La Cenerentola Program

ROSSINI LA CENERENTOLA

CINDERELLA

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We acknowledge and respect the knowledge, cultures, languages, songs and dances they have created and shared for at least 65,000 years.

Our commitment is to listen and walk respectfully with Aboriginal and Torres Strait Islander individuals and communities, to celebrate the stories and songs of this place and its First Peoples.

WELCOME

Welcome to Brisbane Bel Canto, a festival celebrating the beauty of the human voice in all its colours and textures.

and , a collection of secular hymns set to words by some of Australia’s finest poets, the festival offers audiences music and song of the highest quality.

In the Concert Hall, Rossini’s Petite Messe Solennelle brings together over a hundred singers for a glorious celebration of sacred music that is anything but petite.

At St Brigid’s in Red Hill, we collaborate with the exciting young choral ensemble One Equal Music for The Birth of Bel Canto, a concert exploring the roots of bel canto through songs by Monteverdi, Gesualdo, Strozzi and others who were there at the beginning of opera.

We hope you can join us across the festival. Each event is a one-off presentation of works rarely, if ever, performed. This is what makes a festival special: the chance to encounter exceptional singing and musicmaking, perhaps discovering something that would otherwise remain unknown, or reconnecting with familiar works in a new and original way.

Rossini’s La Cenerentola strips back the Cinderella fairytale to tell a tender, funny story about love and forgiveness. At its centre is Angelina (Cinderella), the oppressed and abused outsider who refuses to capitulate to the taunts and stupidity of her oppressors. In one of the great finales in the history of opera, her unwavering strength and grace ultimately enchants all around her.

Composed in post-Napoleonic Italy and shaped by the ideals of the Enlightenment, La Cenerentola has been persuasively read as a satire on the attempt by the aristocracy and church to reclaim what they saw as their rightful place after the revolutionary zeal of the French invader. While there is much in the opera that supports this interpretation, it is Rossini’s deep regard for the potential of goodness to bring about change, rather than warfare, inherited power or divine right, that leaves the greatest impression. The opera’s full title makes this explicit: La Cenerentola, or Goodness Triumphant

Rossini composed it in just three weeks, the year after The Barber of Seville, when he was twenty-five. You can hear it in the music: the energy of a young genius, overflowing with brilliant melodies and incisive satire.

At the heart of Brisbane Bel Canto is an ensemble of extraordinary singers, musicians, creative teams and technicians. For La Cenerentola we are thrilled to welcome to Brisbane for the first time Margarita Gritskova and Mert Süngü, who are joined by Sarah Crane, Hayley Sugars, Shaun Brown, Jeremy Kleeman and James Roser. Richard Mills returns to conduct the orchestra and singers, with Narelle French as Chorus Master. Working alongside them is director Laura Hansford and her collaborators: costume designers Karen Cochet and Bianca Bulley, lighting designer Christine Felmingham, and associate director Eugene Lynch.

The extraordinary range of works we are presenting throughout Brisbane Bel Canto would not be possible without the support of our many collaborating partners. Our heartfelt thanks to QPAC, Queensland Symphony Orchestra, The University of Queensland, Queensland Conservatorium Griffith University and One Equal Music. We are also deeply grateful to our funding partners, the Queensland Government through Arts Queensland, Creative Australia and Brisbane City Council, and to Philip Bacon and Haymans Electrical, whose generosity enables us to expand the festival across the city.

Patrick Nolan CEO & Artistic Director

Initially the respected German composer Carl Maria von Weber had serious reservations about Rossini’s musicand in particular La Cenerentola - but eventually he came to admire it. He had been impressed by the Dandini Magnifico duet in Act 2 (‘Un segreto d’importanza’) and lamented the fact that contemporary German opera composers were offering nothing comparable. In 1822, Rossini’s Barbiere di Siviglia, Otello, Gazza Ladra, Cenerentola and Donna del Lago had all been performed in Vienna with great popular success, but they also attracted hostile letters and articles in the newspapers to which Weber had contributed. He came to regret this hostility and made a point of calling on Rossini in Paris in 1826 before leaving for London to oversee the first performances of Oberon. Weber was desperately ill at the time and, as Rossini noted with anxiety, could barely climb the stairs. During their meeting, Weber tried to apologise for the newspaper attacks in Vienna, but Rossini brushed the apologies aside saying that he could not read German. It was to be their last meeting.

How could one not like the music of Rossini, who went out of his way to please his audiences? Wagner, who called on him in Paris in 1860, later wrote: “If he heard that such and such a town particularly liked to hear the roulades of singers, and that another, on the contrary, preferred languorous songs; then for the first he provided nothing but roulades, for the second, languorous songs. Where he knew an audience liked percussion in the orchestra, he immediately started the overture of a pastoral opera with a roll on the drums.” Undoubtedly, this responsiveness to the tastes and preferences of audiences did much to make opera in the early and mid-nineteenth century a lively form of popular entertainment.

Gioachino Rossini was born into a musical family in Pesaro on Italy’s Adriatic coast, where his father was a municipal trumpeter and his mother was an opera singer. He displayed a precocious talent and, by his early teens, was proficient on the piano, viola and horn, and was in demand locally as a boy treble. He soon began to compose music. The family moved to Bologna, and it was from there in 1810 that the eighteenyear-old Gioachino was summoned to Venice to fill a gap left by a composer who had failed to deliver a one-act farce entitled Il cambiale di matrimonio (The Marriage Contract). Rossini set it to music in just a few days. Other operas soon followed, sometimes with alarming consequences. L’inganno felice (The Fortunate Deception) was so popular that enthusiasts showed their appreciation by letting loose flocks of doves, canaries and guinea fowl inside the theatre. Then came La scala di seta (The Silken Ladder), Tancredi with its celebrated ‘rice aria’ (aria dei rizzi) so called because Rossini, a great gourmet, composed it while cooking his rice, and L’Italiana in Algeri (The Italian Girl in Algiers). The composer was then just 21 years old.

Rossini had no hesitation in recycling music from one opera to another, and so it happened that, from Il cambiale di matrimonio, the cabaletta for the heroine’s aria turned up again in Il barbiere di Siviglia (1816) whose famous overture had also been borrowed from Elisabetta, regina d’lnghilterra (1815) which, in tum, had borrowed it from Aureliano in Palmira (1813). La Cenerentola, ossia La bonta in trionfo, labelled a melodrama giocoso, was Rossini’s twentieth opera, written when he was not quite 25. It would have been called Angiolina had the censors not associated that name with a notorious beauty of the day and decided it was inappropriate. La Cenerentola was staged for the carnival season in Rome. It was written, composed and staged within just 24 days, so it is not surprising that Rossini borrowed the overture and some other music from an earlier opera – La gazzetta, ossia Il matrimonio per concorso – which had been performed four months earlier, and

outsourced the routine recitative work and some of the numbers to a minor composer, Luca Agolini. It was not an immediate success, largely because the orchestra was virtually amateur, the performance was poor, and the venue comprised temporary wooden buildings with meagre facilities. It is hard to imagine less favourable circumstances for the launch of a new opera, although its popularity soon grew when it was performed in better theatres.

