David Mitchell found it ‘addictive and gratifying – not unlike sudoku’. Anna Goldsworthy has written one for children’s classic The Magic Pudding. And Ian Rankin wrote one for Scottish Opera.
What is it? The libretto.
And it’s a form that’s increasingly popular, stretching the creative muscles of some of the world’s best writers.
This special event, in partnership with Chamber Made Opera, looks at what happens to words when they are set to music – and explores the rewards and challenges for writers working with the form.
Join composer Brett Dean, librettists Peter Goldsworthy and Joanna Murray-Smith as they sing the praises of the libretto, with Caroline Lee.
Joanna Murray-Smith is a Melbourne-based playwright, screenwriter and novelist.
Following studies in Australia, Brett Dean travelled to Germany in 1985 and became a member of the Berlin Philharmonic Orchestra as viola player. In addition to his orchestral career, he has performed as a soloist. In 1988, he began composing, initially as an arranger. Since 2000, he has lived in Australia as freelance composer.
Caroline is a performer, writer and editor. Her novel, Stripped, was serialised in 2008-2010 in Meanjin. Most recently she has appeared in Bell Shakespeare’s production of Phèdre by Racine, played the role of Venus in The Minotaur Trilogy with Chamber Made Opera as part of the Melbourne International Arts Festival, and toured Australia in The Flood, an Australian Gothic drama by Jackie Smith.
Peter Goldsworthy wrote the libretto for Richard Mills' multi-Helpmann award winning opera Batavia. His most recent songwriting collaboration was with composer Graeme Koehne, on The Ring-tone Cycle - a Cabaret Quintet for Piano Trio, Soprano and iPhone, which premiered at last year’s Adelaide Festival.