Monthly Archives: December 2013

“Classical Pilgrimage…a musical odyssey through Europe.”

GetAttachment-1.aspxMelbourne conductor Andrew Wailes has always been passionate about music. But he is particularly passionate when it comes to enabling choral and orchestral musicians from Australia to have overseas experience. He will no sooner have returned from a Christmas tour of China with the Australian Children’s Choir and the Royal Melbourne Philharmonic Orchestra when he heads to Europe for a tour called “A Classical Pilgrimage,” leading the Chamber Strings of Melbourne and members of the Melbourne University Choral Society on a ‘musical odyssey’ through France, Austria, Germany and Italy. They will perform a variety of concerts and liturgical masses over the course of two and a half weeks in January and February 2014 featuring music of Vivaldi, Elgar, Sibelius, Haydn and, for a taste of Australian flavour, pieces by local Jesuit composer Chris Willcock.

After the success of previous tours in Europe Andrew will be building on past experience to provide the singers and instrumentalists with what he hopes will be not just a musically enriching time, but also a culturally enhancing one. “This is not just about the music,” he says. “People who travel expand their horizons. They are more tolerant and patient, more understanding of different cultures, more sophisticated and informed human beings. They are what I call ‘big picture people.’ All these qualities inform the rehearsal process as well as all aspects of performance when we return home. It makes us all better at what we do.” He goes on to explain why it is important for his musicians to experience the grandeur of performing in some of the world’s largest cathedrals as well as some of the more intimate spaces that choral music is so often heard. “How can one really understand the works of composers such as Monteverdi and Gabrielli if one doesn’t understand or has never seen the architecture of the performing space?” He wants the musicians to see what a valued part of the everyday liturgy music plays in towns and cities all over Europe; how rich and strong the tradition is compared with Australia. Most of all, he is keen for them to see the respect and admiration with which musicians in Europe are treated. “Choral music in Australia tends to be considered mostly an amateur pastime. There’s often an attitude that something local isn’t any good. I want to show this talented group of amateurs that that isn’t necessarily the way it has to be. “

I ask Andrew about the opportunities available locally for Melbourne musicians and he laments the recent folding of the SBS Orchestra. “It’s one less valuable place to gain experience. Many of the orchestral players in professional groups like the Melbourne Symphony and Orchestra Victoria gained valuable experience at the SBS and Royal Melbourne Philharmonic Orchestras and some Opera Australia chorus and extra chorus members started with the Australian Children’s Choir. One cannot underestimate the value of groups like this offering valuable performance opportunities.”

Over 100 of Melbourne’s local musicians will be paying their own way for the European experience. There is no local funding and no government grants or assistance. Andrew says they have raised the money “the good old fashioned way.” Choir members sang at various hotels and functions at Christmas time to amass some of the funds and the rest will come out of their own pockets. “I am filled with admiration at the hard work and passion they have all put in to making this happen.”

European concert dates and details at:

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All Work and No Pay…Volunteers for Melbourne’s ‘Ring Cycle’ worth their weight in Rheingold…


_DSC6536It’s difficult to imagine what a Dental Technician, a Bid Manager, an Art History Lecturer, an International Hotel Consultant and an ex Politician turned High School Teacher could possibly have in common.  This diverse group of individuals, and over one hundred more like them, are all volunteers in Opera Australia’s current ‘Ring Cycle’ production at Melbourne’s State Theatre. Bound by a common desire to be involved in Wagner’s epic work, their motivations are however, interestingly diverse.

Rowan Pollock, 54, was first exposed to Wagner’s works via his opera loving Austrian father who came to Australia as a refugee on the ship ‘HMT Dunera’ at age 18.’ “Dad would play the old recordings at home and he could often be heard singing along despite being somewhat tone deaf.” Rowan first appeared as an extra with the Victoria State Opera as the result of auditioning as a dare back in 1991, and has since appeared in over 30 operas, juggling productions with running his own dental laboratory. In addition to his own love of being on the stage, he felt the experience of learning more about Wagner’s music would be a fitting tribute to his father who passed away three years ago.

_DSC6549Sophia Errey, 65, took out an Opera Australia subscription when she left full time academic life at the end of 2010. She and a friend  debated “too long” about whether or not to purchase tickets to the four Wagner operas and they sold out within days. But in April this year Sophia attended a concert for subscribers and Lyndon Teraccini, Opera Australia’s Artistic Director, alluded to “wanting people” for the project.  “We are watching you,” said Teraccini after asking the audience to join in the Brindisi chorus from La Traviata. She was not at all sure that he was serious but was delighted some days later to receive an email setting out the requirements for volunteers. “I took a deep breath and made up my mind that if I was lucky enough to be accepted I would schedule my year around the rehearsal requirements.”

Ex Senator turned high school teacher, Julian McGauran, 56, simply “signed up for the sheer fun of it” after hearing about the opportunity from the real estate agent and extra chorus member who was selling his house. He has had several walk-on roles with Opera Australia over the years and finds “the smell of grease paint a powerful allure.” He freely admits to never having heard of Wagner’s Ring Cycle.  “Unlike some of the other very knowledgeable volunteers,” he says with good humour, “I pronounced Wagner with a W.”

