PARSIFAL RICHARD WAGNER - Victorian Opera
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RICHARD WAGNER PARSIFAL
VICTORIAN OPERA PRESENTS
PARSIFAL
PRESENTING PARTNER
STAGE DEDICATION FESTIVAL PLAY (BÜHNENWEIHFESTSPIEL) IN THREE ACTS
Composer and Librettist Richard Wagner
Conductor Richard Mills AM Director Roger Hodgman
Set Designer Richard Roberts Costume Designer Christina Smith
Lighting Designer Matt Scott Associate Conductor Daniel Carter
Assistant Director Brock Roberts Choreographer Elizabeth Hill-Cooper
CAST
Parsifal Burkhard Fritz Kundry Katarina Dalayman
Gurnemanz Peter Rose Amfortas James Roser
Klingsor* Derek Welton Titurel Teddy Tahu Rhodes
Grail Knights Squires
Stephen Marsh, Timothy Reynolds Georgia Wilkinson, Shakira Dugan,
Flower Maidens Carlos E. Bárcenas, Paul Biencourt
Kathryn Radcliffe, Rebecca Rashleigh, The Voice from Above
Emily Uhlrich, Georgia Wilkinson, Heather Fletcher
Shakira Dugan, Juel Riggall
Australian Youth Orchestra (AYO)
20, 22 and 24 FEBRUARY 2019
Palais Theatre, St Kilda
Original premiere 26 July 1882, Bayreuth Festival
Approximate timings: Act One 105 minutes / Dinner Break 90 minutes /
Act Two 65 minutes / Interval 20 minutes / Act Three 75 minutes
Finishing time: 10:25pm (weekdays) / 8:55pm (Sunday)
Sung in German with English surtitles
In the rehearsal room:
James Roser (Amfortas) *The Richard Wagner Society Inc (Vic) is supporting the role of Klingsor
3
PRODUCTION ORCHESTRA
PRODUCTION TEAM CELLO HORN
Caleb Wong Principal Timothy Allen-Ankins Principal
Production Manager Eduard Inglés Caleb Murray Oscar Schmidt
Deputy Production Manager Peter Darby Hamish Jamieson Sunga Lee
Michael Gibson Christian Fisalli
Stage Manager Felicity Hollingbery Mason Stanton Gemma Lawton
VIOLIN 1
Deputy Stage Manager Liam Murray Annabelle Traves Concertmaster Nick McManus
TRUMPET
Leanne McGowan Tess Hickey
Assistant Stage Manager Carli Griffin Sophie Spencer Principal
Jasmine Baric Joe Kelly
Alfred Carslake
Grace Wu
MUSIC STAFF DOUBLE BASS Laura Jones
Emily Beauchamp
David Barlow Principal
Music and Chorus Preparation Richard Mills, Phoebe Briggs, Phillipa Safey Sola Hughes TROMBONE
Monty Wain
Marcus Michelsen Jarrod Callaghan Principal
Bryn Keane
CHORUS Darcy Dauth Will Kinmont
Adrian Whitehall
Soprano Mezzo Soprano Samantha Chiu
Holly Little BASS TROMBONE
Kate Amos, Eleanor Blythman, Kerrie Bolton, Lisette Bolton*, Eleanor Hill
Meg McWilliams Phillip Soalheira Principal
Kirilie Blythman, Saffrey Brown*, Rebecca Crabtree, Frederica Cunningham, Liam Freisberg
Grace Gallur*, Alexandra Ioan, Heather Fletcher, Millie Leaver*, Lily McCann FLUTE TUBA
Eliza O’Connor*, Cristina Russo, Kristen Leich, Lisha Ooi*, Ursula Paez, Julian Duthoit Cassie Slater Principal Marcel Kocbek-Malepa Principal
Rachel Kim Megan Barbetti
Diana Simpson, Caitlin Toohey*, Belinda Paterson, Anna Plotka, TIMPANI
Kyla-Rae Ashworth
Nicole Wallace, Barbara Zavros Elizabeth Potter* VIOLIN 2 Thomas Robertson Principal
Phoebe Masel Principal OBOE Huon Bourne Blue
Tenor Bass Scarlett Gallery Callum Hogan Principal
Jonathon Bam, Paul Batey, Darcy Carroll, Nicholas Christie*, Runa Murase Alexandra Allan PERCUSSION
Ryan Bentley*, Ernst Ens, Nick Cowall, James Emerson*, Clare Cooney Mikaela Sukkar Jet Kye Chong Principal
Irving Dekterev, Michael Dimovski, Jerzy Kozlowski, Nathan Lay, Oliver Mann, Rebekah Hall HARP
COR ANGLAIS
Tom Harvey, Jack Jordan*, Aidan McGartland*, Alexander Owens*, Noam Yaffe Isla Biffin Principal
Kate Mostert Principal
Douglas Kelly, Joshua Morton-Galea*, Alex Pokryshevsky, Kiran Rajasingam, Harry Egerton Kate Moloney
Timothy Reynolds, Nathan Wright* Raphael Wong Jade Blanchard-Paterson CLARINET
Jordan Hall Andrew Fong Principal BANDA – TRUMPET
*In association with the Faculty of Fine Arts and Music, University of Melbourne Robyn Blann Claudia Jelic Matthew Carter
Georgina Chan Clare Fox Darcy O’Malley
Victorian Opera Youth Chorus Ensemble (VOYCE)
Molly Kennedy-Moore
Prepared by Angus Grant BASS CLARINET BANDA – TROMBONE
VIOLA Jarrad Linke Principal Jessica Gregory
William Clarke, Georgia Costa, Mia Costanzo, Maia Hanrahan, Olivia Harrison,
Kate Worley Principal Gregory Bennett
Georgia Harrison, Oscar Harwood, Hayley Jobson, Tiernan Maclaren, Saskia Mascitti, BASSOON Harrison Steele-Holmes
Hayasa Tanaka
Annabella Merakis, Zac Mistri, Chloe Taylor, Anushka Tiwari, Emilie Washington, Alison Wormell Principal
Ruby Shirres
Olivia White, Danielle Zuccala, Michael Zuccala Tasman Compton BANDA – BASS TROMBONE
Isabella Fonti
Nicholas Zengoski Kiran Samuel
Phoebe Gilbert
ACKNOWLEDGEMENTS Ariel Postmus CONTRABASSOON
Victorian Opera would like to thank Jim Atkins, Sounds Solo, Norwest, Show Works, Murray Kearney Emma Morrison Principal
Element Rigging, Quality Event Hire, Onsite Portables, Kent Specialised Storage, Matthew Ryan
Andrew Crothers
Classic Piano Carriers, BaacLight, Arts Centre Melbourne, MediaVision,
Jonathan Bruhl
Phaseshift Productions, Capricorn Rigging, Simons Boilers.
