Opera Australia Blog

Tweetseats is back!

noreply@blogger.com (Opera Australia) — Tue, 22 May 2012 21:13:00 +0000

Opera Australia and QPAC are proud partners in bringing the tweetseats initiative back to opera lovers. This popular Opera Australia ticket giveaway program is now coming to QPAC for the first time! We're giving ten Queenslanders the opportunity to win a double pass to The Magic Flute on Tuesday 29 May at 7:30pm.

If you win, you'll be met in the lobby of QPAC's Lyric Theatre by a friendly member of the Opera Australia team, ready to answer your questions and guide you through the night. Though you can't tweet during the performance, our Tweetseat winners are encouraged to tweet their impressions of the experience before and after the show, as well as during interval. It's a great way to get free tickets, win Twitter followers and meet other tweeters!

To win, simply tweet:

"Birds are tweeting and so am I! I'm entering to win 2 #QLDTweetseats at @OperaAust's Magic Flute with @QPAC: http://bit.ly/Ka1wa5"

Tweet this before midday on Thursday 24 May to go in the running. Winners will be announced that afternoon and can collect their tickets on the night of the show. We're encouraging people of all ages and experience levels to enter, so don't be shy: enter to win today!

FIND OUT MORE INFORMATION ABOUT THE MAGIC FLUTE

10 Ways To Get Hooked On Opera

noreply@blogger.com (Opera Australia) — Thu, 17 May 2012 07:41:00 +0000

What makes somebody go from zero to opera lover? How did they find and engage with opera and why does it mean so much to them now?

A few weeks ago we asked our Facebook followers to tell us what got them hooked on opera and received over 50 responses. We never dreamed we would get so many moving, funny, and insightful comments. So here are 10 ways to get (30) people hooked on opera and create even more opera addicts. Check out the original post to view all our entries and get ready to be inspired!

Su-Lynn hated learning her part for
The Mikado but after seeing it
live was hooked!

Alice found that a fancy night out at
The Marriage of Figaro piqued
her interest in opera

Mitchell's curiosity about the
Joan Sutherland Performing Arts
Centre in Penrith led to a life-long
love for opera

Meg's Year 8 relief teacher
played the Queen of the
Night and she "could not believe
that such a voice existed"

'Soave sia il vento' was an opera
trio from Cosi fan tutte which
Jarryd also grew up hearing

Stephanie's French teacher played
the Major General in The Pirates of
Penzance, and her daughter later
played the role of Mabel.

Jarryd's grandmother used to play
famous opera arias such as 'Un bel
di vedremo' from Madama Butterfly

Narelle would fall asleep on the
steps of her grandparents' house as
they played 'Nessun
dorma!' and waltzed below

"Even though I had no idea what
was being said, the pain and
heartache portrayed by the singer
playing Rodolfo touched my heart
and was forever imprinted in
my memory."

Tim found opera after buying a
Teddy Tahu Rhodes CD as
a teenager

Squall became hooked on Opera
after seeing Cheryl Barker
live in Otello: "hearing her
Desdemona did something to
me. Magic, if you believe in it."

Daniel was in love with the
famous 'Au fond du temple saint'
duet but couldn't rewind the LP
so listened to the whole of
The Pearlfishers over and
over again

The march in Aida was one of the
opera highlights on a CD
Daniel's grandmother gave him

Kate found the spooky and sexy
Salome to be a key moment in
her opera history

The use of music underneath the
confession of Azucena in Il
Trovatore fascinated Kate

Josh's grandmother, who saw
Dame Joan Sutherland live in
Lucia di Lammermoor, found
comfort in opera as her
Alzheimers progressed

Antonia's daughter gave her two
tickets to La Traviata on
Sydney Harbour

Blagorodna heard 'Song to the
Moon' from Rusalka on the
radio and changed her
opinion of opera

Ann heard The Coronation
of Poppea on ABC Radio and
was "gobsmacked"

Marita's first live opera Carmen
at the Sydney Opera House
led to her love of opera

Alessandra knew she was hooked
on opera after hearing 'Te Deum'
from Tosca live in
Barcelona

Meg walked out of her
first opera La boheme in tears,
hoping nobody would see

Jodie found that Don Giovanni
blew her away and removed
her worries at the time

Shannaye's experience seeing Of
Mice and Men with her father
has led her to want to travel
the country to hear more opera

Seeing La clemenza di Tito
on Swedish TV led to Andrei's
love for Mozart operas

Productions such as Graeme
Murphy's Turandot keep Justin's
love for opera alive

'O mio babbino caro' was
an aria which Jarryd
associates strongly with
his childhood

10. Begrudgingly seeing a performance

Su-Lynn: When I was a student, I was learning the violin and had to learn a piece from The Mikado. I hated it! My teacher suggested I go and see a performance of The Mikado. I was amazed with the costumes, performers and the music and realised learning the violin was a great start to appreciating opera.

9. Curiosity

Alice: Shamefully, it all started with a high school obsession with Phantom of the Opera. I was so into the musical and Leroux's story that I decided I ought to try listening to opera. At school, we happened to be studying Mozart, and (following my pattern of obsession), I really enjoyed Amadeus and got into a few of Mozart's arias. As a birthday present in year 12, my friend and I got tickets to see the Opera Australia production of The Marriage of Figaro. We went all-out: floor-length dresses, opera cloaks and gloves. It was a fantastic performance, and we sat there in the 6th row, hoping Joshua Bloom would look our way! From there, I was stuck! (I just thought from that moment that the music drew you into the story so much more than mere drama...) (Alice we're going to send you a CD of Opera Australia 2000 highlights)

Mitchell: I live in Penrith, Sydney where we have the Joan Sutherland Performing Arts Centre and one day while in Penrith, I saw it and thought "Who is that lady and why would they name a building after her?” When I got home, I looked up Joan Sutherland on Google and read that she was an opera singer and I thought to myself "oh how boring" and stopped reading. Then about a week later, I thought about it again and decided to search for Joan Sutherland on YouTube and I heard her sing 'È'Strano... Ah, Fors’è lui... Sempre libera' from her 1960-1(?) studio recording and was completely blown away!...I then started attending Opera Australia's performances at the Sydney Opera House and I can't describe what I felt. It's not as if I doubted that people could "sing like that" but to see and hear it in person, it was a whole other thing. I thought "wow, I'm actually right here witnessing this. It's happening right in front of me". It felt really special. I felt like I was buzzing with energy just from the atmosphere. Opera for me has now become more than just a love, or something I'm "hooked on", it's now my raison d'etre.

8. Being forced to listen to it

Liane: I was 'force-fed' opera by my father & his 78 rpm records. It was almost a subliminal shift from "OMG, not more opera" in my late teens to falling hopelessly in love with the sumptuous feast that is opera.

Tara: I'm not sure I had any choice BUT to become hooked on opera. My father would blare his favourites the moment my mother left the house (at the kind of volume that could be heard halfway up the street), so I basically had the choice of earplugs or learning to love it. It was an easy choice :)

7. A good music teacher

Meg: Year 8 music many years ago now. A relief music teacher played the Queen of the Night for us and I could not believe that such a voice existed that sounded so much like an instrument.

Stephanie: I come from a non-classical family background. My first taste of opera was watching an operetta, The Pirates of Penzance, at my high school and seeing a totally unexpected, funny, and impressive side of my French teacher who sang the Major General! Then, many years later in Emerald, Central Queensland, my unexpectedly-musical daughters were privileged to be in the chorus of Don Giovanni (run by Opera Queensland, I think) which spurred their fascination with all things opera. Last year, one daughter played Mabel in her high school's production of Pirates of Penzance. She is now studying Classical Voice at the Conservatorium! I now try to listen to or see as many operas as I can, and my appreciation of the magnificent voices, and the power and beauty of opera keeps growing. (Stephanie we're going to send you a CD of Opera Australia 1999 highlights)

6. Positive association from childhood

Hannah: All through my childhood, after a hectic Saturday cleaning, mum would always put on an opera CD (or five!) to relax with on a Sunday afternoon. Opera thus came to equal relaxing, lazy, family-filled afternoons after a hectic chore-filled day. Opera music still transports me with that special childhood feeling.

Jarryd: When I was a child and I had trouble falling to sleep at night, my grandmother would play classical records to calm me down and help me fall to sleep. Most of these records included some of the most beautiful arias in operatic history including ‘O mio babbino caro’, ‘Un bel di vedremo’ and ‘Soave sia il vento’. All throughout my childhood, the highlight of visiting my grandparents would be sitting on my grandmother's lap and listening to the hundreds of operatic records she'd collected over the years. Years later, as a teenager when looking through my grandparents' attic, I came across these records and sat for hours listening to them. One record struck me in particular - a recording of Puccini's La bohème, particularly the very last scene ending in the death of Mimì. Even though I had no idea what was being said, the pain and heartache portrayed by the singer playing Rodolfo touched my heart and was forever imprinted in my memory. I have a very deep and personal connection to opera which is founded in my childhood and I have listened to, attended and loved opera ever since. (Jarryd we're going to send you a CD of La bohème featuring Anna Netrebko)

Narelle: When I was tiny I often stayed with my great aunt and uncle, who lived in a two-story terrace house near Bondi Beach. They were passionate about opera and each evening after the biggest bubble bath, they would tuck me into the high double bed where I'd listen to the strains of Mario Lanza floating up the stairs, until eventually I'd climb out of bed and sit on the middle step watching them waltz around the lounge room until I fell asleep. Although they had been married for nearly 60 years, Auntie Madge and Uncle Pep were the most romantic couple I've even known and opera has been in my blood ever since. When I hear 'Ave Maria' or 'Nessun dorma!' my heart soars with memories of them (Narelle we're going to send you a CD of La bohème featuring Anna Netrebko)

5. A catchy tune or a standout voice

Tim: Teddy Tahu Rhodes got me hooked when I bought his first CD back in high school. Not an inspirational story but a pretty damn good reason!

Daniel: I kept listening to my grandmother's LP of The Pearlfishers, but it was only to hear the duet ‘Au fond du temple saint’. No such thing as repeat on an LP! I later found a CD of operatic favourites that had the duet from The Pearlfishers, but also introduced me to other classics such as ‘Nessun dorma’, ‘Largo al factotum’, and choral pieces like ‘Va pensiero’, and the march from Aida. (Daniel we're going to send you a CD of Opera Australia 2000 highlights)

Squall: When I really got hooked on opera - apart from always liking it, having grown up listening to it - was seeing and hearing Cheryl Barker live in Otello. It wasn't my first, or for that matter favourite, opera, but hearing her Desdemona did something to me. Magic, if you believe in it.

