kurt elling - · pdf fileto say about kurt elling, kurt elling does a pretty good job of...

SEASON 2008

KALEIDOSCOPE

KURT ELLINGJAZZ AND ORCHESTRA

Thursday 17 April | 8pm

Saturday 19 April | 8pm

Sydney Opera House Concert Hall

Ben Northey conductor Kurt Elling vocalistLaurence Hobgood pianoRobert Amster bassKobie Watkins drumsJulien Wilson saxophone

Kurt Elling and the Laurence Hobgood Trio perform

with the Sydney Symphony

Orchestral arrangements by Orbert Davis, with additionalarrangements by Kurt Elling, Laurence Hobgood, Shelly Berg, Neal Hefti, Quincy Jones, Steve Larsen, Christian McBride, Bob Mintzer, Rob Mounsey, and Brad Wheeler.

The Sydney Symphony will also perform Tangazoby Astor Piazzolla

This program will be recorded for broadcast across Australia onABC Classic FM 92.9.

Thursday night’s performance willbe webcast by BigPond. Visit:sydneysymphony.bigpondmusic.com

Pre-concert talk by Robert Murrayat 7.15pm in the Northern Foyer.

Visit www.sydneysymphony.com/talk-bios for biographies of pre-concert speakers.

The performance will conclude atapproximately 10.15pm.

Artist biographies begin on page 18.

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INTRODUCTION

Kurt Elling: Jazz and Orchestra

Don’t worry about saving this music or be scared if the singing endsor the piano breaks a string for we have fallen to a place where everything is music

and singing everything is recovered and newever new and musicaland even if the whole world’s harp should burn up there would still be hidden therethe spirit of song there to linger on and even if a candle’s blown out by wind the fire smoulders on in an ember and then sparks again the singing is a drop just a drop in oceans of seas grace keeps it moving through bodies like these

and the sound of a life sends an echoing outthe poem sings willingly in each newborn’s crying shoutbut it’s growing slowlyand keeps many secrets stop the words and listen feel the echo of it starting open a space in the centre of your beating heartand let spirits fly in and out

Vocalese lyric by Kurt Elling after the words of 13th-century poetJelaluddin Balkhi (‘Rumi’), as translated by Coleman Barks.From ‘I Like the Sunrise’ (Night Moves)

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ABOUT THE MUSIC

Some Notes on Kurt Ellingby Robert Murray

Difficulties

Writing about Kurt Elling is a tough gig. It’s not that youneed to be a hip wordsmith like Jack Kerouac to do it(though that would help), it’s just that whatever there isto say about Kurt Elling, Kurt Elling does a pretty goodjob of saying it himself on stage, as you’ll see. So, myadvice is, stop reading now and just listen…

One of the things you’ve probably noticed aboutElling is that while he’s undeniably cool, he’s alsoindisputably genuine. But then, he’s always been inpursuit of the real, even when that’s a challenge tohimself and to potential audiences: ‘artisticallyspeaking, jazz calls us on voyages.’

Nineteenth-century theologian Søren Kierkegaardexcused the knottiness of his philosophy by saying‘the task must be made difficult, for only the difficultinspires the noble-hearted’1. Is it drawing a long bowto imagine that Elling’s dialectical technique is fromthe same (old) school? Elling says, ‘the music we do often subverts expectations, it’s not for the faintof heart and it’s not for the average intelligence and I make no apologies for that.’ Elling assumes thatyou’re up to the task.

Listen to his propulsive version of ‘My FoolishHeart’ from his Live In Chicago album. What’s usuallyplayed as a slowish, wistful ballad gets the Ellingtreatment (with pattering percussion courtesy ofKahil El’Zabar) including a middle section that takes a sudden turn for the sublime as Elling interpolates a text by the 16th-century mystic St John of the Crosswhere the speaker is guided ‘to where She waited for me / the One I knew so well / in a place where no one appeared’ before a triumphant return to thehead.

1 Søren Kierkegaard, Journals and Papers (It’s not every jazzsinger who sends you to Kierkegaard…).

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I find that the more I listen to this track, the less I feel I understand it (which is surely one of the testsof a great piece of art). Is this aboutprofane/romantic/sexual love or is it holy: the poet,‘clothed in sheer grace’ is ‘fired with a love’s urgentlonging’ for God? Or is it somehow (probably) aconflation of the two? Interpretation changes withmood. The point is, there’s an otherness to many ofhis songs and there are places where you need to meetKurt half way, he’s not going to make it easy for you.Like all the best teachers, Kurt wants to seduce youinto discovering A Truth yourself. But at the same time this isn’t to say that anything Kurt does is hard tolisten to. You can appreciate his music as it comes,no introspection necessary. Music, uniquely, has theability to bypass our brains and hit us straight in theheart or the solar plexus and Kurt exploits that to thefullest, a combination of mind/voice that’s an iron fistin a velvet fog.

This song also brings us to the subject of Elling’sdeeply felt but lightly worn faith. Faith and musichave been intertwined longer than human memory, incelebration and contemplation of God or the gods,but today it’s a relatively rare thing for a mainstreammulti-award-winning musician to make so manysongs so overtly spiritual (I assume that Kurt isgenerally talking about the Judeo-Christian one, butwith typical deference, he leaves space for your ownbeliefs). Elling studied at the University of Chicago’sDivinity School and he reads widely and it shows inreferences to Rumi and Rilke (two very different butequally soulful poets), and in settings of Whitman(‘The Sleepers’, a gorgeous Fred Hersch arrangementwhich is like gliding over a night time landscape) andRoethke 2. But again, this isn’t ‘intellectual’ music –just intelligent. And it’s not ‘religious’ music – justvery human.

He says, ‘I should probably be more humble aboutmy aspirations but since I do have the ears of rooms

2 See Elling and bassist Rob Amster perform ‘The Waking’ onYouTube: http://tinyurl.com/5e3vnk

…Elling’s deeply felt but

lightly worn faith.

3 http://kurtelling.com/projects/spirituality-poetry-and-jazz/spirituality_poetry_and_jazz.html

4 ‘Nature Boy’, the 1947 song by Eden Ahbez, is a Nat ‘King’Cole chestnut and No.1 hit – seek out his lyrical version on anynumber of Best Of compilations. The song was used to tellingeffect at the opening of Baz Luhrmann’s Moulin Rouge! whereit becomes a self-indulgently Romantic anthem for EwanMacgregor’s love-lorn character. David Bowie sings the end-title version.

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full of people then I need to give them something thatwill add to their sense of peace and possibility.’

It’s a tightrope walk: too far one way and it could beeasy-listening crooning, too far the other it could be somuch pretentious hot air. But who cares if sometimeshe misses the nail when the times that he hits it squareon the head are so resoundingly good. Mannered?Maybe, but how many singers today even bother tocultivate a manner? How many aspire to this?

