Brenton Spiteri wins Herald Sun Aria Stuart Skelton - A Mentor's perspective Opera Society Scholarship - Announcing
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edition 7 summer 2012
The Magazine of the Dame Nellie Melba Opera Trust
Brenton Spiteri wins Herald Sun Aria
Stuart Skelton – A Mentor’s perspective
Announcing
Brenton Spiteri and Siobhán Stagg
Opera Society Scholarship with amir farid
Da Capo Magazine SUMMER 2012
A Note From The 2012 Scholars
General Manager
Lauren Fagan
Dame Nellie Melba Scholarship
Patrick & Vivian Gordon Award
Siobhán Stagg
Amelia Joscelyne Memorial
Scholarship
Page 2 It’s been a year of achievements for our
Stacey Alleaume
• A Note from the Melba Scholars and we couldn’t be prouder. Amelia Joscelyne Reserve
General Manager
Scholarship
• 2012 Scholars Ruskin Opera Award
In fact, our investment in these young As we look to 2013, our plan is to
• M
eet our new Director: singers has enabled them to win keep doing what we are doing, Kyla Allan
Dmitry Danilovich over $200,000 in prize money and but be better each time we do Melba Opera Trust Scholarship
scholarship support. So for everyone it! Of course this kind of program
• 2013 Scholarship Panel Hannah Dahlenburg
who has shown their support for the development cannot happen without
Melba Opera Trust Scholarship
Trust, not only is this an impressive continued investment. You can
Page 3 Mel & Nina Waters Award
return on your investment, but it read in these pages the impact our
• 2012 Herald Sun Aria Winner demonstrates the far reaching impact program is having on our scholars Tiriki Onus
—Brenton Spiteri of your donation. Thank you. and I would ask you to consider how Harold Blair Opera Scholarship
• What Melba Eats From Siobhán being you can help us to continue our work.
This year we say farewell to some of Samuel Sakker
the 2012 AIOA recipient, Tax deductible donations are what
the Melba’s long-standing scholars. Margaret Schofield Opera
winning the Italian makes all of this possible and are the
Page 4 It is reassuring to read in so many Scholarship
Award and the Mietta driving force behind the success of
• Stacey Alleaume and the of their emails and letters how well Brenton Spiteri
Song Competition, our scholars this year.
Intricacies of a Scholarship this program has prepared them John & Elizabeth Wright-Smith
to Stacey and Lauren
for their overseas adventures and I also would like to take this Scholarship
coming first and
it has been a privilege to see them opportunity to give my heartfelt
Page 5 second respectively in Janet Todd
develop not just as artists, but as thanks to the Melba community
• A Mentor’s Perspective: the Sydney McDonald’s Beleura-Tallis Opera Scholarship
wonderful people and consummate supporters, staff, sponsors, board
Stuart Skelton Operatic Aria and of
professionals. We wait in anticipation members and mentors alike for their
course Brenton and
for the updates of their adventures commitment and passion for what
Fiona’s recent success in
Page 6 – 7 abroad and will be sure to keep you we do. As they say, it’s the sum of the
the Herald Sun Aria, just
• Mentor Mania all informed of their progress. parts that make up the whole and
to name a few. There have
• B
ehind the Scenes—The training In the meantime, we are charged we are grateful for our hard working
been countless other
of an Opera Singer with the task of preparing other community.
eisteddfod successes
and grant awarding, all young singers for their own journey
On behalf of the Melba,
Page 8 serving to ensure that and we are inspired by the high
I wish everyone a safe and
• Hannah Dahlenburg, these young singers standard of applicants we heard in
happy festive season and
Kyla Allan, Janet Todd are secure in the next our recent auditions. Whilst the ‘jury
may it be filled with music!
stages of their career is still out’, I can with confidence Mr Moffatt Oxenbould AM
development. share that there will be some
Page 9 remarkable instruments for us Amy McPartlan
• Gardens, Gibbons and all to enjoy.
Gastronomy—Melba Artists
Page 10
• A 31 Year Affair
• Samuel Sakker
Introducing the Cast...
Ms Sharolyn Kimmorley AM
Page 11
• Announcing... Meet our New Director:
Dmitry Danilovich
Opera Society Scholarship
• Lauren Fagan
• Tiriki Onus
Page 12
• A Melba Farewell... Dmitry has many years’ experience in Mr Giovanni Reggiolli
to Siobhán Stagg
the corporate world, having completed
2013
• New Ways to Stay In Touch
undergraduate and Master’s degrees in
International Business at the Plekhanov
Russian Academy of Economics, a Master
of Arts in International Economics Scholarship
and Finance at Brandeis University Panel
in Boston and an Advanced Graduate
Recently we concluded
Program in International Management the process of
at Copenhagen Business School. auditioning for next
year’s scholarship
recipients. Once again,
Dmitry’s professional experience is in the provision of How do you see your experience our inimitable Artistic
commercial and financial advice to companies in the informing your contribution to Advisor, Ms Sharolyn
This newsletter is printed on Sovereign Offset
derived from well-managed forests and other
energy and natural resources sectors and, since 1996, the Melba Opera Trust? Kimmorley Chaired the
controlled sources certified against Forest he has been a Director in the Corporate Finance process and was joined by
I hope to be able to contribute my
Stewardship Council ® standards, a non-profit
practice at KPMG in Melbourne. international conductor
organisation devoted to encouraging the wide-ranging experience in financial
responsible management of the world’s forests.
How did your interest in management to the financial Mr Giovanni Reggiolli
Dame Nellie Melba Opera Trust music develop? operations of the Trust and my and renowned Director
ABN 96 424 419 725
Suite 501 434 St Kilda Road, Melbourne VIC 3004 previous experience with musical Mr Moffatt Oxenbould.
