2011 SEASON. The Sydney Symphony presents. Young. The Australian Youth Orchestra. Guns FRI 22 JUL 11AM TEA & SYMPHONY PRESENTED BY KAMBLY

Transcription

1 2011 SEASON The Sydney Symphony presents Young The Australian Youth Orchestra Guns FRI 22 JUL 11AM TEA & SYMPHONY PRESENTED BY KAMBLY

2 WELCOME TO TEA & SYMPHONY It is my great pleasure to welcome you to this concert in the 2011 Tea & Symphony series. On any given Friday morning, most music-lovers under the age of 25 will be in school or university or at work we tend not to see them at Tea & Symphony concerts. But this morning the Sydney Symphony presents Australia s leading youth orchestra in concert and we have the opportunity to witness the talent and energy of more than 90 young musicians the next generation. This will be the fi rst time since 2005 that the acclaimed Australian Youth Orchestra has appeared in this series and this year they are joined by a Danish conductor, Thomas Dausgaard, also returning to the Sydney Opera House stage. He ll be conducting a magnifi cent symphony by fellow Dane Carl Nielsen, and the program begins with the colourful and immaculately drawn effects of Debussy s impressions of the sea. Kambly has epitomised the Swiss tradition of the fi nest biscuits for three generations. Each masterpiece from the Emmental Valley is a small thank you for life; a declaration of love for the very best; the peak of fi ne, elegant taste. Kambly is a way of life, dedicated to all those who appreciate the difference between the best and the merely good. In this way it is fi tting that we partner with the internationally acclaimed Sydney Symphony, whose vision is to ignite and deepen people s love of live symphonic music. Kambly is proud to be in its fourth year as sponsor of the Tea & Symphony series. We hope you enjoy this morning s program and look forward to welcoming you to future concerts in the series throughout Oscar A. Kambly Chairman Kambly of Switzerland

3 2011 SEASON TEA & SYMPHONY PRESENTED BY KAMBLY Friday 22 July 11am Sydney Opera House Concert Hall YOUNG GUNS Thomas Dausgaard conductor The Australian Youth Orchestra CLAUDE DEBUSSY ( ) La Mer Three Symphonic Sketches De l aube à midi sur la mer [From Dawn to Noon on the Sea] Jeux de vagues [Play of Waves] Dialogue du vent et de la mer [Dialogue of the Wind and the Sea] CARL NIELSEN ( ) Symphony No.5, Op.50 Tempo giusto Allegro Andante un poco tranquillo Allegro Music from this program has been recorded by ABC Classic FM for later broadcast across Australia. Approximate durations: 23 minutes, 34 minutes The concert will conclude at approximately 12.05pm. PRESENTING PARTNER Biscuits at Tea & Symphony concerts kindly provided by Kambly

4 ABOUT THE MUSIC DEBUSSY La Mer Three Symphonic Sketches Never before had that marvellous music La Mer appeared so seductive and yet mysterious at the same time, so imbued with the enigmatic life of the Cosmos, than on that evening when her great creator, with a gentle hand, was ruling over her waves. So wrote a young Russian composer, Lazare Saminsky, on hearing Debussy conduct La Mer in St Petersburg in But the work s greatness had by no means seemed self evident when it had first appeared in Debussy himself was weathering a personal scandal, having left his second wife, and part of the lack of enthusiasm on the part of the Parisian public may have stemmed from its disapproval. The first performance, too, was by all accounts under-rehearsed and the conductor Camille Chevillard unsympathetic to Debussy s style. The composer and conductor Lalo complained that he could neither hear, see nor feel the sea, and a reviewer in Boston wrote that we clung like a drowning man to a few fragments of the tonal wreck, a bit of theme here, a comprehensible figure there, but finally this muted-horn sea overwhelmed us. The point missed by the authors of such remarks, however, is that Debussy s music (both generally speaking and in regard this work) is not intended as visual imagery, or the soundtrack to some imaginary film. (This is what Debussy s colleague Satie was burlesquing when he praised the first movement, From Dawn to Noon on the Sea, by saying he particularly liked the bit around a quarter to eleven.) The composer may have invited such misinterpretations: in subtitling the work Three Symphonic Sketches he of course evokes the media of visual art; moreover, he often used terms like colour and shading when discussing his music. But in 1903, when he began work on La Mer, Debussy wrote to a friend from the Burgundian countryside: You may not know that I was destined for a sailor s life, and that only chance led me in another direction You will say that the ocean does not exactly bathe the hills of Burgundy, and my seascapes may be studio landscapes, but I have an endless store of memories, and in my mind they are worth more than reality, whose beauty often weighs heavily on the imagination. CLAUDE DEBUSSY French composer ( ) 4 Sydney Symphony