Surtitles Courtesy of Opera Australia
4 5
WELCOME
Wagner’s final opera is one of our culture’s greatest treasures. It is so much more at the beginning of their lives – an
than just a great opera: it takes the artform into the realms of philosophy and encounter which they will never forget,
mystic visions, as well as being a profound exploration of the great questions at and a challenge which they will rise to
the core of our human experience. with their usual spirit.
This is a matrix where tradition is made
How can we understand suffering, prodigious energy, yet the forward
anew, where youth meets experience,
desire, love and death? How can motion of the music is never abandoned
where the transforming riches of
mankind live rightly and well in the face in an oasis of temporal indulgence. We
cultural heritage are manifested with
of these imponderable absolutes? are in the hands and heart of the great
unique energy of our company. It is with
storyteller from the first note of the
These questions form the basis of the great pride that I welcome you to these
Prelude to the mystic afterglow of the
consummate musical dramaturgy of performances.
Act Three finale.
Parsifal through which Wagner embarks
on an epic quest, both through the These performances are at the core of
individual journeys of the fascinating Victorian Opera’s mission ‘to RICHARD MILLS
Artistic Director, Victorian Opera
characters and through parallel re-imagine the potential of opera, for
philosophical, spiritual and metaphysical everyone’. We have assembled a cast
mirrors; a quest which extends their that would be admired and respected
predicament forward and backwards anywhere in the world, with notable
across the horizons of time, space and Australians like Derek Welton and
spectrum of human experience through James Roser returning home in the
the power of a unique musical and company of great international stars.
poetic language.
But this star power is being shared by
The music creates a synthesis from our local artists: our Flower Maidens,
the great German traditions of sacred Knights and Squires as well as by our
music and the unique resources of chorus and the young singers from
Wagner’s own complex and completely the Victorian Opera Youth Chorus
individual musical style. The result Ensemble (VOYCE). Completing our
of this is quite unlike anything else in outreach to developing musicians
opera; the piece moves and breathes is our wonderful partnership with
with an immense heartbeat which the Australian Youth Orchestra,
encompasses the epic and universal our star orchestra of young musical
In the rehearsal room:
nature of its subject matter. Its local Olympians who will encounter the
Richard Mills (Conductor) and Roger Hodgman (Director)
details of musical invention have a uncompromising genius of Wagner
6 7
DIRECTOR’S NOTE
Parsifal presents fascinating challenges for directors and designers.
When I first met with Richard Roberts, represents the last part of a story –
Christina Smith and Matt Scott (all the earlier parts of which are revealed
valued long term collaborators) to through the evening.
discuss the design, we were faced
We felt that Wagner’s elaborate
with the inevitable question – what
descriptions of the location of the
is it about? Many books have been
various scenes are impractical to
written on the subject (with remarkably
achieve in a contemporary production
different interpretations) and although
and would take the focus away from the
the central theme of redemption
incredibly intense (almost slow motion)
achieved through empathy seems clear,
nature of the story telling and the
as Bryan Magee writes in his terrific
divine music.
Wagner and Philosophy ‘there is no way
that anyone can explain to anyone in The design does hint at some elements
five minutes what Parsifal is about’. in the story – the already partly
fractured world of the Grail community,
We rejected the idea of a ‘conceptual’
its modest, devout asceticism and the
production – setting the piece in
contrasting, outlandish, almost inhuman
some specific time or place with some
world of Klingsor.
implied interpretation. There have been
numerous such versions including, for And we agreed to embrace stillness.
example, one set in the future with
images of spaceships, one placed during
the Holocaust or one with the Flower ROGER HODGMAN
Director
Maidens in hajibs. Some of these have
been wonderful, but we felt as we were
slowly discovering and coming to love
this remarkable piece, we wanted the
audience to have the same experience.
