Bizet’s charming score has made The Pearlfishers a bit of an Australian favourite, but even the carefully considered direction of Michael Gow is not quite enough to sharpen the ill-conceived concept and unwieldy libretto.

Gow’s main conceit is to make the three male leads European, bringing some clarity to these characters’ motivations and, incidentally, avoiding the sort of modern day backlash that can arise when Western performers dress up as Eastern characters.

With some of his Western trappings for comfort, Zurga is a pearl dealer, exploiting the local fishermen. Nadir is a game hunter who reunites with Zurga when he happens across the beach where Zurga operates. Religious racketeer Nourabad brings Léïla to the same beach, igniting a deadly conflict between the two men who both have a history with the alluring beauty.

These adaptions, along with the 1860 setting, fit perfectly well into the original plot, but the removal of Eastern mysticism may have been taken too far, robbing the opera of some of its characteristic vibrancy. Homogeneous styling of the chorus is an outdated design choice, and positioning of the chorus in rows of straight lines is below high school musical standard. It is hard to say which aspect was worse – the use of drab western fabrics for the chorus costumes (rather than attractive eastern fabrics), or the complete absence of spray tan for the shirtless chorus men.

While their appearance and direction may be uninspiring, vocals from the Opera Australia Chorus are absolutely superb, with chorus master Anthony Hunt excelling in his meticulous preparation of rich harmonies and tightly controlled dynamics. Even with large numbers on stage, the chorus performs a particular sequence in act one in a hushed pianissimo not much louder than breath.

Expertly integrated with the top class choral singing is the equally pristine performance of Bizet’s gently melodic score by Orchestra Victoria. With the music clearly in his blood, Maestro Guillaume Tourniaire works with energetic grace to give his attention and support to singers and musicians alike, creating a beautifully balanced and unified sound.

Kemp’s lackluster costuming is matched by a simple act one beach setting that is wide enough but not tall enough for the State Theatre stage. The outlook improves with larger temple and star cloth in act two. A stately yet decaying western house for Zurga is a clever touch from Gow.

Matt Scott’s lighting is suitably bright and sunny, but the attempt at a storm effect in act three is underwhelming and the lack of a fire effect in the finale is an odd choice.

While Gow’s character choices are interesting, his direction of the principals leaves much to be desired. Characters frequently stand too far apart and face squarely to the front, inhibiting them from making human connections with each other.

Of the four leads, the stand out is Steven Gallop in the featured role of Nourabad. Gallop has a masterfully assured stage presence, and sings with an unflinchingly strong clear bass.

José Carbó has a commanding presence as troubled expatriate Zurga. He sings with a hearty, heroic tone, although his voice loses shape somewhat in softer passages. Hidden under wildly wooly wig and whiskers (presumably to try to explain why Léïla does not recognise him), Carbó nonetheless conveys the simmering effect of Zurga’s inner demons, explaining his quick anger when betrayed by Nadir and Léïla.

Visiting Russian tenor Dmitry Korchak sings the role of Nadir with apparent ease, with secure top notes and lovely phrasing. Perhaps under-directed, Korchak does not quite achieve an involving characterisation of the role, although his big act one aria “Je crois entendre encore” is delivered with care and precision. Likewise, Korchak and Carbó’s performance of the famous duet “Au fond du temple saint” is given a sensitive rendition with a deliberately slow and involving build in power up to the final segment.

Beloved Australian soprano Emma Matthews also suffers a little from under-direction, portraying Léïla (the only native character in this version) with little or no eastern mysticism or exoticism. Matthews is in lovely voice, although just slightly overpowered by the orchestra in her middle register. An experienced and talented actress, Matthews’ high emotional intelligence comes to the fore in her affecting act two aria “Comme autrefois dans la nuit sombre.”

The high quality of the orchestral and choral music is sure to please operagoers who are fond of The Pearlfishers.

The Pearlfishers plays selected dates at State Theatre, Arts Centre Melbourne until 28 May 2016.

Photos: Jeff Busby

A superb company of singers and a gleaming black and white staging bring an air of polished perfection to this Melbourne season of rarely-seem Verdi opera Luisa Miller.

 The domestic nature of the work is indicated by an opening scene of home and hearth made of white marble on a glossy black floor. During the overture, the floor glides back and slowly moves vertically upward, eventually inverting the statuary precariously overhead. As black clad mourners bearing flickering candles and white flowers process in a slow, mournful square about the stage where Luisa Miller’s body lies encircled by white roses, the overture seems to preview the tragic end for the titular heroine. As the opera begins, however, it is daybreak, and the local villagers welcome the morning by serenading dear Luisa.

Written as Verdi entered his middle period, Luisa Miller reflects features the familiar Verdi fascination with fathers and daughters. Luisa’s resolve to marry Rodolfo concerns her dearly loved father, Miller, and the pair is soon threatened with jail by Rodolfo’s father and the villainous Wurm. Forced to renounce Rodolfo in a letter, Luis is reunited with her father but the fate of she and Rodolfo is sealed.

First seen at Opéra de Lausanne in 2014, this sleek new production takes an abstract approach to time and place, simply allowing the action to speak for itself in the polished, pitch-black setting designed by William Orlandi. Formal attire adds further elegance. Orlandi clearly delineates the characters, with Luisa in virginal white, Miller in a light suit, and the dastardly manipulative characters in black. Federica, the self-centred duchess that Rodolfo’s father wants him to marry, is practically a black widow spider in her dramatic outfit.

While the overall costume design is excellent, the similarity of the black-clad men could have caused a difficulty in terms of recognition, but the outstanding cast, under resident director Matthew Barclay’s guidance, has created strikingly distinct characters that loom larger than life.

Original director Giancarlo del Monaco represents Luisa and Rodolfo’s private pain as a force that places them each in a prison of loneliness akin to the actual prison that holds Miller. In a final scene very similar to Aida, the tormented couple meets their tragic fate as the mirrored floor slowly slides back into place, closing the opera by reinstating the original setting.

The large ensemble works as something of a Greek Chorus, sharing news with the protagonists and informing the audience of the status quo. Anthony Hunt’s preparation of the Opera Australia Chorus is, as ever, confidently masterful, with diction and dynamics at premium levels.

While the richly melodious score may be unfamiliar to audiences, maestro Andrea Licita leads an intricately detailed performance of the score from Orchestra Victoria. Mellow clarinet work is a feature, as is the harp and percussive bells.

From orchestra, chorus and principals alike, the thrilling act one finale was an absolute musical highlight of the evening.

In marketing and publicity, Opera Australia has made no secret of the fact that this production is a showcase for the exquisite talents of Australian soprano Nicole Car, who is rising meteorically in international prominence and acclaim. Car more than lives up to the scrutiny of this pre-loading of expectations, sweetly singing in lush, full bodied tones of liquid beauty. Winning the audience’s affection instantly with her first aria “Lo vidi e’l primo palpito,” Car’s strength as an actress allows her to convey the extremes of Luisa’s joy and sorrow, emphasising the noble traits of the character rather than allowing her to be a victim.

High profile Italian tenor Riccardo Massi completes the attractive lead pair as Rodolfo. Massi’s voice is capable of romantic tenderness and ringing power; he and Car sound wonderful together. As Rodolfo reflects alone at the end of act two Massi’s performance of “Quando le sere al placido” demonstrates the tireless strength of his high notes. An imposing presence, Massi makes Rodolfo’s deadly impulse in the final act quite believable, yet still draws sympathy as the end draw near. 

In a warm and characterful performance, Michael Honeyman convincingly plays an older man. As Miller, baritone Honeyman sings with unwavering purity yet colours his tone with the vulnerability of the deeply protective father. As father and daughter, Honeyman and Car enjoy great chemistry, and their final bittersweet duet “La figlia, vedi, pentita” is memorably affecting.

David Parkin is just as convincing, in terms of playing a role above his own age, as Rodolfo’s viciously selfish father Count Walter. Parkin’s strong voice and commanding presence allow him to present the Count as a fellow not to be taken lightly. In his second highly impressive appearance of this Melbourne Autumn season, Steven Gallop is a truly hissable villain as the insidious Wurm. As their characters plot and scheme in act two, fellow Australian basses Parkin and Gallop join forces to sing “L’alto retaggio non ho bramato” and the result is electric.

In the utterly thankless role of the viper-like duchess, Sian Pendry establishes the character’s threatening presence with slow and deliberate moves and an intense focus. Like Car, Pendry is as strong an actress as she is a singer. Her expressive, meticulously controlled mezzo-soprano voice creates exactly the effect Verdi intended in contrast with the sweetness of Car’s voice. The almost entirely a capella act two quartet sung by Car, Pendry, Gallop and Parkin is an extraordinary musical highlight of the evening.

The quality casting continues right through to Luisa’s maid Laura, sung and acted beautifully by distinguished Young Artist Eva Kong.

Lovers of opera, and Verdi in particular, will revel in the high quality of Luisa Miller.

Luisa Miller plays selected dates at State Theatre, Arts Centre Melbourne until 27 May 2016.

Man in Chair also reviewed the following operas as parts of the Melbourne Autumn 2016 season:

Emma Matthews and José Carbó in The Pearlfishers “Expertly integrated with the top class choral singing is the equally pristine performance of Bizet’s gently melodic score by Orchestra Victoria.”

Gianluca Terranova and Lianna Haroutourian in La Bohème “Haroutourian’s luscious vocals blend beautifully with Terranova, and they create a most appealing pair of characters.”

Photos: Jeff Busby

Glistening with hand polished sparkle, Lyric Opera’s colourful new staging of Rossini’s one-act comedy Il Signor Bruschino is a frothy delight. 

Neatly updating the action from 18^th century France to a Rome fashion house at the peak of the garish 1980s, emerging director Lara Kerestes brings out a uniformly capricious comic style in each member of the appealing young cast. With reliably expert musical preparation by Pat Miller, the delectable score is performed with confidence and flair.

Chaotic misunderstandings ensue when lovesick young Florville impersonates Signor Bruschino Jnr to win the hand of fair Sofia, daughter of fashion magnate Gaudienzo. Kerestes creates lively interest with the eight-strong ensemble cast from the very first bars of the tuneful overture. Sung in English, with impeccable diction, the featherlight plot is simple to follow and provides many laugh out loud moments.

Lucy Wilkins’ witty costume designs see the cast outfitted in an outrageous rainbow of retina-burning neon designs. The overall effect is quite dazzling, but if there had to be a highlight it would be tottering assistant Mariana (Genevieve Dickson) looking like a walking New York taxicab in vivid canary yellow with black and white houndstooth inserts.

The tiered seating at Chapel off Chapel is pushed back to create a seemingly vast playing space, made all the longer in appearance by three wide white stripes running lengthwise down the centre. The U-shaped seating serves a triple purpose: it complements the fashion setting by generating a cat-walk vibe, it aids sound balance by keeping the orchestra well upstage, and it connects the space to the traditional horse-shoe shaped auditoriums of Europe.

Presiding over 14 talented musicians, Miller delivers a meticulously finessed rendition of the highly accessible score. The overture includes the interesting feature of the second violin tapping their bow on their music stand, a sound Kerestes uses to symbolize each character knocking before making their entrance.

Given the concise nature of the work, Rossini still takes his time with some wonderful character-establishing arias at the top of the opera. Playing Sofia as a rather vacuous sexpot, Rebecca Rashleigh charms with an opening aria that is as fine as anything Rosina sings in The Barber of Seville. One of the musical highlights of the evening is Sofia’s tender aria “Ah voi condur volete,” when Rashleigh is joined onstage by orchestra member Jasper Ly on cor anglais. Ly presents himself with the swagger of a fully-fledged member of the Rat Pack.

Tenor Shanul Sharma made a slightly tentative beginning on opening night as heroic, if rather deceitful, Florville but very soon found surer footing, producing lovely high notes and blending beautifully with Rashleigh.

Forever moaning about the heat, Signor Bruschino Snr is the buffoon-like comic foil of the opera. Bruce Raggatt proves highly adept at enunciating Rossini’s rapid-fire patter, singing at an impressively crisp pace while maintaining his waning character.

Handsome bass Matt Thomas may be a little young to play Gaudienzo, father of Sofia, but this quibble is soon forgotten given his roguish stage presence and smooth liquid bass voice. The final duet, in which Gaudienzo “convinces” his daughter to marry Florville, features Thomas and Rashleigh at their best.

In a piece of luxury casting, Raphael Wong sings café owner Filiberto with gorgeous legato phrasing and sweet unwavering tone.

Give the number of opera lovers in Melbourne there should not be so much as a spare ticket available for Il Signor Bruschino. The brisk 75-minute piece is great value entertainment.

Il Signor Bruschino plays selected dates at Chapel off Chapel, Melbourne until Sunday 12 June 2016.

Photos: Kris Washusen

Covering a unique mix of opera, dance, music theatre, plays, live music and more, the 2016 Helpmann Nominations were announced this evening at performing arts venues around Australia. Read on for all the nominations, plus a look at the surprises, snubs and sure bets.

The Helpmann Awards have risen in prominence over the past several years, and several of last year’s winners gained a noticeable benefit from the exposure. After winning four 2015 Helpmann Awards, including Best New Australian Work and Best Original Score, The Rabbits enjoyed sold out seasons in Melbourne, Sydney and Brisbane. 2015 Best Play The Glass Menagerie made a keenly anticipated Melbourne appearance at Malthouse Theatre, with Best Actress winner Pamela Rabe reprising her starring role. Meanwhile The Secret River, winner of six 2013 Helpmann Awards, toured to Melbourne and Brisbane before returning to Sydney.

LPA Chief Executive Evelyn Richardson (below) introduced the Announcement of Nominations.