5 La Mer, then, is about the idea of the sea rather than being a representation of it; significantly, much of the composition of the work took place away from the coast. Debussy s genius for orchestration and subtle rhythmic organisation certainly make for evocative music where it is possible to imagine the crash of waves, the call of seagulls and the protean movement of light on water. The final climactic moments of the first movement, for instance, somehow create a sense of emerging from the deep into the light. Other masterly touches abound: the unusual timbre of cellos divided into four parts; the use of muted horns (an effect which Debussy admitted to taking from the music of Weber) to evoke space; the soloistic use of wind instruments and harp. But La Mer is as much symphonic as it is sketch. Its three movements are by no means simply rhapsodic, but rather show Debussy s subtle and careful approach to form. In the first movement his careful development of short motifs is perfectly symphonic; the second movement, Play of Waves, is, among other things, a symphonic scherzo; and the third movement (Dialogue of the Wind and the Sea) which has one of the rare big finishes of any work by this composer is a symphonic finale. This movement, with its references back to the first movement, also show The Great Wave off Kanagawa, from a series of woodblock prints 36 Views of Mount Fuji by Katsushika Hokusai ( Sydney Symphony

6 Debussy s adherence to the notion of cyclical form that he learned from César Franck and applied in such works as his String Quartet. The pianist and Debussy expert Roy Howat has shown how Debussy s structure corresponds to the ancient Greek idea of the Golden Section where a line is divided so that the ratio of the shorter portion to the longer portion forms the same ratio as the longer portion does to the whole length. (The façade of many a classical temple is built such that the ratio between its height and width corresponds to these divisions.) By applying this formula to time, a composer can plot where significant events changes of speed, colour moods or metre will have the greatest dramatic effect. Howat has argued persuasively that the moment in the last movement of La Mer where the violins play a soft, flute-like and impossibly high harmonic represents the Golden Section of the piece. By a nice paradox, Debussy s marvellous musical reflection on the constant flux of the sea is achieved by the most painstaking and careful calculation. Not for nothing did the published score carry the intricately designed woodcut The Great Wave Off Kanagawa by the Japanese artist Hokusai. GORDON KERRY 2005 La Mer calls for two flutes, piccolo, two oboes, cor anglais, two clarinets, three bassoons and contrabassoon; four horns, three trumpets, two cornets, three trombones and tuba; timpani and percussion; two harps and strings. The Sydney Symphony first performed La Mer in 1948, conducted by Eugene Goossens. The work was most recently heard in a Sydney Symphony subscription series in 2009, in concerts conducted by John Nelson and Benjamin Northey. Take the orchestra with you Download our FREE mobile app for music excerpts, live webcasts, program books and more. 6 Sydney Symphony

