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opera
melbourne
Part One of
The Ring of the Nibelung
WAGNER’S
Regent Theatre
Ulumbarra Theatre, Bendigo
Principal Sponsor: Henkell Brothers Investment Managers
Sponsors: Richard Wagner Society (VIC) • Wagner Society (nsw)
Dr Alastair Jackson AM • Lady Potter AC CMRI • Angior Family Foundation
Robert Salzer Foundation • Dr Douglas & Mrs Monica Mitchell • Roy Morgan
Restart Investment to Sustain and Expand (RISE) Fund
melbourneopera.com
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opera
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WAGNER’S
C O M P O S E R & L I B R E T T I S T R I C H A R D WA G N E R
First performed at Munich National Theatre, Munich, Germany on 22nd September 1869.
Wotan BA S S Eddie Muliaumaseali’i
Alberich BA R I T O N E Simon Meadows
Loge T ENOR James Egglestone
Fricka MEZZO-SOPRANO Sarah Sweeting
Freia SOPRANO Lee Abrahmsen
Froh T ENOR Jason Wasley
Donner BA S S - BA R I T O N E Darcy Carroll
Erda MEZZO-SOPRANO Roxane Hislop
Mime T ENOR Michael Lapina
Fasolt BA S S Adrian Tamburini
Fafner BA S S Steven Gallop
Woglinde SOPRANO Rebecca Rashleigh
Wellgunde SOPRANO Louise Keast
Flosshilde MEZZO-SOPRANO Karen Van Spall
Conductors Anthony Negus, David Kram FEB 5, 21
Director Suzanne Chaundy
Head of Music Raymond Lawrence
Set Design Andrew Bailey
Video Designer Tobias Edwards
Lighting Designer Rob Sowinski
Costume Designer Harriet Oxley
Set Build & Construction Manager Greg Carroll
German Language Diction Coach Carmen Jakobi
Company Manager Robbie McPhee
Producer Greg Hocking AM
MELBOURNE OPERA ORCHESTRA
The performance lasts approximately 2 hours 25 minutes with no interval.
Principal Sponsor: Henkell Brothers Investment Managers
Sponsors: Dr Alastair Jackson AM • Lady Potter AC CMRI • Angior Family Foundation
Robert Salzer Foundation • Dr Douglas & Mrs Monica Mitchell • Roy Morgan
Restart Investment to Sustain and The role of Loge, performed by James Egglestone, is proudly supported by
Expland (RISE) Fund – an Australian the Richard Wagner Society of Victoria. The Wagner tubas purchased for this
Government Initiative production are proudly supported by the Wagner Society in NSW Inc
3
Sway-pole Performers Emily Ryan, Lily Paskas Goodfellow
Nibelungen Rebecca Rashleigh, Louise Keast, Karen Van Spall, Jane Magão, Eleanor Greenwood,
Rose Nolan, Will Barker, Emily Ryan, Lily Paskas Goodfellow
Stage Manager Lachlan O’Connor
Assistant Stage Managers Will Barker, Cointha Walkenden
Repetiteur Konrad Olszewski
Set Design Assistant Max Bowyer
Associate Lighting Designer Bryn Cullen
Head of Wardrobe Jillian Wilson
Assistant Director Will Barker
Hair, Make-up & Wigs Julz Mayberry
Rheinmaidens Choreographer Miki Oikawa
Sway-pole Choreographer Phillip Gleeson
Surtitles Operator Eleanor Smith
Wagner working on the stage of the Bayreuth Festspielhaus,
during preliminary rehearsals of The Ring.
Drawing by Adolf Von Menzel, 1875.
4
F R O M O U R PAT R O N - I N - C H I E F
How wonderful to find ourselves back in the theatre and enjoying
beautiful productions and performances after the 12 months we’ve been
through. We at Melbourne Opera are thrilled to be leading the recovery
for the performing arts with the first large scale production for the year,
and reopening the beautiful Regent Theatre, with Das Rheingold.
There are many exciting aspects to this production. For any opera
company, embarking on The Ring is the apogee of a company’s
aspirations.
We are particularly proud to be presenting an all Victorian cast and
creative team with the vital addition of Maestro Anthony Negus, one of
the world’s leading Wagnerian conductors at the musical helm. Anthony’s
thrilling performances of Tristan and Isolde, The Flying Dutchman and
Fidelio (our last production before lockdown) have greatly enhanced the
company’s reputation both here and internationally.
We are also delighted that several important roles are taken by members
of the Richard Divall Emerging Arts Program, now recognized as
perhaps the nation’s best program for emerging artists.
The company’s efforts in leading the arts recovery have been recognized
by the Federal Minister for the Arts, the Hon. Paul Fletcher, with a RISE grant for Das Rheingold. This has helped
us – and particularly all the artists involved - enormously. However we were both disappointed and perplexed not
to receive Victorian Government Creative Victoria assistance for the same project-the inconsistency is surprising.
So, in this our 20th year of operation we thank our generous philanthropic sponsors, supporters and audience as
we enter our third decade and commence our Ring adventure. Melbourne Opera could not have achieved all it has
without your ongoing and generous support.
Lady Potter AC CMRI
Patron-in-Chief
Participants in the Belcanto Masterclass with Maestro Richard Bonynge AC and Lady Potter AC CMRI
5
FROM THE DIRECTOR
Preparing and rehearsing Das Rheingold has been unlike this has been influential in the creation of the production
the preparation of any other opera I have undertaken. This style. The other operas in cycle are largely about people –
is not only because in the conception I am considering a albeit some heroic ones. We have asked ourselves what is
further three operas and plotting the journey through these the essence of the characters; the Gods, Giants, Nibelungen
over several years in a rapidly changing world. It has also and Rheinmaidens and how they can be presented in a way
required a completely different mindset in the shadow that speaks to contemporary audiences, to reinforce the
of the COVID lockdown. This has led to a six-month eternal relevance of this story of the machinations of power,
postponement with the knock-on effect of significant entitlement and greed. My aim is to always be true to the
changes to collaborators and singers, as well as significant storytelling and strive to understand how each moment in
changes to our work practices. Wagner serves the work, then present it in a way that is
detailed and fresh. In my preparation I was struck by how the
New rehearsal and performance protocols have been put concept and structure of The Ring owes much to the ancient
in place, including the distribution of the orchestra from Greek theatre festivals, and that ‘Das Rheingold’ can sit as
beyond the pit to into the stalls. Our extraordinary stage a prologue, a kind of a Satyr play, a ‘joking tragedy’ where
management team have had their workload increased as the actors play mythical heroes engaged in action drawn
they diligently sanitise and deep clean our working space from traditional mythical tales.This production’s mythical
and provide daily updates about the COVID situation in past refers to the heady and hedonistic times of the sixties
Victoria. Everyone is committed to bringing opera back in and seventies when the rich had seemingly endless wealth
this changed world. I am so proud to be a part of a project (approaching the ‘greed is good’ era of the eighties), where
which is providing work for over 140 Victorian artists and many of the seeds were planted for our current malaise of
production workers after a year when our industry has been the environment and democracy.
