Pinchgut Opera

Reliving L'Ormindo

Thought I’d post some more photos of L’Ormindo so you can have the visual effect as you listen HERE.

 

 

 
        

   

 

As you know, our beloved chorus Cantillation was not part of L’Ormindo, and many of its members have let us know how terrific it was to be part of the audience for the first time (not again next year!). In any case, Cantillation is currently performing Haydn’s masterwork The Creation, with the Sydney Symphony at the Opera House. They performed last night and today to a terrific response and there are only 2 performances left - Friday 11and Saturday 12. Hear Sara Macliver, Steve Davislim and Florian Boesch, conducted from the fortepiano by Martin Haselböck. To book call (02) 8215 4600 or 9250 2777 or online at www.sydneysymphony.com.

Anna

Photos: score; Richard Anderson & Fiona Campbell; Kanen Breen & Anna Fraser; associate director Mark Gaal; Kirsty McCahon on violone; Trevor Pichanick & David Walker; Taryn Fiebig; Deb Fox on Theorbo; Anna Fraser fondles Erin Helyard (after she had fondled Matthew Ridley); David Walker and Fiona's leg. All photos by Simon Hodgson.

L’Ormindo's Last Performance

Last night’s closing was special. The performance was amazing and very emotional. Everyone gave everything and this was felt by the enthusiastic audience. It was also broadcast on Sunday night on ABC Classic FM, which is now available for streaming until the 16th December. So re-live it or listen to what you missed HERE.

Today we say goodbye to our overseas friends David Walker (Ormindo), Deb Fox, theorbo; and interstaters Fiona Campbell (Erisbe, Erisbe …), designer Adam Gardnir, Julia Fredersdorff, first violin, Laura Vaughan, lira da gamba and all our wonderful performers now move onto their next engagements. There was, of course, the After Party. Lots of fun with some tears. It’s just amazing that this group of people will never be together again. Erin Helyard has always wanted to do Cavalli and his direction and shaping of this music was a wonder to see and to hear.

Last night’s performance was David Walker’s last as well – and what a special night for him and for audiences. At the height of his singing career he is changing direction and will start a new career in arts administration, especially opera. We are honoured that he has chosen Sydney - and Pinchgut - for his last performance. All of us at Pinchgut wish David well for the future, and thank him for helping us create something very special.

The emails and comments continue to roll in with one Pinchgut opera virgin saying, "it was such a special experience that frankly I'd come and see you lot do a production of the White Pages."

The Opera Critic’s review is now online: "Sydney affords few better examples of the depth of artistic talent on offer in this country than Pinchgut. Combining as it does the lucid leadership of both Helyard and Masel with a first-rate cast and an especially felicitous repertoire choice, this irresistible L'Ormindo might just be the company's finest achievement yet." Full review HERE

Anna

photo: L'Ormindo Orchestra; David Walker. Photos by Simon Hodgson

 

Another Triumph

Last night’s second presentation of L’Ormindo was again met with a barrage of emails and comments. For now, here is what other social media and reviews are saying:-

A 4&1/2 star rating from Opera Britannia:-“… a stunning performance from mezzo-soprano Fiona Campbell…Campbell has a remarkably bright tone for a mezzo, and sang with unfailing golden tone. In realizing her love for Ormindo (“Che semina in un petto volubile”), she filled the auditorium with heartfelt glorious singing, and again in the (apparent) death scene, “Di te mi duole” was gorgeously plaintive." and "Countertenor David Walker appeared for Pinchgut two years ago ..and it is good to welcome him back as Ormindo. Ranging from the robust ringing tones of the opening scene to a tender and delicate rendition of “Erisbe, aspetto”” More…

 The Sydney Morning Herald review: “With strong musical leadership from Erin Helyard, the Orchestra of the Antipodes and youthful cast nurture the sensuous side of this music - its flowing, stylised lines and frequent cadences, its freedom, lilt and tendency to flower into ornamentation that rapidly bubbles across the orchestral texture…Counter-tenor David Walker, as Ormindo, sings beguilingly with a rich glow of gentleness and warmth. Against him Fiona Campbell (Erisbe) has a strong, brilliant and at times thrilling sound….Taryn Fiebig, as the Princess Sicle who turns gypsy to follow her unfaithful lover, extracts a remarkable expressive and dynamic range from this style of continuous mellifluousness, giving one of the most impressive performances of the night…Kanen Breen, in a high-camp performance as Sicle's supposed ''nurse'', brings the house down.” More...