7 NIELSEN Symphony No.5 One day in Finland in 1907 two musical giants met and turned to discussing the essence of the symphony as a genre: I said that I admired its severity and style, and the profound inner logic that created an inner connection between all the motives. Mahler s opinion was just the reverse: No, a symphony must be like the world. It must embrace everything! The giant who recounted this was Jean Sibelius. He and Mahler were grappling with the problem that has confronted almost all writers of symphonies. How do you create a powerful emotional and philosophical document, which often fills half of a concert, without it becoming formless and incoherent? And how can you prevent such tightly structured music from becoming dry, dull, and boring? Mahler and Sibelius were both right. The form and the dramatic content of a symphony aren t mutually exclusive. At the same time, in Denmark, there lived a third musical giant. Carl Nielsen s six symphonies are extraordinary in their own right, and provide a sort of missing link between the approaches of his colleagues. CARL NIELSEN Danish composer ( ) 7 Sydney Symphony

8 The earliest influence upon Nielsen s symphonic writing was Brahms. Brahms s symphonies are models of both musical organisation and emotional intensity, but the emotions expressed in them are abstract: there is no explicit reference to anything outside the listener s own private musical imagination. Nielsen was intensely interested in psychology, like Mahler, but in a more objective way from the outside in, rather than from the inside out and he was, by all accounts, a devastatingly good actor and impersonator. The depiction of characters and mental states was the central concern of his music, and from the beginning of his career he searched for ways in which the tightly-structured Brahmsian symphony could be made to serve his expressive aims. Nielsen s Fourth Symphony (The Inextiguishable) and Fifth Symphony constitute his response to the carnage of World War I. In both works, the music describes the psychological state of millions of people. The Fifth, in particular, taps into the currents of history in a way that is prophetic of Shostakovich, though Nielsen never shared Shostakovich s bitter pessimism. The Fifth Symphony is profoundly optimistic: it depicts the violence of the conflict itself, but also the rise of civilisation from the ruins. In recreating this vast human drama in the form of a symphony, Nielsen found an extremely individual and elegant solution to the problem discussed by Mahler and Sibelius. The Fifth Symphony is in two movements. The first concerns the battle for supremacy between the constructive and destructive sides of human nature. The second is a vigorous and triumphant hymn of regeneration. Here, the musical structure is not merely a mould into which the dramatic content is poured. Nielsen casts away all pre-existing musical forms, instead creating ones that intimately mirror the dramatic progress of each movement. The first movement begins with an undulating viola line that Robert Simpson compared to the needle of a seismograph, responding to events deep within the unquiet earth. The music gradually awakens and stirs, and a long melodic line forms and grows in intensity, then subsides into an expectant silence. We hear, distantly and ominously, the sound of a side-drum. Suddenly, the destructive elements come into play, and we are assaulted by a relentlessly marching figure on timpani, double basses and side-drum, abetted by the other percussion. The violins play a long, wailing melodic line, while weird shrieks and cries come from clarinets and 8 Sydney Symphony

9 flutes. These protests cease, and the music sinks down in exhaustion. Icy darkness follows, broken only by a feeble pulsing on violins and celesta. Now more positive forces begin to assert themselves. A noble and generous theme slowly grows in richness and power. But as it approaches a climax, it is assaulted by the side-drum. While everything hangs in the balance, the sidedrum goes berserk and apparently begins to improvise, but is swept away by the noble theme. Victory has been achieved, but at great cost. As the side-drum recedes, a lone clarinet is left mourning among the ruins. The second movement begins with a tremendous burst of energy. The music surges forward confidently for many minutes, but eventually an element of uncertainty creeps in. An eager, stealthy fugue begins, but this interweaving of musical lines becomes frenetic, the various sections of the orchestra fanatically chanting the first two notes of the fugue subject. Zeal turns into violence. Plainly, a gentler approach is required. Another fugue starts, this time slow, quiet and radiant. It is rewarded by the energetic music with which the movement began. Now there is no vacillation, and the symphony sweeps toward its triumphant conclusion. The finale suggests not only the culmination of a musical journey, but also the rise of civilisation, phoenixlike, from the ashes. Nielsen has fulfilled the symphonic prescriptions of both Mahler and Sibelius. The Fifth would be a great symphony by virtue of this alone. Form and content have combined to create music of tremendous breadth, power, and originality truly the work of a giant. PETER IRELAND 1998 Nielsen s Fifth Symphony calls for three flutes (one doubling piccolo), two oboes, two clarinets, two bassoons and contrabassoon; four horns, three trumpets, trombones and tuba; timpani and percussion, celesta and strings. The Sydney Symphony gave the first Australian performance of this symphony in 1955, conducted by Eugene Goossens. The most recent performance of the work in a Sydney Symphony concert was in 1986, conducted by Jukka-Pekka Saraste. Sydney Symphony Board CHAIRMAN John C Conde AO Terrey Arcus AM Ewen Crouch Ross Grant Jennifer Hoy Rory Jeffes Andrew Kaldor Irene Lee David Livingstone Goetz Richter David Smithers AM 9 Sydney Symphony

