I am very excited to be writing this from a rehearsal room. I am currently working as an assistant director on Opera Australia’s Turandot on the Harbour, directed by Chen Shi-Zheng. We just ended a huge session with Opera Australia’s magnificent fifty-strong chorus. I have been relishing these immense rehearsals and have been diving headstrong into my role in the spectacle.
I am incredibly indebted to The Opera Foundation for young Australians for setting me up to bolster my directing craft at one of the world’s most renowned houses – The Komische Oper Berlin. I feel that this experience laid invaluable foundations and skills I am currently using and extending in the rehearsals for Turandot.
With the Berlin New Music Opera Award I worked as a ‘regie hospitant’ for Barrie Kosky on his Eugene Onegin last year. I worked with a team that a balanced bold artistic vision with precise attention to craft and technical staging. I found it incredibly inspiring to be a part of a daring creative vision tempered by craft. These are attributes I hope to bring to my own work back home.
I really feel this award has also set me on a trajectory as later in the year I am shadowing Sir David McVicar at the Vienna State Opera. It really was the Berlin New Music Opera Award that gave me the experience and pathways to seize opportunities like these. Looking to the future, I am hoping to use these experiences to develop work of my own that is bold, exciting and speaks to contemporary Australia.
A huge thank you to Rockend, The Wagner Society & DAAD for funding this unique initiative.