1 00:00:00,360 --> 00:00:08,440 Speaker 1: Now, the production of Aida is billed as Australia's most 2 00:00:08,480 --> 00:00:12,400 Speaker 1: significant cultural event of the decade. I don't reckon that 3 00:00:12,480 --> 00:00:15,440 Speaker 1: is an exaggeration. This is going to be huge when 4 00:00:15,480 --> 00:00:17,599 Speaker 1: it comes to the Adelaide Oval on the fifth and 5 00:00:17,720 --> 00:00:22,200 Speaker 1: sixth of February next year, and it will make its 6 00:00:22,320 --> 00:00:26,880 Speaker 1: historic international debut at the Adelaide Oval. You have the 7 00:00:27,040 --> 00:00:29,920 Speaker 1: chance if you think, well, I'd love to go, but 8 00:00:30,200 --> 00:00:32,320 Speaker 1: I don't know. How would you love to be in it? 9 00:00:32,600 --> 00:00:35,480 Speaker 1: Wouldn't that be amazing? And there's a casting call open 10 00:00:35,600 --> 00:00:41,000 Speaker 1: for people to play non speaking, non singing roles. Amongst 11 00:00:41,080 --> 00:00:44,600 Speaker 1: the hundreds already on stage, they're looking for another one 12 00:00:44,680 --> 00:00:49,200 Speaker 1: hundred people to take part. Artistic consultant producer for Aida 13 00:00:49,360 --> 00:00:52,479 Speaker 1: is Lynden Terracini and he joins me, Now, Linden, good evening. 14 00:00:53,159 --> 00:00:54,600 Speaker 2: Hi, how are you all right? 15 00:00:54,680 --> 00:00:57,320 Speaker 1: Thank you? So okay? Now you were giving us the 16 00:00:57,320 --> 00:00:59,639 Speaker 1: account of how many and one hundred people? We heard 17 00:00:59,680 --> 00:01:02,040 Speaker 1: you say it's a paid gig. What's involved? What do 18 00:01:02,080 --> 00:01:02,520 Speaker 1: they have to do? 19 00:01:03,400 --> 00:01:06,160 Speaker 2: Well, it's like being an extra in a movie. So 20 00:01:06,200 --> 00:01:10,240 Speaker 2: it is a paid gig. And basically you're an extra 21 00:01:10,400 --> 00:01:13,440 Speaker 2: body on stage and the director will direct you the 22 00:01:13,480 --> 00:01:17,680 Speaker 2: directors coming from Italy. Stefano was a frank or definitely 23 00:01:18,120 --> 00:01:21,480 Speaker 2: assistant director for many years, so he knows best production 24 00:01:21,600 --> 00:01:24,960 Speaker 2: better than anyone and he will direct you. So there'll 25 00:01:25,000 --> 00:01:27,720 Speaker 2: be rehearsals and look, people can still get better work 26 00:01:27,800 --> 00:01:30,400 Speaker 2: during the day and come to rehearsals in the evening, 27 00:01:31,680 --> 00:01:33,600 Speaker 2: so that you'll be part of the show and you'll 28 00:01:33,640 --> 00:01:35,960 Speaker 2: be rehearsing with you know, some of the most famous 29 00:01:35,959 --> 00:01:38,520 Speaker 2: singers in the world. You know, Joannice Kaufman is the 30 00:01:38,520 --> 00:01:42,480 Speaker 2: greatest tenor alive, Angel Blue, She's one of the greatest 31 00:01:42,520 --> 00:01:46,400 Speaker 2: sopranos alive. Elena Grancha, the greatest met though. You know, 32 00:01:46,800 --> 00:01:49,880 Speaker 2: this is one of the most fabulous casts that you 33 00:01:49,920 --> 00:01:52,680 Speaker 2: would ever see, in fact, better than what you'll see 34 00:01:52,680 --> 00:01:54,560 Speaker 2: at the Met in New York or a scala in 35 00:01:54,640 --> 00:01:58,320 Speaker 2: Milan or Covent Garden in London. You might get one 36 00:01:58,320 --> 00:02:00,760 Speaker 2: of these people in a show there, but you won't 37 00:02:00,760 --> 00:02:04,200 Speaker 2: get all of them. So it's a fantastic thing for 38 00:02:04,280 --> 00:02:07,200 Speaker 2: Adelaide in that you know this will be well, as 39 00:02:07,200 --> 00:02:08,600 Speaker 2: they say, the greatest show on earth. 