Categories
Past Productions

Moonstruck

Moonstruck

Arnold Schoenberg – Pierrot lunaire
Laura Bowler – Pierrot Deconstructed
(Aus premiere)

Presented by Ensemble Offspring
in association with Sydney Chamber Opera
 

Pierrot lunaire sits somewhere between cabaret and concert, acting and singing, madness and depravity. Showcasing the extraordinary talents of soprano Jane Sheldon, it flirts with chaos as Arnold Schoenberg translates each tiny poem into music. It’s over a hundred years old, but it remains radical to the ear – a revolutionary classic that transformed music and concerts forever, just as Cubism changed painting. Even Ensemble Offspring’s distinctive line-up of musicians can be traced to this iconic creation and its grungy tale of the ‘moonstruck’ clown of commedia dell’arte.

In a one off staged performance at Eugene Goossens Hall presented in association with Sydney Chamber Opera, Pierrot lunaire will be directed by Eugene Lynch and feature the incredible physicality of Mitchell Riley. In response, ‘triple threat composer-performer provocatrice’ Laura Bowler (UK) has created a long-form fresh interpretation of Albert Giraud’s poems, deconstructing and repurposing Schoenberg’s original musical material, viewing it through a contemporary queer lens in ‘a subversive act of defiance of the great master’. International star mezzo-soprano Jessica Aszodi, one of the “finest actress-singers in the country” (The Age) join us for the virtuosic challenge of Schoenberg’s reimagined vocal lines.

Bowler’s work is co-commissioned by Ensemble Offspring, Red Note Ensemble (Scotland), and Music on Main (Canada).

NB SCO’s Staged version of Pierrot lunaire in Sydney only.

Jane Sheldon: Vocals
Jessica Aszodi: Vocals

Eugene Lynch: Director – Pierrot lunaire only

Lamorna Nightingale: Flute
Jason Noble: Clarinet
Véronique Serret: Violin
Blair Harris: Cello
Jack Symonds: Piano
Claire Edwardes: Percussion
Benjamin Carey: Electronics

Mitchell Riley: Actor – Pierrot lunaire only

Date & Location

September 2025

Fri 26 Sep – 6:30 PM

The Street Theatre Canberra

Sun 28 Sep – 3:00 PM
Eugene Goossens Hall, ABC Ultimo Centre

Pre-concert talk – 2:15 PM
with Vanessa Hughes (ABC Classic Drive), Claire Edwardes and Jack Symonds

duration

Schoenberg: 35 mins
Interval: 20 mins
Bowler: 45 mins

TICKET prices
Categories
Past Productions

Aphrodite

Aphrodite

By Nico Muhly & Laura Lethlean

World Premiere
Presented by Sydney Chamber Opera & Carriageworks in association with Omega Ensemble

Is it Aphrodite’s fault that the beauty industry has never been more powerful?
 
Before she became the goddess of beauty as we know her today, Aphrodite was linked to fertility and the powerful miracle of life that comes from passionate pleasure. But over time, beauty and pleasure became fused with a new idea: that to be loved, one must be beautiful and to be the most beautiful means you are the most loved…
 
Nico Muhly’s new score is directed by Alexander Berlage (American Psycho), with a libretto by Australian playwright Laura Lethlean, and features two extraordinary voices: Jessica O’Donoghue (Gilgamesh) and Puerto Rican soprano Meechot Marrero, making her highly anticipated Australian debut. This powerful premiere production is enriched by the groundbreaking musicians of Omega Ensemble.
 
Image by Daniel Boud.
 

Composer
Nico Muhly

Libretto
Laura Lethlean

Conductor
Jack Symonds

Director & Lighting Designer
Alexander Berlage

Set & Costume Designer
Isabel Hudson

Video Designer
Morgan Moroney

Assistant Director
Zoë Hollyoak 

 

Singers
Jessica O’Donoghue
Meechot Marrero

With
Omega Ensemble
 
Aphrodite is commissioned by John Claudianos for Sydney Chamber Opera & Omega Ensemble. Production supported by Judith Neilson AM. 
 
