Chapel of the Holy Spirit, Newman College2 - 4 October 2014

THE PLAYOF HEROD

THE PLAY OF HEROD2 - 4 October 2014Chapel of the Holy Spirit, Newman College

Realised by Richard MillsMusical direction by Phoebe BriggsLibretto: The Fleury Playbook, Richard Mills

World premiere, 2 October 2014, Melbourne

Running time approximately 75 minutes with no interval.

The Play of Herod is supported by Victorian Youth Opera Patron Miss Betty Amsden AO and Victorian Opera Education Syndicate.

ACKNOWLEDGEMENTSWith thanks to:A generous group of Latin experts who assisted with the creation of new text, Christopher Willcock SJ, Brendan Byrne SJ, and Geoffrey King SJ.

James K.O. Chong-Gossard, Senior Lecturer in Classics at University of Melbourne who assisted with syntax and translation.

Newman College, University of Melbourne, St. Mary’s College, University of Melbourne, Michael Sargeant, Head of Music at VCASS.

CREATIVE TEAMConductorDirectorCostume DesignerProduction ManagerStage ManagerPrincipal ReptiteurRepetiteurMachinist/CutterChild Chaperones

Phoebe BriggsLibby HillRoss HallMichele BauerLyndie Li Wan PoTom GriffithsPhillipa SafeyMadeleine SomersCarlos E. BárcenasJill Quin

ArchangelArmigerBalthasarMelchiorJosephMaryRachelStar ChildArchelausHerodCasperScribeAngels

Consolers

Shepherds/Soldiers

Elizabeth BarrowLuke BelleDaniel CarisonDylan CaseyStephen CouttsJanneke FerwerdaShajeda Kalitzki-AbedinAnita KarabajakianJacob LawrenceKiran RajasingamRaphael WongHenry ShawRachel AmosLillian BarkerMadeleine CrombieShannon DavidsonPiera DennersteinJoshua DingMadeleine FabbroChloe FindlayApril FosterBrigitte GarofaloJoshua GordonMarnie HehirAnnabelle PlanicicRuby SmithEliza WilsonHannah CarterElizabeth EliopoulosSaskia MascittiShakira TsindosTim DavisSam KnolJacob LingardCallum MacDonaldAidan McGartlandHenry Shaw

VICTORIAN YOUTH OPERA

Kye Loh*Ally Cho*Sandra Ionescu*Carla Tomisich*Hayley Witmore*Isabela DelaneyChris Grace Brandon JonesRachel OwenStuart McKeeDavid FarrellJess Gilham*Robert AllanLouis SharpeSamantha Ramirez*Tom GriffithsMel WatersPhillipa Safey

Violin 1Violin 2ViolaCelloDouble Bass Treble RecorderTrumpet 1Trumpet 2 Trumpet 3Trombone 1Trombone 2Trombone 3Percussion 1Percussion 2HarpPianoGreat OrganChamber Organ

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ORCHESTRA

Midwives Sarah AmosEmilia BertoliniEmily CrawfordEdwina DalcoBridget DaviesBrianna EkbergAnnabel Hunt-SmithEmily LanhamJenna RoubosJessica Wynne

VICTORIAN YOUTH OPERA (continued)

*denotes Victorian College of the Arts Secondary School student

N E W W O R L D SS E A S O N 2 0 1 5

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ARTISTIC DIRECTOR& COMPOSER’S MESSAGE

The optimism engendered by the perspective of faith allows celebration of the triumph of good over evil, yet power and tyranny renew themselves in the succession of Archelaus, Herod’s son.

Despite the hope contained in the incarnation, the very human dilemmas of suffering and moral ambiguity remain as a counterpoint to the salvific joy of the angels’ triumphant alleluia. The image of the Christ Child as part of a refugee family fleeing tyranny has its own contemporary resonance, and the conflict of good and evil, of perverted power and moral integrity are an ever present reality in daily life. These elements of the story serve as a reminder to adults to write for young people and not down to them.

I would like to thank Newman College for hosting Victorian Opera in this beautiful and sonorous chapel, as well as our generous Partners, Patrons and Supporters – in particular Miss Betty Amsden AO and Victorian Opera Education Syndicate – who share our belief in the importance of artistic experience in shaping young lives.

- Richard Mills, Victorian Opera Artistic Director & Composer

Our original intention was to work up a version of the 12th century liturgical drama from the Fleury manuscript, as a sequel to The Play of Daniel, which comes from this source and which the company did in 2012. However, two things happened; firstly, a wonderful mix of talents presented themselves at our annual auditions for youth opera places, so secondly as a result of this, I thought I would rather create something new that offered some more specifically operatic opportunities to our young singers rather than the distinctive discipline and specialised stylistic procedures of Gregorian Chant, majestic and wonderful as they are. Therefore, I decided to compose a new piece, loosely based on the text and scenography of the original Play of Herod, but with some additional text, translated back into Latin, to sharpen up the dramaturgy and make further expressive occasions for our cast.

The story is too well known to require rehearsal here: all one can do is note with sadness and exasperation that not much has changed in the Middle East since the reign of King Herod in terms of people being able to live in peace. The narrative is an exploration of the transience of temporal power and its corrupting capacity, and an affirmation of the beauty of simplicity and simple faith, the sacredness of childhood and the perfection of innocence.

It also touches on the nature and mystery of suffering and death; Rachel, inconsolable contemplating the loss of her baby does not register the words of her consolers in the face of the enormity of her grief and loss: very real issues often with us in daily experience.

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