THE

FRANZ LEHÁR

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State Opera South Australia presents

29 NOVEMBER – 6 DECEMBER 2018 Adelaide Festival Theatre

Proud Production Sponsor of State Opera 2018

www.trility.com.au

SOSA 2018.indd 1 27/04/2018 15:25

Conductor – Wyn DaviesDirector & Choreographer – Graeme Murphy AOCreative Associate – Janet Vernon AMSet Designer – Michael Scott-MitchellCostume Designer – Jennifer Irwin

Hanna Glavari – Antoinette HalloranCount Danilo Danilovich – Alexander LewisBaron Mirko Zeta – Andrew TurnerValencienne – Desiree FrahnCamille de Rosillon – John LongmuirNjegus – Mark OatesAlexis Kromov – Nicholas Cannon

Lighting Designer – Damien CooperAssistant Director & Choreographer – Shane PlacentinoEnglish Version – Justin FlemingSound Designer – Murray KeidgeChorus Master – Simon Kenway

Dominik Bogdanovich – Norbert HohlSylviane – Deborah CaddyRaoul de St Brioche – Adam GoodburnViscount Nicolas Cascada – Jeremy TatchellOlga Kromov – Sarah-Jane PattichisKonrad Pritschich – Joshua RowePraskovia – Catherine Campbell

STATE OPERA CHORUSADELAIDE SYMPHONY ORCHESTRA

Duration: 190 Minutes including two intervals

This production proudly sponsored by: TRILITY

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welcOme PRODUCTION SPONSOR

TRILITY is delighted to partner an organisation like State Opera South Australia. They are renowned for their rich artistic practices and with this production of Merry Widow; State Opera continues a tradition in bringing this much-loved operetta; with its exquisite music, magnificent waltzes and lavish art-deco sets to life in a fresh production which is both beautifully romantic and devilishly funny. Director and choreographer Graeme Murphy weaves his magic in this sumptuous production, designed by Michael Scott-Mitchell and Jennifer Irwin and we as South Australian’s benefit from work such as this in so many ways.

TRILITY too welcomes exciting challenges, and is actively pursuing projects across the nation including South Australia, whilst preserving very high service levels to our many sites in urban and regional South Australia.

The Merry Widow is a glitzy, glamorous good time and there’s no doubt this bubbly, beautiful, and full of tunes performance will have you humming as you leave the theatre. TRILITY is very proud to be a part of this outstanding production and we hope this operetta is the highlight of your cultural life in 2018.

Opera by its very nature is expensive because it combines all the dramatic, musical and visual arts in a single creative vision. It needs sponsors. This is why TRILITY is very proud to support the State Opera South Australia.

FRANCOIS GOUWSManaging DirectorTRILITY Group

STATE OPERA

Welcome to State Opera’s glorious finale to the operatic year – and what a way to end! There is so much to celebrate in this brand new production of Lehar’s classic operetta The Merry Widow. With settings by Michael Scott-Mitchell (best remembered in Adelaide for his stunning Ring Cycle in 2004), glamorous costumes by Jennifer Irwin, illumination by Damien Cooper and direction by the inimitable Graeme Murphy; this production has triumphed all over Australia. We are also delighted to present the State Opera debut of Wyn Davies conducting your Widow, Antoinette Halloran, alongside Alexander Lewis as Danilo, a glorious cast, the State Opera Chorus and our own Adelaide Symphony Orchestra to showcase this much-loved score.

Many of you will know what a busy and inspirational last few months we have had here at State Opera; the launch of our 2019 season has been greeted with enthusiasm and delight, our sell-out production of Dido and Aeneas at Plant 4 Bowden has put a new cool venue on the map, by the time you read this we will be announcing the recipient of our inaugural 2019 Director Fellowship, and our new 2019 Opera Club is shaping up to be the hottest ticket in town (buy to 7 or more events next year and automatically receive exclusive entrée). Exciting times ahead my friends!

Thank you to the State Opera Board, our precious donors, sponsors, opera lovers everywhere, and you especially, our South Australian audience, who bring this company to life every year. My very special thanks also to our long-term and valiant sponsors TRILITY who are genuine believers in the value of the performing arts to our society. We hope you enjoy this wonderful production and I look forward to seeing you many more times in 2019 at the opera.

YARMILA ALFONZETTIExecutive DirectorState Opera South Australia

IMAGE: Stephanie Do Rozario, Courtesy of Opera Queensland.

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DIRECTOR’S nOte

My first formal dance step was definitely a waltz. It was most certainly in a community hall in country Tasmania and my mum Betty was, as always, at an upright piano pumping out the 3/4 rhythm of a progressive barn dance. I was perhaps 9 years old and would have stepped on the toes of many a farmer’s wife.

The first time I heard the iconic Merry Widow waltz was on a tinny music box at my Uncle Hinton’s house in the big smoke, Launceston. Little did I know how often that waltz and I would get together! Fast forward and I am waltzing in one of The Australian Ballet’s most successful ballets, The Merry Widow - choreographed by Ronald Hynd, directed by Sir Robert Helpmann, with a wordless score adapted by and conducted by John Lanchbery, and starring, among other luminaries, Dame Margot Fonteyn.

With The Australian Ballet, I waltzed through countless performances and thousands of miles, from the London Palladium to Broadway’s Shubert Theater and beyond. I remember joking with Janet Vernon, my sometimes dance partner, my current creative associate, and my always life partner, that we were doomed to waltz in ‘The Weary Meadow’ till our legs became stumps!

Fast forward to now and...SHE’S BACK, once again filling my life not just with lush orchestration but this time with vocal magic and sparkling dialogue. What an absolute pleasure to be working with State Opera under Stuart Maunder’s artistic direction, ASO and conductor Wyn Davies. How thrilling to have Justin Fleming’s new

adaptation which respects the original while injecting pace and clarity. This clarity is reflected in the elegant Art Deco set design by Michael Scott-Mitchell, which transports us to a world far from the babble of the now. Costume designer Jennifer Irwin drapes the cast in dreams that float through subconscious memory and lighting design by Damien Cooper paints this lost world with faceted mirrors and shards of impressionistic gossamer.

If this all sounds escapist, how right you are! Yet, there is at the heart of this operetta a grounding force: our protagonists Hanna and Danilo, who because of proud vanity risk losing the great love of their lives - each other. The Merry Widow touchingly reminds us of the universal and all-pervasive need to love and be loved.

To you, dear audience, I offer a warm invitation to submit to an amazing cast in the service of a timeless musical gem.

GRAEME MURPHY AO Director & Choreographer

IMAGE: Stephanie Do Rozario, Courtesy of Opera Queensland.

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A LOVE AFFAIRAustralia has had a love affair with the Widow since Carrie Moore, a Geelong-born 25-year old opened as The Merry Widow in 1908 at Melbourne’s Her Majesty’s Theatre. Over 100,000 people enjoyed Carrie Moore’s ‘dreamily alluring’ dancing and for the next twenty years The Merry Widow continued to play all round the country.