Sydney Chamber Opera is a resident company at Carriageworks and supported by the NSW Government through Create NSW and Creative Australia. 
 

Gallery

Date & TIME

June 2025

Fri 20 Jun – 7:00 pm
Sat 21 Jun – 3:00 pm
Thu 26 Jun – 6:30 pm
Fri 27 Jun – 6:30 pm 
Sat 28 Jun – 3:00 pm

VENUE

Carriageworks
Bay 20
245 Wilson St Eveleigh
NSW 2016

duration

Approximately 60 minutes, no interval

TICKET prices

from $45 – $60

Click here for tickets

biographies
Categories
Past Productions

Cloud Music

Cloud music

SYDNEY FESTIVAL 2025

Hear ethereal musical clusters, floating tones and swathes of spacious sound in this music series inspired by the symbolism of clouds.

Presented alongside the Magritte exhibition at the Art Gallery of New South Wales, Cloud music sees SCO artists create a unique one-night only performance aligned to the art of Belgian surrealist painter René Magritte.

Hosted in the Art Gallery’s atmospheric Kaldor Hall SCO’s response is an hour-long mise-en-espace designed and directed by Alexander Berlage which features the world premiere of new works by Jane Sheldon as well as the Australian premiere of excerpts from Thomas Adès’s The Exterminating Angel

Program:

Thomas Adès: Three Berceuses from The Exterminating Angel (Australian premiere)
Jane Sheldon: Apollo & The Erotic Sublime (world premieres)
Pascal Dusapin: Wolken
Thomas Adès: Life Story

 

Mise-en-espace
Alexander Berlage

Costume Designer
Brendan de la Hay

Sound Designer
Matthew McGuigan

Singers

Jane Sheldon
Jessica O’Donoghue

Instruments

Jack Symonds: piano/theremin
Christopher Cartlidge: viola

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Supported by Rowena Danziger AM

Gallery

DATE & TIME

15 January 2025
8:00 – 9:00pm

VENUE

Art Gallery of NSW
Naala Nura (south building)
Ground level, Kaldor Hall

duration

Approximately 1 hour

TICKET prices

FREE

Categories
Past Productions

Gilgamesh

Gilgamesh

By Jack Symonds & Louis Garrick

World Premiere

The world’s oldest poem. Opera’s most cutting-edge artists.

Opera Australia, Sydney Chamber Opera and Carriageworks present Gilgamesh, in association with Australian String Quartet and Ensemble Offspring.

The ancient and contemporary collide to dazzling effect in this world premiere.

The Epic of Gilgamesh is humanity’s oldest epic written poem. Emerging from ancient Mesopotamian mythology, it tells of a restless young king who, through experiences of love and loss, becomes a better person. His unexpected love for a half-man, half-animal leads him wide-eyed into mysterious realms.

Gilgamesh’s story sings to us across millennia, and this brand-new opera uncovers all that remains strikingly relevant: its approach to mortality, sexuality and our relationship with nature. This is the first opera in English based upon this foundational part of civilisation.

Composed by Sydney Chamber Opera Artistic Director Jack Symonds and brought to Carriageworks’ vast performance space by visionary director Kip Williams (Sydney Theatre Company’s The Picture of Dorian Gray), Gilgamesh is an epic that must be experienced.

Singing scorpions share the stage with a Bull of Heaven and oracles interpreting the flood which swept the Earth.

This is Opera Australia’s first collaboration with Sydney Chamber Opera, a company renowned for presenting “an astonishing new vision of what contemporary opera can achieve” (Time Out). Two outstanding chamber music ensembles bring a collective virtuosity to this colourful new score: Australian String Quartet and Ensemble Offspring.

