As the first main stage production in Australia in over forty years, Melbourne Opera and IOpera will present a stunning reinterpretation of Kurt Weill, Bertolt Brecht and Elisabeth Hauptmann's The Rise and Fall of the City of Mahagonny at The Athenaeum from 1 May.
First performed in Leipzig in 1930, The Rise and Fall of the City of Mahagonny is a political-satirical opera that was banned in Germany after 1933 by the Third Reich. Regularly performed in the great opera houses of the world (including recent revivals at Covent Garden and The Met), its criticism of corruption in a world with increasingly shaky moral foundations makes it more relevant than ever.
This new mainstage Australian production will fittingly premiere on May Day, with tickets on sale now via
Ticketek, bookings and more information available via the Melbourne Opera
website.
Director Suzanne Chaundy (Das Rheingold, The Flying Dutchman) is tackling a full production of Wagner's epic Ring cycle, and now takes on the revolutionary work of Brecht, Hauptmann and Weill.
The production will see two-time Helpmann Award-winner James Egglestone in the role of Jimmy, who enjoyed enormous success as Loge in Das Rheingold for Melbourne Opera, perform alongside his wife, the highly accomplished and brilliantly talented Antoinette Halloran as the provocative
Jenny Smith. Antoinette recently gave a stellar performance in the leading role of Mrs Lovett in Sweeney Todd.
In the role of Fatty the Bookkeeper, tenor Robert Macfarlane had major performances lined up with Opera Australia and other companies when COVID-19 lockdown hit. When all his contracts disappeared, Robert pivoted to work as an ER Nurse in a public hospital and writing and performing songs for his band Nurserachted.
Chaundy's past work as a theatre director has seen her directed works by (and influenced by) Brecht and Hauptmann. "I am so happy to bring The Rise and Fall of the City of Mahagonny into my opera practice."
"Brecht and Hauptmann were amongst the most revolutionary theatre makers of the early twentieth century and the resonances of their stylistic conventions still play through into the nuances of the most contemporary theatre makers today," says Chaundy.
"Brecht and Hauptmann's use of projected text, short and juxtaposed scenes and a sense of anarchic humour is as fresh as ever...this production offers me an opportunity to bring it front and centre."
Created by the same team who wrote The Threepenny Opera ('Mack the Knife'), the score draws on grand-opera, operetta, and the jazz-infused popular music of the roaring '20's and 30s. One of the most famous numbers in Mahagonny is the 'Alabama Song' ("show me the way to the next whiskey bar") sung by Jenny (played here by Halloran), a landmark role for opera singers and 'cross-over' singers alike. This role has been performed by many extraordinary artists from
Lotte Lenya to
Audra McDonald, and the song has been covered by
David Bowie and The Doors.
Rounding out the critically acclaimed lead cast are Christopher Hillier (Zurga in The Pearl Fishers), Liane Keegan (Erda in Wagner's Ring Cycle, Opera Australia), Christopher Tonkin (Demetrius in A Midsummer Night's Dream), Fraser Findlay (Jamie Wellerstein in The Last Five Years), Darcy Carroll (Richard Divall Emerging Artist), Alastair Cooper-Golec (Richard Divall Emerging Artist), as well as the brilliantly talented Melbourne Opera chorus under Chorus Master Raymond Lawrence (Macbeth).
The cast and 40-piece orchestra is conducted by Peter Tregear, a multi-award winning conductor and singer who has mounted several UK and Australian premieres of Weimar-era works, including
Max Brand's opera Machinist Hopkins at the Queen Elizabeth Hall in London. This co-production by Melbourne Opera and IOpera offers a wonderful opportunity for audiences to encounter repertoire long absent from Victorian stages.
IOpera was founded in 2007 by Gert Reifarth and Peter Tregear to provide opportunities for local audiences to encounter forgotten or neglected operatic works and explore innovative forms of opera production. Staged works include the Australian premiere of Venjamin Fleischman's one-act opera Rothschild's Violin (1941) and Viktor Ullmann's The Emperor of Atlantis (1943). In 2019, IOpera presented a hugely successful sell-out success at The Athenaeum of a semi-staged concert of another work from the Weimar period, Krenek's Jonny spielt Auf (Jonny Strikes Up) (1926).
"Artistic collaboration has always been an integral part of Melbourne Opera's ethos. We are very excited about being involved in another IOpera project. Peter Tregear is an acknowledged expert in this repertoire, and we love working with Suzanne Chaundy," says Greg Hocking of Melbourne Opera.
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