VINCENZO BELLINI

5 May 2017Arts Centre Melbourne, Hamer Hall

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Welcome

Welcome to Victorian Opera’s performance of Bellini’s La Sonnambula.

Bel canto holds a special place in the heart of our company. Tonight’s performance of La Sonnambula is our third of great Bellini masterpieces, following concert stagings of Norma and I Puritani.

We welcome a cast of old and new friends, Jessica Pratt, Carlos E. Bárcenas and Roxane Hislop, along with Paolo Pecchioli and Greta Bradman.

Jessica returns following her recent debut with The Metropolitan Opera as Queen of the Night in The Magic Flute. Carlos, who sings with so much heart, has inspired us all with his love for beautiful singing, which after all is what the tradition of bel canto represents.

Many exciting things are happening at Victorian Opera. Tonight’s performance will be filmed and then streamed on the Opera Platform website from July 2017. Our commitment to sharing opera with everyone transcends borders (literally!) and we’re thrilled to contribute our music to the world. More news to follow.

From the Victorian Opera family, thank you for joining us tonight for this concert performance of La Sonnambula. As we draw closer to winter, we hope it warms your soul.

ANDREW SNELL Managing Director

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Bellini Knew BestRichard Mills

During my tenure at Victorian Opera, we have embarked on a project to perform all the major Bellini operas in concert. The cynic might well ask “why”? – and add prevailing criticisms about poor orchestration, formulaic accompaniments and lack of dramatic differentiation between characters. All well and good – and perhaps intellectually sustainable points of view – which overlook one important phenomenon: an individuality of musical personality, which has an emotional eloquence of uncommon power that engages the public because of its lasting vitality.

Bellini had great regard for the quality of his chosen texts. His most successful collaborator was Felice Romani (1788-1865) who was the librettist for seven of Bellini’s greatest works, including Norma and La Sonnambula (and would have been for I Puritani had he not missed the deadlines for Beatrice de Tenda).

Romani produced nearly 100 librettos for composers as diverse as Mercadante, Rossini, Meyerbeer, Donizetti and Verdi; he was a lawyer, interested in mythology, French literature and antiquities. With this rather formidable background as an academician, one would be disinclined to expect the prodigious lyrical gifts Romani displays so frequently. He possessed the ability to find a union of image and rhetorical form that provided a framework for melody, making text, which needs an encounter with music to realise the final potentials of its ideas.

Consider the first entrance of Norma: her first majestic utterances are preceded by music entirely for men, preparing the way for the magical imagery of Casta Diva. I think Puccini was at least subliminally aware of this process in La Fanciulla del West – the entrance of Minnie is architecturally a tour de force as the female voice is revealed for the first time in the opera, preceded as it is by an elaborate ensemble for the men.

Bellini’s famous letter to Agostino Gallo published in 1843, and, strangely,

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of sometimes disputed authenticity states: “Believing as I do that a great part of the success of a work depends on the choice of an interesting subject with strong contrast of passions and harmonious and deeply felt verses… my first object is to obtain a perfect drama from a good writer”. Bellini is also reported as saying: “Give me good verse and I will give you good music”.

This feeling for poetry and drama also extends to a profound ability to convey character. The argument that one of Bellini’s characters’ music could just as well be rendered by another is nonsense: Adalgisa singing Casta Diva or Lisa singing Ah, non credea, I don’t think so! Even in the duets and trios, there is individuality of gesture that renders the whole passage cohesive.

Of course, there are still those who voice criticisms of the orchestration. Yet attempts to ‘improve’ Bellini’s orchestration have led great musical minds to despair. Bizet discovered when he was commissioned to re-orchestrate Norma that “it would be impossible to place any other accompaniments under these melodies”. For me, sensitive playing, remembering the characteristics of the horns, trumpets and trombones of the day in particular will iron out any functional infelicities – for the rest, the poetic intention is always served by the instrumentation – what more can one ask for?

Of course, the period music industry has appropriated Bellini – and we have the much vaunted recent Bartoli recording of the ‘new edition’ by Maurizio Biondi and Riccardo Minasi. For our 2014 Norma, I purchased these materials at some expense, only to find them pretty well identical to the old Ricordi set I used in Perth years ago – but of course with fresh wrong notes, so who’s kidding who here?

Bellini’s influence is subtle and profound. His friendship with Chopin and influence on Liszt, Wagner and Stravinsky are well known. Donizetti and Verdi admired him greatly, and provided the sincerest form of flattery: imitation.

