Taryn Fiebig Scholar

About the Program

Taryn Fiebig Scholars will usually be a few years into their professional careers and may have already performed with Pinchgut Opera. They should demonstrate clear potential for a career as a solo vocalist and should already have some experience in performing 17th or 18th century music. One Scholar will be selected annually, to be in place for a two-year period. The Scholar will be mentored by Artistic Director Erin Helyard, and will engage in coaching sessions with directors, language coaches and principal singers, and other identified development opportunities exploring elements including:

• the importance of text and expression;
• the creation and projection of vocal beauty;
• approaching a musical score and libretto as a singing actor;
• posture, dance, gesture and movement to portray a character;
• how and when to stand forward and claim the limelight; and
• fostering a collegiate approach with respect to every member of the company and their unique contribution to a performance of excellence.

Performance opportunities will be identified on a case by case basis, with the hope that the Taryn Fiebig Scholar will perform in a Pinchgut performance during their time in this role.

Pinchgut Opera would like to thank Jud Arthur and James Beck for their generosity and invaluable assistance and support in helping create this program.

Freddy Shaw

The Humanity Foundation Taryn Fiebig Scholar 2024

Pinchgut Opera is thrilled to announce bass-baritone Freddy Shaw as the next recipient of the Humanity Foundation Taryn Fiebig Scholarship. This program, which honours the extraordinary legacy of the late Taryn Fiebig, nurtures emerging Australian artists and focuses on the unique dramatic, expressive, and musical qualities that Taryn embodied.

At just 20 years old, Freddy is an artist of exceptional promise. He is about to enter his third year of a Bachelor of Music (Classical Voice) at the Sydney Conservatorium with the support of the Chapple / Bremner Scholarship and the Conservatorium Association Scholarship, studying under Barry Ryan OAM. Freddy first performed with Pinchgut as boy soprano, creating the role of Joas in the 2018 production of Handel’s Athalia. Earlier in 2024, he performed, as a bass-baritone in Pinchgut’s acclaimed production of Dido and Aeneas.

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"I first came to know Freddy when he was around fourteen years old, and sang the role of Joas in Athalia. Since then he has matured into a first-rate bass-baritone of considerable confidence and power, with an appealing copper-burnished timbre. Freddy has great expressive and theatrical potential, and I’m excited to work with him as he hones his skills and talents."

Erin Helyard, Artistic Director

As we welcome Freddy, we also acknowledge the extraordinary achievements of our outgoing Humanity Foundation Taryn Fiebig Scholar, Louis Hurley. Over the past two years, Louis has made remarkable strides in his career, including performing in a number of celebrated roles both with Pinchgut and beyond. His artistry and dedication have set a high standard, and we are excited to see his career continue to go from strength to strength.

The Taryn Fiebig Scholar program continues to grow, providing unparalleled opportunities for young Australian artists to refine their craft through training, mentorship, and performances. Freddy’s appointment marks another exciting chapter in this initiative, which would not be possible without the generous support of the Humanity Foundation and our donors. Stay tuned for Freddy’s exciting journey with Pinchgut Opera in the years to come as we continue to honour Taryn Fiebig’s extraordinary legacy.

Olivia Payne

Current Taryn Fiebig Scholar

Sydney born mezzo-soprano Olivia Payne was selected as
the current Taryn Fiebig Scholar in August 2023.

With the announcement of Olivia Payne as the next Taryn Fiebig Scholar, Artistic Director Erin Helyard said: “I’ve been watching Olivia’s career with interest and pleasure for a few years now. She first sang with us as a sunflower in our production of Cavalli’s Loves of Apollo & Daphne! Olivia is a young coloratura mezzo of style and substance with a beautifully even voice of appealing flexibility. She is musical and imaginative, curious and methodical. I know Taz would have adored working with Olivia and I’m delighted to announce her as the next Taryn Fiebig Scholar.”

As the Taryn Fiebig Scholar, Olivia will participate in Pinchgut Opera performances and engage in development sessions with directors, language coaches and principal singers, and other identified opportunities.

"I am just delighted to have been selected as the next Taryn Fiebig Scholar. Taryn has left behind an incredible legacy and I am honoured to have the opportunity to learn from and be guided by that. I am looking forward to developing my singing, performing and storytelling skills throughout the next few years with Pinchgut."

Olivia Payne, current Taryn Fiebig Scholar

Taryn Fiebig

Soprano

Helpmann Award-winning soprano Taryn Fiebig was considered one of Australia’s most popular and versatile artists. Her association with Pinchgut Opera began in 2009 as Sicle in Ormindo; this was followed by three roles in 2017’s triple bill Rameau: Anacréon & Pigmalion (The Priestess of Bacchus in Anacréon, The Statue in Pigmalion and Erighetta in Erighetta e Don Chilone) and the role of Selinde in Vivaldi's Farnace in 2019. Taryn took lead roles for Pinchgut during the 2020 pandemic year in the short film series Seconda Prattica and in the 60-minute opera film A Delicate Fire, which featured music by Barbara Strozzi.

Taryn was also a Principal Artist with Opera Australia, featuring most recently as Musetta in La Bohème (2017), The Mother in Metamorphosis (2018) and Despina in Cosi fan tutte (2019). Other roles for Opera Australia included Susanna (The Marriage of Figaro), Zerlina (Don Giovanni), Pamina and Papagena (The Magic Flute), Servilia (La clemenza di Tito), Oscar (Un ballo in maschera), Clorinda (Cenerentola), Lisa (La sonnambula), Belinda (Dido and Aeneas), Aphrodite (The Love of the Nightingale), Karolka (Jenůfa) and The Woodbird and Gutrune (Der Ring des Nibelungen). Her performance as Lucy Joy in Bliss earned her a Helpmann Award. For New Zealand Opera, she has sung the role of Esmeralda in The Bartered Bride.

