WEST AUSTRALIAN OPERA
50
1967 - 2017
THE MERRY WIDOW Presented by Alcohol.Think Again
Director’s Message “The Merry Widow touchingly reminds us of the universal and all persusive need to love and be loved ”
My first formal dance step was definitely a waltz. It was most certainly in a community hall in country Tasmania and my mum Betty, was as always, at an upright piano pumping out the 3/4 rhythm of a progressive barn dance. I was perhaps 9 years old and I would have stepped on the toes of many a farmer’s wife. The first time I heard the iconic Merry Widow waltz was on a tinny music box at my Uncle Hinton’s house in the big smoke, Launceston. Little did I know how often that waltz and I would get together! Fast forward and I am waltzing in one of The Australian Ballet’s most successful ballets ever, The Merry Widow - choreographed by Ronald Hynd, directed by Sir Robert Helpmann, a wordless score adapted and conducted by John Lanchbery, starring, among other luminaries, Dame Margot Fonteyn. With the Australian Ballet I waltzed through countless performances and thousands of miles, from the London Palladium to Broadway’s Shubert Theater and beyond. I remember joking with Janet Vernon, my sometimes dance partner, my current creative associate and my always life partner, that we were doomed to waltz in ‘The Weary Meadow’ till our legs became stumps! Fast forward to the now and….SHE’S BACK, once again filling my life not just with lush orchestration but this time, with vocal magic and sparkling dialogue. What a pleasure to be working again with WAO and, for the first time, with conductor extraordinaire, Vanessa Scammell. How thrilling to have Justin Fleming’s new adaptation which so respects the original while injecting pace and clarity. This clarity is reflected in the elegant Art Deco set design by Michael Scott-Mitchell, which transports us to a world far from the babble of the now. Costume designer Jennifer Irwin drapes the cast in dreams that float through subconscious memory and lighting designer Damien Cooper paints this lost world with faceted mirrors and shards of impressionistic gossamer. If this all sounds escapist, how right you are! Yet, there is at the heart of this operetta a grounding force: our protagonists Hanna and Danilo, who because of proud vanity, risk losing the great love of their lives - each other. The Merry Widow touchingly reminds us of the universal and all-pervasive need to love and be loved. To WAO I am most grateful for this opportunity and to you, dear audience I offer a warm invitation to submit to an amazing cast in the service of a timeless musical gem. Graeme Murphy AO DIRECTOR & CHOREOGRAPHER
Conductor’s Message “The ebbing and flowing of stunning melody lines, the pervading lyricism of the magnificent waltzes. The rhythmic dances hinting at Slavic and Russian cultures. The catchy marches, the lush orchestrations… simply wonderful!” One might ask why Lehars much loved The Merry Widow is still so popular today. In fact it’s proven itself to be one of the most celebrated and successful comic operetta’s ever written. So what is its secret? I might suggest that part of the answer can be found in the exquisite music. The ebbing and flowing of stunning melody lines, the pervading lyricism of the magnificent waltzes. The rhythmic dances hinting at Slavic and Russian cultures. The catchy marches, the lush orchestrations… simply wonderful! Coupled with a thoroughly engaging libretto and a cast of colourful characters, it’s a show that really does have all the ‘right ingredients’. Add the masterful and delightful Graeme Murphy to the mix and you suddenly find this wonderful show has a whole new dazzling dimension. Honestly, you can almost taste the Champagne as you immerse yourself in his sumptuous Art Deco world. Working alongside Graeme, watching him direct this truly talented cast has without doubt provided me with a clear sense of where to take this fabulous score. A score that, for all it’s magic, is decidedly tricky to conduct. Indeed, esteemed conductors the world over have spoken of the many challenges faced when taking on Operetta. Largely because of what isn’t marked on the score! Somewhat surprisingly as a conductor of Operetta you find yourself, page by page, confronted by any number of possible options when it comes to the colour of the music. Challenging certainly, but also exciting! And so, getting back to the question of ‘Merry Widow’s enduring popularity…in my opinion, having been fortunate enough to conduct Ballet, Classic Musicals, Symphonic Concert Repertoire and Opera, it ultimately all comes down to whether or not a work moves us! Does it make us laugh? Does it make us cry? Does it make us ponder the human condition? Do we see ourselves or someone we know in a character? The Merry Widow ticks each of those boxes and a few more to boot! It is genuinely entertaining from start to finish. I am thrilled to be part of this production of The Merry Widow and quietly delighted to be back in wonderful WA! Now, sit back and let Graeme, our fabulous cast, the glorious West Australian Symphony Orchestra and I treat you to the wonder that is The Merry Widow. Vanessa Scammell CONDUCTOR
The Merry Widow Presented by Alcohol. Think Again His Majesty’s Theatre 15, 18, 19, 20, 21, 22 July 2017 Composer Franz Lehár Libretto Viktor Léon and Leo Stein English Translation Justin Fleming Conductor Vanessa Scammell Director Graeme Murphy Creative Associate Janet Vernon Set Designer Michael Scott-Mitchell Costume Designer Jennifer Irwin Lighting Designer Damien Cooper Assistant Director Shane Placentino Assistant to Set Designer Charles Davis Assistant to Set Designer Isabel Hudson Hanna Glavari Taryn Fiebig Count Danilo Danilovich Alexander Lewis Valencienne Emma Pettemerides Camille de Rosillon John Longmuir Baron Mirko Zeta Andrew Foote Njegus Michael Loney Vicomte Nicolas Cascada Sam Roberts-Smith Raoul de St Brioche Jonathan Brain Dominik Bogdanovich Thomas Friberg Sylviane Harriet O’Shannessy Alexis Kromow Mark Hurst Olga Penny Shaw Konrad Pritschich Mark Alderson Praskovia Ileana Rinaldi Dancers Wen Chen Angus Furnell Naomi Hibberd Jayden Hicks Scott Lazarevich Teagan Lowe Ben Marett Ela Ray Sinclair Grace Robinson Breanna Skewes Chimene Steele-Prior Ned Zaina
Stage Manager Karen Farmer Deputy Stage Manager Josh Marsland Assistant Stage Manager Erryn Hanson Head of Wardrobe Sue Kerr Wardrobe Assistant Louise Arcus Head of Wigs Virginia Hawdon Wigs Assistant Christopher Lyons Wigs Assistant Phillip Cox Head of Make Up Sharon Krywood Dresser Mandy Elmitt Dresser Erin Minervini Dresser Sacha Mahboub Dresser Katherine MacKay Costume Maintenance Holly Sansalone Costume Maintenance April Richards Head Mechanist Ian Studham OA Mechanist Jeremy McComish OA Mechanist Rob Bristow Repetiteur Tommaso Pollio Pre-Performance Talks Annie Patrick West Australian Opera Chorus West Australian Symphony Orchestra This production was commissioned by The Opera Conference, the national partnership of professional opera companies. The Opera Conference acknowledges financial support provided by the Australian Government through the Australia Council for the Arts, the Queensland Government through Arts Queensland; the NSW Government through Arts NSW; the Victorian Government through Creative Victoria, the South Australian Government through Arts SA; and the Western Australian Government through the WA Department of Culture and the Arts.