Bellini has left us a canon of enduring value; a unique and inimitable feeling for poetic expression in music, a dramatic sense which manifests in noble and heroic situation, and a legacy of melodies that unfold as if they were made in heaven for singers on earth. His art is in stark contrast to the current climate where much entertainment is based on the fetishized violence of film and computer game. The art of Bellini perhaps creates its own need in barbarous times.

RICHARD MILLS Artistic Director & Conductor

This article was originally printed in the April 2017 edition of Limelight Magazine.

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ACT I In the village, wedding preparations are under way: Elvino and Amina are in love. Only Lisa the innkeeper (once engaged to Elvino) who is being enthusiastically pursued by the hapless Alessio, is disappointed by the engagement. Amina enters to express her happiness and gratitude to all, especially to Teresa who raised her after she was orphaned (“Come per me sereno”). Elvino rushes in late to sign the marriage contract, offering Amina a beautiful bouquet as an apology. He gives her a ring that belonged to his mother (Duet: “Prendi, l’anel ti dono”). Suddenly, a mysterious man arrives – it’s Count Rodolfo, in disguise. He sees a resemblance in Amina of a great love from his past.

As darkness comes, the villagers become apprehensive and Teresa explains to the mysterious man that a ghost haunts the town. The man is amused and says he’d like to see the ghost before departing. Elvino and Amina begin to argue over the Count’s interest in Amina, but Elvino soon

apologises for his jealousy (Duet: “Son geloso del zeffiro errante”).

At the inn, Lisa recognises the mysterious man as the lost heir of the former local count. While they flirt, there is a sudden noise and Lisa hides in the closet, dropping her handkerchief. Amina sleepwalks into the room. Rodolfo realises she must be the village “ghost”. Lisa assumes Amina is coming to meet Rodolfo and sneaks away. Rodolfo is moved by Amina’s expressions of love for Elvino and leaves her to sleep innocently on his bed.

The villagers enter to catch a glimpse of the mysterious Count. Lisa appears with Elvino and Teresa. Everyone in the village is shocked to find Amina in the Count’s bed. Awakened by the crowd, she proclaims her innocence (“D’un pensiero e d’un accento”). In spite of Teresa’s pleas and Amina's objections, Elvino cancels the wedding and together with the villagers, rejects Amina (“Non più nozze”).

SynopsisLa Sonnambula

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ACT II The villagers visit Count Rodolfo’s castle to plead Amina's cause. Teresa and Amina enter and hear Elvino grieving ("Tutto è sciolto”). He reproaches Amina again and takes his ring from her. The villagers return to say that Rodolfo has confirmed Amina’s innocence and is on his way, but Elvino refuses to see him and leaves in despair. Teresa leads Amina away in sorrow.

Elvino decides to marry Lisa after all.As they leave for the church they are interrupted by Rodolfo who proclaims Amina's innocence once more. Teresa appears, concerned, and asks for quiet as Amina has fallen asleep from exhaustion. She is shocked to see that Lisa is Elvino’s bride to be. Teresa suddenly produces the handkerchief Lisa had dropped that night in the Count's room. Elvino realises that Lisa has told lies.

Amina appears, sleepwalking at a great height along a perilous ledge. Afraid she might wake, the villagers watch and pray she reaches safety. In her sleep, Amina mourns the loss of Elvino, remembering the beautiful flowers he gave her that have since wilted. She searches for her lost ring (“Ah! Non credea mirarti”). Now convinced of her innocence, Elvino puts the ring back on her finger. Amina wakes and seeing Elvino her despair turns to joy. The whole village rejoices in the happiness of the bride and bridegroom.

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ProductionLa Sonnambula

5 May 2017 Arts Centre Melbourne Hamer Hall

Composer Vincenzo Bellini

Librettist Felice Romani

Running time is approximately 3 hours with one 20 minute interval

Sung in Italian with English surtitles

Creative Team Conductor Richard Mills

Lighting Designer Peter Darby

Production Manager Eduard Inglés

Stage Manager Luke Hales

Principal Repetiteur Phoebe Briggs

Repetiteur Phillipa Safey

Chorus Preparation Phoebe Briggs, Richard Mills

Cast Amina Jessica Pratt

Elvino Carlos E. Bárcenas

Count Rudolfo Paolo Pecchioli

Lisa Greta Bradman

Teresa Roxane Hislop

Alessio Timothy Newton

Notary Tomas Dalton

Chorus SopranoElizabeth Barrow, Olivia Cranwell, Michelle McCarthy, Joanna Patocs, Rebecca Rashleigh, Diana Simpson, Emily Uhlrich, Nicole Wallace

Mezzo SopranoKerrie Bolton, Fleur Brockway, Rebecca Bywater, Ursula Paez, Belinda Paterson, Anna Plotka, Juel Riggall, Lynlee Williams

TenorJonathon Bam, Paul Batey, Paul BiencourtIrving Dekterev, Tomas Dalton, Michael Edwards, Ernst Ens, Timothy Reynolds

BassPaul Hughes, Michael Lampard, Stephen Marsh, Timothy Newton, Alex Pokryshevsky, Kiran Rajasingam, Julian Wilson, Raphael Wong

Acknowledgements Surtitles prepared by Brian FitzGerald.