hit so hard and giving you, our audience, this mainstage
opera work in a full production. The production has a poetic and suggestive performance
space which moves with the music through its scenic
It is equal parts terrifying and thrilling to be a part of this shifts, so we never lose contact with story. It symbolically
first major production coming out of the pandemic and renders the difference between the world of light which
Melbourne Opera is to be congratulated for its flexibility, the gods inhabit, against the dark world of Nibelheim - the
agility and bravery in commencing this project during these dichotomy of the overlords and the underworld. It was my
times. wish to genuinely explore the magic Wagner demands in the
transformation scenes and thewonder-filled watery world of
Throughout 2020, in a world of ever escalating catastrophe,
the Rhine maidens which Alberich stumbles into. I want to
I reflected that Wagner’s Ring Cycle may be the story of
make ‘Das Rheingold’ both fantastical and enjoyable.
the ‘Twilight of the Gods’, but our world is currently
feeling unnervingly like the ‘Twilight of Humanity’, with Therefore ‘Das Rheingold’ does feel like it is in ‘a’ past, but
the outbreak of COVID-19, worldwide disasters linked to only compared to the rest of the cycle to come. It is a fresh,
climate change and where a petulant man-child has ruled and highly theatrical production that does not always take
“the land of the free.” In ‘Das Rheingold’ we meet aloof itself too seriously. This is Wagner with a nod to absurdism
and indolent powerbrokers filled with self-interest who and the surrealism of the Italian master filmmaker of the
will renounce love for personal gain, blithely ravage natural 1960’s and 1970’s, Frederico Fellini.
resources and welch on deals; we appear to be living in a
world fuelled by ancient tribal hatreds, teetering on the brink After a year of artistic inactivity, I am thrilled to work with
of chaos. No wonder the operas which make up Richard every one of these outstanding Victorian artists to make
Wagner’s Ring Cycle have such timeless appeal - this reads a production that celebrates the depth of Victorian artistic
like a daily newsfeed. talent. This production allows our unique Wagnerian
sensibility to flourish under the guidance of international
With my creative team - Andrew Bailey (Sets), Harriet Wagner specialist, Maestro Anthony Negus, our irreplaceable
Oxley (Costumes) and Rob Sowinksi (Lights) – we have Head of Music Raymond Lawrence and Dr David Kram.
looked to create a world that does not drag the mythological
characters of ‘Das Rheingold’ down to being ‘normal’
recognisable people. I found inspiration reading literature
imagining Norse Gods in our contemporary world and
6The Characters
Alberich, is the Nibelung who dares to dream, coming out The giants, Fasolt and Fafner, come from a noble and skilled
of the bowels of the industrial hub of Nibelheim to look for race, more practical than the gods but disdained by them.
love. His way to deal with rejection by the exotic and free They see things in black and white and simply want their
spirited Rheinmaidens, is to steal their natural resources and contract with Wotan fulfilled. That should not be too much
become a despot who renounces love. He believes once he to expect from the god of law! As they see it, they’ve built
has enough riches and power, he can take any woman he Valhalla and should be given the goddess Freia as payment,
likes with or without consent. as agreed. Fafner wants Freia for the golden apples she
cultivates which provide immortality but his brother Fasolt
Wotan – chief god and creator of Law – has messed things wants the beautiful Freia as his bride.
up in a world which is turning against him and is planning
his escape with his godly entourage to an impenetrable Erda is the most ancient of the gods – the ultimate Mother
fortress with little regard for how they get there. He cheats Earth. Her knowledge goes far beyond Wotan’s blinkered
on his wife Fricka, the goddess of marriage, he dismisses vision.
the Rheinmaidens and their problems as nothing to do with
him and he offers Freia as a bargaining chip in order to get Wotan’s journey through other operas in the Ring Cycle
his fortress Valhalla built. is one of personal insight and self-realisation. Alberich
is despicable, but in ‘Das Rheingold’ there is not a lot of
He should care about natural resources being ravaged difference between the behaviour of Alberich and Wotan.
by unthinkable acts, but he doesn’t. He should care about Villains come in all guises and only Loge, a unique character,
trading women for buildings, but doesn’t believe it’s his like a cross between Puck and Lear’s Fool, sees through it all.
problem. This is a matter for Loge to manage. Loge is
the agent of change who straddles the world of the gods Suzanne Chaundy
with his demigod credentials. He is disliked by the other Director
gods but is inexplicably bound to Wotan and subject to his
dictates. A ‘fixer’, Loge can be everywhere, in human form or
as an element. He has a razor-sharp insight into everyone’s
failings and foibles. He truly understands why the gold must
be returned to the Rhine maidens.
M ELB O U RN E O P ERA 2021 Season
DAS RH EI N G O LD | Richard Wagner
Regent Theatre, February 3,5,7
Ulumbarra Theatre, Bendigo, February 21
M OZ ART B Y MO O N LI G H T
Royal Botanic Gardens, March 7
T H E M ARRI AG E O F FI G ARO | W.A. Mozart
Australian Club, Promenade Production, May
MACB E T H | Giuseppe Verdi
Athenaeum Theatre, July
T H E RISE & FA LL O F T H E CI T Y Melbourne Opera Orchestra and Chorus
are available for freelance engagement
OF M AH AG O N N Y | Brecht/Weill
Athenaeum Theatre, September Co production with iOpera melbourneopera.com (03) 9600 2488
B EL CAN TO S U RP RI S E
Athenaeum Theatre, November
A new Bel Canto production continuing Melbourne Opera's
acclaimed exploration of this repertoire. TBC April.FROM THE CHAIRMAN
Welcome to Melbourne Opera’s 2021 season. Our company plans a busy 2021. Das Rheingold is the first major
opera in 2021, to be introduced in this very challenging environment. The Ring Cycle is an enormous and exciting
venture for Melbourne Opera, to be produced over the next three years, culminating in complete Cycles in 2023. We
are sure that you will enjoy this masterpiece, continuing our company’s production of the most beautiful of Wagner’s
operas.
Your company plans a very busy 2021. Das Rheingold will be followed by a new production of Verdi’s Macbeth
starring Helena Dix and directed by Bruce Beresford. We are also planning an innovative production of The Marriage
of Figaro, with details to be announced soon. In the second half of the year we will co-produce a new production of
Brecht/Weill’s The Rise and Fall of the City of Mahagonny and we are planning a further major bel canto repertory
work for October. Our Victorian touring continues with our popular Mozart by Moonlight concerts in February, in
Melbourne at the Botanical Gardens and in our country locations, bringing opera to the regions.
We look forward to co-presenting the 95th Herald Sun Aria in October and there will be several equally exciting
events hosted by FOMO during the year, similar to the wonderful fund raising dinner at Queens Hall which
opened our 2020 season, before all 2020 plans were put on hold. All our professional operatic activity is provided by
Melbourne Opera without any ongoing government support. The company operates with a very modest overheads;
90% of the company’s annual budget goes directly into productions. Simply, this is all done with the financial help
of our supporters and donors. Melbourne Opera’s continued success in this very challenging environment continues
to depend upon your support. As in the past, I request your consideration and help with that support. All donations
are fully tax-deductible.Thank you and I hope that we will continue to see you over many wonderful productions in
2021 and beyond.
Remember, Our Company is your Company.
