PROGRAM. MACA LIMITED CLASSICS SERIES Fri 19 & Sat 20 June 7.30pm Perth Concert Hall

Transcription

1 PROGRAM MACA LIMITED CLASSICS SERIES Fri 19 & Sat 20 June 7.30pm Perth Concert Hall

2 We Care We are Flexible We Deliver Established in 2002 MACA delivers a range of solutions tailored to your business: Mining Drill & Blast Crushing & Screening Materials Handling & Haulage Civil Works With more than 1,200 experienced professionals MACA operates nationally across: Metals and minerals including Iron Ore, Nickel, Gold and Copper Civil infrastructure including Bulk Earthworks, Roads, Mining Infrastructure, Drainage and Structural Concrete The MACA business is built on long term relationships with our clients, through safe and dependable delivery of their projects and objectives. MACA values its position in the community as a proud sponsor of the Ride To Conquer Cancer and the West Australian Symphony Orchestra.

3 3 Welcome Fate - monstrous and empty, you whirling wheel, you are malevolent, well-being is vain and always to nothing! These lines, taken from Carmina burana, could easily have been used as a motto for Verdi s opera La Forza del destino. The overwhelming force of fate against which we are all powerless is perfectly distilled in its masterful overture. Orff s unforgettable orchestral spectacle begins with one of the most collectively recognized pieces of music; a real ear-worm that is only rivalled by Beethoven s 5th and Mozart s 40th symphonies. It is an evocation of the power of destiny of such magnitude and strength that it has overwhelmed generations of concertgoers and rightly earned its prominent place in the pantheon of classical repertoire. Orff brings to life the extremes in these ancient texts; their joy, pain, excess, lust and untamed enthusiasm for life. As is often the case, the act of telling stories about the distant past reveals just as much about the times of the storyteller as about the times he depicts. So it is that we discover the passion with which the between-the-wars generation searched for a way forward by delving into their distant past. Such is Respighi s loving and tender treatment of a renaissance piece for lute, and such is the wild fantasy of Orff after a collection of medieval poems. These artists were looking back at a time in which humanity flung itself with abandonment into the warm embrace of passion, lust, drink, nature, carnal joy and everything that is truly worth our short while on this earth. If you ever entertained the notion that the Middle Ages was humanity s hibernation period, a pious and dull screensaver awaiting more vivacious times - this evening will serve to confound your expectations! Daniel Cohen Conductor Photo: Benjamin Ealovega

4 WASO s EDUCATION WEEK JUNE Be part of WASO s first Education Week with a broad range of musical performances for all ages. Composition Project Monday 22 June 6.30pm John Inverarity Music & Drama Centre, Hale School World premiere of four new works by emerging West Australian composers mentored by James ledger and performed by a WASO chamber orchestra. Call to book your FREE seat The Rusty Orchestra Saturday 27 June 8pm Perth Concert Hall Join the audience for a 40-minute performance of excerpts from the great classics featuring amateur musicians aged 25 and over sitting side-by-side WASO musicians. Call to book your FREE ticket. FAMILY EVENT Rhythm In Your Rubbish Sun 28 June 1pm & 3pm Perth Concert Hall An imaginative performance in which junk is transformed into working instruments which play alongside the Orchestra. Suitable for 5 12 year olds. Platypus Theatre actors Tickets $26* WASO s Open Day Sun 28 June 10am-5pm Perth Concert Hall A day of free activities for all ages including behind the scenes tours, ensemble and choral performances and plenty for the kids. Free event. For the full program visit waso.com.au Book Now Call visit waso.com.au *Transaction fees may apply.

5 5 MACA LIMITED CLASSICS SERIES CARMINA BURANA VERDI La forza del destino, Act I: Overture (8 mins) RESPIGHI Ancient Airs and Dances - Suite No.2 (19 mins) Laura soave Balletto con gagliarda, saltarello e canario Danza rustica Companae parisienses Aria Bergamasca Interval (25 mins) ORFF Carmina burana (60 mins) Fortuna imperatrix mundi (Fortune, Empress of the World) Part I Primo vere (In Springtime) Auf dem anger (On the Meadow) Part II In taberna (In the Tavern) Part III Cour d amours (The Court of Love) Blanziflor et Helena (Blanziflor and Helena) Fortuna imperatrix mundi Daniel Cohen conductor Jennifer Barrington soprano Tobias Cole countertenor Samuel Dundas baritone WASO Chorus Hale Young Voices These performances of Carmina Burana by Carl Orff are given by permission of Hal Leonard Australia Pty. Ltd. exclusive agent for Schott Music Ltd of Mainz. Pre-concert Talks Find out more about the music in the concert with this week s speaker, Brendon Pearn. Pre-concert talks take place at 6.45pm in the Terrace Level Foyer. Pre-concert Talks are supported by Wesfarmers Arts Meet the Musicians Enjoy a post-concert conversation with WASO s Chorus Director, Christopher van Tuinen and WASO s Chorus Vocal Coach, Andrew Foote, post-concert Friday night in the Terrace Level Foyer. Meet the Musicians is supported by Altegra Property Group

6 6 YOUR WASO EXPERIENCE PLEASE SHARE OR DOWNLOAD Help us to be environmentally responsible by sharing your printed programs. You can also read WASO s programs on your computer or mobile device by visiting waso.com.au WHEN TO APPLAUD Musicians love applause. As a guide, audience members normally applaud: When the conductor or soloist walks onto the stage After the completion of each piece and at the end of the performance WHEN YOU NEED TO COUGH Please try to muffle your cough in a handkerchief during a louder section of the music. Cough lozenges are available from the WASO Customer Service Desk before each performance and at the interval. TOILets Male and female toilets are located on each of the four foyer levels of Perth Concert Hall. The largest number of toilets are available on the ground floor of the venue, with further toilets on the Terrace Level, Lower Gallery and Upper Gallery levels. A universal accessible toilet is available on the ground floor of the venue. First Aid There are St John Ambulance officers present at every concert so please speak to them if you require any first aid assistance. FEEDBACK Please send your feedback to PO Box 3041, East Perth WA 6892, call , waso@waso.com.au or leave us a message on Facebook or Twitter. CONNECT WITH WASO Join us on Facebook facebook.com/ WestAustralianSymphonyOrchestra Follow us on Twitter twitter.com/_waso_ Tag your photos #WASO on Instagram instagram.com/_waso_ Watch us on YouTube youtube.com/westaustsymorchestra E-News Stay up to date and sign-up to our SymphonE-news at waso.com.au WASO On The Go Download WASO s free app on itunes or Google Play. Visit waso.com.au For concert information and to listen to concert playlists. WASO on 720 ABC Perth Tune in to 720 ABC Perth on Friday mornings when Prue Ashurst joins Eoin Cameron to provide the latest on classical music and WASO s upcoming concerts. WASO on ABC classic FM This performance is being recorded for broadcast at 1pm on Saturday 27 June on ABC Classic FM. For further details visit abc.net.au/classic

7 7 Perth Concert Hall Meet Our Ushers When you attend concerts at Perth Concert Hall, a large team of ushers ensures your visit is as comfortable as possible. Get to know two of our longest-serving ushers a bit better! GEORGE STALLEY How long have you been an usher at Perth Concert Hall? I started working at Perth Concert Hall in August 1998 and have been here for so long because no one could find a better job there are lovely patrons, I get to see a wide variety of shows and work with a wonderful team! Favourite part of the job? I very much enjoy meeting and greeting so many patrons and ensuring they are comfortable. Your concert highlight? A very recent concert Rhapsody in Blue with WASO and Asher Fisch. What do people not know about you? I worked for TAFE for 34 years, finishing my career there as Head of the Hairdressing Department. My wife and I work as puppy raisers with the Association for the Blind, and I also have been volunteering at Princess Margaret Hospital since MARGARET PARKINSON How long have you been an usher at Perth Concert Hall? I ve worked here for about 16 years. I think it took about 6 months before I was offered a position, and I started doing my first shifts during the Perth International Arts Festival. Favourite part of the job? I enjoy the music I get to hear, and the patrons and my colleagues are lovely. I say Perth Concert Hall is a big happy box people come in grumpy and leave with a huge smile on their faces! Your concert highlight? Hearing Larry Adler and his harmonica about 8 years ago, l loved him playing Gershwin. What do people not know about you? I love to travel! In 2010 I backpacked across Europe and the UK for five months, and I only just got back from an expedition to Antarctica definitely the most amazing place I have visited. CONNECT with PERTH CONCERT HALL Join us on Facebook facebook.com/perthconcerthallwa Follow us on Twitter twitter.com/perthconcerthal Visit perthconcerthall.com.au Tag your photos #perthconcerthall instagram.com/perthconcerthall

8 8 about The Artists Photo: Benjamin Ealovega Daniel Cohen Conductor Daniel Cohen has been appointed Kapellmeister at the Deutsche Oper Berlin for the 2015/16 season, where he will conduct revivals of Don Giovanni and Lucia di Lammermoor as well as performances of La traviata, The Barber of Seville and The Magic Flute. He is Music Director of the Jersey Chamber Orchestra, and is also Artistic Director of the Gropius Ensemble, which specialises in a synthesis of music and theatre. His orchestral engagements this season include his debuts with the Milwaukee Symphony Orchestra, Tampere Philharmonic Orchestra, Orchestre de Chambre de Lausanne and Calgary Philharmonic Orchestra. He also returns to the Orchestra del Maggio Musicale in Florence. Having trained as a violinist, Daniel Cohen studied conducting in London and subsequently won First Prize at the Admont International Conducting Competition and the Aviv Competitions. He is a former Los Angeles Philharmonic Dudamel Fellow. Jennifer Barrington Soprano Jennifer was born in Perth and graduated from the West Australian Academy of Performing Arts. She was a member of the West Australian Opera Young Artist programme and made her professional stage debut as Papagena in Die Zauberflöte in She has been a finalist in many prestigious singing competitions including Opera Foundation Australia s German Opera Grant and most recently represented WA as one of six finalists in the th Anniversary Melbourne Herald Sun Aria, accompanied by Orchestra Victoria. Last year, Jennifer made her Melbourne debut as soprano soloist in Handel s Messiah with the Heidelberg Symphony. Jennifer will be playing the role of Barbarina in the upcoming production of The Marriage of Figaro with WA Opera and is also looking forward to making her New Zealand debut in 2016.

