HEROIC BEL CANTO

VICTORIAN OPERA PRESENTS

HEROIC BEL CANTOCONCERT WITH ORCHESTRA

14 JULY 2019Arts Centre Melbourne, Hamer Hall

Approximate timings

Part one: 1 hourInterval: 20 minutes

Part two: 1 hour

Composers Vincenzo Bellini, Gaetano Donizetti and Gioachino Rossini

Conductor Richard Mills AMDirector Elizabeth Hill-Cooper

Jessica Pratt sopranoDaniela Barcellona mezzo-soprano

Carlos E. Bárcenas tenor

Kathryn Radcliffe sopranoShakira Dugan mezzo-soprano

Nathan Lay baritoneStephen Marsh baritone

Samuel Piper baritoneRaphael Wong baritone

Matthew Thomas bass-baritone

Orchestra Victoria

Concertmaster Yi WangProduction Manager Peter Darby

Stage Manager Emma Wenlock-Bolt Principal Repetiteur Phoebe Briggs

Repetiteur Phillipa Safey

Jessica Pratt Photo: Alessandro Moggi

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ORCHESTRA WELCOMEWelcome to Victorian Opera’s bel canto excursion for 2019. The ideals and techniques of this vocal repertoire are at the core of our practice at Victorian Opera, and are indicative of the value we place on singing and the poetry of performance.

The first part of our concert focuses on the prodigious genius of Rossini, with three operas which frame his working life as a composer; the early Ciro in Babilonia (1812) to Semiramide (1823) – also set in Babylon – to Guillaume Tell (1829). These pieces demonstrate the heroic side of Rossini: his subject matter being historical and epic, with plots revolving around the conflicts of the public and the private worlds of the principal characters. The music is formally structured with phenomenal virtuosity in the vocal writing and a growing awareness of the possibilities of the orchestra – from the dazzling effects of the Overture to Semiramide to the horn and viola solo passages in the arias from Ciro.

The second part of our program shifts emphasis to Donizetti via Bellini. Here the modes of expression are more lyrical and personal, and the playfulness and humour of Rossini come to the fore in the excerpts from L’Italiana in Algeri and the finale from Le Comte Ory. The program also offers opportunities for our own team of younger singers to work alongside Jessica Pratt and Daniela Barcellona – two of the most important bel canto singers in the world today.

The selection of music also illustrates the richness of this tradition and its variety and interest. Certainly, titles like Ciro in Babilonia, Don Sebastiano and Le convenience ed inconvenience teatrale are probably Australian first performances – yet the music of these operas is wonderful with a consistently fine theatricality and lyric felicity.

It had to be, because the nineteenth century Italian opera industry was not all that different from the Hollywood movie industry of our own time – both being driven by the imperatives of direct engagement with the audience, and the need to delight, entertain and move them, all in a fiercely competitive environment.

For me, it is the generous spirit of this music, its implicit humanity, its implicit compassion and understanding of the human condition (life was generally shorter in those days remember) – all rendered through the power and artistry of the voice, which make it a treasure worth celebrating and preserving. Welcome and enjoy the concert.

RICHARD MILLS Artistic Director, Victorian Opera

CONCERTMASTERYi Wang*

DEPUTY CONCERTMASTERRoger Jonsson §

VIOLINPrincipal 1st ViolinYi WangPrincipal 2nd ViolinMonica NaselowAssociate Principal 1st ViolinTomomi BrennanAssociate Principal 1st ViolinErica KennedyRebecca AdlerBinny BaikAlyssa Conrau §Rachel GamerMatthew HassallRachael Hunt §Philip NixonJohn NobleChris RuiterLucy WarrenTony ZhaiZoe Freisberg +Edwina Kayser +Natalia Harvey +Miranda Matheson +Lynette Rayner +Lisa Reynolds +

VIOLASection PrincipalPaul McMillanAssociate PrincipalJason Bunn*Catherine Bishop §Nadine DelbridgeThomas Higham +Matthew Laing +

CELLOSection PrincipalMelissa ChominskyAssociate PrincipalDiane Froomes §Sarah CumingPhilippa GardnerTania Hardy-Smith Andrea Taylor §