The artist’s role in mining the gold of poetic meaning inour contemporary life is a high intellectual and spiritualdiscipline. It is a calling in which one must be able toovercome one’s own fear in the search for – theamplification and creation of – meaning. This act ofcreation is both bane and blessing, both trial and joy.But it belongs to us. In fact, it belongs to all of us. It isfor us to live, to love, be thankful, to sing. Accepting thatwe are both the humble recipients and the proudcreators of the song that surrounds us, we dance on.Even so, ‘we dance round in a ring and suppose,’ saysFrost. ‘But the secret sits in the middle and knows.’ 3

Voice

Elling’s voice is an instrument of rare flexibility, range– about four octaves, from a near-subsonic rumble to a sweet falsetto – and unerring accuracy. He can alsohold a note long enough to make you want to gasp for breath. While his voice has a Sinatra-esque warmththat can make a love song smoulder, he uses it to besteffect in his improvisations.

Take an exemplary track, ‘Nature Boy’ from TheMessenger. Again, this is usually done as an introverted ballad 4, a delicate little fable like a Shel

He can hold a note long

enough to make you

want to gasp for breath.

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Silverstein 5 poem: ‘There was a boy, a very strange,enchanted boy...’ Kurt sings the artless short text firstslowly, simply accompanied by the delicate filigreeand punctuation of Laurence Hobgood’s piano (youcould almost call it a recitative, ‘sung speech’) beforelaunching into a faster more driven version of thesame and then thrillingly into a bebop quasi-instrumental vocal free-for-all which, the first time I heard it, raised the hair on the back of my neck.Here’s a voice that has the range and timbrelpossibilities of a tenor saxophone, making a sheet ofsound that’s a thousand miles from the polite doobiedoobie doos of classical scat (pace Ella Fitzgerald et al).

The spoken word comes to the fore sometimes, inwhat Elling calls ‘rants’, extempore stories with a Beatpoet flavour. Elling describes the events in terms thatsuggest that the words are almost automatic: ‘You just

5 American poet andillustrator, best known for hiswhimsical children’s booksWhere the Sidewalk Ends andThe Giving Tree.

Kurt Elling performing live with the

Laurence Hobgood Trio

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begin and allow the process to have its way, and itdoesn’t have to be perfect.’ 6

One of Kurt’s great contributions to jazz today ishis championing of the art of vocalese. Taking a floridinstrumental solo and fitting it with lyrics and even a narrative is one of those things that doesn’t makeintuitive sense until you hear it done well. When it isdone well, a vocalese song can outshine its originalversion – take that Lambert, Hendricks and Rossnumber, ‘Twisted’ (with a lyric by Annie Ross). Ellingfavours lyrical tenor sax solos – Dexter Gordon,Coltrane – which also tend to be a virtuoso showcasefor his chords and his writing chops.

Collaboration: The Trio

One of the keys to Kurt’s success is the quality of hisband. The piano trio is one of the ‘normative’ groupsof jazz for a reason: over the solid rhythmic foundation

6 Talking to Kinky andKarlheinz: 170 Musicians GetVocal on The Music Show, ed. Anni Heino (ABC Books)


of drums and bass, both singer and pianist are free to take wing. Bassist Rob Amster (who specialises inlyrical liquid pizzicato playing) and drummer KobieWatkins (a sensitive but rock-steady presence), are justthe men for the job.

Laurence Hobgood is one of the very best jazzpianists in the business, in the tradition of trioperformers like Bill Evans and Dave Brubeck. AndHobgood combines some of the best aspects of thesetwo: Evans’ poetic, impressionistic tall chords andBrubeck’s craggy rhythmic drive. If he sometimesseems self-effacing and discreet on Elling’s albums it’s only that they favour more concise arrangements – in concert and on solo albums you can admire hisprodigious technique and imagination even more. ‘I have to say,’ says Elling, ‘that Laurence is fully halfof the equation for success in my/our career. He is asuper-genius player – virtually omnipotent at thepiano.’

Further Listening

Elling’s latest album, Night Moves (2007), is the best wayinto his music. The trajectory of Elling’s developmenthas been one of refinement of technique and message,though each of his albums demonstrates a uniqueangle of Elling’s art. Night Moves manages to be both a coherent ‘concept’ album that’s at once expansive and somehow intimate (the dawn to dusk theme helpsthere). Close Your Eyes (1995), his first album, has awinning exuberance and candour. The follow up,The Messenger (1997), opens with the aforementioned‘Nature Boy’ and goes on to include the new vocaleseclassic, ‘Tanya Jean’ 7, a must-hear for anyoneinterested in the form. This Time it’s Love (1998) is aslightly-under-the-radar collection of low-key ballads.Live in Chicago (2000) has a terrific first half including a tumultuous vocalese on Wayne Shorter’s ‘Night Dream’but (to my ears) the energy wanes half way (strongermaterial appears on a hard-to-find Out Takes CD).

…over the solid rhythmic

foundation of drums and

bass, both singer and

pianist are free to take

wing.

7 Based on ‘Tanya’ from Dexter Gordon’s One Flight Up, ahard-bop masterpiece.


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The more even Flirting with Twilight (2001) consists ofthe kind of consoling torch songs you long to hearwhen your heart is broken, including an inspiredpairing of ‘I get along without you very well’ and‘Blame it on my youth’ and terrific mellow hornarrangements. Man in the Air (2003) was a departure,with more original material and ornate production –the soaring ‘Minuano’ sets the tone and the trio shinesthroughout, while the breathtaking ‘Resolution’ aloneis worth the price of admission.

Even Further Listening

Elling’s most direct influences are his mentors: sax-player Von Freeman and singer Mark Murphy.Murphy’s a musician’s musician and ‘a hipster’shipster’ who hit the scene in the 1950s and was – still is – renowned for the flexibility, range and accuracy ofhis voice and for his sensitive performance of balladsand vocalese. Sound familiar? His 1997 album, Song for the Geese (BMG/RCA Victor) is the most extendeddemonstration of his vocalese work. Hard-bopsaxophonist Von Freeman is the great exponent of the‘Chicago School’ sound and a key figure in that city’smusical life. Elling has moulded his own soundaround Freeman’s muscular tenor sax sound. Try the2004 album The Great Divide (on Premonition) – youwon’tbe able to tell that Freeman recorded this in his 80s.Finally, from the earliest days of vocalese, Lambert,Hendricks and Ross’s Sing a Song of Basie (Verve Records)is the one to hear.

You can hear Laurence Hobgood’s trio recordings(sometimes with Elling as guest) on the Naim Label 8.

Robert Murray is an arts marketer and freelance writer. Hismonthly CD review column appears in the Australian FinancialReview Magazine and he is a guest reviewer on ABC RadioNational’s Music Show. He has also written program notes forSymphony Australia and ABC Classics.

Visit http://surfaceofsilence.blogspot.com for further listeningplaylists and links.

