STRICTLY LUHRMANN

KALEIDOSCOPE

Friday 2 May 2014 Saturday 3 May 2014

* Selected performances. ^Booking fees of $7.50 – $8.95 may apply. #Additional fees may apply.

concert diary

SSO PRESENTS

STRICTLY LUHRMANN Music from the movies of Baz Luhrmann including The Great Gatsby, Moulin Rouge, Strictly Ballroom, Romeo + Juliet and Australia.

Matthew Dunkley conductor Taryn Fiebig soprano Andrew Jones baritone Ben Dawson piano VOX (Sydney Philharmonia Choirs)

Kaleidoscope

Fri 2 May 8pm Sat 3 May 8pm

Pre-concert talk by Genevieve Lang Huppert

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Russian Maestros The ‘Rach 3’RACHMANINOFF Piano Concerto No.3 SHOSTAKOVICH Symphony No.15

Alexander Lazarev conductor Lukáš Vondráček piano

Thursday Afternoon Symphony

Thu 8 May 1.30pmEmirates Metro Series

Fri 9 May 8pmGreat Classics

Sat 10 May 2pm

Pre-concert talk by Scott Davie

Lukáš Vondrácek in Recital HAYDN Sonata in C, Hob.XVI:50 RACHMANINOFF Corelli Variations BRAHMS Six Piano Pieces, Op.118 PROKOFIEV Sonata No.7 (War Sonata 2)

International Pianists in RecitalPresented by Theme & Variations

Mon 12 May 7pm City Recital Hall Angel Place

Pre-concert talk by David Larkin

ElijahMENDELSSOHN ElijahPaul McCreesh conductor (pictured) Nicole Car soprano Deborah Humble mezzo-soprano Thomas Walker tenor Andrew Foster-Williams bass-baritone Sydney Philharmonia Choirs Conservatorium High School Choir

APT Master Series

Wed 14 May 8pm Fri 16 May 8pm Sat 17 May 8pm

Pre-concert talk by David Garrett

Mozart’s Haffner SymphonyMOZART Symphony No.35 (Haffner) BERNSTEIN Serenade after Plato’s Symposium MOZART The Abduction from the Seraglio: OvertureJessica Cottis conductor Dene Olding violin (Bernstein)

Mozart in the City

Thu 29 May 7pm City Recital Hall, Angel Place

Tea & Symphony

Fri 6 Jun 11am Sydney Opera House

Pre-concert talk by David Garrett (Thu)

CLASSICAL

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DK Playbill New.indd 1 6/02/14 11:30 AM

2014 concert season

KALEIDOSCOPEFRIDAY 2 MAY, 8PM SATURDAY 3 MAY, 8PM

SYDNEY OPERA HOUSE CONCERT HALL

STRICTLY LUHRMANNMatt Dunkley conductor Taryn Fiebig soprano | Andrew Jones baritone Ben Dawson piano VOX – Sydney Philharmonia Choirs

Orchestral suites from the soundtracks of Baz Luhrmann’s feature films, arranged and orchestrated by Matt Dunkley

Romeo + JulietCraig Armstrong composer

Including… O Verona Balcony Scene Liebestod (from Richard Wagner’s opera Tristan und Isolde)

Strictly BallroomDavid Hirschfelder composer

Including… La Cumparsita Tango (by Gerardo Matos Rodríguez) Doug’s Tearful Waltz The Blue Danube Waltz (by Johann Strauss II)

AustraliaDavid Hirschfelder composerIncluding… No man hires me, no man fires me I will come for you (after Sheep May Safely Graze by JS Bach) Nimrod (from the Enigma Variations by Edward Elgar)

INTERVAL

Moulin Rouge!Craig Armstrong composer

Including… Nature Boy, Come What May, and One Day I’ll Fly Away The Elephant Love Medley – 13 songs in one duet!

The Great GatsbyCraig Armstrong composer

Including… Endless Love Theme Let’s Go to Town Rhapsody in Blue (by George Gershwin)

Saturday night’s performance will be recorded for later broadcast by ABC Classic FM.