Please Note Tonight's performance will be filmed and then streamed on the Opera Platform website from July 2017. More information will be available at victorianopera.com.au from June.

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Orchestra Victoria Deputy Concertmaster Roger Jonsson

ViolinYi Wang Principal First ViolinErica Kennedy Associate Principal First ViolinTomomi Brennan Associate Principal First ViolinBinny Baik Alyssa ConrauLubino FernandesRachel GamerMatthew HassallRachael HuntMara MillerPhilip NixonJohn NobleMartin ReddingtonChristine Ruiter

ViolaPaul McMillan PrincipalCatherine BishopJason Bunn Nadine Delbridge

CelloMelissa Chominsky PrincipalDiane Froomes Associate PrincipalSarah CumingPhilippa GardnerTania Hardy-SmithAndrea Taylor

Double Bass Damien Eckersley PrincipalDennis Vaughan Associate PrincipalMatthew Thorne

FluteLisa-Maree Amos PrincipalKaren Schofield Associate Principal

Oboe Stephen Robinson PrincipalJoshua de Graaf Associate PrincipalDafydd Camp Principal Cor Anglais

ClarinetPaul Champion PrincipalJustin Beere Associate PrincipalAndrew Mitchell Principal Bass Clarinet

BassoonLucinda Cran PrincipalHugh Ponnuthurai Associate Principal^ Timothy Murray Principal Contrabassoon

HornJasen Moulton PrincipalHeath Parkinson Associate PrincipalLinda Hewett Principal Third HornSydney BraunfeldRachel Shaw

TrumpetMark Fitzpatrick PrincipalAnthony Pope Associate Principal

TromboneScott Evans PrincipalTony Gilham Associate PrincipalBenjamin Anderson Principal Bass Trombone

TimpaniGuy du Blêt Principal

PercussionRichard Gleeson Principal^Conrad Nilsson Associate Principal

^ = Guest Musician Acting in a Principal Role

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Music IndexLa Sonnambula

Act One, Part One

Viva Amina! (Chorus)

Cavatina: Tutto è gioia, tutto è festa (Lisa, chorus)

Viva Amina! - In Elvezia non v’ha rosa (Alessio, Lisa, Chorus)

Recitative and Cavatina: Care compagne – Come per me sereno (Amina, Chorus)

Recitative: Io più di tutti (Alessio, Amina, Lisa, Teresa, Notary, Chorus)

Recitative and Duet: Perdona, o mia diletta – Prendi: l’anel ti dono (Amina, Elvino, Notary, Teresa, Lisa, Chorus)

Recitative: Domani, appena aggiorni (Elvino, Amina, Chorus)

Recitative and Cavatina: Come noioso e lungo – Vi ravviso, o luoghi ameni (Rodolfo, Lisa, Amina, Teresa, Elvino, Chorus)

Act One, Part Two

Recitative and Chorus: Contezza del paese avete voi, signor? – A fosco cielo, a notte bruna (Elvino, Rodolfo, Teresa, Lisa, Amina, Chorus)

Recitative: Basta così (Rodolfo, Teresa, Amina, Lisa, Elvino, Alessio, Chorus)

Scene and Duet: Elvino!...E me tu lasci – Son geloso del zefiro errante (Amina, Elvino)

Scene: Davver, non mi dispiace (Rodolfo, Lisa)

Recitative and Duet: Che veggio? – Oh come lieto è il popolo (Amina, Rodolfo)

Osservate. L’uscio è aperto (Chorus)

Quintet: È menzogna – D’un pensiero e d’un accento (Elvino, Lisa, Amina, Teresa, Alessio, Chorus)

Finale Act One: Non più nozze (Elvino, Amina, Lisa, Teresa, Alessio, Chorus)

Interval

Act Two

Qui la selva è più folta ed ombrosa (Chorus)

Scene and Aria: Reggimi, o buona madre – Tutto è sciolto (Elvino, Amina, Teresa, Chorus)

Scene and Aria: Lasciami – De’ lieti auguri a voi son grata (Lisa, Alessio, Chorus)