8 http://www.thenaimlabel.co.uk/artists/hobgood_main.htm


Astor Piazzolla

Tangazo

There is still some debate about the origins of theword ‘tango’, and uncertainty as to where exactly inLatin America it began. What is certain is that itspread from country to country in the 1850s, and cameto have a particular resonance in the poorer districtsof the big cities. The lyrics of a classic tango songspeak inevitably of a fatalistic approach to life and love that evoke the genre’s urban origins. But then,beginning in the first decades of the 20th century, thetango made its way across the world. It first becamefashionable in Paris, after the abrupt movements ofthe dance were modified for the ballrooms of politesociety, then spread to Britain, before it conquered the United States thanks, in part, to the dance team of Vernon and Irene Castle. The Argentinian CarlosGardel became the first internationally renownedtango singer, and his legendary status in SouthAmerica only increased after his early death in 1935.

Astor Piazzolla’s re-thinking of the tango genrebegan in the 1940s, when he created his first largeorchestral tango arrangements. He also extended themusical possibilities of the genre by drawing into ithis interest in ‘cool school’ jazz of the 1950s. His firsttango quintet included – in addition to the traditionaltango instruments of bandoneón (a square-builtbutton accordion), piano and double bass – thevibraphone (replacing the more usual violin) andelectric guitar.

Tangazo is a late flowering of his work inbroadening the possibilities of tango. It is a moody,extended meditation on tango rhythms and melodicgestures, beginning in darkness before the colours andrhythms of the tango emerge unexpectedly from theorchestral texture.

PHILLIP SAMETZ ©1999

…a late flowering of

Piazzolla’s work in

broadening the

possibilities of tango.


MUSICIAN SNAPSHOT

Kirsten Williams – Mum’s the word

Perhaps it’s telling tales out of school toreveal here that Kirsten Williams, AssociateConcertmaster of the Sydney Symphony,is often one of the last musicians to rushonstage and take her seat before theorchestra tunes for rehearsal. Kirstenadmits ‘being a full-time mum and a full-time musician is a bit of a juggling act’.Family life can generate unusual reasonsfor being late to work: her daughter’sunexpected sharp encounter with Matildathe Wombat’s teeth, for instance, or a (then)mischievous toddler locking herself in the car just before a concert at the TownHall. These hiccups aside, Kirstenmaintains that ‘my job brings me so muchjoy and so much creative satisfaction; itmeans that I’m a happy Mum, and that iscrucial’.

Parenting has posed other challenges aswell. ‘There was a time when I thought Ihad to put the violin aside to concentrateon being a good wife and mother, and todiscover my identity away from the violin,if you like.’ Kirsten soon found out that lifewithout music was ‘like life without air’, inother words, unsustainable. ‘Music keepsme alive. My job constantly recreates itselfon a daily basis, and I’m always feelingrefreshed by it.’ Even if you’re rehearsing a piece for the umpteenth time? ‘Yes.Definitely. You have to be listening andaware, and you’re using senses that arebeyond the ears.’

Much of the orchestral music-makingthe audience witnesses functions at aninstinctive level. After many years ofindividual study, focusing on solorepertoire and chamber music, Kirstenfound orchestral playing a revelation. ‘Solo playing can be very lonely after a while,and not nearly as rewarding on differentlevels. There is so much interaction goingon with orchestral playing that it is more

interesting than I could ever have believed.’Learning the skills that would eventuallywin her a job at the ‘pointy end’ of theorchestra was a case of look-and-learn. ‘I did an awful lot of watching ofconcertmasters, especially those that Irespected a great deal.’ Ultimately though,there’s nothing like learning on the job.‘You put yourself in that role and act “as if ”until you feel your way. And you have totrust your instincts to a large degree.’

Sitting in the inner circle, andsupporting the concertmaster ininterpreting the conductor’s beat for therest of the orchestra to follow, Kirstenconfesses another aspect of her job thatshe enjoys: ‘I get to converse with theconductor, and I love talking, but it can bedisruptive.’ Mum’s the word!

GENEVIEVE LANG ©2008

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MORE MUSIC

Selected Discography

KURT ELLING

Nightmoves

CONCORD RECORDS CCD 30138-2

Man in the Air

BLUE NOTE RECORDS 07.22.2003

Flirting with Twilight


Live in Chicago Out Takes

BLUE NOTE RECORDS (2000)

Live in Chicago


This Time it’s Love


The Messenger


Close Your Eyes


For more information about Kurt Elling’s recordingsvisit: kurtelling.com/musicLaurence Hobgood’s recordings are available on theNaim label: www.thenaimlabel.co.ukJulien Wilson’s recent recordings are available fromSound Vault Records: www.soundvault.com.au and hisrecordings with SNAG can be ordered throughwww.aian.com.au/snag/snag.html

PIAZZOLLA

Piazzolla’s Tangazo finds company with Copland’sDanzón Cubano, Ginastera’s Estancia (which theSydney Symphony will perform in May), and Chavez’sSymphony No.2 (Sinfonía India) as well as music byRevueltas (also on the program in May) and others ona Decca Eloquence disc, Latin American Classics.Michael Tilson Thomas conducts the talented youngmusicians of the New World Symphony.ELOQUENCE 467603

APRIL–MAY

19 April, 12.05pmSHOSTAKOVICH 8

Steven Sloane conductorTabea Zimmermann violaLentz, Shostakovich

2 May, 8pmTCHAIKOVSKY AND SCHUBERT

Oleg Caetani conductorSchubert, Tchaikovsky

3 May, 12.05pmRACHMANINOV FESTIVAL (2007)Vladimir Ashkenazy conductorCristina Ortiz pianoCapriccio on Gypsy Themes, Piano Concerto No.2,Symphony No.1

10 May, 12.05pmRACHMANINOV FESTIVAL (2007)Vladimir Ashkenazy conductorKazune Shimizu pianoThe Rock, Piano Concerto No.4, Symphony No.2

17 May, 12.05pmRACHMANINOV FESTIVAL (2007)Vladimir Ashkenazy conductorLukás Vondrácek pianoThe Isle of the Dead, Rhapsody on a Theme ofPaganini, Symphony No.3

17 May, 8pmLATIN AMERICAN NIGHTS

Kristjan Järvi conductorCarel Kraayenhof bandoneónGinastera, Piazzolla, Revueltas

Broadcast Diary

Selected Sydney Symphony concerts are recorded forwebcast by BigPond and are available On Demand.

Visit: sydneysymphony.bigpondmusic.com

April webcasts:BRAHMS’ “FIFTH SYMPHONY”

KURT ELLING: JAZZ AND ORCHESTRA

May webcast:ALPINE AND JUPITER SYMPHONIES

Available from 31 May at 8pm.

sydneysymphony.com

Visit the Sydney Symphony online for concertinformation, podcasts, and to read the program book inadvance of the concert.

2MBS-FM 102.5SYDNEY SYMPHONY 2008

Tue 13 May, 6pm

What’s on in concerts, with interviews and music.

