ABOUT THE SHOW

Cast

Ján | Brenton Spiteri 

Zefka | Katherine McIndoe 

Piano | Alex Raineri 

Chorus | The Australian Voices 

Singers | Madeline Gibbs, Anne Levitsky, Josephine Gibson 

Artistic Director | John Rotar

A note from Brenton Spiteri 

Jánaček's The Diary of One Who Disappeared tells the story of a simple young man - Ján - who wanders into the woods one day when his cart breaks down, and subsequently becomes entranced by a forthright, worldly and mysterious young woman called Zefka. Ján has seen Zefka from a distance on many occasions; in fact the work begins with him seeing her from afar as she trespasses on his family's property. Zefka is from the community of people known as gypsies, much maligned and seen as inferior by Ján's family. His response to Zefka morphs throughout the piece. At first he is terrified of her. As time goes by, he finds himself unable to stop thinking of her. When he encounters her in the woods he finds his desire awakened and he becomes infatuated, finally falling in love and 'disappearing' in order to be with her and his unborn child. The audience is left to determine the exact nature of Ján's disappearance.

In shaping this program, we wanted to reflect the transformative power of night and darkness. "Do not look towards the elder trees - there is only darkness there" Ján advises his ox (who we have come to think of as a key supporting character, and crucial comic relief in Jánaček's work). Indeed, Ján's wandering into the woods and spending the night there is what encourages him to confront his long held prejudices, and explore his own ideas and desires. In the spirit of this transformation, and in order to suggest that the action spans the length of one midnight to the next, we have also incorporated two settings of poems entitled Um Mitternacht (Midnight), one by Rückert and one by Goethe, as set to music by Mahler and Britten respectively. These songs bookend Jánaček's work: a meditation on the power of night, nature, and silence to reveal our hidden truths.

TEXT TRANSLATIONS

Gustav Mahler
Um Mitternacht from Rückert Lieder (1901-02)
Text by Friedrich Rückert 

English Translation by Richard Stokes

At midnight

I kept watch

And looked up to heaven;

Not a star in the galaxy

Smiled on me

At midnight.

At midnight

My thoughts went out

To the dark reaches of space;

No shining thought

Brought me comfort

At midnight.

At midnight

I paid heed

To the beating of my heart;

A single pulse of pain

Was set alight

At midnight.

At midnight

I fought the battle,

O Mankind, of your afflictions;

I could not gain victory

By my own strength

At midnight.

At midnight

I gave my strength

Into Thy hands!

Lord over life and death,

Thou keepest watch

At midnight.

-----

Leoš Janáček
The Diary of One Who Disappeared (1919)
Text by Ozef Kalda

English translation by Brenton Spiteri

1

I met a gypsy girl, she was like a doe. 

Black braids running down her body, 

And deep, endless eyes.

She stared at me for a moment, 

Then leapt over a fallen tree. 

She’s been in my head all day.

2

That gypsy girl is lurking in my mind; 

Why do you stay? 

Why don’t you leave? 

If she left I would go straight to church.

3

Fireflies twinkle along the embankment,
In the fading light, I sense someone’s presence. 

Don’t wait for me, don’t try to lure me,
I do not want to make my mother cry,
The moon fades and I can see nothing,
I hear the shuffling of someone on our land,
I see two eyes shining in the night,
Oh God! God, forbid it!
Stand by and help me.

4

The baby swallows are chirping in their nests, 

At night, I lay as though on a bed of sticks, 

Now, at dawn, as though on a bed of spikes.

5

Ploughing all day wears me down,
I slept fitfully, but still she managed to haunt my dreams.

6

Hey you, grey oxen,
Careful how you pull the plough,
Don’t look towards the elder trees, 

There is only darkness there,
My plough bounces off the hard earth, 

I catch a glimpse of her spotted apron. 

Whoever is waiting for me,
I only hope they turn to stone,
My head burns as though aflame, 

Whoever is waiting for me,
I only hope they turn to stone.

7

The linchpin has come loose from the axle, 

Stand here, grey oxen, stand here!
I can fashion a new axle in the clearing. 

We must embrace fate as dealt.

8

Don’t look, oxen, so sadly at the dead-end,
Don’t fear for me either, I will be back soon,
Zefka stands blackly at the edge of the elder grove, 

Her eyes flash and are full of secrets,
Don’t fear for me, and don’t follow me,
I can resist the bewitching charm of her eyes.

