great performers 2013

2 013 C O NC E R T SE R IE S

M E L B O U R N E R E C I T A L C E N T R E

CNR SOUTHBANK BVD & STURT ST, SOUTHBANK VIC AUSTRALIA TELEPHONE 03 9699 3333 · MELBOURNERECITAL.COM.AU

WELCOME

Paul Lewis and Franz Schubert have become

fixtures of the series, and we welcome them for

the last concert in this cycle of late piano works.

Schubert’s three final sonatas are some of the

most profound works of the Romantic imagination.

This will be a very special recital.

Jordi Savall and Andrew Lawrence-King are among

the greatest early musicians of our time, responsible

for numerous recordings and performances which

give new life to nearly-forgotten masterpieces. We’re

delighted to introduce the gorgeous voices of the viola

da gamba and the Baroque harp to Great Performers.

Violinist Arabella Steinbacher has visited Australia

several times, giving dazzling performances with our

orchestras, but has yet to make her recital debut.

That will be remedied when she performs Brahms,

Bach and Franck in 2013.

Soprano Susan Bullock gave the first vocal

recital in Elisabeth Murdoch Hall in 2009.

We welcome her back, this time as a prelude to

her appearance as Brünnhilde in the Melbourne

Ring Cycle. Camilla Tilling, an angelically pure

soprano, makes her Australian debut with the

Schubert and Strauss songs that have won her

rave reviews.

Some spectacular pianists make their Recital

Centre debuts this season. Joyce Yang is a

musician of immense sensitivity, passion and

charm. Venezuelan virtuoso Sergio Tiempo is

constantly surprising, volatile and simply one

of the most exciting musicians around. The piano

duo of Katia and Marielle Labèque barely need

any introduction. Their engaging music-making

is justly renowned, especially in pieces with

a touch of jazz such as the wonderful West Side Story suite they’ll perform for you.

Finally, Murray Perahia, a great performer of

the highest calibre, makes his Melbourne debut.

This is a concert that I know music-lovers will not

want to miss. He is legendary for the depth of his

interpretations and limpid beauty of his tone,

which will be perfectly complemented by

Australia’s most beautiful and intimate hall.

I look forward to welcoming you to nine inspiring

performances at Melbourne’s home for music.

Mary Vallentine AO

CEO, Melbourne Recital Centre

IN 2013, THE GREAT PERFORMERS SERIES OFFERS NINE NIGHTS OF COLOUR, PASSION AND TRANSCENDENT SKILL. THIS IS THE MOST DIVERSE AND WIDE-RANGING SERIES YET: TAKING IN EVERYTHING FROM BAROQUE TO JAZZ, PERFORMED BY RISING STARS AND EMINENT MASTERS.

WELCOME

Paul Lewis and Franz Schubert have become

fixtures of the series, and we welcome them for

the last concert in this cycle of late piano works.

Schubert’s three final sonatas are some of the

most profound works of the Romantic imagination.

This will be a very special recital.

Jordi Savall and Andrew Lawrence-King are among

the greatest early musicians of our time, responsible

for numerous recordings and performances which

give new life to nearly-forgotten masterpieces. We’re

delighted to introduce the gorgeous voices of the viola

da gamba and the Baroque harp to Great Performers.

Violinist Arabella Steinbacher has visited Australia

several times, giving dazzling performances with our

orchestras, but has yet to make her recital debut.

That will be remedied when she performs Brahms,

Bach and Franck in 2013.

Soprano Susan Bullock gave the first vocal

recital in Elisabeth Murdoch Hall in 2009.

We welcome her back, this time as a prelude to

her appearance as Brünnhilde in the Melbourne

Ring Cycle. Camilla Tilling, an angelically pure

soprano, makes her Australian debut with the

Schubert and Strauss songs that have won her

rave reviews.

Some spectacular pianists make their Recital

Centre debuts this season. Joyce Yang is a

musician of immense sensitivity, passion and

charm. Venezuelan virtuoso Sergio Tiempo is

constantly surprising, volatile and simply one

of the most exciting musicians around. The piano

duo of Katia and Marielle Labèque barely need

any introduction. Their engaging music-making

is justly renowned, especially in pieces with

a touch of jazz such as the wonderful West Side Story suite they’ll perform for you.

Finally, Murray Perahia, a great performer of

the highest calibre, makes his Melbourne debut.

This is a concert that I know music-lovers will not

want to miss. He is legendary for the depth of his

interpretations and limpid beauty of his tone,

which will be perfectly complemented by

Australia’s most beautiful and intimate hall.

I look forward to welcoming you to nine inspiring

performances at Melbourne’s home for music.

Mary Vallentine AO

CEO, Melbourne Recital Centre

IN 2013, THE GREAT PERFORMERS SERIES OFFERS NINE NIGHTS OF COLOUR, PASSION AND TRANSCENDENT SKILL. THIS IS THE MOST DIVERSE AND WIDE-RANGING SERIES YET: TAKING IN EVERYTHING FROM BAROQUE TO JAZZ, PERFORMED BY RISING STARS AND EMINENT MASTERS.

“Paul Lewis’s exploration of Schubert’s late piano music and song cycles is one of the most compelling concert series of the moment.”

T H E G U A R D I A N , U K

P I A N O

“Paul Lewis’s exploration of Schubert’s late piano music and song cycles is one of the most compelling concert series of the moment.”

T H E G U A R D I A N , U K

P I A N O

WEDNESDAY 13 FEBRUARY 7:30PM

The Schubert Cycle: Journey’s End

SCHUBERT ~ Piano Sonata No.19 in C minor, D958 ~ Piano Sonata No.20 in A, D959 ~ Piano Sonata No.21 in B-flat, D960

Individual tickets available from Thursday 15 November 2012: $50 / $70 / $90 / $110*.

Purchase Season Tickets to save up to 30% on the regular price. *Transaction fees may apply.

Composed in the last spring, summer and autumn of the composer’s short life, the three masterpieces share a complex web of motifs and moods. Woven through the sonatas are hints and echoes of Schubert’s last songs, where youthful joy is clouded by loneliness and despair. In search of new ways to express the inexpressible and suddenly aware of his mortality, Schubert forged a powerful new voice, only to be silenced at his peak by his death at the age of 31.

These works call for a pianist of remarkable sensitivity and intelligence, one who eloquently allows Schubert’s music to tell its own story. Paul Lewis is the ideal exponent of Schubert’s piano works, and via his mentor Alfred Brendel, heir to a great tradition of profound and lyrical playing. This is serious music performed by a serious musician, but it is also full of life and humour, and finally, peace. Lewis has the technique and the insight to communicate Schubert’s ambiguously gorgeous last will and testament. “When Schubert wants to tell you something important,” Lewis says, “he will usually lower his voice rather than raise it – he draws you into the message.”

PAUL LEWIS CONCLUDES HIS THREE-YEAR JOURNEY THROUGH THE LATE PIANO WORKS OF FRANZ SCHUBERT WITH THE FINAL TRIPTYCH OF SUBLIME PIANO SONATAS.