We sought to achieve this by a very
simple and dynamic space that puts the
focus squarely on the performers, the
music and the slowly revealed story.
In fact, the action of the opera really In the rehearsal room:
Roger Hodgman (Director)
8
SYNOPSIS
ACT ONE his recklessness. Parsifal says he was mother using in dream. He turns to Parsifal tells Gurnemanz about his
raised by his widowed mother in the find Kundry who has been transformed wanderings and how he kept the Spear
In the forest, Gurnemanz, a senior Grail woods but ran away to follow a group of into a woman of beauty. She tells him undefiled through many battles. Parsifal
knight, and two squires prepare for King knights. of his mother’s death and offers him learns that the knights are in a pitiful
Amfortas’s bath. Amfortas is in agony a mother’s blessing, pressing her lips state now that Amfortas refuses to
from a wound in his side that will not Gurnemanz suspects that Parsifal is the to his. Suddenly understanding the unveil the Grail. Without the Grail to
heal. A wild, dishevelled woman called innocent fool they have been waiting significance of Amfortas’s wound, prolong his life, Titurel has died.
Kundry rushes in with a balsam for for. He invites Parsifal to join the Parsifal attempts to escape.
Amfortas’s pain. The squires begin to knights for their feast, stating that if he Moved by Parsifal’s remorse,
torment her, but Gurnemanz defends is pure the Grail will give him food and Kundry tries to seduce him again. She Gurnemanz realises that he is the one
Kundry’s loyalty to the knights. drink. reveals that she is cursed to walk the for whom the Grail knights have been
earth eternally because she laughed at waiting. Kundry washes his feet and
Gurnemanz tells of how Amfortas’s At the gathering, Titurel orders Christ during his crucifixion. Parsifal Gurnemanz anoints him as the new Grail
wound was inflicted by the sorcerer Amfortas to uncover the Grail so that rejects her a second time and Kundry king. As his first duty, Parsifal baptises
Klingsor using the Sacred Spear. The his life might be prolonged another calls for help. Klingsor appears with the Kundry.
Spear and the Holy Grail were originally day. Amfortas hesitates, as doing so will Spear and hurls it at Parsifal, but the
entrusted to Titurel, Amfortas’s father, reopen his wound, but he relents and Spear stops, suspended above Parsifal’s Together they proceed to the Grail Hall.
who formed the brotherhood of unveils the Grail. Angered at the lack head. Parsifal grabs the spear and makes Knights enter carrying Titurel’s coffin.
knights to protect the relics. Klingsor, of reaction from Parsifal, Gurnemanz is the sign of the cross with it, causing The knights demand that Amfortas
a former knight rejected from the convinced that Parsifal is simply a fool the castle to collapse and the garden to unveil the Grail, but he resists and
brotherhood despite having castrated and throws him out of the hall. vanish. begs them to kill him. Parsifal steps
himself to prove his chastity, created a forward and places the tip of the spear
garden of bliss to lure the knights into ACT TWO ACT THREE on Amfortas’s wound, miraculously
damnation. After Amfortas assumed From his castle, Klingsor spots Parsifal curing him. The Grail glows brightly.
Years later, it is Good Friday morning.
the kingship, he tried to defeat Klingsor approaching and summons Kundry to Kundry sinks lifeless to the ground
Gurnemanz is now a hermit and Kundry,
but was distracted by the lures of a bring about the youth’s destruction. as Gurnemanz and Amfortas kneel in
a penitent woman. An unknown figure
beautiful woman, allowing Klingsor to She cries out for death and Klingsor respect, and Parsifal offers the Grail’s
wearing black approaches. Gurnemanz
seize the Spear. As Amfortas prayed tells her that only the one who resists blessing to the knights.
berates him for being dressed in such
for salvation a prophesy told him to her can set her free. a way on a holy day. He removes his
await ‘an innocent fool, enlightened by
Parsifal enters Klingsor’s magic garden helmet and they recognise him as the
compassion.’
where a group of Flower Maidens boy who killed the swan. Gurnemanz
Suddenly, a swan is shot out of the sky throw themselves at him, inviting sees that Parsifal is carrying the Spear
by the youth Parsifal, who is brought him to play with them. Parsifal hears and rejoices that he is alive to see its
before Gurnemanz and rebuked for his name, which he remembers his return.
