Former singer and language coach for Opera Australia, Marie-Claire instructed the scholars in French diction in July Block, 2017.
Marie-Claire studied music from the age of six and undertook ten years of study of both the violin and piano. She studied singing from sixteen and won a scholarship to the Conservatoire National de Musique de Paris. Marie-Claire studied acting and diction at the prestigious Cours Raymond Girard with actors from La Comédie Française and also with composer Olivier Messiaen.
Marie-Claire sang for three years at the Théâtre du Châtelet and for one year with the Gaîte-Lyrique, both in Paris. Her operas and operettas on stage, radio and television in France include: La Toison d’or, La Fille de Madame Angot, Ciboulette, Le Petit Duc, L’Auberge du Cheval Blanc, Les Chevaliers du Ciel, Véronique, Trois Valses, Valses de Vienne, Rêve de Valse, Les Saltimbanques, La Grande-Duchesse de Gérolstein, La Belle Hélène, La Vie Parisienne, Paganini, Les Cloches de Corneville, Le Pays du sourire, La Veuve joyeuse, Tosca, Sappho, Mignon, Thaïs, Hansel und Gretel (as the Witch), Faust, La bohème (Musetta).
Marie-Claire’s operatic roles in Australia include: Die Fledermaus (Rosalinda and Count Orlofsky), Carmen (Carmen), The Consul (Magda Sorel), Macbeth (Lady Macbeth), La Voix humaine (Elle), La Fille du régiment (La duchesse de Crakentorp).
Between 1976 and 2014 Marie-Claire was the French coach for Opera Australia involved in productions including: Carmen, Lakmé, Les Contes d’Hoffmann, Les Huguenots, Hamlet, Manon, Roméo et Juliette, Bataclan, La Fille du régiment, Werther, Iphigénie en Tauride, Cendrillon (Massenet), Les Pêcheurs de perles, Médée, Orphée, Les Troyens, Faust, Samson et Dalila, Cendrillon (Isouard). Marie-Claire was the French coach for San Diego Opera’s productions of Les Contes d’Hoffmann (1994), Carmen (1997), Roméo et Juliette (1998) and Faust (2001), as well as at the Arena di Verona for Les Contes d’Hoffmann in 1995.
Richard Bonynge engaged Marie-Claire as Conseille linguistique for recordings for Decca, including: Hamlet with Sherrill Milnes and Dame Joan Sutherland (London 1983), Le Domino Noir (Le Grand prix du Disque) and Carnival! both with Sumi Jo (London 1993), Le Toréador with Sumi Jo (Wales 1996), and Cendrillon by Isouard (Moscow 1998).
Marie-Claire has worked extensively on radio, in film and on television, as singer, actress, presenter and broadcaster.
Image consultant, fashion advisor and personal shopper who worked with the scholars on personal style during March Block, 2017.
It’s true that first impressions are important.
Early in her career Suzanne learned a key to success that was never taught in school – the importance of a polished personal appearance. Throughout her 20 years in the corporate world she noticed the individual with the stronger personal image consistently outperformed and achieved success more rapidly. Surprisingly, she also observed that an individual with the stronger personal image would often surpass other more qualified individuals in their field.
In 2000 Suzanne decided to combine her love of helping people improve themselves and her passion for fashion! This path ultimately led her to Ann Reinten and The Australian Image Company and she became a qualified Image Consultant. Within six months she had developed a full time image career that has continued to grow every year and has made her one of Australia’s most sought after image consultants.
Her experience spans the complete spectrum of image from being a fashion buyer, a corporate trainer for some of Australia’s most elite companies, to facilitating image consultations for men and women and working in various niche markets.
One of Suzanne’s latest achievements is to be the facilitator of TAIC’s Australian image consultant training courses. She also volunteers as ‘Fitted for Work’ image & style trainer. This not for profit organization assists disadvantaged women to obtain work and achieve financial independence. Suzanne is a member of the “Association of Image Consultants” (AICI).
Suzanne demystifies the complexities of wardrobing, grooming, business and social etiquette by teaching the basics of colour, style and the principles that can take a person from ordinary to outstanding.
A highly experienced language coach, Teresa worked with our scholars throughout 2017 on their Italian pronunciation and a recitative project.
Born in Piacenza, Italy, Teresa Desmarchelier is one of Australia’s leading coaches in Italian & French Lyric Diction. Bi-lingual in Italian/English, she is fluent in French and Spanish, and has a working knowledge of German. A graduate of the University of Queensland, majoring in Modern Languages and Fine Arts, Teresa is currently Language and Lyric Diction Coach with Opera Queensland, the Queensland Conservatorium of Music and The University of Queensland’s School of Music, where she also lectures in Italian and French Applied Phonetics.
During her 30 year career, Teresa’s teaching programmes for undergraduate and post graduate students have involved her in every aspect of singers’ vocal and linguistic training, including recitation and full performance preparation, always reinforcing the relationship between language and music.
Opera Queensland’s Chorus and its Young Artists Programme have benefited from Teresa’s skills since their inception. Within Opera Queensland and the Queensland Conservatorium, Teresa has worked with directors, conductors and singers of national and international repute in the production of over 40 Italian and French operas. A major part of her professional activity involves assisting professional singers in refining lyric diction and achieving textual expressiveness in performance.
Teresa’s diction training skills are distinguished by her own knowledge of the singing process and by her deep understanding of the symbiotic relationship between voice, music and language – an understanding she attributes to her long and consistent collaboration with eminent voice teachers, accompanists and chorus masters.
As a specialist language consultant, Teresa divides her time between Australia and Europe assisting singers in the full linguistic preparation of operatic roles, particularly recitative techniques, in which she specializes.
Public speaking professional who worked with the scholars in February and March Blocks, 2017.
Judith Field is a professional public speaker and teacher of public speaking. She left secondary teaching after a distinguished career in both the private and state systems, in June 2004, because she passionately believes in the importance of oral communication. She also believes speaking confidently can be taught to those 97% of the population who would rather die than speak. Judith combines humour, skill and confidence to pass on, in a practical/ fun way, the tips that are needed to overcome nerves.
As Head of English at Mount Scopus College, and a senior mistress at a state school, Judith had much experience in running workshops and speaking. Although not a psychologist, she has three degrees in education, is a Master Practitioner in NLP and runs Direct Speech, a public speaking company.
Recently Judith won the state final of the Jo Davis Public speaking competition. Judith practices what she preaches!
Johannes presented a master class on German language repertoire during September Block, 2017.
Johannes Fritzsch was appointed Conductor Laureate of the Queensland Symphony Orchestra in November 2014, after his seven years tenure as their Chief Conductor.
From 2006 – 2013 he was Chief Conductor and Artistic Director of the Oper Graz, Grazer Philharmonisches Orchester (Austria). Prior to his appointment in Graz, Johannes held the position of Chief Conductor and Artistic Director of the Staatsoper Nürnberg.
From 1993 until 1999, he was Chief Conductor and Artistic Director of the Städtische Bühnen and the Philharmonic Orchestra in Freiburg, enjoying widespread acclaim.
Johannes was born in 1960 in Meissen, near Dresden, Germany, where he completed his musical education. He has conducted many great orchestras, both within Germany and internationally. These include: Hamburger Sinfoniker, Düsseldorfer Sinfoniker, Philharmonie Essen, Nationaltheater-Orchester Mannheim, Staatskapelle Schwerin, Berliner Sinfonie Orchester, Staatskapelle Dresden, Norddeutsche Philharmonie Rostock, Staatsorchester Halle, the Swedish Radio Orchestra, the Norwegian Radio Orchestra, the Danish Radio Symphony Orchestra, the OrchestrePhilharmonique Strassbourg, the Orchestre National de Montpellier, the OrchestreNational du Capitole de Toulouse, the Auckland Philharmonic Orchestra and in Australia the SSO, MSO, ASO, TSO, QSO, WASO and OV.
Opera Companies with which he has worked include: Sächsische StaatsoperDresden, Opernhaus Köln, Deutsche Oper Berlin, Komische Oper Berlin, OperaBastille Paris, the Royal Opera Stockholm, Malmö Operan and Opera Australia in Sydney and Melbourne (including Hansel and Gretel, Wozzeck, Magic Flute, Tales of Hofmann, Lohengrin, Don
Giovanni, Carmen, Tosca, Rigoletto, Der Rosenkavalier, Salome) and Opera Queensland.
Johannes enjoys an ongoing relationship with the Staatsoper Hamburg where he will return in 2017 and 2018.
Over the past fifteen years Johannes has given many Master classes for the German conductor training and development organisation, Dirigentenforum des Deutschen Musikrates. Similarly, he has been active and enthusiastic in his involvement in Australia’s Symphony International Conductor Development Program.
In January 2015, Johannes joined the University of Tasmania as Adjunct Professor, Conservatorium of Music, Tasmanian College of the Arts.
In December 2014 Johannes was awarded an honorary Doctor of Music from the University of Queensland. Johannes and his wife, Australian violinist Susan Collins, have recently moved to Hobart with their three young daughters.
An early music expert and conductor, Erin coached the scholars on baroque ornamentation in October Block, 2017.
Dr Erin Helyard graduated in harpsichord performance from the Sydney Conservatorium of Music with first-class honours and the University Medal. He completed his Masters in fortepiano performance and a PhD in musicology with Tom Beghin at the Schulich School of Music, McGill University, Montreal. He was named the Westfield Concert Scholar (Cornell University) on fortepiano for 2009-2010, an initiative of the John Ernest Foundation. Erin is highly active in reviving eighteenth- and seventeenth-century operas in performance and score as artistic director of the acclaimed Pinchgut Opera.
An Alexander Technique expert, Greg worked with the scholars on movement in March Block, 2017.
Human beings, especially performers, are fascinating and unique; at the centre of our lives and capacities is the relation between our conscious minds, physical bodies and spirit, something that remains intriguing and mysterious no matter how much study you do. I have been training, teaching and investigating human movement and potential for over 30 years, including 10 years in dancing and 25 as an Alexander Technique teacher, and I’m still learning and developing in skill and understanding.
My discovery of the Alexander Technique came courtesy of the dance company who sponsored me to attend a workshop with Master teacher Marjorie Barstow; it was a life changing experience! My professional dance work had left me with a range of injuries and tension problems. The technique alleviated the pain from injuries, and improved my ability to move with clarity, ease and enjoyment right from the start.
