curlew a5 program

CURLEW RIVERBenjamin Britten

Gertrude Opera Culture Project 2

Max Gillies, AMCheryl BarkerRoxane HislopStacey Alleaume (TOSM09-10)

Anthony LeggeLuke Leonard, USABrian Castles-OnionHadleigh Adams (TOSM09)

Adrian McEnieryBelinda PrakhoffDr Kathleen MaguirePaul Curran

Gertrude Opera presents opera-as-theatre with a combination of exceptional professional and young artists. Our annual Culture Project aims to connect current world and local issues with our artform, through thought-provoking, imaginative treatments of old and new works. Our next project is the inaugural Nagambie Lakes Opera Festival from October 9 - 11, 2015

www.gertrudeopera.com.au

Gertrude Opera - The Opera Studio Melbourne

Artistic DirectorLinda Thompson

Board - Committee of ManagementBill Gillies (Chair)

Lindy Golding (Deputy Chair)

Nick Catton (Treasurer)

Will Fowles

Helen Noonan

Music TeamDr David KramPam ChristieIrina Cherkasski

Production Manager - Chief Volunteer Matthew Nash

Administration Teresa Duddy Lilly Myer Michelle Parker (Volunteer)

Robert Taylor

Jeremy Vincent

Anton Dunhill

Stephanie Re

Linda Thompson

The Opera Studio Melbourne is a not-for-profit organisation, providing post-tertiary performance training for a select group of young operatic artists. We exist through philanthropy, generosity and inkind support of our Donors, Supporters, Guest Artists and Friends. Donations over $2 are tax-deductible. Your contribution to our work is much appreciated, and makes a meaningful and lasting impact on the future of opera.

2015 Professional Guest Artists

CURLEW RIVER is a distressing, devastating piece. Our second Culture Project, aiming to connect our sometimes maligned art-form to social issues of our time, we take a religious music drama written in 1964, which was loosely based on a medieval Japanese Noh play, and use it as a piece of opera-theatre – to hold a mirror on a hypocritical, selfish society. Our ‘mob’ take advantage and macabre interest in finding spiritual solace or healing from places and events enshrined in tragedy, and feel a divine right to exclude someone whose behavior is at odds with theirs; someone who, unbeknownst to them, has a legitimate connection to that place and/or person. Engaging in rituals and ceremonies that affirm a sense of entitlement to a piece of land or, in this case, the grave of a child whose legend has rendered him, an ordinary boy, as saintly, to the exclusion of those who don’t fit the mold.

I was initially attracted to this piece by the peculiar sound of a male (a tenor) singing the particularly female story of a mother losing her child. I wondered if the piece might be more appealing to an audience not familiar with Britten’s work, or with opera, if they were not asked to suspend their disbelief to that extent, seeing a man sing a woman’s role. Through reworking in a more naturalistic fashion, with modern references and some theatrical updating, might we encourage an intensified emotional connection to surface, freed from the acclaimed and accepted artifice of the original, particularly by bucking the prevailing convention of using an all-male troupe, and the standard stylized production?

Britten’s vocal language in Curlew River is a mixture of challenging, alienating and heartbreaking; the sparseness and Eastern timbre of the orchestration effective and haunting. In taking and treating the piece for our Culture Project, we have re-envisaged for a troupe of males and females, relishing inventiveness required to combine the artistic forces Gertrude Opera has at hand.

Central to our treatment is emotional reactions to the ill- treatment of the outsider (a common Britten theme), the emotional disturbance wrought by the sudden disappearance and subsequent death of a child, and the role of unabashed voyeurism in society, the quest for a collective ritual that will purge the believer of his or her sins, troubles, oddities, feelings. The part of our society that craves spiritual enlightment or feelings of

From the Artistic DirectorGertrude Opera CULTURE PROJECT2016 CURLEW RIVER Benjamin Britten

Gertrude Opera Young Artist, mezzo soprano Agathe de Coucy, as the Mad Woman.

connectedness by laying teddy-bears and bunches of flowers by roadside sites of a stranger’s death. We enter a world where the overlapping of concepts of group belonging, leaders, puppet-masters, religion, tour groups, cults all encourage the exclusion of people whom they judge to be behaving strangely and unworthily. As a society, or a group, we require some ritualistic form of conversion by them, in order that they be granted the right to belong.

It is a harrowing, tragic story, eight years in the making for Britten and his librettist. The original play Sumidagawa has no Christian or religious salvation and redemption; there is a token and ultimately fruitless prayer to Buddha, and the ending is is predictably unhappy. Interestingly, there was no Christian redemption in William Plomer’s first draft libretto. Although Britten wrote music heavenly enough to suggest that the world’s ills, including madness, grief and disenfranchisement, might be cured through believing in angels and promises of meeting in an afterlife, and notwithstanding that together in their final version Plomer and Britten suggest that arbitrary cruelty might be made bearable through divine grace, that is not how the piece has revealed itself to us; rather we find we have arrived at a bleaker, more tragic conclusion.

