There was much to celebrate as Short Black Opera marked five years of extraordinary growth. The seed was planted on February 19, 1979 when Deborah Cheetham encountered Joan Sutherland as the Merry Widow at Sydney’s Opera House on Bennelong Point. It was an epiphany that would result in an outcome impossible to foresee at the time: a production of her own opera, Pecan Summer, on that very same stage in 2016. Not only that, she would be singing where her idol once “waltzed her way into my heart”.
Deborah Cheetham’s journey has been a complex one, encompassing decades of music making as learner, teacher and entrepreneur, a career in opera, discovering her birth family and pushing a multitude of boundaries. In addition to writing an opera about the 1939 Cummeragunja Mission walk-off, in which her grandparents were involved, she has sought to empower Indigenous children through singing, songwriting and storytelling in traditional languages by forming the Dhungala Choral Connection.
As an inspirational and supremely articulate leader, perhaps Cheetham’s greatest attribute is her gift for embracing, nurturing and making deep connections with so many people from diverse backgrounds. With her partner in life and music, Company Manager Toni Lalich, she has won the support of individuals and institutions in a determination to create a national indigenous opera company and to provide the support and training required. On this occasion, the presence of Victoria’s new Governor, Linda Dessau, Cathy Freeman and other notables was an indication of the faith they have in these aspirations.
Without any preamble, a seamless flow of song, film and narrative began with Belle Nuit, the Barcarolle from The Tales of Hoffmann. After the first verse members of the Short Black Opera Ensemble, who were sitting at one end of the Melbourne Recital Centre Salon, joined Deborah Cheetham and Linda Barcan with the most gorgeous soft velvety murmur to convince us that we were indeed all gliding along a Venetian canal on a beautiful night.
This was followed by words of welcome from Yorta Yorta woman Deborah Cheetham AO, who acknowledged the traditional owners of the land with unaffected sincerity as she conjured up the “thousands of generations… songs that have been sung here, dances danced”.
One of the outcomes of a successful five years was the fact that not all SBO performers could be present, due to other commitments. Zoy Fragos, dressed for the barricades of Les Mis, sent a video message ending with “got to go and get shot”. Other success stories, both personal and professional, were recounted and illustrated. The luscious soprano voice of Shauntai Batzke, recently returned from an intensive vocal course in New York, was featured in some of the excerpts from Pecan Summer and a very lovely Donde Lieta from La Bohème. Jessica Hitchcock had squeezed rehearsals and this performance in between preparation for her role in Opera Australia’s The Rabbits. Her sweet, true voice and vibrant personality signaled another young singer on the verge of a successful career in opera.
The development of several singers, beginning with the auditions for Pecan Summer, was poignantly illustrated. Joe Darion and Tiriki Onus showed just what five years of professional training and bucket loads of encouragement could achieve. Tiriki Onus’ performance of Dearest Wife from David Kram’s song cycle The Young Monash was beautifully sung and very moving. The way Deborah Cheetham guided one very insecure singer through the filmed audition process for Pecan Summer, holding her hand and singing with her in order to uncover her talent, was awe-inspiring. It was also a touching example of Cheetham’s warmth and generosity of spirit that informs everything she does.
Further expressions of what is good and positive in these collaborations was also clearly heard as Vonda Last accompanied herself on the piano to sing For Love of Country with members of SOB and the beautifully disciplined and tuneful Dhungala Children’s Choir. The song is a tribute to Aboriginal servicemen who have fought for their country. A visit to YouTube is highly recommended to hear just what this wonderful performer can do.
Non-indigenous performers were also included in the celebrations. Rosamund Illing and Jonathon Welch reprised their roles in excerpts from Pecan Summer and Liane Keegan sang Der Engel from Wagner’s Wesendonck Lieder, citing two angels she had in mind. One of them was her pianist, Tony Lalich. David Kram has been with SOB since its inception, conducting performances of Pecan Summer and, for this occasion, providing discreet guidance in the ensemble pieces. The final of these was the opera’s Postlude where Kevin Rudd’s Apology to Australia’s Indigenous peoples furnished a landmark background to the singing.
Possibly the greatest tribute for the evening came from the Honorable Linda Dessau AM. Putting aside her prepared speech, she said that she preferred to “speak from the heart” in acknowledging the achievements being celebrated. In her three short months as Governor of Victoria, this was the third time she had been involved with Short Black Opera, the first being when Shauntai Batzke sang at her inauguration. There is no doubt that the endorsement of this warm, charming woman will give further impetus to an initiative that all Australians should celebrate.
The picture shows some of the artists of Short Black Opera, with company founder Deborah Cheetham on the left in the top row.
Heather Leviston was a guest at the Short Black Opera Five Year Celebration at the Melbourne Recital Centre on October 6, 2015.