The I am a liminal being blog: - “Go and make a night of it. Relax, enjoy the city, get into the time machine. You only have a few more chances.” And a great description of Erin Helyard as “a fantastic creature of all limbs.. emerging up from his harpsichord seat like a giant spider, working his players and the singers with much care and attention.” More...

A Cunning Blog:- “…a luscious Kanen Breen, wriggling and giggling like Kenneth Williams on acid.”

A blind recommendation (Club Troppo):- “Every December since 2002 Sydney’s Pinchgut Opera has produced an obscure baroque opera at the City Recital Hall. The company employs top-notch instrumentalists wth period instruments that produce an incredibly haunting and evocative blend of sounds; they gather outstanding soloists, including a few international guests; and they bring these together in a cleverly staged, intelligently directed musical drama. What they achieve, every time, is to make you scratch your head and wonder how on earth such a sublime masterpiece could ever have fallen into obscurity.” More...

The Opera Critic site (for photos gallery and hub of online stuff) More...

Musicqueart article: "17th Century opera was like a nightclub" More...

If you missed Erin Helyard’s interview on ABC's Radio National's The Music Show yesterday, listen up HERE.

And for only those that simply CAN’T make it to the 5pm performance today, then you can listen to ABC Classic FM’s broadcast at 7pm tonight. More...

I’d love to fill a post up with our audience's comments (after all - that is at the heart of everything!) but will collate them and add to the Pinchgut Opera website soon. So I will control myself for now, but just one (or two) more: - “I was able to become totally engaged in the music and left the performance completely revived.” and "The whole evening left me on a high. I couldn't sleep for hours".

See you at 5pm today or your LAST chance tomorrow - Monday 7th at 7.30pm. Call ph: 02 8256 2222 or online. Anna.

L’Ormindo reviews

Some of the reviews are out today and here is what they have said about Wednesday’s opening of Cavalli’s L’Ormindo:-

The Australian: “Pinchgut has always assembled a strong cast for its productions. L'Ormindo proves no different. American countertenor David Walker … impresses once again with his piercing clarity and sense of line. Pinchgut regular and mezzo-soprano Fiona Campbell sings the role of Erisbe with richly coloured, full-voiced power. As Sicle, soprano Taryn Fiebig displays her trademark tonal purity. Both singers also capture their characters' emotional complexity. Kanen Breen's Erice confirms his reputation as a brilliant comic performer while Anna Fraser makes a pleasingly bright-toned Mirinda….Cavalli's music reveals a composer with strong melodic and dramatic gifts. Under Erin Helyard's focused direction, the polished sonorities, incisive attack and sinuous phrasing of the Orchestra of the Antipodes realise both aspects of the score."

Artshub: “Love conquers all in this delightful confection by Pinchgut Opera…. It has soaring, floating music, superb singing and expressive recitative… Under the dynamic direction of Erin Helyard the Orchestra of the Antipodes glows."

Also listen in tomorrow morning to ABC Radio National’s The Music Show, Erin Helyard (L’Ormindo's music director) will be interviewed first up at 10am.

And another from our audience (‘cos I can’t help myself…):-

"As a regular attendee of Pinchgut productions, my congratulations on the best one ever. I went to the first night and thoroughly enjoyed opera which, not surprisingly, was unknown to me. Everything about the production was brilliant - the singing, the orchestra, the acting and the set."

So see it for yourself! I don’t want to hear that you missed it. Anna 

photo: Anna Fraser & Kanen Breen.  Photo by Simon Hodgson photography

Brilliant Opening for Cavalli’s L’Ormindo

Of course I would say that – but this is from the punters. At last night's opening of L'Ormindo there was a terrific buzz and I love eavesdropping and talking to our audience in the foyers. Many people said that they were delighted that it was such a magnificently performed, “contemporary” and brilliant work - and amazed it was written in 1644.