9 9 Photo: Bridget Elliot Photo: David Noles Tobias Cole Countertenor Tobias Cole, Artistic Director of Canberra Choral Society, Distinguished Artist in Residence at the Australian National University, Green Room and Metropolitan Opera Young Artist Study Award winner, has performed throughout Australia, the UK and USA. Highlight performances have included Ottone in L Incoronazione di Poppea, Apollo in Death in Venice and Oberon in A Midsummer Night s Dream (Chicago Opera Theater); title role in Philip Glass Akhnaten (State Opera of South Australia); title role in Julius Caesar, Medoro in Orlando, and Oberon (Opera Australia); title role in Xerxes (NBR NZ Opera, Victorian Opera) Roberto in Griselda and Athamas in Semele (Pinchgut Opera); La Speranza in L Orfeo (Australian Brandenburg Orchestra); Dr Who Spectacular (Melbourne Symphony); Messiah and St John Passion (Queensland Symphony); Purcell s Dido and Aeneas, John Adams El Niño and Bach s B minor Mass (Sydney Philharmonia); Festival appearances in Canberra, Townsville and Woodend. Samuel Dundas Baritone Samuel Dundas, Principal Baritone with Opera Australia, is a graduate of the Melba Conservatorium of Music, Melbourne. Samuel made his opera debut with Opera Queensland, before joining Victorian Opera s Artist Development program and subsequently the Moffatt Oxenbould Young Artist program. His repertoire now includes the title role in Don Giovanni, Papageno (The Magic Flute), Guglielmo (Così fan tutte), Belcore (The Elixir of Love), Dr Malatesta (Don Pasquale), Marcello (La Bohème), Prosdocimo (Il turco in Italia), Pish Tush (The Mikado), Sid (Albert Herring), and Starveling (A Midsummer Night s Dream). Samuel has performed with the Adelaide, Melbourne, Tasmanian and West Australian Symphony Orchestras, the Australian Youth Orchestra, Sydney Philharmonia Choirs and the Auckland Philharmonia in repertoire including Carmina Burana, Fauré and Brahms Requiem, and Vaughan Williams Serenade to Music. Samuel was the recipient of the 2013 Lady Fairfax New York Scholarship and the inaugural Dame Heather Begg Award in 2014.

10 10 WASO IN THE COMMUNITY WASO on the Road in the Pilbara WASO on the Road travelled to the Pilbara for the week of May, and while touring earlier in the year meant that the weather was a bit cooler than in previous years - the pace was definitely hot hot hot! Our first WASO on the Road for 2015 featured a wind quartet comprising Elizabeth Chee (Associate Principal Oboe), Adam Mikulicz (Associate Principal Bassoon) and WASO casual musicians Emily Clements (flute) and Jodie Upton (clarinet). The quartet was enthusiastically welcomed by schools across Karratha and Dampier, as well as at an after-school community program for young people in Roebourne. Performances introduced the instruments and a wide variety of music, and also saw our wonderful musicians present masterclasses to budding young musicians. WASO Community Engagement was thrilled to continue our relationship with the Pilbara Education Regional Office who supported us in utilising the Video Conference and Saba-Centra technology to present another live to air performance for students across the 24 sites of Port Hedland School of the Air and at Yandeyarra Remote Community School. This year also saw us meet up with the Onslow Kids Music Education team of Paul Tanner and Mark Cain at Onslow Primary School and co-present the two programs for the first time. This was a week of beautiful performances, inspiring have-a-go sessions and some of the best sing-a-longs ever, culminating with two community concerts where our WASO musicians performed alongside students from Onslow Primary School and Karratha Senior High School. The WASO on the Road team would like to thank everyone involved for an incredible week which celebrated the warmth, spirit and energy of regional communities throughout Western Australia. WASO on the Road Pilbara is supported by Chevron Australia. Onslow Kids Music Education program is presented in partnership with the Chevron-operated Wheatstone Project.

11 11 MORNING SYMPHONY SERIES Thur 2 July 11am MACA LIMITED CLASSICS SERIES Fri 3 & Sat 4 July 7.30pm Perth Concert Hall FULL OF DRAMA AND PASSION, WITH WORKS FOR CELLO BY SAINT-SAËNS & RACHMANINOV. Vladimir Verbitsky conductor Rod McGrath cello BOOK NOW Tickets from $30* Call quoting 1258 Visit waso.com.au or ticketek.com.au *Transaction fees may apply

12 12 WASO On Stage Tonight VIOLIN Graeme Norris Assoc Concertmaster Semra Lee-Smith Assistant Concertmaster Zak Rowntree Principal 2nd Violin Akiko Miyazawa Assoc Principal 2nd Violin Sarah Blackman Fleur Challen Stephanie Dean Rebecca Glorie Beth Hebert Alexandra Isted Jane Johnson^ Sunmi Jung^ Christina Katsimbardis Ji Won Kim^ Eliza McCracken^ Andrea Mendham^ Ken Peeler Elena Phatak Graham Pyatt Louise Sandercock Jolanta Schenk Jane Serrangeli Ellie Shalley Kathryn Shinnick Jacek Slawomirski Bao Di Tang Cerys Tooby Teresa Vinci^ Susannah Williams^ David Yeh VIOLA Caleb Wright Alex Brogan Kierstan Arkleysmith Nik Babic George Batey^ Katherine Corecig^ Katherine Drake Alison Hall Rachael Kirk Allan McLean Helen Tuckey CELLO Rod McGrath Louise McKay Chair partnered by Penrhos College Shigeru Komatsu Oliver McAslan Nicholas Metcalfe Fotis Skordas Tim South Jon Tooby^ Xiao Le Wu DOUBLE BASS Andrew Sinclair* Joan Wright Elizabeth Browning^ Christine Reitzenstein Louise Ross Andrew Tait Mark Tooby FLUTE Mary-Anne Blades Diane Riddell^ PICCOLO Michael Waye OBOE Peter Facer Elizabeth Chee Annabelle Badcock^ CLARINET Allan Meyer Lorna Cook BASS CLARINET Geoff Bourgault^ BASSOON Jane Kircher-Lindner Chair partnered by Sue & Ron Wooller Adam Mikulicz CONTRABASSOON Chloe Turner *Instruments used by these musicians are on loan from Janet Holmes à Court AC. HORN David Evans Sharn McIver Robert Gladstones Principal 3rd Julia Brooke Francesco Lo Surdo TRUMPET Brent Grapes Chair partnered by ConocoPhillips Evan Cromie Mark Bremner^ TROMBONE Joshua Davis Liam O Malley BASS TROMBONE Philip Holdsworth TUBA Chris Goff^ TIMPANI Alex Timcke PERCUSSION Troy Greatz A/Principal Richard Gleeson Joel Bass^ James Chong^ Robyn Gray^ Paul Tanner^ HARP Sarah Bowman Bronwyn Wallis^ PIANO Graeme Gilling^ Adam Pinto^ Principal Associate Principal Guest Musician^

13 13 Meet the Musician Jolanta Schenk Violin How and where did your musical journey begin? I actually have to thank my primary school music teacher for starting my musical career. I was around 7 years old and too shy to say much, but when it came to singing there was no stopping me. She advised my parents to send me to a proper music school where violin became my first subject, later I had to learn piano as well. Can you remember your first WASO concert? Unfortunately not my first concert but my beginnings with the WASO I remember very well. On my first visit to Australia in the early 1980s (on a concert tour with the Warsaw Philharmonic Orchestra) I found Perth incredibly charming and met some very nice people. The next year I took some leave from work and came back here on a one year contract. It was a great and exotic experience although the Orchestra was a different size and quality to what it is now. After a year I decided to stay longer in Australia but moved to Melbourne and the Melbourne Symphony Orchestra. What are your favourite orchestral works to perform or listen to? In my long years in Switzerland I learned to love operettas, so the Rhapsody in Blue concert that we played in March with Stefanie Irányi singing the best of Lehar, Kalman and Strauss arias, besides some Gershwin hits, made me quite emotional. Definitely the highlight of the season so far. My favourite composers are also Bach and Brahms. The clarity and richness of harmony in their music always deeply affect me. I can t wait for the Brahms Festival in August with Asher Fisch. Besides all the symphonies, my favourite will be the Violin Concerto and the two Piano Concertos. What other jobs could you see yourself doing if you were not a professional musician? Besides music, my favourite subjects at school were always languages, geography and human biology, it was difficult to decide which one to choose for further studies. In the end music won and I have no regrets.