40 00:02:09,080 --> 00:02:12,120 Speaker 1: Fantastic so as extras and yeah, we do see people 41 00:02:12,160 --> 00:02:15,040 Speaker 1: in movies in the background, just pretending to chat in 42 00:02:15,120 --> 00:02:19,840 Speaker 1: cafes or walking across roads or whatever. And that's essentially 43 00:02:19,840 --> 00:02:21,360 Speaker 1: what people are just standing around. 44 00:02:21,919 --> 00:02:24,200 Speaker 2: Yeah, look, that's basically it. I mean, look, as I said, 45 00:02:24,240 --> 00:02:27,160 Speaker 2: Stefan Or the director will give people things to do. 46 00:02:27,600 --> 00:02:29,640 Speaker 2: And yeah, they may be chatting in a corner as 47 00:02:29,680 --> 00:02:32,280 Speaker 2: you say, they may be walking across the stage, they 48 00:02:32,320 --> 00:02:34,239 Speaker 2: may be in a circle around some of the other 49 00:02:35,280 --> 00:02:39,440 Speaker 2: some of the principal singers. You know, that'll be determined 50 00:02:40,160 --> 00:02:43,839 Speaker 2: when the director's here. But he's coming and so we'll 51 00:02:43,840 --> 00:02:47,560 Speaker 2: have a callback. So people if they log onto aida 52 00:02:47,760 --> 00:02:52,080 Speaker 2: aid Aadelaide dot com dot au, they'll get all the 53 00:02:52,120 --> 00:02:56,239 Speaker 2: information and how they can apply. And we'll have callbacks 54 00:02:56,520 --> 00:02:59,880 Speaker 2: on November the first and November the second in Adelaide. 55 00:03:00,040 --> 00:03:01,800 Speaker 2: So you know, if you just I think you've got 56 00:03:01,840 --> 00:03:04,600 Speaker 2: to send a headshot in and you don't need any 57 00:03:04,600 --> 00:03:08,200 Speaker 2: prior experience. You know, this is really for oh look, 58 00:03:08,400 --> 00:03:11,480 Speaker 2: I suppose for everyone in Adelaide to feel as though 59 00:03:11,720 --> 00:03:12,760 Speaker 2: they can be part of the show. 60 00:03:13,120 --> 00:03:15,280 Speaker 1: Yeah all right, so but there will be you know, 61 00:03:15,360 --> 00:03:18,080 Speaker 1: some requirements. As you say, you got to attend all rehearsals. 62 00:03:18,120 --> 00:03:21,600 Speaker 1: You might be wearing what you will probably be wearing 63 00:03:21,639 --> 00:03:25,760 Speaker 1: stage makeup. You'll be in costume obviously, not the great clothes, 64 00:03:26,680 --> 00:03:27,840 Speaker 1: carrying light props. 65 00:03:27,880 --> 00:03:31,680 Speaker 2: Potentially, Yeah, look, there's the potential for that, but certainly 66 00:03:33,400 --> 00:03:37,120 Speaker 2: they would be required to have stage makeup, were an 67 00:03:37,160 --> 00:03:41,280 Speaker 2: Egyptian costume or something like that. You know, they're very 68 00:03:41,320 --> 00:03:45,960 Speaker 2: traditional costumes. There's nothing out landish about them, and there 69 00:03:45,960 --> 00:03:49,520 Speaker 2: wouldn't be anything onerous for people to do so if 70 00:03:49,800 --> 00:03:53,320 Speaker 2: and look it's over to any age. If people you 71 00:03:53,320 --> 00:03:55,880 Speaker 2: know are fit and they'd like to be part of it, 72 00:03:55,960 --> 00:03:57,400 Speaker 2: then we'd like to hear from. 73 00:03:57,240 --> 00:04:01,720 Speaker 1: Them from it. Fantastic idea Adelaide Dot. What makes it 74 00:04:01,800 --> 00:04:05,520 Speaker 1: aid as such a huge production, Linden? What is it 75 00:04:05,560 --> 00:04:08,280 Speaker 1: about it? I know I can recall it was staged 76 00:04:08,320 --> 00:04:11,200 Speaker 1: in Sydney and Melbourne, oh gosh, in the eighties sometime. 