Despite being remembered today for only one role, the Maid in The Maid of the Mountains, Gladys Moncrieff always maintained her favourite role was The Merry Widow. ‘Our Glad’ waltzed her way through the thirties and forties in a highly corseted black velvet gown with the debonair matinee idol Max Oldaker as her Danilo.

J C Williamson mounted a new production of The Widow in 1943 to showcase Australia’s celebrated song and dance partnership in the mould of Fred Astaire and Ginger Rodgers; Cyril Ritchard and Madge Elliot. Dubbed by the press as ‘the greatest love story in Australian theatre’ the two had consistently denied that they were romantically involved. According to Madge, they were ‘just good companions’ who danced. And Cyril commented that they married ‘after ten years of whirlwind courtship’.

This production ran for eight months and continued to tour Australia from 1944 until the end of World War 2 playing to troops in Cairo, Alexandria, Italy, Paris, Holland and Brussels.

The 1950s was a ‘Widow-free zone’ in Australia. Perhaps there were deemed no possible Widows in Australia at the time. Certainly, the one Australian singer who became most associated with the role of the Widow was learning her craft in England; June Bronhill. The classic 1957 Sadlers Wells production made her a star; the role and ‘Vilja’ becoming her calling card. This production was brought to Australia in 1960 playing to sell-out houses throughout the country.

Opera Australia has produced the operetta four times. The 1972 production provided a showcase for the undeniable onstage chemistry of Suzanne Steele and Robert Gard.

In 1978 Designer Kristian Frederickson transformed the Concert Hall of the Sydney Opera House into a cream, grey and white Art Nouveau confection to showcase the Widow of Dame Joan Sutherland. The company certainly got their monies worth from this extravagant production as it played numerous revivals with equally numerous Widows over the following 35 years.

In 2004 director Simon Phillips and designers Michael Scott-Mitchell and Hugh Coleman created an Art Deco-inspired showcase for the Widow of Yvonne Kenny. Resplendent in black and pink, Yvonne appeared from an oversized- cigarette box and waltzed down an equally oversized fan which opened to become a staircase. In what was to be the penultimate version to this production, 2010 saw Amelia Farrugia and David Hobson headlining a revival of Giles Havergal’s Opera North version.

The Merry Widow has never enjoyed a major revival in Australia because It has virtually never been out of the repertoire.

The ‘heart’ in The Merry Widow is irresistible. It is charming, romantic, amusing, tuneful… and sentimental. “Sentimental” is, of course, a dangerous word to use today, but remember what composer Richard Rogers (a man who acknowledged that his first experience with The Merry Widow began his life-long obsession with the waltz) once said in response to the charge that The Sound of Music is sentimental:

‘Too much of anything is harmful. No one is comfortable with an excess of hearts and flowers, but there is no valid reason for hiding honest emotion... it’s my conviction that anyone who can’t, on occasion, be sentimental... is sadly maladjusted.’

STUART MAUNDER AM Artistic Director State Opera South Australia

IMAGE: Jeff Busby

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ACT TWOHanna’s home in Paris, the next day.

Hanna holds a Pontevedrian party. Valencienne, the young wife of the Pontevedrian ambassador, Baron Zeta, continues a fragile romance with a young Frenchman, Camille, who has written a dangerous confession of love on her fan. The intrigue deepens when Hanna and Camille are discovered in the summer house and the hope of her reunion with Danilo appears doomed.

INTERVAL

ACT THREEMaxim’s Nightclub, later the same evening.

Hanna has reserved the popular nightspot, where she sparks Danilo’s anger by her coquettish antics with the grissettes. The various love intrigues are resolved by vital discoveries about

Valencienne’s fan – and the will of Hanna’s late husband!

ACT ONEThe Pontevedrian embassy, Paris.

The Balkan state of Pontevedro is facing financial ruin. Its best hope is that Hanna Glavari, a young rich widow, should marry a Pontevedrian and keep her fortune in Pontevedro, rather than risk

marrying a Parisian and losing the money to France. The Pontevedrian Embassy holds a state ball to which Hanna and her former lover, Danilo Danilovich are invited. Before her marriage into wealth, Hanna was a poor farm girl whom Danilo’s uncle forbade him to marry. Now the pressure is on to reunite them in marriage. But as Danilo loved the poor farm girl, can he love the wealthy widow?

INTERVAL

SYNOPSIS

IMAGE: Stephanie Do Rozario, Courtesy of Opera Queensland.

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CREATIVE TEAM

WYN DAVIES Conductor

Wyn Davies works extensively as a conductor and teacher. He has been Director of Music to New Zealand Opera since 2005 and was formerly Director of Music for Carl Rosa Opera.

Wyn’s Opera repertoire includes Candide, L’Elisir d’Amore, The Magic Flute, La Traviata, La Cenerentola, The Italian Girl in Algiers (also Scottish Opera), Jenůfa, Falstaff, Don Giovanni, Don Pasquale (also Tokyo) all for NZO; La boheme, The Spanish Hour, Gianni Schicchi, Janaček Cycles (also Scottish Opera), L’incoronazione di Poppea, Eugene Onegin (WNO); The Magic Flute, The Barber of Seville, The Mikado (ENO); The Cunning Little Vixen, Show Boat (UK tour) (Royal Shakespeare Company); The Secret Marriage, The Barber of Seville, Madama Butterfly, La voix humaine, Dido & Aeneas (Opera North); Die Fledermaus, Blue Beard, Il Turco in Italia, The Beggar’s Opera (also Lyric Belfast), Véronique (Buxton Festival).

Orchestral engagements - Hallé Orchestra, L’Orchestre Royal de Chambre de Wallonie, Scottish Chamber Orchestra, BBC National Orchestra of Wales, BBC Scottish Symphony Orchestra, English Chamber Orchestra, APO, A Child of our time with the NZSO, National Youth Orchestra and National Youth Choir.

DAMIEN COOPER Lighting Designer

Damien is a lighting designer working in theatre, Opera and dance; he has designed over 300 shows.

In 2018 Damien lit Force Majeure’s Sydney Festival production of You Animal, You, Top Girls for Sydney Theatre Company, The Merry Widow for Opera Australia, Murphy for the Australian Ballet, AB [INTRA] at Sydney Dance Company, as well as The Sugar House and A Taste Of Honey at Belvoir.

Damien’s opera credits include Neil Armfield’s The Ring Cycle and Peter Grimes, as well as Cosi Fan Tutte for Opera Australia, The Magic Flute for Chicago Lyric Opera, The Rape Of Lucretia for Sydney Chamber Opera, Chorus! for Houston Grand Opera, Midsummer Night’s Dream for Houston Grand Opera, Chicago Lyric Opera and Canadian Opera Company, Aida for West Australian Opera, State Opera South Australia and Queensland Opera, and Ainadamer for State Opera South Australia.

Damien won three Sydney Theatre Awards for Best Lighting Design and four Green Room awards for Best Lighting Design.