4. Learning to sing

Kate: I got hooked on opera when I got to 29 and realised that I really loved singing and would regret it if I didn't at least try to become a singer. I first tried music theatre, which was OK, but realised I loved the orchestration and emotional content of an opera more. The moment when Salome first appears is foreboding and very sexy, or the way Verdi uses the strings to evoke the fire Azucena unknowingly burnt her child in.... And then her amazing mezzo voice over the top... It's fascinating. (Kate we're going to send you a copy of the Ultimate Verdi highlights CD)

Angela: I have a mother who always pushed it down our throats when young and I resisted, until I started having singing lessons myself aged 48 years (OK so I'm a late starter). Discovered I have a "classical" voice and at the same time I discovered a love of the opera genre, and I now go along to productions whenever I can. Apart from that, opera people - singers, conductors, directors, producers, etc - are the nicest people. I also volunteer with MTO here in Melbourne and enjoy helping out where I can. (Angela we're going to send you a CD of Opera Australia 2000 highlights)

3. A family member or close friend

Simone: I was just a little girl, my grandparents used to play it when I went and stayed with them, and later to live with them. Firstly, I think it was the dresses that drew me to it. But then came the sound as I was introduced to Bryn and Cecilia singing, in particular their performance of Le nozze di Figaro...Now, some 14 years later, it still resounds within me and inspires many of my designs. (Simone we're going to send you a CD of La bohème featuring Anna Netrebko)

Rebecca: A very dear friend who has sadly passed was a subscriber and would proudly sit in the front row of every single opening night. We used to immerse ourselves in opera and I truly fell in love with the whole concept of opera when I went to my first performance nearly 20 years ago. I don't get to many performances lately but I can always put on a CD, close my eyes and fall in love all over again with the magic of opera.

Josh: I came late to opera - in my 30s. My grandmother was diagnosed with Alzheimers and as the disease progressed she lost her ability to talk, but continued to listen to opera CDs (she loved Dame Joan Sutherland and even saw her in Lucia di Lammermoor in Paris). She and I would sit and listen to operas (or watch DVDs on TV) for hours on end, lost in the music. She died a few years ago but I continue to listen to opera at home and get to as many OA and other performances as money allows each year. (Josh we're going to send you a CD of Opera Australia 2000 highlights, which features some of the great Joan Sutherland)

Antonia: I love all music genres but opera was never my favourite until my daughter started voice training and introduced me to the magnificent world of opera. My daughter was given two tickets to La Traviata on Sydney Harbour because she was a volunteer. She graciously gave me the tickets, I was overwhelmed by her generosity and then on the evening of the opera I was transported to another world! (Antonia we're going to send you a CD of Opera Australia 2000 highlights)

2. TV, Radio and Cinema broadcasts

Blagorodna: Even as a music teacher, conductor and classical pianist, I was not so fussed on opera...I heard Dvorak’s ‘Song to the Moon’ from Rusalka about 25 years ago when I was driving to work, by a soprano who had a beautiful voice, the sweetest timbre. It is still my favourite aria and I play it, wherever I am, EVERY FULL MOON. The Same Voice...Lucia Popp.

Andrei: The first opera I saw was La clemenza di Tito on TV filmed from the Drottningholm Court Theatre in Sweden. That was in 1991, the 200th anniversary of Mozart's death. SBS ran a series of Mozart operas and I saw Le nozze di Figaro and Die Zauberfloteafterwards and was hooked from there onwards. I love Mozart and unconsciously rave on about him in conversation...Too bad I can't sing a note. I love Mozart coloratura pieces. (Andrei we're going to send you a CD of Opera Australia 1999 highlights)

Marita: I got hooked by watching the screenings of the Opera at the Met series at The Dendy, Opera Quays Sydney. A lovely friend then took me to Carmen at the Opera House for my birthday and I was totally gone!

Anne: The very first time I listened to ABC FM Monteverdi's Coronation of Poppea was playing. Never having heard opera in stereo before, I was gobsmacked.

Dylan: The Sunday Afternoon Arts on telly...on those rainy Melbourne days cooped up inside the house with great arts stories...and voila there was this art form with music, theatre and text! What more does a precocious little kid like me need? I was lost to the other world but was reborn into this new world of opera!(Dylan we're going to send you a CD of Opera Australia 1999 highlights)

1. A great first opera (sometimes accidental!)

Alessandra: While I was still at uni, I was able to get some concession tickets for Toscaat Gran Teatre de Liceu, Barcelona's opera house. After the ending of the first act, when they sang ‘Va Tosca’ (‘Te Deum’), I knew I was hooked on opera... Was just amazing!

Meg: The music was always available at home but the first opera I saw, in the flesh, was La bohème. I remember at the end walking out of the theatre (well before the Opera House) in tears and hoping no-one would see me. (Meg we're going to send you the Ultimate Verdi CD pack)

Jodie: I've mentioned this here before, but it was actually last year, seeing OA's Don Giovanni which sealed the deal for me...I was going through a pretty rough time last year with some major stuff going on, and I'd never been to the opera before so I thought, "why not?" So I went and was totally transported and blown away by this experience. So much so that I depleted my sad student bank account in order to go again three nights later! It seriously changed my life: instant passion for opera...it was the fact that it completely took me out of myself and distracted me from my "stuff" for three hours was what made it so powerful, and it made me realise that probably everyone in that theatre (even the ones onstage, backstage and in the pit) had things that were troubling them but we were all able to leave the world outside for a bit and share this experience. That's when I understood the power of opera. (Jodie we're going to send you a CD of Opera Australia 2000 highlights)

Maggi: 1973 went to Ruddigore by mistake, sat on BENCHES in the Gods and have not stopped loving it yet! (Maggi we're going to send you a CD of Opera Australia 2000 highlights)

Shannaye: I got hooked by seeing a play The Mikado by a small production company in Elwood. I took my Dad to see Of Mice and Men and Opera Australia is the best ever. I would travel all over Australia to see a production.

Justin: In 1988 as a penurious uni student I went to see Porgy and Bess at Melbourne's Spoleto Festival. It was spellbinding and totally captivating (although there was no way that a tiny goat could move such a huge bass-baritone, cart or not!). The following year I took out a youth subscription to The Australian Opera and the love affair with Opera was confirmed; I've been a subscriber ever since. (Justin we're going to send you a CD of Opera Australia 2000 highlights, but also a Cleveland Orchestra recording of Porgy and Bess!)

What You Think: The Barber of Seville

noreply@blogger.com (Opera Australia) — Fri, 04 May 2012 02:27:00 +0000

Have you seen or are you planning to see The Barber of Seville? What do you think about the production?
This blog serves as a place to voice your thoughts, ask your questions, and post your reviews of the show. Posting a review enters you into our Weekly Review Competition, with the most insightful review each week receiving two tickets to an opera of choice in 2012.

About this production of The Barber of Seville:

Crusty old Dr Bartolo intends to marry his ward Rosina tomorrow. Young, handsome Almaviva means to beat him to it. With the help of Figaro, the eponymous barber of Seville, he’ll marry her today. This action-packed opera tells of their efforts to dodge Bartolo, woo Rosina and get her married off to Almaviva under Bartolo’s very nose.

Director Elijah Moshinsky and designer Michael Yeargan are responsible for some of Opera Australia’s best loved productions, and this is certainly one of them. First staged in 1995, it is inspired by 1920s Hollywood comedies such as Keystone Cops, Buster Keaton and Laurel and Hardy. Think slapstick stage business, chase scenes and split second comic timing. The larger-than-life action fits perfectly with Rossini’s hectic score and the fast-moving story.

Click here for more information, cast lists, ticket sales, and more

Instructions for posting a comment or review:
1. Scroll to the bottom of the comments section (NB: If you cannot see comments, click here to be taken to full page view)
2. Enter your review in the main text box: don't forget to include your name and email address.
3. From the 'Comment as:' drop-down menu, select 'Anonymous' or sign in with one of the listed partner sites.
4. Press the 'Post Comment' button.

On the road with Schools Company

noreply@blogger.com (Opera Australia) — Tue, 01 May 2012 05:34:00 +0000

Schoolchildren watch on at Oz Opera's Hansel and Gretel launch

Ashley Giles

In March this year, after a three-week rehearsal period at Sydney’s Opera Centre, Oz Opera’s Schools Company launched its New South Wales tour of Engelbert Humperdinck’s Hansel and Gretel, which runs until September this year, and which will bring the experience of the opera to over 45,000 children in Greater Sydney and regional NSW.

Managing a touring opera company has its challenges, of which keeping everyone happy is the biggest. As baritone Ashley Giles, who performs the role of the children’s father and also manages the company, puts it: “Artists are always thrilled to be able to perform, but you have to ensure that the roster is balanced because when your weeks are filled with 12 shows each, plus hours of driving before and after, you become exhausted and sometimes grumpy.”

Ashley Giles as Father in
Hansel and Gretel

At the same time, it’s important to give everybody the opportunity to tour. “Audience response in regional New South Wales is wonderful and artists love it. Going to the bush is a kind of working holiday.”

Nevertheless, when on tour, any number of things can go wrong. Giles says: “At the Sydney Opera House, the environment is controlled…sort of [he laughs]. But for us, every venue is new: access to grounds and loading dock (if there is one); size of performing space, availability of lighting; quality of sound – we never know what these are going to be like until we get there.”

Once the show has been set up, things can still go out of whack. “Kids would ask: ‘That broom falling; was it meant to happen?’ And you’d say: ‘What do you think?’ We always try to make glitches part of the show.” But once an electrical storm came through halfway through a performance and cut off the power. The school didn’t have a piano and since the company was using an electric keyboard, it had to stop. We went back three weeks later and performed the show.

Louise Fenbury as Hansel, Jennifer
Bonner as Mother, Clarissa Spata as
Gretel and Eve Klein as the Fairy

Kids always have lots of questions: Why is Hansel played by a girl? How does the fire in the witch’s oven burn? Why does her wand glow? How do the artists manage to change costumes so quickly? And one little child wanted to know if the performers were a family. “It certainly feels like it at times!” Giles laughs.

Schools Company performers drive the van and car in which they travel; they cater and they bump in the set. And yes, they get lost. “Sometimes we’re talking and we lose track of where we’re supposed to turn off,” Giles sighs. But the only flat tyre he’s had in five years was in the dock at the Opera Centre.

Keeping the show fresh through dozens of performances is not that difficult when the venue is changing all the time. And kids’ responses vary. “Kindy kids laugh easily; older ones tend to be more restrained, but if you get them all together, the little ones’ spontaneity loosens up the older kids. Sounds a bit cheesy, but when you see the kids smile, that’s all you need to keep it fresh.”

Kids are often invited to explore the
set after the show

Some city schools have their own theatres and regularly visit the Opera House to see shows; some country ones are isolated buildings at the end of a dirt road with potholes, flanked by a petrol station and a pub. “We love performing in a theatre with lighting and sound equipment, but performing for kids who just don’t have access to shows is very special too,” Giles says.

This year Christopher Cartner, music director of the Schools Company orchestra, is travelling with the troupe full time. “Hansel and Gretel is quite a difficult score and it helps to have someone keeping an eye on things.” The Schools Company also travels with a director’s score, and Naomi Edwards (director) drops by from time to time to ensure that all is going according to plan.

Clarissa Spata as Gretel

In terms of artistic development, Giles says that his years with Schools Company have been gold. “You learn to sing with many distractions and to perform if you’re feeling under the weather. You discover that after singing the same role 200 times, you’re still tweaking and improving. You build performance stamina by singing every day. And bumping in sets gives you a great appreciation for what backstage staff do.”

Artists who have gone on from Schools Company to mainstage all affirm what a great grounding it’s been; how much easier mainstage has been once they’ve had a grounding in Schools Company.

Says Giles: “I’d love to be a principal on mainstage one day. But performing for kids is wonderful in itself.”