10 11
BIOGRAPHIES
RICHARD MILLS ROGER HODGMAN RICHARD ROBERTS CHRISTINA SMITH MATT SCOTT DANIEL CARTER
Conductor Director Set Designer Costume Designer Lighting Designer Associate Conductor
Richard is one of Roger has directed well over Richard’s designs include: Christina has worked Matt is one of Australia’s Recently appointed
Australia’s most prolific a hundred plays, musicals Cunning Little Vixen, Nixon extensively as a set and leading lighting designers Kapellmeister at the
and internationally and operas in Australia and in China, The Magic Flute, costume designer over the with 23 years experience in Deutsche Oper, Berlin,
recognised composers. He internationally as well as Baroque Triple Bill, The last 20 years, designing the industry designing more Daniel Carter has been
pursues a diverse career many hours of television Marriage of Figaro; The for companies including than 200 productions for Kapellmeister at Theater
as a composer, conductor drama. Coronation Of Poppea, Don Victorian Opera, New Theatre, Opera, Dance and Freiburg since 2015. During
and artistic director, Giovanni (Victorian Opera); Zealand Opera, Seattle Music Theatre. He returns this time his conducted
and has an extensive He was Artistic Director Rigoletto, Don Pasquale, The repertoire includes The Tales
Opera, State Opera of to Victorian Opera having
discography of orchestral of MTC for twelve years. Magic Flute, Die Fledermaus of Hoffmann, Katja Kabanova,
South Australia, Opera previously lit Banquet of
works including his own He has won Green Room (Opera Australia); La Bohème, Angels in America
Queensland, Melbourne Secrets, Voyage to the Moon,
compositions. He has held Awards for Best Director of Rigoletto (New Zealand (Eötvös), Love Life (also
Theatre Company, The Flying Dutchman, Nixon
numerous prestigious a Play, Musical and Opera Opera); Ruddigore (Opera for Bern Opera), Eugene
Malthouse Theatre, Playbox, in China, Baroque Triple Bill,
posts, and received many (for The Flying Dutchman). Queensland). Dance: Onegin, Die Fledermaus,
Black Swan State Theatre Turn of the Screw, Xerxes
scholarships, fellowships He has a Helpmann Award Requiem, Molto Vivace, Pelleas and Melisande, Don
Company, Queensland and Orphee et Eurydice
and awards including for Best Director (Music Raymonda (The Australian Giovanni, Hulda (Franck),and
Theatre Company, The for the Company. Other
an AM in 1999. He is Theatre) and numerous Ballet); La Sylphide (WA numerous symphonic
Production Company, more recent work includes
currently Artistic Director nominations for both Ballet); La Fille mal gardée programs. Daniel has also
of Victorian Opera, and Belvoir, Sydney Theatre The Lady in the Van, The made his debuts at Cologne
awards. (WA Ballet/Queensland
was Artistic Director of Company, Bell Shakespeare, Architect (MTC); The Opera (La Bohème), and
Operas include Cenerentola Ballet). Theatre: The Season Dance of Death (Belvoir);
West Australian Opera WA Ballet and Australian with the Munich Chamber
and Rigoletto for Opera (Sydney Festival); Fiddler A Gentleman’s Guide to
1997 – 2012, Director Ballet. Recent productions Orchestra and the Academy
Queensland, Lakme, on the Roof (TML); Death Love and Murder (The
of the Australian Music for Victorian Opera include of the Bavarian Radio
Rigoletto and Don Pasquale of a Salesman, Noises Off, Production Company) and
Project for the Tasmanian Voyage to the Moon, Orchestra. Simone Young’s
for Opera Australia and Much Ado About Nothing The Pearlfishers (SOSA).
Symphony Orchestra Banquet of Secrets, and assistant and repetiteur at
BIOGRAPHIES
(Queensland Theatre); Last
2002 – 2008 and Musica for Victorian Opera: Xerxes The Flying Dutchman (set). Hamburg State Opera from
Viva’s Composer of Man Standing, Solomon and 2013 - 2015, Daniel has also
(also NZ Opera), Baroque Christina is also currently
the Year in 2008. This Marion, Next to Normal, conducted for Victorian
Triple Bill, Nixon in China a Performance Design
year Richard conducts The Gift (MTC); True West, Opera, Opera Australia, the
(Green Room Award for lecturer at the Victorian
Victorian Opera’s Australia Day (STC); The Sydney and Queensland
Best Producton), The Flying College of the Arts.
Parsifal, The Barber of Caucasian Chalk Circle, Symphony Orchestras and
Dutchman and Banquet of
Seville and Heroic Bel (Black Swan); The Sapphires the AYO.
Secrets.
12 Canto. (Belvoir). 13
BURKHARD FRITZ KATARINA DALAYMAN PETER ROSE JAMES ROSER DEREK WELTON TEDDY TAHU RHODES
Parsifal Kundry Gurnemanz Amfortas Klingsor Titurel
Hamburg born Heldentenor With a reputation for strong, Born in Canterbury UK, Baritone James Roser Hailed as a major Wagnerian Teddy has performed in
Burkhard Fritz has been a dramatic interpretations Peter Rose is a regular guest initially began a career voice of the future, bass- major houses throughout
fest member of the Berlin married with impeccable at the world’s greatest as an environmental baritone Derek Welton the USA and Europe
State Opera and has musicianship, Swedish opera houses including the scientist, having completed has been a soloist at the including San Francisco,
worked as a freelance artist soprano Katarina Dalayman Metropolitan Opera New a Bachelor of Advanced Deutsche Oper Berlin since New York, Hamburg, Paris,
since 2010. has sustained a long and York; Covent Garden; La Science in Sydney, before 2015, with roles including Vienna, Welsh National
prestigious international Scala Milan; Vienna; Paris; Klingsor, Wotan/Das Opera and Scottish Opera
His repertoire includes: commencing his musical
career in the dramatic Rome; Barcelona; Berlin and Rheingold, Prus/Makropulos companies.
Florestan (Fidelio), Bacchus studies. He has performed
repertoire. Case, Mr Flint/Billy Budd,
(Ariadne auf Naxos), Kaiser the Salzburg and Bayreuth in operatic roles including Roles include: Escamillo
Saint-Bris/Les Huguenots.
