WINTER

Da Capo Magazine WINTER 2012Brenton SpiteriJohn and Elizabeth Wright-Smith ScholarshipBrenton Spiteri was“raised on the stage”.Since the age of 6, he has takendrama classes and performed inamateur productions, but his firstexposure to classical music andopera did not occur until he wasaccepted into a specialist musicschool at twelve. The training wasintense, with regular singing andmusicianship lessons, choir rehearsalsand performances, including beinga boy soprano in the Opera AustraliaChildren’s Chorus:“It was a snowball effect – what hadat first been a weekly hobby in acompletely unfamiliar area becamesomething I did every day and caredabout greatly.”When his voice changed, Brenton wasforced to take a break, but eventuallyre-emerged as a tenor:“The first song I learned to singwith my ‘new’ voice was ‘Comfortye my people/Ev’ry valley shall beexalted’ from Handel’s Messiah. Isang it so often that I wouldn’t havebeen surprised if audience membersstarted leaving in protest!”No-one did, nor are they likely to, asBrenton’s career goes from strengthto strength. Last year he performed alarge support role in Contact, a newAustralian opera by Angus Grant:“It was the premiere of the work,and it was exhilarating to create acharacter. I love music, but I also lovetheatre and acting, and to be ableto combine them and consider it ‘myjob’ was like a dream come true.”Also in 2011, Brenton sang in theOpera Australia chorus for Bizet’sThe Pealfishers:“It felt strange to go back to thecompany after having performedin the Children’s Chorus so manyyears ago. It was both nostalgicand terrifying, as I no longer had anadorable, childish smile to save meif I missed an entry or sang a wrongnote!”Most importantly, however, thisexperience strengthened his resolveto pursue a career in opera, andBrenton is working towards this in2012:“The Trust scholarship has givenme the opportunity to develop atmy own pace, without the burdenof financial pressure normallyassociated with being a youngsinger. They are very nurturing,and understand the importance ofkeeping young voices healthy. I’mhaving as many lessons as I can, amcoaching with Sharolyn Kimmorley,and will take Italian and actingclasses later in the year.”There are other exciting opportunitiesfor Brenton this year. He is a semifinalistin the Mietta Song RecitalAward, and is currently preparingthe role of Harlekin in a MonashUniversity production of the rarelyperformedopera The Emperor ofAtlantis. The work was first writtenand performed in a concentrationcamp, and Brenton looks forward toseeing how the creative team shapesits interpretation.Operain the Wright-Smith ArenaA Birthday with a DifferenceOur scholars haveperformed in avariety of venues,but a recital inthe Wright-Smith’sdressage arenaperhaps takes the(birthday) caketo date.On the afternoon of Sunday 25March, John and Elizabeth Wright-Smith Scholarship holders baritoneNathan Lay (2011) and tenor BrentonSpiteri (2012), accompanied by DavidMcNicol on portable piano, took tothe new arena stage to sing a shortprogram of serious and suitably notso-seriousmusic.The occasion? John Wright-Smith’sbirthday celebration, attended byfamily members and invited guests,and also featuring some specialperformances by some of John andLiz’s many talented grandchildren.For John, it was an event he won’tquickly forget:“We were absolutely thrilled anddelighted – there’s no other way ofputting it. The guests didn’t knowwhat it would be like until theyexperienced it, but judging by thephone calls and letters we receivedafterwards, they just loved it.Nathan and Brenton did very wellwith their presentation and singingin this unusual venue. The messagefor me was that exposure to thepublic is the secret to this wholeMelba Trust concept.”Brenton admitted that he hadn’tnecessarily expected to perform inan equestrian stadium, but it turnedout to be a great experience. And hewas amused by the interjections ofthe