Vice Regal Patron’s Message As Vice Regal Patron of West Australian Opera, I am delighted to welcome you to this beautiful new production of The Merry Widow. Set in 1920s Paris, The Merry Widow is a treat for you from director Graeme Murphy and conductor Vanessa Scammell with sublime artistry in music, dance, singing, orchestra and design. West Australian Opera celebrates its 50th anniversary in 2017 with the company officially constituted on 18 July 1967. For 50 years the state opera has contributed to the arts in Western Australia by presenting world class opera at His Majesty’s Theatre, offering education and community programs, and developing young artists through the Wesfarmers Arts Young Artist Program. I join the Chairman, Terry Bowen, and General Manager, Carolyn Chard, in acknowledging the generous support of State and Federal governments, as well as expressing appreciation to our private and corporate supporters. Their support is very important and much valued. Her Excellency The Honourable Kerry Sanderson AC GOVERNOR OF WESTERN AUSTRALIA
Chairman’s Message
Welcome to this new production of The Merry Widow which we are proud to present for the first time in a new Opera Conference production directed and choreographed by Graeme Murphy and conducted by Vanessa Scammell. We welcome Taryn Fiebig as Hanna Glavari and Alexander Lewis as Count Danilo Danilovich, West Australian Opera principal artists, the creative team, the West Australian Symphony Orchestra and West Australian Opera Chorus who together bring this production alive on the stage.
Opera is a beautiful but expensive art form and we value the contribution of funders, sponsors, patrons, donors, board and you, our audiences. In this special 50th year there are a number of ways in which you can support the company including the 50th Golden Raffle which has some wonderful prizes for you to win (tickets may be purchased online at waopera.asn.au). I acknowledge our highly valued and appreciated Principal Partner Wesfarmers Arts, Major Partners Healthway, Minderoo Foundation and APN Outdoor, Civic Partner the City of Perth, Official Airline Partner Qantas and Principal Artist Partner EY. We are grateful for the continued support of the Federal Government through the Australia Council and the State Government through the Department of Culture and the Arts and Lotterywest. Terry Bowen CHAIRMAN West Australian Opera
General Manager’s Message West Australian Opera is pleased to premiere this Opera Conference production as we celebrate the official date of the company’s constitution on 18 July 1967. This production is directed by Graeme Murphy, associate direction by Janet Vernon, with set design by Michael Scott-Mitchell, costume design by Jennifer Irwin and lighting design by Damien Cooper. From the art deco set design to the glamour and intricacy of embellishment on 107 gorgeous costumes, this season will take you to 1920s Paris. Lehar’s operetta, conducted by Vanessa Scammell with the West Australian Opera Chorus and West Australian Symphony Orchestra, is a tale of love, misunderstanding and evasive declarations. Hear the famous duet Love Unspoken and fall in love with this wonderful music. It is very rewarding to have our first female conductor on the opera podium and I am so pleased to welcome Vanessa Scammell. In celebration of this 50th anniversary year we encourage you to visit the anniversary webpage at www.waopera.asn.au/50th-anniversary, watch our telling stories video messages, follow us on social media and share a memory of your own. Carolyn Chard GENERAL MANAGER West Australian Opera
Justin Fleming
Vanessa Scammell
Graeme Murphy
Justin Fleming’s work for music theatre includes Satango (Griffin Theatre/Riverside Theatres, music by Stewart D’Arrietta), The Ninth Wonder (Sydney Theatre Company), Accidental Miracles (Cameron Macintosh/STC/ WAAPA), Crystal Balls (Sadler’s Wells), Tess of the D’Urbervilles (Savoy Theatre & UK Tour, music by Stephen Edwards), Laid in Earth (Queensland Music Festival, score by Damian Barbeler) and Odyssey: They Came with Songs into Battle, (score by Brendan Collins.)
In 2017, Vanessa Scammell will conduct a new production of The Merry Widow for Opera Australia and West Australian Opera; she also returns to the Auckland Philharmonia and The Production Company.For Opera Australia, she has conducted South Pacific, the national tour of La traviata and was Musical Director for their acclaimed 2015 television opera – The Divorce. For The Australian Ballet, her credits include Body Torque, Tchaikovsky’s The Nutcracker and The Dream.
Graeme Murphy was born in Melbourne and studied at The Australian Ballet School. He has danced with The Australian Ballet, Sadler’s Wells Ballet (London) and Ballets Félix Blaska (France).