Quartet: E fia pur vero, Elvino – Signor Conte, agli occhi miei (Lisa, Elvino, Alessio, Rodolfo, Teresa, Chorus)

Finale Act Two: Signor?... che creder deggio? – Ah non credea mirarti (Amina, Elvino, Rodolfo, Teresa, Lisa, Alessio, Chorus)

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Jessica and Richard

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RICHARD MILLSConductor

Richard Mills pursues a diverse career as a composer, conductor and artistic director which has seen him working with almost all of the nation’s music organisations and develop an extensive discography of orchestral works. Richard is currently Artistic Director of Victorian Opera. He has previously held the post of Artistic Director of the West Australian Opera, Director of the Australian Music Project for the Tasmanian Symphony Orchestra and has been Musica Viva’s Composer of the Year. In 2007/8 he was awarded an Ian Potter Foundation Fellowship.

Since making his debut at Opera Queensland with The Magic Flute Richard now has a large repertoire of standard and contemporary opera as well as his own compositions. His compositions range from Flute Concerto, commissioned by James Galway, Soundscapes for Percussion and Orchestra, performed by Evelyn Glennie at the City of Birmingham Symphony Proms, Passion according to St Mark, Songlines of the Heart’s Desire song cycle and the operas: Love of the Nightingale, Summer of the Seventeenth Doll, Batavia, The Pied Piper and 'Tis Pity.

JESSICA PRATTAmina

Jessica Pratt completed her vocal studies in Italy with Renata Scotto and Maestro Gianluigi Gelmetti at Rome Opera. She now prepares roles with Lella Cuberli.

Since her debut in 2007 in the title role of Donizetti’s Lucia di Lammermoor, Jessica has established herself as one of the finest and most sought-after interpreters of the bel canto repertoire. As one of the most active singers in her field, over the last 10 years Jessica has performed in 87 productions for 68 different organisations around the world. She has interpreted 32 different roles of which the most popular is Lucia Ashton in Donizetti’s Lucia di Lammermoor, followed by Amina in Bellini’s La Sonnambula and Elvira in Bellini’s I Puritani.

In May 2013, Jessica was awarded the prestigious international prize for coloratura sopranos La Siola d’Oro and in September last year was awarded the Oscar della Lirica international award for Best Soprano of the Year. Opera companies she has performed with include La Scala, Covent Garden, Opera Zurich, Liceu Barcelona, Deutsche Oper Berlin, Dutch National Opera Amsterdam, La Fenice Venice, San Carlo Naples and most recently The Metropolitan Opera.

BiographiesLa Sonnambula

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CARLOS BARCENASElvino

Born in Cali, Colombia. Studied with Gustavo A. Marquez before moving to Australia in 2007. He holds a Bachelor of Music Performance and a Master of Music (Opera Performance) at University of Melbourne where he was awarded the Keith G. Chapman Memorial Scholarship.

His roles have included Marco (The Gondoliers), Alexander (Il Re Pastore) Michael (Pecan Summer). For Victorian Opera Steuermann (The Flying Dutchman), Edgardo (Lucia di Lammermoor), Sir Bruno (I Puritani), Flavio (Norma), (La Traviata), title role (The Pied Piper), Saint Chavez (Four Saints in Three Acts), Maese Pedro (Master Peter’s Puppet Show) Prince April (The Sleeping Beauty), Witch (Hansel and Gretel), Prince Charming (Cendrillon) and Ramiro (La Cenerentola).

Carlos received a Green Room award for his performance of Steuermann in The Flying Dutchman.

PAOLO PECCHIOLICount Rudolfo

Bass, Paolo Pecchioli has sung in theatres around the world including Washington National Opera, Gran Teatro Liceu Barcelona, the Bolshoi, Dallas Opera, Pittsburgh Opera, Hanoi State Theatre, the Korean State Theatre, Staatsoper Dresden. Italian theatres include Teatro Petruzzelli, Maggio Musicale Fiorentino, Torre del Lago, Teatro Regio Torino, Fondazione Arena di Verona, Teatro Verdi Trieste, Teatro Comunale Bologna, Teatro Lirico di Cagliari and Teatro Verdi Pisa.

