Shane Placentino's guest appearances

Shane Placentino

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This episode, we're headed back to the Opera with Shane Placentino! Shane sits down with us to discuss his role as Revival Director on Opera Australia's production of Madama Butterfly.  Shane's extensive history in dance and working behind the scenes with Opera Australia has given him a mountain of knowledge to discuss the many facets of working in a director's role. Shane talks about the incident that led him away from the world of dance, what it's like working with one of the most in-demand tenor's in the business and the random circumstances that led him into the theatre industry itself. Don't forget you can listen to and watch our podcast episodes on our Youtube Channel! Be sure to subscribe to our podcast to get all of this month's juicy new episodes! TO KEEP UP WITH ALL THE LATEST REVIEWS, NEWS AND EXCLUSIVES, SIGN UP TO OUR MONTHLY NEWSLETTER NOW. FOLLOW THE LINK HERE. Madama Butterfly Fluttering beauty, caught and pinned, yet beautiful still. Constrained, cocooned, caught in a moment of desire, Butterfly is incandescent. In her embrace, Pinkerton finds paradise, then cruelly condemns his bride to purgatory. Graeme Murphy’s arresting production of Madama Butterfly takes a contemporary look at Puccini’s alluring heroine using a towering digital set. Fragments of film flutter across the stage, creating a dynamic backdrop for Murphy’s vision of Butterfly. He draws on his roots in choreography to capture the grace and gravity of a story that begins in rapturous love and ends in the cruellest heartbreak. Puccini’s sublime music imbues this ageless story with impossible beauty, from the irrepressible famous aria ‘One fine day’ to the intense finale. South Korean soprano Sae Kyung Rim’s voice is in demand the world over and her Butterfly is richly nuanced. Diego Torre gives Pinkerton complexity and depth through his exemplary technique and timbre. Carlo Montanaro conducts. Tickets can be booked HERE.

This episode, we're headed back to the Opera with Shane Placentino! Shane sits down with us to discuss his role as Revival Director on Opera Australia's production of Madama Butterfly.  Shane's extensive history in dance and working behind the scenes with Opera Australia has given him a mountain of knowledge to discuss the many facets of working in a director's role. Shane talks about the incident that led him away from the world of dance, what it's like working with one of the most in-demand tenor's in the business and the random circumstances that led him into the theatre industry itself. Don't forget you can listen to and watch our podcast episodes on our <a href="https://www.youtube.com/channel/UCR93_M-PPoNEGtRSc23sq4g" rel="nofollow" target="_blank">Youtube Channel</a>! Be sure to subscribe to our podcast to get all of this month's juicy new episodes! TO KEEP UP WITH ALL THE LATEST REVIEWS, NEWS AND EXCLUSIVES, SIGN UP TO OUR MONTHLY NEWSLETTER NOW. FOLLOW THE LINK <a href="https://linktr.ee/theatrethoughts" rel="ugc noopener noreferrer nofollow" target="_blank">HERE</a>. Madama Butterfly <h4>Fluttering beauty, caught and pinned, yet beautiful still.</h4> Constrained, cocooned, caught in a moment of desire, Butterfly is incandescent. In her embrace, Pinkerton finds paradise, then cruelly condemns his bride to purgatory. Graeme Murphy’s arresting production of Madama Butterfly takes a contemporary look at Puccini’s alluring heroine using a towering digital set. Fragments of film flutter across the stage, creating a dynamic backdrop for Murphy’s vision of Butterfly. He draws on his roots in choreography to capture the grace and gravity of a story that begins in rapturous love and ends in the cruellest heartbreak. Puccini’s sublime music imbues this ageless story with impossible beauty, from the irrepressible famous aria ‘One fine day’ to the intense finale. South Korean soprano Sae Kyung Rim’s voice is in demand the world over and her Butterfly is richly nuanced. Diego Torre gives Pinkerton complexity and depth through his exemplary technique and timbre. Carlo Montanaro conducts. Tickets can be booked <a href="https://opera.org.au/productions/madama-butterfly-sydney/" rel="nofollow" target="_blank">HERE</a>.

