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

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 Zauberflöte, 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.

A propos de 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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