As a project dear to my heart, I am particularly grateful to our Culture Project Partners, the Andy Inc Foundation, Staging Rentals & Construction Services, and Forest Collective, as well as Peter Corrigan, Greg Carroll and Matthew Nash. There are many more people who contirubted to make this project happen: Board members, donors, volunteers and friends, family and artistic, creative and production personnel who gave more than one might expect. Opera is truly a team effort.

CURLEW RIVER Benjamin BrittenThese performances of Curlew River by Benjamin Britten are given by permission of Hal Leonard Australia Pty Ltd, exclusive agents for Faber Music Ltd of London

CREATIVE TEAMArtistic & Stage Director Linda Thompson Music Preparation Dr David Kram Pam Christie Irina CherkassiSet & Costume Designer Peter Corrigan Wardrobe Amelia CarrollLighting Design Greg Carroll Lighting Operator Sarah HallProjection Engineer Olaf MeyerVideo footage Greg Carroll, Matt Nash, Greta Nash

“Is she to pass her days, complaining of their bitter taste?”

Abbot, re: Mad Woman

PRODUCTION TEAMProduction/Stage Manager Matthew Nash Projection Engineer Olaf Meyer - Multi Media Events Pty LtdLighting Design Greg CarrollLighting Operator Sarah HallWardrobe Amelia CarrollStaging Staging Rentals & Construction Services

RMIT Architecture Students - Bump In Crew Mi Hao Chua Audrey Shaw Benjamin Chi Agatha Partyka Monique BanksPhil Chang Xavier Scanlon Mario Shaaya Renee Soulibe Alice Francis

MUSIC PARTNERS - FOREST COLLECTIVEArtistic Director Evan LawsonOperations Georgia RoyesFlute Kim TanViola Anthony ChatawayDouble Bass Ken HarrisFrench Horn Phoebe SmithiesHarp Jacinta DennettPercussion Evan LawsonOrgan Pam Christie (Gertrude Opera)

Alissa Andraski

Kimberley Colman

Piera Dennerstein

Alexandra Lidgerwood

Lisa Parker

Michelle McCarthy

Samuel Thomas-Holland

Khary Wilson

CASTMad Woman Agathe de Courcy

Leader (Abbot) Belinda Prakhoff

Ferry Man Adrian McEniery

Traveller Owain Browne

Child Tamzyn Alexander

Ensemble

“I will not take you on my Ferry Boat, unless you entertain us, with your singing! Show us what you can do...Mad Woman, Sing!”

Ferry Man to Mad Woman

Gertrude Opera CULTURE PROJECT2016 CURLEW RIVER Benjamin Britten

Alissa Andraski

Kimberley Colman

Piera Dennerstein

Alexandra Lidgerwood

Lisa Parker

Michelle McCarthy

Samuel Thomas-Holland

Khary Wilson

CASTMad Woman Agathe de Courcy

Leader (Abbot) Belinda Prakhoff

Ferry Man Adrian McEniery

Traveller Owain Browne

Child Tamzyn Alexander

Ensemble

“I will not take you on my Ferry Boat, unless you entertain us, with your singing! Show us what you can do...Mad Woman, Sing!”

Ferry Man to Mad Woman


Director

Now in her seventh year as Artistic Director of The Opera Studio Melbourne - Gertrude Opera, Linda Thompson has produced more than 120 performances of opera, with limited resources, and resounding success. A culmination of vast expertise and experience at the highest level, as a performer, academic, teacher and producer, Linda’s bold artistic vision and leadership over the past six years has begun to take a foothold in the fabric of operatic artistic practice internationally, and here in Melbourne. For more than ten years, Linda has given musical and theatrical treatments to works by Handel, Rossini, Massenet, Mozart, Tchaikovsky, Offenbach, Menotti, Britten, and Ned Rorem, in order to maximise appeal and create emotional impact and make connections within our own cultural context through opera, and provide access to professional standards, etiquette, ideas and practices for highly trained, post-tertiary level, young artists.

Linda Thompson won many prestigious prizes and awards including the Herald Sun Aria, Lady Galleghan Award, Dame Mabel Brooks Fellowship, Australian Singing Competition Mathy Awards and the Australian regional final of Metropolitan Opera Auditions. Linda was principal soprano with Barrie Kosky’s Treason of Images in Melbourne for two years. After study in the UK, Italy and Germany, she joined the Young Artist Programs of Victoria State Opera and The Australian Opera. Linda performed principal roles with The Australian Opera, Victoria State Opera and State Opera of South Australia, and has performed concerts and recitals in London, Holland and Italy. Recordings include: Opera Australia/Larry Sitsky The Golem on ABC Classics, Repose – Lullabies and Cradle Songs by Australian Composers (2000) and Songs for Voice and Violin (2007). Linda created the role of Claire Clairmont in Richard Meale’s Mer de Glace, and features as principal soprano on the Opera Australia recording of the world premiere of Larry Sitsky’s The Golem. From 2001-2008 Linda was Head of Voice at Monash University.