(Die Frau ohne Schatten), Festivals. Rigoletto, Beckmesser (Hamburg, Paris, Munich,
Dalayman has performed Guest engagements
Max (Der Freischütz), a wide range of roles (Die Meistersinger von Bilbao, Metropolitan
His enormous repertoire include Pandolfe/
Lohengrin, Parsifal, Stolzing Nürnberg), Gunther Opera, OA), Don Giovanni
including Isolde (Tristan und includes Daland, King Cendrillon (Lyric Opera
(Die Meistersinger von (Götterdämmerung), Wotan (OA, WA Opera), Scarpia
Isolde), Marie (Wozzeck), Marke, Basilio, Banquo, of Chicago), Reimann’s
Nürnberg), Paul (Die tote (Das Rheingold), Papageno (WA Opera), Emille de bec/
Lisa (Queen of Spades), Philip II, Boris, Prince Lear (Salzburg Festival),
Stadt), Siegfried (Siegfried), (Die Zauberflöte), Don South Pacific (OA) , King of
Ariadne (Ariadne auf Naxos), Gremin, Leporello, Zaccaria, Heerrufer/Lohengrin
Don José (Carmen), Faust Giovanni, Il Conte (Le Siam/The King
Katarina Ismailova (Lady La Roche, Claggart and (Semperoper Dresden),
(La damnation de Faust), Nozze di Figaro), Guglielmo and I (OA), Méphistophélès
Macbeth of Mtsensk) and Falstaff. Engagements this Escamillo (Hamburg State
Hoffmann (Les contes (Cosi fan tutte), Escamillo (OA, SOSA, WA Opera),
the title role of Elektra season include Baron Ochs Opera), Mozart’s Figaro
d’Hoffmann) Pinkerton Sweeney Todd (Victorian
and Salome. With a strong (Carmen), Owen Wingrave, (Glyndebourne). As Klingsor,
(Madama Butterfly), Der Rosenkavalier at Wiener Opera/NZO), Melcthal/
association to Wagner’s Peter (Hänsel und Gretel), Welton has also appeared
Cavaradossi (Tosca), Alvaro Staatsoper and Dresden William Tell, Lorenzo/ I
Brünnhilde, Dalayman has Johann (Werther), Mr. at the Bayreuth Festival
(La Forza Del Destino). Semperoper, Osmin Die Capuleti e i Montecchi
Gobineau (The Medium), and will début shortly at
Fritz has appeared at appeared in Ring cycles at Entführung aus dem Serail, (Victorian Opera).
Melchior (Amahl and the Bavarian State Opera.
Salzburg and Bayreuth The Metropolitan Opera, Gorjančikov From the
the Night Visitors), Der Recent concert highlights Teddy has been awarded
Festivals, Scala di Milano, Opéra National de Paris, House of the Dead for the
Feenkönig and Harald (Die include Martinů’s Epic an ARIA, two Helpmann
Amsterdam, State Opera Wiener and Bayerische Bayerische Staatsoper and
Feen), with the Wiener of Gilgamesh (Czech Awards, a Limelight Award,
Munich, State Opera staatsopers, Teatro alla Arkel Pelléas et Mélisande for
Staatsoper, Staatstheater Philharmonic), A Child of Our a Green Room Award plus a
BIOGRAPHIES
Vienna, La Monnaie in Scala, and Deutsche Oper Dutch National Opera.
Cottbus, Tiroler Festspiele Time (Leipzig Gewandhaus), MO Award.
Brussels, Teatro Real Berlin. Kundry in Parsifal St Matthew Passion
in Madrid, Lyric Opera is an other celebrated role Erl and Opera Australia. In 2018 Teddy released his
(Rotterdam Philharmonic),
Chicago, Opera Leipzig, that she has interpreted in CD, I’ll Walk Beside You with
and Bruckner’s Mass in F
Frankfurt Opera, New York, Paris, Dresden ABC Classics.
minor (BBC Proms).
Semperoper Dresden, and Stockholm.
State Opera Hamburg. The Richard Wagner Society Inc (Vic)
is supporting the role of Klingsor.
14 15
IN DEPTH
Wisdom Through Compassion
Durch Mitleid wissend - ‘Enlightened tranquil scene of reawakened nature
through compassion’ was the motto with the world’s ‘new beginning’
theme of Parsifal almost from its achieved through Christ’s sacrifice on
conception. This Stage Dedication the cross on Good Friday. His mind
Festival Play, as Richard Wagner called went back to Wolfram’s poem with its
it, is his most subtle and many-layered references to Good Friday, and the
work and the product of a lifetime’s juxtaposition of these ideas provided
reading and reflection. the spark that ignited his imagination.
