Pinchgut Opera

Pinchgut’s 2011 production will be Vivaldi’s Griselda

We are delighted to announce this year's production. Written five years before his death Griselda represents perhaps the culmination of his opera writing career, and the crowning glory of his relationship with his most famous pupil Anna Girò (for whom the part of Griselda was written). It was also the first time that Vivaldi received a commission from the most famous theatre in Venice – the Teatro S. Samuele – ending twenty two years of rejection by the great theatres of Vivaldi’s home city. With two such momentous events in his mind Vivaldi wrote the most amazing opera carefully balancing vocal pyrotechnics, expansive orchestral writing and the poignancy of the characters and story.

In both style and form it is vastly different from his Juditha Triumphans (which we performed to great artistic and box office success in 2007). Juditha was an oratorio, and this work for us is the first opera in the galant style since our inaugural production of Handel’s Semele in 2001. It requires a superb cast with great vocal and dramatic skills! We’re very excited about this work, and we know you will be too.

Vivaldi’s Griselda

4 performances (Mark your diary’s now):- Wednesday 30 November 7:30 pm; Saturday 3 December 7:30 pm; Sunday 4 December at 5:00 pm; and Monday 5 December 7.30 pm

City Recital Hall Angel Place, Sydney.

This will be the first Australian production of this work:  

Principals:
Griselda (mezzo): Caitlin Hulcup  (In photo above; by Tim South)
Gualterio (tenor): Christopher Saunders
Ottone (countertenor): David Hansen
Costanza (soprano): Miriam Allan
Roberto (countertenor): Tobias Cole
 
Artistic Staff
Conductor: Erin Helyard
Director: Mark Gaal
Lighting Designer: Bernie Tan-Hayes
 
Orchestra of the Antipodes on period instruments.
 
Sung in Italian with English surtitles (libretto by Apostolo Zeno, revised by Carlo Goldoni). First performed Teatro S. Samuele, Venice 1735.
Box office opens July 2011.

Check out our March newsletter HERE for more information. And join up for those that are not already receiving the newsletter - you will be entitled to opening night discount tickets and priority bookings.

Here's to a fabulous 2011!

Anna

Being Somewhere Special

Sunday’s performance was just stunning and a near sell out, with only 43 seats left. There is nothing like the energy of a live audience – it’s what makes the performance. Music is the heart of what we do and the audience is it’s driving force.

As for live experiences, it is rare to have something that really hits you in the chest, and makes you feel that you have been somewhere special. A “where you there?” moment.  We can set everything up in the hope that magic will happen “on the night”:- fine singers, the best line-up  of players, clever, innovative direction combined with an great design - but you can’t guarantee magic will happen. I, and many others, think we have something special going on, and you should really come along to the last night –
7.30pm Tuesday 7th December at the City Recital Hall.

Anyway, enough of my gushiness – here is what others have been saying:-

 Some reviews:

Australian Stage on-line:- “He (Antony Walker) conducts with such care and love of detail, and such passion for each event in the music, that I felt afterwards that I had really been somewhere special last night." Read more HERE.

Today’s The Australia:- “The alert, crisply articulated playing of the Orchestra of the Antipodes realised its strong dynamic contrasts and sudden changes in mood. Fast tempos and vibrant rhythms generated energy and momentum while conductor Antony Walker's care in sustaining balance and textural clarity illuminated Haydn's evocative sonorities.” Read more HERE.

More audience comments:-

Must say I was uplifted by the performance last night, I know when something has thrilled me because I want to go out in the street and sing out aloud! A bit scary really because I truly can’t sing... but it is my litmus test for a good show.

I am almost lost for words. It was a thrilling night, with great performances from all the principals, and the orchestra. The direction and staging were terrific. The set was brilliant, and the lighting worked wonderfullly, especially at the climax. Euridyce is beautiful in every way and acts like a dream - I hope we see a lot of her in the future. Orfeo's voice was meltingly sweet and totally appropriate, the kind of tenor I love. Creon was a commanding and sorrowful figure, also in great voice. I think there's much to be said for coming on closing night, when the show is likely to be at its peak. My guests and I were all enraptured.

"L'anima del filosofo was my fifth Pinchgut production, and I can only regret that it took me so long to discover you.  The music and singing were superb, as always, but I thought the staging the best yet. It was my companion's first experience of Pinchgut, and her natural enthusiasm reached new heights."