Alexander Technique teacher training with William Brenner over three years was profoundly life enriching and since then I have met hundreds of people and taught thousands of lessons working with daily movements, injuries, training children, musicians, sports people and more. I am continually interested in finding better ways to improve people’s functioning given their diverse backgrounds, interests and habits and am persistently surprised and delighted how the principles of the Technique can generate positive change for people.
More recently I have spent time in academic study and teaching in the areas of anatomy and physiology, biomechanics and motor control. My particular academic interests have focused around the control of movement via reflexes and the use of motor-imagery in influencing motor control.
Beside living and breathing Alexander Technique (also part of running a small business!) I enjoy spending time with my family in nature; bush walking, cycling and camping. My ideal is swinging gently in a hammock in the bush reading a recent scholarly article!
Australian tenor, David Hobson met with the scholars for an industry talk during March Block, 2017.
Australian tenor and composer David Hobson is one of Australia’s best-known operatic, concert and stage performers, with a repertoire that spans the gamut of musical styles from Baroque through to Pop.
David made his name with Opera Australia in his award winning performance of Rodolfo in La Boheme directed by Baz Luhrmann (filmed in the early 1990s to world wide acclaim). He has gone on to become a well regarded classical performer, major recording artist, most recently a music theatre leading man and a frequent television performer on shows like Carols by Candlelight, Carols in The Domain, Spicks and Specks, Dancing With the Stars, It Takes Two and a presenter on Foxtel’s Studio. He has performed for Her Majesty Queen Elizabeth in the Great Hall in Canberra and sung at the AFL Grand Final.
His many roles include Don Ottavio (Don Giovanni), Ferrando (Cosi fan tutte), Count Almaviva (The Barber of Saville), Nadir (Pearl Fishers), Lindoro (L’ItalianainAlgeri), Eisentein (Die Fledermaus), Danilo (The Merry Widow), Frederic (The Pirates of Penzance),Marco (The Gondoliers), Ralph Rackstraw (H.M.S. Pinafore), the title roles in Orphee and Candide, The Architect in the world premiere of The Eighth Wonder and Aristaeus/ Pluto (Orpheus in the Underworld). His international roles include Chevalier Danceny in Dangerous Liaisons with Renée Fleming and Thomas Hampson for San Francisco Opera. On the musical theatre stage, he starred as Caractacus Potts Potts in the Australian premiere of Chitty Chitty Bang Bang.
Much in demand as a concert performer and recitalist, he frequently appears in oratorios such as Handel’s Messiah, Mendelssohn’s Elijah and orchestral works like Britten’s Serenade for Tenor and Horn and Zender’s powerful interpretation of Schubert’s Winterreise. Solo concert highlights include A Little Closer at the Sydney Opera House Concert Hall in 2008 and Am I Really Here? at the Adelaide Cabaret Festival in 2010. He has also toured nationally with Teddy Tahu Rhodes, Yvonne Kenny, Marina Prior and Rachael Beck.
He has recorded numerous albums with many reaching No 1 chart status and has won awards including Operatic Performer of the Year, the Sydney Critics Circle Award, The Age Performing Arts Award for Best Performer in Opera and an Australian Record Industry Association (ARIA) Award.
In 2015, David played the title role of Candide for Opera Queensland, toured Australia and New Zealand performing in the Broadway to La Scala concerts and performed on board the Bravo Cruise
Recently David played the role of Buddy in the concert version of Stephen Sondheim’s Follies and played Nick Arnstein in Funny Girl opposite Caroline O’Connor.
Celebrated Australian mezzo-soprano, Deborah Humble talked to the scholars on preparing for overseas during October Block, 2017.
Deborah Humble is among the most highly requested dramatic mezzo-sopranos of our time, performing regularly on the world’s most prominent stages, above all in Wagnerian and Verdian repertoire.
Beginning 2015 with one of her most important roles, that of Erda in Das Rheingold, in concertant performances with the Hong Kong Philharmonic Orchestra under the musical direction of Jaap van Zweden, Deborah Humble made her Boston’s Symphony Hall in April with the role of Erda in Siegfried. In May she debuted the role of Brangäne in Tristan und Isolde with conductor Jan Latham-König in Mexico City. In August 2015 she will be featured as Judith in Bluebeard’s Castle in Melbourne, while further engagements of the 2014/2015 season include Catherine in Honegger’s Jeanne d’Arc au Bûcher and Elektra at the Hamburg Staatsoper with Simone Young, Mahler’s Symphony No. 3 with the Queensland Symphony Orchestra in Brisbane under the direction of Johannes Fritzsch, Elgar’s Sea Pictures in Bamberg, Parsifal in Birmingham with Andris Nelsons, the Verdi Requiem in London, Mahler’s Symphony No. 8 in Singapore and Beethoven’s Symphony No. 9 in Hong Kong conducted by Jaap van Zweden.
In the 2013/2014 season the mezzo-soprano performed the roles of Erda and Waltraute in all four parts of the Ring des Nibelungen (Pietari Inkinen, conductor) with Opera Australia in Melbourne to enormous critical and popular acclaim. Deborah Humble likewise was featured in Mendelssohn’s Elijah at the Sydney Opera House under the musical direction of Paul McCreesh, in Wagner’s Wesendonck-Lieder in Wellington, in recitals in Melbourne and Sydney, as well as in Gloria Bruni’s Symphony No. 1 “Ring Parable” with the Hamburg Symphony Orchestra.
In 2013 Deborah Humble made her debut as Amneris in Aida in Melbourne under the musical direction of Renato Palumbo. Earlier in the 2012/2013 season she could be heard as Erda in Das Rheingold in Brisbane under the musical direction of Simone Young, in Duruflé’s Requiem in Melbourne, as Pauline in Pique Dame with Vladimir Ashkenazy in Sydney, and as Erda in Siegfried in Ludwigshafen and Halle.
It was with with her performances of Erda in Das Rheingold in Claus Guth’s 2008 inaugural production of the new Ring Cycle at the Hamburg Staatsoper under the musical direction of Simone Young that Deborah Humble first came to international attention. In the same Cycle the mezzo-soprano also performed the roles of Waltraute in Götterdämmerung and Erda in Siegfried.
Deborah Humble was a member of the ensemble of the Hamburg Staatsoper from 2005 through 2011, singing such roles as Zenobia (Radamisto), Bradamante (Alcina), Hänsel (Hänsel und Gretel), Suzuki (Madama Butterfly), Olga (Eugene Onegin), and Malik in the German premiere of Hans Werner Henze’s L’Upupa.
Prior to her engagement with the Hamburg Staatsoper, the mezzo-soprano was a member of the ensemble of Opera Australia, performing from 2002 roles including Dido (Dido and Aeneas), Sonyetka (Lady Macbeth von Mzensk), Clarissa (The Love for Three Oranges), Lola (Cavalleria Rusticana), and the title role in Gilbert and Sullivan’s Iolanthe.
Born in Bangor, Wales, Deborah Humble grew up in Adelaide, Australia. She received her musical and vocal training first at the Elder Conservatory of the University of Adelaide and later at the University of Melbourne. Humble was a member of the Young Artist Program of the Victoria State Opera and was the winner at the beginning of her career of the prestigious Dame Joan Sutherland Scholarship. In 2008 she was a finalist of the International Wagner Competition of the Seattle Opera.
Lindy HumeRetiring Artistic Director Opera Queensland
Lindy conducted an intensive character development workshop with the scholars in April Block, 2017.
Lindy Hume, Artistic Director of Opera Queensland, is one of Australia’s leading directors, acknowledged internationally for fresh interpretations of a wide variety of repertoire. She is equally recognised for progressive artistic leadership, most recently as Festival Director for Sydney Festival (2010-2012) and Perth International Arts Festival (2004-2007), and before that as Artistic Director of OzOpera, Victoria State Opera and West Australian Opera.
As a director she has created over 50 major productions across Australasia and internationally: Opera Australia, New Zealand Opera, Deutsche Staatsoper (Berlin), Opera Theatre St Gallen (Switzerland), Handel Festspiele Halle, Aldeburgh Festival (UK), Houston Grand Opera and Leipzig Opera; and has won several prestigious awards, including Helpmann and Green Room Awards for Best Director for the World Première of Richard Mills’ Batavia.
A passionate advocate for regional arts, Lindy currently sits on the Boards of South East Arts (Chair) and Regional Arts NSW. The University of Western Australia awarded Lindy Hume the Honorary Degree of Doctor of Letters in 2007.
Celebrated Australian soprano, Yvonne Kenny AM presented a master class for the scholars in July Block, 2017.
YVONNE KENNY AM
Yvonne Kenny is one of the most distinguished sopranos of her generation. She was born in Sydney and after achieving a BSc in Biochemistry, went to London to study voice. She made her operatic debut in 1975 after which she joined the Royal Opera House, Covent Garden where she remained a member of the company until 1996. International appearances include the Wiener Staatsoper, La Scala, Milan; Salzburger Festspiel, Staatsoper Berlin, Opera de Paris English National Opera , Zurich , Glyndebourne and the Bayerische Staatsoper in Munich. Both internationally and in Australia she has built an enviable reputation as a dazzling interpreter of works by Monteverdi, Handel, Mozart, Donizetti, Britten and more recently for her interpretations of the Richard Strauss heroines.
She has appeared regularly on the concert platform including the Edinburgh and Aix-En-Provence Festivals, BBC Promenade concerts, at New York’s Carnegie Hall, and at London’s Wigmore, Festival and Royal Albert Halls. Australian performances include concerts with the Australian Brandenberg Orchestra, national tours for Musica Viva and the Australian Chamber Orchestra as well as guest appearances with all the symphony orchestras and with Opera Australia in a broad range of repertoire.
Recent performances have included Countess/Capriccio (Dresden State Opera), Marschallin /Der Rosenkavalier (Vienna State Opera/Opera Australia), The Merry Widow, La Voix Humaine, Dido/Dido & Aeneas and Blanche/Streetcar Named Desire (Opera Australia), Jocasta/Oedipus Rex (Sydney Festival), a special guest appearance in OA’s Fledermaus and OA’s Singing for Love national concert tour with David Hobson.
Highlights in 2011 include Opera in the Alps, Twlight at Taronga, a recital in London’s King’s Recital Hall, the title role in The Merry Widow at UK’s West Green House and concerts with the MSO.