14 14 WASO chorus Christopher van Tuinen Chorus Director Andrew Foote Vocal Coach Lea Hayward Accompanist SOPRANO Christine Allnut Valerie Bannan Lisa Barrett Marian Birtwistle Anna Börner Lucy Brennan-Jones Kathryn Buselich Alinta Carroll Clara Connor Cate Creedon Antonietta D Elia Ceridwen Dumergue Bronwyn Elliott Fay Farah Davina Farinola Joanna Fawcett Louise Gillett Kath Goodman Lesley Goodwin Pauline Handford Blanche Holzman Michelle John Ciara McCaughey Marie McKinnon Alicia Metusela Stephanie Parkinson Rochelle Rabel Erika Riecken Jane Royle Sarah Shneier Gosia Slawomirski Julie Summers Margo Warburton Rochelle Williams Nicole Zago ALTO Lisa Barz Janet Baxter Llewela Benn Daniela Birch Patsy Brown Amber Cason Imogen Castledine Sue Coleson Catherine Dunn Julie Durant Kaye Fairbairn Jenny Fay Susanna Fleck Dianne Graves Louise Hayes Victoria Hogg Serena Kay Gaylene Kelso Shew-lee Lee Kate Lewis Chrissie Mavrofridis Lyn Mills Margot Morgan Lynne Naylor Philomena Nulsen Deborah Pearson Deborah Piesse Shannon Reid Liz Rombawa Neb Ryland Louise Sutton Claire Taylor Olga Ward Moira Westmore Jacquie Wright TENOR John Beamish Peter Clay Allan Griffiths Peter Handford Chad Henderson John Milton John Murphy Jay Reso Rey Rombawa JR Chris Ryland Stephen Turley Malcolm Vernon Matthew Vukomovic Ted Yan BASS Justin Audcent Michael Berkeley-Hill Charlie Bond Allan Davies James Devenish Hubert Durand Ken Gasmier Stephen Hastings Brian Kent Tony King Benjamin Lee Justin Low Andrew Lynch Tony Marrion Benjamin Martis Grant O Neil Peter Ormond Jim Rhoads Steve Sherwood Robert Turnbull Mark Wiklund Andrew Wong WASO CHORUS Formed in 1988, the WASO Chorus brings together auditioned singers who volunteer their time and talents to perform under the WASO banner in a variety of programs and concert settings. Led by Chorus Director Christopher van Tuinen and Vocal Coach Andrew Foote, this passionate and enthusiastic group has performed with acclaimed conductors including Asher Fisch, Simone Young, Vladimir Ashkenazy and Richard Hickox. For more information on the Chorus and how to join, visit waso.com.au/about/chorus

15 15 Christopher van Tuinen Chorus Director Christopher graduated with a Bachelor of Music from the Victorian College of the Arts (VCA) in In 2005 he completed a Masters in Conducting at the VCA. Experienced in both vocal and instrumental music he was awarded the John Williams Conducting Scholarship for In 2006 he received a Green Room Award nomination in the Best Conductor category. During 2008 and 2009 he was a member of the Young Artists program as a Conductor with Opera Australia and in 2007 he was appointed as the inaugural Conducting Fellowship at the Australian Ballet. He has worked with WASO, Orchestra Victoria, Australian Opera & Ballet Orchestra and the Queensland Symphony Orchestra. In addition to his work as Chorus Director for WASO, Christopher is also Conductor of The University of Western Australia Choral Society, Musical Director of Fremantle Chamber Orchestra and Artistic Director of Lost and Found Opera. Andrew Foote Chorus Vocal Coach Helpmann Award-winner Andrew Foote is one of the most experienced singers and teachers of voice in Australia. For more than 30 years he has been a regular guest artist for Western Australian arts companies, a national broadcast artist for ABC Classic FM, a freelance opera principal artist performing throughout Australia with Opera Australia, OzOpera and West Australian Opera, a regular recitalist and oratorio soloist, and more recently as an opera director. In his professional concert and operatic career, Andrew has performed more than 30 operatic roles for professional companies throughout Australia - including his acclaimed Ned Keene in Peter Grimes for which he received a 2010 Helpmann Award. His soloist and concert repertoire, including recordings for ABC Classic FM, have consistently drawn superb accolades. After an 11 year break from teaching, Andrew Foote has been appointed Head of Voice at the University of Western Australia School of Music. He re-joins UWA with a renewed enthusiasm and commitment to educating the next generation in the art of concert repertoire and ensemble singing. Hale Young Voices Formed in May 2014 and selected from the thriving choral programme at Hale School, Hale Young Voices is an ensemble of 16 treble voices who love to sing and make music together. Noah Benzie-Drayton Mackenzie Brown Zachery Chan Oliver Freyne Luke Geha Tom Hemery Ben Johnson Kristian Jongeling Dylon Kitney Nicholas McArthur Peter McSkimming William Nixon Jeremy Pearson-Lemme Lachlan Ross Koert Van Der Laan Oscar Wright

16 16 WASO COMMUNITY SUPPORT Here s a snapshot of WASO s income sources in WASO is a not-for-profit organisation, deeply committed to its vision to touch souls and enrich lives through music. Support from our community is essential to WASO. Government funding and tickets sales are incredibly important, but the generous and ongoing support from our community enables WASO to continue to deepen its commitment to Western Australia and bring joy to many thousands of people, all over the state. Other Revenue (interest & income from investments) 3% WASO Income 2014 Philanthropy & Corporate support 20% Ticket Sales 28% Government Funding 49% We invite you to join us on the journey and make a donation today. All gifts over $2 are tax deductible. Together we can do amazing things. Aquinas College is a keynote partner of the West Australian Symphony Orchestra. This partnership is used to encourage boys in their pursuit of musical excellence. Aquinas College is a Catholic School for boys in the Edmund Rice tradition. Mt Henry Road, Salter Point, WA. Tel: development@aquinas.wa.edu.au To help your son succeed we teach an extra subject. The best he can be.

17 17 TIMELINE of composers & works GIUSEPPE VERDI Born in Le Roncole, Italy Died in Milan, Italy Verdi's The Force of Destiny: Overture 1862 OTTORINO RESPIGHI Born in Bologna, Italy Died in Rome, Italy CARL ORFF Born in Munich, Germany Died in Munich, Germany Respighi Ancient Airs and Dances: Suite No Orff's Carmina burana

18 18 ABOUT THE MUSIC Giuseppe Verdi ( ) The Force of Destiny: Overture La forza del destino, composed by Verdi in 1862, is based on a Spanish tragedy by the Duke of Rivas of the murder of the Marquis of Calatrava and the consequent deaths of the other principal characters in the play: his daughter, Leonora; his son, Don Carlo; and Leonora s lover, Don Alvaro. Calatrava is accidentally killed by Don Alvaro when he discovers that Leonora and her lover are about to elope. Don Carlo swears to avenge his father s death, and his pursuit of Don Alvaro finally ends in a duel in which Don Carlo is mortally wounded. Leonora appears from her nearby refuge and casts herself sobbingly upon her brother s body, but remembering his vow, he stabs her. Thus is a grim destiny fulfilled. The overture is based on themes which appear at various points in the opera. The brass peals out dramatically, leading to a restless melody that is used several times in the opera: first, when the father discovers the lovers and later when he meets his death. Next comes the poignant air of Alvaro s plea to Don Carlo (from the last act), and then the theme of Leonora s prayer to the Virgin for protection. Then follows another melody, taken from Leonora s thanks to God for being given sanctuary, after which the music becomes agitated, menacing and peaceful in turn, and builds to a dramatic conclusion. Symphony Australia La forza del destino opened at the Imperial Theatre in St Petersburg on 10 November Verdi composed the overture for a revised version of the opera which premiered at La Scala, Milan in February The West Australian Symphony Orchestra first performed the overture on 21 November 1954 under the direction of John Farnsworth Hall. WASO last performed this work on 27 March 2011 conducted by Paul Daniel. YOU MAY ALSO ENJOY WAGNER Lohengrin, Act I: Prelude featured in Asher Fisch Conducts Tchaikovsky Fri 4 & Sat 5 September Glossary Overture This term has two quite distinct meanings. It refers to an instrumental composition acting as an introduction to an opera or oratorio; it also refers to a stand-alone orchestral work with a descriptive title which the music illustrates in some way. These two genres are often referred to as the dramatic overture and the concert overture respectively.