Pre-concert talk by Genevieve Lang Huppert at 7.15pm in the Northern Foyer

Visit bit.ly/SSOspeakerbios for more information.

Estimated durations: 16 minutes, 17 minutes, 15 minutes, 20-minute interval, 19 minutes, 23 minutes. The concert will conclude at approximately 10.15pm.

COVER IMAGE: Nicole Kidman and Ewan McGregor in Moulin Rouge! (20th Century Fox / The Kobal Collection / Sue Adler)

Please share your program with your companion.

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Baz Luhrmann on the set of The Great Gatsby

Clockwise from top left: Claire Danes on her balcony in Romeo + Juliet; Leonardo DiCaprio, Carey Mulligan and Baz Luhrmann on the set of The Great Gatsby; Nicole Kidman and Brandon Walters in Australia; Tara Morice and Paul Mercurio in Strictly Ballroom; Nicole Kidman and Ewan McGregror with John Leguizamo spying from above, all on the back of a giant elephant in Moulin Rouge!

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The Luhrmann Chronology Stage and Screen

Strictly Ballroom, the play (1984, revised 1988)

Puccini’s opera La bohème (1990, Opera Australia)

Strictly Ballroom, the movie (1992)

Britten’s opera A Midsummer Night’s Dream (1993, Opera Australia)

Romeo + Juliet (1996)

Moulin Rouge! (2001)

Australia (2008)

The Great Gatsby (2013)

Strictly Ballroom – The Musical (2014)

ABOUT THE MUSIC

Gordon Williams explores the ways in which music provides a narrative bedrock for Baz Luhrmann’s films.

Some years ago, the Hollywood composer Bill Conti told an Australian newspaper that he knew he had to start scoring a film when he saw advertisements promoting the film’s release on billboards along Sunset Boulevard. This observation doesn’t apply to Baz Luhrmann. Music is part of this director’s filmic conception from the outset. Tonight’s conductor, Matt Dunkley, says elsewhere in this program (page 29) that he remembered seeing the ‘original script of Moulin Rouge! and every song was in there at the beginning’. Luhrmann uses music to heighten the experience of going to the movies like few others have done before – music is one of the enduring features of a Luhrmann film and there are important jobs on his films for composers, arrangers and orchestrators.

Of course, as Dunkley points out, Luhrmann’s soundtracks are an eclectic mix – original songs, pre-existing music, tangos, orchestras, rap – and that creates a challenge for anyone devising an orchestral concert around them. But Luhrmann’s tastes are wide and there’s plenty of raw material. What’s also heartening is Luhrmann’s understanding of the varying roles music can play. Most films use music from a variety of sources. In Luhrmann’s films music plays all the roles music has traditionally performed in musical theatre. It’s there, for example, as reminiscence – echoes of ‘Over the Rainbow’ in Australia reminding us of the story which consoled Nullah after his mother’s death. Or as punctuation, as when Gershwin’s Rhapsody in Blue tops off an extravagant Long Island party in The Great Gatsby. Often – as in the Randy Crawford hit, ‘One Day I’ll Fly Away’ in Moulin Rouge! – the song is chosen for pure expression of the feelings of the moment; the classic ‘time- out-for-response’ function, which is the most obvious dramatic feature distinguishing opera from pure drama.

So far Luhrmann has produced five feature-length films, which offers the perfect structure for a concert. And the concert begins (out of order in the Luhrmann chronology) with the story that has provided rich thematic material for composers throughout music history: Romeo and Juliet.

The soundtrack for Luhrmann’s Romeo + Juliet came out in two separate volumes, Volume 2 devoted largely to the orchestral score. Luhrmann’s version of the tale of star-cross’d teenagers who defy their families’ traditional enmity to pursue their love is fast-paced and action-packed, expressive of Shakespeare’s subtext of dangerous haste ‘shot from the deadly

There in the Beginning

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level of a gun’. It was filmed in Mexico City where the idea of gangs has acquired a deadly specificity in the past 20 years. Placed near the beginning of the film, Craig Armstrong’s ‘O Verona’ begins the orchestral suite. It may remind some listeners of the ‘O fortuna’ movement describing the wheel of life in Carl Orff’s Carmina burana, but it’s a perfectly chilling frame for the opening words of the voice-over: ‘Two households, both alike in dignity…from ancient grudge break forth to new mutiny’.