She has more than 60 international titles to her credit including Mozart’s Le nozze di Figaro (Decca/Solti); Die Entführung aus dem Serail, Mitridate and Lucio Silla (Teldec/Harnoncourt); Elgar’s The Kingdom (RCA/Slatkin); Stravinsky’s Pulcinella (Sony/Salonen); Britten’s The Beggar’s Opera (Collins/Bedford); Gloriana (Decca/Mackerras), Handel’s Deborah (Hyperion/King), Mozart arias with the Australian Chamber Orchestra, Entre Nous: Celebrating Offenbach (Opera Rara), the Marschallin/Der Rosenkavalier and Great Operatic Arias (both on Chandos) and Mahler 2 (LPO/Tennstedt). She is internationally recognised for her recordings of French and Italian ‘bel canto’ repertoire for Opera Rara including the award-winning Emilia di Liverpool and was the voice of Dame Nellie Melba in the TV mini-series. On the ABC Classics label her recordings include the award-winning Simple Gifts, Something Wonderful, Handel Arias/Australian Brandenburg Orchestra/ Aria Award, A Christmas Gift, A Portrait of Yvonne Kenny, Make Believe, The Salley Gardens, Clair de lune, The Divine Yvonne Kenny, Vienna City of my Dreams with the MSO under Richard Bonynge, Singing for Love (with David Hobson) and a Richard Strauss album including The Four Last Songs with the QSO under Johannes Fritszch.
She was made a Member of the Order of Australia in 1989 for services to music and conferred an Honorary Doctorate in Music by the University of Sydney in 1999. She is a Professor of Voice at London’s Guildhall School of Music & Drama.
Andrew KeshanHead of Wigs and Makeup, Opera Australia
A professional makeup artist and head of wigs and makeup for Opera Australia, Andrew ran a class on stage makeup during July Block, 2017.
Born Sydney Australia 1966, Andrew first studied Graphic Design after leaving school, leading him to a hobby of photography and photographic makeup. From here he was encouraged to consider makeup as a career, taking up studies full-time at The Makeup Technicians in Sydney. He graduated top of his year in June of 1994.
Professional: Andrew has worked freelance in Photographic makeup, Corporate Film, Television and Theatre. He started with The Australian Opera in May of 1995 and was soon offered a full-time position, becoming Deputy Head of Department in 1996 when the company became Opera Australia. In 2006, Andrew was promoted to Head of Performance Wigs & Makeup where he continues today after 21 years of service in the department. He has worked on every in-house production by Opera Australia since he started with them, and has toured to Melbourne, Brisbane and Adelaide apart from being based at the Sydney Opera House. In 2010, he toured to Scotland with Neil Armfield’s Australian production of Bliss for the Edinburgh International Festival with OA.
Andrew also appears as guest tutor several times each year at The Makeup Technicians in Sydney and, more recently, as Theatrical Makeup Mentor with the scholars of Melba Opera Trust in Melbourne.
Productions include: Aida, La bohème, Così fan tutte, Don Carlos, Don Giovanni, Faust, Falstaff, Marriage of Figaro, La traviata, The Magic Flute, Turandot, Manon Lescaut, Tosca, Rigoletto, Rinaldo, A Midsummer Night’s Dream, Billy Budd, The Mikado, The Gondoliers, The Merry Widow, Lucia di Lammermoor, Peter Grimes, Fanciulla del West, Alcina, Julius Caesar, Barber of Seville, Partenope, Samson & Delilah, Salome, Il turco in Italia, Death in Venice, Albert Herring, Elixir of Love, Pearl Fishers, Madame Butterfly, Don Pasquale, Nabucco, Il trovatore, Otello, Macbeth, Luisa Miller, Simon Boccanegra, A Masked Ball, The Force of Destiny…and many more.
Actor from stage, film and television, Jenny explored improvisation with the scholars in February Block, 2017.
Jenny’s training includes 2 years with the Drama Studio Sydney, Voice workshops with master teachers Rowena Baylos (L.A) and Andrew Wade (RSC), Improvisation workshops with Keith Johnstone and Shakespeare master classes and performance as an International Fellow at the Globe Theatre, London. She has been performing on stage and screen for over 20 years.
TV includes Prisoner, The Money or The Gun, Blue Heelers, MDA and Sensing Murder.
Film work includes Picnic at Hanging Rock, Galliipoli and Darkness Falls.
Theatre includes work as actor and director with Actors at Work (Bell Shakespeare Company), Waking Eve (Playbox), Sex, Drugs and Walking Frames (La Mama), Dead Tragic (Impro Melbourne), Iron and Rabbit Hole (Red Stitch), The Massacre at Paris (Doorslam Productions – as actor and co-director), Spinning Straw and Crossed (La Mama, Carlton Courthouse).
Jenny has also been performing in improvisation since 1987 with Theatresports™ at Belvoir Street Theatre in Sydney. She has performed in improvisation shows in Sydney, Melbourne and at international festivals in San Francisco, Seattle, Hong Kong and Edmonton, Canada. As well as comedy improvisation, Jenny has performed in a number of different improvisation formats, including Harold, Shakespeare Scared Scriptless, Unforeseen Stories and Sondheim Unscripted. She has created or helped to create 6 different long form improvisation shows and is currently working on her seventh.
Jenny is a 2004 Green Room nominee for her performances in Iron (Red Stitch) and Dead Tragic (which she also produced for Impro Melbourne)
As well as performing and directing Jenny also teaches drama, Shakespeare and improvisation with Monash University, Victorian College of the Arts and GRADA and runs workshops in confident performance and voice in the corporate sector.
Highly regarded Australian repetiteur who coached the scholars in German diction and music preparation during September Block, 2017.
Jennifer Marten-Smith grew up in Tasmania and at age 12 was invited to study with Professor Gediga-Glombitza at the Musikhochschule in Cologne. At age 16 she made her public debut with the Tasmanian Symphony Orchestra as soloist in Schumann’s A minor Piano Concerto, having previously recorded the Rimsky-Korsakov Piano Concerto with the TSO. Two years later she performed the Rubinstein Piano Concerto No 4 with the TSO and, that same year, was the youngest graduate of the Tasmanian Conservatorium of Music, where she was awarded a high distinction as a double major in piano performance and accompaniment. Other concertos in her repertoire include works by Beethoven, Brahms, Dohnányi, Mozart, Saint-Saëns and Tchaikovsky, and she has appeared as soloist with the Melbourne Symphony Orchestra and the Niedersächsisches Staatsorchester Hannover.
In 1989 she began work as a repetiteur with the State Opera of South Australia and subsequently joined the Victorian State Opera Young Artist Programme. Between 1997 and 2001 she was repetiteur at the Staatsoper Hannover and was a full-time member of the music staff with Opera Australia from 2001 to 2012. She has more than 90 operas in her repertoire. Jennifer is now living in Hobart and is in demand as a soloist, accompanist and vocal coach.
Celebrated Australian soprano who worked with the scholars in master class in June Block, 2017.
Emma Matthews is a highly acclaimed and awarded soprano having received more Helpmann Awards than any other individual artist, nine Green Room Awards, the Mo Award and the Remy Martin Australian Opera Award. She has performed with all the state opera companies and the major Australian symphony orchestras, and at the Sydney, Melbourne, Perth, Adelaide and Huntington Festivals, with conductors including Vladimir Ashkenazy, Marko Letonja, Sir Charles Mackerras and Simone Young.
Emma has sung the title roles in Partenope, Lucia di Lammermoor,Lakmé,The Cunning Little Vixen and Lulu. Other roles have included Leila (The Pearlfishers), Amina (La Sonnambula), Philomele (The Love of the Nightingale) by Richard Mills, Ilia (Idomeneo), Juliette (Roméo et Juliette), Marie (La Fille du Regiment), Cleopatra (Giulio Cesare), Konstanze (Die Entführung aus dem Serail), Zdenka (Arabella), the four heroines (The Tales of Hoffmann), Pamina (The Magic Flute), Almirena (Rinaldo), Sophie (Der Rosenkavalier), Giulietta (I Capuleti e i Montecchi) and Cunegonde (Candide).
She is equally in demand on the concert platform, embracing a wide repertoire including the Requiems of Mozart, Brahms and Fauré, Mahler’s Symphony No. 2, masses by Poulenc, Villa Lobos, Haydn and Mozart, and Handel’s Messiah. Emma has also appeared as a special guest with José Carreras at the Sydney Opera House, and the New Year’s Eve Gala concerts for Opera Australia.
Further career highlights include her Royal Opera House Covent Garden debut in the title role of The Cunning Little Vixen under the baton of Sir Charles Mackerras, performing Mahler’s Symphony no. 4 with Orchestre Philharmonique de Monte Carlo conducted by Yakov Kreizberg and with the Sydney Symphony Orchestra and Vladimir Ashkenazy, and Ismene (Mitridate) for Sydney Festival.
Most recent engagements have included Partenope, Violetta (La Traviata), Fiorilla (Il turco in Italia) and Gilda (Rigoletto) for Opera Australia. Her recent concert appearances have included Eight Poems of Emily Dickinson (Copland) with the Melbourne Symphony Orchestra (released on disc for MSO Live in March 2014), the ‘Jewel Song’ from Faust by Gounod and the ‘Mad Scene’ from Hamlet by Thomas, also with the Melbourne Symphony, Ch’io mi scordi di te (Mozart) with the Tasmanian Symphony Orchestra, and recitals at Government House Sydney, with Ensemble Liaison and Sydney Omega Ensemble, as well as featuring at Musica Viva’s Huntington Festival, Sydney Philharmonia Choirs’ Christmas concerts and Voices in the Forrest, Canberra.
2015 engagements include the roles of the Queen of the Night in The Magic Flute and Donna Anna in Don Giovanni for Opera Australia, Rosina in The Barber of Seville for West Australian Opera, Melbourne Symphony Orchestra’s Sidney Myer Music Bowl Concert, a Mozart concert with the Tasmanian Symphony Orchestra, Duparc Songs with Simone Young and ANAM Orchestra, and recitals with Ensemble Liaison. Next year will see Emma performing with Victorian Opera/Musica Viva nationwide in the baroque opera pasticcio “Voyage to the Moon”, with both Opera Australia and West Australian Opera as Leila (The Pearlfishers), as well as retuning to Melbourne Symphony Orchestra for Messiah and in recital.
Emma’s album of bel canto arias, Emma Matthews in Monte Carlo, was released by Deutsche Grammophon / ABC Classics to critical acclaim. Her album of Mozart arias with the Tasmanian Symphony Orchestra and Marko Letonja conducting was released by ABC Classics in February 2014.