Symonds conducts a cast of Australian contemporary opera specialists. Jeremy Kleeman and Mitchell Riley play Gilgamesh and the beast Enkidu, joined by Jane Sheldon, Jessica O’Donoghue and Daniel Szesiong Todd.

Composer
Jack Symonds

Libretto
Louis Garrick

Conductor
Jack Symonds

Director
Kip Williams

Set Designer
Elizabeth Gadsby

Costume Designer
David Fleischer

Lighting Designer
Amelia Lever-Davidson

Electronics & Sound Designer
Benjamin Carey

Assistant Director
Tait de Lorenzo

Singers

Gilgamesh
Jeremy Kleeman

Enkidu
Mitchell Riley

Ishtar/Scorpion
Jane Sheldon

Shamhat/Uta-Napishti/Scorpion
Jessica O’Donoghue

Humbaba/Ur-Shanabi
Daniel Szesiong Todd

Australian String Quartet

Dale Barltrop: Violin I
Francesca Hiew: Violin II
Christopher Cartlidge: Viola
Michael Dahlenburg: Cello

Ensemble Offspring

Claire Edwardes: Percussion
Lamorna Nightingale: Flute/ Piccolo/ Alto Flute/ Bass Flute
Jason Noble: Contrabass Clarinet/ Bass Clarinet/ Clarinet
Jacob Abela: Piano/ Keyboard

Jasper Ly: Oboe/ Cor Anglais
Benjamin Ward: Double Bass
Melina van Leeuwen: Harp

Opera Australia, Sydney Chamber Opera and Carriageworks present Gilgamesh, in association with Australian String Quartet and Ensemble Offspring.

 

 

 

 

 

 

 


 

 




 

 

SCO wishes to thank the generous donors who have made this production possible:

Lead Patron
Judith Neilson AM

Executive Production Partners
Anonymous (2), John Barrer, Penelope Seidler AM, Kim Williams AM

Principal Artist Partners
Anonymous (1), Dr. Robert Mitchell, Prof. Emerita Di Yerbury AO

Artist Partners
Andrew Cameron AM & Cathy Cameron, John Kaldor AO, John Garran, Perpetual Foundation: The Meredith Brooks Endowment, The Russell Mills Foundation, Jane Rotsey, Christine Williams, James Williams

Associate Artist Partners
Andrew Andersons AO, William Brooks & Alasdair Beck, Glynis Johns, Dr. Merilyn Sleigh, Gil Appleton, Julian Lloyd-Phillips, Trish Richardson in memory of Andy Lloyd James

Donors
Antoinette Albert, Angela Bowne SC, Phillip Cornwell, Elizabeth Evatt AC, Vicki Fraser, Josephine Key,  Brendan McPhillips, Janet Nash, Elizabeth Nield, Trevor Parkin, Joel Roast, David Robb,  

STREAM NOW

Gallery

Date & TIME

September & October
2024

26 Sep – 7:30 pm
28 Sep – 3:00 pm
30 Sep – 7:30 pm
2 Oct – 7:30 pm
4 Oct – 7:30 pm
5 Oct – 7:30 pm

VENUE

Carriageworks
Bay 17
245 Wilson St Eveleigh
NSW 2016

duration

Approximately 2 hours and 30 minutes, including one interval.

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Categories
Past Productions

earth.voice.body

earth.voice.body

The Shape of the Earth
by Jack Symonds & Pierce Wilcox
 
La voix humaine 
by Francis Poulenc & Jean Cocteau
 
Quatre instants
by Kaija Saariaho & Amin Maalouf 

A new Australian work, a major statement by a leading recent international composer and a radical interpretation of a 20th century classic: experience SCO’s aesthetic mission in a single evening.

Poulenc’s classic La voix humaine is a shattering portrait of lost love – as heard through only one side of a dramatic phone call. Celeste Lazarenko (The Rape of Lucretia) will inhabit this woman with her characteristic emotional truth. Kaija Saariaho’s Quatre instants also maps the terrain of intoxicated passion, but from a 21st century female perspective: an ocean of sound unleashed from the rich voice of Emily Edmonds (Owen Wingrave, His Music Burns). 
 
