $35 for 30 and under
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If you would like to get more involved in the work of Victorian Opera by becoming a Patron, please contact Pooja Dutt, Individual Giving Manager on 03 9001 6408 or poojad@victorianopera.com.au Founding Patrons The Late Dame Elisabeth Murdoch AC DBE Lady Potter AC Leadership Circle ($20,000+) Hans & Petra Henkell* Maureen & Tony Wheeler Dr John & Elizabeth Wright-Smith* Artistic Directors Circle ($10,000+) Deanne Bevan & Guy Russo Rob & Caroline Clemente John & Diana Frew Jane Hemstritch Suzanne Kirkham* Peter & Anne Laver Geraldine Lazarus & Greig Gailey* Dr Richard Mills AM Platinum Patrons ($5,000+) Beth Brown & Tom Bruce AM* Siobhan Lenihan* Kaye Marion Don & Angela Mercer Marian & Ken Scarlett OAM* Greg Shalit & Miriam Faine
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Gold Patrons ($2,500+) Joanna Baevski Ian Baker & Cheryl Saunders Dr Terry Cutler Craig D’Alton & Peter Sherlock Bob Garlick Dr Jennifer George & Rev Matthew Williams Mary-Jane Gething and Joseph Sambrook M Gordon & L Norton Peter & Jenny Hordern Stewart & Denise Jackel Ian Kennedy AM & Dr Sandra Hacker AO Joan & George Lefroy Peter Lovell Ian Merrylees Michael Rigg & Gerard Condon John & Elisabeth Schiller Tim & Lynne Sherwood Lady Southey Felicity Teague Earl & Countess of Wilton Anonymous (1) Silver Patrons ($1,000+) Laurie Bebbington & Elizabeth O’Keeffe Kirsty Bennett The Hon David Byrne Terry & Christine Campbell Deidre Cowan Ernest Dawes OBE & Nola Dawes Bill Fleming John & Gaye Gaylard Brian Goddard Nance Grant AM MBE & Ian Harris Richard & Isabella Green Lesley Griffin Hartmut & Ruth Hofmann Simon L Jackson & Brian Warburton Sean Kelly Rod & Daniele Kemp Alun & Patricia Kenwood Angela & Richard Kirsner John & Lynne Landy
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Orchestra Victoria
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Principal Regional Partner
Philanthropy at Orchestra Victoria Endowment Funds Education Lesley & Bob Qualtrough Bequest The Judith & Alasdair McCallum Fund Hamilton and Western District Fund Geoff and Helen Handbury Foundation Estates Mrs Neilma Baillieu Gantner Trusts & Foundations Gandel Philanthropy The William Buckland Foundation Planned Giving G C Bawden & L de Kievit Annual Giving The Conductor's Podium Mr Robert Albert AO RFD RD & Mrs Elizabeth Albert Geoff and Helen Handbury Foundation The Concertmaster's Ensemble Joan and Peter Clemenger Trust Mr Richard Guy OAM & Ms Claire Guy Ms Linda Herd Dr Peter A Kingsbury Avner Klein & Maria Pannozo Prescott Family Foundation Principal Patrons The Late Betty Amsden AO Gaye & John Gaylard Henkell Family Fund Dr Alastair Jackson Judith & Alasdair McCallum Don & Angela Mercer Mrs Margaret S Ross AM Victor & Karen Wayne
Patrons David & Cindy Abbey G C Bawden & L de Kievit Marc Besen AC & Eva Besen AO Tom Bruce & Beth Brown Peter & Ivanka Canet Mr Jim Cousins AO & Mrs Libby Cousins G Croft Ms Jane Edmanson OAM Louis J. Hamon OAM Russell and Jenni Jenkins Peter & Carmel Johnson Dr Nicholas Lis and Mrs Gabrielle Michau Maple-Brown Abbott H.McKenzie Peter McLennan & John Landers Ms Marilyn Meyer Michelle and Ian Moore Prof David Penington Lady Potter AC CMRI Kerryn Pratchett Mr John Redman Adrienne Shaw Peter & Christine Smedley Libby Smith Bruce & Leona Sterling H & EA Van Herk Henry Winters Helen & Wayne Worladge Igor Zambelli & Jenny Lee Anonymous (5) Orchestra Victoria Instrument acquisition is supported by Creative Partnerships Australia through Plus1 Current as at 20 January 2017
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Staff Victorian Opera
Conductor Emeritus Richard Gill AO
Finance & Administration Finance & HR Manager John Orr
Victorian Opera Board Chairman Jane Hemstritch
Finance Assistant Claire Voumard
Deputy Chairman Greig Gailey Roger Box Vivienne Corcoran Francis Ebury, Earl of Wilton Anne Gilby Siobhan Lenihan Penny Stragalinos Megan Waller (Board Observer)
Marketing Marketing, Media & Sales Manager Henri Marron Marketing & Communications Coordinator Alexia Jordan Media & Communications Executive Scott Whinfield CRM & Ticketing Executive Nichole O'Duffy
Executive Artistic Director Dr Richard Mills AM
Development Development Manager Louise O'Loughlin
Managing Director Andrew Snell
Individual Giving Manager Pooja Dutt
Executive Producer & Artistic Associate Libby Hill
Development Executive Meredith Dellar
Artistic, Engagement & Production Head of Music Phoebe Briggs
Events Coordinator/Office Administration Sharni Morter, Alexandra Reade
Repetiteur Phillipa Safey
Developing Artists Design Candice MacAllister
Company Manager Kate Stephens
Direction Alastair Clark
Assistant Company Manager Candice MacAllister Education Officer Deborah Vanderwerp
2017 Season Staff Surtitles Tim Mallis
Production Manager Eduard InglĂŠs Technical & Operations Coordinator Peter Darby
Photography Š Charlie Kinross
Production Coordinator Luke Hales Costume Supervisor Joanne Paterson VOYCE Angus Grant 29
Become a Corporate Member
Corporate Members provide vital support for Victorian Opera and enable the company’s ongoing success as a state icon and national leader. Becoming a Corporate Member is your opportunity to build a long-term brand alignment with the most innovative, diverse and imaginative opera company in Australia. Your support ensures that Victorian Opera can continue to deliver highcalibre productions and breathtaking performances for audiences across the state and country.
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By joining our Corporate Members Program you will also provide your key stakeholders, clients and staff with unforgettable experiences at the theatre whilst developing your business objectives.
To discuss Corporate Member opportunities with Victorian Opera, please contact: Louise O’Loughlin, Development Manager (03) 9001 6405 louise@victorianopera.com.au
Our Partners Victorian Opera
We acknowledge and thank our partners who make our work possible. Government Partners
Foundation Partner
University Partner
Awards
I N N O VAT I O N AWA R D NOMINEE 2017
Trusts & Foundations William Angliss Charitable Fund
Henkell Family Fund
Gras Foundation
Gailey Lazarus Foundation
Official Partner
Media Partner
Supply Partners
Performance Partners
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