9

Zefka 

Welcome, darling Ján, to the forest 

What brings you here? How lucky!

Welcome, darling,
Why do you stand like that-
So bloodless and still, so empty and ashen? 

Are you afraid? Are you afraid of me?

Ján 

I have nothing to fear, I am not bothered,
I am here to fashion a new linchpin. I have lost mine.

Zefka

What’s the rush? 

Stop that, Come here and listen to my song.

Chorus

She clasps her hand together, 

And sings a mournful song,
A song of grief.

10

Zefka

God on high, immortal,
Why did you make me a gypsy?
Why do I wander the world aimlessly? 

Why am I chased away from home?

Sweet Ján, can you hear the lark? 

Sit down here with your gypsy.

Powerful, merciful God, let me understand, 

Before I leave this barren world...

You stand like a pillar of salt,
As though prepared to do battle with me, 

Sit closer, don’t stand so far away,
Does my body frighten you?
I am not what you think I am...
There is much to show you in darkness.

Chorus

Such a sad song moves the heart,
She drops her shift and stands before him, 

Blood pours through him,
Rushing to his head.

11

Ján

(The smell of blooming wheat entices me Into the darkness).

Zefka

Do you want to see Ján,
Do you want to see how the gypsy sleeps?

Ján

(Twigs crackle, stones shuffle, She laughs at me,
Tells me all is under control).

Zefka

The earth is my pillow,
The skies are my bedclothes. 

I place my dewy hands in my lap, To keep warm.

Ján 

(I lie on the ground like a pile of rags, I weep as my innocence disappears). 

12

Black elder trees, 

Cold spring water.

Dark gypsy girl,
White knees:
I will never forget these four things.

13

(The night passes)

14

Shadows shorten as the sun rises 

Oh, the things I have lost!

Who will ever return them?

15

Grey oxen, what are you staring at? 

Are you going to tell everyone?
Are you going to give me away?
I will make you regret it if you do,

I will not be merciful,
I will not spare the whip,
The worst thing will be going home, 

To look my mother in the face,
In the light of day.

16

What have I done? That hideous memory lingers!
Could I call a gypsy Mother? 

Could I call a gypsy Father? 

I would prefer to chop the fingers off my hand;
From the nut-tree a lark flies, free,
But nothing can appease my grief-stricken heart.

17

Even he who tries can never escape his fate, 

I am waiting for the evening to descend,
But what for? What for?
So that I can collect strawberries, 

Brush away the leaves, enjoy them.

18

I only want the evening to arrive, I wish for nothing else,

I will be with Zefka,
I will stay all night;
Behead all the roosters,
Stop them from crowing at dawn, 

So that the night could stretch on For years, even.
If the night lasted forever,
We could make love forever.

19

Fly magpie, fly, wings flapping, One of my sister’s blouses,

Left to dry on the fence, Has disappeared.
Who took it?
Oh, if she knew,

She would never speak to me. Oh my god! 

How I’ve transformed!
How my thoughts and my heart have changed. What head I had to pray,
Now feels as though it is filling with sand.

20

I’ve a sweetheart, But... but... 

I can feel above her knees, I watch as she peels

Off... off... Her blouse for me.

21

My precious Father, You were wrong,

To think that I would marry
The one you chose for me;
Whoever made such a mistake before, Must have suffered for it,
I will not fall into that trap,
I accept my fate.

22

Goodbye Bohemia,
Goodbye my homeland, my village,
Only one option remains: to leave; 

Goodbye my father, and you, my mother, 

Goodbye my sister, apple of my eye,
I ask forgiveness as I kiss your hands,
As I walk away, following a new path.
I willingly embrace my destiny-
Zefka waits for me with our son in her arms.

-----

Benjamin Britten
Um Mitternacht (1919)
Text by Johann Wolfgang von Goethe

English translation by Richard Stokes

At midnight, as a very little boy, I would walk,

Far from willingly, past that churchyard

To father’s vicarage; star on star,

How beautifully they all shone;

At midnight.

When further on in life I had to go

To my beloved, had to because she drew me on,

I saw the stars and Northern Lights compete;

I came, I went, drinking in her bliss;

At midnight.

Until at last the moon’s full radiance

Pierced my darkness so clearly and brightly,

That also my thoughts, willingly, meaningfully, swiftly

Embraced the past and the future;

At midnight.