Michael Flemming
Chairman - Melbourne Opera
FRIENDS OF MELBOURNE OPERA
(FOMO)
With over 150 members, FOMO enables opera lovers to engage with others to support Melbourne’s own opera
company and emerging artists. FOMO members enjoy many special events during the year including masterclasses,
talks, the Annual FOMO On-Stage dinner, open rehearsals and soirees, discounted tickets and pre-production
lectures. FOMO is particularly proud to support The Richard Divall Emerging Artists Program, Australia’s
foremost initiative for supporting emerging operatic talent. There are four tiers of membership ranging from
platinum membership ($500pa) to youth membership ($30pa).
To join please contact Robbie McPhee on 9600 2488 or email fomo@melbourneopera.com.au
Rebecca Rashleigh, Richard Divall
Emerging Artists Program member
winning the 2018 Herald Sun Aria.
Michael Lampard (left), was awarded
the Richard Divall Award
8R I C H A R D D I VA L L E M E R G I N G
ARTISTS PROGRAM
After the mayhem and postponements throughout the Dimovski covering Froh and Stephen Marsh covering
past extraordinarily challenging year, we are pleased Donner. Associate artist Chloe Harris, along with
to report that despite it all, we continued to run a Jane Magao, Michael Dimovski and Darcy Carroll
very viable programme to keep our wonderful young appeared in our Annual Christmas Concert with
singers engaged and learning despite the lockdowns. Sylvie Paladino, Samuel Sakker and the Melbourne
Opera Orchestra, performed live and live-streamed
Language learning was a constant throughout COVID from the Athenaeum Theatre on Friday December
time with programme members choosing to focus 18th 2020.
on online learning of either Italian (Italian Institute
of Culture) or German (Goethe Institute). We We also celebrate the achievements of our singers
introduced highly popular weekly Zoom sessions of during the challenges of 2020. Darcy Carroll won
‘Yoga for Vocalists’ and held weekly Zoom professional the German-Australian Opera Grant and is off to
development sessions to keep the group together, Wiesbaden to take up a one-year contract as soon as
motivated and well-prepared for post-lockdown singer the COVID situation allows. Jane Magao was a semi-
professional life. Featured guests included Australian finalist in this competition. Also off to Germany, all
singers with international careers plus conversations being well, are Louise Keast and Michael Dimovski –
about working with coaches, directors and even your both winners of the Rotary NGSE award. Louise will
accountant! be based in Stuttgart and Michael in Nuremberg and
both will participate in the Bayreuth Young Artists
Also competition and concert preparation and a whole Festival. Stephen Marsh was recipient of both a Joan
new world – working to camera! Contributors to Sutherland and Richard Bonynge Bel Canto Award
these sessions include Roxane Hislop, Samuel Sakker and the inaugural Michael Stubbs and Malcolm
(based in London), Fiona Jopson (based in Vienna), Roberts Opera Prize.
Alexandra Flood and Alexander York (based in Paris),
Brenton Spiteri (studying at Guildhall in London), The Richard Divall Emerging Artists Programme
Gianna Rosica (accountant) and Greg Saunders exists to provide practical and essential opportunities
(film acting coach). We are so grateful to all for their through performance and industry experience
generous support of our programme. alongside tailored language study, supported singing
lessons and coaching.
Melbourne Opera was able to conduct the live
audition component of the Richard Divall Emerging
Artists Programme in the final week of November
2020 with a full assessment panel of esteemed singers:
Margaret Haggart, Geoffrey Harris and Roger Howell,
alongside Raymond Lawrence (Head of Music) and
Greg Hocking AM.
We are thrilled to announce the members of the
Richard Divall Emerging Artists Programme 2021.
Two distinguished singers, recent Herald Sun Aria
award winner Georgia Wilkinson, and Eleanor
Greenwood will join returning programme members
Louise Keast, Jane Magao, Michael Dimovski and
Darcy Carroll.
Shakira Dugan, Chloe Harris and Louis Hurley
become Associate Artists alongside Rebecca
Rashleigh and Stephen Marsh. Programme members
and Associates feature strongly in Das Rheingold,
with Darcy Carroll singing the role of Donner (and
covering the giant, Fasolt), Rebecca Rashleigh singing
Woglinde, Louise Keast singing Wellgunde (and
covering Freia), Jane Magao covering Woglinde,
Eleanor Greenwood covering Wellgunde, Michael Richard Divall Emerging Artists, 2021
9MUSICAL CHAIRS
Melbourne Opera thanks the following generous supporters of Das Rheingold.
CONDUCTOR: HARPS:
Len Britton Ian Dickson AM & Lisa Dwyer
Margaret S. Ross AM Michael Flemming
Libby Smith & John Middleton Margaret Haggart
Christine & Elsdon Storey Ken Harrison AM & Jill Harrison OAM
Michael Wright AM QC Barry Janes & Paul Collins
Debra & Greg Hocking AM Ken & Michelle Neate
Gayle Pitt
ORCHESTRAL CHAIRS: Fairlie McColl
Shirley Breese Peter & Mary-Ruth McLennan
Frere & Farah Byrne Miki Oikawa
Deborah Cheetham AO & Toni Lalich OAM Greg Reinhardt AM
Maxine Cooper Chris & Margery Renwick
Greig Cunningham Ian Ross
Dr Ian Dickson AM & Ms Lisa Dwyer Margaret S. Ross AM
John & Ros Dowling Chris Ryan
David Feighan Libby Smith & John Middleton
Peter Gallagher Christine & Elsdon Storey
Robert Gibbs Craig Thomas & Graeme Moody
Janet Gibson Celia Thompson & Derek Leather
Lester W Johnson Peter Tregear
Sue Kirkham Marilyn & John Viggers
John & Erin Lidgerwood Pauline Walden
Jennifer Marshall Ziggy Wright
Dennis Mather & John Studdert The Tallis Foundation
Margaret Mayers Anonymous
10SYNOPSIS
SCENE ONE SCENE THREE
In the depths of the Rhine, the three Rhinemaidens guard Here they meet Alberich’s brother Mime, who has forged
the Rhinegold, a treasure of immeasurable value. The the Tarnhelm, a magic helmet that transforms its wearer into
Nibelung dwarf Alberich is dazzled by the sight of it. any shape. Mime tells Wotan and Loge how Alberich has
The Rhinemaidens explain that whoever wins the gold enslaved the Nibelungs to work for him. Alberich appears
and forges it into a ring will gain power over the world, and mocks the gods. Loge asks for a demonstration of the
but must first renounce love. Frustrated by his unsuccessful Tarnhelm and Alberich turns himself into a dragon, then
attempts to catch one of the Rhinemaidens, Alberich curses into a toad, which the gods capture. Dragged to the surface,
love and steals the gold. the dwarf is forced to summon the Nibelungs to heap up
the gold. Wotan wrests the ring from his finger. Shattered,
Alberich curses the ring: ceaseless worry and death shall be
the destiny of its bearer.
SCENE TWO
Wotan, lord of the gods, is reproached by his wife Fricka: he
has promised to give Freia, goddess of youth, to the giants SCENE FOUR
Fasolt and Fafner in return for their building a fortress for
the gods. When the giants demand their reward, Loge, the The giants return and agree to accept the gold. The gods
god of fire, suggests an alternative payment: the ring Alberich have to give up even the Tarnhelm, but Wotan refuses to
has forged from the Rhinegold, and his other treasures. The part with the ring. Erda, goddess of the earth, appears and
giants agree, and Wotan and Loge leave for the Nibelungs’ warns him that possession of it will bring about the end
underground home. of the gods. Wotan reluctantly gives the ring to the giants,
and Alberich’s curse claims its first victim as Fafner kills his
brother in a dispute over the treasure. As the voices of the
Rhinemaidens are heard, lamenting the loss of their gold,
the gods walk toward their new home, which Wotan names
Valhalla.