Stuart, known for his work as a theatre director, ran a scene staging workshop during October Block, 2017.
For the last thirty years Stuart has been directing musical theatre and opera in Australia. In 2012 he was made a Member of the Order of Australia (AM) in recognition of his contribution to the Performing Arts.
Stuart joined The Australian Opera as Stage Manager in 1978, becoming a Resident Director in 1981.
In 1992, Stuart joined The Royal Opera (UK) as a Staff Director, working on a repertoire of over fifteen operas. Whilst at the Royal Opera he continued to direct in Australia as well as regional UK, France and the USA.
In 1999 Stuart returned to Australia to take up the position of Artistic Administrator of Opera Australia. He became Executive Producer of Opera Australia in January 2004, a post he held until end of 2008 . His productions for Opera Australia include Tales of Hoffmann, Manon, Gypsy Princess, Don Pasquale and Lindy. His OA productions of Trial by Jury, HMS Pinafore, Pirates of Penzance have been televised nationally on ABC TV.
Stuart was Artistic Director of APEC Cultural performance, Sydney Opera House 2007 and Australia’s National Day at Expo Shanghai 2010. He also directed the national tour of Dusty, the 2008 Production of Shout!, Little Women for Kookaburra, My Fair Lady and A Little Night Music for Opera Australia and Music of Andrew Lloyd Webber (Australian, New Zealand and Asian tour) and Into the Woods and Sunday in the Park with George and Sweeney Todd for Victorian Opera.
Stuart is General Director of New Zealand Opera, based in Auckland.
A professional counsellor and coach who spoke with the scholars about time management and conflict resolution in 2017.
Provide personal counselling, coaching and professional supervision services to individuals, groups, CEOs, managers and professionals in the public and private sector including local and state government and the computer software, health, education and arts industries and many others
Have conducted a private practice in general and career counselling since 1987. Issues addressed include:
Performance – singers, actors, writers, poets, public speaking
Goal setting, action planning and decision making
Work and study issues
Confidence, self esteem, self expression
Stress, anxiety, depression
Loss and grief
Seven years training at the Australian College of Psychodrama in
individual therapy and clinical group work
organisational group work, consultancy and training
Advanced training in ACT (Acceptance and Commitment Therapy) by Dr Russ Harris and accredited under Association for Contextual Behavioural Sciences (ACBS).
Teacher Training at Armidale Teachers’ College (now part of the University of New England
Radio presenter and interviewer for ABC Classic FM who conducted media training during October Block, 2017.
Mairi’s career as a broadcaster for 3 decades with the ABC and BBC, has taken her from the Sydney Opera House to New York’s Avery Fisher Hall and the Royal Albert Hall, London.
Her passion for classical music has given her a unique breadth of experience as a public speaker and radio host closely connected with musicians and singers.
Currently she presents WEEKEND AFTERNOONS on ABC Classic FM and also hosts live broadcasts from Melbourne with the MSO, ACO, Opera Australia and Musica Viva artists.
She regularly comperes the Myer Bowl concert series, Sunday Live and Chamber Music Australia’s biennial Chamber Music Competitions and tours internationally with the MSO.
Since 2009 Mairi has taken music -lover groups on tours overseas. This year she leads one with a focus on the Mahler Anniversary to central Europe, and an Opera tour to Northern Italy and Sicily.
“Music, radio and the wider world of the arts are my passions,” says Mairi.” In my radio career, I’ve always seen my role to make classical music, musicians and singers as accessible as possible to the widest audience. To that end, I now also do a lot of Media Training with musicians so they have the skills to talk about their lives as musicians and tell their stories to their audiences.”
Patrick engaged the scholars in an audition stagecraft and character development workshop as part of July Block, 2017.
Patrick has worked in opera, theatre and outdoor performance for over twenty years, creating and presenting performances around Australia and the world to great acclaim. His productions have been presented in major festivals, opera houses, theatres, and city streets. They are often remarked upon for their seamless combination of video, live music and action to conjure visually rich, highly original theatrical worlds. From 2009 – 2014 Patrick was Artistic Director of pioneering Australian physical theatre company, Legs On The Wall. He is a graduate of Australia’s National Institute of Dramatic Arts Directing Course.
In January 2015, his contribution to the Australian performing arts was acknowledged with an Australia Council Fellowship. This supported his research into large scale outdoor performance and the relationship between extreme physicality and storytelling.
Patrick has travelled to Asia, Europe, the Middle East and the Americas. In 2006 he was awarded a Creative Fellowship with the Faculty of Creative Arts, Wollongong University. He has collaborated as a tutor and director with NIDA, the Sydney Conservatorium of Music Opera course, University of Sydney Performance Studies Unit, UNSW School of Theatre and Film Studies, and the Australian Theatre for Young People.
A lawyer and professional musician, Paul spoke to the scholars about legal issues, including copyright, contracts, public liability and privacy in June Block 2017.
Paul’s practice covers information technology, intellectual property and general procurement, and entertainment law.
His areas of expertise include technology contracts (including outsourcing, and website, software and hardware projects), general procurement tendering and contracting, intellectual property commercialisation, and content and technology development and licensing.
Paul also specialises in advising and acting on litigation and licensing, copyright issues, trade marks, due diligence, dispute resolution, privacy, and entertainment law. Paul and his team also manage trade marks portfolios for clients of the firm.
Paul has acted for some of Australia’s largest listed companies, not-for-profit organisations, and a range of large and small private companies, including technology and content provider start-ups.
Paul has undertaken secondments to a senior in-house role with a large financial services company where he assisted the client’s general procurement and IT sourcing teams.
Slavko chatted to the scholars in September Block in 2017 on financial planning.
Slavko Peraic is Co-Founder and Director of Quay Financial Pty Ltd a finance brokerage firm with a strong service ethos and dedicated to building long term relationships with its clients, as well as providing mentoring, sales support and referral sourcing expertise to the finance broking industry. Slavko ‘s background in the arts in particular film and television production places him in the position of understanding the unique challenges facing performers when it comes to navigating the world of finance.
Debbie returned to the Mentor Program in March 2017 to explore vocal health and hygiene with the scholars.
Debbie is a voice consultant, speech pathologist and singer-performer combining her knowledge and expertise in the arts with her speech pathology career. For the past twenty years she has worked on countless professional productions including Matilda, Mary Poppins, War Horse, King Kong, Lion King and Les Misérables. Debbie was the recipient of a Churchill Fellowship (2002), Victorian Green Room Award ‘Outstanding Contribution to the Melbourne Stage’ 2012, and Australian Voice Association award ‘Outstanding contribution to the Australian voice community’ (2014). Due to her unique blend and expertise in the performing arts and vocal health arenas, Debbie has been regularly invited to give presentations in Australia and overseas. She has authored numerous publications and last year successfully completed her Doctorate researching the working music theatre voice. She runs a private practice with a talented team of 5 speech pathologists and is also a co-owner of the Melbourne Voice Analysis Centre – a clinic offering an expert team-approach to comprehensive medical evaluation of laryngeal structure and function.
Graham spoke with the scholars during July Block in 2017 on working with an agent.
Graham Pushee is a highly acclaimed counter tenor who has made guest appearances at many of the world’s leading opera houses including La Monnaie, Brussels; La Scala, Milan; Staatsoper Berlin; Houston Grand Opera; Los Angeles Opera; Bayerische Staatsoper Munich; Paris; Barcelona; Geneva; Opera de Lyon; Cologne; Frankfurt and Salzburg. He has become particularly known for his characterisations of many of the heroic roles of George Frideric Handel and of lyric roles in the early 17th Century repertoire.
His early studies were with David Parker in Sydney. In 1977 he received the Churchill Fellowship 2 year Special Award, which allowed him to continue his vocal studies in London with Paul Esswood, and in Basel at the Schola Cantorum, Basiliensis. In 1992 he made his debut with Opera Australia in the role of Ruggiero in Alcina, which he sang in subsequent seasons in both Sydney and Melbourne. Singing the title role of Julius Caesar, he made his debut at the Paris Opéra, the Houston Grand Opera, Los Angeles Opera, and in performances for Opera Australia in Melbourne and Sydney, for Opera Queensland, and at the Handel Festival in Karlsruhe and in Boston.
Graham returned to Australia in 2001 basing himself in Sydney. Since then he has taught and coached at the Conservatorium of Music in Sydney, given Masterclasses and workshops for Opera Queensland and the Melba Opera Trust, and adjudicated and presented vocal competitions in Australia and New Zealand. Graham retired from singing in 2006 and is currently the director of Arts Management, Australia’s largest classical music management company.
Neil joined us for the first time in 2017 to give private vocal coaching sessions to the scholars in Melbourne and Sydney.
Neil Semer teaches voice and gives workshops internationally on the subject of vocal technique and performance practice. His main voice studio is in New York, but teaches regularly in Toronto, London, Berlin, Paris and Copenhagen. In July- August 2017 he leads the 21th Annual Neil Semer Summer Vocal Institutes in Coesfeld and Aub, Germany.
His students sing at virtually all the major opera houses in the world including the Metropolitan Opera, Paris Opera, Covent Garden, English National Opera, La Scala, Bayreuth, Glyndebourne, NY City Opera, San Francisco Opera, Chicago Lyric, and the Bavarian, Dresden and Berlin State Operas and star in Broadway productions.
Innumerable master classes given internationally include voice congresses, opera companies, associations for teachers of singing and universities.
His teaching combines the old Italian School of Bel Canto as expounded by Giovanni Battista Lamperti with scientific understanding of vocal function. The focus is musical coordination of the heart, mind and body.
Stuart SkeltonInternationally renowned heldentenor
Australia’s world-renowned tenor Stuart Skelton gave a master class as part of June block, 2017.
Stuart Skelton, winner of the 2014 International Opera Awards for Best Male Singer and 2 Helpmann Awards, is one of the finest heldentenors on the stage today.
His repertoire encompasses some of opera’s most challenging roles, from Wagner’s Tristan, Lohengrin, Parsifal, Rienzi, Siegmund and Erik to Strauss’s Kaiser and Bacchus, Janacek’s Laca, Saint-Saens’ Samson, Beethoven’s Florestan and Britten’s Peter Grimes.