ABOUT THE ARTISTS

Katherine McIndoe is a soprano from New Zealand, currently based in London. She graduated from the Opera Course at the Guildhall School of Music and Drama in 2021, and completed a Fellowship the following year. She has been an Emerging Artist with New Zealand Opera, a member of the inaugural Dame Kiri Te Kanawa Foundation Singer Development Programme, and a Britten-Pears Young Artist. Since moving to the UK, she has performed with ETO, Garsington, and Glyndebourne, and at the Barbican, Wigmore Hall, Snape Maltings, Sadler’s Wells, and live for BBC Radio 3. She has performed recitals at festivals in the UK and Poland, as well as singing with the Richard Alston Dance Company in a tour around the UK. Katherine holds an Artist Diploma and a Master of Performance with Distinction from the Guildhall, and a Bachelor of Music with First Class Honours from the New Zealand School of Music.

In 2023, Katherine performed the title role in Donizetti’s Lucrezia Borgia with English Touring Opera, as well as stepping in for Delia in Rossini’s Il viaggio a Reims. In 2022, she performed with If Opera in their inaugural season (singing Susanna in Il segreto di Susanna, the Sorceress in Dido and Aeneas, and covering Magda in La rondine). She has also covered Musetta (La bohème) for English Touring Opera, and during her time at the Guildhall performed Barbarina (The Little Green Swallow), Susanna (Il segreto di Susanna), La principessa (La bella dormente nel bosco), and Judith Weir’s solo unaccompanied opera King Harald’s Saga. Other roles include the title role in Tchaikovsky’s Iolanta with Les Azuriales Opera in Nice; the Governess (The Turn of the Screw) at the Barnes Music Festival; Amelia in the première of TIDE at the Aldeburgh Festival; Fiordiligi (Così fan tutte) with Bloomsbury Opera; Tatyana (Eugene Onegin) and Giulietta (I Capuleti e I Montecchi) with Days Bay Opera in New Zealand. Katherine is passionate about new opera and opera for children, recently performing in ETO’s Zoo! and New Zealand Opera’s Red!. Most recently, Katherine performed Poulenc’s one-woman opera La voix humaine with Green Opera, and was a Finalist for an Offie Award for this role.

Originally from Melbourne, London-based tenor Brenton Spiteri has performed a diverse range of roles in the lyric tenor repertoire, and has maintained an active presence on the concert platform. His work takes him between the UK, Australia and Europe.

In 2024 his roles have included Almaviva (The Barber of Seville) for Waterperry Opera; Edmondo (Manon Lescaut) and Tom Rakewell (The Rake’s Progress) for English Touring Opera; as well as concert performances of Winterreise, Die Schöne Müllerin and The Diary of One Who Disappeared.

Other recent roles have included Ferrando (Così fan tutte) for Opera
Queensland, Liverotto (Lucrezia Borgia) and Zefirino (Il viaggio a Reims) for English Touring Opera, Beppe (Rita) for Charing Cross Theatre, and the solo tenor role in Britten’s Five Canticles for Sydney Chamber Opera’s Awakening Shadow.

He was an Opéra de Lyon young artist between 2015 and 2017, performing various roles in Le Roi Carotte and The Coronation of Poppea.

A passionate performer of new music, he has frequently collaborated with Sydney Chamber Opera, for whom he created the roles of Ashley (Fly Away Peter), Aboveground Man (Notes From Underground) and Oscar (Oscar and Lucinda) to high critical acclaim.

In concert, he has given performances of Les Illuminations with the Sydney Symphony Orchestra, Serenade for tenor, horn and strings at High Barnet Chamber Music Festival, Winterreise at Brisbane Music Festival, and, as a core member of Songmakers Australia, Die Schöne Müllerin at the Melbourne Recital Centre.

Brenton is a former winner of the Herald Sun Aria and a recipient of the Marten Bequest Scholarship for singing. His career has been generously supported by the Amar-Franses and Foster-Jenkins Trust, Melba Opera Trust, Opera Prelude, Australia Council and Ian Potter Cultural Trust.

Hailed as a “born communicator” (The Australian), a “brilliant young musician” (Otago Times), and a “soloist of superb virtuosic skill and musicality” (Limelight), Australian artist Alex Raineri (b. 1993) lives on Jagera and Turrbul land in Meanjin (Brisbane, Queensland). He is active throughout Australia and Internationally as a piano recitalist, concerto soloist, chamber musician, harpsichordist, composer, writer, producer, and educator. Alex is an artist ambassador for Kawai Australia.

