17 - 27 March

Your Opera Company

The Rake’sProgress

Igor Stravinsky

Music Director’s Message

It is a great pleasure to welcome John Bell to Victorian Opera to direct our production of The Rake’s Progress. For some time we have tried to engage this great Australian director to work with us and now we are all enjoying his time with us. Leon Krasenstein, designer of the costumes and set, makes his Victorian Opera debut. We welcome him together with Matt Scott, one of our regular lighting designers.

The Rake’s Progress is the first of our major works for 2012 and balances our production of The Marriage of Figaro to be presented in July. Stravinsky’sneo-classical opera is directly inspired by Classical conventions. Judith Armstrong’s excellent essay provides fresh insight into this work and places Rake’s in context.

Stravinsky was a major musical force. Love him or hate him, he’s here to stay. It is nearly seven years since Victorian Opera presented Mozart’s Cosi fan tutte, a work Stravinsky references in The Rake’s Progress. For me, these seven years have been some of the most wonderful years I have spent with music.

Working with directors, designers, singers, composers, orchestral musicians and the greatly dedicated staff at Victorian Opera under Lucy Shorrocks’ management, has been an experience for which I am eternally grateful. We have broken new ground and placed this company at the forefront.

Your support, your enthusiasm for our work and your commitment to staying with us is inspiring.

Thank you.

Richard GillMusic Director

Managing Director’s Message

Welcome to 2012. I am delighted you can join us for the next chapter in Victorian Opera’s glorious story with these performances of Stravinsky’s The Rake’s Progress.Stravinsky was an incredible intellect – but also iconoclastic in his view of the world. For a composer to write `I haven’t understood a bar of music in my life, but I have felt it’ in a period when the prevailing view was focused on an academic reading of works, demonstrates how instinctive and honest he was.

I am delighted to lead a great team at Victorian Opera who understand music – but also have an instinct for helping it connect with as many people as possible. Richard Gill’s artistry, passion and generosity of knowledge and spirit underpin the way we work as an organisation and I know these values are now embedded in our organisational DNA.

An example of this was our regional tour at the end of last year. Victorian Opera toured a range of performances, education and audience participation work (including youth opera) which connected with communities in a profound and direct way. Diverse audiences engaged with opera for the first time and could not wait to share their experiences with us.

One of the great joys of running Victorian Opera is the range of work we perform. As an organisation we are nimble and fleet of foot – to move from regional touring to a full pantomime in Her Majesty’s and now Stravinsky’s The Rake’s Progress is challenging, invigorating and ensures there are actively engaged artists, staff and audiences.

I would like to take this opportunity to thank all our individual and corporate supporters who give very generously to support the work you see on stage tonight as well as the significant and extensive education work. They include John Holland, The Robert Salzer Foundation, City of Melbourne, RACV and opening night and presenting partner for The Rake’s Progress, Foxtel. In between the performances of The Rake’s Progress we have created hour long performances of Rossini’s La Cenerentola for primary school children performed by our Master of Music (Opera Performance) students. Last year, when we piloted the Education Program over 2,000 children and young people attended Victorian Opera’s mini Magic Flute.

Maybe this range of work for diverse audiences suggests the devil really does have the best tunes....

Thank you for your support – and I look forward to welcoming you to another performance soon

Regards

Lucy ShorrocksManaging Director

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The Rake’s Progress

Composer Igor StravinskyLibrettist W.H. Auden & Chester Kallman

An opera in three acts and an epilogue

First performed in 1951, Venice

Sung in English with surtitlesRunning time approximately 2 hours and 45 minutes including one interval

Performed at the Arts Centre Melbourne, Playhouse 17 - 27 March 2012

ConductorDirectorSet & Costume Designer Lighting DesignerChoreographer & Assistant DirectorAssistant Conductor/Rehearsal PianistStage ManagerAssistant Stage ManagerTechnical Coordinator/Head ElectricianHead MechanistCostume SupervisorProps Buyer

RepetiteurEnglish Coach

CASTAnne TruloveTom RakewellTruloveNick ShadowMother GooseBaba the TurkSellemKeeper of the Madhouse

ORCHESTRAOrchestra VictoriaConcert Master Roger Jonsson CHORUSMargaret Arnold, Jonathon Bam, Paul Batey, Anna-Louise Cole, Frederica Cunningham, Angus Grant, Michael Lapina, Oliver Mann, Anna Margolis, Cheryl MacDonald, Marianne Pierce and Matthew Tng.

These performances of The Rake’s Progress by Igor Stravinsky are given by permission of Hal Leonard Australia Pty Ltd, exclusive agents for Boosey and Hawkes Music Publishers Ltd of London.

Richard GillJohn BellLeon KrasensteinMatt ScottSteven HeathcotePhilip JamesonEmma BeaurepaireJessica SmithettPeter DarbyJack GrantRoss HallTia Clark

Phillipa SafeyEilene Hannan

Tiffany SpeightBenjamin NamdarianJerzy KozlowskiAndrew CollisJonathan BodeRoxane HislopJonathan BodeOliver Mann

Synopsis

Act Iscene iGarden of Trulove’s house in the country. Afternoon in Spring.The scene opens with a duet celebrating the idyllic love of Tom Rakewell and Anne Trulove. Anne’s father, Trulove offers Tom a position in a counting house. Tom’s refusal makes Trulove ‘uneasy’.

Somewhat offended at Trulove’s comment, Tom sings of the merits of Fortune. Nick Shadow appears and tells Tom of an inheritance. Tom calls in Anne and Trulove to hear the news. Nick insists that Tom leaves for London immediately. In the matter of wages, Nick insists the account will be settled in a year and a day and thus, “the progress of a rake begins”.

scene iiLondon, Mother Goose’s Brothel.Nick brings Tom to the brothel of Mother Goose where ‘her children’ toast to Venus and Mars. Questions of nature, beauty, pleasure and love evoke in Tom a terror, which he quickly dismisses as wine, women and song take over. Mother Goose leads Tom away for a night of pleasure.

scene iiiTrulove’s garden.Anne hears nothing from Tom, yet devoted to her father asks for God’s guidance. She decides, in the name of love, to go to London.

Act IIscene iRoom of Tom’s house in London. Morning.Disillusioned by his life in London, Tom declares “I wish I were happy”. Immediately Nick enters with a broadsheet featuring Baba the Turk. Nick suggests Tom marries her. Tom, after little consideration agrees.

scene iiStreet in front of Tom’s house, London. Autumn. Dusk.Alone in London, Anne calls on her love of Tom for strength. Tom urges Anne to return home as he is nowmarried to Baba. Anne leaves, Baba and Tom enter the house.

