The Sydney Opera Society, a passionate collective of opera enthusiasts, has been fostering a love for this art form for over forty years. Originally part of the Northside Opera Study Group, the society transitioned from weekly evening meetings to monthly Saturday gatherings at Willoughby. Founded in 1982 after a split with its predecessor, the Sydney Opera Society is committed to nurturing the next generation of opera talent. Through its engaging discussions and performances, members not only celebrate their shared appreciation for opera but also play a vital role in encouraging young artists to thrive in the industry. This ongoing legacy of dedication and passion continues to enrich the local cultural landscape, ensuring that the beauty of opera remains alive for future audiences.

Our Mission

I well remember long discussions with Michael (Shaurli) into the early hours of the morning making plans for the group. A name had to be found for it and, surprisingly, it seemed that no one else had claimed Sydney Opera Society, hereafter referred to as SOS. Once that was chosen, a logo had to be found. For those of you who may wonder where it comes from, I can tell you. It is a design for I Pagliacci performed by The English National Opera in the 1970s. (Jim Argyros BSc UQ, PhD UCL London, October 2000).

Our Logo

Nancy was a remarkable figure in the cultural landscape of Sydney, serving as the driving force behind the newly formed Sydney Opera Society in 1982. Residing for over sixty years in Castlecrag, her home offered breathtaking views of Sugarloaf Bay and was a welcoming space for friends and family alike. Her daughter fondly recalls that “the kettle was always ready, the wine and whisky cabinet always on standby.” With a diverse range of interests, Nancy’s professional journey in social work included invaluable contributions to Barnardos and the board of the Alzheimer’s Association. Her enduring love for opera led her to document the history of the Sydney Opera Society in December 2000, where she celebrated the artistic community, she helped nurture. Nancy's vibrant life and passion for the arts left an indelible mark on those who had the privilege to know her.

Nancy Mackay Fleming (1918-2012)

Shirley Robertson, originally from Newcastle, made her mark as a casual science teacher in Southern Sydney before transitioning to the corporate world with Reckitt & Colman and later Parke-Davis. Her heart, however, belonged to opera, with a particular fondness for Wagner. A fluent German speaker, she honed her skills in weekly classes at the WEA and enjoyed tackling complex German puzzles. After Nancy Fleming's retirement, Shirley took over as president of the Sydney Opera Society, a role she held for an impressive 20 years Throughout her life, she devoted herself to the Sydney Opera Society, leaving an indelible mark that will be remembered for generations. Her passion for the performing arts was infectious, inspiring countless individuals to embrace creativity and expression. Whether she was organising captivating performances or mentoring aspiring artists, her dedication was unwavering. Her enthusiasm infused the society with a sense of community and purpose. The memories of her contributions and the impact she made will forever resonate within the hearts of those who had the privilege to know her. The legacy of her commitment to the Sydney Opera Society and the opera community in general will be celebrated, ensuring that her spirit continues to inspire future generations of artists and audiences alike.

Photo: Shirley Robertson and Robert Gibson, who used to speak to Sydney Opera Society. (Courtesy of Leona Geeves).

Shirley Robertson (1928-2024)

Jim’s academic journey took him to University College London, where he obtained his PhD in Physics and Astronomy. While at University College London, Jim worked in the High Energy Physics Department as an honours research fellow from 1974 to 1975. During this time, he contributed to a newly established program for physics and astronomy students, specialising in astrophysics, which involved the study of space, stars, planets, and the universe.

Upon returning to Sydney, he transitioned to a professional role at CSIRO, serving as the Network Operations Manager at the CSIRO Centre for Network Technology for the Information Economy. In addition to his scientific pursuits, Jim was a passionate opera enthusiast, and he played a pivotal role in the cultural community by becoming the first president and program coordinator of the Sydney Opera Society, helping to promote and celebrate the art form he adored.

Jim Argyros - Our first President

In January 1982, a significant moment in the arts community occurred, when Mary Cameron convened a meeting with Michael Shaurli, Jim Falconer, and Jim Argyros following their departure from the Northside Opera Study Group, Lindfield. During this pivotal gathering, Jim Argyros was elected president, laying the groundwork for what would become the Stanton Opera Discussion Group. This group would later be rebranded as the Sydney Opera Society in 1984. During his presidency which ended in 1989, his enthusiasm and dedication significantly contributed to the growth of the organisation's membership and visitor numbers. As a result, his tenure marked a period of notable engagement, leaving a lasting impact on the organisation's future.

