DETAIL FROM A MAP OF DR LUDWIG LEICHHARDT’S OVERLAND EXPEDITION FROM MORETON BAY TO PORT ESSINGTON (1844–45). STATE LIBRARY OF NSW
STATE OPERA SOUTH AUSTRALIA AND VICTORIAN OPERA PRESENT
Music by Richard Meale Libretto by David Malouf from the novel by Patrick White JOHANN ULRICH VOSS LAURA TREVELYAN JUDD/MR BONNER HARRY ROBARTS FRANK LE MESURIER PALFREYMAN BELLE BONNER LT TOM RADCLYFFE MRS BONNER/MRS JUDD MR TOPP A REPORTER ROSE PORTION/MERCY DUGALD JACKY CONDUCTOR DIRECTOR SET & COSTUME DESIGNER LIGHTING DESIGNER VIDEO DESIGNER CULTURAL ADVISOR CHORUS MASTER ASSISTANT DIRECTOR
Samuel Dundas Emma Pearson Pelham Andrews Nicholas Jones Michael Petruccelli Joshua Rowe Jessica Dean Mark Oates Cherie Boogaart Jiacheng Ding Jeremy Tatchell Rachel McCall Trevor Jamieson Elijah Valadian Richard Mills Stuart Maunder Roger Kirk Trudy Dalgleish Jamie Clennett Rodney O’Brien Anthony Hunt Eugene Lynch
STATE OPERA ENSEMBLE ADELAIDE SYMPHONY ORCHESTRA Saturday 7 May 2022 FESTIVAL THEATRE, ADELAIDE Duration: 2 hours and 20 minutes, including one 20-minute interval Sung in English with surtitles THIS PERFORMANCE WILL BE LIVE-STREAMED THE WORKS OF RICHARD MEALE ARE ADMINISTERED BY UNIVERSAL MUSIC PUBLISHING PTY LTD IMAGES BY FRED WILLIAMS ARE USED BY KIND PERMISSION OF LYN WILLIAMS
EMMA PEARSON AND SAMUEL DUNDAS IN REHEARSAL (PHOTO: SODA STREET PRODUCTIONS)
Welcome WELCOME FROM STATE OPERA Dear Opera Lover
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AM ECSTATIC that 2022 for State Opera has seen us swinging from the grand outdoor spectacular of La bohème on Glenelg Beach to the eerie and unsettling drama that is Benjamin Britten’s Turn of the Screw and now straight into a work that will round out much of my recent opera education – Voss. This immense range of capability and repertoire is what sets this Company apart from so many others; we have the eagerness of a savant and the beating heart of the people. Our aim is to expand, deepen and excite the appetite for opera across South Australia so that we do indeed deliver on our vision of more opera for more people.
And to you, our wonderful audience, bolstered by donors, sponsors, friends, partners and the Board of State Opera, thank you for coming on this journey with us – I hope it is one that lasts a lifetime.
Yarmila Alfonzetti EXECUTIVE DIRECTOR State Opera South Australia SODA STREET PRODUCTIONS
Of course, none of this would be even remotely possible without the artistic leadership of Stuart Maunder. I am constantly astounded by this man’s indefatigable ability to inspire, direct, program, cast, and imagine – not to mention sing! It is Stuart who has reinforced the opera industry in its relatively recent level of respect and recognition for Australian creative work. He is the champion of Australian opera that we are very proud to have in our fold.
Many of you know how much time, expertise and care goes on in the office, backstage, behind the scenes and in the pit for an opera to come to life. If you don’t, have a guess and multiply it by ten! I am in awe of the way hundreds of people come together in all their various specialities – singing, designing, lighting, making, playing, writing – to make an opera work. We are indebted to all of them.
Lost icon
A ‘lost’ icon restored DIRECTOR’S NOTE
PHOTO: SODA STREET PRODUCTIONS
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N THE AUGUST 2017 issue of Limelight magazine, Vincent Plush mused on Richard Meale’s Voss, thirty-plus years after its premiere: ‘The operatic version of Patrick White’s novel is legendary. How long have we to wait before someone takes up the cause?’
Tonight we have the answer. This presentation of Voss is a long anticipated thrill. I’ve loved the novel since I studied it in high school (who didn’t?) and the opera since I ‘learned it by osmosis’ when my erstwhile wife sang in the original cast. I stood for it on opening night in Adelaide in 1986, and I’ve wanted to program a revival ever since. Voss is a great work, a prescient work, a work that examines our relationship with the land in which we live, suggesting we embrace rather than try to conquer our environment. We’re encouraged to question our past, to learn from our past and to move boldly towards our future. In the final moments of the opera a reporter asks: ‘Ah yes, a country with a future. But when does the future become the present?’
‘Now’, sings Laura… Now. Voss… You are there still, there in the country. Your legend will be written in the air in the sand, in thorns, in stones by those who are troubled by it. And what we do not know the air will tell us, the air will tell us.
At last, in collaboration with Victorian Opera and their visionary Artistic Director Richard Mills, we can now return Voss to the stage. Both companies take pride in championing Australian works and
This is grand opera at its most intimate, speaking as it does of man’s constant struggle with the land, the infinite, the self. Richard Meale’s lush, neo-Romantic score evoking cultured life in colonial Sydney contrasted with the harshness of the Australian outback is brought to life with Roger Kirk’s vivid colonial costumes, and Trudy Dalgleish’s theatrical lighting – all backed by Jamie Clennett’s video imagining of Fred Williams landscapes. Voss is a great score – in the words of music critic Roger Covell, it’s ‘immensely distinguished and beautiful… rising to the heights of imaginative power and expressing lyrical emotion in sustained and authentic melody’. David Malouf’s libretto, Covell continues, ‘is an object lesson in structure and verbal craftsmanship. It is an approachable and accessible opera on a strange and towering theme…’ Richard Meale and David Malouf have indeed created a ‘towering’ work – one of the most tuneful,
surprising, grand and romantic scores ever to be composed in Australia. It’s epic, admirable, thrilling, lush. Voss is an opera defiantly of our time and place.
Stuart Maunder AM ARTISTIC DIRECTOR State Opera South Australia PHOTO: FRANKIE THE CREATIVE
As Artistic Director of State Opera South Australia, I’ve curated a series of re-evaluations of Australian operas under the banner Lost Operas of Oz. Creating new operas is, of course, a passion and a necessity for any opera company, but in the push to create new operas many great works receive only one outing (or, in the case of Voss, two). Therefore, State Opera has committed to producing little-known Australian operas – operas that deserve an audience. We believe it is important we embrace the great breadth of Australian work. And you can’t get a more iconic Australian ‘lost opera’ than Voss.
this semi-staged format gives us a chance to showcase an Australian opera of scale.
