Bravo! - Arts Centre Melbourne

The following quotes were provided for Bravo! ! Celebrating 50 years of Opera Australia“For me the greatest joys of more than 40 years of close association with the companywere those when the ensemble – members of every on and offstage department –worked cohesively in the service of the work being performed – delighting in thediscovery and development of its musical and dramatic strengths. The 1963 BeinlFledermaus; John Copley’s Figaro in 1971; Der Rosenkavalier in Melbourne in 1972;Sutherland and Bonynge’s return in The Tales of Hoffmann in 1974; Aida in the ConcertHall of the Sydney Opera House in 1975; Voss in 1986; Baz Luhrmann’s production of Labohème in 1990; my own production of Madama Butterfly in 1997; and especially TheEighth Wonder in 1995 – all these boasted an irresistibly powerful ensemble spirit – ashave so many other performances over the past 50 years.”Moffatt Oxenbould“We have spent many of the happiest hours of our lives working with the AustralianOpera, now Opera Australia. We love the Company and have always done so since ourfirst Tales of Hoffmann in 1974 in Sydney.We have had such friendly relations with the personnel both on the stage, behind thestage and in the orchestral pit. We are proud to have introduced many unknown andlesser known works to Australia, as well as the more well-known repertoire.So many different theatres in Australia. We remember Her Majesty's in Brisbane with thesmell of fish and chips coming up from below, the marvellous performances in theConcert Hall of the Sydney Opera House and the lovely old Her Majesty's in Adelaide. InMelbourne we had so enjoyed our performances in the old Palais at St Kilda. Not acomfortable theatre for the artists but a wonderful acoustic. In the wonderful newMelbourne theatre, I [Richard Bonynge] have enjoyed the superb sound andspaciousness of this lovely theatre and I [Joan Sutherland] unfortunately retired too early.We have great faith in the Company and fervently wish that all its troubles may be smalland all its triumphs great.”Joan Sutherland, OM, AC, DBERichard Bonynge, AO, CBE

“It is difficult to single out one from a formidable archive of memories of my 34 yearswith the company – but perhaps the most vivid is to have been given the opportunityquite early in my career to sing four roles in The Tales of Hoffmann in 1974 on theoccasion of Dame Joan Sutherland’s return to her homeland after an absence of manyyears. Months of study of Offenbach’s score and hours of French language coachingabsorbed the cast until the day finally arrived when ‘La Stupenda’ first walked into therehearsal studio, smiled and sat down with us, as Richard Bonynge raised his baton tolead us through the first of many thrilling Hoffmann rehearsals. This remains aheartstoppingly exciting recollection of one of the happiest and most successfulproductions of my years with Opera Australia.”Graeme Ewer AM“The history of opera in Australia is defined by the changing cultural landscape andmapped by an almost giddy array of swings and roundabouts. My personal contributionto Opera Australia, in its various manifestations, has always been aimed at moving thisculture along; be it through the re-interpretation of classics, such as Don Giovanni; or thepresentation of contemporary works of the calibre of Britten’s Death In Venice. However,the real excitement comes from creating new work. To have been involved with the firstoriginal opera to join mainstream OA repertoire, Richard Meale and David Malouf’sVoss, from the novel by Patrick White, created an expectation that was happily fulfilledat the time, but, more importantly, it created a sign-post for the future.”Jim Sharman“In October, 1973, my introduction to the Sydney Opera House was stage rehearsals forJohn Copley's Magic Flute. For the first of my ensuing 30 years of entrances there, wepicked our way over forecourt builders' rubble to unmarked dressing rooms off unknowncorridors. Then, in that opening season which attracted world-wide attention, in greatestexcitement, the cast, in which I was Pamina to Anson Austin's Tamino, conducted byCharles Mackerras, assembled backstage at interval of the premiere, introduced byGeneral Manager, Danish musician John Winther, to H.M. Queen Elizabeth II and theDuke of Edinburgh. Our wonderful Michael Stennett costumes were reflected in HerMajesty's own gorgeous, diamond encrusted apricot chiffon gown.”Joan Carden