19 19 Ottorino Respighi ( ) Ancient Airs and Dances Suite No.2 Laura soave Balletto con gagliarda, saltarello e canario Danza rustica Companae parisienses Aria Bergamasca Ottorino Respighi s influence on contemporary Italian music is often underestimated. Born at a time when opera had been the dominant musical force in Italy for several centuries, Respighi took an unusual interest in instrumental composition. The influence of studies in Russia with master orchestrator Rimsky- Korsakov can be found in any of Respighi s works, but perhaps most famously in his Roman trilogy of symphonic poems. Through his professional success and his teaching, he encouraged other Italian composers to look beyond the operatic stage and into the concert hall. Respighi had a deep love for the music of the past, finding inspiration in Gregorian chant and making numerous transcriptions of early works. His three sets of Ancient Airs and Dances are based on French and Italian lute music of the 16th and 17th centuries. Respighi has, with great taste and dexterity, transformed the elegance, delicacy and liveliness of late-renaissance/ early-baroque music into suites for modern small orchestra. The first piece is a balletto by Italian dance-master Fabrizio Caroso comprising the gagliarda, saltarello and canario dances. A lively vamp underpins the rustic dance of the second movement, by the Burgundian lutenist Jean-Baptiste Besard. The author of the opening theme of Companae parisienses (The Bells of Paris) is unknown, but the central Largo melody is attributed to Marin Mersenne, a 17thcentury Jesuit philosopher, mathematician and music theorist. The suite closes with a bergamasca, a dance which probably originated in Bergamo. This is the bestknown work by Bernardo Gianoncelli, one of the last Italian composers for lute. Symphony Australia The West Australian Symphony Orchestra s only previous complete performance of the second set of Respighi s Ancient Airs and Dances took place in June 2002 under conductor Vladimir Verbitsky. Glossary Symphonic poem Music which is inspired by and suggests a non-musical idea, such as a story or a particular scene. Frequently such a work has a descriptive title. Gregorian chant A type of plainchant, the traditional music of the Christian church, still performed in many monasteries and convents. It is unaccompanied singing of a unison melody with no sense of any regular rhythm or pattern of strong and weak beats.

20 20 ABOUT THE MUSIC Carl Orff ( ) Carmina burana Fortuna imperatrix mundi (Fortune, Empress of the World) Part I Primo vere (In Springtime) Auf dem anger (On the Meadow) Part II In taberna (In the Tavern) Part III Cour d amours (The Court of Love) Blanziflor et Helena (Blanziflor and Helena) Fortuna imperatrix mundi In 1803 a large collection of medieval poetry was discovered in the abbey of Benediktbeuern in Bavaria. Its 320 poems, written on parchment and illustrated with illuminated capital letters, represent an anthology of styles and languages including medieval Latin, Old French and Middle High German. It seems that the collection was compiled for the Bishop of Seckau in 13th-century Austria. The Bishop must have been quite worldly as the collection includes songs of springtime and love as well as drinking songs. In the mid- 1930s the collection came to the attention of Carl Orff who later remarked: Fortune smiled on me when she put into my hands a Würzburg second-hand books catalogue, in which I found a title that exercised on me an attraction of magical force: Carmina burana: Latin and German songs and poems of a 13th-century manuscript from Benediktbeuern, edited by J.A. Schmeller. Orff spoke more truly than he knew: certainly Carmina burana (Songs of Beuern) would make his fortune, at least artistically. But its success put much of his subsequent achievement in the shade. Orff was born in 1895 into a military family with intellectual and artistic interests and studied music from an early age including, significantly, research into non-european music. His early opera Gisei, for instance, is based on Japanese Nōh drama. In 1917 he enlisted in the German army, but was wounded and invalided out. The 1920s saw the gradual development of the music-education theories for which, apart from Carmina burana, he is best remembered today. Orff s own compositions during the 1920s show an increasing interest in the use of percussion often with piano (influenced partly by Stravinsky s Les Noces), harmony which is essentially diatonic but avoids the goal-directed feel of traditional tonal music, and rhythm characterised by the Stravinsky-like use of repeated figurations. These musical techniques reached their first realisation in 1931 s Carmina Catulli, settings of one of the great Roman poets. Carmina burana followed a few years later, and was first performed in Frankfurt in 1937.

21 was of course a time when Hitler and the Nazis were doing their utmost to win the hearts and minds of Germany. Carmina burana comes perilously close to the kind of music favoured by the regime; the cheerfully hedonistic poetry ( I am the Abbot of Cockaigne ) similarly reflects the growing anti-clericalism in 1930s Germany. For this reason we need to take with a grain of salt Orff s assertion that the work never got a good review in Nazi Germany. Generally critics praised the work in language redolent of much Nazi propaganda, noting its radiant strengthfilled life-joy. Wherever it has been performed, Carmina burana retains its ability to evoke what Alex Ross calls primitive, unreflective enthusiasm. And that s partly because of the texts. Orff described reading the collection: On opening it I immediately found, on the front page, the long-famous picture of Fortune and her wheel and under it the lines O fortuna/velut luna/statu variabilis Picture and words seized hold of me a new work, a stage work with singing and dancing choruses, simply following the illustrations and texts, at once came into my mind. The O Fortuna chorus bookends the whole work with its mighty choral and orchestral forces and implacable rhythms. The body of the work, which uses 23 of the published poems, is divided into three main sections. The first, Springtime and On the Meadow, uses the conventional genres of pastoral poetry: spring returns, the sun warms the earth, forests awaken, and a young person s thoughts turn to love. But not before a brief spell In the Tavern, a maledominated environment in which Orff creates a number of memorable characters. None more so, if only musically, than the Roasting Swan, a high tenor whose lament is for the loss of his whiteness as much as for his imminent consumption. Finally The Court of Love takes up the erotic threads of Spring, contrasting delicacy and robust humour before the soaring soprano solo of Dulcissime and ecstatic chorus to Blanziflor and Helena. The ecstasy will, of course, be swept away by Fate, so the music returns to O Fortuna. As Michael Steinberg has noted, one wouldn t guess from the music that the last line of the poetry is mecum omnes plangite (come, weep with me). Gordon Kerry 2006 Originally designed for the stage, Carmina burana was first performed by the Frankfurt Opera under the direction of Bertil Wetzelsberger on 8 June The West Australian Symphony Orchestra first performed it in October 1968 under Frank Callaway. WASO last performed this work on 30 April 2011 conducted by Giancarlo Guerrero. YOU MAY ALSO ENJOY FAURE Requiem featured in Simone Young Conducts Fauré s Requiem Fri 7 & Sat 8 August Glossary Diatonic Music which conforms to a key, without discordant notes. Tonal music A harmonic system which developed in the late 17th century and was the basis of all music of the Classical period. It is based on the concept of a tonic chord, to which the other chords of the scale are related, some very closely, so that they seem to lead directly back to the tonic, others more distantly. A piece of Classical music can be understood as a journey away from the tonic chord, creating a sense of tension, and then back to it, releasing that harmonic tension.

22 22 Translations FORTUNA IMPERATRIX MUNDI 1. Chorus O Fortuna, velut Luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem. Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris. Sors salutis et virtutis michi nunc contraria, est affectus et defectus semper in angaria. Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite! FORTUNE, EMPRESS OF THE WORLD O Fortune, changeable as the moon, you are always either waxing or waning. Detestable life at one moment thwarts and at another mockingly indulges the mind s desire, melting away both poverty and power, like ice. Vain, monstrous Fate, you turning wheel, you can, when you will, destroy bad circumstances and delusive success alike. Veiled and shadowy, you attack me too; now at your whim I bare my back under your assault. You, Fate, who dispose health and strength, are now against me; my desires and my weakness are in constant slavery. At this hour without delay let all pluck the string; since Fate crushes the strong man everyone weep with me!

23 23 2. Chorus Fortune plango vulnera stillantibus ocellis, quod sua michi munera subtrahit rebellis. Verum est, quod legitur fronte capillata, sed plerumque sequitur Occasio calvata. In Fortune solio sederam elatus, prosperitatis vario flore coronatus; Quicquid enim florui felix et beatus, nunc a summo corrui gloria privatus. Fortune rota volvitur: descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice caveat ruinam! nam sub axe legimus Hecubam reginam. PRIMO VERE 3. Semichorus Veris leta facies mundo propinatur, hiemalis acies victa iam fugatur, in vestitu vario Phebus principatur, nemorum dulcisono que cantu celebratur. Flore fusus gremio Phebus novo more risum dat, hoc vario iam stipata flore. Zephyrus nectareo spirans in odore; certatim pro bravio curramus in amore. I lament Fortune s blows with weeping eyes, for she aggressively extorts tribute from me; sometimes she offers a rich harvest, but usually she provides a lean supply. Once I sat high up on Fortune s throne, garlanded with all the blooms of prosperity; indeed I was in the bloom of blessed happiness, but now I have tumbled from my eminence, robbed of my glory. Fortune s wheel turns: I am cut down and fall; another is raised to the heights; the king sits at the peak, too much exalted let him beware of ruin, for under the axle we read the name of Queen Hecuba. SPRINGTIME The smiling face of spring is granted to the world, keen winter is now defeated and chased away. Phoebus reigns in colourful robes, honoured in the sweet-sounding song of the woods. Lying once more in Flora s lap, Phoebus laughs; surrounded by many-coloured flowers Zephyrus breathes the fragrance of their nectar; let us hasten to love and compete for its price.