"After seeing my first Pinchgut production on thursday night (in which I now regret putting off for the last few years) I was absolutely blown away and I'm already keen for next years production, whatever that may be. The orchestra in good form was sounding at their best with a crisp articulate 'classical' sound. I now understand why Cantillation is an absolute favourite, filling the hall with their precision. Kudos to all involved, I will definitely be back next year."

"I attended the opening night last Thursday and, I have to say, Pinchgut Opera’s performances get better every time.  It was stunning from beginning to end – a truly memorable performance.  The singing, creative staging and costumes were first class and the drama of the opera got right to the heart.  Well done, Pinchgut.  We will be back for more in the years to come if you keep up this standard." 

For those that can’t make it to the live event - the production was broadcast on ABC Classic FM last night and is available for streaming for the next week or so. Listen up HERE.

A cast list and synopsis is online. The libretto – sung in Italian – and translation are here.

We look forward to seeing you on Tuesday night!

Anna

            

Pinchgut’s opening performance was a wonderful success.

The singers, Elena Xanthoudakis, Andrew Goodwin, Derek Welton just shone. The orchestra and Cantillation were awesome – coming together so beautifully under Antony Walker’s conducting. The design team Brad & Alex, direction by the very talented Mark Gaal, the production team … – everyone’s commitment to bringing the BEST possible musical experience to this opera was evident last night. And was acknowledged by the true judges - the audience.

Some of the emails from audience members this morning:-

"A triumph! Evidenced by the enthusiastic response of the audience; all our group were enthralled and agree that it is the best production yet. Please congratulate the artists crew musicians designers producers director and conductors and all involved. All the parts came together perfectly, music, singing, choreography, lighting, set, costumes, the full catastrophe! As Her Excellency said the other day no finer productions are staged anywhere in the world and Pinchgut deserves the highest accolades for this work.”

"Wonderful. I was completely blown away by the quality of your production and the amazing singers and musicians, more than once a year please!!! .....one of the most enjoyable evenings I've had at the Opera. I can't thank you guys enough, and my friend had a ball, she's a convert!

“Great night last night – love it. It gets better every year” (That’s a comment we get every year!)

“Congratulations to everyone involved in a wonderful performance. I cannot wait to hear it again on Saturday evening”

Yep – we’re chuffed. And so are our audience. Do come along and tell your friend and enemies. There are still some good seats left, so call the box office on 02 8256 2222 or book online HERE. We have also released some restricted viewing seats near the stage (great seats I think) for $30 each….

The dates: Saturday 4th December 7.30pm; Sunday 5th December 5pm; Tuesday 7th December 7.30pm

See you there, Anna

           

Pinchgut’s Orpheus comes together

Today were the stage orchestral rehearsals before tomorrow’s final rehearsal - the General. We have a fabulous show on our hands! The music is stunning, and it’s incredible that this piece has never been performed in Australia. Elena, Andrew and Derek are really superb. Cantillation and the orchestra sound awesome. The set (left) is simply beautiful – the City Recital Hall has been transformed like never before. The direction, the staging  - it really is all coming together.

Of course, I can say all this but it really does lie in the audience response. We had our first taste today when a few of our donors attended this afternoon’s rehearsal. One of them went down to the box office in the first little break and bought two more tickets so she could attend again. She knew once wasn’t going to do it for her.

Some recent Pinchgut media bits for you…

Last Monday’s The Australian for an article on Andrew Goodwin. READ HERE

Director Mark Gaal was interviewed by Andy Ford on ABC Radio National's "The Music Show" last Saturday. You can have a LISTEN HERE

And check out Wednesday's Sydney Morning Herald for an article on our wonderful Elena Xanthoudakis.

Two more sleep.. buy your tickets HERE

Anna

 

Do you love your work?

Sean Hall, assistant director and one of our “Fates”, emailed me this and I wanted to share it. All of us at Pinchgut are truly blessed; we certainly feel that time is upon us but we are all working very hard and can't wait to put on a fabulous show for you:-

"Standing at the coffee shop this morning, Jeff the barista asks, 'Off to work...' I nod as he finishes his sentence, 'work sucks huh?'. My answer wasn't expected, 'I love my job.'

Today will be our final production call in the rehearsal studio as we edge closer to the opening night of Hadyn's final Opera, L'anima del filosofo, the story of Orpheus and Eurydice.

Looking back over the last few weeks I can honestly say that each moment of bringing this rare and beautiful story to life has been at once a blessing and a challenge.