Nominations were announced by James Millar and Sarah Ward

Jacqueline Dark and Brett Kelly

Jonathon Biggins and Queenie van de Zandt

Highly original import Matilda swept the music theatre categories with thirteen nominations, including James Millar as Miss Trunchbull, Tim Minchin for Original Score, and all eight Sydney and Melbourne actresses who have played the title character. Actors Daniel Frederiksen (Mr Wormwood) and Else McCann (Miss Honey) were also nominated, making the absence of fabulous actress Marika Aubrey (Mrs Wormwood) a fairly noticeable snub. A sweep of the awards on the night seems very likely for Matilda.

2012 London hit Ghost misfired in its use of chorus as just moving bodies but won audiences over thanks to its trio of talented lead performers, Jemma Rix, Rob Mills, Wendy Mae Brown. Mills (Sam) and Brown (Oda Mae) were nominated for their performances, but, despite her powerhouse vocals and moving performance as Molly, Rix was passed over.

New Australian musical Georgy Girl seems to have not been entered for consideration in the awards, with the same presumption holding for the recent Australian tour of Cats.

Original Australian musical Ladies in Black, acclaimed by reviewers and audiences alike, was a worthy recipient of six nominations. Composer Tim Finn, will compete against fellow music theatre newcomer Minchin for Best Original Score. Fingers crossed that some wins for Ladies in Black would lead to further seasons, including one in Sydney, and possibly even a cast recording. Curiously, none of the members of the highly talented ensemble cast were nominated.

As usual, a large number of revivals have been seen over the past year. Amy Lehpamer and Jacqueline Dark, the two dazzling female stars of The Sound of Music, were both nominated (for their roles as Maria and Mother Abbess, respectively). Cameron Daddo was overlooked, as was long-term music theatre star Marina Prior.

Revered actor Anthony Warlow received a nomination for his starring role of Tevye in Fiddler on the Roof. Veteran actress Sigrid Thornton, who was not quite up to the singing required to play Golde, was not nominated, and neither was terrific young leading man Blake Bowden (Perchik).

Director Dean Bryant was recognised for his excellent work on Little Shop of Horrors, which also earned nominations for Esther Hannaford (Audrey), Brent Hill (Seymour/voice of Audrey II) and Tyler Coppin (Mr Mushnik).

Recently opened London import revival Singin in the Rain brought nominations for co-stars Jack Chambers (Cosmo Brown) and Erica Heynatz (Lina Lamont) but not lead couple Adam Garcia (Don Lockwood) and Gretel Scarlett (Kathy Selden)

Given their stunning return to top form with an electrifying season of West Side Story and the Australian premiere of recent Broadway musical Nice Work If You Can Get It, the complete absence of The Production Company from the nominations suggest that they did not enter. This is a shame for stellar work in these shows, particularly for West Side Story, which featured Anna O’Byrne’s wonderful performance as Maria and Michael Ralph’s excellent recreation of Jerome Robbins’ choreography.

Victorian Opera’s Sweeney Todd, the final of their of three-year Sondheim trilogy, received a worthy nomination for Antoinette Halloran for her vivacious turn as Mrs Lovett. It was no surprise, however, that opera star Teddy Tahu Rhodes was ignored for his wooden performance in the title role.

The requirement of membership of Live Performance Australia means that well-received independent productions such as Violet and Heathers are excluded from nominations.

Over the past 12 months, Opera Australia has staged a number of high profile productions. Director Sir David McVicar, nominated twice last year, was recognised again for The Marriage of Figaro, the second of his Mozart/da Ponte trilogy for the national opera company. The opera was also nominated for Best Costume Design, with Andrei Bondarenko, seen in Sydney, nominated for Best Male Performer in an Opera.

Lavish extravaganza Don Carlos scored nominations for the Sydney cast, where visiting international artists Ferruccio Furlanetto and Latonia Moore performed. Popular guest artist Yonghoon Lee was nominated for Turandot, which was performed in Sydney last winter.

A new co-production of Luisa Miller brought another nomination for fast rising Australian soprano Nicole Car as Best Female Performer in an Opera.

The sole nomination for this year’s Handa Opera on Sydney Harbour Turandot was for designer Dan Potra.

Acclaimed soprano Jessica Pratt returned to Melbourne to play the title role in Victorian Opera’s season of Lucia di Lammermoor, deservedly earning a nomination as Lucia.

Victorian Opera’s dedication to new works continued with children’s opera The Grumpiest Boy in the World and new pastiche baroque opera Voyage To The Moon. In-demand director Cameron Menzies earned a nomination for The Grumpiest Boy in the World. Singers Sally-Anne Russell (Astolfo) and emerging bass Jeremy Kleeman (Magus) were recognised, but not multiple Helpmann Award winner Emma Matthews, who was the third member of the three-person cast.

The centrepiece of the past year for flourishing arts organisation The Australian Ballet was their lavish new production of The Sleeping Beauty, helmed by The Australian Ballet’s artistic director David McAllister. Although designer Gabriela Tylesova was nominated for Best Costumes and Best Scenic Design, and maestro Nicolette Fraillon was nominated for Best Music Direction, the ballet was not nominated Best Ballet or Dance Work.

The sole dancer recognised from The Australian Ballet’s stable of revered, highly talented dancers was Chengwu Guo, seen as Puck in The Dream last year.

The 2016 Helpmann Awards will be presented live in Sydney at the Lyric Theatre and broadcast live on Foxtel Arts, Monday 25 July 2015 at 7.30pm.

INDUSTRY AWARDS

BEST NEW AUSTRALIAN WORK

CAROLYN BURNS AND TIM FINN WITH SIMON PHILLIPS: Ladies in Black, A Queensland Theatre Company production

CHRISTOPHER LATHAM, OMAR FARUK TEKBILEK, GARETH FARR, RICHARD NUNNS, GRAEME KOEHNE AO, PETER SCULTHORPE AO OBE, ELENA KATS-CHERNIN, KAMRAN INCE, ROSS HARRIS, ANDREW SCHULTZ, ROSS EDWARDS AND DEMIR DEMIRKAN:
The Gallipoli Symphony
Department of Veterans’ Affairs, Queensland Government, QPAC and Qantas Airways

DAN GIOVANNONI AND LUKE KERRIDGE: Bambert’s Book of Lost Stories, Barking Gecko Theatre Company

FRANCES RINGS, DEBORAH BROWN AND WAANGENGA BLANCO: Lore, Bangarra Dance Theatre

FUTURE D. FIDEL: Prize Fighter, La Boite Theatre Company and Brisbane Festival

TOM WRIGHT: Picnic at Hanging Rock, Malthouse Theatre and Black Swan State Theatre Company

BEST COSTUME DESIGN

GABRIELA TYLESOVA: The Sleeping Beauty, The Australian Ballet

GABRIELA TYLESOVA: Ladies in Black, A Queensland Theatre Company production

JENNY TIRAMANI, The Marriage of Figaro: Opera Australia

ROB HOWELL: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

BEST LIGHTING DESIGN

HUGH VANSTONE: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

HUGH VANSTONE: Ghost The Musical, Ambassador Theatre Group Asia Pacific, GWB Entertainment and Red Live

NICK SCHLIEPER: North by Northwest, Presented by Melbourne Theatre Company and Kay + McLean Productions, by special arrangement with Warner Bros. Theatre Ventures

PAUL JACKSON: Picnic at Hanging Rock, Malthouse Theatre and Black Swan State Theatre Company

BEST ORIGINAL SCORE

DAVID PAGE: Ochres, Bangarra Dance Theatre

EDDIE PERFECT: Songs From The Middle, Adelaide Festival Centre’s Adelaide Cabaret Festival

TIM FINN; Ladies in Black, A Queensland Theatre Company production

TIM MINCHIN: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

BEST MUSIC DIRECTION

IAIN GRANDAGE: Home, Perth International Arts Festival

ISAAC HAYWARD: Ladies in Black, A Queensland Theatre Company production

NICOLETTE FRAILLON: The Sleeping Beauty, The Australian Ballet

STEPHEN AMOS: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

BEST SCENIC DESIGN

DAN POTRA: Handa Opera On Sydney Harbour Turandot, Opera Australia

GABRIELA TYLESOVA: The Sleeping Beauty, The Australian Ballet

NICK SCHLIEPER AND SIMON PHILLIPS: North by Northwest, Presented by Melbourne Theatre Company and Kay + McLean Productions, by special arrangement with Warner Bros. Theatre Ventures

ROB HOWELL: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

BEST SOUND DESIGN

DAVID PAGE: Ochres, Bangarra Dance Theatre

IAN MCDONALD: North by Northwest, Presented by Melbourne Theatre Company and Kay + McLean Productions, by special arrangement with Warner Bros. Theatre Ventures

MICHAEL WATERS: Fiddler on the Roof, Tim Lawson for TML Enterprises

SIMON BAKER: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

CABARET


BEST CABARET PERFORMER

ALAN CUMMING: Alan Cumming Sings Sappy Songs, Brisbane Powerhouse, NORPA, Arts Centre Melbourne and Sydney Festival with Hyam, Horne and Hall

MICHAELA BURGER AND GREG WAIN; Exposing Edith, Adelaide Festival Centre’s Adelaide Cabaret Festival with I’ll Wager Productions

MICHAEL GRIFFITHS: Cole, Adelaide Festival Centre’s Adelaide Cabaret Festival

PHIL SCOTT: Reviewing The Situation, Tekule in association with Hayes Theatre Co

COMEDY


BEST COMEDY PERFORMER

DOUG ANTHONY ALLSTARS – PAUL MCDERMOTT, TIM FERGUSON, PAUL LIVINGSTON: Reunion. Rebirth, Doug Anthony Allstars

JULIA MORRIS: I Don’t Want Your Honest Feedback, Live Nation

TOM BALLARD: The World Keeps Happening, Token Events

ZOË COOMBS MARR: Trigger Warning, Zoë Coombs Marr

CHILDRENS PRESENTATION

BEST PRESENTATION FOR CHILDREN

BAMBERT’S BOOK OF LOST STORIES, Barking Gecko Theatre Company

ODDYSEA, Performing Lines WA and Sensorium Theatre

ROALD DAHL’S REVOLTING RHYMES & DIRTY BEASTS, shake & stir theatre co, originally co-produced with La Boite Theatre Company

THE YOUNG KING, Slingsby Theatre Company

REGIONAL TOURING PRODUCTIONS

BEST REGIONAL TOURING PRODUCTION

DE NOVO, Sydney Dance Company

MOTHER, If Theatre

ROALD DAHL’S REVOLTING RHYMES & DIRTY BEASTS, shake & stir theatre co and arTour Queensland

SUGARLAND, Australian Theatre for Young People and Performing Lines

CONTEMPORARY MUSIC

BEST AUSTRALIAN CONTEMPORARY CONCERT

A STATE OF GRACE: THE MUSIC OF TIM AND JEFF BUCKLEY, Gaynor Crawford Presents, Kirsten Siddle, State of Grace Company

FLIGHT FACILITIES PERFORM LIVE WITH MELBOURNE SYMPHONY ORCHESTRA, Flight Facilities with Melbourne Symphony Orchestra, Melbourne Festival

MOFO 2016 – KATE MILLER-HEIDKE AND THE TASMANIAN SYMPHONY ORCHESTRA WITH VISUALS BY AMY GEBHARDT,
MOFO 2016, Kate Miller-Heidke and the Tasmanian Symphony Orchestra with visuals by Amy Gebhardt

VANCE JOY | FIRE AND THE FLOOD TOUR APRIL 2016, Vance Joy, Frontier Touring, Unified and Village Sounds

BEST CONTEMPORARY MUSIC FESTIVAL

MOFO 2016. MONA

ST JEROME’S LANEWAY FESTIVAL 2016, Laneway Presents and Chugg Entertainment

THE 27TH ANNUAL BLUESFEST BYRON BAY, Bluesfest

WOMADELAIDE 2016 – THE WORLD’S FESTIVAL, Womadelaide Foundation

BEST INTERNATIONAL CONTEMPORARY CONCERT

BRIAN WILSON LIVE AT THE PALAIS THEATRE, Brian Wilson and Bluesfest Touring

FLORENCE AND THE MACHINE, Florence and The Machine, Laneway Presents, Chugg Entertainment in association with Sydney Opera House

ON WITH THE SHOW TOUR 2015, Fleetwood Mac and Live Nation

PRINCE ‘PIANO & A MICROPHONE’ TOUR 2016, Prince, Dainty Group and ICO ApS

DANCE AND PHYSICAL THEATRE

BEST BALLET OR DANCE WORK

COCKFIGHT, Performing Lines and The Farm

HABITUS, Australian Dance Theatre

SHEOAK, Bangarra Dance Theatre

SPECTRA, Dancenorth

BEST CHOREOGRAPHY IN A DANCE OR PHSYICAL THEATRE WORK

GARRY STEWART: Habitus, Australian Dance Theatre

KYLE PAGE AND AMBER HAINES: Spectra, Dancenorth

STEPHEN PAGE, BERNADETTE WALONG-SENE, DJAKAPURRA MUNYARRYUN: Ochres, Bangarra Dance Theatre

BEST FEMALE DANCER IN A DANCE OR PHYSICAL THEATRE WORK

AMBER HAINES: Syncing Feeling, Dancenorth

JULIETTE BARTON: Lux Tenebris, Sydney Dance Company

LONII GARNONS-WILLIAMS: Habitus, Australian Dance Theatre

YOLANDA LOWATTA: Sheoak, Bangarra Dance Theatre

BEST MALE DANCER IN A DANCE OR PHYSICAL THEATRE WORK

CHENGWU GUO: The Dream, The Australian Ballet

DARYL BRANDWOOD: Natalie Weir’s The Host, Expressions Dance Company and QPAC

GAVIN WEBBER: Cockfight, Performing Lines and The Farm

KIMBALL WONG: Habitus, Australian Dance Theatre

BEST VISUAL OR PHYSICAL THEATRE PRODUCTION

IL RITORNO, Brisbane Festival and Circa

PLEXUS, Compagnie 111 – Aurélien Bory and Perth International Arts Festival

TANGI WAI… THE CRY OF WATER, Victoria Hunt, Artful Management and Performance Space