Mother Goose© Leon Krasenstein

scene iiiTom’s room in London. Tom and Baba are having breakfast and Baba speaks of her trinkets and treasures. Baba questions Tom’s silence. Tom pushes Baba away, she bursts into tears and rage, seizing objects and smashing them as she rebukes him. Tom silences Baba and declares his ‘heart is cold’ and falls asleep. As he sleeps, Nick enters with a machine and a pantomime ensues where upon he appears to create bread from a stone. Tom wakes declaring “I wish it were true” and tells Nick of his dream about a machine that converts stone to bread. Nick shows Tom the machine and produces a loaf of bread. Tom believes this machine can end hunger and he can become worthy of Anne’s love. Nick suggests Tom tell his wife of his good fortune. Tom declares his has no wife.

Act IIIscene iTom’s room in London. Baba is still seated motionless at the table and a crowd appears examining objects and commenting on Tom’s fate. Anne appears and asks of his whereabouts. Auctioneer Sellem arrives and an auction begins. Bidding is frantic until the final lot, an unknown object. The crowd disperse and Baba urges Anne to save Tom and declares she will return to the stage.

scene iiA starless night. A churchyard.A year and a day have passed and Nick asks for payment: not money, but his soul. Nick offers Tom an opportunity to win his life in a game of chance. Evoking the memory of Anne and her love, Tom wins the game. As Nick Shadow dies, he renders Tom mad.

scene iiiBedlam.Tom, now mad believes he is Adonis and sings of Venus. The inmates mock him. Anne arrives and Tom believes her to be Venus. Anne addresses him as Adonis and Tom is happy to be proven right in front of the inmates. Trulove arrives to take Anne home. Tom awakes, calls to Venus and dies.

Epilogue – Baba, Tom, Nick, Anne and Trulove appear concluding “for idle hands and hearts and minds, the Devil finds a work to do”.

Synopsis

“For idle hands and hearts and minds the Devil finds a work to do.”

How did it come about that in 1947 a Russian composer, Igor Stravinsky, invited an English poet, W. H. Auden, to collaborate, in America, on an opera based on The Rake’s Progress - a series of eight canvases painted by one William Hogarth over two hundred years earlier in London?

Quite simply, really.

Stravinsky had moved to the United States in 1939, settling in Los Angeles; in the same year Auden had relocated from Britain to New York. A few years later Stravinsky viewed the Hogarth paintings on exhibition at the Chicago Art Institute, and saw in their debauched, gin-soaked subjects the answer to his longstanding ambition to compose an opera. But this meant he first had to find a librettist. His friend and neighbour, the writer Aldous Huxley, recommended his friend W.H., who’d already had a creative association with the British composer Benjamin Britten. Stravinsky sent out a feeler and was rewarded by an enthusiastic reply. Auden came for a week to Los Angeles, during which the two attended a local production of Così fan tutte. Although the ‘orchestral’ accompaniment was performed on a couple of pianos, Stravinsky began to plan a ‘Mozartian’ kind of work, while Auden envisioned a more allegorical story than the satirical realism of Hogarth’s pictures.

The near-decade both men had lived in the US had been very happy for Stravinsky, who had finally been able to marry his long-time mistress, Vera Sudeikin (home movies of the time indicate domestic bliss encircled by a group of self-exiled British and European writer friends), but were more sombre for Auden, whose confidence was profoundly shaken by the outbreak of the World War 2. A lapsed Anglo-Catholic, he had started attending Episcopalian services, while at the same time working through his moral dilemmas in a long three-part poem entitled ‘New Year Letter’ (published in 1941), whose middle section is devoted to a meditation on the ways Satan harries us human beings through appeals to our pride, our self-delusion, and our propensity for half-truths. Auden was already famous for his assertion that ‘poetry makes nothing happen’, yet Stravinsky’s proposition was an opportunity to focus more deeply on the issues that were still troubling him. The Letter had suggested a strong belief in the moral role of art, whether poetic or operatic.

While the two men were sitting together after the Così performance in California, Auden voiced his opinion that the librettist should aim to satisfy the composer rather than the audience, but it would seem that Stravinsky was perfectly happy to allow Auden’s preoccupations to shape the story of his new composition. Auden returned to New York to start work, but in January wrote to say that his ‘old friend’ Chester Kallman would also be a collaborator. Fortunately Stravinsky accepted this suggestion just as happily, especially after meeting Kallman and finding him charming. The libretto was completed by the end of March 1948, but it took the best part of three years for Stravinsky to compose the music.

In the resulting work the Hogarthian tableaux are subsumed in three primary myths, all announced in the opening scene, an Eden-like garden. Within this setting, sweet Anne Trulove stands for the possibility of (Christian) redemption; but the mind of her would-be lover Tom is more on pagan hedonism, as he extols Venus, the goddess of erotic Love. A Faustian pact is subsequently made after Anne and her father have quit the stage and been replaced by Nick Shadow – whose name alone conjures up the Devil. Shadow, playing on Tom’s dislike of honest labour and his leaning towards easy money, promises him an inheritance. Tom will only have to repay his debt to Shadow in a year and a day, but to get his hands on the money he must go to London.

Although reluctant to leave Anne, he is soon on the otherside of the gate, while Shadow gloats to the audience:‘The progress of a Rake begins’. Hogarth’s theme thus takes up Auden’s argument that when people deny God, they inevitably serve Satan, the ‘Great Denier’, the ‘shadow’ who stands ‘just behind the shoulder’ claiming ‘it is wicked to grow older’. In London, Tom lands up in Mother Goose’s squalid brothel, where the classical rites of Venus and the innocent chants of nursery rhymes are equally degraded; soon he is reciting Nick’s catechism to hedonism. Meanwhile, the loving Anne intuits from her rural home that Tom needs her. She too leaves the Garden.