True to the moment

noreply@blogger.com (Opera Australia) — Tue, 01 May 2012 05:02:00 +0000

Amelia Farrugia in The Merry Widow

Fresh from New York’s Met, where she covered Anna Netrebko in Manon, Amelia Farrugia shares her thoughts on singing Hanna in OA’s Melbourne run of The Merry Widow.

You are reprising the role of Hanna in The Merry Widow in Melbourne this autumn, after a long Sydney run last winter. What have you learned about the role during the Sydney run, and what will you do differently in Melbourne?

I may change the accent for Melbourne, in consultation with the artistic team. In Sydney it was a “northern British farm-girl” which was very hard to perfect.

Which parts of the show did audiences like best?

The audience always laughs and claps along when the septet of men, lead by DavidHobson, sing ‘Cherchez la femme’. It is staged so well and really gets the audience involved. Personally, I love seeing the men line up and dance together! Valencienne’s can-can with the ladies of the night is very entertaining and saucy too. My dad said of it, “I didn’t know this show would be quite so naughty!”

David Hobson and Amelia
Farrugia in The Merry Widow

In which ways did you and David Hobson fine tune your performance together?

We did lots of dialogue runs and waltz practice. I didn’t realise waltzing was so difficult – even with ten years’ ballet training, I still found it immensely challenging.

You sang a great many performances of the role in Sydney. How does one keep it fresh every night?

Staying true to every moment…not thinking about what’s coming next.

Tell us more about covering Manon for Anna Netrebko in New York. That must have been very exciting?

It was hugely exciting to be working at the Met for the first time, and also to be working in the USA for the first time. Miss Netrebko arrived two weeks after me, which meant that I had to fill in for her, working with the A-cast. It was a tremendous opportunity to go through the motions myself, so that in the event that I did get onstage, I would feel more confident, ready and connected to the other cast members. The costume fitting was wonderful… those gowns! They were incredible, French down to the last seam, and by some miracle they fitted like a glove. During the rehearsal period, Anna Netrebko invited me to her home for a small cast gathering; I found it extraordinary that she was capable of such grace and generosity in this hectic time. She even cooked the Russian treats herself! Once the show opened, there was plenty of time to explore the city with [my husband] Paul and [our son] Ben. I adore New York and this job gave me the perfect excuse to lap it all up.

Amelia Farrugia as Eurydice in
Orpheus in the Underworld

Do you think you’ll approach your own interpretation of Manon differently in future?

If you are truthful to the score, hopefully the essence of the character will always be expressed. But having said that, you can perceive a role in many different ways. Once you are acquainted with a particular director’s unique vision, you take that interpretation into your own hands and make it work for you. I am so grateful to have had the opportunity to have worked with Stuart Maunder on the role, both in Melbourne in 2004 and in Sydney in 2010. It was also magnificent to work with the dynamic young French conductor, Maestro Emmanuel Plasson. Thanks to these collaborations I know the work inside out, which was a huge advantage in the rehearsal room at the Met.

How do you think your Met experience will impact on your singing career?

This enormous opportunity forced me to rise to the occasion and give my absolute best. I am more aware now of how to keep myself in peak vocal form. I also found the other artists and fellow colleagues extremely inspiring and I had some life-changing sessions with Renata Scotto, regarded as the world’s greatest exponent of Violetta in La traviata, on singing that role.

Amelia Farrugia in The Merry Widow

In the New York winter, how did you manage to keep your fitness levels up, as with all that dancing, The Merry Widowis physically a very demanding role?

In a singing/dancing/acting role like TheMerry Widow, you need to be able to move around without getting out of breath. This takes a lot of dedicated practice and show fitness. Thankfully, there was a fitness centre in my building, and I did lots of walks around Central Park as the weather warmed up.

How do your husband and son manage without you when you’re away from home?

I am blessed with a husband who runs his own business (Paul Chesher of 4D International), who is able to schedule his working day around drop-offs and pick-ups. Ben is ten years old now, so he is catching the bus to school, which means my day-to-day taxi duties have eased up. We have a lot of great restaurants and delicatessens where we live, so Paul can pick up pre-cooked meals when he doesn’t feel like cooking. When I’m away we Skype every day, so we can stay connected. Thank God for the internet.

Which roles would you still like to perform?

I have sung La traviata in concert for the Brisbane Festival but not in a staged production, so that would be fabulous. I would also love to sing some more French repertoire, Gounod’s Juliette, Massenet’s Thaïs, Thomas’ Mignon… and in terms of Italian repertoire, Gilda from Rigoletto.

Out of the classroom and onto the stage!

noreply@blogger.com (Opera Australia) — Tue, 01 May 2012 03:34:00 +0000

Tina with two of our glamorous cast members

In February, 702 ABC Sydney’s Richard Glover ran a competition on his popular Drive program, giving listeners an opportunity to win a walk-on role in the opening night performance of Handa Opera on Sydney Harbour: La Traviata. Listeners were asked to describe their favourite opera plot in 140 characters or less. The winning entry was submitted by Tina Mucci, a mother of four, who teaches drama to Years 9-12 and art to years 7 and 8. We asked Tina about her experience and how it changed her view of opera.

Tina Mucci has her makeup
done and her hair prepared for a wig!

What was your winning entry for the 702 ABC Sydney competition, and how did you come up with it?

"Boy meets pro, dad says no, pro lets go, prefers the show. Meet too late, seal their fate. TB or not 2 b?"

It was a joint effort over dinner with some of my family and a good friend who had popped in. We were discussing what a clever competition it was and what a great prize. Our friend was very familiar with the storyline of La traviata, and after explaining the narrative to us he proceeded to come up with the first line – “boy meets pro, dad says no”. We loved it and started to brainstorm the rest. We joked about winning, but said it didn't matter if we didn't because we had so much fun coming up with the entry!

Where were you when you found out you’d won?

I was shopping for that night's dinner, so missed out on the announcement on the Richard Glover show. It wasn’t till Opera Australia rang me that I found out I had won. I think I was embarrassingly loud in the supermarket as I was overcome with excitement.

Are you a long time opera fan?

I teach drama at a local high school so I love anything dramatic, but my operatic experience was limited. Now I am a convert!

Do you have much previous experience on stage?

Not as much as you would expect a drama teacher to have, but I like to direct more than act.

Tina Mucci with a cast member

What were rehearsals like for you?

I really enjoyed the rehearsals and especially liked the opportunity to see 'behind the scenes'. Once I had attended a few rehearsals it hit me how daunting the task was, and I have a newfound respect for how professional and hardworking these people are. From my wig and costume fittings, to the night-time rehearsals, to the performance itself, my emotions veered between excitement and nerves.

What was it like seeing the stars of the show in rehearsal?

I was in awe of them, although they were very down to earth. I think it is really hard to sing and act at the same time and they gave it 100%. Even in rehearsals the emotion was there.

Were you nervous on opening night?

My main fear was that I would slip, as I had to wear heels and the stage was quite steep, not to mention it was a full house and 3000 people were there.

What was your experience of performing that night?

I was surprised at how few nerves I had. I attribute that to the great support and acceptance I had from those around me backstage, especially Jane Pinkerton, who was assigned to look after me and did a great job of gently guiding me to the right spot, and who at times literally took me by the hand. From the moment I got on stage for Flora's party I was in performance mode and my 8 minutes of fame went very fast…and I didn't trip!

Family and friends of Tina
before the show

What did your family and friends have to say about seeing you perform?

My family and friends were very excited and apparently laughed from the moment I got on to the moment I got off. It was my eldest daughter's and my mother's first opera. My daughter commented on what an amazing night it was: on the harbour, on a beautiful evening and with her mother on stage. I think any opera experience after that would pale in comparison.

Have you got any closing thoughts on Handa Opera on Sydney Harbour, and would you recommend it to your friends?

We have such a beautiful backdrop in our harbour, and to take advantage of it in this way takes the experience to another level. It was such an ambitious and visionary project, and one that definitely paid off. I hope that this is the start of more opera on the harbour, and La Traviata will always have a special place in my heart.

The Operative Word with David Hobson

noreply@blogger.com (Opera Australia) — Tue, 01 May 2012 03:24:00 +0000

David Hobson and members of the Opera Australia Chorus in The Merry Widow

Why do you do the job that you do? Initially I fell into it and then fell in love with it.

Who has influenced you most professionally? Many of the colleagues, directors, conductors, teachers and coaches I’ve had the privilege to work with have been inordinately gifted, full of valuable knowledge and generally passionate enough to pass it on.

Is there any other profession that you would have liked to have followed?

Still dream of kicking that winning premiership goal for Melbourne in the AFL!

What is your idea of perfect happiness? As someone said ‘Happiness is a direction not a place’, so to be on the path of not ‘wanting’ and ‘just being’ would be perfect.

David Hobson

If you could have dinner with a historical figure, who would it be? The JCs – Jesus Christ (the meal would be plentiful) or Joseph Campbell the 20^th-Century mythologist/philosopher – a real tribal elder, great thinker and great heart.

What is your greatest extravagance? Playing football, tennis, surfing, HBO dramas and massage.

One thing you regret is… I’m working on not thinking about those, but perhaps there was the time…

If you could have any opera character as a friend, who would it be, and why? Orphée. Could hopefully glean some of his great singing/song writing skills and form a band – the ancient Greek Lennon and McCartney if you will!

Who or what is the love of your life? The Who – My wife Amber and children Madi and Sam. The What – Music.

What are you optimistic about? The next generation

You would like to devote more time to…Writing, languages and being still.

What is your favourite food? Any Sunday roast (Winter is upon us), which is always a challenge as my daughter is a vegetarian.

David Hobson

What is your most treasured possession? Not sure I have one but perhaps old family photos and movies.

Which is the opera that got you hooked? Rigoletto. I remember seeing a VSO production with John Bolton Wood as Rigoletto at the Palais in Melbourne back in the 80s. Couldn’t believe how perfect Act IV was.

Which opera do you never need to hear again? I don’t ‘need’ to hear operas like La bohème or Così again but I actually want to.

If there’s one quote that really speaks to you it’s…“Do you have a question? Say yes!” – Joseph Campbell

What is your idea of misery? I’d be pretty miserable if I wasn’t doing something in music. I’ve been very lucky thus far.

You still hope to…Conquer fear.

Which characteristics do you most admire in others? Courage, compassion, integrity/honesty, humility and a ripping sense of humour.

You feel guilty when you think about… are you really trying to get into my head that far?

What type of holiday do you most enjoy? I’m not good at sitting still so surfing uncrowded, three-foot, clean waves anywhere warm sounds pretty good.

If you could change one thing about yourself, what would it be? Be more decisive – actually I’m not sure about that.

Who is your favourite band? The Beatles – pretty much defined pop music.

David Hobson and Amelia
Farrugia in The Merry Widow

You spend too much money on…Music technology. Started with a four- track recorder in the 80s and haven’t stopped! There’s always something ‘über’ expensive to keep you on the bleeding edge.

Your greatest achievement has been…I’d have to say my children.

The book everyone loved but you could not finish was... The Lord of the Rings. There’s also a pile beside my bed.

What is your favourite kitchen appliance? Kettle. Big on tea.

How do you stay up to date with new technology and trends? The kids pretty much dictate the necessity to be on top of all the new communication tech but I must confess my wife does most of that. Change is always confronting.