THE LAST BLAST, The Farm and Bleach* Festival

OPERA AND CLASSICAL MUSIC

BEST DIRECTION OF AN OPERA

CAMERON MENZIES: The Grumpiest Boy in the World, Victorian Opera

DAVID MCVICAR: The Marriage of Figaro, Opera Australia

LAURENCE DALE: Agrippina, Brisbane Baroque in association with QPAC

MICHAEL GOW: Voyage to the Moon, Musica Viva Australia

BEST FEMALE PERFORMER IN A SUPPORTING ROLE IN AN OPERA

KERI FUGE, Agrippina, Brisbane Baroque in association with QPAC

SALLY-ANNE RUSSELL: Voyage to the Moon, Victorian Opera, Musica Viva and the ARC Centre of Excellence for the History of Emotions

BEST MALE PERFORMER IN A SUPPORTING ROLE IN AN OPERA

DOUGLAS MCNICOL: Don Giovanni, State Opera SA

JEREMY KLEEMAN: Voyage to the Moon,Victorian Opera, Musica Viva and the ARC Centre of Excellence for the History of Emotions

JOÃO FERNANDES: Agrippina, Brisbane Baroque in association with QPAC

RUSSELL HARCOURT: Agrippina, Brisbane Baroque in association with QPAC

BEST FEMALE PERFORMER IN AN OPERA

JESSICA PRATT: Lucia di Lammermoor, Victorian Opera

LATONIA MOORE: Don Carlos, Opera Australia

NICOLE CAR: Luisa Miller, Opera Australia

ULRIKE SCHNEIDER: Agrippina, Brisbane Baroque in association with QPAC

BEST MALE PERFORMER IN AN OPERA

ANDREI BONDARENKO: The Marriage of Figaro, Opera Australia

CARLO VISTOLI: Agrippina, Brisbane Baroque in association with QPAC

FERRUCCIO FURLANETTO: Don Carlos, Opera Australia

YONGHOON LEE: Turandot (Sydney Winter), Opera Australia

BEST OPERA

AGRIPPINA, Brisbane Baroque and QPAC

FLY AWAY PETER, Arts Centre Melbourne and Sydney Chamber Opera in association with Melbourne Festival

LUISA MILLER, Opera Australia

THE MARRIAGE OF FIGARO, Opera Australia

BEST CHAMBER AND/OR INSTRUMENTAL ENSEMBLE CONCERT

FRENCH BAROQUE WITH CIRCA, Australian Brandenburg Orchestra

HOME, Camerata of St John’s

KIRILL GERSTEIN IN RECITAL, Sydney Symphony Orchestra

WINTERREISE, Festival d’Aix-en-Provence

BEST SYMPHONY ORCHESTRA CONCERT

ANIMA ETERNA BRUGGE BEETHOVEN’S SYMPHONIES CONDUCTED BY JOS VAN IMMERSEEL
Sydney Festival

BEETHOVEN’S MISSA SOLEMNIS, Sydney Symphony Orchestra

BRITTEN’S WAR REQUIEM, Melbourne Symphony Orchestra

SIR SIMON RATTLE CONDUCTS THE AUSTRALIAN WORLD ORCHESTRA, Australian World Orchestra

BEST INDIVIDUAL CLASSICAL MUSIC PERFORMANCE

ANDREW HAVERON: Sibelius 2, Sydney Symphony Orchestra

FLORIAN BOESCH AND MALCOLM MARTINEAU: Florian Boesch and Malcolm Martineau, Melbourne Recital Centre and Sydney Opera House

GIL SHAHAM: Tchaikovsky’s Manfred, Sydney Symphony Orchestra

PIERRE-LAURENT AIMARD: Pierre-Laurent Aimard, Melbourne Recital Centre and Sydney Symphony Orchestra

RENÉE FLEMING: Renée Fleming in Recital, Sydney Opera House, QPAC and Brisbane Festival in association with Opera Queensland

THEATRE


BEST DIRECTION OF A PLAY

EAMON FLACK: Ivanov, Belvoir

KIP WILLIAMS: Love and Information, Sydney Theatre Company and Malthouse Theatre

LEE LEWIS: The Bleeding Tree, Griffin Theatre Company

SIMON PHILLIPS: North by Northwest, Presented by Melbourne Theatre Company and Kay + McLean Productions, by special arrangement with Warner Bros. Theatre Ventures

BEST FEMALE ACTOR IN A SUPPORTING ROLE IN A PLAY

ANNA SAMSON: Birdland, Melbourne Theatre Company

KATRINA MILOSEVIC: The Distance, Melbourne Theatre Company

MICHELLE DOAKE: Romeo and Juliet, Bell Shakespeare

SARAH PEIRSE: The Golden Age, Sydney Theatre Company

BEST MALE ACTOR IN A SUPPORTING ROLE IN A PLAY

COLIN FRIELS: Mortido, Belvoir and State Theatre Company of South Australia

JOHN HOWARD: Ivanov Belvoir

MARK LEONARD WINTER: King Lear, Sydney Theatre Company

THUSO LEKWAPE: Prize Fighter, La Boite Theatre Company and Brisbane Festival

BEST FEMALE ACTOR IN A PLAY

CATE BLANCHETT: The Present, Sydney Theatre Company

CATHERINE MCCLEMENTS: The Events, Belvoir, Malthouse and State Theatre Company of South Australia

NONI HAZLEHURST: Mother, If Theatre and GPAC

PAULA ARUNDELL: The Bleeding Tree, Griffin Theatre Company

BEST MALE ACTOR IN A PLAY

DAN SPIELMAN: The Blind Giant is Dancing, Belvoir

MARK LEONARD WINTER: Birdland, Melbourne Theatre Company

PACHARO MZEMBE: Prize Fighter, La Boite Theatre Company and Brisbane Festival

RICHARD ROXBURGH: The Present, Sydney Theatre Company

BEST PLAY

PIECE FOR PERSON AND GHETTO BLASTER, Performing Lines and Nicola Gunn

PRIZE FIGHTER, La Boite Theatre Company and Brisbane Festival

NORTH BY NORTHWEST, Melbourne Theatre Company and Kay + McLean Productions, by special arrangement with Warner Bros. Theatre Ventures

THE BLEEDING TREE, Griffin Theatre Company

MUSICALS


BEST DIRECTION OF A MUSICAL

DEAN BRYANT: Little Shop of Horrors, Luckiest Productions and Tinderbox Productions

MATTHEW WARCHUS: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

ROGER HODGMAN: Fiddler on the Roof, Tim Lawson for TML Enterprises

SIMON PHILLIPS: Ladies in Black, A Queensland Theatre Company production

BEST CHOREOGRAPHY IN A MUSICAL

ANDREW HALLSWORTH: Little Shop of Horrors, Luckiest Productions and Tinderbox Productions

ANDREW WRIGHT AND JAYE ELSTER: Singin’ in the Rain, Lunchbox Theatrical Productions, Michael Cassel Group, David Atkins Enterprises and Dainty Group

ARLENE PHILLIPS: The Sound of Music, Andrew Lloyd Webber, David Ian, John Frost and The Really Useful Group

PETER DARLING: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

BEST FEMALE ACTOR IN A SUPPORTING ROLE IN A MUSICAL

ELISE MCCANN: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

ERIKA HEYNATZ: Singin’ in the Rain

Lunchbox Theatrical Productions, Michael Cassel Group, David Atkins Enterprises and Dainty Group

JACQUELINE DARK: The Sound of Music, Andrew Lloyd Webber, David Ian, John Frost and The Really Useful Group

WENDY MAE BROWN: Ghost The Musical, Ambassador Theatre Group Asia Pacific, GWB Entertainment and Red Live

BEST MALE ACTOR IN A SUPPORTING ROLE IN A MUSICAL

DANIEL FREDERIKSEN: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

JACK CHAMBERS: Singin’ in the Rain, Lunchbox Theatrical Productions, Michael Cassel Group, David Atkins Enterprises and Dainty Group

SIMON GALLAHER: Wicked, Marc Platt, David Stone, Universal Pictures, The Araca Group, Jon B. Platt, John Frost

TYLER COPPIN: Little Shop of Horrors, Luckiest Productions and Tinderbox Productions

BEST MALE ACTOR IN A MUSICAL

ANTHONY WARLOW: Fiddler on the Roof, Tim Lawson for TML Enterprises

BRENT HILL: Little Shop of Horrors, Luckiest Productions and Tinderbox Productions

JAMES MILLAR: Matilda The Musical, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

ROB MILLS: Ghost The Musical, Ambassador Theatre Group Asia Pacific, GWB Entertainment and Red Live

BEST FEMALE ACTOR IN A MUSICAL

AMY LEHPAMER: The Sound of Music, Andrew Lloyd Webber, David Ian, John Frost and The Really Useful Group

ANTOINETTE HALLORAN: Sweeney Todd, Victorian Opera and New Zealand Opera

ESTHER HANNAFORD: Little Shop of Horrors, Luckiest Productions and Tinderbox Productions

MOLLY BARWICK, DUSTY BURSILL, TIANA MIRRA, ALANNAH PARFETT, SASHA ROSE, GEORGIA TAPLIN, BELLA THOMAS AND INGRID TORELLI:
Matilda The Musical,
The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

BEST MUSICAL

FIDDLER ON THE ROOF, Tim Lawson

LADIES IN BLACK, Queensland Theatre Company

MATILDA THE MUSICAL, The Royal Shakespeare Company and Louise Withers, Michael Coppel and Michael Watt with Chokey Productions, Just for Laughs Theatricals, Glass Half Full Productions, Paula Marie Black, Greenleaf Productions and Michael Lynch

THE SOUND OF MUSIC, Andrew Lloyd Webber, David Ian, John Frost and The Really Useful Group

BESTOWED HELPMANN AWARD

OUTSTANDING CONTRIBUTION TO THE DEVELOPMENT OF COMEDY IN AUSTRALIA

Melbourne International Comedy Festival

LIFETIME ACHIEVEMENT AWARDS

SUE NATTRASS AWARD^TM

Michael Lynch CBE AM

JC WILLIAMSON AWARD^TM


The JC Williamson Award Recipient will be announced on Wednesday 29 June.

Photos: Simon Parris

Veteran stage director John Bell helms an emotionally taut new production of Carmen, contrasting the savage drama with the gaudy frivolity of everyday life. This premiere season is set apart by an extraordinary pair of lead performances from French soprano Clémentine Margaine and South Korean tenor Yonghoon Lee.

In his Director’s Note, thoughtfully included on the back of the cast sheet, Bell outlines his choice of present day Havana: “…a likely corrupt environment for the military and the underworld to rub shoulders with those involved in sporting rackets.” Wheeled luggage and iPhones are among the handful of deliberately jarring elements that connect the audience to this secluded locale, a place where sexist stereotypes are still the accepted norm and superstition abounds.

There is a strong sense of the qualities of music theatre about this production, an aspect that is sure to make the opera even more accessible to audiences of all backgrounds. Like the merry townsfolk of a golden age musical, the chorus comes and goes from set designer Michael Scott-Mitchell’s arid, crumbling village square. Teresa Negroponte dresses the bustling crowds in a vivid array of sunny oranges, purples and greens. Even the military fatigues come in several shades of camouflage chic.

Representing Lillas Pastia’s tavern as a well-populated street-food van for hungry night clubbers makes for a lively second act. In act three, however, the clandestine nature of the smugglers’ den is significantly undermined by the presence of the full chorus still in their vividly coloured clubbing gear. Finally, the chorus changes to appropriately festive daywear as they cheer the parade of toreadors processing to the bullfight.

Presenting the unfolding psychological drama in the midst of such constant merriment ratchets up the tension. Bell charts Don José’s downfall in clear, believable strokes, continuously showing the effect of Carmen’s hypnotic sexuality on all characters. The diagonal downstage steps provide a highly theatrical setting for most of the key scenes, helping the performers to form strong connections between their characters and the audience. In particular, the half dozen supporting characters are established with exceptional clarity.

In a neatly realised touch, Bell, Negroponte and choreographer Kelley Abbey link the feisty boys of the children’s chorus to the playful Romeos of the adult male chorus. Four boy dancers enhance the children’s scenes with spirited street dancing. Abbey’s invaluable input also includes featured moments for the set of adult dancers.

Despite Milijana Nikolic’s seductive image being seen on flags, posters and flyers around Sydney, the leading lady for the first part of the season is guest artist Margaine, whose Carmen has been performed on many of the world’s top opera stages. Being French, Margaine’s expression and diction in the role are, naturally, wonderful. A luscious voice of liquid gold pours forth with seemingly very little effort, filling the space with glorious sound. Free of the traditional gypsy-like caricature, Margaine makes Carmen a real, if highly sexually charged, person, her magnetism spellbinding the audience just as it affects the characters on stage.

Nominated this week for a Helpmann Award, Lee’s third Sydney engagement is his most enthralling yet. Masterfully controlling his powerful voice, Lee performs with a thrilling intensity that clearly demonstrates why his star is rising so quickly on the world opera scene. A handsomely attractive man with a noble spiritual presence, Lee’s commitment and skill in portraying Don José’s fall from grace results in compelling tension; the audience can see the coming tragedy while the ebullient stage characters remain oblivious

While José’s Flower Aria, “La fleur que tu m’avais jetée” can sound exquisite with pianissimo phrases, Lee’s rendition is anchored by a steely power that makes it all the more exciting. Carmen’s manipulatively scornful response, “So you don’t love me?” is crushingly disappointing to José, sealing the pair’s ultimate fate.

Soprano Natalie Aroyan successfully portrays the wide-eyed innocence of winsome young Micaëla, singing the role with nicely understated confidence and a lovely pure tone. Micaëla and José’s act one duet “Parle-moi de ma mère!” is so lushly romantic that a man and woman sitting three rows ahead were seen embracing at its conclusion. The tender joy that José could have known with Micaëla makes his wild-headed passion for Carmen all the more heartbreaking.