Paolo has worked with conductors such as Riccardo Chailly, Alberto Zedda, Esa-Pekka Salonen, Zubin Mehta, Riccardo Frizza, Nicola Luisotti, Carlo Rizzi, Jonathan Webb, Daniele Callegari and Bruno Campanella. Renowned for his bel canto repertoire, his roles include Alidoro (La Cenerentola), Assur (Semiramide), Conte Rodolfo (La Sonnambula), Oroveso (Norma), Giorgio (I Puritani), Don Pasquale, Don Bartolo and Don Basilio (Il Barbiere di Siviglia), Selim (Il Turco in Italia), Mustafà (L'Italiana in Algeri), Dulcamara (L'Elisir d'Amore), Raimondo (Lucia di Lammermoor), Maometto II, Attila, Silva (Ernani), Il Conte di Walter (Luisa Miller), Zaccaria (Nabucco), Figaro (Le nozze di Figaro) and Leporello and the title role in Don Giovanni.

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GRETA BRADMANLisa

Australian soprano Greta Bradman commenced her professional career in 2010. She has presented over 1,000 performances with international and Australian orchestras. Greta completed a Fellowship at the Australian National Academy of Voice in 2013 and was the winner of the Australian International Opera Award. She moved to Cardiff where she undertook further training at the Wales International Academy of Voice. Recent highlights include the title role in Handel’s opera Rodelinda, regina de’Longobardi, Eurydice (L’anima del filosofo), the Australian/NZ tour of Broadway to La Scala and an international tour with Zubin Mehta and the Australian World Orchestra. In 2017, Greta debuted the role of Mimi (La Bohème) for Opera Australia. In 2015, Greta recorded her debut album My Hero. It became the highest ever charting Australian classical album on the pop chart, debuting at number 1 on the classical chart. Awards include critic’s choice award, an APRA/AMCOS Performance of the Year award and numerous OzCart awards. Greta has been nominated for Helpmann, MusicOz and ARIA awards and in 2015 was named Limelight Magazine’s Artist of the Year.

ROXANE HISLOPTeresa

Roxane Hislop is a graduate of Sydney University, the NSW Conservatorium of Music and RMIT University. The winner of many awards including the Sydney Sun Aria and the Australian Regional finals of the Metroplitan Opera Auditions . Miss Hislop has been nominated five times for a Green room award and was named best female artist in a supporting role for Maddalena (Rigoletto) and Olga (Eugene Onegin).

Miss Hislop has an operatic repertoire of over 60 roles including the title roles in Carmen and La Pericole, Rosina (Barber of Seville), Dalila (Samson et Dalila) and Varvara (Katya Kabanova). She has appeared with every major opera company and symphony orchestra in Australia and her concert repertoire includes, Missa Solemnis, The Messiah, The St Matthew and St John Passion, Child of Our Times, Pergolesi’s Stabat Mater, Brahms Alto Rhapsody and numerous opera galas.

Recent performances include Mrs Herring in Albert Herring, Rossweisse in Die Walküre, and Marcellina in The Marriage of Figaro for Opera Australia. Later this year for Opera Queensland, Roxane will perform Dame Hannah in Ruddigore.

BiographiesLa Sonnambula

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TIMOTHY NEWTONAlessio

Timothy is a bass originally from Queensland and in 2016, he held the Stuart Leslie Opera Scholarship with the Melba Opera Trust and Val Vallis Memorial Scholarship at the Lisa Gasteen National Opera School. His recent performance highlights include Stonnington Opera in the Park, Olin Blitch in Floyd’s Susannah (Opera New England), Williamson’s Our Man in Havana (Lyric Opera of Melbourne) and Laughter and Tears (Victorian Opera chorus).

In 2017 Timothy will undertake further study in Italy as recipient of the Acclaim Award.

TOMAS DALTONNotary

Tenor Tomas Dalton completed his voice studies at the Melbourne Conservatorium of Music and holds an AMusA in piano. In 2016 he was a finalist for the Opera Foundation for Young Australians: Deutsche Oper Berlin Award, finalist for the Royal Melbourne Philharmonic Aria, semi-finalist for the German Australian Opera Grant, and winner of the Acclaim Awards Italian Opera Fellowship. Performance highlights include The Villager in Respighi’s The Sleeping Beauty (Victorian Opera), Ernest in the world premier tour of Women In War (Arts Centre Melbourne & Artek Productions, Greece), Lucia di Lammermoor and I Pagliacci (Victorian Opera chorus), and Götterdämmerung (Opera Australia chorus).

Tomas is currently playing the role of Tamino in Opera Australia’s schools tour of The Magic Flute, and later this year will undertake further study in Italy as an Acclaim Awards Italian Opera Fellow.

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Richard with the cast

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Victorian OperaAbout Us

Victorian Opera is a national leader in the Australian opera scene. The company has established itself with innovative programming, diverse repertoire and exciting new work. We’ve commissioned 17 new Australian operas in our 11 year history and have staged at least one new work every season. Employing hundreds across the arts each year, we recruit the finest local and international singers and collaborate with a wide range of musicians, creative teams and companies from around the country and overseas.