Who is your favourite heartthrob? Julie Christie

Eight months with the Chicago Lyric

noreply@blogger.com (Opera Australia) — Tue, 01 May 2012 01:52:00 +0000

Eight months with the Chicago Lyric

Chorus Master Michael Black brings home fresh perspectives

Opera Australia (OA) Chorus Master Michael Black returned to Sydney after eight months with the Chicago Lyric at 8.30am on a Tuesday morning. By 10am he was at the day’s Handa Opera on Sydney Harbour: La Traviata rehearsal. And that night he was backstage for a performance of Mozart’s The Marriage ofFigaro.

“It was a 12-hour day straight off the plane,” he laughs. “When I walked into Company Office and they gave me the list of people off for the night and said, ‘Welcome back’, it was as if I’d walked straight back into my old life, with the difference that someone had put a chip of wonderful memories into my head.”

Black describes his American stint as “the most wonderful experience”, and says that he has returned to Opera Australia with new enthusiasm and new ideas.

Originally he was offered a permanent position with the Lyric, after an audition (“the most nerve-racking experience of my life”) in which he was given an hour to take the chorus through two pieces of music, then interviewed, then asked to take the chorus through sections of The Magic Flute, Verdi’s Macbeth and Carmen. “I just did what I always do,” he says. “I figured if that was not good enough, I was not good enough.”

Assistant Chrous Master
Anthony Hunt

He was offered the position over five other candidates, which was hugely gratifying, but family considerations (Black shrank from the prospect of being separated from his 16-year-old son, and his partner would have been unable to work in the US) led to his turning the offer down. When the Lyric’s second choice was unable to extricate himself from professional commitments for a year, Black managed to arrange to go over for eight months, leaving the OA chorus in the capable hands of assistant chorus master Anthony Hunt. It was a move that enabled him to bring many fresh insights to his role at OA.

The Lyric has the same budget as OA, yet do eight operas a year where OA does 15. Black says: “Because they do half the number of productions with the same amount of money, they can afford to rehearse one or two operas at a time, where we sometimes do five in a week.” This means that where the OA chorus does eight or nine chorus calls for a standard opera; the Lyric’s does as many as it requires. It also has a month of music rehearsals before the season starts.

Financial backing is what enables the company to operate in this way, and at the Lyric Black was expected to help with fund-raising, which proved an eye-opener. “I was amazed at how well geared they are for raising funds. Every week there’d be a donor function, a guild meeting, a wine auction, an “operathon”, or an opera ball for which the chorus would be asked to do something. They raise hundreds of thousands of dollars in this way. They operate in a different environment of course, since Americans –not only the wealthy ones – are used to giving to philanthropy.”

The US is hardly a socialist country, and yet, Black found American union rules regulating chorus calls stricter than those that govern Australian labour. “You can’t just ask a chorus member to dance; if learning dancing steps takes more than one rehearsal, choristers are entitled to overtime payment. Whereas here you just say, ‘Dance’.”

Musically, the most interesting challenge of his time with the Lyric was trying to encourage the chorus to produce a warmer and more rounded sound. “Their sound tends to be open and bright, and quite different from the more ‘beautiful’ European sound that I’ve been trying to cultivate at OA.”

Black rehearsed the Lyric chorus in six operas, including his first Boris Godunov. “Russian is not my best language, but it was fun,” he says. The final performance of the production, with Sir Colin Davis conducting, was a highlight. “The chorus were fantastic; it was just wonderful.”

Director Francesca Zambello

A Showboatproduction with director Francesca Zambello proved challenging but ultimately rewarding: “There was an African-American chorus and a white chorus, each with its own accent. Getting that right was very difficult. But in the end the African-American chorus produced an amazing sound. I’ll never forget their enthusiasm and dancing ability.”

Black quickly learned that the Lyric’s choristers expected feedback. “They like to be told that they’re doing a good job and I realised that I had to be more verbal in affirmation and praise. They do fewer operas of course – if you waxed lyrical after every performance here, the chorus would tell you to stop!”

Socially, he found his colleagues an “amazingly friendly bunch” who’d forever be inviting him to dinner at their homes and for drinks at pubs. The chorus even organised a surprise birthday party for him a month after his arrival. “I’ve sort of thought of Americans as gushy without substance. But I found them exactly the opposite: gushy with a lot of substance.”

The single most important artistic lesson that the experience taught him is that he “will be expecting a lot more from the chorus!” “They’re very quick and very good, and they can be even better,” Black says, with a laugh.

Blast from the past: Facebook fans snap up archival programmes

noreply@blogger.com (Opera Australia) — Tue, 24 Apr 2012 09:04:00 +0000

A great ad from one of our old programmes

Thank you to all our Facebook page entrants who went in the running to win one of eight archival, souvenir programmes. Below are the winners and some snaps from inside these programmes. A good reminder to never let go of the ones you buy, as you're always certain to find some gems of information (or in the case of L'Incoraonazione di Poppea programme - a gem of advertising!).

Congratulations to our eight winners! Here are their entries..

Fantastic 80s glasses on Gordon Wilcock

The Tales of Hoffman (1981)
Winner: Danielle Brown
The designs for productions of this show are always amazing! In particular, the costumes are just the most exceptional pieces I've ever seen. This production was before I was born. My first experience of this show was in film form, and it made me want to know how things like set design in such large spaces work and the intricacies of costuming. I've never seen it staged in reality though which is sad, but I have seen sketches, which to me are the closest thing to that. Also, who doesn't appreciate an Offenbach? Plus, coincidence, apparently the initial abridged version was originally staged on my birthday. I just found this out from a friend next to me... just saying, it's fate. You can't really argue with fate.

Fidelio (1984)
Winner: Lauren Holmes
I'd be happy with any of them really! but having seen final rehearsals of OA's Fidelio in 2009 and researching everything I can about the opera since then (after I fell in love with it and the romantic story), it'd be interesting to contrast the 1984 production with the one in 2009.

We wanted to choose something serious, but
pitchfork Pavarotti made us choose this instead.

L'Incoronazione di Poppea (1988)
Winner: Sam Yeo
L'Incoronazione di Poppea, because it was the first opera I was ever involved with. (Man, you sure know how to pick 'em...)

La fanciulla del West (1989)
Winner: Sarah-Jane Doig
La fanciulla del West, because it was the first opera I saw live, albeit many years after this production!

Così fan tutte (1990)
Winner: Jamie-Lee MacDonald
This Opera was what inspired me many years ago to pursue my Career in music further. I love Mozarts Playfulness and constant energy in the score; and I was Born in 1990 so this program is already fated to be with me.

Eugene Onegin (1990)

Winner: Paolo Smith

My favourite opera! Tchaikovsky uses the unique structure of the opera to his advantage painting three different musical scenes, gripping! He also shows off the potential of the different classical voices, beautiful arias for S,A,T,Br&Bs. Lensky's aria shows that a tenor aria doesn't need to blow you out of your seats to be awe-inspiring. The characters in the plot are all 'real' and 3 dimensional, we can understand their motives and feel moved as their lives and selves are unfolded. Plus Tchaikovsky's own voice can be heard in much of Onegin's libretto: "Were I a man that sought a domestic life with you as my wife...." But, he wasn't that sort of man..... Oh how I would love to have piece of our own interpretation of this great work!

Fiddler on the Roof (1992)

Winner: Terry Mogi Cumming

Fiddler on the Roof for me please!:) because it is the first show I was ever in as one of the children when I was about 5 ... though I would like to say I was in the OA show I was not. It was Red Cliffs Musical Society .. I would also like to be able to say I was only 5 in 1992! :)

Der fliegende Holländer (1997)
Winner: Sarita Ester
The Flying Dutchman, what better theme for an opera, redemption through love. Wagner's libretto is awe-inspiring, one can tell his personal experiences influenced this work. Absolutely splendid!

Honourable mention: Greg Gray for his 'flattery technique'!

Thank you everyone for your entries! 'Like' Opera Australia on Facebook to hear about other giveaways and promotions, or just to stay in the loop about the company and its productions.

Opera is a family tradition

noreply@blogger.com (Opera Australia) — Mon, 23 Apr 2012 00:51:00 +0000

David Parkin as Sparafucile, and
Jane Parkin as the Countess in
Rigoletto 2009

David and Jane Parkin on performing together in The Magic Flute...

Siblings David and Jane Parkin have long looked forward to the day that they could perform in the same production. The dream came true last year, when brother and sister were cast as Sparafucile and the Countess in Rigoletto (Now available on DVD). This year the family upped the ante when the siblings, plus Jane’s husband Malcolm Ede, were cast in The Magic Flute. As it turned out, reality was not quite what they’d expected.

“We were so pleased to have three family members in the same show,” Jane says. That is, until all four Parkin siblings, their parents and some of their partners went out to celebrate their youngest brother’s 30^thbirthday. “We were nine family members and we all had the degustation menu. Within 48 hours, seven of us had come down with food poisoning.”

By the next day, three Magic Flute principals were down for the count. At the time it wasn’t funny at all, but when we meet at the Opera Centre a week later, both Parkins laugh when recounting the catastrophe. “Three family members in the same show turned out to be special in more than one way!” David chuckles, and Jane adds: “It’s certainly a birthday that we will remember!”

Growing up in a small country town, the family comprised of Jane, the eldest, who was the musician of the family; followed by Jill, who’d set her heart on a legal career; David, who became an engineer before becoming an opera singer; and Richard, an academic and journalist. Their mother played piano and cello and enjoyed singing, so it was inevitable that music would play a large part in the Parkin children’s childhood.

Jane, who recently became a mother herself, says: “I think encouraging us to play instruments was Mum’s way of keeping four kids occupied in a small town.” As the town had its own brass band, each child studied piano plus a brass instrument.

David Parkin as Sarastro in
The Magic Flute 2012

Listening to music was as important a part of their education. “Mum inherited a large record collection from our grandfather, who loved opera,” Jane says. “We grew up listening to recordings of many of Australia’s famous singers: Joan Sutherland, John Pringle, Donald Shanks.”

And there were the video recordings of their favourite operas. “Jane wore out a VHS tape of The Mikado,” David recalls. “I watched it hundreds of times but she must have watched it thousands of times!” The children did not find it unusual that opera was such a big part of their lives. “For us it was just normal – people who didn’t have it in their lives weren’t quite normal,” Jane laughs.

Jane, the Parkin household’s musical ring leader, would often organise her younger siblings to put on shows for their parents, and it became a family tradition that on Mother’s Day and Father’s Day the siblings would perform a number for their parents. “They were variously successful,” David recalls.

One year they performed ‘Three Little Maids’ from The Mikado. Jane organised costumes and choreography and also assumed the roles of director and conductor. The show ran into trouble the next year, when in ‘Elegance’ from Hello Dolly, the youngest Parkin failed to master the pronunciation of “indubitably prove”. It was in-doo-baa-da-bly prue, he’d say. “After that the whole thing came to a crashing halt,” Jane says, laughing.

Jane Parkin as Cio-Cio San in
Oz Opera's Madam Butterfly

She always knew that she wanted to be an opera singer and pursued her goal through the traditional avenues: drama and opera qualifications from the Universities of Wollongong and Sydney, followed by a full-time position with Schools Company, followed by stints as an extra chorus member, which led first to full chorus membership, then to a place in OA’s Young Artist Program, and finally, to principal artist.

