Opera Australia 2009

At last, the moment I've been waiting for — OA's 2009 season has been announced. Actually, I should admit that, courtesy of various forms of espionage, I've known the full programme (with one exception) for a couple of months now. However, what I didn't know, apart from the odd gleaning, was who was singing what. And now that I do — and now that the announcement has been made — the fun really begins. You know what comes next. And it's going to be lengthy.

So, here's the short version.

My top picks are Cheryl Barker in Madama Butterfly, obviously, and also Antoinette, who takes over the role mid-season; Lady Macbeth of Mtsensk; Peter Grimes with Stuart Skelton and Susan Gritton; Aldo di Toro's Werther and Tebaldo; and the new Cosi directed by Jim Sharman, of Rocky Horror fame.

I'm happy about Emma Matthews as Pamina; the continued presence of Jonathan Summers; a couple of meaty roles for José Carbo; Lisa Gasteen, here at last!; Milijana Nikolic as Amneris.

I'm perplexed by the continued under-utilisation of Jacqueline Dark; the relative paucity of Antoinette; the prospect (in Melbourne only) of Hye-Seoung Kwon as Fiordligi; the total absence of Carlo Barricelli.

I'm upset that only Melbourne gets Brad Cohen for I Capuleti e I Montecchi; there's no Joshua Bloom; Sydney also misses out on Jennifer Wilson's Aida; Yvonne doesn't get a new production for her Dido.

And I'm a little surprised to see that the Melbourne season of A Streetcar Named Desire will have exactly the same principal cast as Sydney's did.

I'm about to go into a lot more detail. Those who wish to follow may do so.

And now that we're here, let us, like Maria, start at the very beginning.

Dec 30 - Mar 23
Puccini: Madama Butterfly
It's quite a beginning. I'm a happy girl. This is a revival of the beautiful Moffatt Oxenbould production created for Cheryl Barker ten years ago. That performance is available on DVD. Now she's singing it for us again. Can't imagine anything more perfect. She also has to jet off to Paris in the middle of the season to sing Cio-Cio San over there, in the Robert Wilson production. Then she comes back to finish out her season here in March — can't wait to see if she accidentally breaks into Wilsonesque gesture. While she's away, lovely Antoinette Halloran takes over the title role, a prospect almost as mouthwatering as Cheryl herself. Julian Gavin sings Pinkerton for the first nine performances: I look forward finally to hearing him. Unfortunately for me, Rosario La Spina sings the rest of the run. This I don't relish at all, but then again, Pinkerton is probably the ideal role for a tenor one can't abide — not much singing, a long absence, and you're not supposed to like him anyway. Catherine Carby sings Suzuki, but is compensated for it later in the season with something much more interesting. Always nice to see Jud Arthur, even in a tiny role like the Bonze.

Jan 20 - Feb 14
Mascagni/Leoncavallo: Cavalleria Rusticana/Pagliacci
Dennis O'Neill shakes his fist through both tenor roles. My eyes will be on Jonathan Summers, who sings Alfio and Tonio, seeing as I am now His Fan. I have to take my Jacqui Dark fix where I can find it, and savour every moment of her Mamma Lucia. Nicole Youl will be our Santuzza — no surprise there — and Amelia Farrugia ought to be a sweet sort of Nedda. I guess it's about time I saw a Cav/Pag.

Jan 22 - Mar 19
Mozart: Die Zauberflöte
It's a pop hit, of course, but I'm rather pleased with the prospect of a Zauberflöte, my first live one since I was a tiny little child! OA has taken the unconventional step of casting Emma Matthews in a role actually suited to her talents, and I expect she'll be a delightful Pamina. She only sings six performances, though, and then Hye-Seoung Kwon (another appropriate choice! Imagine that!) takes over. I had hoped Lorina Gore would be our Queen of the Night (she was the only sensible Antipodean choice) and lo and behold, sie kommt! Such heavenly security, to know in advance that those Fs (and everything leading up to them) will be in pristine place. More excited about Andrew Goodwin as Tamino than Henry Choo. Has anyone else noticed the disproportionate number of Andrews in the company? There are three in this production alone. 

Mar 3 - 25
Shostakovich: Lady Macbeth of Mtsensk
Oh this will be fantastic. Has to be. My compatriot Simon O'Neill (he was born in Ashburton, home of Jenny Shipley and of New Zealand's first Exeloo) promises to be excellent as Sergei. Susan Bullock, of whom I have read very good things, is Katerina. I note with slight disappointment that it's to be sung in English, however I suspect this will prove a happy decision in practice. Another bit part for Jud Arthur. Our esteemed Musical Director conducts.