24 24 Cytharizat cantico dulcis Philomena, flore rident vario prata iam serena, salit cetus avium silve per amena, chorus promit virginum iam gaudia millena. 4. Baritone solo Omnia sol temperat purus et subtilis, nova mundo reserat facies Aprilis, ad Amorem properat animus herilis, et iocundis imperat deus puerilis. Rerum tanta novitas in solemni vere et veris auctoritas iubet nos gaudere, vias prebet solitas, et in tuo vere fides est et probitas tuum retinere. Ama me fideliter! fidem meam nota: de corde totaliter et ex mente tota sum presentialiter absens in remota, quisquis amat taliter, volvitur in rota. 5. Chorus Ecce gratum et optatum Ver reducit gaudia; purpuratum floret pratum, Sol serenat omnia. Iamiam cedant tristia! Estas redit, nunc recedit Hyemis sevitia. The sweet nightingale strikes up her song, the radiant meadows smile with many-coloured flowers, the birds dart about the pleasant woods, the chorus of dancing maidens now brings delights in thousands. The bright, keen sun tempers everything; returning April discloses her face to the world; men s hearts hasten to love, and the boyish god rules over the amiable. This great renewal and the power of festive spring bid us rejoice; spring brings back the well-known ways, and in spring it is good and loyal to hold fast to your lover. Love me faithfully, see the faithfulness of my whole heart and my whole mind. I am with you even when I am far away. Whoever loves like that is tortured on the wheel. Behold, welcome and longed-for spring brings delight back, the meadows glow with rich flowers, the sun makes all things bright. Now sorrow flees! Summer returns, and harsh winter withdraws.

25 25 Iam liquescit et decrescit grando nix et cetera; bruma fugit, et iam sugit Ver Estatis ubera; illi mens est misera qui nec vivit, nec lascivit sub Estatis dextera. Gloriantur et letantur in melle dulcedinis. Qui conantur, ut utantur premio Cupidinis; simus iussu Cypridis gloriantes et letantes pares esse Paridis. UF DEM ANGER 6. Dance (Orchestra) 7. Chorus Floret silva nobilis, floribus et foliis. Ubi est antiquus meus amicus? Hinc equitavit, eia, quis me amabit? Floret silva undique, nah mime gesellen ist mir wê. Gruonet der walt allenthalben, wâ ist min geselle alse lange? Der ist geriten hinnen, o wî, wer sol mich minnen? 8. Soprano solo and chorus Chramer, gip die varwe mir, die min wengel roete, da mit ich die jungen man an ir dank der minnenliebe noete. Seht mich an, jungen man! lat mich iu gevallen. Now hail, snow, and the rest melt away; winter flees, and now spring sucks the breast of summer; sad is the heart of him who neither enjoys life nor frolics under the hand of summer. Those who seek to take advantage of Cupid s prize glory and rejoice in the honey of sweetness; let us, at the command of Cyprian Venus, glory and rejoice to be the equals of Paris. ON THE MEADOW The noble forest blooms with flowers and leaves. Where is he who was my lover? He has ridden away. Alas, who will love me? Everywhere the forest blooms, I am longing for my lover. The wood is green all over, where is my lover this long time? He has ridden away. Alas, who will love me? Hawker, give me the rouge to make my cheeks red, so that I can invite the young men to welcome love. Look at me, young men! Let me please you!

26 26 Minnet, tugentliche man, minnecliche frouwen! minne tuot iu hoch gemuot unde lat iuch in hohen eren schouwen. Seht mich an Wol dir, Werlt, daz du bist also freudenriche! ich will dir sin undertan durch din liebe immer sicherliche. Seht mich an 9a. Reie [Round Dance] (Orchestra) 9b. Chorus Swaz hie gat umbe, daz sint allez megede, die wellent an man alle disen sumer gan! 9c. Semichorus Chume, chum, geselle min, ih enbite harte din. Suzer rosenvarwer munt, chum uñ mache mich gesunt. Swaz hie gat umbe 10. Chorus Were diu werlt alle min von deme mere unze an den Rin, des wolt ih mih darben, daz diu chünegin von Engellant lege an minen armen. Hei! IN TABERNA 11. Baritone solo Estuans interius ira vehementi in amaritudine loquor mee menti: factus de materia, cinis elementi, similis sum folio, de quo ludunt venti. Gallant men, love lovely women! Love puts you in high spirits and does you great credit. Look at me Hail, world, so rich in joys! I will always be subject to you through love of you. Look at me Here, all in a circle, are maidens who are all after a man this summer. Come, come, my love, I implore you. Sweet rosy mouth, come and make me whole. Here, all in a circle If all the world were mine from the sea to the Rhine, I would give it up to have the Queen of England lying in my arms. Hey! IN THE TAVERN Boiling inside with violent rage, I talk bitterly to myself; made of matter, ash of the elements, I am like a leaf that the winds play with.

27 27 Cum sit enim proprium viro sapienti supra petram ponere sedem fundamenti, stultus ego comparor fluvio labenti, sub eodem tramite nunquam permanenti. Feror ego veluti sine nauta navis, ut per vias aeris vaga fertur avis, non me tenent vincula, non me tenet clavis, quero mihi similes et adiungor pravis. Mihi cordis gravitas res videtur gravis; iocus est amabilis dulciorque favis; quicquid Venus imperat, labor est suavis, que nunquam in cordibus habitat ignavis. Via lata gradior more iuventutis, implicor et vitiis immemor virtutis, voluptatis avidus magis quam salutis, mortuus in anima curam gero cutis. 12. Tenor solo and male chorus Olim lacus colueram, olim pulcher extiteram, dum cignus ego fueram. Miser, miser! modo niger et ustus fortiter! Girat, regirat garcifer; me rogus urit fortiter; propinat me nunc dapifer. Miser, miser For, while it is the mark of the wise man to build his foundation on rock, I, a fool, am like a gliding river, which never keeps to the same course. I am carried along like a ship without a helmsman, as a bird is carried aimlessly through the ways of the air; No fetters hold me, no key holds me; I seek others like myself, and I join up with the wicked. Heaviness of heart Seems to me a grievous thing; merriment is delightful and sweeter than honeycombs; whatever Venus commands is sweet labour, and never dwells in spiritless hearts. I travel the broad path In manner of youth, I am entangled in vice And forgetful of virtue. Greedier for pleasure Than for welfare, Dead in soul, I look after my body. Once I lived in the lakes, once I was beautiful, when I was a swan. Woe, woe is me! Now I am black and roasted through! The cook turns me about on the spit; the fire roasts me through; now the waiter prepares me. Woe, woe is me

28 28 Nunc in scutella iaceo et volitare nequeo, dentes frendentes video: Miser, miser 13. Baritone solo and male chorus Ego sum abbas Cucaniensis, et consilium meum est cum bibulis, et in secta Decii voluntas mea est et qui mane me quesierit in taberna, post vesperam nudus egredietur, et sic denudatus veste clamabit: Wafna, wafna! quid fecisti sors turpissima? Nostre vite gaudia abstulisti omnia! 14. Male chorus In taberna quando sumus, non curamus quid sit humus, sed ad ludum properamus, cui semper insudamus. Quid agatur in taberna, ubi nummus est pincerna, hoc est opus ut queratur, si quid loquar, audiatur. Quidam ludunt, quidam bibunt, quidam indiscrete vivunt. Sed in ludo qui morantur, ex his quidam denudantur, quidam ibi vestiuntur, quidam saccis induuntur. Ibi nullus timet mortem sed pro Baccho mittunt sortem. Primo pro nummata vini, ex hac bibunt libertini; semel bibunt pro captivis post hec bibunt ter pro vivis, quater pro Christianis cunctis, quinquies pro fidelibus defunctis, sexies pro sororibus vanis, septies pro militibus silvanis. Now I lie on the salver, and I cannot fly; I see gnashing teeth that would masticate me. Woe, woe is me I am the Abbot of Cockaigne, and my associates are drinkers, and my adherence is to the sect of Decius, and whoever meets me in the tavern over dice in the morning will go out naked by the end of the evening, and stripped of his clothes will cry: Wafna, wafna! what have you done, evil fate? You have stolen away all the joys of my life! When we are in the tavern we take no thought for the grave, but rush to the gaming-tables, over which we always sweat. If you want to know what happens in the tavern, where it is money that brings the wine, then listen to what I say. Some gamble, some drink, some just let themselves go. Of those who spend their time gambling, some lose their clothes, others gain them, others put on sackcloth. There no one fears death: they throw the dice for Bacchus. First they throw for the wine bill, from which the libertines drink. Once more they drink to prisoners, then three times to the living, four times for all Christians, five times for the faithful departed, six times for the boastful sisters, seven times for forest soldiers.