Directed together by Clemence Williams (Breaking Glass), these vivid monodramas of desire will be complemented by Jack Symonds’s The Shape of the Earth starring Mitchell Riley and directed by Alexander Berlage (Future Remains). Described by the SMH as “a hugely impressive co-creation… an outstanding tour-de-force of nuanced vocal flexibility, dissembling characterisation and physical theatre” in its one-off showing in 2018’s Resonant Bodies Festival, this contemporary gloss on Patrick White’s Voss pulls apart the voice to breaking point, before reconstructing an inner landscape of glowing intensity.
 
Three voices pushed to their limits; three bodies living extraordinary stories. 
Directors
Alexander Berlage & Clemence Williams
 
Set & Costume Design
James Lew
 
Lighting Design
Alexander Berlage
 

Sound Design
Benjamin Carey

Emily Edmonds
Celeste Lazarenko
Mitchell Riley
Jack Symonds

Gallery

Date & Time
Thurs 28 Sep – 7.30pm
Sat 30 Sep –  3.00pm
Tues 3 Oct –  7.30pm
Thurs 5 Oct –  7.30pm
Sat 7 Oct – 7.30pm
VENUE

Carriageworks
Bay 20
245 Wilson St Eveleigh NSW 2016

duration

2 hours & 10 minutes, including one 20 minute interval

TICKET prices

$40-$50

Categories
Past Productions

Antarctica

Antarctica

By Mary Finsterer & Tom Wright

Australian Premiere

Sydney Chamber Opera premieres the newest opera by leading Australian composer Mary Finsterer.

Antarctica explores the historical, mythical and scientific conceptions and stories about the southern continent. With a mesmerising combination of musical elements from early and new music styles, we are transported into another world.

This fictional tale begins with three characters from the Age of Discovery miraculously conjured from the memory of a young girl: a cartographer, a natural scientist and a philosopher travelling by ship to Antarctica, all with different dreams and expectations concerning the mysterious landscape. But what they find is far greater than themselves…

Created by the outstanding production team behind La Passion de Simone, 2022 SCO Creative Residents Imara Savage, Elizabeth Gadsby, Alexander Berlage and Cannes award-winning filmmaker Mike Daly will interpret this new work alongside some of SCO’s favourite singers and the legendary Dutch new music ensemble Asko|Schönberg. Finsterer’s first opera for SCO, Biographica was described by The Australian as an “outstanding new opera deserving a permanent place in the repertory”, and expectations are high for her second. 

In order to prepare for her new opera, Finsterer organised a symposium at the University of Tasmania where she and librettist Tom Wright could meet with scientists from the Institute of Marine and Antarctic Studies. In an age of increasing concern for our ecology, the displacement of populations and a heightened awareness of the vulnerability of our oceans, Antarctica is also an urgent story for today.

Conductor
Jack Symonds

Director
Imara Savage

Set & Costume Design
Elizabeth Gadsby

Video Artist
Mike Daly

Lighting Design
Alexander Berlage

Singers
Jane Sheldon
Jessica O’Donoghue
Anna Fraser
Michael Petruccelli
Simon Lobelson

With
Asko|Schönberg Ensemble
 

A co-production of Sydney Chamber Opera, Asko|Schönberg and Sydney Festival supported by Carriageworks and the NSW Government through Create NSW.

