Pinchgut Opera

Rock Star Erin Helyard

Erin Helyard featured in today’s The Australian newspaper, describing his directing style at times like “a keyboard player in a rock band”. Erin talks about his loves, L’Ormindo and Pinchgut – and there are some terrific quotes. For example:-

"Some of my [musicology] colleagues don't have any physical contact with a musical instrument; that's like a sex therapist not having sex."

“I've said to the singers that in Montreal all our fruit is sent up via Mexico and isn't very good. I had a tomato here (Sydney) the other day and it was like a tomato times 20. L'Ormindo is the same: the arias are very short, it's condensed, the emotion is times a million."

About Pinchgut Opera. "We're opening up a whole new soundscape and that's what we're about; we're lucky enough to use each production as a springboard for discovery."

Read the whole article here. Experience the tomato times 20 here.

Another fabulous read is the Pinchgut November Newsletter just released. It features newcomer tenor Trevor Pichanick and countertenor David Walker's future plans.

Anna

Photo of Erin Helyard by Sam Mooy Source: The Australian

Cavalli's orchestra

Erin welcomed the orchestra today by talking about Cavalli and the constitution of the orchestra at the time of the first performance of L’Ormindo in 1644 in Venice. Erin said that very little is known about performance practices of the time. There are a few contemporary German treatises trying to describe the Italian style, but the Italians seem to have been so furiously playing and creating music that very little was documented by them. So not a lot is known of the actual line-up that Cavalli had in his first performance of L’Ormindo. Erin said the only known instruments where two lutes, two harpsichords, harp, violone, two violins and two string parts that may have been gambas or more likely viola da braccias (we are using violas). There may have been another string bass but we’re not sure. We know this because a record of the accounts was kept – how much money was paid to each player. However this doesn’t necessarily tell the full story as we also know that some players were seen as professionals (and thus paid), while others were amateurs and thus not paid. Our orchestra for L’Ormindo is a pretty good replica of that orchestras for the first performance, but with a few additions. Erin has added two recorders for colour, and has added another lute. We also have a couple of string basses as we are sure they would have used them.

Here is the list of players and their instruments:-

Violin: Julia Fredersdorff, Matthew Greco
Viola: Nicole Forsyth, Tom Chawner
Cello: Daniel Yeadon
Lira da gamba & Viola da gamba: Laura Vaughan
Violone: Kirsty McCahon
Recorder: Matthew Ridley, Melissa Farrow
Harpsichord: Erin Helyard, Neal Peres Da Costa
Lutes / Theorbos / Guitars: Deborah Fox, Tommie Andersson, James Holland
Baroque Harp: Genevieve Lang

    

Photos: top: Erin Helyard with the orchestra. Danny Yeadon & cello; Luters: Deborah Fox, James Holland, & Tommie Andersson

Parts, Production, Promos & Passion

With only a week left to buy tickets until opening night, there is much excitement and intensity to bring this special L’Ormindo to the stage. Here are some photos of today’s rehearsal with David & Trevor being directed by Mark Gaal; Deb and Erin spend lots of time on the parts. Also today - some of the women had their costumes fitted; final touches to the props; and the radio, newspaper and online ads have started  with some nice feedback from our audience (and even nicer ticket sales results).

   

Top: David Walker on set; Bottom: Trevor, Mark & David, Deb & Parts

Sara & Erin do Handel, as Cavalli gets a workout

Over the weekend, the extraordinary soprano and Pinchgut favourite Sara Macliver and our own mega-talented Erin Helyard performed a stunning private concert of Handel arias. One of the raffle prizes at the July’s Pinchgut Fundraising evening was a private performance by Sara Macliver. Anthony Whealy, a regular audience member, won the prize and decided to turn it into a little fundraiser evening of their own for Pinchgut! It was a wonderful night at a beautiful home that overlooked Sydney harbour and when Sara and Erin performed the encore work “Have you but seen a white lily grow?” - I think there was a collective lump in throat of the audience. So thank you Sara, Erin and Anthony.

Anthony’s wife Annie runs the regular classes "Music with a View" at her home in Kirribilli, and this year’s theme is Cavalli's L'Ormindo of course. There is a final class on next Monday 30th, so if you would like to attend and meet a group of people who are all attending L'Ormindo, please contact Annie on 02 8904 9150 or awhealy@bigpond.net.au

At today’s rehearsal time was spent on the final scenes in Act 3 – which means that every scene of L’Ormindo has now been staged. We’ve now got one week and one day before the opening night. We’ll be perfecting every scene, finishing the costumes, rehearsing all the joins, polishing the language and moving into the theatre. On Wednesday the orchestra begins, which is always a red letter day, and means that we’re very close now.

