Tournée australienne pour « My Fair Lady » : du 15 mai au 4 août 2008, à  Melbourne, Sydney et Canberra

MY FAIR LADY – Alan Jay Lerner & Frederick LoweMy Fair Lady 2008

For Henry Higgins, pro­fes­sor of lin­guis­tics and confir­med miso­gy­nist, trans­for­ming a stree­tur­chin into a lady is a tri­vial task, done to honour a bet with his friend Colonel Pickering. Until, of course, he meets the proud lit­tle cock­ney, Eliza Doolittle, and finds that his raw mate­rial might not be so easy to mould. Lerner and Loewe’s exu­be­rant adap­ta­tion of George Bernard Shaw’s Pygmalion was always des­ti­ned to be a smash hit.

The iras­cible Henry Higgins, the irre­sis­tible Eliza Doolittle, and the glo­rious suc­ces­sion of show-stop­ping num­bers from « I Could Have Danced All Night » to « Get Me to the Church On Time » pro­pel­led this clas­sic sto­ry into Broadway his­to­ry.

Now My Fair Lady comes to Australia in a new pro­duc­tion from the team that crea­ted The Pirates of Penzance. Expect extra­va­gant sets, outs­tan­ding per­for­mances, a vir­tuo­sic cho­rus and a veri­table fashion parade of cos­tumes.

Legend of Australian music theatre, Reg Livermore stars as Henry Higgins with one of Opera Australia’s brigh­test young talents, Taryn Fiebig, as Eliza. Nancye Hayes, who dan­ced in the ori­gi­nal Australian pro­duc­tion at the start of her illus­trious music theatre career, now joins the cast as the acer­bic Mrs Higgins. This has all the ingre­dients for a « luv­ver­ly » night in the theatre !

About the story

Henry Higgins, an arro­gant, iras­cible pro­fes­sor of pho­ne­tics, boasts to fel­low lin­guist Colonel Pickering that he can train any woman to speak so pro­per­ly that he could pass her off as a duchess, inclu­ding Eliza Doolittle, a poor girl with a strong Cokney accent whom he encoun­ters sel­ling flo­wers in Covent Garden Pickering is intri­gued by Higgins’s boast and wagers that he can­not make good on his claim. Higgins takes on the chal­lenge and begins an inten­sive make-over of Eliza’s speech, man­ners and dress in pre­pa­ra­tion for her appea­rance at the Embassy Ball. Complicating mat­ters is Eliza’s father, Alfred P. Doolittle, a cheer­ful­ly amo­ral and drink-loving dust­man, who shows up to extract money from Higgins for com­pro­mi­sing Eliza’s vir­tue.

Higgins is impres­sed by the man’s natu­ral gift for lan­guage and his bra­zen lack of moral values (« Can’t afford ’em ! ») and flip­pant­ly recom­mends Doolittle to an American mil­lio­naire who is see­king a lec­tu­rer on moral values. In the end, Doolittle gets a sur­prise bequest of four thou­sand pounds a year from the mil­lio­naire, rai­sing him uncom­for­ta­bly into middle-class res­pec­ta­bi­li­ty. Meanwhile, Eliza endures speech the­ra­py, end­less­ly repea­ting phrases such as « In Hertford, Hereford and Hampshire, hur­ri­canes hard­ly ever hap­pen » (to demons­trate that « h« s must be aspi­ra­ted) and « The rain in Spain stays main­ly in the plain » (to empha­size the « a »). Just as things seem hope­less, she sud­den­ly « gets it » after Higgins elo­quent­ly speaks of the glo­ry of the English lan­guage, and the­reaf­ter her speech is trans­for­med into an impec­cable upper class English accent. For her first public tryout, Higgins takes her to Ascot Racecourse, where she makes a good impres­sion with her polite man­ners but shocks eve­ryone by her vul­gar Cockney atti­tudes and slang (thus esta­bli­shing one of the show’s themes, that good elo­cu­tion is only « skin deep. »)