Gallery

Date & TIME

January 5-8, 2023

Jan 5-7, 7:30 pm
Jan 8, 3:00 pm

VENUE

Carriageworks
Bay 17
245 Wilson St Eveleigh NSW 2016

duration

80 minutes

TICKET prices

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Limelight
"This magnificent musical portrait of mankind’s slowly-shattered geopolitical dreams gives us an important opportunity to meditate on the relationship of our belligerent and expansionist civilisation to the only continent we have left uninhabited... Without doubt a milestone for Australian opera, and may also prove a landmark for the genre of chamber opera."
Theatrekrant
"Asko|Schönberg and Sydney Chamber Opera go all out to produce a florid, epic performance... a clear, impressive aesthetic ...[where] music and text fit together seamlessly."
Het Parool
"Finsterer expresses a personal contemporary variant of early baroque madrigal art, which made the contributions of Anna Fraser as the natural philosopher in particular a great pleasure... Director Imara Savage and designer Elizabeth Gadsby portrayed it all beautifully."
De Nieuwe Muze
"A fantastic staging... Finsterer has followed crystal clear paths in the elaboration of her icy material... an ingenious interweaving of metaphor, imagined events and mysteries... What was heard and seen resulted in a hallucinatory experience. Antarctica is food for thought."
Categories
Past Productions

Awakening Shadow

AWAKENING SHADOW

By Benjamin Britten & Luke Styles

Australian premiere

A private window to the soul – a sequence of desperate prayers –
a crusade from belief to doubt. Awakening Shadow channels Benjamin Britten’s crisis of faith through the singing body.
In a first Australian staging, Britten’s five Canticles are entwined with a new work by leading Australian composer Luke Styles: a
fevered photo negative.

The Canticles are a seminal portrait of Britten’s musical voice, written throughout his life for partner and muse Peter Pears. An hour-long quintet of chamber works centred on a radiant
tenor (sung here by SCO favourite Brenton Spiteri – Oscar & Lucinda, Notes from Underground), their texts draw widely on
English literature: a medieval Miracle Play, Jacobean metaphysics, poetry by T.S. Eliot & Edith Sitwell. None is specifically liturgical,
though taken as one they reveal a complex faith.

Imara Savage (La Passion de Simone, Owen Wingrave, Fly Away Peter) directs alongside Cannes award-winning filmmaker Mike Daly as part of their 2022 Creative Residency at SCO, interrogating Britten and Style’s confrontation with the eternal to forge a path through one of the 20th century’s most intense works, reinterpreted for the 21st.

Director
Imara Savage

Video Artist
Mike Daly

Set & Costume Design
Elizabeth Gadsby

Lighting Design
Alexander Berlage

Music Director/Piano
Jack Symonds

Singers
Brenton Spiteri
Emily Edmonds
Simon Lobelson
Jane Sheldon

Piano sponsored by Kawai Pianos, Australia.

Gallery

Date

30 Sep,
1, 3, 4, 6, 7 Oct 2022
At 7:30 pm

VENUE

Carriageworks 
Bay 20, 245 Wilson St, Eveleigh

duration

80 minutes

TICKET prices

General Admission: $50
Buy your tickets here

Categories
Past Productions

IN SONG

IN SONG

Presented by Phoenix Central Park

Watch performances of selected song cycles from IN SONG. 

Text by Charles van Lerberghe

Jane Sheldon, soprano
Jack Symonds, piano

Eve awakens in Eden, embarking on a day of sublime discovery. Fauré’s music itself is revealed like a garden coming into being, unfolding from incredibly simple elements, single pitches emerging one by one, until we are suddenly aware that we are deep in rich harmony, the garden in full bloom. Eve’s body is foregrounded all the while, arriving at an ecstatic, sublime conflation of her self with the garden.

Completed in 1910, this song cycle represents Fauré’s extraordinary late style: a miraculous, radiant reimagining of harmony beneath an unbroken surface of subtlety and refinement.

Text by Louis Garrick
World premiere

Emily Edmonds, mezzo soprano
Jack Symonds, piano

An adaptation of lines from The Epic of Gilgamesh, the oracle Utanapishti tells Gilgamesh of the great flood, a cataclysm engulfing the whole world – how they survived, and what the world looked like in the aftermath. Three linked songs chart this fragment of a foundational myth, heard here in their world premiere.