Occasionally popular songs are written especially for a Baz Luhrmann movie, or, rather, songs written for a Baz Luhrmann movie become popular hits. Such is the case with ‘Kissing You’ by Des’ree and Steve Atack, sung by Des’ree in the movie at the ball where Juliet and Romeo meet. In Craig Armstrong’s arrangement for strings, it accompanies the love scenes.

Dunkley’s plan in creating suites from Luhrmann movies (one way to reduce the wealth of material to manageable proportions) was to suggest the main arc of each film’s plot. The turbulent strings heard next underlie the attempt by Juliet’s family to marry her to their kinsman, Paris, after she has already made her pledge to Romeo. Finally, Luhrmann reflects on Romeo and Juliet’s tragic deaths using the final ‘Love-Death’ music from Wagner’s 1865 opera about another pair of doomed lovers, Tristan und Isolde. To what extent does this reflect Luhrmann’s view of the lovers? In the end the police-chief Prince says that in the deaths of the Capulet and Montague children both families ‘are punishèd’. But Luhrmann and his musical staff omit Wagner’s famous ‘Tristan chord’, the knotty discord that Wagner used as a musical symbol of unresolved passion.

The film of Strictly Ballroom came out in 1992. It was the first in Lurhmann’s so-called Red Curtain Trilogy of theatre-inspired films, the others being Moulin Rouge! and Romeo + Juliet. Strictly Ballroom has been a project dear to Luhrmann’s heart for several decades. Inspired by his own experiences learning ballroom dancing as a child (his mother was a ballroom dancing teacher),

Claire Daines + Leonardo DiCaprio

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MORE MUSIC ROMEO + JULIET

Hear Wagner’s cathartic Liebestod music in its original form (with grieving soprano soloist singing over her dying lover) in a disc of highlights from Tristan und Isolde conducted by Daniel Barenboim. Waltraud Meier sings Isolde, Siegfried Jerusalem sings Tristan.

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the film was based on a stage version devised by Luhrmann and others, including his future wife Catherine Martin, when he was at NIDA in the mid 1980s. Given the opportunity to present the play at the Czechoslovakian Youth Dama Festival in 1986, he invited his old school friend Craig Pearce to help rewrite and expand the script (Pearce has been a co-writer since). The theatrical version was later presented onstage at the Wharf Theatre in 1988 and a new theatrical version opened here in Sydney last month!

Luhrmann has said that the Strictly Ballroom story has shades of David and Goliath, Cinderella and The Ugly Duckling, as the hero Scott takes on the might of the Australian Dancing Federation with his new partner, the beauty-in-waiting Fran. It could also have shades of Wagner’s opera The Mastersingers in its story of a young aspirant who creates from the heart, rather than be bound by traditional rules.

‘Creates’ in this instance means dancing. Fran wins Scott over by demonstrating the steps of the pasodoble. And Scott’s father, Doug’s, big ‘aria’ is the idiosyncratic waltz he dances alone on a rooftop with tears in his eyes. Strictly Ballroom, the movie, helped put John Paul Young’s ‘Love is in the Air’ back into the charts, but tonight’s orchestral suite presents Gerardo Matos Rodríguez’s tango La Cumparsita, probably the most famous tango of all time, Doug’s Tearful Waltz (by David Hirschfelder) and Johann Strauss II’s Blue Danube waltz, arguably the orchestral repertoire’s finest turn in the ballroom.