Voss
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comes home ABOUT THE OPERA
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F PATRICK WHITE’S Voss was the Great Australian Novel, about a Great Australian Explorer, it’s curious that its hero is so thoroughly incompetent. Johann Ulrich Voss assembles a party of dilettantes, with the exception of the tough squatter Judd and the Aboriginal trackers Dugald and Jackie. The expedition disintegrates mainly through his inept leadership and all the Europeans except Judd perish in the desert. Twenty years later, the worthies of Sydney erect a statue of Voss, an honour he rather fails to deserve. But the exploring is a bit of a MacGuffin. The point of the journey isn’t the continental crossing. It’s Voss’s glorification, even deification. Writing to his publisher, White described Voss as ‘mad’ and ‘a megalomaniac’. The only character who clearly sees his ‘delusions of divinity’ is Laura Trevelyan, the niece of Voss’s backer Mr Bonner. She and Voss meet only a few times, but their love affair is a ‘grand passion’. As the expedition staggers towards its terrible end, they communicate mystically ‘in dreams, in memories, and in delirium’. Eventually, humbled, Voss prays to the God whom he hoped to supplant. Laura has saved him; Voss’s appalling suffering has destroyed his pride. White loved music, particularly difficult modern music, and he was thrilled when he discovered Richard Meale, calling him ‘truly contemporary’ and ‘the real thing’. Meale had come to prominence in the Sydney scene in 1960, when his uncompromisingly hairychested Flute Sonata instantly made him the leader of
the Australian avant-garde. This faction had its work cut out for it. For instance, Meale conducted the Australian premiere of Schoenberg’s seminal Pierrot Lunaire, a mere 50 years after it was composed. Years later, Meale said his own music was so ‘fierce’ partly because it had a didactic function, giving musical Australia examples of overseas developments that had simply passed it by. By the early 1970s, though, he was becoming dissatisfied. He wrote later that ‘the most simple, yet fundamental aspects of human nature – feelings of affection, of love and tenderness – did not seem to me to be accessible in such a complicated style of writing’. Feeling his way back to tonal music, he gleefully told friends that he’d ‘rediscovered E major’. So when, in 1978, White suggested a collaboration with a surreal libretto called Births, Deaths and Lotteries, Meale wasn’t interested. At about the same time, however, Peter Hemmings, the general manager of the Australian Opera (now Opera Australia), had breakfast with novelist David Malouf and proposed he write the libretto for a new work with Meale. This was Voss. Malouf wrote quite swiftly, taking a little more than half of the libretto directly from the novel. Meale, less so. Voss took him four years. For a composer thinking about music of ‘love and tenderness’, however, the timing was perfect, and those expecting Mealean astringencies were startled by the luxuriant beauty of the love music. Much of this is based on the German
In a nice touch, Meale concludes Act I with a march composed for Voss’s real-life counterpart: Ludwig Leichhardt. Dr Leichhardt’s final expedition might have been a disaster, but before that he’d successfully traversed the 3,000 miles between Moreton Bay and Port Essington, north of Darwin.
song that Voss sings to Laura when they first meet, in Act I. The text (by Goethe, Schubert set it twice) tells of a hunter whose beloved appears to him as a vision, and Meale writes a glowing accompaniment dominated by that echt– Romantic instrument, the horn. This is the only time the opera shows Laura and Voss physically together. Thereafter, they sing in transcendental communion, beyond time and space. Malouf realised these telepathic episodes, the most controversial part of the novel, could have been designed for opera. (They give the piece an unintended resonance today; anyone who has
been separated from loved ones over the past two years may find a strange familiarity in love duets sung by people hundreds of miles apart.) David Malouf expanded this idea to present much of the action simultaneously in Sydney and the bush. It’s anti-realist, but it makes sense because so much of the action takes place in the shared space of Voss and Laura’s minds. When Laura and Voss struggle over the latter’s soul, Meale’s music is extraordinarily powerful. The apotheosis is Voss’s horrific death. Laura and the orchestra blaze out, awesomely, exultantly.
The triumphant music isn’t because Voss has been killed – the realist portrayal of events – but because the contest with Laura has ended in his attaining humility. These two gigantic people are incomprehensible to the other characters. Voss’s companion Harry Robarts sings a heartbreaking farewell to life without remotely understanding why he is dying. Sydney society, meanwhile, is simply vapid, which Meale slyly depicts with banal salon music of the period. The piano tinkles out ‘The much Admired Australian Quadrilles’, published in 1825 by one William Ellard. They’re pretty trite, as is the march with which Act I concludes (which, in a nice touch, was composed by a Mr S.H. Marsh in honour of his friend Ludwig Leichhardt – on whom White had based the character of Voss). By the end of the opera, 20 years later, public taste is more sophisticated, and the chorus sings snide remarks about Laura to the tune of the Waltz Song from Gounod’s Roméo et Juliette. The strength of Meale’s own music is self-evident, but it’s worth discussing details that could be missed on first hearing. Two examples must suffice. At the very beginning, Voss shouts: ‘I will cross
PHOTOS: SODA STREET PRODUCTIONS PHOTO: FRANKIE THE CREATIVE
CLOCKWISE FROM TOP: Conductor Richard Mills and director Stuart Maunder; Mark Oates (Lt Tom Radclyffe) and Jessica Dean (Belle) with Stuart Maunder; in the rehearsal room; Samuel Dundas (Voss); Emma Pearson (Laura) and Samuel Dundas
Opera’s first commission of a fulllength work. A handsome studio recording featuring the Sydney Symphony Orchestra with its chief conductor Stuart Challender (and one of his successors, Simone Young, at the piano playing the Quadrilles) was released internationally. The Australian Opera at that time had several company members who’d left eminent careers overseas because they’d always wanted to come home. These included Marilyn Richardson (Meale’s old friend from Conservatorium days, and the soloist in Pierrot Lunaire) and Geoffrey Chard, the first Laura and Voss. Even the smaller role of Mr Bonner was taken by the immensely distinguished bass Clifford Grant. And then, after a revival in Sydney in 1990, Voss disappeared. It didn’t deserve to, and it’s marvellous to have it back. Not just because of its place in history, but because it contains some of the freshest, most powerful, most gloriously lyrical operatic music yet written in this country. Alastair McKean © 2022 Alastair McKean’s undergraduate thesis at the University of Sydney was on Voss. He is Head of Library Services at the Sydney Symphony Orchestra and he comes from Wangaratta.