Anna

Photo: Sara Macliver as "Jonathan" in last year's David & Jonathan. Photo by Simon Hodgson

L'Ormindo countdown

It is just under two weeks now to opening night. The morning’s rehearsal started with a complete run through of the show. Some people in the studio who had not seen all of it were laughing out loud at the really funny parts - especially those that involve Kanen Breen (who will sing the role of Erice, Sicle's elderly nurse). It is such a great show. Costumes are underway, hats being made and boots are on the men.

The orchestra arrives next week. Deb Fox has worked hard on theorbo with Erin throughout all rehearsals and now will be able to lead the whole continuo when Genevieve Lang joins her on double harp, Danny Yeadon on baroque cello, Laura Vaughan on lira da gamba & viola da gamba. The orchestra will be lead by Julia Fredersdorff. L’Ormindo has a small orchestra with 14 players in all. And for those who love to sit in the front of the stalls - Kirsty McCahon is playing the violone which is a little smaller than the double bass and there will be three theorbos (with lutes & guitars) played by Deb, Tommie Andersson & James Holland – seeing and hearing these wonderful strings close up.  Not long before we are all together and ready for you all! Box office is very lively and all the interviews are in place for the newspapers.

We are on our way.  Are you on yours?

Anna

Photos: Top: designer Adam Gardnir, production manager Andrew Johnston and lighting guru Bernie Tan-Hayes sporting some of the costume additions. Bottom:  Deb and Erin with most of the behind-the-scenes team, behind them.

A day in the life of a Pinchgut Opera Stage Manager

Stage managers are the behind-the-scenes heroes of any production. They need to multitask, ensure everything happens like clockwork on performance nights, that rehearsals run to their full potential and they must be able to handle every possible situation with ease!  When it comes to stage managing an opera, there are certain skills required – and L’Ormindo’s Stage Manager, Sophie Mackay and Assistant Stage Manager, Lauren Tulloh have these skills in abundance. I asked Sophie to describe their day yesterday:-

"I came into work slightly earlier than usual. Lauren and I started the day by sweeping the floor (lots of bare feet in this production) and re-setting for Act 3. Palm trees were moved and added. At 9.30 we both went to the weekly Production Meeting. This is where the Director, Designers and Production Crew meet up to discuss the progress of everything in the production. It’s a great chance for everyone to be on the same page. The whole lot is discussed including steps in the set, production schedules, safety and rehearsals.

From the Production Meeting, Lauren and I found out about a new prop would be needed for the afternoon’s rehearsal. A pair of handcuffs (not the police kind) was fashioned out of some rope and gaffer tape. Gaffer is the key to everything. As the saying goes “If you can’t fix it with gaff then it’s not worth fixing.”

Rehearsals start at 10.30 every morning. There is always a different way to start the day. Sometimes the cast get straight up on the floor. Other days the music will be looked at first. The role I play in the rehearsal process is to record all movements that happen on the floor. I time excerpts as we run them as well as passing on information that comes out of the rehearsal room to the necessary people. Props need to be set in the correct places and taken on stage by the right characters. Lauren and I help to monitor this.

Working on L'Ormindo for Pinchgut is a wonderful gig. The rehearsal room has a great atmosphere and is always great to watch the evolution of a show taking place."

Many thanks Sophie, only 2 weeks until opening night!

Anna

Photos: top: Sophie Mackay with one of her many hats. Bottom: Lauren Tulloh modelling the pair of handcuffs.

Pinchgut at the Art Gallery of NSW

It was the first time that such special instruments and this stunning line up of musicians were together.