77 00:04:11,480 --> 00:04:13,640 Speaker 1: It didn't come to Adelaide back then, but I remember 78 00:04:13,680 --> 00:04:15,000 Speaker 1: even then it was massive. 79 00:04:15,720 --> 00:04:20,760 Speaker 2: Yeah. Well, there's the triumphal scene, which needs a huge chorus, 80 00:04:21,240 --> 00:04:24,200 Speaker 2: all the principal singers, you know, ninety eight to one 81 00:04:24,279 --> 00:04:27,400 Speaker 2: hundred people in the orchestra playing flat out, and the 82 00:04:27,440 --> 00:04:31,200 Speaker 2: spectacle of that. It comes in ways. There's one group 83 00:04:31,240 --> 00:04:34,200 Speaker 2: of people coming along, then another group, then another group 84 00:04:34,200 --> 00:04:37,520 Speaker 2: and they all get together on the stage and so 85 00:04:37,880 --> 00:04:39,960 Speaker 2: I think you mentioned there'll be about four hundred and 86 00:04:39,960 --> 00:04:43,359 Speaker 2: twenty people. Four hundred and twenty people on the stage 87 00:04:43,360 --> 00:04:47,360 Speaker 2: at the Adelaide Oval, so it's massive and that sort 88 00:04:47,360 --> 00:04:50,560 Speaker 2: of effect is incredible for the audience. You know, you 89 00:04:50,600 --> 00:04:52,720 Speaker 2: can't see anything like this at the Sydney Opera House. 90 00:04:52,760 --> 00:04:55,919 Speaker 2: You know, it's got a very small stage and the 91 00:04:56,040 --> 00:04:59,000 Speaker 2: orchestra pitter is very small, so you can't have anything 92 00:04:59,240 --> 00:05:02,520 Speaker 2: likeety eight players in the orchestra and nothing like one 93 00:05:02,600 --> 00:05:05,400 Speaker 2: hundred and ten. It'll be one hundred and sixty people 94 00:05:05,400 --> 00:05:08,080 Speaker 2: singing in the chorus with the local chorus from the 95 00:05:08,080 --> 00:05:11,039 Speaker 2: State Opera South Australia, who are very good sold they'll 96 00:05:11,040 --> 00:05:16,120 Speaker 2: be joining with the famous Areignery Verona Chorus. So it'll 97 00:05:16,160 --> 00:05:19,120 Speaker 2: be a fantastic sound. And you know, we've got one 98 00:05:19,120 --> 00:05:22,560 Speaker 2: of the best sound designers in the world, Tony David Cray, 99 00:05:23,160 --> 00:05:26,520 Speaker 2: and I started opera on Sydney Harbor that many of 100 00:05:26,520 --> 00:05:29,919 Speaker 2: you listeners have probably been to, and so Tony David 101 00:05:29,960 --> 00:05:33,160 Speaker 2: Cray was the sound designer and engineer for that and 102 00:05:33,200 --> 00:05:36,920 Speaker 2: the sound is always fabulous. So I'm confident with Tony 103 00:05:36,920 --> 00:05:39,440 Speaker 2: that we'll have the best sound that you could imagine 104 00:05:39,480 --> 00:05:40,720 Speaker 2: at the Adelaide over too. 105 00:05:40,920 --> 00:05:43,440 Speaker 1: How was it chosen? How was Adelaide chosen to be 106 00:05:43,520 --> 00:05:44,680 Speaker 1: the host city for this? 107 00:05:45,720 --> 00:05:49,839 Speaker 2: Well, look again, when I did handa opera on Sydney Harbor, 108 00:05:50,240 --> 00:05:52,920 Speaker 2: I knew that you need to have a beautiful venue. 