PAUL LEWIS

Photo: © Josep Molina

CONCERT 1 Piano

WEDNESDAY 13 FEBRUARY 7:30PM

The Schubert Cycle: Journey’s End

SCHUBERT ~ Piano Sonata No.19 in C minor, D958 ~ Piano Sonata No.20 in A, D959 ~ Piano Sonata No.21 in B-flat, D960

Composed in the last spring, summer and autumn of the composer’s short life, the three masterpieces share a complex web of motifs and moods. Woven through the sonatas are hints and echoes of Schubert’s last songs, where youthful joy is clouded by loneliness and despair. In search of new ways to express the inexpressible and suddenly aware of his mortality, Schubert forged a powerful new voice, only to be silenced at his peak by his death at the age of 31.

These works call for a pianist of remarkable sensitivity and intelligence, one who eloquently allows Schubert’s music to tell its own story. Paul Lewis is the ideal exponent of Schubert’s piano works, and via his mentor Alfred Brendel, heir to a great tradition of profound and lyrical playing. This is serious music performed by a serious musician, but it is also full of life and humour, and finally, peace. Lewis has the technique and the insight to communicate Schubert’s ambiguously gorgeous last will and testament. “When Schubert wants to tell you something important,” Lewis says, “he will usually lower his voice rather than raise it – he draws you into the message.”

PAUL LEWIS CONCLUDES HIS THREE-YEAR JOURNEY THROUGH THE LATE PIANO WORKS OF FRANZ SCHUBERT WITH THE FINAL TRIPTYCH OF SUBLIME PIANO SONATAS.

PAUL LEWIS

Photo: © Josep Molina

CONCERT 1 Piano

“A great virtuoso, musician and poet.”

THE BOSTON GLOBE, US

“Early music has its purists and pedants, its scholars and heretics. Jordi Savall is one of its great souls.”

J O R D I

S A V A L L

A N D R E W

L A W R E N C E - K I N G

V I O L A D A G A M B A H A R P

“A great virtuoso, musician and poet.”

“Early music has its purists and pedants, its scholars and heretics. Jordi Savall is one of its great souls.”

J O R D I

S A V A L L

A N D R E W

L A W R E N C E - K I N G

V I O L A D A G A M B A H A R P

With his blend of scholarship, imagination and

intuition, Savall has forged a legendary career

as the world’s leading exponent of the exquisitely

expressive viola da gamba and as leader of three

acclaimed ensembles – they’re more like families,

really – of virtuoso period musicians. As evinced

by numerous recordings and in performances the

world over, there is truly something miraculous

in Savall’s playing: a sense that no matter how

fragmentary or obscure its source, music simply,

movingly blooms at his touch.

This “performer of genius” (The New Yorker) is

joined by another: frequent concert partner,

harpist Andrew Lawrence-King, in a journey

across Europe, from Spain to England, from the

Renaissance to the Baroque.

The viola da gamba was the poet-prince of a

flourishing and polyglot artistic world, prized

for its human-like voice and ability to convey

a rainbow of moods, and as at home in the court

of Versailles as on the streets of London. Savall

and Lawrence-King survey the works from the

height of the viol’s reign, by Diego Ortiz, Jean-

Baptiste Lully and especially Marin Marais,

subject of the film Tous les matins du monde

(for which Savall provided a soundtrack of both

peerless beauty and historical accuracy). Jordi

Savall and Andrew Lawrence-King’s art transcends

the boundaries of genre and period. This is music

for everyone and every era.

THURSDAY 14 MARCH 7:30PM

With Frank McGuire, percussion.

LES GÔUTS RÉUNIS Pieces and improvisations from the golden age of the viola da gamba in Spain, France and England.

Individual tickets available from Thursday 15

November 2012: $50 / $70 / $90 / $110*.

Purchase Season Tickets to save up to 30%

on the regular price. *Transaction fees may apply.

JORDI SAVALL

ANDREW LAWRENCE-KING

JORDI SAVALL IS AN ADVENTURER IN TIME AND SPACE. FOR MORE THAN THREE DECADES HE HAS DEVOTED HIMSELF TO RECREATING THE SOUND OF THE PAST, TAKING LISTENERS ON GRAND TOURS OF DISCOVERY INTO REMOTEST ANTIQUITY AND DISTANT LANDS.

CONCERT 2 Viola da Gamba (JS) and Harp (ALK)

Photo: © David Ignaszewski

With his blend of scholarship, imagination and

intuition, Savall has forged a legendary career

as the world’s leading exponent of the exquisitely

expressive viola da gamba and as leader of three

acclaimed ensembles – they’re more like families,

really – of virtuoso period musicians. As evinced

by numerous recordings and in performances the

world over, there is truly something miraculous

in Savall’s playing: a sense that no matter how

fragmentary or obscure its source, music simply,

movingly blooms at his touch.

This “performer of genius” (The New Yorker) is

joined by another: frequent concert partner,

harpist Andrew Lawrence-King, in a journey

across Europe, from Spain to England, from the

Renaissance to the Baroque.

The viola da gamba was the poet-prince of a

flourishing and polyglot artistic world, prized

for its human-like voice and ability to convey

a rainbow of moods, and as at home in the court

of Versailles as on the streets of London. Savall

and Lawrence-King survey the works from the

height of the viol’s reign, by Diego Ortiz, Jean-

Baptiste Lully and especially Marin Marais,

subject of the film Tous les matins du monde

(for which Savall provided a soundtrack of both

peerless beauty and historical accuracy). Jordi

Savall and Andrew Lawrence-King’s art transcends

the boundaries of genre and period. This is music

for everyone and every era.

THURSDAY 14 MARCH 7:30PM

With Frank McGuire, percussion.

LES GÔUTS RÉUNIS Pieces and improvisations from the golden age of the viola da gamba in Spain, France and England.

November 2012: $50 / $70 / $90 / $110*.

JORDI SAVALL

ANDREW LAWRENCE-KING

JORDI SAVALL IS AN ADVENTURER IN TIME AND SPACE. FOR MORE THAN THREE DECADES HE HAS DEVOTED HIMSELF TO RECREATING THE SOUND OF THE PAST, TAKING LISTENERS ON GRAND TOURS OF DISCOVERY INTO REMOTEST ANTIQUITY AND DISTANT LANDS.

CONCERT 2 Viola da Gamba (JS) and Harp (ALK)

Photo: © David Ignaszewski

J O Y C E Y A N G

“Unflinching technical command and panache.”

S Y D N E Y M O R N I N G H E R A L D

P I A N O

Photo: © Oh Seuk Hoon

J O Y C E Y A N G

“Unflinching technical command and panache.”

