STAGES Episode 541: EMMA MATTHEWS

Emma Matthews is currently head of Classical Voice and Opera Studies at the West Australian Academy of Performing Arts. She is Patron of the Wesfarmers Young Artist Program at West Australian Opera and is a highly acclaimed and awarded soprano.  She has performed with all the state opera companies and the major Australian symphony orchestras; and at the Sydney, Melbourne, Perth, Adelaide and Huntington Festivals, with conductors including Vladimir Ashkenazy, Marko Letonja, Sir Charles Mackerras and Simone Young. Emma has sung the title roles in Partenope, Lucia di Lammermoor, Lakmé, The Cunning Little Vixen and Lulu. Other roles have included Leila (The Pearlfishers), Amina (La Sonnambula), Philomele (The Love of the Nightingale) by Richard Mills, Ilia (Idomeneo), Juliette (Roméo et Juliette), Marie (La Fille du Regiment), Cleopatra (Giulio Cesare), Konstanze (Die Entführung aus dem Serail), Zdenka (Arabella), the four heroines (The Tales of Hoffmann), Pamina (The Magic Flute), Almirena (Rinaldo), Sophie (Der Rosenkavalier), Giulietta (I Capuleti e i Montecchi) and Cunegonde (Candide). She is equally in demand on the concert platform, embracing a wide repertoire including the Requiems of Mozart, Brahms and Fauré, Mahler’s Symphony No. 2, masses by Poulenc, Villa Lobos, Haydn and Mozart, and Handel’s Messiah. Emma has also appeared as a special guest with José Carreras at the Sydney Opera House, and the New Year’s Eve Gala concerts for Opera Australia. Career highlights include her Royal Opera House Covent Garden debut in the title role of The Cunning Little Vixen under the baton of Sir Charles Mackerras, Mahler’s Symphony no. 4 with Orchestre Philharmonique de Monte Carlo conducted by Yakov Kreizberg and with the Sydney Symphony Orchestra and Vladimir Ashkenazy, and Ismene (Mitridate) for Sydney Festival. More recent roles include Violetta (La Traviata), Fiorilla (Il turco in Italia), Gilda (Rigoletto), the Queen of the Night (The Magic Flute) and Donna Anna (Don Giovanni) for Opera Australia and Rosina (The Barber of Seville) for West Australian Opera.  Her recent concert appearances include the Strauss Gala for State Opera South Australia, the national tour of From Broadway to La Scala, Les Illuminations with Ensemble Liaison, Mozart arias with Sydney Symphony, Melbourne Symphony Orchestra’s Sidney Myer Music Bowl Concert and Eight Poems of Emily Dickinson (Copland) (released on disc for MSO Live in March 2014), and the ‘Jewel Song’ from Faust (Gounod)  and the ‘Mad Scene’ from Hamlet (Thomas), also with the Melbourne Symphony, Mozart Requiem and arias with the Tasmanian Symphony Orchestra, and recitals at Government House Sydney, with Ensemble Liaison and Sydney Omega Ensemble, featuring at Musica Viva’s Huntington Festival, Sydney Philharmonia Choirs’ Christmas concerts and Voices in the Forrest, Canberra as well as Duparc Songs with Simone Young and the ANAM Orchestra. Further engagements have included The Space between the Notes, written especially for Emma by Paul Grabowsky and Steve Vizzard, at the Victorian Arts Centre; An Evening in Vienna with the Melbourne Symphony Orchestra; Leila (The Pearlfishers) and the New Years’ Eve gala concert for Opera Australia; Violetta (La Traviata); a national tour of Voyage to the Moon – a baroque opera pasticcio for Musica Viva and Victorian Opera; Messiah with Melbourne Symphony Orchestra; Stonnington Opera in the Park and recitals at Kangaroo Valley Arts Festival, Perth Town Hall, the Melbourne Recital Centre and for Recitals Australia at Ukaria. Emma also portrayed Nellie Melba, in a new play, Melba: An Operatic Drama, by Nicholas Christo, presented at the Hayes Theatre, Sydney. Emma’s album of bel canto arias, Emma Matthews in Monte Carlo, was released by Deutsche Grammophon / ABC Classics to critical acclaim. Her album of Mozart arias with the Tasmanian Symphony Orchestra and Marko Letonja conducting was released by ABC Classics in February 2014, and her most recent recording of bel canto arias with ABC Classics and the Melbourne Symphony Orchestra (Andrea Molino conductor), “Agony and Ecstasy” was released in September 2016. Emma Matthews returns to the Opera Australia stage in the New Year - as the Fairy Godmother in Massenet’s CENDRILLON. Marking the first time OA performs Massenet’s Cinderella (Cendrillon), Laurent Pelly’s highly acclaimed production will make its Australian debut after seasons at New York’s Metropolitan Opera and Covent Garden’s Royal Opera House, playing the Sydney Opera House from January 2nd to March 28th. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au