DOUBLE BASSSection PrincipalStuart RileyAssociate PrincipalKylie Davies +Matthew Thorne §Giovanni Vinci +

FLUTESection PrincipalLisa-Maree AmosAssociate PrincipalKaren SchofieldPrincipal PiccoloSally Walker +

OBOESection PrincipalJoshua de Graaf*Principal Cor AnglaisDafydd Camp

CLARINETSection PrincipalPaul Champion §Associate PrincipalJustin BeereLloyd Van’t Hoff +

BASSOONSection PrincipalLucinda CranAssociate PrincipalMatthew Ockenden ≠Principal ContrabassoonTimothy Murray

HORNSection PrincipalJasen MoultonAnton Schroeder ++++Principal ThirdLinda HewettSydney Braunfeld §Rachel Shaw §Robert Shirley +Melanie Simpson +

TRUMPETSection PrincipalMark FitzpatrickAssociate PrincipalAnthony Pope §Jenna Smith +++

TROMBONESection PrincipalScott EvansAssociate PrincipalRobert Collins +Principal Bass TromboneBenjamin Anderson §Elijah Cornish ++

CIMBASSOKarina Filipi ++

TIMPANISection PrincipalGuy du Blêt

PERCUSSIONSection PrincipalMathew LevyAssociate PrincipalMatthew Brennan +

HARPSection PrincipalYuko Tomonaga +

* Acting§ On Leave+ Guest Musician++ Guest Principal+++ Guest Associate Principal++++ Guest Section Principal≠ Courtesy of Opera Australia Orchestra

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Daniela Barcellona Photo: Amati Bacciardi

MUSIC INDEXRossini, Semiramide - Overture

Rossini, Semiramide – ‘Eccomi alfine in Babilonia: Ah, quel giorno ognor rammento’ (Barcellona)

Rossini, Ciro in Babilonia - ‘Avrai tu pur vendetta’ (Bárcenas)

Rossini, Semiramide - ‘Bel raggio lusinghier’ (Pratt)

Rossini, Ciro in Babilonia - ‘Chi disprezza gl’infelici’ (Dugan)

Rossini, Guillaume Tell - ‘Asile héréditaire’ (Bárcenas)

Rossini, Semiramide - ‘Ebben ... a te; ferisci’ (Pratt and Barcellona)

– INTERVAL –

Bellini, Norma - Overture

Rossini, L’Italiana in Algeri - ‘Cruda sorte’ (Barcellona)

Rossini, L’Italiana in Algeri - ‘Ai capricci della sorte’ (Barcellona and Marsh)

Donizetti, Linda di Chamounix - ‘O luce di quest’ anima’ (Pratt)

Donizetti, Don Sebastiano - ‘Deserto in terra’ (Bárcenas)

Donizetti, La Favorite - ‘O mon Fernand’ (Barcellona)

Donizetti, Le convenienze ed inconvenienze teatrale - ‘Livorno, dieci Aprile’ (Radcliffe, Dugan, Piper, Marsh, Lay, Wong, Thomas)

Rossini, Le Comte Ory - Trio and Finale ‘A la faveur de cette nuit obscure’ (Pratt, Barcellona, Bárcenas, Radcliffe, Dugan, Piper, Marsh, Lay, Wong, Thomas)

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CARLOS E. BÁRCENAS Tenor

Colombian-born tenor holds a Bachelor of Music Performance and a Master of Music (Opera Performance) from the University of Melbourne. His roles have included Alexander (Il Re Pastore, Mozart) Michael (Pecan Summer, Cheetham), Tony (Masterclass by Terrence McNally 2018), Arnoldo (Guillaume Tell, Rossini), Elvino (La Sonnambula, Donizetti), Tebaldo (I Capuleti e I Montecchi, Bellini), Edgardo (Lucia di Lammermoor, Donizetti), Steuermann (The Flying Dutchman, Wagner), Third Squire (Parsifal, Wagner), Sir Bruno (I Puritani, Bellini), Flavio (Norma, Bellini), Gastone (La Traviata, Verdi), Saint Chavez (Four Saints in Three Acts, Thomson), Maese Pedro (Master Peter’s Puppet Show, de Falla) Prince April (Sleeping Beauty, Respighi). Carlos received a Green Room award for Steuermann (Flying Dutchman).