A host of talented Australian singers are distinctive and engaging in the supporting roles.

Michael Honeyman’s initial appearance as Escamillo is hampered not just by his glossy red magician’s suit, but because Bell’s construction of the central story is so involving that Escamillo’s act two entrance, singing the celebrated Toreador’s Song, is, for once, an unwelcome distraction. Honeyman is in fine voice, and his subsequent scenes are more successful. Escamillo’s final costume, a black lace-trimmed emerald green bolero jacket over black vest and pants, is one of the smartest of the night.

Charismatic bass Adrian Tamburini brings an exciting presence to the often under-appreciated role of military leader Zuniga, singing with commanding focus and power. Baritone Christopher Hillier provides a contrast with the more grounded character of fellow member of the militia, Moralès.

Jane Ede and American mezzo-soprano Margaret Trubiano give animated performances as Carmen’s friends Frasquita and Mercédès, tottering precariously in high heels and short nightclub dresses. The pair ably supports Margaine’s exceptionally precise work in the Card Trio, “Melons! Coupons!”.

Kanen Breen and Luke Gabbedy complete the quality casting as flashy smugglers Remendado and Dancairo. The pair joins Margaine, Ede and Trubiano in a nimble, entertaining rendition of brisk act three quintet “Nous avons en tete una affaire.”

One of the world’s most popular and familiar operas, this new production of Carmen is essential viewing for all operagoers, and the music theatre vibe brings an extra level of accessibility to newcomers. While we all pray that Opera Australia will be able to secure Yonghoon Lee’s services again, in the meantime his performance here is unmissable.

Carmen plays selected dates at Joan Sutherland Theatre, Sydney Opera House until 12 August 2016.

Photos: Keith Saunders

In an all too rare foray into twentieth century Russian opera, Opera Australia showcases a large local cast of shining talents in The Love for Three Oranges.

Writing The Love for Three Oranges almost one hundred years ago, it seems that Prokofiev may have had some futuristic insight as to the attention span of the YouTube generation. The score is a mosaic of snatches of arias, choruses and scenes, pouring forth with seemingly chaotic spontaneity. The music may not be hummable, but it has an infectious snap, crackle and pop that is easily accessible and enjoyable on first listen.

Maestro Anthony Legge acts as a virtual ringmaster in juggling ever-changing tempos and cues across the full range of instruments, multiple soloists and massive chorus. The chance to perform this music must inspire a sense of the labour of love amongst the musicians and singers. With so much featured chorus work, the Opera Australia Chorus and the principals form a uniquely integrated ensemble cast, working as one with the Australian Opera and Ballet Orchestra to deliver a sterling performance of the fiendishly challenging score.

The source material is Carlo Gozzi’s eighteenth century play, which utilised the popular sixteenth century style, commedia dell’arte. The original French libretto has been smartly updated by playwright Tom Stoppard, who delivers a daffy, witty text that amuse without resorting to crass profanity.

In the traditional commedia dell’arte structure, the chief antagonist must fulfill two distinct quests, one in each half. The Love for Three Oranges follows a melancholic Prince who must learn to laugh. The Prince then sets forth in search of three Oranges to find his true love.

The design and direction of this visually appealing production, created in 2005, complements the style of the opera to perfection. Keeping pace with the ever-varying scenarios and characters, the cohesive combination of George Tsypin’s flexible scenic design and Mark Howett’s colourful lighting design matches the playfully spontaneous vibe.

Tanya Noginova’s spectacular, witty costume design identifies the large number of characters with great flair. The reveal of the white-gowned princesses within the luscious taffeta oranges was a trick worthy of Broadway master William Ivey Long.

Rising superbly to the challenge of adding featured acting roles and an abundance of choreography to their vocal performance, the Opera Australia Chorus steps downstage into the spotlight to great effect. The deliciously camp Ridiculous Ones are particularly amusing.

Making a very welcome return to the Opera Australia stage, Rosario La Spina projects a lovable helplessness as the Prince, and sings with characteristically rich, unwavering strength.

With Kanen Breen playing Truffaldino, it would seem redundant to mention that the character is the court jester. A three-ring circus in his own right, Breen delights with an ongoing stream of eye-catching comic business.

Of course, there must be some straight roles to balance the comedy. Unrecognisable except for his smooth bass voice, David Parkin plays the doddering King of Clubs. Equally well disguised in incredible red make up is Pelham Andrews, who bass voice booms out mightily as demonic villain Farfarello. Fellow bass Adrian Tamburini steals act three as the bloodthirsty Cook. Tamburini again displays the ringing power of his gorgeous bass voice, as well as unearthing a wicked flair for physical comedy.

Antoinette Halloran luxury casting indeed as the delectably named witch Fata Morgana. Singing up a storm, the glamorous, charismatic soprano Halloran maintains a sizzling presence.

Baritone Luke Gabbedy is in increasingly excellent voice as Pantaloon. Mezzo-soprano Margaret Trubiano is devilishly good as dominatrix Clarissa.

Eva Kong and Catherine Bouchier prove themselves great sports by waiting patiently on stage in their Orange costumes for their fleeting cameos as the two ill-fated Princesses Linetta and Nicoletta. Fortunately, Julie Lea Goodwin’s sweetly sung Princess Ninetta survives to take part in the happy ending.

The Love for Three Oranges plays selected dates at Joan Sutherland Theatre, Sydney Opera House until 9 July 2016.

Photos: Prudence Upton

Michael Gow’s adaptation and direction enhance the whimsical delight of Mozart’s The Marriage of Figaro in Opera Australia’s highly accessible, thoroughly entertaining new touring production.

Once something of a distant relation, regional tours are now fully branded as Opera Australia productions, bringing the associated quality of not only excellent singers but also lavish costumes, well-constructed sets, live orchestra and glossy program. Far from a watered down experience, the regional tour offers extraordinary value for a unique, stimulating and satisfying musical experience.

The Marriage of Figaro is an inspired choice, given the abundance of truly beautiful music in Mozart’s beloved score and the delightful comedy of Beaumarchais’ colourful but recognisable characters. Retaining the glorious music while replacing the bulk of the recitative with snippets of spoken dialogue, Gow has given the opera the zip and verve of a greatest hits collection. The highly respectful adaptation takes no liberties to seek cheap laughs, simply allowing the natural comedy of the piece to work its magic.

Sung in English, the text may lose a little of its poetic shimmer, but the pristine diction brings a very worthwhile benefit in regard to accessibility. The familiar opera actually takes on more layers when all the vocal lines can be heard and understood so easily.

Gow’s direction creates an endearing set of distinct characters. The English lyrics and the relative intimacy of the venue make storytelling crystal clear, and humour to the twists and surprises along the way.

While the chamber orchestra of nine musicians feels somewhat exposed during the overture, conductor Paul Fitzsimon brings out a very nicely balanced sound once the singers are added to the music.

Giving the tour a tangible connection to each port of call, a local children’s choir, prepared by Josh van Konkelenberg, performs on stage as part of the action. Such is the transfixing charm of the children, the adult characters practically become invisible when the choir comes on for the first time. For the tour’s opening night in Dandenong, an adorable set of children from Wooranna Park Primary School performed and sang with polish and flair.

Bringing to mind the treasured rooms that are secreted way in many a convent school, Robert Kemp’s design presents a palace room painted from floor to ceiling with an idyllic, verdant landscape. Kemp draws from a muted Mediterranean palette for the ensemble costumes, enhancing the principal costumes with highly theatrical splashes of colour.

Lighting designer Matt Scott makes good use of footlights to create a nostalgic feel. Scott bathes the set in green light to create act four’s garden setting, making beautiful use of shadow through the scrim to allow Susanna to hold hands with the hidden Figaro early in the garden scene.

Fast rising bass Jeremy Kleeman makes his Opera Australia debut as Figaro, a role that is surely the first of a great many engagements with the company. A versatile and charismatic performer, Kleeman is reliably nimble and expressive in the role.

Celeste Lazarenko is entirely believable as dear Susanna, conveying the character’s infinite patience and crafty intelligence, and singing with particularly dulcet tones.

Olivia Cranwell brings a polished presence and a lovely clear, pure soprano as the Countess. Lit in a chilly evening blue, Cranwell’s heartfelt performance of reflective aria “Where are they, the beautiful moments” is the most affecting moment of the evening. Lucas de Jong handles the vocals of Count Almaviva with agility, enhancing the comedy with a serious countenance.

Kristen Leich, as the vainly conceited Marcellina, and Steven Gallop, as her supporter and suitor Bartolo, are amusingly droll. Gallop, in particular, is having a very strong year and his presence here is quality casting.

Agnes Sarkis scores many laughs as the ardent Cherubino, and sings the classic aria “You ladies know what love is” with a sweetly polished tone.

In powdered wig and brightly rouged cheeks, Brad Cooper proves there are no small roles as the foppish dandy Don Basilio.

With its eminently hummable music and multitude of laugh out loud moments, it is hard to imagine any audience not enjoying The Marriage of Figaro. Audience members lucky enough to have a visit from the tour are strongly encouraged to take advantage of this ideal opportunity to enjoy a wonderful night of theatre.

The Marriage of Figaro plays selected dates and venues across Victoria, New South Wales, ACT and Tasmania throughout July, August and September 2016. Further dates and states will follow in 2017.

Photos: Albert Comper

(Note: the roles of Figaro, Susanna, Count Almaviva and Countess Almaviva are double cast. Photos in the review show Simon Meadows as Count Almaviva and Emma Castelli as Countess Almaviva)

Victorian Opera, in partnership with Victorian Arts Centre, continues their quest to introduce children to opera with a neatly edited, attractively staged production of Massenet’s Cinderella (Cendrillon).

With a brisk running time of 50 minutes, and gorgeous sets and costumes to enjoy, the opera is accessible and entertaining for children of all ages. Man in Chair took along Miss Five, who sat in wide-eyed wonder with neither a wriggle nor a word.

To provide an authentic opera experience, the libretto is sung in French and there is a generously sized live orchestra of 14 musicians. Conductor Phoebe Briggs prepared the young musicians with her usual meticulous care, and the music sounded splendid.

Rather than overwhelm young readers with an onslaught of surtitles, a simple sentence describes the spirit of each aria or musical moment. Miss Five, a dedicated Cinderella expert, followed the story with ease, her imagination clearly activated by the music and performances.

While the use of French does keep the work authentic, an English libretto may have increased the accessibility of the work. There was a sentence or two sung in English at the end, and the difference in reception from the young audience for that moment was discernible.

Candice MacAllister’s excellent designs give the production a polished, highly attractive look. Vivid reds, green and purples link the storybook scenic design with the costumes of the wicked stepmother and daughters. With the help of the golden-winged Fairy Godmother, Cendrillon changes from humble rags to a lovely flowing gown of baby blue. Prince Charming is equally smartly attired in cream frock coat and regal blue sash.

Continuing the genuine experience, each of the eleven cast members is a highly talented emerging artist of considerable note. This streamlined version of the opera shares the singing evenly between all performers, and the well-matched artistic gifts of these singers makes it difficult to select highlights.

The full cast is as follows:

Lucette/Cendrillon: Kate Amos

The King/Ensemble: Nathan Lay

Hairdresser/Ensemble: Elizabeth Barrow

Dressmaker/Ensemble: Kirilie Blythman

Herald/Ensemble: Michael Petruccelli

Pandolfe: Daniel Carison

Madame de la Haltière: Fleuranne Brockway

Noémie: Cristina Russo

Dorethée: Shakira Tsindos

Fairy Godmother: Michelle McCarthy

Prince Charming: Carlos E. Bárcenas

Both the talent and the audience of tomorrow are well catered for with the quality of Cinderella.

Cinderella was performed three times at Playhouse, Arts Centre Melbourne on Saturday 16 July 2016. Schools performances were given on Friday 15 July, with more to come on Monday 18 July.

Photos: Charlie Kinross

Frolicking on stage with lighthearted abandon, charismatic superstar tenor Roberto Alagna set aside his operatic repertoire for an evening of Neapolitan songs.

The capacity Melbourne audience greeted Alagna with enthusiasm, and was entertained by Alagna’s sparkling stage presence and wonderful voice. The choice of songs made for pleasant listening, but the distinct lack of operatic repertoire resulted in an underwhelming evening for concertgoers attracted by Alagna’s primary fame in the opera arena.

Constantly in demand in the world’s very best opera houses, it seems unthinkable that Alagna would tour to Australia and not perform a single operatic aria. Operatic appetites were whetted when the evening began with a lush rendition of Rossini’s famed overture for Il barbiere di Siviglia, followed by a lively extended duet from the end of act one of Donizetti’s “L’Elisir d’Amore.” Alagna’s magnetic stage presence was clearly on show as he acted the role of Nemorino, substituting a bottle of wine for the Elixir. Guest artist soprano Siobhan Stagg was a lovely Adina in this sequence.

Two further instrumental interludes were played: the Intermezzo from Mascagni’s Cavalleria Rusticana and the thrilling overture from Verdi’s La forza del destino. The sole opera aria came in the second half of the program when Stagg sang the Puccini favourite “O mio babbino caro.”

Stagg has a pure, clear soprano, which fared better in solo singing due to the relative power of Alagna’s tenor. Stagg proved a good sport in sharing the spotlight with spirited, effervescent performer Alagna. Stagg wore a cream dress with grey and purple diagonal stripes in the first half, later changing to a glittering gown of metallic silver sequins.

Looking fit and trim, Alagna wore a long formal black coat, switching from a black shirt to a more relaxed black t-shirt in the second half of the concert. His usually wavy hair cropped to a shorter style, Alagna looked distinguished yet still eternally youthful.

