MAGIC FLUTE CHORUS SHORT COURSE

Mid Winter SoireeDear Donors, Supporters, Partners, and Friends,

Following our highly successful production of Menotti’s THE CONSUL at fortyfivedownstairs in Flinders Lane in May, we hit the ground running to master the tricky and quriky demands of Rossini. Moved over to Collins Street, and bumped in to The Athenaeum (Upstairs@) for a School Holiday season of FIGATROLL, a children’s opera loosely based on the Three Billy Goats Gruff, music from Barber of Seville & Cinderella by Rossini, an Indiannopolis Opera Education Project. The rapturous faces of children watching our lovable Milly, Silly & Willy Goat deal with the singing ‘Troll’ , and the rock-star reception our singers received when they stepped out to mingle after the performances, were an affirmation of the capactiy of opera to instantly reach the newest of audiences! Most pleasing for the creative team, Dr David Kram, Katherine Day and I, was just how much the performances, energy and singing improved as the shows went along, proving the point that we can only come so far in rehearsal, and it is the real public performance experience when everyone, our younger and older participants, discover, experiment with, and develop their stage personas. Our trainee repetiteur Megan Steller played towards the end of the run, so all in all, it was an energetic, gruelling, enjoyable, and worthwhile experience. There were lots of laughs in the rehearsal room as the cast came to grips with the amusing material and cartoon-like characters, and this made rather a welcome change from the truly traumatic material of The Consul. One of the singers described my directing style as ‘tough love’, which I take as a supreme compliment, in that what we provide at The Opera Studio is the environment and support for our Young Artists to be courageous, in order to be the best opera-theatre performers they can be. You might enjoy reading the following feedback, from some of our Young Artists:

A warming bowl of soup and a cheeky glass of wine was followed by a sumptuous presentation of new arias by our 7 Young Artists, with Katherine Day showing her inimitable style on the piano. An array of tales, emotions, characters and situations were brought to life, suitably kicked off by baritone Sun Song Hong, with The Prologue from Leoncavallo’s I Pagliacci. Music by Handel, Massenet, Mozart, Rossini, Verdi, Wagner and Giordano was performed in the orginal language. Our young artists were fortunate to have the input and expertise of Dr David Kram in preparation. Thanks too, to Megan Steller, trainee repetiteur for her contribution.

A FEW SPOTS REMAIN FOR HIGHLY-TRAINED SINGERS TO PARTICIPATE IN THE CHORUS OF OUR NOVEMBER MAIN

STAGE, ENGLISH PRODUCTION OF MOZART’S THE MAGIC FLUTE. APPLICATIONS CLOSE AUGUST 31, REHEARSALS

START OCTOBER 1. PERFORMANCES EARLY NOVEMBER

EMAIL admin@theoperastudio.com.au FOR AN APPLICATION FORM & FURTHER INFORMATION

Pictured left: Hadleigh Adams (TOSM2009) as Papageno

Stacey Alleaume (TOSM2009-2010) as Paminain our inaugural mainstage production at the National Theatre 2009.

Hadleigh is now in his second year as an Adler Fellow at San Francisco Opera, and Stacey is on a fulltime contract at Opera Australia . Shown here in

her role debut, Stacey has now performed inThe Magic Flute 150 times!

News I Winter 2014

UP NEXT at The Opera Studio:

Our next Studio event is an open Master Class with visiting US director CHUCK HUDSON on Tuesday August 19, from 6pm to 9pm. Chuck will work with five of our singers, on an aria in preparation for competitions and auditions.Light refreshments will be served at the break; we ask that you book early, seating is limited. There is no charge for this event; but bookings are essential: you are invited to make a tax-dedutible donation, if so inclined. BOOKINGS:

www.trybooking.com/98273

Gertrude Opera I The Opera Studio Melbourne

Today was the final performance for me as Milly Goat for Figatroll.. Its been a tough full on week but I can’t thank my family enough for all their amazing support and even some of my students showed up as well, with such an awesome cast, tough love direction from Linda Thompson, and wonderful piano playing from Katherine Day and Megan Steller… Linda….you got me to go well outside my comfort zone, I didn’t think I could do one of the main characters even if the opera only goes for 45 mins. You’ve shown me I can do so much more than I thought I could do and for that I can’t thank you enough. - Tamzyn Alexander, Foundation Program 2014

Tamzyn, pic. above left as Milly Goat, holds a BMus from ACU, and will sing First Spirit in The Magic Flute in November.