Webcast Diary


ABOUT THE ARTISTS

Benjamin Northey conductor

Currently Principal Conductor of the Australia Pro ArteChamber Orchestra, Benjamin Northey studied with JohnHopkins and Jorma Panula before being awarded firstprize in the 2001 Symphony Australia Young Conductor of the Year competition. He then studied with LeifSegerstam at the Sibelius Academy in Helsinki andcompleted his formal studies in 2006 with Jorma Panulaat the Stockholm Royal Academy of Music.

He made his professional conducting debut with theMelbourne Symphony Orchestra in 2003 and has sinceappeared with all the Australian symphony orchestras,the State Opera South Australia (making his debut withDonizetti’s L’elisir d’amore in 2007) and the QueenslandBallet.

He made his European debut with the MozarteumOrchestra Salzburg in 2005. He has also appeared inmasterclass concert performances with the MoscowSymphony Orchestra, the Finnish Radio SymphonyOrchestra, the Gävle Symphony Orchestra and the VaasaCity Orchestra and in Israel with the Haifa SymphonyOrchestra. In 2006 he led a critically acclaimed Swedishtour with the Södra Hälsinglands Orkesterförening anddirected the Futurum Sinfonietta for the 2006 StockholmNew Music Festival.

Last year he was selected as one of three conductorsworldwide to participate in the International Conductors’Academy of the Allianz Cultural Foundation. The Academyinvolves a mentorship for the 2007–08 season with theLondon Philharmonic and Philharmonia Orchestras and conductors Vladimir Jurowski and Christoph vonDohnányi. In June Ben Northey will conduct the LPO inRoyal Festival Hall.

This season Benjamin Northey also appears with the Melbourne and Adelaide Symphony Orchestras,the Queensland Orchestra, Orchestra Victoria, andQueensland Ballet in their production of A MidsummerNight’s Dream.


Kurt Elling vocalist

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vocalist Kurt Elling has attained elite status in the jazzworld before reaching the age of 40. Riding tointernational prominence on the strength of hisacclaimed performances as well as a string of recordingsfor the Blue Note label, he has become the voice of a new generation of jazz fans. He’s been called ‘the mostflamboyantly creative jazz singer to emerge in the lastdecade’ by the San Francisco Chronicle. And although he continues to operate in his own singular orbit, theChicago native is following in the footsteps of vocalesepioneers such as Eddie Jefferson, King Pleasure, JonHendricks and perhaps his single biggest influence, MarkMurphy. Combining thought-provoking lyrics with cleverarrangements and surprising choices of material, Ellinghas forged a potent body of work that is marked byquality, consistency and an audacious sense of risk-taking.

Considered one of the foremost contemporary voicesin the art of vocalese – the act of putting words toimprovised solos of jazz artists – Elling has set words tosolos by Wayne Shorter, Keith Jarrett, Dexter Gordon andPat Metheny, often incorporating images and referencesfrom writers such as Rainer Maria Rilke, Jalal al-DinRumi, Pablo Neruda and Beat poets Jack Kerouac andKenneth Rexroth into his work.

His recording career began when he was 27 with the1995 release of Close Your Eyes. In 1997, Playboy magazinenamed him Male Jazz Vocalist of the ’90s and in 2002 Jazz Review (UK) raised the possibility that ‘Elling maybe the greatest male jazz singer of all time’. Kurt has been named Top Male Vocalist by the Jazz JournalistsAssociation three times and has topped the Down BeatCritics Poll and the Jazz Times Readers Poll every yearsince 2000.

Kurt Elling was commissioned by the City of Chicagoto mount a large scale multi-media presentation entitledThis Is Our Music, These Are Our People for the city’sweek-long millennial celebration, and he has createdprovocative theatre pieces for Chicago’s Steppenwolftheatre company. He has also served as a national trusteefor the National Academy of Recording Arts and Sciencesbeginning in 1999.

This is his first appearance with the Sydney Symphony.


Laurence Hobgood piano

Laurence Hobgood began classical piano studies at the age ofsix. His inclination towards improvisation was always evident,and in his teens he discovered blues music through his father’schurch in Dallas, Texas. But it was not until moving to Illinoisthat he began studying jazz. By the time he entered the Universityof Illinois School of Music, his attention had been captured bysmall ensemble jazz, although his continued classical studiesproved pivotal in his technical development. He also studiedcomposition with Salvatore Martirano. He moved to Chicago in 1988 and later formed a quintet to perform his original work.He was also invited by bassist Eric Hochberg to join anotherquintet with drummer Paul Wertico. This rhythm sectionbonded, and performing as Trio New they demonstrated aunique and vital energy. In 1993 he began collaboration withKurt Elling and in 1994 he produced, composed and arrangedfor, and played on Elling’s demo, released by Blue Note as Close Your Eyes. Since then the Laurence Hobgood Trio hasperformed with Elling throughout Europe, North and SouthAmerica, Japan and Israel as well as Australia, and has appearedat Carnegie Hall and the John F. Kennedy Center for thePerforming Arts as well as major American festivals.

Robert Amster bass

Robert Amster began playing electric bass while at BarringtonHigh School in Illinois. Initially motivated by pop and rockartists, he quickly became a devotee of fusion jazz after a friendplayed a Jean Luc Ponty record for him. At the time Barringtonwas home to a nationally recognised jazz program and the band director introduced him to ‘all the right stuff ’: DexterGordon, ‘Trane’, Oscar Peterson, Ray Brown, ‘P.C.’. Robsubsequently spent time at Berklee College in Boston and theUniversity of Miami. At the age of 20 he joined the band oflegendary drummer Buddy Rich, and after Rich’s death in 1987,he returned to Chicago to begin freelancing. He performedwith many artists, including Dizzy Gillispie, Joe Lovano,Paquito D’Rivera, Milt Jackson, and Jon Hendricks. He alsobegan playing regularly with guitarist Fareed Haque’s group,performing on two of his critically acclaimed recordings. By1994, he had begun working with Kurt Elling. Rob also begantouring with Maynard Ferguson’s band, as well as playing with artists such as jazz guitar great Larry Coryell, and vocalistRebecca Paris. Since 1995, Rob has been based in Chicago,while touring and recording with Kurt Elling.


Julien Wilson saxophone

One of the most gifted and individual saxophonists in Australianjazz, Wilson has recorded and performed with artists such asJim Black, Mark Helias, Bob Moses, Hugh Masekala, Artie ShawOrchestra, Josh Roseman, Andy Milne and Palle Mikelborg. Hehas contributed to the jazz groups of Mike Nock, Barney McAlland Paul Grabowsky and performed with popular artists such asDaddy Cool, Archie Roach, Augie March and Thirsty Merc. JulienWilson has received the National Jazz Award and the FreedmanFellowship for Jazz, and has been a finalist for seven AustralianJazz Awards. He has released six albums as leader includingwhile you were sleeping in 2006, which was an ARIA finalist, andTrio – Live in 2007, both on SoundVaultRecords. Julien is amember of many seminal Australian jazz bands that have touredextensively overseas, including Ishish and the Australian ArtOrchestra and is a member of SNAG, a band based in Switzerlandthat has released three CDs and toured in Europe and Australia. His own group has received glowing reviews for itsperformances and recordings, and has been invited to performat most of the major music festivals in Australia, as well asappearing at the Berlin, Jakarta and New Zealand Jazz Festivals,the Sydney Opera House and the National Gallery of Victoria.