Text by Stefan George 
 
Anna Fraser, soprano
Jack Symonds, piano
 

This revolutionary song cycle completed in 1909 teeters on the brink between Romanticism and Expressionism, all of its suppurating tonal wounds exposed. Schoenberg’s protagonist stumbles through a garden in decay, lovesick and reeling. The songs travel through vague anticipation (1, 2) and longing (3 – 5) to obsession (6 – 8), frustration (9), reverie (10), brief consummation (11), and finally doomed resignation (12 -15). George’s poems, with their themes of exquisite disorientation, serve to support some of the most radical musical gestures Schoenberg had yet made.

What is foregrounded for the most part is not the personage of the beloved, not their features or their actions; rather, what is rendered in extremely fine detail is the slowly rotting garden and its contents. Through the metaphor of the garden, what is most salient to us is the way that heartbreak tastes, smells, and feels, the oppressive dis-ease of it.

Text by Jules Renard

Simon Lobelson, baritone
Jack Symonds, piano

Completed in 1906, this song cycle sees the traits of four birds and a little cricket lightly satirised and anthropomorphised to form a surprisingly profound portrait of inter-species folly. Ravel’s piano and vocal writing here exhibits an inhibition and release from tradition which breathes the fresh air of fin-de-siècle French music, effortlessly pointing forward to the refined waterfalls of sound he was about to unleash in the first few decades of the century.

Text by Andreas Gryphius

Simon Lobelson, baritone
Jack Symonds, piano

Wolfgang Rihm is one of the leading living German composers and his vast, hugely varied output includes many song cycles. Vermischter Traum dates from 2017 and is a dark, anguished setting of Baroque poet Andreas Gryphius’s meditations on time and death. Uniquely, Rihm chooses a form that sets and re-sets the same text, as if the singer were turning over these weighty thoughts in his mind and coming to different conclusions. In an arch structure of seven songs, the 2nd, 4th and 6th all wonder about time, the 1st and 7th literally ask the question – ‘what is life?’ while the 3rd and 5th are extended death-bed meditations on the failing body. 

The musical language is a natural extension of the Lieder tradition. The harmony is thick with allusion and the weight of 200 years of German song, while the vocal line is cognisant of the history of Romanticism and Expressionism. Rihm has created a major addition to the art song repertoire in every respect.

Text by Bertha Galeron de Calonne

Anna Fraser, soprano
Jack Symonds, piano

This perfectly-formed song was composed in 1916 towards the end of Boulanger’s tragically short life. An extraordinary composer, she managed in her 24 years to create a unique body of work that combines the various threads in French music at the time and synthesise them in an uncommon originality. Direct, radiant and, at times cataclysmic, this song represents her art at its finest.

Text by Amin Maalouf

Emily Edmonds, mezzo soprano
Jack Symonds, piano

These ‘four moments’ are passionate snapshots in a torrid romantic relationship: longing, desire, pain, consummation. The fourth song is an extended reminiscence which astonishingly mingles all of these states of mind, as if from a great distance in time.

This ocean of sound for just two performers is energised by torrential, glittering piano writing making the instrument into a huge resonating chamber to contain dramatic vocal lines of pulverising eroticism. A tour de force by one of the world’s great living composers, Saariaho has created a post-Spectral masterpiece vast in expression and imagination.

Text by Emily Dickinson

Anna Fraser, soprano
Jack Symonds, piano

This extreme and disturbing setting of Emily Dickinson’s classic poem “I felt a funeral in my brain” feels like a miniature song cycle, vacillating as it does between mechanistic, brutal and harsh streams of text and warm cushions of velvety tonality.

The composer writes: “Composing is a vocation that requires one to spend much of their lives in their own head, which is perhaps why I am often drawn to texts that explore the inner workings of the mind. I was immediately struck by this remarkable poem which, for me, lucidly captures the experience of observing one’s own loss of touch with reality. In my interpretation of the text, I have sought to project the constant fluctuation between denial, numbness, panic and hopeless nostalgia for better times.”

