Georges Bizet 23 MARCH 2019 VICTORIA SQUARE, TARNDANYANGGA - State Opera South Australia
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Georges Bizet 23 MARCH 2019 VICTORIA SQUARE, TARNDANYANGGA
2
Georges Bizet
Conductor – Oliver von Dohnányi
Director – Stuart Maunder
Lighting Designer – Wes Hiscock
Costume Designer – Emma Brockliss
Chorus Master – Sharolyn Kimmorley
Repetiteur – Andrew Georg
Language Coach – Christine Rothauser
Fight Director – Ruth Fallon
Assistant Fight Director – Nino Pilla
Carmen - Helen Sherman
Don Jose - James Egglestone
Escamillo - Morgan Pearse
Micaela - Emma Pearson
Frasquita - Desiree Frahn
Mercedes - Bethany Hill
Morales/Dancairo - Samuel Dundas
Remendado - Adam Goodburn
Zuniga - Wade Kernot
STATE OPERA CHORUS
ADELAIDE SYMPHONY ORCHESTRA
Duration: 190 Minutes including interval.
3DIRECTOR’S NOTE
Carmen is possibly the most famous opera of Flower Song in Act II, and Micaëla’s soaring
all time probably because it contains more Act III aria and most notably the baritone’s
hits per square metre than any other opera. famous Toréador Song.
Geoges Bizet’s masterpiece of the gypsy Carmen herself has no actual aria but
seductress who lives by her own rules, no rather several solos in the form of songs—
matter what the cost, has had an impact far that is, moments in which the character is
beyond the opera house. Its melodies have actually supposed to be singing within the
proliferated popular culture from Gilligan’s context of the drama. Every time she sings
Island to the Muppets. a major solo, it’s a performance within the
performance. She is sort of the Sally Bowles
Carmen, famously was a scandal at its
of the opera.
premiere and was roundly denounced
in the press for its flagrant immorality. This is music theatre charged with an
The power of the music and the drama, unprecedented realism that makes the two
however, created an equally vocal faction principal figures, Carmen and Don José, as
in favour of the work. And everywhere vivid as flesh and blood, destroyed by their
away from Paris it was a success: Wagner, appetites and their weaknesses.
Brahms, Tchaikovsky and even two unlikely
But even though it’s full of colorful
Germans: Otto von Bismark, the man who
characters, Carmen is really about just two
united the German states, and the great
people. Carmen and José. Carmen, as even
philosopher Friedrich Nietzsche all extolled
she herself knows, is doomed from the start,
the brilliance of the work. Nietzsche, indeed
she does not change from beginning to end.
praised the opera, declaring ‘the robustness
She is entirely free.
of the score is nothing less than a cure-all for
the world’s spiritual ills’. And we see Carmen totally from Don Jose’s
perspective, so in a strange way we are
Brahms went to see the opera over twenty
all turned into Carmen’s lovers. It is his
times; the great Wagner declared, ‘At last.
disintegration that forms the core of the
Someone with new ideas’; Tchaikovsky was
opera.
in awe at the premiere and later wrote;
José, in contrast to Carmen, undergoes
‘I am convinced that ten years hence Carmen
a complete, doomed metamorphosis. He
will be the most popular opera in the world’.
changes from a naive country boy, to a
The score of Carmen contains so many besotted lover, and finally into a homicidal
instantly recognizable melodies that it can demon who, driven mad by unrequited love,
be easy to overlook how well constructed it murders the object of his fierce love.
is. The orchestra brings to life a wide palette
of sound, and Bizet is now renowned as a
master orchestrator. The major solo arias STUART MAUNDER AM
are not only arresting melodies but all follow Artistic Director
the dramatic purpose: the tenor’s wrenching
4SYNOPSIS
ACT ONE ACT THREE
Seville – Micaëla enters searching for Don Smugglers’ Hideout – Don José is still
José, but he is not amongst the soldiers on infatuated with Carmen, but is brooding
duty. Don José’s regiment arrives and the over the honourable life he has sacrificed for
guard changes. The cigarette workers come her. Carmen has lost interest in Don José
out for their break, Carmen amongst them. and the emotional commitment he demands.
She comments on the perverse nature of She suggests he return to his mother.
love, and give José a flower. Micaëla returns Carmen then foresees her death in the cards.
with a letter from Don José’s mother, which The smugglers are moving on and leave Don
dispels his thoughts of Carmen and reminds José to guard their retreat. Micaëla arrives,
him of his love for Micaëla and his family. wanting to see Don José. Escamillo has
Screams erupt from the factory, where also made his way to the hideout, seeking
Carmen has attacked another worker. She Carmen. A fight begins between the rival
is arrested and Don José is left to guard her. lovers, which is stopped by Carmen’s return.
Carmen convinces José to help her escape, Escamillo leaves, inviting the whole group
promising a night of love in return. to his next bullfight. Micaëla is brought
forward, imploring Don José to return home
to his dying mother. He eventually agrees,
warning Carmen that they will meet again.