SHAKIRA DUGAN Mezzo-soprano

Shakira Dugan, mezzo soprano has established herself as a vibrant and gifted operatic performer. She is currently a Young Artist with Victorian Opera and Emerging Artist in the Richard Divall Emerging Artist Program with Melbourne Opera.

Shakira made her operatic debut with Victorian Opera playing the role of Hansel in Hansel and Gretel in 2017. In 2018, her roles included a reprise of Hansel in Hansel and Gretel, Watkin Wombat in The Magic Pudding – The Opera, William Tell, covered the role of Octavian in Der Rosenkavalier and recently made her international and role debut as Cherubino in Australian International Production’s Le Nozze di Figaro.

NATHAN LAY Baritone

Nathan completed his Bachelor of Music at the Melba Conservatorium of Music in 2008. He has won the National Liederfest, Australian Music Events’ Opera Scholar of the Year, the Royal Melbourne Philharmonic Aria, and placed 3rd in the Herald Sun Aria. Nathan also won the 2016 Australian International Opera Award, allowing him to study with acclaimed tenor Dennis O’Neill at the Wales International Academy of Voice whilst undertaking a Master of Arts in Advanced Vocal Studies. Nathan has performed with Opera Australia, Melbourne Opera, Sydney Chamber Opera, Royal Melbourne Philharmonic, TSO and extensively with Victorian Opera including their Developing Artist Program/Master of Music (Opera Performance) in conjunction with The University of Melbourne.

BIOGRAPHIES

RICHARD MILLS Conductor

Richard is one of Australia’s most prolific and internationally recognised composers. He pursues a diverse career as composer, conductor and artistic director, with an extensive discography of orchestral works including his own compositions. He has held numerous prestigious posts, and received many scholarships, fellowships and awards including an AM in 1999. Currently Artistic Director of Victorian Opera, he was previously Artistic Director of West Australian Opera 1997-2012, Director of the Australian Music Project for the Tasmanian Symphony Orchestra 2002-2008 and Musica Viva’s Composer of the Year in 2008. This year Richard conducts Victorian Opera’s Parsifal, The Barber of Seville and Heroic Bel Canto.

JESSICA PRATT Soprano

Since her debut in the title role of Donizetti’s Lucia di Lammermoor in 2007, Jessica Pratt has established herself as one of the world’s finest and most sought-after interpreters of bel canto repertoire. She has performed in 103 productions for 78 different organisations, in 70 cities over 12 countries, including seasons at La Scala, La Fenice, San Carlo, Covent Garden and The Met.

Jessica was awarded the prestigious international prize for coloratura sopranos La Siola d’Oro in 2013, the International Opera Award for Best Soprano of the Year in 2016, and was honoured with a signature dessert by her friend Maggie Beer, La Dolce Jessica.

Jessica performed an acclaimed solo recital at La Scala in May.

DANIELA BARCELLONA Mezzo-soprano

Daniela Barcellona was born in Trieste, Italy, where she completed her musical studies under the guidance of Alessandro Vitiello. After winning numerous prestigious international competitions including the Adriano Belli Award in Spoleto, Iris Adami Corradetti in Padua, and the Pavarotti International Voice Competition in Philadelphia, she made her debut in the title role of Tancredi at the Rossini Opera Festival in Pesaro in 1999, establishing herself as an interpreter of pants roles, which have brought her to the stages of the most prestigious opera houses worldwide. Winner of the Abbiati Prize, Barcellona also is a recipient of the Lucia Valentini-Terrani Award, the Aureliano Pertile Award, the International Opera Award, CD Classica, Rossini d’Oro, San Giusto d’Oro, Oscar della Lirica Award, and the Laurence Olivier Award.

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STEPHEN MARSH Baritone

Stephen made his professional debut in Victorian Opera’s Sleeping Beauty in 2017 and was a Developing Artist for the 2017-2018 seasons, performing both in regional tours and mainstage productions. Most recently Stephen performed as Second Grail Knight in Parsifal. Other roles include: The Woodcutter in Respighi’s Sleeping Beauty, Peter (Hansel and Gretel) and Shepherd/Doctor (Pelléas et Mélisande). Upcoming roles with the company include The Giant (The Selfish Giant) and Fiorello (Il barbiere di Siviglia).