By the start of Act 2 Tom has tired of following ‘unnatural’ Nature, and expresses his second wish - to be happy. Nick tells him that happiness can be attained by freeing oneself from passion, reason, duty and even pleasure by performing an ‘acte gratuit’, an act unencumbered by moral considerations or consequences. First promoted by the French writer André Gide, the ‘acte gratuit’ was later taken up by the Existentialists, Jean-Paul Sartre explaining publicly in October 1945 that, since God patently does not exist, man is responsible for his own destiny. Nick parodies both the ‘acte gratuit’, and Tom’s view of himself as an Adonis, in the absurdist proposition that the young man should marry the Bearded Lady, Baba. Anne, arriving in London in the hope of bringing Tom back to wholesome country life, finds herself betrayed, and retreats. But the acte gratuit proves no basis for a long-term relationship. Tom moves on to his third wish, an inane form of do-goodery - turning stones into bread via a machine provided by Nick Shadow. This, Tom believes, will re-establish his lost Eden and regain Anne’s trust. It will also make money for Tom, because greedy men will invest in it. Auden said in a letter to Stravinsky that in this scene, Tom wants to become God.

Anne Trulove © Leon Krasenstein

When Act 3 opens, those taken in by Tom’s swindle have exposed him, and all his goods are being sold off. Even Baba wants to leave him. But it is also time for Shadow to reveal his identity as the devil, appropriately enough in a graveyard, and to claim his wages - Tom’s soul. Yet instant gain is dull sport. Shadow says he will let Tom off if, in a game of chance, Tom can name the three cards Shadow has selected. After Tom correctly names the Queen of Hearts and the two of Spades, Nick is confident of tricking him by secretly choosing, once again, the Queen of Hearts. But, hearing Anne sing off–stage her arioso from Act II, Tom abandons Luck (Chance) in favour of Anne and (Christian) Love; he names the Queen of Hearts for the second time. Tricked of his prize, Nick returns to Hell, but in revenge sends Tom insane. The final scene is set in Bedlam, where neither Love nor Hope exist. When Anne visits him, Tom is convinced that he is Adonis and Anne Venus; he begs forgiveness from the ‘goddess’. Anne plays along, singing him to sleep with a lullaby, but Trulove arrives to lead her home. After they are gone, Tom wakes up, finds his Venus gone, and dies.

The curtain finally drops on this opera-cum-morality play after an epilogue in which various characters point a moral derived from their own perceptions. With hands joined they sing ‘for idle hands and heartsand minds theDevil finds a work to do.’

It is important neither to ignore nor to take too literally the opera’s Audenesque context. In other writings the poet says that when he refers to Satan as the Prince of ‘this World’, he means us, the crowd. As a Christian he was anxious to find and suggest ways in which the ordinary person can attune his will to that of God – or in simpler words, try to be good; his interpretation of the devilis best read as a metaphor for the temptation to venality, laziness and self-interest that besets most mortals. Auden’s Satan, though still a danger to mankind, is a diminished form of the Prince of Darkness – no more, really, than God’s ‘errand-boy’. Even when he is trying to lure man away from the things of God, he forces us to pause, think, and search out the truth. In the ‘New Year Letter’ the poet tells Satan ‘Retro (get thee behind me) but do not go away’. This view ofthe devil as a necessary evil, a goad, is not new. In Goethe’s Faust, Mephistopheles, asked to declare his identity, paradoxically answers: ‘That power I serve/Which wills forever evil/But does forever good.’ The same enigmatic lines also form the epigraph to Mikhail Bulgakov’s great, humorous novel The Master and Margarita.

All of these works - Hogarth’s drawings, Goethe’s Faust, Bulgakov’s novel, and Stravinsky’s Rake’s Progress - should be seen as admonitions, but in showing us what not to do, they also imply that faith, hope and love are keys to the happiness that Tom was too feckless to strive for.

Professor Judith Armstrong © 2012

Tom Rakewell © Leon Krasenstein

Richard Gill Conductor Background: Richard Gill is one of Australia’s pre-eminent and most admired conductors specialising in opera, musical theatre and vocal and choral training and is internationally respected as a music educator. He is Music Director of Victorian Opera and also Artistic Director of the Education Program for the Sydney Symphony Orchestra. He has been Artistic Director of OzOpera, Artistic Director and Chief Conductor of the Canberra Symphony Orchestra, and the Adviser for the Musica Viva In Schools

program. He has received numerous accolades, including an Order of Australia Medal, the Bernard Heinze Award, an Honorary Doctorate from the Edith Cowan University of WA, Hon. Doc. (ACU), the Australian Music Centre’s award for Most Distinguished Contribution to the Presentation of Australian Composition by an individual, and the Australia Council’s prestigious Don Banks Award.

Victorian Opera Repertoire: Opera: Cinderella a pantomime, The Magic Flute, How to Kill Your Husband, The Bear/Angelique, Threepenny Opera, Julius Caesar, Don Giovanni, Carmina Burana, Ariadne auf Naxos, The Parrot Factory, The Cockatoos, the world premiere of Rembrandt’s Wife, Noyes Fludde, The Snow Queen, Cosi fan tutte, Metamorphosis. Concert: Damnation of Faust, Duke Bluebeard’s Castle, Viva Verdi Gala concerts, Mozart’s Requiem, St John Passion, Les Noces/Oedipus Rex and Sing Your Own Opera.

Other Companies: All the major Australian opera companies, orchestras as well as Sydney Philharmonia, Canberra Symphony Orchestra and the Australian, Sydney, and Western Australian Youth Orchestras.

Recordings: Discovery with Sydney Symphony (ABC Classics, 2007).

John Bell AO OBE Director

Background: John Bell is Artistic Director of Bell Shakespeare and one of Australia’s most acclaimed theatre personalities. After graduating from Sydney University in 1962 John worked for the Old Tote Theatre Company, all of Australia’s state theatre companies and was an Associate Artist of the Royal Shakespeare Company in the United Kingdom. As co-founder of Sydney’s Nimrod Theatre Company, John presented many productions of landmark Australian plays.

John Bell has an Honorary Doctorate of Letters from the Universities of Sydney, New South Wales and Newcastle. In 1997 he was named by the National Trust of Australia as one of Australia’s Living Treasures. In 2003 the Australia Business Arts Foundation awarded John the Dame Elisabeth Murdoch Cultural Leadership Award. John also holds a Helpmann Award for Best Actor (Richard 3, 2002), a Producers and Directors Guild Award for Lifetime Achievement, the JC Williamson Award (2009) for extraordinary contribution to Australia’s live entertainment industry and the 2010 Sydney Theatre Award for Lifetime Achievement.