The sweep of Luhrmann’s 2008 film Australia is as broad as the land it portrays. It has everything, observed Wall Street Journal critic Joe Morgenstern: ‘romance, murder, a cattle drive, a stampede, the outbreak of World War II and a Japanese air raid on the city of Darwin.’ It has, too, the epic visual conception of cinematographer Mandy Walker, but Australia is, to a large

Fran’s father (Antonio Vargas) teaches Scott (Paul Mercurio) some new steps that aren’t strictly ballroom

MORE MUSIC STRICTLY BALLROOM

La Cumparsita is included on Essential Tangos – a 2CD extravaganza of dancing and passion.

EMI CLASSICS 27871

If traditional ballroom is more your style, you can’t go wrong with Willi Boskovsky and the Johann Strauss Orchestra –  no one plays Viennese waltzes better! All the great waltzes, including the Blue Danube and the Emperor Waltz can be found in the 2CD set Johann Strauss II: 19 Waltzes.

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Nicole Kildman and Hugh Jackman in Australia

extent, a musical experience. The end credits note: ‘A very special thank you to the classical, jazz, folk and other musicians who made recording of the underscore in Sydney possible.’ And the level of musical detail is apparent even in the fact that the operatic aria playing discreetly in the background on drunken accountant Kipling Flynn’s phonograph was a purpose-written number (lyrics by Felix Meagher and Luhrmann, music by David Hirschfelder) sung by well-known Australian soprano Amelia Farrugia accompanied by former Opera Australia répétiteur, Sharolyn Kimmorley.

Elton John also wrote a song for Australia, ‘The Drover’s Ballad’, giving us the back story on the Hugh Jackman character, and a big-hearted orchestration of this song opens the orchestral suite. You could easily associate this with the sort of ‘big sky’ music that Elmer Bernstein used to compose for Hollywood westerns, but Australia has an unmistakeable Northern Australian flavour, no doubt the influence of the writings of Xavier Herbert on the script. Initially, odd musical associations are created by appearances in the score of JS Bach’s ‘Sheep May Safely Graze’ (an aria from one of his cantatas), and the ‘Nimrod’ section of Sir Edward Elgar’s Enigma Variations, which forms the centrepiece of tonight’s suite. Broad, noble music with associations of imperial Britishness, what is ‘Nimrod’ doing here as ‘King George’ (Gulpilil) fetches Nullah (Brandon Walters) for man-making ceremonies in Arnhem Land? Its inclusion (decided early in musical discussions) can be thought to represent Lady Sarah Ashley’s great acceptance of the inevitable as her surrogate child, Nullah, returns to his own world in the bush. The suite’s big close, with David Hirschfelder’s orchestration of ‘Sheep May Safely Graze’, actually comes from one of the movie’s segment endings, just before the scene shifts to the Japanese bombing of Darwin.

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MORE MUSIC AUSTRALIA

Curious about JS Bach’s ‘Sheep may safely graze’? It’s included in its original form in the Ultimate Baroque collection from Decca. This 5-CD set also includes Vivaldi’s Four Seasons, Handel’s Royal Fireworks Music and much, much more.

DECCA 475 8073

The ‘Nimrod’ variation is the best-known moment from Elgar’s Enigma Variations, but the whole piece is worth hearing. Look for it paired with Elgar’s Cello Concerto (soloist Mischa Maisky) in a recording by Giuseppe Sinopoli and the Philharmonia Orchestra.

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Moulin Rouge!, Lurhmann’s 1992 film, proves that his love of music is matched by a love of imagery, here the Toulouse-Lautrec-inspired sets and costumes by Catherine Martin, Angus Strathie and co-Art Director Brigitte Broch. But music comes even more to the foreground in Moulin Rouge!, an authentic musical in which plot is, for the most part, advanced by song. Much of the music comes from pre-existing sources. Lurhmann had wanted to use the Cat Stevens song ‘Father and Son’ at the beginning, as an expression of the conflict between the young writer, Christian, who has come to fin-de-siècle Paris in search of freedom and love, and his father who regards Paris as a ‘den of sin’. But Luhrmann could not get the rights to the song and instead chose ‘Nature Boy’, whose lyrics clearly articulated the film’s premise: about a ‘strange enchanted boy…’ who learned that ‘the greatest thing…is just to love and be loved in return’.