However, she still cap­tures the heart of an eager young man named Freddy Eynsford-Hill. The final test hinges on Eliza’s pas­sing as a lady at the Embassy Ball, which she does suc­cess­ful­ly, des­pite the pre­sence of a Hungarian pho­ne­tics expert who seeks to unmask her iden­ti­ty. After the ball, Higgins’s ungra­te­ful boas­ting of his triumph and his plea­sure that the expe­riment is now over leave Eliza fee­ling used and aban­do­ned. She walks out on him, lea­ving the see­min­gly clue­less Higgins mys­ti­fied by her ingra­ti­tude. But Higgins soon rea­lizes his fee­lings for her – that he has « grown accus­to­med to her face ». When Eliza ten­ta­ti­ve­ly returns to him, the musi­cal ends on an ambi­guous moment of pos­sible recon­ci­lia­tion bet­ween tea­cher and pupil.


Director – Stuart Maunder
Set Designer – Richard Roberts
Costume Designer – Roger Kirk
Lighting Designer – Trudy Dalgleish
Choreographer – Elizabeth Hill
Reg Livermore – Professor Henry Higgins
Taryn Fiebig – Eliza Doolittle
Robert Grubb – Alfred P. Doolittle
Nancye Hayes – Mrs Higgins
Matthew Robinson – Freddy Eynsford-Hill
Rhys McConnochie – Colonel Pickering
Judi Connelli – Mrs Pearce (Melbourne)
Adele Johnston – Mrs Pearce (Sydney and Canberra)


Taryn FiebigTaryn Fiebig
Eliza Doolittle

Taryn Fiebig gra­dua­ted from the University of Western Australia in 1993 with a Bachelor of Music in Cello per­for­mance after which she com­men­ced vocal trai­ning with Molly McGurk and later with Megan Sutton.

It was her par­ti­cu­lar inter­est in ear­ly music reper­toire which won her two scho­lar­ships to the Dartington International Summer School in 1995 and 1996, stu­dying with Emma Kirkby, Evelyn Tubb and Anthony Rooley conti­nuing her stu­dies with Evelyn Tubb in 1999 on an Arts WA Scholarship. Further stu­dy with Jane Manning was made pos­sible by a Churchill Fellowship in 2000. She com­ple­ted the Emerging Performers Programme at the Australian Opera Studio in 2003, having stu­died with Gregory Yurisich and Patricia Price.

As a soloist, she has per­for­med the 15th Century Masterpiece El Cant de la Sibil-la with the Australian Brandenburg Orchestra for their popu­lar Noël Noël Christmas concerts. Other enga­ge­ments include per­for­mances with the West Australian Symphony Orchestra, Ensemble Archangelo, Collegium Musicum, Perth Oratorio Choir and Magnetic Pig contem­po­ra­ry music ensemble. Internationally, Taryn has per­for­med in Los Angeles with the contem­po­ra­ry music ensemble L.A. EAR unit, in England with the English Chamber Orchestra in St. John’s Smith Square, London and on BBC Radio 3 and Radio 4 in the radio dra­mas Southland and Pembroke, Arcadia.

Her ope­ra­tic work includes seve­ral lea­ding roles for the Australian Opera Studio, Marie in Lindsay Vickery’s ope­ra-noir Rendez-vous (Tura Events 2001), Mary Magdalen in Les Saintes Femmes au Tombeau (1999 York Early Music Festival, UK) and Angel in Plainsong (2000 Perth International Arts Festival/Black Swan Theatre Co.)

In 2005, Taryn Fiebig joi­ned Opera Australia’s Young Artist Development Programme. Her prin­ci­pal roles with this com­pa­ny inclu­ded Zerlina in Don Giovanni, Sirena in Rinaldo, the Dew Fairy/Sandman in Hansel and Gretel, The Plaintiff in Trial by Jury, Papagena in The Magic Flute, Rose in Lakmé, Servilia in La Clemenza di Tito, Karolka in Jenufa, Mabel in The Pirates of Penzance, Wood Sprite in Rusalka and Gianetta in The Gondoliers. In 2008, will sign Clorinda in Cenerentola, Musetta in La bohème and the lea­ding role of Eliza Dolittle in the natio­nal tour of My Fair Lady.

Taryn Fiebig’s dis­co­gra­phy includes French Baroque Cantatas, The Concert Français and Old American Songs for ABC Classics.