10

11 ABOUT THE CONDUCTOR Thomas Dausgaard Danish conductor Thomas Dausgaard is known for the rich intensity of his performances, his prolific discography and the remarkable results he has achieved as Chief Conductor of the Danish National Symphony Orchestra/DR (since 2004) and of the Swedish Chamber Orchestra (since 1997). The Danish National Symphony Orchestra/DR has developed impressively under his leadership; its achievements include a disc of Nielsen works, nominated for a 2007 Gramophone award, and the sensational British premiere of Langgaard s Music of the Spheres at the BBC Proms in The Swedish Chamber Orchestra has also flourished under Dausgaard s direction, growing from a regional orchestra to one attracting international attention. As a guest conductor he has appeared with many of the world s leading orchestras, with recent highlights including the Netherlands Radio Philharmonic Orchestra, Berlin Konzerthaus Orchestra, Orchestre National de Lyon, Salzburg Mozarteum and the Sao Paul Symphony Orchestra, as well as engagements with the radio orchestras in Stuttgart, Leipzig, Barcelona and Sweden. He collaborates regularly with the Vienna Symphony Orchestra, and maintains strong links with many of the major UK orchestras. In North America he has worked orchestras such as the Philadelphia Orchestra, Cleveland Orchestra, Boston Symphony Orchestra, Los Angeles Philharmonic, Pittsburgh Symphony, Baltimore Symphony, Seattle Symphony and Minnesota Orchestra. He conducts the Toronto Symphony each year, recently directing an acclaimed Sibelius cycle, and makes regular appearances at the New York Mostly Mozart Festival. The role music can play in the lives of children and young people is important to Thomas Dausgaard, and he collaborates with several youth orchestras, including the Baccarelli Institute in Brazil and the Toronto Youth Symphony. In addition to the Australian Youth Orchestra, his current projects include the orchestras at the Copenhagen and Stockholm music academies. His extensive discography includes recordings of Danish composers Carl Nielsen and Rued Langgaard and a DVD of Langgaard s 1920s opera Antikrist. He has been awarded the Cross of Chivalry in Denmark, and elected to the Royal Academy of Music in Sweden. Thomas Dausgaard s most recent appearance in a Sydney Symphony subscription concert was in Next week he will conduct the Sydney Symphony Orchestra in a program of Tchaikovsky, Rachmaninoff and Brahms. ULLA-CARIN EKBLOM 11 Sydney Symphony