‘Nature Boy’ was actually written in 1947 by Eden Ahbez (credited as a pioneer of the ‘hippy’ movement) and became a big hit for Nat King Cole and later Frank Sinatra, with more recent recordings by David Bowie, Kate Ceberano and Celine Dion. Other songs to be heard in this suite include ‘One Day I’ll Fly Away’ and a song written especially for the film, ‘Come What May’, which was ruled out of contention for an Oscar for Best Original Song only because it had originally been intended for the earlier Luhrmann film, Romeo + Juliet. The sheer energy and slapdash (meant in a good way) of Moulin Rouge! is represented in tonight’s suite by the ‘Elephant Love Medley’, a string of no fewer than 13 love songs one after the other (though admittedly, some mentioned by title only).

By the time of Moulin Rouge! Luhrmann had become well-known for taking music and songs from outside the settings of his stories and putting them to apt use in his films. But there was a musical choice in his version of F. Scott Fitzgerald’s novel The Great Gatsby, that proved to be quite a talking point, if not controversial. This was the use of Rap. Gatsby is set in the 1920s. What was Luhrmann thinking?

Satine (Nicole Kidman) captivates the crowd at the Moulin Rouge

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MORE MUSIC MOULIN ROUGE!

The soundtrack to Moulin Rouge! initially came out in two volumes. The first showed off the film’s pop-star credentials with performances by the likes of Pink and David Bowie, the second highlighted the original film versions of the songs. Get the two together in Baz Luhrmann’s Moulin Rouge: Collector’s Edition.

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It’s important to remember that Luhrmann also uses music to put ‘the viewer in the world of his characters.’ And the point Luhrmann makes about The Great Gatsby is that in the 1920s Fitzgerald wasn’t writing nostalgically; he was writing excitedly of the ‘now’.

‘My stepfather had 14,000 78 [RPM records] from the period,’ Luhrmann told the Los Angeles Times’ Mikael Wood. ‘I know my Bix Beiderbecke [referring to the jazz trumpeter who lived 1903–31].… But no matter how much I like that music, it’s classical music now. And classical music,’ he added, ‘would fail to capture the “exploding” nature of the Roaring 20s for today’s audience.’ Which was why so much of the music for Gatsby features new songs by artists such as Andre 3000, Jack White, Florence + the Machine and Jay-Z. Jay-Z was actually an executive producer of the movie and the soundtrack.

But we’re concerned in this concert with what happens in the orchestra, and the suite you’ll hear tonight includes Craig Armstrong’s Endless Love Theme, expressing Gatsby’s love for Daisy, and Let’s Go to Town – a 1920s car chase. It ends with a musical choice that was spine-tinglingly apt.

Says Scott Fitzgerald in the novel of a party at Gatsby’s house: ‘…the voice of the orchestra leader rang out suddenly over the echolalia of the garden. “Ladies and gentlement,” he cried. “At the request of Mr. Gatsby we are going to play for you Mr. Vladimir Tostoff’s latest work, which attracted so much attention at Carnegie Hall last May.…[A] JAZZ HISTORY OF THE WORLD.”’ And what does Luhrmann use to climax Gatsby’s party? George Gershwin’s iconic Rhapsody in Blue, which some researchers believe, going by both works’ chronologies, could easily have been the music Fitzgerald had in mind.

Looking deeper into the music of a Luhrmann film is like delving into the layers of an archaeological dig. All sorts of fascinating discoveries may be made. Above all, however, you discover, when you consider the musical world that’s been created, that a Baz Luhrmann film is a modern form of musical score.

GORDON KALTON WILLIAMS © 2014

Nick (Tobey Maguire) and Jordan (Elizabeth Debicki) in The Great Gatsby

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MORE MUSIC THE GREAT GATSBY

The Great Gatsby has anachronistic fun putting rap in the ears of 1920s characters, but one highlight of the soundtrack is absolutely true to the period: Gershwin’s Rhapsody in Blue. Hear it with André Previn playing the piano and conducting in a recording with the Pittsburgh Symphony Orchestra. On the same disc: Gershwin’s Piano Concerto in F and An American in Paris.