The orchestral storm in Act 2 reminds us of Rossini’s fondness for storms, which came from a long operatic tradition, and which had been given a new lease of life by Beethoven’s

Another Rossinian trademark, the patter song, finds tongue-twisting expression in Don Magnifico’ s excitement at the prospect of joining the Prince’s family.

The opera has its share of vocal gems, including the extended and florid vocal writing for Angelina (Cinderella – a part written for coloratura contralto), brilliant solos for a number of other principals, and dazzling ensembles. Amongst the latter is the first act quintet which follows Don Magnifico’ s outrageous statement that his third daughter is dead. Three voices proceed in canon until joined by two others, before the tempo increases accompanied by one of the famous Rossini crescendos (‘Signor Crescendo’ they used to call him), and then it is repeated all over again resulting in total confusion. The Act 2 sextet follows the mutual recognition of Cinderella and Ramiro, leading to expressions of perplexity by the others in staccato, sotto voce singing interspersed with sudden explosions of comprehension. The opera comes to a spectacular close as Cinderella, no longer constrained, and having forgiven her malicious father and stepsisters, launches into coloratura fireworks which, surely, are a dazzling musical expression of ‘goodness triumphant’!

Peter Bassett

Like any self-respecting elder millennial who grew up on Disney, fairy tales have always fascinated me. They are stories told to children and carried by adults. Once upon a time (see what I did there), they were cautionary tales, warnings wrapped in fantasy, reminding listeners to be wary of wandering alone into the dark forest like Red Riding Hood, not to trust the stranger at the door offering apples like Snow White, or to be careful of the promises you make like in Rumpelstiltskin.

But as much as I love a good rags to riches story, or the ability to blast ‘Let it Go’ in my car, I find myself questioning what these stories are really telling us. What purpose do fairy tales serve in a world like ours?

Today, the world rarely waits for a bedtime story to remind us of danger. Turn on the news, scroll through your phone, and reality itself feels like a cautionary tale. All the warning with none of the magic. In the information era the whole world has now become terribly understandable, and the possibility of magic feels further away than ever. We are in the grand resurgence of logic, however misplaced and misused that logic might sometimes be.

So what use is a fairy tale now?

And in the end, that’s the fairy tale I want to believe in, that love is thicker than forget.

.. I don’t want them believing that waiting for Prince Charming is a viable exit strategy or that true beauty is something you can magic yourself into.

If there’s anything I know from watching my niece and nephew grow up, it’s that although I want them to appreciate a good story, I don’t want them believing that waiting for Prince Charming is a viable exit strategy or that true beauty is something you can magic yourself into. But I do want them to know that kindness is not weakness, and that curiosity is not something to be tamed.

This is what draws me to Rossini’s Cinderella. Not the dresses or the romance (although they are of course a very welcome addition), but the idea that in a world full of cruelty, choosing to be kind, actively, deliberately, and against all odds, is an act of strength. That hope is not naive but necessary.

Rossini’s Cinderella is a fairy tale like no other. It throws out the magic wand and the glass slipper, replacing them with a heroine who triumphs not because of a spell, but because of who she is from the very beginning. And more than that: what this story has that no other fairy tale I’ve come across has, is absolutely zero comeuppance. No one gets what’s coming to them, or a taste of their own medicine, or their just deserts (although there is a bit of facing the music). They are just forgiven.

This journey through the unpredictable magic of kindness is made all the merrier by working with a joyful creative team. Maestro Richard Mills who knows every nook and cranny of this brilliant piece of bel canto opera and who is the Alidoro of my opera life – inspiring, wise and a little bit cheeky. Christine Felmingham who conjures real magic with her lighting, Karen Cochet and Bianca Bulley whose costuming belongs at every ball, and of course Narelle French our Head of Music and Chorus Master who is the creator of every happy ever after that occurs on our stages. This team combined with a world class cast who can tug at your heart strings as easily as they make you crack a smile have made this project a dream to work on.

I hope Opera Queensland’s production of La Cenerentola can surprise and delight you even if it is a tale as old as time.

Laura Hansford

ACT 1

We open with Angelina (Cenerentola), who is forced to work as a servant in her stepfather Don Magnifico’s dilapidated home. While she waits on her spoiled stepsisters, Clorinda and Tisbe, Angelina sings about the story of a king who chose a poor bride for her virtue. A beggar arrives on their doorstep – Alidoro, the Prince’s tutor, in disguise. While the stepsisters, disgusted, insist on sending him away, Angelina secretly brings him food. Suddenly, the Prince’s servants appear to announce that Prince Ramiro is arriving soon and will be holding a ball to find a bride. Don Magnifico sees dollar signs as he thinks about one of his daughters marrying a prince.

While Don Magnifico and his daughters prepare themselves for Prince Ramiro’s arrival, the Prince’s valet enters. Unbeknownst to the household, the valet is actually Ramiro in disguise, hoping to see the true colours of his potential brides. Alidoro had told him of a maiden living in Don Magnifico’s home who was worthy of being a princess. When Angelina enters, it is love at first sight. He asks who she is, but she panics and runs off.

Ramiro’s actual valet, Dandini, arrives dressed as the Prince. Don Magnifico, Clorinda and Tisbe make fools of themselves fawning over this prince, as he invites them to the ball. Angelina begs her stepfather to let her attend, but he refuses. Alidoro, no longer in disguise, returns with information about a third daughter in the household. Lying, Don Magnifico insists that she has died, and threatens Angelina with death if she speaks out. Once everyone departs, Alidoro assures Angelina that she will go to the ball and be rewarded for her kindness.

Dandini and Ramiro return to the palace with Magnifico and his daughters. Ahead of the ball Dandini bestows upon Don Magnifico a new title in honour of his skills as a sommelier –The Conoisseur of Royal Wines. Magnifico then heads out to try every bottle in the royal cellar. When Clorinda and Tisbe arrive, Dandini offers Ramiro (still dressed as a valet) as a consolation prize to the sister he does not marry. They are disgusted at the idea of marrying beneath them. Alidoro arrives with a mysterious woman who looks suspiciously like Angelina.

ACT 2

Magnifico laments the threat this new potential bride poses. Meanwhile, Dandini (still dressed as the Prince) tries to charm Angelina. She rejects the “prince’s” advances by declaring her love for his valet. Overhearing this, Ramiro steps forwards to claim his bride. They’ve found each other! Happily ever after, right? Not quite yet...