The programming was perfect and certainly in the Pinchgut spirit. Erin programmed excerpts from L’Ormindo inrterwoven with instrumental works from Cavalli's contemporaries. Julia Fredersdorff (violin) played a stunning version of Caccini’s “Amarilli Mia Bella” introduced by Matthew Ridley on baroque recorder; In a gorgeous Ciaccina by Merula, Laura Vaughan was delighted to show off Australia’s first lira da gamba (made by Ian Watchorn); similarly Deb Fox was able to introduce the new theorbo (made by Peter Biffin) with short set by Italian composer (German name) Kapsberger. Erin’s fabulous antidotes about the story line of L’Ormindo and the works delighted the 350-strong crowd, and I’m certainly looking forward to 350 tickets sales at the L’Ormindo box office today! (minus a few already going… )

And the singing – sublime! David Walker (Ormindo) - countertenor and Trevor Pechanick (Amida)- tenor, opened with Act 1 Scene1 where the two men confide in each other that they are in love (only to find that they both love the same woman, Erisbe.) This passage has some beautiful combinations of the two voices and was the first demonstration of how this music is a co-operative effort- the singers with each other and with the instruments. It really is an ongoing conversation. Then Fiona Campbell (Erisbe) - mezzo soprano, delighted us with the very funny aria in Act 1 Sc 7 where she bemoans the fact that she is married to an old man when she would like to experience the delights of lovely young spunks. Taryn Fiebig (Sicle) - soprano, brought out the torment of having found out that her love, Amida, is in love with Erisbe. Fiona returned to bring a more serious emotion into the performance, as Erisbe dedicates herself to Ormindo and we realise the risks she faces because of that commitment. All four singers returned to wind up a beautiful night with the happy duets which end the opera when all has been resolved.

 

  

Photos: Laura Vaughan & Julia Fredersdorff before the crowds; In performance the Scena Ultima in L'Ormindo with Sicle, Amida, Orminod, Erisbe - the closing work of a stunning night; Bottom - Ken and Liz Nielsen "Bailed Up"; Erin & players at rehearsal.

A fast pace for a fun drama

The last few days have seen Act 1, Act 2, and some of Act 3 (the last act) blocked. Erin & Talya are driving with a fast pace, and they need too. L’Ormindo is a character driven opera – as Erin discusses in the video below. The plot is complicated with lots of intrigue and mistaken identity and there is a lot of text. You will need to pay attention, but it will be a fun ride.

We are going to have a very busy time over the weekend with some of the singers and players rehearsing throughout Saturday for a performance for the Art Gallery Society of NSW this Sunday at 8pm. It will be a lovely program of some selections from L’Ormindo, and, as Erin says the “flipside of Venetian entertainments; a choice selection of instrumental music from the period, destined not for large public spaces but rather for intimate private ones.

Some pics from rehearsals:-

    

       

Top: Erin Helyard and Fiona Campbell; Boots delivered for the blokes..Bottom: Deb Fox tuning; Deb & I at the lunch break and Erin still hard at it..

Music Director Erin Helyard talks Cavalli & L'Ormindo

During the lunch break and whilst waiting for The Australian’s photographer to arrive, I managed to ask Erin a few questions about life one week into the L'Ormindo rehearsals – and what he reckons you are in for come opening night on December 2 (have you booked your tickets yet?):-

Love Triangles Snippets

 Should rehearsals be this fun? Liz caught a straight run through of the scene where Erisbe (Fiona Campbell) is complaining to her companion Mirinda (Anna Fraser) about the boredom of being married to an old man. There is a lot of laughter and the whole scene is funny, sensuous, and gorgeously sung. Fiona and Anna's voices blend well and they are both very amusing actors.

Before lunch, I witness an incredibly moving scene with Sicle (Taryn Fiebig) realising that her beloved, after all her efforts, is “languishing for a new lover”. Erice, her elderly nurse (Kanen Breen) tries to comfort her – and the music, the acting (and athleticism - see pic of Kanen jumping the set) is extraordinary. Then, music director Erin Helyard was whisked away for an interview with The Australian. Props are arriving daily in the rehearsal studio, which is getting more and more Moroccan.

Great music and great fun! Anna

Photo: Kanen not breaking a leg yet, Erin on harpsichord and Deb on theobo.

Blog Comp: win a L’Ormindo CD

Sydney’s 2MBS-FM (102.5FM) will broadcast the special radio program called  “Cavalli’s L’Ormindo: HIP, Then and Now” next Monday 23rd November at 9am (EST). The program aired on 3MBS in Melbourne a few weeks back and now it’s Sydneysiders' turn to hear the terrific insights about the comparisons between two L’Ormindo recordings. Pinchgut’s co-artistic director, Erin Helyard spent several months putting it together (see here for a little more info).

Select has given Pinchgut a copy of the Les Paladins, Correas recording (2006) – I thought I’d give it to a blog reader who emails me the instrument that Erin will be playing and conducting from in Pinchgut’s L’Ormindo opening 2 December? Email me (anna@pinchgutopera.com.au) by Monday 23rd November 10am.

