In addition to an extensive symphonic canon, Warwick Stengårds has a music-theatre repertoire of over one hundred works having performed with such companies as VOLKSOPER WIEN, FOLKOPERAN STOCKHOLM, OPERA AUSTRALIA, VICTORIA STATE OPERA, CHAMBER MADE OPERA and WEST AUSTRALIAN OPERA where, in 1991, he was appointed Music Director.

Operatic highlights included the world premieres of Koehne’s LOVE BURNS, Tahourdin’s HELOISE & ABELARD, Ingham’s TRANSFIGURED NIGHT, Koukias’ MIKROVIAN, Australian premieres of Turnage’s GREEK, Williamsons’ OUR MAN IN HAVANA, Swiss premieres of Kraus’ SOLIMAN II, Martinu’s ARIANE and Joplin’s TREEMONISHA and regional premieres of WOZZECK and THE RAKE’S PROGRESS. He is highly acclaimed for his interpretations of Mozart, Puccini and Verdi, in particular his seasons of THE MAGIC FLUTE and MADAM BUTTERFLY. Of his 1994 performances of RIGOLETTO, THE AUSTRALIAN wrote, …shattering intensity, both vivid and impressive.

The same year he was appointed Music Director for the WEST AUSTRALIAN BALLET. He has also conducted a number of seasons for the AUSTRALIAN BALLET.

Warwick Stengårds is also a highly experience choral conductor. In addition to a four-year term as Director of QUEENS COLLEGE CHAPEL CHOIR at the UNIVERSITY OF MELBOURNE, he was Music Director of the ROYAL MELBOURNE PHILARMONIC CHOIR for four years followed by a three-year appointment to the UNIVERSITY OF WESTERN AUSTRALIA CHORAL SOCIETY. He has conducted the WEST AUSTRALIAN SYMPHONY ORCHESTRA CHORUS and the TASMANIAN SYMPHONY ORCHESTRA CHORUS, the undergraduate choirs of the UNIVERSITY OF MELBOURNE, MONASH UNIVERSITY and MACQUARIE UNIVERSITY, and the WILLOUGHBY SYMPHONY CHOIR.

In Europe, aside from the internationally acclaimed JOHANN STRAUSS CAPELLE and SCHÖNBRUNNER SCHLOSSORCHESTER, he has conducted the ULSTER ORCHESTRA in a series of concerts and recordings for the BBC, the SL ORKESTER, the UPPSALA KAMMARORKESTER, KLANGFORUM WEIN, the WROCLAW PHILHARMONIC, the RUNDFUND SINFONIE ORCHESTER SAARBRÜCKEN in concerts featuring soloist, Andreas Scholl, DALASINFONIETTAN, the LUCERNE SYMPHONY ORCHESTRA, the EUROPEAN DOCTORS ORCHESTRA and the NÜRNBERGER SYMPHONIKER.

Highlights of Warwick Stengårds 2006/2007 European season included GIANNI SCHICCHI, TROUBLE IN TAHITI, Eggert’s DIE SCHNECKE, Zeller’s DIE ABENTEUR DES PRINZEN ACHMED, DAS LAND DES LÄCHELNS, WERTHER and concerts for the LUZERNER THEATER, concerts with CORPUS MEDICUM in Melbourne, a regional tour with the MELBOURNE SYMPHONY ORCHESTRA, a New Year’s concerts with NORRKÖPING SYMPHONY ORCHESTRA and Mahler’s SYMPHONY NO.1 with the EUROPEAN DOCTORS’ ORCHESTRA in Berlin.

In season 2007/2008 he conducted with VÄRMLANDS SINFONIETTAN, gave New Year’s Eve concerts with the BERLIN RESIDENZ ORCHESTER, and at the LUZERN THEATER conducted seasons of IDOMENEO, FALSTAFF, DER BETTELSTUDENT, HOFFMANNS ERZÄHLUNGEN, PAUL BUNYAN, the world permiere of Naske’s DIE ROTE ZORA and L’ELISIR D’AMORE for VICTORIAN OPERA in Melbourne.