Mar 12 - 26
Massenet: Werther
Success! Months and months ago I was thinking up a wishlist, and Werther was on it. I didn't actually expect I'd get it. True, I did have a different mezzo in mind for it, but I shan't look a gift Pamela Helen Stephen in the mouth. However, my prediction for the title role has come true — the lovely, lovely Aldo di Toro. Taryn Fiebig, who is everywhere next year, sings Sophie. Albert is another Andrew, Schroeder this time. The production is by Elijah Moshinsky, revival director is none other than Elke Neidhardt. Intriguing prospect. But evidently Australian audiences can't be trusted to flock to non-Manon Massenet, this must be the shortest season of anything ever.

Jun 27 - Jul 18
Handel / Purcell: Dido & Aeneas / Acis & Galatea
I feel as if I am coming full circle. A baroque double bill was one of the first things I ever saw at Opera Australia, on a visit to Melbourne in 2004. A few nights later I saw Yvonne Kenny as Hanna Glawari and the rest is tragic history. Well, now Yvonne sings Dido. Which was the very first thing I knew about this season. I did sort of hope they would give her a new production; my vague memory of what I saw in 2004 is that it was suitably weird but not wildly attractive — I wanted a nice old-fashioned baroque frock and flowing tresses for her. Never mind. I think Dido will be (well, certainly can be) perfect for her. I hope she channels Janet. I'm a bit unsettled by OA's choice of Aeneas, Luke Gabbedy; he's a perfectly fine singer but I fear he will seem ridiculously young for Yvonne's Dido. Obviously it was always going to be sung by a relatively young singer — it's that sort of role — but I think Angus Wood would have made more sense. But what do I know? Taryn Fiebig is Belinda — told you she was everywhere — and then sings Galatea as well. Her second Galatea in as many years, in a sense. (Yes, I know, Handel's Galatea is not Pygmalion's.) Henry Choo is her Acis. This wil be cute, I guess. But if it's second on the bill, I can't promise to stay for all seven. (Since we can assume I'll see all of Yvonne's Didos.) Very happy to have Antony Walker conducting.

Jul 7 - Sep 19
Verdi: Aida
Is there a Verdi opera I'm less inclined to see? Probably not, although the promise of a new production improves my mood a little. Given the length of the season, most roles are shared. We had some discussion in the comments a while back about the multiple sopranos claiming to be singing Aida here — turns out it's all three. In Sydney we see Tamara Wilson and Claire Rutter. But the most exciting of the three is in Melbourne only: Jennifer Wilson. Damn. Milijana Nikolic as Amneris is another wish granted and may steal the show. (Grace Bumbry would say it's Amneris' show to begin with, of course.) As Radames we hear Dongwon Shin (2006's last minute Calaf, who recently cancelled his Melbourne appearances as Otello) followed by, sigh, Rosario La Spina. Ramfis is Jud Arthur, and wonderful David Parkin makes what I believe is a mainstage debut as the King.

Jul 16 - Aug 13
Puccini: Manon Lescaut
A role debut for the true Prima Donna of Opera Australia, our one and only Cheryl Barker. The thought is too delicious for words. Her Des Grieux is one Jorge Lopez-Yanez, not a name I'm at all familiar with, but at least it's not... who it might have been. As her brother, it's Teddy Tahu Rhodes! Tell me, because it's hard to tell from the picture, but I seem to recall that they use the same production for both Manon and Manon Lescaut (until the desert scene, at least) — am I right? But more importantly — Cheryl! As Manon Lescaut! The fact that I've known this for over a year doesn't make it any less fantastic.

Jul 30 - Aug 29
Beethoven: Fidelio
I always think I'm not so keen on this opera, and then I hear Marzelline's "O wär ich schon mit dir vereint" and I change my tune. I had heard that Janice Watson would sing Leonore, which was fine, but I'm very happy to find that in fact it's Lisa Gasteen we'll hear. About time! Lorina Gore is something of a surprise as Marzelline, but it's nice she'll have a chance to sing something other than a coloratura showpony role. Julian Gavin is back as Florestan, and lovely Peter Coleman-Wright is Don Pizarro. The apparently ageless Conal Coad sings Rocco.