Where to begin? Actually, there were In the earliest legends, the Grail was
two beginnings. The first occurred in neither a chalice nor the cup of the
1845 when the composer was taking Last Supper. Those associations came
a rest cure at the spa at Marienbad later. In Chrétien de Troyes’s poem
in Bohemia and immersed himself of about 1180, the Grail was a serving
in Wolfram von Eschenbach’s early bowl; in Wolfram’s version it was a
thirteenth century romance Parzival magic stone fallen from heaven. Even
(as the name was originally spelt). before the Grail was given its Christian
The immediate result was a ‘Romantic gloss by poets like Robert de Boron in
Opera in Three Acts’ about Lohengrin, the twelfth century, it was described
Parzival’s son. Wagner was unsure if, as possessing miraculous powers,
or how, he could use other aspects of including the ability to provide all
Wolfram’s poem and, some years later, kinds of food and drink and to extend
he briefly considered introducing the the lives of those who gazed upon it.
character Parzival into the third act of What we see in the Grail Temple in Act
Tristan und Isolde. Two of Parsifal is not a service of Holy
Communion but an adaptation of these
The second beginning for Parsifal
medieval legends.
occurred on a spring day in 1857. The
exiled Wagner and his first wife Minna There were other important influences
had moved to the estate of Otto and too. The philosophy of Arthur
Mathilde Wesendonck on the outskirts Schopenhauer and the teachings and
of Zürich. Wagner associated the legends of Indian religions loomed large
In the rehearsal room:
Derek Welton (Klingsor) and
Katarina Dalayman (Kundry)
17
during the creation of Parsifal, as they of occidental and oriental legends
did with Tristan und Isolde and much of and teachings is an extraordinary idea,
Der Ring des Nibelungen. Schopenhauer but Wagner saw no conflict at all. He
described compassion as the source identified many common elements in
of morality, renunciation as the only Christian and Buddhist thought, and
authentic act of free will, and our world saw a role for art in revealing truths
of phenomena as illusory. These ideas that may have become obscured by
had much in common with the ancient formalised religion.
religions of India which Schopenhauer
These many strands endow Parsifal
admired and to which Wagner was
with dense layers of meaning and a
drawn after the mid-1850s.
symbolism that is distinct from that
In May 1856 Wagner drafted a sketch of Lohengrin. But its central theme,
for a music drama to be called Die once identified, is straightforward:
Sieger (The Victors) which dealt with Human salvation is to be found not in
an event in the legendary life of the the satisfaction of selfish desires but in
Buddha, one of whose titles is Jina compassion. The ‘innocent fool’ Parsifal
(The Victor). His victory was over is made wise by his willingness to share
human passions. Die Sieger was never the sufferings of others and, in the
developed beyond a sketch but some process, he brings a new type of order
of its ideas ended up in Parsifal: to the community of the Grail.
The torment of unsatisfiable desire
(Amfortas’s wound that never heals),
redemption flowing from compassion PETER BASSETT
(the ‘innocent fool’s’ awakening to Writer and Speaker on Richard Wagner
Amfortas’s plight), and the implications
of withholding compassion (Kundry’s
interminable reincarnations after she
had laughed at the crucified Christ).
To these we can add the ephemeral
‘magic garden’ of an oriental Paradise,
attempts to obstruct Parsifal’s path
to enlightenment (the temptations of
Klingsor’s Flower Maidens), and the
need to show compassion towards all
living creatures (the incident of the
shooting of the swan). The blending
18ABOUT US
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In the rehearsal room:
Burkhard Fritz (Parsifal) © Photography: Charlie Kinross pp 2, 7, 9, 16, 20
21OUR TEAM
FOUNDING MUSIC DIRECTOR Media and Communications Executive
Richard Gill AO Scott Whinfield
CRM and Ticketing Executive
VICTORIAN OPERA BOARD
Nichole O’Duffy
Chairman Genevieve Overell
Roger Box, Vivienne Corcoran, Siobhan DEVELOPMENT
Lenihan, Selina Lightfoot, Stephen Development Manager Louise O’Loughlin
McIntyre, Grant Powell, Penny Stragalinos, Development Coordinator Rhylla Mitchell
Anna Pitt (Board Observer)
SEASON STAFF