A few comments from this morning’s pile of emails:-

“… the most brilliant performance this evening.  It truly is the best of all the wonderful operas over the last 8 years of our beloved Pinchgut. From the first WOW factor of the set on entering, the lighting, the absolutely breathtakingly beautiful music played and directed so magnificently all evening, to the most glorious singers - one and all - each and every one - such beauty which never flagged, never lost its radiance - amazing characterisations for every role - humour played to perfection - wonderful costumes and brilliant direction overall. A lady who sat next to me said something quite wonderful I think - "I have come every year for the last four years, I love music, I am not a fan of opera, but I adore and would never miss Pinchgut". In admiration and awe of all your talent and commitment to perfection in musical experience in opera.”

"Congratulations on a superb L'Ormindo last night! This was certainly a musical highlight of the year for me. The performance was wonderful in every respect: production, singing and orchestra."

“…It was a privilege to be in the audience. Your work continues to surprise, dazzle and inspire. What's especially wonderful is the collaboration: talent, passion and commitment in a team working to create something magical. Each year I imagine you can't better what you offered previously, but you do."

Did you attend last night? Let us know what you thought. We would love to hear anything – good and not so good! anna@pinchgutopera.com.au

So tell everyone! And come again! Only three performances left, this Saturday, Sunday and Monday. You can purchase tickets online here or call 02 8256 2222

Some more pics:

  

  

   

Also note that ABC Classic FM will be broadcasting L’Ormindo this Sunday 6th December at 7pm, and it will also be available for streaming for 10 days from Monday 7th Dec. www.abc.net.au/classic/opera

Anna

Photos: Fiona Campbell & David Walker; Orchestra and Trevor Pichanick; Laura Vaughan on viola da gamba; Taryn Fiebig & Trevor Pichanick; Kanen Breen; Fiona Campbell & David Walker. Photos by Simon Hodgson Photography expect the one of Laura - that was Bridget Elliot's.

The Final Rehearsal

OK that’s it. With the General rehearsal this afternoon, we have a show all ready for you for tomorrow night! It sounds and looks amazing. The orchestra is in conversation with the singers. It is a very dramatic piece - and the instruments completly support of the singers - sometimes in conversation, sometimes travelling with them. The stage has transformed the whole feeling of the City Recital Hall - it is colourful and inspiring. Some parts of this opera are screamingly funny and some are wrenchingly sad. The cast and players will take you on an amazing emotional ride. We are all in awe of how the singers and players have mastered this difficult music so that the action unfolds effortlessly and powerfully as if they are just telling the story. Don't miss it

Some media to watch out for: Music Director Erin Helyard will be interviewed by ABC CFM's Margaret Throsbys' MORNING program tomorrow/Wednesday at 9am;
Today's Sydney Morning Herald article: "Desert songs given an extra layer of drama" read here.

Some pics from the General....

 

 

  

 

Photos from top to bottom: Anna Fraser and Andrei Laptev; Jane Sheldon; Kanen Breen & Trevor Pichanick; David Walker; Erin Helyard; Taryn Fiebig; Richard Anderson. All photos by Simon Hodgson Photography

The Ultimate Deadline

Today we had some of our Pinchgut Heroes and Ambassadors attend the afternoon rehearsals and it was great fun to see their reaction. And we can’t wait to see the opening night crowd’s response! Without our Heroes and Ambassadors – we could simply not present L’Ormindo. These folk come from a diverse range of backgrounds and are really keen on what we do and why. They help on many levels especially encouraging others to experience and connect with us. Gotta love that.

Back in the pit - the Pinchgut team is running on all cylinders. On every level - musical, staging, lighting - the energy is running high in order to perfect every detail in time for the ultimate deadline – opening night! Have you got your ticket?

Some pics without giving too much away...