While operatic repertoire may have served to illustrate the full depth of Alagna’s talent, it was nonetheless impressive to hear the quality of his technique and the well-preserved nature of his vocal range. The timbre of Alagna’s voice has a unique forward positioning that creates an exciting and affecting sound. Although Alagna’s charm shone through, a few spoken words of English may have warmed the audience even more.

Fortunately, the quality musicians of the Australian Sinfonietta were able to hold the music together beautifully at times when stage action distracted conductor Stefano Miceli. Very fine playing was heard in particular from the strings.

Despite the stage being full of quality musicians, Alagna performed half a dozen or so songs with piano accompaniment from Giovanni Turcio. A highlight of the piano-accompanied songs was the opportunity for Alagna to demonstrate the restraint and control that allow his voice to take on a sensitive, highly romantic quality.

Staging for the concert included vertical coloured light strips hanging overhead. These added some visual interest, but the effort could have been spent including some serious moments of dramatic impact on stage.

There was a festive, forgiving atmosphere during the encores, yet it must be noted that proceedings went slightly askew when Alagna had to scurry across stage to tell pianist Turcio that he had started playing the wrong song, and then a reprise of “Funiculì, Funiculà” went significantly out of time between singers and orchestra.

Alagna’s vocal mastery and charming presence shone on this night of popular song.

Roberto Alagna performed at Hamer Hall, Arts Centre Melbourne on Wednesday 27 July 2016. He plays a concert in Brisbane on 30 July 2016.

Man in Chair has reviewed Roberto Alagna in:

Werther at Paris Opera

Carmen at Royal Opera

Madama Butterfly at Bavarian State Opera

Recital at Vienna State Opera

Photos: Jodie Hutchinson

Prolific producers of new work, Victorian Opera again caters for family audiences with The Pied Piper, an original composition by Artistic Director Richard Mills.

As a contemporary opera sung in English, The Pied Piper is a well-chosen companion piece for the French-sung reduction of Massenet’s Cinderella (Cendrillon), staged just two short weeks ago. The thought of children attending the theatre and learning to appreciate the classical voices, live orchestra and stylised story telling of opera is too exciting for words.

Beautifully produced, the opera again features the attractive set and costume designs of Candice MacAllister. Production values are high, with sturdy scenic elements and a beautifully painted Australian landscape backdrop. Costumes are colourful, with animal characters cutely suggested by their headwear. The large ensemble has clearly brought along their own clothes, and the selections fit into an attractive colour palette of shades of blue.

Joseph Mercurio’s lighting design adds to the visual appeal. When the lights start flashing red and rats start crawling across the stage, wide-eyed children sit up and pay attention.

The extra element that sets this season apart is that the production will tour Victoria, with significant community involvement along the way. The highly focused Melbourne cast features 30 children, playing enthusiastic school children and creepy crawly rats, and 45 adults of all ages. The massed vocals have a polished, appealing sound; indeed, Mills’ finest musical sequences involve the full company singing contrasting vocal lines with choral accompaniment.

Conductor Simon Bruckard leads an orchestra of seven musicians in a well rehearsed and prepared performance that belies the brand new nature of the work. Another highlight of Mills’ music is the lovely flute passages, which the Piper mimes on stage with his outsized pipe.

Director Derek Taylor keeps the storytelling crystal clear and makes excellent use of the space in arranging some 82 cast members. In terms of the sort of lively energy needed for compelling children’s theatre, Taylor is somewhat hamstrung by the rather solemn nature of Mills’ work. This style worked magnificently in the gorgeous Christmas pageant The Play of Herod but tends to work against a sweet, colourful tale such as The Pied Piper.

An element that always engages young viewers is the inclusion of a villain, and The Pied Piper is well served by the gleefully avaricious pair of Mr and Mrs Mayor. In one of his last Australian appearances before commencing a year of training at the Wales International Academy of Voice, outstanding baritone Nathan Lay delivers another expertly judged, splendidly sung performance as Mr Mayor. Fleuranne Brockway is a delightful comic partner as Mrs Mayor.

Positioned in the middle of the Children’s chorus, Lisha Ooi does an excellent job of leading the singing while still blending in with her young co-stars. As General Rat. Ooi’s voice shines through beautifully.

In a witty touch, Carlos E. Bárcenas brings a touch of the exotic to the Pied Piper by singing in his native Colombian. Bárcenas’ imposing stature adds to the impact of the title character. In a delightful performance that is perfectly pitched to the young audience, Stephanie John plays the Piper’s Cat, who translates his words for the town.

Jacob Lawrence, so memorable last year as The Grumpiest Boy in the World, has a solid presence in the small but narratively significant role of the Town Crier. Sopranos Kirilie Blythman, as popular sweet seller Beatrice Brittle, and Elizabeth Barrow, as wise teacher Rosemary Sprig, complete the quality cast of developing artists.

The Pied Piper does not reach the heights of The Magic Pudding, which remains the gold standard of Victorian Opera’s recent output of original children’s operas (followed quite closely by The Grumpiest Boy in the World), but it is a pleasant, accessible piece that continues the fine tradition of introducing children to the world of opera.

The Pied Piper plays again at Playhouse, Arts Centre Melbourne on 30 July 2016 before touring to Port Fairy, Mildura, Warragul, Bendigo, Shepparton and Albury/Wodonga.

Photos: supplied

Leaders in arts innovation, Victorian Opera delivers ingeniously conceived new program Laughter and Tears, the entertainment value of which is significantly enhanced by a fruitful collaboration with Circus Oz.

Separated from its long-term performance partner Cavalleria rusticana, Leoncavallo’s concise dramatic opera Pagliacci provides the evening’s tears. Taking inspiration from the show-within-a-show of Pagliacci, Victorian Opera’s artistic director Richard Mills has crafted a light-hearted opening act that delivers the laughter.

The conceit of the scenario is that the two acts are set either side of World War II. Pagliacci’s famous final line “La commedia è finita!” is borrowed to end act one, when the outbreak of war interrupts the carefree lives of the players who are rehearsing their commedia dell’arte production. Pagliacci follows on seamlessly in the second half as the local villagers regroup and the theatre troupe rebuilds their company. 

In a further stroke of synergistic ingenuity, Mills has utilised the music of a dozen or so composers whose work was originally inspired by the ongoing popularity of commedia dell’arte in the sixteenth and seventeenth centuries. Richly re-orchestrated by Mills, and played by a sizable contingent of Orchestra Victoria in the Palais Theatre’s large open pit, the music sounds magnificent.

The madcap zannis are played by with highly physical flair by Kate Fryer, Geoff Dunstan, DJ Garner and Luke Taylor, with Tim Coldwell as doddering fool Capitano. As well as delivering plenty of visual slapstick humour, these performers from Circus Oz also perform gravity-defying stunts that are neatly tied in to the narrative action. When Dunstan swings high overhead as star soprano Elvira Fatykhova sings Nedda’s birdsong “Stridono lassù,” it is a thrilling highlight of the evening.

Director Emil Wolk keeps the comedy broad and the energy high. Storytelling is clear, and the shift in tone to jealous drama in the second half is convincingly achieved. The collaboration between performers is seen in sequences such as when Arlecchino, played by tenor Michael Petruccelli, tries to vain to get up to the balcony with the futile help of the zannis. Fatykhova also proves a good sport in swapping costumes with Fryer in a bid to fool Colombina’s keeper.

Set design by Julie Nelson is on a large scale but is still relatively simple in keeping with the modest context of the characters. The fire damage to part of the set after the war is a detail that might not be fully absorbed by the audience. The abundance of smoothly hinged trap doors indicates a high level of consultation with Circus Oz.

Eduard Ingles-Sancho’s lighting design includes a range of lush, atmospheric colours for the rear cyclorama.

Costume designer Harriet Oxley achieves particular success in dressing the large number of chorus members in individual yet well-matched 1940s outfits. Lead characters stand out distinctly, especially female lead Nedda who wears vibrant red in both acts.

Rosario La Spina is in superb voice as tragic clown Canio. His “Vesti la giubba,” performed in front of the Palais’ sumptuous red velvet curtain, is brightly sung yet darkly coloured. La Spina’s vocal strength is characterised by a powerful level of control that allows a full, open sound of unwavering focus. La Spina’s commanding voice also has a unique warmth that adds to the pleasure of hearing him sing. 

Russian soprano Fatykhova, a frequent performer on the Australian stage, tempers her girlish beauty with a high level of maturity and experience. Fatykhova’s role debut as Nedda features the sweet nightingale tones of her soprano voice, which add to the vulnerability of the ill-fated character.

Petruccelli sings with a bright clear tone in the dual roles of performer Beppe and his stage character Arlecchino. A versatile and confident performer, Petruccelli proves completely unflustered in maintaining his lovely singing while taking part in physical comedy. His handsome looks often covered with a mask, Petruccelli still conveys a charismatic stage presence.

James Clayton, reportedly nursing a cold yet sounding strong and vital, makes a strong impact as insidious villain Tonio. Fabio Capitanucci provides solid support as Nedda’s lover Silvio.

Talented young singers Kate Amos, Daniel Carison, Michelle McCarthy and Shakira Tsindos join Petruccelli as wobbly minstrels trying to stay on track in the chaos of act one.

The Victorian Opera Chorus, featuring many singers seen elsewhere in lead roles, achieves a notably high quality in their singing.

Laughter and Tears achieves the rare balancing act of providing enough opera content for purists and enough entertainment value to captivate theatregoers of all ages and interests.

Laughter and Tears plays selected dates at Palais Theatre, Melbourne until 18 August 2016.

The Laughter and Tears program can be read online.

Photos: Jeff Busby

Melbourne Opera makes a quantum leap in scale of production, crossing Collins St to present a majestic, immensely satisfying production of Tannhäuser at the Regent Theatre.

Achieving a synergistic if-you-build-it they-will-come vibe, this second performance of Tannhäuser was extremely well attended, surely coming close to the 1300-strong audience at Sunday’s premiere. The ranks of Melbourne Opera’s followers have clearly been swelled by fellow opera lovers keen to experience Wagner’s epic romantic drama in its first Melbourne appearance in over 20 years.

Free from the clutter of overladen commercial-scale lighting bars, the Regent’s gilded proscenium arch makes a majestic frame for the handsome production.

As the glorious music flows and crescendos, the sound is matched visually with the beginning of Zoe Scoglio’s stunning video projections. Crashing waves ebb and flow in a hypnotically symmetrical design, all the more beautiful for the realistic, rather than computer-animated, look. The waves slowly give way to Venus’ cave, erotically created from an overlapping multitude of female forms. Act two’s Hall of Song is a gleaming static image that matches the Regent’s interior beautifully.

Set designer Christina Logan-Bell provides a streamlined canvas for the projections, providing striking depth with circular edges framing the backdrop. Elegant ramps and stairs are painted in attractive faux marble designs, and the major stage platform has rear stairs that allow for dramatic entrances and exits.

Director Suzanne Chaundy shows a clear and confident vision for the vast scale of the opera, maintaining interest throughout the long scenes with engaging business and passionate energy from the singers. Away from the cramped wings of the Athenaeum, the ensemble has the space to come and go freely. Chaundy fills the stage with singers, give them purpose and presence.

While the principals sing in German, the chorus sings in English, expertly prepared, as ever, by Raymond Lawrence.

Guest conductor David Kram presides over more than 50 players in the Melbourne Opera Orchestra, producing a fine sound that benefits from the acoustic quality of the auditorium.

Costume designer Daniel Harvey initially dresses the chorus in neutral pastoral shades as noble pilgrims. The company sparkles jewel-toned gowns and dinner suits in act two, all adorned with matching gold sashes.

Lighting the stage is deceptively difficult in the presence of projections, but Lucy Birkinshaw bathes the downstage area in warm overhead and side light, allowing the projected images to be seen in sharp clarity.

With steely presence to spare, Romanian tenor Marius Vlad is sensational in the title role, singing with a tireless, heroic tone.

Lee Abrahmsen is in full goddess mode as Princess Elizabeth, looking a million dollars in golden gown and blonde curls. This decadent look is contrasted with a humbler calico smock and ruffled hair as the heartbroken Elizabeth appears near death in act three. Abrahmsen’s voluptuous soprano sounds glorious in the space, and she creates a sympathetic, vulnerable character beneath all the glamour.

Soprano Sarah Sweeting sizzles as seductive siren Venus. Manfred Pohlenz brings expertly measured authority to the role of Wolfram.

A strong lineup of Melbourne Opera regulars delivers solid support, including impressive featured moments from Eddie Muliaumaseali’i, Michael Lampard and Jason Wasley.

The combination of strategic stage positioning, crisp, well-matched costumes, rich, midnight blue lighting and glorious vocals results in a stirring, highly memorable conclusion to this wonderfully realised production.

Tannhäuser plays again on 20 August 2016 at Regent Theatre, Melbourne, followed by a performance on 28 August 2016 at Robert Blackwood Hall, Monash University.

Photos: Robin J. Halls

With an intriguing theme of Fables, Victorian Opera announces a new year of characteristically eclectic and innovative works for 2017.

Highly popular performers Meow Meow, Jessica Pratt and Antoinette Halloran return to the Victorian Opera stage next year, joined by other new and returning stars in a range of traditional and original productions that cater to both adults and children.

Victorian Opera must stage the highest proportion of new works of any music-based arts company in Australia. The year begins with exactly the sort of creative piece the company has become acclaimed for: ‘Tis Pity: An Operatic Fantasia on Selling the Skin and the Teeth. Artistic director Richard Mills is composing the work, and working on the concept and libretto with director Cameron Menzies and salacious starlet Meow Meow.

‘Tis Pity is described as “A song cycle on the complexities of sex, pleasure, survival and salvation, trade transactions and razzle dazzle rouge through the ages, from Ishtar to the Internet, the vamp, the saint and the mirror, suckers and succour, preaching and pragmatism.”