To experience the elegance and artistry of Hadyn's music, sung and played by such incredible musicians, to work with so many talented and creative doers, in a sun drenched rehearsal room overlooking the skyline of Sydney's post modern architectural landscape has been a gift.

The challenge however is always the same. Will we find the right language to articulate our story? Will the cast find a connection with each other, are our choices the right ones? How will the work be received by our audience? And is there ever enough time?

As Erin finishes tuning the piano forte, ad our actors stretch out their bodies, and our singers start to warm up their voices singing through passages of Aria and Recit, it looks like another day is about to begin and another time to remember how much I love my job."

Only 3 sleeps to go! See you there....

Anna

Photo of Sean Hall with the other 2 actors "Fates" Nick & Jake.

Pinchgut's Orchestra arrives

Today’s post comes from Pinchgut’s Liz Nielsen:-

Great day today as the orchestra arrives from all over the country and Europe. Ken and I have had Lizzie Pogson (violin) and Simon Rickard (bassoon) staying with us. Quite amazing to hear the melodies from the show coming from our spare bedroom downstairs. Simon was talking about how unusual this company is - that players like Lisa Goldberg who lives in Brussels and plays with some great orchestras in Europe wanting to come to Pinchgut each year. It is because everyone who plays with us is giving their all for the music. The experience of playing in this orchestra is as exciting for the players as it is for the audience.

Yesterday I sat in on a production call for the second half of the opera. I was curious to know how Elena makes the transformation from the Sybil back to Eurydice while still on stage. It is done beautifully right before our eyes! The three fates are working very hard. It is a very physical role for them to create the different creatures of the underworld and then become mortals again. They are a very strong presence throughout the opera. We treated them all to a massage courtesy of a masseuse from our audience.

Annie Whealy came into the rehearsal yesterday so she would have a good idea of the production before she starts her classes on the opera for her 60 students who attend her Music with a View course. Annie remarked on how wonderful it was to see such talented people like Mark Gaal, Antony Walker, Erin Helyard and Nicole Dorigo shaping the scenes together.

We move into the City Recital Hall on Sunday and then it is straight on with stage rehearsals ready for Thursday December 2 -Opening Night!

Photo of the orchtras with Antony Walker (above), Alice Evan tuning (below); and a photo from yesterday's reherelas of Erin Helyard at the keyboards with Derek Welton singing and Elena dying.

        

Only one week to go before opening night of Pinchgut's Orpheus!

Ticket sales are going better than for any previous production, and we do hope to sell out a few shows at this rate! Thursday 2 December and Sunday 5 December are the best sellers and Saturday 4 and Tuesday 7 close behind – so these might be your best bet for better seats if buying today!

The set is taking shape and I can’t wait to see this twisted stack of PVC piping transform into a magical urban forest in the City Recital Hall. Costumes are underway with a lot more bodies to dress thanks to the fabulous Cantillation – who are a chorus of 19 taking on some glorious music – with nice surprises during the performances. And then of course our three Fates (actors Sean, Nick & Jake), the stunning Eurydice (Elena Xanthoudakis), Orpheus (Andrew Goodwin) and Creon (Derek Welton). Read more about them HERE.
 
Antony Walker arrived yesterday morning and after a hotel drop off and shower came straight to rehearsals. It’s good to see him! Then Antony, Erin and Mark settled into the days rehearsals. Alice Evan who will lead the orchestra has attended some rehearsals before the orchestra arrives on Friday/tomorrow morning.
 
In this week’s newsletter (just released) we asked in the competition – how many opera were written on the Orpheus and Eurydice story since Monteverdi's in 1607. There has been some quite lengthy answers with some explaining what constitutes an opera and what doesn’t. The answer lies some where between 60-70 – quite an extraordinary number! Have a read of the newsletter for a lovely article on Antony and a short history of the fortepiano HERE.

Our lovely and regular photogrpaher Bridget Elliot attended rehearsals and took these photos for us a few days ago.

See you in a week! Anna

                   

Creation emotion: stress & release, highs & lows

Much has happened in the last few days.

Yesterday, I sat in the Duet scene in Act 1. Mark warms up everyone and talks through what will be happening on stage, the chorus are in rehearsal only occasionally so the actors/Fates and principals really have to work hard and improvise around their absence. Haydn’s music really does move you to extremes. Mark explains the very human emotions that contrast with the implacability of the gods who are looking down on the mortals.  In the next scene emotions swing to another extreme. There are many highs and lows in the opera.