He has been critically acclaimed for his beautiful voice, outstanding musicianship and his intensely dramatic portrayals in performances on the leading concert and operatic stages of the world, including Berlin, Hamburg, London, Madrid, Munich, Paris, Vienna, Beijing, Hong Kong, Shanghai, Tokyo, Los Angeles, New York, San Francisco and Sydney, with Orchestras including the Berlin Philharmonic, Boston Symphony, L.A Philharmonic, London Symphony, St. Louis Symphony, San Francisco Symphony, Vienna Philharmonic, the Radio Symphonies in Hamburg, Munich and Frankfurt, the Symphony Orchestras of Sydney, Adelaide, Melbourne Tasmania and West Australia and with world renowned festivals, the BBC Proms and the Edinburgh Festival.
He has sung with such acclaimed conductors as Vladimir Ashkenazy, Daniel Barenboim, Jiři Bèlohlavek, James Conlon, Sir Andrew Davis, Christoph von Dohnanyi, Christoph Eschenbach, Asher Fisch, Mariss Jansons, Philippe Jordan, James Levine, Fabio Luisi, Lorin Maazel, Sir Charles Mackerras, Sir Simon Rattle, David Robertson, Donald Runnicles, Michael Tilson-Thomas and Simone Young.
In 2016 Stuart opened the Metropolitan Opera’s 2016/17 season, singing Tristan in a new production of Tristan und Isolde, conducted by Sir Simon Rattle. Other recent performances include Siegmund in Die Walküre with Hong Kong Philharmonic Orchestra and Opera de Oviedo, Tristan at the Baden Baden Festival, with the Berlin Philharmoniker and at English National Opera, Samson in Samson et Dalila with the Atlanta Symphony Orchestra, Schoenberg’s Gurrelieder with the Bergen Philharmonic, Missa Solemnis with Sydney Symphony, Wagner arias with Asher Fisch and the West Australian Symphony and Beethoven’s SymphonyNo. 9 for Blossom Music Festival with the Cleveland Orchestra. In Australia Stuart sang Tristan excerpts with Nina Stemme and Marko Letonja for the Tasmanian Symphony and Parsifal Act 2 with Melbourne Symphony and Simone Young.
Stuart’s 2017 performances include Lohengrin for Opéra National de Paris, Laca (Jenůfa) for the Bavarian State Opera and Munich Opera Festival, Peter Grimes for Bergen Philharmonic and at Edinburgh Festival, Das Lied von der Erde with the Metropolitan Opera Orchestra at Carnagie Hall under Esa-Pekka Salonen and with Cincinnati Symphony Orchestra and Melbourne Symphony Orchestra, Missa Solemnis with David Robertson in St. Louis, Otello in concert with Ed Gardner in Bergen, and Siegmund with Bilbao Orkestra Sinfonikoa.
Cecellia instructed the scholars on etiquette and protocol during June Block, 2017.
Cecellia’s passion lies in helping people project the best version of themselves.
She has lived and worked in Australia, Singapore, Malaysia and The Philippines, contributing to her extensive experience in cross cultural diversity, business interactions and international etiquette.
Her sales and marketing experience in Australia includes work with telecommunications giant Vodafone Australia, and in managing corporate marketing with SingTel Optus.
She obtained her professional image consulting qualifications through ImageAsia, an AICI-approved certification jointly delivered by top industry masters, Lynne Marks, AICI CIM of the London Image Institute and Christina Ong, AICI CIM, Imageworks Asia. She is also licensed as an EPI Business Etiquette trainer and trained by Peter Post from the world renowned Emily Post Institute.
Being experienced in media presentation and trained as a professional makeup artist, adds to her well-rounded service offering to her customers. Her clients include some of Asia Pacific’s and the Middle East’s top banks, government agencies and Royal Courts.
Lyndon TerraciniArtistic Director, Opera Australia
Opera Australia’s Lyndon Terracini held an industry lunch with the scholars in July Block, 2017.
Lyndon Terracini is currently the Artistic Director of Opera Australia, Australia’s national opera company. His appointment was announced on 30 June 2009 after a four-month international search. He commenced in the role on 26 October 2009.
Lyndon Terracini has enjoyed a highly successful international opera career as well as a successful career as an actor, director and writer. For the past nine years he has been a successful Artistic Director and in the past five years, this role has become his full time activity.
Lyndon Terracini was appointed Artistic Director and CEO of the Queensland Music Festival in July 2000 and directed the 2001, 2003 and 2005 Festivals. He was appointed Artistic Director/CEO of Brisbane Festival in 2005 and Artistic Director/CEO of Major Brisbane Festivals in November 2007.
He made his debut as a singer in 1976 as Sid in Albert Herring with The Australian Opera at the Sydney Opera House.
Notable performances include the title role in the world premiere of ROSA – A Horse Drama (Louis Andriessen and Peter Greenaway) (1994,1998) for the Netherlands Opera in Amsterdam, the title role in Stephen Climax (Hans Zender) for the Frankfurt Opera, Elliot Carter’s Syringa at the Tonnehalle in Zurich, a Charles Ives Recital with Ensemble Modern at the Alte Oper in Frankfurt, 8 Songs for a Mad King at the Royal Theatre in Copenhagen, the Podewil Theatre in Berlin, at the Barossa Music Festival, the Brisbane Biennial and the Huntington Festival and Sydney Festival, the role of Byron in Mer de Glace (Meale/Malouf) for The Australian Opera, Gregor in Metamorphosis (Brian Howard), Der Alte in Die Gespenstersonate (Reimann) for Opera Factory Zurich in the Stadttheaters of Bern, Luzern and Zurich, the title role in the Australian premiere of Stephen Sondheim’s Sweeney Todd for the State Opera of South Australia, El Cimarron at the Adelaide, Melbourne, Perth, Barossa and Darwin (Guitar) Festivals and Sancio Panza in the world premiere of the Henze/Paisiello opera Don Quischotte at the Montepulciano Festival in Italy.
In 1993, Lyndon Terracini founded Northern Rivers Performing Arts (NORPA), which developed into one of the most important performing arts organisations in regional Australia and was awarded the Myer Foundation Group Award in 2002.
For NORPA, Lyndon wrote the text and music and also directed Conversations at the Ryan Hotel, Faces in the Street and The Cars That Ate Paris, which he adapted from Peter Weir’s film of the same name.
Lyndon Terracini has also performed many of the great baritone roles from the traditional repertoire including Renato in Un Ballo in Maschera, Escamillo in Carmen, Don Giovanni, Marcello in La Boheme and Figaro in The Marriage of Figaro which he has also filmed for Channel 4 TV in London.
More recent performances include the title role in Alley – The Opera at the New Zealand International Festival, Experimentum Mundi at the Adelaide Festival, the leading role in The Voluptuous Tango (Dominic Muldowney) in Frankfurt which he recorded for the Hessische Rundfunk, Macheath in The Threepenny Opera for the Festival of Perth, Coming Together (Rzeweski), The Orestia and Kassandra (Xenakis) for Contemporary Music Events in Melbourne, the world premiere performance of Dominic Muldowney’s The Fall of Jerusalem and the Mozart Requiem with the BBC Philharmonic Orchestra which was recorded and broadcast throughout the United Kingdom, as well as singing the title role in Gaugin for the Melbourne Festival.
In 2002, Lyndon Terracini again performed the title role in Sweeney Todd for the State Opera of South Australia, Mr Barbeque in Lismore for NORPA and at Brisbane Powerhouse with the Queensland Orchestra and the world premiere of Love in the Age of Therapy for the Melbourne Festival and the Sydney Festival in January 2003.
In 2004, he sang the role of the main character and was nominated for an AFI Award (best adapted screenplay) for the film entitled The Widower. Also in 2004, Lyndon sang the title role in Sweeney Todd at the Derby Playhouse (U.K.) and Mr Barbeque at the Adelaide Cabaret Festival.
In June 1999, Lyndon Terracini was awarded an Honorary Doctorate in Music Theatre by Central Queensland University. In February 2000, he was awarded a Fellowship by the Music Fund of the Australia Council for the Arts. In 2001, he was awarded an Honorary D. Univ. from Southern Cross University and in July 2005 he was awarded the Dame Elisabeth Murdoch Cultural leadership Award by Australian Business Arts Foundation. In 2005 Lyndon Terracini was also appointed Adjunct Professor at University of Queensland and in 2007 he was awarded a D.Univ. from Queensland University of Technology (QUT).
In 2006, Lyndon wrote the widely acclaimed platform paper, A Regional State of Mind, which was published by Currency House. He was also a member of the International Jury for the Venice Biennale for Music in 2006.
James will work with the scholars on dance and movement during the October block, 2017.
Originally trained at The Australian Ballet School, James has danced with The Australian Ballet, Opera Australia, English National Opera, Royal Opera, Münchner Ballett Theater and the Irish Modern Dance Theatre. Performance highlights include The Merry Widow with Joan Sutherland, Semele at The Royal Opera House and dancing the role of the Dragonfly in La Volpe Astuta with the Teatro La Fenice in Venice.
Whilst living in London James had the opportunity to dance in films such as Sense and Sensibility and Shakespeare in Love. He also worked in musicals including La Cage Aux Folles and Nymph Errant, and choreographed The Best Little Whorehouse in Texas at the Bloomsbury Theatre.
After a two year stint in New York studying Interior Design, James returned to London and spent a further year studying theatre design at the Motley Theatre Design Course. This led to a career highlight: designing the sets and costumes for a production of Mozart’s La Finta Giardiniera for the Kammeroper in Vienna.
James has designed and directed productions of The Pirates of Penzance (2008), HMS Pinafore (2009), the Australian premier of Thespis in 2010, and The Gondoliers (2011) for Gilbert and Sullivan Opera Victoria.
In 2012 James established Opera Su Presto, a performing ensemble which fuses various opera genres in a story that he devises and writes himself. He is also actively involved with Melba Opera Trust staging concerts at Beleura House and devising a Dance for Singers workshop.
French conductor Guillaume Tourniaire will return to the Mentor Program in 2017 to work with the scholars in master class.
Brilliant French conductor Guillaume Tourniaire is currently enjoying a meteoric rise onto the international conducting stage. Born in Provence, Guillaume Tourniaire studied piano and conducting at the Geneva Conservatory, during which time he was winner of a first prize in the international Gabriel Fauré piano competition. His professional career started as artistic director of the vocal ensemble, Le Motet de Genève from 1993, Chorusmaster at the Grand Théâtre de Genève from 1996, and choir director of the Teatro la Fenice in Venice from 2001–2002. This early apprenticeship has given him a rare depth and experience with the opera and vocal repertoire, and this combined with his talent and passion for rare and previously unperformed music, has made him a highly sought after conductor on the world stage.
