Capriccio: Fostering artistic development at Opera Australia

Guest post by the Chief Executive of Opera Australia, Adrian Collette AM



Michael Lewis and Andrew
Brunsdon as the rival lovers

 I have just returned from the ‘General’ (the final dress rehearsal) of the opening opera of our Winter season, Capriccio, by Richard Strauss. (Given the central conceit of Capriccio – a whimsically satirical play about what is more important in opera itself, words or music, I should say that it is composed by Richard Strauss, but its equally important librettist is Clemens Krauss.)

When viewing a final rehearsal we try to stay as objective as possible – it’s our last chance to check technical details, whether musical or theatrical: anything from the fall of a gown to the squeakiness of a stage revolve to the subtlety of a cadence. But sometimes, no matter how one tries, professional disinterest is impossible - as it was for me today. 


John Longmuir and Nicole Car as
the Italian singers in Capriccio


The rehearsal was wonderful to attend for so many reasons: the beautifully detailed revival of this production by the international master of all matters Straussian (Richard Straussian, that is), John Cox; the overall excellence of the ensemble that performs it; the excitement of hearing Andrew Brunsdon's development in this repertoire, or hearing the warm, elegant baritone of Christopher Tonkin, who has returned to us after a stint overseas; or perhaps seeing a perennial Oz Opera touring artist, Tania Ferris, take her opportunity on the main stage as Clairon? As always there is a particular thrill in seeing this kind of professional development in fine young artists - indeed it reflects one of our prime purposes as Australia’s national opera company. (Not to mention two members of our Moffatt Oxenbould Young Artist Program who feature in this production, Nicole Car and John Longmuir.)



Cheryl Barker as the
Countess Madeleine



But then there is another kind of artistic development, one which is not about youth but about the progress of an artist at the top of her game -  and it was this that I found so personally delightful at today’s rehearsal. I am talking of course of Cheryl Barker's performance as the Countess in Capriccio. For anyone with a sense of the history of our company, we know that part of its meaning is defined by watching serious artists take on major, defining roles in the repertoire when the time is right for them to do so. In Cheryl’s case we have seen her give utterly compelling performances of Puccini’s heroines: Mimì, Cio-Cio-San, Manon Lescaut, Tosca; and the most extraordinary Suor Angelica I have ever seen. We have also seen her explore Janáček’s wonderful heroines: Jenufa, Katya Kabanova and Emilia Marty, all under the direction of Neil Armfield. And now it is particularly thrilling to see Cheryl take on the heroines of Richard Strauss: her award winning performance of Arabella in 2008, for example, or her portrayal of The Marschallin last year (I have never heard ‘that trio’ so beautifully sung!); and now the Countess (If you loved her as The Marschallin in Der Rosenkavalier you will fall again for her Countess in Capriccio). And, yes, there is more to come next year, but we will have to wait a month or so to find out which Strauss heroine comes next in the artistic life of Cheryl Barker and Opera Australia.





Tania Ferris and Christopher Tonkin
as the actress Clairon and the Count



For anyone who has a serious interest in opera, this kind of creative exploration is as good as it gets. There are moving stories in the life of an ensemble company about the development of artists, young artists or artists creating a chapter in our ongoing narrative. This one speaks volumes to me.