Tenor Kanen Breen, an equally ostentatious cabaret performer, will join Meow Meow for the four performances of ‘Tis Pity: An Operatic Fantasia on Selling the Skin and the Teeth at Melbourne Recital Centre in February 2017.

In a completely different style, the next presentation will be a puppet performance of The Sleeping Beauty, composed by Ottorino Respighi a little over 100 years ago. Emerging young opera singers will provide the voices to puppets designed and constructed by Joe Blanck (Walking with Dinosaurs, King Kong).

The Sleeping Beauty will play five performances at the Playhouse in March 2017, before travelling to Hobart in association with the Tasmanian Symphony Orchestra.

International soprano Jessica Pratt returns home to Melbourne for her fourth engagement in as many years with Victorian Opera. Bellini’s bel canto treasure La Sonnambula is a difficult opera to fully stage due to its slight, fanciful storyline, but as a concert presentation the music will stand alone as a sheer delight.

Pratt will be joined by Australian soprano Greta Bradman as Lisa, with Carlos E. Bárcenas as Elvino and Paolo Pecchioli as Count Rodolfo. Richard Mills will conduct Orchestra Victoria for the one night concert at Hamer Hall in May 2017.

A masterpiece of the early twentieth century, Janáček’s Cunning Little Vixen will be seen in a new production from a highly experienced creative team. Director Stuart Maunder will collaborate with costume designer Roger Kirk and lighting designer Trudy Dalgleish.

As Vixen, Celeste Lazarenko will lead a cast whose acting skills are as strong as their talent for singing. Antoinette Halloran, Barry Ryan, Dimity Shepherd, Brenton Spiteri, Samuel Dundas and Jeremy Kleeman will play the other inhabitants of the forest setting. Jack Symonds, artistic director of Sydney Chamber Opera, will conduct the five performances of Cunning Little Vixen in June 2017.

Already previewed in Malthouse Theatre’s season launch, cult musical fable The Black Rider: The Casting of the Magic Bullets will play a three-week season at Malthouse’s Merlyn Theatre. Based on German tale Der Freischütz, the 1990 musical fable tells of a deal with the devil that goes diabolically wrong.

Kanen Breen and Meow Meow will return for The Black Rider, with Paul Capsis and Dimity Shepherd rounding out the tantalising cast. Phoebe Briggs will conduct Victorian Opera Chamber Orchestra for the September/October 2017 season.

Victorian Opera will continue their commitment to introducing opera to children. An Australian premiere of Ernest Toch’s 1927 work, The Princess and The Pea will be seen in three performances in March 2017. The talented young lead cast will consist of Olivia Cranwell, James Egglestone, Kathryn Radcliffe, Michael Petruccelli ad Michael Lampard. Also, Aaron Copland’s youth opera The Second Hurricane will be staged at Horti Hall in October 2017. The teenagers stranded in a storm will be played by a cast of young singers, including members of Victorian Opera’s Youth Chorus Ensemble (VOYCE).

In a new Australian work by composer Gordon Kerry and writer John Kinsella, Hans Christian Anderson’s classic tale The Snow Queen will be staged on 4 November 2017 in an exclusive season in Wodonga.

As an intriguing preview of their 2018 season, Victorian Opera will offer a glimpse into the rehearsal room in Three Tales, which will be streamed live. Highlights of a trio of new works will be performed after a weeklong workshop period. The works are: A Simple Heart by Katie Noonan and Zac Hurren, The Legend of Saint Julian the Hospitalier by Dermot Tutty, and Hérodias by Stefan Cassomenos.

‘Tis Pity: An Operatic Fantasia on Selling the Skin and the Teeth (Mills)

7.30pm 4, 6, 7, 8 February 2017 at Melbourne Recital Centre.

The Sleeping Beauty (Respighi)

7.30pm 11, 14, 15, 17 March, 1.30pm March 2017 at Playhouse, Arts Centre Melbourne.

La Sonnambula (Bellini)

7.30pm 5 May 2017 at Hamer Hall, Arts Centre Melbourne.

Cunning Little Vixen (Janáček)

7.30pm 22, 24, 27, 29 June, 1.00pm 1 July 2017 at Playhouse, Arts Centre Melbourne.

The Black Rider: The Casting of the Magic Bullets (Waits)

7.30pm 15 September – 8 October 2017 at Merlyn Theatre, Malthouse Theatre

The Princess and The Pea (Toch)

11.00am, 2.00pm, 5.00pm 25 March 2017 at Playhouse, Arts Centre Melbourne.

The Second Hurricane (Copland)

6-15 October 2017 at Horti Hall

Membership packages for the season are available on 14 September 2017.

Single tickets to these performances will be on sale 13 October 2017.

Full details are available at Victorian Opera.

Images: supplied

Lyric Opera of Melbourne has unearthed another treasure with the Australian premiere of Malcolm Williamson’s 1963 opera Our Man in Havana.

Part spy thriller, part devilish black comedy, Our Man in Havana has enough scintillating plot for half a dozen operas. Based on Graham Greene’s 1958 novel, which was also the source for the classic 1958 movie, the opera pokes fun at the serious nonsense of spy agencies whilst also telling a ripping yarn of its own.

When Cuban-based English vacuum cleaner salesman James Bramble is talked into taking an extra wage as a spy, he finds it all to easy to invent agents’ names and draw secret machines that he has “discovered” in Havana. The plan backfires when real men start being killed, including close friend Dr Hasselbacher, and Bramble’s own life is put under serious threat.

Unlike the abstract soundscapes of many modern operas, Williamson’s score is an instantly accessible blend of ensemble scenes that bring to mind grand opera, recitative accompaniment that could be the soundtrack of a spy thriller movie, and melodies as gorgeous as those by Richard Rodgers. The ensemble provides hummable vocal interludes that provide welcome moments of relief from the tension of the central plot.

Dressed as flamboyantly as the cast, an orchestra of 22 musicians plays Williamson’s original orchestrations under the leadership of Pat Miller, artistic director of Lyric Opera. Miller’s exacting preparation gives him supreme confidence in leading a zesty performance of the wonderfully enjoyable score. While diction and projection are excellent, the unfamiliar lyrics are occasionally difficult to fully discern over the accompaniment.

Despite the challenges of acoustics, director Suzanne Chaundy has ensured that the storytelling is clear so that the twists and turns of the intriguing plot can be easily enjoyed.

Designer Lucy Wilkins has transformed the flexible space upstairs above the Athenaeum Theatre into a characterful Cuban club. Chaundy makes excellent use of this arrangement, spreading the action across the full width of the room, from the bandstand to the bar. In the absence of a proscenium arch, the venue’s doors are used effectively for exits and entrances

The pink and orange ruffles of Wilkins’ costume design may be a little bit stereotypically Cuban, but the attractive visual picture suits the larger than life scenario of the opera.

Joining the cast at the beginning of rehearsals, Martin Thomas Buckingham had only three weeks to learn the massive lead role of Bramble. This intense effort has been a resounding success, with Buckingham singing with rock solid confidence. Buckingham’s tenor voice has a rich, appealing tone, and his characterisation of Bramble is a deft blend of stiff-upper-lip seriousness and twinkle-in-the-eye comedy.

Bramble’s vivacious 16-year-old daughter Milly provides an ideal leading role for rising soprano Kate Amos. With wide-eyed expression and intricately styled blonde ponytail, Amos lifts the energy level whenever she is on stage. Milly’s act one aria about her beloved horse Seraphina gives Amos a delightful melody, and she sings it beautifully.

Aged with a paunch and grey hair, handsome young bass Matthew Thomas gives a compelling performance as Dr Hasselbacher. The significance of the role deepens as the opera progresses, and Thomas delivers an extremely powerful extended final scene for the ill-fated character.

Michael Leighton Jones brings a sense of gravitas to war veteran Hawthorne. Stephen Marsh gives an authentic look to Captain Segura, a gregarious but suspicious authority in the local military. Smartly attired in dark green and white, Elizabeth Stannard-Cohen demonstrates her extensive stage experience as she sings with polished flair in the role of Bramble’s new secretary Beatrice.

2016 Herald Sun Aria Finalist Raphael Wong is luxury casting in the small but crucial cameo role of Carter, a ruthless agent involved in the climax of the plot.

Besides singing strongly, the ensemble performs a range of duties, from dancing to cameo roles to scene changes. Kerrie Bolton makes a powerful impression in the act one chorus interlude. The ringing sound of Matthew Hyde’s gorgeous tenor voice is a pleasure to hear.

Our Man in Havana is modern opera at its most entertaining and enjoyable level. Local operagoers lucky enough to attend the season owe Lyric Opera of Melbourne a huge debt of gratitude for their creativity, passion

Our Man in Havana plays selected dates at Athenaeum Theatre 2, Melbourne until 24 September 2016.

In their final presentation for the year, Victorian Opera stimulates the eyes as well as the ears with abstract 21^st Century choral beauty Four Saints in Three Acts.

Written in 1927/28, the opera defies expectations on a number of levels. Firstly, the 60-minute work contradicts it title, in that it is divided into four acts with some 20 saints included. More significantly, far from the heroines, villains and emotionally charged storylines usually encountered in opera, Gertrude Stein’s libretto is an impalpable collage of words, chosen for their aural combinations rather than for the traditional purpose of expressing emotion and advancing plot.

Stein’s intention becomes clear as the experience of the opera unfolds. The music of Virgil Thompson is exceedingly beautiful, and, without characters and narratives to follow, the audience is free to immerse themselves in the splendour of the music and allow their minds to freely create links, themes and meaning. Efforts to focus and illicit literal significance of the text soon melts away, allowing the audience to enjoy the whimsical concept on their own terms.

Neatly adding to the nonfigurative experience is the animated 3D background created for the piece by Deakin Motion.Lab. Mirroring the absence of literal meaning in the text, the ever-evolving background scenery allows the mind to piece together its own collective interpretation. Unfolding like the spontaneous flow of images of a dream, the backdrop soars through clouds, explores a dilapidated chapel, crosses an arid post-apocalyptic desert and climbs a mighty staircase to the sky. All the while, images including a lion, a sheep, a snake and flying fish recur and, occasionally, interact. The overall 3D effect is intensified by the fact that the absence of a proscenium arch in the Merlyn Theatre allows for a massive rear projection screen.

Featuring a generous sized ensemble of 45 singers, the company for this youth opera includes young, emerging singers as the cast of Saints and a large chorus of singers primarily sourced from Victorian Opera Youth Chorus Ensemble (VOYCE). The company of young singers is grounded by the mature presence of Jerzy Kozlowski and Margaret Arnold as Compère and Commère. Experienced artists Carlos E. Bárcenas and Raphael Wong bring gravitas and vocal power to the stage.

Over and above the unusual libretto and creative imagery, the most striking element of the performance is the sheer beauty of the music. Conductor Phoebe Briggs has prepared and polished the music to a level that allows the young cast and the orchestra of 15 musicians to present the unfamiliar work with great confidence. The choral singing is nothing short of exquisite.

Casually dressed in blue jeans and white t-shirts, the chorus take photos on their cell phones as the angelically white clad Saints enter from the rear of the auditorium. This opening sequence creates a stereo effect of gorgeous sound.

With so many stimuli already at play, director Nancy Black has wisely kept movement to a minimum. As well as perfecting the harmonies, the company impresses with their mastery of the abstract libretto. Black has clearly worked closely with the singers to bring coherent expression to the deliberately nonsensical poetic style of the text.

Co-director Professor Kim Vincs has enhanced the presence of the 3D scenery by having the cast occasionally interact with the movement of images.

As well as allowing the audience to hear young singers, the youth opera also provides significant experience for young singers and musicians to work in a professional opera production. The assembled company received an additional aspect of experience at this performance, when the show was stopped and the audience evacuated due to the ill health of an audience member. The young performers not only maintained a respectful presence during the incident but also admirably threw themselves back into the final third of the opera to bring the energy and focus back to previous levels.

Four Saints in Three Acts was a unique experience for performers and audience alike. Victorian Opera is commended for sourcing such interesting material and presenting it to such a high standard. The investment in the future of young singers and musicians is also of the highest merit.

Four Saints in Three Acts played at Merlyn Theatre, The Coopers Malthouse, Melbourne on 30 September and 1 October 2016.

Photos: Charlie Kinross

Melbourne Opera continues their lavish presentation of Donizetti’s Tudor Trilogy with the Australian professional premiere of dramatically charged bel canto opera Anna Bolena.

Donizetti’s 1830 opera features a compelling storyline peopled with intriguing historical figures. Anna Bolena covers the final three months of the life of doomed Queen Anne Boleyn, as she spirals from rosily beloved royal to mentally unbalanced prisoner.

Leading a uniformly strong cast, soprano Elena Xanthoudakis gives a tour de force performance in the title role. In an impressively calibrated performance, Xanthoudakis dazzles with her sharp dramatic focus and incredible stamina rather than with showy vocal pyrotechnics. Not that Xanthoudakis is not capable of pyrotechnics, as utilised to brilliant effect in the final moments of the opera. Following a spellbinding mad scene and gorgeous prayer, set to the strains of “Home, Sweet Home,” Xanthoudakis produces a final flourish of splendour, still sounding like she could go back the start and sing the whole opera again.

Benefitting from the extraordinarily detailed work of Richard Divall in preparing the translation and performing edition, conductor Greg Hocking leads the Melbourne Opera Orchestra in a remarkably fine performance of Donizetti’s delightfully melodic score. Expressive playing from woodwind adds intriguing colour to Anne’s mad scene, and the brass enjoy many rousing moments contributing the sense of pomp to the royal court.

Director Suzanne Chaundy maintains a strong sense of royal decorum, avoiding melodrama as the royal soap opera unfolds as a tense drama. The opera is a little slow to begin, but it soon becomes clear that Donizetti and original librettist Felice Romani need time to establish the characters and their various relationships. The drama builds throughout act one to a thrilling finale, as the King charges Anne, her one-time lover Percy, her loyal brother Lord Rochefort and her besotted musician Mark Smeaton with adulterous treason.