Tourniaire made his conducting debut in 1998, at the Grand Théâtre de Genève, in its production of Prokofiev’s opera Betrothal in a Monastery. He then appeared at the Opéra National de Paris, conducting Stravinsky’s ballet, Le Sacre du Printemps. He subsequently established a collaboration with the Orchestre de la Suisse Romande in Geneva conducting such works as the world premiere of the complete original version of Prokofiev’s music for the Eisenstein film, Ivan the Terrible—based on Tourniaire’s own reconstruction, Mozart´s incidental music for the drama of Tobias Philipp Gebler, Thamos, König in Ägypten; Prokofiev’s cantata, Alexander Nevsky; Bohuslav Martinů´s oratorio, Gilgamesh; Jean-Michel Damase’s Madame de.; and Janáček’s Amarus and The Eternal Gospel. He made his Opera Australia debut in 2010 with Bizet’s Carmen.
He has conducted The Helsinki Philharmonic, the Orchestre National de France, the Orchestra of Teatro La Fenice, Venice, the Orchestra della Regione Toscana in Florence, the Orchestra dell’Accademia di Santa Cecilia in Rome, the Teatro Rendano in Cosenza, the Teatro Sao Carlos in Lisbon, the Sferisterio Opera Festival in Macerata, the Lausanne Chamber Orchestra, the Deutsche Oper in Düsseldorf, the Stadttheater in Osnabrück, the Geneva Chamber Orchestra, the Deutsche Kammerphilharmonie in Bremen, the Ensemble Vocal et Instrumental de Lausanne, the Teatro Politeama Greco in Lecce, the Teatro Politeama in Catanzaro, the Teatro Cilea in Reggio di Calabria, the Atelier Lyrique de l’Opéra National de Paris, the Camerata Antiqua in Seoul, the Teatro Lirico in Cagliari, the Orchestre National de Lyon, the Warsaw Polish Radio Orchestra, the Dijon Opera, the Hermitage Orchestra in Saint-Petersburg and the Mozarteum Orchestra in Salzburg.
In 2006 he made his debut at the Prague State Opera, conducting Bernstein’s Candide, and became the company’s Musical Director in 2007. In 2012 he was appointed Artistic Director of Ensemble Vocal Lausanne.
For Melba Guillaume Tourniaire has recorded five acclaimed CDs: the world premieres of two works by Saint-Saëns, his opera Hélène and Nuit persane; the Mozart clarinet concerto with Paul Dean and the QSO; Turbulent Heart, music of Louis Vierne and Ernest Chausson with Steve Davislim and the QSO; Elan: ballet music from Saint-Saëns’ operas and Pure Diva: Cheryl Barker’s Tribute to Joan Hammond, with the QSO.
Acclaimed Soprano Dame Felicity Lott delivered a master class to our scholars at Beleura House and Garden during Mentor Program Block 5.
DAME FELICITY LOTT
Felicity Lott was born and educated in Cheltenham, read French at Royal Holloway College, of which she is now an Honorary Fellow, and singing at the Royal Academy of Music, of which she is a Fellow and a Visiting Professor. Her operatic repertoire ranges from Handel to Stravinsky, but she has above all built up her formidable international reputation as an interpreter of the great roles of Mozart and Strauss. At the Royal Opera House she has sung Anne Trulove, Blanche, Ellen Orford, Eva, Countess Almaviva and under Mackerras, Tate, Davis and Haitink, the Marschallin. At the Glyndebourne Festival her roles include Anne Trulove, Pamina, Donna Elvira, Oktavian, Christine (“Intermezzo”), Countess Madeleine (“Capriccio”) and the title role in “Arabella”. Her roles at the Bavarian State Opera, Munich include Christine, Countess Almaviva, Countess Madeleine and the Marschallin. For the Vienna State Opera her roles include the Marschallin under Kleiber which she has sung both in Vienna and Japan. In Paris, at the Opera Bastille, Opera Comique, Chatelet and Palais Garnier she has sung Cleopatra, Fiordiligi, Countess Madeleine, the Marschallin and the title roles in “La Belle Helene” and “La Grande Duchesse de Gerolstein”. At the Metropolitan Opera, New York, she sang the Marschallin under Carlos Kleiber and Countess Almaviva under James Levine. She recently sang Poulenc’s heroine in staged performances of ‘La Voix Humaine’ at the Teatro de La Zarzuela, Madrid, the Maison de la Culture de Grenoble and the Opera National de Lyon.
She has sung with the Vienna Philharmonic and Chicago Symphony Orchestras under Solti, the Munich Philharmonic under Mehta, the London Philharmonic under Haitink, Welser-Moest and Masur, the Concertgebouworkest under Masur, the Suisse Romande and Tonhalle orchestras under Armin Jordan, the Boston Symphony under Previn, the New York Philharmonic under Previn and Masur, the B.B.C. Symphony Orchestra with Sir Andrew Davis in London, Sydney and New York, and the Cleveland Orchestra under Welser-Moest in Cleveland and Carnegie Hall. In Berlin she has sung with the Berlin Philharmonic under Solti and Rattle and the Deutsche Staatskapelle under Philippe Jordan.
A founder member of The Songmakers’ Almanac, Felicity has appeared on the major recital platforms of the world, including the Salzburg, Prague, Bergen, Aldeburgh, Edinburgh and Munich Festivals, the Musikverein and Konzerthaus in Vienna and the Salle Gaveau, Musée d’Orsay, Opera Comique, Chatelet and Theatre des Champs Elysees in Paris. She has a particularly close association with the Wigmore Hall and received the Wigmore Hall Medal in February 2010 for her exceptional contribution to the hall.
Her many awards include honorary doctorates at the Universities of Oxford, Loughborough, Leicester, London and Sussex and the Royal Academy of Music and Drama in Glasgow. She was made a CBE in the 1990 New Year Honours and in 1996 was created a Dame Commander of the British Empire. In February 2003 she was awarded the title of Bayerische Kammersängerin. She has also been awarded the titles Officier de l’Ordre des Arts et des Lettres and Chevalier de l’Ordre National de la Légion d’Honneur by the French Government.
Melbourne-based opera director who worked with the scholars on audition technique in Mentor Program block 7, 2016.
Hugh Halliday began his professional life dancing as member of Sadlers Wells Opera Ballet at the London Coliseum.
In 1974 he joined English National Opera as a staff director and during the subsequent seven years worked on over sixty opera productions for that company. He also directed for Opera North, was Artistic Director of Fulham Music Theatre in London and directed for Granada Televsion.
He first came to Australia in 1980 to stage the English National Opera production of Rossini’s Le comte ory for the Victoria State Opera and since emigrating in 1982, he has established himself as one of this country’s busiest and most versatile directors.
For the Victoria State Opera his engagements included productions of Iolanthe, The Pearlfishers, Die fledermaus, The Magic Flute, La boheme, Il re pastore, Ruddigore and La belle Helene. He directed the joint VSO/Auckland Opera/IMG production of La boheme in 1989, which featured Dame Kiri Te Kanawa as Mimi.
He was associate director for the international arena production of Carmen for its performances in Melbourne and then subsequently in Zurich, Berlin and Munich and he directed the epic stadium production of Aida for Michael Edgly International in Singapore, Perth and Auckland.
Between 1995 and 2000 Hugh Halliday‘s engagements included La boheme for the State Opera of South Australia, La traviata for Opera New Zealand, the world premiere production of Bunga Mawar and a production of Carmen and also of Die fledermaus and The Student Prince all for Singapore Lyric Opera, further performances of the stadium Aida in Brisbane, The Barber of Seville for both West Australian Opera and Opera Queensland, Faust for Canterbury Opera in Christchurch, The Abduction from Seraglio for Eastern Metropolitan Opera in Melbourne and a series of opera and concerts as part of the events of the Sydney 2000 Olympics.
Since 2000 he has directed The Tales of Hoffman for Canterbury Opera, a new production of Carmen for Singapore Lyric Opera, La serva padrona for Capella Amadeus Orchestra in Djakarta, HMS Pinafore and Alice in Wonderland for Promac Productions and a number of consecutive years of Opera in the Park for the City of Stonnington in Melbourne.
He was also engaged as artistic director of An Australian Night at the Proms at the Sydney Superdome for Creative Entertainment & Art Group and for the opening events of the Benalla Performing Arts & Cultural Group.
Other engagements since 2006 have included staging a production of La traviata at De Bortoli Winery for Grand Opera Australia, directing a number of the MSO Pops concerts series for the Melbourne Symphony Orchestra, a new touring production entitled The Great Ozzie Songbook for Promac Productions and The King of the Sun for Box Seat Productions, a retrospective based on the life of Sam Phillips and his Sun Records in Memphis, Tennessee.
In 2004 he began an ongoing association with Melbourne Opera and held the position of Director Of Productions until 2013, initially staging Cosi Fan Tutti and subsequently directing Don Giovanni, Die fledermaus, Suor angelica, The Italian Girl in Algiers, The Barber of Seville, The Marriage of Figaro, I puritani, La traviata, Tosca, I pagliacci & Cavalleria Rusticana, The Merry Widow, Faust, Carmen and La boheme.
He also directed the Salvation Army’s Christmas Spectacular and during 2013, Melbourne Opera’s season of Fidelio and the Father Bob McGuire Charity’s Once Upon a Pantomime.
Hugh Halliday’s engagements during 2014 included The Pearlfishers, again for Melbourne Opera, and the revival of the Melbourne season of Falstaff for Opera Australia. He returned to direct the Salvation Army’s Christmas Spectacular for the third consecutive year and directed the Australian Pop’s Orchestra’s New Year’s Eve concerts at the Sydney Opera House and at Hamer Hall, Melbourne.
For Opera Australia during 2015 he directs the Victorian Schools Company’s season of Hansel & Gretel and returns to revive the company’s Melbourne season main stage production of Madam Butterfly and revives his production of The Barber of Seville for Melbourne Opera.
Sam HuntDirector - Warr Hunt Financial and Wealth Managers
An accountant who worked with the scholars on financial planning in Mentor Program block 4, 2016.
Sam is passionate about working with professionals and business owners to help them make intelligent financial decisions to achieve their most important goals. He helps his clients to articulate and identify their needs and objectives and takes time to explain complex matters so that they can make informed decisions.