SHANE PLACENTINO Assistant Director & Choreographer

Adelaide born Shane Placentino joined The Australian Ballet Company, ans was promoted to Leading Soloist in 1997 until 2000. Sydney Dance Company 2002 until 2008. Stage manager for SDC’s 360° and Rehearsal Director for SDC’s 6 Breaths/We Unfold. Assistant Director to Graeme Murphy’s opera Aida for WA Opera, OA, State Opera South Australia and OQ. Guest teacher at Adelaide College of Performing Arts and Terry Simpson Studios. Assisting Bruno Ravella for David McVicars’ opera Faust, for OA, State Opera of South Australia and WA Opera. Assistant Director to Graeme Murphy’s opera The Merry Widow for WA Opera, OA, OQ and State Opera South Australia. Revival Choreographer for John Bell’s Madame Butterfly for OA’s regional tour.

Dance repertoire: Swan Lake, Giselle, Don Quixote, The Merry Widow, Jardi Tancat, Romeo and Juliet, Nutcracker, Beyond Twelve, Ellipse, ‘Jack’ in Tivoli, Underland, Some Rooms, Grand, Hua Mulan, Berlin.

Opera repertoire: Aida, Madama Butterfly, Faust, The Merry Widow

JUSTIN FLEMING English Version

Justin Fleming’s work for music theatre includes Satango (Griffin Theatre/Riverside Theatres, music by Stewart D’Arrietta), The Ninth Wonder (Sydney Theatre Company), Accidental Miracles (Cameron Macintosh/STC/WAAPA), Crystal Balls (Sadler’s Wells), Tess of the D’Urbervilles (Savoy Theatre & UK Tour, music by Stephen Edwards), Laid in Earth (Queensland Music Festival, score by Damian Barbeler) and Odyssey: They Came with Songs into Battle, (score by Brendan Collins.), librettist for Opera Australia’s The Merry Widow in 2017/18, and Justin is librettist on Whiteley for Opera Australia’s 2019 season.

Plays include Hammer (Ensemble); The Cobra, Harold In Italy, The Ninth Wonder (STC); A Land Beyond the River (Bakehouse), Moliere’s Tartuffe (The Hypocrite) for MTC and The School for Wives for Bell Shakespeare’s national tour. Burnt Piano (Belvoir/MTC/Herbert Berghof Playwrights’ Theater, Centaur Theatre Montreal) won the New York New Dramatists’ Award. Coup D’Etat (MTC/Bakehouse/Western Canada Theatre) won the Banff PlayRites Residency. The Department Store and His Mother’s Voice won the Mitch Mathews Award. Origin was produced at The Art of Evolution Conference, Courtauld, London. Shellshock was commissioned by Riverside Theatres and Molière’s The Literati and The Misanthrope were produced by Bell Shakespeare and Griffin Theatre. Dresden is part of KXT’s 2018 season.

JENNIFER IRWIN Costume Designer

Jennifer’s career spans 38 years designing costumes for ballet, drama, opera and film. She has designed some of the largest scale spectacular productions staged in Australia, including co-designing costumes for the Sydney 2000 Olympic Games Closing Ceremony, and The Official Commemorative Ceremony marking the Centenary of Australian Federation 2001 & 2018 Commonwealth Games.

Commissions include 30 years of repertoire with Bangarra Dance Theatre, 36 ballets for Sydney Dance Company, The Australian Ballet, Sydney Theatre Co, Belvoir, Opera Australia, WA Ballet, Opera WA, Singapore Dance Theatre, Royal New Zealand Ballet, Universal Ballet of Korea, Melbourne Theatre Company. Joffrey Ballet, and The Adelaide Festival Trust. The international box office phenomenon ‘Dirty Dancing, the musical’ is also still playing worldwide since 2004.

Jennifer was nominated for Best Costume Design in the 2017 AACTA awards for the feature film SPEAR, she was awarded Service to Dance 2017 at the Australian Dance Awards, a Theatre Board Grant to Study at La Scala Opera Milan, and a Centenary Medal for Service to Community and the Arts.

JANET VERNON AM Creative Associate

Adelaide-born, Janet Vernon studied at The Australian Ballet School, danced with The Australian Ballet, Ballets Félix Blaska (France) and Sydney Dance Company, where with Graeme Murphy, remained at the artistic helm 31 years, Graeme creating numerous roles for her.

Creative Associate credits include: Sydney Dance Company; The Australian Ballet; Shanghai Song & Dance Ensemble; Bayerisches Staatsballet, Munich; Universal Ballet, Seoul; Shanghai Ballet; Tasdance; MADE; Opera Australia; Adelaide Festival, Ainadamar; movie, Mao’s Last Dancer; Andrew Lloyd Webber musical, Love Never Dies.

Awards include: AM for Services to Dance (1989); Sydney Opera House Honours (1993); ‘One of Australia’s top five female dancers of all time’, Dance Australia (1996); Green Room Award for Concept and Realisation, Swan Lake (2003); Centenary Medal for Services to Society and Dance (2003); Lifetime Achievement, Australian Dance Awards (2006); Green Room Award, Outstanding Contribution to Dance (2006); Fred & Adele Astaire Award for Excellence in Choreography in Film, Mao’s Last Dancer (New York, 2011).

GRAEME MURPHY AO Director & Choreographer

Graeme studied at The Australian Ballet School; danced with The Australian Ballet, Sadler’s Wells Ballet (London), Ballets Felix Blaska (France); was Artistic Director, Sydney Dance Company 31 years, creating over 60 works.

Choreographed for: The Australian Ballet; Bayerisches Staatsballett; Shanghai Ballet; RNZ Ballet; Tasdance; MADE; Mikhail Baryshnikov; Torvill & Dean; Canadian Opera Company; Metropolitan Opera NY; movie, Mao’s Last Dancer; Andrew Lloyd Webber musical, Love Never Dies.

Directed: Metamorphosis, Turandot, Salome, The Trojans, Aida, The Merry Widow (OA); Turandot (Opera de Montreal); Ainadamar (Adelaide Festival).

Awards include: AO, Distinguished Service to the Performing Arts (2012); AM, Services to Dance (1982); Hon. D. Lit. Tas (1990); Hon. D. Phil. Qld (1992); Hon. D. Lit. UNSW (1999); Cultural Leader of the Year, ABAF (2004); Award for Contribution to Cultural Exchange, Ministry of Culture, the People’s Republic of China (2008); Fred & Adele Astaire Award for Excellence in Choreography in Film, Mao’s Last Dancer (New York, 2011).

MICHAEL SCOTT-MITCHELL Set Designer

Michael Scott-Mitchell is regarded as one of Australia’s most outstanding designers and educators. His extensive credits include set design of State Opera South Aaustralia’s Ring Cycle, World Youth Day - Stations of the Cross and the Cauldron & Ceremonial Stage for the Sydney 2000 Olympic Games.