P I A N O

Photo: © Oh Seuk Hoon

FRIDAY 22 MARCH 7:30PM

BEETHOVEN ~ Piano Sonata No.18 in E-flat, Op.31, No.3

CHOPIN ~ Nocturne No.4 in F major, Op.15, No.1

~ Nocturne No.15 in F minor, Op.55, No.1

BARTÓK ~ Szabadban (Out of Doors)

RACHMANINOV arr. WILD

~ Dreams, Op.38 No.5

~ The Little Island, Op.14 No.2

~ Vocalise, Op.34 No.14

SCHUMANN ~ Fantasiestücke, Op. 12

Individual tickets available from Thursday 15 November 2012:

$50 / $70 / $90 / $110*. Purchase Season Tickets to save up to

30% on the regular price. *Transaction fees may apply.

The South Korean pianist was the youngest

entrant that year but dazzled the jurors with her

maturity and her astonishing technical command.

Now, at 25, Yang has established a globe-trotting

career as a concert artist, performing with the

LA Philharmonic, Chicago Symphony Orchestra

and the Sydney Symphony, electrifying audiences

with her “million-volt stage presence.”

While Yang has the fingers and nerves of steel

to take on the most challenging repertoire, it’s

her refined musical sensibility and free-wheeling

imagination that set her apart from the many other

young virtuosi on the circuit. Colour and emotion

take precedence over mere display in renditions of

familiar repertoire and intriguing rarities, polished,

as always, to a scintillating gleam.

WHEN JOYCE YANG WON SILVER AT THE 12TH VAN CLIBURN INTERNATIONAL PIANO COMPETITION AT THE AGE OF 19, THE ARRIVAL OF A MAJOR NEW TALENT WAS ANNOUNCED TO THE WORLD.

Fantasies, passions and dreams – the night’s

music – are the theme of Yang’s recital. Chopin’s

nocturnes are the perfect music for dreaming,

naturally, but how does the tenderly humorous

Beethoven sonata fit in? With the questioning

shape of its opening – Liebst du mich? (Do you

love me?), the melody says – its nostalgic minuet

and joyously galloping finale, it seems to be

a courtship (and elopement?) in miniature.

Night-time is made for romance. At the heart

of Bela Bartók’s Out of Doors suite is an

impression of a summer evening in the

Hungarian countryside, alive with insects and

frogs. Schumann was the archetypal Romantic

figure, both dreamy and passionate, as depicted

in his eight fantasy-pieces where the two sides of

his personality – which he named Eusebius and

Florestan – strut, sigh, banter and bicker.

Encoded within is a love letter from Robert

to his future wife, Clara.

JOYCE YANG

CONCERT 3 Piano

FRIDAY 22 MARCH 7:30PM

BEETHOVEN ~ Piano Sonata No.18 in E-flat, Op.31, No.3

CHOPIN ~ Nocturne No.4 in F major, Op.15, No.1

~ Nocturne No.15 in F minor, Op.55, No.1

BARTÓK ~ Szabadban (Out of Doors)

RACHMANINOV arr. WILD

~ Dreams, Op.38 No.5

~ The Little Island, Op.14 No.2

~ Vocalise, Op.34 No.14

SCHUMANN ~ Fantasiestücke, Op. 12

Individual tickets available from Thursday 15 November 2012:

$50 / $70 / $90 / $110*. Purchase Season Tickets to save up to

30% on the regular price. *Transaction fees may apply.

The South Korean pianist was the youngest

entrant that year but dazzled the jurors with her

maturity and her astonishing technical command.

Now, at 25, Yang has established a globe-trotting

career as a concert artist, performing with the

LA Philharmonic, Chicago Symphony Orchestra

and the Sydney Symphony, electrifying audiences

with her “million-volt stage presence.”

While Yang has the fingers and nerves of steel

to take on the most challenging repertoire, it’s

her refined musical sensibility and free-wheeling

imagination that set her apart from the many other

young virtuosi on the circuit. Colour and emotion

take precedence over mere display in renditions of

familiar repertoire and intriguing rarities, polished,

as always, to a scintillating gleam.

WHEN JOYCE YANG WON SILVER AT THE 12TH VAN CLIBURN INTERNATIONAL PIANO COMPETITION AT THE AGE OF 19, THE ARRIVAL OF A MAJOR NEW TALENT WAS ANNOUNCED TO THE WORLD.

Fantasies, passions and dreams – the night’s

music – are the theme of Yang’s recital. Chopin’s

nocturnes are the perfect music for dreaming,

naturally, but how does the tenderly humorous

Beethoven sonata fit in? With the questioning

shape of its opening – Liebst du mich? (Do you

love me?), the melody says – its nostalgic minuet

and joyously galloping finale, it seems to be

a courtship (and elopement?) in miniature.

Night-time is made for romance. At the heart

of Bela Bartók’s Out of Doors suite is an

impression of a summer evening in the

Hungarian countryside, alive with insects and

frogs. Schumann was the archetypal Romantic

figure, both dreamy and passionate, as depicted

in his eight fantasy-pieces where the two sides of

his personality – which he named Eusebius and

Florestan – strut, sigh, banter and bicker.

Encoded within is a love letter from Robert

to his future wife, Clara.

JOYCE YANG

CONCERT 3 Piano

“The delightful Swedish soprano Camilla Tilling reveals herself as an outstanding interpreter of Strauss’s songs. Tilling takes her place among

the leading Strauss sopranos of the day.”

T H E S U N D A Y T I M E S , U K

S O P R A N O

“The delightful Swedish soprano Camilla Tilling reveals herself as an outstanding interpreter of Strauss’s songs. Tilling takes her place among

the leading Strauss sopranos of the day.”

T H E S U N D A Y T I M E S , U K

S O P R A N O

Tilling is one of those sopranos who prioritise

purity of sound and phrasing over sheer power, not

that this has stopped her from treading the boards

in the biggest and most prestigious opera houses –

the Metropolitan, Covent Garden and Glyndebourne

– in repertoire ranging from Figaro to Rosenkavalier

and beyond. On record, she’s worked with early

music specialists, and in recital she’s performed

at Wigmore and Carnegie Hall among many others.

So add ‘versatile’ to that list.

Tilling has made a speciality of the late-

Romanticism of Richard Strauss, bringing a

disarming freshness and bloom to some of the most

voluptuous lieder in the catalogue. These songs find

Strauss in more reflective, serene and candid moods

than his operas. Strauss writes rapturously for the

female voice (he was married to a soprano),

setting a vocal line like a gem within the finely-

wrought accompaniment. Even more luscious are

the Seven Early Songs of Alban Berg, where voice

soars over a surreally beautiful harmonic

landscape. Berg and Strauss’s underrated Viennese

contemporary, Alexander von Zemlinsky, wrote

a handful of Waltz-Songs, lilting showcases for a

gorgeous voice. And no concert of German lieder

is complete without the work of the master

songwriter, Schubert – songs in which Tilling,

spontaneous and smiling, is “a joy to the ear”.

THURSDAY 16 MAY 7:30PM

Exclusive Australian Appearance. With Anthony Legge, piano.