I have always been interested in
Phone (03) 9867 4833 Facsimile (03) 9867 3364 organisations will no doubt also
www.melbaoperatrust.com.au music and the performing arts— In fact, if you saw the recent
be useful!
my mother is a piano teacher, so production of Opera Australia’s
Copy and editing – Jillian Graham
Images – Les O’Rourke I grew up with classical music. What draws you to the Melba Madama Butterfly, you would
My fascination with music led to Opera Trust? have seen first-hand the expertise
Design by Dig Creative
www.digcreative.com.au involvement with classical music The Dame Nellie Melba Opera Trust of these artists with Mr Reggioli
radio station 3MBS 103.5 FM, where I plays an important role in developing conducting Mr Oxenbould’s
For more information relating to
advertising within this publication was a Director and Treasurer for three young Australian opera singers production of this famous
please contact the Dame Nellie Melba
years and with the Flinders Quartet, and the success of its scholarship Puccini opera.
Opera Trust.
where I am currently a member of recipients is a testament to the We look forward to sharing the
To unsubscribe in relation to receiving
this publication, please contact
the ‘Sounding Board’. effectiveness of its approach. I am outcome of these auditions with
the Dame Nellie Melba Opera Trust. honoured to become a Director! you in early January 2013.
Page 2
Da Capo Magazine SUMMER 2012
What
Melba
Eats
We’ve shared with
And the winner of the 2012 you previously
Herald Sun Aria is... Melba’s philosophy
of tr aining all
Brenton
aspects of a young
singer and you
have no doubt
Spiteri!
heard stories about
Melba’s attention
to detail when
providing advice
to her students.
The news clipping
below is proof of the
Congratulations are due to Brenton pudding—so to speak.
for winning the 2012 Herald Sun Aria, Found in an old desk
one of Australia’s most prestigious and sent to us for
Da Capo to share.
singing competitions.
Anyone for
an onion?
Photo courtesy of the Herald Sun
Brenton awed Trust Managing Director Peter Garnick Trust General Manager, Amy brought. So far, it has opened my
audiences in Hamer was in the audience. McPartlan, believes Brenton’s mind to the important aspects of
recent win is a fine example of developing as an artist that, as
Hall on Monday “Brenton ‘owned’ the stage from the
what a young singers journey singers, we sometimes inadvertently
22 October with minute he walked on. I’ve watched
him develop during the various should look like. neglect. For me, learning more about
his wonderful Mentor Program sessions this year. “We often describe the Trust movement and body awareness
performances of ‘Il Apart from his own obvious talent program as ‘bridging a gap’ to has been especially useful and I felt
confident putting this into practice
mio tesoro intanto’ and hard work, his willingness provide a natural progression for a
during my performances for the
from Mozart’s Don to take on board helpful and singer’s development in Australia.
Herald Sun Aria.”
useful suggestions to intensify his Brenton’s recent win demonstrates
Giovanni and ‘Una performances was clearly evident in this philosophy. From his specialised A desire to develop as a performer is
furtiva lagrima’ from the compelling delivery of his arias high school education at VCAS, his clear from Brenton’s attitude towards
Donizetti’s L’elisir that night. It was a thrill to be there.” undergraduate studies at University even the more difficult sessions.
d’amore. For Brenton, winning the Herald of Melbourne, to postgraduate “Some sessions like Networking and
Sun Aria was a high point of his development within the Trust Accounting for Performers have been
career to date. program and now the opportunity challenging purely for their content,
for international study afforded as they present ideas that are
“I’ll treasure the experience for by the Herald Sun Aria, Brenton’s
years to come. Performing at the confusing, or highlight areas where
development has and is being we need particular development. But
newly-refurbished Hamer Hall with sensibly nurtured every step of the
Orchestra Victoria was amazing and invariably it is these sessions that are
way. It’s akin to a jigsaw puzzle— the most rewarding, as they coax us
being awarded first place against each piece builds from the next and is
such formidable talent is a true out of our comfort zones and allow us
crucial to the picture as a whole!” to grow.”
honour. I feel incredibly fortunate to
have the support of the Melba Trust Now in its 88th year, Brenton joins an The opportunity to make professional
community behind me, especially illustrious list of past Herald Sun Aria contacts is considered invaluable by
John and Elizabeth Wright-Smith who champions including Rachelle Durkin, Brenton, as is the knowledge that the
are the force behind my scholarship. Amelia Farrugia and of course Dame Mentors are there to help if ever he
I’m excited at the prospect of using Kiri Te Kanawa. needs.
my prize money to further my A tremendous achievement for Other major accomplishments
development overseas and become Brenton in what is sure to be a this year include acceptance
the best singer I can possibly be.” very promising career! into the Lisa Gasteen National
What does the Herald Sun Aria Opera School to take place at the
win mean for Brenton’s ongoing The year behind the ‘win’ Queensland Conservatorium in
development? November/December and the
Brenton readily acknowledges
“My scholarship with the Trust Special Encouragement Award in the
that his 2012 scholarship funding
has helped me to create a strong Mietta Song Competition. Again he
has freed him from the burden of
foundation for all aspects of my acknowledges the contribution of
financial pressure normally associated
singing. That said, I still feel like I the Mentor Program to his successes
with being a young singer. But it
have a lot of groundwork to do and in 2012.
is the Mentor Program that is his
I’m planning to re-audition for a 2013 favourite aspect of being a Melba “I feel much more familiar with the
scholarship to help consolidate what I scholar. He has certainly taken full industry in which I’m operating than
have been working on this year. After advantage of it and has revelled in I did at the start of the year. The
this I will be looking to use the Herald the process. Mentor Program has made me aware
Sun Aria prize money to pursue of the amount of work and dedication
“I have enjoyed every aspect of
further study overseas. required to be a singer and has given
the Mentor Program this year. I’ve
me some of the essential tools I need
loved the variety of ideas we’ve
to set me on the right track.”
been exposed to and the particular
challenges that each session has
Page 3
Da Capo Magazine SUMMER 2012
Stacey
Alleaume and the Intricacies
of a scholarship
As the recipient of the The Melba Trust always aims to I actually found that it helped my
keep Da Capo readers updated on time management and encouraged
Ruskin Opera Award and our scholars’ progress. But before me to think more broadly about my
the Amelia Joscelyne going into more detail about Stacey’s
stellar year to date, we thought it
future direction. I guess you would
say I am more strategic in my career
Reserve Scholarship, would be interesting to let readers development now, whereas in the
2012 has been a watershed know exactly how a Trust scholarship
operates. How does a scholar actually
past it was one day to the next.”