Plays include Hammer (Ensemble); The Cobra, Harold In Italy, The Ninth Wonder (STC); A Land Beyond the River (Bakehouse), Moliere’s Tartuffe (The Hypocrite) for MTC and The School for Wives for Bell Shakespeare’s national tour. Burnt Piano (Belvoir/MTC/Herbert Berghof Playwrights’ Theater, Centaur Theatre Montreal) won the New York New Dramatists’ Award. Coup D’Etat won the Banff PlayRites Residency. The Department Store and His Mother’s Voice won the Mitch Mathews Award. Origin was produced at The Art of Evolution Conference, Courtauld, London. Shellshock was commissioned by Riverside Theatres and Molière’s The Literati for Bell Shakespeare and Griffin Theatre.
Vanessa has acted as conductor and musical director for some of music’s most celebrated artists – Teddy Tahu Rhodes, Kate Ceberano, Lea Salonga, Idina Menzel, Barry Humphries, Rhonda Burchmore, Lisa McCune, The Wiggles and many others. For the Really Useful Company, she has acted as Musical Director for The Phantom of the Opera in Beijing, Taipei, Athens, South Korea, South Africa and Australia; West Side Story Australian Tour for Farrelly Productions; Chicago Australasian Tour for Gordon Frost Organisation; The Producers and Damn Yankees for The Production Company and Fiddler on the Roof for TML Enterprises.
English Translation
Conductor
Director/Choreographer
In 1971, he received an Australia Council Grant to study overseas. He returned to Australia in 1975 as a freelance choreographer. The following year, he was appointed artistic director of Sydney Dance Company (then known as The Dance Company NSW), a position he held until 2007. During his 31-year tenure, he created more than 50 works, including 30 full-length productions.
Janet Vernon
Michael Scott-Mitchell
Jennifer Irwin
Adelaide-born Janet Vernon studied at The Australian Ballet School and has danced with The Australian Ballet, Ballets Félix Blaska (France) and Sydney Dance Company.
Michael Scott-Mitchell is regarded as one of the most outstanding designers and educators in Australia. His extensive credits in opera, theatre and special events, include set design of the State Opera of South Australia’s production of Wagner’s Ring Cycle, World Youth Day Stations of the Cross and the Cauldron & Ceremonial Stage for the Sydney 2000 Olympic Games. Recent and upcoming designs include Dr Zhivago directed by Des McAnuff on Broadway for which he won the 2015 APDG (Australian Production Design Guild) Award, Storm Boy, Arms and the Man, Arcadia and Switzerland for Sydney Theatre Company, and Tosca, Lélisir d’amore and Carmen for Opera Australia, and Freeze Frame for Debbie Allen Dance Academy in LA and at the Kennedy Centre, Washington DC.
Australian costume designer Jennifer Irwin’s career spans over thirty years designing costumes for opera, drama, film and in particular dance & ballet.
Creative Associate
In 1976 she was appointed, along with Graeme Murphy, to the artistic helm of Sydney Dance Company, where they remained for 31 years. Graeme created roles for Janet including: Shéhérazade, Daphnis and Chloé (Lykanion), Some Rooms (The Bathroom), After Venice, Nearly Beloved, King Roger (Queen Roxanna), Berlin, The Protecting Veil, Salome (Herodias) and The Trojans (Andromeque) – a collaboration with Opera Australia.
Set Designer
He is Deputy Director of NIDA (National Institute of Dramatic Art) in Sydney, and also holds the positions as Head of Design and Director, Undergraduate Studies and sits on NIDA’s Academic Board.
Costume Designer
Jennifer designs regularly for all of the major Australian companies and has also designed for some of the largest scale spectacular productions ever staged in Australia including the Opening and Closing Ceremonies for the 2000 Sydney Olympic Games and the Official Ceremony marking the Centenary of Australian Federation. Her commissions have been seen in over fifty countries including The Lincoln Centre NYC, City Centre NYC; Brooklyn Academy of Music NYC , The Kennedy Centre Washington, The Royal Opera House London, Command Performances at the Royal Palace Madrid and many at the Sydney Opera House.
Isabel Husdon
Damien Cooper
Shane Placentino Assistant Director
Assistant to Set Designer
For Opera Australia Damien has lit Der Ring des Nibelungen, Aida, Cosi Fan Tutte; Peter Grimes (OA/COC/HGO); A Midsummer Night’s Dream (CLO/HGO/ COC); The Magic Flute (LOC); and Chorus! (HGO). His other theatre credits include Mark Colvin’s Kidney, The Great Fire, Radiance, The Glass Menagerie, Coranderrk, Stories I Want to Tell You in Person, Cat on a Hot Tin Roof, Peter Pan, Summer of the Seventeenth Doll, Neighbourhood Watch, The Seagull, Gethsemane, Keating!, Peribanez, (Belvoir) and Exit the King (Broadway). Disgraced, Orlando, Arcadia, A Midsummer Night’s Dream, The Golden Age, Suddenly Last Summer, The Women of Troy, The Lost Echo, Tot Mom (Sydney Theatre Company); Macbeth and The Tempest (Bell Shakespeare). The Narrative of Nothing, Firebird and Swan Lake (Australian Ballet); Am I (Shaun Parker & Company); Affinity (Tasdance); Mortal Engine (Chunky Move); and Of Earth and Sky (Bangarra Dance Theatre).
Adelaide born Shane Placentino accepted into the Australian Ballet School in1988, graduating in 1990. The Australian Ballet Company in 1991, promoted to Soloist in 1995, Leading Soloist in 1997 until 2000. Joined Sydney Dance Company 2002 until 2008.
