ON SALE 28 AUG stateopera.com.au AUSTRALIASOUTHOPERASTATEPRESENTS 11 12 NOV 2022 TWO NIGHTS ONLY HER MAJESTY’S THEATRE
STATEOPERASOUTHAUSTRALIA PRESENTS VIOLETTAVALÉRY LaurenFagan ALFREDOGERMONT KangWang GIORGIOGERMONT JamesRoser BARONDOUPHOL PelhamAndrews MARQUISD’OBIGNY JeremyTatchell GASTONE MarkOates DOCTORGRENVIL AndrewCollis FLORABERVOIX CherieBoogaart ANNINA TeresaLaRocca GIUSEPPEJiachengDing MESSENGER JamieMoffatt SERVANT DanielGoodburn ACTOR-DANCERSPhoebeSurman MaxWalburn CONDUCTOR OlivervonDohnányi DIRECTOR SarahGiles SET&COSTUMEDESIGNER CharlesDavis LIGHTINGDESIGNER PaulJackson CHORUSMASTER AnthonyHunt INTIMACYCOORDINATOR RuthFallon STATEOPERACHORUS ADELAIDESYMPHONYORCHESTRA Thursday25,Saturday27,Tuesday30August Thursday1andSaturday3September2022 HERMAJESTY’STHEATRE,ADELAIDE MusicbyGiuseppeVerdi LibrettobyFrancescoMariaPiave aftertheplay LaDameauxcamélias byAlexandreDumas fils Duration:2hoursand20minutes,includingone20-minuteinterval SunginItalianwithEnglishsurtitles ACO-PRODUCTIONWITHOPERAQUEENSLANDANDWESTAUSTRALIANOPERA
LORINAGOREANDKANGWANG(PHOTO:JADEFERGUSONFOROPERAQUEENSLAND)
Ofcourse,whatyouseeonstageisonlythetipofthe iceberg.EverydayI’mamazedatthecommitment, energyanddedicationoftheStateOperateam: behindthescenesandintheoffice,whereincredibly talentedhumansworkwithpassiontobringoperato life.Mythanksandappreciationgotoallofthem. Andtoyou,ourwonderfulaudience,bolsteredby donors,sponsors,friends,partnersandtheBoardof StateOpera,thankyouforyourincrediblesupport andenjoytheshow! JohnIrving INTERIMEXECUTIVEDIRECTOR StateOperaSouthAustralia FROMSTATEOPERA Welcome
O PERA BYITSVERYNATURE ISRELIANTON collaboration.Betweenvoices,performers, musicians,crew,setdesigners,producers, costumes,lighting,andsomanymore.Successful collaborationsmaketheoutcomesomuchmorethan thesumoftheparts,andIthinkthisco-production withOperaQueenslandandWestAustralianOperais theperfectexample.
FromthebeginningofhisterminAdelaide,Artistic DirectorStuartMaunderwasadamantthatthepeople ofSouthAustraliadeservedmoreopera,andhe delivered.Fromtheoutdoorspectacularsof intheSquareandBohèmeontheBeach chamberworksandthought-provokingpresentations ofthegrandoperacanon,audienceshaveflockedto experiencethespecialbrandofmagichehasbrought tothestage.
Carmen
tostunning
YoumaybeawarethatStuart’stimeatStateOperais comingtoanendinmid-2023,buthislastseasonwill beagreatcelebration–staytunedforsomeexciting programannouncementsintheweekstocome.
THERE’SAFAMOUS1950SKUROSAWAFILM called Rashomon.Thestoryitselfisfairly straightforward.Setinthewoods,theplot followstherapeofawomanandthemurderofher samuraihusband.Thesamestoryistoldfourtimes, eachtimefromtheperspectiveofadifferentwitness: firstfromtheperspectiveofthebandit-rapist,then thewoman,thenthesamuraiandfinallythewoodcutter. Eachversionofthestoryisremarkablydifferentand yettheyarealltellingthesamestorywiththesame keyevents.Perspectivechangeseverything.It’swhy werevisittheclassicsoverandover. Thestoryof Latraviata isbasedonthenovel La Dameauxcamélias (TheLadyoftheCamellias,1848) byAlexandreDumas fils.Dumaswrotethisnovel basedlooselyonhisreal-liferelationshipwiththe courtesanMarieDuplessis.Hisnoveltellsthestory ofafictionalcourtesan,Marguerite,andherlover Armand.Thestoryistoldfromtheperspectiveofthis lover,Armand,whoisinterviewedbyanotherman, anunknownnarrator.Thenovelwaslaterturnedinto astageplayonwhichVerdiandhislibrettistPiave based Latraviata.OurViolettaandAlfredoare anotherDumasandMarie,andanotherMarguerite andArmand.Threetimesoverwehavethestoryof thiswoman,toldthreetimesfromthesameperspective.Weneverhearthestoryfromherperspective. Promptedbythis,Ihunteddownafirst-hand accountofthelifeofacourtesanfromthe1800sin Paris.Icameacrossanextraordinarybook,publishedbyafamouscourtesanofthetimeknownas CélesteMogador. Shemanagedtohaveherdiaries published–anunparalleledachievementforhertime. Mogador’sstoryisnotdissimilartothatofour ViolettaValéry,orMarieDuplessis,orMarguerite Gaultier,thepointofdifferencebeingthatshesurvivedagainstalltheodds. Thedayshedecidedtoescapeherabusivehomeand becomeaprostitute,Mogadorwrites: —Iamdealingwithanatrociouseventandadreadfuldayinmylife.Therehasbeeninmylifeonereally horridday.InthemorningIwaspure.Intheevening Iwasruined.ThenextdayIwouldhavegivenhalfmy lifetotakebackthestepIhadtaken,butthereare ladderswecannevergobackup…Iamgoingtotry torecount,aschastelyaspossible,themost unchastelifeintheworld. Heraccountsarechilling.Womenofacertainclass hadachoicebetweenabuseandabjectpoverty,or sellingtheirbodiesformoney.
—Forthewomanwhohasfallensolow,thereisno family.Yourparentsdisownyouandtrytoforget you...Marriageisoutofthequestion.Themanwho wouldwanttounitehisfatetoyourshesitatesbefore theprospectofaskingthepoliceprefectforyour hand.
—Motherhood?Yourchild’sfirstkissistorture,its firstwordareproachbecauseyoucannotidentify thefather…Ifitisaboy,whenhebecomesamanhe willscornyou.Ifitisagirl,youareafraidtokeepher nearyou.Sometimes,tiredofself-reproach,Iwould blamesociety.Iwouldtellmyselfthatitisbarbaricto allowasixteen-year-oldchildtoenterintosucha despicablecontract…thelaw,whichdoesnotallow hertomanageherpropertyuntilsheistwenty-one, letsasixteen-year-oldgirlsellherbody.
Her Perspective DIRECTOR’SNOTE
Mogadorwritesofherfirstweeksinthebrothel: —Itisdifficulttobelievethathumanbeingscould becomeaccustomedtothesedreadfulprisons.Ihad notbeenthereaweekthatIhadonlyonethought: gettingout.Thevisitorsweresodistinguishedandso richthat,deluded…IimaginedthatrightawayI wouldfindsomeonewhowouldhelpmegetoutof there.Buttimepassed,andthisunknownprotector wasnotcoming.Onthecontrary,eachdaymy chainsbecameheavier.
Thislackofcomplexityisaquestionofperspective, becausesooften,thesewomenhavebeenwritten fromtheperspectiveofmenfromabygoneera. Idon’twanttothrowawaytheseoperas,Isimply wanttoaskwhenwe’restagingthem:Whyarewe doingthisnow,andarewelookingatitfromanew perspective? SarahGiles©2022 CÉLESTEMOGADOR,orsimplyMogador,was thestagenameofÉlisabeth-CélesteVenard, comtessedeChabrillan(1824–1909),whosefirst volumeofmemoirswaspublishedin1858.She escapedprostitutionforlifeasadancer,singerand actress;becamethemistressofLionel,comtede Chabrillan;andonmarriagetohimin1854,spent severalyearsinMelbourne,wherehe’dbeensentas Frenchconsul-general. QuotationsfromMoniqueF.Nagem’stranslation, MemoirsofaCourtesaninNineteenth-Century Paris (UniversityofNebraskaPress,2001).
PHOTO:THATPHOTOGRAPHYPLACE
Themenwhovisitedthesebrothelshadfamilies, wives,highpositionsinsociety,jobs.Theywereable toenterandexittheseworldswithouttroubleor ‘staining’theircharacter.Butforthewomen,they wereprisons.Onceyouhadyournameregisteredto sellyourbody,youcouldneverhaveyourname removed;onceaprostitutealwaysaprostitute.