What does a Revival Director do? Shane Placentino talks Madama Butterfly

Adelaide born Shane Placentino graduated from The Australian Ballet School in 1990 and was accepted into the The Australian Ballet in 1991.He also worked with Graeme Murphy and Janet Vernon appearing in Murphy's Nutcracker and Beyond Twelve. After ten years with The Australian Ballet, Shane departed in 2000.He joined The Sydney Dance Company in 2002. His repertoire with the company includes Ellipse, Air and other invisible forces, Salome, Free Radicals, the role of 'Jack' in Tivoli, Underland, Random Play, Some Rooms, Grand, Hua Mulan, Berlin and Ever After Ever. Dance credits with The Australian Ballet encompass the full classical and contemporary repertoire including Swan Lake, The Sleeping Beauty, Giselle, The Merry Widow, Jiri Kylian's Sinfonietta, Nacho Duato's Jardi Tancat, Stanton Welch's Red Earth, John Cranko's Romeo and Juliet and Kenneth MacMillan's Manon. In 2008 Shane has assisted and performed in Meryl Tankard's Inuk2 and was appointed the stage manager for Rafael Bonachela's recent work with The Sydney Dance Company.A move in to the world of opera has seen him embrace the various guises of choreographer and director. For Opera Australia he has assisted on productions of The Merry Widow (2018), West Side Story, Madama Butterfly (2019) and Faust. As Revival Director his work has brought to vivid life the operas Faust (2020), The Merry Widow (2021), Aida, Madama Butterfly (2022) and Turandot. In May he directs global opera sensation Jonas Kaufmann in Olivier Py's celebrated production of Wagner's Lohengrin. The opera plays May 14th to 24th at the State Theatre, Arts Centre, Melbourne. It is a stunning production, bound to thrill and delight.Shane Palcentino joined STAGES to describe the task ahead of him in reviving the opera for its Australian season and an indication of what's in store for the fortunate Melbourne audience. He also reflects on a journey through Dance that has lead him to his cherished role as a director/choreographer with Opera Australia.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Adelaide born Shane Placentino graduated from The Australian Ballet School in 1990 and was accepted into the The Australian Ballet in 1991. He also worked with Graeme Murphy and Janet Vernon appearing in Murphy's Nutcracker and Beyond Twelve. After ten years with The Australian Ballet, Shane departed in 2000. He joined The Sydney Dance Company in 2002. His repertoire with the company includes Ellipse, Air and other invisible forces, Salome, Free Radicals, the role of 'Jack' in Tivoli, Underland, Random Play, Some Rooms, Grand, Hua Mulan, Berlin and Ever After Ever. Dance credits with The Australian Ballet encompass the full classical and contemporary repertoire including Swan Lake, The Sleeping Beauty, Giselle, The Merry Widow, Jiri Kylian's Sinfonietta, Nacho Duato's Jardi Tancat, Stanton Welch's Red Earth, John Cranko's Romeo and Juliet and Kenneth MacMillan's Manon. In 2008 Shane has assisted and performed in Meryl Tankard's Inuk2 and was appointed the stage manager for Rafael Bonachela's recent work with The Sydney Dance Company. A move in to the world of opera has seen him embrace the various guises of choreographer and director. For Opera Australia he has assisted on productions of The Merry Widow (2018), West Side Story, Madama Butterfly (2019) and Faust. As Revival Director his work has brought to vivid life the operas Faust (2020), The Merry Widow (2021), Aida, Madama Butterfly (2022) and Turandot. In May he directs global opera sensation Jonas Kaufmann in Olivier Py's celebrated production of Wagner's Lohengrin. The opera plays May 14th to 24th at the State Theatre, Arts Centre, Melbourne. It is a stunning production, bound to thrill and delight. Shane Palcentino joined STAGES to describe the task ahead of him in reviving the opera for its Australian season and an indication of what's in store for the fortunate Melbourne audience. He also reflects on a journey through Dance that has lead him to his cherished role as a director/choreographer with Opera Australia. The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages). <a href="http://www.stagespodcast.com.au" rel="nofollow" target="_blank">www.stagespodcast.com.au</a>