12 MUSICIANS FIRST VIOLINS VIOLAS FLUTES TROMBONES Liisa Pallandi Concertmaster Glenn Christensen Amy Brookman Kana Ohasi Catherine Bucknell Courtenay Cleary Lee Thompson Natasha Conrau Brett Yang Alexander Vickery Ben Spiers Edward Antonov Yuhki Mayne Jhana Allan Hayley Bullock Bridget O Donnell SECOND VIOLINS Rebecca Gill Victoria Bihun Yena Choi Annabelle Swainston Anna O Brien Liam Oborne Kathleen Yardley Cecilia Palmer Flora Wong Hannah Buckley Beatrix Stewart Sonia Wilson Iona Allan Jesre Hazelman- Stenson Matthew Laing Katie Yap Rhianwen Bramble Vivian Wheatley Susie Kwon Gregory Daniel Hannah Donohoe Finn Gilfedder-Cooney Cameron Campbell Nicole Greentree Charlotte Fetherson Anthony Chataway CELLOS Adam Szabo Daniel Pini Robert Manley Nils Hobiger Anna Pokorny Oliver Scott James Larsen Aaron Yeoh Jonathan Chim Fraser Wallace DOUBLE BASSES Bonita Williams Daniel Dean Rohan Dasika Kinga Janiszewski Rhys McCleary Henry South Ronald Gaynor Michael McCullough Kiran Phatak Rachel Howie Gavin Zev Piccolo OBOES Emmanuel Cassimatis Georgina Roberts Dafydd Camp Cor Anglais CLARINETS Nicholas Evans Som Howie BASSOONS Jack Schiller Laura Brown Hannah Gladstones Matthew Kneale Contrabassoon HORNS Sebastian Dunn Joel Hoare Jessica Armstrong Stephanie Davis Claire Linquist TRUMPETS Callum G Froerer Timothy Frahn Matthew Winnel Daniel Henderson Chris Moran Mitchell Staines Oscar McDonald Mitchell Nissen Bass Trombone TUBA Karina Filipi TIMPANI Veronica Walshaw PERCUSSION Anna Zeltzer Robert Allan Andrew Penrose HARPS Kit Spencer Angela Kusmanto ASSOCIATE CONDUCTOR Fabian Russell Bold = Principal 12 Sydney Symphony

13 THE AUSTRALIAN YOUTH ORCHESTRA The Australian Youth Orchestra presents 12 tailored training and performance programs across metropolitan and regional Australia each year for aspiring musicians, composers, arts administrators and music journalists aged 12 to 30. Our training pathway has been created to nurture the musical development of Australia s finest young talents, from the gifted schoolaged student to those on the verge of a professional career. The Australian Youth Orchestra gave its first performance in 1957 and since then has performed in some of the world s most prestigious concert halls and festivals, fulfilling the role of cultural ambassador for Australia on more than 20 international tours. Aged up to 25 years, orchestra members are selected through a highly competitive annual audition process and represent the best young musical talent in the nation. The orchestra regularly attracts superlatives from the international music press, confirming its high reputation throughout the world. In 1984 the orchestra became the first Australian orchestra to perform in Paris, and in 2007 the orchestra celebrated its 50th anniversary with its seventh European tour. In 2010 the AYO performed in China and Europe under the direction of Sir Mark Elder and is now respected as this country s most toured symphony orchestra. The orchestra will return to Europe in August Through taking part in the AYO pathway, countless AYO alumni are today members of some of the finest professional orchestras worldwide. The Australian Youth Orchestra s most recent appearance in a Sydney Symphony concert series was in 2005, when Alexander Anissimov conducted a program including Shostakovich s Tenth Symphony. PRINCIPAL SPONSOR THE AUSTRALIAN YOUTH ORCHESTRA IS SUPPORTED BY 13 Sydney Symphony

14 SALUTE PRINCIPAL PARTNER GOVERNMENT PARTNERS The Sydney Symphony is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body The Sydney Symphony is assisted by the NSW Government through Arts NSW PREMIER PARTNER PLATINUM PARTNERS MAJOR PARTNERS GOLD PARTNERS SILVER PARTNERS REGIONAL TOUR PARTNERS BRONZE PARTNER Emanate BTA Vantage MARKETING PARTNER 2MBS Sydney s Fine Music Station 14 Sydney Symphony