ACT TWO
Lillas Pastia’s Tavern – Don José has just
finished a prison sentence for his part in
ACT FOUR
Carmen’s escape. Escamillo, the celebrated
toreador and his group of supporters pass by. Seville – Escamillo and Carmen arrive at
Carmen and Escamillo are attracted to one the bullfight. Carmen’s friends warn her
another. A band of smugglers arrive, and that Don José is lurking in the crowd, but
ask the gypsy girls to join them in their next she is not intimidated. Don José confronts
escapade. Carmen refuses to go, since she Carmen outside the ring and desperately
is waiting for Don José. He finally arrives, begs her to begin a new life with him.
but shortly after their reunion is recalled to The more piteously he pleads, the more
the barracks. Carmen accuses him angrily determined Carmen becomes. A Chant
of being more dedicated to duty than to love. goes up for Escamillo inside the ring, but
Don José protests his devotion, but Carmen Don José blocks Carmen’s way. Carmen
demands that he desert and follow her. contemptuously takes Don José’s ring from
Zuniga, Don José’s officer, enters, looking her finger and throws it to the ground. Don
for Carmen. A fight erupts between the two José reacts.
men. The smugglers return and break up the
duel. After this act of mutiny, Don José has
no choice but to join up with Carmen and the
smugglers.
Interval
5CREATIVES
Conductor Director
OLIVER VON DOHNÁNYI STUART MAUNDER
Oliver von Dohnanyi studied conducting Stuart is Artistic Director of State Opera
with Václav Neumann at the Academy of South Australia.
Musical Arts in Prague, and later with
Otmar Suitner at the Hochschule für For the last thirty years Stuart has been
Musikin Vienna. In 1979, he made his directing musical theatre and opera in
debut with the Bratislava Radio Symphony Australia. He joined The Australian Opera
Orchestra. Throughout the 1980s, he was as Stage Manager in 1978, becoming a
closely associated with that orchestra, Resident Director in 1981. In 1992 he joined
as well as with the Slovak Philharmonic The Royal Opera (UK) as a Staff Director.
Orchestra and the chamber group
Canticorum Iubilo. In 1999 Stuart was appointed Artistic
Administrator of Opera Australia, becoming
He subsequently turned his attention to Executive Producer 2004 -2008 . His OA
opera. From 1986 to 1989, he was chief productions include Tales of Hoffmann,
conductor of the Slovak National Opera Manon, Gypsy Princess, Don Pasquale, My
and in 1993, was appointed music director Fair Lady and A Little Night Music. His
of the National Theatre in Prague. He has Trial by Jury, HMS Pinafore and Pirates of
conducted at the English National Opera Penzance have been televised nationally on
and the Salzburg Festival, and has appeared ABC TV.
with the English Chamber Orchestra.
Dohnanyi’s discography includes works by Recent productions include Cunning Little
Rubinstein, Liszt, and Smetana. Vixen, Into the Woods, Sunday in the Park
with George and Sweeney Todd (Victorian
Opera), Tosca, Rigoletto, La Boheme (West
Australian Opera) and Candide and The
Mikado (New Zealand Opera).
From 2014 to 2018 Stuart was General
Director of New Zealand Opera.
6Lighting Designer Costume Designer
WES HISCOCK EMMA BROCKLISS
Wesley made the decision to move to Emma has over a decade of experience
Australia in 2012. He was offered Senior working in theatre as a costume maker,
Lighting Supervisor at Opera Australia, wardrobe supervisor and most recently as a
based in Sydney. Prior to coming to costume designer.
Australia, Wesley ran his own business,
Motionlighting, for 13 years in the UK. Emma graduated from Adelaide College of
the Arts in 2008 with an Advance Diploma
During his career, Wesley has worked on in Costume for Performance. Since then
many projects in the event industry from she has made significant contributions
conference to product launches. His most within the wardrobe departments of many
accomplished design was lighting Coventry local theatre companies such as, State
City Centrein the UK for the Millennium. Theatre Company of South Australia, Brink
Other credits include the re-lighting of Productions and Slingsby Theatre.
‘Barber of Seville’ for Opera North & more
recently the re-lighting of La Boheme at Emma has also toured nationally and
Sydney Opera House, Onegin in Melbourne internationally with the musical, Wicked
and Faust at the Adelaide Festival theatre Australia, and is currently in the final
& His Majesties Theatre in Perth. Wesley semester of a Bachelor of Visual Arts at the
lit Opera in the Domain from 2013 –2016 University of South Australia.
before moving to Adelaide. Since the move
to Novatech Creative Event Technology, Most recently, Emma has joined the team
Wesley now manages and lights many at State Opera, helping to bring The Merry
events, including Womadelaide for the past Widow and Dido and Aeneas to stage as
3 years. wardrobe supervisor. Carmen represents
Emma’s first foray into design.
This is Wesley’s 3rd Lighting Design for
SOSA.
