ABOUT TOMMASO POLLIO

ABOUT TOMMASO POLLIO

Tommaso Pollio graduated with honours in piano performance from the University Of Western Australia School Of Music and later continued his studies in the United States, London and then returning to Perth to work with the esteemed vocal/pianist teacher Molly McGurk.

Tommaso’s extensive touring itinerary has seen him perform in London, Singapore, Malaysia, Italy, and USA. He has also toured extensively throughout Australia from the remote outback of Western Australia through to the major cities.

Tommaso has been part of many ensemble groups such as The Trio Di Romanza, Enaria Ensemble, Darlington Piano Trio and most recently The Chimera Ensemble, a piano trio featuring the talents of Melinda Gourlay (Cello) and Rebecca Glorie (Violin).

He had been a part of the faculty for the WA Academy of Performing Arts at Edith Cowan University from 1994 – 2006 and has recorded several recitals both as soloist and accompanist both for the Young Australia and Sunday Live Programs for the ABC.

Tommaso is also sought after as a repetiteur, working for The Lucca Opera Festival, Opera Australia, and West Australian Ballet and West Australian Opera Company.

Tommaso had co-founded the Chamber Opera Group Millio Opera with the acclaimed director John Milson preparing 1-act operas for WAAPA (2000), Terrace Proms (2000, 2001, 2003), Perth International Arts Festival (2003), and The ABC Sunday Live Broadcasts (1999-2003).

Tommaso is much in demand as a cabaret pianist for Fringe festivals. He has toured nationally and internationally with the Award Winning Cabaret show “Desperately Young at Heart” with Robert Hofmann to Perth, Sydney, Melbourne and Edinburgh.

He has also formed the Lark Chamber Opera with composer Emma Jayakumar and Musicbook Stories, two new ensembles of West Australian Artists committed to bringing classical music and Opera to a wider audience, beginning with young people.

INDUSTRY REVIEWS

‘…clean, bright and with moments of real tenderness.’

LA BOHÈME (FREEZE FRAME OPERA) – May 26, 2017
Western Australia’s new opera company Freeze Frame Opera promises to be to opera what 20/20 is to cricket: shaking up the opera experience with shorter, more accessible and exciting operas. The company, founded by soprano Harriet O’Shannessy, has generated much attention in WA and tickets to their debut production of La Bohème sold out before the four-night season opened. Judging from the response on Thursday’s opening night the audience were not disappointed.

LA BOHÈME (FREEZE FRAME OPERA)
– May 26, 2017

Western Australia’s new opera company Freeze Frame Opera promises to be to opera what 20/20 is to cricket: shaking up the opera experience with shorter, more accessible and exciting operas. The company, founded by soprano Harriet O’Shannessy, has generated much attention in WA and tickets to their debut production of La Bohème sold out before the four-night season opened. Judging from the response on Thursday’s opening night the audience were not disappointed.

‘…the unsung hero of the piece, single-handedly controlling the many mood transitions with ease and flair’

DESPERATELY YOUNG AT HEART – 23 September, 2014
Robert Hofmann’s work Desperately Young At Heart features the singer in various guises, performing humorous renditions of jazz and musical theatre classics. The show’s title reveals the fun-loving approach taken by Hofmann, but it serves also as a warning that nothing particularly poignant transpires. The songs are linked by a performance that sees Hofmann transform with wigs and costumes, although no obvious narrative connects each incarnation. Its sense of pageantry feels at home in the cabaret format, and while not terribly original, the show does afford an amusing glimpse into the creative mind of its author.

‘…the unsung hero of the piece, single-handedly controlling the many mood transitions with ease and flair’

DESPERATELY YOUNG AT HEART – 23 September, 2014
Robert Hofmann’s work Desperately Young At Heart features the singer in various guises, performing humorous renditions of jazz and musical theatre classics. The show’s title reveals the fun-loving approach taken by Hofmann, but it serves also as a warning that nothing particularly poignant transpires. The songs are linked by a performance that sees Hofmann transform with wigs and costumes, although no obvious narrative connects each incarnation. Its sense of pageantry feels at home in the cabaret format, and while not terribly original, the show does afford an amusing glimpse into the creative mind of its author.

DESPERATELY YOUNG AT HEART
– 23 September, 2014

Robert Hofmann’s work Desperately Young At Heart features the singer in various guises, performing humorous renditions of jazz and musical theatre classics. The show’s title reveals the fun-loving approach taken by Hofmann, but it serves also as a warning that nothing particularly poignant transpires. The songs are linked by a performance that sees Hofmann transform with wigs and costumes, although no obvious narrative connects each incarnation. Its sense of pageantry feels at home in the cabaret format, and while not terribly original, the show does afford an amusing glimpse into the creative mind of its author.

‘…piano accompaniment by a lively and engaging Tommaso Pollio.’

DIVALICIOUS AND THE IMPRESARIO – January 28, 2016
The first thing that one notices about DivaLicious and the Impresario, apart from the lovely venue, is that the audience is decidedly more mature than the average FringeWorld show, with nary a hipster beard or blue hairdo in sight. In some ways this is a shame, as I feel that this is a show that would be enjoyed by all, and the few teens and twenties in the audience clearly had a ball.

Essentially an updating of Mozart’s comedy with music, The Impresario, written in 1786, this version, set in 2016 Perth, is riotously funny, with plenty of contemporary references and humour aimed at an opera-aware audience, while remaining true to the original story.

DIVALICIOUS AND THE IMPRESARIO
– January 28, 2016

The first thing that one notices about DivaLicious and the Impresario, apart from the lovely venue, is that the audience is decidedly more mature than the average FringeWorld show, with nary a hipster beard or blue hairdo in sight. In some ways this is a shame, as I feel that this is a show that would be enjoyed by all, and the few teens and twenties in the audience clearly had a ball.

Essentially an updating of Mozart’s comedy with music, The Impresario, written in 1786, this version, set in 2016 Perth, is riotously funny, with plenty of contemporary references and humour aimed at an opera-aware audience, while remaining true to the original story.

‘…opened avenues in the imagination…with pathos and passion.’

TOSCA FREEZE FRAME OPERA – 10 June, 2019
Tosca is the opera that keeps on giving – doomed lovers, brutal civil and religious power, gorgeous, haunting tunes – yet Freeze Frame squeezed even more twists from the ever-spiralling plot. A barn in winter makes a confronting venue, but designer Robbie Harrold – also a player as gunman Roberti – director Rachel McDonald and music maestro Tommaso Pollio used sparse resources to open avenues in the imagination which the artists populated with pathos and passion.

‘…opened avenues in the imagination…with pathos and passion.’

TOSCA FREEZE FRAME OPERA – 10 June, 2019
Tosca is the opera that keeps on giving – doomed lovers, brutal civil and religious power, gorgeous, haunting tunes – yet Freeze Frame squeezed even more twists from the ever-spiralling plot. A barn in winter makes a confronting venue, but designer Robbie Harrold – also a player as gunman Roberti – director Rachel McDonald and music maestro Tommaso Pollio used sparse resources to open avenues in the imagination which the artists populated with pathos and passion.

TOSCA FREEZE FRAME OPERA
– 10 June, 2019

Tosca is the opera that keeps on giving – doomed lovers, brutal civil and religious power, gorgeous, haunting tunes – yet Freeze Frame squeezed even more twists from the ever-spiralling plot. A barn in winter makes a confronting venue, but designer Robbie Harrold – also a player as gunman Roberti – director Rachel McDonald and music maestro Tommaso Pollio used sparse resources to open avenues in the imagination which the artists populated with pathos and passion.