Who knew opera could be this much fun!

Alexandra Lidgerwood (Silly Goat) Tamzyn Alexander (Milly Goat)Damien Noyce (Willy Goat)

Visit www.facebook.com/theoperastudiomelbourne to view Gallery

The Opera Studio Melbourne I News. Winter 2014

Damien Noyce, Gertrude Johnson Fellowship 2014

I have say a massive thank you to everyone who was involved in Figatroll The Opera Studio Melbourne We had a ball!! Thank you for all the massive amounts of help I had from Linda Thompson, Katherine Day & David Kram. My apologies for complaining so much about having to sing Rossini and all the coloratura. Amazing work by my cast members and production team…I can’t wait until the next one!

Damien Noyce, pictured left, ‘getting his Goat on’ Damien is currently in Sydney performing in BRUNDIBAR with Richard Gill and Opera Prometheus

“He. Eats. Children...”

Left: Silly Goat & Figatroll, getting their wires crossed.Alexandra Lidgerwood (Silly Goat) Eugene Raggio (Figatroll)

There can never be too much magic...

In November we present our 80minute English version of MOZART’s THE MAGIC FLUTE, a sparkling, joyous production to gladden the hardest of hearts, and music to intoxicate the senses.

Our namesake, Ms Gertrude Johnson OBE, who started the National Theatre movement and the first Opera School in Melbourne in 1936, had a huge success with the Queen of the Niight, which became one of her signature roles at the Royal Opera House, Covent Garden. Her Queen costume was recently displayed as part of a Costume Exhibition at the Arts Centre Melbourne. Our guest speaker at our Ravenswood Soiree, Mr Frank Van Straten OAM, wrote a fascinating and inspriational book about the life and achievements called Gertrude Johnson: National Treasure, which is available at the State Library and may still be found online; it is well worth reading, and marvelling at the extensive list of names of Australian singers who credit Gertrude Johnson and the National Theare with preparing them for their illustrious careers.

Stacey Alleaume, who made her debut as Pamina with The Opera Studio’s inaugural production at the National Theatre in 2009, recently wrote to us:

Gertrude Opera

It is really lovely to note that the first role I ever performed on the mainstage for The Opera Studio Melbourne has become my signature role! Since graduating, I have been in four different productions of The Magic Flute and by the end of the 2014, I will have passed the milestone of 150 performances.. I feel very connected to the character Pamina, and it’s very special knowing I began creating her in my very first year at the Studio.

2014: Pamina/2nd Lady, Opera Australia Regional Tour2014: Chorus, Opera Australia, Sydney Mainstage2014: COVER Pamina, Opera Australia2012: Pamina, Opera Australia Schools’ Company2011: Chorus Victorian Opera

I cannot thank you and The Opera Studio Melbourne enough for giving me such a rewarding opportunity.

A beloved, timeless work, thoroughly enjoyable for audiences new and old, and an exceptional vehicle for aspiring opera singers of this generation. The Magic Flute gives our Young Artists an opportunity to present a major work that benefits their career prospects, and theatrically engages their community in the presentation of their work. Our production, with extraordinary professional and young talented singers, using a simple but imaginative design with resonating cultural references, as well as lower-than-standard theatre ticket prices, will hopefully have wide appeal.

Presenting a high quality main stage opera production in a shortened format, in the predominant language of the community, in a theatre with a proscenium arch and orchestra pit in the centre of Melbourne, is a wonderful experience for both performers and audience alike. The sense of occasion and cameraderie flows bothways across the footlights, and contributes to enthusiasm for opera as a relevant and contemporary art form. The Magic Flute in particular, with the charm of an ageless story, exquisite music that requires exceptional skills, is a theatrical experience that relates to, and transcends, everyday lives.