Angelina, scared that Ramiro won’t love her after he discovers her true identity, informs him she is going home and that if he truly loves her, he will find her. Magnifico confronts the “prince”, insisting he must decide which of the two sisters will be his bride. Dandini tries to maintain the charade, but eventually reveals the truth. A furious Magnifico returns home with his daughters. After a long search for his love, Ramiro’s carriage stops at Magnifico’s home. Ramiro and Angelina immediately recognise each other, and he declares his love. Magnifico and his daughters taunt Angelina and insult her for daring to move above her station. Angered by their cruelty towards his true love, Ramiro threatens Magnifico, Clorinda and Tisbe. Angelina, with her pure heart, urges Ramiro to forgive her family for their actions. Ramiro and Angelina marry and, of course, live happily ever after…

CREATIVE TEAM & CAST

CREATIVE TEAM

Conductor

Richard Mills

Director & Set Designer

Laura Hansford

Costume

Karen Cochet & Bianca Bulley

Lighting

Christine Felmingham

Associate Director

Eugene Lynch

Chorus Master

Narelle French

CONCERT HALL, QPAC

WED 29 APR 7PM

SAT 2 MAY 1.30PM

Sung in Italian with English surtitles

Running time – approximately

3 hours including interval

CAST

Angelina (Cinderella)

Margarita Gritskova

Don Ramiro

Mert Süngü

Dandini

Jeremy Kleeman

Don Magnifico

James Roser

Alidoro

Shaun Brown

Clorinda

Sarah Crane

Tisbe

Hayley Sugars

Opera Queensland Chorus

Queensland Symphony Orchestra

CONDUCTOR RICHARD MILLS

Internationally recognised composer Richard Mills, AO, pursues a diverse career as composer, conductor and artistic director, with an extensive discography of orchestral works including his own compositions and the film music of Franz Waxman with the QSO (Preis der Deutscher Schallplatten Kritik, 1992).

Richard’s posts have included Artistic Director of both Victorian Opera and West Australian Opera, Artistic Director of the Adelaide Chamber Orchestra, Director of the Australian Music Project for Tasmanian Symphony Orchestra and Musica Viva’s Composer of the Year.

Most recently Richard has conducted the Sydney Symphony Orchestra for an ABC recording as part of their 50 Fanfares project; Voyages for Darwin Symphony; the world premiere of his new opera Galileo, Elektra, Butterfly Lovers (Mills), La Cenerentola and Salome for Victorian Opera; Glimpses and Dialogues from Galileo at Perth Festival; Lucia di Lammermoor, Rossini’s Stabat Mater, a gala concert and Tosca for Opera Queensland; Voss and Summer of the Seventeenth Doll for State Opera South Australia; The Sound of History (for Adelaide Festival) and his Christmas oratorio Nativity with the Adelaide Symphony Orchestra. His opera Butterfly Lovers was also performed in collaboration with Wild Rice Theatre Company at the Victoria Theatre, Singapore.

Richard’s concert performance of Wagner’s Tristan und Isolde with the Australian Youth Orchestra for Queensland Music Festival, won the Helpmann Award for Best Classical Concert in 2005.

Richard Mills has been Lecturer in Composition and Conducting at the Queensland Conservatorium of Music, and director of the Symphony Australia Composer Development Program, run in collaboration with Orchestra Victoria. He is currently a Senior Fellow, Faculty of Music, at the University of Melbourne. He has also been the recipient of an Ian Potter Foundation Fellowship.

DIRECTOR & SET DESIGNER LAURA HANSFORD

Laura has worked on opera productions across Australia for the last decade as both an artistic and technical collaborator. She wrote and directed Opera Queensland’s most successful touring production Are You Lonesome Tonight (2021/2025), directed and designed Macbeth in Concert (2023), co-directed The Sopranos (OQ) and Home Grown Opera (for OQ and Bleach*), and wrote and directed regional touring productions Lady Sings the Maroons and Do We Need Another Hero.

Laura was the director of the New Years Eve Gala with Opera Australia (2024/25), the revival director of John Copley’s Lucia di Lammermoor (2024) for State Opera South Australia, and is the Associate Director on the Opera Conference Production of Rusalka, opening with West Australian Opera (2024). In 2021/2022 Laura was Resident Director with Circa working across several productions and was the Associate Director on Circa’s Italian Baroque presented with the Australian Brandenburg Orchestra at Sydney Festival 2022.

Laura previously worked as the Artistic Associate and Director of Learning, Regional and Community for OQ and has acted as Associate Director on a variety of productions – for OQ: Così fan tutte (2023), The Marriage of Figaro (2021), Tosca (2019), Songs to Die For (2019); for West Australian Opera: La bohème (2023); and for Victorian Opera: The Barber of Seville (2019) and Pelléas and Mélisande (2018). She currently holds the position of General Manager, Creative & Programming at Queensland Music Festival.

COSTUME KAREN COCHET

Trained in fashion, Karen Cochet owned innovative clothing business “Salon Dada”. In 1989, she relocated to Europe and worked for Opèra de Lausanne and Grand Théâtre de Genève from 1994 to 2006. Originally as a cutter costume maker and later as Artistic Liaison, she expanded her knowledge and love of costume working alongside the most talented and respected costumiers and artisans in Europe.

A career highlight was La Fête des Vignerons in 1999, where Karen was responsible for the realisation of over 6,000 costumes, spanning all periods from 15th century to contemporary times. She worked with Christian Lacroix, Couturier, commissioned to design the costumes for the goddesses.

Resident costume designer for Ballet Romand in Vevey from 2003 to 2008, Karen realised the costumes for The Nutcracker, Cinderella and Peter Pan, to name a few. Her final project in Switzerland was “Calvin, Genève en Flammes”, celebrating the 500th anniversary of Jean Calvin in Geneva.

Karen was appointed Head of Wardrobe at Opera Queensland in 2013. Design credits for Opera Queensland include The Adventures of Figaro, A Night with Opera Queensland, Snow White (nominated for Best Costume Design, Matilda Awards, 2016) and The Marriage of Figaro. She co-designed Songs of Love and War and Chrysalis in 2021, The Sopranos in 2022 and, most recently, Macbeth (2023), Lucia di Lammermoor (2024) and Do We Need Another Hero (2024).

COSTUME BIANCA BULLEY

Bianca is a costume designer, cutter and maker for live performance and film. Graduating with Honours from a Bachelor of Fine Arts in Fashion Design, she has worked for multiple independent Australian fashion designers as well as extensively within the costume industry. Her work as a costume designer and maker expands across multiple Queensland major performing arts companies such as Queensland Theatre, Queensland Ballet and most recently full time as Principal Cutter of Wardrobe at Opera Queensland (OQ).

For OQ, Bianca designed the schools touring production of The Frog Prince and La Bohème in 2020, and was co-designer for Chrysalis and Songs of Love and War (2021), The Sopranos (2022), Macbeth (2023), Fizz (2023) and Lady Sings The Maroons (2023). She has also worked on films such as Pirates of the Caribbean and Baz Luhrmann’s Elvis, where she worked on Elvis’s tailored suits. In 2019 Bianca was awarded a Churchill Scholarship, undertaking training to further her skill as a costume tailor.