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Based in the UK, Matt Dunkley has an international reputation as a leading orchestrator, arranger and conductor for film, and he has also developed a successful parallel career as a film and television composer.

He has worked on more than 120 movies – in addition to the Baz Luhrmann films The Great Gatsby, Moulin Rouge! and Romeo + Juliet, these include Noah, World War Z, Inception, 127 Hours, Black Swan, Batman: The Dark Knight and Pirates of the Caribbean: At World’s End, as well as On Stranger Tides, Ray, Love Actually, The Road, The Quiet American, Iron Man and Elizabeth: The Golden Age.

He has worked with pop/rock acts such as U2, Massive Attack, Tom Jones, Elliot Smith, Badly Drawn Boy, Dido, The Pet Shop Boys and Catatonia, as well as artists such as the tenors José Carreras, Luciano Pavarotti and Russell Watson, violinist Vanessa Mae, trumpeter Chris Botti and Il Divo.

He has conducted all of the UK’s top orchestras, including the London Symphony, London Philharmonic, Royal Philharmonic and the City of Birmingham Symphony orchestras, and in the United States he’s conducted ensembles such as the Los Angeles Philharmonic (at the Hollywood Bowl). He is also much in demand conducting top studio recording orchestras and ensembles in Europe and America.

Matt Dunkley has scored two feature films and a number of network series for British television. He has recently finished writing and arranging all the music for the acclaimed arena spectacular, Peter Pan: The Never Ending Story, which is now on a two-year world tour, taking in Europe, the Middle East, Russia, Scandinavia, Australasia and North and South America.

Future projects include composing an open-air theatre piece, Flanders Fields, set beside a World War I Commonwealth cemetery, and a musical about the life of the impresario Sergei Diaghilev to premiere in Paris in 2015.

This is Matt Dunkley’s Sydney Symphony Orchestra debut.

Matt Dunkleyconductor

THE ARTISTS

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Helpmann Award-winning soprano Taryn Fiebig is one of Australia most popular and versatile artists.

As a soloist, her performance highlights include singing the 15th-century masterpiece El Cant de la Sibil-la (The Song of the Sybil) with the Australian Brandenburg Orchestra in their popular Noël Noël Christmas concerts. Internationally, she has performed in Los Angeles with the contemporary music ensemble L.A. EAR unit, in England with the English Chamber Orchestra in St John’s Smith Square, London and on BBC Radio 3 and Radio 4 in the radio dramas Southland and Pembroke, Arcadia. In Australia she has also appeared as a soloist with the Queensland and Adelaide symphony orchestras.

In 2005, Taryn Fiebig joined Opera Australia as a principal soprano. Her many roles with this company have included Susanna in The Marriage of Figaro, Galatea in Acis and Galatea, Musetta in La bohème, Zerlina in Don Giovanni, Clorinda in Cenerentola, Belinda in Dido and Aeneas, Papagena in The Magic Flute, Rose in Lakmé, Servilia in La clemenza di Tito, Karolka in Jenůfa, The Plaintiff in Trial by Jury, Mabel in The Pirates of Penzance and Gianetta in The Gondoliers. In 2008–09, she sang the leading role of Eliza Dolittle in the national tour of My Fair Lady.

Her roles with other companies include Esmeralda (The Bartered Bride) for New Zealand Opera and Sicle (L’Ormindo) for Pinchgut Opera.

More recently for Opera Australia she has also sung Pamina (The Magic Flute), Yum-Yum (The Mikado), Adele (Die Fledermaus), Aphrodite (The Love of the Nightingale) and Lisa (La sonnambula). And in 2010 she won the Helpmann Award for her portrayal as Lucy in Bliss (which she sang in Sydney, Melbourne and at the Edinburgh Festival). Last year, she sang Musetta, Oscar (A Masked Ball) and The Woodbird (Wagner’s Ring cycle) and she returns to Opera Australia this year as Pamina, Zerlina and Nanetta (Falstaff).