Kobie Watkins drums

A Chicago native, Kobie Watkins is much in demand as apercussionist/drummer and mentor. With a foundation laid inplaying pots and pans as a toddler and degrees in music educationand jazz pedagogy, he has worked with a long list of jazz greats thatincludes Sonny Rollins, Sonny Fortune, George Coleman, FredAnderson, Ari Brown, Bobby Broom, Ken Chaney of the JazzInstitute of Chicago, Orbert Davis, Havana, Ron Perillo, WilliePickens, Bethany Pickens, and the Dennis Winslett Quartet. Hehas also been resident drummer with the Chicago Jazz Ensemble,a frequent player with the Jazz Institute of Chicago, Jazz ShowcaseChicago and the Chicago Jazz Festival. As a teacher and mentorfor young musicians he has worked with Wynton Marsalis atChicago’s Martin Luther King High School, and for the ChicagoPublic School Jazz Scholars as well as teaching undergraduatesat Northwestern University. He serves youth through the OrbertDavis’ Music Alive Program (Attention for Boys) and each summerhe can be found leading teens in worship at Christian TeenCamp in Lake Geneva, Wisconsin. One of his greatest strengthsis versatility and his experience also includes playing with theWalt Disney World American All Star Band and for musicaltheatre. Kobie currently acts as the drummer for Kurt Elling.


THE SYDNEY SYMPHONY

Founded in 1932, the Sydney Symphonyhas evolved into one of the world’s finestorchestras as Sydney has become one of theworld’s great cities. Last year the Orchestracelebrated its 75th anniversary and themilestone achievements during itsdistinguished history.

Resident at the iconic Sydney OperaHouse, where it gives more than 100performances each year, the SydneySymphony also performs concerts in avariety of venues around Sydney andregional New South Wales. Internationaltours to Europe, Asia and the USA haveearned the Orchestra world-widerecognition for artistic excellence.

Critical to the success of the SydneySymphony has been the leadership givenby its former Chief Conductors including:Sir Eugene Goossens, Nicolai Malko,Dean Dixon,Willem van Otterloo, LouisFrémaux, Sir Charles Mackerras, StuartChallender and Edo de Waart. Alsocontributing to the outstanding success of the Orchestra have been collaborationswith legendary figures such as GeorgeSzell, Sir Thomas Beecham, OttoKlemperer and Igor Stravinsky.

Maestro Gianluigi Gelmetti, whoseappointment followed a ten-yearrelationship with the Orchestra as GuestConductor, is now in his fifth and finalyear as Chief Conductor and ArtisticDirector of the Sydney Symphony, aposition he holds in tandem with that ofMusic Director at Rome Opera. MaestroGelmetti’s particularly strong rapportwith French and German repertoire iscomplemented by his innovativeprogramming in the Shock of the Newconcerts.

The Sydney Symphony’s award-winningEducation Program is central to theOrchestra’s commitment to the future of live symphonic music, developingaudiences and engaging the participationof young people. The Sydney Symphonyalso maintains an active commissioningprogram promoting the work of Australiancomposers, and recent premieres haveincluded major works by Ross Edwards and Brett Dean, as well as Liza Lim, whowas composer-in-residence from 2004 to2006.

In 2009 Maestro Vladimir Ashkenazywill begin his three-year tenure asPrincipal Conductor and Artistic Advisor.

JOH

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PATRON Her Excellency Professor Marie Bashir AC CVO, Governor of New South Wales


MUSICIANS

01First Violins

02 03 04 05 06 07

08 09 10 11 12 13 14

15 01Second Violins

02 03 04 05 06

07 08 09 10 11 12 13

First Violins

01 Sun YiAssociate Concertmaster

02 Kirsten WilliamsAssociate Concertmaster

03 Kirsty HiltonAssistant Concertmaster

04 Fiona ZieglerAssistant Concertmaster

05 Julie Batty06 Gu Chen07 Sophie Cole08 Amber Gunther09 Rosalind Horton10 Jennifer Hoy11 Jennifer Johnson12 Georges Lentz13 Nicola Lewis14 Alexandra Mitchell

Moon Design Chair of Violin15 Léone Ziegler

Second Violins

01 Marina MarsdenPrincipal

02 Emma WestA/Associate Principal

03 Shuti HuangA/Assistant Principal

04 Susan DobbiePrincipal Emeritus

05 Pieter Bersée06 Maria Durek07 Emma Hayes08 Stan Kornel09 Benjamin Li10 Nicole Masters11 Philippa Paige12 Biyana Rozenblit13 Maja Verunica

Guest Musicians

Emily LongFirst Violin#

Emily QinFirst Violin#

Manu BerkeljonFirst Violin†

Rohana BrownFirst Violin†

Leigh MiddenwayFirst Violin

Martin SilvertonFirst Violin

Alexander NortonSecond Violin#

Alexandra D’EliaSecond Violin#

Rosemary CurtinViola#

Janine RyanCello

Rowena CrouchCello#

Gordon HillDouble Bass#

Robert Llewellyn Bassoon#

Nigel Crocker Trombone

Philip South Percussion

# Contract Musician† Sydney Symphony

Fellow

Gianluigi GelmettiChief Conductor andArtistic Director

Michael DauthChair of Concertmastersupported by the SydneySymphony Board and Council

Dene OldingChair of Concertmastersupported by the SydneySymphony Board and Council


08Cellos

09 10 11 01 02 03

01Violas

02 03 04 05 06 07

04 05 06 07 08 09

01Double Basses

02 03 04 05 06 07

Harp01 Flutes

02 03Piccolo

MUSICIANS

Violas

01 Roger BenedictAndrew Turner and Vivian Chang Chair of Principal Viola

02 Anne Louise ComerfordAssociate Principal

03 Yvette GoodchildAssistant Principal

04 Robyn Brookfield05 Sandro Costantino06 Jane Hazelwood07 Graham Hennings08 Mary McVarish09 Justine Marsden10 Leonid Volovelsky11 Felicity Wyithe

Cellos

01 Catherine Hewgill Principal

02 Nathan Waks Principal

03 Leah LynnAssistant Principal

04 Kristy Conrau05 Fenella Gill06 Timothy Nankervis07 Elizabeth Neville08 Adrian Wallis09 David Wickham

Double Basses

01 Kees BoersmaBrian and Rosemary White Chair of Principal Double Bass

02 Alex HeneryPrincipal

03 Neil BrawleyPrincipal Emeritus

04 David Campbell05 Steven Larson06 Richard Lynn07 David Murray

Gordon Hill(contract, courtesy Auckland Philharmonic)