7Chorus Master Principal Repetiteur
SHAROLYN KIMMORLEY ANDREW GEORG
After studying at the Sydney Andrew Georg is a versatile South
Conservatorium of Music, Sharolyn Australian musician whose career
Kimmorley joined the Music Staff of The encompasses opera, church music,choral
Australian Opera and has assisted in music, and accompanying.
the preparation of a vast range of works
with many distinguished singers and Since 2010 Andrew has been a répétiteur for
conductors. In 1985 she became Principal the State Opera of South Australia, where
Répétiteur for The Australian Opera and he has worked on a diverse range of operas,
in 1987 was appointed Head of Music Staff. including several Australian and world
From 1994 to 1999 she was the company’s premieres. He has also worked with Co-
Artistic Administrator, following which she Opera and the Adelaide Festival on operatic
was Opera Australia’s Director of Music productions.
Administration until June 2003.
Andrew initially undertook a Répétiteur
Sharolyn Kimmorley is regarded as one Mentorship with State Opera though an
of Australia’s finest vocal coaches and Accompanists’ Guild of SA initiative, and
accompanists. She has recorded for the ABC later was an Emerging Artist in the James &
Classics, taken part in Chamber Music Diana Ramsay Foundation Opera Program.
Concerts, and accompanied some of the Andrew has twice attended the Lisa Gasteen
world’s most distinguished recitalists. National Opera School on scholarship.
In January 2009 Sharolyn became a member
After completing studies at the Elder
of the Order of Australia in recognition
Conservatorium, Andrew was an Organ
of her work as an accompanist and the
Scholar at St Peter’s Cathedral and Pilgrim
nurturing and mentoring of emerging
Church. In 2013 Andrew took up the
artists. In 2017 Sharolyn was the recipient
position of Organist and Choir Director at
of the MOST Achievement Award in
Christ Church North Adelaide.
recognition of her long and distinguished
career.
In 2014 Andrew won the Geoffrey Parsons’
Award for accompanying, Australia’s most
Sharolyn is currently Artistic Manager and
prestigious award for the collaborative
Scholar Advisor for the Dame Nellie Melba
pianist
Opera Trust, Artistic Director of The Opera
Club (Christchurch) and Guest Vocal Coach
at the Tiroler Festspiele in Erl, Austria.
8Language Coach Fight Director
CHRISTINE ROTHAUSER RUTH FALLON
Christine Rothauser studied In Paris at the Ruth is a Martial Arts Stunt Krew MASK
Sorbonne for a double degree for a Master in graduate and has also achieved her Martial
French classical literature and a Master in Arts Instructorship with Sifu Nino Pilla and
Visual Arts. She then worked in the USA for with his two teachers, Guro Dan Inosanto
seven years and moved to Australia where and Ajarn Surachai Sirisute, in the Arts of
she studied German and Italian while doing (Bruce Lee’s) Jun Fan/Gung Fu-Jeet Kune
a PHD in musicology by correspondence at Do, Filipino Martial Arts, Kali/Escrima/
the Sorbonne. Arnis/Silat (Empty Hand & Weaponry) and
Muay Thai/Thai Boxing.
Christine started working with State
Opera when the company, under Bill Along with working as an actor on The
Gillespie, started to produce operas in Fairies seasons 1-3 and Feature film Going
foreign languages in 1990. Christine is for Gold, Ruth has worked consistently
a devoted Wagnerian and as such was with Actors to train them in Martial Arts/
representing Australia at the International Stage Combat, and Martial Artists the craft
Wagner conferences. She was part of the of Acting. Her Action/Fight Choreography
1998, 2004 Ring Cycles and Parsifal where for The State Theatre Company of South
she curated 15 exhibitions and two music Australia includes Hamlet, Vale, Macbeth,
symposia. Christine was on the Ring Board Switzerland, Creditors, Sense and Sensibility
Corporation where she was chair of the and The Gods of Strangers. For State Opera
special events. She has been on and off the South Australia she worked on Hamlet,
State Opera of South Australia’s board for as well as choreographing and teaching
18 years. for Holden Street Theatres, The Adelaide
Duende Collective, Urban Myth Theatre of
Christine was Honorary Consul of Francein Youth, Flinders University Drama Centre,
SA and is a member of the orders ofLégion Film & TV International, Mercedes College,
d’honneur, Mérite and Academicpalms for Angela Heesom Casting and Westminster
services to the arts. School. In recent years Ruth has put her two
arts together in roles with The Rackaracka,
Wastelander Panda, Prank Patrol and the
Netflix Series, Real Rob Season 2. Ruth
is a regular Instructor at The Nino Pilla
International Academy of Martial Arts.
9CAST
Carmen Don Jose
HELEN SHERMAN JAMES EGGLESTONE
Helen Sherman has established herself Dual Helpmann Award-winning James
as amuch-sort-after artist in the United Egglestone is one of Australia’s finest tenors.