Taryn Fiebig soprano

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Andrew Jones is one of Australia’s most outstanding young baritones. Since completing three years at the Victorian College of the Arts, he has built up an impressive list of credits with Australia’s leading performing organisations.

His many roles for Opera Australia have included Jake Wallace and José Castro in The Girl of the Golden West, Alessio in La Sonnambula, Marquis Dobigny in La traviata, Maximilian in Candide, Mr Redburn in Billy Budd, and Second Prisoner in Fidelio. He has also sung the Boatswain in HMS Pinafore and Foreman of the Jury in Trial By Jury, both of which were recorded for DVD. In 2011, he sang Escamillo in Carmen, Prince Yamadori in Madama Butterfly, Slim in Of Mice and Men, Masetto in Don Giovanni, and Marcello in La bohème, for which he received a Helpmann Award nomination. Since then, he has also sung Papageno in Opera Australia’s new production of The Magic Flute, Zurga in The Pearlfishers and Ford in Falstaff.

For other opera companies he has sung roles such as Figaro in The Barber of Seville and Escamillo for Melbourne Opera, Enrico in Lucia di Lammermoor for Bel Canto Opera, and Count Almaviva in The Marriage of Figaro for Eastern Metropolitan Opera.

He also appears on the Australian cast recording of the Essgee Entertainment production of The Merry Widow.

His concert repertoire includes Carl Orff’s Carmina Burana (which he has sung with Sydney Philharmonia Choirs) and Fauré’s Requiem. He appeared in Victoria Opera’s Gala Opening Concert, Opera Australia’s 2010 New Year’s Eve Gala and has been a frequent soloist for Orchestra Victoria, as well as returning as soloist to Sydney Philharmonia and the Melbourne Symphony Orchestra.

Andrew Jonesbaritone

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London-born Ben Dawson has established a career of considerable variety. As a concerto soloist he has appeared and broadcast with the BBC Scottish Symphony Orchestra, City of Birmingham Symphony Orchestra, Ulster Orchestra, Lahti Symphony Orchestra, RTE Concert Orchestra and the Sinfonia of Birmingham. His most unexpected and to date most glamorous solo appearance (alas, audio only) was as the soloist in Gershwin’s Rhapsody in Blue in Baz Luhrmann’s film adaptation of The Great Gatsby.

In addition to his work on the concert platform, he is a busy studio recording artist, playing for numerous film, advertisement and television soundtracks, and classical and pop albums, as well as on-screen for shows ranging from Downton Abbey to The X Factor. He has worked with and recorded for artists such as Shirley Bassey, Paul McCartney, The John Wilson Orchestra, Katherine Jenkins, Alfie Boe and Kevin Spacey. He has also been music director and conductor for the international touring stage production of The Snowman by Howard Blake.

Initially trained as a composer before almost totally abandoning it in favour of performing, he started writing again after being asked to contribute some solo piano tracks for the Ray Winstone film The Hot Potato. Spurred back into some gentle sort of creativity by this, he’s currently working on a large set of cabaret songs – all to do with the minor annoyances of social media!

A passionate enthusiast and advocate of the full breadth and history of film music, he recently became involved with a joint Birmingham Central Library and CBSO discovery of a collection of music written for the early years of silent movies. He has also made several appearances on Radio 3’s In Tune and contributed to their recent A to Z of the Piano series.

His first solo album, featuring the piano music of Australian composer Leah Kardos, was released at the end of 2013.

Ben Dawson piano

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VOX – Sydney Philharmonia Choirs

Elizabeth Scott graduated from the Sydney Conservatorium of Music in 1995 as a flute major and then studied choral conducting, vocal performance and aural training in Hungary and Germany. Before her appointment as Music Director of VOX, she was the company’s Assistant Chorus Master (2006–2008). She was Acting Music Director of Sydney Philharmonia Choirs for the first half of 2013.

