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Liza Lim, Patricia Sykes


Brisbane Festival 2008 and Melbourne International Arts Festival. Australia
The Beloved Talise Trevigne
The Navigator Andrew Watts
The Fool Omar Ebrahim
Angel of History Deborah Kayser
The Crone Philip Larson
Recorder soloist Genevieve Lacey
Composer Liza Lim
Librettist Patricia Sykes
Conductor Manuel Nawri
Assistant Conductor Ben Northey
Director Barrie Kosky
Set Design Barrie Kosky And Alice Babidge
Costume Design Alise Babidge
Lighting Design Damien Cooper
Sound Design Michael Hewes
Assistant Director Megan Rowland
Associate Lighting Designer Ben Hewes
Production Manager Don Mackenzie
Stage Manager Elizabeth Keen
Wardrobe Coordinator Natalie Ryner
Supported The Australian Government Through The Australia

The Navigator has been assisted by International Cultural Council, an initiative of the Department of Foreign Affairs and Trade.

The Navigator is a part-opera, part-theatre, part-contemporary music performance that draws inspiration from the Indian epic the Mahabharata and the legend of Tristan and Isolde. The result is a provocative and visually delicious work which feels more like an erotically charged fashion show in a dollhouse than an opera.
With five singers and 16 instrumentalists driving the performance, it plunges from moments of sublime beauty and clarity to the dark, disturbed and the erotic. Kosky has filled this work with bold, experimental choices that are likely to divide audiences, bringing the intensity and power of opera together with the power of the visual aesthetic.
Laura Hillis – Arts Hub, 2008, Aug. 07
With passion, death, multifaceted desire, transcendence and transformation at its core, the music is brushed with the grandeur of Wagner's Tristan und Isolde but its searing language (which can just as easily melt into lyricism) is firmly embedded in a contemporary realm. There are borrowings from Greek legend and India's The Mahabharata.
Gillian Wills – The Australian, 2008, Aug.01
Described as an "alchemical dream opera" about the extremity of passions, without a narrative libretto, it allowed Kosky to indulge his passion for exotic human behaviour, introducing a range of gender transformations, animal heads and bizarre sexual appendages.
In doing this, he took his artists on a complex journey, demanding skills well beyond the vocal, combined with a commitment to the work that any lesser director would find impossible to achieve.
All five singers were well up to this near-impossible task
Suzannah Conway -Courier Mail, 2008, Aug. 02

June 25, 26, 27
Pyotr Fomenko’s Workshop Theatre
1 h 30 min without intermission