Isabel is a Sydney based production designer and graduate of the NIDA design course (2015) and holds a Bachelor of Arts (Screen and Sound) from the University of New South Wales (2012). Isabel was awarded the William Fletcher Foundation Tertiary Grant for emerging artists in 2015. Recently, Isabel has designed Set and Costumes for: Intersections (ATYP), The Shadowbox, Hurt (White Box Productions), The Block Universe and Journeys End (Cross Pollinate), The Chamber Pot Opera (Bontom; Sydney, Adelaide and Edinburgh seasons), Slut (Festival Fatale), Blackrock (White Box at the Seymour Centre and worked as an associate on Opera Australia’s My Fair Lady. In 2015 Isabel designed Strindberg’s A Dream Play directed by Kim Carpenter, Top Girls directed by Susanna Dowling, Love and Honour and Pride and Pity and Compassion and Sacrifice, directed by Priscilla Jackman.
Lighing Designer
Damien has won three Sydney Theatre Awards, three Green Room Awards, and the inaugural Australian Production Designers Guild Award for Lighting Design. .
Stage manager for SDC’s 360° and Rehearsal Director for SDC’s 6 Breaths/We Unfold. Assistant Director to Graeme Murphy’s opera AIDA for WA Opera, OA, State Opera of SA and OQ. Rehearsal Director for MOD Dance Company season of Murphy’s Suite Synergy. Guest teacher at Ausdance SA, Move Through Life, LWD, Adelaide College of Performing Arts and Terry Simpson Studios. Assisting Bruno Ravella for David McVicars’ opera Faust, for OA, State Opera of SA and WA Opera. Dance repertoire: Swan Lake, Giselle, Don Quixote, The Merry Widow, Jardi Tancat, Manon and Romeo and Juliet, Nutcracker, Beyond Twelve, Ellipse, Salome, Free Radicals, ‘Jack’ in Tivoli, Underland, Random Play, Some Rooms, Grand, Hua Mulan, Berlin and Ever After Ever. Opera repertoire: Aida, Faus .
Isabel’s upcoming productions include One Flew over the Cuckoos Nest (Sport for Jove), I love you now (Darlinghurst Theatre Co.), The Plant (Ensemble Theatre Co.) and The Merry Widow (Opera Australia – Assistant Set Designer to Michael Scott Mitchell). Isabel is also a tutor in design communication for the design program at NIDA.
Charles Davies
Taryn Fiebig
Alexander Lewis
Charles is a set and costume designer for theatre, opera, dance and film. A recent graduate of NIDA, Charles also studied architectural design at Monash University. During his final year at NIDA, Charles was awarded the William Fletcher Foundation Award for emerging artists and designed sets for the world premieres of Stephen Sewell’s Kandahar Gate and Michael Gow’s Writing for Performance.
Helpmann Award-winning soprano Taryn Fiebig is one of Australia most popular and versatile artists. In 2017, she sings Musetta (La bohème) for Opera Australia, Michal (Saul) for the Adelaide Festival and the title role in The Merry Widow for West Australian Opera; in concert, she is soloist with Sydney Philharmonia and the Auckland Philharmonia. Taryn has performed with all the major Australian opera companies, the Australian Chamber Orchestra, Australian Brandenburg Ensemble and the Sydney, West Australian, Adelaide and Queensland Symphony Orchestras.
With worldwide operatic engagements and acclaimed performances in musical theatre, Australian tenor Alexander Lewis is forging a unique career as a “cross-over” artist.
Assistant to Set Designer
Charles was nominated for a Sydney Theatre Award for his design on Whale. Charlie was assistant designer for The Gret Fire andand associate set designer for John Bell’s production of CARMEN for Opera Australia. Charles is lecturer and mentor for NIDA’s undergraduate design programme. In 2017 Charles designed Biographica (Sydney Chamber Opera/Sydney Festival) and will design Buyer and Cellar and The Kitchen Sink for Ensemble; Smurf in Wanderland for Griffin/National Theatre of Parramatta, The Coronation of Poppea for Pinchgut Opera; and is associate set designer for Muriel’s Wedding - The Musical with Sydney Theatre Company and Global Creatures and The Merry Widow with Opera Australia.
Hanna Glavari
Count Danilo Danilovich
Of his performance in Crossing, The New York Times hailed “The affecting young tenor Alexander Lewis brings cagey intensity to the role, singing by turns with flashes of defiance and pleading despair.”
This seasons engagements include a return to Komische Oper Berlin as Hoffmann in Les contes d’Hoffmann and Grisko in The Fair at Sorochyntsi, the title role in The Nose in his début with The Royal Opera House Roles for Opera Australia Covent Garden, the role of Count include: Susanna, Zerlina and Despina in Sir David McVicar’s Danilo in The Merry Widow with trio of Mozart productions (The West Australian Opera, and a Marrige of Figaro, Don Giovanni Christmas concert with Sydney Philharmonia. and Così fan tutte), Pamina in The Magic Flute, Oscar in Un Future seasons include a ballo in maschera, Lisa in La remounting of Crossing in various sonnambula, Galatea in Acis and worldwide venues and returns Galatea, Lucy in Bliss, Aphrodite to Opera Australia for several in The Love of the Nightingale productions. and The Woodbird and Gutrune in Der Ring des Nibelungen. A musical theatre highlight for Taryn was over 200 performances as Eliza Dolittle in Opera Australia’s National Tour of My Fair Lady. Taryn Fiebig’s Perth season is supported by EY
Valencienne
Camille De Rosillon
John Longmuir
Andrew Foote
Born in the UK and now based in Perth, Emma has performed a wide variety of roles including; Laurey Oklahoma, Carlotta Phantom of the Opera, Barbarina Le Nozze di Figaro, May-Queen Merrie England, Annio La Clemenza di Tito, Lisa La Sonnambula, Tytania A Midsummer Night’s Dream (Britten), Elena Paride ed Elena, Susan A Dinner Engagement, Rose Street Scene, and La Musica L’Orfeo.
One of Australia’s most acclaimed young tenors, John Longmuir was born in Edinburgh, Scotland. His operatic studies took place at the Australian Opera Studio.