There have been a number of media calls including Andrew Goodwin (in The Australian with due out Thursday 25th) and Elena Xanthoudakis (in Sydney Morning Herald, to be published TBC) . The Fates (three actors from NIDA) continue to impress with their beautifully moving and, at times, hilarious actions that complement the music and the drama so well.

Today, Genevieve Lang, our wonderful harpist work though the recits with Erin during the lunch break on her beautiful harp which is the first harp she ever played Genevieve tells me.  Everyone associates the harp with the Orpheus story and its perhaps one of the reasons why so many composers used the legend as a basis for an opera. Erin has incredible stamina and is constantly bringing the best out of Elena, Andrew and Derek. They are all working so incredibly well together. He also has some funny sayings and accent take-offs. “I’m not going to micro-manage you on that phrase, but whatever you do I want it to be magical” he says to Elena and Andrew.

We have two interested and attentive work experience girls with us this week, Yasmin Stelling and Georgia Kerswill. They are helping out in all sorts of area including marketing, set building, costumes and as stage director’s assistants.

In the Opera Australia rehearsal space we are concentrating on music and blocking the action. Andrew Johnston and Brad Clark are working hard building sets; Alex Sommer and Corinne Heskett are busy with all sorts of things including fittings, hunting for material, sewing etc..

Tonight we had the full company in rehearsal with the addition of Cantillation. AMAZING. Another post...

Anna

 Photos: The three Fates: Sean, Nick & Jake; Genevieve Lang and her beautiful harp; Director Mark Gaal and assistent director Sean Hall; Elena Xanthoudakis & Andrew Goodwin rehearse the duet scene - yum!; Elena directs Mark - Mark directs Elena; "Is it really only 2 weeks until opening?" Mark and Erin Helyard.

  

 

 

       

Pinchgut rehearsals: What makes Haydn’s Orpheus so different..

It’s so good to hear you together!” – Erin’s exclaims after the first run through of their first duet. And boy, do they go together. It’s such an art to cast well. And we certainly have a Eurydice and Orpheus that go fabulously together. Our artistic team, Antony, Erin and Alison work very hard to get the best and well-matched voices; it’s a skillful and clever business.

Last Friday, the men’s chorus had their first rehearsal. It’s so powerful hearing Haydn’s music by this strong and talented group of men. The chorus in this opera, as explained by director Mark Gaal, are primarily the Gods – sometimes they comment on the action, sometimes they direct the action, but they never get their hands dirty. They have the Fates as their servants to carry out their wishes. Unusually the men and women quite often sing at different times; the men have more of the music at the beginning with the wild shepherds and the abductors, and the women have more of the music towards the end where they are the bacchante.

One of the differences in this setting to other Orpheus interpretations is the addition of Creon, Orpheus’ father. The two men have very different responses to the longer term impact of the death of Eurydice; Orpheus can’t find a way to move forward and is unable to recover from his loss; Creon finds a way not to get lost in his grief, and is able to move on.

Derek Welton is our Creon. He arrived in Sydney yesterday and was thrown by Sydney’s high temperatures and humidity! Even though today is cooler he’s still feeling the oppressiveness. It’s great to hear a baritone after the higher voices of Orpheus and Eurydice, and it gives him a lot of authority and gravitas as Eurydice’s father. He has some lovely arias, which he sings beautifully, and all three are very different.

Here are some photos of the last few days of rehearsal….

photos: Men’s chorus in first two photos; Elena & Erin; Mark gives Derek the low down on arrival; the awesome team of Nicole Dorrigo (lanaguage coach) & Erin; Derek get's measured up; Derek now confident he knows everything thanks to Mark; Eurydice and Orpheus finally together! - Elena & Andrew.

        

        

 

Women make the party

Yesterday’s rehearsal was a long one. With three calls and the woman’s chorus joining the evening call, there was much progress.

Pinchgut’s Liz Nielsen attended and emailed me this morning:- “What a joy to hear them. This is a very strong chorus of 5 sopranos and 5 altos. You will recognise a lot of the faces, Lindy Montgomery, Alison Morgan, Natalie Shea, Jenny Duck Chong and Jo Burton. Haydn splits the chorus into men and women and gives the most beautiful music to the women who actually end the whole opera. Erin led the rehearsal from the fortepiano. Nicole Dorigo was there to help with the Italian. It was so interesting to see Nicole and Erin work together to see how the singers shaping the words musically and phonetically makes for a beautiful sound. I left the rehearsal after the women’s chorus grieving over Eurydice's grave. Listen out for this at the beginning of Act 3 as it is an extraordinary piece of choral writing.”