In 2013, Linda covered the role of Sieglinde in Die Walkure for Opera Australia, and in 2014, sang the role of Leonora in Il Trovatore, and Magda in Menotti’s The Consul. In 2014, she directed Mozart’s The Magic Flute at The Athenaeum Theatre. A desire to connect excellent opera with a broad, diverse audience remains a driving force. Later in 2015, Linda will present the inaugural NAGAMBIE LAKES OPERA FESTIVAL incorporating a Young Artist training program and an array of professional guest artists, productions and events across three venues and in one weekend.

Creative Team

LINDA THOMPSON

Architect, set and costume designer Peter Corrigan is well known for designing RMIT’s Building 8 - a campus landmark and city icon. Regarded as one of the most outstanding postmodern buildings in Melbourne today, Building 8 combines the bold vision and whimsical style that is Corrigan’s trademark. Dr Peter Corrigan is an RMIT Architecture Professor and RAIA Gold Medal winning architect which is the highest national architectural award. His architectural practice Edmond and Corrigan with Maggie Edmond is widely published and awarded with notable projects that include the Athan House and RMIT Building 8, which won the RAIA Walter Burley Griffin National Award for Urban Design, 1995. The architect has also brought his vision to the set and costume designs for many prestigious productions of ballet, drama and opera including The Grand Macabre for Barrie Kosky at the Komische Oper House Berlin in 2005 and the opera Falstaff directed by Tama Matheson, staged at Oper Graz, Austria in January 2013. In March 2013 Peter was announced the winner of the prestigious National AIA Neville Quarry Architectural Education Prize which recognises an outstanding contribution in architectural education in teaching, research, leadership and community service.

Peter has delighted theatre patrons and critics, both throughout Australia and overseas, who continue to discuss the merits and motifs of each production long after the final curtain has come down. He has received Green Room Awards for Es Brent, 1992 and for Levad, 1993. He is entered in Allgemeines Kunstlerlexikon (K.G. Saur Publishers, Leipzig, 1999, Vol. 21, p. 234-235) the international artist-reference published as ‘the world’s major source of information on artists of all periods, regions, and cultures’. He designed sets and costumes for productions for Hoopla Productions, OA, the APG, MTC, Last Laugh Theatre Restaurant, Playbox Theatre, Anthill, Going Through Stages, Nightshift, VSO, SATC, Queensland Lyric, Gligil Theatre Company (Theatre of Principle), Belvoir Street Theatre, STC and The Bell Shakespeare Company. With Barrie Kosky, he has designed Belshazzar, The Exile Trilogy, The Oreseia, Oedipus Rex, The Wilderness Room, Nabucco, Tartuffe, Mourning Becomes Electra, King Lear, and Wozzeck.

This is Peter’s second set and costume design for Gertrude Opera, following the success of THE CONSUL in 2014.

Designer

PETER CORRIGAN


Director

Now in her seventh year as Artistic Director of The Opera Studio Melbourne - Gertrude Opera, Linda Thompson has produced more than 120 performances of opera, with limited resources, and resounding success. A culmination of vast expertise and experience at the highest level, as a performer, academic, teacher and producer, Linda’s bold artistic vision and leadership over the past six years has begun to take a foothold in the fabric of operatic artistic practice internationally, and here in Melbourne. For more than ten years, Linda has given musical and theatrical treatments to works by Handel, Rossini, Massenet, Mozart, Tchaikovsky, Offenbach, Menotti, Britten, and Ned Rorem, in order to maximise appeal and create emotional impact and make connections within our own cultural context through opera, and provide access to professional standards, etiquette, ideas and practices for highly trained, post-tertiary level, young artists.

Linda Thompson won many prestigious prizes and awards including the Herald Sun Aria, Lady Galleghan Award, Dame Mabel Brooks Fellowship, Australian Singing Competition Mathy Awards and the Australian regional final of Metropolitan Opera Auditions. Linda was principal soprano with Barrie Kosky’s Treason of Images in Melbourne for two years. After study in the UK, Italy and Germany, she joined the Young Artist Programs of Victoria State Opera and The Australian Opera. Linda performed principal roles with The Australian Opera, Victoria State Opera and State Opera of South Australia, and has performed concerts and recitals in London, Holland and Italy. Recordings include: Opera Australia/Larry Sitsky The Golem on ABC Classics, Repose – Lullabies and Cradle Songs by Australian Composers (2000) and Songs for Voice and Violin (2007). Linda created the role of Claire Clairmont in Richard Meale’s Mer de Glace, and features as principal soprano on the Opera Australia recording of the world premiere of Larry Sitsky’s The Golem. From 2001-2008 Linda was Head of Voice at Monash University.