By contrast, David’s entrance into the opera world was sudden and dramatic, the result of a crash course in the art after his 2006 win in OA’s Operatunity Oz competition. Jane says: “Dave and I took completely different paths to our opera careers. His way has given him a fresh perspective on this career: as a result of his engineering background, he has a very logical approach to problem solving. Whereas when you spend your entire life in a creative field, you can get a little illogical.”

In turn, her knowledge of matters vocal and musical continues to be invaluable to him, as is her knowledge of how an opera company functions. “To be able to compare notes on how we’re both travelling professionally is very valuable,” he says, adding that “from your sister you get pretty frank advice!”

His engineering career was doing very well when Operatunity Oz came along. “Jane said at the time that the competition would be a very good way of getting a taste of the opera world without going through the traditional, ten-year path. I wanted to sing in front of opera professionals and get some critical feedback. I never expected to win.”

David Parkin as the King in
Aida 2009

When he did, OA supported him with training and coaching, and by giving him small roles and covers. Yet it was another year before he set his heart on an opera career, and several more before he felt confident enough to say goodbye to his well established IT career.

In some ways, Operatunity Oz was a double-edged sword, says Jane. “It provided David with wonderful opportunities, but some people in the opera world looked at him and wondered what a singer with little formal training and no experience was doing in an opera company. We were all very proud of him when he won, but I was never prouder than in the years that followed. I have never seen anyone work so hard. In twelve months, Dave did what I’ve done in ten years. There was so much pressure, so much stress, so much work, that I am not surprised that for a while he was not sure about it all.”

When the Parkin family gets together now, there are no concerts. And from this month, Jane is changing her name to Ede, her husband’s name. Life is always changing. But some things are passed on from generation to generation. At home, Jane and Malcolm do not sing opera, as their nine-month-old daughter finds it too loud. But they do make up songs for her, all day long.

“She thinks this is just what parents do.”

Figaro loses the plot... sometimes

noreply@blogger.com (Opera Australia) — Tue, 10 Apr 2012 02:00:00 +0000

Most people associate the role of Figaro in Rossini’s The Barber of Seville, which opens at Melbourne’s Arts Centre this month, with 'Largo al factotum', the aria in which the Barber sings “Feeegaro Figaro Figaro Figaro Figaro!” at breakneck speed. Many artists make the same association, which is why inexperienced baritones who assume that for Figaro, the opera is more or less the aria, sometimes lose their way. So says José Carbó, the singer who to many Australians is Figaro.

“Inexperienced performers tend to think that once they can belt out that aria from start to finish without falling apart, they can sing the role. But the aria is actually an easier part of the role,” he says, with a laugh.

The fact is that from 'Largo al factotum', which ends on a top G that singers are traditionally expected to hold for at least six seconds, Figaro goes straight into a 10-minute recitative with the Count, which is as high and which culminates in an even higher duet. “So you have the aria, then the recit, then the duet, all scaling up in tessitura. With experience comes the knowledge that you need the stamina to sing at that pitch for 20 minutes, not five.”

Born in Argentina, from Spanish-Italian stock, Carbó’s family migrated to Australia when he was five years old. The story of how he ended up in opera is well known but good enough to repeat: On his way to work one morning, he heard John Denver and Plácido Domingo sing a duet. “It was the first time that I heard an opera voice. I was blown away by the sound; I went home and tried to mimic it.” A few months later at a barbecue he sang Domingo’s part with a friend, for fun. Guests were astonished. They convinced him to get classical voice training.

“That turned my life around,” Carbó says. But it took eight years of private training to get his first role, as the Wig-maker in OA’s 2002 revival of Ariadne auf Naxos. “Mum was OK with it; Dad was a bit shocked because I was on the cusp of making a good living as a builder,” he recalls. “But I knew if I didn’t sing then, I never would. It takes a lot of courage to follow who you know you are, and to trust that it will all turn out well.”

This winter, he will make another OA debut, as Fritz the clown in OA’s Australian debut production of Korngold’s Die tote Stadt. “Really it’s just an aria and a sextet, but the aria happens to be the most beautiful in the opera,” he says, with a laugh. (Hear José sing this stunning aria in the YouTube video below)

If much of Carbó’s overseas career has been in Italy (Rome’s Teatro dell’Opera, Turin’s Teatro Reggio Emilia, Milan’s La Scala) and Spain (Madrid’s Teatro Real and La Coruña), he stresses that fluency in the vernacular is not essential for working in opera in these countries. “The global financial crisis is having a far more profound effect on opportunities for opera singers in the Northern Hemisphere than language ever will – Spain and Italy are broke; at the moment there’s almost no work in these countries.”

Carbó remembers his 2009 La Scala debut, as one of twelve principals in Il viaggio a Reims, a selection of Rossini tunes, as “surreal”. “Performing there was a great experience, but I didn’t even get to sing an aria. I’d like to go back one day and blow the place apart, which is what all opera singers dream of doing!” he says, laughing uproariously.

He found Italian audiences warm and responsive and not nearly as hard-nosed as their Spanish counterparts.

José Carbó as Figaro in
The Barber of Seville

“Spain has produced some of the world’s greatest opera singers – Montserrat Caballé, Plácido Domingo, José Cura, José Carreras – and when the Spanish go to the opera, that’s the standard of singing that they expect. If they’re not overly enthused with your performance, you’d get very polite clapping. If they don’t like it at all, you’d get booed and you won’t be invited back.”

By contrast, the Seattle audience for whom he sang at his US debut in Barber at the beginning of last year, was very generous. “If you’re good, American audiences love you, and if you’re not that good but you’re still trying your best, they love you too.” He hopes to go back to the States when a suitable role comes up.

In Australia, increasingly there’s not enough work to keep local singers employed full time. “In this country you can’t be proud; you have to get out there and do what you have to do to survive – teach, skimp, sing at weddings. I probably average between three to four roles a year around Australia, which is great but it will take five to keep my boys in a good school.”

Yet opportunities do still come to Australian artists. This autumn, ABC Classics is releasing a collection of Spanish and Argentinean songs with Carbó and guitarists Slava & Leonard Grigoryan. Repertoire focuses on tangos, Spanish songs and Piazzolla pieces.

Mr Figaro’s admirers are likely to bring that item home as soon as it becomes available.

Taryn reaches the Bigtime

noreply@blogger.com (Opera Australia) — Tue, 10 Apr 2012 01:22:00 +0000

This month in Melbourne, Taryn Fiebig makes her role debut as Pamina in Julie Taymor’s hit production of Mozart’s The Magic Flute. Fiebig, who began her career as a light soprano and became a household name as Eliza Doolittle in My Fair Lady, has lately been charming audiences as Musetta in La bohème, and moving them to tears with her rich, beautiful portrayal of Mozart heroines such as Zerlina and Susanna.

Speaking to Allerta! in a rehearsal room at the Sydney Opera House, Fiebig, friendly and relaxed in jeans and a feminine top and with her blonde hair tied back in a pony tail, tentatively agrees that her voice has shown noticeable progress with each new role that she’s taken on.

“For me, the difference lies in the evenness of tone and the increased volume that I’ve acquired.” She attributes the development of her voice to practice and singing a variety of roles. Not that she took for granted that it would happen. “Of course you want your voice to improve. But mine has changed significantly. It used to be a light baroque voice; it’s become more dramatic; it’s a good lyric now. It’s surprising how much we can develop the potential inside us if we’re given the right roles and direction.”

Fiebig has had many mentors and each one has helped her in a different way. But more than mentors and a good voice, a singer needs the maturity to take criticism on board. “That’s probably the main thing that’s changed in me,” she laughs. “The ego is not so strong any more and criticism no longer threatens me.”

Vocally, Pamina is well within Fiebig’s range and capability; the challenge of Julie Taymor’s Flute lies in the fact that the production has been cut. “You don’t have as much time to establish Pamina’s character, yet the audience still has to believe that she’s madly in love with Tamino.”

Having started her career as a cellist in West Australia, playing My Fair Lady and Evita among other things, Fiebig works from a solid musical base. It’s a background that has given her a much better understanding of opera. “The score is the foundation of everything we do. I would be nervous without knowledge of how it works.”

She learns her roles by playing her part on the cello, and before coming to opera she used to accompany herself on the instrument at concerts. Yes, audiences loved it. “It’s a bit like… “ (she pats her head while rubbing her stomach)“…doing several things at once.”

Taryn Fiebig as Zerlina in Don Giovanni 2011

Besides doing concerts, in the early years Fiebig performed small roles in plays and kept up her ballet training. It wasn’t until she was 31 that a director friend, Talya Masel, suggested that she tried opera. “’Tassie’, she said, ‘All the disciplines that you’ve done culminate in opera. You should go to opera school.’” Mazel promptly organised for an audition at the Australian Opera Studio, where she was teaching. Fiebig laughs when remembering her reaction: “I thought, ‘You must be joking, I’m not good enough for that.’ So I didn’t turn up for the audition.” But Mazel rang and said, “Get your arse down here! We’re not leaving until you’ve been!” Fiebig did the audition and was accepted. After two years with the Opera Studio, she moved to Opera Australia.

“I came to opera late, but all the things that I’ve done came together in opera. And now they’re beginning to blossom.”

Was she lucky? She doesn’t think so. “There’s luck in an opportunity, but if you’re not ready to take advantage of it, not all the luck in the world will help you. I was lucky to have been the understudy in Pirates of Penzance when Emma Matthews fell ill and was unable to do the performance, which was being recorded for DVD. I went on within six hours, sang Mabel and was on the DVD. As a result of that I was offered Eliza in My Fair Lady. All that ‘luck’ would have come to nothing if I hadn’t been ready.”

Doing covers has enabled Fiebig to acquire a wide repertoire, but it’s also led to her opera career being all-consuming. “Work is 80-90 percent of my life,” she says. Having gone freelance at the beginning of this year has left more time walking the dog (a daschund called Malcolm - pictured below right), cooking, going to cafes and catching up with friends.

She plans to do a few overseas auditions at the end of the year. “It’s time, and hopefully something will come out of that. But I’m realistic.” She laughs, embarrassed. “There are a lot of sopranos out there.”

Having been in all four OA recordings for DVDs and films is a big advantage. “Since they’re really one take, they’re a true representation of what we do live. I hope that they will carry some weight."

Taryn Fiebig with her daschund Malcolm

Making the films was a wonderful but at times sobering experience. “When you’re on stage, the pit is between you and the audience, which means that there’s a little leeway for wrinkles and out of place hair…whereas in film, knowing that the camera’s …there (she holds her hand in front of her nose and stares hard at her middle finger)…can get into your mind a little.” The first time was the easiest because she did not realise how close the cameras were. When she saw The Marriage of Figaro, she grasped that every hair follicle was exposed.

“With subsequent films we made a lot of mistakes in the first run because we were all so self-aware.”

Having come a long way in a relatively short time, Fiebig’s advice to young singers is to take their time.

“Perfect all the different aspects of what makes an opera singer - acting, movement, dancing, singing, language. You can’t learn those things in a room at the Con; you have to practise them in performance. The good thing is that as opera singers we have the luxury of time. By age 35, a singer’s career is only beginning.”

Revelations from Rachelle

noreply@blogger.com (Opera Australia) — Tue, 10 Apr 2012 00:51:00 +0000

Rachelle Durkin as Violetta in Handa Opera on Sydney Harbour: La Traviata

Revelations from Rachelle

When Rachelle Durkin auditioned for a place at Perth’s Academy of Performing Arts, she did not know what a treble clef was. Now the soprano, who shares the role of Violetta Valéry in Handa Opera on SydneyHarbour: La Traviata with Emma Matthews, is a regular at New York’s Metropolitan Opera, where she was a Young Artist until 2004.