Reg Livermore Reg Livermore
Professor Henry Higgins

Reg Livermore is pre­sent­ly and proud­ly cele­bra­ting a career that has span­ned fif­ty years during which time he has been acti­ve­ly invol­ved in most aspects of the theatre : as per­for­mer, author, desi­gner and direc­tor. While still at school, having an abso­lu­te­ly clear idea where his future lay, young Reg began sta­ging backyard concerts and hiring local halls to put on pan­to­mimes in aid of well-known local cha­ri­ties. After some ini­tial trai­ning at the Independent Theatre his career took off pro­pi­tious­ly at Sydney’s legen­da­ry Phillip Street Theatre where he wor­ked along­side the stel­lar talents of Barry Humphries and Gordon Chater, and then at Hayes Gordon’s Ensemble Theatre of which he was one of the foun­ding mem­bers.

He appea­red fre­quent­ly with the Melbourne Theatre Company, South Australian Theatre Company, the Independent, Nimrod and the Old Tote. Early forays into tele­vi­sion saw him host the chil­dren’s show Crackerjack and his own Saturday night varie­ty show I’m Alright Now for the ABC. The advent of his notable stage suc­cesses began with major roles in Hair, Jesus Christ Superstar, and the 1974 show stop­per Dr. Frank’n’Furter in the ori­gi­nal Australian Rocky Horror Show. This explo­sive per­for­mance won him finan­cial backing for a series of start­ling one- man shows, a list that includes Betty Blokk Buster Follies, Wonder Woman, Son of Betty, Sacred Cow and Firing Squad. Considered ground­brea­king in their time the self-pen­ned enter­tain­ments ear­ned Reg his natio­nal sta­tus and repu­ta­tion. Broadway Musicals he star­red in sub­se­quent­ly were Barnum, and the Mel Brooks Musical The Producers for which he won a Mo Award. More recent­ly Reg has essayed the comic roles in Opera Australia’s Gilbert and Sullivan pro­duc­tions not­ching up memo­rable per­for­mances in Iolanthe, The Pirates of Penzance and The Gondoliers.

A long list of achie­ve­ments in the theatre and on tele­vi­sion won him a Creative Artists Fellowship (1995), and in 1996 a ‘gong”, awar­ded Officer in the Order of Australia (AO) for ser­vices to the theatre and to the com­mu­ni­ty. His auto­bio­gra­phy ‘Chapters and Chances” was publi­shed in 2004 by Hardie Grant.

Reg regards his cas­ting as Professor Higgins in Opera Australia’s pro­duc­tion of My Fair Lady as a time­ly and gol­den oppor­tu­ni­ty. He has secret­ly drea­med of playing this role for many years, but an uncha­rac­te­ris­tic reti­cence pre­ven­ted him from put­ting up his hand. That is until now.


Robert GrubbRobert Grubb
Alfred P. Doolittle

Since gra­dua­ting from the National Institute of Dramatic Art (NIDA) in 1978, Robert has wor­ked exten­si­ve­ly in theatre, film and tele­vi­sion. His musi­cal theatre cre­dits include the 2001–2002 tour of Mamma Mia!, the Really Useful Company’s 1996 pro­duc­tion of Sunset Boulevard and the title role in Ken Hill’s The Phantom of the Opera in 1995. Robert is cur­rent­ly appea­ring in the Melbourne sea­son of the high­ly suc­cess­ful Ben Elton musi­cal We Will Rock You, based on the music of rock band Queen, which will tour Australia in 2006 and Japan in 2007.

Robert has star­red in some of Australia’s best loved films, inclu­ding Bruce Beresford’s Paradise Road, Mad Max Beyond Thunderdome, Phar Lap, Peter Weir’s Gallipoli and Gillian Armstrong’s break­through film My Brilliant Career.

However it was the role of Dr Geoff Standish in the popu­lar TV series The Flying Doctors in the late 80s and ear­ly 90s that made Robert a fami­liar face in Australia and beyond. More recent tele­vi­sion cre­dits include McLeods Daughters, All Saints, Curtin, MDA, The Secret Life of Us, SeaChange and The Potato Factory. Robert played oppo­site David Wenham in 2003’s cri­ti­cal­ly acclai­med CoxKnight mini­se­ries After the Deluge. He will also appear in the Stephen King adap­ta­tion Salem’s Lot, from Band of Brothers direc­tor Mikael Salomon, sche­du­led to air on US tele­vi­sion later this year.