Recent and upcoming designs include Dr Zhivago on Broadway, for which he won the 2015 Australian Production Design Guild Award; over 40 productions for Sydney Theatre Company: Arcadia, Switzerland and Still Point Turning; for Ensemble Theatre: Diplomacy, The Appleton Ladies’ Potato Race and The Last Five Years; Tosca, Carmen and Madama Butterfly for Opera Australia, and The Merry Widow for Opera Conference; and Freeze Frame for Debbie Allen Dance Academy in LA and Washington DC. At NIDA, he was Head of Design (2008-2017), Director Undergraduate Studies (2011-2017) and Deputy Director/CEO (2016-2017), and for his invaluable contribution to education, Michael was appointed Adjunct Professor of the UNSW in 2017.

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ALEXANDER LEWIS Count Danilo Danilovich

With worldwide operatic engagements and acclaimed performances in musical theatre, Australian tenor Alexander Lewis is forging a unique career as a “cross-over” artist. He performed the role of John Wormley in the world première of Matthew Aucoin’s opera Crossing, inspired by Walt Whitman’s journals.

This season’s engagements include performances as the title role in Candide with Sydney Philharmonia Choirs, Tony in West Side Story with Opera Australia as part of its Handa Opera on Sydney Harbour series, and Laca in Jenufa with Santa Fe Opera. Last season’s engagements included reprisals of Count Danilo in The Merry Widow with West Australian Opera and Opera Australia, John Wormley in a remounting of Crossing at Brooklyn Academy of Music, and the title role of The Nose with Opera Australia and the Komische Oper Berlin.

ANDREW TURNER Baron Mirko Zeta

Andrew studied at the Elder Conservatorium and the Luxembourg Conservatoire de Musique. With the State Opera South Australia, he has performed the roles of Frank/Dr. Blind in Die Fledermaus, Cantaor in La Vida Breve, Ping in Turandot, Dancairo in Carmen, Silvio in Pagliacci, First Soldier in Salome, Eachus in Orpheus in the Underworld, Daggoo in Moby Dick, Bello in La Fanciula del West, Marullo in Rigoletto, Prince Yamadori in Madama Butterfly, Marquis D’Obigny in La Traviata, Horemhab in Akhnaten and Kallenbach in Satyagraha.

He has toured Australia with Co-Opera, singing Figaro in The Barber of Seville, Escamillo in Carmen, Falke and Dr. Blind in Die Fledermaus, Silvio and Tonio in Pagliacci, Guglielmo in Cosi fan tutte, Giuseppe in The Gondoliers and The Pirate King in The Pirates of Penzance. In the last five Adelaide Fringe Festivals, he directed sold-out seasons of The Pirates of Penzance on Popeye, also playing the role of the Pirate King. Last year he performed the role of Don Jose in Carmen for Elephant in the Room.

DESIREE FRAHN Valencienne

South Australian soprano Desiree Frahn is a graduate of the Elder Conservatorium and a participant in the 2014-16 State Opera of South Australia James and Diana Ramsey Foundation Opera Program.

For the company she has performed Lauretta in Gianni Schicchi, Rose Pickles in Cloudstreet! - World Premiere, Pamina in The Magic Flute, Rosalinde in Die Fledermaus, Bastienne in Bastien und Bastienne, and Kate Pinkerton in Madama Butterfly and sung as a soloist in their regional tours, concerts and radio broadcasts. Other notable performances include the role of Stephanie in the Australian premiere of Jake Heggie’s To Hell and Back with Gertrude Opera in Melbourne which she will be reprising later in 2018.

She has performed in leading roles throughout South Australia with Co-Opera, the Gilbert and Sullivan Society of SA and the Therry Dramatic Society, and has been a soprano soloist in both new and established works with the Adelaide Symphony Orchestra, Elder Conservatorium Orchestra and the Adelaide University Choral Association.

Sponsored by Peter and Pamela McKee.

MARK OATES Njegus

Mark is an Adelaide based Opera, Music Theatre, Cabaret and Big Band singer. Mark has toured SA with State Opera, SINGular Productions and the Adelaide Art Orchestra.

As well as performing regularly with the State Opera Chorus, Mark’s roles for State Opera include: John Styx Orpheus in the Underworld (Offenbach), The Cantor Maria de Buenos Aires (Astor Piazzolla) for Leigh Warren and Dancers / Opera - AFC Playhouse and Brisbane Festival, Arjuna Einstein on the Beach (Phillip Glass), Joe The Station (Howard Blake).

Mark has performed many roles for The Adelaide Festival including; the Adelaide Festival, Street Singer in the Bernstein Mass and Ruffiak Le Grande Macabre (Ligeti). Mark has performed the role of Jean ValJean in 3 sold out seasons of Les Miserables, winning a Curtain Call Award, an Advertiser Oscart and being nominated for an Adelaide Critic’s Circle Award. Mark has also performed in several sold out seasons of self-produced shows at the Adelaide and Perth Fringe.

NICHOLAS CANNON Alexis Kromov

Nicholas is a versatile singer, actor and director. Nicholas has studied Lecoq Technique in Barcelona and Paris and at WAAPA, completing a Music Theatre Degree.

His roles have included Quick Lamb – Cloudstreet!,Papageno – The Magic Flute with State Opera South Australia, Kalif – Der Barbier von Bagdad and Graf Homonay – Der Zigeunerbaron at Coburg Landestheater, Germany. Soloist Singer in Encore! – Tokyo Disney Sea. The Cranky Bear with Patch Theatre Company. Tritone - Gavin Bryars’ Marylin Forever in the Adelaide Festival of Arts. Eugene Onegin – Onegin, Dr Falke - Die Fledermaus, Figaro - The Marriage of Figaro, Sharpless - Madama Butterfly, Don Alfonso - Cosi Fan Tutte, and Marcello - La Boheme with Co-Opera. Michael - It’s A Dad Thing with Singular Productions. Chris Barnes - Metro Street in the Adelaide Cabaret Festival. Soloist – Camelot and Ralph – Kiss Me Kate with The Production Company, Melbourne. Lord - Shakespeare’s As You Like It with The Principal Theatre Company – London. Young Ray - Autumn Minds Alma by The Think Collective at Royal Central School of Speech and Drama – London.

NORBERT HOHL Dominik Bogdanovich

Earlier this year, Norbert sang the role of Player 3 in the Helpmann Award-winning Adelaide Festival opera Hamlet. 2017 saw him perform the roles of Triquet and Lensky in Co-Opera’s Eugene Onegin and lively chorister in the acclaimed Adelaide Festival production of Saul. For State Opera South Australia, Norbert created the role of Joey in the sold-out production In the Dome Room at Two O’Clock and sang Gherardo in Gianni Schicchi.

Trained at the Elder Conservatorium of Music, engagements have included over forty opera and operetta productions with State Opera, Co-Opera and the Lehár Festival in Bad Ischl, Austria. He performed the roles of Giuseppe in La Traviata, First Prisoner in Fidelio, and Love Policeman in Orpheus in the Underworld for State Opera. Norbert was one of few singers to sing in all three operas (Akhenaten, Satyagraha, and Einstein on the Beach) of the Ruby Award-winning Philip Glass trilogy in 2014.