109 00:05:53,440 --> 00:05:55,520 Speaker 2: And in Sydney you can look out to the Harbor Bridge, 110 00:05:55,600 --> 00:05:58,479 Speaker 2: the opera House in the city and in Verona you've 111 00:05:58,480 --> 00:06:02,400 Speaker 2: got a rainer that the Romans built two thousand years ago. 112 00:06:02,560 --> 00:06:07,120 Speaker 2: That's where this opera was stage originally and it's only 113 00:06:07,160 --> 00:06:10,040 Speaker 2: been staged there. And so you know, if you're looking 114 00:06:10,040 --> 00:06:12,120 Speaker 2: around Australia to have a really you've got to have 115 00:06:12,160 --> 00:06:15,279 Speaker 2: a big venue. The Adelaide Oval is one of the 116 00:06:15,320 --> 00:06:18,560 Speaker 2: most beautiful venues there is. You know, it's the most beautiful, 117 00:06:18,640 --> 00:06:22,240 Speaker 2: arguably the most beautiful cricket ground on the planet. And 118 00:06:22,360 --> 00:06:24,400 Speaker 2: so you know, you walk in and you think this 119 00:06:24,560 --> 00:06:28,000 Speaker 2: is such a beautiful space and that that's an important 120 00:06:28,000 --> 00:06:31,000 Speaker 2: part of it. And it's in Adelaide. And look, Adelaide 121 00:06:31,040 --> 00:06:34,280 Speaker 2: is a great place to do a big show. You know, 122 00:06:34,640 --> 00:06:37,479 Speaker 2: you you can walk everywhere. That's why the Adelaide Festival 123 00:06:37,560 --> 00:06:40,000 Speaker 2: is so successful. You can walk to all the venues 124 00:06:40,040 --> 00:06:42,640 Speaker 2: all that sort of thing. Are terrific restaurants and so on, 125 00:06:43,040 --> 00:06:49,080 Speaker 2: great accommodation, and so for this production, it's a beautiful venue. 126 00:06:49,600 --> 00:06:51,480 Speaker 2: It's right in the middle of the city, so people 127 00:06:51,480 --> 00:06:54,239 Speaker 2: can get to it very easily, they can come after work, 128 00:06:54,279 --> 00:06:56,560 Speaker 2: and you know, it's got so many things going for 129 00:06:56,640 --> 00:06:59,760 Speaker 2: it that I think it ended up being the obvious choice. 130 00:07:00,120 --> 00:07:04,560 Speaker 1: That's fantastic. So when Verdi wrote this, Giuseppe Verdi, Joe Green, 131 00:07:04,680 --> 00:07:08,680 Speaker 1: if you're more comfortable Green. When he wrote this, did 132 00:07:08,760 --> 00:07:11,800 Speaker 1: he in his day? Was it for a stage or 133 00:07:11,920 --> 00:07:15,440 Speaker 1: was it for a huge Roman theater back in his time? 134 00:07:16,000 --> 00:07:18,120 Speaker 2: Well, he wrote it for the opera house in Cairo, 135 00:07:18,400 --> 00:07:24,000 Speaker 2: in Egypt, and in those days Cairo had a fantastic 136 00:07:24,040 --> 00:07:26,840 Speaker 2: opera house and it was very, very big, as well 137 00:07:26,920 --> 00:07:29,160 Speaker 2: as some of the theaters or many of the tears 138 00:07:29,240 --> 00:07:32,320 Speaker 2: were when they were built, like Lascala and the theater 139 00:07:32,440 --> 00:07:36,200 Speaker 2: in in Buena Ferires is a huge theater, but they 140 00:07:36,200 --> 00:07:39,240 Speaker 2: were all built, you know, around that time. And so 141 00:07:40,280 --> 00:07:44,960 Speaker 2: Verdi was commissioned by the city of Cairo and he 142 00:07:45,000 --> 00:07:48,360 Speaker 2: wrote for that city. And since then, you know, there 143 00:07:48,360 --> 00:07:50,960 Speaker 2: have been productions in front of the Pyramids, and you 144 00:07:51,000 --> 00:07:53,000 