Organization

Conductor

Jack Symonds

Singer

Mitchell Riley

Role

Morgan Pearse

Anna Yun

Anthony Hunt

Matthew Haskins

David Hansen

Sydney Chamber Opera

Notes from the Underground

Notes from the Underground Symonds

Public

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Tenor

Contralto

Mezzo-soprano

Baritone

Bass-baritone

Soprano

Bass

Countertenor

Alto

Child vocalist

Continuo

Silent

Spoken

Dostoevsky’s “Notes from Underground” is daring and wild. Set in colourful, torturous St Petersburg, it is a pessimistic indictment of the weaknesses of human will, containing one of the most extraordinary central characters in nineteenth century literature. Spiritually destitute, this man rages manically about himself, and then goes on to flesh out his soliloquy with anecdotes about the events ‘aboveground’ leading to his eventual retreat ‘underground’ as he rejects society and human relationships.

Acclaimed director Netta Yashchin stages a bold new operatic adaptation of “Notes from Underground” by Jack Symonds, to a libretto by Pierce Wilcox, for Sydney Chamber Opera. This adaptation finds the links between the underground tirade and the aboveground narrative and draws them simultaneously together. We can’t read the novel’s two halves at once, but music can fold time; it can fuse it, freeze it. Through music we can hear the two halves together, and so the opera is born: past and present in confrontation.

English

Notes from the Underground by Symonds, Minn (2011/2011), Surmast Direttur Jack Symonds

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