SarahGilesinrehearsal
Thedoublestandardsandhypocrisyofthetimeare breathtaking.Andincrediblyfamiliar–Roev.Wade, acaseinpoint. Latraviata hassomuchtosaytous aboutourcurrentgenderpoliticsandoursociety, whatsortofwomenwethinkareworthyof‘redemption’andhappinessandhowtheyshouldbehave. Examiningthepresentthroughtheprismofanother eraisextremelyuseful.It’swhywecontinuetorestagetheclassics;wecanlearnsomuchaboutour presentselvesfromourcollectivepasts. Manyareinfuriatedbytheoperaticcanon;the femalecharacterseitherdie,areraped,orarevirgins.
Theofficialobjectionstohisoperacanhardly havecomeasasurprisetoVerdi.Heandthe librettistFrancescoMariaPiavehadalready lockedhornswiththeVenetiancensorstwoyears earlierover Rigoletto,and LaDameaux camélias,AlexandreDumas fils’stageadaptationofhisownevenmorescandalousnovel,on which Latraviata wasbased,hadbeenbanned forseveralyearsbeforeitscontroversialParisian premierein1852.UltimatelyVerdiappeasedthe censors,reluctantlyagreeingtomovetheopera’s actiontothe17thcentury,‘thetimeofRichelieu’, withchintzysetsandcostumestomatch.One wondershoweffectivethisdistancingdevicecan reallyhavebeen:Verdi’saudiencewassurelyall toofamiliarwithhissensationalsourcematerial.
MODERN
Failurefrequentlybodeswellfornewopera–or atleastitusedto.Puccini’s MadamaButterfly, Rossini’s BarberofSeville andBizet’s Carmen all floppedsoundlyattheirpremieres,andyettoday we’dscarcelyrecognisetheoperaticlandscape withoutthem.Nordoesahintofscandalhurt theirchances:theshockvaluethatoncesaw Strauss’s Salome fallfoulofthecensorsisnowits stock-in-trade.
Thusitwasfor Latraviata.WeknowVerdi’s operanowasamainstayoftheatrestheworld over,yetwhenitpremieredatLaFeniceon6 March1853,thecomposerhimselffamously declaredita‘fiasco’.Alreadybattle-wearyfrom dealingswiththecensors,whoquestionedthe moralityofitssympatheticdepictionofasocalled‘fallenwoman’,Verdiwasalsofrustrated byhiscastofsingers,whowerebyallreports poorlysuitedtotheirroles.Afterashort,ill-fated run,theoperawaswithdrawn,afailureinthe mindofitscreator. Soenmeshedarecertainelementsof Latraviata inthepopularconceptionofoperanow–the consumptiveheroine,thedoomedromance,the chorusesandthecrinolines–thatit’sdifficultto imaginehowsurprisingtheoperawouldhave beenatthetimeofitsconception.Departingfrom thegrandhistoricalsubjectswhichhaddomi‐
ABOUTTHEOPERA
An
natedhisearlycareer,Verdinowsoughttodepict thepersonal,ratherthanthepublicorpolitical, andademi-mondewhichwasunmistakablyand unshrinkinglycontemporary.Violettaisneither ancientqueennorbiblicalheroine,butanirre‐sistibly(ineverysense)modernwomanwhose virtuesandflawsVerdi’saudiencescouldreadily recognise–whetherornottheycaredtoadmitit.
Itwasnotonly Latraviata’ssubjectmatter whichmarkedadepartureforVerdi,buthis musicaltreatmentofitaswell.Whiletheopera’s highlights–theopeningdrinkingsong,Violetta’s With Latraviata,Verdiabandonedhisqueensandbiblicalheroinesforawoman whowasunmistakablycontemporary,andhecraftedmusictomatch. irresistibly woman
Oneneedn’thaveawordofItalianto
stagethework.NotuntilMayofthefollowing yearwasitrevivedatVenice’sTeatroSan Benedetto,stillwithits17th-centurysetting(as wouldbethecaseforallproductionsforatleast anotherhalf-century)butnowwithacastofprin‐cipalswhometevenVerdi’sexacting standards.Thenew,improved La traviata wasatriumph,andits progressthroughoutthegreat stagesofItalyandtheworld wassoonunstoppable.Critics mightstillhavequestionedits morals,butaudiencescame intheirdroves,andbythe endofthedecadeithadbeen seeninatleasttwentycoun‐tries–includingAustralia, whereitwasfirstproducedin Melbournein1860. Morethan150yearslater, Latraviata hasyettocedeits placeatthecoreofthemain‐streamrepertoire,astapleof operahouses,divas,andindeeddiva worshipperseverywhere:accordingto operabase.com,the2019–20seasonalone–the lastbeforeCOVID-19hit–saw868perfor‐mancesoftheoperain181productions.Itsdays ofcensorshipandenforcedanachronismhave passed,andnowtheoperaenjoysinterpreta‐tionsofeverystripeandstyle,fromthe traditionalandopulenttothestarklymodern. ViolettaValéry’slifeanddeathmaynolonger scandaliseus,buttheirpowertoshockandto moveustotearsremainundimmed.Willwestill bediscussingLatraviata’senduringappealin another150yearsfromnow?Timewilltell…but wemighthazardaguess. SarahNoble©2022 SarahNobleisafreelancewriterandartsadministratorbasedinthenorthofEngland.Shewas previouslyArtisticAdministratoroftheInternational OperaAwards.PORTRAITOFMARIEDUPLESSIS,THEINSPIRATIONFORVIOLETTA,BYEDOUARDVIÉNOT(1804–1872)
Moststrikingofallinthis respectissurelytheextend‐ed,tonallyshiftingActIIcon‐frontationbetweenVioletta andAlfredo’sfather,inwhich thepairfirsttalkatandpastone another,beforeslowlyreaching theirunhappymutualunderstanding.
complexandsympatheticwomanthanthe Jezebelhehascometobanish.Theirdistinctive musicallanguagescompete,clashandeventu‐ally,heartbreakingly,combinetoformthe opera’semotionalcentre.
Alfredowasunwell,andinpoorvoice;Felice Varesi,Verdi’soriginalRigoletto,dislikedhis unconventionalpartasGermont;andwhile FannySalvini-Donatellireportedlysailed throughVioletta’sfloridActImusic,shewas undonebytheactsthatfollowed–andjeeredby apublicwhojudgedhertoooldandoverweight toconvincinglyembodythedyingheroine.‘Was thefaultmineorthesingers’?’Verdiwrotethe nextdaytohisfriendandstudent,thecomposer EmanueleMuzio.‘Timewilltell.’
virtuosicActIfinale,andherdevastatingActIII farewell–mightliftouteasilyenoughforconcert andsoloalbumpurposes,onstageitsariasand ensemblesflowseamlesslyintooneanother, arisingorganicallyfromtheaction.Insteadofa stringofrigidlystructurednumbers,thereis aconversationalqualitytothemusic, adelineationofcharacterandan approximationofrealism,at leastbythestandardsofthe era,whicharenew:asifin abandoninghisstaidformer subjects,hiskings,warriors andclergymen,Verdihas alsofreedhimselffromtheir musicalstrictures.
Audiencesatthatopeningnightin1853were lessconvinced.Thoughinitiallyenthusiastic,their applausedwindledastheeveningprogressed, hardlyhelpedbythreeprincipalswhostruggled todotheirrolesjustice.LodovicoGrazianias
senseVioletta’sdignityorthesincerityofher passion,nortocatchtheominousbreathlessness ofherphrasing,whilethemoralisingGermont père audiblysoftensinthefaceofafarmore
Thesemisgivings,andcontinuingrowsovercen‐sorship,causedVerditorejectseveral approachesfromotherItalianoperahousesto
LOOKING at LATRAVIATA DESIGNER’SNOTE
byVilhelmHammershøi(Danish,1864–1916)
InteriorfromtheHomeoftheArtist
Inourproduction,thearchitectureofthespace, whilenaturalisticinitsdetailing,issuggestiveof Violetta’sinternalworld.Inestablishingthisspace, bothtangibleandpsychological,ourresearchtook ustoportraitsoflonelinessandisolationcaptured byartistsfromtheoriginal19th-centurysettingto themodernday:VilhelmHammershøi,Edward Hopper,AndreiTarkovskyandAnne-Françoise Couloumy,tonameafew.