Last year Stephen made his debut with the Tasmanian Symphony Orchestra in Gounod’s Roméo et Juliette. Stephen is also an inaugural member of Melbourne Opera’s Richard Divall Emerging Artist Program 2018/2019.

SAMUEL PIPER Baritone

Samuel Piper, baritone, is the 2019-2020 recipient of the Lord Mayor’s Young and Emerging Artist Fellowship, enabling him to realise a year-long study project in Treviso, Italy, from September 2019.

Samuel made his debut with Opera Queensland as Masetto (Don Giovanni) in a new production directed by Lindy Hume and conducted by Johannes Fritzsch in 2018.

Other recent engagements include: Mozart Airborne with Expressions Dance Company/Opera Queensland, Moralès (Carmen) for QSO, and as a soloist in Mendelssohn’s St Paul. He joined the chorus of Opera Australia in La bohème on the Harbour, Aida and Shostakovich’s The Nose, and Pinchgut Opera for Athalia.

KATHRYN RADCLIFFE Soprano

Winner of the 2014 Herald-Sun Aria, Melbourne-based soprano Kathryn Radcliffe has recently made several important débuts - Delia in Il viaggio a Reims for Opera Australia, The Queen in The Princess and the Pea for Victorian Opera and as Frasquita in Carmen for the Tasmanian Symphony.

In 2016, Kathryn worked for several months at the Vienna State Opera – covering a range of roles such as Pamina, Fiordiligi in Così fan tutte, Ortlinde in Die Walküre, Pousette in Manon, Echo in Ariadne auf Naxos and The High Priestess in Aida. She made her Vienna debut in a small role in The Cunning Little Vixen.

Kathryn appeared as the 1st Flower Maiden in Victorian Opera’s production of Parsifal in February, and will star as Berta in the company’s production of The Barber of Seville in November/December.BI

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MATTHEW THOMAS Bass-baritone

Matthew began his career with Opera Queensland’s schools company and has since gone on to sing or cover over thirty roles for companies including Opera Australia, Victorian Opera, Tokyo Experimental Opera, Melbourne Opera, Chambermade and the Lyric Opera of Melbourne.

His repertoire spans from the baroque to the contemporary and includes the Australian premieres of works by Peter Maxwell Davies and Gyorgy Ligeti.

He is an alumnus of Victorian Opera’s Developing Artist Program and has sung as a finalist in most of Australia’s major singing competitions.

On the concert platform, Matthew has appeared as a soloist with ensembles including Sydney Philharmonia, Canberra Symphony, the Melbourne Bach Choir and the Arcko Symphonic Project.

RAPHAEL WONG Baritone

Critics have described Raphael as having a voice of ‘superb heavyweight baritone resonance’ (Paul Selar, OperaChaser/Herald Sun), ‘with gorgeous legato phrasing and sweet unwavering tone’ (Simon Parris, Man in Chair).

A two-time finalist in the Herald Sun Aria, runner-up in the National Liederfest, and a Green Room Award nominee, Raphael has also performed in Germany, China, and the USA, as well as with many of Australia’s major opera companies.

2019 engagements include Schaunard, La Bohème (Opera in the Park, Stonnington); Louis, Sunday in the Park with George (Watch This); workshops and further performances with Victorian Opera, Lyric Opera and Opera Australia.

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IN DEPTHBel canto and tradition: From the past to the future

The essence of bel canto is Italian, but the precise meaning of the term is a little harder to define. The Oxford Dictionary of Opera says that it is:

‘The traditional Italian art of singing in which beautiful tone, fine legato phrasing and impeccable technique are emphasized, though not at the total expense of dramatic expression.’

These words convey some – but nowhere near all – of the truth about the particular term. To understand it better it is necessary to pinpoint its origins, which are to be found in the Italian madrigal of the 1520s. This genre was formed from the confluence of a variety of factors: the edition of Petrarch’s sonnets by Pietro Bembo (1501); the Italian Renaissance interest in Italian as a vernacular language; and the composers from France and the Netherlands who migrated to Italy and brought with them the contrapuntal ‘know-how’ of the Franco-Flemish tradition – as exemplified by masters such as Ockeghem, Obrecht, and Josquin des Près.