EXECUTIVE
Head Mechanist Mark Bradford
Artistic Director Dr Richard Mills AM
Rehearsal Head Mechanist and Props
Executive Producer and Artistic Associate
Adam Brunskill
(Acting CEO) Elizabeth Hill-Cooper
Head Electrician Harrison Cope
ARTISTIC, ENGAGEMENT & PRODUCTION
Sound Technician John Warrington
Head of Music Phoebe Briggs
Costume Supervisor Isaac Lummis
Repetiteur Phillipa Safey
Head of Wigs and Makeup Linda Cowell
Company Manager Luke Hales
Surtitle Operator Timothy Mallis
Assistant Company Manager
Props Maker Tim Wells
Candice MacAllister
Mechanists Nathan Burmeister,
Education Officer Ioanna Salmanidis
Kelsey Henderson
Production Manager Eduard Inglés
Dome Operators Evan Anderson,
Technical and Operations Coordinator Stephanie Morel
Peter Darby
Gentleman’s Cutter and Tailor
Production and Music Coordinator Susan Skinner
Carlos E. Bárcenas
Ladies Cutter Tristan Seebohm
VOYCE Director Angus Grant
Cutter Alice Swing
FINANCE & ADMINISTRATION Costumiers Jo Foley, Madeleine Somers,
Finance and HR Manager John Orr Elizabeth Maisey, Melinda Brodie
Finance Assistant Claire Voumard Wardrobe Buyer Debra Hallam
Office Administrator Silvana Vaxelaire Wardrobe Art Finishing Billy Heinemann
Millinery Phillip Rhodes
MARKETING & TICKETING
Dressers Juliet Bennie, Natalie Gillis,
Marketing, Media and Sales Manager
Justine Haselton, Amy Masterson
Henri Marron
Specialty Makeup Wade Tuck
Marketing Content Producer Beata Bowes
Wigs and Makeup Emily Griffiths,
Simon Zanker
22THANK YOU
ARTISTIC DIRECTOR’S CIRCLE ($10 000+) Richard Laslett & Colin Gunther Prof John Rickard Jane Kunstler
Rob & Caroline Clemente Peter Lovell & Michael Jan Phillip & Sue Schudmak Jocelyn & Andrew McLeish
John & Diana Frew Ian Merrylees John & Thea Scott Jill Page OAM & Roy Page
Jane Hemstritch Tomasz & Elzbeita Romanowski Dush Shan Dr Fay Pearl
Suzanne Kirkham Ian Baker & Cheryl Saunders James Syme Greg J Reinhardt
Peter & Anne Laver John & Elisabeth Schiller Andrea Tappe Ralph & Ruth Renard
Siobhan Lenihan Craig D’Alton & Peter Sherlock Prof Hugh Taylor AC & Dr Elizabeth Dax AM Dr Nigel Simpson
Simone Lourey Lynne Sherwood Chris & Helen Trueman Michael Smith & Sonia Fuenteseca
Hans & Petra Henkell Lady Southey AC Liz & Peter Turner Neil Twist
Don & Angela Mercer Penny Stragalinos David Valentine Caroline Vaillant
Maureen Wheeler AO & Tony Wheeler AO Diana and Robert Wilson Ian Watts OAM & Rex Swanson The Hon Heidi Victoria
Dr John & Elizabeth Wright-Smith Secret Admirers (3) Igor Zambelli & Jenny Lee Catherine Walter AM
Secret Admirers (6) Ken & Merle Morris
PLATINUM PATRON ($5 000+) SILVER PATRONS ($1 000+)
Beatrice & Richard Donkin BRONZE PATRONS ($500+) BEQUESTS
Beth Brown & Tom Bruce AM
Alan Chuck & Wendy Hughes Chuck Dr M Elizabeth Douglas Judith Augustine Jenny Anderson
Peter & Jenny Hordern Dr Helen M Ferguson Russell Waters & Marissa Barter-Waters G Bawden & L de Kievit
Kaye Marion Bill Fleming Prof Richard Bearman Lesley Bawden
Ruth & Tom O’Dea Brian Goddard Laurie Bebbington & Elizabeth O’Keeffe Frank & Danielle Chamberlin
Grant Powell & Sally McCutchan Nance Grant AM MBE & Ian Harris Kirsty A Bennett Richard Laslett & Colin Gunther
Michael Rigg & Gerard Condon AM Hartmut & Ruth Hofmann Nancy Bomford Jane Kunstler
Marian & Ken Scarlett OAM Dr Alastair Jackson AM Box Family Tony Wildman & Robert Gibbs
Joy Selby Smith Simon L Jackson & Brian Warburton Stuart Brown Secret Admirers (3)
Greg Shalit & Miriam Faine David Joseph Anthony Buzzard & Dr Pamela Craig
Rosemary & Dr Alan Tait Graham McCallum & Mary Kehoe Pam Caldwell If you are interested in becoming a
The Hon Rod Kemp & Daniele Kemp Caroline Travers OAM & Richard Travers Victorian Opera Patron, or having a
Alun & Patricia Kenwood OAM confidential discussion about leaving a
GOLD PATRONS ($2 500+)
Angela & Richard Kirsner Seonaid Alexander gift to Victorian Opera in your Will, please
Joanna Baevski John Landy AC & Lynne Landy Prof Dennis Altman AM contact Louise O’Loughlin, Development
The Hon David Byrne Prof Kathy Laster Jenny Anderson Manager on (03) 9001 6405 or email
Vivienne & Dr Richard Reed Paul & Glenys Lejins Lesley Bawden louise@victorianopera.com.au
Earl of Wilton Dr Anne Lierse Ines & Dr Donald Behrend
Bob Garlick Douglas & Rosemary Meagher Philip Benjamin & Sandy Benjamin OAM
John & Gaye Garlary Ann Miller Stephen & Maura Best Current at time of printing.