Songs of SCHUBERT, R STRAUSS, ZEMLINSKY and BERG

CAMILLA TILLING

CAMILLA TILLING’S VOICE AND STAGE PRESENCE HAVE CRITICS USING SUPERLATIVES LIKE ‘RADIANT’, ‘SPELLBINDING’ AND ‘FLAWLESS’. IS IT ANY WONDER THEN THAT SHE’S OFTEN CALLED ON TO PLAY ANGELS AND PRINCESSES?

CONCERT 4 Soprano

Tilling is one of those sopranos who prioritise

purity of sound and phrasing over sheer power, not

that this has stopped her from treading the boards

in the biggest and most prestigious opera houses –

the Metropolitan, Covent Garden and Glyndebourne

– in repertoire ranging from Figaro to Rosenkavalier

and beyond. On record, she’s worked with early

music specialists, and in recital she’s performed

at Wigmore and Carnegie Hall among many others.

So add ‘versatile’ to that list.

Tilling has made a speciality of the late-

Romanticism of Richard Strauss, bringing a

disarming freshness and bloom to some of the most

voluptuous lieder in the catalogue. These songs find

Strauss in more reflective, serene and candid moods

than his operas. Strauss writes rapturously for the

female voice (he was married to a soprano),

setting a vocal line like a gem within the finely-

wrought accompaniment. Even more luscious are

the Seven Early Songs of Alban Berg, where voice

soars over a surreally beautiful harmonic

landscape. Berg and Strauss’s underrated Viennese

contemporary, Alexander von Zemlinsky, wrote

a handful of Waltz-Songs, lilting showcases for a

gorgeous voice. And no concert of German lieder

is complete without the work of the master

songwriter, Schubert – songs in which Tilling,

spontaneous and smiling, is “a joy to the ear”.

THURSDAY 16 MAY 7:30PM

Exclusive Australian Appearance. With Anthony Legge, piano.

Songs of SCHUBERT, R STRAUSS, ZEMLINSKY and BERG

CAMILLA TILLING

CAMILLA TILLING’S VOICE AND STAGE PRESENCE HAVE CRITICS USING SUPERLATIVES LIKE ‘RADIANT’, ‘SPELLBINDING’ AND ‘FLAWLESS’. IS IT ANY WONDER THEN THAT SHE’S OFTEN CALLED ON TO PLAY ANGELS AND PRINCESSES?

CONCERT 4 Soprano

A R A B E L L A

S T E I N B A C H E R

“Precision, captivating intensity and tone of gloriously golden fire.”

V I O L I N

A R A B E L L A

S T E I N B A C H E R

“Precision, captivating intensity and tone of gloriously golden fire.”

V I O L I N

Since making an unexpected debut in Paris aged

22 when she replaced an indisposed colleague, the

young German-Japanese virtuoso has developed

an international solo career, performing with

prestigious orchestras and landing an exclusive

recording contract.

Perhaps the key to Steinbacher’s expressivity

is her upbringing: the daughter of a singer and

a pianist for the Munich opera, she grew up

surrounded by song. Steinbacher says, “When I

perform, it is an opportunity for me to express what

I feel most deeply through great music. It is my goal

to do nothing superficially, but to share my authentic

feelings directly with the audience.”

Steinbacher’s program provides moments of

passion, suavity and reflection. Brahms’ second

violin sonata is a radiantly lyrical masterpiece,

nearly a self-portrait of the introverted and intense

composer. Brahms wrote that his hero JS Bach’s

Ciaccona contains “a whole world of the deepest

thoughts and most powerful feelings” in its single

line of music. It is a tour-de-force for solo violin,

and one of the towering achievements of humanity.

From the same year – 1886 – as Brahms’ sonata,

Franck’s is a creation of impeccable French elegance

and sober grace. It’s a vintage Dior gown of a sonata

– the perfect fit for Arabella Steinbacher.

ARABELLA STEINBACHER

ARABELLA STEINBACHER’S MUSICAL DEMEANOUR IS EQUAL PARTS SWEETNESS AND GRIT. STEINBACHER AND HER 1716 STRADIVARIUS HAVE A RANGE THAT TAKES IN “RAVISHINGLY PURE AND LOVELY” TO A

“THRILLING TOUCH OF STEEL”.

TUESDAY 18 JUNE 7:30PM

Exclusive Melbourne Debut Recital. Ms Steinbacher’s associate artist will be announced in early 2013.

BRAHMS ~ Sonata for Violin and Piano No.2 in A, Op.100 JS BACH ~ Partita for Solo Violin in D minor, BWV 1004: Ciaccona FRANCK ~ Sonata for Violin and Piano in A

CONCERT 5 Violin

Since making an unexpected debut in Paris aged

22 when she replaced an indisposed colleague, the

young German-Japanese virtuoso has developed

an international solo career, performing with

prestigious orchestras and landing an exclusive

recording contract.

Perhaps the key to Steinbacher’s expressivity

is her upbringing: the daughter of a singer and

a pianist for the Munich opera, she grew up

surrounded by song. Steinbacher says, “When I

perform, it is an opportunity for me to express what

I feel most deeply through great music. It is my goal

to do nothing superficially, but to share my authentic

feelings directly with the audience.”

Steinbacher’s program provides moments of

passion, suavity and reflection. Brahms’ second

violin sonata is a radiantly lyrical masterpiece,

nearly a self-portrait of the introverted and intense

composer. Brahms wrote that his hero JS Bach’s

Ciaccona contains “a whole world of the deepest

thoughts and most powerful feelings” in its single

line of music. It is a tour-de-force for solo violin,

and one of the towering achievements of humanity.

From the same year – 1886 – as Brahms’ sonata,

Franck’s is a creation of impeccable French elegance

and sober grace. It’s a vintage Dior gown of a sonata

– the perfect fit for Arabella Steinbacher.

ARABELLA STEINBACHER

ARABELLA STEINBACHER’S MUSICAL DEMEANOUR IS EQUAL PARTS SWEETNESS AND GRIT. STEINBACHER AND HER 1716 STRADIVARIUS HAVE A RANGE THAT TAKES IN “RAVISHINGLY PURE AND LOVELY” TO A

“THRILLING TOUCH OF STEEL”.

Exclusive Melbourne Debut Recital. Ms Steinbacher’s associate artist will be announced in early 2013.

BRAHMS ~ Sonata for Violin and Piano No.2 in A, Op.100 JS BACH ~ Partita for Solo Violin in D minor, BWV 1004: Ciaccona FRANCK ~ Sonata for Violin and Piano in A

CONCERT 5 Violin

S E R G I O T I E M P O

P I A N O

“May well be the most dazzling and spontaneous pianist of his generation.”

G R A M O P H O N E M A G A Z I N E , U K

Photo: © Sussie Ahlburg

S E R G I O T I E M P O

P I A N O

“May well be the most dazzling and spontaneous pianist of his generation.”