Bianca is a Co-Manager of fashion not-forprofit The Stitchery Collective, a group of fashion practitioners who create immersive fashion events and workshops for Queensland art galleries and museums. In addition, Bianca co-runs fashion label Bulley Bulley with her sister Kiara, where they design clothing that combines the concepts of historical costuming with the frivolity and fun nature of contemporary fashion.

LIGHTING CHRISTINE FELMINGHAM

Christine is a Brisbane-based lighting designer, with a creative practice spanning theatre, dance, opera, installation, and circus. She loves collaborative, cross-disciplinary practice that blurs the line between forms. She is also a Company Director for Counterpilot Arts, an award-winning collective of transmedia performance artists, having worked as their lighting and technical designer since 2017.

Christine’s unique blend of technical expertise and creative flair has earned her three nominations for a Matilda Award for her lighting designs on Adrift (Counterpilot, 2022); Bunker (Lisa Wilson Projects, 2022); and The Bull, The Moon and The Coronet of Stars (The Hive Collective, 2021). In 2019, she was presented with the inaugural Emerging Female Leader Award at the Matilda Awards Ceremony, and holds bachelor’s degrees in Technical Production and Drama from QUT.

Christine has created lighting designs for a diverse range of companies and festivals, including: Opera Queensland (Lucia di Lammermoor, 2024; Macbeth, 2023; The Sopranos, 2022); West Australian Opera/Opera Queensland (La Bohème, 2023-25); Counterpilot (Scaredy House, 2024; Pigeon Fool, 2024; Not a Cult*, 2023; Adrift, 2022; Escape from Monotony, 2022; Institute of Light, 2021; Statum, 2019; Truthmachine, 2019; Crunch Time, 2018; Spectate, 2017); Australasian Dance Collective (Halcyon, 2023; Echo, 2019); Dead Puppet Society (ISHMAEL, 2021); La Boite Theatre Company (Caesar, 2021); Playlab (Rising, 2021; The Dead Devils of Cockle Creek, 2018); Vulcana Circus (As If No-one is Watching, 2018); Belloo Creative (Rovers, 2018-21); and Now Look Here Theatre Company (Sound of a Finished Kiss, 2018).

ASSOCIATE DIRECTOR

EUGENE LYNCH

Eugene Lynch is a director of theatre and opera.

Upcoming engagements include Maid Made Boss (La Serva Padrona) with Pinchgut Opera in 2025. He will also be directing IRL by Lewis Treston at KXT on Broadway in Sydney (presented by The Other Theatre in association with bAKEHOUSE Theatre Company). Eugene is currently developing a new opera work, The Hairy Ape, composed by William Gardiner with a libretto by Julian Larnach (supported by Create NSW & Creative Australia). He will be the Associate Director on La Cenerentola for Opera Queensland in March 2025.

Eugene is currently a 2024-2025 Young Artist with Opera Queensland. His directorial credits include: The Pigeons by David Gieselman; Georg Kaiser’s From Morning to Midnight (The Other Theatre), Beckett’s Not I; Graeme Koehne and Louis Nowra’s Love Burns, Purcell’s Dido and Aeneas, Shakespeare’s Richard II, Mike Bartlett’s Cock (co-production with Sydney Gay and Lesbian Mardi Gras and Brand X) and the Australian premiere of Marius von Mayenburg’s The Dog, The Night and The Knife He has also directed Suor Angelica with Pacific Opera.

Eugene’s Assistant and Associate Director credits include: Platée (Pinchgut Opera, dir. Neil Armfield); The Golden Cockerel (Adelaide Festival, dir. Barrie Kosky); TheTurn of the Screw and Richard Meale’s Voss (State Opera South Australia, dir. Stuart Maunder); Lucia di Lammermoor (Opera Queensland, dir. Patrick Nolan); Hamlet (Opera Australia, dir. Neil Armfield); and Julius Caesar (Pinchgut Opera, dir. Neil Armfield).

CHORUS MASTER NARELLE FRENCH

One of Australia’s most respected and versatile pianists and musicians, Narelle French undertook studies at Sydney Conservatorium and Sydney University, and has been awarded the Dame Roma Mitchell Churchill Fellowship (2002) and Centenary Medal (2002).

Narelle was for many years a senior member of the music staff at Opera Australia, where she fulfilled a number of roles including Head of Music Staff, Guest Chorus Master and Children’s Chorus Master, harpsichord continuo, prompting (including Dame Joan Sutherland’s farewell season of Les Huguenots), overseeing musical preparation for conductors including Richard Bonynge, Dame Jane Glover, Richard Hickox, Johannes Fritzsch and Carlo Felice Cillario. She has worked with organisations including Queensland Symphony Orchestra, Brisbane Festival, Sydney Philharmonia Choirs, University of Tasmania, University of Queensland and Queensland Conservatorium Griffith University.

Since relocating Queensland in 1999, Narelle’s roles at Opera Queensland have included Head of Music (2001-present), Director of Young Artist Program (1999-2008 and 2020-present) and Chorus Director (since 2013). Her roles have included conductor, pianist, arranger, librettist and translator, and she has co-created, performed and toured with productions, special events, concerts, education and workshop programs. As Chorus Master, she has led the Opera Queensland Chorus for over forty productions and concerts.

ANGELINA (CINDERELLA) MARGARITA GRITSKOVA

Since 2012 Margarita Gritskova has been a member of the ensemble of the Vienna State Opera, where she quickly advanced to become a favourite of the public.

There, she has sung all the major roles in the Mozart and Rossini repertoire ranging from Cherubino, Idamante, Annio, Sesto, Dorabella, Bradamente, Rosina, Angelina, Isabella, as well as Olga from Eugene Onegin, to name only a few.

Guest engagements took her to the Salzburg Festival, the Opéra de Québec, the Rossini Festival Pesaro, the Bavarian State Opera Munich, the Moscow Bolshoi Theatre, Hamburg State Theatre, to Zürich, Berlin, Oslo, Valencia...

In 2018 she sang her first Carmen in Vienna, with Piotr Beczala as Don José.

Margarita Gritskova has also represented the Vienna State Opera’s tours. She sang Cherubino at guest performances of the Vienna State Opera in Japan under Riccardo Muti and in Aix-en-Provence under Alain Altinoglu.

Since the 2021/22 season she has worked as a freelance artist, exploring a new repertory with roles like Amneris in Aida, Preziosilla in La forza del destino, Eboli in Don Carlo, Adalgisa in Norma, Johanna Seymour in Anna Bolena in houses like the Finnish National Opera Helsinki, Klosterneuburg Festival, Weimar National Theatre or the State Theatre am Gärtnerplatz in Munich.

Born in Saint Petersburg, the artist studied piano and singing in her hometown and graduated 2010 at the State Academy of Music in the class of Irina Bogatschewa. Here she sang her first Carmen under the baton of Mariss Jansons.

CDs with works by Tchaikovsky, RimskyKorsakov, Rachmaninoff, Prokofiev, Shostakovich were also published by Naxos.