Dr Jennifer George & Canon Matthew Gillian Montgomery Ms Shirley Breese
Williams Professor Kerry Murphy Susan Brownrigg
Mary-Jane Gething & Joseph Sambrook Greg Noonan Dr Jennifer Coghlan-Bell & A/Prof Simon Bell
Daniel Goodfellow & Matthew Burgess Anna Pang Brian & Kaye Dempster
PATRONS
Murray Gordon & Lisa Norton Jillian Pappas & George Pappas AO Dennis Freeman
Linda Herd Jane Patrick & Robert Evans Angela Kayser
Dr Garry Joslin & Prof. Dimity Reed AM Keith Chivers & Ronald Peel Irene Kearsey
Ian Kennedy AM & Dr Sandra Hacker AO
24 25ABOUT THE AUSTRALIAN of Wagner’s Tristan and Isolde at
the Queensland Music Festival. The
Musicians will be joined by inspirational
Polish conductor, Krzysztof Urbański
YOUTH ORCHESTRA
orchestra has also presented concert and renowned performers Jan
performances in prestigious concert Lisiecki and Daniel Müller-Schott
halls in Australia and overseas, working for an ambitious month of music
alongside soloists of international making, culminating with a triumphant
The Australian Youth Orchestra to performance and development acclaim including Joshua Bell, Hélène homecoming concert at the Sydney
(AYO) has a reputation for being one opportunities that will enable them to Grimaud, Ray Chen and William Barton; Opera House. 2019 marks the 40th
of the world’s most prestigious and launch a multi-faceted career. and performing under the baton anniversary of the 1979 tour, when AYO
innovative training organisations for of celebrated conductors such as became the first Australian orchestra
AYO has committed itself to improving
young musicians. AYO occupies a Vladimir Ashkenazy, Simone Young and to visit China. AYO has continued to
the quality of music education in
special place in the musical culture of Christoph Eschenbach. establish itself as a cultural ambassador
classrooms around Australia. To meet
Australia, where one generation of on the world stage since its first tour in
this need, the National Music Teacher In July 2019, the Australian Youth
brilliant musicians inspires the next, 1970.
Mentoring Program was launched in Orchestra will embark on an
where aspiring musicians get a taste of
2014 by distinguished music educator international tour to Europe and China.
life as professional musicians, and where
the late Richard Gill AO under the
like-minded individuals from all over
auspices of the AYO, and continues to
the country gather for intense periods
support classroom teachers in building
to learn from each other, study and
their skills and confidence in teaching
perform.
music.
The AYO training pathway has been
AYO’s flagship ensemble, the Australian
created to nurture the musical
Youth Orchestra, undertakes two
development of Australia’s finest young
seasons per year. Aged up to 25 years,
instrumentalists across metropolitan
orchestra members are selected
and regional Australia: from the
through a highly competitive annual
emerging, gifted, school-aged student,
audition process and represent the
to those on the verge of a professional
country’s best young musical talent.
career. AYO presents tailored training
and performance programs each year Critically acclaimed appearances
for aspiring musicians, composers, arts include performances of Wagner’s
administrators and music journalists The Flying Dutchman with Victorian
aged 12 to 30. Graduates of AYO’s Opera, Britten’s opera Peter Grimes
training programs have the opportunity with West Australian Opera at the Perth
to take part in Momentum Ensemble, a International Arts Festival, the award
project designed to provide outstanding winning Beethoven cycle conducted by
young performers on the cusp of John Nelson at the Adelaide Festival
their professional career with access Centre, and a concert performance
26 27FOR LEASE
499 Ballarat Road Sunshine
OUR PARTNERS
We acknowledge and thank our partners who make our work possible.
Government Partners
Foundation Partner University Partner Awards
*Approx
*Approx
Trusts and Foundations Major Partners
1165m OFFICE ACCOMMODATION
2*
AVAILABLE 2019
– Highly flexible floor plan For further information please contact:
– Ample car parking Conrad Green 0417 406 811
– Melbourne Fringe conrad.green@henkell.com.au
– Strategic location on major arterial road
– Public transport within easy walking distance
Official Partners Media Partners
– 20 minutes from Melbourne Airport 499Ballaratroad.com.au
– 4.5 star NABERS energy rating
Supply Partners
Established in 1980, Henkell Brothers manages a variety of commercial properties
comprising of high profile office, retail and showroom spaces in Melbourne CBD, city fringes
and surrounding suburbs. We operate on the principles of sustainability, reliability and
transparency and our clients value our experience, our competence and our personal care. Performance Partners
203 Victoria Parade, Fitzroy VIC 3065 | T. +61 3 9417 4144 | henkell.com.au
Official Partner of Victorian Opera
29UPCOMING EVENTS
3 Talks by Richard Mills
Fun and fact-filled explorations of opera
Join Victorian Opera’s Artistic Director Richard Mills for three
fascinating evenings exploring the heritage of the tenor voice,
the orchestra in opera and the social history of opera.
1, 15 and 22 March 2019 | Victorian Opera, Hemstritch Studio
Alice Through the Opera Glass
A marvellous adventure for the whole family
Peer into the magic looking glass and come on a fantastical
journey through opera’s most memorable music with Alice and
the White Rabbit. The perfect introduction to opera for ages 6+.
14 and 15 June 2019 | Arts Centre Melbourne, Playhouse
A Little Night Music
The most musical of musicals
Musical theatre lovers rejoice - Sondheim is back! Nancye Hayes,
Ali McGregor, Simon Gleeson and Samuel Dundas star in one of
Sondheim’s most beloved and sophisticated musicals.
27 June – 6 July 2019 | Arts Centre Melbourne, Playhouse
Heroic Bel Canto
The best of Bellini, Donizetti and Rossini
SEASON 2019
Celebrate the inimitable art of bel canto with superstars Jessica SUBSCRIPTIONS CLOSE
Pratt and Daniela Barcellona. Experience an evening of vocal
prowess with famous arias, duets and ensembles. ON 4 MARCH 2019.
14 July 2019 | Arts Centre Melbourne, Hamer Hall
BOOK NOW TO UNLOCK YOUR
FULL SUBSCRIBER BENEFITS AND SAVE UP
TO 30%.
30victorianopera.com.au
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