G R A M O P H O N E M A G A Z I N E , U K

Photo: © Sussie Ahlburg

The fearless pianist isn’t afraid of playing fast and

loose with venerable masterpieces, zapping them

back into life with his electrifying energy. He has

left audiences and orchestras around the world

buzzing with excitement.

It’s probably no surprise that the Venezuelan-born

Tiempo is the protégé of another iconoclastic

musician, Martha Argerich. His Great Performers

recital program is almost an homage to her red-hot

interpretations of those stalwarts of the repertoire,

Chopin, Ravel and Liszt. But here the comparisons

end: Tiempo is an original and finds his own way

though these masterpieces. Chopin’s B-minor

Sonata is a paradox: turbulent and theatrical,

yet intensely introverted. With its aria-like slow

movement, it’s more grand opera than chamber

music. The three pieces of Maurice Ravel’s

Gaspard de la nuit are studies in elegant devilry

and fiendish technical difficulty, especially the

last – Scarbo – where a goblin malevolently flits

across the keyboard and into your nightmares.

Liszt’s prayer-like Consolation No.3 should soothe

your nerves with one of the most ecstatically

soaring melodies the composer ever penned,

and a demonstration that Tiempo is capable of

rapt delicacy as well as the Latin fire of Ginastera’s

vivacious Argentinean Dances.

SERGIO TIEMPO

FIREBRAND VIRTUOSO SERGIO TIEMPO’S PERFORMANCES MAY NOT BE TO YOUR TASTE. BUT IF YOU WANT TO YOUR PRECONCEPTIONS TO BE CHALLENGED, TO HEAR FAMILIAR MUSIC MADE NEW, THEN TIEMPO’S THE MUSICIAN FOR YOU.

CHOPIN ~ selected Nocturnes ~ Piano Sonata No.3 in B minor, Op.58 RAVEL ~ Gaspard de la nuit LISZT ~ Consolation No.3 GINASTERA ~ Three Argentinean Dances, Op.2

November 2012: $50 / $70 / $90 / $110*.

CONCERT 6 Piano

The fearless pianist isn’t afraid of playing fast and

loose with venerable masterpieces, zapping them

back into life with his electrifying energy. He has

left audiences and orchestras around the world

buzzing with excitement.

It’s probably no surprise that the Venezuelan-born

Tiempo is the protégé of another iconoclastic

musician, Martha Argerich. His Great Performers

recital program is almost an homage to her red-hot

interpretations of those stalwarts of the repertoire,

Chopin, Ravel and Liszt. But here the comparisons

end: Tiempo is an original and finds his own way

though these masterpieces. Chopin’s B-minor

Sonata is a paradox: turbulent and theatrical,

yet intensely introverted. With its aria-like slow

movement, it’s more grand opera than chamber

music. The three pieces of Maurice Ravel’s

Gaspard de la nuit are studies in elegant devilry

and fiendish technical difficulty, especially the

last – Scarbo – where a goblin malevolently flits

across the keyboard and into your nightmares.

Liszt’s prayer-like Consolation No.3 should soothe

your nerves with one of the most ecstatically

soaring melodies the composer ever penned,

and a demonstration that Tiempo is capable of

rapt delicacy as well as the Latin fire of Ginastera’s

vivacious Argentinean Dances.

SERGIO TIEMPO

FIREBRAND VIRTUOSO SERGIO TIEMPO’S PERFORMANCES MAY NOT BE TO YOUR TASTE. BUT IF YOU WANT TO YOUR PRECONCEPTIONS TO BE CHALLENGED, TO HEAR FAMILIAR MUSIC MADE NEW, THEN TIEMPO’S THE MUSICIAN FOR YOU.

CHOPIN ~ selected Nocturnes ~ Piano Sonata No.3 in B minor, Op.58 RAVEL ~ Gaspard de la nuit LISZT ~ Consolation No.3 GINASTERA ~ Three Argentinean Dances, Op.2

November 2012: $50 / $70 / $90 / $110*.

CONCERT 6 Piano

“Soaringly, movingly direct.”

T H E G U A R D I A N

S O P R A N O

“Soaringly, movingly direct.”

T H E G U A R D I A N

S O P R A N O

THURSDAY 29 AUGUST 7:30PM

With Malcolm Martineau, Piano.

Songs of SCHUMANN, DEBUSSY, BRITTEN and others

A few decades and plenty of hard work later,

the accidental opera star is in demand around

the world (The Met, La Scala, Covent Garden) for

the ultimate soprano roles: Elektra, Salome and

Isolde. In late 2013, Susan Bullock performs the

most challenging of all, the valkyrie Brünnhilde,

in Wagner’s Ring Cycle in Melbourne. In any case,

Bullock is no stranger to Australian stages:

smouldering as the murderous Katerina in

Shostokovich’s Lady Macbeth of Mtsensk for

Opera Australia and giving the first vocal recital

at Melbourne Recital Centre. Bullock’s “intelligence

and musicianship” set her apart: “she colours words,

she shapes phrases and never forgets the dramatic

sense of what she is uttering”. (The Telegraph, UK).

Renowned as much for her absorption into her

parts as for the turbo-charged power of her voice,

Susan Bullock’s combination of dramatic instinct

and vocal prowess make for gripping performances

at the opera and in recital. For Bullock, the two

art-forms overlap: “Each song is a mini-opera

in itself. I relish the challenge of that.”

Susan Bullock is joined by associate artist

Malcolm Martineau, a pianist whose dazzling

skill and almost supernatural sensitivity have

made him the partner of choice for A-list singers.

SUSAN BULLOCK

SUSAN BULLOCK IS ONE OF THE WORLD’S GREAT DRAMATIC SOPRANOS BUT SHE ALMOST PURSUED A CAREER AS A PIANIST. NEEDING A SECOND STUDY AT THE ROYAL NORTHERN COLLEGE OF MUSIC SHE CHOSE VOICE.

CONCERT 7 Soprano

Photo: © Anne-Marie Le Blé

THURSDAY 29 AUGUST 7:30PM

With Malcolm Martineau, Piano.

Songs of SCHUMANN, DEBUSSY, BRITTEN and others

A few decades and plenty of hard work later,

the accidental opera star is in demand around

the world (The Met, La Scala, Covent Garden) for

the ultimate soprano roles: Elektra, Salome and

Isolde. In late 2013, Susan Bullock performs the

most challenging of all, the valkyrie Brünnhilde,

in Wagner’s Ring Cycle in Melbourne. In any case,

Bullock is no stranger to Australian stages:

smouldering as the murderous Katerina in

Shostokovich’s Lady Macbeth of Mtsensk for

Opera Australia and giving the first vocal recital

at Melbourne Recital Centre. Bullock’s “intelligence

and musicianship” set her apart: “she colours words,

she shapes phrases and never forgets the dramatic

sense of what she is uttering”. (The Telegraph, UK).