2008/2009 his performances included Krenek’s KEHRAUS UM ST. STEPHAN, DON GIOVANNI, DER VOGELHÄNDLER, the world premiere season of Mochizuki’s DIE GROSSE BÄCKEREIATTACKE, Leoncavallo’s LA BOHEME and ORFEO ED EURIDICE.

The 2009/2010 season has seen Warwick Stengårds conduct Gurlitt’s WOZZECK, L’HEURE ESPAGNOLE, Martinu’s ARIANE, Pfitzner’s DAS CHRISTELFLEIN, LA SONNAMBULA, the world premiere of Graewe’s BARBARA STROZZI and the silent film, ROMEO & JULIA IN SCHNEE. He premiered Brenton Broadstock’s choral symphony, TYRANNY OF DISTANCE for the MELBOURNE INTERNATIONAL FESTIVAL and conducted New Year concerts with the SCHÖNBRUNNER SCHLOSSORCHESTER.

His forthcoming engagements will include WEST SIDE STORY, SONNERNACHTSTRAUM, the silent film, OUR HOSPITALITY and various concerts at the LUZERNER THEATER, a DVD recording with the ZHU JIANG FILM ORCHESTRA and a concert series with the PHILHARMONIE LUXEMBOURG.

©Weaver Artist Management. September 2010

Joslyn Rechter has an extensive operatic experience. Her early roles included the title role in Handel’s ORLANDO, in 1999, for OPERA AUSTRALIA’s OZ OPERA.

Since 1997, her roles in OPERA AUSTRALIA’s mainstage productions have included The Fox in Janacek’s THE CUNNING LITTLE VIXEN, Siebel in Gounod’s FAUST, The Sandman in HANSEL & GRETEL, singing the roles of both Pallade and Nutrice in Monteverdi’s THE CORONATION OF POPPEA, Mercedes in CARMEN, Annina in LA TRAVIATA and Annio in LA CLEMENZA DI TITO. Most recently, for the company, she appeared as Cherubino in THE MARRIAGE OF FIGARO during 2006, performances of which the HERALD SUN wrote, Joslyn Rechter as Cherubino was charismatic. Hers is a talent to watch., and THE WEEKEND AGE said, Joslyn Rechter delivers the finest moment in the opera with a truly convincing Voi che sapete.

Joslyn Rechter now makes her home-base in Germany and, since 2005, has been on annual contract to WUPPERTALER BUHNEN. Since 2006 her roles for the company have included Antonia’s Mother in THE TALES OF HOFFMANN, solo roles in Sciarrino’s MACBETH, Emilia in Verdi’s OTELLO, the title role in Handel’s opera SIROE, Mercedes in CARMEN, The Mother in three separate seasons of HANSEL & GRETEL, The Second Lady in THE MAGIC FLUTE, and Malika in concert performances of LAKME. Most recently for WUPPERTALER BUHNEN, during 2010, she has appeared as Bianca in Zemlinsky’s EINE FLORENTINISCHE TRAGEDIE, as Katerina in Martinu’s THE GREEK PASSION, and as Penelope in Monteverdi’s IL RITORNO D’ULISSE IN PATRIA. Of performances of Cherubino in the company’s 2008 season of THE MARRIAGE OF FIGARO, DER NEUE MERKER wrote, …the splendid Joslyn Rechter… only rarely are the canzonettas so transfixing.

From 2003 to 2005 she was on contract at COLOGNE OPERA and has since gone on to appear regularly as a guest principle with the company. Her first roles included Ino and Juno in Handel’s SEMELE, Linette in THE LOVE OF THREE ORANGES and The Third Lady in THE MAGIC FLUTE all during the 2001/2002 season. In the 2002/2003 season she sang Tisbe in LA CENERENTOLA and The Third Noble Orphan in DER ROSENKAVALIER and created the role of Gertrude in the world premiere season of Benes’ THE PLAYERS. The following season she appeared as Ramiro in Mozart’s DIE GÄRTNERIN AUS LIEBE, as Amastre in Handel’s XERXES, as Lola in CAVALLERIA RUSTICANA and as Sister Mathilde in DIALOGUES OF THE CARMELITES. Since 2005 she has twice been engaged to appear as The Fox in THE CUNNING LITTLE VIXEN and sang The Page in SALOME, most recently during 2009.