Kingdom and Australia. Helen has
represented Australia at BBC Cardiff Roles for State Opera of South Australia
Singer of the Worldand the Francisco have included Laurie in Little Women,
Viñas International Singing Competition, Ishmael in Moby-Dick and Nadir in The
Barcelona. She is a Helpmann Award Pearl Fishers; for West Australian Opera–
nominee, Wigmore Hall Song Prize awardee, Nadir, Almaviva, Ismaele in Nabucco
Samling Scholar, Associate Artist for
and Pluto in Orpheus in the Underworld;
Classical Opera and YCAT alumnus.
for Victorian Opera - Don Ottavio in Don
Giovanni, Ferrando in Cosi fan tutte and
Recent engagementsinclude Dorabella
Peter Quint in The Turn of the Screw. For
(Cosi fan Tutte) Teatru Manoel, Malta,
the Belcanto Festival in The Netherlands,
Cesare (Giulio Cesare) Bury Court Opera,
Christina(I Pazzi per Progetto) Festspiele he performed Elvino in La sonnambula and
Zurich, Poppea (L’incoronazione di Don Carissimo in La Dirindina.
Poppea) Pinchgut Opera, Octavian (Der
Rosenkavalier), Dorabella (Cosi fan Tutte) Most recently,James has sung Pinkerton
and Cherubino (Le Nozze Di Figaro) Opera in Madama Butterfly, Lensky in Eugene
North, Donna Elvira (Don Giovanni) and Onegin, Cassio in Otello and Lysander for
Sesto (La Clemenza di Tito) Classical Opera. Opera Australia and Rodolfo (La bohème) for
Recordings include ‘Mozart in London’ State Opera of South Australia.
Signum Records,‘L’incoronazione di Poppea’
and ‘Bajazet’ Pinchgut Live. His performance as Edrisi (Krol Roger) for
OA and won the Green Room Award for Best
Concert appearances have included Male Performance in a Supporting Role.
performances at Wigmore Hall, Cadogan
Hall, Royal Albert Hall and The Sydney
Opera House. Helen has featured on ABC
Classic FM, BBC Radio4, Radio3 and
Mozart’s London Odyssey for BBC4.
10Escamillo Micaela
MORGAN PEARSE EMMA PEARSON
London-based Australian baritone Morgan During her 9-year engagement as principal
Pearse is making his mark in both soprano at the Hessisches Staats theater in
hemispheres. He completed the renowned Germany, Emma Pearson also performed
Houston Grand Opera studio programme in at the Semperoper Dresden, National
2014/15 and made his professional début with theater Mannheim, Theater St. Gallen,
English National Opera in 2015/16 singing Saarländisches Staatstheater Saarbrücken
Figaro in The Barber of Seville. and the Ludwigsburger Schlossfestspiele.
Recent and future engagements include Emma regularly appears with Opera
performances of the title role in the Australia, West Australian Opera, Opera
Verbier Festival Academy production of Queensland, New Zealand Opera and
Don Giovanni, Valens in Theodora in the Pinchgut Opera, inrepertoire including
Karlsruhe Händelfestpiele, the title role title roles in Lucia di Lammermoor and
in Le nozze di Figaro and Papageno in Die
The Cunning Little Vixen, Gilda (Rigoletto),
Zauberflöte for the Badisches Staatstheater,
Violetta (La Traviata), Micaela (Carmen),
covering the title role in Billy Budd for the
Sophie (Der Rosenkavalier), Donna Elvira
Bolshoi Theatre, Sid in Albert Herring for the
(Don Giovanni) and Susanna (The Marriage
Buxton Festival, Nero in Kaiser’s Octavia
of Figaro).
for the Innsbruck Festival of Early Music,
as well as making his New Zealand Opera
In concert she has appeared with the West
debut as Belcore in The Elixir of Love where
Australian and Tasmanian Symphony
he will return in 2019 for Barbiere.He’s
Orchestras, Sydney Philharmonia
recently returned from performing in Russia
with Moscow Philharmonic and Musica Viva Choirs, Minnesota Orchestra, Slovak
orchestras, Don Giovanni with the Auckland Philharmonicin Bratislava, Orquesta de
Philharmonic, Messiah with West Australian, Valenciaand at UKARIA 24.
Adelaide and Tasmanian Symphony
Orchestras and Mozart with the Netherlands
Radio Philharmonicand Royal Philharmonic
Orchestra.
Morgan has won a number of prestigious
competitions including the Cesti Competition
in 2016, the prestigious Lies Askonas prize in
2014 and the Royal Overseas League’s Music
Competition in 2013.
11Frasquita Mercedes
DESIREE FRAHN BETHANY HILL
Desiree Frahn is a South Australian Bethany Hill is an Adelaide based musician
soprano. She is a graduate of the Elder and performer. Her work as a versatile
Conservatorium and a former James and operatic soprano has been critically
Diana Ramsey Foundation Young Artist. acclaimed as “strong and perfect vocals...a
treat for the senses” by the Advertiser, “a
For State Opera she has appeared as stand out” and “vivacious” by The Sydney
Valencienne (The Merry Widow), Leila Morning Herald, and “powerful-yet-
(The Pearl Fishers), Lauretta (Gianni sensitive” by Cut Common.
Schicchi), Rose Pickles (Cloudstreet! -World
Premiere), Pamina (Magic Flute), Rosalinde Bethany has performed with State Opera
(Die Fledermaus), Bastienne (Bastien und South Australia, Co-Opera, Gertrude Opera
Bastienne), and Kate Pinkerton (Madama (VIC), Various People Inc., Mopoke Theatre,
Butterfly). and the award-winning Adelaide Chamber
Singers and Song Company.