Stacey has been following this
year for Soprano Stacey develop a program that will make the carefully-developed plan which
best possible use of their scholarship?
Alleaume and there is We asked Stacey to share with us the
has been monitored throughout
the year through regular meetings
more to come. She has process she went through. with Amy and Sharolyn. It’s been an
had many performances “Following my successful audition
for a Melba Trust scholarship in
extremely busy few months, with
Stacey using her funding in preparing
and awards and was November last year, I met with Amy new repertoire for auditions and
married in October. She McPartlan and Sharolyn Kimmorley
to plan for 2012. I had made a self-
competitions, including coachings
with highly-experienced industry
and husband Fabian are assessment of what stage I was specialists such as Tony Legge,
at and had discussed this with the Claire Cooper, Francis Greep, Yvonne
currently travelling external panel during my interview/ Kenny, Semyon Rozin and of course
overseas for an extended audition. Sharolyn Kimmorley. She has been
taking private lessons in Italian, has
honeymoon during “Armed with input from the panel,
set up a website and had business
Sharolyn, Amy and I worked through
which she will audition my goals and forthcoming activities. cards designed and produced. She
has been able to afford to buy the
for a number of young For example, I wanted to have
Italian lessons prior to my studies in correct editions of Mozart opera
artist programs and Florence and there were a number of scores and has managed to squeeze
in some recording sessions as part of
complete an intensive competitions I wanted to enter. We
then discussed what sort of guidance, her applications for Australian and
one-month course in learning, coaching, preparation and overseas programs (each with very
different and specific requirements.)
time might be needed. After that we
Italian language at the looked at how much funding should All this hard work is clearly evidenced
Istituto Italiano in be allocated to the different areas by Stacey’s recent achievements.
we had identified: vocal coaching, In August, she performed arias by
Florence. stagecraft, language lessons and Puccini and Meyerbeer to great
recording sessions, as well as acclaim as a finalist in the Sydney
business development (website, Eisteddfod McDonald’s Operatic
business cards) and various media Aria and was announced the 2012
(scores, CDs, DVDs). This effectively winner. The prize is valued at a
developed my ‘plan’ for the year. We total of $43,000 and is to be used to
can work with whomever we like, undertake further studies overseas.
provided the overall tuition fits within This is a prestigious competition
the plan. And of course if we don’t which had over 90 competitors and
know who to work with, the Trust will was judged by highly-respected
guide us with options. adjudicators Beverley Bergen, Dennis
“We receive our scholarship funding O’Neill CBE and John Bolton-Wood.
in halves, the first at the beginning “I was extremely thrilled and
of the year and the second in the honoured to receive this award.
middle of the year. We make our The win was even sweeter given the
own arrangements, keep receipts drama I had in getting to Sydney on
for the expenditure and then time for the performance. My flight
submit the receipts to the Trust for was severely delayed and, though I
reconciliation with a mid-year and got there on time, I had to perform
end-of-year report. It’s a good lesson on very little sleep. The adrenaline
in administration and book keeping! was high and the thought running
“I had my mid-year meeting with through my head was, ‘The show
Amy to reassess some aspects of must go on’. But despite the travel
my plan and we are encouraged to issues, it was an amazing night
do this whenever we need to. The filled with beautiful music sung by
whole process is very organised. It extremely talented singers.”
not only helps me make the best Amidst all her preparations for
use of my resources, but it’s tailored competitions, overseas auditions and
to what I need at this stage of my her wedding, Stacey has undertaken
development. Having to carry out a full-time contract touring all over
Stacey Alleaume winning the the plan yourself and keep track of Victoria with Oz Opera’s Schools
2012 McDonald’s Operatic Aria your expenses is a little daunting at Company and has now sung the role
Winkipop Media first, but once I got the hang of it, of Pamina in Mozart’s The Magic Flute
Page 4
Da Capo Magazine SUMMER 2012
93 times! This is the second year
in a row that she has toured with
this company and she has relished
performing for children.
“It’s thrilling knowing that your
performance could be the child’s
first encounter with opera and
could even be their inspiration
to pursue music or singing
as a future hobby or career.
And children make wonderful
audiences because they are so
honest in their reactions to what
they see on stage. You have to
A Mentor’s Perspective: Stuart Skelton
engage them at all times, even if
it’s 9am in the morning! But the
thing I’ve found most rewarding
is the opportunity to perform for
deaf or hearing-impaired children.
Oz Opera incorporates AUSLAN Stuart Skelton: being engendered by the Melba Trust.
Australian tenor Stuart Skelton, now
Shadow Interpreters who literally The 2012 Mentor based in the USA, was in Melbourne This was wonderfully demonstrated
It cannot be stressed enough how
‘shadow’ the performers onstage.
Director Cameron Menzies
Program has in August to sing the role of important these other skills are to by the scholars with whom I worked.
Siegmund in the MSO’s performance
incorporated AUSLAN into the included of Act 1 of Wagner’s Die Walküre,
a singer. A successful career can be Secondly, singers must expect to
singers’ actions too, so we could made by one singer who is simply become MUCH smaller fish in an
really connect with the children. masterclasses conducted by Markus Stenz as part better prepared than another to grasp infinitely bigger pond. It’s a pond that
of the re-opening celebrations
You can tell they appreciate it given by renowned for the new Hamer Hall. The Trust
an opportunity as it arises. A singer
who has all their ‘ducks in a row’—
is filled to overflowing—sometimes
discouragingly so— with incredible
because their faces light up when
you use their language. That’s a international was delighted that he found time language skills, audition preparation, talent. And they all have a single-
to work with our singers, taking a
really special moment.” and Australian masterclass, engaging in a ‘round
self-promotion etc., is drastically
increasing the chances of being the
minded belief that they will be the
one in the group who will shine
Such tours are not without
their challenges, however. The
artists who have table’ question and answer session
over lunch and working privately
one who, when in the right place at against all odds!