The next generation of talent is developed from the Youth Opera Chorus through to the company’s Developing Artist Program. Victorian Opera has inspired over 600 young singers through our youth opera program and developed over 30 emerging artists. Victorian Opera is committed to the accessibility of opera through tactile tours, and audio described and relaxed performances. The company annually tours its Education and Community Engagement Programs state-wide with an ongoing commitment to staging opera in Tasmania beginning from 2017.

Join the Chorus Go behind the scenes to learn more about our work.

victorianopera.com.au

@VictorianOpera #victorianopera

Stuart Maunder AM to direct Cunning Little Vixen22 June - 1 July | Arts Centre Melbourne, Playhouse

Stuart Maunder AM directs Cunning Little Vixen

22 June - 1 July | Arts Centre Melbourne, Playhouse

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Stuart Maunder AM to direct Cunning Little Vixen22 June - 1 July | Arts Centre Melbourne, Playhouse

© New Zealand Herald/newspix.co.nz

Stuart Maunder AM directs Cunning Little Vixen

22 June - 1 July | Arts Centre Melbourne, Playhouse

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Cunning Little Vixen

22 June - 1 JulyArts Centre Melbourne, Playhouse

Book Tickets victorianopera.com.au | 1300 182 183

Tickets from $67 $35 for 30 and under

Ticket purchases made online or by phone attract a transaction fee between $3 - $8.50. A delivery fee of up to $5.50 may also apply.

Leoš Janácek

Hear the Forest Come AliveOne of the greatest operas of the 20th century, Janácek’s Cunning Little Vixen marvels at the beauty of nature and the cycle of life. Set in an idyllic forest,

we follow Vixen Sharpears’ lyrical journey from youth to adulthood.

Sung in English with playful sets and costumes, Victorian Opera's Cunning Little Vixen is perfect for families and opera first-timers.

Don’t miss this exquisite production!

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The Sleeping Beauty

5 puppet makers

created

25 life-sized puppets

over

5 months

that were stage tested by

7 puppeteers for range of motion

before including final changes in design

Whilst enchanting voices and beautiful singing are at the core of every opera, each production relies on a team of highly skilled craftsmen and women who help bring the show to life.

Putting on a mainstage performance takes months of preparation, and a large group of talented people drawing, building, painting and tailoring to deliver your unforgettable night at the opera.

Your generous support makes it possible for us to bring world class opera to audiences across Victoria. In return, we love sharing our craft with you.

As a Patron of Victorian Opera, you will get to see, hear and feel the creative process for yourself, from artist talks and design previews, to workshops and rehearsal viewings.

Make a tax deductible donation before 30 June 2017, and join our valued community of Patrons at Victorian Opera.

Donate online at www.victorianopera.com.au/support-us/from-page-to-stage or contact Pooja Dutt, Individual Giving Manager, on (03) 9001 6408 or poojad@victorianopera.com.au

Ever wondered how an opera goes from page to stage?

Support UsVictorian Opera

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The Princess and the Pea

6 costume makers

7 performers

8 costumes

12 fittings

50 metres of fabric

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PatronsVictorian Opera

If you would like to get more involved in the work of Victorian Opera by becoming a Patron, please contact Pooja Dutt, Individual Giving Manager on 03 9001 6408 or poojad@victorianopera.com.au

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

Leadership Circle ($20,000+) Hans & Petra Henkell* Maureen & Tony Wheeler Dr John & Elizabeth Wright-Smith*

Artistic Directors Circle ($10,000+) Deanne Bevan & Guy Russo Rob & Caroline Clemente John & Diana Frew Jane Hemstritch Suzanne Kirkham* Peter & Anne Laver Geraldine Lazarus & Greig Gailey* Dr Richard Mills AM

Platinum Patrons ($5,000+) Beth Brown & Tom Bruce AM* Siobhan Lenihan* Kaye Marion Don & Angela Mercer Marian & Ken Scarlett OAM* Greg Shalit & Miriam Faine

Gold Patrons ($2,500+) Joanna Baevski Ian Baker & Cheryl Saunders Dr Terry Cutler Craig D’Alton & Peter Sherlock Bob Garlick Dr Jennifer George & Rev Matthew Williams Mary-Jane Gething and Joseph Sambrook M Gordon & L Norton Peter & Jenny Hordern Stewart & Denise Jackel Ian Kennedy AM & Dr Sandra Hacker AO Joan & George Lefroy Peter Lovell Ian Merrylees Michael Rigg & Gerard Condon John & Elisabeth Schiller Tim & Lynne Sherwood Lady Southey Felicity Teague Earl & Countess of Wilton Anonymous (1)