DON RAMIRO MERT SÜNGÜ

Turkish tenor Mert Süngü studied stage performance and opera at the T.C. Mimar Sinan Conservatory in Istanbul, completed the Scuola dell’Opera Italiana at the Teatro Comunale di Bologna, and was a member of the Young Ensemble of the Semperoper Dresden, with which he continues to maintain a close collaboration.

He has appeared as a guest artist, among others, at the Grand Théâtre de Genève, the Deutsche Oper Berlin, the Bolshoi Theatre in Moscow, the Teatro dell’Opera di Roma, the Teatro San Carlo in Naples, the Teatro Massimo in Palermo, the Teatro Filarmonico di Verona, the Opéra de Lyon, the Festival d’Aix-en-Provence, the Stuttgart State Opera, and the Semperoper Dresden. He has worked with conductors such as Fabio Luisi, Christian Thielemann, Michele Mariotti, and Marc Minkowski.

His recent roles include the title role in Roberto Devereux, Leicester in Elisabetta regina d’Inghilterra, Eisenstein (Die Fledermaus), Alfredo (La Traviata), Mefistofele in Prokofiev’s L’angelo di fuoco, and Pollione (Norma). For Decca, he recorded Schubert Lieder together with guitarist Eugenio Della Chiara. His wide-ranging repertoire extends from Meyerbeer, Bizet, Donizetti, and Rossini to Mozart, Gluck, and Handel.

DANDINI JEREMY KLEEMAN

Bass-baritone Jeremy Kleeman is a graduate of the Royal College of Music Opera School in London, a Samling Artist, and a former Victorian Opera Young Artist and Sambrook Scholar with Melba Opera Trust.

Jeremy is a familiar presence to Opera Queensland audiences, having performed as Figaro in Le nozze di Figaro (2021), Guglielmo in Così fan tutte (2023), and Magus in Voyage to the Moon (2016). In Brisbane, he has appeared in concert with Queensland Symphony Orchestra, and featured in the Brisbane Baroque Festival’s Faramondo (2015).

Known for his interpretations of Mozart, Jeremy has also performed the role of Figaro for West Australian Opera, State Opera South Australia, and Opera Australia’s National Tour. His bel canto repertoire includes roles in Rossini’s Guillaume Tell, Bellini’s I puritani, and Norma for Victorian Opera, under the baton of Richard Mills.

A champion of new Australian opera, Jeremy has originated several roles, including Toby Raven in Palmer’s Cloudstreet, Mr. Jeffris in Gyger’s Oscar and Lucinda, Albert the Pudding in Bowman’s The Magic Pudding, and most recently, the title role in Jack Symonds’ Gilgamesh for Sydney Chamber Opera and Opera Australia.

In the concert hall, Jeremy has performed Nielsen’s 3rd Symphony, Handel’s Messiah, and Rossini’s Petite messe solennelle with Melbourne Symphony Orchestra, Elgar’s The Apostles with London Philharmonic Orchestra, and Bach cantatas with London Handel Players.

Jeremy’s accolades include winning a Green Room Award, receiving a Helpmann Award nomination, and being awarded the Dame Heather Begg Memorial Award and the Australian International Opera Award.

DON MAGNIFICO JAMES ROSER

Australian-born baritone James Roser initially began a career as an environmental scientist, having completed a Bachelor of Advanced Science (Honours) at the University of NSW, before beginning musical studies. He was a recipient of a number of major singing awards in Australia, including the Mietta Song Recital Award, Vienna State Opera Award and BrittenPears Young Artist Award, was a young artist with Pacific Opera and has performed with the Vienna State Opera, Victorian Opera, Sydney Symphony Orchestra, Tiroler Festspiele Erl, Beijing Music Festival, Shanghai International Arts Festival, Opéra de Baugé and State Opera South Australia.

Operatic roles include Rigoletto, Germont (La Traviata), Amfortas (Parsifal), Beckmesser (Die Meistersinger von Nürnberg), Gunther (Götterdämmerung), Don Pizarro (Fidelio), Wotan (Das Rheingold), Don Giovanni, Il Conte (Le Nozze di Figaro), Guglielmo (Così fan tutte), Papageno (Die Zauberflöte), Allazim (Zaide), Wiedhopf (Die Vögel), Dulcamara (L’elisir d’amore), Owen Wingrave, Escamillo (Carmen), Peter (Hänsel und Gretel). His performance as Rigoletto with the Tiroler Festspiele was televised on Servus TV and that of Wiedhopf in Die Vögel was televised on ORF.

James has performed in recital across Europe, as well as in Australia, Canada and the United Kingdom, performing for Artsong NSW, Chamber Music Australia, Oxford Lieder Festival, Britten-Pears Young Artist Programme, Franz Schubert Institut, Rainhill Music Festival, Gesellschaft für Musiktheater Wien, has appeared as a soloist with the Australian Brandenburg Orchestra and has been broadcast a number of times in Australia on 2MBS-FM, 3MBS-FM and ABC Classic FM, as well as ORF and Servus TV in Austria and Germany.

ALIDORO SHAUN BROWN

Australian baritone Shaun Brown has performed and studied in England, Germany, France, Italy and the US, where he completed a Doctor of Musical Arts at the University of North Texas.

A former Opera Queensland (OQ) Young Artist, Shaun’s engagements with the company span more than three decades, appearing in over fifty productions, in addition to numerous concerts, festival events, workshops and masterclasses. He is known to Queensland audiences for his roles in Don Giovanni, The Merry Widow, Die Fledermaus, Così fan tutte, Carmen, The Marriage of Figaro, La bohème, The Barber of Seville and Ruddigore, or The Witch’s Curse!. In 2021, he performed A Poet’s Love, a recital with Sarah Crane and Alex Raineri as part of OQ’s Studio Series in partnership with Brisbane Music Festival. Most recently, he performed in OQ’s new productions of La traviata and Così fan tutte, as well as appearances in the inaugural Bel Canto Festival, Opera at Jimbour and the 2024 Festival of Outback Opera.

Internationally, Shaun has sung for Opéra de Lyon, New Zealand International Arts Festival, Freiburg Opera, L’Atelier du Rhin, and in New York at the Center for Contemporary Opera. He has performed to critical acclaim as a concert soloist in repertoire including Britten’s War Requiem, Fauré’s and Duruflé’s Requiem, Handel’s Messiah, Bach’s St Matthew Passion and Mendelssohn’s Elijah

Recently he was the bass soloist in Queensland Symphony Orchestra’s much lauded performance of Bach’s Weihnachtsoratorium. Shaun also holds the position of Director of Performance at The University of Queensland, School of Music.

CLORINDA SARAH CRANE

Brisbane soprano Sarah Crane has worked extensively in Europe with engagements at Cologne Opera, Opéra National du Rhin Strasbourg, Basel Opera, Freiburg Opera as well as Opera Australia, Opera Queensland (OQ), Opera Victoria and State Opera of South Australia.