Text by Johann Wolfgang von Goethe

Jane Sheldon, soprano
Jack Symonds, piano

Dusapin is one of the major living figures in European music and his vocal and operatic work is rightly celebrated for its detailed, expressive and original lines which seem to interpret the text as an object in a permanent state of change.

This song cycle from 2014 takes Goethe’s gnomic poems about clouds and finds a modally refined musical language alternately weightless and unbearably heavy; an onomatopoeia at right angles to the text-object. The four cloud types are duly rendered before a fifth, mysterious song steals in at the end to lead us into another world altogether… 

Text: anonymous, adapted by
W.H. Auden

Emily Edmonds, mezzo soprano
Jack Symonds, piano

This much-loved song cycle from 1953 is one of the high points of American vocal writing and a testament to Barber’s belief in the continuation of the song tradition of the 19th century into the 20th.

With surprising rhythmic freedom, Barber finds a cosmic pleasure in the simple acts of praise, worship and solitude from which we could all learn. These anonymous texts from mediaeval monasteries are captured by Barber with alternately devotional wonder and sparkling joy.

Simon Lobelson, baritone
Jack Symonds, piano

Benjamin Britten’s ‘ownership’ of the English language song cycle in the 20th century finds its most ambitious realisation in this dark, late work from 1965, shot through with the agony of existence.

Written for Dietrich Fischer-Dieskau, this stern yet remarkably well-contrasted piece attempts to embrace William Blake’s eccentric world vision with chiselled precision, economy and that classic Britten style of text setting where one simply can’t imagine the words being sung any other way.

Performed without a break, the reflections between the aphoristic Proverbs and extended Songs are bound together by a tightly unified web of musical ideas, drawing us into a world where the line between Heaven and Hell is marked by the smallest of steps.

Presented in a re-purposed Gothic church in Alexandria, this recital-installation is a series of four artsong programs tracing a journey from the dawn of musical expressionism to a diverse clutch of Australian and world premieres, illustrating where the form has found itself in the 21st century.

SCO’s adventurous and virtuosic singers Emily Edmonds, Anna Fraser, Simon Lobelson and Jane Sheldon will find common threads between composers, eras, styles and continents to craft a rare and comprehensive overview of the scintillating art of modern song.

Inside an evocative installation by artist Elizabeth Gadsby, these singers will illuminate a body of work indispensable to the artistic story of the 20th and 21st centuries.

Think artsong begins and ends at Schubert? Let IN SONG show you its recent past, present and future.

Program One
Jane Sheldon, soprano
Jack Symonds, piano

Pascal Dusapin Wolken (AP)
Mary Finsterer Nearing Circumpolar (WP)
György Kurtág Three Old Inscriptions (AP)
Gabriel Fauré La chanson d’Ève

Program Two
Anna Fraser, soprano
Jack Symonds, piano

György Kurtág Requiem for a friend (AP)
Lili Boulanger Dans l’immense tristesse
Luigi Dallapiccola Four poems of Antonio Machado (AP)
David Evans In my brain (WP)
Arnold Schoenberg The Book of the Hanging Gardens

Program Three
Emily Edmonds, mezzo soprano
Jack Symonds, piano

Francis Poulenc Banalités
Jack Symonds Nothing other than silence (WP)
Samuel Barber Hermit Songs
Kaija Saariaho Quatre instants (AP)

Program Four
Simon Lobelson, baritone
Jack Symonds, piano

Wolfgang Rihm Vermischter Traum (AP)
Maurice Ravel Histoires naturelles
Benjamin Britten Songs and Proverbs of William Blake

Installation Artist
Elizabeth Gadsby

WP= world premiere
AP= Australian premiere

Gallery

VENUE

‘The Church’
9 Mitchell Rd. Alexandria

Singer Bios

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Categories
Past Productions

poem for a dried up river

poem for a
dried up river

Australian Premiere

Music by Jane Sheldon
Poem by Alice Oswald

Presented by Sydney Festival

View the program here

Struggle, exertion – where does it first show up in the body? In the breath. And that’s how Jane Sheldon’s poem for a dried up river begins: in summer darkness with the sounds of breathing floating over chirping cicadas. Gradually two sopranos emerge from the soundscape, their labour divided – instrument and words.