Indeciding when tosetthework,Sarah,Pauland Iwereinagreementthataperiodsettingneednot limitourabilitytoexplorethekeyideasofgender andclassthatpermeatetheoperaandresonatein ourmodernworld.Wealsofeltnopressuretobe toospecificwithsetting.Theproportionsoftheset andthesilhouettesofthecostumesaredrawnpri‐marilyfromthelatterhalfofthe19thcentury.We havemaintainedthecorsetedbodicesandlayered petticoatsoftheoppressiveVictorianfemalesilhou‐
LORINAGORE(PHOTO:DAVIDKELLYFOROPERAQUEENSLAND)
Wewerestruckbytheopportunityaffordedin thevoyeuristiclensoftheseworksandhowwe couldbringthistothestagetorevealanhonest perspectiveofVioletta’sexperience.Thecom‐partmentalisedlayoutofthesetallowsfor concurrentviewsintobothVioletta’spublicand privatelife.Thespaceisattimeslabyrinthineand attimesopen,shiftingtosupportherjourney.
Theentirefirstphaseofthedesignprocessforthis productionof Latraviata wascompletedin lockdown.Earlyonweexchangednotes,artwork andreferenceimagery,butitwasn’tuntilsomeway intotheprocessthatSarahGiles,PaulJacksonand Istoppedtoappreciatetheinherentirony–given thesocialcontextinwhichwewereworking–in someofthekeyconceptualideasthathadrevealed themselves.
ette,buttakenlicensewiththedetail,fabric selectionandconstruction,referencingcouturiers whohavereinvented19th-centuryfashionoverthe years:CharlesJamesandChristianDiorinthe 1950s,VivienneWestwoodinthe90sandValentino inrecentyears. Whilethedesignphaseofthecreativeprocesswas spentinakindofsolitudecompassionatewiththe experienceoftheopera’sprotagonist,therealisa‐tionphaseoftheprocessinvolveddozensofhighly skilledcreatives,performers,craftspeopleandtech‐nicianscomingtogetherunderoneroof.Iam incrediblygratefulforthetirelessworkofeach memberoftheproductionteams–bothinBrisbane, wherewepremieredthisproduction,andherein Adelaide–andIhopeaudiencesenjoytheworld wehavecreated. CharlesDavis©2022 Violetta’sgownforActI–asilhouetteboth Victorianandcontemporary
TheTimes denounceditas‘an exhibitionofharlotryuponthepublicstage’and‘the poetryofthebrothel’,adding:‘Alltheinterestisconcentrateduponthedeath-strugglesofthiswretched girl.Itisforherthatpityisasked,anditistoherthat pityisgiven…Now,wesaythat,morallyspeaking, thisismosthideousandabominable.’JournalistTom Service,whoin2015co-presentedaBBCdocumentaryonVerdi’sopera(FallingfortheFallenWoman), commented:‘Latraviata exposedanopenwoundof hypocrisy,misogynyandsexualpoliticsattheheart ofEuropeansociety.’Yet Latraviata bothrepelled andenrapturedaudiencestobecomeanoperaofravishingappealandlastingemotionalpower. Nowarcaneandoutmoded,theterm‘fallenwoman’ becamelooselyassociatedin19th-centuryEnglish societywiththemoralturpitudeandaudacityofperceivedpromiscuityandfemalesexualindependence. It’sinterestingtoapplythislenstoworksofartinthe collectionoftheArtGalleryofSouthAustralia. AGSAisunabashedaboutitslooseningofthehistoricalcorsetswhenitcomestoexhibitionmaking,aswe juxtaposeworksofartacrosstimetoforgespirited conversations.Afterall,allgreatartwascontemporaryonce.Inthecurrentexhibition RobertWilson: Movingportraits,Ihavebroughttogethertworapturousworkstoexploreparallelideasabout performanceandthefemalegazeinacounterpointof controlandaction. Texan-bornRobertWilsoniswellknowntoopera andtheatreloversasatoweringfigureformorethan sixdecadesontheinternationalstage.HisownproductionofLatraviata,whichpremieredin2015in Linz,Austria,wasawashwithhisdefiningqualitiesof exquisitelighting,precisemovementsandaminimalistpaletteashecreatedanotherworldoffloating glassshardsandluciddreaming.For Movingportraits,wehaveincluded23ofWilson’sVideo Portraitsalongside‘rhymingworks’thatspan20centuriesand12countries,selectedfromtheGallery’s collection.Thevideoportraitsmovebackandforth intime–theyareevocationsofindividualsoulsas wellasmeditationsoncharactersdrawnfromhistory, art,literature,scienceandmythology,frompopular culturetoFrenchneoclassicalart,fromHollywood NOT Falling
Thefemalesexualindependence depictedin Latraviata both repelledandenraptured audiences. RHANADEVENPORT appliesthelensofthe‘fallen woman’totheworldofvisualart.
Flying
ARTINITSMANYFORMSALLOWSUSTOSEE moreclearlythecontemporaryworldwe inhabit.Whetherit’samuch-lovedopera performedformorethanacenturyoraworkofvisual artseenforthefirsttime,artcanhelpusclarifyour understandingoftoday’sissues,expandoursensorial experience,andframeourworldview.
Take Latraviata (meaning‘TheFallenWoman’)and theportrayalofwomen.Theoperaderivesfrom AlexandreDumas fils’splay LaDameauxcamélias (1852),adaptedfromhis1848novelofthesame name.ThestorywasbasedonDumas’saffairwiththe hotlypursuedbeautyandParisiancourtesanMarie Duplessis,whodiedagedamere23.Latraviatatells thetragiclovestoryofthecourtesan(aka‘fallen woman’)ViolettaValéryandtheromanticfigure(aka ‘hero’)AlfredoGermont,toldfromAlfredo’smale perspective.
ItwasfirstperformedinVenicein1853toarather shockedaudienceandthreeyearslaterithitLondon bystorm,generatingahealthyswatheofrighteous indignation.In1856
Wilson’s DitavonTeese,Burlesque Performer,2006,isaccompaniedbyAustralianphotographerPatBrassington’s TheLongGoodbye,2017,acquiredbythe Galleryfortheexhibition.Thesetwo worksofferaninversionof‘thefallen woman’;theyareflying,notfalling.Dita vonTeeseisdepictedbyWilsoninfull controlonaswingand,locatedhighon thegallerywall,hisworkencapsulatesthe singer,performer,actorandbusinesswoman.DitavonTeesehasbeen applaudedforre-energisingburlesque andfetishismonherowntermsandhas elegantlycraftedherpolishedpersona, whichharksbacktothecinematicallure ofthe1940s.Herpinksequinnedcostume rhymesbeautifullywiththedazzlingpink silksin TheLongGoodbye.
DitavonTeese,BurlesquePerformer (2006)by RobertWilson(bornWaco,Texas,1941) HDvideo,musicbyEthelMerman CourtesyofRWWorkLtd alluretoJapaneseanime,andfromthe worldofrareandbeautifulanimals.They existinaholdingpatternofsuspended time,aswouldaconjuredrecollectionora lingeringmemory.Mereminuteslongand endlesslylooping,theyareexperiencedas movingpictures,hoveringbetweenaction andstasis,bothstillvideosandmoving stills.AsWilsonsays,‘Ifwelookcarefully,thisstilllifeisareallife’.They inhabitashiftingspacethatspansreality, apparitionandimagination.
SerpentineDance,recordedon filmin1905,whichcombinedaflowingcostumewith idiosyncraticchoreography.Called‘themagicianof thestage’,shewasagamechangerinherindependenceandtheradicalityofherchoreographyand theatricallighting.TheambiguityinBrassington’s imageisthedisruptiveinclusionofamask-likeand
PatBrassingtonisconsideredoneof Australia’sleadingseniorphotographic artists,withaninternationalreputation forcreatingoriginalimagesthatconsider issuesofthefemalebody,thegazeandthe subconscious.Thisphotographisaquintessentialandprovocativeworkby Brassington,ravishinginitspaletteand itssensuousabandonment.Herdistinctivephotomontagescoalescetheprosaic withtheparanormalandthemundane withthefantastical.Thefemalefigureis suggestiveoftheinnovative,avant-garde AmericandancerLoieFuller.Fullerwasembracedas anemblematicfigurewithintheFrenchartnouveau forworkssuchasher
felineblindfold;thisjuxtapositiondefieslogic,and theimageoffersfewcluestodecodethenarrative.‘I aimtopitchmyimagesjustoffthevergeofnormality, intothosedensepatcheswherethecommonplace goesawry,’shesays.Brassington’srecentandpreternaturalcolourworkswithcinematiccompositions arecraftedfromunexpectedsuperimpositionsof bothfoundimagesandherownimages.Theseevocativeandsensualimagesareinfusedwithseduction andrepulsion,andyeteschewdefinitivenarrativesor literalmeaning.Brassington’sworksactasmeditationsontheprosaicandtheotherworldly;attimes sexuallychargedwithallusionstotheinterpersonal andtheillicit,theyareaccompaniedbyaquestfor psychologicalinquiry,areheadywithsymbolism,and alludetomystiqueandtheunconscious.