The machine used at Bayreuth in 1876 to help the Rhinemaidens with their swimming!
11O N T H E WA G N E R T R A I L
WITH ANTHONY NEGUS
Wagner is a full-time occupation for Rheingold conductor too simplistic an interpretation of these musical ‘cells’: “The
Anthony Negus. As a case in point, when I meet him in labels are useful provided that one accepts that they don't
central London, he has just coached a singer preparing a role tell the whole story."
in Tristan und Isolde, and is about to attend a Wagner Society
talk on Parsifal, having recently returned from conducting a The complexity of the story is just one aspect of the Ring
highly acclaimed production of Der Fliegende Holländer cycle which could be perceived as daunting to an outsider.
for Melbourne Opera. Anthony first heard Wagner’s music Embarking on the task as a conductor, one is not necessarily
as a child, in a 1960 performance of Das Rheingold at the helped by the huge array of scholarly writing on the subject.
Royal Opera House, but rather than the clichéd accounts “It is daunting,” he says. “There is a lot I should have read
of mind-blowing revelation, he had a rather more grounded but haven’t, and when I have read certain books, the work of
response, and a sensation of encountering something that studying the music usually takes over.” The sea of recordings
was already a part of him. “It was familiar,” he recounts. “It could prove equally stifling, although Anthony is delighted
felt like coming home. Yet I knew it was going to be a huge to be forging his own path as an artist, after many enriching
journey for me.” That journey would turn out to be a lifelong years working as an Assistant Conductor and Repetiteur on
voyage, and one which accelerated at an astonishing rate, multiple Wagner productions: “I feel that my voice is just
even by the standards of the most ardent Wagner fanatics. emerging. It was an LP entitled Toscanini Conducts Wagner
“In 1961 I got access to the orchestra pit at Bayreuth, where that really got me going in the first place – and I still look to
I experienced the Ring conducted by Rudolf Kempe, whom him, and pay tribute to all the influences that got me here.
I met that year, and Tristan conducted by Karl Böhm. I just But it was the telephone call from Longborough that really
fell into the heart of it.” opened things up for me.”
For every Wagner lover, a trip to Bayreuth, the composer’s That phone call, made in 2000 by stage director Alan
purpose-built theatre and final home, is something of Privett, marked the start of a long-standing relationship
a pilgrimage, but one doesn’t gain access to the epicentre between Anthony and the Festival. From its beginnings with
of the Wagner universe as a teenager by accident. “I was a reduced orchestration, 9-hour Ring Cycle spread over 4
spending hours and hours playing Wagner on the piano: I nights (as opposed to the full-length 15 hours), the festival
used to play Parsifal on Good Friday every year – I would has evolved into an operatic institution with considerable
imagine that I was the orchestra,” reminisces Anthony. Yet impact and an international profile. Anthony has been
despite the quasi-religious adulation that the composer and thrilled to be part of that journey and relishes the chance
his music can attract from some quarters, Anthony is wary of to revisit the Ring cycle with every Longborough staging,
falling into this trap: “I definitely cut through the mystique: although he will take a measured approach: “You have to
when you’re conducting this music, you have to get down to go step by step with this music, and allow it work itself
the nitty-gritty. And actually, Wagner’s relationship with his through.”
orchestral musicians was extremely pragmatic: he nurtured
Yet despite his insistence on a pragmatic approach to
his players, and that’s an approach that I believe in, too.”
conducting Wagner, Anthony’s wonderment at the
Another hallmark of Anthony’s conducting style is a composer’s use of tonality only increases as the years go
commitment to providing space for the music: “It needs by: “His command of harmony is awe-inspiring, and his
rhythmic lift; it needs to breathe. You wouldn’t conduct rhythmic structure creates magic.” There is also magic in
Beethoven or Mozart without the rhythm being incisive, the joy of true artistic collaboration: “I’m very receptive to
and Wagner was more influenced by Beethoven than anyone lighting design,” Anthony says. “If I feel it’s right, it helps
else.” He also advocates the importance of silence during me to colour the music, and I’ve been very lucky that I’ve
performances: “There’s something at work when you allow worked with directors who care about the music.”
silence to speak, and there are different types of silence that
Taking breaks between what Anthony describes as “Intense
you create as a conductor, and which the audience can feel.”
bouts of Wagnerian activity” throughout his career has
Conducting the Ring is a balancing act: “You’ve got to do
invariably revealed unexpected delights: “Any job I’m given
the job. You have to be realistic, so that the musicians feel
sets me on the trail. The music is always there, in the back
safe: that is the foundation from which inspiration can flow.”
of my mind, but I’m ready to embark on the journey. What
Further inspiration can be found in decoding Wagner’s I enjoy most is coming back to the music, opening the score
Leitmotifs; the recurrent melodic fragments that make up and saying, ‘Oh my goodness! It’s got to be performed like
the musical fabric of the entire Ring, and which are frequently this, and I’ve only just seen that.’” The next four years at
associated with particular themes, characters or objects in Longborough look set to be full of discoveries for conductor,
the saga. Citing as an example the Rhinemaiden Woglinde’s performers, and audience alike.
line: 'Nur wer der Minne Macht versagt’ (Only the one
Interview by Sophie Rashbrook, article originally appeared
who renounces love...') from the opening scene of Das
in Longborough Festival Opera’s 2019 programme.
Rheingold, Anthony says: “The first time [the Leitmotifs]
appear, especially with text, is of great significance and
importance for later development.” However, he is wary of
12ANTHONY NEGUS :
CONDUCTOR
The spirit of Melbourne Opera is
close to Anthony’s heart, and after the
success of Tristan und Isolde in 2018
(receiving a Green Room Award for best
conductor), he returned to conduct Der
fliegende Holländer in 2019 and Fidelio
in 2020. He is delighted to be back -
under the extraordinary circumstances
of the pandemic- for Das Rheingold this
year, having begun a new Ring Cycle at
Longborough, with Das Rheingold in
June 2019. He looks forward to continuing
with Die Walkuere in both Longborough
(2021) and Melbourne in 2022. Music has been a major part of his life since playing clarinet and piano from the age
of 7, and discovering Mozart and Brahms.
The excitement of hearing Verdi’s Otello, both the Toscanini recording, and live at Covent Garden with del Monaco,
Gobbi, and Solti conducting in the 1960’s, awoke the realisation of wanting to become a conductor. Throughout his
years at school, Royal College of Music London, Oxford University and especially Else Mayer-Lismann’s Opera
Workshop in London, he spent many hours playing operas, and conducting scenes. Seminal experiences were
sitting in the Bayreuth pit, hearing Rudolf Kempe, Boehm and Knappertsbusch performances; and in London,
hearing Boulez and Klemperer conduct. Most significantly, he met Reginald Goodall after his unique Mastersinger
performances at Sadlers Wells and the London Coliseum, and later worked closely with him at Welsh National
Opera.