Also for COLOGNE OPERA she has sung the roles of Flosshilde in both DAS RHEINGOLD and GÖTTERDÄMMERUNG in 2003, 2004 and 2006 and Rossweisse in DIE WALKURE in both 2004 and 2006.

Of performances of Idamante in BUHNEN DER STADT KÖLN’s 2005 production of IDOMENEO, OPERNWELT magazine wrote, Joslyn Rechter offered a feast of singing as Idamante: her mezzo voice is grandiose, agile and supple… she alone justifies this (production of) IDOMENEO, while DAS OPERNGLAS said, For the Australian mezzo-soprano… this opening night was a true triumph., and the reviewer for ONLINE MUSIC MAGAZINE said, Only seldom is a pants role so convincingly cast as here.

Her other European operatic engagements include Flosshilde in GÖTTERDÄMMERUNG for BADISCHES STAATSTHEATER in 2007 and Cherubino in THE MARRIAGE OF FIGARO for THEATER BONN during 2008.

On the concert platform Joslyn Rechter’s engagements include the 25TH ANNIVERSARY OF THE SYDNEY OPERA HOUSE, Mozart’s CORONATION MASS with the TASMANIAN SYMPHONY ORCHESTRA, Bach’s ST. JOHN PASSION for the SYDNEY CHAMBER CHOIR and MESSIAH for the AUSTRALIAN CHAMBER ORCHESTRA, In 2006 she appeared in the role of Idamante in concert performances of Mozart’s IDOMENEO with the ESTONIAN NATIONAL ORCHESTRA in Tallin, appeared as soloist in Beethoven’s MISSA SOLEMNIS for the KÖLNER PHILHARMONIE and in Saint Saens’ CHRISTMAS ORATORIO with the SYMPHONY ORCHESTRA WUPPERTAL.

She has given live performances for ABC RADIO of Schumann’s FRAUENLIEBE UND LEBEN.

©Weaver Artist Management. September 2010

Maxine Montgomery’s early operatic roles included Manuela in CHRISTOPHER COLUMBUS for the BALLARAT OPERA FESTIVAL.

In 2004 she joined OPERA AUSTRALIA’s Schools Company, singing the role of Clown in SID THE SERPENT.

During 2006 she sang Rosalinda in IN GOOD COMPANY’s production of DIE FLEDERMAUS and appeared in the lead soprano role of Constanza in Mozart’s THE ABDUCTION FROM SERAGLIO for LYRIC OPERA OF MELBOURNE. For the same company, during 2007, she sang the role of Mme Herz in Salieri’s DER SCHAUSPIELDIREKTOR.

Maxine Montgomery has regularly appeared for MELBOURNE OPERA, making her debut in 2007 as Micaela in Carmen. She has gone on to appear for the company as Sister Genevieve in SUOR ANGELICA and as Musetta in LA BOHEME.

She has also been engaged by MELBOURNE OPERA to cover the role of Elvira in L’ITALIANA IN ALGERI and the title role in SUOR ANGELICA and while attached to the VIENNA STATE OPERA, as part of her winnings of the OPERA FOUNDATION VIENNA STATE OPERA AWARD, during 2009, she was engaged to cover Gianetta in L’ELISIR D’AMORE and Musetta in LA BOHEME.

For MELBOURNE CITY OPERA she has appeared in the title role of LUCIA DI LAMMERMOOR.

Most recently during 2010, for VICTORIAN OPERA, she has sung the role of Mrs Grose in THE TURN OF THE SCREW.

Maxine Montgomery has also enjoyed an extensive experience on the musical theatre stage including appearing for BALLARAT LIGHT OPERA SOCIETY in such roles as Carrie in CAROUSEL, Svetlana in CHESS, Mrs. Lovett in SWEENEY TODD and Rona Peretti in 25TH ANNUAL PUTNAM COUNTY SPELLING BEE.

On the concert platform she was engaged as soloist for AROUND THE WORLD IN EIGHTY MINUTES by the QUEENSLAND SYMPHONY ORCHESTRA during 2008.

Future performances include the role of Magda in MELBOURNE CITY OPERA’s 2010 season of Puccini’s LA RONDINE.