Andrew Foote first performed for West Australian Opera in the 1988 production of Eureka Stockade. (He insists there is no link to the company closing the following year.)
John’s many roles for Opera Australia have included Almaviva in the The Barber of Seville. Camille in The Merry Widow, Tamino in The Magic Flute, Nemorino in L’elisir d’amore, Don Ottavio in Don Giovanni, Ernesto in Don Pasquale, Fenton in Falstaff, Emilio in Partenope, Nadir in Les pecheurs de perles and Narcisco in Il Turco in Italia. He has also appeared with West Australian Opera as Almaviva.
Since then he has performed more than 30 operatic roles for professional companies throughout Australia – including his acclaimed Ned Keene in Peter Grimes for which he received a Helpmann Award.
Emma Pettemerides
Since moving back to Perth in 2012, Emma has sung with the West Australian Opera Company in performances of The Pearl Fishers, The Elixir of Love, Madama Butterfly, The Magic Flute, Otello, La Boheme, Don Giovanni, and La Traviata. Other productions include; La Belle Helene (Offenbach), The Threepenny Opera (Weill), Cosi Fan Tutte (Mozart) and Susannah (Floyd). Emma is a graduate from the Western Australian Academy of Performing Arts where she was awarded the Barbara McCleod Scholarship for most outstanding graduating student before continuing her training at the Sydney Conservatorium and then the Royal Northern College of Music (UK).Her performance highlight to date is singing for the late Dame Joan Sutherland’s 80th birthday in her presence and she is delighted to be making her principal debut with WAO as Valencienne.
In concert, he has sung Messiah with Royal Melbourne Philharmonic, Rossini’s Stabat Mater with WASO, Carmina Burana at the New National Theatre in Tokyo, Israel in Egypt with the Berliner Cappella and Faure’s La Naissance de Venus at the Konzerthaus Berlin. His 2017 appearances with Opera Australia include Beppe in Pagliacci and Camille in The Merry Widow; John also sings Camille for West Australian Opera, Carmina Burana for the Melbourne Symphony and Bach’s Mass in B Minor for the Queensland Symphony.
Baron Mirko Zeta
His performances as recitalist, oratorio soloist, recording artist, crossover cabaret artist, opera principal, opera director and more recently choral conductor have consistently drawn superb accolades. Andrew is Head of Vocal Studies at the University of Western Australia and Vocal Coach to the WASO Chorus.
Michael Loney
Njegus
Sam Roberts-Smith
Vicomte Nicolas Cascada
Perth born Michael graduated Outstanding young baritone, from Curtin University (then Sam Roberts-Smith graduated WAIT) in 1977 with a BA in from the Western Australian English. He then worked as an Academy of Performing Arts, was actor in Perth for a few years an Opera Australia Young Artist before training at the renowned and then Principal Artist. Opera’s Bristol Old Vic Theatre School performed include Macbeth, A (1980-82) in the UK with the aid Midsummer Night’s Dream, La of a Rotary Scholarship. Michael Bohème, Lakme, Eugene Onegin, worked all over the UK in theatre, Tosca, Manon, La Traviata, television and radio, most notably Carmen, Der Rosenkavalier, in Coronation St and Howards’ La Sonnambula, Les Pecheurs Way, before returning home in de perles,Madama Butterfly, 1988. Fanciulla del West, Il Torvatore, Le Nozze di Figaro, The Magic Since then Michael has Flute, Bliss, Rigoletto, and Don performed for all the major WA Giovanni. Competition awards theatre companies including include the Australian Singing Hole in the Wall Theatre Competition, the Joan Sutherland Company, Black Swan State Vocal Scholarship, Symphony Theatre Company, Perth Theatre Australia Young Vocalist Company, Deckchair, Barking Award and multiple prizes at Gecko and Effie Crump. the International Paris Opera Awards. In 2015 Sam was one Michael has been nominated of The West Australian Opera’s four times for Best Actor at the inaugural Mentored Artists and Equity Awards and won twice. Later in 2017 Michael will direct in 2016 was the winner of the inaugural Deutsche Oper Berlin The Snake Pit, a tribute to the Award. beginning of Rock and Roll in WA, for His Majesty’s Morning In 2015 Sam joined the TEN Melodies. Tenors touring Australia, North Michael has been a proud member of Equity since 1978.
America and New Zealand. He also made his China debut as Count Almaviva (Le Nozze di Figaro) and Queensland Symphony Orchestra debut (Handel’s Messiah)
Jonathan Brain
Raoul de St Brioche A performer of broad interests, Brain sings opera and sacred music, plays rock’n’roll, writes songs, conducts choirs and teaches music. He has performed regularly with the chorus of West Australian Opera since 2008 and in 2017 will perform the role of Raul St Brioche in The Merry Widow. Brain has also performed as a soloist and chorister for many of Perth’s finest ensembles including the St George’s Cathedral Choir and Consort, and in recital for Art Song Perth. Brain has been a member of the West Australian Opera Company’s Education program since 2009, touring outback and regional Western Australia, and presenting workshops to metropolitan schools. Running parallel to this, Brain is a respected songwriter and session musician, performing and recording in his own right and as an instrumentalist with numerous original music projects. As a professional composer, he has scored a number of independent films, including over 30 short films for DADAA’s (Disability in the Arts, Disadvantage in the Arts) Lost Generation Project. Brain’s latest pilot opera composition is due to premiere in the Every Day Aria’s Film Festival in London 2017.
Thomas Friberg
Harriet O’Shannessy
Mark Hurst
Thomas Friberg began singing early within the St George’s Cathedral Boys Choir. Soon after finishing Tertiary Entrance Music with a flawless final performance score he joined the WA Opera chorus in 2012.