Linking their trilogy, Melbourne Opera has been sure to include the brief appearance of Anne’s daughter Elizabeth I (played demurely by Evie Rose Lowcock), who is the one character to appear in each of Donizetti’s Tudor operas.

The Melbourne Opera Chorus makes a significant contribution to the magnificence of this act one finale, and are in excellent voice throughout the whole evening. Chorus master Raymond Lawrence has reliably prepared the chorus to exacting standards, and they rise to the occasion superbly. As well as massed choruses, the opera includes individual male and female choruses, each of which is an absolute pleasure to hear.

In a deliberate design nod to the trilogy, staging for Anna Bolena is visually tied to 2015 thriller, Mary Stuart. Set designer Christina Logan-Bell miraculously makes the rather modest stage of the Athenaeum look vast, with a sweeping floor of tiled Tudor roses and the suggestion of cavernous space at the rear wall. The abstract, representational scenic elements are expertly constructed, richly attractive and entirely effective in their creation of the multiple scenes required for the sumptuous saga.

Excellent use is made of the spectacular costumes on loan from Opera Australia (and designed by Jennie Tate). The women of court look stunning in regal shades of green. Anne Boleyn initially stands out in ruby red, before dialing down the glamour as she faces charges of adultery. Meanwhile, following her promise of marriage from the king, lady-in-waiting Jane Seymour takes the reverse trajectory, transitioning into far more decadent gowns. In tunic, fur-trimmed robe and velveteen feathered flat cap, King Henry VIII looks like he has stepped straight out of a Renaissance oil painting.

Replacing indisposed artist Sally-Anne Russell, the key role of Jane Seymour was sung on opening night by Sally Wilson. Singing with a warm depth and unwavering tone, mezzo-soprano Wilson seemed a little underprepared in terms of facial expression in the role. The emotional heart of the story is the act two confrontation between Anne and Jane, in which Anne learns her fate is sealed as Jane is to be the next Queen. Wilson delivered her strongest work in this enthralling scene.

As Anne’s thwarted lover Richard Percy, tenor Boyd Owen was a clear audience favourite. A neatly understated dramatic actor, Owen maintains a focused presence while allowing the spotlight to remain on the key female characters. Owen’s tenor voice pours forth luxuriously, reaching high notes with seemingly little effort.

Eddie Muliaumaseali’i uses his imposing stature to great effect as Henry VIII, his powerful bass voice clearly representing the King’s dominant nature. In fine voice, as always, baritone Phillip Calcagno successfully adds another dramatic role to his repertoire as Lord Rochefort.

Her blonde beauty hidden beneath page boy wig and cap, mezzo soprano Dimity Shepherd is unrecognisable as Anne’s page Mark Smeaton. Elevating the stature of this supporting role with her highly committed performance, talented singing actress Shepherd once again shows why she is one of Melbourne’s most valued stage performers.

Lovers of sumptuous period opera will be sure to enjoy Anna Bolena.

Anna Bolena plays again at Athenaeum Theatre, Melbourne on 5 and 9 November 2016, as well playing Robert Blackwood Hall, Monash University on 12 November 2016.

Photos: Robin Halls

The highly anticipated return of Opera Australia’s world class Ring Cycle begins with a nuanced exploration of the psychological intensity of Das Rheingold.

Minus a couple of rows for the expanded orchestra pit, the mighty State Theatre proves a capacious home for the musicians, singers, actors, dancers, scenic elements and, of course, the throngs of enthusiastic, dedicated, knowledgeable operagoers.

Utilising every aspect of its resources, Opera Australia has clearly approached Wagner’s unassailable masterpiece with a focus on innovation, spectacle and sheer quality.

Taking for granted, for the moment, that the music and performers are first rate, the aspects that set a Ring Cycle apart are the direction and production. Contributing to the ongoing discussion of the relevance and prescience of Wagner’s epic narrative, this unique Cycle is not only original in concept but also possesses a distinctively Australian character.

Director Neil Armfield places Wagner’s mythical characters squarely in our own modern world. As the opening notes rumble and grow, an image slowly comes into focus; the stage is strewn with bikini and board short-clad Bondi bodies, which come alive to embody the water of the river Rhine. Dwarves are odious fringe dwellers, giants are puff-chested bullies, gods are the ostentatious upper class and Rhine maidens are glamorous showgirls. The power of the Tarnhelm helmet is signified as an actual magic show, gilt iPhone boxes represent gold bullion and, in a final flurry of splendour, the rainbow bridge to Valhalla is signposted by a bevy of showgirls bearing luscious clamshell feathers.

Pacing out the visual elements across the four operas, set designer Robert Cousins stages much of Das Rheingold against a pure black background. Armfield’s detailed exploration of the text comes to the fore in such scenes, blessed, as he is, with performers who can act as well as they can sing.

Referencing damage to our natural world, and hinting at the design elements in the new home being built for the Gods, taxidermied animals in glass cages are seen at the current dwelling of Wotan’s family.

Alice Babidge’s costume designs add flashes of bright colour to the black landscape. Gods Wotan and Fricka appear to be straight from a 1980s night-time soap opera, Freia’s mini-dress is as golden as the bullion she is traded for, frolicking Rhine maidens sport stunning pale turquoise outfits and men’s suits befit their position in the line of power.

Maestro Pietari Inkinen presides over a massive orchestra of players sourced not only from Orchestra Victoria and the Australian Opera and Ballet Orchestra, but also from ten other national and international orchestras. The effect of the glorious music emanating from the voluminous put from so many players is difficult to describe. Most striking is the sense that various strains of music are originating from distinct sections of the pit; this effect is usual enough in opera orchestras, but is significantly magnified on this scale. With a profound knowledge of the music, and gentle air of assured of confidence, Inkinen capably caters to musicians and singers alike.

A hallmark of the Melbourne Ring Cycle is the dominant number of Australian artists in the principal roles. Only two of the 14 lead characters in Das Rheingold are sung by international artists.

American bass baritone James Johnson maintains a statuesque presence while bringing out a sense of weariness and impending defeat in Wotan. In a nice piece of direction of Armfield has Wotan put down his spear before insisting Alberich give him the ring, leaving him vulnerable to Alberich’s curse. Johnson vocal characterisation of the role is less commanding than often heard, symbolising the character’s power instead by the mellifluous beauty of his voice.

German tenor Andreas Conrad gives a thrilling performance as Loge, god of fire. Conrad sings with ringing power, and projects a dynamic, highly engaging energy on stage.

Following an acclaimed breakout performance in the 2013 season, Australian baritone Warwick Fyfe returns to the role of Alberich. In the intervening three years, Fyfe has lost weight but still portrays the low self-confidence of opportunistic devil Alberich and his voice is as rich and powerful as ever. A clear crowd favourite on opening night, Fyfe cements his position as one of our foremost singing actors.

The scorching combination of Johnson, Conrad and Fyfe is at the heart of the success of this staging of Das Rheingold.

Such is the presence, charisma and vocal quality of Lorina Gore (Woglinde), Jane Ede (Wellgunde) and Dominica Matthews (Flosshilde), each of the singers playing the three gorgeous Rhine maidens can be distinctly made out.

Giving a hint of further glory to come as the cycle unfolds, Jacqueline Dark conveys the regal, yet understandably insecure, presence of Fricka, wife of Wotan. Graeme Macfarlane all too briefly displays the grasping, self-serving nature of Mime, enslaved brother of Alberich.

Bass baritone Daniel Sumegi (Fasolt) and bass Jud Arthur (Fafner), bring the perfect sense of fun to the self-made subtle gangster stylings of the pair of giants. Seen here as giants of property development, the pair enter on cherry pickers, their disdain for the environment seen in their cavalier destruction of the beautiful mountainside backdrop. Both Sumegi and Arthur sing with focused intensity and unwavering tone, conveying the commandeering greed of the pair as an inevitably tragic fatal flaw.

Stunning soprano Hyeseoung Kwon is seen but, unfortunately, largely unheard as Freia, abducted sister of Fricka. Late in the opera, highly experienced mezzo soprano Liane Keegan makes an affecting impact as primeval earth goddess, Erda. Vulnerably attired in a filmy, nude-coloured dress, Keegan moves slowly and deliberately to convey the stature and wisdom of Erda, delivering rich expression in her voice as she convinces Wotan of the danger of the ring.

Strong support comes from Michael Honeyman (Donner) and James Egglestone (Froh). Honeyman sings out in the most heroic of tones when Donner calls forth the bridge to Valhalla.

Cycle One of The Melbourne Ring Cycle continues over the coming week at State Theatre, Arts Centre Melbourne. Cycle Two commences 30 November 2016, and Cycle Three commences 9 December 2016.

There are various Ring Events occurring around Melbourne during The Ring Cycle.

Arts Centre Melbourne has a series of interval dining options inspired by the world of The Ring Cycle.

See a dozen photos from the 2013 Melbourne Ring Cycle: Das Rheingold.

Read Man in Chair’s 2016 review of Die Walküre.

Read Man in Chair’s 2016 review of Siegfried.

Read Man in Chair’s 2016 review of Götterdämmerung.

Read Man in Chair’s 2012 review of the Metropolitan Opera Ring Cycle.

Photos: Jeff Busby

Fifteen singers deliver four hours of glorious singing and splendid acting as Opera Australia’s presentation of The Melbourne Ring Cycle continues with Die Walküre.

As a snow storm rages, a small wooden cabin slowly rotates. A light appears at the window, and then the cabin is open to show the humble home Sieglinde shares with her husband, the warrior Hunding.

The arrival of a stranger, Siegmund, son of Wotan, signals the beginning of an hour of truly rapturous singing. Australian tenor Bradley Daley (Siegmund) and American soprano Amber Wagner (Sieglinde) are superb together, well matched not just in vocal quality but also physique; with wigs and costumes, the fact that the characters are twins is abundantly clear.

A sturdy woman in sensible clothing, it is Sieglinde’s kindness that draws the initial affection of exhausted traveller Siegmund. A burning passion for his sister-bride soon takes hold, and the act closes with the pair set to conceive the Ring Cycle’s ultimate hero.

Blessed with a voluptuous, full bodied soprano, Amber Wagner’s singing magnifies and enhances the beauty of Richard Wagner’s music. From first sight of Siegmund, Wagner conveys Sieglinde’s fervent desire for him with every element of her vocal, facial and physical expression. Underlying this passion, the conflict of loving her own brother seems set to tear Sieglinde apart.

Daley brings the requisite steely heldentenor power to sing Siegmund, his voice soaring over the mighty orchestra with apparent ease. Daley conveys the awakening of both love and power in the young man, giving the character a gentle air of nobility and steadfast grace.

In a brief but memorable appearance when Hunding interrupts the new lovers, Jud Arthur’s commanding bass provides a striking dramatic counterpoint for the sweetness of Daley and Wagner.

James Johnson begins act two in higher energy, reflecting the invigorating joy and pride Wotan derives from his cherished daughter Brünnhilde. Occasionally just slightly overpowered by the orchestra, Johnson delivers a pure, even tone in his tenor vocals. As Wotan progresses from loving father, to manipulated husband, to domineering ruler, to broken-hearted patriarch, Johnson gives an affecting and memorable performance.

In one extraordinary scene in act two, Wotan is the Blake Carrington to Fricka’s Alexis Colby. Wearing a fox fur that is clinging to her very bosom, Jacqueline Dark gives a tour de force performance that is as impactful as it is meticulously calibrated. From haughtily imperial wife to willing victim to aggressive opponent, Dark unfurls Fricka’s full bag of tricks as she completely twists her husband to her will. When Wotan finally submits, she quickly plants a kiss on his lips before he can speak any words to the contrary, and glides off in arrogant triumph.

The action at Valhalla is deftly enhanced by Robert Cousin’s incredible design, which is effectively a giant ivory corkscrew. A hallmark of director Neil Armfield’s work on the Ring is his carefully considered use of orchestral interludes. The three-level allows entrances, exits and transitions to have maximum visual impact.

In a truly thrilling performance, American soprano Lise Lindstrom electrifies the stage as Wotan’s cherished daughter Brünnhilde. Even in masculine khakis, Lindstrom’s natural beauty shines through. Tall and trim, her blonde hair pinned back in a casual ponytail, has the ideal look to present Brünnhilde as the definitive alpha female. Even amongst the highly talented performers playing her nine warrior sisters, Lindstrom’s magnetic charisma draws all attention to her presence.

Possessing a clarion soprano with a gleaming metallic lustre, Lindstrom tirelessly fills the massive State Theatre with exciting sound. Even after technical staging difficulties blew out the running time of this performance to over seven hours (including extended intervals), the audience were immensely satisfied after the moving final scene between Wotan and Brünnhilde, with many heard to mention that in Lindstrom we at last have a heroine that a hero would really want to step through a ring of fire to rescue.

Apart from their wonderful singing and stirring acting, the nine women playing the Valkyries deserve bravery medals for their incredible entrances. Flying in from the heavens on swings as they sing the famous war cry, the woman promptly unhook their harnesses and leap into action on the stage. The natural hair and costuming mean that each of these invaluable women can be very clearly identified. The Valkyries are played by Anna-Louise Cole (Gerhilde), Dominica Matthews (Schwertleite), Olivia Cranwell (Ortlinde), Siam Pendry (Waltraute), Hyeseoung Kwon (Helmwige), Amanda Atlas (Siegrune), Nicole Youl (Grimgerde) and Roxane Hislop (Rossweisse).

The combination of Armfield’s richly detailed yet neatly uncomplicated direction and the acting skills of the cast mean that each of the emotional manipulations and life-changing decisions of Die Walküre come off with maximal clarity and impact.

As the Cycle progresses, the supreme capability of maestro Pietari Inkinen becomes ever clearer. Adroitly managing subtle underscoring and dramatic climaxes alike, Inkinen maintains manageably brisk tempi and supportive accompaniment. Inkinen’s expertly judged conducting shows the incredible musicians at their best without ever drawing undue attention.