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this country… It is mine by right of vision.’ Underneath, the orchestra plays a short motif, the flutes trilling over four quiet, tromboneheavy chords. It’s expansive, mysterious, menacing. Later, at the party, the charmingly frivolous Belle Bonner sings, ‘Ah, this country.’ Everybody on stage stops still as the orchestra plays this motif again: and a single thought runs through every mind in the room. In two bars, Meale conveys the vast unknown land, its utter indifference to the Europeans, and their great, secret fear of it. Then, in the Epilogue, Voss’s expedition now lacquered with the patina of history, Laura meets Judd. The orchestra plays a ghostly echo of Voss’s German song: time collapses. This evening’s performance is a homecoming. Voss had its premiere at the 1986 Adelaide Festival. Patrick White wasn’t there. He refused to ‘appear at a Festival which invites the Queen of England’, and in any case he’d come to hate the book. It was too famous. But when Voss was performed in Sydney later that year, the old curmudgeon found it ‘stupendous… it took me three days to recover both physically and emotionally; I relived so much’. Was Voss the Great Australian Opera? Well, it was incontestably a great event. It was the Australian
Geoffrey Chard created the role of Voss, appearing in Adelaide and Sydney (1986), Melbourne (1987) and again in Sydney (1990). (Photo: William Yang)
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The Creative Team
Richard Mills
Stuart Maunder
Roger Kirk
CONDUCTOR
DIRECTOR
SET & COSTUME DESIGNER
Richard Mills AM is one of Australia’s most prolific and internationally recognised composers, pursuing a diverse career as a composer, conductor and artistic director, with an extensive discography of orchestral works including his own compositions. Currently Artistic Director of Victorian Opera, and a Senior Fellow in the Faculty of Music, University of Melbourne, he has previously held the position of Artistic Director of both the Adelaide Chamber Orchestra and West Australian Opera, Director of the Australian Music Project for the Tasmanian Symphony Orchestra and Musica Viva’s Composer of the Year. His three-volume CD of the film music of Franz Waxman with the Queensland Symphony Orchestra was awarded a German Record Critics’ Award in 1992. Recent highlights have included the premiere of his Christmas oratorio Nativity with the Adelaide Symphony Orchestra, The Pearlfishers and Parrwang Lifts the Sky for Victorian Opera, a program of Beethoven and Brett Dean for the ASO (Adelaide Festival) and his own Summer of the Seventeenth Doll for State Opera South Australia. This year he also conducts Elektra, La Cenerentola and the world premiere of his new opera Butterfly Lovers for Victorian Opera. His commissioned works also include concertos, symphonic works, ballet and chamber music, song cycles and the operas Batavia and Love of the Nightingale.
Stuart Maunder AM is Artistic Director of State Opera South Australia and has directed Carmen, Cunning Little Vixen, The Mikado, Carousel, Sweeney Todd and, most recently, Bohème on the Beach for the company. For forty years he has been directing musical theatre and opera in Australia. He joined the Australian Opera (now Opera Australia) as Stage Manager in 1978, becoming a Resident Director in 1981. In 1992 he joined the Royal Opera House (UK) as a Staff Director while continuing to direct in Australia, regional UK, France and the USA. In 1999 he was appointed Artistic Administrator of Opera Australia, becoming Executive Producer in 2004–08. His Opera Australia productions include The Tales of Hoffmann, Manon, The Gypsy Princess, Don Pasquale, My Fair Lady and A Little Night Music, and his productions of Trial by Jury, Pirates of Penzance and HMS Pinafore have been televised nationally on ABC TV. Recent Australian productions have included Into the Woods, Sunday in the Park with George, Sweeney Todd, A Little Night Music and Cunning Little Vixen (all for Victorian Opera), and Vixen, Tosca, Pearl Fishers, Rigoletto, La bohème, Sweeney Todd and Macbeth (WA Opera). From 2014 to 2018 Stuart Maunder was General Director of New Zealand Opera where he directed Candide, Tosca, Sweeney Todd and The Mikado.
Roger Kirk is a Tony Award-winning set and costume designer working in theatre, film and television. He has designed costumes for productions such as The Boy From Oz with Hugh Jackman, The King and I and King Kong the Musical, and worked extensively on set and costume design for Opera Australia, including Manon Lescaut, Graeme Murphy’s production of Aida, Manon, A Little Night Music, My Fair Lady, The Gypsy Princess and several Gilbert & Sullivan operettas. He was the costume designer for the film Jesus Christ Superstar, and other credits include Andrew Lloyd Webber’s Whistle Down the Wind (London), The King and I (London Palladium), Hugh Jackman’s The Boy from Oz Arena Spectacular, The Silver Rose (The Australian Ballet), Le Corsaire (Munich Opera House), Dusty – The Original Pop Diva and Shout! His Broadway credits include The King and I (Tony Award for Best Costume Design), Jesus Christ Superstar and 42nd Street (for which he received a Tony Award nomination). His most recent credits include Sweeney Todd for Victorian Opera and State Opera South Australia, Miracle City for Luckiest Productions, King Kong on Broadway, 42nd Street in London and the sold-out Australian tour of Broadway to Oz: Hugh Jackman Live in Concert.
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Trudy Dalgleish
Jamie Clennett
Rodney O’Brien
LIGHTING DESIGNER
VIDEO DESIGNER
CULTURAL ADVISOR
Trudy Dalgleish is one of Australia’s most sought-after lighting designers, whose work has been recognised with a Helpmann Award for White Devil (Best Lighting Design, Theatre), an Entech Award (Best Lighting Designer – Live Events), the John Truscott Design Award for Excellence, the Music Theatre Technical Design Award for Eureka at the Green Room Awards, and a Green Room Award for Best Lighting for Hairspray. She has also been nominated for a Helpmann Award for Dead Man Walking and Green Room awards for Orlando (Opera Australia), The Boy from Oz (The Production Company) and Cunning Little Vixen (Victorian Opera). She is Associate Lighting Designer for the Gordon Frost Organisation’s Australian productions of Shrek, Charlie and the Chocolate Factory and Cinderella, and Mack and Mabel for WAAPA. Other recent credits include The Woman in Black (Ensemble Theatre), Summer of the Seventeenth Doll (State Opera South Australia), A Little Night Music (Victorian Opera), Cunning Little Vixen (Victorian Opera, State Opera and West Australian Opera), Macbeth (West Australian Opera), Saturday Night Fever (Gordon Frost Organisation), In the Heights at the Hayes Theatre and Sydney Opera House, Cat Stephens’ Cat in an Attic in New Zealand, and Melba at Hayes Theatre.
Jamie Clennett, a Tasmanian designer, animator and author–illustrator, graduated from NIDA (Design) in 2002. Initially a production designer for theatre and film, he subsequently moved into video design. In addition to creating award-winning short animations, he has worked at home and internationally for clients as diverse as the Queensland Government, SBS, CSIRO, BBC, Picasso London, Passion Pictures, Red Cross and Norwegian Cruise Lines. In 2008 he created video for Priscilla Queen of the Desert – The Musical. He has also created video for theatrical productions such as Shoes: The Musical (Sadler’s Wells, London), Sleeping Horses Lie (Terrapin Puppet Theatre, Hobart), Little Shop of Horrors (Tinderbox, Melbourne), Wild, Astroman and Kiss of the Spider Woman (Melbourne Theatre Company). Jamie Clennett’s first graphic novel, The Diemenois (2015), was shortlisted for the Aurealis Awards, won a silver Comic Arts Award and was in competition for the Tasmanian Premier’s Literary Prize in 2017.