Why do you do the job you do? As a child I acted and sang my way around the house. I remember wanting to do musical theatre when I "grew up". I auditioned but couldn't pass the dancing round and so I was rejected. Opera was my only other choice really. I auditioned for the Academy of Performing Arts in Perth not even knowing what a treble clef was, and was offered a place in the Certificate of Music program. I grew to love opera in that first year and now I can't imagine doing anything else.

Who has influenced you most professionally? Joan Sutherland. Her technique was flawless, and I have always sought her recordings when I am studying a role. I am inspired by many other singers too, as well as by coaches, singing teachers and even people who aren't in the profession.

Is there any other profession that you would have liked to have followed? I guess it would have been interesting to see where the music theatre thing might have taken me...if only I could dance, ha ha!

What is your idea of perfect happiness? Happiness is fleeting of course, and different for each individual, but I can only imagine holding your own child, your own creation in your arms, being the closest thing to perfect happiness. Feeling truly comfortable in your own skin, watching a sunset, or doing something for someone else can also make you very happy. And taking time to smell the roses does work.

If you could have dinner with a historical figure, who would it be? Jesus. I would love to see that water to wine trick. Seriously, I would love to see the man; I’d have a lot of questions for him.

What is your greatest extravagance? I don't care for shoes or handbags, but I do love food. I have paid a pretty penny dining in some of the best restaurants in the world. There is nothing better than getting all dressed up and sharing an exquisite meal with someone interesting and fun.

One thing you regret is...Not being able to see my family more often when I live in New York.

If you could have any opera character as a friend, who would it be? Probably Olympia (the doll) in The Tales of Hoffmann. I know she's not real, but I would love to see all the mischief she would get up to. I'd just sit back and have a great ol’ laugh.

Who or what is the love of your life? My family. I have the best family anyone could ask for. Down-to-earth, fun-loving, forgiving and honest. They mean everything to me.

What are you optimistic about? Having a normal life. Hubby, kids, a house with a garden, a dog and some fish.

You would like to devote more time to... Visiting with my family.

What is your favourite food? Seared Fois Gras. Sorry my little feathered friends.

What is your most treasured possession? I bought locket necklaces with the word “Sister” on it from Tiffany’s on 5th Ave in Manhattan New York, for myself and my two sisters. I wear mine every day. It keeps me close to them.

Which is the opera that got you hooked? Purcell’s Dido and Aeneas. I heard it in my first year of university and fell in love with the aria ‘When I am laid in earth’. I cried on and off for days after hearing it.

Which opera do you never need to hear again? I actually can't think of an opera that I would never go to again. Quite often it's the productions that ruin the experience for me, not the music.

If there's one quote that really speaks to you its... I heard one from Doctor Phil, made in reference to arguing within relationships, that I thought was funny: "No matter how flat you make a pancake, it still has two sides"

What is your idea of misery? Being around ignorant people, bullies, or people who talk about themselves for hours.

You still hope to... continue singing of course, hike the entire Bibbulmun track in Western Australia, get my scuba diving licence, travel travel travel, buy a really nice pad, and have a child...one day!

Which characteristics do you admire in others? Confidence, charisma, honesty, spontaneity, selflessness, kindness, patience.

You feel guilty when you think about... War. I think about the innocent lives that are uprooted, and the pain that parents and children suffer, and I feel very guilty at how lucky I am. It puts things in perspective for me when I think I'm having a bad day.

What type of holiday do you most enjoy? I tend to grab a guide book and plan full itineraries each day. I think a cruise might make me slow down a bit more, and so I would love to go on the QM2 one day and be made to relax.

If you could change one thing about yourself, what would it be? I wish I weren’t so hard on myself sometimes. I'm a bit of a perfectionist and I don't like failing at anything.

Who is your favourite band? Don't have one. I have thousands of songs on my iPhone and I listen to everything from The Beatles to Top 40.

You spend too much money on? Dining out.

Your greatest achievement has been? Coming from humble beginnings in Perth and landing myself a place in the Young Artist Program at the Metropolitan Opera.

The book everyone loved but you could not finish was? Sorry Harry Potter fans. Couldn't get into it.

What is your favourite kitchen appliance? My Nespresso machine. I love my coffee.

How do you stay up to date with technology and trends? Easy, I don't!

Who is your favourite heart throb? At the moment, Ryan Gosling. Tell me one girl who didn't like the movie The Notebook!

A fever for opera

noreply@blogger.com (Opera Australia) — Thu, 05 Apr 2012 07:14:00 +0000

Carlo Barricelli

Tenor Carlo Barricelli (pictured left) is everything you’d expect an Italian singer to be: passionately in love with opera, well versed in pizza, beautifully dressed, handsome, demonstrative, generous.

We agree to meet outside Sydney’s Queen Victoria Building, and he turns up with fellow Italian singer Daria Masiero (pictured below right), Liù in the Sydney run of OA’s hit production of Turandot. In the Melbourne season, which opens this month, Barricelli shares the role of Calaf with Rosario La Spina, as he did in Sydney.

The artists announce that they are hungry and politely suggest an upstairs Italian café where the pizza is very good. They seem to be old favourites of the maitre d’ because he quickly finds a quiet table amidst the lunchtime buzz.

“What’s capsicum?” Barricelli asks, when we’ve been handed our menus. “Peperonata,” Masiero says, and to me: “If you’re going to have salad, you must try some of my pizza!”

I do. More than once. The waiters are attentive; they seem to know the artists.

While munching on pepperoni pizza and insalata verde, we talk about Turandot. People refer to ‘Nessun dorma’ as ‘the Pavarotti song’, and these days popular artists sing it with microphones, Barricelli says, shaking his head. There’s so much more to opera than that. “To go on the stage, I have to study for many years, get experience, and I don’t know if my lunch was poisoned and how my vocal chords are going to react to that!”

Jud Arthur and Daria Masiero
in Turandot 2012

Across the table, Masiero rolls her eyes, apparently in support of her friend’s view of popularising opera arias.

Calaf is a very difficult role, Barricelli says. “You stay very high all through the night. You need good …good…distribution of energy.”

You have to pace yourself? I venture.

“Exactly. Exactly.”

It’s a very beautiful opera, he says, sitting back. “One step closer to the heaven of the opera. No?”

“Every tenor wants to sing that score,” Masiero agrees, offering me another slice of pizza.

For Barricelli, once he’d decided to make opera his career, the Turandot moment came fairly quickly. He was studying political science and economics – the plan was to become a politician – when at a friend’s party, after he’d entertained guests with a Neapolitan song, one of them, a retired opera singer, advised him to get some formal training. Barricelli started taking singing lessons, then enrolled at the Conservatorium, and after graduation took up private lessons with his idol, the late Franco Corelli.

At the mention of his teacher’s name, Barricelli starts talking more animatedly, throwing in more Italian words as he goes along. “When was with him I…respirara?”

Breathed? I try.

“Breathed!” he says. “When I was with Franco, I breathed opera. Franco said to me, ‘Carlo, you have a fever – malato – for opera!’ When opera touches you like that, you can’t go back.”

Masiero laughs affectionately and touches his shoulder. “Carlo, you love opera so much,” she says.

He laughs too, and begins to tell me about the type of voice a tenor needs to sing the role of Calaf: a lyrical voice to begin with; a big, heroic tenor for the section in which he challenges Turandot; a Romantic voice for the final scene. These differences may seem trivial, but they’re very difficult to pull off.

Carlo Barricelli

When I ask why, Barricelli breaks first into Italian, then into song, perfectly illustrating the difference between the dramatic and lyrical tenor voice.

“That’s amazing. That’s beautiful,” I tell him. “I see exactly what you mean.” Across the table, Masiero smiles at me.

There’s another challenge to Turandot: the switch in style that comes from Puccini not having finished the score. “I agree with Toscanini, who once stopped the opera where Liù dies,” Barricelli says. Next to him Masiero vigorously nods her head. “Because for Toscanini, Turandot finishes here. Alfano completed the opera, and his music is also very beautiful. But not like Puccini.”

While we finish our meals, Barricelli tells me about his background. Born in Adelaide and brought up in Italy, where his parents returned when he was a baby, he came back to sing: Il tabarro, then La bohème, Tosca, La fanciulla del West, and now Turandot.

“The country is beautiful and the work is good, so I like coming here,” he says. His accountant wife travels with him when she can, but often has to return to their home in Bologna before the end of a run.

“The opera singer has a very sacrificed life,” Barricelli says. “Very, very sacrificed. It’s a very beautiful life too, because the adrenalin gives you a lot of power.”

Even in Italy, few people understand what’s involved. “They ask, what is your work, and when you say you’re an opera singer, they ask, So what do you do during the day? They don’t understand how much work it takes to train your voice and rehearse. They don’t understand that you always have a war inside you because your body is your instrument, and if it doesn’t feel well, your instrument is not well.”

There are many roles he’d still like to sing. “I have very young career, even if I am not a young man!” This with a laugh. And he’d love to do Manon Lescaut. The Puccini one? Naturalmente!

As we say goodbye, and they warmly hug me, and Barricelli absolutely insists on paying for lunch, it’s impossible to understand how anyone could not be in love with this big, colourful art form - the sheer magic of it and the passion of the people involved.

It feels good to have been touched by that magic over pepperoni pizza and insalata verde. Naturalmente.

The Opera Australia Chorus in Turandot

What You Think: Così fan tutte

noreply@blogger.com (Opera Australia) — Mon, 12 Mar 2012 01:17:00 +0000

Have you seen or are you planning to see Così fan tutte? What do you think about the production?

This blog serves as a place to voice your thoughts, ask your questions, and post your reviews of the show. Posting a review enters you into our Weekly Review Competition, with the most insightful review each week receiving two tickets to an opera of choice in 2012.

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About this production of Così fan tutte:
Our Sydney summer of Mozart draws to a close with a bittersweet portrayal of young love, Così fan tutte.

This is Mozart at his most romantic, most intimate, most exquisite. This is music that gets to the heart of what it is to love.

Jim Sharman’s production showcases a new generation of theatrical wizards. Ralph Myers is set designer, Gabriela Tylesova has created the fabulous frocks and video artist Mic Gruchy takes the live action into another dimension. With a young cast and a fresh English translation, this is a playful and surprising production.

Don Alfonso bets his two young friends that their girlfriends will cheat on them, given half a chance. They are confident their lovers will stay true. But there’s no harm in playing a little game to test them out. Or is there?

Click here for more information, cast lists, ticket sales, and more

The Operative Word: Emma Matthews

noreply@blogger.com (Opera Australia) — Mon, 05 Mar 2012 04:41:00 +0000

Emma Matthews in Lakme 2011

Soprano Emma Matthews

Why do you do the job that you do? Because it's like breathing; I can't imagine my life without singing; it gives me so much joy.

Who has influenced you most professionally? Richard Bonynge. He has driven me crazy, and pushed me to my limits vocally and patience-wise, but there's nobody else I trust as deeply. I miss him whenever I learn a new role and I will always be grateful to him.

Is there any other profession that you would have liked to have followed? I did want to be a movie star there for a while... ha ha.

