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Merlyn, The Coopers Malthouse 2 - 4 October 2015

T H E G R U M P I E S TB O Y I N T H E W O R L D

J O S E P H T W I S T & F I N E G A N K R U C K E M E Y E R

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W E L C O M EVictorian Opera has turned ten! To celebrate this special milestone, we have created a brand new Australian opera for children that will inspire our audiences of the future in this magical art form.To everyone past and present who has come on this journey, our audience, our supporters, our artists, the State Government of Victoria, our Artistic Director Richard Mills, our Founding Music Director Richard Gill, our board and staff, we give our heartfelt thanks.

In 2015, a brave new world of opera awaits. Join us and discover a local company that is redefining opera and helping to build its future.

Find your world at victorianopera.com.au

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R I C H A R D M I L L SA R T I S T I C D I R E C T O R ' S M E S S A G E

Life is a constant journey of discovery in our business. I first met Joe Twist when I was directing the Tasmanian Symphony Orchestra Composers’ School quite a few years ago now. I had a feeling for where his career might go and suggested he go to the USA to try to work in film or theatre. To my surprise, he followed my suggestion – and has recently orchestrated his first Broadway show, living in New York and commuting to California for other projects.

He is a born vocal composer – so he was an easy choice as an opera composer, as was Finegan Kruckemeyer as librettist. Finegan’s

work for young people is internationally recognised for its excellence, speaking so eloquently through its fanciful qualities which, despite their sometimes zany appearance nonetheless communicate directly with young audiences – who are, after all, the adult audiences of the future. Both creators have given us a work which is itself a journey of discovery for its principal character – a journey into the awareness of the unique qualities of every human person and a celebration of those qualities.

The Grumpiest Boy in the World is also itself a part of Victorian Opera’s continuing journeys of discovery – undertaken by travelling many new roads – but particularly the roads which lead to the creation of the new and the marvellous: such as this engaging freshly minted opera. We hope that our adventures into new territory will result in encounters for young people which bring them face to face with the wonderful complexity of an art form – and send them on their own individual voyages of discovery which will enrich them for a lifetime.

Richard Mills Artistic Director

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C A M E R O N M E N Z I E SD I R E C T O R ' S M E S S A G E

The Grumpiest Boy in the World has been such a treat to work on and direct, from its first week of workshops last year and then right through our rehearsal period to our opening night. This is the second production that I have had the privilege to direct that has been both a Victorian Opera commission and an opera cast with highly talented youth performers. In my career, I have been lucky enough to have directed quite a few new Australian works and I am always excited to work on something new, especially with a youth cast because of the energy and imagination they bring to the

rehearsal room. It is also a real delight for me to be able to tailor roles and the production with the Composer and Librettist and then in turn to work with the cast and our creative team to allow them to create fully-formed characters within this lyrical art form.

Productions of this nature have multi-faceted motivations and outcomes. Whether it’s to provide our cast with the opportunity to experience working with direction and staging, music staff, production and creative teams or whether it is to spark an interest in young audiences to come to see more opera. For me, it is always about crafting great opera and great storytelling through what I believe to be the most potent art form.

Working with text from Finegan Kruckemeyer, composition from Joseph Twist, collaborating again with set and costume designer Chloe Greaves and with lighting from Joseph Mercurio, this amazing creative team have all come together to create the world for our young lead called Zachary Briddling. Together, we are set to a take you on a fun ride through Zachary’s imagination to find out if he really is The Grumpiest Boy in the World.

Cameron Menzies Director

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F I N E G A N K R U C K E M E Y E RL I B R E T T I S T ' S M E S S A G E

It’s always a wonderful thing to experience your words being brought to life onstage.

Before entering the rehearsal room, they sit there in printed form, polite and quiet and waiting – before that joyous moment when an actor lifts them off the page and breathes life into them. Suddenly that text is something to be shouted, or whispered, to be passed quietly between friends, or thrown across a theatre in anger. That transformation, from words scribbled down, to words picked up, is a pleasure.