In 2013, Linda covered the role of Sieglinde in Die Walkure for Opera Australia, and in 2014, sang the role of Leonora in Il Trovatore, and Magda in Menotti’s The Consul. In 2014, she directed Mozart’s The Magic Flute at The Athenaeum Theatre. A desire to connect excellent opera with a broad, diverse audience remains a driving force. Later in 2015, Linda will present the inaugural NAGAMBIE LAKES OPERA FESTIVAL incorporating a Young Artist training program and an array of professional guest artists, productions and events across three venues and in one weekend.

Creative Team

LINDA THOMPSON

Architect, set and costume designer Peter Corrigan is well known for designing RMIT’s Building 8 - a campus landmark and city icon. Regarded as one of the most outstanding postmodern buildings in Melbourne today, Building 8 combines the bold vision and whimsical style that is Corrigan’s trademark. Dr Peter Corrigan is an RMIT Architecture Professor and RAIA Gold Medal winning architect which is the highest national architectural award. His architectural practice Edmond and Corrigan with Maggie Edmond is widely published and awarded with notable projects that include the Athan House and RMIT Building 8, which won the RAIA Walter Burley Griffin National Award for Urban Design, 1995. The architect has also brought his vision to the set and costume designs for many prestigious productions of ballet, drama and opera including The Grand Macabre for Barrie Kosky at the Komische Oper House Berlin in 2005 and the opera Falstaff directed by Tama Matheson, staged at Oper Graz, Austria in January 2013. In March 2013 Peter was announced the winner of the prestigious National AIA Neville Quarry Architectural Education Prize which recognises an outstanding contribution in architectural education in teaching, research, leadership and community service.

Peter has delighted theatre patrons and critics, both throughout Australia and overseas, who continue to discuss the merits and motifs of each production long after the final curtain has come down. He has received Green Room Awards for Es Brent, 1992 and for Levad, 1993. He is entered in Allgemeines Kunstlerlexikon (K.G. Saur Publishers, Leipzig, 1999, Vol. 21, p. 234-235) the international artist-reference published as ‘the world’s major source of information on artists of all periods, regions, and cultures’. He designed sets and costumes for productions for Hoopla Productions, OA, the APG, MTC, Last Laugh Theatre Restaurant, Playbox Theatre, Anthill, Going Through Stages, Nightshift, VSO, SATC, Queensland Lyric, Gligil Theatre Company (Theatre of Principle), Belvoir Street Theatre, STC and The Bell Shakespeare Company. With Barrie Kosky, he has designed Belshazzar, The Exile Trilogy, The Oreseia, Oedipus Rex, The Wilderness Room, Nabucco, Tartuffe, Mourning Becomes Electra, King Lear, and Wozzeck.

This is Peter’s second set and costume design for Gertrude Opera, following the success of THE CONSUL in 2014.

Designer

PETER CORRIGAN


Greg Carroll has worked on over 250 stage, film and television productions. Recently Greg directed The Complete Works of William Shakespeare...Abridged for a national tour of Australia, Verdis’ opera Rigoletto for Melbourne Opera, Disney on Dry Ice for the Melbourne Comedy Festival, Squizzy, a cabaret by Barry Dickins and The Lover, an adaptation of the Duras novel. Greg was also the Australian and UK director of Puppetry of the Penis.

As a designer, Greg has many credits to his name. He has worked most recently on a number of theatre productions at Her Majesty’s Theatre in Melbourne; Madame Butterfly, The Magic Flute and The Pearl Fishers. Greg similarly completed a four-set design for The Great Exposition, commissioned for the Bicentennial Year and staged at the Museum of Victoria. Lighting design is another area of Greg’s expertise. Greg designed the lighting for Woyzchek at the CUB site, Up and Under for the Hull Truck Company, as well as for a range of companies and venues including the Universal, La Mama, Gasworks, the Courthouse, and with Barry Kosky for his Gilgul productions.

Greg designed the lighting for THE CONSUL for Gertrude Opera in 2014.

Lighting Designer

Evan Lawson is a composer and conductor, and Artistic Director of Forest Collective. Evan completed his Bachelor of Music Performance (Hons.) at the Victorian College of the Arts in 2010 under Johanna Selleck (composition), Dr. David Kram and Benjamin Northey (conducting).