Making her Australian debut in the role of Papagena is American soprano ALISSA ANDRASKI. Alissa is supported in her Performance Program by the Van Straten & Turley Foundation and a 2014 US-Australia International Fellowship. Recently, Alissa wrote her mid-way report thanking those who have supported her participation in the Program:

The Magic Flute Mozart

Stacey Alleaume (TOSM2009-2010) pictured left in her 2014 Sydney Opera House debut as the Page in Verdi’s Rigoletto Photo credit: Opera Australia/Henry Chooand below, in her debut as Pamina, National Theare, The Opera Studio 2009

I am five months into my first season at The Opera Studio Melbourne and I couldn’t be happier with my decision to travel from the US to Australia to take part in this rare program.

I had to choose between a young artist program in Europe and this program in Melbourne. What swayed my decision was the unique line-up of operas and concerts that Linda Thompson has on the agenda for this year.

What I didn’t realize until I arrived was just how exceptional and unique this program is. Linda Thompson has created a young artist program like no other in the US and Europe (I know because in addition to growing up in the US, I spent the past five years in Germany, Italy, Austria, and Switzerland before coming to Australia). Most young artist programs give students stage experience, but it can often be to the vocal detriment of the young singer. Linda has created a program that mirrors a professional company while focusing on the growth of each unique individual as a singer and a performer.

I only wish I had discovered this program earlier on in my development!

www.gertrudeopera.com.au

Did you know...?The Magic Flute was first performed in Mozart’s beloved Vienna in a beer hall, just three months before his death, with a libretto by the singer who premiered the role of Papageno, Emmanuel Schickaneder. Mozart wrote much of the music with more than a passing reference to all things Masonic. Three becomes a magic number, as a result with ladies, spirits, gates, trials, even chords all coming in the Masonically significant trios. The Queen of the Night aria was written for Mozart’s sister-in-law, Josepha, and her striking, naturally high coloratura.

We look forward to making further announcements when all elements fall into place; our first magic task is to try to raise enough funds to conjure up our orchestra. Conductor Warwick Stengards, resident for the past six years at the Volksoper in Vienna, awaits, baton at the ready!

The Opera Studio Melbourne - Gertrude Opera’s paramount purpose is to provide opera-as-theatre experiences for a diverse audience. We have a very small, revolving team, who are multi-talented and multi-tasking, designing and producing our productions with imagination and flair on a shoestring. By far, the most difficult task we face is raising cash to pay for the venue, orchestra, and personnel for our mainstage productions.

Please consider making a tax-deductible donation to The Opera Studio Melbourne Fund. We could do with your help. You can be assured that your kindness and generosity is carefully considered, and that you are genuinely contributing to the future of opera by supporting The Opera Studio - Gertrude Opera. Donations to The Opera Studio Melb Fund are tax-deductible (DGR, TCC, ROCO)

Opera of our excellent quality cannot be produced without patronage. From our donors, supporters, partners, volunteers, artists and ticket-buyers - everyone’s contribution is vital in getting our wonderful productions and artists to the stage. It is the wide cross-section of sources and supporters that gives our little company its heart, and we appreciate, and genuinely need, your financial support. Everything you see in this Newsletter is as a consequence of enlighted patronage. If a patron [gives to] an artist who needs money, the patron then makes himself equal to the artist; he is building art into the world; he creates. (Ezra Pound)

BANK DETAILSThe Opera Studio Melbourne Fund BSB: 083 231 ACC. NO: 82801 3805

MAGIC FLUTE DONATION APPEAL Performances: The Athenaeum Theatre*, November 2014

On October 11 & 12, The Alice Amy McDonald Trust will present The Opera Studio Young Artists in semi-staged selections from opera in the Mia MIa Town Hall. Saturday October 11 is almost sold-out, but you can still get tickets for Sunday October 12, at 2pm. Mia Mia is an easy 1.5hr drive from Melbourne for the experience of a wonderful country hall and afternoon tea in a lovely environment. Booking details: http://www.trybooking.com/9182 It is a perfectly manageable day-trip.