In 2018 she performed in the Australian
premiere of Jake Heggie’s To Hell and Back Performing regularly in the Adelaide
for Gertrude Opera. Festival and Fringe, She has appeared in
Barrie Kosky’s Helpmann Award-winning
In 2019 she stars as the Vixen in State production of Handel’s Saul and Patch
Opera’s production of Janacek’s Cunning Theatre’s Can You Hear Colour? in 2018.
Little Vixen.
In 2019 she appears in Carmen, The Mikado
and Madama Butterfly for State Opera.
12Morales/Dancairo Remendado
SAMUEL DUNDAS ADAM GOODBURN
A graduate of the Melba Conservatorium Adam completed his Bachelor of Music
of Music Melbourne, Samuel Dundas made degree for vocal performance at The Elder
his opera debut with Opera Queensland, Conservatorium, Adelaide University in
before joining Victorian Opera’s Artist 2003. Adam’s performing highlights have
Development program and subsequently been performing the role of Nanki Poo (The
Opera Australia’s Moffatt Oxenbould Young Mikado) for Opera Australia; Goro (Madame
Artist program. Butterfly), Pang (Turandot), Don Basilio
(The Marriage of Figaro), the comic roles
Samuel has since performed leading roles Nathanael/ Cochenille/Pittichinaccio/Franz
with Opera Australia, West Australian (The Tales of Hoffmann), Orpheus (Orpheus
Opera, New Zealand Opera and Lost and in the Underworld) for State Opera of South
Found Opera. Australiaand Giorgio (Ode to Nonsense) for
Slingsby.
In concert, he has sung with the Adelaide,
Melbourne, Tasmanian, West Australian In 2007 Adam performed the role of
and Sydney Symphony Orchestras, Mahatma Gandhi in Philip Glass’s opera
Australian Youth Orchestra, Sydney Satyagraha (State Opera/Adelaide Vocal
Philharmonia Choirs and Auckland Project and Leigh Warren & Dancers).
Philharmonia. The role earned him a Helpmann Award
nomination for best male performer in an
Samuel was the recipient of the 2013 Lady opera. Adam has recently appeared as The
Fairfax New York Scholarship and the Phantom in The Phantom of the Opera
inaugural Dame Heather Begg Award in (The Gilbert and Sullivan Society of South
2014. Australia) and Raoul St Brioche in The
Merry Widow (The State Opera of South
Australia).
Adam is the co-founder of SINGular
Productions and produced I Love You, You’re
Perfect, Now Change; Elegies: A Song Cycle;
Different Fields and “It’s a dad thing: The
Musical” and is currently developing twonew
Australian operas with State Opera of
South Australia titled, ‘Innocence’ and a new
chamber opera.
13Zuniga
WADE KERNOT
Principal artist at Theater St Gallen,
Switzerland, from 2010-2015, Wade
Kernot’s repertoire includes the Forester
(The Cunning Little Vixen), Osmin (Die
Entführung aus dem Serail), Zuniga
(Carmen), Père Laurent (Roméo et Juliette),
Wotan (Siegfried), Truffaldino (Ariadne
auf Naxos),Commendatore (Don Giovanni),
Méphistophélès (La Damnation de Faust),
SarastroandSprecher, (Die Zauberflöte),
Frank (DieFledermaus),and Comtedes
Grieux, (Manon).
In recent seasons Wade has performed
with New Zealand Opera,West Australian
Opera, Opera Queensland, Napier Civic
Choir, Hessisches Staatstheater Wiesbaden,
Germany and Opera de Lyon.
This year, Wade’s engagements include his
debut with Pinchgut Opera in Il Ritorno
d’Ulisse (Monteverdi), and Verdi Requiem,
and Beethoven’s 9th Symphony in New
Zealand.
14SKETCHES OF SPAIN
Bizet’s Carmen is one of the most popular there is an intensity which threatens to boil
operas of all time. According to Operabase. over at any second. Whilst this makes for
com, the reference for opera performances an exciting evening at the theatre, it does
worldwide, in the 2017/18 season, Carmen not ultimately account for the spectacular
notched up an astonishing 705 performances success of this opera and it’s enduring
across 165 productions. This, for an opera appeal.
that was very poorly received at its premiere
in 1875, leaving poor Bizet believing that I think Carmen stands the test of time
the work had been a failure. He died of a because it prefigures the musical theatre of
heart attack on June 1st, the morning after the 20th century, paving the way for shows
the 32nd performance of his masterpiece. such as West Side Story and Sweeney Todd.
It’s one of the great tragedies of music that Indeed, Stephen Sondheim, who had a large
Georges Bizet did not live to see Carmen’s hand in both these works and is not a fan of
star rise, as it has continued to do until the opera, makes an exception with Carmen:
present day.