29 29 Octies pro fratribus perversis, nonies pro monachis dispersis, decies pro navigantibus, undecies pro discortantibus, duodecies pro penitentibus, tredecies pro iter agentibus. Tam pro papa quam pro rege bibunt omnes sine lege. Bibit hera, bibit herus, Bibit miles, bibit clerus, bibit ille, bibit illa, bibit servus cum ancilla, bibit velox, bibit piger, bibit albus, bibit niger, bibit constans, bibit vagus, bibit rudis, bibit magus. Bibit pauper et egrotus, bibit exul et ignotus, bibit puer, bibit canus, bibit presul et decanus, bibit soror, bibit frater, bibit anus, bibit mater, bibit iste, bibit ille, bibunt centum, bibunt mille. Parum sexcente nummate durant, cum immoderate bibunt omnes sine meta, quamvis bibant mente leta; sic nos rodunt omnes gentes, et sic erimus egentes. Qui nos rodunt confundantur et cum iustis non scribantur. Io io! COUR D AMOURS 15. Soprano solo and children s chorus Amor volat undique; captus est libidine. Iuvenes, iuvencule coniunguntur merito. Eight times for sinful brothers, nine times for scattered monks, ten times for the seafaring, eleven times for the quarrelling, twelve times for the penitent, thirteen times for travellers. They all drink without restraint for the Pope just as for the King. The mistress drinks, the master drinks, the soldier drinks, the cleric drinks, this man drinks, that woman drinks, the servant drinks with the maid, the active man drinks, the lazy man drinks the white man drinks, the black man drinks, the settled man drinks, the wanderer drinks, the ignorant man drinks, the scholar drinks. The poor man and the sick man drink, the unknown man and the exile drink, the boy drinks, the old man drinks, the leader and the deacon drink, the sister drinks, the brother drinks, the old woman drinks, the mother drinks, this woman drinks, that man drinks, hundreds drink, thousands drink. Six hundred coins do not last long enough, where all drink without limit of restraint, though they may drink with happy hearts; thus everyone disparages us, and thus we shall be destitute. Let those who disparage us be confounded, and their names be not inscribed with those of the just. Io io! THE COURT OF LOVE Love flies everywhere, seized by desire. Young men and girls are rightly joined together.

30 30 Siqua sine socio, caret omni gaudio, tenet noctis infima sub intimo cordis in custodia: fit res amarissima. 16. Baritone solo Dies, nox et omnia michi sunt contraria, virginum colloquia me fay planszer, oy suvenz suspirer, plu me fay temer. O sodales, ludite, vos qui scitis dicite, michi mesto parcite, grand ey dolur, attamen consulite per voster honur. Tua pulchra facies me fay planszer milies, pectus habet glacies a remender, statim vivus fierem per un baser. 17. Soprano solo Stetit puella rufa tunica: si quis eam tetigit, tunica crepuit. Eia. Stetit puella tamquam rosula; facie splenduit, os eius floruit. Eia. 18. Baritone solo and chorus Circa mea pectora multa sunt suspiria de tua pulchritudine, que me ledunt misere. Manda liet, manda liet, min geselle chumet niet! A girl without a man lacks all delight; deepest night holds her inmost heart enchained: such a thing is indeed bitter. Day, night, and all things are against me, and the sound of girls voices makes me weep, and, alas, makes me often sigh, and even makes me fear. O friends, amuse yourselves; you who know, speak on. spare me in my grief; great is my sorrow. But yet reflect, by your honour. Your lovely face and my heart make me weep a thousand tears; I should be cured and brought to life again by one kiss. There stood a girl in a red tunic; if anyone touched the tunic it rustled. Eia. There stood a girl like a little rose; her face was radiant, and her mouth bloomed. Eia. My heart is filled with many sighs which give me grievous pain because of your beauty. Manda liet, manda liet, my love does not come.

31 31 Tui lucent oculi sicut solis radii, sicut splendor fulguris lucem donat tenebris. Manda liet Vellet deus, vellent dii, quod mente proposui: ut eius virginea reserassem vincula. Manda liet 19. Male semichorus Si puer cum puellula moraretur in cellula, felix coniunctio. Amore suscrescente, pariter e medio avulso procul tedio, fit ludus ineffabilis membris, lacertis, labiis. 20. Double chorus Veni, veni, veni venias, ne me mori facias, hyrca, hyrce, nazaza, trillirivos Pulchra tibi facies, oculorum acies, capillorum series, o quam clara species! Rosa rubicundior, lilio candidior, omnibus formosior, semper in te glorior! 21. Soprano solo In trutina mentis dubia fluctuant contraria lascivus amor et pudicitia. Sed eligo quod video, collum iugo prebeo; ad iugum tamen suave transeo. Your eyes shine like rays of the sun, as the brilliance of lightning gives light to the dark night. Manda liet May the gods approve my resolve to undo the bonds of her virginity. Manda liet If a boy is with a young girl in a little room, that is a happy union. Love wells up as restraint is banished far from them, and inexpressible pleasure comes over their limbs, their arms, their lips. Come, come, come, do not make me die, hyrca, hyrce, nazaza, trillirivos Your beautiful face, the look of your eyes, the braids of your hair, o how glorious you look! Redder than the rose, whiter than the lily, more beautiful than all the rest, I glory in you unceasingly! Opposite courses hang in the balance of my wavering mind; wanton love and chastity. But I choose what I see and bend my neck to the yoke to the sweet yoke I submit.

32 Soprano and Baritone solos Chorus and Children s chorus Tempus est iocundum o virgines, modo congaudete vos iuvenes. Oh, oh, oh, totus floreo! Iam amore virginali totus ardeo, novus amor est quo pereo! Mea me confortat promissio, mea me deportat negatio. Oh, oh, oh Tempore brumali vir patiens, animo vernali lasciviens. Oh, oh, oh Mea mecum ludit virginitas, mea me detrudit simplicitas. Oh, oh, oh Veni, domicella, cum gaudio, veni, veni, pulchra iam pereo. Oh, oh, oh 23. Soprano solo Dulcissime, ah, totam tibi subdo me! BLANZIFLOR ET HELENA 24. Chorus Ave formosissima gemma pretiosa, ave decus virginum, virgo gloriosa, ave mundi luminar, The season is pleasant, o maidens; rejoice together, you young men. O, o, o, I bloom all over with love for a maiden; it is a new, new love that I die of. Complying soothes me, refusing casts me down. O, o, o, I bloom all over In winter time a man is passive, the breath of spring arouses his desires. O, o, o, I bloom all over My virginity teases me, my innocence defeats me. O, o, o, I bloom all over, etc. Come with joy, my mistress, come, come, my beautiful one, for I am dying. O, o, o, I bloom all over Sweetest boy, I give myself to you utterly. BLANZIFLOR AND HELENA Hail, most beautiful one, precious jewel; hail, pride of maidens, glorious maiden; hail, light of the world;

33 33 ave mundi rosa, Blanziflor et Helena, Venus generosa! FORTUNA IMPERATRIX MUNDI 25. Chorus O Fortuna, velut Luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem. Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris. Sors salutis et virtutis michi nunc contraria, est affectus et defectus semper in angaria. Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite! hail, rose of the world, Blanziflor and Helena, noble Venus. FORTUNE, EMPRESS OF THE WORLD O Fortune, changeable as the moon, you are always either waxing or waning. Detestable life at one moment thwarts and at another mockingly indulges the mind s desire, melting away both poverty and power, like ice. Vain, monstrous Fate, you turning wheel, you can, when you will, destroy bad circumstances and delusive success alike. Veiled and shadowy, you attack me too; now at your whim I bare my back under your assault. You, Fate, who dispose health and strength, are now against me; my desires and my weakness are in constant slavery. At this hour without delay let all pluck the string; since Fate crushes the strong man everyone weep with me!

34 34 MEET THE INSTRUMENT THE BASSOON A member of the double reed family of woodwind instruments, the bassoon is built in four joints, and exists in two versions: the German or Heckel system, and the French or Buffet system, with differences in the construction of the bore and keys. When played, the bassoon is held diagonally across the body, and must be supported by a neck strap or harness due to its considerable weight. The early history of the bassoon is obscure, but the dulcian is generally considered to be its precursor, and was used in Renaissance and Baroque music until its eventual abandonment by the beginning of the 18th century. The 19th-century German performer, teacher and composer Carl Almenraeder improved the design of the bassoon to enhance its intonation and response as well as expand its range to four octaves. The bassoon is an agile instrument, and those who play it employ a variety of techniques to highlight its capabilities. It is capable of a dry staccato that is used as a form of musical humour, while its upper register produces a reedy, plaintive sound. New techniques that developed in the 20th century include pitch-bending (adjusting the embouchure to slide up or down to a nearby note) and flutter tonguing (rapidly rolling the tip of the tongue to produce a growling effect). Early works for the bassoon include 39 concertos written by Vivaldi, outnumbering those he wrote for any other instrument except the violin. Other pieces that feature the bassoon include Tchaikovsky s Symphony No.4, Prokofiev s Peter and the Wolf, Dukas The Sorcerer s Apprentice, and the opening passage of Stravinsky s The Rite of Spring, which exploits the eerie quality of its upper register. Symphony Services International The pitch range of the bassoon: Bell 2. Crook 3. Double reed 3

35 35 WASO Philanthropy Philanthropy Partner June is our inaugural WASO Community Support Month What does this mean? It means that for the month of June we celebrate and invite you to be a part of our deep connection to the community of Western Australia. Many not-for-profit organisations use a day, a week, a ribbon or an event to build awareness and raise funds for what they do in the community. WASO Community Support Month is our way of highlighting what we do in the community and why we need you to join us on the journey. Wouldn t it be wonderful if we had 1,500 donors by the end of June? We invite you to join the 1,000-strong community of Patrons and Friends by supporting your Orchestra with a gift. WASO is a not-for-profit organisation and community donations are essential in enabling WASO to produce beautiful music for thousands of Western Australians at Perth Concert Hall, in schools, hospitals and in regional communities across the state. All donations over $2 are tax deductible and your gift will be tax deductible this financial year if it reaches us by 30 June. Join us on the journey Many people choose to support an organisation they love, or believe in, through a gift. WASO is fortunate to have a community of Patrons and Friends who support what we do in this way. This community support is now a vital income stream for WASO, says Craig Whitehead, WASO Chief Executive. We invest deeply in our community and we can do this because we have the support of our Patrons and Friends, who understand the power of music and its impact on our lives. Need more information or want to join our community? Join us on the journey today by making a donation at one of the WASO Community Support Month desks, or by completing the donation form in your concert program. You can also contact Jane Clare on or clarej@waso.com.au or visit waso.com.au to learn more.