In the 1970’s he became a member of the Music Staff in Wuppertal, Germany, where he made his conducting debut
with Tiefland (d’Albert), and 2 seasons at Bayreuth, as well as a year at Hamburg State Opera. On returning to the
UK, he joined the wonderful Welsh National Opera Company, whose chorus was already famous, and which has
gone on to achieve an increasingly international status; he remained on their Music staff for over 30 years, conducting
a wide repertoire. In the 1980’s he made his WNO conducting debut with Fidelio (Harry Kupfer production), and
went on to conduct Parsifal, The Greek Passion (Martinu), and The Magic Flute. 1985 was a special year, in which
whilst assisting Richard Armstrong (MD) on the Ring, he conducted Siegfried and Götterdämmerung for WNO,
assisted Cambreling on Tristan at La Monnaie Brussels (Gwyneth Jones as Isolde), and married Carmen Jakobi,
Opera Director, with whom he later did Tristan und Isolde for Longborough Festival. The arrival of Sir Charles
Mackerras as MD at WNO in 1987, led to some great collaborations: over the next few years, Anthony conducted
all the major Mozart operas, R. Strauss Die Frau ohne Schatten (translated by Eric Crozier in collaboration with
Anthony Negus), Elektra, as well as Gluck Iphigenie en Tauride. He assisted Pierre Boulez on Pelléas et Mélisande,
and Carlo Rizzi on Verdi Simon Boccanegra and Don Carlos (French version).
The 2000’s saw the beginning of Anthony’s work at Longborough Festival Opera (LFO) with a smaller version
of Wagner’s Ring, for which Sir Donald MacIntyre sang Wotan in 2004. With MacIntyre and Simon O’Neill, he
conducted Parsifal for Wellington Festival NZ; and for Opera Theater Pittsburgh, the small Ring. At Longborough
the full Ring Cycle started in 2007 with Das Rheingold, and culminated in 3 Cycles in the Wagner bicentenary
year 2013. At Glyndebourne, after assisting Vladimir Jurowski, a highlight was to conduct a performance of Die
Meistersinger. Since then, for LFO he has conducted Tristan und Isolde (2015/17 director C Jakobi), Tannhäuser
and Strauss Ariadne (director Alan Privett), and with Tom Guthrie Die Zauberflöte and Der fliegende Holländer,
which he had also recently conducted in Lubeck, Germany. In 2016 he received the Sir Reginald Goodall Award for
Services to Wagner’s music from the Wagner Society London. As well as operas, Anthony loves to conduct concerts
and accompany Lieder recitals when the opportunity arises; and to renew himself in a love of nature, both sea, rivers
and woods.
13DR DAVID KRAM AM :
CONDUCTOR
Dr David Kram AM’s comprehensive CV
can be readily found at davidkram.com.
Here is an account of his dealings with
the works of Wagner. David’s father served
as a repetiteur at the Royal Opera House
during the golden age of the 1930s. David
inherited his scores a as a twenty-year-old
student at the Royal College of Music.
With them he coached Anne Evans and
Katherine Pring for their roles as Norns
in a new production of the Ring at the
Grand Theâtre de Genève (Switzerland).
Their recommendations enabled David to
audition playing a rehearsal of Götterdämmerung. Thus he gained a full-time position there, including assisting
Armin Jordan, conductor of Parsifal. This led to five years as conductor and repetiteur at the Stadttheater Basel under
the leadership of Jordan. Subsequently a contract as Erster Kapellmeister (First Conductor) at the Nationaltheater
Mannheim (Germany) enabled David to conduct Lohengrin, cover the Ring assisting Generalmusikdirektor Hans
Wallat (a Wagner expert) and working with singers and orchestral musicians who were regulars at Bayreuth, including
Hannelore Bode and Franz Mazura. Thereafter David assisted the Swedish conductor of a new Ring production at
the Grand Théatre, conducting the piano-stage rehearsals with a cast from Bayreuth Later, as Resident Conductor
of The Australian Opera, David worked with Sir Mark Elder in Die Meistersinger, Das Rheingold and Tristan
und Isolde, featuring in Rita Hunter’s autobiography. Reigniting his European career in the early 1990s, David
conducted new productions of Die Meistersinger in Wiesbaden and Siegfried in Nantes. He delivered a paper at
an international conference at Bayreuth and accompanying a concert in the house where Wagner composed most
of Die Meistersinger. More recently, David created The Ring.Wagner.Animated – a 100 minute multimedia show
for families presented by More Than Opera. This won awards in Adelaide, toured Victoria and featured in Opera
Australia’s 2013 Ring Festival, winning rapt attention from children. An even shorter version has been devised for
school incursions.For Melbourne Opera, David conducted Tannhäuser and Lohengrin. He is proud to continue his
association with the company and delighted to be conferred Member of the Order of Australia in 2020.
SUZANNE CHAUNDY : DIRECTOR
NIDA trained, Suzanne’s thirty-five year directing career spans opera, text-based theatre,
outdoor spectacle and encompasses close to 100 productions. She has directed for a diversity of
Australian theatre companies including La Mama, STC, MTC and Red Stitch Actors Theatre.
Notable recent theatre productions include the world premiere of THE DRESSMAKER (a
musical adaptation of the novel by Rosalie Ham) for MLIVE and IN BETWEEN TWO
for the 2016 Sydney Festival, 2017 Melbourne Festival and 2019 national regional tour. She
directed signature productions for Australia’s internationally renowned outdoor performance
troupe Strange Fruit, THE FIELD, FLIGHT and THE SPHERES. Her productions for Strange Fruit have been
performed in over 300 international festivals and events in more than 40 different countries. Known primarily as an
opera director, opera direction credits include THE MARRIAGE OF FIGARO and DON PASQUALE for the
West Australian Opera, LA BOHÉME for Opera Australia and COSI FAN TUTTE for the Victoria State Opera
and Melbourne Opera. For Melbourne Opera she has also directed DER FREISCHÜTZ, MARIA STUARDA,
THE ABDUCTION FROM THE SERAGLIO, ANNA BOLENA, ROBERTO DEVEREUX and NORMA.
Suzanne is fast becoming regarded a Wagner specialist, attracting critical acclaim for her productions of
TANNHÄUSER (Outstanding Production 2016), LOHENGRIN (Opera Chaser Outstanding Independent
Production 2017), TRISTAN UND ISOLDE (2018) and THE FLYING DUTCHMAN (2019) all for
Melbourne Opera. Alongside her busy directing schedule she is currently Director of the Richard Divall Emerging
Opera Artists Programme. Suzanne was supported by the Victorian Government through the Creative Victoria
initiative Sustaining Creative Workers in reaction to the COVID crisis in 2020, to assist with her preparation of the
Melbourne Opera Ring Cycle. Suzanne was supported by the Victorian Government through the Creative Victoria
initiative Sustaining Creative Workers in reaction to the COVID crisis in 2020, to assist with her preparation of the
Melbourne Opera Ring Cycle.
14EDDIE MULIAUMASEALI’I: WOTAN
Eddie has a career spanning three decades in opera as well other artistic genres. He has been
a stalwart for Melbourne Opera since 2000 singing many roles including: King Heinrich in
Lohengrin, Der Landgraf in Tannhäuser, Mephistopheles in Faust, Henry the 8th in Anna
Bolena, Oroveso in Norma, Osmin in Die Enfurung aus dem Serail, Commendatore in Don
Giovanni, Bonze in Madama Butterfly, Colline in La Boheme, Lord Cecil in Maria Stuarda.