‘Carmen is my idea of an ideal opera...I like
So, why is Carmen so popular and what is that twilight zone between what we call
the reason for its enduring success? Well, musicals and what we call opera...The great
the story is inherently dramatic, with a thing about Carmen is the sense of song
powerful central character and a scenario form, allied to the feeling of an endlessly
which is a gift to an opera composer. flowing song texture, even though it’s full of
We have an exotic setting; Seville, with numbers. How could Bizet master the form
its medieval ramparts, market squares, that way and also give you 13 of the best
factories and military barracks and, in songs you ever heard in your life?’
contrast, the mountainous countryside
outside the city walls, haven to smugglers, Of course, Carmen has played on Broadway,
bandits and ne’re-do-wells. Carmen’s fate in the adaption by Oscar Hammerstein
is laid out in the tarot cards she deals. Carmen Jones(1943). Hammerstein
She lives as a free spirit and dies in broad transposes the action from Seville to North
daylight, murdered by her jealous lover Don Carolina during World War II. Carmen
José, outside the stadium where a bullfight Jones works in a parachute factory, Don
is taking place. José becomes the dashing Corporal Joe
and the matador Escamillo becomes the
Carmen is a big canvas that teems with heavyweight boxer, Husky Miller. Although
the hustle and bustle of humanity. The the musical version is not widely performed
threat of danger ever present, which creates today, the film, starring Dorothy Dandridge
an atmosphere on stage that is tense and and Harry Belafonte, which screened in
unpredictable. Much of the story plays out 1954, is something of a classic and Bizet’s
on this knife-edge and, even in the more music works brilliantly in this context.
overtly romantic moments of the work,
15It’s not just the ‘songs’ in Carmen that It appears in Act One and it’s the first time
point towards the musical theatre. In we as an audience get to meet Carmen and
the original version, there is also spoken hear her sing.
dialogue as opposed to sung dialogue or
recitative, so you really get a sense that Bizet originally composed an entirely
when the singing begins, it is because words different piece for the entrance of his
alone are not enough. And the music stays heroine, L’amour est enfant de bohème (Love
with you,because the tunes Bizet gives to is the Child of a Gypsy). This is an aria that
his principal characters are so clear and would not have sounded out of place in an
well defined. This is no doubt why the operetta by Offenbach or Gounod’s Faust.
two most famous melodies from Carmen, It’s a finepiece of music, but there is nothing
the Habanera and the Toréador Song, remotely Spanish about it and it doesn’t
have appeared so frequently in television work in terms of establishing Carmen’s
commercials and advertising. strength and independence.
Bizet never travelled to Spain so he had After a number of rewrites, Bizet adapted
to rely on his imagination and printed a habanera by the Basque composer,
anthologies of traditional Spanish folksongs Sebastián Iradier (1809 –1865) called El
as potential source material for his opera. Arreglito, set to reworked lyrics from the
There are no guitars in the orchestra original aria. Bizet apparently had no idea
(although they suggested by the pizzicato he had stolen the music and subsequently
strings) and there is no attempt to imitate added an acknowledgement of the source
the highly ornamented improvisations as a footnote in the score; “Imitated from a
or the raw passion of Flamenco singing, Spanish song. Property of the editors of Le
which would have been inappropriate, Ménestrel.”
given the operatic conventions of the day.
Bizet assimilates some of the traditional This is the Habanera we know and love, one
dance rhythms such as the seguidilla, polo of the most famous and instantly recognised
and pasodoble and captures something pieces in all music. It completely captures
of the melodic and harmonic inflections the spirit of Carmen’s character and,
of Andalusian music and yet, for all its fortunately for Bizet, the copyright laws in
Spanish veneer, Carmen is essentially the 1875 were more lenient than they are today.
product of a French Romantic sensibility.
In other words, his audience was Parisian
and he wrote for them. As Noel Coward ASSOCIATE PROFESSOR
quipped: ‘I think we must face the fact that RICHARD CHEW
Carmen by Bizet is no more Spanish than
Director, Arts Academy & The Gippsland
the Champs-Élysées.’ Centre for Art and Design.
It may come as a surprise to learn that the Federation University, Australia.
most famous piece of music in Carmen, the
‘Habanera’, is in fact not by Bizet at all. This
aria, (or song), was the most crucial one for
the composer and his lyricists to get right.
You can hear soprano Angela Gheorghiu’s recording of the first version of
Carmen’s aria here: https://www.youtube.com/watch?v=Br-sLvSvvgQ
16STATE OPERA CHORUS
Dione Baker, Alexandra Bollard, Meran Bow, Eleanor Brasted, Marie (Charlotte) Campbell,
Catherine Campbell, David Cox, Victoria Coxhill, Peter Deane, Tom DuBois,
Christian Evans, Susan Ferguson, Jared Frost, Daniel Goodburn, Michelle Grootenboer,
Monica Hanusiak-Klavins, Norbert Hohl, Erin Holmes, Macintyre Howie-Reeves,
Greg John, Deborah Johnson, Victoria Kakoulis, Reece Keane, Charlotte Kelso, Rod Kirk,
Iwona Koprowska, Nic Lock, Katrina Mackenzie, Elizabeth McCall, Callum McGing,
James Moffatt, James Nicholson, Mark Oates, Martin Penhale, David Perry, Amelie Peters,
Barbara Rennison, Alex Roose, Joshua Rowe, Danielle Ruggiero-Prior, Vanessa Shirley,
Lynne Smythe, Jenn Tranter, Andrew Turner, David Visentin, Chris Webb, Brooke Window,
Kim Worley.