  

  

   

Photos from top to bottom: Orchestra with David Walker, Fiona Campbell & Anna Fraser, photo by Justin Davies; Kanen Breen & Taryn Fiebig, photo by Justin Davies; Laura Vaughan, photo by Bridget Elliot; Mark Gaal & Adam Gardnir, photo by Bridget Elliot; Trevor Pichanick & David, photo by Justin Davies; Fiona, Richard Anderson & lutes, photo by Justin Davies; Deborah Fox & Tommie Anderson, photo by Justin Davies.

Lighting L'Ormindo

With only three sleeps to go today saw rehearsals in the City Recital Hall itself. To experience Cavalli’s extraordinary music together with the full staging, costumes and lighting in the venue has been very special for everyone.

I asked lighting designer Bernie Tan-Hayes a few questions including what the week leading up to Wednesday’s opening night means for him:-

“At one week out, we are about to go “Ito” or "production week". It goes something like this:

Thursday - see the last studio run. Sit down with the director to talk through the whole opera regarding how it should look, what progression or story we want to show with the lighting, and where we would like the cues to go.

Friday - "Bump in" day. Be on site to answer questions from the crew and keep the head electrician happy while they rig the lights from the plan. We will start to focus on Friday night (which is basically me standing on stage and telling the crew where to point the lights). 

Saturday - "plot" this is where I sit down with the director to record each lighting "state" into the lighting desk (basically a computer with extra buttons). 

Sunday/today - the piano stage rehearsals where I get to check the cues that I have plotted on Friday from light levels and timings. From here on in during the orchestral rehearsals and general dress rehearsal I continually tweak the lights to ensure everything is at its best for opening.

This year’s show has held many particular challenges for lighting which have needed to be overcome throughout the course of the week. However I am supremely confident that, aesthetically, we are delivering something uniquely different to our audience but still in keeping with and serving the work."

What is City Recital Hall Angel Place like to light?  "Angel Place is actually one of the hardest venues in the country to light. Everything about the place from the lifts to the architecture and lighting positions is designed to allow drama and emotion to flow from music. Unfortunately for me this doesn't translate into a good theatre. You will notice over the years we have discovered the best way to over come this is to bring in a lot of rigging to get the lights where we need them. It’s my belief that this imposition on the architecture of the space is greatly outweighed by the chance to allow the aesthetics of the show to speak with the same emotion and colouring that the music does. I am always incredibly unapologetic when it comes to the introduction of modern theatrical devices (such as lighting) into works which predate the modern era. I defy anyone to argue that such masters of theatre (and the drama of life) as Shakespeare, Mozart and even Cavalli and Faustini would not have used every method at their disposal, at the time, to communicate with their audiences."

What’s it like working with Pinchgut? "I have worked with many companies in my career and so far most have which been welcoming and hospitable. Pinchgut stands out from these though, as not a company but a family. It is a family which has shown great commitment, faith and interest in my art and my life. Like any family there are ups and downs but for the last eight years they have given me room to grow and explore my art. You could not ask more of any person or company!"

Gee, thanks Bernie and we look forward to seeing your art from this Wednesday.

Anna

Photo of Bernie by Bridget Elliot

All hands on Ormindo

Yesterday was a busy day. The production team bump in to the City Recital Hall while there was an orchestra rehearsal in the morning and then the Sitz in the afternoon at the Opera Centre. The Sitz is when everyone is together for the first time – players and singers. It allows the players to hear the singers, and all parties gain a greater understanding of the whole. Erin’s wonderfully efficient work managed to get through the entire show - and it really is a goosepimply, lump in the throat, hilariously funny ride - and that’s just on a purely musical level!

Meanwhile at the City Recital Hall, production manager Andrew says that everything went very smoothly with the bump in of the set including the delivery of costumes. (We were trying to keep the look of the set a relative surprise for you, but that went out the window with it splashed of the national newspaper and on this blog  - anyway this L’Ormindo will surprise on musical, visual and emotional levels.), Only 5 days till Opening Night!

Here are some rehearsal photos of Thursday’s rehearsal by our resident photographer and Pinchgut friend, Bridget Elliot:

      
    
   

    

   

 

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.