©Weaver Artist Management. August 2010

She first appeared in the role of Johanna in SWEENEY TODD for CLK THEATRE INC in 2003, then performed the role of Yum Yum in THE MIKADO for DICKSON ENTERTAINMENT in 2006.

She appeared as Micaela in CARMEN for BARBIRRA THEATRE in 2007 and for LYRIC OPERA OF MELBOURNE during 2008, she covered the lead role of Dido in DIDO & AENEAS and the role of Suzanna in THE MARRIAGE OF FIGARO for MELBOURNE OPERA.

Nicole Wallace was engaged by OPERA AUSTRALIA to appear in two consecutive years of its schools touring productions, singing the role of Aunty Bartola in THE BARBER OF SEVILLE during 2007 and the lead soprano role of Cinderella in CINDERELLA & CLORINDA in 2008.

0Her other stage roles have included Nellie Forbush in SOUTH PACIFIC for NOVA THEATRE, Minnie Fay in HELLO DOLLY for ALTONA THEATRE, Emma in SONG & DANCE for CATCHMENT PLAYERS and Anna in THE KING & I for LEADING DRAMATIC SOCIETY.

She has an extensive experience on the concert stage, having been engaged as soprano soloist for performances of the Fauré REQUIEM by OUR LADY OF THE PINES SINGERS in 2007, for the JS Bach MAGNIFICAT and EASTER ORATORIO by ROYAL MELBOURNE PHILHARMONIC SOCIETY, for Haydn’s MISSA BREVIS IN F and Dvorak’s MASS IN D MAJOR by MONASH CHORALE and most recently, for Haydn’s CREATION by CAMBERWELL CHORALE in 2010.

Nicole Wallace has also been engaged as a soloist for the LORD MAYOR’S CHARITABLE TRUST LUNCHEON at MELBOURNE TOWN HALL in 2008, for concerts arranged by MORE THAN OPERA, by OPERA VIVENTE and the ROBERT STOLZ SOCIETY. During 2010 she has appeared as soloist for the LA NUIT DE L’OPERA AU CIRQUE BALL at CROWN PALLADIUM BALLROOM in Melbourne.

©Weaver Artist Management. May 2010

His experience on the operatic stage is extensive.

He made his debut in 2001, in the role of Flavio, in Bellini’s NORMA, for PALM BEACH OPERA.

This led to a series of return invitations from the same company to appear as Monostatos in performances of Michael Diack’s opera, PAPAGENO and as Elder Gleaton in Carlisle Ford’s SUSANNAH, as Raul de St. Brioche in THE MERRY WIDOW and as Alfredo in LA TRAVIATA, all during 2002. The following year he appeared for PALM BEACH OPERA as Normanno in LUCIA DI LAMMERMOOR and as Nathanael in THE TALES OF HOFFMANN.

Beginning in 2006, Nick Seidenman, began to build a considerable reputation in New York City, first singing the role of Cassio in Verdi’s OTELLO and later the same year, singing the lead tenor role of Radames in AIDA, both for ONE WORLD SYMPHONY.

From 2003 until 2009 he established an ongoing relationship with the highly regarded New York City company, AMATO OPERA during which time he appeared as Eisenstein in DIE FLEDERMAUS in productions in both 2003 and 2007, as Danilo in four seasons of THE MERRY WIDOW, as Cavaradossi in TOSCA in 2005 and in the title role of Gounod’s FAUST and as The Duke in RIGOLETTO, both during 2006. During 2007 he appeared as both Canio in I PAGLIACCI and Turiddu in CAVALLERIA RUSTICANA and as Pinkerton in MADAM BUTTERFLY. He sang the role of Alfredo in LA TRAVIATA during 2007 and was engaged to sing Rodolfo in three separate seasons of LA BOHEME in 2007, 2008 and 2009.

Other operatic roles include Nemorino in L’ELISIR D’AMORE for both MANHATTAN OPERA WORKSHOP and AMICI DEL’ARTE.