the right time, gets the call.
schedule is grueling, with many generously shared with them the following day. He also Having said all that, I have no doubt
hours spent travelling from place kindly agreed to be interviewed for In any successful career there are that this sort of environment is one in
to place and a constant need
their respective Da Capo. myriad details to attend to such as which any one of the current Melba
to adapt to different venues, rich experiences Da Capo:
taxation, work permits and visas, Trust scholars would thrive, such is
including classrooms, halls and contract negotiation and book- their talent and perseverance.
indoor basketball courts. This was with our scholars. Can you describe your experience of keeping among countless others. Da Capo:
a small price to pay for the wealth working with the Dame Nellie Melba It’s wonderful when one has
of experience Stacey has gained Opera Trust scholars? management and agents to help take Is there anything else you’d like
on these tours, providing her with care of these, but at the beginning of to add?
Stuart Skelton:
the opportunity to reflect on the a career, much of this will fall to the Stuart Skelton:
progress she has made since she My experience was a totally happy singer. The ability to take on these
one. Each and every one of the Let me close by saying that my time,
did work experience at Opera tasks, even at a basic level, is of
scholars showed rare dedication and albeit brief, with the Melba scholars
Australia in Year 10. paramount importance.
application, allied with an astounding was truly inspirational and some of
“That week was my first taste work ethic and a uniformly excellent Da Capo: the most rewarding work I’ve ever
and experience of opera. It was level of preparedness. To find these How did you gain these skills? done. The singers were unflagging in
exciting being a part of the qualities in one singer is impressive their quest for excellence. In addition,
company I’d had such admiration Stuart Skelton: it was a pleasure to work with the
enough, but that all these scholars
for since I was very young and it displayed all these and more is I learned these things by having the Melba Trust staff. Their love of the
was that week that confirmed to nothing short of extraordinary. same sort of mentoring experiences scholars, their will and drive to see
me that it was opera I wanted to It speaks, in my mind, of the quality that the Melba Trust provides. each and every one of them succeed
pursue.” of Australian talent and equally of However, my experiences were not and their efforts to provide each
Pursuing opera she certainly is the immeasurable contribution that formalised and grew out of working scholar with what he/she needs,
and just prior to her departure the Melba Trust makes in seeking out with extremely generous colleagues is nothing short of sensational.
overseas, Stacey took the time to these promising singers, challenging who were already well established My lasting impression of the Melba
express her appreciation for the them to strive for excellence and and were generous with their time scholars is of a group of singers
role played by the Melba Trust. helping them to gain those skills and sage advice on a whole range whose talent, dedication and capacity
that are not yet fully developed. of issues. for hard work should be the envy
“I want to thank the Dame
Nellie Melba Opera Trust and Da Capo: Da Capo: of many, already more established
my sponsors Jeremy Ruskin, Roz Can you comment on what young singers in Australia. It would be my
As you’re aware, The Trust’s privilege to work with the Melba
Zalewski and Mary-Jane Joscelyne Mentor Program covers other areas Australian singers might encounter
for their continued support. It has when they travel overseas to study? Trust on any occasion should they
apart from singing—for example, see fit to ask me again.
been a great honour to be one of accounting, networking, presentation, Stuart Skelton:
the scholars again this year.” audition preparation, self-promotion,
Firstly, I know that many (if not most)
public speaking, time management, Stuart Skelton will be
Australian singers choose to go to the
media skills, negotiation and grant- appearing as Siegmund
UK or Europe to further their studies,
writing. What is your own view of the in Die Walküre in Opera
but I would encourage singers to
necessity (or otherwise) of gaining Australia’s Melbourne
broaden their search to include US
these sorts of skills? Wagner Ring Cycle in 2013.
institutions. Although the experience
differs from that in the UK or Europe, Of course the Trust will
I think there exists in the US exactly welcome him again to the
the sort of ‘exceptionalism’ that is program next year.
Page 5
Da Capo Magazine SUMMER 2012
Mentor Mania
Since our last Da Capo scholars have been
kept busy with an abundance of pr actical and
professional workshops. We were particularly
fortunate to be able to include:
• Y
vonne Kenny (Masterclass and We are already in the throes of
private coaching) planning the 2013 program and we
• S tuart Skelton (Masterclass and are pleased to say there will be some
private coaching) repeat performances!
• Richard Divall (Masterclass) Special thanks to our venue partner
Opera Australia for the use of their
• S emyon Rozin, visiting repetiteur facilities and to our philanthropic
from Luxembourg (Masterclass and partners who enable us to offer
private coaching) this outstanding program.
• Rosamund Illing (Masterclass)
• D
ennis O’Neill (Masterclass and
private coacing)
• C huck Hudson, New York Director
(Masterclass, movement workshop
and private coaching)
Page 6
Da Capo Magazine SUMMER 2012
Behind The Training of
an Opera Singer
the Scenes
Polished performers can make singing appear effortless, standard you and your coach seek”.
Fiona approached the session as she
Readers will recall that Siobhán
Stagg, a Melba Trust scholar for four
but how do they reach that point? Possessing a lovely would a private one and feels that years, was announced 2012 recipient
singing voice is only the beginning! “the audience did see and experience
the work we singers do with our vocal
of the Australian International Opera
Award (AIOA), which is allowing her
coaches to integrate the work we’ve to study currently with Dennis O’Neill
Earlier this year, in response to supporters’ curiosity, been doing with our voice teachers, on scholarship in Cardiff. Thus this
the Melba Opera Trust provided the opportunity to glimpse language coaches and in our own seemed an ideal opportunity for the
private practice”. Trust to present a public masterclass
something of the tireless effort that must be put in prior Fiona appeared undaunted by the in partnership with the AIOA, so
to that moment when a singer steps out onstage. input provided by Sharolyn, who says that people had the chance to hear
Siobhán, Dennis and others in action.
she tries to work in the same level
of detail as she would in a private When witnessed up close, it was not
An Open Lesson... “I’ve worked with Siobhán and coaching. difficult to understand why Dennis’s
Brenton for an extended period vocal teaching is so highly regarded.