But there is another, even more magical, transformation that I’ve been able to experience from time to time – and that is to witness a line of dialogue being rolled around the wonderful, labyrinthine mind of a composer, being married with just the right notes, and finally being delivered (in all its operatic glory) by a masterful singer.

So it went with this project, as a story that began life as a play in England, now switches costume and reenters the theatre as an opera in Australia. Richard Mills and Libby Hill first sowed the seed with the prescience and bravery that comes with great artistic directorship, inviting me to embark on a new adventure, as partnered with brilliant composer Joe Twist (a name that cries out to become a character in one of my future plays!). They recognised the potential for a Grumpiest Boy spoken to be a Grumpiest Boy sung, and the musical world that Joe then crafted has an energy of its own – it is a score that, to this layman’s ear, is playful and textured and very hard to be grumpy about at all.

I am so excited to now fly north from my island home to sit beside you and see it brought to life by director Cameron Menzies’ sure hand, see it guided by Simon Bruckard’s baton, and see it rendered visible by Chloe Greaves’ stunning design.

The play’s hero Zachary Briddling wishes to become something new and so sets himself off into an unknown wilderness, exciting and unnerving in equal measure. This story, it seems, wishes to do the same – it has journeyed across art forms, been awed by those encountered (opera singers in rehearsal rooms, as opposed to ogres in caves), and emerged the better for it.

So to Victorian Opera for the invitation, and to you for the attendance, I offer thanks.

Finegan Kruckemeyer Librettist

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J O S E P H T W I S TC O M P O S E R ' S M E S S A G E

Wonderful stories and characters are my favourite sources of inspiration in my music, whether I am writing a film or TV score, concert work, a musical, or an opera. Writing music for Finegan Kruckemeyer's wonderfully magical story of a grumpy boy finding his place in the world was an honour and a delight. The kaleidoscope musical language of The Grumpiest Boy in the World reflects Zachary's journey to strange landscapes, his encounters with fantastical characters, his boundless imagination and his many fits of anger.

Circus music, jazz, chaotic cadenzas, powerful crescendos and colourful orchestral flourishes are contrasted with moments of great triumph and introspective pathos as Zachary’s journey of self-discovery unfolds. Melodies and musical motifs create unity throughout the ever-changing musical journey, reflecting Zachary’s struggle to be anything but 'middling' and his relationship with the characters around him. Zachary sings two slow, simple melodies, the first of which is associated with moments of sadness and despair, first heard with the words “stuck on the fridge door is all I can wish for.” The second theme represents Zachary’s sense of hope and optimism, first heard as he embarks upon his magical journey with “I launch into my travels, searching for something strange.” These two themes are developed and intertwined throughout, most notably during Zachary’s sad ‘arioso’: “As the world turns and the seasons pass.” These melodies of pathos are contrasted with faster, more complex, chromatic musical motifs which represent Zachary’s limitless imagination and, of course, his many grumpy tantrums.

Joseph Twist Composer

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A N D R E W S N E L LM A N A G I N G D I R E C T O R ' S M E S S A G E

Welcome to The Grumpiest Boy in the World! It is with great pride that Victorian Opera presents its annual Youth Opera - one specifically designed for both younger audiences and younger performers. The company was launched with a Youth Opera performance back in 2006 with a production of Britten's Noye’s Fludde. Staging these Youth Opera productions has since become an integral part of each year’s program.

We are also proud to be presenting another newly commissioned work. Developing both the next generation of talent and commissioning new works is a part of our institutional DNA; The Grumpiest Boy in the World unites the brightest young creative talent.

In this performance, you will see young performers from a number of Victorian Opera’s programs. Our chorus includes several students from the Victorian Opera Youth Chorus Ensemble (VOYCE); there

are a number of lead and supporting cast featured in this performance that have also appeared in the company’s past Youth Opera productions; and our conductor Simon Bruckard is a current student in the Master of Music (Opera Performance), presented in partnership between Victorian Opera and Melbourne Conservatorium of Music, The University of Melbourne. Simon recently conducted the regional tour of our ANZAC commemorative production, Remembrance, and continues to prove himself to be one of the most promising and versatile young musicians. We’re thrilled to be playing our part in his professional development.