Uncle Rod O’Brien identifies as a Kaurna man and devotes much time to helping other Kaurna people identify with the language and culture. He is an active member of the Adelaide Aboriginal community, volunteering his time as a Board member on a number of committees, including the Kaurna Warra Karrpanthi Aboriginal Corporation, Kaurna Yerta Aboriginal Corporation and Kura Yerlo Inc. He hold an honours degree in Applied Science in Aboriginal Community Development and Management from Curtin University. And before joining Wirltu Yarlu (University of Adelaide) in 2017 as a Cultural Advisor, he worked for more than 23 years for the State Government in the Department for Child Protection. He is passionate about reclaiming Kaurna language, and hopes to see Kaurna language and culture taught in every school in the Adelaide Plains region. ‘My dream,’ he says, ‘is for the Kaurna language to be revived to a level where there are hundreds of people able to converse in it with meaningful dialogue on a daily basis. For I believe, if it is spoken, people will gain strength, knowledge and power from it, thus keeping alive Kaurna culture.’
continued after the synopsis
Designing Voss LAURA & VOSS Roger Kirk evokes the world of 1840s colonial Australia in his costume designs for Voss. Australia may have been remote and the conditions often harsh, but there was wealth from pastoral expansion and a determination to keep up with Victorian fashions. BONNER HOUSEHOLD VOSS’S PARTY
TOP: Laura Trevelyan, Johann Voss 2ND ROW: Mr Bonner (Laura’s uncle), Mrs Bonner, their daughter Belle, and their servant Rose Portion. 3RD ROW: young Harry Robarts, society gentleman Frank Le Mesurier and the naturalist Palfreyman. 4TH ROW: Mrs Judd, Judd (the party’s chief guide and the only survivor), a maid, Lt Tom Radclyffe (Belle’s fiancé) with a gentleman in evening dress.
THE JUDDS & OTHERS
Synopsis SYNOPSIS ACT ONE
ACT TWO
Sydney, 1845, barely 50 years after the creation of the colony of New South Wales.
An open space that is sometimes the desert, sometimes Sydney, sometimes both simultaneously.
We meet the German explorer, Johann Ulrich Voss, who desires to be the first European to cross the Australian continent in search of the great inland sea. To help finance his dream, Voss has sought the assistance of Mr Bonner, a wealthy merchant, who is hosting an evening party to welcome the volunteers on his expedition. In the garden, Voss meets Bonner’s niece, Laura Trevelyan, and serenades he with a German song.
Voss arrives – singing another of his German songs – and comes upon Mrs Judd. Voss is happy to sign on her husband – ‘ex-convict, escapee, survivor’ – as chief guide, assisted by two trackers, Dugald and Jacky. Voss gives Jacky a knife as a gift.
With a spirit as uncompromising as Voss’s own, Laura will not offer prayers for the expedition’s success – instead, she will follow Voss ‘in spirit’. Voss draws together his party – the young Harry Robarts, the society gentleman Frank Le Mesurier and the naturalist Palfreyman. Despite misgivings from some of the women, the colonists farewell Voss’s party to the rousing strains of a march.
THE SCENE DIVIDES AT NIGHTWATCH.
On one side of the stage, Laura and Rose Portion, a pregnant servant in the Bonner household, are sewing. Rose contends that she cannot understand Voss, whereas Laura maintains she understands him ‘in my heart’. On the other side of the stage, Palfreyman is painting a rare lily. Rose and Laura sleep, as do Palfreyman and Voss, who suddenly bursts into life, refusing to ‘accept the terms’. Voss and Laura have another of their imaginary conversations and Voss sends her a letter. Dugald takes Voss’s actual letters and slowly tears them up, scattering them to the desert winds.
PHOTO: SODA STREET PRODUCTIONS
ANOTHER DIVIDED STAGE SIGNIFIES THE ARRIVAL OF CHRISTMAS DAY.
Voss’s party prepares to eat the carcass of one of their dead horses. Voss refuses to eat it. In Sydney, Laura laments the death of Rose who has left a baby daughter named Mercy. In the desert, Harry Robarts and Judd observe the increasingly erratic behaviour of Voss who, they conclude, is sleepwalking. Ever more delirious, Voss refuses to acknowledge that Judd should now take command of the expedition. In addition, it becomes clear that Le Mesurier has lost his senses. Judd appeals to Harry to escape with him but the young man will hear none of it. One by one, the members of the party die terrible deaths, Voss dies the most gruesome death of all. Only Judd survives. EPILOGUE A house garden in Sydney some 20 years later. An orchestral interlude ushers in the Epilogue: society folk are dancing and children are playing blind man’s buff. Laura – now a schoolmistress, a dark ‘scarecrow’ – is here to inaugurate a statue in memory of Voss. A reporter introduces Laura to Judd, again the survivor, who relates his account of the death of Voss. Laura addresses the gathering. Voss’s legend will be written, she affirms, ‘in the air, in the sand, in thorns, in stones, by those who are troubled by it’. Her final words ring out as the curtain falls: ‘And what we do not know, the air will tell us, the air will tell us.’ Vincent Plush
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Anthony Hunt
Eugene Lynch
CHORUS MASTER
ASSISTANT DIRECTOR
Conductor, pianist and organist Anthony Hunt was the chorus master at Opera Australia from 2013 to 2019. In 2020 he returned with his family to Adelaide, commencing as Head of Music and Chorus Master at State Opera South Australia and as Director of Music at St Peter’s Cathedral. After completing an honours degree in both Piano and Organ performance at the Elder Conservatorium, he moved to London to study as a repetiteur in the Royal Academy of Music’s specialist opera course. Moving to Sydney in 2009 as Assistant Chorus Master for Opera Australia, and then as Chorus Master in 2013, he has prepared the Opera Australia Chorus for more than 60 productions and concert appearances. His work with the company has been frequently broadcast on ABC Classic FM, and the many DVD releases and international cinema broadcasts include La traviata, Madama Butterfly, Aida, Turandot, Carmen and La bohème for Handa Opera on Sydney Harbour. For State Opera, he conducted the 2021 productions of Love Burns and Sweeney Todd and he is also the curator of the 2022 Ukaria recital series. Anthony Hunt has been a participant in the Symphony Australia Conductor Development Program, a guest chorus master for the Melbourne Symphony Orchestra, and is an Associate of the Royal Academy of Music.