Sam is able to draw upon his depth of practical experience and academic foundations to ensure his clients’ have a comprehensive understanding of all the issues involved.
Early on in his banking and finance career, Sam recognised the importance to him of being self-employed so that he could create a business that helped people and represented his values. Sam feels fortunate to have been able to fulfil this ambition for the past 13 years.
Sam believe he has a responsibility to give back to the community, and has been a trustee of a charitable foundation for the past 9 years and is the current chairman. His focus is on youth development and education as he believes that everyone should be afforded an opportunity to develop to their full potential. Sam is often sought after to present and provide strategic advice to philanthropic groups.
Whilst his children are young, he is taking a sabbatical from sailing and golf, but still maintains a fit and healthy lifestyle. Sam enters as many ocean swims as possible during the summer months and tries to get away for one adventure holiday each year.
Qualifications & Accreditations
Bachelor of Business – Economics & Finance (RMIT)
Graduate Diploma of Applied Finance & Investment (SIA
Graduate Diploma of Financial Planning (SIA)
Certified Financial Planner (CFP)
SMSF Specialist Advisor (SSA)
Financial Planning Association (FPA)
Self-Managed Superannuation Fund Association (SMSFA)
Celebrated Australian baritone who will work with the scholars in the September block, 2017.
PETER COLEMAN-WRIGHT AO
Australian Peter Coleman-Wright is widely considered one of the most versatile singers in the world today.His career has taken him to the great opera houses and concert halls of the world, most notably with Royal Opera Covent Garden, the Met in New York, ENO, and Paris collaborating with world-class conductors and directors.
He is a frequent guest with Opera Australia, with whom he has sung Onegin, Don Giovanni, Count Almaviva, Chorebe (Les Troyens), Orestes (Iphigénie en Tauride), Wolfram (Tannhäuser), Golaud (Pelléas et Mélisande), Germont (La Traviata), Billy Budd (MO and Green Room Awards), the title role in Sondheim’s Sweeney Todd (Helpmann Award) and the seven baritone roles in Death in Venice (Helpmann Award), Mandryka (Arabella), Pizarro, Balstrode (Peter Grimes) and Macbeth (Macbeth).
Peter has sung all over Europe most notably at La Scala Milan, La Fenice Venice, Munich, Netherlands, Paris Bastille and Garnier, Bordeaux, Geneva and Teatro Colon Buenos Aries, as well as the festivals of Bregenz and Aix -en –Provence.
His concert repertoire has taken him to Finland, Iceland, Spain, Holland, Austria, Belgium, Holland, United States and the Oman. He has performed throughout Britain with all the leading orchestras, in the major European capitals, at New York’s Carnegie and Avery Fisher Halls and is a frequent performer with the Australian Symphony Orchestras.
His engagements include Glanert’s Caligiula at the Teatro Colon and in concert at the Concertgebouw Amsterdam with the Dutch Radio Filharmonisch Orkest, the first ever performances of Britten’s Death in Venice in Moscow under Rozhdestvensky and Brett Dean’s Last Days of Socrates with both the Melbourne Symphony Orchestra (under Simone Young), Los Angeles Philharmonic Orchestra (under Gustavo Dudamel) and Powder Her Face (Théâtre Royal de la Monnaie and Warsaw).
Awards include Helpmann awards for Sweeny Todd and Death in Venice and most recently a 2014 Art Music Award – Performance of the Year for The Last Days of Socrates. Peter has been awarded the Order of Australia Medal in the 2015 Queen’s Birthday Honours. The award is for distinguished service to the performing arts as an operatic baritone, as a mentor and role model for young singers, and through fundraising support for opera companies.
Acclaimed soprano Dame Kiri Te Kanawa will lead a masterclass for Melba scholars and alumni in late October.
DAME KIRI TE KANWA
Kiri Te Kanawa was born in New Zealand with European and Maori heritage, and first sang in public when she was six years old, on Gisborne’s radio station. By the time she was 20 she had won the major vocal prizes available in the South Pacific, and – unusually early for a prima donna in any era – had also started her recording career, and was awarded New Zealand’s first Gold Disc for sales.
In 1965 she moved to London to study at the London Opera Centre. After first appearing in Carmen in New Zealand, and Otello in Britain, the young Te Kanawa was marked for Mozart’s Marriage of Figaro, first at Santa Fe, USA, then at the Royal Opera House, Covent Garden in 1971. Her sensational London debut in Figaro gained Kiri Te Kanawa legendary status almost overnight and rapidly moved her into the front rank of international opera. She became one of the most famous sopranos in the world, a familiar figure in leading opera houses – including Covent Garden, the Metropolitan, Chicago Lyric Opera, Paris Opera, Sydney Opera House, Vienna State Opera, La Scala Milan, San Francisco, Munich, and Cologne. Her operatic repertoire included eighteen leading roles, including Mozart’s Fiordiligi, Donna Elvira, Pamina, and Countess Almaviva; Verdi’s Violetta, Amelia Boccanegra, and Desdemona; Richard Strauss’s Arabella, The Marschallin, and the ‘Capriccio’ Countess; Puccini’s Tosca, Mimi and Manon Lescaut; Johann Strauss’s Rosalinde; Tchaikovsky’s Tatiana; Bizet’s Micaela; Gounod’s Marguerite; and Barber’s Vanessa. On the concert stage, her natural serenity and vocal beauty have joined with the world’s major orchestral ensembles – Chicago Symphony, Los Angeles Philharmonic, London Symphony and the Boston Symphony under the baton of such conductors as Claudio Abbado, Sir Colin Davis, Charles Dutoit, James Levine, Zubin Mehta, Seiji Ozawa and Sir Georg Solti.
She has appeared at venues as diverse as Glyndebourne, Tanglewood, Ravinia, the Verona Arena, the Hollywood Bowl, the festivals of Aix-en-Provence and Salzburg, and with full orchestra in the desert outback of Australia. Dame Kiri’s recordings include sixteen full operas, plus oratorios, song cycles, lieder, and three recordings of all-Maori music. She also joined Nelson Riddle for Blue Skies, an album of American popular songs; entered the popular charts with her recording of a Rugby World Cup theme song The World in Union; followed by albums of Gershwin, Porter and Kern songs and three classics of the light music stage: My Fair Lady, South Pacific, and Leonard Bernstein’s only recording of West Side Story.
As a soloist at the wedding of HRH Prince Charles in St Paul’s Cathedral, she faced one of the largest direct telecast audience of any solo singer in history (estimated to be over 600 million people). 1990 saw another record when, during a tour of Australia and New Zealand, her outdoor concert in the city of Auckland attracted a crowd of 140,000. Created a Dame Commander of the British Empire in 1982, Kiri Te Kanawa has been conferred with honorary degrees from eleven Universities including Oxford and Cambridge, and is an Honorary Member of the Royal Academy of Music.
The investment of Australia’s highest honour – the Order of Australia – came in 1990, and New Zealand’s highest honour – the Order of New Zealand – in 1995. To mark the transfer into the new millennium, Dame Kiri sang from the first place in the world to see the sun rise on the year 2000 – the coastline of her home town Gisborne – in a live telecast to over 80 countries. Then, aware that her own experience could be of value to younger singers, the Kiri Te Kanawa Foundation was launched in 2004, giving support and financial assistance to dedicated New Zealand singers and musicians. The International Achievement Summit Award was presented to Dame Kiri by the equally famous Dame Julie Andrews, and Kiri was then inducted into the Hollywood Bowl of Fame. In 2010 she was presented with the British Recording Industry’s ‘Lifetime Achievement’ award. That same year, came her decision that her 2010 season singing the Marschallin in Der Rosenkavalier would be her final appearance in a major leading role. But this did not leave the following years idle. She was named ‘Iconic New Zealander of the Year’ in 2012 and a year later recorded her third all-Maori recording – thus joining the elite list of artists who had been recording for 50 years.
Although the Marschallin was her last leading operatic role, she has been invited by major opera houses to appear in the brief character-comedy role of The Duchess of Krakenthorpe, in Daughter of the Regiment, and has appeared in that role in London, New York and Vienna. Then came the invitation to play Dame Nellie Melba in “Downton Abbey.” In 2015 Dame Kiri sailed to Turkey to be at the Anzac centennial in Gallipoli, and in Anzac Cove she presented a memorial wreath on behalf of New Zealand. In recent years Dame Kiri has maintained a schedule of concert appearances throughout the world, with performances in China, USA, United Kingdom,Korea, Canada, Brazil, Sweden, Germany, Spain, the Netherlands, Norway – and this year New Zealand & Australia.
Chuck HudsonStage Director - Opera-Theatre-Musicals
American director who presented two week-long workshops on movement and characterisation in 2016.
Known for creating fresh characterization in visually compelling productions, Chuck Hudson has established himself as one of the most inventive and musically sensitive stage directors of Opera, Theatre, and Musicals. His specific dramatic approach is intensely physical due to years of work in Europe with Marcel Marceau, Maximilien Decroux, and various other Movement Theatre Companies.
“I believe that theatre and opera are dynamic art forms that can be enjoyed by everyone. My goal is to create outstanding, innovative productions respective of the present economic environment. I also recognize the need for constant artistic renewal in order to remain relevant. To that end I strive to produce a full range of repertory strongly rooted in the classics as well as contemporary works.”
Celebrated Australian soprano who worked with the scholars at a private master class event in 2015.
CHERYL BARKER AO
Cheryl Barker studied in Melbourne with Dame Joan Hammond and in London with David Harper.
She appears regularly with Opera Australia, where her roles have included Nedda in I pagliacci, the Countess in Le nozze di Figaro, Mimì in the award winning Baz Luhrmann production of La bohème, Violetta in La traviata, Donna Elvira in Don Giovanni, Tatyana in Eugene Onegin, Giorgetta, Suor Angelica and Lauretta (Il Trittico) and the title roles in Madama Butterfly, Tosca and Jenufa. She has also sung Violetta for Opera Queensland, and Madama Butterfly and Violetta for BTR New Zealand Opera.