Soprano Elena Xanthoudakis, who will be performing the roles of Eurydice and the Sybil, also joined Pinchgut for the first time in the morning - with a coaching session with Erin Helyard, a work through on some of her recits, and then a discussion with director Mark Gaal and Erin (photo right). This is her first time with Pinchgut and first opera role in Australia since she sang Adina for Victorian Opera in 2008. Elena says of this visit:- “ I can tell you I am really looking forward to returning home soon and getting the chance to dig my teeth into this glorious music!”.

Today is another full day with the three actors/Fates continuing working through each scene, and the men’s chorus joining the rehearsals this afternoon. Meanwhile, there is much activity outside the rehearsal space:- with the amazing set being built; costumes being made and tested; and marketing and promotions in full swing.

And summer has hit! Hot, sunny and humid - and mangos almost at their best.

Anna

Photos: The woman’s chorus from Cantillation; Mark Gall, Elena Xanthoudakis & Erin Helyard.

Orpheus Joins the Party

Andrew Goodwin, who will play the role of Orpheus, joined Pinchgut rehearsals for the first time today. After some coaching session with Erin Helyard, Andrew joined director Mark Gaal and Erin to discuss the production – expectations, experiences hoped for & emotions to be felt! Tomorrow’s it Elena Xanthoudakis' (Eurydice) turn.

Andrew is a very highly skilled and accomplished tenor. From all accounts he has been impressing many people over the past decade in Europe, England and most especially in Russia - a place where going to all sorts of cultural events is an integral part of life. Andrew left Australia for Europe in 1999 at the suggestion from his piano teacher to study voice. He attended the Rimsky Korsakov Conservatoire in St Petersburg, which has been a training ground for classical musicians for many years. Andrew sang the role of Lensky in Tchaikovsky’s Eugene Onegin at the Conservatoire Theatre, a rare achievement by a foreigner (Check this video out and read the comments). Performing in many of Russia’s most prestigious musical halls, he met his Russian wife, singer Maria Timofeeva (who has accompanied Andrew with their gorgeous little boy on this trip). He certainly is a wonderful ambassador for Australia and we are delighted to have him, and his family, with us.

Although it’s only three days into rehearsals, I think Mark, Erin and the three lovely boys - I mean, Fates - are feeling very settled. Sean Hall is assistant director to Mark and will also be one of the three Fates. He took the afternoon session with the other two actors from NIDA, Nick & Jake, to go through the finer points…

Here are some pics from today’s rehearsals:-

Above: Mark Gaal & Erin Helyard proving that they know what opera they’re doing.

Below: Nick Gell, one of the Fates, has some time out. Co-artistic director and keyboard guru, Erin Helyard

   

L’anima del filosofo rehearsals begin.

             

 

Well, you could really call it a soft-start – as the chorus start in a few days, with the principals starting in a week.

The Pinchgut rehearsals are at the Opera Centre in Surry Hills. The fortepiano, that we have borrowed from Neal Peres Da Costa, was moved in early this morning, with Erin Helyard also in early - keen to get his fingers moving on the keyboard. Andrew Johnston, production manager, had been moving props and other staging bits in for several hours before the 10.30am start. Our trusty stage manager and hat lover, Sophie MacKay, Alison Johnston, artistic administrator, and myself where also there.

Then it was over to our director Mark Gaal, Erin and our three “Fates” (actors from NIDA - Sean Hall, Nicholas Gell & Jake Speer). Mark started by simply playing the opera through (using the Decca recording with Christopher Hogwood and Cecilia Bartoli) and commenting on what will be seen on stage, while Erin talked about the music including the unusual aspects of the text with the music etc... Mark went though the lighting moods and action and what the audience will experience. For example - during the overture the audience will listen to the beautiful music with some clever lighting and simple staging with the Fates – in order to orient themselves for the action to come next. Mark is a genius and has really come up with a brilliant concept.

Elsewhere, everyone is arriving in Sydney. Elena Xanthoudakis (Eurydice) arrived on Saturday and Andrew Goodwin (Orpheus) is here already with his family. They will have some coaching sessions with Erin and Nicole Dorigo during this week. Derek Welton (Creon) arrives next weekend  - and all of them ready for their rehearsals from next Monday 15 November.