Anna

A recent review by Stephen Schafer:-

L’Ormindo: Sandrine Piau/Les Paladins/Jerome Correas
(Pan Classics PC10196)
With the opening of the first public theatre in Venice in 1637, opera (initiated with the first melodramas privately staged for cultured princes and  aristocrats in Florence and Mantua during the preceding decades) became the most prestigious form within an entertainment industry that would flourish through the following centuries. Cavalli’s L’Ormindo, performed in 1644, is a marvellous example of this exciting new genre in which high- and low-born characters shared the stage in spectacular productions that mixed drama and comedy, pathos and satire, contrasting class values and convoluted plots involving mistaken identities, amorous adventures and surprising revelations of identity, in much the same way as the Broadway musical would later do.
 
With a star cast comprising Sandrine Piau (Harmony), Martin Oro (Ormindo), Howard Crook (Amida) Dominique Visse (Nerillo), Magali Léger (Sicle), Jean-François Lombard (Erice), Stéphanie Révidat (Erisbe), Karine Deshayes (Mirinda), Jacques Bona (Hariadeno) and Benoît Arnould (Osmano) and the superb ensemble Les Paladins led by Jérôme Correas (harpsichord), this recording perfectly captures the ebullient melodramatic spirit of mid-17th-century Italian opera. Abounding in lively recitative interspersed with songs and arias, numerous short instrumental sinfonias and ritornelli, the opera bubbles along with never a dull moment as the two pairs of amanti (Ormindo and Erisbe, Amida and Sicle) prove, as always, that though the path of true love never did run smooth it does, eventually, lead to conjugal happiness, while Nerillo all the while derides their situation and shenanigans. Far from being an antiquated curiosity, L’Ormindo springs to life on CD with all the fun of a classy musical soap opera. One anticipates redoubled enjoyment at the rare opportunity to see it staged! Highly recommended.

Eavesdropping

Director Talya Masel worked very fast on Friday blocking about 50 pages of the score, which is great as we have a lot to get through each day. L’Ormindo has an enormous number of words to be sung and staged. Music Director Erin Helyard on harpsichord and Deb Fox on theorbo, have formed a very close musical partnership which is giving great confidence to the singers.

It is proving very useful to have the set already erected in the rehearsal room, although it means bumping it in twice – once at the Opera Australia studios and then later into the City Recital Hall. The singers are working on the set from day one and that means every move is able to be finally placed and needs no further resetting for the stage.

Pinchgut’s Liz Nielsen was at today’s rehearsals and watched Talya direct David Walker (Ormindo), Trevor Pichanick (Amida) and Fiona Campbell (Erisbe) set the scene for the two rivals eavesdropping on each other with Erisbe. The multi-levelled set allows for great hiding places for eavesdropping and the scene is very funny and powerful, setting the tone for the following actions. As Liz says, “I am so in awe of what opera singers do - this is beautiful but difficult stuff to sing but they also act and deal with different levels of the stage and all without letting the audience see the huge amount of work involved.”

Anna

Photo: Music Director Erin Helyard on harpsichord and Deb Fox on theorbo - what a team!

 

L’Ormindo: A feast for the eyes and the ears – all is revealed (to some)

        
Director Talya Masel and designer Adam Gardnir presented to the company what L’Ormindo will look like. From what was said – I think you are in for quite a visual and musical feast! Talya explained a few of the many subtleties within the direction that will heighten the depth of the experience for both the audience and the performers. She refers to the opera as “the play” – as she says that this is how this is constructed. Erin agreed - saying what we think of as operas of this period were all called dramma per musica (a play with music). Adam then described the costumes - and how they will add the world of colour and timeless space that is being created.

After a run down from the stage manager, Sophie Mackay and production manager Andrew about the safety issues with the set (“don’t fall on your head”), the singers then had a chance to walk all over it.

Then it was straight into Act one, Scene one: Ormindo (David Walker)… “Fu per me ben felice, l’inusso di quell’astro, sanguinoso e guerriero...

Photos: top: Talya & Adam in serious mode; David Walker with the red top - I think enjoying how his Ormindo will look; Bottom: Pinchgut's Liz, Erin and John Pitman taking it all in.

Sets, Camera and Music!