He began his opera career in New Zealand for the Mercury Theatre in 1987 to 1992 singing
in operas and musicals. He was a natural singer with no training in voice or music but was
hired by the Mercury and honed his crafts on the job. He took up formal training at The Brisbane Conservatorium
of Music in1994. Since then he has won many vocal prizes including the Sydney Eisteddfod Opera Scholarship, as
well being a finalist in the Metropolitan Opera Finals. He has sung in the UK, New York, China, Samoa and has
worked for Opera Express, Sydney, Opera NZ, Co-Opera in Adelaide, Opera Queensland, South Australian Opera,
More than Opera, Gafa Arts Collective in London, Sydney Symphony, Christchurch Symphony, and from1999
to 2005 was selected by Brigitte Fassbender to work for the Tiroler Landestheatre in Innsbruck, Austria. Other
favourite roles he has sung are Leporello in Don Giovanni, Porgy, Crown and Jake in Gershwin’s Porgy and Bess.
Eddie’s versatility as a performer has allowed him to work in music theatre as well as in plays. He has played the
role of Chief Bromden in One Flew Over the Cuckoo’s Nest for Monster Media at the MTC. For the Melbourne’s
Sondheim Company, Watch This, he played the role Carl Magnuss in A little Night Music and in Febuary 2021,
will sing the role of the Russian villain, Molokov in Chess the Musical touring to Melbourne, Adelaide, Perth and
Brisbane.
This role of Wotan for Melbourne Opera’s Das Rheingold is a culmination of all his previous work in the arts as the
role itself is very demanding, as well as a joy to sing. Eddie is grateful for the opportunity to perform this iconic role.
SIMON MEADOWS: ALBERICH
Simon studied at the Victorian College of the Arts graduating with a BA (Music) and a Grad
Dip (Opera) where he was the recipient of the Mabel Kent Singing Scholarship. He was a
winner of the Armstead vocal scholarship for the Music Lovers Society of Victoria as well
as a finalist in the Liederfest. For Opera Australia, Simon has performed Morales in Bizet’s
Carmen, Count Almaviva in Mozart’s Le Nozze di Figaro, Yamadori and the Imperial
Commissioner in Puccini’s Madama Butterfly, the Lieutenant in Kate Miller-Heidke’s The
Rabbits, The Gaoler in Puccini’s Tosca and the Messenger in Verdi’s La Traviata.
Simon’s roles for other companies include The title role in Le Nozze di Figaro (Australian International Opera
Company) Almaviva (VCA Opera studio and Eastern Metropolitan Opera), Guglielmo in Cosi fan Tutte (Melbourne
Opera). He has performed both Junius (VCA Opera series) and Tarquinius (Lyric Opera Melbourne) in Britten’s
Rape of Lucretia well as Demetrius in A Midsummer Nights Dream (Co-Opera, SA )and Marcello in Puccini’s
La Boheme (Co-Opera, Citi Opera and Opera Siam in Bangkok). Musiklehrer in Ariadne auf Naxos (Victorian
Opera), Faninal in Richard Strauss’ Der Rosenkavalier, Figaro in Rossini’s Il Barbiere di Siviglia (Melbourne
Opera), Cascada in Lehar’s The Merry Widow (Melbourne Opera), Marullo in Verdi’s Rigoletto (Melbourne
Opera), Silvio in Leoncavallo’s I Pagliacci (Preston Symphony) and Tonio (Sydney Independent Opera), Dancairo
and Morales in Carmen (Eastern Metropolitan Opera), Alfio in Cavelleria Rusticana (Citi Opera) Jimmy in Stuart
Greenbaum’s The Parrot Factory (Victorian Opera), and David in Samuel Barber’s A Hand of Bridge (Athenaeum
Opera series). He performed the lead role of Rupert Brooke in Nicholas Vines’ Green Room award winning opera
The Hive (Chamber Made Opera) for which he personally received a Green Room award nomination.
In 2013, Simon Meadows performed the role of Belcore in Doniztti’s L’Elisir D’Amore with UK company Opera
up Close. He also made his German debut singing the Baritone solo in Swiss composer Frank Martin’s In Terra
Pax at Berlin’s Heilige Kreuz Kirche. In 2012 he performed the title role in Verdi’s Macbeth (Kennet Opera),
Villequier in Chabrier’s Le Malgre Roi Lui (Wexford Festival Opera, Ireland), Escamillo in Carmen (Opera Up
15Close, London and Melbourne Opera) and Sonora in Puccini’s La Fanciulla del West (Opera Up Close). Simon’s
Concert Engagements in 2012 were as soloist in the Schubert Mass in G (Wexford, Ireland) and the Brahms
Eine Deutsches Requiem (Romsey Abbey, UK). Other concert engagements have included Dvorak’s Te Deum
(Stonnington Symphony)and dramatic Cantata The Spectres Bride(Willoughby Symphony), Schubert’s Mass
in G, Bach’s Wachet Auf cantata(Victoria Chorale), Mozart’s Requiem (Sydney Philharmonia), Orff ’s Carmina
Burana (Melbourne Philharmonia), Handel’s Messiah(Victoria Chorale), Judas Maccabaeus (Heidelberg Choral
Society) Haydn’s Nelson Mass (National Boys Choir), Vaughan Williams Five Mystical Songs (Melbourne Uni
Chorale),A Sea Symphony (Willoughby Symphony and Royal Melbourne Philharmonia),Serenade to Music
(Victoria Chorale), Mahler’s Kindertotenlieder and Beethoven’s Choral Fantasia (Monash Symphony). He has
performed recitals at Midsumma Festival, Melbourne Fringe Festival, Lieder Society of Victoria and Castlemaine
Arts Festival. Another highlight was performing the Baritone solo in Faure’s Requiem in a collaboration between
Opera Victoria and the Australian Ballet.
JAMES EGGLESTONE: LOGE
Dual Helpmann Award-winning James Egglestone is one of Australia’s finest tenors;
he has already built up an impressive list of credits with many national and international
performing companies. For the Belcanto Festival in The Netherlands, he performed Elvino
in La sonnambula and Don Carissimo in La Dirindina; for Melbourne Opera, the roles of
Tamino in The Magic Flute, Nadir in The Pearl Fishers, Almaviva in The Barber of Seville
and Rodolfo in La bohème.
Roles for State Opera of South Australia have included Laurie in Little Women, Ishmael in Moby-Dick and Nadir
in The Pearl Fishers; for West Australian Opera – Nadir, Almaviva, Ismaele in Nabucco and Pluto in Orpheus in
the Underworld; for Victorian Opera - Don Ottavio in Don Giovanni, Ferrando in Cosi fan tutte and Peter Quint
in The Turn of the Screw. James’ major role debut for Opera Australia was as Lysander in A Midsummer Night’s
Dream. He returned to Victorian Opera in 2020 as Narraboth in Salome.
In 2007, he sang leading roles in The Love of the Nightingale for West Australian Opera, Opera Queensland and
Victorian Opera (for which he won the Helpmann Award as Best Male Singer in a Supporting Role); he won the
same award in 2008 for his performance in Little Women.