One such Flemish-trained composer, Adrian Willaert, became the first organist of St Marks in Venice in 1527

and established the glorious traditions of that building which made possible the great works of the Gabrielli family, first Andrea, and then his nephew, Giovanni, some years later. The hallmarks of this late Renaissance public ecclesiastical style, rhythmic energy, polyphonic exuberance, and dramatic expression were shared by the corresponding domestication of these gestures in the madrigal, and its associated genres: the frottola, the ballata, the canzonetta, and the mascherata. This ‘house’ or chamber music was disseminated via the Italian printing presses all over Europe – beginning with the first collection of madrigals by Jacques Arcadelt, published in 1539, and proceeding via the mid-1500s with the achievements of Cipriano da Rore and later exponents such as Alessandro Striggio, Andrea Gabrielli and Luca Marenzio, who preceded the unique genius of Carlo Gesualdo whose mannered and extreme chromaticism astonishes even today.

The dynamic relation of melody and text we find in this repertoire in an atmosphere of intimacy – as vocal chamber music – in which felicities

of vocal expression were shared and generated by the singers responding to each other in ensemble, introduces an element of performance energy which is so important for opera. These traditions of the polyphonic madrigal form part of the inheritance of Claudio Monteverdi – the first real opera composer.

Monteverdi wrote nine books of madrigals – which stylistically bridge the gap between the Renaissance and the Baroque. His fifth and sixth books of madrigals contain not only contrapuntal works but also pieces for solo voice and basso continuo – which exemplify the traditions of monody pioneered by the Florentine camerata, from the 1570s onwards. These focused on the declamation of text for single voice and accompaniment and were in turn inspired by the dramatic style of ancient Greece and inspired in turn the forerunners of Monteverdi, composers such as Caccini and Peri. All of these contrapuntal and monophonic traditions were present in the elaborate scenographic extravagances which were part of the wedding celebrations of Grand Duke Ferdinando de’ Medici and Christine of Lorraine in 1589. The event symbolised the wealth, power and cultural prestige of Florentine culture and the milieu in which the musical and

dramatic genius of Monteverdi could find the inspiration to produce the first real opera, L’Orfeo (1607).

Thus, the energies which animate the later evolution of bel canto are nascent in its origins. The seamless marriage of the Italian text to musical gesture, the devices of vocal rhetoric – accents, messa di voce (or ‘swells’), variety of articulation, ornamentation, portamento (‘gliding’ from one note to the other) and the sense of declamation and dramatic purpose in the vocal text are all essential ingredients of the bel canto style – from Monteverdi in 1607 and before to Donizetti in the nineteenth century and beyond. This vocal aesthetic, the marriage of text, harmony, melody, ornamental elaboration, and gesture, united in expressive purpose, prevailed through the seventeenth century. These traditions persisted until the late classical era, despite some reformation by the likes of Gluck, which were provoked in turn by a certain ossification found in the traditions of the Metastasian opera seria – a mannered style of opera in which formal convention triumphed over dramatic realism, and in which the ornamental vanities of singers often trumped the intentions of the composer.

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In the Mozartian canon, however, the ideals of bel canto were given a new manifestation through a new literature of genius. All the features of Baroque opera remain present; such as aria, recitative, duets, ensembles and ornamentation. – but realigned by a uniquely human creative force, which laid the foundations for the bel canto school of the nineteenth century found in Bellini, Spontini, Rossini, and Donizetti – and, subliminally, also in Wagner and Verdi.

What exactly are these ideals and how are they reflected in vocal techniques?

Well, I suppose the ideals can be easily summarised as beautiful singing at the expressive service of text, melodic gesture, and drama. These ideals are supported by a vocal technique that emphasises:

a) Breathing b) Resonance c) Vowel formation and attack d) Sustained tone e) Legato f) Portamento g) Messa di voce, or spianata di voce h) Agility

One of the earliest teachers of the later traditions of bel canto, Anna Maria Pellegrini Celoni (1777–1820) wished her students to achieve:

‘the voice sonorous, robust, spacious, elastic, obedient, and agile; capable, in sum, of any expression whatsoever, so that even in the midst of other voices and various instruments, it makes itself heard easily, and distinguished not by its hardness, as so often happens, but by the beauty of its formation.’