Evan is currently studying a Masters of Music Research, Conducting at the Melbourne Conservatorium of Music with the assistance of an Australian Postgraduate Award, under the guidance of Benjamin Northey. He was a developing artist with Malthouse Theatre through the Besen Family Artist Program under the mentorship of David Chisholm in 2014. Evan has studied internationally with Denise Ham (Blackheath Conservatoirum, London ) and David Aronson (WienerStaatsoper) and is currently composer-in-residence at Billila Mansion.

Since 2009 Evan has been Artistic Director of Forest Collective, a cross-arts collective that has gone on to a wide variety of performances including the Metropolis New Music Festival, Melbourne Recital Centre, La Mama Theatre, National Gallery of Victoria, Melbourne Fringe and Abbotsford Convent.

Forest Collective


GREG CARROLL EVAN LAWSON

DR DAVID KRAMMusic Preparation

PAM CHRISTIEChief Repetiteur - Curlew River

Dr David Kram is an Australian conductor, lecturer, arts manager and pianist. He is General Direc-tor of More Than Opera, Musical Director of the Melbourne Chamber Choir and Senior Fellow, the University of Melbourne and founder of the German Australian Opera Grant, which provides a contract for a young singer at the Hessisches Staatssteater in Wiesbaden.

David’s work in preparing our singers and assistance with making adjustments to the score have been in-valuable. David is a much appreciated member of the music team at Gertrude Opera, and an extraordinary mentor and resource for our Young Artists.

Repetiteur, Accompanist Pamela Christie is a graduate of the University of Melbourne, and also trained in Russia She is a repetiteur for Opera Australia Schools Touring company, currently performing Hansel and Gretel. Pam is also in demand as a freelance pianist, playing for recitals, cabarets, concerts and productions.

IRINA CHERKASSKI Repetiteur, Accompanist

Born in Russia, Irina was principal repetiteur at NZ Opera for six years, and played for Auckland Phil, NZ Opera Summer School, VCA & Monash University. Irina is also a highly respected piano teacher and professional accompanist.

CastMad Woman

BELINDA PRAKHOFFMelbourne-based mezzo-soprano Belinda Paterson Prakhoff holds a Master of Music Performance from the Victorian College of the Arts, as well as Honours degrees in Philosophy and in Music from the University of Adelaide. She recently submitted her PhD in Philosophy (Philosophy of Music) at The University of Melbourne. Inclusive of Belinda’s performance roles are Vittoria in The Gondoliers and Orphan in Der Rosenkavalier for Opera Australia; Jody the Juggler in Sid the Serpent and Hansel in Hansel and Gretel for the Ozopera Schools Company; Madame Haughty (Cinderella) for Gertrude Opera; Siebel (Faust), Suzuki (Madama Butterfly), Rosina (The Barber of Seville), Mercedes (Carmen), Zulma (The Italian Girl in Algiers) and Cherubino (The Marriage of Figaro) for Melbourne Opera; Lucretia (The Rape of Lucretia) for Melbourne Lyric Opera; and Hermia (Midsummer Night’s Dream), Suzuki, Third Lady and Mercedes for Co*Opera Adelaide. Belinda has additionally performed in gala concert performances for Victorian Opera and as a soloist with the Melbourne Symphony Orchestra. Belinda has appeared regularly with the Opera Australia Melbourne Extra Chorus, the Victorian Opera Chorus and is a past member of the State Opera of South Australia’s chorus. Recent highlights include Victorian Opera’s Nixon in China and touring Don Pasquale to Tokyo with Opera Australia. In 2014, Belinda performed the role of the Secretary in Gertrude Opera’s first Culture Project production of Menotti’s THE CONSUL.

Leader (Abbot)

ADRIAN MCENIERYAdrian McEniery is a graduate of the Queensland Conservatorium of Music. He has been a member of the Young Artist Program at Victoria State Opera, where he appeared in the title role of Faustand as Don Ottavio in Don Giovanni. Adrian has been a regular principal artist for Opera Australia, in roles including Edmondo in Manon Lescaut, Pang in Turandot, Andres in Berg’s Wozzeck, The Ma-jor-Domo in Der Rosenkavalier and Gregor in The Makropulos Affair. He has also appeared for West Australian Opera in the suite of tenor roles Nathanaël, Andrès, Cochenille, Frantz and Pitichinaccio (The Tales of Hoffmann), and for Opera Queensland as Goro in Madama Butterfly, The Beadle in Sweeney Todd, in the title role of Mozart’s Lucio Silla, and, for OzOpera, as The Duke and Borsa in Rigoletto and as Tom Rakewell in The Rake’s Progress. For Victorian Opera he has appeared as The First Soldier in The Coronation of Poppea and The Dancing Master inAriadne auf Naxos. Concert engagements have included Britten’s Serenade for Tenor, Horn and Strings with the Scottish Cham-ber Orchestra, Messiah with the Queensland and Adelaide Symphony Orchestras, Messiah and The Evangelist in Bach’s St John Passion with Sydney Philharmonia Choirs, and Ned Rorem’s Evidence of Things Not Seen in the 2004 Melbourne International Arts Festival. Adrian appeared as Delfa in Giasone (2013) for Pinchgut and Assan in THE CONSUL for Gertrude Opera in 2014.