Robert has a wealth of stage expe­rience. A par­ti­cu­lar high­light was his tour de force per­for­mance in the cen­tral role of Rene Gallimard in the Melbourne Theatre Company (MTC)/Harry M. Miller co-pro­duc­tion of M. Butterfly. Other MTC cre­dits include Company and Into the Woods for direc­tor Roger Hodgman, and Brecht’s The Resistible Rise of Arturo Ui, Stoppard’s Arcadia and the French farce A Flea in Her Ear for direc­tor Simon Phillips. Robert has also wor­ked for most of the other major Australian theatre com­pa­nies inclu­ding Nimrod, Playbox, the Queensland Theatre Company and the Sydney Theatre Company. He has appea­red in some 25 pro­duc­tions for the State Theatre Company of South Australia for direc­tors such as Jim Sharman, Nick Enright and Neil Armfield.

In 2000, Robert direc­ted and per­for­med in an adap­ta­tion of Tennyson’s Enoch Arden for the Melbourne stage. The pro­duc­tion was a cri­ti­cal and audience suc­cess and ear­ned Robert a Green Room Award for his per­for­mance.


Nancye Hayes Nancye Hayes
Mrs Higgins

Actor, dan­cer, sin­ger, cho­reo­gra­pher and direc­tor Nancye Hayes OAM began her career in JC Williamson’s pro­duc­tion of My Fair Lady in 1961. However it was the title role in Sweet Charity in 1967 that esta­bli­shed her name. Since then she has sung and dan­ced her way through a caval­cade of musi­cal suc­cesses inclu­ding Pippin, Irene, Annie, Chicago, Sweeny Todd and Nine. She won a Victorian Green Room Award, the Norman Kessell Memorial Award and the Sydney Theatre Critics” Circle Award for Best Actress for her per­for­mance in Guys and Dolls and a MO Award for 42nd Street. Her other stage cre­dits include Broadway Bound, Showboat, Same Time Next Year, The Glass Menagerie, Steel Magnolias, Stepping Out, Follies in Concert, The Music Man, The Snow Queen, Eureka and Oklahoma and the Sydney Theatre Company’s revi­val pro­duc­tion of Summer Rain.

As a direc­tor, Nancye’s cre­dits include Crazy for You and The World Goes Round (Western Australian Academy of Performing Arts), Australia’s Leading Ladies Concert (Brisbane Festival), The Wizard of Oz (GFO/SEL/Macks Entertainment), The 3 Divas (Christine Dunstan Productions), Annie (The Frost Organisation) and Gypsy star­ring Judi Connelli (part of the Encore Series for The Production Company). Nancye also wor­ked as asso­ciate direc­tor along­side Judy Davis on Barrymore for Sydney Theatre Company.

Nancye’s cho­reo­gra­phic cre­dits include My Fair Lady for Victorian State Opera (Melbourne, Sydney and Brisbane sea­sons), Falsettos for Sydney Theatre Company and Guys and Dolls for NIDA.

Nancye’s first caba­ret show Nancye with An E, writ­ten and direc­ted by Tony Sheldon, has played throu­ghout Australia and is avai­lable on CD. Nancye is honou­red to have recei­ved two Lifetime Achievement awards — from the Variety Club in 1997 and from the Green Room Awards Association in 2003.


Matthew Robinson Matthew Robinson
Freddy Eynsford-Hill

Originally hai­ling from Rockhampton, Queensland, Matthew is fast esta­bli­shing him­self as a lea­ding man of Australian music theatre.