“It is always comforting to come home to Opera Australia which has always been anoperatic family for me. I have been lucky in performing many diverse roles with thecompany, ranging from Mozart through to Puccini to Britten and Sondheim. Each timehas been memorable experience not only for the wonderful colleagues but for thecommitment of everyone to make it work to the highest standard possible. I can think ofno opera company anywhere in the world that works as hard but manages to remainpersonable and attentive to its artists and staff.”Peter Coleman-Wright“In my role debut as Isolde in Tristan und Isolde occurred in 2001. I was extremelyfortunate to be surrounded by a wonderful cast (most of them friends from previousproductions). We had the unique and dynamic Simone Young in the pit who, beingexpert in the big German repertoire gave us an extremely satisfying artistic experience.It was as a direct result of that role in Melbourne that I was invited to sing Isolde at theRoyal Opera Covent Garden the following year.I also have very happy memories of my earliest days at AO where it was a great thrill justto be in the green room at the same time as people like John Shaw, Bob Allman, LaurisElms, Heather Begg, Cilario, Bonynge, Sutherland, Rosina Raisbeck, Anson Austin, BobGard, Don Shanks, Ken Collins, Rita Hunter, Jen Bermingham, and the all the others. Itwas a very healthy and warm atmosphere in which I like to think we all benefited eachother. “Lisa Gasteen“Opera Australia is very special for me. It is where I began my professional career in BazLuhrmann's production of La bohème. It went on to be one of the most successfuloperatic productions anywhere in the world and I am still proud to have been involvedfrom the outset. I went on to sing my many important roles with the company, mostnotably Violetta and Madama Butterfly in Moffatt Oxenbould's production. I have mademany friends at the company and it will always hold a very important place in my heart.”Cheryl Barker“Half a century has passed since I sang Papagena, Despina and Susanna for theElizabethan Trust Opera Company, but the thrill of being invited to perform these rolesremains vivid. Two memories endure - my Papageno who, without fail, would jump offour swing as we hurtled into the wings, saving me from certain injury by placing himselfbetween me and a concrete wall. And Joseph Post having second thoughts aboutentrusting an inexperienced 23 year old to perform Susanna with only one brief studiocall. I assured him there wouldn't be a problem - and he believed me! Thank you Mr.Post.”Jenifer Eddy

“I've been with Opera Australia for over ten years now and have so many wonderfulmemories of my time with this fabulous company. As a young artist I sang the title roleof La fille du regiment by Donizetti... and I thought I was unbreakable. Working with themale chorus was the highlight for me in that show. They were so supportive, and I was soterrified.Later I was thrown into dangerous waters, by an ever faithful Simone Young,and askedto tackle Lulu, still the most terrifying and rewarding role of my life. I'll always rememberopening night in Melbourne, taking my curtain call, sensing the audience’s satisfaction,and after months of self doubt, realizing that I'd achieved something remarkable.I have such a love of the French romantic repertoire and working with the maestroRichard Bonynge has always been thrilling. He makes me sing how I want to sing, histrust has been so inspirational. A year is not complete unless I've done a show withStuart Maunder. As well as being so inspirational and trusting as a director, he has givenme so many wonderful opportunities and roles. Roméo et Juliette was the mostsatisfying, and emotionally challenging opera to date.May I keep singing with this incredible ensemble for years to come...I'd love to be theold bag in the corner when I'm seventy. You're going to have to drag me off the stage!”Emma Matthews“In 2004 I retired from the Opera Stage. I could never have imagined back in 1964 whenI auditioned for the Elizabethan Trust Opera Company, as Opera Australia was thencalled, that I would enjoy forty years of full time work here in my own country. I havehad the privilege of seeing the company grow, of seeing it go through its highs and lowsas it has maintained for the most part an extremely high standard of performance.As I think back I well remember the joys of working with wonderful conductors andproducers who helped make the company great; people such as Sir Edward Downes,Carlo Felice Cillario, Sir Charles Mackerras, William Reid, John Copley, Richard Bonynge,Simone Young, Moffatt Oxenbould and Neil Armfield. And singers such as DonaldSmith, John Shaw, Elizabeth Fretwell, Robert Allman, John Pringle, Anson Austin, JoanCarden, Joan Sutherland and Marilyn Richardson and many more too numerous tomention. Congratulations Opera Australia, and thanks for the memories.”Donald Shanks AO OBE