15 PLAYING YOUR PART The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Please visit sydneysymphony.com/patrons for a list of all our donors, including those who give between $100 and $499. PLATINUM PATRONS $20,000+ Brian Abel Geoff Ainsworth AM & Vicki Ainsworth Robert Albert AO & Elizabeth Albert Terrey Arcus AM & Anne Arcus Tom Breen & Rachael Kohn Sandra & Neil Burns Ian & Jennifer Burton Mr John C Conde AO Robert & Janet Constable The Hon. Ashley Dawson-Damer In memory of Hetty & Egon Gordon The Hansen Family Ms Rose Herceg The Estate of Mrs E Herrman James N. Kirby Foundation Mr Andrew Kaldor & Mrs Renata Kaldor AO D & I Kallinikos Justice Jane Mathews AO Mrs Roslyn Packer AO Greg & Kerry Paramor & Equity Real Estate Partners Dr John Roarty in memory of Mrs June Roarty Paul & Sandra Salteri Mrs Penelope Seidler AM Mrs W Stening Mr Fred Street AM & Mrs Dorothy Street In memory of D M Thew Mr Peter Weiss AM & Mrs Doris Weiss Westfield Group Ray Wilson OAM in memory of James Agapitos OAM Mr Brian and Mrs Rosemary White June & Alan Woods Family Bequest Anonymous (1) GOLD PATRONS $10,000 $19,999 Alan & Christine Bishop The Estate of Ruth M Davidson Penny Edwards Paul R. Espie Ferris Family Foundation Dr Bruno & Mrs Rhonda Giuffre Ross Grant Mr David Greatorex AO & Mrs Deirdre Greatorex Helen Lynch AM & Helen Bauer Mrs Joan MacKenzie Ruth & Bob Magid Tony & Fran Meagher Mrs T Merewether OAM Mr B G O Conor Mrs Joyce Sproat & Mrs Janet Cooke Ms Caroline Wilkinson Anonymous (1) SILVER PATRONS $5,000 $9,999 Mr and Mrs Mark Bethwaite Jan Bowen Mr Robert Brakspear Mr Donald Campbell & Dr Stephen Freiberg Mr Robert & Mrs L Alison Carr Bob & Julie Clampett Mrs Gretchen M Dechert Ian Dickson & Reg Holloway James & Leonie Furber Mr James Graham AM & Mrs Helen Graham Michelle Hilton Stephen Johns & Michele Bender Judges of the Supreme Court of NSW Mr Ervin Katz Gary Linnane Mr David Livingstone William McIlrath Charitable Foundation Eva & Timothy Pascoe Rodney Rosenblum AM & Sylvia Rosenblum Sherry-Hogan Foundation David & Isabel Smithers Mrs Hedy Switzer Ian & Wendy Thompson Michael & Mary Whelan Trust Jill Wran Anonymous (2) BRONZE PATRONS $2,500 $4,999 Dr Lilon Bandler Stephen J Bell Mr David & Mrs Halina Brett Lenore P Buckle Howard Connors Ewen & Catherine Crouch Dr Michael Field Mr Erich Gockel Kylie Green Janette Hamilton Ann Hoban Paul & Susan Hotz Irwin Imhof in memory of Herta Imhof Mr Justin Lam R & S Maple-Brown Mora Maxwell J A McKernan Justice George Palmer AM QC James & Elsie Moore Bruce & Joy Reid Foundation Mary Rossi Travel Georges & Marliese Teitler Gabrielle Trainor J F & A van Ogtrop Geoff Wood & Melissa Waites Dr Richard Wingate Anonymous (1) BRONZE PATRONS $1,000 $2,499 Charles & Renee Abrams Andrew Andersons AO Mr Henri W Aram OAM Claire Armstrong & John Sharpe Dr Francis J Augustus Richard Banks Doug & Alison Battersby David Barnes Michael Baume AO & Toni Baume Phil & Elese Bennett Nicole Berger Mrs Jan Biber Julie Bligh Colin Draper & Mary Jane Brodribb M Bulmer Mr Stephen Burley Dr John H Casey Dr Diana Choquette & Mr Robert Milliner Joan Connery OAM & Maxwell Connery OAM Debby Cramer & Bill Caukill Mr John Cunningham SCM & Mrs Margaret Cunningham Lisa & Miro Davis Matthew