Having joi­ned the ori­gi­nal Australian cast of Mamma Mia ! direct from stu­dying at WAAPA, his sub­sequent ons­tage roles include the title role in Pippin (Peter Cousens” Kookaburra), the title role in the contem­po­ra­ry ope­ra McCubbin (Hydra/NGV), Hortensio in Kiss Me Kate (The Production Company), the UK and Swedish Eurovision entrants in Eurobeat — Almost Eurovision (Glynn Nicholas), the nar­ra­tor and musi­cian in Two Weeks With The Queen (Windmill Performing Arts); Gene Gorman in the Australasian pre­miere of Sondheim’s Saturday Night (Magnormos); and, the role of Teague in the World pre­miere of Australian play God’s Last Acre (Playbox Theatre Company).

On tele­vi­sion, Matthew has fea­tu­red in guest roles on Stingers and Blue Heelers, appea­red as a resident vocal coach on the Fox 8 rea­li­ty series The Singing Office, per­for­med along­side Mary Tyler Moore in A Most Deadly Family (Village Roadshow), been a spe­cial guest on Good Morning Australia and Mornings with Kerri-Anne and most recent­ly appea­red in the yet to be relea­sed Steven Spielberg/Tom Hanks tele­se­ries The Pacific.

As a wri­ter, Matthew is the youn­gest ever reci­pient of Australia’s richest theatre-wri­ting acco­lade, the Pratt Prize for Music Theatre, awar­ded for his first musi­cal Metro Street. It was sub­se­quent­ly work­shop­ped through The Production Company, pro­du­ced in concert at the 2006 Adelaide Cabaret Festival and in 2007, recei­ved a show­case rea­ding pro­du­ced by Arts Asia Pacific, star­ring theatre legend Nancye Hayes. Metro Street is cur­rent­ly in deve­lop­ment for its first full scale Australian pro­duc­tion.

Matthew’s other com­po­si­tions include whole or part contri­bu­tions to : the Off Broadway revue Get Here (York Theater Company, N.Y.C.); the La Salle-SIA Music Theatre Degree Launch (Singapore); The Windows Project (ATYP and Darlinghurst Theatre sea­sons, Sydney); The Angels Project (ATYP); Five Minute Call (FOTW Theatre, Melbourne); Metrosexual ; (Melbourne, Canberra sea­sons); Immaculate Confection (natio­nal tour); Kiss Kiss Bang Bang (Perth sea­son); and, count­less contri­bu­tions to cha­ri­ty concerts and caba­ret pro­jects throu­ghout Australia, the USA and the UK. In 2003, Matthew was pre­sen­ted with the inau­gu­ral Judges” Award for Original Music at the last ever Sydney Cabaret Convention for his work with upco­ming star of Wicked, Lucy Durack.

Outside of his upco­ming role as Freddy Eynsford-Hill in Opera Australia’s My Fair Lady, Matthew’s cur­rent pro­ject is the pop-ope­ra group Forte (fortethegroup.com), a four-man concert act for­med with the vision of brin­ging clas­si­cal music to the Australian public through the rear­ran­ge­ment of Australian popu­lar music for clas­si­cal voice. For more infor­ma­tion on Matthew, visit matthewrobinson.com.au.


Rhys McConnachie Rhys McConnochie
Colonel Pickering

Rhys McConnochie made his debut fif­ty years ago with the New Zealand Players in a pro­duc­tion of Pygmalion in which he played the Sarcastic Bystander and unders­tu­died Colonel Pickering. Half a cen­tu­ry later he plays Pickering in My Fair Lady for Opera Australia.

He recei­ved a Government Bursary to stu­dy over­seas and spent a year in Paris at a mime school. He then went to London to conti­nue his stu­dies and in 1963 he joi­ned the Royal Shakespeare Company for two years. During that time he wor­ked with a num­ber of lea­ding direc­tors inclu­ding Peter Hall, Peter Brook and Michel Saint Denis as well as per­for­ming along­side actors such as Dame Peggy Ashcroft, Ian Holm, Cyril Cusack, Eric Porter and Donald Sinden.

In the late Seventies he joi­ned the Prospect Company at the Old Vic to act in Saint Joan (with Eileen Atkins) and Anthony and Cleopatra (with Barbara Jefford). He re-joi­ned the RSC in 1980 for a tour of Britain in Henry IV Parts 1 & 2.