Silver Patrons ($1,000+) Laurie Bebbington & Elizabeth O’Keeffe Kirsty Bennett The Hon David Byrne Terry & Christine Campbell Deidre Cowan Ernest Dawes OBE & Nola Dawes Bill Fleming John & Gaye Gaylard Brian Goddard Nance Grant AM MBE & Ian Harris Richard & Isabella Green Lesley Griffin Hartmut & Ruth Hofmann Simon L Jackson & Brian Warburton Sean Kelly Rod & Daniele Kemp Alun & Patricia Kenwood Angela & Richard Kirsner John & Lynne Landy

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Dr Paul & Glenys Lejins Dr Anne Lierse Douglas & Rosemary Meagher Jane Morris Greg Noonan Ruth & Tom O’Dea Jillian Pappas Jane Patrick & Robert Evans Lynette Payne Prof Margaret Plant Prof Dimity Reed AM Prof John Rickard Tomasz & Elzbeita Romanowski Graeme Samuel AC & Jill Davies Michael Sassella Andrew Snell Penny Stragalinos Andrea Tappe Hugh & Elizabeth Taylor Caroline Travers OAM Dr Michael Troy Chris & Helen Trueman Liz & Peter Turner Caroline Vaillant David Valentine Catherine Walter AM Russell Waters & Marissa Barter-Waters Ian A Watts Youth Music Foundation of Australia Anonymous (3)

Bronze Patrons ($500+) Jenny Anderson Ines & Dr Don Behrend John & Nancy Bomford Pam Caldwell Dr Jennifer Coghlan-Bell & A/Prof Simon Bell Laurie David Beatrice & Richard Donkin Dr M Elizabeth Douglas Jean Dunn Dennis Freeman Jill & Robert Grogan

Dr Irene Irvine Dr Garry Joslin Angela Kayser I Kearsey & M J Ridley Michael Kirwan Robert & Pamela Knight Jane Kunstler Peter & Susan Martin Jocelyn & Andrew McLeish Gillian Montgomery Carmel Morfuni Ian Morrey & Dr Geoffrey Minter Greg J Reinhardt Aubrey Schrader Dr John & Thea Scott Prof Michael Smith Prof Elsdon Storey Tam Vu & Cherilyn Tillman Anonymous (8)

Bequests G Bawden and L DeKievet Lesley Bawden Frank and Danielle Chamberlin Colin Gunther and Richard Laslett Jane Kunstler Tony Wildman and Robert Gibbs Anonymous (3)

*Victorian Opera would like to thank the following patrons for their support of our Education and New Work Syndicates:

Education Syndicate Hans & Petra Henkell Geraldine Lazarus & Greig Gailey Dr John & Elizabeth Wright-Smith

New Work Syndicate Beth Brown & Tom Bruce AM Suzanne Kirkham Siobhan Lenihan Marian & Ken Scarlett OAM

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Orchestra Victoria

Government Relations & Strategic Communications Manager Dana Moran

Corporate Partnerships Account Manager Fiona Gosschalk

Trust & Foundations Manager Jo McEniery

Patrons Manager Olivia Passmore (03) 9669 2776 oliviap@australianballet.com.au

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

Principal Regional Partner

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

T: (03) 9694 3600

www.australianballet.com.au

Management Artistic Director Nicolette Fraillon

General Manager Julie Amos

Operations Manager Fiona Boundy

Project Manager Elise Lerpiniere

Deputy Orchestra Manager Harriette Blanden

Operations Coordinator Mark Lowrey

Operations Assistant Rachel Owen

Orchestra Management Assistant Lucy Barker

Orchestra Librarian Glynn Davies

HR Consultant Ange Park

Marketing Specialist Melissa Ray

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Philanthropy at Orchestra Victoria

Endowment FundsEducationLesley & Bob Qualtrough BequestThe Judith & Alasdair McCallum Fund

Hamilton and Western District FundGeoff and Helen Handbury Foundation

EstatesMrs Neilma Baillieu Gantner

Trusts & FoundationsGandel PhilanthropyThe William Buckland Foundation

Planned GivingG C Bawden & L de Kievit

Annual GivingThe Conductor's PodiumMr Robert Albert AO RFD RD & Mrs Elizabeth AlbertGeoff and Helen Handbury Foundation