Harp

Louise JohnsonMulpha Australia Chair of Principal Harp

Flutes

01 Janet Webb Principal

02 Emma ShollMr Harcourt Gough Chair of Associate Principal Flute

03 Carolyn Harris

Piccolo

Rosamund PlummerPrincipal


Cor Anglais Clarinets Bass Clarinet

Oboes

01 Diana Doherty Andrew Kaldor and Renata Kaldor AO Chair of Principal Oboe

02 Shefali PryorAssociate Principal

Cor Anglais

Alexandre OgueyPrincipal

Clarinets

01 Lawrence Dobell Principal

02 Francesco CelataAssociate Principal

03 Christopher Tingay

Bass Clarinet

Craig WernickePrincipal

Bassoons

01 Matthew WilkiePrincipal

02 Roger BrookeAssociate Principal

03 Fiona McNamara

Contrabassoon

Noriko ShimadaPrincipal

Horns

01 Robert JohnsonPrincipal

02 Ben JacksPrincipal

03 Geoff O’ReillyPrincipal 3rd

04 Lee BracegirdleEuan Harvey

05 Marnie Sebire

Trumpets

01 Daniel Mendelow Principal

02 Paul Goodchild The Hansen Family Chair of Associate Principal Trumpet

03 John Foster04 Anthony Heinrichs

Trombone

01 Ronald PrussingNSW Department of State and Regional Development Chair of Principal Trombone

02 Scott KinmontAssociate Principal

03 Nick ByrneRogen International Chair of Trombone

Bass Trombone

Christopher Harris Trust Foundation Chair of Principal Bass Trombone

Tuba

Steve RosséPrincipal

Timpani

01 Richard MillerPrincipalAdam JeffreyAssistant Principal Timpani/Tutti Percussion

Percussion

01 Rebecca LagosPrincipal

02 Colin Piper

Piano

Josephine AllanPrincipal (contract)

01Bassoons Contrabassoon Horns

02 03 01 02 03

01Oboes

02 01 02 03

04 05 06 01Trumpets

02 03 04

01Trombones

02 03Bass Trombone Tuba

01Timpani

01Percussion

02Piano

MUSICIANS

The Company is assisted by the NSW Government through Arts NSW

SALUTE


PRINCIPAL PARTNER

PLATINUM PARTNER

MAJOR PARTNERS

GOVERNMENT PARTNERS

GOLD PARTNERS


The Sydney Symphony applauds the leadership role our Partners play and their commitment to excellence,innovation and creativity.

SILVER PARTNERS

REGIONAL TOUR PARTNERS

BRONZE PARTNERS MARKETING PARTNERS PATRONS

Australia Post

Austrian National Tourist Office

Beyond Technology Consulting

Bimbadgen Estate Wines

J. Boag & Son

Vittoria Coffee

Avant Card

Blue Arc Group

Lindsay Yates and Partners

2MBS 102.5 –Sydney’s Fine Music Station

The Sydney Symphony gratefullyacknowledges the many musiclovers who contribute to theOrchestra by becoming SymphonyPatrons. Every donation plays animportant part in the success of theSydney Symphony’s wide rangingprograms.

A leadership program which linksAustralia’s top performers in theexecutive and musical worlds.For information about the Directors’Chairs program, please contact Alan Watt on (02) 8215 4619.


01 02 03 04 05 06

07 08 09 10 11 12

DIRECTORS’ CHAIRS

01Mulpha Australia Chair ofPrincipal Harp, Louise Johnson

02Mr Harcourt Gough Chair ofAssociate Principal Flute, Emma Sholl

03Sandra and Paul Salteri Chair ofArtistic Director Education,Richard Gill OAM

04Jonathan Sweeney, Managing Director Trust withTrust Foundation Chair ofPrincipal Bass Trombone, Christopher Harris

05NSW Department of State and Regional Development Chair of Principal Trombone,Ronald Prussing

06Brian and Rosemary White Chair of Principal Double Bass,Kees Boersma

07Board and Council of theSydney Symphony supportsChairs of Concertmaster Michael Dauth and Dene Olding

08Gerald Tapper, Managing Director Rogen International withRogen International Chair of Trombone, Nick Byrne

09Stuart O’Brien, ManagingDirector Moon Design with Moon Design Chair of Violin,Alexandra Mitchell

10Andrew Kaldor and Renata Kaldor AO Chair ofPrincipal Oboe, Diana Doherty

11Andrew Turner and VivianChang Chair of Principal Violaand Artistic Director, FellowshipProgram, Roger Benedict

12The Hansen Family Chair ofAssociate Principal Trumpet,Paul Goodchild

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ERS


Dr & Mrs C Goldschmidt §Beth Harpley *Rev H & Mrs M Herbert °*Dr & Mrs Michael Hunter §Intertravel Lindfield °Mrs Greta James *Mr Stephen Jenkins *Dr Michael Joel AM &

Mrs Anna Joel °Professor Faith M Jones §Ms Judy JoyeMr Noel Keen *Mrs Margaret Keogh °*Iven & Sylvia Klineberg *Dr Barry LandaMrs Joan Langley °Dr & Mrs Leo Leader °Margaret Lederman §Ms A Le Marchant *Mr & Mrs Ezzelino Leonardi §Barbara & Bernard Leser °Erna & Gerry Levy AM §Mr & Mrs S C Lloyd °Mr James McCarthy *Mr Ian & Mrs Pam McGaw *Mr Matthew McInnes §Ms Julie Manfredi-HughesKate & Peter Mason °Justice Jane Matthews §Ms J Millard *‡Mr Walter B Norris °Miss C O’Connor *Mrs Rachel O’Conor °Mr R A Oppen §Mrs Roslyn Packer AO °Mrs Jill Pain ‡Dr Kevin Pedemont *Mr & Mrs Michael Potts Mr L T & Mrs L M Priddle *Mrs B Raghavan °Mr John Reid AO Catherine Remond °Mr John & Mrs Lynn Carol Reid §Mr Brian Russell & Mrs Irina

SinglemanMr M D Salamon §In memory of H St P Scarlett °*Mr John Scott °Ms Ann Sherry AO °Dr Agnes E SinclairDr John Sivewright &

Ms Kerrie Kemp ‡Dr Heng & Mrs Cilla Tey §Mrs Elizabeth F Tocque °*Mrs Merle Turkington °Ronald Walledge °Louise Walsh & David Jordan °Mrs Christine WenkartDr Richard Wing §Mr Robert Woods *Jill WranMrs Lucille Wrath ‡Mrs R Yabsley °§Anonymous (14)

PLAYING YOUR PART

Maestri

Brian Abel & the late Ben Gannon AO °

Geoff & Vicki Ainsworth *Mr Robert O Albert AO *‡Alan & Christine Bishop °§Sandra & Neil Burns *Mr Ian & Mrs Jennifer Burton °Libby Christie & Peter James °§The Clitheroe Foundation *Mr John C Conde AO °§Mr John Curtis §Penny Edwards °*Mr J O Fairfax AO *Fred P Archer Charitable Trust §Dr Bruno & Mrs Rhonda Giuffre*Mr Harcourt Gough §Mr David Greatorex AO &