Norbert regularly performs chamber music and lieder and is a soloist with some of Adelaide’s finest choirs and orchestras (Verdi Spectacular with the ASO; Haydn’s Theresienmesse with Kapelle Singers; Respighi’s Lauda per la Natività del Signore with the Graduate Singers; Mozart’s Coronation Mass; Mendelssohn’s Symphony no. 2).

JOHN LONGMUIR Camille de Rosillon

After making his professional debut as Ismaele (Nabucco) in Japan, John Longmuir joined Opera Australia where he has sung all the major tenor leggiero repertoire including: Tamino in The Magic Flute, Narcisco in Il Turco in Italia, Don Ottavio in Don Giovanni, Ernesto in Don Pasquale, Camille in The Merry Widow, Almaviva in The Barber of Seville, Nemorino in L’elisir d’amore and many others.

He has sung Almaviva and Camille in West Australian Opera, Carmina Burana with MSO and the New National Theatre in Tokyo, Elijah with Sydney Philharmonia Choirs, Bach’s Mass in B minor with QSO, Messiah with Royal Melbourne Philharmonic, Rossini’s Stabat Mater with WASO, Israel in Egypt with the Berliner Cappella and Faure’s La naissance de Vénus at the Konzerthaus Berlin.

Future appearances include Camille (State Opera South Australia); John also takes principal roles in Turandot, Salome, Wozzeck, Il viaggio a Reims and Anna Bolena in Opera Australia’s 2019 Season.

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ANTOINETTE HALLORAN Hanna Glavari

A multi-Helpmann Award nominee, Antoinette Halloran’s most recent engagements have included the title role in Tosca for West Australian Opera, The Fox in The Cunning Little Vixen for Victorian Opera and associate artist for José Carreras’ National Tour. In 2019, she sings The Fox in Adelaide and Lady Macbeth in Macbeth and Mrs Lovett in Sweeney Todd, Perth.

Leading appearances for Opera Australia have included the title roles in Madama Butterfly and Rusalka, Mimi in La bohème, Stella in A Streetcar Named Desire (Green Room Award) and many others; for New Zealand Opera – Mimi, Cio-Cio-San and Mrs Lovett; for Opera Queensland – the title role in The Merry Widow.

Antoinette also featured as a guest judge and panelist on the ABC television series Operatunity Oz and has appeared regularly on the hit show Spicks and Specks; she was a presenter for ABC’s Art Nation – covering stories on opera and music theatre.

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ADAM GOODBURN Raoul de St Brioche

Adam completed his Bachelor of Music degree for vocal performance at The Elder Conservatorium, Adelaide University in 2003. Adam’s career highlights have been performing the role of Nanki Poo in The Mikado for Opera Australia; Goro in Madama Butterfly, Pang in Turandot, Don Basilio in The Marriage of Figaro, the comic roles Nathanael/ Cochenille/Pittichinaccio/Franz in The Tales of Hoffmann, Orpheus in Orpheus in the Underworld for State Opera South Australia and Giorgio in Ode to Nonsense for Slingsby.

In 2007 Adam performed the role of Mahatma Gandhi in Philip Glass’s opera Satyagraha (State Opera/Adelaide Vocal Project and Leigh Warren & Dancers). The role earned him a Helpmann Award nomination for best male performer in an opera. Adam is the co-founder of SINGular Productions and produced I Love You, You’re Perfect, Now Change; Elegies: A Song Cycle; Different Fields and It’s a dad thing: The Musical and is currently developing two new Australian operas with State Opera South Australia titled, ‘Innocence’ and a new chamber opera.

JEREMY TATCHELL Viscount Nicholas Cascada

New Zealand born baritone Jeremy Tatchell completed performance studies in both viola and voice at the ANU School of Music in 2001 and joined the Adelaide-based company Co-Opera in 2003, performing and touring numerous roles throughout Australia, Asia and Europe.

Moving to Adelaide in 2011, Jeremy has performed numerous roles with State Opera South Australia including Barone Douphol in La Traviata, Parsi Rustomji in Satyagraha, Bluebeard in Bluebeard’s Castle, Masetto in Don Giovanni, Valentin in Faust, Angelotti in Tosca, Alfio in Cavalleria Rusticana, Silvio in I Pagliacci, Manuel in La Vida Breve and Marco in Gianni Schicchi.

Jeremy’s extensive oratorio and recital repertoire includes the works of Verdi in Requiem, Orff in Carmina Burana, J.S. Bach in St Matthew & St John Passions, Magnificat, B Minor Mass and Cantatas BWV 56, 82 & 158, Stravinsky in Les Noces & Mass, Faure in Requiem, Händel in Messiah, Israel in Egypt & Belshazzar, Schubert in Winterreise, Schumann in Liederkreis Op.39 & Spanische Liebeslieder Op.138 and Mussorgsky in Songs and Dances of Death.

SARAH-JANE PATTICHIS Olga Kromov

Sarah Jane completed her Bachelor of Music with Honours at Elder Conservatorium in 2006. She joined State Opera South Australia’s chorus in 2007, and was a John & Diana Ramsay Young Artist in 2014 and 2015. Recent appearances include First Sprite in The Magic Flute, Adele in Die Fledermaus and Norina in Don Pasquale.

She has toured locally, nationally and internationally with Co-Opera, most recently as Yum Yum in The Mikado and Sesto in La Clemenza di Tito, and with Opera Australia’s Victorian schools outreach program as Pamina in The Magic Flute. Sarah has performed as a soloist with many Adelaide music groups, including Various People Inc., Adelaide Chamber Singers and Unley Symphony Orchestra. Sarah was a state finalist in the Young Performer’s Awards in 2005, 2006 and 2012, won the Barbara Howard Vocal Prize in 2006, the Arnold Matters Vocal Scholarship in 2014 and the Friends of the State Opera of South Australia Dawn Wallace Award in 2015.

CATHERINE CAMPBELL Praskovia

Catherine is an actor and singer. Opera and Music Theatre work has included The Front - Matron, A Wild Party dir. Andrew Lippa, Take Flight with Richard Maltby and David Shire, Songs For A New World (Adelaide Cabaret Festival), Sweeney Todd (State Opera South Australia),The Mikado (Adelaide Festival Centre), Les Miserables - Madama Thenadier (MSSoc/Normie Rowe), Northern Lights/Southern Cross - Claire (Tutti/Interact USA), Shouting Fence (Various People) and The Witch in the SA Premiere of Into The Woods.

A member of State Opera Chorus since 1997, Catherine has also appeared in Saul, Hamlet and Writing To Vermeer (Adelaide Festival) and many notable State Opera productions, including Dead Man Walking and Parsifal. Cabaret includes: solo show My Blue Angel at the Adelaide Cabaret Festival, Don’t Tell Mama (New York), and national tours in Australia; co-creator, comedy trio Gentlemen Prefer Curves (Adelaide Cabaret Festival, Adelaide Fringe, Melbourne Comedy Festival) and Berlin Cabaret – Greta (Adelaide Fringe, Cabaret Festival).