In 1981 Richard Wherrett invi­ted him to join the Sydney Theatre Company for Cyrano de Bergerac and Amadeus. He also appea­red in Heartbreak House, Measure for Measure and in Jim Sharman¹s high­ly acclai­med pro­duc­tion of Strindberg¹s Dance of Death. In Adelaide his cre­dits inclu­ded A Winter’s Tale, Ring Round the Moon and A Dream Play which also played in Sydney. His recent work for the MTC includes The History Boys, King Lear, Inheritance, The Seagull, Death of a Salesman, Measure for Measure, Life After George, Misalliance and Molly Sweeney. He played Merlin in Camelot for the Production Company and appea­red in Henry V for Bell Shakespeare Company. He has also direc­ted pro­duc­tions for the STC, MTC and Griffin Theatre.

Rhys has direc­ted nume­rous pro­duc­tions at lea­ding Drama Schools in the UK. He was invi­ted by NIDA to direct a num­ber of pro­duc­tions that inclu­ded student actors Richard Roxburgh, Cate Blanchett and Toni Collette. In 1994 he joi­ned the staff at WAAPA in Perth and was Head of the Acting Department for seve­ral years. One of his stu­dents there was Hugh Jackman. Recently he has wor­ked at the VCA Drama School in Melbourne where he now lives.

On Television he has been seen in City Homicide, MDA, Stingers, Bootleg, Mother and Son, Brides of Christ, Ring of Scorpio, Come In Spinner, Whose Baby ? The Anzacs and Bodyline. His films include Romulus My Father, Black and White, The Man From Snowy River II, The Empty Beach and The Wild Duck.


Judi Connelli Judi Connelli
Mrs Pearce (Melbourne)

Judi Connelli’s 40 year career spans ope­ra, ope­ret­ta, theatre, musi­cals, tele­vi­sion, caba­ret and recor­ding.

Judi’s per­for­mances in 2007 inclu­ded the roles of Mrs. Lovett in Opera Australia’s pro­duc­tion of Sweeney Todd and The Duchess of Plaza-Toro in Opera Australia’s The Gondoliers. She also tou­red natio­nal­ly with Suzanne Johnston in the acclai­med caba­ret show Take Two.

Other roles that Judi has per­for­med for Opera Australia include Mother Goose (The Rake’s Progress), Golda (Fiddler On The Roof), Zozo (The Merry Widow) and Katisha (The Mikado). Her musi­cal theatre reper­toire includes The Witch (Into The Woods), Mrs. Peacham (The Threepenny Opera), Matron Mama Morton (Chicago) (all for the Sydney Theatre Company), THE PACK OF WOMEN (for stage and screen), JERRY’S GIRLS (Australian tour), Fraulein Schneider (Cabaret), for The Production Company, the role of Mama Rose (Gypsy) and Norma Desmond (Sunset Boulevard).

Judi has appea­red with both the Melbourne and Sydney Symphony Orchestras. As one of The Three Divas, she’s also per­for­med with the Adelaide and Tasmanian Symphony Orchestras. In 2005 she per­for­med in concert with Australia’s Leading Ladies throu­ghout Australia and in 2006, Perth Festival invi­ted Judi to per­form the role of ‘The Old Lady” in a concert ver­sion of Leonard Bernstein’s Candide.

Concentrating on her caba­ret shows has brought much suc­cess in major Australian cities and inter­na­tio­nal­ly. Following a trium­phant appea­rance at the New York Cabaret Convention in 1995, Judi retur­ned in 1997 to sell-out concerts at the Weill Recital Hall (Carnegie Hall), Club Eighty Eight and the famed Oak Room at the Algonquin Hotel. In 2001 she pre­sen­ted her one woman bio­gra­phi­cal show Back To Before in the New York Town Hall and has since tou­red Australian eas­tern capi­tal cities with that show. Back To Before was recor­ded on ABC Classics and was nomi­na­ted for an ARIA Award the same year.

Judi’s contri­bu­tion to the Performing Arts and various cha­ri­ties was reco­gni­sed by an Order of Australia in the Queen’s Birthday Honours list in 2004. Other awards she has recei­ved include the Melbourne Theatre Critics Green Room Award (1983), Mo Awards (1992, 1994, 2002, 2003), a Helpmann Award (2003), New York’s Bistro Award (1998), and an ARIA Award for the CD Perfect Strangers with Suzanne Johnston.