Sarah’s operatic repertoire includes Hansel and Gretel, The Rape of Lucretia, Die Zauberflöte, Fidelio, Carmen, Roméo et Juliette, The Marriage of Figaro, The Merry Widow, The Love of the Nightingale, Rusalka, Alcina, Werther, Orlando and The Perfect American

Concert engagements include Brahms’ Ein deutsches Requiem, Orff’s Carmina Burana, Mozart’s Requiem, Handel’s Messiah for The Queensland Orchestra and Hong Kong Philharmonic Orchestra, as well as the Stabat Mater by Szymanowski with the Philharmonic Orchestra Freiburg.

Beyond the stage, Sarah is a dedicated educator, serving as a Vocal Lecturer at The University of Queensland. She is a sought-after adjudicator for vocal competitions across the state and regularly presents masterclasses for secondary school music programs, mentoring the next generation of singers.

Recent performances include OQ’s The Sopranos, the inaugural Bel Canto Festival, Opera at Jimbour, Mozart Airborne – a collaboration with OQ and Expressions Dance Company, Handel’s Israel in Egypt, the Mendelssohn-Hensel Oratorio and Mendelssohn’s Psalm 42 with Brisbane Chorale, Bach’s St John Passion with Canticum Chamber Choir, Beethoven’s Ninth Symphony with the UQSO, and A Poet’s Love, a recital in collaboration with Brisbane Music Festival and Opera Queensland’s Studio Series.

TISBE HAYLEY SUGARS

Hayley was a member of the Opera Queensland Young and Developing Artist Program (2007-2009). She has enjoyed success in many national competitions, including the German-Australian Opera Grant, which she won in 2010. This resulted in contracts with the Hessisches Staatstheater Wiesbaden and the Landestheater Coburg, where she was a resident soloist performing a wide range of mezzo-soprano roles.

Operatic repertoire includes Donna Elvira in Don Giovanni, the title role in Rinaldo, Mrs Grose in The Turn of the Screw, Rosina in The Barber of Seville, Varvara in Katja Kabanova, Flora Bervoix in La traviata, Mirabella in Der Zigeunerbaron, Suzuki in Madama Butterfly, Cherubino in The Marriage of Figaro, Dido in Dido and Aeneas, Valencienne in The Merry Widow, Prince Orlovsky in Die Fledermaus, Brangäne in Tristan und Isolde, Auntie in Peter Grimes and Marcellina in Le nozze di Figaro Hayley also toured state-wide extensively with seasons of A Night with Opera Queensland and Waltzing Our Matilda

Since returning to Australia, Hayley has performed to great acclaim for Opera Queensland, New Zealand Opera and Brisbane Festival. Most recently, she was a featured soloist in Opera at Jimbour, the First Witch in Dido and Aeneas and Alisa in Lucia di Lammermoor, as part of Opera Queensland’s inaugural Bel Canto Festival in 2024.

OPERA QUEENSLAND CHORUS

CHORUS MASTER NARELLE FRENCH

TENORS AND BASSES

Sean Andrews

Joel Berndt

Matthew Broadbent

Ryan Carlson

Brett Holland

Nick Kirkup

Daniel Kramer

Connor Willmore

Jia-Peng Yeung

QUEENSLAND SYMPHONY

ORCHESTRA

PATRONS

Her Excellency the Honourable Dr Jeannette Young AC PSM, Governor of Queensland and Professor Graeme Nimmo RFD

CHIEF EXECUTIVE

Michael Sterzinger

CONCERT MASTER

Natsuko Yoshimoto

VIOLIN 1

Eliza Scott

Sonia Wilson

Runa Murase˚ ○

Brenda Sullivan

Lynn Cole

Ann Holtzapffel

Haneulle Lovell˚ ○

VIOLIN 2

Nicholas Penfold

Katie Betts

Scarlett Gallery

Faina Dobrenko

Delia Kinmont

Lisa Smith˚ ○

Claire Tyrell˚ ○

Helen Travers

VIOLA

Imants Larsens ~

Charlotte Burbrook de Vere

Kirsten Hulin-Bobart

Ella Pysden

Gregory McNamara

Graham Simpson

Bernard Hoeyt

CELLO

Shuhei Lawson ∞˚ ○

Kathryn Close

Andre Duthoit

Alison Smith O’Connell

DOUBLE BASS

Phoebe Russell ~ Paul O’Brien

Anne Buchanan

FLUTE

Hayley Radke >>

Laura Cliff *˚ ○

OBOE

Huw Jones ~

Alexa Murray

CLARINET

Brian Catchlove >>

Kate Travers

BASSOON

David Mitchell >> Evan Lewis

FRENCH HORN

Timothy Allen-Ankins >> Vivienne Collier-Vickers

TRUMPET

Richard Madden >> Alfred Carslake

TROMBONE

Jason Redman ~

~ Section Principal

= Acting Section Principal

≥ Associate Concertmaster

>> Associate Principal

+ Acting Associate Principal

∞ Assistant Principal

^ Acting Principal

˚ Guest Musician

Information current at time of printing.

QUEENSLAND PERFORMING ARTS CENTRE

PO Box 3567, South Bank, Queensland 4101

T: (07) 3840 7444 W: qpac.com.au

CHAIR

Ian Walker

TRUST MEMBERS

Leanne Coddington

Dr Sophie Galaise

Rebecca Pini

Susan Rix AM

Patrice Scott

CHIEF EXECUTIVE

Rachel Healy

ACKNOWLEDGMENT

The Queensland Performing Arts Trust is a statutory body of the State of Queensland and is partially funded by the Queensland Government

The Honourable John-Paul Langbroek MP Minister for Education and the Arts

Sharon Schimming Director-General, Department of Education

QPAC rests on the lands of the Yuggera and Turrbal peoples. We acknowledge the Traditional Custodians of this country and recognise their rich cultural heritage and enduring connection to the land, waters and skies. Aboriginal and Torres Strait Islander peoples are this country’s original storytellers, and it is our privilege to continue to share stories and be a place of gathering on this land that has been a meeting place for millennia.

QPAC WARMLY THANKS OUR KEY DONORS WHO HELP US ENGAGE BROADLY ACROSS THE STATE AND CONTINUE ENRICHING LIVES THROUGH PERFORMING ARTS.

Tim Fairfax AC and Gina Fairfax AC, Dr Lee Coaldrake and Professor Peter Coaldrake AO, Leigh Tabrett PSM, Susan Rix AM, Julian Myers, Dr Sally Pitkin AO, Dare Power, Dr Cathryn Mittelheuser AM, Sandi Hoskins, Ningana Trust, Leigh Wheeler, Alida Rae Mayze and John Mayze, Lance Hockridge and Suzanne Hockridge, Brendon Mann and Brendan Smith, Judith Musgrave Family Foundation, Queensland Community Foundation, de Groots Charitable Fund, Professor Andrew Lister and Kate Lister, Greg O’Meara and Wendy O’Meara, Virginia Bishop, Joachim Erpf and Paula Erpf, Dr Colin Kratzing and Noela Kratzing, Ian Gough AM and Ruth Gough, Barbara Snelling, Frank Alpert and Karen Alpert, Dr Ailbhe Cunningham and Dr Frank Cunningham, Ann Sherry AO, John White and Judith Hoey, Rodd Chignell and Wendy Chignell, Jacqueline Walters, Terri Butler, Jenny Morton, Alana Jensen, Klaus Beckmann and several donors who wish to remain anonymous.