Renowned as much for her absorption into her

parts as for the turbo-charged power of her voice,

Susan Bullock’s combination of dramatic instinct

and vocal prowess make for gripping performances

at the opera and in recital. For Bullock, the two

art-forms overlap: “Each song is a mini-opera

in itself. I relish the challenge of that.”

Susan Bullock is joined by associate artist

Malcolm Martineau, a pianist whose dazzling

skill and almost supernatural sensitivity have

made him the partner of choice for A-list singers.

SUSAN BULLOCK

SUSAN BULLOCK IS ONE OF THE WORLD’S GREAT DRAMATIC SOPRANOS BUT SHE ALMOST PURSUED A CAREER AS A PIANIST. NEEDING A SECOND STUDY AT THE ROYAL NORTHERN COLLEGE OF MUSIC SHE CHOSE VOICE.

CONCERT 7 Soprano

Photo: © Anne-Marie Le Blé

K A T I A A N D M A R I E L L E

L A B È Q U E

“Versatile, musically volatile.”

V A R I E T Y , U S

P I A N O D U O

K A T I A A N D M A R I E L L E

L A B È Q U E

“Versatile, musically volatile.”

V A R I E T Y , U S

P I A N O D U O

PIANO DUO MUSIC, WHETHER SPECTACULARLY GRAND OR SWEETLY DOMESTIC, ALWAYS HAS A UNIQUE ATMOSPHERE THAT COMES FROM THE CAMARADERIE OF THE TWO MUSICIANS. FOR THE SISTERS LABÈQUE, WHO HAVE BEEN PLAYING THIS WAY FOR MOST OF THEIR LIVES, THAT BOND IS ESPECIALLY POWERFUL.

Katia and Marielle Labèque are two of the most

charismatic, versatile and inquisitive musicians

working today. In a string of hit recordings and

international engagements, they’ve collaborated

with a who’s-who of famous composers, conductors

and orchestras playing music from the baroque to

the 21st Century. Their performances are displays

of perfect unity, of course, but the sisters have very

different personalities: the more extroverted Katia

often plays the showier treble part, while grounded

Marielle offers vital support. It’s an ideal partnership.

The Labèques caught the music world’s attention

with their recording of Gershwin’s Rhapsody in Blue, and it’s the jazz-inflected music of the next

generation which forms the centrepiece of this

recital. Leonard Bernstein’s unforgettable West Side Story gets the Labèque touch in an extended suite

of dances and songs from the musical complete with

Latin percussion. Bernstein’s soaring melodies and

red-hot rhythms make West Side Story one of the

most beloved works of 20th Century theatre, now

translated with the composer’s endorsement by

Irwin Kostal, the musical’s original orchestrator,

into dazzling virtuoso vehicle especially for

the Labèques.

In the first half of the program, Claude Debussy’s

haunting piano duo is music etched in black and

white. Composed in the midst of the First World

War, En blanc et noir is Debussy at his most

abstract and incisive. There’s no impressionistic

mist here. Instead, Debussy was inspired by the

chiaroscuro of Goya and Velazquez, though

relieved by bursts of tenderness and humour.

Debussy’s colleague Maurice Ravel paints a

very different picture of Spain – sundrenched

and sensuous – in his Rapsodie espagnole.

The piano duet version was a sketch along the

way to the more familiar orchestral fantasy,

but as you’ll hear, the Labèques easily match

an orchestra for colour and brilliance.

SATURDAY 19 OCTOBER 7:30PM

With Raphael Segunier and Gonzalo Grau, percussion.

DEBUSSY ~ En blanc et noir RAVEL ~ Rapsodie espagnole BERNSTEIN arr. KOSTAL ~ West Side Story

November 2012: $50 / $70 / $90 / $110*.

Purchase Season Tickets to save up to 30% on

the regular price. *Transaction fees may apply.

KATIA AND MARIELLE LABÈQUE

CONCERT 8 Piano Duo

PIANO DUO MUSIC, WHETHER SPECTACULARLY GRAND OR SWEETLY DOMESTIC, ALWAYS HAS A UNIQUE ATMOSPHERE THAT COMES FROM THE CAMARADERIE OF THE TWO MUSICIANS. FOR THE SISTERS LABÈQUE, WHO HAVE BEEN PLAYING THIS WAY FOR MOST OF THEIR LIVES, THAT BOND IS ESPECIALLY POWERFUL.

Katia and Marielle Labèque are two of the most

charismatic, versatile and inquisitive musicians

working today. In a string of hit recordings and

international engagements, they’ve collaborated

with a who’s-who of famous composers, conductors

and orchestras playing music from the baroque to

the 21st Century. Their performances are displays

of perfect unity, of course, but the sisters have very

different personalities: the more extroverted Katia

often plays the showier treble part, while grounded

Marielle offers vital support. It’s an ideal partnership.

The Labèques caught the music world’s attention

with their recording of Gershwin’s Rhapsody in Blue, and it’s the jazz-inflected music of the next

generation which forms the centrepiece of this

recital. Leonard Bernstein’s unforgettable West Side Story gets the Labèque touch in an extended suite

of dances and songs from the musical complete with

Latin percussion. Bernstein’s soaring melodies and

red-hot rhythms make West Side Story one of the

most beloved works of 20th Century theatre, now

translated with the composer’s endorsement by

Irwin Kostal, the musical’s original orchestrator,

into dazzling virtuoso vehicle especially for

the Labèques.

In the first half of the program, Claude Debussy’s

haunting piano duo is music etched in black and

white. Composed in the midst of the First World

War, En blanc et noir is Debussy at his most

abstract and incisive. There’s no impressionistic

mist here. Instead, Debussy was inspired by the

chiaroscuro of Goya and Velazquez, though

relieved by bursts of tenderness and humour.

Debussy’s colleague Maurice Ravel paints a

very different picture of Spain – sundrenched

and sensuous – in his Rapsodie espagnole.

The piano duet version was a sketch along the

way to the more familiar orchestral fantasy,

but as you’ll hear, the Labèques easily match

an orchestra for colour and brilliance.

SATURDAY 19 OCTOBER 7:30PM

With Raphael Segunier and Gonzalo Grau, percussion.

DEBUSSY ~ En blanc et noir RAVEL ~ Rapsodie espagnole BERNSTEIN arr. KOSTAL ~ West Side Story

November 2012: $50 / $70 / $90 / $110*.

KATIA AND MARIELLE LABÈQUE

CONCERT 8 Piano Duo

“Elegance, fluency, modesty, clarity.”

T H E I N D E P E N D E N T , U K

P I A N O

“Elegance, fluency, modesty, clarity.”

T H E I N D E P E N D E N T , U K

P I A N O

In a Great Performers series not short on stellar

talent, Murray Perahia is perhaps the most august

and experienced master, though he’s retained his

boyish curiosity and passion. Never content to

repeat himself or take interpretative shortcuts,

Perahia leads revelatory journeys through core

repertoire, discovering new things to say at every

recital. First and foremost he’s a story-teller, wholly

committed to finding and then dramatising the

narratives embedded in the music. As one writer

put it, Perahia “has always had an inclination

towards translucency, for making himself the

finest possible veil through which to show you the

composers.” Fastidious preparation and analysis

underlie all of his decisions, but the result on the

concert stage is unstudied – a communion

between you and the music.