On the oratorio and concert platform, Nick Seidenman has been engaged as tenor soloist for Haydn’s SEVEN LAST WORDS, ELIJAH and Mozart’s VESPERAE SOLLENES DE CONFESSORE by the RICHMOND CHORAL SOCIETY, for Haydn’s MISSA SANCTI NICOLI by the ARCADIAN CHORALE, for Handel’s MESSIAH by OPERA OGGI and for performances of the Verdi REQUIEM for a recording with the ARCADIAN CHORALE and the MANNES ORCHESTRA.

In Australia, during 2010, Nick Seidenman appeared for MELBOURNE OPERA in the roles of Almaviva in THE BARBER OF SEVILLE and Turiddu in CAVALLERIA RUSTICANA.

©Weaver Artist Management. September 2010

On the opera and operetta stage, his early engagements included the role of Dick Deadeye in HMS PINAFORE, Leonard May in YEOMAN OF THE GUARD, the lead tenor role of Nanki Poo in THE MIKADO and Strephon in IOLANTHE all for SAVOY OPERA COMPANY between 1992 and 1994. From 1997 to 1999 he appeared again as Nanki Poo for the same company, made regular appearances in its Gilbert & Sullivan concerts and galas and appeared as The Duke Of Dunstable in Patience.

He has also appeared in the role of Yussaf in ROSE OF PERSIA for the GILBERT & SULLIVAN SOCIETY OF VICTORIA.

Since 2008 Michael Lapiña has been engaged by VICTORIAN OPERA to cover the role of Nemorino in Donizetti’s L’ELISIR D’AMORE, and the role of DER TANZMEISTER in ARIADNE AUF NAXOS.

In 2009 he was first engaged by MELBOURNE OPERA to cover the role of Cavaradossi in the company’s Melbourne and touring seasons of Puccini’s TOSCA.

Other engagements during 2009 including covering the role of Calaf in TURANDOT for HEIDELBERG CHORAL SOCIETY.

On the concert platform, Michael Lapiña makes regular solo appearances in concerts for the MELBOURNE ARCHDIOCESE and for ROTARY INTERNATIONAL which has included singing in its ROTARY CENTRAL MELBOURNE SUNRISE 20TH ANNIVERSARY concert and for the KNIGHTS OF THE SOUTHERN CROSS. He has been guest soloist in concerts with the PHILIPPINE MALE CHOIR in Bacoor, in the Philippines. He was engaged by ST PAUL’S ANGLICAN CHURCH, Geelong as tenor soloist for both Haydn’s STABAT MATER and the Dvorak STABAT MATER, has appeared in opera concerts for the MONASH CHORALE and was engaged by VICTORIAN OPERA, during 2009, to cover the tenor soloist in its performance of Puccini’s MESSA DI GLORIA.

Michael Lapiña’s engagements during 2010 will include the role of Malcolm in concert performances of Verdi’s MACBETH for the HEIDELBERG CHORAL SOCIETY, in which he will also understudy the role of Macduff.  He will also appear as Beppe and cover the lead tenor role of Canio in MELBOURNE OPERA’s season of I PAGLIACCI.

Michael Lapiña appears as The First Armed Man and The First Priest in THE MAGIC FLUTE for VICTORIAN OPERA during 2011.

©Weaver Artist Management. July 2010

Emily Uhlrich is an experienced concert singer. Her oratorio and concert performances have included engagements as soprano soloist for performances of the Mozart REQUIEM by CHRISTCHURCH GRAMMAR SCHOOL in Perth during 2000, for Haydn’s NELSON MASS with the MELBOURNE CHORALE and JS Bach’s CHRISTMAS ORATORIO at ST. MICHAEL’S UNITING CHURCH in 2003, for Bach’s CANTATA BWV172 at ST. JOHN’S SOUTHGATE and for Haydn’s CREATION and Mozart’s VESPERAE SOLLENES DE CONFESSORE both with the BOX HILL CHORALE, all during 2004.

During 2005 she appeared as soloist in JS Bach’s ST. MATTHEW PASSION for the GERMAN LUTHERAN CHURCH, Melbourne and in the Fauré REQUIEM with the GLORIANA ENSEMBLE and in 2006 she was engaged as soprano soloist for performances of Handel’s MESSIAH by the BOX HILL CHORALE. 2007 included Mozart’s MASS IN C, and REGINA COELI and the Fauré REQUIEM with the MELBOURNE UNIVERSITY CHORAL SOCIETY.