Harriet completed a Bachelor of Laws and practised as a criminal lawyer before attending the Western Australian Academy of Performing Arts from 2002-2003. She then completed a Masters of Music (Opera) at the Sydney Conservatorium of Music in 2005, and attended the Neil Semer Vocal Institute in Coesfeld, Germany in 2009. As a Young Artist with the West Australian Opera from 2011-2012, Harriet made numerous concert appearances and performed roles including the Fourth Maid in Elektra, Ida in Die Fledermaus, and Cousin in Madama Butterfly. Other roles performed include Abigail in the Australian premiere of The Crucible, Gretel in Oz Opera, Hansel and Gretel, Fiordiligi in Cosi fan tutte and Nerina in La Fedelta Premiata.
Mark’s first year with the West Australian Opera was in 1997, and he has been a regular member of the Chorus since then.
Dominik Bogdanovich
Thomas has studied a year in London, singing as a soloist with the Kings College London Opera Society, The Oxford Bach Choir, the National Youth Choir of Great Britain and The Rodolfus Choir and since then has completed his degrees in Physics and Mechanical Engineering in 2014. In Perth, Thomas sung solo performances with orchestras and choral societies such as The MetSO, SSSO, PUCS, UWACS and with choirs such as the St George’s Cathedral Choir and Consort and The Giovanni Consort. Thomas is on the board of Operabox and The Giovanni Consort and enjoys creating more opportunities for new singers in WA. Some roles include: Lord Rochefort (Anna Bolena), Soldier (Barber of Seville), Father (Hansel & Gretel), Sparafucile/ Monterone (Rigoletto), Guglielmo (Cosi Fan Tutte) and Figaro (Marriage of Figaro). .
Sylviane
On the concert platform and in recital, Harriet has sung in Australia, Germany and London. She has been the recipient of scholarships including the Bendat scholarship, the Barbara MacLeod scholarship, a Helpmann scholarship and a Wagner Society scholarship, and she has been a finalist in the Wiesbaden and Puccini competitions. Harriet is the founder of Freeze Frame Opera Inc. and is passionate about introducing new audiences to the magic of opera.
Alexis Kromow
Having performed in at least one full season and Opera in the Park since debuting, for a total of 43 main seasons, plus concerts. In this commemorative year he is thrilled to reprise the role of Kromov in The Merry Widow, and be in the chorus for Tosca and Lucia Di Lammermoor, to conclude his 21st year with the company. Mark is very proud to have been a part of the progression of the West Australian Opera and to help them celebrate their 50th Anniversary.
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Penny Shaw
Mark Alderson
Ileana Rinaldi
Penny fell in love with opera whilst at Oxford University. As student she played the title role in ETA Hoffmann’s Undine and Zerlina in Don Giovanni and on graduation began singing for many of the UK based companies including, English Touring Opera, European Chamber Opera, Holland Park Opera, Pimlico Opera and Travelling Opera. Operatic roles include Violetta (La Traviata), Countess (La Nozze di Figaro), Leila (Les pêcheurs de perles), Musetta (La Boheme), Suzanna (Il Segreto di Suzanna), Donna Anna (Don Giovanni), Rosina (The Barber of Seville), First Lady (The Magic Flute), Frasquita (Carmen), Miss Silverpeal (The Impressario), Adina (L’Elisir d’Amor).
Mark completed his Bachelor of Music at the University of Western Australia in 1996. He completed further studies at the Opera School Wales in 2001 and The Australian National Academy of Music in 2003.
Mezzo-Soprano Ileana Rinaldi was West Australian Opera’s Mentored Artist and Bendat Scholarship winner for 2015. She recently debuted working for Opera Australia as Santuzza for the 2017 both the summer and autumn seasons. Ileana studied at the West Australian Academy of Performing Arts (WAAPA) after which she was awarded a full scholarship to the Australian Opera Studio where she performed the Title role in Bizet’s Carmen, the Title role in The Rape of Lucretia, Donna Elvira in Don Giovanni, Der Komponist in Ariadne Auf Naxos, Marcellina in The Marriage of Figaro, The Witch in Hansel and Gretel, and Mother in The Tales of Hoffman. Ileana’s international debut includes Maddalena in Rigoletto with the Tokyo Opera and was invited to return for performances of the alto soloist in Beethoven’s 9th Symphony. As a Young Artist and Soloist for WAO she was a finalist in the New York Study Award and performed roles La Ciesca in Gianni Schicchi for Opera In the Park, Marthe in Faust, Teresa in Sonnambula, Mercedes in Carmen, La Principessa in Suor Angelica, The Grandmother, Duchess and Crone III in Nostradamus (de Voight) and La Madre di Cio Cio San in Anthony Minghella’s English National Opera production of Madama Butterfly for the Perth International Arts Festival.
Olga
Penny is one half of successful soprano duo DivaLicious who have made several appearances national television; been broadcast to millions across the globe whilst opening The Ashes and recently received standing ovations for both their shows at the Sydney Opera House. Having made her main house debut for West Australian Opera as Olga in 2003, Penny is delighted to be back to reprise the role in 2017.
Konrad Pritschich
West Australian Opera:Mark was young artist for the company in 1998 and 1999. Roles include Antonio in The Marriage of Figaro, Wagner in Faust, Betto in Gianni Schicchi, Morales and Zuniga in Carmen, Cascada in The Merry Widow, Fiorello in Il Barbiere di Siviglia, and Gregorio in Romeo et Juliette. Mark has also been part of the company’s regional tours to Kalgoorlie, Mandurah, Geraldton and Broome. Mark has been a member of the West Australian Opera Chorus since 1994. Other Companies: Baritone soloist for The University Choral Society, Perth Oratorio Choir, Collegium Symphonic Chorus, St George’s Cathedral and Albany Choral Society.