A musical theatre highlight for Taryn was over 200 performances opposite Richard Grant as Eliza Dolittle in Opera Australia’s National Tour of My Fair Lady.

Taryn's other memorable performances included Michal (Saul) for the Adelaide Festival and the title role in The Merry Widow for West Australian Opera. In concert, she appeared as soloist with Sydney Philharmonia Choirs, Auckland Philharmonia and the Opera Australia Orchestra.

Taryn performed with all the major Australian opera companies, the Australian Chamber Orchestra, Australian Brandenburg Ensemble and the Sydney, West Australian, Adelaide and Queensland Symphony Orchestras.

Internationally, she appeared at the Edinburgh Festival (as Lucy Joy in Opera Australia’s production of Bliss), in America for the LA Ear Unit and in the UK with the English Chamber Orchestra and for BBC Radio.

Countertenor Max Riebl had performed with Pinchgut Opera, Australian Brandenburg Orchestra, Vienna Chamber Opera, La Cetra Baroque Orchestra, London Handel Orchestra, the Song Company and Orchestra Victoria. He performed regularly at the Melbourne Recital Centre, Hamer Hall, the Athenaeum Theatre and Sydney’s City Recital Hall. Career highlights included performances at the Vienna Concert House, Musikverein and the Royal Albert Hall.

Max studied baroque performance in Switzerland, at the Schola Cantorum Basiliensis. During this time, he worked with Gerd Türk, Jörg-Andreas Bötticher and Andrea Marcon. He studied voice with Silvia Purcar (Vienna) and long-time singing teacher Dermot Tutty (Melbourne). Max attended middle-school at the Vienna Musikgymnasium. During this time, he sang in the Hofburg Chapel Choir and the Clemencic Consort.

Max’s 2021 concert season included principal roles with the award winning Pinchgut Opera company, performances with the Melbourne Digital Concert Hall, solo appearances in the iconic Chapel Off Chapel, Athenaeum Theatre and Recital Centre and lead roles with Victoria Opera, Adelaide Baroque and the Song Company.

He had participated in many vocal competitions including the Herald Sun Aria (winner), the IFAC Australian Singing Competition (winner), the Chicago Classical Singer Competition (third place), the London Handel Competition (finalist) and the Royal Melbourne Philharmonic Aria (winner).

Max had curated and performed contemporary-baroque shows for the Adelaide Festival, the Melbourne Cabaret festival and the Melbourne Fringe Festival. He had recorded with The Cat Empire (EMI), the Australian Brandenburg Orchestra (ABC) and featured in the soundtrack for the critically acclaimed Australian film ‘Remembering the Man.’

Max Riebl made his debut with Pinchgut Opera in Vivaldi’s Farnace (2019), then cemented his place in audiences’ hearts as the love-struck Apollo in The Loves of Apollo & Dafne by Cavalli (2021).

Stephanie Dillon

Max Riebl Artist Award recipient

Mezzo soprano Stephanie Dillon was born and raised in Moree, NSW, and is now based in Sydney. Stephanie is a versatile singer, showcasing her “distinctively edged sound” and “full-bodied mezzo warmth” in repertoire ranging from the Baroque to contemporary periods. Stephanie enjoys a varied career, both as a soloist and ensemble singer.

Stephanie has been a member of the Choir of St James’ King Street, Sydney since 2017, and is a Principal Artist with The Song Company. Stephanie enjoys regular collaborations with professional organisations in Australia, including Bach Akademie Australia, The Song Company, Pinchgut Opera, Cantillation, St Mary’s Cathedral Choir, Sydney Antiphony and Luminescence Chamber Singers. Stephanie is also the co-Artistic Director of new vocal ensemble, CASTALIA Vocal Consort.

Recent engagements include various programs with Bach Akademie Australia and The Song Company. Stephanie’s pre-pandemic performance credits include Arvo Pärt’s Passio at the Tapestry of Sacred Music Festival in Singapore, performances of Pergolesi’s Stabat Mater, performances at the 2020 Adelaide Festival with The Song Company, Bach’s Widerstehe doch der Sünde BWV 54 at St James’ Church King St., and performances of Handel’s Messiah with Canberra Choral Society and Sydney Chamber Choir.

Stephanie looks forward to engagements with CASTALIA Vocal Consort, Pinchgut Opera, the Song Company and the Australian Chamber Orchestra later in 2022.

In addition to her work as a performer, Stephanie has worked in arts administration and arts education in some of Australia’s leading arts organisations. In 2022, Stephanie will complete her studies towards attaining a Master of Teaching (Primary).

Continuo Fellow Program

The Continuo Fellow Program seeks to mentor and develop the next generation of Australian-based harpsichord and continuo players, addressing a severe shortfall in training in this area. It is a specialised skill that is grown only with hands-on experience and exposure to rehearsals and performances, with specific instruction and mentorship by expert performers. This program seeks to develop and nourish stylish and effective performances and collaborations with other instrumentalists and vocalists.

The Continuo Fellow Program is generously supported by Norman Gillespie.

If you wish to support the program, you can make a donation via our Continuo Fellow page