Acting credits include Doll’s House, A Streetcar Named Desire (Bakehouse Theatre), Sisters (CPA) and Equus (State Theatre Company). Training: AC Arts (Acting); Hons Drama (Music Theatre) Flinders Uni; Cabaret at Yale (USA).

JOSHUA ROWE Konrad Pritschich

Josh Rowe has performed for opera companies around 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.

Josh has performed in many operas: including Romeo and Juliet, Lucia di Lammermoor, Nabucco, Turandot, The Magic Flute, Otello and Tosca. Josh made his principal role debut in 2007 with Richard Mills’ The Love of the Nightingale for Opera Queensland. Josh also performed the role of Bottom in Benjamin Britten’s A Midsummer Nights Dream in 2008 for which he won the Sir Mostyn Hanger Opera Award. Josh made his role debut for State Opera as Krishna in Philip Glass’ Satyagraha in 2014 and has gone on to perform many roles for the company.

On the concert platform Joshua has performed as soloist for numerous popular works: including Britten’s War Requiem, Vaughan William’s A Sea Symphony, Bach’s St John Passion, Mendelssohn’s Elijah, Haydn’s The Creation and Handel’s Messiah to name a few.

Josh was a 2008 Opera Queensland Developing artist and a 2014 State Opera South Australia ‘James and Diana Ramsay Foundation Emerging Artist’.

cast

SIMON KENWAY Chorus Master

Simon Kenway is a highly respected orchestral/operatic conductor, music educator and accompanist. He has held posts as Principal Chorus Master of Opera Australia and Chief Conductor and Vocal Coach for Sydney Conservatorium Opera School and now works as a freelance conductor. In 2015 he was appointed Artistic Director of Pacific Opera.

Simon has conducted the Sydney, Tasmanian, West Australian, Canberra and Queensland Symphony Orchestras, Opera Australia, West Australian Opera, Opera Queensland, Australian Ballet, Hong Kong Philharmonic, Aldeburgh Productions in UK, Australian Youth Orchestra and Beijing Symphony Orchestra.

In addition to his Artistic Directorship, recent engagements have included conducting The Marriage of Figaro and The Magic Flute (also Opera on the Beach) on Regional Tour for Opera Australia, concerts with Canberra Symphony and Willoughby Symphony, The Battle of the Somme (New Zealand Symphony Orchestra), Verdi Requiem (Australian Intervarsity Choral Festival), and Conductor and Music Director for Opera Australia’s Community Choirs project (2012 – 2015).

DEBORAH CADDY Sylviane

Deborah has recently returned from an interstate tour of Opera Australia’s My Fair Lady ,directed by Julie Andrews.

She has previously performed in various productions of The Phantom of the Opera as an ensemble member, off-stage swing and Madame Giry cover. This included two world tours, featuring seasons in Hong Kong, Seoul, Singapore, and China, and two Australian tours.

Deborah has also been a regular performer with the State Opera South Australia for a number of years. She has performed the roles of First Lady in The Magic Flute, Flora in La Traviata, Queen Tye in Akhnaten and Miss Schlesen in Satyagraha in the highly regarded Philip Glass trilogy.

In addition, she has performed Diana in Orpheus in the Underworld, Frasquita in Carmen, Berta in The Barber of Seville, Kate Pinkerton in Madama Butterfly, Sister Catherine in Dead Man Walking, and ‘Elle’ in Poulenc’s one-woman opera La Voix Humaine.

She has also written and performed a one-woman cabaret show featuring the music of Rogers and Hart, entitled Have you met Miss Jones? in the 2016 Cabaret Fringe.

1918

adelaide symphOny Orchestra

VIOLINS Cameron Hill** (Acting Concertmaster)Shirin Lim** (Acting Associate Concertmaster) Alexis Milton* (Acting Principal 1st Violin)Michael Milton** (Principal 2nd Violin)Lachlan Bramble ~(Associate Principal 2nd Violin)Janet AndersonAnn AxelbyHelen AyersMinas BerberyanJulia BrittainHilary BruerElizabeth CollinsJane Collins Judith CoombeAlison HeikeDanielle Jaquillard Alexis MiltonJennifer Newman Julie Newman Alexander Permezel Kemeri Spurr

VIOLAS Linda Garrett**(Acting Principal)Anna Hansen~(Acting Associate)Martin ButlerLesley Cockram Michael RobertsonCecily SatchellHeidi von Bernewitz

CELLOS Ewen Bramble**(Acting Principal)Gemma Phillips~(Acting Associate)Sarah DenbighChristopher HandleySherrilyn HandleyThomas Marlin David Sharp

DOUBLE BASSES David Schilling**Jonathon Coco~Jacky ChangDavid PhillipsHarley Gray

FLUTES Geoffrey Collins**Sabine Daniels

PICCOLOSabine Daniels*

OBOESPeter Duggan**(Acting Principal)Renae Stavely

CLARINETS Dean Newcomb** Darren Skelton

BASSOONS Mark Gaydon**Leah Stephenson

HORNS Sarah Barrett**(Acting Principal)Emma GreganPhilip PaineTimothy Skelly

TRUMPETS Owen Morris**Timothy Kennihan

TROMBONES Colin Prichard**Ian Denbigh

BASS TROMBONEHoward Parkinson*

TIMPANI Paul Simpson-Smith* (Guest Principal)

PERCUSSION Steven Peterka** Andrew PenroseGregory Rush

HARP Suzanne Handel*

** denotes Section Principal~ denotes Associate Principal* denotes Principal Player

Eleanor BrastedMichaela BurgerDavid CoxAndrew CrispeMichael DenholmChristian Evans Laura FeierJared FrostSusan FergusonDaniel Goodburn

Kristen HardyErin HolmesRosanne HoskingDeborah JohnsonReece KeaneCharlotte KelsoRodney KirkNicolas LockGerry MasiRachel McCall

Martin PenhaleBrock RobertsAlexandra ScottLachlan ScottLynne SmytheValentyna SolowijJennifer TranterHew Wagner

STATE OPERA CHORUS

Michael BraunRenata CommissoJayden GroganNaomi Hibberd

Jayden HicksTeagan LoweChristopher PolitisGrace Robinson

Breanna SkewesChimene Steele-PriorChen (Kevin) WenNed Zaina

DANCERS

IMAGE: James Rogers, Courtesy of West Australian Opera.

Adelaide’s Victoria Square is transformed into Bizet’s Spain for one summer night in March as Opera’s most famous heroine, the sultry, stunning and dangerous seductress Carmen, takes over the city centre.

This very special family-friendly event combines live opera, a full orchestra and opera chorus, and large screen projection of the action so that no matter where you sit in the Square you’ll have the best seat in the house.