Aug 11 - Sep 9
Bellini: I Capuleti e i Montecchi
Obligatory Emma Matthews Vehicle #2. I don't know this opera well enough to have too much of an attitude about her casting here, but as a rule I still think she's better in pretty Mozart than Joanesque bel canto. As with Pamina, she's replaced partway through by Hye-Seong Kwon, who seems to be OA's Emma-in-training. I think Catherine Carby might make the bigger splash, as Roméo. She too shares the role, with Dominica Matthews. In accordance with my wishes, Aldo di Toro will sing Tebaldo, and will do so beautifully. Sydney performances are conducted by — ho hum — bel canto expert™ Richard Bonynge. Whereas Melbourne gets the far more exciting and charismatic Brad Cohen. Colour me jealous. (Is this payback for the fact that we get all the Cheryl and they get none?)

Aug 27 - Oct 31
Sullivan: The Mikado
Thanks, I think I'll stick to Butterfly. No. I probably will see it. Once. Ubiquitous Taryn Fiebig is Yum-Yum, Jacqueline Dark is Pitti-Sing and some guy called Anthony Warlow who seems to have a bit of a following is in it too. My enthusiasm just bubbles off the page, doesn't it? I don't get Gilbert & Sullivan.

Sep 17 - Oct 29
Mozart: Cosi fan tutte
The dark horse of the season. Seems innocent enough, but plans are afoot. The publicity blurb is full of the same sort of hints/warnings that surrounded Elke Neidhardt's Don Giovanni. "Distinctly modern", "exuberant", "roller-coaster ride". It's directed by Jim Sharman, who directed the film of Rocky Horror and will be sung in new(ish) English translation by Jeremy Sams. So far it all sounds good to me. The "hand-picked cast" (is all the other casting done by machine? and is the machine in need of servicing?) is a promising one. Rachelle Durkin gets to show off her gift for quirky comedy as Fiordiligi, and I'm very happy to see Sian Pendry — whom I've had my eye on for a while — in her first big role, as Dorabella. Henry Choo will presumably be a slightly simple, slightly wooden Ferrando, Shane Lowrencev will be impossibly tall as Guglielmo.

Oct 15 - 30
Britten: Peter Grimes
I cannot wait for this. Stuart Skelton in the title role looks to be one of the most perfect pieces of casting Opera Australia has pulled off in recent years. He's ideal. I loved him in Streetcar, and it will be great to see him take centrestage. Besides which, I love this opera. English soprano Susan Gritton, a Hickox regular, is bound to be a great Ellen Orford I'm very happy with the idea of Elizabeth Campbell as Mrs Sedley. Lorina Gore and, yes, Taryn Fiebig are the two nieces and Andrew Moran finally gets a little something to sink his teeth into as Ned Keene. Peter Coleman-Wright will be in his element as Captain Balstrode. And, thank heavens, Richard Hickox — who knows his way around Britten — conducts the first four performances. New production by Neil Armfield. I have a feeling this might just prove to be amazing.

And the rest
As Adrian Collette hinted last year, there's to be a Melbourne season of A Streetcar Named Desire. Four performances only. I have zero desire ever to hear this opera again and yet it's a safe bet I'll end up seeing one at least. All four Sydney principles are returning. Antoinette Halloran takes her star turn again as Stella, Teddy Tahu Rhodes and his torso swagger through Stanley, lovely Stuart Skelton is Mitch and, yes, Yvonne Kenny is Blanche DuBois. This last does surprise me. If I can be brutally honest — on the understanding that, whatever I say, I do love her completely — Blanche was a questionable role choice for her two years ago. Doing it again, two years later, is even more so. I am unendingly proud of her for making it through Blanche as prettily and as valiantly as she did, but I really did not expect that she'd ever want to do it again. However. That's not for me to say. And I suppose Melbourne would whinge if they got a second-string Blanche.  The next question is whether, somewhere in the revival process, somebody might do something to improve Blanche's horrible, horrible mad scene wig. Just a thought.
One more thing. A concert performance on March 20th, featuring Rossini's Stabat Mater, Respighi's Pini di Roma, and (drum roll, please) Strauss' Four Last Songs sung by Cheryl Barker. I mean, are they actually trying to kill me?

Comments

[LadyBlogger]

What a wonderful season!

I heard Lorina Gore sing one of the QOTN's arias years ago and it was so wonderful it made me quiver with anticipation of her taking on the role. I'll have to get myself there somehow! Anyway at least it's not Farrugia this time...

but what really gets me salivating is Yvonne as Dido! Wow...

and a good nod to 20thC opera with Peter Grimes (yay) and Lady Macbeth of Mtsensk... one of my favourite operas EVER. Yet who could compare to the divine Galina? Sigh...