Adele JohnstonAdele Johnston
Mrs Pearce (Sydney/Canberra)

Adele is a ver­sa­tile artist having per­for­med in musi­cals, plays, caba­ret, lie­der and concert reci­tals, ope­ra and ope­ret­ta. Adele com­ple­ted a three year acting course at the Ensemble Studios under the gui­dance of Hayes Gordon OBE. Since 1981 Adele has per­for­med in Elvis the Musical, Brel In Cabaret, La Cage aux Folles, Nimue in Camelot, Soubrette in Sugar Babies, Me & My Girl, My Fair Lady, Pyjama Tops with John Inman, Move Over Mrs Markham, Andy in Stepping Out, The Wizard of Oz, A Little Night Music with STC, and Scaling the High C’s at the Tilbury Hotel.

Adele recom­men­ced ope­ra­tic voice trai­ning and was Runner Up in the Melbourne Herald Sun Aria and Finalist of the McDonalds Aria in 1991. Studying and per­for­ming in London and Europe, Adele per­for­med Rosalinde in Die Fledermaus, Abbaye du Royaumont, France, in concert at Australia House with David Harper.

On return to Australia, Adele per­for­med in Into the Woods, My Fair Lady, A Little Night Music (MTC), Follies In Concert (SOH), Sunday In the Park With George, Gershwin, Cole Porter and Friends (Taronga Zoo and Melbourne Botanical Gardens), and the Secretary in Menotti‘s The Consul for the inau­gu­ral Brisbane Festival.

Adele was the Winner of the Illawarra Aria, The National Lieder Society, and in 1997 was awar­ded the Mietta’s Song Recital Award.

In 2000 Adele was enga­ged as the vocal soloist for Ku-ring-gai Virtuosi, per­for­ming and broad­cas­ting reci­tals for 2MBSFM and ABC Classic FM as well as per­for­ming at Australia House, London with Deborah de Graaff and Anthony Legge. Repertoire encom­pas­sied Mozart, Bonnoncini, Borodin, Shostakovich, De Falla, Berg, Berlioz, Berg, Korngold and Australian Composers. John Carmichael arran­ged The Sun Worship for Adele and Deborah, which was broad­cast in a live reci­tal with Three of Hearts for ABC Classic FM.

Adele has broad­cast nume­rous reci­tals for ABC Classic FM, inclu­ding The Treasury of Song Series with Andrew Greene, and other reci­tals with Fiona McCabe and David Harper.

Adele has per­for­med in reci­tal for the Sydney Festival – Twilight Concerts and Eugene and Roie, International Barossa Music Festival, for the Mozart Society, Lieder Society, Wagner Society and nume­rous Federated Music Clubs.

Adele’s recor­dings include Wagner and Korngold Lieder with Andrew Greene for Move Records and the Australian Cast Recording of La Cage aux Folles.

Since 2001 Adele has per­for­med in over for­ty pro­duc­tions for Opera Australia inclu­ding per­for­ming the roles of Marcellina Le Nozze di Figaro, Marianne Leitmetzer in Der Rosenkavalier, Public Opinion Orpheus In the Underworld, Suor Dolcina in Suor Angelica, and the G & S roles of Cousin Hebe and Inez. Adele has also cove­red roles such as Miss Jessel Turn of the Screw, Belinda in Dido & Aeneas, Zweite Dame in Die Zauberflôte, La Ciesca in Gianni Schicchi, Mrs Lovett in Sweeney Todd, Duchess of Plaza Toro in The Gondoliers and Mother Goose in The Rakes Progress.

Adele makes her debut with Opera Queensland as Berta in The Barber of Seville in May 2008.

À propos : Fabien

Après avoir travaillé le chant au Centre d'Arts Polyphoniques de Paris, il entre en 1995 au Conservatoire de Gagny où il est l'élève d'Evelyne Razimowsky en classe de Chant et de Jean-Louis Calvani en classe d'Art Lyrique. Il poursuit ensuite son perfectionnement avec Florence Montana au Conservatoire de Vincennes, puis au Conservatoire de Musique de Nouvelle Calédonie.

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