She inherited the schoolings of Tosi (1653–1752) who was the first to advocate on the uniting and blending of head and chest voices, and Mancini (1714 – 1800) – both castrati and the first to systematise vocal techniques of the bel canto style. Celoni’s methods were inherited by Manuel Garcia (1775–1832) and his son Manuel Patricio Garcia (1805–1906). Manuel Patricio had two sisters, Maria Malibran and Pauline Viardot. Malibran was a favourite of Rossini and enjoyed great success in operas by Bellini and Donizetti. Viardot was similarly famous, and also a fine pianist and a friend of Chopin.

One should, in passing, note the influence of Bellini on Chopin, Liszt and Wagner, and the way in which even composers such as Fauré and Saint-Saëns subsumed and appropriated the melodic materials of the bel canto style into their own compositional craft.

Manual Patricio passed on his pedagogy to Mathilde Marchesi (1821–1913), who taught Nellie Melba, Emma Calvé

and the teacher of Joan Sutherland’s mother, as well as Mary Garden (the first Mélisande), Australian Ada Crossley, and Estelle Liebling (1880–1970) who taught Beverly Sills and Meryl Streep as a young girl. I should also note the legacy of Giuditta Pasta (1797–1865) for whom Bellini wrote La sonnambula and Norma. She taught Carolina Ferni who taught Eugenia Burzio (1882–1922) who was a leading exponent of verismo – but whose art was firmly founded in the techniques of bel canto.

Another of Manuel Patricio’s students, Anna E. Schoen-René (1864–1942), also studied with Pauline Viadot. Schoen-René emigrated to the USA where she taught Margaret Henshaw (1909–1997) who, in turn, taught Vinson Cole, Matthew Polenzani, Michael Sylvester, Laura Aiken, Teresa Stratas, and Nancy Maultsby – well-known opera stars of today.

These are all fascinating examples – rich in humanity and anecdote – of the persistence and revitalisations of great singing traditions across time and space. In our Heroic Bel Canto concert you will hear two of the greatest of the current generation of European bel canto artists: Australian Jessica Pratt (fresh from the signal honour of a recital at La Scala) and Daniela Barcellona.

These artists, along with our own Carlos E. Bárcenas and our young artists, have

all been formed by the traditions of bel canto – rich in history but with an enduring vitality grounded in the reality of singing, and producing artistry which will continue to delight audiences for as long as we appreciate the beauty of the opera and the human voice.

RICHARD MILLS Artistic Director, Victorian Opera

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ABOUT US

Richard Mills Photo: Charlie Kinross for Victorian Opera

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© Cover illustration: Julien Pacaud for Victorian Opera

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Orchestra Coordinator Jamieson KellyOrchestra Librarian Glynn DaviesOrchestra Accountant Isabel PenaMarketing Coordinator Keshia ContiniExternal Relations Account Manager Fiona GosschalkPublicist Sophie RennardExternal Relations Grants Manager Kate HorwoodPatrons Manager Olivia Passmoreoliviap@australianballet.com.au