Ferry Man

OWAIN BROWNE

Gertrude Opera Young Artist Owain Browne studied at Cambridge University, the Royal Scottish Academy of Music and Drama and the Royal Welsh College, and in 2014 at the Flanders Opera Studio in Ghent. As well as working in opera, Owain has worked extensively as an oratorio soloist and chorister and has appeared as a soloist at Snape Maltings, St David’s Hall in Cardiff, and in 2010 made his debut at the BBC Proms in the Royal Albert Hall.

Traveller

AGATHE DE COURCYAgathe joined Gertrude Opera - The Opera Studio Performance Program in March this year. Born and educated in Paris, after a degree in history and an MA in cultural mediation at the Sorbonne, Agathe de Courcy joined Radio France (France Musique). Between 2010 and 2012 she recorded for the project SING, PLAY, LISTEN for the Educational Service. In summer 2013, she participated in the National Opera Studio workshop in London, led by Kathryn Harris, Mark Shanahan and Della Jones.. Combining drama and opera, Agathe has interpreted a succession of roles in various operas and musical pieces: including Apollo and Hyacinthus by Mozart (the role of Apollo, My Oriane Bauvert, 2012) Musical show writing with Arièle Butaux performing the role of the singer Pauline Viardot. Agathe de Courcy collaborates with the collective PAPRIKA. Since 2012, she has performed in many shows: Pots and trifles, Curlers Rumba (Théâtre du Châtelet), Caravan Ghost (Théâtre du Châtelet) Gorgon’s Blues. In April 2015 she joined The Opera Studio of Melbourne in Australia and makes her Australian debut playing the role of “Madewoman” in Curlew River by Benjamin Britten, and will sing the comic role of Marianne in Gertrude Opera’s production of ‘Guido’s Cat’ (Offenbach) for the Nagambie Lakes Opera Festival in October.

Gertrude Opera CULTURE PROJECT2016 CURLEW RIVER Benjamin Britten Young Artists

ALISSA ANDRASKI sopranoBorn in Wausau, Wisconsin. Alissa’s classical voice training began at the Interlochen Arts Acad-emy, located in Michigan. Alissa holds a bachelors degree in Vocal Performance from Chicago College of Performing Arts and Florence University of the Arts/Istituto Europeo in Florence, Italy. After graduating in 2009, she moved to Germany to study voice and the German lan-guage. Whilst abroad she resided and performed in Munich, Baden-Baden, and Karlsruhe Ger-many in addition to Bregenz, Austria. Alissa has also performed in both operas and concerts in the US, Italy, Switzerland, and Holland. She was a 2013 scholarship winner of the Chicago Italian Cultural Center’s Young Artist Vocal competition. 2014 marked Alissa’s first experience living and performing in Australia and she is loving every minute of it! In 2014, Alissa sang the roles of Anna Gomez in THE CONSUL and Papagena in THE MAGIC FLUTE. Alissa’s participation is supported by a Van Straten-Turley Foundation Fesllowship.

ALEXANDRA LIDGERWOOD sopranoDespite being born into a musical family, a career in opera was not always Alexandra’s first career choice; and a long flirtation with tennis in her early years was very tempting. However, a production of “The Merry Widow” changed all that when she was 14 years old, and it has been music ever since! Graduating from the University of Melbourne’s Conservatorium in 2012, she spent the majority of last year travelling in Europe, spending a month in Rome, where she attended the ‘Leonardo Da Vinci School of Language’ to further hone her Italian language skills. She has regularly performed as a soloist, including the McCauley Foundation’s annual “Carols at the Convent” as well as Denis Walter’s “Carols by the Bay” in Geelong. In 2014, Alexandra sang the role of Silly Goat in Figatroll, Anna Gomez in THE CONSUL, and Second Spirit and cover of Pamina in THE MAGIC FLUTE. Alexandra is the recipient of the 2015 Chairman’s Fellowship.