Praskovia
West Australian Opera Chorus SOPRANOS
MEZZO SOPRANOS
TENORS
BASSES
Alexandra Bak
Anne Millar
Ry Charleson
Dudley Allitt
Rebecca Bunn
Caitlin Cassidy
Matthew Dixon
Kristin Bowtell
Fiona Cooper-Smyth
Yann Kee
Louis Hurley
David Dockery
Leilah Fox
Chelsea Kluga
Robert Littlewood
Paull-Anthony Keightley
Lucy Mervik
Monique Simone
Tim McNamara
Jason Kroll
Prudence Saunders
Matthew Salter
Lachlann Lawton
Xiaojia Zhang
Tim Schoenmakers
David Penco
Simon Wood
Nathan Stark
Synopsis ACT 1 The Pontevedrian embassy, Paris. The Balkan state of Pontevedro is facing financial ruin. Its best hope is that Hanna Glavari, a young rich widow, should marry a Pontevedrian and keep her fortune in Pontevedro, rather than risk marrying a Parisian and losing the money to France. The Pontevedrian Embassy holds a state ball to which Hanna and her former lover, Danilo Danilovich are invited. Before her marriage into wealth, Hanna was a poor farm girl whom Danilo’s uncle forbade him to marry. Now the pressure is on to reunite them in marriage. But as Danilo loved the poor farm girl, can he love the wealthy widow?
ACT 2 Hanna’s home in Paris, the next day. Hanna holds a Pontevedrian party. Valencienne, the young wife of the Pontevedrian ambassador, Baron Zeta, continues a fragile romance with a young Frenchman, Camille, who has written a dangerous confession of love on her fan. The intrigue deepens when Hanna and Camille are discovered in the summer house and the hope of her reunion with Danilo appears doomed. ACT 3 Maxim’s Nightclub, later the same evening. Hanna has reserved the popular nightspot, where she sparks Danilo’s anger by her coquettish antics with the grissettes. The various love intrigues are resolved by vital discoveries about Valencienne’s fan – and the will of Hanna’s late husband!
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Lehár’s The Merry Widow “..it was Lehár’s innovative treatment of the waltz that guaranteed the operetta’s fame and the composer’s fortune”
When young Franz Lehár arrived in Vienna in 1902 he found a pleasure-loving city that rivalled Paris in gaiety, charm and savoir vivre. Operetta, however, had reached its nadir and needed revitalising: It lacked sex appeal; the plots were old-fashioned; and the music lacked romance and sensuality. It was perfect timing for Lehar to arrive on the scene, and for his operetta, The Merry Widow to make her grand entrance. Music was in Franz Lehár’s DNA. His father was a bandmaster in the Austrian military service and the son followed in his footsteps, learning piano, violin as well as conducting. From Hungary his family was transferred to many cities in the Austrian Empire before the twelveyear-old Franz was granted a six-year scholarship to Prague’s Academy of Music. It was here that Dvořák advised the young student to “hang up your fiddle, my boy, and write music”. A decade later Franz took this advice when a military posting landed him in Vienna. He was commissioned to write the ‘Gold and Silver Waltz’ for Princess Metternich’s annual ball, thus miraculously unlocking the doors to both the musical and aristocratic worlds of the capital. The waltz became an instant ‘hit’, his publisher was ecstatic and, for the first time in his life Lehar was financially secure. This created the perfect opportunity to quit military service and move into the theatre, where he was appointed Kapellmeister at Vienna’s Theater an der Wien. However, breaking into the competitive world of operetta was not easy, and his first two works in 1904 were flops. Finally Lehár convinced the librettists, Victor Leon and Leo Stein, that he was the right composer for their latest operetta Die Lustige Witwe (The Merry Widow). “This isn’t music” muttered the impresario Karczag as he read Lehár’s finished score. In his view Lehár had strayed too far from the conventional Viennese operetta. He predicted another failure and in the weeks prior to the opening there were many bitter words between management, the librettists and Lehár. Threats and counter threats were made, but Lehár remained positive of a successful premiere. Fortunately his two leading singers were the Viennese favourites Mitzi Gunther and Louis Treumann, who also believed in the operetta’s success. Again it was Lehár’s innovative treatment of the waltz that guaranteed the operetta’s fame and the composer’s fortune. The dual romantic plots of Hanna/Danilo and Valencienne/ Camille gave him the opportunity to indulge in a more sensuous and voluptuous melodic style, that translated into the slower, lilting tempo of the waltz. Operetta was revitalised and romanticised. The Merry Widow was Lehár’s greatest hit. Since its premiere at Vienna’s Theater an der Wien on 30 December 1905 the operetta has been translated into many languages, and is still performed worldwide. Annie Patrick
Thank you