Delasey John Favaloro Mr Edward Federman Mr Ian Fenwicke & Prof N R Wills Firehold Pty Ltd Warren Green Anthony Gregg & Deanne Whittleston Akiko Gregory In memory of Oscar Grynberg Mrs Jennifer Hershon Barbara & John Hirst Bill & Pam Hughes The Hon. David Hunt AO QC & Mrs Margaret Hunt Dr & Mrs Michael Hunter Dr Michael Joel AM & Mrs Anna Joel The Hon. Paul Keating In Memory of Bernard M H Khaw Jeannette King Anna-Lisa Klettenberg Wendy Lapointe Macquarie Group Foundation Melvyn Madigan Mr Robert & Mrs Renee Markovic Kevin & Deidre McCann Robert McDougall Ian & Pam McGaw Matthew McInnes Mrs Barbara McNulty OBE Harry M. Miller, Lauren Miller Cilento & Josh Cilento Nola Nettheim Miss An Nhan Mrs Rachel O Conor Mr R A Oppen Mr Robert Orrell Mr & Mrs Ortis Maria Page Piatti Holdings Pty Ltd Adrian & Dairneen Pilton Robin Potter Mr & Ms Stephen Proud Miss Rosemary Pryor Dr Raffi Qasabian Ernest & Judith Rapee Kenneth R. Reed Patricia H Reid Endowment Pty Ltd Mr M D Salamon John Saunders Juliana Schaeffer Caroline Sharpen Mr & Mrs Jean-Marie Simart Catherine Stephen The Hon. Brian Sully QC Mildred Teitler Andrew & Isolde Tornya Gerry & Carolyn Travers John E Tuckey Mrs M Turkington In memory of Dr Reg Walker Henry & Ruth Weinberg The Hon. Justice A G Whealy Mr R R Woodward Anonymous (12) BRONZE PATRONS $500 $999 Mr C R Adamson Mr Peter J Armstrong Ms Baiba B. Berzins & Dr Peter Loveday Dr & Mrs Hannes Boshoff Minnie Briggs Dr Miles Burgess Pat & Jenny Burnett Ita Buttrose AO OBE Stephen Byrne & Susie Gleeson Hon. Justice J C & Mrs Campbell Mrs Catherine J Clark Mr Charles Curran AC & Mrs Eva Curran Greta Davis Elizabeth Donati Dr & Dr Nita Durham Greg Earl & Debbie Cameron Mr & Mrs Farrell Robert Gelling Dr & Mrs C Goldschmidt Mr Robert Green Mr Richard Griffin AM Jules & Tanya Hall Mr Hugh Hallard Janette Hamilton Roger Henning Rev Harry & Mrs Meg Herbert Sue Hewitt Dorothy Hoddinott AO Mr Joerg Hofmann Dominique Hogan-Doran Mr Brian Horsfield Alex Houghton Bill & Pam Hughes Geoff & Susie Israel Iven & Sylvia Klineberg Mr & Mrs Gilles T Kryger Dr & Mrs Leo Leader Margaret Lederman Martine Letts Erna & Gerry Levy AM Dr Winston Liauw Mrs Helen Little Sydney & Airdrie Lloyd Mrs A Lohan Carolyn & Peter Lowry OAM Dr David Luis Mrs M MacRae OAM Dr Jean Malcolm Mrs Silvana Mantellato Alan & Joy Martin Geoff & Jane McClellan Mrs Inara Merrick David & Andree Milman Kenneth N Mitchell Helen Morgan Chris Morgan-Hunn Mrs Margaret Newton Sandy Nightingale Mr Graham North Dr M C O Connor AM A Willmers & R Pal Dr A J Palmer Mr Andrew C. Patterson Dr Kevin Pedemont Lois & Ken Rae Pamela Rogers Agnes Ross In memory of H.St.P Scarlett Dr Mark & Mrs Gillian Selikowitz Mrs Diane Shteinman AM Robyn Smiles Doug & Judy Sotheren Mrs Elsie Stafford John & Alix Sullivan Mr D M Swan Mr Norman Taylor Dr Heng & Mrs Cilla Tey Ms Wendy Thompson Kevin Troy Judge Robyn Tupman Gillian Turner & Rob Bishop Prof Gordon E Wall Mr Robert & Mrs Rosemary Walsh Ronald Walledge David & Katrina Williams Audrey & Michael Wilson Dr Richard Wing Mr Robert Woods Mr & Mrs Glenn Wyss Anonymous (17) To find out more about becoming a Sydney Symphony Patron please contact the Philanthropy Office on (02) or philanthropy@sydneysymphony.com 15 Sydney Symphony