Beyond those seen on stage, the music, lyrics and libretto for this joyously imaginative production are the work of two of Australia’s brightest theatrical and musical minds; Finegan Kruckemeyer and Joe Twist. They have created a new work to delight children and families while introducing them to the joy of opera.

Victorian Opera is able to present these important productions and continue to commission new works through the generous assistance of the Victorian Government through Creative Victoria, The Robert Salzer Foundation, our philanthropic supporters – especially our New Work Syndicate and Education Syndicate, and our many corporate partners. It is thanks to this support that Victorian Opera can inspire the next generation of talent and introduce younger audiences to this wonderful art form.

Andrew Snell Managing Director

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2 - 4 October 2015 Merlyn, The Coopers Malthouse

Running time approximately 50 minutes.

Acknowledgements

Resolution X, Imported Theatre Fabrics, Melbourne Theatre Company, Malthouse Theatre.

Creative Team

Composer Joseph Twist

Librettist Finegan Kruckemeyer

Conductor Simon Bruckard

Director Cameron Menzies

Set & Costume Designer Chloe Greaves

Lighting Designer Joe Mercurio

Lighting Associate Nick Glen

Production Manager Shane Lee

Stage Manager Andrea Corish

Assistant Stage Manager Luke Hales

Repetiteurs Phillipa Safey, Tom Griffiths

Cast

Zachary Jacob Lawrence

Zachary 2 Alastair Cooper-Golec

Mum Shakira Tsindos

Dad Matan Franco

Scientist #1 Kiran Rajasingam

Scientist #2 Stella Joseph-Jarecki

Giant Darcy Carroll

Girl Rhian Tuohy

Bird Lizzie Barrow

Grump 1 Stephen Marsh

Grump 2 Emily Crawford

T H E G R U M P I E S T B O Y I N T H E W O R L D

P R O D U C T I O N

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Victorian Opera Youth Chorus

Sarah Amos

Emilia Bertolini

Madeleine Crombie

Yasmin Gower

Annabel Hunt-Smith

Harmony Lee

Eliza O’Connor

Lisha Ooi

Annabelle Planincic

Mikahl Venneri

Miriam Whiting-Reilly

Kristina Fekonja

Chloe Harris

Monika Harris

Sheridan Hughes

Sara Kogan-Lazarus

Saskia Mascitti

Farah Mohd Hisham

Lauren Sibree

Lilli Stevens

Imara Waldhart

Megan Whiteside

Michael Edwards

Andrew Fraser

Zachary McCulloch

Zac Mistri

Giovanni Napoli

Joshua Tomlinson

Matan Franco

Oscar Harwood

Aidan McGartland

Lachlan McLean

Callum MacDonald

Daniel Jasper

Secondment Conducting Student Rachel Amos

Secondment Repetiteur Megan Stellar

Orchestra Victoria

Concertmaster Clare Miller

2nd Violin Sarah Coghlan

Viola Tom Higham

Cello Paul Ghica

Bass Emma Sullivan

Clarinet Nick Evans

Trumpet Carl Harvoe

Percussion Lara Wilson

Keyboard Phillipa Safey

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2 0 1 6 F A M I L Y

M E M B E R S H I P STaking the family to Victorian Opera is an exciting

and affordable experience. Introduce children to the magic of opera with two family performances, Cinderella

and The Pied Piper, in July 2016 at Arts Centre Melbourne.

Family memberships start from $45 for children victorianopera.com.au | 1300 822 849

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S Y N O P S I ST H E G R U M P I E S T B O Y I N T H E W O R L D

Zachary Briddling has great plans for himself. When he draws, he imagines himself a wonderful, terrible king: riding a lion down the road, with a crown as high as the sky! But when the crayons go away, he’s forced to admit it’s not like that. Because Zachary (aged 7 years, 4 months, and living in the 9th house on 10th Street, with one mother and one father) is a strange one. What is extraordinary about the boy, is his extra ordinariness. Zachary Briddling… is awfully middling.