Mrs Deirdre Greatorex §The Hansen Family §Mr Andrew Kaldor & Mrs

Renata Kaldor AO §H Kallinikos Pty Ltd §Mrs Joan MacKenzie §Mr E J Merewether &

Mrs T Merewether OAM *Mr B G O’Conor °§The Paramor Family *The Ian Potter Foundation °Dr John Roarty in memory of

Mrs June RoartyMr Paul & Mrs Sandra Salteri °Mrs Joyce Sproat & Mrs Janet

Cooke §Andrew Turner & Vivian ChangMr Brian & Mrs Rosemary White§Anonymous (2) *

Virtuosi

Mrs Antoinette Albert §Mr Roger Allen & Mrs Maggie

GrayMr Robert & Mrs L Alison Carr §Mr Greg Daniel Ian Dickson & Reg Holloway°Mr & Mrs Paul Hoult Irwin Imhof in memory of

Herta Imhof °‡Mr Stephen Johns §Mr & Mrs Gilles T Kryger °§Ms Ann Lewis AM

Helen Lynch AM & Helen Bauer °

Mr & Mrs David Milman §Miss Rosemary Pryor *Bruce & Joy Reid Foundation*Rodney Rosenblum AM &

Sylvia Rosenblum *Mrs Helen Selle §David Smithers AM & Family °§Ms Gabrielle Trainor °In memory of Dr William &

Mrs Helen Webb ‡Michael & Mary Whelan Trust §Anonymous (1)

SoliMr Anthony Berg AMMs Jan Bowen °§Mr Peter Coates Hilmer Family Trust §Ms Ann Hoban °Mr Paul Hotz §Mrs Judith McKernan °§Miss Margaret N MacLaren °*‡§Mr David Maloney §Mrs Mora Maxwell °§Mr James & Mrs Elsie Moore °Mr Geoff Wood & Ms Melissa

Waites Ray Wilson OAM & the late

James Agapitos OAM*Anonymous (4)

TuttiMr C R Adamson §Mr Henri W Aram OAM §Mr Terrey & Mrs Anne Arcus §Mr David Barnes °Mrs Joan Barnes °Mr Stephen J Bell *‡Mr Alexander & Mrs Vera

Boyarsky §Mr David S Brett *§Mr Maximo Buch *Mrs Lenore P Buckle §Debby Cramer & Bill Caukill §Mr Bob & Mrs Julie Clampett °§Mr John Cunningham SCM &

Mrs Margaret Cunningham °§Lisa & Miro Davis *Mrs Ashley Dawson-Damer °Mr Peter & Mrs Mary Doyle °*Mr & Mrs J B Fairfax AM §Mr Ian Fenwicke & Prof Neville

Wills §Mrs Dorit & Mr William

Franken °§Mr Arshak & Ms Sophie

Galstaun §In memory of Hetty Gordon §Mrs Akiko Gregory °Miss Janette Hamilton °‡Mr A & Mrs L Heyko-Porebski°Mr Philip Isaacs OAM °§Mr & Mrs E Katz §Miss Anna-Lisa Klettenberg §Mr Andrew Korda & Ms Susan

Pearson Mr Justin Lam §

Dr Paul A L Lancaster &Dr Raema Prowse

Dr Garth Leslie °*Mrs Belinda Lim & Mr Arti Ortis §Mr Gary Linnane °§Ms Karen Loblay §Mr Bob Longwell Mr Andrew & Mrs Amanda Love Mrs Carolyn A Lowry OAM °Mr & Mrs R Maple-Brown §Mr Robert & Mrs Renee

Markovic °§Mrs Alexandra Martin & the

Late Mr Lloyd Martin AM §Wendy McCarthy AO °Mrs Barbara McNulty OBE §Ms Margaret Moore & Dr Paul

Hutchins *Mr Robert Orrell °Timothy & Eva Pascoe §Ms Patricia Payn °§Mrs Almitt PiattiMr Adrian & Mrs Dairneen Pilton Ms Robin Potter °§Mr Ernest & Mrs Judith Rapee §Dr K D Reeve AM °Mrs Patricia H Reid §Ms Juliana Schaeffer §Derek & Patricia Smith §Catherine Stephen §Mr Fred & Mrs Dorothy Street ‡§Mr Georges & Mrs Marliese

Teitler §Mr Ken Tribe AC & Mrs Joan

Tribe §Mr John E Tuckey °Mrs Kathleen Tutton §Ms Mary Vallentine AO §Henry & Ruth Weinberg §Audrey & Michael Wilson °Anonymous (10)

Supporters over $500Richard Ackland °PTW Architects §Mr John Azarias Mr Chris & Mrs Mary Barrett °Doug & Alison Battersby °Mr Phil Bennett Gabrielle Blackstock °‡Mr G D Bolton °Dr & Mrs Hannes Boshoff §A I Butchart °*Marty Cameron §Mr B & Mrs M Coles °Mrs Catherine Gaskin

Cornberg§Mr Stan Costigan AO &

Mrs Mary Costigan °*Mrs M A Coventry °Mr Michael Crouch AO *M Danos °Mr Colin DraperMr Russell Farr Mr and Mrs David Feetham Mr Steve GillettIn memory of Angelica Green §Anthony Gregg & Deanne

Whittleston ‡

Patron Annual

Donations Levels

Maestri $10,000 and above Virtuosi $5000 to $9999 Soli $2500 to $4999 Tutti $1000 to $2499 Supporters $500 to $999

To discuss givingopportunities, please callAlan Watt on (02) 8215 4619.

° Allegro Program supporter* Emerging Artist Fund supporter‡ Stuart Challender Fund supporter§ Orchestra Fund supporter

The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Every gift plays an important part in ensuring ourcontinued artistic excellence and helping to sustain important education andregional touring programs. Because we are now offering free programs andspace is limited we are unable to list donors who give between $100 and $499 –please visit sydneysymphony.com for a list of all our patrons.


Sydney Symphony Board

BEHIND THE SCENES

CHAIRMAN

John Conde AO

Libby Christie John CurtisStephen JohnsAndrew KaldorGoetz RichterDavid Smithers AM

Gabrielle Trainor

Sydney Symphony Council

Geoff AinsworthAndrew Andersons AO

Michael Baume AO

Christine BishopDeeta ColvinGreg Daniel AM

John Della Bosca MLC

Alan FangErin FlahertyDr Stephen FreibergRichard Gill OAM

Donald Hazelwood AO OBE

Dr Michael Joel AM

Simon Johnson Judy JoyeYvonne Kenny AM

Gary LinnaneAmanda LoveThe Hon. Ian Macdonald MLC

Joan MacKenzieSir Charles Mackerras CH AC CBE

David MaloneyDavid MaloufJulie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Matthews AO

Danny MayWendy McCarthy AO

John MorschelGreg ParamorDr Timothy Pascoe AM

Stephen Pearse

Jerome RowleyPaul SalteriSandra SalteriJacqueline SamuelsBertie SanJulianna SchaefferLeo Schofield AM