The program will feature arias and ensembles by Mozart, Wagner, Verdi, Rossini, Offenbach, Gounod, Massenet, Britten and more, all performed in English, with Katherine Day and Megan Steller on piano. Well worth the drive!

Rada Tochalna

Alissa Andraski

AlexandraLidgerwood

TamzynAlexander

Megan Steller

Trainee Repetiteur

Eugene Raggio

Sun Song Hong

Damien Noyce

Gertrude Opera I The Opera Studio Melbourne

GALA CONCERTS AT MIA MIA

October 11 & 12

ARTIST NEWS

in brief....

SNEAKY PEAK at 2015

Only those who risk going too far can find out how far they can go!

TS Eliot

EUGENE RAGGIO (Henkell Family Fellowship 2014) was recently a semi-finalist in the MTO-German Australian Opera Grant, and in July made his UK debut in Armide (Gluck) for the Yorke FestivalTrust

ALISSA ANDRASKI (Van Straten & Turley Foundation - US-USA International Fellowship) is a finalist in the Royal Melb Philaharmonic Oratorio Competition at Deakin Edge

HADLEIGH ADAMS (Gertrude Johnson Fellowship 2009) soon makes his role debut as Schaunard in La Boheme at San Francisco Opera, in a new production by John Caird, conducted by Guiseppe Finzi

HANNAH DAHLENBURG (2011) & STACEY ALLEAUME (2009-2010) continue to perform The Magic Flute in Opera Australia’s ‘Indiana Jones’ production of The Magic Flute across Australia

SOPHIE YELLAND (2010) is performing in the English National Opera workshop of Between Worlds at the end of August. Sophie acclaimed a ‘serious talent’ by Kathryn Harries, National Opera Studio, UK

GREG ELDRIDGE (Trainee Director, 2010-2012)as well as assistant directing at the Royal Opera House Covent Garden, will direct his own production of La Scala di Seta at Linbury Studio Theatre Royal Opera House London in October

NATHAN LAY is a Developing Artist with Victorian Opera, recently performing the role of Baron Duophol in Verdi’s La Traviata

CAMERON MENZIES (Opera Director 2010-2013) has recently directed a touring production of Don Giovanni for Diva Opera in the UK.

PETER KAZARAS (Opera Director, International Project 2011) this year directed The Consul at Seattle Opera and Tobias Picker’s An American Tragedy at Glimmerglass Festival, USA

CAMERON LUKEY (2010) is producing Terrence McNally’s play Masterclass, with Maria Mercedes as Maria Callas, at fortyfivedownstairs this month

THERESA BORG (The Consul, Director) will perform Fosca in Sondheim”s Passion at the Arts Centre in November

GERTRUDE

OPERA PROGRAM 2015

We wil be running a Festival Program across 3 nights and two days in an idyllic Regional setting, with fine regional food & wine. A Young Artist Program will operate within the Festival Program, with preparation, coaching and rehearsals making up a 12 week Young Artist Festival Performance Program, which will commence AUGUST 4, 2015

The Festival will feature some of Australia’s most accomplished professional artists, and is scheduled to run from Friday October 2 to Sunday October 4.

The Opera Studio Melbourne PERFORMANCE PROGRAM 2015 will have two elements:Our year-long Performance Program and a Young Aritist Festival Program

APPLICATIONS for both streams WILL BE INVITED SHORTLY. Already, we have received applications from young artists from around the world, including Greece, Bulgaria, USA, Russia, Israel, Vienna, QLD, WA, SA, NSW & VIC.

CULTURE PROJECT 2015

We are delighted to be heading back to fortyfivedownstairs in May 2015, with a treatment of Britten’s CURLEW RIVER.

A missing child, the grief and torment that ensues, our treatment of this piece is guaranteed to be bold and gripping, with particular relevance to the atrocities, past and sadly present, wrought by unlawful removal of children from their families throughout our world.

MAILING ADDRESS P.O. Box 529 East Melbourne VIC 3002

REHEARSAL STUDIOS371 Church StreetRichmondVIC 3121

WEB ADDRESSwww.theoperastudio.com.auwww.gertrudeopera.com.au

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