Eugene Lynch is an early-career director of theatre and opera. In March he was assistant director on Adelaide Festival’s centrepiece opera, The Golden Cockerel, directed by Barrie Kosky, and last year he was assistant director for Neil Armfield’s acclaimed production of Rameau’s Platée (Pinchgut Opera). He previously assisted Neil Armfield on Benjamin Britten’s opera A Midsummer Night’s Dream for the 2021 Adelaide Festival. The Turn of the Screw and Voss are his first productions with State Opera South Australia. As the artistic director of The Other Theatre, he has directed Graeme Koehne and Louis Nowra’s Love Burns, Purcell’s Dido and Aeneas, Shakespeare’s Richard II, Mike Barlett’s Cock (Sydney Gay and Lesbian Mardi Gras Festival x Brand X) and the Australian premiere of Marius von Mayneburg’s The Dog, the Night and the Knife. He was the 2019 Young Director with Pacific Opera, where he directed Puccini’s Suor Angelica, Kurt Weill’s Down in the Valley and various scenes concerts. Eugene Lynch holds a Bachelor of Arts/ Laws degree from the University of Sydney, where he was two-time recipient of the USU Bright Ideas Grant. Eugene Lynch is supported by Create NSW and a generous grant from the Seaborn, Broughton & Walford Foundation.
AND THE FLEETING HOUR
STATE OPERA SOUTH AUSTRALIA PRESENTS
SHALL BE ADORNED WITH PLEASURE
25 AUG — 3 SEP HER MAJESTY’S THEATRE 7.30PM
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The Cast
Samuel Dundas
Emma Pearson
Pelham Andrews
JOHANN ULRICH VOSS
LAURA TREVELYAN
JUDD/MR BONNER
A graduate of the Melba Conservatorium of Music, Samuel Dundas made his opera debut with Opera Queensland before joining Victorian Opera’s Artist Development Program and subsequently Opera Australia’s Moffatt Oxenbould Young Artist Program. He has since performed leading roles with Opera Australia, West Australian Opera, New Zealand Opera and Lost and Found Opera. In concert he has sung with all the major Australian symphony orchestras, the Australian Youth Orchestra, the Auckland Philharmonia Orchestra and Sydney Philharmonia Choirs. Earlier this year he sang the role of Aphron in The Golden Cockerel for the Adelaide Festival. This season he will also sing Beethoven’s Ninth Symphony (Tasmanian Symphony Orchestra), Ebenezer Scrooge in A Christmas Carol (Victorian Opera) and a recital in Burnie, Tasmania. Recent highlights include recitals for the Ten Days on the Island Festival and the Tasmanian Symphony Orchestra, Carmina Burana with the Adelaide Symphony Orchestra, Marcello (La bohème) for Opera Australia, Opera in the Alps and the Chamber Landscapes series at Ukaria for the Adelaide Festival. Samuel Dundas has also performed the role of Papageno (The Magic Flute) for New Zealand Opera, Marcello for Handa Opera on Sydney Harbour and Enrico (Lucia di Lammermoor), Count Almaviva (The Marriage of Figaro) and Valentin (Faust) for West Australian Opera.
As a principal artist at the Hessisches Staatstheater, Wiesbaden in Germany, Emma Pearson sang more than 30 roles for the company, including the title role in Lucia di Lammermoor, Zerbinetta (Ariadne auf Naxos), Woglinde, Gerhilde and Waldvogel in Wagner’s Ring cycle, Sophie (Der Rosenkavalier), Adele (Die Fledermaus) and Norina (Don Pasquale). On her departure from the company, she was awarded the honorary title Kammersängerin, the youngest opera singer ever to have received this title. In 2022 her engagements will include a recital at Ukaria, Violetta (La traviata) for Wellington Opera, Schumann’s Scenes from Goethe’s Faust for Orchestra Wellington, Messiah for the Queensland and New Zealand symphony orchestras and Hayllar Music Tours’ Music & Mountains Festival in Queenstown, NZ. In Europe, she has performed with Semperoper Dresden, Nationaltheater Mannheim, Orquestra de Valencia, City of London Festival and in Bratislava with Bertrand de Billy. Closer to home she has sung the title roles in Semele (New Zealand Opera), Athalia (Pinchgut Opera), and Lucia di Lammermoor and Cunning Little Vixen (West Australian Opera), as well as leading roles for Opera Australia, Opera Queensland and State Opera South Australia. Emma Pearson is now based in New Zealand, where she is a regular guest of major orchestras and choral societies.
Pelham Andrews studied in the UK, Germany and Australia, and in 2005 won the McDonald’s Aria Competition. He has been a principal artist for Opera Australia, State Opera South Australia, Victorian Opera and English National Opera, and appeared with Auckland Philharmonia, the Adelaide and Queensland symphony orchestras and Sydney Philharmonia Choirs. His repertoire includes Timur (Turandot), Sparafucile (Rigoletto), Padre Guardiano (La forza del destino), Colline (La bohème), Mephistopheles (La Damnation de Faust), Lodovico (Otello) and concert works of Brahms, Fauré, Handel and Verdi. Recent appearances in Adelaide include Watershed: The Death of Dr Duncan and Colline in State Opera’s Bohème on the Beach, and in August he will sing Baron Douphol in La traviata. This year he also returns to the QSO for Mozart’s Requiem and makes his Sydney Symphony Orchestra debut singing Don Fernando (Fidelio). In 2021 he performed Snug in A Midsummer Night’s Dream and was bass soloist in A Child of Our Time for Adelaide Festival, sang Basilio (The Barber of Seville) for State Opera, and featured in Verdi’s Requiem with the Adelaide Youth Orchestra and Messiah with Melbourne Symphony Orchestra. Other recent performances include the Commendatore (Don Giovanni) for Auckland Philharmonia, and for State Opera, The Bonze (Madama Butterfly), the title role in The Mikado, Ben (Madeline Lee) and Parson/Badger (Cunning Little Vixen).
Nicholas Jones
Michael Petruccelli
Joshua Rowe
HARRY ROBARTS
FRANK LE MESURIER
PALFREYMAN
Brilliant young tenor Nicholas Jones won a Green Room Award and was nominated for a Helpmann Award for his portrayal of David in Die Meistersinger von Nürnberg for Opera Australia. Other appearances for Opera Australia have included principal roles in Carmen, Il turco in Italia, The Nose and Two Weddings, One Bride, as well as Tamino and Almaviva in the touring productions of The Magic Flute and The Barber of Seville. In 2016 he created the role of Fish Lamb in the premiere of George Palmer’s Cloudstreet presented by State Opera South Australia, and in 2019 he sang Tom in Christina’s World for the company. He sang Male Chorus in Victorian Opera’s The Rape of Lucretia and was a soloist in Haydn’s Creation for Sydney Philharmonia Choirs; he was also an original cast member of Deborah Cheetham’s Indigenous opera Pecan Summer. Most recently, he sang Michael Driscoll in the premiere of Whiteley and Tony in West Side Story (both for Opera Australia). In March he sang Tsarevich Gvidon in The Golden Cockerel (Adelaide Festival); other engagements this year include Messiah in Sydney and Adelaide, Jaquino in Fidelio with the Sydney Symphony Orchestra and Almaviva for Opera Australia. Nicholas is the current recipient of the Dame Heather Begg Memorial Award.