On June 12th, an audience gathered and we’ve developed a shorthand “The onlookers, particularly in
at the Victorian Artists’ Society in an intimate environment such He shared his knowledge of bel canto
working language. This session (‘good singing’) before an audience
East Melbourne to witness an open forced me to articulate the intended as that we had with the Melba
singing lesson given by Dermot Tutty Trust supporters, are really so very of over 100, many of whom were
purpose of various techniques and aspiring singers and hopefully future
to Siobhán Stagg, with Brenton Spiteri exercises in words comprehensible interested in learning just what
as ‘support act’. Siobhán appreciated goes into the preparation of the Trust scholars. It was a thrill to hear
to the outsider. This re-wording of already beautiful singing become
the novelty of sharing a sample of ideas was of great benefit to me repertoire. But I am conscious of
her detailed training. the need to make the performer feel remarkable through his guidance.
and my students.” And all this interspersed with his own
“There are countless hours of at ease with an audience watching
Dermot’s well-respected and them absorb and try new approaches inspiring demonstrations, reminding
preparation behind every onstage considerable skills as a singing audience members that they were in
performance. Lessons can bring which don’t always work on the
teacher are matched by his abilities first attempt.” the presence of a world-class artist.
moments of vulnerability, but the as a composer. This the audience
audience was most supportive and Judging by the positive feedback Judging by Dennis’s appraisal of his
discovered when he and Siobhán experience over the four days, the
encouraging the whole time”. performed his beautiful song ‘Die from audience members at the
small reception that followed the appreciation worked both ways.
Dermot put Siobhán through her liebe Farbe’, involving the imaginary
paces with some technical work, and sister of the miller’s daughter in sessions, the experiment was a “I was amazed and delighted to
took every opportunity to suggest Schubert’s well-known song cycle great success. Open lesson audience discover the work of the Melba Trust
improvements to her rendering of Die schöne Müllerin—the perfect member Mary-Jane Joscelyne, for and, in particular, the very exacting
the aria ‘Ach, Ich fühl’s’ from Mozart’s way to end an enlightening and example, commented that “coaching standards to which these young
The Magic Flute. It was particularly enjoyable session. and lessons are usually such a artists are encouraged to aspire. The
illuminating for the audience to private activity and it was really an Melba Trust’s program is inspiring in
see how something which already extraordinary privilege to see the its originality and simplicity, with the
An Open Coaching...
sounded so lovely could still be hard work that usually happens singers getting precisely what they
better. Dermot was kind enough, While a lesson comprises a lot of behind closed doors—it was like need both financially and artistically.
however, to remark on some of technical work and the production of being invited into the intimacy The list of artists and visits who work
Siobhán’s particular skills, which peculiar sounds, a coaching session is of a private home”. regularly with the scholars reads like
elicited her comment, “He’s not a bit different. On July 20 at the Opera a ‘Who’s Who’ of experience and
usually this nice to me!” This very Centre, Artistic Advisor of the Melba An Open Masterclass... success—none more so than Sharolyn
effectively made the point that one Trust and one of Australia’s finest Kimmorley who, as always, sat
vocal coaches and accompanists, Dennis O’Neill is one of the world’s modestly but effectively right at the
essential factor in a singer’s success
Sharolyn Kimmorley AM, showed leading operatic tenors, having heart of things. It was a pleasantly
is the ability to accept and integrate
a group of Trust supporters REALLY appeared with all the leading opera exhausting few days and very hard
constructive criticism.
happens in a vocal coaching. She companies. He is also a very busy to say goodbye!”
Brenton observed that while he worked with Trust alumna Fiona concert artist with an amazing gift
often watches Dermot’s lessons with We are extremely honoured to
Jopson on the aria ‘Deh, se piacer for teaching. Melba Trust scholars and
other students, it was a revelation have Dennis’s involvement with
mi vuoi’ from Mozart’s La Clemenza alumni were extremely fortunate to
to the attendees. and support of the program and
di Tito. have the opportunity to work with
look forward to welcoming him
“Most people in the audience were him during a private masterclass
This session was less about back in the future.
surprised at the level of technical spreading over three days from
vocal technique and more about Thursday 16 to Saturday 18 August,
work involved in a regular lesson— interpretation and language.
things like singing scales up and and were once again privileged to be The value of all these
Sharolyn accompanied a performance accompanied by Trust Artistic Advisor
down on all the vowels and making of the aria, and then quizzed Fiona sessions was perhaps
various strange noises. But such Sharolyn Kimmorley. most aptly summarised
in detail about her perception of
technical work often provides the aria’s message and the best Dennis’s visit culminated in a public by Dermot Tutty.
practical solutions to challenges means of its delivery. She was masterclass on Sunday 19 August,
in our repertoire.” ”It’s one thing to sing
also necessarily strict about Italian with performers including Trust
some pretty scales in the
Dermot noted that it “helped to language pronunciation, noting that scholars Siobhán Stagg, Stacey
comfort of the teaching
have a room full of people who have Australian singers are at somewhat Alleaume and Hannah Dahlenburg;
studio. The true test is
an interest in and commitment to of a disadvantage in this regard, alumni Fiona Jopson and Nathan Lay
applying good technique
the development of young operatic essentially because of the ‘tyranny and University of Melbourne Master
to repertoire on the stage.
talent”. In this environment, he, of distance’. of Opera Performance student Carlos
These sessions provided a
Siobhán and Brenton felt comfortable Barcenas. Held in a rehearsal studio
As Fiona points out, “A normal rare stepping stone between
exposing some of their techniques at the Opera Centre in Southbank,
closed session is the time to make these two experiences.