Other Companies: In 1990 John founded The Bell Shakespeare Company where his productions have included Much Ado About Nothing, Hamlet, Romeo And Juliet, The Taming Of The Shrew, Richard 3, Pericles, Henry 4, Henry 5, Julius Caesar, Antony And Cleopatra, The Comedy Of Errors and Macbeth as well as Goldoni’s The Servant Of Two Masters, Gogol’s The Government Inspector and Ben Jonson’s The Alchemist. His Shakespeare roles include Hamlet, Shylock, Henry V, Richard III, Macbeth, Malvolio, Berowne, Petruchio, Leontes, Coriolanus, Prospero, King Lear and Titus Andronicus. He played the title Queensland Theatre Company’s Richard 3, Heiner Müller’s Anatomy Titus Fall Of Rome: A Shakespeare Commentary and performed the role of Mephistopheles in the most recent co-production, Faustus. John has also directed a production of Madame Butterfly for Oz Opera and performed as the Professor in Sydney Theatre Company’s Uncle Vanya, presented in association with Bell Shakespeare.

Leon Krasenstein Set & Costume Designer

Background: Born in Perth, Leon is a Design Graduate from the Western Australian Academy of Performing Arts.

Other Companies: Credits incude Rhapsody, NICA, Graeme Murphy’s production of Firebird for the Australian Ballet (nominated for a 2009 Green Room Award), Opera Queensland’s production of Die Fledermaus (2005) and The Marriage of Figaro The Australian Opera Studio (2004);

Chrissie Parrott’s A Midsummer Night’s Dream (nominated for a 2006 Helpmann Award for Best Costume Design), Simon Dow’s productions of Dangerous Liaisons, The Red Shoes and Alice (set and costume design) for the West Australian Ballet; Opera Australia’s The Barber of Seville (2005) with director John Milson and Tears From a Glass Eye for Black Swan Youth Theatre Company. In 2010, Leon designed sets and costumes for TasDance’s production of Heart Matters and for Perth Theatre Company’s The Removalists. Most recently Leon has been doing numerous TVC’s for Jungleboys, he was Costume Designer on Sick a TV pilot for MTV, and Set and Costume Designer on Drag Queensland (Queensland Music Festival).

Matt Scott Lighting Designer

Background: Born in Australia, Matt has worked as a lighting designer for almost all of Australia’s leading performing arts companies for the past 17 years. Awards include a 2005 Helpmann Award for his lighting on Urinetown, which followed his 2003 Helpmann Award for The Blue Room.

Victorian Opera Repertoire: Baroque Triple Bill, The Turn of the Screw, Xerxes, Orphée et Eurydice .

Other Companies: Opera credits include- La Sonnambula, La bohème (Opera Australia); Cinderella, Così fan tutte (Opera Queensland). Theatre credits include The Seed, Tribes, The Importance of Being Earnest, Clybourne Park, , Ther Joy of Text, Next To Normal, A Behanding in Spokane, Life Without Me, All About My Mother, The Ugly One,The Drowsy Chaperone, God of Carnage, August: Osage County, Blackbird, Who’s Afraid of Virginia Woolf?, The Pillowman, Festen, Urinetown, The Blue Room (Melbourne Theatre Company); Betrayal, Titus-Anatomy,(Queensland Theatre Company); The Grenade, Rock and Roll, Doubt, Blithe Spirit, The Glass Menagerie (Sydney Theatre Company); Much Ado About Nothing, The Alchemist, As You Like it, Macbeth (Bell Shakespeare); Paul, The Sapphires (Company B Belvoir); Rising Water, The Year of Magical Thinking (Black Swan); Dance credits includes Where the Heart Is (Expressions Dance Company); Sync, Orhpheus, Cloudland, Petrushka (Queensland Ballet).

Steven Heathcote Choreographer and Assistant Director

Background: Born in Wagin, Western Australia, began ballet lessons at age 10. Accepted into Australian Ballet School at age 16 and offered corps de ballet contract with Australian Ballet in 1983. Promoted to Principal Artist in 1987 and danced all major roles in repertoire until retiring in 2007. Received A.M. for services to dance in 1991.Three Helpmann Awards, two MO Awards and two Green Room Awards.

Victorian Opera Repertoire: In 2012 conceived and directed Julius Caesar.

Other companies: Guest Artist with major International companies performing at the Metropolitan Opera House New York, Royal Opera House Covent Garden, Mariinski Theatre St Petersburg. In 2007, he played Bobby Cordner in Mao’s Last Dancer, directed by Bruce Beresford.

Assistant Conductor/Rehearsal Pianist Philip Jameson

Background: Born in London, Philip attended Sydney Grammar school from 1998 to 2011 on a music scholarship, where he studied piano with Ransford Elsley and Dave Levy. During this time, he also studied composition with Richard Gill. While Philip began his musical studies as a jazz pianist and played with acclaimed musicians, Wycliffe Gordon and James Morrison, he is now most interested in playing and conducting classical repertoire, especially from the 20th Century. As a composer,

Philip has a strong relationship with the Sydney Symphony Orchestra, and his work has been commissioned and performed by such American organisations as The Worcester Chorus, The Hotchkiss School and the Manhattan-based Dessoff Choirs. In the future, Philip will continue to compose, conduct and perform at Yale University, where he starts in August 2012.

Other companies: Philip has provided a wide range of compositions for Australian and international companies, including Tango (2011) for The Worcester Chorus (USA), Sonata for Byron (2010) and Night Journey (2009) for The Hotchkiss School (USA) and The Wind in the Hemlock (2010), Hysteria (2009) and Pebbles and Stuff (2008) for the Sydney Symphony Orchestra.

Jonathan Bode Mother Goose and Sellem

Background: Jonathan has performed as an actor and singer in theatre, musical theatre and opera in Australia and around the world. He studied at the Western Australian Academy of Performing Arts (Bachelor of Musical Theatre) before working with the Melbourne Theatre Company, Playbox, State Theatre Company of South Australia, and in touring musicals such as South Pacific, Me and My Girl and Assassins. Since Jonathan returned to Australia from living overseas in 2004

(where he also toured with European Chamber Opera, Columbia Artists and Opera in Concert Productions Worldwide) he has been employed as a soloist with Victorian Opera and Opera Australia. Jonathan was the winner of the Male Welsh Voice choir competition.

Victorian Opera Repertoire: Monostatos, Die Zauberflöte; Dandini, Cinderella.