We’re all feeling very inspired and excited – with much to do! It’s always so good to start rehearsals and I know many of the choristers, principals etc.. are eager to get into the rehearsal space.

Anna

Photos of Mark, Spohie & Andrew; the 3 Fates: Nick, Jake & Sean.

Meet the chorus and orchestra for Pinchgut’s Haydn’s Orpheus.

Our November newsletter has just been published, and it is a terrific read! I have never received so much response actually - so I’m glad to see we (the Pinchgut team) are not the only one’s excited. With only 4 weeks to go until opening night, there is much to do…

In this edition, we are thrilled to announce the extremely talented people who will be joining us in the chorus and orchestra this year. Haydn’s stunning opera calls for a full classical orchestra and a considerably bigger group of players than last year. Here they are (from the newsletter):-

Cantillation – the chorus

One of the big drawcards of L’anima del filosofo is the chorus. The chorus has much of the best writing, and participates in every part of the opera. This year we are delighted to have a number of new choristers with us; and the singers are travelling from as far afield as the UK, Hong Kong and Newcastle to be a part of this. The sopranos are Sarah Jones, Lindy Montgomery, Alison Morgan, Anna Sandstrom and Liz Scott. The mezzos are Jo Burton, Jenny Duck-Chong, Judy Herskovits Natalie Shea and Nicole Smeulders. The tenors are Phil Chu, Andrei Laptev, John Pitman, Koen van Stade and Dan Walker; and the baritones/basses are Chris Allan, Craig Everingham, Ashley Giles, Robin Hilliard and Richard Mitchell.

Orchestra of the Antipodes – the orchestra

The orchestra for this is a full classical orchestra – which includes two of all the woodwind; horns, trumpets, trombones and timpani. There are also a couple of unusual inclusions – with the harp (to be played by the lovely Genevieve Lang) and two cor anglais. No-one now has classical cor anglais, so these parts will be played by our very versatile classical clarinet players Craig Hill and Ashley Sutherland. The whole orchestra will be led by Alice Evans, with Julia Fredersdorff leading the seconds. Danny Yeadon will be the principal continuo cello and Erin Helyard is playing the fortepiano. The other string principals are Nicole Forsyth (viola) and Kirsty McCahon (bass). The other violinists are Matt Bruce, Myee Clohessy, Sarah Dunn, Matt Greco, Miranda Hutton, Brendan Joyce, Skye McIntosh, Lizzie Pogson. The other viola players are Tom Chawner and Tara Hashambhoy, and the other cellists James Beck and Edi Cordingley. The flutes are Melissa Farrow and Mikaela Oberg, the oboists are Kirsten Barry and Adam Masters, and bassoons Simon Rickard and Lisa Goldberg. Darryl Poulsen and Lisa Wynne-Allen are on horn, Leanne Sullivan and Helen Gill on trumpet, Ros Jorgensen and Nigel Crocker on trombone and Brian Nixon on timps. So some new faces here, and travelling from as far away as the Netherlands, Belgium and New Zealand to take part.

So ALL of us looks forward to presenting this wonderful music to you – LIVE. Tickets are going great guns, and we always sell a large number of tickets in the final week  - so if you really want to see the sweat from the team above, I suggest you book now.

Anna    

Photo: Orchestra of the Antipodes in last year’s L’Ormindo. Photo by Simon Hodgson

Andrew Goodwin has a Magic Voice – it’s official.

Last night the Governor of NSW, Professor Marie Bashir, hosted a cocktail reception for Pinchgut at Government House. It was a very special evening. Her Excellency is very supportive of what we are doing, as she is with many arts organisations in NSW, and has been attending our productions for many years even before she was the Governor.

Erin Helyard (harpsichord /co-artistic director) and tenor Andrew Goodwin (Orpheus) only arrived in Sydney a few days ago and although they both claimed to be suffering from jetlag – it did not show. They performed the stunning aria “Cara speme! Alme di scoglio!” (My dearest! Ah, you have hearts of stone!) from L’anima del filosofo – and it was completely transporting, particularly in the beautiful ballroom of Government House.