Ihavebeenlongfascinatedwiththedifferentcreativepathwaysthatexistwithinvisualartsand performingarts.Somuchofvisualartispureinventionandpresentation,whileforliveartstheemphasis
isoftenonreinterpretation,representationandreinventionofexistingtexts,choreographyorscores.Yet theexcellenceandpowerwithinbothfieldsofcreativeendeavourspeakacrosstimetorestentirelyon radicalityandpresciencetomakeworkthatconnects,movesandendures. Sowheredoesthisleave Latraviata?Onthisoccasion,intheverygoodhandsofSarahGiles.If herdirectionof Lorelei forVictorianOperain2018 isanythingtogoby,thisproductionpromisestobe powerful,sensuousandvividlycontemporary. RhanaDevenport ONZM ©2022 Director,ArtGalleryofSouthAustralia TheLongGoodbye (2017)byPat Brassington(bornHobart,1942) Pigmentprint,90x72cm ProposedacquisitionbyTracey Whiting AM throughtheArt GalleryofSouthAustralia ContemporaryCollectors2022 ImagecourtesyoftheArtistand ARCONEGallery,Melbourne These evocativeand sensual imagesare infusedwith seductionand repulsion…
ACTII,SCENE1
Violettaagreestosacrificeherhappinessand departsforParis,leavingafarewellmessage forAlfredo. ReturningtofindViolettagone,Alfredois devastated.Despitehisfather’sattemptsto consolehim,Alfredoleavestoconfrontthe womanwhohasbrokenhisheart. Woundedandhumiliated,Alfredoretaliatesby throwingmoneyatVioletta’sfeet–apayment forherservices.Germontreproveshissonfor thisbehaviour. ACTIII Violetta’sbedroom ThedoctorhasgivenViolettajustafewhoursto live. ViolettareflectsonaletterfromGermonttelling herthattheBaronwasonlywoundedinhisduel withAlfredo.GermonthasrevealedVioletta’s sacrificetoAlfredo,who–havingfledthe country–isreturningtoseekherforgiveness.
ACT I Violetta’sParissalon
Astheguestsmaketheirwaytotheballroom, AlfredoconfesseshisloveforherandVioletta considersifalifewithfinancialsecurityisworth sacrificingfortruelove(‘Semprelibera’).
Atthesametime,Alfredo’sfather,Giorgio Germont,visitsViolettatoaskhertogiveupher relationshipwithAlfredo.Hemakesitclearthat herinvolvementwithAlfredowillbetheun‐doingoftheGermontfamily,threateningthe daughter’sengagement.
Violetta’shomeoutsideParis
AlfredohaswantedtomeetViolettaforsome time.Heisintroducedtoherbyhisconfidant Gastone.SheconvincesAlfredotosinga drinkingsong.Hetoaststolove;shetoaststo freedom.
Alfredohastenstoherside,onlytofindheron thebrinkofdeath. Tocomforther,Alfredotalksofplansforanew lifetogetherawayfromParis.Violetta’slast thoughtsareoffreedom,hopeandloveasshe diesinAlfredo’sarms.
Violettaisunwell.Afterspendingtimeina sanatoriumtotreathertuberculosis,the notoriouscourtesanmarksherreturntoParis withalavishparty,enteringonthearmofher currentlover,BaronDouphol.
Threemonthslater,ViolettaandAlfredoare nowlivingtogetherinthecountryside,madlyin love–butatwhatcost?Violettahasbeen sellingherbelongingstopaytheirexpenses. WhenAlfredofindsout,he’swrackedwithguilt andleavesforParistoorganisemoney.
ACTII,SCENE2 PartyatFlora’shome Violettaarrivesatanopulentpartyhostedby fellowcourtesanFlora.Oncemoresheisonthe armoftheBaron.Alfredoisgambling. AlfredobeginstoinsulttheBaron,challenging himtoagameofcardsinwhichhefailstowina singlehand.ViolettabegsAlfredotoleavethe partybeforetheBaronseeksrevenge,but Alfredowon’tleavewithoutVioletta.Knowing thedangerhefaces,Violettaattemptstosave AlfredobydeclaringlovefortheBaron.
Synopsis
OlivervonDohnányi CONDUCTOR Prague-basedOlivervonDohnányireturns toAdelaidehavingmadehisAustralian debutin2019conducting Carmeninthe Tosca (OperaQueensland).BorninTrenčín, Slovakia,hestudiedinPragueandVienna beforemakinghisconductingdebutwiththe SlovakRadioSymphonyOrchestra. At28,followinghissuccessfulproduction of TheBarberofSeville for SlovakNational Opera,hebecametheyoungestmusicdirectorinthehistoryofthecompany,conducting inBratislavaandontour,including Faust and PrinceIgor attheEdinburghFestival.Three yearslaterhewasalsoappointedconductor oftheSlovakPhilharmonic.Hiscareerthen tookhimtoPraguewhere,afterappearingas aguestconductor,hewasappointedMusic Director,apostheheldforsevenyears.
Since2020hehasconductedforBulgarian NationalOperaandHungarianStateOpera, andheconductedMahler’sEighth SymphonyfortheopeningoftheEiffelArt Studios.Earlierthisyearhepreparedanew productionofJánCikker’smilestoneopera
Square (StateOperaSouthAustralia)and
From2006to2010hewastheArtistic Director,OperaoftheMoravian-Silesian NationalTheatre,andfrom2015to2020 chiefconductoroftheUralOperainYekaterinburg,wherehisproductionswonseveral GoldMasks,Russia’shighesttheatreaward.
HehasalsoconductedforEnglishNational Opera,BavarianStateOpera,Badisches StaatstheaterKarlsruhe,MannheimNational Theatre,SeattleOpera,NewZealandOpera andOperaNorth,aswellassymphony orchestrasworldwide.
CharlesDavis SET&COSTUMEDESIGNER CharlesDavisisanaward-winningsetand costumedesignerforopera,theatre,dance, andfilm.Earlierthisyearhedesignedtheset fortheAdelaideFestivaldancework Manifesto (StephanieLakeCompany). Hisdesignsforoperainclude SevenDeadly Sins and TheMahagonnySongspiel setdesign (RedLineProductions); TheCoronationof Poppea and Artaserse design(Pinchgut Opera); Biographica design, BreakingGlass setdesignand OMensch! costumedesign (SydneyChamberOperaandSydneyFestival); NedKelly (PerthFestivalandLost& FoundOpera);and HanselandGretel design (QueenslandConservatorium).Hewasalso associatesetdesignerforOperaAustralia’s productionsof Carmen, directedbyJohn Bell,and TheMerryWidow,directedby GraemeMurphy. Histheatredesignsinclude NoPay?No Way!, RulesforLiving, TheRealThing and TheWharfRevue 2018–2020(SydneyTheatreCompany); BuyerandCellar and The KitchenSink (EnsembleTheatre); Happy Days and TheWhale (RedLineProductions); and Fly and MobyDick (Lano&Woodley nationaltour).Hewasassociatesetdesigner for Muriel’sWedding:TheMusical (Global CreaturesandSydneyTheatreCompany) andhedesignedthesetsfortheMelbourne InternationalComedyFestival’stelevision andstagegalas(2019–2022). HewonaSydneyTheatreAwardforBest StageDesignofanIndependentProduction for HappyDays (2022)andthe2018Mike WalshFellowship,andPinchgutOpera’s Artaserse wontheInternationalOperaAward forBestRediscoveredWork.
TheResurrection fortheSlovakNational OperaHouse.