He roars with the roar of a child who wishes to be at least a little bit amazing, at something.

‘My normal is killing me, Mother!’ shouts the boy, throwing crayons. She reminds him he is only normal here, though would be very different in strange places filled with hairy things, flying things, giant things and tiny things.

Zachary realises he would and sets off with backpack to the lands of giants, and monsters, and talking birds. As he meets these strange creatures, they realise how alike they are to Zachary. He becomes even grumpier that they can’t see how different he actually is!

Zachary storms off, sure his fate is sealed – Zachary Briddling is as middling, and average, and normal, even more than he thought. There is not a single thing that makes him special.

Until he arrives in Grumptown, a land filled with the most annoyed and annoying population of people ever. Zachary listens to their grumping… and laughs. The locals challenge him to a Grump-off and, with the help of his giant and hairy and tiny friends met along the way, he wins it all.

Zachary Briddling discovers he is truly the King of the Grumps! Superbly excited with himself, Zachary rides home on his lion, throws his crown on the floor, and goes into his room… slamming the door as hard as he can!

Illustration credit: © Chloe Greaves (p.11, p.14)

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CAMERON MENZIES Director

Cameron Menzies has worked with Opera Australia, Victorian Opera, Malthouse Theatre, Sydney Theatre Company, ANAM, Oper Köln, Deutsche Oper, Berlin & DivaOpera UK. He is the recipient of the 2011 Berlin New Music Opera Award, 2008 Bayreuth Opera Award from Opera Foundation Australia/DAAD and The Besen Family Artist Program (Direction), Malthouse Theatre. Cameron currently has acclaimed productions of Lucia di Lammermoor and Le Nozze di Figaro touring Europe for DivaOpera UK, while 2014 saw his international debut directing Don Giovanni for the same company. In 2016, Cameron will direct Lucia di Lammermoor for Victorian Opera at Her Majesty’s Theatre.

B I O G R A P H I E ST H E G R U M P I E S T B O Y I N T H E W O R L D

FINEGAN KRUCKEMEYER Librettist

Finegan has had 76 commissioned plays performed on five continents and translated into six languages. His work has been in over 70 international festivals, six US national tours, six UK national tours, at the Sydney Opera House (six works), New York’s New Victory Theater (three), Dublin’s Abbey Theatre and Shanghai’s Malan Flower Theatre. He has received at least one award each year for the past thirteen, including the inaugural Sidney Myer Fellowship, and has presented at conferences in nine countries, with essays published and plays studied at universities worldwide.

Examples of his work can be seen at finegankruckemeyer.com

JOSEPH TWIST Composer

Multi-award winning Australian composer Joe Twist is a versatile and eclectic musician. Based in the United States, Twist has received wide acclaim for his music for film and television, and his concert works are performed frequently by many professional ensembles around the world. Credits include original music, arrangements and orchestrations for The Wiggles and Melbourne Symphony Orchestra (The Wiggles Meet The Orchestra), New York Music Theatre Festival (Clinton: The Musical), the feature film Lily of the Feast starring Paul Sorvino (The Sopranos) and Twist's new album Dancing With Somebody featuring Acacia Quartet and Sally Whitwell.

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CHLOE GREAVES Set & Costume Designer

Some of Chloe’s more recent costume designs include They Saw A Thylacine (Malthouse Theatre), The Waiting Room (MTC), Blak Cabaret (Sydney Festival/Malthouse Theatre), The Magic Pudding – the opera (Victorian Opera), On the Bodily Education (Fraught Outfit - MTC Neon), Le Donna Curiose (The Juliard School, New York), Macbeth and A Midsummer Night’s Dream (Essential Theatre), and Pacific Overtures (Watch This Productions). Chloe also works in film and television, and has designed music videos for artists including Guy Sebastian, San Cisco and Alison Wonderland. Chloe received the 2014 independent theatre Green Room design award for her body of work, and has been nominated for four others previously.