'Song and Dance' - Opera Director; Shane Placentino

(Originally aired in June 2021) Shane Placentino has made the move from ballet dancer, to choreographer, and now opera director. He began his career with the Australian Ballet in 1991, dancing the entire classical and contemporary repertoire. He went on to be with the Sydney Dance Company from 2002, but more recently he’s hung up his dance shoes and moved into direction with Opera Australia - currently being the Revival Director for Aida, which opened at the Sydney Opera House on 22 June, and is due to return again after the current lockdown.

(Originally aired in June 2021) Shane Placentino has made the move from ballet dancer, to choreographer, and now opera director. He began his career with the Australian Ballet in 1991, dancing the entire classical and contemporary repertoire. He went on to be with the Sydney Dance Company from 2002, but more recently he’s hung up his dance shoes and moved into direction with Opera Australia - currently being the Revival Director for Aida, which opened at the Sydney Opera House on 22 June, and is due to return again after the current lockdown.

In Conversation: Shane Placentino

Shane goes Back Stage with Regina Botros to talk about Aida the Opera and his life on the stage. OPERA AUSTRALIA- AIDA ASSISTANT DIRECTOR AND CHOREOGRAPHER Adelaide born Shane Placentino graduated from The Australian Ballet School in 1990 and was accepted into the Australian Ballet in 1991. As a member of the Ballet, Shane danced in the entire classical and contemporary repertoire. He also worked with Graeme Murphy and Janet Vernon appearing in Murphy’s Nutcracker and Beyond Twelve. After ten years with The Australian Ballet, Shane left in 2000. He joined Sydney Dance Company in 2002. Sydney Dance Company repertoire: Ellipse, Air and other invisible forces, Salome, Free Radicals, the role of ‘Jack’ in Tivoli, Underland, Random Play, Some Rooms, Grand, Hua Mulan, Berlin and Ever After Ever. Other credits: The Australian Ballet: full classical and contemporary repertoire including Swan Lake, The Sleeping Beauty, Giselle, The Merry Widow, Jiri Kylian’s Sinfonietta, Nacho Duato’s Jardi Tancat, Stanton Welch’s Red Earth, John Cranko’s Romeo and Juliet and Kenneth MacMillan’s Manon. In 2008 Shane has assisted and performed in Meryl Tankard’s Inuk2 and was appointed the stage manager for Rafael Bonachela’s recent work with Sydney Dance Company.

Shane goes Back Stage with Regina Botros to talk about Aida the Opera and his life on the stage. OPERA AUSTRALIA- AIDA ASSISTANT DIRECTOR AND CHOREOGRAPHER Adelaide born Shane Placentino graduated from The Australian Ballet School in 1990 and was accepted into the Australian Ballet in 1991. As a member of the Ballet, Shane danced in the entire classical and contemporary repertoire. He also worked with Graeme Murphy and Janet Vernon appearing in Murphy’s Nutcracker and Beyond Twelve. After ten years with The Australian Ballet, Shane left in 2000. He joined Sydney Dance Company in 2002. Sydney Dance Company repertoire: Ellipse, Air and other invisible forces, Salome, Free Radicals, the role of ‘Jack’ in Tivoli, Underland, Random Play, Some Rooms, Grand, Hua Mulan, Berlin and Ever After Ever. Other credits: The Australian Ballet: full classical and contemporary repertoire including Swan Lake, The Sleeping Beauty, Giselle, The Merry Widow, Jiri Kylian’s Sinfonietta, Nacho Duato’s Jardi Tancat, Stanton Welch’s Red Earth, John Cranko’s Romeo and Juliet and Kenneth MacMillan’s Manon. In 2008 Shane has assisted and performed in Meryl Tankard’s Inuk2 and was appointed the stage manager for Rafael Bonachela’s recent work with Sydney Dance Company.