36 36 Our Supporters Philanthropic partnerships come in all shapes and sizes Whatever the shape or size, you are helping WASO make a difference and we thank you for your support. WASO s philanthropy program continues to grow, supporting our vision now and into the future. It is an exciting time be a part of this community, to meet our musicians and to know you have helped your Orchestra to touch souls and enrich lives through music. Together we can do amazing things. Symphony Circle Recognising Patrons who have made a provision in their Will to the Orchestra Mr John Bonny Dr G Campbell-Evans Anita & James Clayton Judith Gedero Wolfgang Lehmkuhl Tosi Nottage in memory of Edgar Nottage Nigel & Dr Heather Rogers Judy Sienkiewicz Sheila Wileman Anonymous (16) Estates WASO is extremely grateful for bequests received from Estates Mrs Roslyn Warrick Rachel Mabel Chapman Endowment Fund for the Orchestra This fund includes major donations and bequests Tom & Jean Arkley Janet Holmes à Court AC Sagitte Yom-Tov Fund Excellence Circle Supporting excellence across all we do Jean Arkley Bob & Gay Branchi Janet Holmes à Court AC Torsten and Mona Ketelsen Andrew Marsden The WASO Song Book We are grateful to those who have supported new works commissioned for the Orchestra by WASO Janet Holmes à Court AC Peter Dawson Geoff Stearn Anonymous (2) Reach Out Supporting our Education & Community Engagement programs Jean Arkley Prue Ashurst Creative Partnerships Australia Ron & Penny Crittall Ken Evans Feilman Family Foundation The James Galvin Foundation Robyn Glindemann Ken Johnson Barrie & Jude Lepley Mathie Family McCusker Charitable Foundation Minderoo Foundation Mrs Morrell Joan Reyland John & Alison Rigg Simon Lee Foundation The Stan Perron Charitable Foundation Trish Williams - Stragegic Interactions Anonymous (1) If you are interested in becoming a Patron or learning more about WASO Philanthropy please contact Jane Clare, Fundraising and Philanthropy Manager, on or clarej@waso.com.au. WASO Philanthropy brochures are available from the WASO Programs & Information Desk located in the main foyer of Perth Concert Hall, or you can visit waso.com.au. All donations over $2 are fully tax deductible.

37 37 Our Supporters Annual Giving We are proud to acknowledge the following Patrons for their generous contribution to WASO in the last twelve months through our Annual Giving program. Principal Conductor s Circle Gifts $20,000+ Janet Holmes à Court AC Brian & Nancy Murphy Patricia New Impresario Patron Gifts $10,000 - $19,999 Gay & Bob Branchi Tony & Gwenyth Lennon Margaret & Rod Marston Joshua & Pamela Pitt Maestro Patron Gifts $5,000 - $9,999 Jean Arkley in memory of Tom Arkley Bill Bloking Gavin Bunning Ian & Elizabeth Constable Moira & John Dobson Bridget Faye AM Gilbert George & Associates Dr Patricia Kailis Keith & Gaye Kessell Dr Ronny Low & Dr Emma Richards Bryant Macfie Robert May Jill Mulheron Paula & John Phillips Spinifex Trust Peter & Jean Stokes Richard Tarala & Lyn Beazley AO Trish Williams Strategic Interactions Sue & Ron Wooller Anonymous (5) Virtuoso Patron Gifts $2,500 - $4,999 Prof Fred & Mrs Margaret Affleck Neil Archibald & Alan R Dodge AM Peter & Marjorie Bird Alan & Anne Blanckensee Sally Burton Don Conroy Mark Coughlan & Dr Pei-Yin Hsu Stephen Davis & Linda Savage Tim & Lexie Elliott Robyn Glindemann Jacoba Hohnen & Ted Samson Sylvia & Wally Hyams Michael & Dale Kitney Mrs Morrell Jane & Jock Morrison Anne Nolan Ms Elizabeth Sachse & Dr Lance Risbey Dr R & J Schwenger Judy Sienkiewicz Ros Thomson M & H Tuite Joyce Westrip OAM Alan Whitham Andrew & Marie Yuncken Anonymous (1) Principal Patron Gifts $ $2,499 Ron & Sue Adams John Albright & Susan Lorimer Margaret Atkins Tony & Mary Beeley Suzanne & David Biddles Kevin Blake Matthew J C Blampey Namy Bodinner Mr John Bonny Mrs Debbie Borshoff Jean Brodie-Hall AM Marilyn & Ian Burton Dr G Campbell-Evans Prof Jonathan Carapetis & Prof Sue Skull Peter & Sue Clifton Helen Cook Arthur & Nerina Coopes Hon June Craig AM Gay & John Cruickshank Norman & Denia Daffen Lesley & Peter Davies Russell & Susan Dixon Margaret Dobson Julian Dowse Bev East Lorraine Ellard Richard Farago Don & Marie Forrest Dr Andrew Gardner George Gavranic Roger & Ann Gillbanks Graham & Barbara Goulden Jannette Gray Sandra Gray

38 38 Our Supporters Deidre Greenfeld David & Valerie Gulland Brian & Romola Haggerty Richard B Hammond Pauline & Peter Handford Michael Harding Michael & Liz Hollingdale John & Katrina Hopkins Sue Hovell Jim & Freda Irenic Lilian & Roger Jennings Anthony Kane & Jane Leahy-Kane Bill Kean Anthony & Noelle Keller Dorothy Kingston Nelly Kleyn Stephanie & John Kobelke Ulrich & Gloria Kunzmann Louis & Miriam Landau Irving Lane Paul Lee Rosalind Lilley Graham & Muriel Mahony Gregg & Sue Marshman Mervyn Matthews Jennifer & Arthur McComb Betty & Con Michael AO Vicki Mizen Hon Justice S R Moncrieff S B Monger-Hay Valmae & Geoff Morris Lynn Murray Val & Barry Neubecker Dr Phillip & Mrs Erlene Noble John Overton The Family of Hilary Owens Ron & Philippa Packer Michael & Lesley Page Athena Paton Tim Pavy & Cathy Cole Alan Pedersen in memory of Hilary Owens Charmian Phillips in memory of Colin Craft Pamela Platt Andrew & Suzanne Poli Thomas & Diana Potter Alison & John Price Barry & Dot Price Dr Leon Prindiville Chester Reeve Joan Reyland John & Alison Rigg Nigel & Dr Heather Rogers Maurice & Gerry Rousset Roger Sandercock Margaret & Roger Seares Melanie & Paul Shannon Eve Shannon-Cullity Julian & Noreen Sher Laurel & Ross Smith Dr Paul Smith & Denham Harry Michael Snell & Vicki Stewart Gail & Tony Sutherland Anna Sweetingham Lisa & Andrew Telford The Ambient Foundation Ruth Thomas Gene Tilbrook Mary Townsend James & Rosemary Trotter Dr Robert Turnbull Maggie Venerys Stan & Valerie Vicich Watering Concepts Ian Watson Ann Whyntie Jean & Ian Williams AO Jim & Gill Williams Judith Wilton & David Turner Hilary & Peter Winterton AM Anonymous (27) Tutti Patron Gifts $500 - $999 Geoff & Joan Airey Catherine Bagster Merle I Bardwell Bernard & Jackie Barnwell Shirley Barraclough Berwine Barrett-Lennard Colin Beckett P M Bennet Michael & Nadia Berkeley-Hill John & Sue Bird in memory of Penny Bird Dermot & Jennifer Blackweir Elaine Bonds Diane & Ron Bowyer Dr & Mrs P Breidahl Elizabeth & James Brown Ann Butcher & Dean R Kubank Michelle Candy Nanette Carnachan Claire Chambers & Dr Andrea Shoebridge Dr Anne Chester Lyn & Harvey Coates AO Agatha & Alex Cohen AO Brian Cresswell Gina & Neil Davidson Frances Davies Jop & Hanneke Delfos Rai & Erika Dolinschek Mrs G Ewen Farghaly Family Annette Finn Jim & Pamela Flaherty Joan Gagliardi Pat Gallaher Elaine Gimson Isobel Glencross Jacqui Grove Douglas M & Regina Hansen Alan Harvey & Dr Paulien de Boer Richard Hatch Dr Penny Herbert in memory of Dunstan Herbert Helen Hollingshead Mr John Hylton-Davies JP, VJ Peter Ingram Cynthia Jee