JOE MERCURIO Lighting Designer

Joseph Mercurio was born in Melbourne and raised in Fremantle, Western Australia before moving to Sydney in 1993, working in a wide range of styles in Australia and touring the world extensively. He has collaborated with some of Australia’s leading theatre makers, including Stephen Page, Angela Chaplin, Sue Healey, Juliàn Reta Fuentes, Phillip Adams, Natalie Weir, Roger Hodgman, Chrissie Parrot and Graeme Murphy. He was Lighting Coordinator at WAAPA for four years and is currently Coordinator of Performance Technology at the Victorian College of the Arts.

SIMON BRUCKARD Conductor

Repetiteur and conductor Simon Bruckard is a Developing Artist with Victorian Opera, currently completing a Master of Music (Opera Performance) at the Melbourne Conservatorium of Music. Simon has worked as a coach and repetiteur for Victorian Opera for La traviata, Norma, Hansel and Gretel, The Flying Dutchman, Sweeney Todd and I Puritani. In 2015, Simon conducted the company’s regional tour of Remembrance in addition to The Grumpiest Boy in the World. Simon frequently performs as a collaborative pianist with singers and instrumentalists and is also a sought after French, German and Italian language coach.

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In its 10 years of existence, Victorian Opera has commissioned and presented 13 new Australian works including The Grumpiest Boy in the World. New Works are our way of dreaming differently about opera. In 2016, Victorian Opera presents four new works:

Developing, workshopping and presenting new Australian work is critical to building a future for opera and musical theatre. The Victorian Opera New Work Syndicate helps preserve this exciting role and offers its members a unique insight into the creative process.

To find out more about our New Work Syndicate contact Pooja Dutt, Individual Giving Manager, on (03) 9001 6408.

Banquet of Secrets

A new musical about the joy of food and friendship written by Paul Grabowsky & Steve Vizard.

Laughter & Tears

A collaboration with Circus Oz featuring 17-18th Century Italian music combined with the physical buffoonery of the Commedia Dell’arte.

Voyage to the Moon

A collaboration with Musica Viva and the Australian Research Council Centre of Excellence for the History of Emotions reimagining the beauty of the baroque.

The Pied Piper

A new fairy tale inspired opera written by Richard Mills to be created with Victorian communities.

N E W W O R KV I C T O R I A N O P E R A

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Founding Patrons The Late Dame Elisabeth Murdoch AC DBE Lady Potter AC

Patron in Chief The Honourable Linda Dessau AM Governor of Victoria

Leadership Circle ($20,000+) Hans & Petra Henkell Anonymous (2)

Artistic Director's Circle ($10,000+) Deanne Bevan & Guy RussoRob & Caroline ClementeWilliam J Forrest AMJohn & Diana FrewMrs Jane HemstritchHans & Petra HenkellPeter & Anne LaverLady Southey ACAnonymous (1)

Education Syndicate ($5,000+) Hans & Petra Henkell Dr John & Elizabeth Wright-Smith

New Work Syndicate ($5,000+) Beth Brown & Tom Bruce AMSuzanne KirkhamSiobhan LenihanMarian & Ken Scarlett OAMJoy Selby SmithFelicity Teague

Living Bequest Susan Harley Anonymous (2)

Platinum Patrons ($5,000+) Greig Gailey & Geraldine LazarusGreg Shalit & Miriam FaineKaye MarionWesfarmers Arts

Gold Patrons ($2,500+) Joanna BaevskiTanya Costello & Peter Costello ACBruce CurlCraig D'Alton & Peter SherlockThe Late Neilma GantnerBob GarlickJennifer George & Matthew WilliamsMurray GordonPeter & Jenny HordernIan Kennedy AM & Dr Sandra Hacker AOPeter LovellIan MerryleesJohn & Elisabeth SchillerTim & Lynne SherwoodEarl & Countess of WiltonAnonymous (1)