Ivan UngarJohn Van OgtropJustus VeeneklaasPeter Weiss AM

Anthony Whelan MBE

Rosemary WhiteKim Williams AM

Sydney Symphony Regional Touring Committee

The Hon. Ian Macdonald MLC

Minister for Primary Industries, Energy, MineralResources and State Development

Dr Richard Sheldrake Director-General Primary Industries

Dr Mark Duffy Director-General Water & Energy

Colin Bloomfield Illawarra Coal BHPBilliton

Stephen David Caroona Project, BHPBilliton

Jim Davis Regional Express Airlines

Peter Freyberg Xstrata

Tony McPaul Cadia Valley Operations

Terry Charlton Snowy Hydro

Sivea Pascale St.George Bank

Paul Mitchell Telstra

John Azarius Deloitte Foundation

Greg Jones

Rob Vickery Royal Agricultural Society

Gerard Lawson Sunrice


Sydney Symphony Staff

MANAGING DIRECTOR

Libby ChristieEXECUTIVE ASSISTANT

Eva-Marie Alis

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC OPERATIONS

Wolfgang Fink

Artistic Administration

ARTISTIC ADMINISTRATION MANAGER

Raff WilsonARTIST LIAISON

Ilmar LeetbergPERSONAL ASSISTANT TO THE CHIEF CONDUCTOR

Lisa Davies-GalliADMINISTRATION ASSISTANT

Catherine Wyburn

Education Programs

EDUCATION MANAGER

Margaret MooreEDUCATION COORDINATOR

Bernie Heard

Library

LIBRARIAN

Anna CernikLIBRARY ASSISTANT

Victoria GrantLIBRARY ASSISTANT

Mary-Ann Mead

Recording Enterprises

RECORDING ENTERPRISES MANAGER

Aimee Paret

EXTERNAL RELATIONS

DIRECTOR OF EXTERNAL RELATIONS

Rory Jeffes

Development

CORPORATE RELATIONS MANAGER

Leann MeiersCORPORATE RELATIONS EXECUTIVE

Julia OwensCORPORATE RELATIONS EXECUTIVE

Seleena SemosPHILANTHROPY MANAGER

Alan WattDEVELOPMENT EXECUTIVE

Kylie Anania

Publications

PUBLICATIONS EDITOR AND MUSIC PRESENTATION MANAGER

Yvonne FrindlePUBLICATIONS SUB-EDITOR

Rita Williams

Public Relations

PUBLIC RELATIONS MANAGER

Yvonne ZammitPUBLICIST

Stuart Fyfe

Public Affairs

PUBLIC AFFAIRS MANAGER

Claire Duffy

SALES AND MARKETING

Customer Relations

MARKETING MANAGER – CRM

Rebecca MacFarlingDATA & ONLINE TECHNOLOGY MANAGER

Marko LångONLINE MANAGER

Kate Taylor

Marketing Communications

MARKETING MANAGER – TRADITIONALMARKETS

Simon Crossley-MeatesMARKETING MANAGER – NEW MARKETS& RECORDINGS

Penny EvansMARKETING COORDINATOR

Antonia Farrugia

Groups & Tourism

NETWORK GROUP-SALES MANAGER

Paul Murray

Box Office

BOX OFFICE MANAGER

Lynn McLaughlinBOX OFFICE COORDINATOR

Peter GahanCUSTOMER SERVICE REPRESENTATIVES

Michael DowlingErich GockelNatasha Purkiss

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRAMANAGEMENT

Aernout KerbertDEPUTY ORCHESTRA MANAGER

Lisa MullineuxORCHESTRAL COORDINATOR

Greg LowOPERATIONS MANAGER

John GlennTECHNICAL MANAGER

Derek CouttsPRODUCTION COORDINATOR

Tim DaymanPRODUCTION COORDINATOR

Ian SpenceSTAGE MANAGER

Marrianne Carter

BUSINESS SERVICES

DIRECTOR OF FINANCE & COMPANYSECRETARY

David O’KaneFINANCE MANAGER

Pradhan DayaramACCOUNTS ASSISTANT

Li LiOFFICE ADMINISTRATOR

Rebecca WhittingtonPAYROLL OFFICER

Usef HoosneyINFORMATION TECHNOLOGY MANAGER

Tim Graham

HUMAN RESOURCES

HUMAN RESOURCES MANAGER

Ian Arnold

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EXECUTIVE CHAIRMAN

Brian Nebenzahl OAM, RFD

MANAGING DIRECTOR

Michael Nebenzahl

EDITORIAL DIRECTOR

Jocelyn Nebenzahl

DIRECTOR – PRODUCTION Chris Breeze

By arrangement with the Sydney Symphony, this publication isoffered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out orotherwise circulated without the publisher’s consent in writing.It is a further condition that this publication shall not be circulatedin any form of binding or cover than that in which it was published,or distributed at any other event than specified on the title page ofthis publication.

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Level 9, 35 Pitt Street, Sydney NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Facsimile (02) 8215 4646

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All rights reserved, no part of this publication may be reproduced ortransmitted in any form or by any means, electronic or mechanical,including photocopy, recording or any information storage or retrieval system, without permission in writing. The opinions expressed in thispublication do not necessarily reflect the beliefs of the editor, publisher or any distributor of the programs. While every effort has been made to ensure accuracy of statements in this publication, we cannot acceptresponsibility for any errors or omissions, or for matters arising fromclerical or printers’ errors. Every effort has been made to securepermission for copyright material prior to printing.

Please address all correspondence to the Publications Editor, Sydney Symphony, GPO Box 4972, Sydney NSW 2001. Fax (02) 8215 4660. Email [email protected]

SYDNEY OPERA HOUSE TRUST

Mr Kim Williams AM (Chair)Mr John BallardMr Wesley EnochMs Renata Kaldor AO

Ms Jacqueline Kott Mr Robert Leece AM RFD

Ms Sue Nattrass AO

Mr Leo Schofield AM

Ms Barbara WardMr Evan Williams AM

EXECUTIVE MANAGEMENT

CHIEF EXECUTIVE OFFICER . . . . . . . . . . . . . . . . . . . . . . . . . . . .Richard EvansDIRECTOR, FACILITIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Paul AkhurstDIRECTOR, FINANCE & SYSTEMS . . . . . . . . . . . . . . . . . . . . . . .David AntawDIRECTOR, PEOPLE & CULTURE . . . . . . . . . . . . . . . . . . . . . . . .Rick BrowningDIRECTOR, MARKETING & DEVELOPMENT . . . . . . . . . . . . . .Victoria DoidgeDIRECTOR, PERFORMING ARTS . . . . . . . . . . . . . . . . . . . . . . . .Rachel HealyDIRECTOR, INFORMATION SYSTEMS . . . . . . . . . . . . . . . . . . .Claire SwaffieldDIRECTOR, TOURISM & VISITOR OPERATIONS . . . . . . . . . .Maria Sykes

SYDNEY OPERA HOUSE

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