TheCreativeTeam SarahGiles DIRECTOR SarahGilesisanaward-winningoperaand theatredirector,withoperacreditsincluding theworldpremiereof Lorelei (Victorian Opera); OMensch!,GyörgyKurtág’s …pasà pas–nullepart… andGeorgeBenjamin’s Into theLittleHill (SydneyChamberOperaand SydneyFestival);andtheconcert Kreutzervs Kreutzer,featuringmusicbyJanáčekand Beethoven(AustralianChamberOrchestra). Shehasalsodirectedforcompaniessuchas SydneyTheatreCompany,MalthouseTheatre,MelbourneTheatreCompany,State TheatreCompanySouthAustralia,Griffin TheatreCompany(whereshewasAffiliate DirectorinResidencein2009),theOldFitz Theatre,NIDA,WAAPA,LaMamaand OperaQueensland.AttheSydneyTheatre CompanyshewastheRichardWherrett Fellow(2011)andsubsequentlyResident Director(2013).In2013shewasalso awardedaGloriasFellowshipandaMike WalshFellowship ShehasreceivedHelpmannandGreen RoomawardnominationsforBestDirector ofanOperafor Lorelei,whichwasnominated infivecategoriesandwonBestNewAustralianWorkandBestDesignattheGreen RoomAwards. Lorelei waslaterremountedat VictorianOperaandtouredtoOpera Queensland.ShealsowonBestDirectionof anIndependentProductionfor TheUglyOne withGriffinTheatreCompanyattheSydney TheatreAwards. ADirectinggraduateoftheNationalInstituteofDramaticArt,SarahGilesalsoholds aBachelorofArtsdegreefromtheUniversity ofMelbournewithadoublemajorinHistory andItalian.
PaulJackson LIGHTINGDESIGNER PaulJacksonisamulti-award-winning designerwhohasworkedwithleadingarts organisationsinAustraliaandoverseas,and hisworkhasfeaturedinfestivalsandprogramsintheUnitedStates,Asia,Europeand theUnitedKingdom.
ForStateOperaheconducted
AnthonyHunthasbeenaparticipantinthe SymphonyAustraliaConductorDevelopmentProgram,aguestchorusmasterforthe MelbourneSymphonyOrchestra,andisan AssociateoftheRoyalAcademyofMusic. RuthFallon INTIMACYCOORDINATOR AftergraduatingfromAdelaideCollegeof theArts,RuthFallonstarredforfouryears asRhapsodyon TheFairies (Channel7/Nickelodeon).Followingthreeseasons,fiveDVDs andsevennationaltours,shewentontoroles inthe PrankPatrol (ABC), GoingForGold and RealRob withRobSchneider(Netflix),and WelcometoIronKnob,awinnerintheSydney FilmFestivalandAustralianScreenawards. AmartialartsinstructorandMEAAgradedstuntperformer(SAP),shetookon actionandactingroleson WastelanderPanda (ABC), Firebite (AMC+),and TheRackaracka Sheisaregularfight–actionchoreographer withtheStateTheatreCompanySouthAustraliaandStateOperaSouthAustralia,as wellasforindependentcompaniesand schoolsacrossAustralia.Shealsoworkedas aStuntGroupLeaderonMarvel’s Thor:Love andThunder. In2022shecompletedherIntimacyCoordinationqualificationswithHBO CoordinatorAliciaRodis,andworkedas intimacycoordinatorandconsultantfor The Tourist (Stan), Aftertaste (ABC), Firebite, StateTheatreCompanySouthAustralia, andtheforthcomingfeaturefilm TalktoMe. RuthFallonisalsoaregularvoiceover artistforradioandTVcommercials,anda proudEquitymember,currentlyservingas thepresidentoftheSouthAustralianEquity Branch. PHOTOCREDIT:JOHNNYNICOLAIDIS(SARHAGILES)
HewasArtisticAssociateatMalthouse Theatrefrom2007to2013,andin2017he receivedanAustraliaCounciloftheArtsFellowship.HehaswonaHelpmannAward,two SydneyTheatreawards,sevenGreenRoom awards,aCritics’AwardforTheatreinScotland,andfourAustralianProductionDesign Guildawards.Hehasalsoreceivedafurther fourHelpmannAwardnominationsand32 GreenRoomAwardnominations. PaulJacksonhastaughtdesignattheUniversityofMelbourne,RMITUniversityand theVictorianCollegeoftheArts.
AnthonyHunt CHORUSMASTER Conductor,pianistandorganistAnthony HuntwasthechorusmasteratOperaAustraliafrom2013to2019.In2020hereturned toAdelaidewithhisfamily,commencingas HeadofMusicandChorusMasteratState OperaSouthAustraliaandasDirectorof MusicatStPeter’sCathedral. PianoandOrganperformanceattheElder Conservatorium,hemovedtoLondonto studyasarépétiteurintheRoyalAcademy ofMusic’sspecialistoperacourse. MovingtoSydneyin2009asAssistant ChorusMasterforOperaAustralia,andthen asChorusMasterin2013,hehasprepared theOperaAustraliaChorusformorethan60 productionsandconcertappearances.His workwiththecompanyhasbeenfrequently broadcastonABCClassicFM,andthemany DVDreleasesandinternationalcinema broadcastsinclude Latraviata, MadamaButterfly, Aida, Turandot, Carmen and Labohème forHandaOperaonSydneyHarbour. Sweeney Toddin 2021andprepared TheTurnofthe Screw and Voss earlierthisyear.Heisalso curatorofthe2022Ukariarecitalseries.
Hisrecentworkincludes: Carmen (Opera Australia),thedoublebill EchoandNarcissus and Cassandra (VictorianOpera), Lorelei (OperaQueenslandandVictorianOpera), Cyrano and Home,I’mDarling (Melbourne TheatreCompany); DeathofaSalesman (SydneyTheatreCompany); StopGirl (Belvoir);and Cloudstreet (Malthouse,Black SwanStateTheatreCompany).
Aftercompletinganhonoursdegreeinboth
TheCast LaurenFagan VIOLETTAVALÉRY Oneoftoday’smostaccomplishedyoungsopranos,LaurenFaganhas enjoyedunanimouscriticalacclaimforherrichnessoftone,thrilling topnotesandcompellingstagepresence.BorninSydney,sheisa graduateofLondon’sGuildhallSchoolofMusicandDramaandthe prestigiousJetteParkerArtistsProgramme(RoyalOperaHouse). SherepresentedAustraliainthe2019BBCCardiffSingerofthe WorldCompetitionandnowmakeshermuch-anticipatedAustralian operaticdebutsingingVioletta. RecentroledebutsincludeAlcina(InternationalHandelFestival, Karlsruhe),Violetta(OperaHollandPark)andMimìin Labohème (OperaNorth).Inthe2022–23seasonshesingsMargaritaXirguin Golijov’s Ainadamar (ScottishOpera),Avisin TheWreckers (DeutschesSymphonie-OrchesterBerlin)andHelenainBritten’s A MidsummerNight’sDream (GlyndebourneFestival).Engagement highlightsfromrecentseasonsalsoincludeherParisOperadebutin Abramović’s 7DeathsofMariaCallas;thepremiereofChristian Spuck’sballet Monteverdi (OpernhausZürich);andcompanydebuts withOpernhausZürich(Giuliettain TheTalesofHoffmann),Glyndebourne(TheWreckers)and BavarianStateOpera(7Deaths… In2021shemadeAustraliandebut concertappearanceswiththeSydney SymphonyOrchestra(Beethoven’s Ah!Perfido)andAdelaideSymphony Orchestra(Knoxville:Summerof1915 bySamuelBarber). KangWang ALFREDOGERMONT Australian-ChinesetenorKangWangisoneofthemostsought-after younglyrictenorsintheoperaworld.InJulyhesangAlfredointhe worldpremiereofthisnewproductionof Latraviata withOpera Queensland. EarlierthisyearhemadeahouseandroledebutatWashington NationalOperasingingFerrando(Cosìfantutte)andreturnedto OperaAustraliatosingRodolfo(Labohème),andin2021hemadehis SeattleOperahousedebutasRodolfo.Hisconcertengagementsthis seasonhaveincludedtheMelbourneSymphonyOrchestrafora performancecelebratingtheChineseNewYearandtheQueensland SymphonyOrchestraforaconcertofVerdiandPucciniarias. Inrecentseasons,hehasmadehisOperaAustraliahousedebutas Alfredo,ahouseandroledebutatPittsburghOperaasDonOttavio (DonGiovanni)andhisroledebutastheDuke(Rigoletto) atAustin LyricOpera. OntheconcertstagehehassungTanDun’s BuddhaPassion withthe LosAngelesPhilharmonicandconductorGustavoDudameland Verdi’sRequiem withtheEugeneSymphony. OriginallyfromHarbin,China,KangWangis thesonoftworenownedoperasingers.Heis aformermemberoftheMetropolitan Opera’sLindemannYoungArtist DevelopmentProgramandwasa finalistinthe2017CardiffSingerof theWorldcompetition. Costumedesignsketchesby CharlesDavis
HismostrecentperformancesinAustralia wereasAmfortasforVictorianOpera.He wasalsoengagedasKurwenalforOpera Queensland’s2020productionof Tristanund Isolde,which,likeanumberofhisscheduled performancesinEurope,includingFriedrich (DasLiebesverbot),werecancelledduetothe globalpandemic. HisconcertrepertoirerangesfromBach, HandelandMozarttoDvoŘák,Fauréand Saint-Saens.Akeenrecitalist,heisknown forhisperformancesofthesongcyclesof SchubertandSchumann.