Speaker 2: know in all the great theaters, the big theaters in 145 00:07:53,040 --> 00:07:56,160 Speaker 2: the world, the Metropolitan Opera, Lascala and so on, they 146 00:07:56,200 --> 00:07:59,559 Speaker 2: do a year very often. But you know, you need 147 00:07:59,600 --> 00:08:02,880 Speaker 2: the best in the world because it's extremely difficult to sing. 148 00:08:03,440 --> 00:08:06,360 Speaker 2: And although you know, we'll have microphones on the Adelaide oval, 149 00:08:06,360 --> 00:08:10,760 Speaker 2: because see thirty thousand people in a big theater, you 150 00:08:10,880 --> 00:08:14,320 Speaker 2: need those really big voices to really just rise over 151 00:08:14,360 --> 00:08:17,280 Speaker 2: the top of it. And it's tremendously thrilling when you 152 00:08:17,320 --> 00:08:19,600 Speaker 2: hear them doing it. And as I said, for this production, 153 00:08:20,080 --> 00:08:23,200 Speaker 2: they are quite honestly the best opera singers in the 154 00:08:23,240 --> 00:08:24,360 Speaker 2: world in these roles. 155 00:08:24,400 --> 00:08:27,240 Speaker 1: Amazing, that is brilliant, I reckon and the fact that 156 00:08:27,280 --> 00:08:30,320 Speaker 1: it's going to be here and Zephyrelli obviously is added 157 00:08:30,560 --> 00:08:33,200 Speaker 1: as people might know him as a film director, but 158 00:08:33,240 --> 00:08:36,880 Speaker 1: obviously director of stage and opera as well. But his 159 00:08:37,040 --> 00:08:41,640 Speaker 1: touches in just making it so grand is what makes 160 00:08:41,640 --> 00:08:42,920 Speaker 1: this such a spectacle today. 161 00:08:43,840 --> 00:08:46,600 Speaker 2: Oh look, I think in terms of the opera business, 162 00:08:46,640 --> 00:08:48,240 Speaker 2: I mean, we all know teffer Eli is a great 163 00:08:48,280 --> 00:08:52,880 Speaker 2: film director, but he's arguably one of the greatest, if 164 00:08:52,880 --> 00:08:57,200 Speaker 2: not the greatest, opera directors of all time and his productions, 165 00:08:57,320 --> 00:09:00,000 Speaker 2: like like a lot of these movies are incredibly spected 166 00:09:00,040 --> 00:09:03,480 Speaker 2: Tacula and this is a phenomenal spectacle. You know, it's 167 00:09:03,520 --> 00:09:07,640 Speaker 2: as big as it gets and they're a surprises everywhere where. 168 00:09:07,720 --> 00:09:07,920 Speaker 1: You know. 169 00:09:08,000 --> 00:09:10,760 Speaker 2: You can literally hear people in the audience so oh 170 00:09:11,240 --> 00:09:14,040 Speaker 2: hold their breath and it's fantastic. It's a great experience 171 00:09:14,040 --> 00:09:16,600 Speaker 2: when you're sitting there and you see all these things 172 00:09:16,600 --> 00:09:19,040 Speaker 2: happening on the stage and you hear this incredibly beautiful 173 00:09:19,120 --> 00:09:22,080 Speaker 2: music and exciting music too, I have to say so 174 00:09:22,200 --> 00:09:25,200 Speaker 2: it's you know, having the teff for Elli production is 175 00:09:25,200 --> 00:09:27,120 Speaker 2: really a major coup. Yeah. 176 00:09:27,160 --> 00:09:29,760 Speaker 1: Well, I can't wait for it to come to Adelaide, Lindon. 