               

Today saw the arrival of Perth-born (though now living in Melbourne) director Talya Masel. Talya dropped her bags at the apartment and then headed straight to the rehearsal studio. Soprano Taryn Fiebig greeted her home-town friend with some gorgeous flowers and helped Talya do her hair for the photo (see the pics)! It was quite clear that Talya loves directing and is comfortable being on that “side of the fence” – and not on stage nor in front of camera. We need to take the final photos of the cast and crew for the (fabulous, in-depth, must-have, purchase-now) program today, as it needs to be at the printers soon - everything is working to a tight schedule.

 

Erin Helyard is doing his magic. Here he is at the harpsichord with Taryn, Kanen, Trevor (standing), Fiona, David (standing) and Deb on the theorbo.  Although it’s only the second day at rehearsals, Erin has been hard at it for that last 5 days working with individual singers and on many other aspects needed as Music Director!

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On the production side of things, production manager Andrew (and designer Adam Gardnir) are delighted to get the nearly completed set into the rehearsal space. With the delivering of the trap doors early this morning, they spent the afternoon securing all the joins and stairs etc. so it’s very secure for the singers to be able to rehearse on the set from tomorrow.

Andrew looking rather chuffed!

 

L'Ormindo rehearsals have started

Rehearsals started today with the Erin Helyard - music director & harpsichord and Deb Fox - lute and individual singers. Deb was saying that although she has learnt all the music - a continuo player has to hear the singer to really know what is going to happen. They are there to support the singers. She also pointed out that as this kind of music involves a lot of improvisation, 17th Century jazz really, it has to be a cooperative effort. Just the right work for Pinchgut!

Yesterday Liz spoke at an opera study group run by Lauris Elms for U3A at Newington. Lauris first came to Pinchgut Opera when she saw Juditha in 2007 as we knew she had sung the role of Holofernes. Liz spoke about Cavalli, why we want to do this gorgeous music, and about the new faces among our soloists, including Trevor Pichanick. She also spoke about our design team Talya and Adam and what they have planned. At the end, a charming, excited woman came up to Liz unable to believe the set of circumstances she found herself in. She is from Harare in Zimbabwe and knows Trevor's family. She also has friends in Israel who know Talya's parents, and in fact they had emailed her that day. She will be getting back to them to tell them about Pinchgut and L'Ormindo. It is this kind of connection between our audience that is very special, making it rewarding and connected for the performers too. I will be letting Trevor and Talya know just in case they are not reading the blog!

Anna

The heat is on!

With only hours until the start to the rehearsals, 4 weeks to sell out before opening night of L'Ormindo, and at 37 degrees as I write this – the heat is on!

I picked up lutenist Deb Fox this morning from the airport, and soprano Jane Sheldon was on the same plane flying in from Boston. So it will be Jane and Deb who will be the most jet lagged for tomorrow rehearsals. However, on arrival at Ken & Liz’s (where Deb will be staying for a few weeks), Ken managed to hit the spot with breakfast including in-season "Katherine" mangos (for the current Mango Crop Harvest Report go here - thanks to Ken).

Deb only had her guitar this time (leaving her theorbo at home this year). She calls it a “violin” to airline staff in order to allow it to travel with her in the overhead as the guitar isn't very big, and she knows it fits.

Deb has been busy in Rochester, New York with her own group Pegasus, performing her last concert of music for the lute and viol consort only last week. Music inclued works by Holborne, Byrd & Dowland. She said it was a wonderfully rich collaborative experience for all the performers and now ready for Pinchgut!  Deb added that she has been listening to Cavalli on the flight and is now back in the 17th century.

Anna

Photo: Deb Fox, an hour after arriving. I’m not that mean taking these photos – at least I don’t interview our musicians at this time!

Ormindo arrives and Travelling with Instruments

Pinchgut’s Liz Nielsen picked up David Walker from the airport early on Sunday morning to take him to his apartment on a clear sunny Sydney morning. David lives in Florida so a sunny morning is no big deal for him but he did have a big grin on his face (despite just getting off the plane) to be back in Sydney.

David was such a lovely team player last time he was here in 2007 for Vivaldi’s Juditha Triumphans and we are very happy to have him and his golden voice back with us. He has a few days to get over jet lag before rehearsals (Wednesday start). Deb Fox is next to arrive from Rochester, New York and Jane Sheldon from Boston. Erin Helyard arrived from snowy Montreal last Wednesday. Fiona Campbell was here from Perth to perform at last nights Sydney Philharmonia's beautiful “War & Peace” concert performing the Haydn’s Mass in Time of War – it was a stunning performance with the talented Brett Weymark conducting. She is back with her family in Perth for a few days before returning to Sydney soon.