Her Excellency said of Andrew after the short performance that we were all in the presence of a voice that was truly magical, and that everyone should experience it. Everyone who attended was equally impressed. I wish I could bottle Haydn’s gorgeous music that Erin and Andrew made in that moment and simply play it in the heads of Sydneysiders – and beyond!  We would all be a happy lot.

Anna

Pics: Andrew Goodwin and Erin Helyard at Government House

The Pinchgut team starts arriving in Sydney

You know things are speeding along when Pinchgut people begin descending on Sydney – even if it is raining. Erin Helyard arrived this morning from Montreal and we are all eager to see him (after some recovery sleep and coffee). Erin is here this week for a special Pinchgut reception at Government House this Wednesday evening and then to start coaching sessions with the singers before the start of pre-rehearsals on Monday 8 November.

Andrew Goodwin (Orpheus) in already in town with his young family, he will also be attending and performing at the Governor’s reception.  Andrew will also be performing a recital with Musica Viva on the 11 November with pianist Daniel de Borah.

Elena Xanthoudakis (Eurydice/Spirit) will be arriving the end of next week from London and will be having some coaching session with Erin. She was in Australia a few weeks ago for some recitals in Melbourne and Sydney, and I managed to get some photos of her for our production. The designers, Alex & Brad and director Mark Gaal, gave me directions on the style they wanted Elena to be portrayed in. So, after some fabulous hair and makeup by Elena’s friend in a Greek goddess look, our friend Bridget Elliot manage to capture her as Eurydice for our take on Haydn’s version of the famous story. Here are some photos from that day.

The last of the principals – Derek Welton (Creon) – is arriving in Melbourne, his home town, at the start of November. He’ll be catching up with his family who he hasn’t seen for quite a while for ten days or so before coming to Sydney mid November for the start of rehearsals.
 
The orchestra is now fully booked with the chorus nearly there. Our artistic team, Alison, Antony & Erin, do a terrific job at lining up the best talent and we are delighted with who will be joining us this year. We will announce everyone in the next week’s newsletter, so join up HERE.
 
We’re making sure our edition of the opera flows well, and works with the design and production. Small cuts are being made to ensure that we cover all the tricky corners. We’re also making choices on continuo instruments, so that we get all the colour and flavour we can for this. If you’d like to be more familiar with this version of the story you can read the entire libretto on our website HERE.
 
We just need to organise for the sun to come out again.

Anna

Images: Elena as Eurydice, photo by Bridget Elliot; Below: - Being shot & assessed by Bridget

  

Recording Haydn

After much discussion at Pinchgut in the last month we have decided to record this year’s Haydn Orpheus ourselves. It will be under the Pinchgut label, and will be the best L’anima del filosofo recording on the market – of course!

ABC Classics recorded all of our productions for CD release until last year – and did a terrific job. It’s wonderful to have all those beautiful recordings. However, in the current climate, they have said they cannot record us this year. So after numerous discussions about whether we are able to do it ourselves – we have worked out a way to proceed.

We want the enjoyment our audience will experience in December to be available for everyone. We already have a great cast of talented singers and a full classical orchestra, and we have now engaged an excellent recording and CD production team. This includes Tom Grubb and Mark Edwards who will be working with ABC Classic FM together with our friend and all-round talent in these matters - Patrick Mullins. Classic FM are recording this production for broadcast on the Sunday 5th at 7pm. It can be tricky working out the logistics and ensuring that the live experience is priority, but we are in good hands.

We know many people were disappointed that last year’s L’Ormindo was not recorded and we didn’t want to let another year go by without seeing if all our efforts could make this work. We estimate that the recording will cost us $32,000 and we need to raise funds of $20,000 by the first of November this year in order to pay the costs during December. We are doing well so far but more donations would get us to the mark. So if you are able to help or can find out more HERE or contact me.

The image is of our 2008 production CD-  David & Jonathan. There's a great review in next month's November LIMELIGHT magazine titled "Live and dangerous" which says that this is "another splendid outing from Pinchgut".

Anna

(And more posts from now on! I haven’t been lost in the surf – but wrapped up with preparing for the start of rehearsals in a few weeks – I’d hate you to miss out on all the behind the scenes….)

Concert Goers Past

From to my last post, I thought it would be interesting to compare 18th century European audiences to those of today. Erin Helyard writes in the latest Pinchgut newsletter that London in the 1790s was “one the most prosperous and politically stable cities in Europe. The upper and middle classes were gripped with what was contemporaneously called “a rage for music” and its concert rooms and halls, musical gardens and opera houses were filled with a excited and engaged public, eager to hear and judge the latest music.”