“with candour”. In his teacher’s this was truly a ‘behind the scenes’
mistakes, to discuss and try different Let’s do it again sometime!”
role, Dermot was faced with unique experience of opera singers in
interpretations and to mould the the making.
challenges and rewards. performance of your aria to the
Page 7
Da Capo Magazine SUMMER 2012
Hannah Dahlenburg is in her second Mezzo soprano Kyla Allan’s first Yvonne Kenny, Stuart Skelton, Dennis
year as a Melba scholar, but it is her year as a Melba scholar has O’Neill, Richard Divall and Semyon
first working as an independent artist been one of new challenges and Rozin have given me the chance to
following formal study. She admits tremendous growth in all aspects perform in front of fellow scholars,
that at the beginning of the year it of her development as an opera the Trust team and supporters. I’m
was quite a daunting prospect to be singer. During the first half of 2012 overcoming my inhibitions as a
without the structure of a degree her scholarship funding facilitated performer in this supportive and
course to “keep her in line”. But her concentration on solidifying encouraging environment and,
the Mentor Program has been very her vocal technique and repertoire although I’m aware I have a long
effective in filling this gap. expansion with lessons in acting and way to go, I am much more confident
“The work we have done through stagecraft, Alexander Technique/ and self-assured than I was at the
the Mentor sessions, as well as the body awareness and Italian being beginning of the year.”
opportunities to work with and a strong focus in the second part of As Kyla points out, the “business
learn from other scholars, have not the year. side of things” is an area that tends
only helped me find more structure In particular this year, Kyla has fully to be avoided by most singers, who
for myself in taking the next steps, grasped the fact that “building a are devoting most of their time to
but have provided me with new successful career as an opera singer improving their vocal and musical
ideas and support during the scarier entails much more than a good voice skills.
moments!” and great musicianship”. “This area has not been high on my
Those “scarier moments” that all “The Trust’s Mentor Program has priority list in the past; nor have I
developing singers experience are, opened our eyes to this. We’ve had the opportunity to learn such
Hannah as Hannah is learning, very much a
part of the process. Kyla Allan worked with successful and
inspirational professional opera
business skills before. But this
aspect of the Mentor Program has
Dahlenburg “The Program constantly drives me to
Melba Opera Trust
singers, conductors, coaches and
agents. But in addition, we’ve had
encouraged us to treat ourselves
as individual businesses. I’ve
evaluate where I truly want to go and
to think not only about how I identify Scholarship workshops on time management, experienced first-hand what a crucial
Melba Opera Trust myself as an artist, but how I would negotiation, public speaking, social part of our learning it is and how it
Scholarship like to be identified. Sometimes networking/social media, accounting will help us towards thriving careers.
this can be a little confronting, but for singers, mock auditions, In reflecting on her first year with the
Mel & Nina Waters Award the more honesty with which I face grant-writing and CV/biography Trust as a whole, Kyla pays special
this, the more I discover—and, I now preparation. Then there have been tribute to the Trust and its programs.
realise, the more choices I can have.” sessions on movement and body
awareness, dance, improvisation, “The year I’ve spent with the
Hannah appreciates the variety theatre sports, vocal health, make- Dame Nellie Melba Opera Trust has
of the Mentor Program and the up, hair, fashion and personal given me a new perspective on
opportunities to focus on more presentation skills. It’s an incredibly my path as an artist, intensified
commonly-neglected details, comprehensive program that enables my determination to succeed in
particularly regarding the us to present ourselves as the ‘full this career and shown me that it is
“business side of singing”. package’.” possible to do so. The Trust is leading
“With sessions including public the way in Australia by providing
As with any performer, Kyla their scholars with such a well-
masterclasses and coachings, to sometimes finds learning and
work with lawyers, make-up artists, rounded introduction to the industry.
developing new skills a little The approach it takes and the
stylists, networkers, and specialists confronting.
in media, negotiation and business guidance it provides are unparalleled
skills, there is always something new “The big challenge for me has been in in this country. It’s great for the future
and we’re gaining such a wealth of developing confidence and a belief in of opera in Australia.”
knowledge to integrate with our myself. But the masterclasses we’ve
development as singers”. had this year with professionals such
as Liane Keegan, Lisa Gasteen,
Hannah feels that her involvement
with the Trust has also enabled her
to give more focus and direction
to her training than she would
otherwise have been able to afford.
Her funding has made it possible for
her to delve further into languages Now in her third year as a Melba maintain vocal stamina and to be a
and to have more coaching sessions, Scholar, Janet Todd has watched reliable singer. This was incredibly
thus strengthening her artistic and the Mentor Program develop and useful during my recent vocally-
vocal foundations. However, the most blossom. She notes that those demanding tour with the Oz Opera
valuable aspect of the Melba Trust sessions that have been repeated Schools Company.”
Program is one that she says cannot each year have increased in depth On the business side, Janet especially
be quantified in a monetary sense. and specificity, and that there is more appreciated Peter Garnick’s session
breadth to the Program, as well as on negotiation skills.
“It is the connections we make with
top-quality coaching.
the artists whom we meet and “This is an area I find tricky, as do
work with. We have watched and While it can sometimes be most young singers. With his wealth
listened to these internationally- challenging to juggle all aspects of of experience in this field, Peter
based artists, but through the Mentor the professional life of a singer, Janet armed us with some very useful
Program we can actually have candid well recognises the necessity to do so. strategies in managing ourselves as
conversations with them about the “It can be easy at this stage to forget professionally as possible. We had
day-to-day aspects of being a singer ‘the whole package’ and just focus on the opportunity to discuss difficulties
and about their difficulties, hopes and one or two aspects of singing. But the we’ve encountered when negotiating
experiences. The relationships we Mentor Program’s focus on all facets fees for performances. He also set up
begin with these artists will hopefully of singing as a business—negotiation, individually-tailored role-plays which
continue and are so invaluable as organisation, social media, image, helped us confront these issues,
we think about broadening our tax, etc.—served as a firm and very as well as providing the chance to
horizons with overseas exposure. welcome reminder of the bigger utilise some of our new skills in a safe
They make us more aware of the
international context and help bridge Janet Todd picture.”
While all Mentor sessions have
environment.”
Janet reflects that she has learned
the gap between being local and
international performers.” been useful, there are some from some very valuable skills through the
Beleura-Tallis Opera which Janet feels she has particularly Mentor Program over the past three
Scholarship benefitted. years.