ADELAIDE SYMPHONY ORCHESTRA
VIOLINS VIOLAS
Natsuko Yoshimoto** (Concertmaster) Caleb Wright**
Cameron Hill** Michael Robertson~(Acting Associate)
(Associate Concertmaster) Martin Butler
Alexis Milton* (Acting Principal 1st Violin) Linda Garrett
Michael Milton** (Principal 2nd Violin) Anna Hansen
Julia Brittain ~ (Acting Associate Principal Cecily Satchell
2nd Violin)
Heidi von Bernewitz
Janet Anderson
Ann Axelby
CELLOS
Helen Ayers
Simon Cobcroft**
Minas Berberyan
Sarah Denbigh~(Acting Associate)
Gillian Braithwaite
Christopher Handley
Hilary Bruer
Sherrilyn Handley
Elizabeth Collins
David Sharp
Jane Collins
Cameron Waters
Judith Coombe
Alison Heike
DOUBLE BASSES
Danielle Jaquillard
David Schilling**
Jennifer Newman
Harley Gray~(Acting Associate)
Emma Perkins
Jacky Chang
Alexander Permezel
David Phillips
Kemeri Spurr
Belinda Kendall-Smith
17ADELAIDE SYMPHONY ORCHESTRA (CONT.)
FLUTES TRUMPETS
Geoffrey Collins** Martin Phillipson**(Acting Principal)
Sabine Daniels Gregory Frick
TROMBONES
PICCOLO Colin Prichard**
Sabine Daniels* Ian Denbigh
OBOES
BASS TROMBONE
Rachel Bullen** (Guest Principal)
Howard Parkinson*
Peter Duggan
TIMPANI
COR ANGLAIS
Andrew Penrose*(Acting Principal)
Peter Duggan*
PERCUSSION
CLARINETS Steven Peterka**
Mitchell Berick**(Acting Principal) Samuel Butler
Darren Skelton Amanda Grigg
BASSOONS HARP
Mark Gaydon** Suzanne Handel*
Jackie Newcomb
HORNS ** denotes Section Principal
Adrian Uren** ~ denotes Associate Principal
Emma Gregan * denotes Principal Player
Philip Paine
Timothy Skelly
18PRODUCTION CREDITS
Producer – Alexandra Hirst
Site Manager – Mark Pennington
Production Manager – Ben Flett
Stage Manager – Jess Nash
Assistant Stage Manager – Ashley Ng
Assistant Stage Manager – Nadia Bobaly
Assistant Stage Manager – Ashley Lord
Head Mechanist – Ben Brooks
Mechanist – Mark Fisher
Mechanist – Danny Persse
Head of Wardrobe – Emma Brockliss
Wardrobe Assistant/Dresser – Ashleigh Thomas
Wardrobe Assistant/Maintenance – Denise Strawhan
Dressers – Jana Davies, Kent Green, David Adams,
Dina Giaccio, Sue Nicola, Nick de Rohan
Head of Hair & Make Up – Sue Taylor
Hair & Make Up – Jen Rossiter
Hair & Make Up – Cheryl La Scala
Surtitles – Elizabeth Holbert
Surtitles – Emma Robinson
Program Design - tifimage DESIGN
19PATRONS
ARTISTIC DIRECTORS CIRCLE $2,000 AND ABOVE $500 AND ABOVE
Drs Geoff & Sorayya Martin Dr & Mrs Paul Drysdale Bart Wissink &
Kaye Salisbury
Kaaren & Kevin Palmer Peggy Barker
Barry Worrall
Peter & Mary Sutherland GC & R Weir
Peter & Helen Herriman
Galina Podgoretsky & John Holmes
Dr Rodney Crewther Anne Sutcliffe
Meg & Jack Favilla
Andrew & Sibby Sutherland Antonio & Eleonore
Joan Lyons De Ionno
Dr Christine Rothauser
Barbara Walter
Dr Jane Lomax-Smith
$1,000 AND ABOVE Bill Harrod
Galina Podgoretsky
Rob Baillie Christopher Stone
John Irving
Chris & The Late DJ & RA Gilmour
Donald Perriam
Dr Brian Peat
$15,000 AND ABOVE Graham Abbott
Dr Ilze Augstkalns
Peter & Pamela McKee Mrs Susan Tarr
Dr Kenneth O’Brien
Andrew & Gayle Robertson
Frank Ford AM
$10,000 AND ABOVE Bruce Saint
Gillian Brocklesby
PM Menz Dr A F Connon AM
Graeme & Susan Bethune
Dr DG & Mrs KC Morris
Jane Doyle
$5,000 AND ABOVE Dr Margaret Arstall
John Dawes Valuations
Drs Geoff & Sorayya Martin Dr Ruth Marshall & Pty Ltd
Mr Tim Muecke
Kaaren & Kevin Palmer JW Baker
Elizabeth & John Shepherd
Peter & Mary Sutherland Kay Dowling
Ivy Melba Henshall
Galina Podgoretsky & Mr & Mrs PS & EA Hambly
Dr Rodney Crewther Jeremy Clark
Mr Bruce Debelle AO QC
Andrew & Sibby Sutherland John Holmes
Mrs Anne Shadgett
Dr Christine Rothauser Lorraine Drogemuller
Mrs Margaret Scharer
Dr Jane Lomax-Smith RJ, LL & SJ Greenslade
Philip H Page
Galina Podgoretsky Anonymous
SM Johnson
John Irving Linnett & David Turner
Yvonne McMurray &
Kaaren & Kevin Palmer John Sheat
Anonymous x 1
20PATRONS (CONT.)