Haydn went to London in December 1790 on invitation from Johann Peter Salomon, a German violinist, composer and entrepreneur. He was the toast of London immediately. His contract was to compose six symphonies and an opera (L’anima del filosofo). Erin writes that “Salomon’s concert series that year, featuring Haydn, was an unqualified success, both artistically and financially. So successful was it that Salomon re-engaged the composer for the following year (1792), much to the displeasure of Haydn’s patron at Esterháza.”

You can read more of Erin’s article HERE, and you may want to check out his article about the musical treatment of the Orpheus myth from Monteverdi to Glass. Happy reading – and happy ticket buying.

Anna

Are opera audiences bored and disengaged? And what's happened to make them that way?

 There’s a good article in Opera News, by features editor Brian Kellow, who looks at the current state of opera audiences. He believes that “over the past twenty years, much of the life — much of the fun — has been drained out of the operagoing experience, and the audience has been gradually tamed and muted. They're paying top dollar for their subscription tickets, and they honestly want to enjoy themselves. But if they are having a good time, why do so many reactions to performances seem so subdued? Where are the throat-ripping "bravos" routinely heard on so many old pirated recordings?”.

Our approach at Pinchgut Opera is that the music comes first and everything we do supports this - from casting, staging and venue to marketing and promotion. We believe that those that come to a performance need not be afraid to try it and, we hope, be surprised how much they like it.

We produce beautiful operas that are rarely performed because we want people to be amazed and delighted by a new experience. Choosing a hall where the orchestra and the singers can be seen and heard well so that the music can overwhelm the audience was part of trying to bring a new experience of opera to our audiences.

We do hope you will give us a try….

Anna

We see the design of Pinchgut’s Haydn’s Orpheus

We had the fabulously exciting design presentation this week from Mark Gaal, director, and Alex Sommer and Brad Clark, designers. They came to my place and met with Andrew Johnston, production manager; Alison Johnston, artistic administrator; John Pitman, board member; Liz Nielsen, Chair; Sophie Mackay, stage manager, and myself. 

We have all been very excited and anxious to know how Haydn’s L’anima del filosofo will look. We know the music is going to be simply stunning but how will it be experienced visually? 

Mark has of course worked with us previously and he has an amazing way of thinking and the treatment of this work is really something. It will certainly be different to what we have done before, with the City Recital Hall being transformed into an urban forest of sorts. Without spoiling your delight when you walk into the space on performance night - they have created a timeless world of fates, gods and mortals. It will be transporting with some lovely surprising moments. They will use the height and splendour of the City Recital Hall, with Haydn’s ending of the Orpheus myth presented with passion and rawness. 

Mark explained first how they got to the design. Alex and Brad then showed us around the set using the model box and the unusual way of creating this world that the characters will inhabit (and that Andrew will have to start building soon!). They showed us ideas of what the costumes will look like and some interesting effects that will be achieved. 

Expect an exciting landscape, gorgeous lighting, and beautiful costumes and make-up. It really is a stunning design that assists in the telling of this Orpheus story and Haydn’s beautiful music.

Anna

Photo of Brad, Alex and Mark at the design presentation - with a snippet of the model box

About Haydn’s Orpheus

Our August newsletter is out today and explores thoughts on our 2010 production – Haydn’s L’anima del filosofo.

At Pinchgut we choose works that are not well known but should be. There are many reasons that work may have been left off the performing circuit during the decades & centuries, usually for no fault of their own. And often time for no good reason at all. Our artistic team, Erin Helyard, Antony Walker & Alison Johnston, finds these gems (and there are many), then we debate their relative merits and our circumstances before deciding which one to present. Of course, we would love to present more than just one a year…

L’anima del filosofo is a work that has never been performed in Australia before. Haydn’s orchestral works and quartets, including Creation and The Seasons, have had many performances, but not so the operas. Haydn scholar H. C. Robbins Landon believed that L’anima del filosofo contains some of Haydn’s grandest thoughts and within the framework of an artform that in Haydn’s lifetime was dying - opera seria - he managed to pen a most beautiful farewell to this ancient and venerated genre. Robbins Landon even went so far as to say that “in fact, there are many moments in Orpheus which are quite above and apart from any other music Haydn ever composed.” We believe it has been unjustly overlooked and deserves to be heard.

Read more in today’s newsletter here…

Anna