What is your idea of perfect happiness? A quiet beach with my husband Stephen, my boys and a big Margherita!

If you could have dinner with a historical figure, who would it be? Dame Nellie Melba – what a fascinating woman she was. I'd love to hear about how it was then, bringing Opera to Australian audiences as she did, and about all the adventures she had.

What is your greatest extravagance? My new cushions! Went a bit crazy over summer.

One thing you regret is…Living so far away from my sisters. I miss them every day. One's in London, with my beautiful youngest niece, and two are in Perth. Such fabulous women.

Emma Matthews in Partenope 2011

If you could have any opera character as a friend, who would it be? Partenope... Such a juicy, mischievous, sad and sexy character, so far from my little world and yet so close too.

Who or what is the love of your life? My husband...and my two boys.

What are you optimistic about? The future. I'm looking forward to not only singing better as I head into my prime years, but also discovering and helping young singers. I'm starting painting again too...very much looking forward to that.

You would like to devote more time to…My boys. I've had the most wonderful holiday, just being with them. Time goes so fast, I love sharing in their day-to-day adventures.

What is your favourite food? Fillet steak with béarnaise sauce.

What is your most treasured possession? A beautiful painting of Dame Joan that Richard Bonynge gave me. It inspires me every time I go to the piano.

Which is the opera that got you hooked? La bohème, the first opera I saw live. It was a The West Australian Opera production with Deborah Riedel as Mimì. I'd never heard or seen anything so beautiful. I cried for days afterwards.

If there’s one quote that really speaks to you it’s…“Courage is the most important of all the virtues, because without courage you can't practice any other virtue consistently. – Maya Angelou.

What is your idea of misery? Missing a performance because I'm sick.

You still hope to…Sing Ophelia!!!

Which characteristics do you most admire in others? Loyalty, trust, honesty and kindness.

You feel guilty when you think about…Staying in bed on chilly mornings.

What type of holiday do you most enjoy? Quiet ones with the family, where nobody knows me and I can sing Lady Gaga as loud as I like!

Emma Matthews in Tales of
Hoffman 2001

If you could change one thing about yourself, what would it be? My legs…I need new ones! All this standing up and singing and having kids business has taken its toll. Plus an extra couple of centimetres would be nice!

Who is your favourite band? Well at High School it was Wham! Now it's more individual artists. I love David Campbell, Lady Gaga and Katie Noonan.

You spend too much money on… Cheap clothes! But I need them for rolling around on the floor at work!

Your greatest achievement has been… Being a Mum. Nothing could ever top that!.

The book everyone loved but you could not finish was...This Charming Man (Marian Keyes) sat on my bedside table for almost a year!

What is your favourite kitchen appliance? My kettle! I do love my cups of tea.

How do you stay up to date with new technology and trends? Facebook, YouTube, My kids and the new trendy talk they come home with, The Women's Weekly, my iPad and my imagination. :-)

Who is your favourite heart throb? Hugh Jackman. A really gorgeous and generous Aussie bloke!!

Emma Matthews stars as Violetta in our 2012 production of La Traviata as part of Opera on Sydney Harbour, and later in the year stars as the title role in Lucia di Lammermoor in both Sydney and Melbourne.

Leaping ahead

noreply@blogger.com (Opera Australia) — Mon, 05 Mar 2012 04:26:00 +0000

Lyndon Terracini on giant OA initiatives coming to fruition

Andrew Jones as Papageno in The Magic Flute 2012

Opera Australia Artist Director
Lyndon Terracini

Allerta: This is a watershed year for Opera Australia: A new Magic Flute production, presented in shortened version, has opened at the Sydney Opera House, and this month we see the opening of Handa Opera on Sydney Harbour (HOSH), Opera Australia’s biggest production to date. And there’s much more to come. Could you tell us a little more about the rationale behind these massive initiatives, and fill us in on how they have been doing?

Lyndon Terracini: To survive, Opera Australia needs to play to many more people than it has played to in the past, and it has to play to the demographic represented in the cities where it performs. This is behind everything that we do, and reflected in the program. Our summer season opened with The Magic Flute, sung in English, presented in a shortened version and originally directed by Julie Taymor for the Met. We’ve had many more young people coming to this production than we’ve seen in a long time, and the audience has also been more representative of Sydney’s ethnic demographic. We think that this is partly because the style of Taymor’s production is in keeping with contemporary theatre practice, to which contemporary audiences from a variety of ethnic communities relate: it’s visual, there’s something happening every 30 seconds and the costumes are stunning.

We also think that the production being in keeping with what Mozart and Schikaneder had envisaged, has drawn a wider audience: they performed it at a suburban theatre, in the vernacular, when at the opera house all operas were sung in Italian. Performing in English, in a country where most people speak English, is in keeping with this approach. Schikaneder, who sang the role of Papageno, spoke his lines with a Viennese accent, and so again, it’s appropriate for us to use an Australian accent in our production. All these factors seemed to have played a role in the production’s appeal to Sydney audiences.

A 3D rendering of Handa Opera on Sydney Harbour
Click here to take a virtual site tour

What about Handa Opera on Sydney Harbour?

HOSH reflects Sydney’s outdoor lifestyle and the physical beauty of Sydney Harbour, the idea being that to Sydneysiders, coming to see this La Traviata will feel like absolutely the most natural and obvious thing to do. So far, we have attracted many first-time opera goers, which means the production is appealing to the broad audience that we were hoping to attract. We also aimed to draw interstate and international visitors to this quintessential Sydney experience, and this too, is happening.

OA is performing in Brisbane for the first time in over 20 years. What was the thinking behind this?

We were invited by Queensland premier Anna Bligh. We are thrilled with the invitation, since as the national company it is important for us to perform as widely as possible. It does mean that we have about 337 performances on the main stages this year, which is massive, especially as they take place in cities that by world standards don’t have large populations. There is clearly a great appetite for people to come to OA’s performances. It is reflected in the enthusiasm of our sponsors: our budget has increased by $30 million this year and most of that has come from new sponsorships.

What has the response to the Melbourne Ring been?

Tremendous. We’ve found wonderfully generous sponsors in Tony and Maureen Wheeler – without their support we couldn’t have done it. We are performing the Ring only in Melbourne because we think that the Ring suits the culture of Melbourne in the way that HOSH suits the culture of Sydney. Presenting the Ring in Melbourne was a practical decision too; certainly we can’t do it at the Sydney Opera House, while we have a suitable theatre at Melbourne’s Arts Centre.

What other initiatives are in the pipeline?

Kanen Breen as Monostatos in
The Magic Flute 2012

Through Opera Conference we’ve commissioned a new opera from Elena Kats-Chernin, The Divorce, a comedy which will run as a TV sitcom series rather than a theatre piece. Elena Kats-Chernin is a hugely creative, intelligent composer with an enormous amount of skill and experience, and she uses that talent to connect with her audience. SBS STUDIO estimates that we can play to 80,000 people. There’s no way that we could ever reach such a large audience with a contemporary opera staged in a theatre – our hugely successful production of La bohème last year played to 51,000 people. So this is a tremendous opportunity.

Developing the opera in a format that is specifically suited to television means that it is being conceived of and created, and will be shot, as a soap opera. Ideally there will be a cliff hanger at the end of each episode. In effect we’ll be creating television opera.

In previous centuries, thousands of operas were created and staged, and never heard of again. Yet if it weren’t for those unsuccessful operas, we might never have had the masterpieces of the repertoire. It would seem that the international opera community can no longer sustain such a volume of creative activity; it’s simply too expensive to produce opera. How do we solve this dilemma?

It is indeed extremely expensive to produce new opera, and very difficult to find a substantial audience for it. This will continue to be the case if we keep creating and producing these pieces in the same way as we always have. We’ve been throwing huge amounts of money at new operas, and they’re still playing to very small audiences. So it’s my view that we need to rethink how we approach them.

A view from the dining facilities at
Handa Opera on Sydney Harbour

There is a view that OA has not been doing enough to educate audiences in the appreciation of contemporary opera. What is your response to this?

Actually it’s the other way round: opera composers need to write music that appeals to audiences. Mozart, Verdi, Rossini, they all wrote for their audience, and if they didn’t have an audience, they didn’t have a show. The Magic Flute played 100 performances in its first run because the public wanted it to see it. We’re flat out trying to fill the auditorium for four performances of a new opera. To me that says that we need to develop and workshop new pieces, so that by the time they are performed, the audience is able to connect with them.

The feedback that we get unequivocally shows that if people come to a contemporary opera and dislike it, they never come back. And the most common criticism of new opera that we get is that people hated the music.

In Europe, where opera houses have a subsidy which is 80% of their budget, you can afford not to have an audience. This year, direct Government funding came to 19% of our budget. For us, putting on pieces that don’t appeal to our audience would be highly irresponsible.

David Parkin as Sarastro in
The Magic Flute 2012

Asian communities are very strongly represented in Australia’s East Coast cities, and large numbers of Asian people have been bringing their children to The Magic Flute. Would OA consider providing surtitles in Asian languages for some of its productions?

The time will certainly come where we’ll talk about adding Mandarin or Cantonese surtitles. What I would hope would happen in time, is that the opera house will include a facility for surtitles in the back of seats, which will allow us to provide a range of translations in a non-intrusive way.

How does one ensure that in reaching out to new audiences, one does not lose one’s core audience?

You need to balance the program. We started the summer season with The Magic Flute, which a small part of our core audience didn’t like. But we also did Turandot, which is exactly what that audience wants to see. So if you include a piece that is aimed at reaching out to a wider audience in the program, then you also, within that season, balance it with something that connects very strongly with your core audience.

Play it straight to make it funny

noreply@blogger.com (Opera Australia) — Sat, 03 Mar 2012 03:56:00 +0000

Samuel Dundas on performing Così’s Guglielmo

Samuel Dundas, Guglielmo in OA’s revival of Mozart’s Così fan tutte, which opens at the Sydney Opera House this month, hurt a disc a couple of years ago when he dived head-first through a French door. In a fat suit. “Try telling that to a doctor,” the singer grins, when we meet for a chat at Sydney’s Opera Centre.

If the tall and lanky baritone finds it easy to laugh at himself, he’s also disarmingly disparaging of his own achievements, chuckling as he repeats the family joke about him and his brother Toby, drummer with the band The Temper Trap. “Toby writes songs; he’s considered the true musician in the family. I’m the classical cover band because I sing dead people’s music.”

Yet this artist is much more than a pretty voice. When we speak for this interview, he has just finished a second week of rehearsals with Così director Jim Sharman. “It’s going fantastically well, we’re flying through it,” Dundas says. Not a small achievement, considering that the production, revived for the first time since its 2009 première, is being reworked by Sharman.

That the Così plot is often thought of as improbable does not faze Dundas in the least. “You have to find the reality of the situation: we all know what it feels like to be jealous. This scenario might be unrealistic; what transpires is not.”

Would he have forgiven a fiancée who cheated on him with his best friend? “No. But then, today we’re reluctant to pass judgment on other people’s behaviour. As long as it’s legal!”

Playing funny can easily fall flat, which is why Dundas does not attempt it. “Jim’s take on Così, with which I agree, is that because of the absurdity of the situation, the straighter you play it the funnier it is.”