This riveting performance melds opera, poetry, physical theatre and art installation in a mesmerising, unique combination. Alice Oswald’s text about a figurine of a naiad trying to coax water from a bed of limestone ‘unfolds like a cry of environmental despair’. Sheldon’s exquisite palette of musical colours plays on contrasts: dry and wet, weak and strong, barren and fecund. Elizabeth Gadsby’s powerful installation mirrors the nymph’s exertions with the unrolling of a 200kg path of clay.

Jane Sheldon reunites with Sydney Chamber Opera for another collaboration filled with detail and nuance, and a profound sense of connection.

Installation & Design
Elizabeth Gadsby

Music Direction 
Jack Symonds 

Lighting Design
Alexander Berlage

Sound Design
Benjamin Carey

Choreography
Danielle Micich

Singers
Jane Sheldon
Anna Fraser

Instruments
Veronique Serret
James Wannan
Jack Ward
Matthew Harrison
Claire Edwardes
Bree van Reyk

This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body and the NSW Government through Create NSW.

Gallery

VENUE

Carriageworks
Bay 20, 245 Wilson St, Eveleigh

duration

35 minutes

Press Reviews

Limelight
"Jane Sheldon gives a gripping performance in a work that resonates powerfully with the climate crisis."
The Sydney Morning Herald
“The work explored elemental metaphors – life from clay, water and the feminine, the earth and the spirit, darkness and light.”

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Categories
Past Productions

Future Remains

FUTURE REMAINS

A Double Bill of: 

Diary of One Who Disappeared
by Leoš Janáček

Fumeblind Oracle
by Huw Belling &
Pierce Wilcox

World Premiere
View the program here

Written in the aftermath of World War I, Czech composer Leoš Janáček’s Diary of One Who Disappeared is a lacerating song cycle of delusion and illicit desire centred on a man who would abandon everything for forbidden love. Troubling and sensual, it has never been staged in Australia – until now.

And there’s more. In response to Janáček’s masterpiece, SCO’s Huw Belling (Victory Over the Sun) spins out the tale, taking it new and dangerous depths in the world premiere of Fumeblind Oracle, a partner piece in which the lone woman moves from love poetry to god-guided violence.

Inspired by Sappho and Homer’s Iliad, a new libretto by Pierce Wilcox (Oscar & Lucinda) breaks expectation to pieces and builds a real, breathing person from the shards while director Alexander Berlage, acclaimed for American Psycho and Cry-Baby applies his electric visual style to this remarkable diptych. 

Director
& Lighting Design
Alexander Berlage

Set & Costume Design
Jeremy Allen

Sound Design
Benjamin Carey

Dramaturg
Bernadette Fam

Singers
Andrew Goodwin
Jessica O’Donoghue

Piano
Jack Symonds

Actors
Amy Hack
Chemon Theys

This production is proudly supported by Kim Williams AM
and was developed as part of Carriageworks 2020
In Development Program.

The staging of Diary of One Who Disappeared was commissioned by Sydney Opera House, enabled by Prof Ross Steele AM.

Piano sponsored by Kawai Pianos, Australia.

This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body and the NSW Government through Create NSW.

Gallery

VENUE

Carriageworks
Bay 20, 245 Wilson St, Eveleigh

duration

70 minutes

Press Reviews

Limelight
"Janáček’s The Diary of One Who Disappeared is given an exquisite staging before a bold new work tears it to shreds in this intelligent and entertaining double bill from Sydney Chamber Opera."
The Sydney Morning Herald
"'Thought provoking and excellent': Future Remains is a rich musical work."

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