“I really enjoyed the session on “I’ve been able to put many of these
vocal health with Debbie Phyland. skills into practice immediately and
She was incredibly thorough and see myself drawing on them in the
engaging, and we were able to longer term, both artistically and
discuss very important and relevant professionally. The Program has been
issues surrounding vocal care and a lot of fun and the on-going support
production. I took on a lot of practical from the other scholars has been a
advice from this session and it’s wonderful thing.”
certainly helped me improve and
Page 8
Da Capo Magazine SUMMER 2012
Gardens, Gibbons
and Gastronomy
—Melba Artists
The Trust’s Melba Artists Program
creates opportunities for our scholars
to put their learning into practice
onstage, gain performance experience,
increase their profiles and prepare
them for planning and executing their
own performances. Artists are offered
exposure to a variety of settings from
intimate private gatherings to larger
special events in both metropolitan
and regional venues. October was a busy
month for Melba Artists and one which
certainly reflected the diversity of
performance opportunities!
Gardens... Gibbons... “Gibbons are monogamous and travel Melbourne’s skyline and Port Phillip M Tran Images
in couples, and their song is a love Bay, they were entertained with a
During the wet and chilly Melbourne In the week following, mezzo
song sung to each other morning fashion parade from designer Lisa
weekend of 6-7 October, Melba soprano Kyla Allan was faced with an
and evening. So I played the male Barron, a special guest appearance by
Board Director Peter Reilly’s beautiful unusual challenge. She’d been asked
gibbon’s love call, and asked Kyla to celebrity speaker and ‘Lambassador’
Camberwell property ‘Astolat’ was to sing at an art exhibition launch
respond with an appropriate song. Sam Kekovich and—most
featured as part of Open Gardens combined with a Wildlife Asia appeal
She chose and adapted an aria from importantly—a feature performance
Australia. As Peter had generously for the silvery gibbon, an endangered
Rossini’s The Barber of Seville, and by our scholars Janet Todd and
nominated the Melba Trust as primate in the jungles of Indonesia.
did an amazing job! Her voice is Brenton Spiteri.
beneficiary of any proceeds, it This was a ‘black tie’ event with 150
stunning, and it was a real hit—the This is the second time Janet has
seemed an ideal opportunity to attendees held at the New Albion
highlight of the evening. It was a real sung at this event and Da Capo
feature some Melba Artists. Despite Gallery in Sydney’s Paddington on
‘Beauty and the Beast’ moment!” caught up with her prior to her
the wild, wet and windy weather Wednesday October 10.
Hannah Dahlenburg, Janet Todd and For Kyla, it was a unique performance appearance this year.
The exhibition of drawing,
Brenton Spiteri, accompanied by Ray experience. She felt privileged to “It’s incredibly glamorous, exciting
printmaking and sculpture was the
Lawrence, decided ‘the show must participate, and to present her own and light-hearted all at the same
work of artist Lisa Roet, daughter of
go on’, performing several times over art alongside Lisa’s beautiful work. time. Last year the models were
long-time Melba Trust supporter Rosie
the weekend to audiences ranging Cunningham. Lisa has researched “Whilst I’m not really a soprano, I was dressed in some wonderfully funny
from 10 to 50. Perhaps the favourite man’s relationship with our closest able to select from some of my higher outfits, including a sexy giant fork
comment of the weekend— “I’ve animal relatives and this naturally led repertoire for the occasion. Revealing ensemble, a lamb sausage dress, a
never listened to opera before but her to look at environmental issues the similarities between a trained silver dinner plate and—if I remember
this makes me want to listen within her art practice. This exhibition voice and the silvery gibbon’s natural rightly—there were some rather
to more!” was all about primates, but it is the song was a really creative way to dapper lads in aprons and not
According to Peter the artists predicament of the silvery gibbon promote this cause. Opera singing much else!”
were true professionals who dealt that particularly concerns Lisa. can seem like an unnatural way to At this event Janet also met fashion
extremely well with the inclement produce sound, so it’s inspiring to designer Lisa Barron, who kindly
“During my many visits to Borneo,
weather conditions in what turned hear something that sounds so similar offered to dress her for this occasion
I’ve been woken to the beautiful
out to be a successful event. but is produced instinctively. The and others.
sound of the gibbon. When I was
gibbon’s untainted voice has inspired
“We had a great turnout—about doing a residency at the Perth Zoo a “I wore one of Lisa’s gowns recently
me to find ways to sing in the most
1,000 in total—and we coordinated few years ago, I met Clare Campbell— at the Opera Foundation of Australia
natural way possible.”
the end of the gardening tours with now President of the Silvery Gibbon German Opera Scholarship Finals,
the beginning of performances. Many Project at Wildlife Asia—who and I felt wonderful in it—I’m sure
visitors were avid gardeners, some introduced me to its plight.” Gastronomy...
it made me sing better! I’m really
of whom were not knowledgeable Needless to say the exhibition Next for Melba Artists was the ‘Spring looking forward to singing again
about opera, but they’re a hardy included a sculpture of the silvery Lamb Racing Launch’, a dinner held at the Spring Lamb dinner this year,
breed and, in spite of the weather, gibbon, which she notes has a very on 25 October at No. 35 Restaurant and to appearing in another of
had the fortitude to embrace the special characteristic. at the Sofitel Melbourne on Collins. Lisa’s stunning outfits.”
singing and be enthralled by our This is a high-profile event which
talented young performers who “Some recent Japanese research
attracts a lot of media attention—a
proved equally undaunted by the has found they vocalise and sing by If you would like Melba
‘Collamboration’ that celebrates
rain and cold. It worked the other controlling the shape and natural Artists to perform at your
Melbourne’s Spring Racing Carnival,
way too—Melba supporters and frequencies of their vocal tracts. next occasion contact
food, fashion and of course—opera
opera buffs came along and were This evolution of the vocal tract was Melba Artists manager
singing.
able to enjoy the garden as well thought to be uniquely human and Jo Beaumont. Email: artist@
as the singing. And to cap it all off, only heard in sopranos!” Guests enjoyed a sumptuous melbaoperatrust.com.au
there were donations to the Melba dinner of Spring Lamb and seasonal Phone: 03 9867 4833
So Lisa came up with the innovative
Trust and new names on the Da Capo produce prepared by No. 35 chef
idea to feature a comparison between
mailing list.” Stuart McVeigh. When they were not
the voices of the gibbon and the
admiring the spectacular views of
soprano.