Wright-Smiths’ appreciative dogs,who “couldn’t wait until the end ofour songs to show their support –luckily I am a dog lover!”The event also provided anotheropportunity for John and Liz to getto know Brenton. The developmentof a personal relationship isunderstandably important to them,as John testifies:“This situation is so different fromgiving to, say, a charity, and notbeing quite sure where the moneygoes. Communication with therecipients is vital. For the donor orsupporter, it means you can be anactive member of the team. You canaffirm the young singers, encouragethem, and hopefully fill them withenthusiasm. You can also gentlyhurry them along a bit too, learnabout their other interests, and findout what they want to get out oflife. I think they can gain from olderpeople’s experiences, which areoften untapped. There are lots ofplusses about getting to know thesingers. And it can work both ways,making the whole experience activeand vibrant.”Brenton echoes this sentiment,having met John and Liz severaltimes now:“They are absolutely lovely people,and it is their generosity that isallowing me to continue to developas a singer. I’m very grateful tothem, and getting to know them justenriches the whole experience.”There is general agreement that thiswas just the ‘inaugural’ concert inthe Wright-Smith Dressage and OperaArena, and we look forward to thenext event.A special thank you to De Bortolifor providing their wines for theoccasion.Top Left – Wright-Smith ArenaMiddle Left – Brenton Spiteri & Nathan LayBottom Left – John Wright-Smith withAmy McPartlan & Peter GarnickSupporters of the TrustThe Melba Opera Trust also appreciates the generosityof our Friends Circle of which there are over 200 supportersThank you for makingour programs possible...FOUNDING PATRONS• The late Pamela, Lady Vestey• Mary-Jane JoscelynePATRON ($250,000 – $499,999)• John & Elizabeth Wright-SmithDRESS CIRCLE ($50,000 – $99,999)• Warwick & Paulette Bisley• Roz Zalewski & Jeremy Ruskin QCGALLERY CIRCLE ($25,000 – $49,999)• Anonymous (1)• Peter Laver AM & Anne LaverBALCONY CIRCLE ($10,000 – $24,999)• Charles Allen AO & Jocelyn Allen• Janet Calvert-Jones AO &John Calvert-Jones AM• Rose Downer & John Downer AM• Peter Hansen OAM & Neroli Hansen• Louise Gourlay OAM• Hans & Petra Henkell• Ian & Dale Johnson• Prof Mel & Nina WatersMAESTRO CIRCLE ($5,000 – $9,999)• Betty Amsden OAM• Roger & Catherine Freeman• Dr Peter A Kingsbury• Robert G and Sue Logie-Smith• Dame Elisabeth Murdoch AC; DBE• Tom & Ruth O’Dea• Graham Sellars-Jones• Andrew Sisson• Michael Wheelahan SC & Cathryn WheelahanMELBA CIRCLE ($1,000 – $4,999)• Jim and Judy Allen• Dr Patricia Armstrong-Grant OBE• John Bate OAM & Liz Bate• Dr Dianne & Lino Bresciani• Mrs Elizabeth Chernov• Peter & Jan Clark• Ann & Russell Cole• Jim Cousins AO & Libby Cousins• Rosie & Dr Peter Cunningham• Ernest Dawes OBE & Nola Dawes• Ros & John Dowling• Lorraine Elliot AM & John Kiely• Dr Helen Ferguson• Dr Frank & Mrs Firkin• Fleur Gibbs• Nance Grant MBE & Ian Harris• Peter Griffin AM and Terry Swann• The Hon Justice Peter & Sally Heerey• Dr Sam & Margaret Howes• Gill & Giles Hunt• Lewis & Paula Johnson• David Jones• John & Erin Lidgerwood• Elizabeth Lithgow• Noreen Maher• Peter Mander & Walter van Nieuwkuyk• John McArdle QC• Denys & Ingeborg McCullough• Sarah McIntyre• Mrs Patricia McKenzie• Ross McPherson• The Hon Justice John & Judith Middleton• Dr Kenneth Muirden AO & Lesley Muirden• Margaret Nevett• Geoffrey Norris• Stephen O’Meara & Kate Galvin• Lady Potter AC; DLJ• Clare & David Pullar• Michael Robinson AO & Judith Robinson• Mr Nick Ruskin & Ms Annette Shiell• Aubrey Schrader• Russell & Margaret Smith• Richard Stanley QC & Sue Stanley• Jennifer & David Sutherland• Dr Michael Troy• Barbara Yeoh• Helen Woods & Lewis RowellEVENTS PARTNERVENUE PARTNERACCOMODATION PARTNERPROFESSIONAL PARTNERSPHILANTHROPIC PARTNERS• Cochrane Schofield Fund• Tallis FoundationPage 12