Silver Patrons ($1,000+) Dr Rosemary Ayton & Dr Sam RicketsonIan Baker & Cheryl SaundersLaurie Bebbington & Elizabeth O’KeeffeKirsty BennettBeth Brown & Tom Bruce AMBuckett Family David Byrne

If you would like to get more involved in the work of Victorian Opera through our individual giving program please contact Pooja Dutt, Individual Giving Manager, on (03) 9001 6408 or poojad@victorianopera.com.au

P A T R O N SV I C T O R I A N O P E R A

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Terry & Christine CampbellDeidre CowanErnest Dawes OBE & Nola DawesJohn Drury & Dianne Reilly Drury AMGareth & Merran EvansJohn & Gaye GaylardBrian GoddardNance Grant AM MBEGras FoundationSimon L Jackson & Brian WarburtonStuart T JenningsDavid C Jones AO OBE KSJRod & Daniele KempAlun & Patricia KenwoodJohn & Lynne LandyKwong & Joanne Lee DowDr Paul Lejins & Mrs Glenys LejinsAnne LierseJohn & Kerry LoveringMargaret Mayers & Marie DowlingDuncan & Lorraine McGregorDouglas & Rosemary MeagherMelbourne ADFAS Ken Muirden AOGreg NoonanRuth & Tom O’DeaJillian PappasJane Patrick & Robert EvansMichael Rigg John RickardJudith Robinson & Michael Robinson AOJudith RodriguezTom & Elizabeth RomanowskiJoseph Sambrook & Mary-Jane GethingGraeme Samuel AC & Jill DaviesMichael SassellaAubrey SchraderPhillip SchudmakAndrew Snell

Caroline Travers OAMMichael TroyHelen & Chris TruemanLiz & Peter TurnerCatherine Walter AMRussell Waters & Marissa Barter-Waters Ian A WattsAnonymous (5)

Bronze Patrons ($500+) Ines & Don BehrendDavid Bernshaw & Caroline IsakowPam CaldwellCatrionadh Dobson & Charles Windeyer Beatrice DonkinDr M Elizabeth DouglasDennis FreemanJill & Robert GroganApril HamerAngela KirsnerAngela KayserPeter & Barbara KollinerJane KunstlerDavid & Barbara McSkimming Ian Morrey & Geoffrey MinterPatrick O'DuffyMargaret PlantMerlyn QuaifeRalph RenardMary RyanJohn & Thea ScottMr Sam Smorgon AO & Mrs Minnie SmorgonPenny StragalinosHugh & Liz TaylorCaroline VaillantJohn WardAnonymous (14)

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Conductor Emeritus

Richard Gill OAM

Victorian Opera Board

Chairman Jane Hemstritch

Deputy Chairman Greig Gailey

Roger Box

Francis Ebury, Earl of Wilton

Ross Freeman

Anne Gilby

Siobhan Leninhan

Penny Stragalinos

Catherine Walter AM

Executive

Artistic Director Dr Richard Mills AM

Managing Director Andrew Snell

Executive Producer Libby Hill

Artistic, Engagement & Production

Head of Music Phoebe Briggs

Repetiteur Phillipa Safey

Artistic Administration Coordinator Kate Stephens

Artistic Administration Assistant Shakira Tsindos

Education Officer Deborah Vanderwerp

Production Manager Darren Cooper

Technical & Operations Coordinator Peter Darby

Production Coordinator Luke Hales

Finance and Administration

Finance & HR Manager Darren O'Beirne

Finance Assistant Claire Voumard

Office Administrator & Communications Assistant Sharni Morter

Development and Marketing

Development Manager Catrionadh Dobson

Individual Giving Manager Pooja Dutt

Corporate Partnerships Manager Paul Shea

Development Coordinator Meredith Dellar

Development & Marketing Coordinator Nichole O'Duffy

Marketing & Communications Manager Kanesan Nathan

Marketing & Communications Coordinator Alexia Jordan

Media & Communications Executive Scott Whinfield

Victorian Opera 2015 Season Staff

Head Mechanist Kieran Santoso

Costume Supervisor Tiffany Abbott

Wardrobe Matilda Woodroofe, Neroli Betts, Bryn Meredith, Owen Phillips

Audio Visual Matthew Chaung

S T A F FV I C T O R I A N O P E R A

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P A R T N E R SV I C T O R I A N O P E R A

Victorian Opera is supported by the Victorian Government through Creative Victoria. Victorian Opera would also like to acknowledge, with great appreciation, the contribution of the partners listed on this page.