Cycle One of The Melbourne Ring Cycle continues over the coming week at State Theatre, Arts Centre Melbourne. Cycle Two commences 30 November 2016, and Cycle Three commences 9 December 2016.

There are various Ring Events occurring around Melbourne during The Ring Cycle.

Arts Centre Melbourne has a series of interval dining options inspired by the world of The Ring Cycle.

See 10 photos from the 2013 Melbourne Ring Cycle: Die Walküre.

Read Man in Chair’s 2016 review of Das Rheingold.

Read Man in Chair’s 2016 review of Siegfried.

Read Man in Chair’s 2016 review of Götterdämmerung.

Read Man in Chair’s 2012 review of the Metropolitan Opera Ring Cycle.

Photos: Jeff Busby

The heroism of Siegfried plays out in a highly theatrical setting as Opera Australia’s addictively compelling Melbourne Ring Cycle continues.

With over four hours of music shared between just eight singers, the stamina of the cast is a wonder to behold. Wagner begins with the men, before gradually introducing female voices, and saving the best for last with a glorious extended love duet.

Returning to the theme of show business seen in Das Rheingold, director Neil Armfield stages each of the various locations of Siegfried in a gleaming white proscenium arch. Set designer Robert Cousins has conceived and crafted the multipurpose space so that it smoothly transitions from scene to scene.

The poisonous dwarf Mime has raised Siegfried, son of Siegmund and Sieglinde, in a makeshift space with microwave, bar fridge and bunk beds. A stout, tousled haired youth, Siegfried’s dreams of fighting dragons and bears are seen in the crayon drawings on his wall. Having re-forged the sword Nothung, Siegfried aggressively cuts through the rear wall.

In act two, this hole has been smoothed to a large circle, which eerily forms the mouth when Fafner’s face is projected onto the white wall as he applies garish makeup and practices his most terrifying faces. The set revolves, and the hole becomes the entrance to the cave where Fafner, now guarding the Nibelung gold as a dragon, resides.

Finally, a glittering gold ruched curtain fills the false proscenium, representing the wall of flames around Brünnhilde. Like the other species he has preserved and put on display at Valhalla, Wotan has left Brünnhilde the company of her horse Grane in taxidermied form.

With basically a single set for the entire evening, the work of lighting designer Damien Cooper comes to the fore in terms of sustaining visual interest. Creating as much, if not more, intrigue with shadow than with light, Cooper provides hiding places for the fringe dwellers and basks the heroes in glowing warmth.

At the beginning of each act, the audience’s appreciation for maestro Pietari Inkinen and the Melbourne Ring Orchestra is growing in frenzied volume to rock star status. Clearly having a profound knowledge of the score, and a deep love for it, Inkinen’s passionate yet calmly measured focus is the foundation on which this entire Ring Cycle is built. Highlights in Siegfried include lovely playing from woodwind representing the Woodbird, humorous trumpet blats as Siegfried attempts to call the Woodbird on his horn, and the superb sequence when Siegfried’s noble leitmotif does musical battle with the ominous rumbling leitmotif of the dragon.

Perfect casting continues Armfield’s vision of these mythical characters in human form. Next to the lofty height of Wotan and Siegfried, “dwarves” Mime and Alberich are seen as small men.

Often providing invaluable support in minor featured roles, Graeme Macfarlane rises more than capably to the task of playing the significant role of Mime. Singing the role comfortably and precisely, Macfarlane’s acting is superb as he creates sympathy and understanding for a man prepared to kill the son he has raised just to acquire material wealth.

Mighty baritone Warwick Fyfe returns to the Ring spotlight, as Alberich’s all-consuming avarice continues apace. Fyfe’s voice rings out with unwavering intensity and delicious richness of tone. Such is the level of Fyfe’s talent, he practically creates an ethical dilemma for the audience in that they are so greatly enjoying such a loathsome, self-serving character.

Liane Keegan returns as ominous Erda, again dressed vulnerably in sheer nude-coloured fabric. The quality of Keegan’s work is the sheer musicality of her voice, which floats effortlessly over the orchestra. Keegan uses her finely honed vocal expression to create an entire performance with very little facial or physical movement. The portrayal of Erda as an ethereal spirit at this point is a departure from the 2013 season, in which the character of Erda was seen an elderly woman in a wheelchair pushed by the performer who was actually singing the role.

Soprano Julie Lea Goodwin is delightfully winsome as the Woodbird, singing with tender sweetness and delivering a frolicsome physical performance that is a pleasure to watch.

His face projected to movie screen size, Jud Arthur’s intense facial expression creates one of the strongest musical interludes of this Cycle. The camera positioned so that his projected eyes peer directly at the audience, Arthur’s unflinching stare creates a deliberately uncomfortable vibe. In one of Armfield’s most audacious moves, after Siegfried has stabbed the dragon Arthur staggers onstage naked and bloodied. While it cannot be denied that Arthur is in great shape, this is still a bold move and Arthur performs with unflinching fortitude to make the interpretation as natural as possible.

As his epic performance across the Cycle continues, James Johnson is in excellent form as Wotan, known in Siegfried as the Wanderer. Johnson’s supreme talent for legato phrasing is a feature of his singing in this installment. Obviously seeing the Cycle as a marathon and not a sprint, Johnson is showing an exacting level of control on his singing and acting performance. The result is fully realised characterisation that earns the audience’s admiration and affection in gentle degrees.

German heldentenor Stefan Vinke takes on the mammoth role of Siegfried with unflustered composure and superbly measured endurance. Successfully embodying the wide-eyed, playful aspects of the initially innocent young man, Vinke adds layers as Siegfried goes on to kill and then to love. Vinke sings with requisite strength, and particularly impresses in quieter moments, such as Siegfried’s sensitive contemplations on his mother. Vinke plays the hero without overplaying the heroics, creating a grounded realism to what can be a larger than life figure.

With the sneaky benefit of joining the opera in its last leg at full freshness, Lise Lindstrom is in blisteringly good form as Brünnhilde awakens from her enforced slumber. Form her first soaring notes, the sumptuous colour in Lindstrom’s extraordinary soprano thrill and invigorate the audience. Having preserved plenty of power for the finale, Vinke also seems refreshed opposite Lindstrom, and the pair makes deliriously beautiful music together.

The stage is set for a thrilling climax to the Melbourne Ring Cycle with Monday’s performance of Götterdämmerung.

Cycle One of The Melbourne Ring Cycle continues over the coming week at State Theatre, Arts Centre Melbourne. Cycle Two commences 30 November 2016, and Cycle Three commences 9 December 2016.

There are various Ring Events occurring around Melbourne during The Ring Cycle.

Arts Centre Melbourne has a series of interval dining options inspired by the world of The Ring Cycle.

See 11 photos from the 2013 Melbourne Ring Cycle: Siegfried.

Read Man in Chair’s 2016 review of Das Rheingold.

Read Man in Chair’s 2016 review of Die Walküre.

Read Man in Chair’s 2016 review of Götterdämmerung.

Read Man in Chair’s 2012 review of the Metropolitan Opera Ring Cycle.

Photos: Jeff Busby

In an electric performance of Götterdämmerung, the mighty Melbourne Ring Cycle concludes as it began, with glorious singing, meticulous direction and innovative staging.

His concept and characters now so clearly established, it now remains for Director Neil Armfield to do little more than stand back and let the drama unfold. And yet he still has more spellbinding magic in store.

Continuing the combined themes of the theatrical and the everyday, Götterdämmerung begins with three Norns, seen here as seamstresses who are repairing the pastoral painted canvas backdrop that the giants tore in Das Rheingold. Tania Ferris, Jacqueline Dark and Anna-Louise Cole begin the evening’s musical splendour with gentle, sweet singing as the Norns gossip away their workday. Projecting a golden warmth, Dark is unrecognisable from her earlier work as firebrand Fricka. Emerging soprano Cole portends a promising future, delivering luscious golden tones.

Set designer Robert Cousins again conceives of a scenic instalment that can be in place for the whole opera, flexibly portraying a range of locations. A large steel construct forms the frame of a building, first representing the cliff top outdoor bedroom Siegfried shares with Brünnhilde, then the interior of the Hall of the Gibichungs. For act two’s double wedding reception, a white canvas with arched plastic windows turns the structure into a capacious backyard marquee. Finally, the space is a hunter’s shooting range, before ultimately, and spectacularly, catching alight as Siegfried’s funeral pyre spreads flickering flames to the Hall of the Gibichungs.

Costume designer Alice Babidge has fun with splashes of vivid colour for the Gibichungs, portrayed here as a rather gauche nouveau riche collection of military men and trophy wives. Oversized artworks share the living space with exercise machines and a bar. Siblings Gunther and Gutrune begin in matching white gym outfits before Gutrune changes into a garish neon orange frock and matching heels. She is clearly the sort of woman who would marry in a mermaid wedding dress with four breathless bridesmaids in candy pink minis.

Well into the Cycle, Wagner raises the vocal energy with a chorus. The male chorus, featuring any number of recognisable local singers, gathers in black tie and military uniforms in support of Hagen, lord of the Gibichungs. The women sport pale pastel summer dresses, tastefully matching the reception table settings and marquee decor. Prepared by chorus master Anthony Hunt, chorus singing is magnificent.

Having worked with grand flair throughout the Cycle, lighting designer Damien Cooper delivers further grandeur in Götterdämmerung. Always an integral part of Armfield’s superb transition/interlude scenes, Cooper’s standouts this time include act one’s slow transition back to Brunnhilde’s rock, in which Hagen vanishes up stage, and the slow revolve after the reception showdown, in which a light remains on Hagen while all the chorus members silently disappear.

Armfield provides a couple of welcome moments of levity. The “wine” shared by the men at the hunting range is represented by slabs of UDL cans transported in an abandoned supermarket shopping trolley. At the top of third act, at the end of a long evening and a long Cycle, the three Rhinemaidens are seen in wig caps and runny makeup, with holes in their stockings, their exhaustion perhaps mirroring the spirits of many who have made it this far (much as all present on stage and off have adored every minute.)

Lorina Gore (Woglinde), Jane Ede (Wellgunde) and Dominica Matthews (Flosshilde) return as the Rhinemaidens, projecting plenty of personality and singing sweetly soaring solo lines as well as nimble harmonies.

Appreciation and acclaim for maestro Pietari Inkinen has increased throughout the season as he has proved himself inordinately capable of calmly delivering every possible aspect of Wagner’s epic score. As mentioned in the Das Rheingold review, the extraordinary effect of music rising, geyser-like, from various corners of the pit can really only be fully experienced live. The full orchestra makes a welcome appearance on stage for the curtain calls to celebrate their aceievemenst across the Cycle.

Local singers again excel themselves in Götterdämmerung.

Warwick Fyfe, as Alberich, has a wonderful cameo in which he visits his sleeping son Hagen as if in a dream, whispering insidious notions into the sleep of his vainglorious son. With an unflinching baritone, Fyfe has again proved a hero of this Cycle, and his exacting work has been a joy to experience.

Sian Pendry, one of the strongest and most invaluable actresses in the Opera Australia firmament, appears as Waltraute, who visits her sister Brünnhilde for a melancholic reflection on the price of Wotan’s grief. Pendry grounds the scene emotionally, conveys multiple layers of feeling in her highly expressive mezzo-soprano voice.

Strapping men Daniel Sumegi and Luke Gabbedy fill out Officer’s uniforms with confidence. Sumegi uses the constant subtle rumble of his bass voice to add tangible menace to Hagen’s every interaction. Gabbedy’s characterisation of Gunther shows the insecurity behind a strong man who has an abundance of material possessions but not love.

Highly experienced soprano Taryn Fiebig moves up to the role of Gutrune, bringing believable wide-eyed naivety to spoiled woman who quickly becomes a spurned bride. Although not a Wagnerian soprano, Fiebig’s golden vocals are lovely, and float fluidly above the orchestra.

A Ring Cycle is an international event, and the evening ultimately belongs to visiting artists Lise Lindstrom and Stefan Vinke.

An untiring singer of incredible fortitude, Vinke continues his lively portrayal of Siegfried, singing with seemingly effortless precision and steely beauty. Two acting moments standout as exemplars of Vinke’s talent: Siegfried’s Tarnhelm-assisted portrayal of Gunther, and Siegfried’s change of personality under the effect of Hagen’s memory potion. Vinke’s world class performance has been an unforgettable aspect of the 2016 Melbourne Ring Cycle.

Likewise, Lindstrom has had an incredible impact in the revered role of Brünnhilde. Enhancing the power of her soprano with gorgeous blooms of colour, Lindstrom would be sensational based on vocal performance alone. In combination with the intensity and focus of her acting, the result is nothing short of extraordinary. Amongst many sterling moments, Lindstrom’s final slow walk as the defeated warrior prepares to join her great love on his funeral pyre is extremely moving. Lindstrom’s appearance has been a great blessing for Melbourne opera lovers, the icing on an already delicious cake.

The Melbourne Ring Cycle was initially slated to play three times, with a three year gap between each appearance. See you at the State Theatre in 2019.

Cycle One of The Melbourne Ring Cycle at State Theatre, Arts Centre Melbourne has concluded. Cycle Two commences 30 November 2016, and Cycle Three commences 9 December 2016.

There are various Ring Events occurring around Melbourne during The Ring Cycle.

Arts Centre Melbourne has a series of interval dining options inspired by the world of The Ring Cycle.

See 11 photos from the 2013 Melbourne Ring Cycle: Siegfried.

Read Man in Chair’s 2016 review of Das Rheingold.

Read Man in Chair’s 2016 review of Die Walküre.

Read Man in Chair’s 2016 review of Siegfried.

Read Man in Chair’s 2012 review of the Metropolitan Opera Ring Cycle.

Photos: Jeff Busby