International tours include America, Canada, United Kingdom, Ireland, Germany, Austria, Finland, Netherlands, Asia, and New Zealand. Within Australia, Alex has been a featured artist at many major festivals, series, and venues. On home soil in Brisbane, he is the creative director of FourthWall Arts, an intimate theatre space in Brisbane’s CBD. He regularly collaborates with Opera Queensland as a soloist, collaborative pianist, and repetiteur.

Alex is the Artistic Director of the annual Brisbane Music Festival. Praised for its “diverse programming” (Limelight), the BMF celebrates its seventh year of operations in 2024. Within the festival he embodies a multitude of roles including Artistic Director, producer, marketing and social media manager, grant writing and philanthropy, and coordination and delivery of an impactful young artist program. As well as a significant annual season in Brisbane, BMF has toured festival shows to London, Melbourne, Bundaberg, and Maleny.

As a concerto soloist he has appeared with the Queensland, Tasmanian, Darwin, and West Australian Symphony Orchestras, Camerata – Queensland’s Chamber Orchestra, Orchestra Victoria, Ensemble Q, Southern Cross Soloists, Four Winds Festival Orchestra, Bangalow Festival Orchestra, Queensland Youth Symphony, and the Queensland Pops Orchestra. 

Radio broadcasts include BBC Radio 3, Radio NZ, California Capital Public Radio, Chicago’s WFMT, ABC Classic FM, and all of the Australian MBS Networks.  

A passionate advocate for contemporary music, Alex has commissioned over 80 works and has given over 140 World Premieres and over 170 Australian Premieres to date. Australian premieres include music by Messiaen, Lachenmann, Feldman/Beckett, Reich, Cage, Luther-Adams, Birtwistle, Furrer, Kurtag, Saunders, Fure, Henze, Murail, Hurel, and Aperghis. Alex has worked with and/or commissioned works from many of Australia’s leading composers including Brett Dean, Liza Lim, Chris Dench, Elliott Gyger, Deborah Cheetham Fraillon, James Ledger, Kate Moore, Lachlan Skipworth, Gerard Brophy, Paul Dean, Lyle Chan, Erik Griswold, and many others. 

Alex’s own compositional practice sits in the creative space where tradition aligns with innovation. It interrogates the intersection between the old and the new, weaving conventional ‘known’ sounds in fresh new ways. The gestural language of his work is firmly rooted in strong creative concepts, linking the abstract nature of art music to more concrete narratives. With gesture as a focal point, Alex’s compositional practice is imbued with varying levels of prescriptiveness, oscillating between notated music and semi-improvisatory realms.

Discography includes How Strange the Change and I’ll Walk Beside You (ABC Classics), Liquid Crystal and Trying to Remember What I Chose to Forget (MOVE Records), Transfiguration, Inventions, Unravelling the Voice, Elegy and braneworlds (Independent). Forthcoming releases include albums of works by Melody Eötvös, Jakob Bragg, and Yitzhak Yedid, as well a multi-album solo project and duo albums with flautist Lina Andonovska, soprano Rebecca Cassidy, and percussionist Rebecca Lloyd-Jones.

Significant appearances in major Australian festivals/series/venues include Brisbane Music Festival, Australian Digital Concert Hall, Utzon Music Series, Musica Viva International Concert Series, Melbourne Recital Centre, Ukaria, Sydney Festival, Brisbane Festival, Bangalow Music Festival, Bendigo Festival of Exploratory Music, Port Fairy Spring Music Festival, Four Winds Festival, Ten Days on the Island, Canberra International Music Festival, Queensland Music Festival, QPAC’s Unlocked Series, Medici Series, Stradbroke Chamber Music Festival, Music by the Sea, Castlemaine Festival, Recitals Australia, Sunshine Coast Chamber Music Festival, Bleach Festival, 3MBS Marathon and Radiothon, Australian Piano Duo Festival, Brisbane Baroque Festival, QSOCurrent, Canberra Symphony Orchestra Recital Series, Queensland Symphony Orchestra Chamber Series, 4MBS Festival of Classics, Contra Concerts, Queensland Art Song Festival, Nova Muse Festival, HOTA, Australian Flute Festival, Voxalis Opera, and Crossbows Festival.