Emily Uhlrich’s solo appearances during 2008 included Haydn’s THE CREATION for the MELBOURNE SINFONIA, JS Bach’s ST. JOHN PASSION for the ROYAL MELBOURNE PHILHARMONIC SOCIETY in the MELBOURNE TOWN HALL, Gounod’s MESSE SOLENNELLE DE SAINTE CECILE and Saint-Saens’ ORATORIO NOEL OPUS 12 for the MELBOURNE UNIVERSITY CHORAL SOCIETY and Vivaldi’s MAGNIFICAT and Schubert’s MASS IN G, both for the BOX HILL CHORALE.

Other recent appearances include concerts of Purcell, Haydn and Mendelssohn, also with the BOX HILL CHORALE.

Emily Uhlrich made her operatic debut in 2005, appearing in the title role of Gilbert & Sullivan’s PATIENCE for the GILBERT & SULLIVAN SOCIETY OF VICTORIA.

The following year she went on to sing the roles of Amanzio and Fortuna in LYRIC OPERA OF MELBOURNE’s season of Vivaldi’s IL GIUSTINO and, in 2007, she sang the role of Tonino in the same company’s season of Salieri’s PRIMA LA MUSICA POI LE PAROLE.

During 2007 she was engaged by OPERA AUSTRALIA to appear in the role of Rosina for its VICTORIAN SCHOOLS TOURING COMPANY production of THE BARBER OF SEVILLE. This led on to her engagement the following year to sing the role of Clorinda in the company’s touring production of Rossini’s LA CENERENTOLA.

In 2008, Emily Uhlrich made her debut with MELBOURNE OPERA, appearing as Susanna in its season of THE MARRIAGE OF FIGARO.

2008 also marked the beginning of her current association with VICTORIAN OPERA, seeing her engaged initially to cover the role of Amore in the company’s season of Monteverdi’s THE CORONATION OF POPPEA and again, during 2009, to cover the Naiad in its production of ARIADNE AUF NAXOS. She is now a member of VICTORIAN OPERA’s DEVELOPING ARTIST PROGRAM as part of which commitment she will cover the lead soprano role of Cleopatra in the company’s 2010 season of Handel’s JULIUS CAESAR.

Other engagements during 2010 include guest solo appearances for the MELBOURNE WELSH MALE CHOIR in the MORNING MELODIES series of the VICTORIAN ARTS CENTRE and THE CREATION with CAMBERWELL CHORAL SOCIETY.

©Weaver Artist Management. April 2010

He started his career as a stage actor appearing in such roles as Hortensio in THE TAMING OF THE SHREW for the NATIONAL SUMMER SHAKESPEARE FESTIVAL, Nick in COSI and Reverand Hale in THE CRUCIBLE both for FREE RAIN THEATRE COMPANY and Nick in PASS THE BUTLER for CANBERRA REPERTORY THEATRE.

Matthew Thomas began singing professionally in 2005 and since then has developed an extensive career.

On the concert platform his appearances as soloist in oratorio performances include Mozart’s REQIUEM and both the MASS IN C MINOR and the MASS IN C MAJOR for the AUSTRALIAN NATIONAL UNIVERSITY CHORAL SOCIETY, Handel’s MESSIAH for the UNIVERSITY OF CANBERRA CHOIR and for the SYDNEY COMBINED CHURCHES CHOIR, Buxtehude’s IHR LIEBEN CHRISTEN, FREUT EUCH NUN and Handel’s DETTINGEN TE DEUM and CORONATION MASSES for the SYDNEY CONSERVATORIUM OF MUSIC CHOIR and Saint-Saens’ CHRISTMAS ORATORIO for the SYDNEY GRADUATE CHOIR.