Other Companies: Opera: Lindoro, The Italian Girl in Algiers, Remendado, Carmen, Goro, Madame Butterfly, (Melbourne Opera); Tamino, The Magic Flute, Sid, Sid the Serpent, Prince, Cinderella, Almaviva, The Barber of Seville, (OzOpera); Goro, Madame Butterfly, (Columbia Artists); Ferrando, Cosi fan tutti, Ernesto, Don Pasquale, (European Chamber Opera); Albert Herring, Albert Herring, (Opera Live) and Benoir, La bohème, (Opera and Concert Productions World Wide). Musicals: Professor, South Pacific, (Gordon/ Frost); Lelio, Venetian Twins, (State Theatre Company of South Australia); Zangara, Assassins, (Melbourne Theatre Company).

Recordings: Otter, The Wind in the Willows, (The Australian Shakespeare Company).

Andrew Collis Nick Shadow

Background: Australian born Andrew Collis became a member of Cologne Opera in 1993, singing more than eighty roles which included music from the baroque era to the twenty-first century. Andrew returned regularly to Cologne as a guest artist and has performed throughout Germany, as well as at The Hong Kong Festival, New Zealand International Festival, The Lyric Opera of Singapore, San Diego Opera and the Vienna Festival.

Victorian Opera Repertoire: Speaker: The Magic Flute, Luka: The Bear, Duke Bluebeard: Bluebeard’s Castle, Leporello: Don Giovanni.

Other Companies: Ashby: La Fanciulla del West, Angelotti: Tosca, Dr Dulcamara: L’Elisir D’amore, title roles in Don Pasquale and Le Nozze di Figaro, Monterone: Rigoletto (Opera Queensland), Dr. Grenvil: La Traviata (OQ and Brisbane Festival), Swallow: Peter Grimes, Sarastro: Die Zauberflöte (West Australian Opera), Count Rodolfo: La Sonnambula (WAO and State Opera of SA), Friar Lawrence: Roméo et Juliette (WAO, Opera Australia and OQ), Mr Flint: Billy Budd (OA, Cologne Opera), Crespel, Luther and Spalanzani: The Tales of Hoffmann, Fasolt: Das Rheingold (SOSA and Melba Recordings), Colline: La bohème, Hobson: Peter Grimes (San Diego Opera), Messiah (Sydney Philharmonia) and soloist in Beethoven Symphony no. 9 (Tasmanian Symphony Orchestra).

Recordings: Zemlinsky's Der Zwerg (EMI Classics, 2002).

Roxane Hislop Baba the Turk

Background: Born, Australia. Green Room Awards for Maddalena: Rigoletto and Olga: Eugene Onegin.

Victorian Opera Repertoire: Jocasta: Oedipus Rex, Amastre: Xerxes, Dryad: Ariadne auf Naxos, Geertje Dircx: Rembrandt’s Wife, Third Lady: Magic Flute, Stepmother: Cinderella.

Other Companies: Title roles in Carmen and Pericole, Rosina: Il barbiere di Siviglia, Dalila: Samson et Dalila, Meg: Falstaff, Varvara: Katya Kabanova, Giulietta: Tales of Hoffmann, Magdalene: Die Meistersinger, Siegrune: Die Walküre, Cherubino: Marriage of Figaro, Siebel: Faust, Nancy: Albert Herring, Tisbe: La Cenerentola, Tessa: Gondoliers, Stasi: Gypsy Princess, Second Lady: Magic Flute, Lola: Cavalleria rusticana, Emilia: Otello, Mistress Bentson: Lakmé, NYE Galas, Nicoletta: Love for Three Oranges, Gertrude: Hansel and Gretel, Maddalena/Giovanna: Rigoletto, Gertrude: Roméo et Juliette, Hippolyta: Midsummer Night’s Dream. Oz Opera – Medoro: Orlando, Grace: Love in the Age of Therapy - Melbourne: Sydney Festivals (Opera Australia); Cornelia: Giulio Cesare, Maddalena, Marcellina (OQ); Carmen (WAO, Melbourne City Opera); Flowermaiden, Squire, Voice: Parsifal, Gertrude (SOSA); Suzuki: Madama Butterfly, Maddalena (Melbourne Opera); Concert repertoire includes: Emilia: Otello, la tasse, la chatte, la bergère and l’écureuil: Ravel’s L’Enfant et les Sortileges (Melbourne Symphony Orchestra); Beethoven Symphony No. 9 (WASO, MSO), Elijah, Messiah, The Dream of Gerontius (Royal Melbourne Philharmonic). Recordings: The Gypsy Princess, Patience (Opera Australia).

Jerzy Kozlowski Trulove

Background: Born in Salisbury, UK, Jerzy studied singing with Harold Child while at the Brighton College of Advanced Education and gained further choral experience in London, singing with numerous ensembles including the Academy of St Martin in the Fields Chorus, the Collegium Musicum of London and the Saltarello Choir. This led to many commercial recordings of choral music with conductors such as Sir Neville Marriner, Leonard Bernstein, Antal Dorati and Rudolf Kempe. He gained his

Licentiate in Singing (L.Mus.A) in Melbourne in 1996.

Victorian Opera Repertoire: Christus: St John Passion, Bass soloist: Les Noces.

Other Companies: Mayor: Jenufa, 2nd Armed Man: Die Zauberflöte, Bob Becket: HMS Pinafore, Naval Captain: Manon Lescaut, Officer: The Barber of Seville,3rd Henchman: Batavia (Opera Australia), Dr Bartolo: Barber of Seville, Dottore/Marquis: La traviata (Oz Opera), Sparafucile: Rigoletto, Valton: I Puritani, Basilio: The Barber of Seville, Don Alfonso: Cosi fan tutte, Bonze: Madama Butterfly, Kromov: The Merry Widow (Melbourne Opera), Commendatore: Don Giovanni, Rocco: Fidelio, Leone: Attila (Melbourne City Opera), Doctor P: The Man Who Mistook His Wife For A Hat, Grandpa Moss: The Tender Land (Operalive). Recitals include performances of The Suite of Verses by Michelangelo and Four Verses of Captain Lebyadkin (Shostakovich) and world premiere performances of song cycles written especially for him - Lawrence Whiffin Time Steals Softer and Michael Bertram Underground Songs.

Recordings/Videos: HMS Pinafore (OA), Akathistos Fragments (ABC Classics).

Oliver Mann Keeper of the Madhouse

Background: Oliver Mann is a bass-baritone from Melbourne. He completed a Bachelor of Music (Voice) from Monash University in 2003, where he won the Horace Keats Memorial Prize for vocal excellence.