We give heartfelt thanks to QPAC’s Principal Partners Hyundai and MinterEllison and we acknowledge the valued support of all our corporate partners who help make our work possible.

Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

OPERA QUEENSLAND

PATRONS

Her Excellency the Honourable Dr Jeannette Young AC PSM, Governor of Queensland and Professor Graeme Nimmo RFD

OPERA QUEENSLAND BOARD

Chair Linda Apelt

Deputy Chair Katie McNamara

Treasurer Will Fellowes

Director Judy Mather

Director James Walker

Director Mark Fenton

Director Jane Keating

Director Kevin O’Brien

HONORARY LIFE MEMBERS

Emeritus Professor Christa Critchley

Anne Cross AM

Lady Jane Edwards AM

Martin Kriewaldt

David Macfarlane OAM

Marilyn Richardson

Emeritus Professor David Siddle

Dr Nancy Underhill

Opera Queensland Ltd ABN 83 010 258 750

Registered Office

Queensland Conservatorium 140 Grey Street, South Bank, Qld 4101

Postal Address PO Box 5792, West End, QLD 4101

Telephone 07 3735 3030

Email info@oq.com.au

OPERA QUEENSLAND

CEO & Artistic Director Patrick Nolan

Executive Director Adam Tucker

Chief Financial Officer Christine McEwan

Director of Marketing and Business Development Lucy Childs

Head of Music and Chorus Director Narelle French

Director of Technical Production Alex Loh

Director of Programming Simone Doczkal

Executive Assistant Lynne Anderson

Managing Producer Alicia Cush

Artistic Coordinator Charlotte Walker

Associate Producer – Learning, Regional and Community Justine Hansberry

Senior Graphic Designer Murray Summerville

Marketing Manager Jesse Sobey

CRM & Ticketing Coordinator Alexandra Donald

Philanthropy Manager Anneliese Berglind

Development & Events Coordinator Zoé Noble Fox

Head of Wardrobe Karen Cochet

Principal Cutter Bianca Bulley

Production Administrator Annette Kerwitz

Production Coordinator Rhi Booth

Finance Business Partner Sangeeta Khosla

Accountant Sara George

PRODUCTION CREDITS

MUSIC CREDITS

Music preparation Šarka Budinska-Boxall, Jillianne Stoll, John Woods

Language preparation Teresa Desmarchelier

PRODUCTION CREDITS

Stage Manager Mak Purdy

Deputy Stage Manager Katherine Crocker

Assistant Stage Manager Kaitlyn Meadows

Stage Management Intern Jasmine Smith

Head of Wardrobe Karen Cochet

Principal Pattern Maker Bianca Bulley

Pattern Maker Jacinta Vella Campbell

Costume Art Finisher Hannah Moroney

Costume Maker Marie Dupuy, Yesim Kara, Grace Louie, Lukas Schilling, Alle Sellens, Lily Yadlosky

Wig Styling and Preparation Lidiya Kaplun, Kat McAndrew

Wardrobe Assistant Beth Cook

Surtitle Writer

Wardrobe Volunteer

Props Hasen Degebrodt, Skye Heales

TECHNICAL CREDITS

Technical Director Alex Loh

Production Coordinator Rhi Booth

Production Administrator Annette Kerwitz

Head of Staging Hasen Degebrodt

Head of Lighting Tim Gawne

Lighting Desk Operator Simon Hardy

Sound Engineer & Operator Geoff McGahan

Titles Technician Stephen Brodie

Titles Supervisor & Operator Narelle French

Performance Supervisor – Wardrobe

Genevieve Pearson

Dresser Sara Zajac

Makeup Artist Rachael Appleyard

Wig & Hair Stylist Kat McAndrew

Lighting Supplier Krank’d Audio-Visual Productions

Transport Live Event Logistics

Special Thanks Buck Outdoor

BRISBANE BEL CANTO

EXPLORE THE ART OF BEAUTIFUL SINGING AT OTHER EVENTS DURING THE BRISBANE BEL CANTO FESTIVAL

THE BIRTH OF BEL CANTO

The Birth of Bel Canto traces the roots of bel canto opera back to the madrigal.

Known for its romantic poetry, intricate musical textures, and emotive vocal lines, the madrigal forms the basis of the bel canto operatic style. Five solo voices, accompanied by continuo (cello and harpsichord), will bring to life the expressive works of Monteverdi, Gesualdo, Strozzi, and other leading composers of the time.

These early songs explore themes of love, heartbreak, and the complexity of the human condition – the emotional terrain that laid the foundations for opera as an artform.

Presented in association with One Equal Music, one of Brisbane’s most accomplished choral ensembles.

Running time – approximately 60min with no interval

Musical Director

Tomasz Holownia

Soprano Louise Prickett

Soprano Cara Fox

Alto Eleanor Adeney

Tenor Tomasz Holownia

Bass James Fox

Harpsichord Andrej Kouznetsov

Viola di Gamba Dan Curro

ST BRIGID’S CHURCH, RED HILL THU 30 APR 7PM

BRISBANE BEL CANTO IS SUPPORTED BY PHILIP BACON AO & HAYMANS ELECTRICAL

PETITE MESSE SOLENNELLE ROSSINI

Rossini’s Petite Messe Solennelle (Little solemn mass), written in 1863, is anything but little and solemn, set to fill the iconic QPAC Concert Hall with over 100 performers on stage. This is a glorious celebration of sacred music written towards the end of Rossini’s life, a work of profound beauty and exultant joy.

Written for two pianos and harmonium, with four soloists and choir, our collaboration with The University of Queensland sees us joined by renowned organist Dr Graeme Morton and two virtuosic pianists – Liam Viney and Mia Huang.

Presented in association with The University of Queensland.

Sung in Latin

Running time – approximately 90min with no interval

Conductor Richard Mills

Director Emma Nightingale

Lighting Brianna Clark

Choral Preparation Shaun Brown, Graeme Morton

Soprano Maia Andrews

Mezzo-soprano Elizabeth Cooper

Tenor Connor Willmore

Bass Daniel Kramer

The University Of Queensland Chamber Chorale

The UQ Singers

Piano Liam Viney

Piano Mia Huang

Organ Dr Graeme Morton

CONCERT HALL, QPAC

FRI 1 MAY 7PM

RED DIRT HYMNS FORD

The idea of acclaimed composer Andrew Ford, Red Dirt Hymns is a collection of secular hymns with lyrics by some of Australia’s finest writers.