BOARDLibby ChristieSally UnderwoodDavid McAllister AM

ENDOWMENT FUNDS EducationThe Judith & Alasdair McCallum FundLesley & Bob Qualtrough BequestHamilton & Western DistrictGeoff and Helen Handbury FoundationMUSICAL CHAIRSMs Linda Herd – supporting Principal Cor AnglaisDon & Angela Mercer – supporting Principal Double BassSusan and Leith Campbell – supporting Associate Principal ClarinetIgor & Jenny Zambelli with Libby & Jim Cousins AO – supporting Principal TimpaniANNUAL GIVINGThe Conductor’s PodiumGifts $35,000+Mr Robert Albert AO RFD RD & Mrs Elizabeth AlbertLeader CircleGifts $10,000-$34,999Mr Richard Guy OAM & Ms Claire Guy, Ms Linda Herd, Avner Klein & Maria Pannozzo, Don & Angela Mercer, Mrs Margaret S Ross AM, Lady Southey ACPerformer PatronsGifts $5,000 - $9,999Gaye & John Gaylard, Hans & Petra Henkell, Dr Alastair Jackson AM, Dr Peter A Kingsbury, David G McAllister AM, Judith & Alasdair McCallum, The Hon Howard Nathan AM QC & Ned Upton, Jan & Keith Richards, AnonymousPatronsGifts $1,000 - $4,999David & Cindy Abbey, Matthew & Joanne Angus, G C Bawden & L de Kievit in memory of Richard Gill AO, Marc Besen AC & Eva Besen AO, Beth Brown &

The Late Tom Bruce, Peter & Ivanka Canet, G Croft, Ms Jane Edmanson OAM, Ed & Marj Eshuys, Peter Griffin AM & Terry Swann, Valerie & Ian Guthrie, Louis J. Hamon OAM, Russell & Jenni Jenkins, Peter & Carmel Johnson, Peter McLennan & John Lander, Michelle & Ian Moore, Marie Morton FRSA, Prof David Penington, Lady Potter AC CMRI, Kerryn Pratchett, Mr John Redman, Judith Robinson, Adrienne Shaw, Libby Smith, P & J Spark, Bruce & Leona Sterling, Sarah Tehan, Elizabeth & Hank Van Herk, George Waters & Bernadette Beattie, Dr Victor Wayne & Dr Karen Wayne OAM, AnonymousSUPPORTERSGifts $100 - $999(27)INSTRUMENT ACQUISITIONFUNDSusan & Leith CampbellTRUSTS & FOUNDATIONSBesen Family FoundationHamer Family FundThe Robert Salzer FoundationThe William Buckland FoundationPLANNED GIVINGG C Bawden & L de KievitLesley M BawdenCanny Quine FoundationCusack-Muller BequestESTATESMrs Neilma Baillieu GantnerOrchestra Victoria is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.

Orchestra Victoria is supported by the Victorian Government through Creative Victoria.

PHILANTHROPY AT ORCHESTRA VICTORIA

Principal Regional Partner

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We acknowledge and thank our partners who make our work possible.

OUR PARTNERS

Government Partners

Performance Partners

Foundation Partner University Partner Awards

Supply Partners

Trusts and Foundations

Official Partners Media Partners

Major Partners

Henkell Family Fund 2Ballandry (Peter Gri�n Family) Fund

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UPCOMING EVENTS5 Fridays in AugustFriday night wine, cheese and music

Join us at Horti Hall, the home of Victorian Opera, for a series of intimate Friday night performances, recitals and cabarets. Socialise with fellow music lovers over wine and cheese.

2, 9, 16, 23, 30 August 2019 | Horti Hall, Hemstritch Studio

Three Tales - Music WorkshopNew opera in its rawest form

Witness the next phase of development of our upcoming commission Three Tales – a trio of new Australian operas based on Flaubert’s Trois Contes – in a musical workshop.

21, 21 September 2019 | Horti Hall, Hemstritch Studio

The Selfish GiantCharming melodies bring Oscar Wilde’s fairy tale to life

This beautiful new opera, featuring a cast of emerging artists, will touch the hearts of audiences of any age with its subtle humour and real musical substance.

17, 18, 19 October 2019 | Gasworks Theatre, Albert Park

The Barber of SevilleThe funniest night you can have at the opera

Prepare for an evening of laughs with Rossini’s most popular opera. This madcap masterpiece is a paean to impertinence that will make you beam with joy and grin with delight.

12 and 14 December 2019 | Melbourne Recital Centre

Costume Circle AppealTo bring the charming new work The Selfish Giant to the

stage, we need your generous support.

Your gift will contribute to the making of The Giant’s garb and the Children’s enchanting costumes.

To donate, visit victorianopera.com.au/costumecircle

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victorianopera.com.au

SHARE YOUR THOUGHTSWe’d love to know what you thought of Heroic Bel Canto.

Visit culturecounts.cc/s/VOHeroic to complete a short survey.