Victorian Opera Repertoire: His recent roles include Pan in The Fight between Phoebus and Pan and the Second Priest and the Second Armed Man in The Magic Flute.

Other Companies: Since making his professional debut singing Agamemnon in La Belle Hélène for the Lyric Opera of Melbourne in 2009, Oliver has performed regularly with both Opera Australia and Victorian Opera Chorus. He will cover the role of Kromow in Opera Australia’s 2012 production of The Merry Widow.

Recordings: In addition to his operatic achievements, Oliver is also an accomplished singer and song-writer. Melding his classically-trained baritone voice with an acoustic guitar, he has written and recorded two celebrated albums of original solo material, Oliver Mann Sings (2005) and The Possum Wakes at Night (2008).

Benjamin Namdarian Tom Rakewell

Background: Born in Melbourne, Ben shares twin passions for music and medicine. Currently a student of Anna Connelly and previously Dermot Tutty, he has also attained his A.Mus.A in violin. Ben completed a medical degree at the University of Melbourne, where he also attended Trinity College as the inaugural NHM Forsyth Choral Scholar with the Choir of Trinity College. He has toured internationally to the UK, USA and Asia with the choir. Ben is completing his surgical training in urology.

Victorian Opera Repertoire: Ben debuted with Victorian Opera in 2010 in the role of The Italian in Angélique for which he was nominated for a Green Room Award. Rory: How to Kill Your Husband. Covered Flinck, Torquinius, Auctioneer and Councillor: Rembrandt’s Wife, and Scaramuccio: Ariadne auf Naxos.

Other Companies: Moth: A Midsummer Night’s Dream (Opera Australia, 1994); 3rd Boy: The Magic Flute (Victorian State Opera, 1993); Malice and Mr By-Ends: Pilgrim’s Progress (Camberwell Chorale).

Recordings: Hélène/Nuit Persane (Melba); Greatest Choral Music of All Time (ABC Classics); The Best Ever Choral Music Collection (ABC Classics); O Blessed Light (ABC Classics); Rejoice (ABC Classics).

Tiffany Speight Anne Trulove

Background: Born, Australia. Graduate of Victorian College of the Arts. Vienna State Opera Award.

Victorian Opera Repertoire: Title role: L‘incoronazione di Poppea (Helpmann Award), Cleopatra: Giulio Cesare, Romilda: Xerxes, Despina: Così fan tutte, Donna Elvira: Don Giovanni.

Other Companies: European debut: Rigoletto (Vienna Staatsoper); Arminda: Rinaldo (Rheingau Music Festival, Germany); Despina: Così fan tutte, Pamina/Papagena: The Magic Flute, Susanna/Cherubino/Barbarina: Le nozze di Figaro, Johanna: Sweeney Todd, Valencienne: The Merry Widow (Green Room Award), Phyllis: Iolanthe, Yum-Yum : The Mikado, Micaëla/Frasquita: Carmen, Josephine: H.M.S. Pinafore (on DVD and ABC television), Ellen: Lakmé, Gretel: Hansel and Gretel, Zerlina: Don Giovanni (Opera Australia); Mimì: La bohème, Angelica: Orlando (Oz Opera); Johanna: Sweeney Todd, Susanna: Le nozze di Figaro (Opera Queensland); Pamina: The Magic Flute, Musetta: La bohème (NBR NZ Opera); Opera Under the Stars (Broome); Prime Minister’s Olympic Dinner; gala farewell with Seoul Symphony Orchestra; Sidney Myer Music Bowl and Gershwin Concerts (MSO); Who Killed Mario Lanza? (Riverside Theatres, Parramatta); concerts with the Adelaide Symphony Orchestra, Orchestra Victoria, Royal Melbourne Philharmonic and Australian Pops Orchestra.

Victorian Opera Patrons

Founding Patrons Dame Elisabeth Murdoch AC DBE Lady Potter AC

Victorian Youth Opera PatronBetty Amsden OAM

Victorian Opera Education SyndicateBetty Amsden OAMBuckett FamilyHans & Petra HenkellPeter KingsburyAnonymous (1)

Victorian Opera New Opera SyndicateBeth Brown & Tom Bruce AMWilliam J Forrest AMKen & Marian ScarlettJoy Selby Smith

Living BequestSusan Harley

Diamond Patrons ($10,000+)Betty Amsden OAMLorraine CopleyHans & Petra HenkellDr Geraldine Lazarus & Mr Greig GaileyPeter & Anne Laver Dame Elisabeth Murdoch AC DBEAnonymous (1)

Platinum Patrons ($5,000+)William J Forrest AMMrs Jane HemstritchJoy Selby SmithMary RyanDr John & Elizabeth Wright-Smith

Victorian Opera acknowledges with great appreciation the gifts and pledges it has received from the following donors:

Gold Patrons ($2,500+) Mark & Ann BryceTim & Rachel CecilBruce CurlMarj & Edward EshuysThe Hon Gareth Evans & Mrs Merran EvansDr & Mrs JA FrewNeilma GantnerRichard GreenDavid & Megan LaidlawJoan & George LefroyDr Anne LierseBetty Teltscher OAMC & H TruemanAnonymous (1)

Silver Patrons ($1,000+) P.A. & B.J. AllenJoanna BaevskiKirsty BennettLaurie Bebbington & Elizabeth O’KeeffeSheila BignellBuckett FamilyBeth Brown & Tom Bruce AMJasmin BrunnerChristine & Terry CampbellLynda CampbellCaroline & Robert ClementeMary & Frederick DavidsonElizabeth DouglasStephanie DundasRosemary Forbes & Ian HockingMargaret Gardner & Glyn DavisBob GarlickRobert Gibbs & Tony WildmanBrian GoddardRichard & Isabella GreenStuart & Sue HamiltonNance Grant MBE & Ian Harris

Bronze Patrons ($500+)Dennis Altman AM Jeffrey & Debbie BrowneNeil BurnsDavid ByrnePam CaldwellMelissa Conley-TylerDennis FreemanHugh H Johnson & Loren Kings-LynnApril HamerHartley HigginsMary HoySue HumphriesDr Anthea HyslopAnthony R Grigg & Paul D Williamson Angela KayserAnne McLeanDiana MummèNorth East Newspapers Pty LtdKenneth W. ParkProvincial Press GroupJohn RickardJoseph Sambrook & Mary-Jane GethingDelys Sargeant AMJohn & Thea ScottGregory ShalitMr Sam & Mrs Minnie SmorgonDon & Betty SykesHugh & Elizabeth TaylorIan WattsRobyn WaltonCaroline & George VaillantAnonymous (4)