$100 AND ABOVE R Murray Judith Brown
Dorothy Short Robert Fletcher Judy & David Ferguson
Jocelyn Parsons Stephanie Thomson Libby Parker
The Hon D J &
Ann Rugless Margaret Woodcock
Mrs E M Bleby
Caroline Treloar Ms Penny Hewson
Anne Levy
Mr & Mrs J Pike Rl & GK Willing
Bruno Krumins AM
Mrs Meredyth Sarah AM S Stuart
Christina Palfelt
PM Hardy Lindsay Doherty
Dr & Mrs HA Handley
CW & EA Dunsford Margaret Taylor
Dr Kathy Tiller
David Hansman Anonymous x 7
J A Langford
Dr Jane Lomax-Smith
Joy Bishop
Julie Almond
Richard McGarvey
Kay Thorp
Anonymous x 5
Linda Sampson
Susan Coldicutt
$1 AND ABOVE
Alan Marriage
Lois Otterspoor
Ann Matison
Anna Shepherd
Barbara Wall
Anthony Burt
Bill & Kerry Wood
Barbara Bond
Dr Norman James
Diana Roberts
Eleanor Ethell
Dr Harry Green
Elizabeth Smith
Dr Lesley Woodard-Knight
Helen Haines
Frances Anderson
Helga Ebbinghaus
Ingrid Loesel
Joan Loftus
James Wilson
Margaret Baker
Jane Wilson
Martin Borg
Joan Young
Michael Davey
John Lumsden
Ms Liz Kummerow &
Mr Neil Kirby Joshua Jones
21WINTER
SCHOOL
State Opera South Australia is pleased Through coaching and classes by industry
to announce our Winter School is now professionals, Winter School graduates will
accepting applications. emerge from the program having learned
from, and been mentored by, working artists
The inaugural State Opera Winter School at the top of their profession.
is open to senior secondary and tertiary
students who have a passion for singing and A limited number of merit-based
acting on stage. We are seeking applications scholarships and bursaries for students who
from singers with a classical or musical are seeking financial support are available.
theatre background.
For queries or more information about
Running in Adelaide over two weeks from eligibility, please email Youth and
Monday 24 June to Saturday 6 July 2019, Education Coordinator Libby Parker
the school provides tuition in stagecraft, lparker@stateopera.com.au
ensemble, audition technique, professional
presentation and stage make-up alongside To apply visit https://stateopera.com.au/
rehearsals for State Opera’s production of winter-school/
the Australian opera Boojum! at Dunstan
Playhouse. Winter School participants will APPLICATIONS CLOSE ON FRIDAY 29
perform in the opera, and minor roles are MARCH.
available.
22STATE OPERA
BOARD OF MANAGEMENT HONORARY LIFE MEMBERS
Hugh Cunningham
John Irving (Chair)
Richard Brown
Imelda Alexopoulos
Elizabeth Olsson
Christine Rothauser
Brenda Wilson
Robina Weir
Peter Michell
STAFF
Executive Director – Yarmila Alfonzetti
Artistic Director – Stuart Maunder AM
Chief Operating Officer – Alison Nadebaum
Consulting Chief Financial Officer – Anthony Burt
Creative Producer – Sidonie Henbest
Production Manager – Ben Flett
Stage Manager – Jess Nash
Youth and Education Coordinator – Libby Parker
Development Executive – Sylvie Huigen
Marketing Coordinator – Jennifer Brunton
Music Coordinator – Andrew Georg
Financial Administrator – Sarah Hart
Company Administrator – Renee Dawes
Office & Project Assistant – Xanthe Pettersen
Helpmann Director Fellowship 2019 – Clara Solly-Slade
23THANK YOU TO OUR SPONSORS
GOVERNMENT
EVENT PARTNERS OPERA AND INDUSTRY PARTNER
REGIONAL PARTNER EDUCATION PARTNER FOUNDATIONS
CORPORATE PARTNERS
MEDIA PARTNERS
THANKS TO
24216 Marion Road NETLEY SA 5037
PO Box 211 MARLESTON SA 5033
Ph: (08) 8226 4790
F: (08) 8226 4791
E: reception@stateopera.com.au
ABN 31 382 679 566
StateOperaSA
#StateOperaofSA
StateOperaSouthAustralia
StateOperaSA
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