During 2008 and 2009 he was engaged as soloist in JS Bach’s ST. JOHN PASSION by BEL ACAPELLA, for performances of JS Bach’s CANTATA BWV21 by the SYDNEY CONSERVATORIUM OF MUSIC EARLY MUSIC ENSEMBLE and for Vaughan Williams’ FIVE MYSTICAL SONGS by the SYDNEY CONSERVATORIUM MUSIC CHOIR, in Saint-Saens’ CHRISTMAS ORATORIO by the MELBOURNE UNIVERSITY CHORAL SOCIETY, for performances of Purcell’s THE TEMPEST by the SYDNEY PHILHARMONIA CHOIRS, Purcell’s TE DEUM by BOX HILL CHORALE and for the Faure REQUIEM and Vaughan Williams’ DONA NOBIS PACEM by EXAUDI CHOIR.

Also during 2009 he was soloist in performances of Handel’s MESSIAH with the HO CHI MINH SYMPHONY ORCHESTRA and for ARCKO SYMPHONIC PROJECT’s world premiere performances of Laurence Whiffin’s RED LETTER DAYS.

Matthew Thomas made his operatic debut, in Canberra, in 2004 singing the role of Ivan in DIE FLEDERMAUS for the AUSTRALIAN NATIONAL UNIVERSITY SCHOOL OF MUSIC.

During 2006 he was engaged by OPERA QUEENSLAND for its schools company season of THE SONGBIRD, singing the role of Mr. Twister.

The same year he appeared in the role of Ishidukuri in THE PRINCESS & THE MOON for TOKYO EXPERIMENTAL OPERA and took up his first engagement with OPERA AUSTRALIA, covering the Sergeant in the company’s seasons of PIRATES OF PENZANCE in Brisbane and Canberra and again in its subsequent seasons in Melbourne and Adelaide during 2007.

During 2009 he was engaged by VICTORIAN OPERA to understudy the title role in the company’s Melbourne and touring seasons of DON GIOVANNI.

2010 includes the role of Escamillo in CARMEN for IN GOOD COMPANY, engagements as soloist for performances ST. MATTHEW PASSION for the MELBOURNE BACH CHOIR, appearing in the cast of the world premiere season of PECAN SUMMER and the premiere of a new work for voice and orchestra by David Chisholm in the PATMA FAMILY CONCERTS SERIES.  He appears in the VICTORIAN OPERA’s NEW OPERA VENTURES AUSTRALIA (NOVA) workshops and in opera concerts at the MELBOURNE RECITAL CENTRE as one of the four members of ARIA CO.

In 2011 Matthew Thomas will join the DEVELOPING ARTIST PROGRAM of VICTORIAN OPERA as part of which commitment he will sing the role of Vicar Gedge in ALBERT HERRING.

©Weaver Artist Management. July 2010

In 1974 he joined ENGLISH NATIONAL OPERA as a staff director and during the subsequent seven years worked on over sixty opera productions for that company. He also directed for OPERA NORTH, was Artistic Director of FULHAM MUSIC THEATRE in London and directed for GRANADA TELEVISION.

He first came to Australia in 1980 to stage the ENGLISH NATIONAL OPERA production of Rossini’s LE COMTE ORY for the VICTORIA STATE OPERA and since emigrating in 1982, he has established himself as one of this country’s busiest and most versatile directors.

For the VICTORIA STATE OPERA his engagements included productions of IOLANTHE, THE PEARLFISHERS, DIE FLEDERMAUS, THE MAGIC FLUTE, LA BOHEME, IL RE PASTORE, RUDDIGORE and LA BELLE HELENE. He directed the joint VSO/AUCKLAND OPERA/IMG production of LA BOHEME in 1989, which featured Dame Kiri Te Kanawa as Mimi.

He was associate director for the international arena production of CARMEN for its performances in Melbourne and then subsequently in Zurich, Berlin and Munich and he directed the epic stadium production of AIDA for MICHAEL EDGLEY INTERNATIONAL in Singapore, Perth and Auckland.

Between 1995 and 2000 Hugh Halliday’s engagements included LA BOHEME for the STATE OPERA OF SOUTH AUSTRALIA, LA TRAVIATA for OPERA NEW ZEALAND, the world premiere production of BUNGA MAWAR and a production of CARMEN and also of DIE FLEDERMAUS and THE STUDENT PRINCE all for SINGAPORE LYRIC OPERA, further performances of the stadium AIDA in Brisbane, THE BARBER OF SEVILLE for both WEST AUSTRALIAN OPERA and OPERA QUEENSLAND, FAUST for CANTERBURY OPERA in Christchurch, THE ABDUCTION FROM SERAGLIO for EASTERN METROPOLITAN OPERA in Melbourne and a series of opera and concerts as part of the events of the SYDNEY 2000 OLYMPICS.