On the ground here, Andrew Johnston has nearly completed the set that will be installed in the rehearsal room so the singers are very familiar with it before they get to the City Recital Hall. This is a first for us as the singers haven't worked with the set until we bump in to the Hall before. It will be interesting to see how this works.

We are booking all the flights for the orchestra members coming from outside Sydney. For the larger instruments, such as Laura's lirone that means two seats as the lirone needs its own seat - too risky in the hold! Deb Fox is leaving her theorbo at home this year and using a theorbo owned by the Early Instrument Collection here. On one of her trips back from us in the past, despite a hard shell case, the airline managed to break the neck of her precious theorbo when it was in checked luggage. The theorbo will not quite fit in the cabin! This is the first time on stage for this theorbo, which is being built by Peter Biffin in Armidale, NSW. Erin's harpsichord, which is the right sort of Italian instrument, has been shipped from Montreal where it will join another Italian one borrowed from Carey Beebe's collection. It is very exciting to have two Italian instruments for this piece. It is a huge job that Alison does to get our orchestras together every year. We always chose exactly the right instruments and players needed for the work  - quite a job!

Anna

Photo: David Walker as Holofernes in 2007's Juditha Triumphans. Photo by Bridget Elliot.

Is there something in the water in WA?

“Not the water we drink, but the water we swim in. There's something about the ocean. It feeds the spirit.”  Director Talya Masel told 2MBS's Fine Music magazine for an article that was published in the November edition that is out today.

The cover story is about our production of L’Ormindo focusing on the Western Australian talent  - there are “three proud Perth women on the roster, as director Talya Masel and singers Fiona Campbell and Taryn Fiebig join forces with a merry band of locals and imports to bring Francesco Cavalli's madcap comedy L'Ormindo to life in true Pinchgut style.” Read the article here…

Lots of activity on all fronts now and delighted to have the Pinchgut team all on the ground preparing for the first week of rehearsals. The rest of the cast & crew will be arriving in the next few days including Talya Masel, David Walker, Jane Sheldon, Adam Gardnir & Deb Fox.

Anna

Photo: Director Talya and designer Adam during the design presentation a few months back..

Pinchgut Cast & Crew start arriving in Sydney

Erin Helyard arrived early this morning from Montreal - via a few stopovers and a nearly missed connection.  So after the (very) early airport pick up, shower and coffee, he talked about the amazing projects he has been doing and the upcoming L’Ormindo (I’ll get the flipcam on him soon!). Erin will be spending time with family in Gosford for the next few days before returning to Sydney on Saturday. He has scheduled some preliminary chats with various cast members & Pinchgut team before the start of rehearsals next Wednesday including Alison Johnston and Fiona Campbell (who is already in Sydney for the Sydney Philharmonia performance of War & Peace this Sunday at the Opera House).

Last night, I went to Opera Australia’s Peter Grimes - one of the best productions I’ve seen OA do. Just loved it ALL – music, staging, performances, chorus, orchestra…. There is only one last chance to see it this Friday night – GO! A few singers who are performing in Peter Grimes will also be part of Pinchgut’s L’Ormindo - including Richard Anderson (who I hardly recognised in his fat suit), Taryn Fiebig & Kanen Breen. And I managed to have the talented Fiona Campbell sitting next to me! A superb evening.

Anna

Photo: Erin Helyard this morning after a day in a plane.. 

October Pinchgut Newsletter out today!

In this edition we ask soprano Taryn Fiebig to answer a few questions for us. Taryn will be singing the role of Sicle (the Princess of Susio) in L’Ormindo, which will be her first time performing with Pinchgut. She is a principal artist with Opera Australia, and has worked with many organisations Australia wide. Also in the newsletter are articles about soprano Anna Fraser who will be singing the roles of Mirinda and Melide; and the talented harpist Genevieve Lang who will be playing the double harp.

We are also running a competition: - we will give a CD box of your choice of recordings of past Pinchgut productions to the person who can put the L’Ormindo poster in the most unusual place. It must be legal (no red painted “Love Triangles” on the Opera House) - and if on private property the owner must consent. Take a photo showing where your poster is and we will judge the funniest or most original. You can pick up a poster from the City Recital Hall Angel Place, or email me and I’ll send back the poster for you to print out. Then just email your photo to me at anna@pinchgutopera.com.au by 2 December. Check out the poster here..

Anna

Photo: Taryn Fiebig. Photo by Steven Godbee