Government Partners

Supporting Partners

Education & Access Partners

William Angliss Charitable Fund

Performance Partners

Foundation Partner University Partner

Victorian Opera creates tailored partnerships to enable businesses to meet their strategic priorities. For a discussion about how your business can benefit from a partnership with Victorian Opera, please contact Paul Shea, Corporate Partnerships Manager, on (03) 9001 6411 or pauls@victorianopera.com.au

Regional Partner

Government Partners

Foundation Partner Regional Partner University PartnerPerformance Partner Technology Partner

The Marian & E.H. Flack Trust

Gailey LazarusFoundation

Sylvia Fisher Foundation

Technology Partner

Markus Neilson Events

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Orchestra Victoria

is a wholly owned subsidiary of The Australian Ballet. T: (03) 9694 3600www.australianballet.com.au

Management

Artistic DirectorNicolette Fraillon General ManagerJulie Amos Operations ManagerAmelia DaviesPersonnel ManagerTony GilhamProject CoordinatorMargaret Lloyd Administration AssistantElise LerpiniereOperations AssistantPaul ShannanOrchestra Assistant Harriette BlandenLibrarianGlynn DaviesHR AdvisorAnge ParkOrchestra AccountantChelsea CollinsPhilanthropy ManagerJames WorladgeT: (03) 9669 2732 jamesw@australianballet.com.au

Board

Libby Christie Peter HoughAngela KellyDavid McAllister

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Endowment Funds Education Lesley & Bob Qualtrough Bequest

Annual Giving The Conductor's Podium

Robert Albert AO, RFD RD & Mrs Elizabeth Albert Betty Amsden AOJack Brockhoff FoundationThe William Buckland FoundationJoan and Peter Clemenger TrustColonial FoundationHandbury Family FoundationLord Mayor's Charitable FundThe Late David Mandie AM OBEHelen Macpherson Smith TrustDame Elisabeth Murdoch Charitable TrustMyer Foundation & Sidney Myer FundLady Southey ACTattersal's George Adams TrustMarcia & John Wertheimer

The Concertmaster's Ensemble

Besen Family FoundationCollier Charitable FundGandel FoundationThe Late Mrs Neilma GantnerThe Grosvenor SettlementPeter KingsburyAvner Klein & Maria PannozzoThe Ian Potter FoundationJohn T Reid Charitable TrustMargaret & Irene Stewardson Charitable Trust

Principal Donors

Gaye & John GaylardDr Alastair JacksonJudith and Alasdair McCallumDon & Angela Mercer

Patrons

David & Cindy AbbeyTom Bruce & Beth BrownPeter & Ivanka CanetMs Jane Edmanson OAMMr William J Forrest AMHenkell Family FundPeter & Carmel JohnsonPeter Kolliner OAM & Barbara KollinerMaple-Brown AbbottH. E. McKenzieProf David PeningtonLady Potter ACMr John RedmanMs Judith A RobinsonMrs Margaret S Ross AMLibby SmithH & EA Van HerkVictor & Karen Wayne

Principal Regional Partner

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

Government Partners

Australia Council for the Arts Creative VictoriaThe support received from the Australian Government through the Australian Council for Arts and from the Victorian Government through Creative Victoria provides the foundation from which we present all our partner opera and ballet companies. Further support from Local Governments assists our innovative Community & Education Programs.

Orchestra Victoria is a wholly owned subsidiary of The Australian Ballet.

Principal Regional Partner

Orchestra Victoria is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body

Orchestra Victoria is supported by the Victorian Government through Creative Victoria.

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S E A S O N 2 0 1 6

D I F F E R E N T

D R E A M S

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