39 39 Peter S Jones B M Kent In memory of Dr Brenton Knott Trevor & Ane Marie Lacy Meg Lewis Teresa & Jemima Loveland Megan Lowe Mary Ellen in memory of Kerensa Mrs Carolyn Milton-Smith in loving memory of Emeritus Prof John Milton-Smith Dr Peter Moss Marianne Nilsson Marjan Oxley Graham & Hildegarde Pennefather Bev Penny Adrian & Ruth Phelps Richard & Alpha Pilpel OAM Sheila Pinch Ann Rawlinson Clarissa Repton James & Nicola Ridsdill-Smith Leigh Robinson Chris & Serge Rtshiladze Judith E Shaw The Sherwood Family Hendrik Smit Louise Sparrow & Family Peggy & Tom Stacy Ruth E Thorn Dr Julian Todres Patrcia Turner S R Vogt Adrienne & Max Walters Diana Warnock Anne Watson Joy Wearne Dr Chris & Mrs Vimala Whitaker Violette William Janet Williams Patricia Wong Anonymous (21) Friends Gifts $40 - $499 Thank you to all our Friends who support WASO through their gift. Visit us at 543 Miamup Road, Cowaramup Open 10am 5pm daily Ph:

40 40 West Australian Symphony Orchestra CONDUCTOR LAUREATE Vladimir Verbitsky Principal Conductor Asher Fisch Partnered by Wesfarmers Arts ASSISTANT CONDUCTOR Christopher Dragon CHORUS DIRECTOR Christopher van Tuinen CHORUS VOCAL COACH Andrew Foote VIOLIN Graeme Norris Associate Concertmaster Semra Lee-Smith Assistant Concertmaster Zak Rowntree Principal 2nd Violin Kylie Liang Assistant Principal 2nd Violin Akiko Miyazawa Assoc Principal 2nd Violin Sarah Blackman Fleur Challen Shaun Lee-Chen* Stephanie Dean Rebecca Glorie Beth Hebert Anna O Hagan Melanie Pearn Ken Peeler Graham Pyatt Louise Sandercock Jolanta Schenk Jane Serrangeli Ellie Shalley Jacek Slawomirski Bao Di Tang Cerys Tooby David Yeh VIOLA Caleb Wright Principal Alex Brogan Associate Principal Kierstan Arkleysmith Nik Babic Katherine Drake Alison Hall Rachael Kirk Allan McLean Helen Tuckey CELLO Rod McGrath Principal Louise McKay Assoc Principal Chair partnered by Penrhos College Shigeru Komatsu Oliver McAslan Nicholas Metcalfe Eve Silver* Fotis Skordas Tim South Xiao Le Wu DOUBLE BASS Andrew Sinclair* Principal Joan Wright Assoc Principal Christine Reitzenstein Louise Ross Andrew Tait Mark Tooby *Instruments used by these musicians are on loan from Janet Holmes à Court AC. FLUTE Andrew Nicholson Principal Chair partnered by Quadrant Energy Mary-Anne Blades Assoc Principal PICCOLO Michael Waye Principal OBOE Peter Facer Principal Elizabeth Chee Assoc Principal COR ANGLAIS Leanne Glover Principal CLARINET Allan Meyer Principal Lorna Cook BASS CLARINET Alexander Millier Principal Chair partnered by Altegra Property Group BASSOON Jane Kircher-Lindner Principal Chair partnered by Ron & Sue Wooller Adam Mikulicz Assoc Principal CONTRABASSOON Chloe Turner Principal HORN David Evans Principal Sharn McIver Assoc Principal Robert Gladstones Principal 3rd Julia Brooke Francesco Lo Surdo TRUMPET Brent Grapes Principal Chair partnered by ConocoPhillips Evan Cromie Assoc Principal Peter Miller TROMBONE Joshua Davis Principal Liam O Malley Assoc Principal BASS TROMBONE Philip Holdsworth Principal TUBA Cameron Brook Principal TIMPANI Alex Timcke Principal PERCUSSION Troy Greatz A/Principal HARP Sarah Bowman Principal

41 41 Board of Directors Janet Holmes à Court AC Chairman Anne Nolan Mark Coughlan Keith Kessell Barrie Lepley Deputy Chairman Paul Shannon Julian Sher Michael Utsler Executive Craig Whitehead Chief Executive Claire Burlinson Executive Assistant Ellen Wisdom Executive Manager, Human Resources Rachael Taylor Human Resources Assistant Narelle Coghill Human Resources Assistant Svetlana Williams Payroll Officer Artistic Planning Evan Kennea Executive Manager, Artistic Planning Claire Stokes Program Manager Alan Tyrrell Program Manager Maya Kraj-Krajewski Artist Liaison/Chorus Administrator Community Engagement Cassandra Lake Executive Manager, Community Engagement Fiona Taylor Education Coordinator Orchestral Management Keith McGowan Executive Manager, Orchestral Management Richie Burton Orchestral Operations Manager David Cotgreave Production & Technical Manager Alistair Cox Orchestral Manager Breanna Evangelista Orchestral Management Assistant Wee Ming Khoo Music Librarian Noel Rhind Orchestral Operations Coordinator Business Services Peter Freemantle Chief Financial Officer Andrew Chew Systems Administrator Alex Spartalis IT Support Angela Miller Accountant Sushila Bhudia Accounts Officer Renu Kara Accounts Assistant PHILANTHROPY Alecia Benzie Executive Manager, Philanthropy Josie Aitchison Customer Service & Philanthropy Coordinator Jane Clare Fundraising & Philanthropy Manager Corporate Development Marina Woodhouse Executive Manager, Corporate Development Luci Steinhardt Corporate Partnerships Executive Cliona Hayes Corporate Partnerships Coordinator Ginny Luff Corporate Partnerships & Events Coordinator Marketing Kelli Carnachan Executive Manager, Marketing Kirsty Chisholm Marketing Coordinator Nancy Hackett Marketing Manager Gina Beers Graphic Designer Marc Missiaen Relationship Marketing Manager Paula Schibeci Public Relations Manager Zoe Lawrence Marketing Officer Courtney Walsh Marketing Assistant Sava Papos Customer Service Manager Josie Aitchison Customer Service & Philanthropy Coordinator Beverley Trolio Customer Service Coordinator Alana Arnold Leticia Cannell Margaret Daws Vicki Prince Robyn Westbrook Customer Service Officers Perth Concert Hall Brendon Ellmer General Manager Lorraine Rice Deputy General Manager Paul Richardson Assistant Technical Manager Penelope Briffa Events Manager Bruce Gaw Maintenance Officer Nancy Hackett Marketing Manager Ryan Sandilands Marketing Assistant Megan Lo Surdo Reception & Administration Sarah Salleo Reception & Administration perthconcerthall.com.au WASO programs are printed by Pilpel Print who are proud to be Green Stamp Accredited. This certification acknowledges Pilpel Print s commitment to minimising environmental impacts associated with producing printed material. 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 from the publisher. Whilst every effort has been made to ensure the accuracy of statements in this publication we cannot accept responsibility for errors or omissions, or for matters arising from clerical or printers error. Every effort has been made to secure permission for copyright material prior to printing. Please address all correspondence to the Executive Manager, Marketing, West Australian Symphony Orchestra, PO Box 3041, East Perth. WA waso@waso.com.au

42 CORPORATE PARTNERS We encourage you to support these partners for generously supporting your Orchestra PARTNERS OF EXCELLENCE PLATINUM PARTNERS CONCERTO PARTNERS School of Music Tertiary Education Partner OVERTURE PARTNERS SONATA PARTNERS KEYNOTE PARTNERS ORCHESTRA SUPPORTERS MEDIA PARTNERS FUNDING PARTNERS The West Australian Symphony Orchestra is assisted by the Australian Government through the Australia Council, its arts funding and advisory body. To share in our vision and discuss the many opportunities available through corporate partnerships please contact Corporate Development on WASO.COM.AU

43 Photo: Caitlin Worthington Design: BronWYnrogers.CoM WesF1341

44 MACA LIMITED CLASSICS SERIES Fri 31 Jul & Sat 1 Aug 7.30pm Perth Concert Hall Mozart s enchanting Oboe Concerto and Elgar s majestic final symphony. HAYDN Symphony No.22 The Philosopher MOZART Oboe Concerto in C Major ELGAR elab. ANTHONY PAYNE Symphony No.3 Nicholas Carter conductor Diana Doherty oboe BOOK NOW Tickets from $30* Call quoting 1258 Visit waso.com.au or ticketek.com.au *Transaction fees may apply