This transparency and discretion is the hallmark

of his playing, making him one of the most

sought-after artists of his generation and making

his recordings of his beloved Bach, Beethoven,

Schubert and Chopin definitive, award-winning

documents of self-effacing genius.

Perahia has said, “Playing is more important than

speaking to me.” To speak – or play – with such

simplicity demands the most profound artistry.

MONDAY 4 NOVEMBER 7:30PM

Melbourne Debut.

Mr Perahia will confirm his repertoire in early 2013.

November 2012: $60 / $90 / $110 / $150*.

MURRAY PERAHIA

MURRAY PERAHIA IS THE DEFINITIVE VIRTUOSO MUSICIAN. SINCE HIS DEBUT IN THE 1970s, PERAHIA HAS WON THE HEARTS AND MINDS OF AUDIENCES, CRITICS AND FELLOW MUSICIANS WITH THE COMBINATION OF INTELLIGENCE, POETRY AND PHENOMENAL TECHNIQUE HE PRESSES INTO THE SERVICE OF THE MUSIC.

CONCERT 9 Piano

In a Great Performers series not short on stellar

talent, Murray Perahia is perhaps the most august

and experienced master, though he’s retained his

boyish curiosity and passion. Never content to

repeat himself or take interpretative shortcuts,

Perahia leads revelatory journeys through core

repertoire, discovering new things to say at every

recital. First and foremost he’s a story-teller, wholly

committed to finding and then dramatising the

narratives embedded in the music. As one writer

put it, Perahia “has always had an inclination

towards translucency, for making himself the

finest possible veil through which to show you the

composers.” Fastidious preparation and analysis

underlie all of his decisions, but the result on the

concert stage is unstudied – a communion

between you and the music.

This transparency and discretion is the hallmark

of his playing, making him one of the most

sought-after artists of his generation and making

his recordings of his beloved Bach, Beethoven,

Schubert and Chopin definitive, award-winning

documents of self-effacing genius.

Perahia has said, “Playing is more important than

speaking to me.” To speak – or play – with such

simplicity demands the most profound artistry.

MONDAY 4 NOVEMBER 7:30PM

Melbourne Debut.

Mr Perahia will confirm his repertoire in early 2013.

November 2012: $60 / $90 / $110 / $150*.

MURRAY PERAHIA

MURRAY PERAHIA IS THE DEFINITIVE VIRTUOSO MUSICIAN. SINCE HIS DEBUT IN THE 1970s, PERAHIA HAS WON THE HEARTS AND MINDS OF AUDIENCES, CRITICS AND FELLOW MUSICIANS WITH THE COMBINATION OF INTELLIGENCE, POETRY AND PHENOMENAL TECHNIQUE HE PRESSES INTO THE SERVICE OF THE MUSIC.

CONCERT 9 Piano

MELBOURNE RECITAL CENTRE

Dame Elisabeth Murdoch AC, DBE

The Great Performers thrill us with their artistry and transcendent performances. Our donors ensure a lasting benefit. Their support directly impacts the range of artistic and education initiatives the Centre can undertake and the extent of our reach into the broader community. We invite you to consider making a gift to Melbourne Recital Centre so that we can offer profound and engaging experiences with great music to everyone.

Kathryn Fagg, ChairPeter BartlettTommas BonvinoStephen CarpenterDes ClarkJoe CorponiMargaret Farren-PriceJohn HiggsJulie Kantor

The Kantor FamilyThe Calvert-Jones FamilyLyn Williams AMHelen Macpherson Smith TrustRobert Salzer FoundationThe Hugh Williamson Foundation

P A T R O N

JOIN OUR OTHER GRE AT PERFORMERS

B O A R D O F D I R E C T O R S

F O U N D I N G B E N E F A C T O R S

P R I N C I P A L G O V E R N M E N T P A R T N E RP R I N C I P A L P A R T N E R

A I R L I N E P A R T N E R

S U P P O R T I N G P A R T N E R S

P R O G R A M P A R T N E R S

OUR PARTNERS

WHAT MAKES THE CENTRE SPECIAL?

Musicians will tell you that performing in the spaces at Melbourne Recital Centre is an incredible experience

and audiences will agree. Our two halls were designed to be the best place to hear music, providing a clarity and

intimacy that you’ve never experienced before. We’ve been voted the best venue for chamber music in

Australia, taking our place among the very finest in the world.

All information contained in this brochure is to the best of our knowledge and belief correct at the time of publication.

For further information on Melbourne Recital Centre’s Business Partnership and Donor Programs, please contact Sandra Robertson, Director of Development, by phone: (03) 9207 2641 or by email: [email protected]

Melbourne Recital Centre Cnr Southbank Bvd & Sturt St

Southbank Vic Australia

Telephone: 03 9699 3333 Box Office opening hours: Monday–Friday, 9am–5pm.

MELBOURNE RECITAL CENTRE

Dame Elisabeth Murdoch AC, DBE

The Great Performers thrill us with their artistry and transcendent performances. Our donors ensure a lasting benefit. Their support directly impacts the range of artistic and education initiatives the Centre can undertake and the extent of our reach into the broader community. We invite you to consider making a gift to Melbourne Recital Centre so that we can offer profound and engaging experiences with great music to everyone.

Kathryn Fagg, ChairPeter BartlettTommas BonvinoStephen CarpenterDes ClarkJoe CorponiMargaret Farren-PriceJohn HiggsJulie Kantor

The Kantor FamilyThe Calvert-Jones FamilyLyn Williams AMHelen Macpherson Smith TrustRobert Salzer FoundationThe Hugh Williamson Foundation

P A T R O N

JOIN OUR OTHER GRE AT PERFORMERS

B O A R D O F D I R E C T O R S

F O U N D I N G B E N E F A C T O R S

P R I N C I P A L G O V E R N M E N T P A R T N E RP R I N C I P A L P A R T N E R

A I R L I N E P A R T N E R

S U P P O R T I N G P A R T N E R S

P R O G R A M P A R T N E R S

OUR PARTNERS

WHAT MAKES THE CENTRE SPECIAL?

Musicians will tell you that performing in the spaces at Melbourne Recital Centre is an incredible experience

and audiences will agree. Our two halls were designed to be the best place to hear music, providing a clarity and

intimacy that you’ve never experienced before. We’ve been voted the best venue for chamber music in

Australia, taking our place among the very finest in the world.

All information contained in this brochure is to the best of our knowledge and belief correct at the time of publication.

For further information on Melbourne Recital Centre’s Business Partnership and Donor Programs, please contact Sandra Robertson, Director of Development, by phone: (03) 9207 2641 or by email: [email protected]

Melbourne Recital Centre Cnr Southbank Bvd & Sturt St

Southbank Vic Australia

Telephone: 03 9699 3333 Box Office opening hours: Monday–Friday, 9am–5pm.