16 Clocktower Square, Argyle Street, The Rocks NSW 2000 GPO Box 4972, Sydney NSW 2001 Telephone (02) Box Office (02) Facsimile (02) All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing. The opinions expressed in this publication do not necessarily reflect the beliefs of the editor, publisher or any distributor of the programs. While every effort has been made to ensure accuracy of statements in this publication, we cannot accept responsibility for any errors or omissions, or for matters arising from clerical or printers errors. Every effort has been made to secure permission for copyright material prior to printing. Please address all correspondence to the Publications Editor: SYMPHONY SERVICES INTERNATIONAL Suite 2, Level 5, 1 Oxford Street, Darlinghurst NSW 2010 PO Box 1145, Darlinghurst NSW 1300 Telephone (02) Facsimile (02) SYDNEY OPERA HOUSE TRUST Mr Kim Williams AM (Chair) Ms Catherine Brenner Rev Dr Arthur Bridge AM Mr Wesley Enoch Ms Renata Kaldor AO Mr Robert Leece AM RFD Ms Sue Nattrass AO Dr Thomas (Tom) Parry AM Mr Leo Schofield AM Mr Evan Williams AM EXECUTIVE MANAGEMENT CHIEF EXECUTIVE OFFICER Richard Evans CHIEF OPERATING OFFICER David Antaw CHIEF FINANCIAL OFFICER Claire Spencer DIRECTOR, BUILDING DEVELOPMENT & MAINTENANCE Greg McTaggart DIRECTOR, MARKETING & DEVELOPMENT Victoria Doidge DIRECTOR, VENUE PARTNERS & SAFETY Julia Pucci EXECUTIVE PRODUCER SOH PRESENTS Jonathan Bielski SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274, Sydney NSW 2001 Administration (02) Box Office (02) Facsimile (02) Website sydneyoperahouse.com This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN ABN This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published. Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021 PO Box 410, Paddington NSW 2021 Telephone: Fax: admin@playbill.com.au Website: Chairman Brian Nebenzahl OAM, RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager Production & Graphic Design Debbie Clarke Manager Production Classical Music Alan Ziegler OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWIN OVERSEAS OPERATIONS: New Zealand: Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) , Fax (64 4) Auckland: Mt. Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) , Fax (64 9) , Mobile , admin@playbill.co.nz. UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) , Fax (44) Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK WCH 38; (852) ; Fax (852) Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2-E (1st Floor) Jalan SS 22/25, Damansara Jaya, Petaling Jaya, Selangor Darul Ehsan; (60 3) ; Fax (60 3) Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore ; (65) ; Fax (65) South Africa: Playbill South Africa Pty Ltd, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) , Fax (27) All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title Playbill is the registered title of Playbill Proprietary Limited. Title Showbill is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details / TS S62 PAPER PARTNER