The Concertmaster's EnsembleJoan and Peter Clemenger TrustMr Richard Guy OAM & Ms Claire GuyMs Linda HerdDr Peter A KingsburyAvner Klein & Maria PannozoPrescott Family Foundation

Principal PatronsThe Late Betty Amsden AOGaye & John GaylardHenkell Family FundDr Alastair JacksonJudith & Alasdair McCallumDon & Angela MercerMrs Margaret S Ross AMVictor & Karen Wayne

PatronsDavid & Cindy AbbeyG C Bawden & L de KievitMarc Besen AC & Eva Besen AOTom Bruce & Beth BrownPeter & Ivanka CanetMr Jim Cousins AO & Mrs Libby CousinsG CroftMs Jane Edmanson OAMLouis J. Hamon OAMRussell and Jenni JenkinsPeter & Carmel JohnsonDr Nicholas Lis and Mrs Gabrielle MichauMaple-Brown AbbottH.McKenziePeter McLennan & John LandersMs Marilyn MeyerMichelle and Ian MooreProf David PeningtonLady Potter AC CMRIKerryn PratchettMr John RedmanAdrienne ShawPeter & Christine SmedleyLibby SmithBruce & Leona SterlingH & EA Van HerkHenry WintersHelen & Wayne WorladgeIgor Zambelli & Jenny LeeAnonymous (5)

Orchestra Victoria Instrument acquisition is supported by Creative

Partnerships Australia through Plus1

Current as at 20 January 2017

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Greta Bradman

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StaffVictorian Opera

Conductor Emeritus Richard Gill AO

Victorian Opera Board Chairman Jane Hemstritch

Deputy Chairman Greig Gailey

Roger Box Vivienne Corcoran Francis Ebury, Earl of Wilton Anne Gilby Siobhan Lenihan Penny Stragalinos Megan Waller (Board Observer)

ExecutiveArtistic Director Dr Richard Mills AM

Managing Director Andrew Snell

Executive Producer & Artistic Associate Libby Hill

Artistic, Engagement & ProductionHead of Music Phoebe Briggs

Repetiteur Phillipa Safey

Company Manager Kate Stephens

Assistant Company Manager Candice MacAllister

Education Officer Deborah Vanderwerp

Production Manager Eduard Inglés

Technical & Operations Coordinator Peter Darby

Production Coordinator Luke Hales

Costume Supervisor Joanne Paterson

VOYCE Angus Grant

Finance & AdministrationFinance & HR Manager John Orr

Finance Assistant Claire Voumard

Marketing

Marketing, Media & Sales Manager Henri Marron

Marketing & Communications Coordinator Alexia Jordan

Media & Communications Executive Scott Whinfield

CRM & Ticketing Executive Nichole O'Duffy

Development Development Manager Louise O'Loughlin

Individual Giving Manager Pooja Dutt

Development Executive Meredith Dellar

Events Coordinator/Office Administration Sharni Morter, Alexandra Reade

Developing ArtistsDesign Candice MacAllister

Direction Alastair Clark

2017 Season StaffSurtitles Tim Mallis

Photography © Charlie Kinross

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Become a Corporate Member

Corporate Members provide vital support for Victorian Opera and enable the company’s ongoing success as a state icon and national leader.

Becoming a Corporate Member is your opportunity to build a long-term brand alignment with the most innovative, diverse and imaginative opera company in Australia.

Your support ensures that Victorian Opera can continue to deliver high-calibre productions and breathtaking performances for audiences across the state and country.

By joining our Corporate Members Program you will also provide your key stakeholders, clients and staff with unforgettable experiences at the theatre whilst developing your business objectives.

To discuss Corporate Member opportunities with Victorian Opera, please contact:

Louise O’Loughlin, Development Manager(03) 9001 6405louise@victorianopera.com.au

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Official Partner Media Partner

Foundation Partner University Partner Awards

Government Partners

Supply Partners

Performance Partners

Trusts & Foundations

Our PartnersVictorian Opera

William Angliss Charitable Fund

Gras Foundation

We acknowledge and thank our partners who make our work possible.

Gailey LazarusFoundation

Henkell Family Fund

I N N O V A T I O N A W A R D

N O M I N E E 2 0 1 7

G E T C LO S E R TO T H E M U S I C

A U S T R A L I A’ S C L A S S I C A L M U S I C & A R T S M A G A Z I N E

CONSUMER MAGAZINE OF THE YEAR 2013

CLASSICAL MUSIC, OPERA, DANCE, THEATRE, VISUAL ART

SUBSCRIPTIONS FROM JUST $16 FOR 3 ISSUESwww.limelightmagazine.com.au