International festivals/series/venues appearances include Summer Courses for New Music (Darmstadt), Unerhörte Musik (Berlin), University of Music and Theatre ‘Felix Mendelssohn Bartholdy’ (Leipzig), IMPULS Academy (Graz), Espoo Cultural Centre (Helsinki), Haags Pianohuis (Den Haag), The Cockpit Theatre (London), University of Sheffield (UK), University of Huddersfield (UK), Hugh Lane Gallery (Dublin), Dame Myra Hess Series (Chicago), Epiphany Concert Series (Washington DC), Tuesday’s at Emmanuel (Baltimore), Castles and Cathedrals Recital Tour (San Francisco/Chico/Paradise), Brisbane Symphonic Band Taiwan Tour (Rhapsody in Blue – soloist), Concours musical international de Montréal, Aroha Music Series (Bay of Islands), University of Waikato (Hamilton), University of Otago (Dunedin).

Ongoing collaborative partnerships include Lina Andonovska, Jessica Aszodi, Luke Carbon,  Rebecca Cassidy, Courtenay Cleary, Trish Dean, James Dobinson, Alexandra Flood, Max Foster, David Freisberg, Drew Gilchrist, Marian Heckenberg, Jonathan Henderson, Adam Herd, Finnian Idris, Brendan Joyce, Rebecca Lloyd-Jones, Irena Lysiuk, Laurence Matheson, Tim Munro, Katina Olsen, Katherine Philp, Laura Raineri, Jenna Robertson, Thea Rossen, Dario Scalabrini, Karin Schaupp, Oliver Scott, Brenton Spiteri, Daniel Shearer, Bethany Shepherd, Katie Stenzel, Angus Wilson, and Ways by Ways (trio). Alex was a core member of Southern Cross Soloists (2015-21) and was a founding member/pianist of Kupka’s Piano (2012-18).  

Collaborations with notable Australian and International artists include Andreas Ottensamer, Twoset Violin, eighth blackbird, ELISION, Asko|Schönberg, Lior, Sara Macliver, Mirusia, Natalie Clein, Natsuko Yoshimoto, Greta Bradman, Lorina Gore, Amy Lehpamer, Claire Edwardes, Li Wei Qin, Teddy Tahu Rhodes, Warwick Fyfe, Jack Liebeck, Kathryn Stott, Slava Grigoryan, Brett Dean, William Barton, Sophie Rowell, Jane Sheldon, Lisa Moore, Stefan Cassomenos, Ensemble Offspring, Orava Quartet, Camerata, Paul Tabone, Topology, ensemble interface, Miroslav Petkov, Wilma Smith, James Crabb, Andrew Goodwin, Eva Kong, Amalia Hall, Ensemble Nikel, Speak Percussion, Kroumata Percussion, Arcadia Quintet, Michael Houston, Andrew Pelletier, Richard Haynes, Carl Rosman, Bethany Simons, and many others.

Major awards include winning the Australian National Piano Award, ANAM Concerto Competition, and Kerikeri International Piano Competition (New Zealand). Alex was a recipient of the Queensland Luminary Award (2021) in the APRA/AMCOS Art Music Awards and also received a Kranichsteiner Musikpries (2014) at the Darmstadt Summer Courses for New Music (Germany). In 2023 he was awarded a prestigious Churchill Fellowship. Alex has been a prizewinner and/or finalist in the Sydney International Piano Competition, Lev Vlassenko Piano Competition, Mietta Song Competition, ABC Symphony Australia Young Performer Awards, and Freedman Classical Music Fellowship. Alex has worked as a panellist for APRA/AMCOS Art Music Awards and the Kayserberg International Piano Competition.

Alex is a radio-presenter on 4MBS Classic FM. From 2015-2023 he held associate artist positions at the Queensland Conservatorium, Griffith University and at the University of Queensland. As a writer, his work has been disseminated by various publications and forums including The Music Trust’s Loudmouth, Limelight, Australian Music Centre’s Resonate, Australasian Piano Pedagogy Conference, and extensive program notes for Brisbane Music Festival, Southern Cross Soloists and Opera Queensland.  