Starring mezzo-soprano Helen Sherman as Carmen, the cast includes some of the finest Australian opera talent assembled from all over the world for one night only. Conducted by Oliver von Dohnányi and directed by Stuart Maunder.

MAKE A GROUP AND SAVEBook 6 or more seats to Carmen and receive 20% off any reserve ticket price*

PLATINUM PACKAGEA Platinum Package includes: the best seats in the house, food and beverage offering from East End Cellars, in-show bar access and exclusive meet & greet with the artists.

23M A R C H VICTORIA S Q U A R EGeorges Bizet

CARMEN IN THE

SQUARE

HOW TO BOOK � make your booking online (stateopera.com.au) or call BASS 131 246

*discount cannot be applied in conjunction with any other offer. All ticket prices quoted are correct at time of printing and do not include BASS booking fees of $8.95 per transaction

TICKETSPlatinum $260Premium $170A Res $150B Res $110C Res $70GA (Southern) $29GA (Southern) Under 16 FREE

Strutting bull-fighters, wild women, jealousy, passion… Carmen is

un-missable!

2322

DONORSArtistic Directors CircleJohn Irving

Dr Geoff & Dr Sorayya Martin

Peter & Pamela McKee

Galina Podgoretsky

Christine Rothauser

Peter & Mary Sutherland

Andrew & Sibby Sutherland

$15,000 and abovePeter & Pamela McKee

$10,000 and aboveMrs PM Menz

$5,000 and aboveTynte Flowers

Drs Geoff & Sorayya Martin

Kaaren & Kevin Palmer

Dr Jane Lomax-Smith

Anonymous

$2,000 and abovePeggy Barker

Dr & Mrs Paul Drysdale

Meg & Jack Favilla

GC & R Weir

$1,000 and aboveGraham Abbott

Dr Margaret Arstall

Rob Baillie

Jeremy Clark

Dr A F Connon AM

RJ, LL & SJ Greenslade

John Holmes

Joan Lyons

Dr DG & Mrs KC Morris

Dr Ruth Marshall & Mr Tim Muecke

Chris & the late Donald Perriam

Bruce Saint

Elizabeth & John Shepherd

Mrs Susan Tarr

$500 and aboveDr Ilze Augstkalns

JW Baker

Graeme & Susan Bethune

Gillian Brocklesby

Mr Bruce Debelle AO QC

Jane Doyle

Kay Dowling

Frank Ford AM

DJ & RA Gilmour

Mr & Mrs PS & EA Hambly

Bill Harrod

Peter & Helen Herriman

John Dawes Valuations Pty Ltd

SM Johnson

Yvonne McMurray & John Sheat

Roger Menz

Dr Kenneth O’Brien

Philip H Page

Dr Brian Peat

Christopher Stone

Mrs Margaret Scharer

Mrs Anne Shadgett

Anne Sutcliffe

Barbara Walter

Bart Wissink & Kaye Salisbury

Barry Worrall

Jacqueline Wright

State Opera South Australia gratefully acknowledges the financial support of our donors who are instrumental in bringing our productions to life. Your ongoing friendship and sustenance

ensures that our artistic vibrancy and important community connections continue.

$100 and aboveJulie Almond

Margaret Baker

Joy Bishop

The Hon D J & Mrs E M Bleby

Martin Borg

Susan Coldicutt

Michael Davey

CW & EA Dunsford

Helga Ebbinghaus

Eleanor Ethell

Robert Fletcher

Helen Haines

Dr & Mrs HA Handley

David Hansman

PM Hardy

Dr Robert Hecker

Dr Norman James

Bruno Krumins AM

Ms Liz Kummerow & Mr Neil Kirby

J A Langford

Joan Loftus

Alan Marriage

Ann Matison

Richard McGarvey

R Murray

Christina Palfelt

Jocelyn Parsons

Mr & Mrs J Pike

Ann Rugless

Elizabeth Smith

Linda Sampson

Mrs Meredyth Sarah AM

Dorothy Short

Stephanie Thomson

Kay Thorp

Dr Kathy Tiller

Caroline Treloar

Dr Lester Wright & Dr Kristine Gebbie

Barbara Wall

Bill & Kerry Wood

Bud Zekanovic

Anonymous x 2

Under $100Frances Anderson

Ms Wilma Bajka-Van Velze

Pamela Brown

Anthony Burt

Barbara Bond

Judith Brown

Lindsay Doherty

Judy & David Ferguson

Dr Harry Green

Ms Penny Hewson

Susan Howlett

Joshua Jones

Beverley Koch

Anne Levy

John Lumsden

Ingrid Loesel

Robert Manning

Lois Otterspoor

Libby Parker

Trish & Richard Ryan AO

Diana Roberts

Pam & David Rugless

Anna Shepherd

S Stuart

Margaret Taylor

Rl & GK Willing

James Wilson

Jane Wilson

Dr Lesley Woodard-Knight

Margaret Woodcock

Joan Young

Anonymous x 7

ARTISTIC DIRECTOR’S CIRCLEI am delighted and incredibly chuffed that we already have a small but perfect ensemble of members in my Artistic Director’s Circle. In this first iteration we will be able to commence an intimate conversation where I can share some of my thoughts about where this opera company can go, and what we can dream of achieving. I know that this circle of friends will form part of my thinking about opera in this State. I very much look forward to some bespoke events, the very best wine and, without doubt, robust discussion about opera – if you have been thinking about supporting State Opera South Australia this is a wonderful way to be part of what we do and I encourage you to contact Executive Director Yarmila Alfonzetti to discuss your involvement in person – yalfonzetti@stateopera.com.au

Stuart Maunder AM, Artistic Director

OZ OPERA COMMISSIONING FUNDState Opera has announced its outstanding commitment to Australian music through the Lost Operas of Oz program which presents three Australian operas each year for the next three years. By setting the benchmark for Australian content incredibly high, we aim to showcase both new and forgotten operas from recent years which are worthy of re-invention. The pinnacle of this three-year celebration will be the commissioning of a new Australian opera to call our own. If you believe, as we do, that the foundation of our future arts industry requires the active championship of our own music, please consider contributing to the Oz Opera Commissioning Fund and becoming an integral part of this creation. Please contact Yarmila Alfonzetti to talk more about this exceptional opportunity.

OWN THE SCOREPart of the excitement of bringing so many monumental works to life on the stage is the story behind each opera. If there is a special place in your heart for one of the productions you see in our 2019 Season, or you have a loved one for whom a gift of the program naming rights to one of these operas would be beyond words, talk to us about how your donation can honour or commemorate a link between you or your family and a specific opera production or performance.

For further information, please call 08 8226 4790 or email reception@stateopera.com.au

You are also welcome to make your donation directly via www.stateopera.com.au/donate/

MAKEHISTORYWITH US

John IrvingDr Geoff & Dr Sorayya Martin

Peter & Pamela McKeeGalina PodgoretskyChristine Rothauser

Peter & Mary SutherlandAndrew & Sibby Sutherland

IMAGE: Bernard Hull

Join Graham Abbott and special guests at the State Opera Studio for four unique Opera Discovery Days. Get to the core of what makes opera great, why it moves us, and how it gets from the page to the stage. At the same time, you’ll learn and experience everything you need to prepare you for State Opera’s mainstage productions in 2019.