Silver Patrons ($1,000+) Penelope Hughes Simon L Jackson & Brian WarburtonStuart JenningsKemp FamilyJohn & Lynne LandyProfessor Kwong Lee DowBarbara LoftPeter LovellProfessor John Lovering AO & Ms Kerry Lovering OAMMargaret Mayers & Marie DowlingDr Ken Muirden AODiana MumméGeorge & Jillian PappasRuth & Tom O’DeaDimity ReedDr Sam Ricketson & Dr Rosemary AytonHugh Rogers AMElzieta & Tomasz RomanowskiAubrey G SchraderPhillip & Sue SchudmakJohn & Sue ShermanTim & Lynne SherwoodBernadette SlaterPeter & Christine SmedleyDarien SticklenFelicity TeagueLeslie Thiess Michael TroyLiz & Peter TurnerCatherine WalterK & M WaltonJohn & Gail WardEarl & Countess of WiltonAnonymous (6)

If you would like to get more involved in the work of Victorian Opera through our individual giving program, please contact Kimlarn Frecker, Individual Giving Manager on 03 9001 6405 or kimlarnf@victorianopera.com.au

Victorian Opera Patrons

Victorian Opera acknowledges with great appreciation the gifts and pledges it has received from the following donors:

“This rising company consistently punches above its weight and age” The Herald Sun

Led by Music Director Richard Gill, Victorian Opera has a distinct artistic program which champions the creation of new Australian opera whilst presenting less familiar repertoire to audiences in Melbourne and across regional Victoria.

Victorian Opera is committed to presenting new opera each year and engaging the widest possible audience with accessible ticket pricing and regional touring.

Victorian Opera is also committed to collaborating and co-producing with different partners (including Chunky Move as well as festivals and other opera companies) and also maintains a vibrant education program. The company nurtures Victorian Youth Opera, a strong youth development initiative, and presents popular community events such as Sing Your Own Opera.

As Victoria’s state opera company Victorian Opera has a unique role; to present professional opera in Victoria; maintain a commissioning program for new Australian work; create more employment and professional development opportunities for Victorian artists; and provide access to touring productions for regional Victorians. Victorian Opera has also established and maintains the only professional chorus in Victoria.

Victorian Opera - Your Opera Company

Victorian Opera 2012 Season Sponsors

Victorian Opera is supported by the Victorian Government through Arts Victoria.

Victorian Opera’s mainstage, youth opera, regional touring and education work is also sustained through partnerships with the corporate sector, trusts and foundations. The partners on this page have demonstrated their commitment to the strategic direction and growth of Victorian Opera and we are grateful for their ongoing support.

Government Partners

Major Sponsor andCommunity Partner

Foundation Partner

Supporting Partners

Education and Regional Foundation Partners

If you would like to get more involved in the work of Victorian Opera through our business, trust or foundation partnerships, please contact Lynette Gillman, Development Manager on 03 9001 6408 or email lynetteg@victorianopera.com.au

Performance Partners

HV McKay Charitable Trust

Dr Michael Cohen (Deceased) for the Humanity Foundation

William Angliss Charitable Fund

FOR YOUR INFORMATION• The management reserves

the right to add, withdraw or substitute artists and to vary the programme as necessary.

• The Trust reserves the right of refusing admission.

• Cameras, tape recorders, paging machines, video recorders and mobile telephones must not be operated in the venue.

• In the interests of public health, Arts Centre Melbourne is a smoke-free area.

Arts Centre MelbournePO Box 7585St Kilda RoadMelbourne Vic 8004Telephone: (03) 9281 8000Facsimile: (03) 9281 8282Website: artscentremelbourne.com.au

Victorian Arts Centre TrustMs Janet Whiting (President)Ms Deborah BealeMs Terry BracksMr Paul BrasherMr Julian ClarkeMs Catherine McClementsMr Graham SmorgonProf Leon van Schaik AOMr David Vigo

EXECUTIVE GROUPMs Judith Isherwood Chief Executive

Mr Andy AveryInterim Executive, Visitor & Commercial Businesses

Mr Tim BrinkmanPerforming Arts

Mr Michael BurnsFacilities & Asset Management

Ms Pippa CroucampCorporate Services (CFO)

Ms Melindy GreenMarketing

Arts Centre Melbourne gratefully acknowledges thesupport of its donors through Arts Centre Melbourne Foundation Annual Giving Appeal.

ORCHESTRA VICTORIA MANAGEMENTManaging Director Rob RobertsonDeputy Managing Director Franca SmarrelliMarketing Coordinator Justin KingEducation Development Manager Joel MurrayDirector of Operations Heikki MohellCorporate Services Manager Philip BirdFinance Officer Rose DragovicFinance Assistant Jason Nguyen

Music Librarian Rob SmithiesOrchestra Manager Mel WilsonPersonal Assistant to the Managing Director Katie TymmsProduction Manager Paul DoyleProduction Coordinator James FosterProduction Coordinator Ryan Barwood

ORCHESTRA VICTORIA BOARDChair: Hon. Mary DelahuntyPaul Champion, Richard Hamer, Jane Gilmour OAM, Tony Osmond, Rob Perry, Lady Marigold Southey AC

CONCERTMASTER: Roger JonssonFirst Violins: Yi Wang, Ceridwen Jones, Rachel Gamer, John Noble, Susan PierottiSecond Violins: Matthew Hassall, Binny Baik, Severin Donnenberg, Elizabeth Ambrose, Rachael Hunt, Christine RuiterViolins: Jason Bunn, Nadine Delbridge, Catherine BishopCelli: Melissa Chomisky, Andrea Taylor, Sarah CumingBassi: Thomas Kaufman, Matthew Thorne

Flutes: Lisa-Maree Amos, Michael SmithOboes: Joshua de Graaf, Geoffrey DoddCor Anglais: Geoffrey DoddClarinets: Paul Champion, Andrew MitchellBassons: Glenn Prohasky, Hugh PonnuthuraiHorns: Anton Schroeder, Heather McMahonTrumpets: Anthony Pope, Louisa TrewarthaTimpani: Guy du Blet