Renowned for his ‘pure, glowing tenor’, Michael Petruccelli is one of Australia’s emerging operatic stars. Recent Australian appearances have included Stephen Goldring (The Eighth Wonder) for Opera Australia and Arturo (Lucia di Lammermoor), Beppe (Pagliacci) and The Minister (The Princess and the Pea) for Victorian Opera. On the concert platform, he has sung the tenor solos in Schubert’s Missa Brevis in G major, Mozart’s Missa Brevis in D major and Coronation Mass, Saint-Saëns’ Oratorio de Noël, Haydn’s Missa Sancti Nicolai and Bach’s Magnificat and St Matthew Passion. Formerly a Melba Opera Trust Scholar, he was a winner of both the Richard Bonynge Study Scholarship and the RJ & AF Hamer Opera Scholarship. In 2018, he returned to Opera Australia as Goro in their touring production of Madama Butterfly before taking up a full-time contract with Oper Frankfurt. Last year he sang Almaviva in The Barber of Seville for West Australian Opera and appeared in Parrawang Lifts the Sky for Victorian Opera. This year he also sings Prunier in La rondine for National Opera, Canberra, and Jason in Medée for Pinchgut Opera, and appears as soloist in the premiere of Mary Finsterer and Tom Wright’s Antarctica for Sydney Chamber Opera in Amsterdam.
Joshua (Josh) Rowe has performed for opera companies throughout Australia, including Opera Queensland, Victorian Opera and State Opera South Australia. His many awards include the 2007 Queensland Arts Council Performing Arts Scholarship and Runner Up in the Dame Joan Sutherland Awards. He has performed in many operas, including Roméo et Juliette, Lucia di Lammermoor, Nabucco, Turandot, The Magic Flute, Otello and Tosca, and he made his principal role debut in 2007 with Richard Mills’ Love of the Nightingale for Opera Queensland. In 2008 he performed the role of Bottom in Britten’s A Midsummer Night’s Dream, for which he won the Sir Mostyn Hanger Opera Award. He first appeared for State Opera in 2014, making his role debut as Krishna in Philip Glass’s Satyagraha and has since performed many roles for the company. On the concert platform he has appeared as soloist in repertoire including Britten’s War Requiem, Vaughan Williams’ A Sea Symphony, Mendelssohn’s Elijah, Bach’s St John Passion, Haydn’s Creation and Handel’s Messiah. Josh Rowe was a 2008 Opera Queensland Developing artist and a 2014 State Opera James and Diana Ramsay Foundation Emerging Artist. Josh Rowe is supported by The Friends of State Opera.
The Cast
Jessica Dean
Mark Oates
Cherie Boogaart
BELLE BONNER
LT TOM RADCLYFFE
MRS BONNER/MRS JUDD
Australian soprano Jessica Dean holds a master’s degree from the Royal Academy of Music, London, where she studied with Lillian Watson. At the RAM she received the Kohn Foundation scholarship as a soloist for the Royal Academy’s inaugural Bach Cantata concert series. Having returned to Adelaide with her young family, she spent ten years in Sydney as a soprano with Opera Australia, appearing regularly with the OA Chorus, and performing Barbarina (The Marriage of Figaro), Papagena (The Magic Flute) and touring as Zerlina (Don Giovanni) for OA’s regional tour. For State Opera South Australia she has performed Angela in Graeme Koehne’s Love Burns, Beth in the Australian premiere of Mark Adamo’s Little Women; Yum-Yum (The Mikado), Dew-Fairy (Hansel and Gretel), and Marzelline (Fidelio) for which she received a Helpmann nomination. She has performed as a concert soloist throughout the UK, most notably in Purcell’s King Arthur with Laurence Cummings. Recent concerts include Haydn’s Berenice che fai? in the Adelaide Symphony Orchestra’s Elder Hall Matinee Series, and the Mother in A Child of our Time for the 2021 Adelaide Festival. Jessica Dean’s Australian and UK awards include the EMR Overseas Scholarship, Dame Ruby Litchfield Scholarship, John Lewis Award and Jennifer Vyvyan Award.
Mark Oates is an award-winning South Australian performer whose credits include the Adelaide and Brisbane festivals, State Opera South Australia, SINGular Productions, Ding! Productions, Six Foot Something Productions, Aerial Artists Australia and MOatesArt Productions. His most recent appearances for State Opera were as Beadle Bamford in Sweeney Todd and Jack in Love Burns (2021). Other roles for the company include Caterpillar (Boojum!), Njegus (The Merry Widow), Freddy Norton in the operetta In the Dome Room (at 2 o’clock), Arjuna (Satyagraha), John Styx (Orpheus in the Underworld), The Cantor (Maria de Buenos Aires), Joe (The Station) and the Guide and Lillas Pastia (Carmen). He is also a longstanding member of the State Opera Ensemble. He has appeared for the Adelaide Festival in Mozart’s Requiem (2020), as a featured Street Singer in Bernstein’s Mass (2012) and Ruffiak in Le Grand Macabre (2010), and for Co-Opera he created the roles of Clyde, Bernie and the Salesman in their education opera, Listen To My Story. His concert and music theatre credits also include Jean Valjean in Les Misérables for the Gilbert and Sullivan Society, the Adelaide Fringe with his self-produced show Mark Oates and the Daniel Brunner Pretty Big Band and for Out of the Square with Love in the Key Of B(acharach)!
A graduate of the Elder Conservatorium of Music and the Australian Opera Studio, Cherie Boogaart has notable experience in opera, musical theatre, cabaret and concert performance. Her roles with State Opera South Australia include Siebel in Faust, Nefertiti in Akhnaten, Kasturbai in Satyagraha, various roles in Love Burns, Giovanna in Rigoletto, Wowkle in Girl of the Golden West, Phil in The Station, Sandman in Hansel and Gretel, the Messenger in Underneath, and the title role in Maria de Buenos Aires. Other credits include South Pacific and The Mikado for the Adelaide Festival Theatre, He and She don’t go together for the Perth Cabaret Festival, Guys and Dolls with the Adelaide Symphony Orchestra, Cindy in The Beauty Spot, Songs to Make You Feel Sexy for the Adelaide Cabaret Festival, Sweeney Todd for Victorian Opera and roles in I love you, you’re perfect, now change and Elegies for SINGular Productions/State Opera. For other companies she has sung Alisa in Lucia di Lammermoor (BelCanto Opera); Third Lady in The Magic Flute, Dorabella in Così fan tutte and Orlofsky in Die Fledermaus (Co-Opera); and reprised Maria in Maria de Buenos Aires for Victorian Opera.