TAMZYN ALEXANDER sopranoCompleted her double degree from Australian Catholic University in 2013 (ACU) majoring in Music Performance, with a minor in Drama. In 2012 she won 2nd place in the Gippsland Eisted-ford in the Light Operetta section, and received awards in the Greensborough Eisteddfod in the Light Operetta and Aria sections. In 2013, she also sang in Opera in the Market, and completed her Eighth Grade AMEB Singing exam, receiving a High Distinction. 2014 is her first full year performing with The Opera Studio in the Foundation Program; Tamzyn undertook the Chorus Short Course in the 2013 production of Massenet’s Cinderella at Her Majesty’s, in which she was cast as the Green Spirit. In 2014, Tamzyn sang the role of Vera Boronel in THE CONSUL, Milly Goat in Figatroll, and First Spirit in THE MAGIC FLUTE.

Boy Spirit

MICHELLE MCCARTHY sopranoA graduate of the University of Melbourne, Michelle last year performed the title role in Rossini’s Cinderella on tour for Opera Australia’s Schools Company. She has performed as an oratorio soloist for Melbourne University choir and the Melbourne Bach Choir, and has won various awards and prizes in singing competitions. In July - August 2015 she will study in Graz, Austria. Her voice teacher is Anna Connolly.

Michelle McCarthy is the 2015 recipient of the prestigious Gertrude Johnson Fellowship.

KIMBERLEY COLMAN soprano

Kimberley Colman has degreees in Classical Voice, History and Arts from the University of Melbourne.She also has a certificate II in Dance. She was a member of the Opera Scholars Australian program, and has performed in many concerts, as well as competions and Eisteddfords.

Kimberley is a student of Anna Connolly. Her participation in The Opera Studio Melbourne performance program is assisted by a Henkell Family Fund Fellowship.


Young Artists

ALISSA ANDRASKI sopranoBorn in Wausau, Wisconsin. Alissa’s classical voice training began at the Interlochen Arts Acad-emy, located in Michigan. Alissa holds a bachelors degree in Vocal Performance from Chicago College of Performing Arts and Florence University of the Arts/Istituto Europeo in Florence, Italy. After graduating in 2009, she moved to Germany to study voice and the German lan-guage. Whilst abroad she resided and performed in Munich, Baden-Baden, and Karlsruhe Ger-many in addition to Bregenz, Austria. Alissa has also performed in both operas and concerts in the US, Italy, Switzerland, and Holland. She was a 2013 scholarship winner of the Chicago Italian Cultural Center’s Young Artist Vocal competition. 2014 marked Alissa’s first experience living and performing in Australia and she is loving every minute of it! In 2014, Alissa sang the roles of Anna Gomez in THE CONSUL and Papagena in THE MAGIC FLUTE. Alissa’s participation is supported by a Van Straten-Turley Foundation Fesllowship.

ALEXANDRA LIDGERWOOD sopranoDespite being born into a musical family, a career in opera was not always Alexandra’s first career choice; and a long flirtation with tennis in her early years was very tempting. However, a production of “The Merry Widow” changed all that when she was 14 years old, and it has been music ever since! Graduating from the University of Melbourne’s Conservatorium in 2012, she spent the majority of last year travelling in Europe, spending a month in Rome, where she attended the ‘Leonardo Da Vinci School of Language’ to further hone her Italian language skills. She has regularly performed as a soloist, including the McCauley Foundation’s annual “Carols at the Convent” as well as Denis Walter’s “Carols by the Bay” in Geelong. In 2014, Alexandra sang the role of Silly Goat in Figatroll, Anna Gomez in THE CONSUL, and Second Spirit and cover of Pamina in THE MAGIC FLUTE. Alexandra is the recipient of the 2015 Chairman’s Fellowship.

TAMZYN ALEXANDER sopranoCompleted her double degree from Australian Catholic University in 2013 (ACU) majoring in Music Performance, with a minor in Drama. In 2012 she won 2nd place in the Gippsland Eisted-ford in the Light Operetta section, and received awards in the Greensborough Eisteddfod in the Light Operetta and Aria sections. In 2013, she also sang in Opera in the Market, and completed her Eighth Grade AMEB Singing exam, receiving a High Distinction. 2014 is her first full year performing with The Opera Studio in the Foundation Program; Tamzyn undertook the Chorus Short Course in the 2013 production of Massenet’s Cinderella at Her Majesty’s, in which she was cast as the Green Spirit. In 2014, Tamzyn sang the role of Vera Boronel in THE CONSUL, Milly Goat in Figatroll, and First Spirit in THE MAGIC FLUTE.

Boy Spirit

MICHELLE MCCARTHY sopranoA graduate of the University of Melbourne, Michelle last year performed the title role in Rossini’s Cinderella on tour for Opera Australia’s Schools Company. She has performed as an oratorio soloist for Melbourne University choir and the Melbourne Bach Choir, and has won various awards and prizes in singing competitions. In July - August 2015 she will study in Graz, Austria. Her voice teacher is Anna Connolly.

Michelle McCarthy is the 2015 recipient of the prestigious Gertrude Johnson Fellowship.