Internationally, Cheryl Barker is particularly noted for her performances of Madama Butterfly, singing this role for English National Opera, De Vlaamse Opera, Hamburg State Opera, Deutsche Oper, Berlin, Netherlands Opera and Houston Grand Opera for whom she has also performed Sarah in the world premiere of Jake Heggie’s The End of the Affair. Other international appearances include Jenifer (A Midsummer Marriage) for the Royal Opera, Covent Garden, Tatyana and Adina (L’elisir d’amore) for Scottish Opera, Oksana (Christmas Eve), Foreign Princess (Rusalka), Governess/Miss Jessel (The Turn of the Screw), Musetta (La bohème), Donna Elvira, Tosca, Salome and Emilia Marty (The Makropoulos Case) for English National Opera; the title role in Maria Stuarda for ReisOper; Violetta for Hamburg State Opera and the Deutsche Oper; Suor Angelica, Giorgetta (Il Tabarro),Mimi, Desdemona (Otello) and Liu (Turandot) for De Vlaamse Opera and Katya Kabanova for Welsh National Opera and in Geneva.
On the concert platform, Cheryl Barker has appeared at many prestigious venues including London’s Barbican, Royal Albert Hall, Queen Elizabeth Hall, Wigmore Hall, St John’s Smith Square, and with the Halle Orchestra. She has sung in the Edinburgh, Spoleto and Melbourne Festivals.
Television, videos and recordings include Puccini Arias (Melba Recordings); Seduction and Persuasion and Don John of Austria (ABC Classics) Harry Enfield’s Guide to Opera (CD and Video) La boheme/ Opera Australia (CD and Video) Madama Butterfly/Opera Australia (CD and Video) Madam Butterfly (Chandos), Madama Butterfly/De Vlaamse Opera (Belgium Television and also Netherlandse Television) and Dyson’s Quo Vadis, Katya Kabanova, Makropolous Case, Rusalka and Great Operatic Arias (Chandos).
Recent and forthcoming engagements with Opera Australia include the title role in Rusalka, all three soprano roles in Il Trittico, Arabella (for which she won Green Room and Helpmann awards) as well as Desdemona, Emilia Marty, Madama Butterfly, Manon Lescaut (role debut), Marschallin/Der Rosenkavalier (role debut) and Countess/Capriccio (role debut), concerts with the Sydney Symphony Orchestra, Queensland Symphony Orchestra and Tasmanian Symphony Orchestra, Miss Jessel for English National Opera, Madama Butterfly in Paris and for Welsh National Opera, Emilia Marty in Amsterdam, Opera du Rhin/Strasbourg and in Venice and Francesca da Rimini (role debut). As a result of a highly successful national tour for Musica Viva in 2005 she toured again for MV in 2008. She holds an honorary Doctor of Music conferred by the Victorian College of the Arts.
Industry professional who worked with the scholars on grant application writing in Mentor Program block 6, 2015.
Jo has almost 10 years’ experience in the arts sector, having worked and volunteered for organisations and festivals in Australia and overseas, including Musica Viva, Queensland Performing Arts Centre, the Edinburgh Fringe Festival, Ireland’s Abbey Theatre, Woodford Folk Festival and the East Coast Blues and Roots Festival.
In her most recent role for Musica Viva Australia, Jo managed government and trust and foundation funding for the company’s artistic and music education programs. She enjoys passing on her grant writing expertise and is passionate about enabling others to achieve their artistic goals by assisting them with navigating the arts funding landscape.
Jo has recently moved to Melbourne, where she is establishing herself as a freelance writer and development specialist.
An accountant who worked with the scholars on financial planning in Mentor Program block 6, 2015.
Richard started profession life at Coopers & Lybrand before joining Jeffrey Thomas & Partners soon after the merger with Price Waterhouse. He became a Partner in 2004. He has had experience in serving a broad range of clients and specialises in taxation consulting, compliance, and management accounting services.
Melbourne-based opera director who worked with the scholars on aria interpretation in Mentor Program block 6, 2015.
Nate Gilkes is a theatre and music maker, whose practice examines intersecting points of music and image through the medium of a theatre. He is a graduate of the Victorian College of the Arts in directing, NIDA in music theatre and the Sydney Conservatorium of Music in voice and education. His work with voices has seen large-scale opera and theatre works and collaborations with Big hArt, The Hayloft Project, Lyric Opera of Melbourne, Artology, the VCA, Federation University and presentations at the Melbourne Festival, Sydney Festival, Castlemaine State Festival, Theatreworks, Adelaide Fringe and the Edinburgh Festival Fringe. He is currently Co‐Artistic Director of the Present Tense Ensemble; a company that creates bold artistic offerings through performance and music-making, facilitation and community activation.
Professional hair and make up stylist who worked with the scholars on personal styling and make up options in Mentor Program Block 4, 2016.
Professionally trained and educated with over 12 years experience in Australia and abroad, Corinne’s unique, simple, professional and beautiful hair and makeup designs will charm and captivate, and always cater to your individual needs. A lifetime of passion and meticulous attention to detail has led Corinne to become known as one of Australia’s most regarded hair and makeup designers.
Corinne has showcased her talents at some of Australia’s most iconic and celebrated events including the Logies, Miss Universe Australia, The AFL Brownlow Medal, and Melbourne’s Spring Racing Carnival, and has worked exclusively with some of Australia’s most popular television and sporting personalities.
Corinne’s photographic and bridal makeup appears regularly in national and international wedding and fashion publications including Weddings and Harper’s Bazaar.
Corinne is available to work with you to create exclusive, beautiful and professional designs to suit your individual or commercial requests.
Corinne is renowned for being always on-trend with the latest fashion and styles as well as her flawless and exceptional makeup.
Former principal dancer with the Australian Ballet. Worked with the scholars on movement and body awareness in Mentor Program block 6, 2015.
Tim Harbour danced with The Australian Ballet from 1995 until 2007.
As a choreographer Tim got his start in the Australian Ballet’s bodytorque program and has since created work internationally and within Australia for companies including the Queensland Ballet, West Australian Ballet and of course, the Australian Ballet. In 2008 he created a piece for the New York City Ballet’s Choreographic Institute and in 2009 Christopher Wheeldon’s company Morphoses invited Tim to create Leaving Songs, which they premiered at London’s Sadler’s Wells and toured to New York’s City Centre.
Tim’s 2010 work Halcyon, for The Australian Ballet, received an Australian Dance Awards nomination for Outstanding Achievement in Choreography, a Helpmann Awards nomination for Best Female Dancer (Madeleine Eastoe) and a Green Room Awards nomination for Best Musical Composition (Gerard Brophy).
In 2012 Tim created Sweedeedee as part of the Australian Ballet’s 50th Anniversary celebrations; it premiered at the State Theatre, Melbourne. In 2013 it was nominated for an Australian Dance Award for Choreography and a Green Room Award for Design (Benjamin Cisterne).
In 2014 Tim became a Resident Choreographer of The Australian Ballet. That year he made Ostinato, which The Australian Ballet presented at the Fall For Dance Festival in New York.
CEO of London’s Royal Albert Hall, Craig will share industry insights with our scholars during the April Block in 2017.
Craig Hassall AM, CEO of Opera Australia, has worked in the performing arts for over 28 years.
Prior to Opera Australia, Craig worked in London for almost nine years, firstly as CEO of English National Ballet, the national touring ballet company of the UK. Following this, Craig was Chief Operating Officer of Raymond Gubbay Ltd, responsible for new business and collaborative ventures in the commercial field of Classical music, opera and ballet, primarily at the Royal Albert Hall. Craig also consulted on cultural aspects of the London 2012 Olympic Games.
Before leaving Australia, Craig was Deputy General Manager of Sydney Theatre Company, responsible for marketing and fundraising. Between 1997 and 2000, Craig was General Manager of Image, Special Events and Olympic Arts Festivals for the Sydney 2000 Olympic Games. This role saw the delivery of the largest festival ever mounted in Australia, the 2000 Olympic Arts Festival, as well as the ground breaking Festival of the Dreaming in 1997.
Craig has served on the boards of Company B Belvoir, Glen Street Theatre, Object—Australian Centre for Craft and Design, English National Ballet School and is currently on the board of C4RD—Centre for Recent Drawing, London and LIFT, the London International Festival of Theatre.
Professional hair and make up stylist who will be working with the scholars in Mentor Program Block 4, 2016.
Sharron McBeth has been in the hair and make-up industry for 20 years and has run her own business for 18 1/2 years. (Lady McBeth Hair & Beauty).
Over this time she has trained continuously to perfect her skills in all areas; including weddings, photo shoots, TV work, fashion parades, judging competitions, cat walk, and major events including the Brownlow, Logies, and Melbourne Cup day.
She is truly passionate about her industry and loves all areas of her art and feels blessed to be part of this industry.
Luxembourg-based American repetiteur and vocal coach who will be working with the scholars in 2016.
Semyon Rozin´s international conducting engagements have included appearances with Rheinisches Kammerorchester, West Germany Radio Orchestra and Chorus of Cologne, the Dutch Radio Chorus (Hilversum), the Israeli Chamber Choir, Flamish Radio Chorus, Belgian Radio Chorus (BRTN).
In the United States he conducted the Bloomington Symphony Orchestra and the St.Paul Civic Orchestra. He also directed the Chamber Orchestra and the Chamber Chorus of Minsk (Belorussia).
In the field of opera he served as Assistant Artistic Director at the Goldovsky Opera Institute, Assistant Music Director at Opera St.Paul, Chorus Master at the Reiseoper Enschede (Netherlands), as a coach at the University of Minnesota, at Twin Cities Opera Guild, at St.Catherine College (St.Paul), Cincinnati Opera, Wiesbaden Opera (Germany), Netherlands Opera (Amsterdam), AIMS in Graz (Austria), Bel Canto Festival Dordrecht (Netherlands). From 1994 until 2001 he has successfully presented “Opera in concert” series at the northern German island Sylt.
Since 1984 Semyon Rozin has held the position of Assistant Professor at the Opera Studio at the Musikhochschule in Cologne (Germany). From 1995 until 2003 he was also on the faculty of Musikhochschule Frankfurt/Main.
From 1988 until 1992 he served as a personal coach of Scottish soprano Margaret Marshall (Covent Garden, La Scala, Vienna Opera, Salzburg, Frankfurt, Berlin, Cologne). Among the artists with whom Semyon Rozin had an intensive artistic collaboration are: Delores Ziegler, Lela Cuberli, John Tomlinson, Lado Ataneli, Christiane Oelze, Christopher Ventris.
His superb talents were honed under such masters as Ferdinand Leitner, Boris Goldovsky and Neville Marriner.
He studied at Mozarteum in Slazburg, Austria, and was awarded an Aspen Music School Scholarship, a Baron de Hirsh Scholarship, a Goldovsky Opera Institute Fellowship and a Rochefeller Grant.