A GREAT PRIZE 3

Purchase a package by 14 November 2012 and be

entered into the draw to win a mens or ladies Koppel

519 watch from Georg Jensen valued at up to $1,475.

Henning Koppel’s clean and understated design is

instantly recognisable for its numberless dial and

Swiss-made quality.

The ultra-precise quartz movement inside the elegant

round case of the 41-millimetre Koppel Dual Time,

offers a secondary time zone via a fourth separately

adjusted central hand. This gives the wearer the

opportunity to see the time at the end destination

and adjust the fourth hand to your home time –

or vice versa.

The Henning Koppel dual time is perfect for the

modern man or woman, and represents Danish

watch design at its very best.

GREAT PERFORMERS PACKAGES

IN 2013, YOU CAN SAVE ON TICKETS AND HAVE THE FLEXIBILIT Y OF A CHOOSE-YOUR-OWN SEASON TICKET PACKAGE. PURCHASE ALL NINE CONCERTS TO ENJOY THE GREATEST SAVING AND ADDITIONAL BENEFITS, OR PURCHASE A SIX-CONCERT OR FOUR-CONCERT PACKAGE TO PERSONALISE YOUR EXPERIENCE.

1. Best available, subject to availability; 2. Only valid for four- and six-packs; 3. Georg Jensen Koppel 519 Watch Draw Terms and Conditions: Purchase a Melbourne Recital Centre season package by 14 November 2012 to be entered into the draw to win a mens or ladies Koppel 519 watch in the colour of your choice from Georg Jensen valued at up to $1,475. The draw will be conducted on Fri 16 November at the Melbourne Recital Centre Marketing Department offices, 31 Sturt Street, Southbank, VIC 3006. Winner will be notified on Mon 19 November by phone/email and posted on melbournerecital.com.au. 4. Free Melbourne Recital Annual Membership offer valid until 14 November 2012. Limit of one Annual Membership per household. Your Membership pack will be fulfilled separately to your Season Tickets. Membership is not exchangeable, transferable or redeemable for cash. If you are already a Member, an additional year will be added to your existing Membership.

GREAT BENEFITS

The more you purchase the more you save:

30% or more on the regular ticket price.

Save 10% on additional tickets for

Great Performers concerts.

One complimentary ticket per year for you

to introduce a friend to Great Performers.

Valid for concerts until 25 June, 2013.1

Access to the Great Performers lounge.

Sit in the same seats for all your concerts –

the best seats in the house.

Full-pack purchasers can renew their

seats year after year.

Plans changed? Exchange your tickets

for another Great Performers recital.

We’ll waive the exchange fee.2

Subscribe by 14 November 2012 and

receive a free Melbourne Recital Centre

Annual Membership, to unlock further

benefits and discounts. 4

Priority access to other Great Performers

and select Melbourne Recital Centre events.

Join us for free pre-concert talks

45 minutes before each performance.

EAST WINGS

LEVEL TWO: CIRCLE

LEVEL ONE: STALLS

STAGEPREMIUM

A RESERVE

B RESERVE

C RESERVE

SEATING KEY:

STALLS SEATING

ONLY AVAILABLE

AT THIS TIME

PLEASE NOTE:

ELISABETH MURDOCH HALL

A GREAT PRIZE 3

Purchase a package by 14 November 2012 and be

entered into the draw to win a mens or ladies Koppel

519 watch from Georg Jensen valued at up to $1,475.

Henning Koppel’s clean and understated design is

instantly recognisable for its numberless dial and

Swiss-made quality.

The ultra-precise quartz movement inside the elegant

round case of the 41-millimetre Koppel Dual Time,

offers a secondary time zone via a fourth separately

adjusted central hand. This gives the wearer the

opportunity to see the time at the end destination

and adjust the fourth hand to your home time –

or vice versa.

The Henning Koppel dual time is perfect for the

modern man or woman, and represents Danish

watch design at its very best.

GREAT PERFORMERS PACKAGES

IN 2013, YOU CAN SAVE ON TICKETS AND HAVE THE FLEXIBILIT Y OF A CHOOSE-YOUR-OWN SEASON TICKET PACKAGE. PURCHASE ALL NINE CONCERTS TO ENJOY THE GREATEST SAVING AND ADDITIONAL BENEFITS, OR PURCHASE A SIX-CONCERT OR FOUR-CONCERT PACKAGE TO PERSONALISE YOUR EXPERIENCE.

1. Best available, subject to availability; 2. Only valid for four- and six-packs; 3. Georg Jensen Koppel 519 Watch Draw Terms and Conditions: Purchase a Melbourne Recital Centre season package by 14 November 2012 to be entered into the draw to win a mens or ladies Koppel 519 watch in the colour of your choice from Georg Jensen valued at up to $1,475. The draw will be conducted on Fri 16 November at the Melbourne Recital Centre Marketing Department offices, 31 Sturt Street, Southbank, VIC 3006. Winner will be notified on Mon 19 November by phone/email and posted on melbournerecital.com.au. 4. Free Melbourne Recital Annual Membership offer valid until 14 November 2012. Limit of one Annual Membership per household. Your Membership pack will be fulfilled separately to your Season Tickets. Membership is not exchangeable, transferable or redeemable for cash. If you are already a Member, an additional year will be added to your existing Membership.

GREAT BENEFITS

The more you purchase the more you save:

30% or more on the regular ticket price.

Save 10% on additional tickets for

Great Performers concerts.

One complimentary ticket per year for you

to introduce a friend to Great Performers.

Valid for concerts until 25 June, 2013.1

Access to the Great Performers lounge.

Sit in the same seats for all your concerts –

the best seats in the house.

Full-pack purchasers can renew their

seats year after year.

Plans changed? Exchange your tickets

for another Great Performers recital.

We’ll waive the exchange fee.2

Subscribe by 14 November 2012 and

receive a free Melbourne Recital Centre

Annual Membership, to unlock further

benefits and discounts. 4

Priority access to other Great Performers

and select Melbourne Recital Centre events.

Join us for free pre-concert talks

45 minutes before each performance.

EAST WINGS

LEVEL TWO: CIRCLE

LEVEL ONE: STALLS

STAGEPREMIUM

A RESERVE

B RESERVE

C RESERVE

SEATING KEY:

STALLS SEATING

ONLY AVAILABLE

AT THIS TIME

PLEASE NOTE:

ELISABETH MURDOCH HALL

2 013 C O NC E R T SE R IE S

M E L B O U R N E R E C I T A L C E N T R E

CNR SOUTHBANK BVD & STURT ST, SOUTHBANK VIC AUSTRALIA TELEPHONE 03 9699 3333 · MELBOURNERECITAL.COM.AU

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recital debut

special recital

great performers series

vocal recital

melbourne recital centrein

b o u r n e r e c i

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dazzling performances