JamesRoser GIORGIOGERMONT BaritoneJamesRoseristherecipientofseveralmajorsingingawards,includingthe MiettaSongRecital,ViennaStateOpera andBritten-PearsYoungArtistawards.His repertoireincludesthetitlerolesin Rigoletto, DonGiovanni andBritten’s OwenWingrave; Beckmesser(DieMeistersingervonNünberg), Amfortas(Parsifal),Gunther(Götterdämmerung),Wotan(DasRheingold),Papageno (TheMagicFlute),TheCount(TheMarriage ofFigaro),Guglielmo(Cosìfantutte), Escamillo(Carmen),Wiedhopf(DieVögel), Peter(HänselundGretel),Johann(Werther), Schaunard(Labohème),andtheFairyKing andHarald(DieFeen),appearingwithcompaniessuchastheWienerStaatsoper, StaatstheaterCottbus,TirolerFestspiele Erl,VictorianOperaandOperaAustralia. Thisyearhemakestwocompanydebutsin Australia:thisproductionwithStateOpera SouthAustraliaandDonPizzaro(Fidelio) withtheSydneySymphonyOrchestra,conductedbychiefconductorSimoneYoung.
OperaSouthAustralia,VictorianOperaand EnglishNationalOpera,andappearedwith AucklandPhilharmonia,theAdelaideand Queenslandsymphonyorchestrasand
PelhamAndrews BARONDOUPHOL PelhamAndrewsstudiedintheUK,Germany principalartistforOperaAustralia,State SydneyPhilharmoniaChoirs.Hisrepertoire
includesTimur(Turandot),Sparafucile (Rigoletto),PadreGuardiano(Laforzadel destino),Colline(Labohème),Lodovico (Otello),Mephistopheles(LaDamnationde Faust)andworksofBrahms,Fauré,Handel andVerdi. RecentappearancesinAdelaideinclude Watershed:TheDeathofDrDuncan,Collinein StateOpera’s BohèmeontheBeach and Judd/MrBonnerin Voss.Hereturnedtothe QueenslandSymphonyOrchestrafor Mozart’sRequiemandwillmakehisSydney SymphonyOrchestradebutthisyearsinging DonFernando(Fidelio). In2021heperformedSnugin AMidsummer Night’sDream andwasbasssoloistin AChild ofOurTime forAdelaideFestival,sang Basilio(TheBarberofSeville)forStateOpera, andfeaturedinVerdi’sRequiemwiththe AdelaideYouthOrchestraand Messiah with theMelbourneSymphonyOrchestra. Otherrecentperformancesincludethe Commendatore(DonGiovanni)forAuckland Philharmonia,andforStateOpera,the Bonze(MadamaButterfly),thetitlerolein TheMikado,Ben(MadelineLee)andParson/ Badger(CunningLittleVixen). JeremyTatchell MARQUISD’OBIGNY NewZealand-bornbaritoneJeremyTatchell performsextensivelyinopera,oratorio,concertandrecital.AftercompletingperformancestudiesinviolaandvoiceattheANU SchoolofMusic,hejoinedCo-Operain 2003,performingandtouringnumerous majorrolesthroughoutAustralia,Asiaand Europe. HemovedtoAdelaidein2011andhassince performednumerousroleswithStateOpera SouthAustralia,includingRhadamanthus (OrpheusintheUnderworld),FirstNazarene (Salome),Surgeon(Laforzadeldestino), ImperialCommissionerandYamadori (MadamaButterfly),BaronDouphol(La traviata),ParsiRustomji(Satyagraha),the titlerolein Bluebeard’sCastle,Colas(Bastien undBastienne),Speaker(TheMagicFlute), Masetto(DonGiovanni),Valentin(Faust), Angelotti(Tosca),Alfio(Cavalleriarusticana), Silvio(Pagliacci),Manuel(LaVidaBreve), Marco(GianniSchicchi),KonradNachtigall (TheMastersingers),ViscountNicolasCascada(TheMerryWidow),Fiorello/Officer (TheBarberofSeville)and,mostrecently,the Reporterin Voss,aswellasappearinginthe ensemblefor LoveBurns and SweeneyTodd. Hehasalsoappearedinthechorusforthe AdelaideFestival’sproductionsof Saul (for whichhealsocoveredthelead)andBrett Dean’s Hamlet,aswellascoveringJanfor ScottishOpera’stouringproductionof BreakingtheWaves in2020.In2021hesang StarvelingfortheAdelaideFestivalproductionof AMidsummerNight’sDream.PHOTOCREDITS:VICTORIACADISCH(FAGAN),DARIOACOSTA(WANG),KEITHSAUNDERS(ROSER),THATPHOTOGRAPHYPLACE(ANDREWS)
andAustralia,andin2005wontheMcDonald’sAriaCompetition.Hehasbeena
OriginallyfromCanberra,bass-baritone AndrewColliswasamemberoftheCologne Operafrom1993to2007.Hehasperformed withoperacompaniesinBerlin,Dortmund, Düsseldorf,Essen,Frankfurt,Mannheim andWiesbaden,andinconcertinBonn, StrasbourgandStuttgart,aswellasfeaturingontheEMIrecordingof DerZwerg by Zemlinsky. Hisinternationalperformanceshave includedappearancesattheViennaand HongKongfestivals,andwiththePrague ChamberOrchestra,SanDiegoOpera,Lyric OperaofSingaporeandNewZealandOpera. ForStateOperaSouthAustraliahehas sungPooh-Bahin TheMikado.Otherrecent performancehighlightsincludePublioin La clemenzadiTito (NationalOpera,Canberra), therolesofBartoloinboth TheMarriageof Figaro and TheBarberofSeville (NewZealand Opera), DasklagendeLied byMahler(Sydney SymphonyOrchestra),BarrieKosky’sproductionof TheMagicFlute (Adelaide,Perth andNewZealandfestivals),Swallowin Peter Grimes (BrisbaneFestival),andPritschitsch in TheMerryWidow,SirRodericin Ruddigore andtheCommendatorein DonGiovanni (OperaQueensland). Hisextensiveconcertrepertoireincludes Bach’s StMatthewPassion, StJohnPassion, MagnificatandMassinBminor;Handel’s Messiah, Samson and Semele;Haydn’sStabat Mater, DieSchöpfung andmasssettings; Beethoven’sNinthSymphonyandMissa Solemnis;Mendelssohn’s ErsteWalpurgis Nacht andMozart’sRequiem. CherieBoogaart FLORABERVOIX AgraduateoftheElderConservatoriumof MusicandtheAustralianOperaStudio, CherieBoogaarthasnotableexperiencein opera,musicaltheatre,cabaretandconcert performance. HerroleswithStateOperaSouthAustralia includeSiebelin Faust,Nefertitiin Akhnaten, Kasturbaiin Satyagraha,variousrolesin LoveBurns, Giovannain Rigoletto,Wowklein TheGirloftheGoldenWest,Philin TheStation,Sandmanin HanselandGretel,the Messengerin Underneath,andthetitlerolein MariadeBuenosAires.HermostrecentState OperaappearancewasasMrsBonner/Mrs Juddin Voss. Othercreditsinclude SouthPacific and The Mikado fortheAdelaideFestivalTheatre, He andShedon’tgotogether forthePerth CabaretFestival, GuysandDolls withthe AdelaideSymphonyOrchestra,Cindyin The BeautySpot, SongstoMakeYouFeelSexy for theAdelaideCabaretFestival, SweeneyTodd forVictorianOperaandrolesin Iloveyou, you’reperfect,nowchange and Elegies forSINGularProductions/StateOpera.Forother companiesshehassungAlisain Luciadi Lammermoor (BelCantoOpera);ThirdLady in The MagicFlute,Dorabellain Cosìfantutte andOrlofskyin DieFledermaus (Co-Opera); andreprisedMariain MariadeBuenosAires forVictorianOpera. MarkOates GASTONE MarkOatesisanaward-winningSouthAustralianperformerwhosecreditsincludethe AdelaideandBrisbanefestivals,StateOpera ofSouthAustralia,SINGularProductions, Ding!Productions,SixFootSomethingProductions,AerialArtistsAustraliaand MOatesArtProductions. HismostrecentappearancesforState OperahavebeenLtTomRadclyffein Voss, BeadleBamfordin SweeneyTodd andJackin LoveBurns.Otherrolesforthecompany includeCaterpillar(Boojum!), Njegus(The MerryWidow),FreddyNorton(IntheDome Room(at2o’clock)),Arjuna(Satyagraha), JohnStyx(OrpheusintheUnderworld),The Cantor(MariadeBuenosAires),Joe(TheStation)andtheGuideandLillasPastia (Carmen).Heisalsoalong-standingmember oftheStateOperaChorus. HehasappearedfortheAdelaideFestival inMozart’sRequiem(2020),asafeatured StreetSingerinBernstein’s Mass (2012)and Ruffiakin LeGrandMacabre (2010),andfor Co-OperahecreatedtherolesofClyde, BernieandtheSalesmanintheireducation opera, ListenToMyStory. Hisconcertandmusictheatrecreditsalso includeJeanValjeanin LesMisérables forthe GilbertandSullivanSociety,theAdelaide Fringewithhisself-producedshow Mark OatesandtheDanielBrunnerPrettyBigBand andforOutoftheSquarewith LoveintheKey OfB(acharach)!