Most recently, James has sung Pinkerton in Madama Butterfly, Lensky in Eugene Onegin, Cassio in Otello, Froh
(Der Ring des Nibelungen) and Lysander for Opera Australia; Rodolfo (La bohème), Don José (Carmen) and the
title role in Faust for State Opera of South Australia; Cavaradossi (Tosca) for New Zealand Opera and Cassio
(Otello) for Auckland Philharmonia. He sang Edrisi (Krol Roger) for OA and won the Green Room Award for
Best Male Performance in a Supporting Role.
SARAH SWEETING : FRICKA
Sarah began her professional career as a soprano, gaining experience touring the UK in
both musicals and operas. She performed the roles of Edith and Isobel in the Joseph Papps
Broadway version of The Pirates of Penzance at The London Palladium.
She then moved into the mezzo soprano repertoire, and since then, for the past 20 years,
she has performed over 40 roles around the globe, including the UK, France, Spain, Ireland,
Germany, Asia, Barbados, Australia, New Zealand, Tasmania and China.
She performed the role of Annina in Opera Australia’s inaugural Handa Opera on Sydney’s Harbour performance
of La Traviata and in 2017 she gained critical acclaim and two Green Room Nominations for her performances in
the roles of Venus and Ortrud for Melbourne Opera’s productions of Tannhäuser and Lohengrin.
She has appeared with Melbourne Opera, Opera Australia, Opera Holland Park, Opera Queensland, State Opera
South Australia, The Australian International Opera Company, Lyric Opera Dublin, Carl Rosa Opera, Raymond
Gubbay Productions, London Opera Festival, Jakarta Festival, Travelling Opera UK, Longborough Festival Opera,
Lyric Opera (Melbourne), London City Opera, Macau Music Festival, Holders Barbados Festival, Opera Kernow,
16Co*Opera, Harbour City Opera and Opera Bites.
Most notable roles have included Amneris, Erda (Siegfried), Sieglinde, Ortrud, Brangäne, Carmen, Venus, Orlofsky,
Zelatrice (Sour Angelica), Suzuki, Ciesca (Gianni Schicchi), Donna Elvira, Liu, Fiordiligi, Countess Almaviva,
Musetta, Cio Cio San, Leonora (Il Trovatore) and Alma March in the Australian Premiere of Little Women.
On the concert platform, Sarah appeared as a soloist at the Royal Opera House, Linbury Theatre for the Covent
Garden Festival, John McCabe’s Notturni Ed Alba at the Westminster Central Hall, Opera performances at the
Barbican, Queen Elizabeth Hall and the Royal Albert Hall London, Beethoven’s 9th Symphony at the Sydney
Opera House Concert Hall, Die Erste Walpurgisnacht (Mendelssohn), with the Willoughby Symphony Orchestra
and with the Tall Poppeas at the Armidale Bach Music Festival. Sarah is absolutely thrilled to be singing Fricka in
her first Das Rheingold!
LEE ABRAHMSEN : FREIA
Recently described by critics as “Melbourne’s favourite soprano” and hailed as “a rising star”
by Limelight Magazine ( July 2016), Australian soprano Lee Abrahmsen is a multi-award
winning soprano both on the operatic stage and concert platform.
Lee was recipient of the prestigious Herald Sun Aria, Opera Awards Royal Overseas League
Award and the Acclaim Awards first prize. She has performed as soloist in Australia with
Opera Australia, Opera Queensland, Melbourne Symphony, Sydney Symphony, Queensland
Symphony, Omega Ensemble, Melbourne Opera, Victorian Opera, and internationally at the
Edinburgh Festival in Scotland, St Martin in the Fields in London, in China and Japan.
She has sung over 30 principal roles including Isolde in Tristan und Isolde, Senta in The Flying Dutchman, Die
Marschallin in Der Rosenkavalier, Leonora in Fidelio, Elisabeth in Tannhäuser, CioCioSan in Madame Butterfly,
Konstanze in Die Entführung aus dem Serail, Mimi in La Bohéme (for Melbourne Opera), Countess in Le Nozze
di Figaro (Opera Australia) and title role in Tosca (Australian Discovery Orchestra).
Recent concert performances include: Recital with Omega Ensemble at Sydney Opera House, soprano solo in
Brahms’ Requiem with Melbourne Symphony Orchestra Chorus, Recitals at the Port Fairy Festival, Richard
Strauss Four Last Songs with Omega Ensemble at City Recital Hall in Sydney, Fifth Maid in Strauss Elektra with
Sydney Symphony at Sydney Opera House and Berlioz Les Nuits D’ètè with Melbourne Sinfonia.
Lee received the Opera Chaser’s Outstanding Female in a Lead Role for Isolde in 2018 and received Green Room
Awards nominations for Best Female Lead in the roles of Senta, Die Marschallin and Valencienne for Melbourne
Opera. Lee appeared on Qantas In-Flight Entertainment singing Richard Strauss Four Last Songs with Omega
Ensemble and sang the National Anthem at the Ashes Cricket Tests in Sydney and Melbourne.
Performances in 2021 include Freia in Das Rheingold, Verdi Requiem at the Melbourne Town Hall with Heidelberg
Symphony and Chorale and guest artist in a Strauss concert with Geelong Symphony Orchestra.
JASON WASLEY: FROH
Jason Wasley commenced his training at the age of 17 with Robert Lemke . In 1991 he
received the Sleath -Lowery award whilst studying at the Victorian College of the Arts. Jason
is a Green Room award recipient and was the youngest male ever awarded the prestigious
Herald-Sun Aria. He went on to win the National heat of the Placido Domingo world
Operalia contest and represented Australia in Vienna.
Jason studied Italian at Bertrand Russell Institute of Languages in Padova. He then moved
to London where he was accepted into the National Opera Studio. Jason has performed professionally in Italy, the
United Kingdom, Greece, Singapore, China and around Australia with companies such as Glyndebourne festival
opera, British Youth Opera, Pegasus Opera Company, D’Oyly Carte Opera, Welsh National Opera, Singapore
lyric Opera, State Opera of South Australia, Melbourne Opera, Victoria State Opera, Victorian Opera and Opera
Australia.
17Jason has performed a wide and varied repertoire over his long career starting as a Baritone with notable roles
including Papageno from the MagicFlute, Figaro from The Marriage of Figaro, Escamillio from Carmen, the
Boatswain in H.M.S. Pinafore, Figaro in The Barber of Seville, Peter in Hansel and Gretel, Belcore in The Elixir
of Love, Sid in Albert Herring and Tarquinius in The Rape of Lucretia. He performed the title role in the British
premier of Kullervo by Aulis Sallinen and Marcello , Shaunard in La Boheme (under the baton of Richard Gill).
In 2006, he moved to tenor in Verdi’s Requiem, Beethoven’s Symphony No. 9, the title role in Stravinsky’s Oedipus
Rex, Handels Messiah and performed the roles of Don José in Carmen and Cavaradossi in Tosca, Pinkerton in
Madama Butterfly, Alfredo in La Traviata, Florestan in Fidelio the title role of Wagner’s Rienzi, Rodrigo in Otello,
Max in Der Freischütz, Calaf in Turandot and the title role of Wagner’s Tannhauser. In 2015 Jason moved to musical
theatre performing in Women in War, (Athens, Greece) and starred along side Delta Goodrem as Old Deuteronomy
for the Australasian tour of CATS.