LEADERSHIP CIRCLE ($10,000+) Alexandra & Julian Burt Liz & Erich Fraunschiel Warwick Hemsley & Melissa Parke Sam & Leanne Walsh PRINCIPAL PATRON ($5,000+) Dr Jack Bendat AM CitWA & Mrs Eleanor Bendat Dr Patricia Kailis The Robert Kimpton Family Dr Robert Larbalestier Hon J McKechnie Richard Tarala & Lyn Beazley AO Joyce Westrip OAM BENEFACTOR ($2,500+) Neil Archibald & Alan R Dodge AM Catherine Ferrari Eleanor John Bryant Macfie Annie & Neil Patrick Michael & Helen Tuite Anonymous (1) SUPPORTER ($1,000+) Her Excellency The Honourable Kerry Sanderson AC Betty Barker Gay & Robert Branchi Dr Peter & Mrs Rae Breidahl Peter Briggs Jennifer Brukner Lynne Burford Publicity Mrs Joan Carney Helen Carroll Frank Cooper AO Lorraine Ellard Dr Dennis Hayward Kathryn Hogan & Graham Droppert
Francis Landels Patrick Lilburne Richard Noble & Co Sonia Phelan Maria & Robert Radici Angela Roberts Len & Sue Roberts-Smith Dr Peter Simpson OAM Anonymous (4) TRUSTS AND FOUNDATIONS Bendat Family Foundation James Galvin Family Foundation Stan Perron Charitable Trust Wright Burt Foundation ANDREW AND NICOLA FORREST The generous gift of FMG shares is testament to the Forrest’s commitment to a strong and vibrant arts sector in Western Australia. We acknowledge the Minderoo Foundation. YOUNG ARTIST PROGRAM The Bendat Scholarship James Galvin Family Foundation Mr Andrew Mitchell Society of WA Opera Lovers BEL CANTO FUND Thanks to the leadership donors of the Bel Canto Fund BEQUEST CIRCLE Ailsa West Anita & James Clayton Anonymous (3)
Behind every great artist are loyal supporters. West Australian Opera is grateful for the kindness and generosity of our donors
FRIEND ($200+) Ian & Kerry Adams Prof David Ambrose Cathy Bardon & Bob Cassie Siobhan Beilin David Black Henry Boston Claire Brittain & John McKay Darryl Bruce Mrs Marilyn Burton Mary Carr Dr Charlene Caspersz Carolyn Chard Gary Chard Douglas Clifford & Cliff Eber Tony & Sheila Cockbain Helen Cook Peter Davies Ian Dewar Peter Edwards Mrs Shirley Egan John Evans Noel and Freida French Friends of His Majesty’s Theatre George Gavranic T & E Gerner Isobel Glencross Mindy Green & Stephen McDonald Cameron Gruber Peter Hawkins Christine Hedges Dr Penny Herbert Mary Hillman Ian & Sue Hobson Keith Holt & Anne Fuller Robin Horne & Taui Pinker Prof Lynne Hunt Margaret Jarman Dita Jevons Norma & Max Kay AM CitWA
Ulrich & Gloria Kunzmann Dr Louis Landau Suzette Landels Rosalind Lilley Megan Lowe Jill Lowes Dr Toby Manford Rosemary McGlashan Anthony Munro Katharine Nash Celia Patterson Anne Pedlow Jennifer Rankin Emie Robinson Henry Simmons Dr Louise Sparrow Kim Spence Jan Stacey Margaret Stockton Warren Surtees Mrs Janet Thackray Jeanette Thompson Yannis Vrodos Diana Warnock and the late Bill Warnock Miss Anne Watson Olive Wheeler-Brennan Dr Peter Winterton Anonymous (10)
West Australian Symphony Orchestra On stage tonight Violin Semra Lee-Smith
A/Assoc Concertmaster
Graeme Norris
A/Assistant Concertmaster
Kylie Liang
Assoc Principal 2nd Violin
Stephanie Dean Beth Hebert Sunmi Jung Christina Katsimbardis Ellie Lawrence Ken Peeler Louise Sandercock Bao Di Tang Susannah Williams° Viola Alex Brogan
A/Principal Viola
Benjamin Caddy Rachel Kirk Allan McLean Elliot O’Brien Cello Louise McKay
Chair partnered by Penhros College
Shigeru Komatsu Oliver McAslan Xiao Le Wu
Double Bass Andrew Sinclair* Joan Wright Andrew Tait
Trumpet Matthew Dempsey° Peter Miller
Flute Mary-Anne Blades
Trombone Liam O’Malley Michael Ingle^
Piccolo Michael Waye
Bass Trombone Philip Holdsworth
Oboe Peter Facer
Tuba Cameron Brook
Cor Anglais Leanne Glover
Timpani Alex Timcke
Clarinet Alexander Millier
Principal Bass Clarinet Clarinet
Lorna Cook
Bassoon Adam Mikulicz
A/Principal Bassoon. Chair partnered by Sue & Ron Wooller
Chloe Turner
Principal Contrabassoon
Horn Julian Leslie Robert Gladstones Principal 3rd Horn
Francesco Lo Surdo Julia Brooke
Percussion Brian Maloney
Chair partnered by Stott Hoare
Chiron Meller°
Assoc Principal Percussion an Timpani
Joel Bass ^ Robyn Gray^
Harp Bronwyn Wallis^ Principal Associate Principal Contract Musician° Guest Musician^ *Instruments used by these musicians are on loan from Janet Holmes à Court AC.
Photograph by James Rogers for West Australian Opera
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Proudly supporting WA Opera
Staff WEST AUSTRALIAN OPERA STAFF General Manager Carolyn Chard
VICE REGAL PATRON Her Excellency the Honourable Kerry Sanderson AC Governor of Western Australia
Artistic Director Brad Cohen
Chairman Terry Bowen
Production Manager Mandy Farmer
Deputy Chairs Catherine Ferrari Andrew Pascoe
Head of Music Thomas Johnson Development Manager Coralie Bishop Accountant Debbie Liebgott Artistic Administrator Rebecca Kais Education Manager Terasa Letizia Marketing Manager Danielle Ierace Marketing Assistant Daniele Foti-Cuzzola Office Coordinator Marion O’Connor Publicity Lynne Burford Financial Accountant Sue Hobson Sales Consultant Rachel Sait Regional Project Manager Melanie Timms
Board Directors Julian Burt Mario D’Orazio Warwick Hemsley Darren Lewsen Ingrid O’Brien Jan Stewart PATRONS Dr Jack Bendat AM CitWA Cav Uff Giuseppe Bertinazzo OMRI WEST AUSTRALIAN OPERA HONORARY LIFE MEMBERS Dario Amara Cav Uff Giuseppe Bertinazzo OMRI Hon Julie Bishop MP Frank Cooper Erich Fraunschiel Colin Goddard Francis Landels Bruce Martin AM Margaret McManus Dr Richard Mills AM Annie Patrick Marilyn Phillips Vincent A Warrener AM KHS
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HIS MAJESTY’S THEATRE STAFF Manager Helen Stewart
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