“I joined the Elizabethan Trust Opera Company as it was known in 1968 as their firstmusic librarian. For me it was the beginning of a wonderful career. Although my firstresponsibility was the preparation of the music for singers and orchestra, I had a strongsense of the importance of maintaining and documenting the history of the company. Isalvaged many photos and programs that the Elizabethan Trust were throwing out andthus began the nucleus of a collection which is now the Opera Australia Archive. Thus Iam looking forward to this exhibition marking our 50 th anniversary.After 28 years at Opera Australia. There are so many memories it is difficult to chooseone; the performance of Der Rosenkavalier in 1972 when Octavian (Yvonne Minton)presented the rose to Sophie (Glenys Fowles) seemed to exemplify operatic bliss.Another in 1977 was the finale of Madama Butterfly with Leona Mitchell. I was sittingbehind the director John Copley. When he saw me crying he put his arms around meand said ‘There, there dear, it’s not real, cheer up.’ So for me being part of the OperaAustralia family has given me a fortunate life.”Judith Jacks“I joined the Elizabethan Trust Opera Company in 1958, a year after my husband, thelate John Germain. This was indeed a life and career changing event for both of us.Opera Australia has always been most important to me as I feel that we were able toprepare the way for opera’s development in this country. We all worked very hard inthose early days to secure the future of young singers in Australia.It would be hard to name one’s favourite productions for they were all important andexciting to be involved in. Fidelio in 1958. Rosenkavalier in 1972. War and Peaceopening the Opera House in 1973. Tosca, Albert Herring, Traviata, Lucia and of coursethe Gilbert and Sullivan seasons.I was fortunate to be so involved in all the performances and able to work with all theartists, producers and stage staff. It was a great privilege to know all these wonderfulpeople and to be able to count a few as my very good friends today.”Shirley Germain“The opening of the Sydney Opera House in 1973 is an exciting and significant memory.Performing in War and Peace, Eilene Hannan and I were the first women to sing in thefirst opera - our scene was on a balcony. I remember being quite overwhelmed by theoccasion.”Jenny Bermingham OAM

The tenor and his bootsEverything was going too well. It was December 1989 and we were rehearsing Tristanund Isolde to open in the Sydney Opera House in January and then on to the AdelaideFestival with Stuart Challender conducting the S.S.O. and Marilyn Richardson and HorstHoffman as the great pair of Wagnerian lovers when disaster struck. A problem withHorst's throat meant that he must stop singing immediately for 6 months. MoffattOxenbould set up a global search for a tenor who knew Tristan and was available for thenext 3 months starting now.About 5 days later, and with a little over a week before we had our first audience, theAmerican tenor flew into Sydney. None could deny his muscular and ringing voice; theproblem lay in the fact that at 5' 2" he was a good 11'' shorter than Horst and came upto around Marilyn's chin. Perhaps sensing my misgivings the tenor held up the bag he'dbrought with him..."These", he said proudly, "are my Tristan boots." He then produceda pair of gold lamé wedgies that were clearly designed to cunningly provide the wearerwith an additional 6 inches of masculine height.Acts 1 and 2 weren't the problem. He looked a little like Buzz Aldrin taking his firsttentative steps on the moon and in any case Marilyn managed to stay mostly down stageof him or on her knees. No, the problem came in Act 3. "What do you mean you wantme in bare feet?" he said to me, incredulous. "Well", I said, "he has been in a coma forsome months and in this production Kurwenal, your loyal servant, who has been nursingyou all this time, begins the act by washing your feet. I just don't think it will feel thesame if you've got your boots on. "And don't forget that you barely get to stand up inthis act as you are so near death!" "But Neil! You don't understand! I can't sing withoutmy boots on!!!"There were several more exchanges that didn't really alter the stalemate of ourpositions, so the day before the first performance I called on that last resort of adirector's power: I wrote the tenor a letter, it was some 5 pages long and used all meansof persuasive reasoning available to me. I had no idea what the outcome would be. Afriend who was in the audience that next day and who was aware of the struggle I hadbeen through sent me a card. On it he had written just 5 words: "How beautiful were thefeet."Neil Armfield