Embracing versatility, the focal point of Alex’s professional practice is within the realms of Western classical music though often extends to the realms of jazz, musical theatre, pop, rock, and folk. Alex has curated and/or partaken in many innovative cross-genre and multi-artform projects traversing theatre, film, contemporary dance, ballet, visual art, contemporary performance art, and fashion. This includes collaborations with Australasian Dance Collective, Brisbane Writers Festival, Kaldor Public Arts Projects, Queensland Theatre, Makeshift Dance Collective, Victorian Theatre Company, Dark Unicorn Productions, Paul Kildea, Peter Bassett, Helen Morse, Damien Beaumont, Paddy Cooper, Jason Klarwein, Matthew Connell, Helen Howard, Michael Futcher, Ben Hughes, Lachlan van der Kreek, Jak Scanlon, Joel Dunkley, and Eljo Agenbach.

As an opera repetiteur Alex has worked on productions of Tosca (Puccini), Macbeth (Verdi), A Flowering Tree (Adams), Lucia di Lammermoor (Donizetti), La voix humaine (Poulenc), and The Call (D’Netto) for Opera Queensland, Il Tabarro (Puccini), Suor Angelica (Puccini) and Gianni Schicci (Puccini) for the Cuskelly Summer School, and The Telephone (Menotti) and Staged (Raineri/Idris/Robertson/Shearer) for Brisbane Music Festival.

In his student years, Alex’s principal mentors were Timothy Young, Leah Horwitz OAM, Stephen Emmerson, Huguette Brassine, and Genevieve Lacey. Alex’s composition mentors include Jane Sheldon and Gerard Brophy. Through scholarships, fellowships, courses, and masterclasses, Alex has received further impactful mentorship from Imogen Cooper, Nicolas Hodges, Lisa Moore, Lisa Kaplan, Boris Berman, Anna D’Errico, Mark Knoop, Peter Hill, Ian Pace, Kathryn Stott, Paul Lewis, Steven Osbourne, and many others.

Alex completed undergraduate studies in Brisbane at the Queensland Conservatorium, Griffith University (class of 2013) graduating with Class I Honours and a University Medal. He continued studies in Melbourne (2014-15) in the Professional Performance Program at the Australian National Academy of Music (ANAM), continuing in 2016 with a Fellowship year.  Alex holds a Licentiate Diploma from the Australian Music Examinations Board (AMEB) and a Licentiate Diploma with Distinction from Trinity College London. 

Madeline Gibbs is a Brisbane-based soprano with a keen interest in chamber and small vocal ensemble music. She completed a Bachelor of Music in vocal performance under the tutelage of Sarah Crane, graduating in 2014. Since then, Madeline has enjoyed exploring a variety of operatic, chamber and choral repertoire. She is a principal singer with Brisbane ensemble One Equal Music, and sings regularly with The Australian Voices, Brisbane Chamber Choir and All Saints’ Wickham Terrace. Her most frequent solo performances are cantatas, oratorio and concert repertoire.

Anne Levitsky is a scholar and performer of medieval vernacular song. Originally from Washington state, she received her BA in Music from Stanford University, and holds a PhD in Music from Columbia University. At present, she is Lecturer in Music at the University of Queensland. She is a founding member of the early music chamber ensemble Fractio Modi, and performs regularly with Fractio Modi, The Australian Voices, and the Schola of St. Stephen’s Cathedral.

Josephine Gibson is a composer and vocalist based in Meanjin. She completed her Honours in Composition at the Sydney Conservatorium in 2016, under the tutelage of Paul Stanhope. Her work has been performed from Meanjin to Tubowgule, by ensembles such as Moorambilla Voices, The Song Company, and Sydney Chamber Choir. She now divides her time between performing with The Australian Voices and St Stephen’s Schola, and completing her Juris Doctor.

ACKNOWLEDGEMENT OF SUPPORT

With thanks to Kawai Australia for their incredibly generous support. 

Thank you Opera Queensland for generous loan of the surtitles TV.

Brisbane Music Festival is assisted by the Australian Government through Creative Australia, its arts funding and advisory body.

Brisbane Music Festival receives funds from Creative Partnership Australia through the Australian Cultural Fund.

With thanks to the many generous individuals that have supported the 2024 Brisbane Music Festival.

BMF TEAM

Max Shearer | Front of House / Operations Assistant.

Drew Gilchrist | Surtitles Operation

Special thanks to Lynne/Graeme Cannell and Michele/Aldo Raineri, without whom the BMF would not function!