TheCast
AndrewCollis DOCTORGRENVIL
TeresaLaRocca ANNINA TeresaLaRoccacompletedadramaand musicdegreeatAdelaideUniversity.Shewas afinalistintheABC’sYoungPerformers AwardsandwentontowinStateOperaAria, Herald-SunAriaandMetropolitanOpera awards. HerrolesforStateOperaSouthAustralia haveincludedBerta(TheBarberofSeville), Norina(DonPasquale),Parasha(Stravinsky’s Mavra),Yum-Yum(TheMikado),Despina (Cosìfantutte),Liù(Turandot),Susanna(The MarriageofFigaro)and thesopranorolein thehighlyacclaimed FlammaFlamma forthe AdelaideFestival. ForOperaAustraliashehassungQueenof theNight(TheMagicFlute),Susanna,the MillinerandMarianne(DerRosenkavalier), thetitlerolein ManonLescaut andRosina (TheBarberofSeville),aswelltouringnationallywithOzOperaasMicaëlain Carmen and Musetta(Labohème). FortheAdelaideSymphonyOrchestra,she hasperformedinSymphonyUndertheStars, AVienneseGala,Handel’s Messiah,Vaughan Williams’ SinfoniaAntartica andinAnne Cawrse’s Innocence suite.Concerthighlights in2021alsoincludedVerdi’sRequiemforthe BigSinginTanundawiththeAdelaideYouth Orchestra. AsMusicalDirectorfortheItalianChoral andArtsSociety,TeresaLaRoccadirects concertsandotherengagementseachyear, aswellasproducingandperforminginthe StClairCarolsbyCandlelight. JiachengDing GIUSEPPE JiachengDingstudiedvoiceandpianoatthe NanjingNormalUniversityinChina,graduatingwithadegreeinmusicperformance andteaching,andwinningfirstprize(the ChangjiangCup)inthenationalNormalStudentsSingingCompetition.In2017he movedtoAustraliatobeginpostgraduate studyattheElderConservatorium,andin 2018hegraduatedwithamaster’sdegreein performance. HisappearancesforStateOperaSouth AustraliaincludeMrToppin Voss and Parpinolin BohèmeontheBeach,andinthe StateOperaChorusfor DonPasquale, Die MeistersingervonNünberg, MadamaButterfly and TheBarberofSeville. ForCo-OperahehassungDonOttavioin DonGiovanni andhehasperformedinthe TuesdaysonFlindersseriesatFlinders StreetBaptistChurch(2018,2019).Hehas sungSchumann’s Dichterliebe and Dieschöne Müllerin atElderHall,andperformedin Britten’s ChichesterPsalms andBeethoven’s NinthSymphonywiththeAdelaideChamber Singers. Hehasalsofeaturedasthetenorsoloistin Handel’s Messiah (AdelaideHarmonyChoir, CorinthianSingers),Haydn’s NelsonMass (AdelaidePhilharmoniaChorus), Carmina Burana,Gounod’sRequiemandPuccini’s MessadiGloria(VictoriaChorale),Gala SpringConcert(AdelaideHarmonyChoir), andMozart’sRequiemandBeethoven’s NinthSymphony(Co-Opera). Earlierthisyearheappearedin TheGolden Cockerel fortheAdelaideFestivalandsang Rinuccioin GianniSchicchi (Co-Opera)and Puccini’sMessadiGloria(VictoriaChorale). SOPRANOS AlexandraBollard EleanorBrasted DeborahCaddy MoniqueHapgood LynHarris JessicaMills DanielleRuggiero-Prior AlexandraScott LucyStoddart MEZZO-SOPRANOS CatherineCampbell SusanFerguson VictoriaKakoulis RosLock ElizabethMcCall RachelMcCall VanessaShirley TENORS MatthewByrne MichaelDenholm JiachengDing ReeceKeane CallumMcGing JamesNicholson BrockRoberts AndrewTurner KimWorley BASSES ChristianEvans DanielGoodburn MacintyreHowie-Reeves GregJohn JamieMoffatt AlexRoose TimothyWilson StateOperaChorus
VIOLINS CameronHill** ActingConcertmaster HollyPiccoli** GuestAssociateConcertmaster JanetAnderson* ActingPrincipal1stViolin AlisonHeike** Principal2ndViolin JulieNewman† ActingAssociate Principal2ndViolin MinasBerberyan GillianBraithwaite HilaryBruer ElizabethCollins BelindaGehlert DanielleJaquillard ZsuzsaLeon ShirinLim MadelineMelrose AlexisMilton MichaelMilton JenniferNewman JulieNewman EmmaPerkins AlexanderPermezel VIOLAS JustinJulian** StuartJohnson† GuestAssociatePrincipal MartinAlexander LindaGarrett RosiMcGowran MichaelRobertson CecilySatchell CELLOS SimonCobcroft** DavidSharp† ActingAssociatePrincipal SarahDenbigh ChristopherHandley GemmaPhilips CameronWaters DOUBLEBASSES DavidSchilling** BelindaKendall-Smith† ActingAssociatePrincipal JackyChang HarleyGray StephenNewton FLUTES SamanthaHennessy** GuestPrincipal LisaGill PICCOLO LisaGill* OBOES JoshuaOates** RenaeStavely† CLARINET MitchellBerick** ActingSectionPrincipal DarrenSkelton BASSOONS MarkGaydon** LeahStephenson* HORNS SarahBarrett† EmmaGregan PhilipPaine* TimothySkelly TRUMPETS DaveKhafagi** MartinPhillipson† TROMBONES ColinPrichard** IanDenbigh JohnGluyas BASSTROMBONE KiranSamuel* GuestPrincipal TIMPANI AndrewPenrose* PERCUSSION StevenPeterka** SamiButler† RyanGrunwald HARP CarolynBurgess* GuestPrincipal OFFSTAGEBANDA AmeliaWang* GuestPrincipalPiccolo LaurenBorg* Piccolo RyanGrunwald Percussion **denotesSectionPrincipal †denotesAssociatePrincipal * denotesPrincipalPlayer AdelaideSymphonyOrchestra DirectorSarahGilesandconductor OlivervonDohnányiinrehearsalPHOTO:THATPHOTOGRAPHYPLAC E
BehindtheScenes StateOperaSouthAustralia ProductionTeam STAGEMANAGER KarenEngel DEPUTYSTAGEMANAGER EmilyBarraclough ASSISTANTSTAGEMANAGER TomHannagan BUILDMECHANIST AdamPaine WARDROBESUPERVISOR TraceyRichardson WARDROBEASSISTANT DeniseStrawhan DRESSERS SallyChapman,DavidAdams, SueNicola,TammyWheeler WARDROBESECONDMENT LaraMarquis WIGS&MAKEUPSUPERVISOR JanaDeBiasi WIGS&MAKEUPASSISTANTS BeverleyFreeman,DinaGiaccio RÉPÉTITEUR MichaelIerace SURTITLESOPERATOR ConnorFogarty AdelaideFestivalCentreProductionTeam PRODUCTIONCOORDINATOR JaneBaird STAGETECHNICIANS VinceLouch,PaulSmart, VickyStimson,JessicaWolfendale,DiannaLambert FLYTECHNICIANS NedHall,MichaelCamp,AdrianPeskett FLOORLIGHTINGTECHNICIAN PaulMcGee LIGHTINGOPERATOR RickWorringham FOLLOWSPOTOPERATORS HannahAylett,ClintonCamac SOUNDOPERATOR PatrickPages-Oliver SYSTEM&STAGESOUNDTECHNICIAN JenniferNguyen BoardofManagement JohnIrving Chair ImeldaAlexopoulos DrBeataByok JaneDoyle PeterMichell DrThomasMillhouse MasterElizabethOlsson PollyTembel ArtisticAmbassador MarilynRichardson,Hon.DMusQld CulturalAmbassador DrChristineRothauser Staff INTERIMEXECUTIVEDIRECTOR JohnIrving ARTISTICDIRECTOR StuartMaunder AM HEADOFMUSIC AnthonyHunt PRODUCTIONMANAGER BenFlett ASSOCIATEPRODUCER MoniqueHapgood HEADOFMARKETING&DEVELOPMENT SidonieHenbest COMMUNICATIONSMANAGER LauraDanesin DEVELOPMENTCOORDINATOR RichelleWeiher DATABASECOORDINATOR HannahNeophytou BUSINESSDEVELOPMENTEXECUTIVEASSISTANT EmanuelAuciello CHIEFFINANCEOFFICER NicoleMathee ACCOUNTANT SarahHart BUSINESSSUPPORTOFFICER ElisabetCada CONTRACTSADMINISTRATOR LiLiFisher