Orchestra Victoria Supporters

Major GiftsOrchestra Victoria acknowledgesthe outstanding generosity of ourvery special donors.Mr Robert Albert AO, RFD, RD &Mrs Libby AlbertMiss Betty Amsden OAMAnnamila Pty LtdEvelyn & Tom DanosMrs Neilma GantnerGaye & John GaylardGeoff Handbury AOMr Richard HamerHandbury Family FoundationDr Peter A Kingsbury, GippslandDental GroupMr David Mandie AM, OBEDon & Angela MercerDame Elisabeth Murdoch AC, DBELady Southey AC

Principal DonorsThe ongoing work of OrchestraVictoria throughout Victoria isonly possible with donations.Every gift is important andappreciated.Davis & Cindy AbbeyAlan & Sally BeckettPeter & Ivanka CanetSandy ClarkGrace CroftHon. Mary DelahuntyJane Edmanson OAMIan Hocking & Rosemary ForbesIsabella Green OAM &Richard GreenJean HadgesHenkell Brothers Australia Pty LtdDarvell M Hutchinson AMDr Alastair JacksonRussell & Jenni JenkinsMaple-Brown Abbott InvestmentManagersYvonne & Phillip MarshallDavid McAlpineHeather McKenzieMichelle & Ian MooreJohn & Lorraine RedmanMichael Robinson AO & JudithRobinsonRoss & Daphne TurnbullDrs Victor & Karen WayneErna Werner & Neil Werner OAM

Principal Regional PartnerBendigo BankBendigo Bank’s strong communityand regional focus has greatsynergies with Orchestra Victoria’swork across Victoria.

Trust & Foundation SupportOrchestra Victoria’s activitiesthroughout the State are madepossible with the generous supportfrom the following Trusts andFoundations.The Angior Family FoundationWilliam Angliss (Victoria)Charitable FundCollier Charitable FundHarold Mitchell FoundationHelen Macpherson Smith TrustJohn T Reid Charitable TrustsSidney Myer FundLord Mayor’s CharitableFoundation (Eldon & Anne FooteTrust)Perpetual LtdMargaret Stewardson CharitableTrustTattersall’s George AdamsFoundation

Corporate PartnershipsPartnerships with the businesscommunity through sponsorshipensure that Orchestra Victoria cancontinue to deliver high qualityaccessible music across Victoria.Iluka Resources LimitedAce RadioAllensArthur RobinsonKent Moving & StorageChandler Direct PersonalisedCommunicationUniversal MusicHR Legal

Government PartnersThe support received from theAustralian Government, throughthe Australia Council for the Arts,and from the VictorianGovernment, through Arts Victoriaprovides the foundation from whichwe present all our activities,particularly our work with ourpartner opera and balletcompanies. Further support from Arts Victoria and localGovernments across Victoriasupport our innovative Communityand Education Programs.

City of Greater BendigoShire of Campaspe ColacOtway Shire CouncilCity of MelbourneCity of Greater SheppartonEast Gippsland Shire CouncilEchuca Moama TourismLatrobeCity CouncilMildura Rural City CouncilSouthern Grampians Shire CouncilWyndham City Council

Performance PartnersOrchestra Victoria is the proudorchestral performance partner ofAustralia’s premier performing artscompanies.The Australian BalletMelba RecordingsOpera AustraliaThe Production CompanyVictorian OperaPrincipal Presenting PartnersOrchestra Victoria enjoys workingwith companies and venuesthroughout Victoria to make musicaccessible.3MBS 103.5 FMthe Arts CentreCity of MelbourneMelbourne Recital CentreNGV International

BequestsLeaving a legacy to OrchestraVictoria supports the Orchestra’songoing cultural contribution toVictorians.Miss Betty Amsden OAMAlan EganRosemary ForbesIan HockingThe late G.B. HutchingsThe late James MinsonGraeme StuddMichael Walker

For more information about howyou can support Orchestra Victoriaplease contact 03 9694 3600info@orchestravictoria.com.au

Victorian Opera BoardGraeme Willersdorf (Chairman), Francis Ebury, Ross Freeman, Greig Gailey, Anne Gilby, Jane Hemstritch, Barry Jones AO, Barry Sheehan, Catherine Walter AM

ExecutiveMusic Director Richard Gill Managing Director Lucy ShorrocksFinance Manager Ulrike ReadFinance Assistant Claire VoumardExecutive Assistant Sian Ellett

Music/ Artistic Administration / EducationHead of Music David McSkimmingEducation Manager Melissa HarrisArtistic Administrator Elizabeth HillCompany Manager Jill QuinRepetiteur Phillipa Safey

Marketing and DevelopmentDevelopment Manager Lynette GillmanIndividual Giving ManagerKimlarn FreckerMarketing & Communications Manager Kanesan NathanMedia Relations Executive Milou de CastellanePhilanthropy Executive Erin HewitsonMarketing & Communications Coordinator Lisa WallaceDevelopment & Marketing Assistant Erin Voth

www.victorianopera.com.au

Victorian OperaHorti Hall31 Victoria Street, Melbourne VIC 3000Phone +61 3 9001 6400info@victorianopera.com.au

TechnicalOperations Manager David HarrodProduction Manager Khat KerrCostume Supervisor Ross Hall

Victorian Opera 2012 Season StaffStage Management Emma Beaurepaire, Elise Beggs, Roxzan Bowes, Tia Clark, Michele Forbes, Jess Keepence, Jessica Smithett, Melanie StantonTechnical Coordinator/ Head Technican Peter DarbyHead Mechanist Jack GrantCostume Department Tirion Rodwell, Madeleine Somers, Jane Jericho, Jung Min Oh, Maruska Blysczak, Phillip RhodesSurtitle Operator Edward DowlingSound Operator Peter Sforcina

The Rake’s Progress programme is printed on 100% recycled paper

With thanks to ResolutionX, Showworks, CVP, Melbourne Theatre Company, Opera Australia Props Hire, Gavin Grey, Vladimir Chishkovsky and the Arts Centre Melbourne staff and crew.

SHANE HOWARD

BRETT SHEEHYJEREMY SIMS

BARRY OTTO

For a sneak peek visit studiotv.com.au

EXCLUSIVE TO

everyday inspires

Australia’s best known arts personalities take over STUDIO. From Melbourne Festival Artistic Director Brett Sheehy to actor Barry Otto, each curate a night of their favourite programs, chat about their influences, and reveal what makes them tick.

ARTIST HIJACKSTUESDAYS FROM 7.30PM