177 00:09:29,840 --> 00:09:32,560 Speaker 1: I appreciate your time tonight. It's going to be absolutely 178 00:09:32,679 --> 00:09:36,280 Speaker 1: huge and people can have the opportunity to stand on 179 00:09:36,360 --> 00:09:38,840 Speaker 1: stage with some of the greats as you've described that. 180 00:09:39,000 --> 00:09:41,880 Speaker 1: It's just a marvelous thing and I can't wait for 181 00:09:41,920 --> 00:09:44,079 Speaker 1: it to be here in early next year. Thank you 182 00:09:44,160 --> 00:09:44,680 Speaker 1: for your time. 183 00:09:45,160 --> 00:09:48,079 Speaker 2: Oh it's an absolute pleasure. And please, for everyone listening, 184 00:09:48,160 --> 00:09:50,040 Speaker 2: don't be shy. We'd love to see you. 185 00:09:50,160 --> 00:09:53,200 Speaker 1: Yes, indeed, good on your Lindon. Thank you. Thanks Matthew 186 00:09:53,360 --> 00:09:57,440 Speaker 1: Linden Teracchini, artistic consultant for Aida Coming to Adelaide. This 187 00:09:57,520 --> 00:09:59,120 Speaker 1: is going to be you know, I said it earlier, 188 00:09:59,160 --> 00:10:01,679 Speaker 1: bigger than Ben Hur and that was pretty big. If 189 00:10:01,679 --> 00:10:06,000 Speaker 1: you ever watched that movie Verdi's Aida at the Adelaide 190 00:10:06,040 --> 00:10:10,920 Speaker 1: Oval fifth and sixth of Feb so that website Adelaide Sorry, 191 00:10:11,000 --> 00:10:14,960 Speaker 1: start again Aida Adelaide dot com dot au. Here are 192 00:10:14,960 --> 00:10:18,240 Speaker 1: the requirements. You must be eighteen or older at the 193 00:10:18,280 --> 00:10:20,360 Speaker 1: time of rehearsals. You must have the right to work 194 00:10:20,400 --> 00:10:23,120 Speaker 1: in Australia and live locally. Must be able to commit 195 00:10:23,200 --> 00:10:28,160 Speaker 1: fully to all rehearsals and performances. No non availability can 196 00:10:28,200 --> 00:10:33,160 Speaker 1: be accommodated. No previous stage experience required. Applicants must be 197 00:10:33,200 --> 00:10:37,760 Speaker 1: comfortable wearing a costume on stage, wearing stage makeup, following 198 00:10:37,880 --> 00:10:43,120 Speaker 1: stage direction, precisely performing in front of large audiences, working 199 00:10:43,120 --> 00:10:47,600 Speaker 1: in proximity to singers, dances and live orchestral sound, and 200 00:10:47,960 --> 00:10:51,520 Speaker 1: strongly encourage applications from people of all cultural backgrounds, genders, 201 00:10:51,600 --> 00:10:55,240 Speaker 1: ages and abilities. Rehearsals sixteenth of jan to the fourth 202 00:10:55,280 --> 00:10:58,400 Speaker 1: of feb and the performance dates on the fifth and 203 00:10:58,800 --> 00:11:04,280 Speaker 1: sixth and possibly seventh to be confirmed or rehearsals and performances. 204 00:11:04,440 --> 00:11:09,880 Speaker 1: Compulsory detailed schedule will be provided to those shortlisted. I reckon, 205 00:11:09,920 --> 00:11:12,120 Speaker 1: it's really exciting, and you know you won't get a 206 00:11:12,120 --> 00:11:14,280 Speaker 1: speaking role. You won't get a singing role of the 207 00:11:14,400 --> 00:11:16,800 Speaker 1: Sly Special if you can't sing, But you will be 208 00:11:17,559 --> 00:11:22,840 Speaker 1: standing around having a mute conversation, perhaps in the background. 209 00:11:23,600 --> 00:11:24,959 Speaker 1: I don't know if you'll be sitting at a cafe 210 00:11:25,040 --> 00:11:27,760 Speaker 1: in ancient Egypt. I don't think so. But you'll be 211 00:11:27,840 --> 00:11:30,280 Speaker 1: walking doing whatever they tell you to do, walking around, 212 00:11:30,440 --> 00:11:34,559 Speaker 1: just being having a presence on stage. I reckon that's 213 00:11:34,559 --> 00:11:39,800 Speaker 1: a great opportunity. Might even apply myself. Sounds fun.