Working with poets including Sarah HollandBatt, John Kinsella and Ellen van Neerven, Ford has created a collection of songs that sing praise to the everyday. Be it in the shape of a vase or desire by a river at dusk, Red Dirt Hymns sings of an Australia we all know and love.

If The Birth of Bel Canto is a concert exploring the beginnings of bel canto music, in Red Dirt Hymns we invite you to explore the art of song today.

Presented in association with Queensland Conservatorium Griffith University.

Running time – approximately 80min with no interval

Composer Andrew Ford

Director Patrick Nolan

Musical Director Steve Newcomb

Singers Grace Arnell, Abbey Guilfoyle, Shelby Johnson, Megan Kim, Molly Quant, Cameron Rollo, Amalia Safanova, Madeleine Stephens, Jenson White, Jia-Peng Yeung

Musicians Angus Bryer, Jayden Fulwood, Liam Gane, Marcus Carruthers

OPERA QUEENSLAND STUDIO, SOUTH BANK

SAT 2 MAY 7.30PM

ARTISTIC DIRECTOR’S CIRCLE

THE ARTISTIC DIRECTOR’S CIRCLE IS DEDICATED TO SUPPORTING THE ARTISTIC VISION OF OPERA QUEENSLAND’S PROGRAM.

Members of the Circle understand the value of producing powerful contemporary work in both intimate and large spaces. Philanthropic investment from our donors to join the Circle will support innovative projects and initiatives whilst giving members unparalleled access to the artform and Artistic Director’s vision.

We continue to invite our donor community to join us on this important journey and thank our existing members for their continued support.

HOW TO JOIN

To join the Artistic Director’s Circle, donors make an additional contribution above their existing annual gift, pledging their commitment for the next three years. In doing so, members help secure the financial future of the Company and opera in Queensland.

CURRENT MEMBERS

We would like to take this opportunity to thank our current members for their commitment, loyalty, and generosity in supporting this campaign. Opera Queensland welcomes you to the Artistic Director’s Circle and are delighted to have you join us over the coming years, which we plan to be some of the most exciting in the Company’s history.

For more information visit: oq.com.au

OUR DONORS

LEGACY DONORS

The Estate of Lois Schultz & June Wheeler, the Estate of Marie Jameson

ARTISTIC DIRECTOR’S CIRCLE

Emeritus Prof Ian Frazer AC & Mrs Caroline Frazer, Prof Frank Gannon & Mrs Mary Gannon, Mr David Gow & Dr Kirsten Gow, Mr Hien Le, Emeritus Prof Andrew Lister & Ms Kate Lister, Emeritus Prof David Siddle & Emeritus Prof Christa Critchley, Dr Susan Urquhart† & Dr Philip Aitken†

FOUNDATION DONORS $15,000 AND ABOVE

Dr Philip Aitken† & Dr Susan Urquhart†, Mr Philip Bacon AO, Emeritus Prof Peter Coaldrake AO, Mr Tim Fairfax AC & Mrs Gina Fairfax AC, Tim Fairfax Family Foundation, Frazer Family Foundation, Hall-Brown Family Foundation, Ms Marion Pender, Mather Foundation, Emeritus Prof David Siddle & Emeritus Prof Christa Critchley, Anonymous 1

GOLD DONORS $5,000+

The Hon Justice Thomas Bradley§ & Dr Matthew Yoong, Miss Adele Dickman, Dr John Gough & Ms Ann Page, Mrs Andrea Kriewaldt & Mr Martin Kriewaldt, Mr Lee Nevison§ & Mrs Mary Louise North, Dr Ken Piaggio & Ms Jane-Frances O’Regan, Dr Mark Walker, Anonymous 1

SILVER DONORS $1,000+

Dr Richard Baer, Mr Damian Bartholomew§, Dr John Bashford & Ms Deborah Sinnott, Ms Jeneth Boughen, Emeritus Prof Catherin Bull AM & Emeritus Prof Dennis Gibson AO, Ms Anne Cross AM, Mr Robert Cumming§, Mr Gordon Cumming-Harris, Mr Will Fellowes & Dr Michael McLaughlin†, Mr Russell Fortescue, Prof Frank Gannon & Mrs Mary Gannon, Dr Ruth Gough & Prof Ian Gough AM, Dr Pamela Greet, Mr Michael Harvey, Ms Valmay Hill & Mr Russell Mitchell, Dr Annette Kortlucke† & Dr Peter Kortlucke†, Prof Andrew Lister & Ms Kate Lister, Mrs Gay Lohse, The Hon Margaret McMurdo AC§, Ms Katie McNamara, Mr Richard Mills AO, Mr Louis & Mrs Diana Peterson, Mr Dean Mole & Ms Helen Spencer, Mr Patrick Nolan, Mr James Pisko, Dr Sally Pitkin AO, Dr John Quinn† & Mrs Deborah Quinn, Dr Jonathan Ramsay, Mr William Rivers, Geoff Ross Endowment – Australian Philanthropic Service Foundation, Mr Richard Seville, Mr Allen Smith & Mrs Mitzi Smith, Mr Adam Tucker, Anonymous 2

BRONZE DONORS $500+

Mr Vincent Andrijich, Mr Geoffrey Beames, Mr Daniel Crump, Emeritus Prof Robert Gilbert, Mr Ainslie Just, Mr John Leak, Dr Ranjeny Loneragan, Ms Lyn Parsons, Mr Robert Sanderson, Dr Phillip & Ms Marisa Vecchio AM, Anonymous 4

EDUCATION GIVING CIRCLE

Dr John Bashford and Ms Deborah Sinnott, Mr Ian Briggs & Mrs Leonie Briggs, Mr Cameron Charlton & Ms Louise Charlton, Mr David Gow & Dr Kirsten Gow, Dr David Looke & Dr Kate Looke, Mr Peter & Mrs Nicole Thompson

†The Medical Chapter

§ The Legal Chapter

The information in this document is current as of 15/04/2026.

OPERA QUEENSLAND PRESENTS

“Once in a while a performance comes along so beautiful it takes root in the memory” Limelight 1/2

“…one of the most magical experiences you’ll ever have.”

Australian Traveller

19 – 25 MAY 2026

“The best in decades.” Limelight «««««

DVOŘÁK RUSALKA

25 JUN – 4 JUL 2026 GLASSHOUSE THEATRE, QPAC

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OUR PARTNERS

Opera Queensland is proud to partner with leading organisations who are committed to enriching lives through this wonderful artform. Each of our partnerships is unique and meaningful. We deliver a tailored suite of exclusive benefits with the intention to exceed expectations.

If you would like to join us, please phone 07 3735 3030 or email development@oq.com.au

GOVERNMENT PARTNERS

PHILANTHROPY PARTNERS

MAJOR PARTNERS

PRINCIPAL PARTNER

SUPPORTING PARTNERS

PERFORMANCE PARTNERS

ORCHESTRA PARTNER

MEDIA PARTNER