Photo: Jim Argyros, at the CSIRO Centre for Network Technology for the Information Economy. (Photo courtesy of Kerry Thomas).

Leona Geeves is a dedicated professional researcher with a profound interest in music and art. Her journey into the world of opera began at the age of 14, when she attended her first performance and instantly fell in love with the art form. This passion has shaped her holidays, which she dedicates to enjoying various operatic performances. Among her favourite composers are Richard Strauss, Benjamin Britten, and Richard Wagner. Leona's formal connection to opera dates back to 1982 when she became a member of the Wagner Society in NSW, later advancing to the role of vice-president. She was awarded Honorary Life Membership, reflecting her longstanding commitment and contributions to the appreciation of opera and its cultural significance. She is still heavily involved and she proofreads the Quarterly, and is Artist Liaison, where she organises concerts and musical events. She is involved in the allocation of funds to young creatives, and posting their stories in the Quarterly.

Her commitment to the arts deepened after joining the Sydney Opera Society, where she actively collaborated with Shirley Robertson, later accepting the presidency in 2018. She set up the Society’s Facebook page and made herself responsible for notifying members and the wider community by regular emails, keeping them posted about musical events which were often only advertised on social media. She has also been and still is involved in Pacific Opera Studio, a training ground for young singers and repetiteurs.

Throughout her SOS tenure, which concluded in 2024, Leona organised an impressive array of events, showcasing her dedication to promoting opera.

She is particularly proud of her efforts in keeping the Society afloat during Covid, which tested her considerably as not only did many speakers cancel, she pushed her friendships with singers to come and chat about their life under restrictions. They welcomed the chance to sing and the members were entertained by some of the world’s best artists. Two particularly interesting performers were Sydney soprano, Eleanor Lyons, and her husband, Vladimir Fanshil, enterprising conductor, who unable to return home to Vienna, set up “Live at Yours,” concerts in smaller venues and intrastate tours. They were also engrossing in their tales of life in Ukraine and studies in Russia.

Photo and make up by Rachel Dal Santo.

Leona Geeves - Former President

Mezzo-soprano Marie Tysoe OAM is not only a cherished member of the Sydney Opera Society but also a dedicated friend to the arts community. Her illustrious career began with the National Opera Company in November 1952, when she captivated audiences in several leading roles. Beyond her performances, Marie has made significant contributions to charity, joining the Sydney Opera House Ladies Committee (SOHLC) in 1997, serving as president from 2007 to 2009, becoming vice-president in 2011 and artistic director in 2012. She has been an active participant in fundraising events for the SOHLC.

As an actress, Marie played a pivotal role in bringing opera to television and appeared in three notable films: "The Telephone" (1956), "The Marriage of Figaro" (1960), and "Manon" (1967), leaving a lasting legacy in the world of opera.

"The Marriage of Figaro," a 1960 Australian film, showcases the talents of Geoffrey Chard as Figaro and Marie Tysoe as Cherubino, bringing to life the classic opera. This production marked a significant milestone as the sixth opera broadcast live from the ABC in Sydney and the first two-hour opera filmed entirely in Australia. Produced by Alan Burke, the setting for the four acts was ingeniously crafted in one unit, allowing for a seamless and continuous flow of action.

"The Telephone," a 1956 Australian television play, marks a significant moment in broadcasting history as it was the first filmed version of Giancarlo Menotti's opera by the same name. This groundbreaking production, which aired on the ABC, ran for 25 minutes and featured a simple yet captivating cast of two characters, portrayed by Marie Tysoe and Kevin Mills. Marie remembers that the live broadcast from the Kings Cross radio studio was a memorable event, with the OB van stationed at Kellett Street. Cables snaked through the windows, connecting the studio to the van, while the Sydney Symphony Orchestra added an air of grandeur to the occasion. With a marvelous producer like George Trevare at the helm, everything went smoothly. She had a connection to this opera, having performed it previously with the Sydney Opera Group, which likely caught the attention of ABC's Tony Hughes or Werner Baer, leading to her invitation. The simplicity of the production made it an ideal choice for a television debut, requiring only two performers and minimal props. During rehearsal, she recalled the producer inquiring about her outfit for the performance. The conductor and a stage manager whisked her away to a boutique shop in King's Cross. There, they carefully selected an elegant dress that suited her perfectly for the production.