ROXANE HISLOP : ERDA
Roxane Hislop is one of Australia’s most respected and accomplished Mezzo Sopranos. She
is a graduate of Sydney University, the NSW Conservatorium of Music and holds a master’s
degree in Arts Administration from RMIT University in Melbourne. Awards include the
Sydney Sun Aria and the Australian Regional finals of the Metropolitan Opera Auditions.
She has been nominated five times for a Green Room Award and was named best female
artist in a supporting role for Maddalena (Rigoletto) and Olga (Eugene Onegin).
Roxane has an operatic repertoire of over 60 roles including the title roles in Carmen and La Pericole, Rosina (Barber
of Seville), Dalila (Samson et Dalila) ,Varvara (Katya Kabanova), Medoro (Orlando), Baba the Turk (The Rakes
Progress), Marcellina (Le Nozze di Figaro), Cornelia ( Julius Caesar), and Armastre (Xerxes). She has appeared with
every major opera company and Symphony orchestra in Australia.
Miss Hislop performed Mary in Melbourne Opera’s recent production of Der Fliegende Hollander and is thrilled
to be singing Erda in this new production of Das Rheingold. Other recent engagements include singing the role of
Teresa (La Sonnambula) in concert for Victorian Opera, Dame Hannah (Ruddigore) for Opera Queensland and
Gertrude (Romeo et Juliette) in concert with the Tasmanian Symphony Orchestra. Roxane reprised the role of
Rossweisse (Die Walküre) in Opera Australia’s 2016 Melbourne Ring Cycle, as well as covering Erda and Flosshilde
(Das Rheingold) and the First Norn ( Götterdämmerung). She also sang Mrs Herring (Albert Herring) for Opera
Australia in Sydney.
Concert engagements include Beethoven 9th Symphony, and Missa Solemnis with the West Australian Symphony
Orchestra, L’Enfant et les Sortileges with the Melbourne Symphony Orchestra; The Last Night of the Proms and
the Messiah with Queensland Symphony Orchestra; The Jewish Chronicle, Elijah, The Dream of Gerontius and A
child of our Times with the Melbourne Chorale and numerous Opera Galas.
Roxane is a passionate supporter of the next generation of Australian Opera singers, and teaches at The University
of Melbourne Conservatorium as well as serving on several music advisory Boards.
MICHAEL LAPIÑA: MIME
Michael began his professional career touring internationally with Walt Disney Special
Events Group. For Melbourne Opera, his past appearances include the title role in Faust, The
Steersman in The Flying Dutchman, Remendado in Carmen, Beppe in Pagliacci, and the
cover of the title role, Cavaradossi in Tosca, and Goro in Madam Butterfly.
He appeared in Opera Australia’s 2018 tour of Madam Butterfly in China and returned to
the company to sing the role of Goro in the 2019 Australian Touring production of the same
opera. His roles for Victorian Opera include Normanno in Lucia di Lammermoor, the First Armed Man and First
Priest in The Magic Flute and the covers of Nemorino in L’Elisir D’Amore, and Der Tanzmeister in Ariadne Auf
18Naxos.
Other roles include the Emperor in Turandot for Monash University, Alfredo in La Traviata and Manrico in Il
Trovatore for Stonnington’s Opera In The Park, the cover of Alvaro in the State Opera Of South Australia’s La
Forza del Destino and in Verdi’s Macbeth, the roles of Malcolm for Heidelberg Choral Society and Macduff for
Gertrude Opera. He has been soloist in Messiah and Verdi’s Requiem for Camberwell Choral Society, Rossini’s
Stabat Mater for the Heidelberg Choral Society and has toured extensively in opera concerts throughout China.
ADRIAN TAMBURINI : FASOLT
After singing as a boy chorister for many years, Adrian commenced vocal lessons with Bettine
McCaughan at the age of 15. Between 1996 and 2011 he achieved great success winning
awards in many vocal eisteddfods and competitions throughout Victoria including two
international singing competitions. In 2017, Adrian was the winner of Australia’s prestigious
singing award, the Australian Opera Awards (YMF, MOST). His singing has featured
on cinema releases of opera, DVD, international recordings, motion picture soundtracks,
radio, television (Woolworths Carols in the Domain) and Australian dramas including the
soundtrack to “After the Deluge”. His Operatic debut was in 1997 and ever since has had a varied career as an
operatic soloist (Opera Australia, West Australian Opera, Melbourne Opera, Lost and Found Opera), a concert
performer (Melbourne Symphony Orchestra, Zelman Symphony Orchestra, Sydney University Graduate Choir,
Melbourne Bach Choir, West Australian Symphony Orchestra), musical director and producer. His work, both on
and off the stage, has been nominated for awards and his performances have received critical acclaim. Adrian has
worked with international conductors and directors such as Asher Fisch, Andrea Molino, Philippe Auguin, Andrea
Battistoni, Jonathan Darlington, Pietari Inkinen, Andrea Licata, Carlo Montanaro, Renato Palumbo, Guillaume
Tourniaire, David McVicar, Barry Kosky, Bruce Beresford, John Bell, Francesca Zambello, and Elijah Moshinsky.
STEVEN GALLOP : FAFNER
Steven Gallop studied at the Queensland Conservatorium before becoming a member of
Opera Australia’s Young Artist Program. He studied in Vienna subsequently singing Varlaam
in Boris Godunov and Fernando in Fidelio for Welsh National Opera, Swallow in Peter
Grimes in Santiago, Kasper in Der Freischutz at Reinsberg Festival, The Emperor in Tan
Dun’s Tea, Hotel Manager in Powder Her Face in Vienna, Rome, Naples, and Chicago and
Anthony Carol in Osborne’s The Piano Tuner for Covent Garden.
Since returning to Australia in 2008, for Melbourne Opera, he has appeared as Georgio in I
Puritani, Angelotti in Tosca, Mephistofeles in Faust, Rocco in Fidelio, The Bonze in Madam Butterfly, Caspar in
Der Freischutz and King Marke in Tristan und Isolde.
His recent roles for Opera Australia include Angelotti in Tosca, Nourabad in Pearlfishers, Wurm in Luisa Miller,
Sarastro in Magic Flute and Bartolo in Marriage Of Figaro and The Bonze in Madam Butterfly on tour in China.
Other appearances include Mephistopheles in Faust and Sarastro for Eugene Opera in the USA, the Marquis of
Calatrava in Force Of Destiny , Commendatore in Don Giovanni and Bonze for State Opera Of South Australia
and Commendatore, Sarastro, Ariodate in Xerxes and Achilla in Julius Caesar all for Victorian Opera.
DARCY CARROLL: DONNER
Darcy holds a Master of Music (Opera Performance) from the University of Melbourne.
Over the course of the Masters Darcy performed the roles of Sid in Britten’s Albert Herring,
Jupiter in Offenbach’s Orphée aux enfers, Gianni Schicchi in Puccini’s Gianni Schicchi and
Papageno in Mozart’s Die Zauberflöte.Other recently performed roles include Papageno in
Mozart’s Die Zauberflöte (Lyric Opera Studio Weimar), Frank in Strauss’ Die Fledermaus
(Berlin Opera Academy), and Colline in Puccini’s La Boheme (directed by Cameron
Menzies). In early 2020, Darcy sang the featured solo of the Officer in Rossini’s Il Barbiere di
Siviglia (Victorian Opera).
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