THE FRENCH VIEW OF SPAINWhat is it about Spain that attracted French artists, writers and composers? And why does Bizet’s Carmen continue to fascinate us?With Carmen as our focus, this Discovery Day will delve into the origins of Bizet’s last work, and the questions which still remain over the composer’s real intentions for it. We’ll talk to people involved in State Opera’s outdoor performance on 23 March, hear some of the work’s greatest moments, and explore the wider legacy of French music inspired by Spain.

JANACEK’S OPERASLeoš Janáček might still be almost unknown outside the Czech Republic were it not for the efforts of Sir Charles Mackerras. The Australian-born conductor discovered Janáček’s operas while studying in Prague and encouraged their performance in London. The Czech composer is now regarded as one of the truly great opera composers of the early 20th century.

This Discovery Day explores Janáček’s life and work, and specifically his wonderful The Cunning Little Vixen, which is being staged by State Opera in May. You’ll meet people involved in the production and get an insider’s view of the challenges and delights presented by the score, and hear some of the music. If you’re a newcomer to Janáček, then you won’t be by the end of the day!

THE SOPRANO OBSESSIONIn preparation for the mighty concert of music by Richard Strauss, presented by State Opera on 25 October, this Discovery Day explores Strauss’ operas and songs, and his obsession with the soprano voice.

The day will include discussions of Strauss’ life and work, and we’ll hear some of his music performed live in the studio. We’ll also pay close attention to the often forgotten but totally essential partner in all opera – and especially those of Strauss – the orchestra.

A JAPANESE MELTING POTState Opera presents perhaps the two most famous operas set in Japan side-by-side in November. Puccini’s Madama Butterfly is one of the most popular and most often-performed stage works in the world, while for fans of Victorian operetta, Gilbert and Sullivan’s The Mikado is a perennial favourite. The former is a gut-wrenching tragedy, the latter a delightful farce, yet both show the European fascination with the exotic, and in particular Japan.

This Discovery Day explores the history of both works, and we’ll hear from artists involved in the productions as well as experience some of the music live in the studio.

OPERADISCOVERY with Graham Abbott

Do you have a passion for singing in a group? Being part of a chorus of voices is arguably one of the most powerful and rewarding musical experiences. Join conductor and educator Graham Abbott for a weekend of exploration and celebration of the Opera Chorus. Running twice in 2019, Pop Up Chorus gives the opportunity to meet like minded music enthusiasts and share in the joy of singing.

Registration for a weekend includes: vocal scores, teaching CD, souvenir t-shirt, snacks, refreshments and light lunch.

POP UPCHORUSwith Graham Abbott

17-19 May or18- 9 Oct

$160 PER PERSON for a weekend.

For bookings visit stateopera.com.au

Minimum registration members required to run each event.

HOW TO BOOK � make your booking online (stateopera.com.au) or call BASS 131 246

*discount cannot be applied in conjunction with any other offer. All ticket prices quoted are correct at time of printing and do not include BASS booking fees of $8.95 per transaction

2 Mar, 4 May,27 July, 26 Oct

$55 PER PERSON per day

For bookings visit stateopera.com.au

2928

acknOwledgementsPRODUCTION CREDITS

Stage Manager – Rohan Yates

Deputy Stage Manager – Jess Nash

Assistant Stage Manager – Ashley Ng

Assistant Conductor – Josh Geddes

Principal Repetiteur – Penelope Cashman

Repetiteur – Mark Sandon

Head Mechanist – Ben Brooks

Head of Props – Angela De Palma

Wardrobe Supervisor – Emma Brockliss

Wardrobe Assistant – Ashleigh Thomas

Wardrobe Assistant – Denise Strawhan

Sewer & Cutter – Martine Micklem

Head of Wigs & Makeup – Sue Taylor

Wigs & Makeup – Catrin Ehle, Cheryl La Scala, Marie-Lynne Morant, Jennifer Rossiter, Natasha Stone

Touring Head Mechanist – Daniel Paine

Touring Technician – Tony Bergin

Senior Surtitle Operator – Elizabeth Holbert

Surtitle Operator – Margot Holbert

ADELAIDE FESTIVAL CENTRE STAFF

Head Mechanist – David Ash

Head Flyman – Ashley Knight

Head Electrician – Paul McGee

Lx Board Op – Rick Worringham

Follow Spots – Kate Skinner, Molly Breuker, Simmone Myers, Luke Pilla

FOH Sound Operator – Campbell Lawrence

Sound Technicians & Radio – Patrick Pages-Oliver, Maddy Gibbons

All information correct at time of print.

HONORARY LIFE PATRON

The late Diana Ramsay OAM

HONORARY LIFE MEMBERS

Hugh Cunningham

Richard Brown

STATE OPERA BOARD OF MANAGEMENT

John Irving (Chair)

Imelda Alexopolous

Elizabeth Olsson

Christine Rothauser

Brenda Wilson

Robina Weir

STATE OPERA STAFF

Executive Director – Yarmila Alfonzetti

Artistic Director – Stuart Maunder AM

Chief Operating Officer – Alison Nadebaum

Consulting Chief Financial Officer – Anthony Burt

Creative Producer – Sidonie Henbest

Production Manager – Dave McLean

Youth and Education Coordinator – Libby Parker

Development Executive – Sylvie Huigen

Marketing Coordinator – Jennifer Brunton

Music Coordinator – Andrew Georg

Financial Administrator – Sarah Hart

Administrator – Renèe Dawes

Office & Project Assistant – Xanthe Pettersen

Artist Operations – Dan Thorpe

Sponsorship Services – Jeanette McLeod

PROGRAMME CREDITS

Programme design – tif.image DESIGN

PROUD TO SUPPORT STATE OPERA SOUTH AUSTRALIA

CORIOLE VINEYARDS Chaffeys Road, McLaren Vale

3130

State Opera South Australia gratefully acknowledges the financial support of the Government of South Australia, and the Commonwealth Government through its arts funding and advisory body, the Australia Council.

State Opera South Australia thanks the following companies and organisations for their generous support:

PRODUCTION SPONSORS SURTITLE SPONOSOR

INDUSTRY PARTNERS

MEDIA PARTNERS

SPONSORS

ARTISTS SPONSORS

Peter & Pamela McKee sponsor Desiree Frahn

Arts South Australia

spOnsOrs

IMAGE: Stephanie Do Rozario, Courtesy of Opera Queensland.

216 Marion Road NETLEY SA 5037

PO Box 211 MARLESTON SA 5033

Ph: (08) 8226 4790

F: (08) 8226 4791

E: reception@stateopera.com.au

ABN 31 382 679 566

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