Jiacheng Ding
Jeremy Tatchell
Rachel McCall
MR TOPP
A REPORTER
ROSE PORTION/MERCY
Jiacheng Ding studied voice and piano at the Nanjing Normal University in China, graduating with a degree in performance and teaching, and winning first prize in the national Normal Students Singing Competition. In 2017 he moved to Australia to begin postgraduate study at the Elder Conservatorium, and in 2018 graduated with a master’s degree in performance. He joined the first cohort of artists in State Opera South Australia’s Opera Academy and as a member of the State Opera Ensemble has appeared in Don Pasquale, The Mastersingers, The Barber of Seville and Madama Butterfly. For Co-Opera he has sung Don Ottavio in Don Giovanni. His concert repertoire includes Carmina Burana and Gounod’s Requiem (Victoria Chorale), appearances at the Queen Adelaide Club, Messiah (Adelaide Harmony Choir and Corinthian Singers), Britten’s Chichester Psalms and Beethoven’s Ninth Symphony (Adelaide Chamber Singers), Mozart’s Requiem and Beethoven’s Ninth Symphony (Co-Opera), Haydn’s Nelson Mass (Adelaide Philharmonia Choir) and recitals of Schumann’s Die schöne Müllerin and Dichterliebe. Earlier this year he appeared in The Golden Cockerel (Adelaide Festival) and sang Parpignol in State Opera’s Bohème on the Beach. In 2022 he also sings Rinuccio in Gianni Schicchi (Co-Opera), Messa di Gloria (Victoria Chorale) and Handel’s Messiah at Coriole Winery.
New Zealand-born baritone Jeremy Tatchell performs extensively in opera, oratorio, concert and recital. After studying viola and voice at the ANU School of Music, he joined Co-Opera in 2003, touring in Australia, Asia and Europe. He moved to Adelaide in 2011 and has since performed numerous roles with State Opera South Australia, including First Nazarene (Salome), Rhadamanthus (Orpheus in the Underworld), the Surgeon (La forza del destino), Imperial Commissioner (Madama Butterfly), Barone Douphol (La traviata), Parsi Rustomji (Satyagraha), Herald/ Chorus (Otello), the title role in Bluebeard’s Castle, Colas (Bastien und Bastienne), Speaker (Magic Flute), Masetto (Don Giovanni), Valentin (Faust), Angelotti (Tosca), Alfio (Cavalleria rusticana), Silvio (Pagliacci), Manuel (La Vida Breve), Marco (Gianni Schicchi), Konrad Nachtigall (The Mastersingers) and Viscount Cascada (The Merry Widow). He also appeared in the chorus for the Adelaide Festival’s productions of Handel’s Saul (also covering the lead) and Brett Dean’s Hamlet. His concert repertoire includes the Mozart, Verdi, Fauré, Duruflé and Brahms requiems; Carmina Burana; Bach’s major choral works; Stravinsky’s Mass and Les Noces; Handel’s Messiah, Israel in Egypt and Belshazzar; Haydn’s Creation; Purcell’s Come, Ye Sons of Art; Schubert’s Winterreise; Schumann’s Liederkreis and Spanische Liebeslieder; Five Mystical Songs and Fantasia on Christmas Carols by Vaughan Williams; Mussorgsky’s Songs and Dances of Death and Ibert’s Chansons de Don Quichotte.
Rachel McCall is a music theatre, opera, cabaret and early music performer with a degree in Voice Performance from the Elder Conservatorium and an Arts degree from the University of Copenhagen. She has performed as a soloist with State Opera South Australia, Co-Opera, The Little Music Room, Adelaide Baroque, Popjam Productions, Adelaide Vocal Project and Adelaide Art Orchestra, and is a regular at the Lord Mayor’s Gala as part of the McCall Sisters duo. In 2013 and 2015 she toured Australia playing the role of Jessie in the musical Mother, Wife and the Complicated Life by Amity Dry (arranged by Mark Ferguson) and in 2014 performed at the United Nations and Studio 54 in New York. Key projects include Barrie Kosky’s Saul (Adelaide Festival), Maria de Buenos Aires (State Opera and the Leigh Warren Dancers), and Ainadamar, directed by Graeme Murphy. Other roles include Gherardina (Gianni Schicchi) and Third Sprite (The Magic Flute) for State Opera; The Son (The Breasts of Tiresias), Sleep Fairy (Hansel and Gretel), The Chinese Teacup/The White Cat/The Dragonfly (L’Enfant et les sortilèges) and Frieda/Betty (Sunday in the Park With George) for the State Opera Young Artist Studio; Julie (The Portrait) for Co-Opera; and Polly (The Threepenny Opera) for Adelaide University. As co-founder of The Vox Trust, she created the critically acclaimed show, 20 Something.
The Cast State Opera Ensemble Trevor Jamieson
Elijah Valadian
DUGALD
JACKY
Trevor Jamieson is a veteran of stage and screen with more than 25 years’ experience in entertainment and he has been an influencing actor not only for his Indigenous background but for the Australian industry as a whole. He is known as an actor, dancer, musician (guitar and digeridoo) and storyteller, and his portrait, taken by Brett Canet-Gibson, took out the People’s Choice award at the 2017 National Photographic Portrait Prize in Canberra. That same year he was named a Permanent Ambassador for the Revelation Perth International Film Festival. His screen work includes Storm Boy, Thalu: Dreamtime is Now, and Boys in the Trees, and his stage credits include the Australian tour of The Season, Sydney Theatre Company’s Secret River and a performance of Namatjira at London’s Southbank before Her Majesty Queen Elizabeth II.
Elijah Valadian’s acting journey began as a member of Actors Ink’s Elite Ensemble and since then he has worked in various fields within the industry. His theatre credits include the title role in Jasper Jones (State Theatre Company of South Australia), Long Tan (Brink Productions in association with State Theatre Company) and the interactive theatre performance Responding to Racism (Act Now Theatre), which was presented at local schools. Elijah Valadian’s screen credits include the TV series Clever Man and Speed (57 Productions), and the films Here I Am, Project CM and The Place Between.