This July, Dundas will be reprising another Mozart role when he performs Don Giovanni in Michael Gow’s new production for Oz Opera. He made his debut in the role for Victorian Opera in 2009. “At the time I was acutely aware that I didn’t want to be the 26-year-old who tried to perform Don Giovanni and didn’t quite succeed. I gave it everything I had – it took me a year to learn the role in the way that I wanted to.”

Samuel Dundas in The Merry Widow 2011

The feed-back was very positive, but having performed Masetto for OA’s mainstage production last year, Dundas has gained a new perspective on the Don. “To have been able sing Masetto with Teddy Tahu Rhodes as Don Giovanni, to have been able to observe him so closely, was fascinating. I learned a lot from that.”

Like Rhodes, Dundas did not grow up thinking that he’d be an opera singer. But when as a teenager he started singing around the house, his mother suggested lessons. “I was in Year 9 and I thought it was a terrible idea; total social suicide,” he laughs. But the opposite happened; landing roles in school musical productions improved his confidence. “It made me realise that I was good at something. Years 11 and 12 were really positive for me.”

Still, the road to professional singing was not a smooth one. Having completed his music degree at the Melba Memorial Conservatorium of Music in Melbourne, Dundas found it hard to shake off the nagging fear that the big opera career might never happen. “Deep down, I was terrified of failing. Terrified that if I gave it my all, and didn’t succeed, I would feel worthless.” As a Young Artist at the Victorian Opera he did small roles and worked hard at them, “but Richard Gill said of me at the time that he saw potential but that he wasn’t sure that he could extract it”.

It took the break-up of a long-time relationship and the neck injury that resulted from the dive in the fat suit for the penny to drop. “For the first time in my life only music was left, and I was able to devote myself fully to my singing career, and it led to a realisation that I do have the most incredible job in the world. I get to go to work every day and spend time with fabulous people, making music and having fun and laughing. And creating interesting and enjoyable work.”

Fresh out of a two-year stint as a Young Artist with OA, Dundas has given up worrying about the future. “In this career, people are constantly asking you, what will you do if it doesn’t work out, what if you don’t get the next job, what if what if what if. I no longer think about that stuff. I am having a good career and I am now a permanent member of the ensemble (this year he also has small roles in Madama Butterfly and The Barber of Seville) and that’s a pretty good basis from which to have a great life.”

A hop, skip and jump... on stilettos!

noreply@blogger.com (Opera Australia) — Wed, 29 Feb 2012 22:00:00 +0000

Soprano Lorina Gore on her Despina debut

Lorina Gore as the Fairy Queen in A Midsummer Night's Dream 2010

Allerta: You’ll be making your role debut as Despina in OA’s revival of Mozart’s Così fan tutte next month in Sydney. What are the challenges of the role?

Lorina Gore: I'm really looking forward to singing Despina, she's a brilliant character and lots of fun. She and Don Alfonso are the instigators of all the trickery between the lovers, and in this production by Jim Sharman, domestic service is not the only profession people pay her for! There is one scene in fact that involves some dancing in five- inch stilettos. Fortunately we all have our shoes to practise with in rehearsal, so we can get used to them.

What do you enjoy most about singing this role?

Operas like Così fan tutte are the perfect marriage of a good drama with beautiful music. But it can be a challenge to sing Mozart's music well, as the voice is very exposed within the texture of the music and there's often a huge vocal range required. Despina is great though, as her music is always sprightly and there's a sense of mischief which has been well captured in the English translation we're singing. It's great when you have a role to which you can bring a part of your own personality, and Despina is certainly a character with whom I'm having a lot of fun.

In Melbourne this Autumn, you’ll be reprising an old favourite: the Queen of the Night in OA’s fabulous staging of the Met’s production of The Magic Flute. Few arias could be as terrifying as the Queen’s second one. How does one psych oneself up for such a walk on a tightrope?

The last time I sang this role for OA I'd just had a child - in fact I started performing it only six weeks after the birth of my son. It was the first time I'd sung the role, and it was certainly a challenge to get those top Fs whilst suffering from sleep deprivation! I think it's always much easier reprising a role as you know how to pace the music and can build on what you've learnt from the previous time. There is a lot of pressure with this role as it's technically very demanding and it's challenging to find the dramatic intensity needed in the vocal characterisation without damaging the voice. Many a singer has come to grief over this role, so it's really important to have the confidence to know the notes and technique are there and just go for it. And if you manage to succeed, it's a huge thrill for both the audience and the singer alike.

Lorina Gore as Fiakermilli in
Arabella 2008

In this production, the Queen sings the aria in a fantastically dramatic setting, clothed in a fabulous floating white gown. To what extent are you influenced by the particular production in which you find yourself?

I think effective costuming certainly assists with character development and makes you more confident about your performance. The main thing though is comfort as you don't want to be worrying about the fit of your costume when you're attempting vocal gymnastics! Fortunately we have an amazing team in the wardrobe department at OA, who have created these costumes from scratch, and they are custom-fitted to each singer. I believe there are five singers performing this role this year, so they have a lot of work on their hands!

After a stint in the UK, you’ve been back home in Australia for a few years now. How has that worked out for you? Do you plan to expand your overseas career in future?

I loved my four years in London, and Europe has a wonderful musical culture that is very satisfying for performers. I'm happy being based in Australia at the moment though, as it's a very easy place to live and the climate is more pleasant. I feel really fortunate to be able to work here in my home country, and for the time being there are enough projects here to keep me busy. No doubt I'll still travel to the UK from time to time, and who knows what the future holds? As a performer you need to be flexible as you never know where the next job is coming from. Fortunately I have a great husband who is very supportive and puts up with my itinerant career!

Lorina Gore as Honey B in Bliss 2010

Do you think it’s more difficult for an opera singer to combine motherhood with a career than for other working women, or is it just difficult in a different way?

I think the hardest thing about being a singer with a family is the amount of travel required. I'm really lucky that my husband looks after our son full time; this has given us the flexibility to stay together as a family when I'm working. The amount of luggage we have to pack now has doubled though, as we like to bring lots of toys and books for our son, and we always pack our favourite kitchen things and other such comforts so that we can really feel at home wherever we are. I am lucky though that I do still get to spend a lot of time with my son when I'm not rehearsing or performing. So ultimately I have the best of both worlds.

What You Think: The Marriage of Figaro 2012

noreply@blogger.com (Opera Australia) — Tue, 07 Feb 2012 00:17:00 +0000

Have you seen or are you planning to see The Marriage of Figaro? What do you think about the production?

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About this production of The Marriage of Figaro:

In 2012 we celebrate Mozart’s revolutionary masterpiece, The Marriage of Figaro with a new production from one of the most exciting theatrical minds in Australia, Benedict Andrews.

After his award-winning productions of The Wars of the Roses and The Seagull, what will he make of Mozart? Come and see, when the outstanding cast, including Russian soprano Elvira Fatykhova as the Countess, takes to the stage for one of the greatest operas of all time.

It’s a special day. Susanna, the housemaid, and Figaro, the security guard, are getting married! And the boss has provided them with brand new married quarters, ideally positioned right between his and his wife’s bedrooms.

Wait a minute… ideally positioned for whom? Could the boss have his eye on the bride?

Click here and select your city for more information, cast lists, ticket sales, and more

What You Think: Turandot

noreply@blogger.com (Opera Australia) — Tue, 24 Jan 2012 06:13:00 +0000

Have you seen or are you planning to see Turandot? What do you think about the production?

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About this production of Turandot:

The mythical Princess Turandot rules her people with an iron fist and a heart of ice. Can Prince Calaf melt her heart, when so many have failed? And what price will he pay?

Puccini’s masterpiece is back with a starry international cast for this classic production. Director Graeme Murphy and designer Kristian Fredrikson’s bold choreography and larger-than-life sets and costumes balance Puccini’s gorgeous swathes of orchestral and choral colour to produce a spectacular night in the theatre.

This is romantic opera at its intoxicating best.

Click here and select your city for more information, cast lists, ticket sales, and more

What You Think: The Magic Flute

noreply@blogger.com (Opera Australia) — Fri, 13 Jan 2012 03:14:00 +0000

Have you seen or are you planning to see The Magic Flute? What do you think about the production?

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About this production The Magic Flute:

Welcome to a world where animals dance and children fly. Where princes battle dragons and hope battles despair. To a world where ideas matter, and music saves the day.

Welcome to an enchanting new production of Mozart’s The Magic Flute.

Julie Taymor, director of The Lion King, has taken Mozart’s fairy tale and turned it into a show that speaks to the child in all of us. Dazzling costumes, puppetry, English dialogue and theatrical ingenuity meet the melodies of a musical genius. This could be the perfect introduction to opera.

Tamino is a noble prince on a quest. He discovers strange lands and wondrous creatures but will he discover the truth behind the magic? And will he find true love?

Click on the relevant dates below for more information and tickets for your city:
Sydney Opera House: 6 January - 23 March
The Arts Centre, Melbourne: 21 April - 12 May
Queensland Performing Arts Centre (QPAC): 26 May - 8 June

What You Think: Of Mice and Men

noreply@blogger.com (Opera Australia) — Thu, 24 Nov 2011 23:46:00 +0000

Have you seen or are you planning to see Of Mice and Men? What do you think about the production?

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About Of Mice and Men:

The praise just keeps coming for award-winning tenor Anthony Dean Griffey. Now, at last, he makes his Melbourne debut in a signature role, Lennie, in Carlisle Floyd’s Of Mice and Men.

George and Lennie are migrant farmhands during the Great Depression. Their only home is a communal bunkhouse under the lonely prairie skies. But they are different to their fellow workers. They have a plan, a dream of buying a farm and making a life. If, that is, George can keep Lennie, who has the strength of a giant, but the mind of a child, out of trouble...

Legendary film director Bruce Beresford continues his exploration of New World opera with the Australian premiere of Of Mice and Men, based on John Steinbeck’s 1937 novella.

Discover the rich humanity and instantly accessible songlines of one of America’s most revered composers, Carlisle Floyd, in this important new production.

Click here for more information and tickets

Click here to watch our YouTube video of an extended (1hr17min) forum hosted by Caroline Baum with the creative team of Of Mice and Men, including composer Carlisle Floyd, director Bruce Beresford, lead tenor Anthony Dean Griffey, designer John Stoddart and conductor of the Sydney season Andrea Molino

What You Think: La traviata

noreply@blogger.com (Opera Australia) — Tue, 15 Nov 2011 06:24:00 +0000

Have you seen or are you planning to see La traviata? What do you think about the production?

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About La traviata:

Violetta, the beautiful courtesan, always thought she would never fall in love. Then she met Alfredo.

Opera Australia’s celebrated version of Verdi’s La traviata, set in 1890s Paris, is the ultimate night at the opera. There are lovingly detailed period costumes, lavish interiors, grand ensemble scenes. Above all, there is Verdi’s music.

Anyone who has ever been in love can identify with Alfredo. Anyone who has ever had a broken heart feels Violetta’s pain. And anyone who sees this production cannot fail to be entranced by its beauty.

Opera Australia is delighted to introduce Russian soprano Elvira Fatykhova and Aldo Di Toro making their Melbourne debuts in the roles of Violetta and Alfredo.

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What You Think: The Marriage of Figaro 2012

What You Think: Turandot

What You Think: The Magic Flute

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What You Think: Of Mice and Men

What You Think: La traviata