Page 9
Da Capo Magazine SUMMER 2012
Samuel
Sakker
Margaret Schofield
Opera Scholarship 2012
Until his recent departure for Europe,
Sam Sakker’s year was dominated by
a tour of Mozart’s Don Giovanni with
Oz Opera. This took place from July to
September with rehearsals beginning
well beforehand. Sam performed
34 times—17 of these in the role of
Don Ottavio—in regional centres in
Victoria, New South Wales, South
Australia and the ACT. While the long
days of bus travel were sometimes
challenging, he enjoyed seeing
some of the beautiful countryside
outside the main cities and spending
A time in the company of 29 other
accomplished artists.
The constant need to get accustomed
to new venues provided Sam
with an excellent opportunity for
development.
“Every second day, we’d walk into a
new theatre with a different acoustic,
a different-sized stage, maybe a deep
orchestra pit or no orchestra pit at all
and on one occasion even no stage,
Year Affair not to mention a completely different
audience with different expectations
of ‘opera’! This really forced me to
think on my feet and develop the
ability to adapt to any situation.
The tour also gave me the chance to
solidify my approach to the music,
my interpretation of the character,
After a 31 year affair she herself had been taught— accredited by Victoria University.
my stagecraft skills and my overall
with the Melba, “appreciation of life, love and “Life was good at the Melba” and
performance skills.”
understanding”. this continued under the expert
Director Mrs Jenny leadership of Mel Waters. Then the Since completing the tour with Oz
Sutherland decided During her years of involvement,
whole University landscape changed, Opera, Sam has packed up and flown
Jenny has watched the Melba
it was time to retire evolve from a small conservatorium which took its toll on the Melba, to Europe to further his singing
from the Board. On as its degree course was among a career. He is basing himself in Berlin,
struggling to survive to the thriving
number that were no longer granted but communicated with Da Capo from
31 May this year, a and unique organisation it now is.
a hotel room in Milan where he had
accreditation. The Council faced
reception was held “When I joined Council, Joan Arnold difficult decisions and Jenny was just attended a master class with
at the Lyceum Club was Director and she and her crew very much a part of the process Maestra Luciana Serra. Then it was
to celebr ate and worked around the clock for little which led to the establishment of back to Berlin, his first goal being to
pay. Some years we only had five the Dame Nellie Melba Opera Trust, improve his German language skills.
honour what has students—it was really a story of as noted by Rob Logie-Smith at the “I’m a bit ashamed at my level of
been an incredibly ‘rags to riches’. The ‘rags’ were farewell reception. language—I can’t stress enough
dedicated period of survival and the ’riches’ were
just how important it is. I get by
“Jenny’s pride in the continuing
service. As part of the hearing the beautiful young voices
family connection was obvious, as in organising things like food and
at the end of the year.”
formalities, Jenny was her determination to see the accommodation and I can talk
was presented with Jenny regularly held fundraising DNMOT remain as an independent about opera, but having a proper
events at her Hawthorn home, “with organisation. In fact she has always conversation with a non-English
a prestigious Melba
everyone possible putting on an contributed to discussions at Trustee speaking local is very hard. Even a
Medal, recognising apron”. Current Melba Trust Chair trip to the supermarket can just take
meetings by asking simple but
her long-term Rob Logie-Smith confirms Jenny’s significant questions that were often up so much energy!”
commitment to significant contribution in this from ‘left field’.” The language will come, of course,
the Melba. regard.
As the Trust is “fully up and running, and there are many compensations.
“Jenny has been the most dedicated offering a complete package of
Of course it wouldn’t have been a “Shortly after I arrived, I saw my
of all Directors in fundraising. She support to the development of
Melba event without singing and first Wagner operas—Siegfried and
was very committed to engendering promising young singers”, Jenny felt
on this occasion Melba Trust scholar Die Walküre, both with wonderful
support for the Conservatorium it was time to retire.
Janet Todd joined with alumnus singers. And for five nights in a row
and the Trust through fundraising
Nathan Lay to perform a wonderful “The Trust is in the capable hands in late October I was able to attend
performances and events and
program accompanied by associate of General Manger, Amy McPartlan, performances of Tosca, Madama
through direct financial bequests
artist Jennifer Enchelmaier. and Managing Director, Peter Butterfly and Don Carlo with the
and donations.”
Garnick. It’s a unique model and Staatsoper Berlin and Parsifal and
Jenny’s association began in 1981,
In 1987, Lyn Casey Brereton took an innovative approach which is Turandot with Deutsche Oper. There
when her father Thomas Mitchell—
over as Director and the quest for achieving outstanding results from is just so much going on here and so
nephew of Nellie Melba and
further funds continued. Lady Vestey the singers. We still get to enjoy the many people to work with and
cousin to Melba’s grand-daughter
generously opened the garden ‘riches’ of hearing the singers grow learn from.”
Pamela, Lady Vestey—asked her
at Coombe Cottage for annual over the course of the year, but are
to represent the family at the We look forward to being updated
performances by Melba students, pleased to be done with the rags!”
Melba Conservatorium. Jenny was on Sam’s progress over the coming
which Jenny remembers as
welcomed as Guest of Honour at The Trust continues to appreciate the exciting months.
“great events—loved by students
a function at the Richmond Town warmth, kindness and dedication
and most profitable”.
Hall on 19 May 1981. In 1986, she demonstrated by Jenny throughout
became a member of Council and More students came along and her 31 years with the Melba.
soon found that the Conservatorium the Melba’s diploma course was
stood for the values in life that extended to a degree program
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