David Branson talks about being...

Seduced by the allure of opera

"I'm an ideas person," David Branson reflects, describing his journey from acting and producing in the drama theatre to the compelling area of opera production. 

Performance had always been in his blood, coming as he does from a family whose members all played and acted and sang. He himself trained as a classical violinist for 10 years and traveled overseas with the Canberra Youth Orchestra. However, after the formative years at Rusden College and the Victorian College of the Arts in Melbourne he worked energetically on innovative theatre projects for year before coming into contact with people who loved and were involved in opera

Nigel Kellaway was one influence and then he met Vivienne Winther, artistic director of Canberra's Stopera, whose knowledge and expertise soon had hint hooked on the heady delights of opera production.

This meeting soon led to a marriage,  Cimarosa's If Matrimonio Segreto  a delightful commedia dell'arte production for Conbrio (a small specialised group created by Winther and Ditta Zizi) which received great critical acclaim. 

Branson is currently artistic director of CIA, not in Australia a confronting security organisation but Culturally Innovative Arts. He does, however, want to confront audiences with works that have political relevance and which challenge traditions.

 The first co-production of CIA and Stopera, Jonathan Lees Heinrich Heine 1, Fool of Fortune, was followed in August, 1998 by The Threepenny Opera by Bertolt Brecht and Kurt Weill. 

Branson had long been an admirer of Brecht's * a work and Stopera had performed Weill's The Tsar Has His Photo Taken as part of their 2 Shots production in 1997 so this piece satisfied the interests of all parties including the critics.

In March this year Branson directed Stopera's stunning production of Handel's Ariodante, performed in the open air venue of Commonwealth Park. 

He found bringing all the elements of this production together in a short time challenging and coping with all the peripheral issues that had to be addressed annoying (such as requirements for safety harnesses for performers who swung down from the roof of Stage 88).

But in spite of time constraints performers, orchestral players and technical staff all formed a team that created an innovative, entertaining, beautifully sung operatic work. A smash, in fact.

Branson talks of his fascination with the inventive use of space and evidence of his ingenuity in this respect was very evident in Ariodante. He also pays particular tribute to conductor, Graham Abbott for his energy and knowledge and enthusiastic co-operation.

Branson is always looking for new directions and now he really wants to explore opera production. 'There's an integrity to each work," he says, "because there are already beautiful structures in place but 1 want to find ways of unfolding the work so that it becomes relevant and exciting."

"There should be seduction through theatricality," he goes on." The song is taking someone on a journey and the audience should be able to go on that journey with the singer." He certainly wants to continue work in straight theatre as well but hopes that this work will continue to inform what he does in the opera.

"I'd love to tackle another classic opera," he enthuses. "I'm greedy for different things within the operatic convention."

Don Giovanni captures his imagination as he loves to solve theatrical problems but he also mentions new Australian works that would be exciting projects.

Branson's next project is directing Stopera's intriguingly named The Cook the Fox and the Bride, which will be perfumed at Canberra's Street Theatre from June 3 to 12. This is a program of three one‑act operas.

The first is Stravinsky's opera buffa, Mavra and the second his burlesque, Renard, a 20 minute piece adapted from a Russian story. These pieces will reflect the color and flamboyance of the Australian National Gallery's forthcoming exhibition, From Russia with love - Costumes from the Ballets Russes 1909 - 1933.                       Renard will also be performed in full at the Gallery on Friday, May 21 at a spe­cial viewing of the Exhibi­tion.

 The third piece is Rossini's La Cambiale di Matrimonio, his first profes­sional opera and designated a "farsa comica." Branson will give it a Jane Austen flavor.

 The experienced tenor David Hamilton will sing in all three pieces and two sing­ers who have worked with

Branson before, Ditta Zizi and Geoffrey Manning, will also appear. Other singers include Teresa Fanning and Canberra singers Rachael James and Trent Morris.

Two people who contrib­uted to the success of Ariodante, lighting designer Matt Cox and choreographer, Vivienne Rogis, will also work on this production.

Three such unusual pieces should provide wonderful material for Branson's tal­ents. Still speaking eagerly about his attraction to opera Branson says: "This is new to me, I want to pursue this career path - and now I don't think I'll be able to stop! "  

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