He wasn’t alone when it came to a certain lack of knowledge about Wagner’s music. Graham Brown, a 66 year old International Hotel Consultant, had concerns about “putting up with a Wagner opera” and worried the music might be “dark and depressing.” After four months of exposure to the operas his fears seem to have been firmly put to rest.  “I am now passionate about many parts of the music, especially some of the Leitmotifs,” he says. “It was a case of not wanting to know Wagner to overnight being submerged in all that is the ‘Ring’. I even visited the Bayreuth Festspielhaus and Wagner’s grave while on holiday in Germany in August. I felt I had to pay my respects.”

_DSC6556Sarah Somers, a 36 year old Bid Manager with an extensive background in theatre saw the chance to volunteer as “a once in a lifetime opportunity.”  Although she is a soprano she says “ I know I will never be a Wagnerian. I will never sing a Rheinmaiden or a Brunnhilde so this was a way to be up close to the majesty and magic of this music. This is the first occasion in my lifetime that a Ring production has been undertaken in Melbourne, and it was just not possible to say ‘no’.” She has earned the appreciation of other volunteers by baking cakes and cookies for each rehearsal. “We sit around when not on stage eating and chatting and, when we can, we watch rehearsals from the auditorium which is fabulous.”

The wonder of watching the production develop and seeing the “professionals” in action is another joy this group have in common. “I can’t get enough of it,” says Sophia, “and I mourn the parts I will never get to see.” They are also respectful, if a little surprised at the amount of work involved. “It’s an eye opener how much rehearsing and re-rehearsing is actually done,” comments Julian. “I watch everyone from the chorus to the dancers to the principles with admiration. So much time and dedication and love is given to perfecting the performances.” The work of the backstage team has not gone unnoticed either. “Life backstage is full on,” says Rowan.” “During the show the mechanists and crew go about their work silently, in darkness, ensuring the smooth transition from one scene to another and the safety of the performers. The public are generally unaware of just how much work goes on behind the walls of the sets.”

The highlights of volunteering are obviously many and varied.  Sophia has enjoyed experiencing the “mystique” of life backstage firsthand. “I enjoy waiting in the corridors, the glimpses of performers, and flourishing my backstage pass with bravado.” She has also wholeheartedly embraced Wagner’s works, voraciously reading libretti and listening to recordings. Julian confirms the thrill he gets from “swiping the pass into the backstage entrance and taking the stairs down into the engine room of the theatre.  I walk the rabbit warren of corridors and pass by the dressing rooms of the stars, making way for them as they appear in their costumes. It’s the greatest show on earth.” Nor does he mind the dinner party kudos that comes with telling people he is participating in the biggest opera project to ever hit town. “People react with admiration and awe ” he proudly says, before cheekily adding that “ I fail to add that I don’t do any singing unless they really press me.”

_DSC6564What about the difficulties? The costumes, especially the bathing suits, seem to have posed a problem for many.  One jokingly suggests that patrons don’t look too closely with their opera glasses and another describes the challenge of appearing scantily clad in front of so many new acquaintances for the first time, let alone in front of thousands of audience members. For others, theatre etiquette has meant understanding a new set of rules. The “no personal jewellery” rule took one volunteer by surprise. “There are two items of jewellery I never take off,” she says, “and I had to work out how to pin the items into my costume to keep them with me.” One tells the story of how, at one early rehearsal for Das Rheingold, the group were told to scream and run away from the character Alberich. “Real men don’t scream,” one gentleman is heard to have responded.  Other gripes are minor as in any workplace: the instant coffee on offer, the noise in the communal dressing room, and fitting the rehearsal schedule into already full and busy lives.

Without exception the volunteers comment on the “inclusiveness” of the experience.  Interested to see if there was an “us and them attitude” Sarah says that the production “could not have been more inclusive. Everyone we have encountered has acknowledged the investment, time and undertaking in the most appreciative manner.” Julian agrees stating that “the principles, chorus, stage crew, orchestra and director are a great bunch of polite and generous people. There’s nothing high and mighty about them.”

With less time now left in front of them than behind them, already this fascinating group are thinking about life “post Ring Cycle.” “What to do now?” asks Sophia. “This has qualified as a life changing experience.” Rowan eloquently talks about returning to “normal” life.  “This has been the highlight of all my years on stage. I have met so many wonderful people and I fear there might be a feeling of emptiness after this amazing spectacle.” Graham concurs, describing the time as “magical.” “The camaraderie, the sharing of an experience, the buzz…those that live in this world all the time might find our feelings are a little over the top.”  Julian eloquently sums up the volunteer journey by commenting that after six months they have all gelled as a team over an incredible life experience. He paraphrases the great Shakespearian lines by King Henry V. ”We will remember what feats we did this day…We happy few, we band of brothers and sisters.”

Wagner’s Ring Cycle is at the State Theatre of Melbourne until the 13th December, 2013












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