SOPRANOS Eleanor Brasted Deborah Caddy Rosie Hosking Deborah Johnson Jessica Mills Lucy Stoddart ALTOS Meran Bow Catherine Campbell Susan Ferguson Barbara Heidrich Ros Lock Rachel McCall TENORS Jiacheng Ding Callum McGing Brock Roberts Kit Tonkin Andy Turner Kim Worley
PHOTO: SODA STREET PRODUCTIONS
BASSES Daniel Goodburn Rodney Kirk Jamie Moffatt Alex Roose James Scott Timothy Wilson
Adelaide Symphony Orchestra VIOLINS
DOUBLE BASSES
HORNS
Cameron Hill**
Jonathon Coco** Acting Principal
Acting Concertmaster Holly Piccoli** Acting Associate Concertmaster Alexis Milton* Acting Principal 1st Violin Lachlan Bramble* Acting Principal 2nd Violin Belinda Gehlert† Acting Associate Principal 2nd Violin Ann Axelby Minas Berberyan Gillian Braithwaite Hilary Bruer Nadia Buck Elizabeth Collins Danielle Jaquillard Michael Milton Julie Newman Emma Perkins Alexander Permezel Marie-Louis Slaytor
Belinda Kendall-Smith† Acting Associate Principal
Sarah Barrett** Acting Principal Timothy Skelly Philip Paine* Lucy Rattigan
FLUTES Geoffrey Collins** Lisa Gill
TRUMPETS Dave Khafagi** Martin Phillipson†
PICCOLO Julia Grenfell*
TROMBONES
OBOES
Ian Denbigh** Acting Principal Charlie Thomas
Joshua Oates** Renae Stavely†
BASS TROMBONE Amanda Tillett* Guest Principal
COR ANGLAIS Peter Duggan*
TUBA David Gill* Guest Principal
CLARINET Dean Newcomb**
PERCUSSION
E-FLAT CLARINET Darren Skelton*
Steven Peterka** Sami Butler† Jamie Adam
BASS CLARINET
HARP
Mitchell Berick*
Lucy Reeves* Guest Principal
BASSOONS
PIANO, CELESTA
Mark Gaydon** Kristina Phillipson
Josh van Konkelenberg Guest (State Opera)
CONTRABASSOON
** denotes Section Principal
Leah Stephenson* Acting Principal
† denotes Associate Principal * denotes Principal Player
VIOLAS Justin Julian** Linda Garrett† Guest Associate Principal Lesley Cockram Carolyn Mooz Michael Robertson Cecily Satchell
CELLOS
FACING PAGE: Conductor Richard Mills and director Stuart Maunder RIGHT: Richard Mills with répétiteur Josh van Konkelenberg at the piano
PHOTO: SODA STREET PRODUCTIONS
Simon Cobcroft** Sarah Denbigh† Acting Associate Principal Christopher Handley Sherrilyn Handley
Donors Donors
State Opera South Australia thanks its donors for their generous support.
PLATINUM
ARTISTIC DIRECTOR’S CIRCLE
Peter & Pamela McKee Master Elizabeth Olsson
John & Kate Irving Drs Geoff & Sorayya Martin Master Elizabeth Olsson Dr Leon Pitchon Dr Christine Rothauser Sibby Sutherland
GOLD Leigh Emmett Kevin & Kaaren Palmer Bruce Saint Sibby Sutherland
SILVER The Alfonzetti Family Stuart Maunder AM Josephine Prosser
OPERA ACADEMY Sally Crafter in memory of Shirley Crinion formerly Shirley Crafter Sue Crafter in memory of Shirley Crinion formerly Shirley Crafter The Friends of State Opera John Holmes Joan Lyons Beth & John Shepherd Barry Worrall & Susan Coldicutt The Friends of State Opera
CONTINUO BEQUEST CIRCLE Master Elizabeth Olsson Dr Christine Rothauser Dr Geoffrey Seidel
WE STARTED WITH A VISION
BRONZE Dr Margaret Arstall Maggie Beer Susan & Graeme Bethune The Hon. David & Mrs Elizabeth Bleby David Bullen Pam Caldwell Peter & Margaret Cannon Bruce Cleland Angela Cook & Derek Brown Colin Cowan Tony & Rachel Davidson Jan & Peter Davis Bruce Debelle AO, QC Rosalie & Jacob van Dissel Jane & Ian Doyle Dr Paul Drysdale Em. Prof. Anne Edwards Meg & Jack Favilla Rick Frolich Barbara & Paul Green L & J Greenslade Sam & Margo Hill-Smith
Robert Kenrick Teresa LaRocca Margaret Lehmann Hugh MacLachlan & Fiona MacLachlan OAM Dr Ruth Marshall & Tim Muecke Dr Thomas Millhouse & Dr Marina Delpin K & D Morris Chris Perriam Andrew Robertson Ben Robinson Glenys G Scott Gwynnyth Shaughnessy Glenys Steele Scott Christopher Stone Anne Sutcliffe Guila Tiver & Denis Harrison Sue Tweddell Glen & Robina Weir Prof. Julian White AM & Dr Beata M Byok Anonymous (2)
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Behind the Scenes Production Team
Adelaide Festival Centre Production Team
STAGE MANAGER Karen Farmer ASSISTANT STAGE MANAGERS
PRODUCTION COORDINATOR Jane Baird HEAD MECHANIST Vince Louch HEAD LIGHTING Paul McGee LIGHTING BOARD OPERATOR Martin Howard FOLLOW SPOTS Luke Pilla, Kat Kleemann AUDIO TECHNICIANS Michael Wickens, Tim Dodd,
Dylan McBurney, Nam Nguyen RÉPÉTITEUR Josh van Konkelenberg SURTITLES OPERATOR Aaron Pelle SCENIC ART Anto Dal Santo PRODUCTION ASSISTANT Brenton Watson WARDROBE SUPERVISOR Tracey Richardson WARDROBE CONSTRUCTION
Adam Budgen, Patrick Pages-Oliver FOH SOUND OPERATOR Mick Jackson
Denise Strawhan, Katie Szabo WIGS & MAKEUP SUPERVISOR Jana DeBiasi WIGS & MAKEUP ASSISTANT Dina Giaccio DRESSERS Sue Nicola, David Adams HEAD MECHANIST Ben Brooks
State Opera South Australia Board of Management
State Opera Staff
John Irving Chair Imelda Alexopoulos Dr Beata Byok Jane Doyle Peter Michell Dr Thomas Millhouse Master Elizabeth Olsson Polly Tembel
EXECUTIVE DIRECTOR Yarmila Alfonzetti ARTISTIC DIRECTOR Stuart Maunder AM HEAD OF MUSIC Anthony Hunt PRODUCTION MANAGER Ben Flett ASSOCIATE PRODUCER Monique Hapgood ASSOCIATE PRODUCER Phillipa Sprott CONTRACTS ADMINISTRATOR Li Li Fisher HEAD OF MARKETING & DEVELOPMENT
Artistic Ambassador
PHILANTHROPY MANAGER Mark Colley COMMUNICATIONS MANAGER Laura Danesin MARKETING EXECUTIVE Olga Grudinina DEVELOPMENT COORDINATOR Richelle Weiher DATABASE COORDINATOR Hannah Neophytou DONOR ADMINISTRATOR Max Walburn BUSINESS DEVELOPMENT EXECUTIVE ASSISTANT
Sidonie Henbest Marilyn Richardson, Hon.DMus Qld
Cultural Ambassador Dr Christine Rothauser
Emanuel Auciello CHIEF FINANCE OFFICER Nicole Mathee ACCOUNTANT Sarah Hart BUSINESS SUPPORT OFFICER Elisabet Cada
Our Supporters State Opera gratefully acknowledges support from The Australian Federal Government through
Restart Investment to Sustain and Expand (RISE) Fund – an Australian Government initiative
The South Australian Government through Arts South Australia
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I N D U ST R Y PA R T N E R S
SUPPORTERS
T H A N KS TO …
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VOSS
7 MAY 2022 | FESTIVAL THEATRE, ADELAIDE