Since 2000 he has directed THE TALES OF HOFFMANN for CANTERBURY OPERA, a new production of CARMEN for SINGAPORE LYRIC OPERA, LA SERVA PADRONA for CAPELLA AMADEUS ORCHESTRA in Djakarta, HMS PINAFORE and ALICE IN WONDERLAND for PROMAC PRODUCTIONS and a number of consecutive years of OPERA IN THE PARK for the CITY OF STONNINGTON in Melbourne.

He was also engaged as artistic director of AN AUSTRALIAN NIGHT AT THE PROMS at the SYDNEY SUPERDOME for CREATIVE ENTERTAINMENT & ART GROUP and for the opening events of the BENALLA PERFORMING ARTS & CULTURAL CENTRE.

In 2004 he began an ongoing association with MELBOURNE OPERA and now holds the position of Director Of Productions, initially staging COSI FAN TUTTE and since then, directing DON GIOVANNI, DIE FLEDERMAUS, the triple-bill of Mozart’s DER SCHAUSPIELDIREKTOR, Salieri’s PRIMA LA MUSICA, POI LE PAROLE and Rimsky-Korsakov’s MOZART & SALIERI, CARMEN, CAVALLERIA RUSTICANA and SUOR ANGELICA, THE ITALIAN GIRL IN ALGIERS, THE BARBER OF SEVILLE, LA BOHEME, THE MARRIAGE OF FIGARO, I PURITANI and, most recently, during 2009, LA TRAVIATA and TOSCA.

Other engagements since 2006 have included staging a production of LA TRAVIATA at DE BORTOLI WINERY for GRAND OPERA AUSTRALIA, directing a number of the MSO POPS concerts series for the MELBOURNE SYMPHONY, a new touring production entitled THE GREAT OZZIE SONGBOOK for PROMAC PRODUCTIONS and THE KING OF THE SUN for BOX SEAT PRODUCTIONS, a retrospective based on the life of Sam Phillips and his SUN RECORDS in Memphis, Tennessee.

Hugh Halliday continues his association with MELBOURNE OPERA directing both THE BARBER OF SEVILLE and I PAGLIACCI & CAVALLERIA RUSTICANA during 2010.

©Weaver Artist Management December 2009

She has been a first prize winner in the Booroondara, Warrnambool, Bendigo, and Geelong eisteddfod amongst many others.

Selena Pettifer’s first operatic role was Flora in LA TRAVIATA for MELBOURNE OPERA during 2005. Since then she has gone on to perform the role of Mercedes in that same company’s season of CARMEN, has appeared as the Mistress Of The Novices in Puccini’s SUOR ANGELICA during 2007, and has returned to the role of Flora in the company’s 2009 production of LA TRAVIATA and also covered the role of Zulma in its season of THE ITALIAN GIRL IN ALGIERS in 2007.

She also appeared as Suzuki in MORNINGTON PENINSULA THEATRE COMPANY’s performances of MADAM BUTTERFLY during 2008.

She is a regular concert and oratorio soloist having been engaged for Vivaldi’s GLORIA by the DANDENONG CHORAL SOCIETY in 2001, by the MAROONDAH CITY COUNCIL for its CAROLS BY CANDLELIGHT in 2004, by MELBOURNE OPERA for its bushfire relief concerts and for performances of Handel’s MESSIAH in 2009 and for regular recital and opera concerts by such organisations as MORE THAN OPERA, the LIEDER SOCIETY OF VICTORIA, and OPERA VIVENTE.

Selena Pettifer’s engagements during 2010 include the role of La Dama in concert performances of Verdi’s MACBETH for HEIDELBERG CHORAL SOCIETY and the Mozart REQUIEM with the ASHTON SMITH SINGERS OF AUSTRALIA.  She will appear as Lola in MELBOURNE OPERA’s season of CAVALLERIA RUSTICANA.

©Weaver Artist Management. August 2010