KIMBERLEY COLMAN soprano

Kimberley Colman has degreees in Classical Voice, History and Arts from the University of Melbourne.She also has a certificate II in Dance. She was a member of the Opera Scholars Australian program, and has performed in many concerts, as well as competions and Eisteddfords.

Kimberley is a student of Anna Connolly. Her participation in The Opera Studio Melbourne performance program is assisted by a Henkell Family Fund Fellowship.


SAMUEL THOMAS-HOLLAND baritone

Samuel was born in Darwin, and studied at the Western Australian Academy of Perform-ing Arts. He has performed with the Western Australia Symphony Orchestra chorus, and joined the chorus of Western Australian Opera in 2010. In 2012, Samuel began study at the Queensland Conservatorium, studying with Margaret Schindler. He most recently per-formed the role of Dancairo in New England Opera’s production of Carmen.

Samuel’s participation in The Opera Studio Melbourne performance program is supported by a Henkell Family Fellowship.

PIERA DENNERSTEIN sopranoPiera has a Bachelor of Music and Arts from Monash University. She trained as an actor at the National Theatre Drama School in St Kilda for four years. In 2012, she sang the role of Casilda in Gilbert and Sullivan’s The Gondoliers for the Savoy Opera Company, followed by Aline in The Sorcerer in 2013.Piera was the recipient of 4 Dean’s recognition awards for outstanding results at Univeristy. She has won prizes and awards in compeitions and Eistedfods. She has performed in many choral concerts for Victorian Youth Opera, Melbourne Symphony Orchestra Chorus, Monash Un-versity Singers, Australian Music Events, Melbourne Opera Company and the Australian Girls’ Choir. Piera’s participation in The Opera Studio Melbourne performance program is supported

KHARY WILSON tenorKhary Wilson is from Atlanta, Georgia USA, and studied opera at Louisiana State University. He has performed Nelson in Porgy and Bess for New Orleans Opera, Rmandado and Scwertliede for Opera Theater Pittsburgh, Ferrando in Cosi fan tutte for Peach State Opera, and partici-pated in the Harrower Opera Workshop. Most recently he sang the role of Brighella in Ariadne auf Naxos for Opera Theater Pittsburgh. Khary has performed in musicals and oratorios, and will sing the role of Guido in Gertrude Opera’s production of Guido’s Cat (Offenbach) for the Nagambie Lakes Opera Festival.

Khary’s participation is assisted by a Fellowship from the Henkell Family Fund, and his accom-modation host, Friend of The Opera Studio, Stee Cordelia.

LISA PARKER soprano

Lisa is a graduate of Monash University, majoring in arts: music and Italian. She was a chorus member for Melbourne Opera’s performance of Wagner’s Rienzi as part of the Ring Festival in 2013. She was a Novice and Lay Sister in Puccini’s Suor Angelica for Monash University’s Chamber Music program, and sang the role of Glinda in St Andrews Theatre Company’s production of The Wiz.

Lisa’s singing teacher is one of our guest principal artists for Curlew River, Mr Adrian McEniery.


ALEXANDRA IOAN soprano

(Not performing in Curlew River)Alexandra performed Pamina in Gertrude Opera’s production of The Magic Flute at The Athenaeum Theatre in November 2014. She is currently pursuing a PhD at the Unvier-sity of Melbourne, and will sing the role of Minerval in ‘Guido’s Cat’ (Offenbach) at the Nagambie Leakes Opera Festival in October.

Alexandra’s participation is supported by a Fellowship from the Alice Amy McDonald Trust.

Peter CorriganGreg CarrollOlaf MeyerSarah HallLyz Turner-ClarkPhilip Carmody

Robert TaylorMatthew NashGreta NashDr Nancy GilliesStee CordeliaPam Christie

Jeremy VincentTeresa DuddyAmelia CarrollLilly MyerDr David KramAnton Hasell, Bell Maker

Henkell Family Fund Urquhart Charitable Fund Gertrude Johnson Estate Bell Charitable Fund Alice Amy McDonald Trust Andy Inc Foundation

Van Straten-Turley Family Foundation Opus 50 Charitable Trust Mr Bill Gillies Dr David & Margaret Young Nance Grant AM MBE

Tom & Ruth O’Dea Dr Paul & Sue Nisselle

Circle of Donors

Friends of The Opera Studio Melbourne

Venue Partners

Culture ProjectCharity Partner

Major Supporters 2015


Project Partners

Sincere thanks for Culture Project support, above and beyond:Bill GilliesColin DoleyWill LarsenRMIT CrewTeam atfortyfivedownstairs

Birds of the Fenland, though you float or fly,Wild birds, I cannot understand your cry.Tell me, does the one I loveIn this world, still live?

www.gertrudeopera.com.au

curlew a5 program

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