Donors StateOperaSouthAustralia thanksitsdonors fortheirgenerousannualsupport. PRINCIPALPATRONS Peter&PamelaMcKee MasterElizabethOlsson DrChristineRothauser PATRONS Jane&IanDoyle SidonieHenbest DrsGeoffrey&SorayyaMartin Kevin&KaarenPalmer BruceSaint GwynnythShaughnessy SibbySutherland Anonymous ESTATESANDBEQUESTS ThelateJohnKoch MasterElizabethOlsson DrChristineRothauser DrGeoffreySeidel FOUNDATIONSOPERAACADEMY
Everydonation,bigorsmall,supportsanewstoryworth telling,anewtransformativeexperience,newunforgettable memories.ThankyoutoeveryonewhohassupportedState Operawithacontribution. AldridgeFamilyEndowment Imelda&Anthony Alexopoulos DrMargaretArstall MaggieBeer David&ElizabethBleby DavidBullen PamCaldwell Peter& Margie Cannon LenaCavill MarilynChristiansen BruceCleland Tony&RachelDavidson JanDavis AM &PeterDavis BruceDebelle AO,QC Dr&MrsPaulDrysdale Jack&MegFavilla Jane&LoisGreenslade MaryHandley DavidHansman John&KateIrving RobertKenrick FionaMacLachlan OAM DrRuthMarshall& TimMuecke HelenMeddings Kerrell&DavidMorris GrahamNorton ChristinePerriam JosephineProsser Andrew&GayleRobertson BenRobinson Beth&JohnShepherd GlenysSteeleScott ChristopherStone AnneSutcliffe GuilaTiver& DenisHarrison GC&RWeir Prof.JulianWhite AM & DrBeataMByok Anonymous SUPPORTERS StateOperais committedto developingAustralian talentonandoffthe stageandpassionate aboutpresenting storiesworthtelling. Withyourgenerous supportwecansecure thefutureofoperain SouthAustralia. stateopera.com.au/support Donationsover$2aretaxdeductible GET INVOLVED
Allrightsreserved,nopartofthispublicationmaybereproducedortransmittedinanyformorbyanymeans,electronicormechanical,includingphotocopy,recordingoranyinformation storageorretrievalsystem,withoutpermissioninwriting.Whileeveryefforthasbeenmadetoensureaccuracyofstatementsinthispublication,wecannotacceptresponsibilityforany errorsoromissions.Everyefforthasbeenmadetosecurepermissionforcopyrightmaterialpriortoprinting. AJSLightingSoundEvents LittleLionPR FrindleyDesign&Editorial novel. OatenMedia PrintSolutions RAA ThatPhotographyPlace THANKSTO… SUPPORTERS SURTITLESPARTNERMEDIAPARTNERACCOMMODATIONPARTNER Latraviata isaco-productionwithOpera QueenslandandWestAustralianOpera INDUSTRYPARTNERS TheAustralianFederalGovernment through TheSouth AustralianGovernment throughArtsSouthAustralia StateOperagratefully acknowledgessupportfrom DECOWALLPAPER,VECTEEZY.COM;CAMELLIAMOTIF©BOKASANA,DREAMSTIME.COM
wasseeninAustraliajustsixmonths a erits1885Londonpremiere.In the1870stwodi erentproductions of HMSPinafore wereplayingacross thestreetfromoneanotherinMelbourne.Thetheatricalpromoter
IdiscoveredGilbert&Sullivan asa16yearoldrehearsingfora highschoolproduction.First, IfellinlovewithWS Gilbert’slanguage–words you’dnevermeetinordinary life,wordsseeminglycoined forthesheerthrillofit. ThencameArthurSullivan. Irevelledinhissprightly, gleefulmusicalinvention, gettingmyfirsttasteof classicalmusicalongtheway.His abilitytosatirise,andcelebrate, othercomposersledmetoawhole newworld:Handel,Donizetti,Verdi, evenWagner…Andyetitwasalways unmistakablySullivan. GilbertandSullivancreated14 comicoperasthatenduretothisday. Theirstayingpowerisextraordinary butnotunexplainable.Gilbert’sdramaticsituations–hingingonplot devicessuchasbabiesswappedat birthorridiculouslegaltechnicalities–arestillfunnyand,let’sfaceit, strangerthingshappenon Homeand Away.Sullivan’smusico ersaromanticfoiltoGilbert’sdrolleryand cynicism,almostsabotagingthe wordsashetransformsthemingloriousmelody.This‘topsy-turvy’ frictionwasattheheartofGilbert andSullivan’screativerelationship. Theresultingfusionofgentle,witty satireandgenuineheartfeltemotion hasn’taged–indeed,it’ssomething weneednowmorethanever. AndAustralia?We’velongbeenan exportmarketforG&S.Thefirst ‘o cial’productionof TheMikado JCWilliamsonsmelledanopportu-
nityandsecuredtherightstoall futureproductionsinAustraliaand NewZealand;G&Sbecameoneof hisbiggestcashcows. In1961thecopyrightonG&Soperasexpired.Companiesalloverthe worldrelishedinnewproductions,freedfromrigidstylistic guidelines.Sincethen,there havebeencountless‘modern’ productions:‘hot’Mikados, ‘jazz’Mikados,‘carnival’ Mikados… We’veseenG&S on TheMuppetShow and The Simpsons. Eachnewincarnation,howeverabsurdthe premise,onlyconfirmstheinherentstrengthsoftheoriginals. G&Sisnolongerthego-tofor amateurproductionsasitwaswhen Iwasatschool.Manywillcometoa showlike ThePiratesofPenzance, Pinafore or TheMikado (whichState Operapresentedin2019)withno knowledgeofitstraditions. Thisisnobadthing.Wenowhave anopportunitytoreassessthis repertoirewithouttheweightofa centuryofperformancepractice.We candiscoverthesedelightfulconcoctionsafresh. WhichiswhyI’mthrilledtobeable tointroducethepleasuresofG&Sto awholenewgenerationinMay2023, whenStateOperaSouthAustralia presentsanaction-packedprogram ofperformances,conversationsand laughsovertwoweekends.Thisnew G&Sfestivalwillbeexclusiveto Adelaide–theonlyfestivalofits kindoutsidetheUK–andpromises tobeamemorableexperiencefor aficionadosandnewcomersalike. StuartMaunder AM ArtisticDirector StateOperaSouthAustralia “ Satireandsillinessaretwo ofmankind’sgreatest pleasures.Tryit–Idare younottoloveit! G&SFEST|ExclusivetoAdelaide|May2023 TicketswillgoonsalewhentheprogramisreleasedinSeptember2022. Meanwhile,registeryourinterestat www.gandsfest.com fornews, programinformationandearlyaccesstoticketsales. PHOTO:THATPHOTOGRAPHYPLACE G ilbert & S ulliva n FALLINGINLOVEWITH StuartMaunderondiscoveringthe topsy-turvydelightsofthe G&Soperas
TRAVIATALATHEATREMAJESTY’SHER|2022AUGUST–SEPTEMBER TRAVIATALAADELAIDETHEATRE,MAJESTY’SHER|2022AUGUST–SEPTEMBER