Elizabeth is also the Associate Conductor of Sydney Chamber Choir and is in demand as a guest choral director for ensembles including Gondwana Choirs, Coro Innominata, Macquarie University Singers and Orpheus Choral Music. She is currently Music Performance Projects Officer at The Arts Unit, and Director of Vocal and Choral Studies at the Conservatorium High School. She has participated in the Symphony Australia Conductor Development Program, and in 2008 received the Sydney Choral Symposium Foundation Choral Conducting Scholarship. Elizabeth Scott also sings with Cantillation, including Pinchgut Opera productions, and with The Song Company.

ELIZABETH SCOTTMusic Director, VOX

THE CHOIR

VOX is the young adult ensemble of Sydney Philharmonia Choirs  – Australia’s largest choral organisation – performing a diverse range of repertoire each year, ranging from early a cappella works to challenging contemporary music.

Having previously performed alongside the Sydney Philharmonia Choir in SSO concerts, in 2011 VOX made its first appearance with the orchestra in its own right as the chorus in a semi-staged production of Grieg’s Peer Gynt.

Since then VOX has sung in the Lord of the Rings trilogy, Symphony in the Domain at the 2014 Sydney Festival and most recently in a live screening of Gladiator. As part of the 2013 Sydney Philharmonia season, VOX performed in Light and Gold with choral composer and conductor Eric Whitacre and in their own program Luminous Night.

This year, in addition to appearing with the SSO in the mainstage season and in The End (19th Biennale of Sydney), VOX will perform in the Sydney Philharmonia season, including Carols at the House and VOX in Concert.

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Brett Weymark Music Director David Francis General Manager Elizabeth Scott Music Director, VOX / Chorusmaster Luke Byrne Rehearsal Pianist

To find out about Sydney Philharmonia concerts or joining one of the choirs, visit www.sydneyphilharmonia.com.au

SOPRANOSAnita Burkart Charlotte Campbell Victoria Campbell Elizabeth CheungMeta Cohen Josephine Deng Sarah Dockrill Vanessa Ede Georgie Hannam Genevra Howard Clare Kenny Adele Kozak Alexandra Little Georgia Moore Stephanie Moore Amelia Myers Jayne Oishi Maya Schwenke Kimberley Stuart Emily Thomas Christine Wong Hester Wright

ALTOSAmanda Baird Georgina Bitcon Ananya Chakravorty Erin Chapman Isabel Colman Rebeca Dawkins Zoe Gillespie Emma Hancock Rebecca Hart Cara Hitchins Margaret Hofman Edwina Howes Marta Krzanowski Campbell McKenzie Madi Moore Anne O’Connor Dympna Paterson Courtney Powell Liz Shoostovian Alexandra Stuart-Watt Chela Weitzel Lia Weitzel Jaimie Wolbers Noriko Yamanaka

TENORSJoshua Borja Denys Gillespie Sefa Laga’aia Hamish Lane Neil Lazo Vincent Lo Hamish McEwan Paul Mai Andrew Mulholland Michael Paton Jerome Studdy Shaun Young

BASSESBryan Banston Dominic Blake Simon Boileau Todd Hawken Derek Hodgkins Angus Johnson Adrian Kenny Alex Li-Kim-Mui Sean Moloney Andrew Raftery James Shannon Theo Small Daniel Tame Daniel Thiele Milo Watkinson Stephen Young

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SYDNEY SYMPHONY ORCHESTRA

Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony Orchestra has evolved into one of the world’s finest orchestras as Sydney has become one of the world’s great cities.

Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the SSO also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA have earned the orchestra worldwide recognition for artistic excellence, most recently in the 2012 tour to China.

The orchestra’s first Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenĕk Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from 2009 to 2013. The orchestra’s history also boasts collaborations with legendary figures such

as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

The SSO’s award-winning education program is central to its commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The orchestra promotes the work of Australian composers through performances, recordings and its commissioning program. Recent premieres have included major works by Ross Edwards, Lee Bracegirdle, Gordon Kerry, Mary Finsterer, Nigel Westlake and Georges Lentz, and the orchestra’s recordings of music by Brett Dean have been released on both the BIS and SSO Live labels.

Other releases on the SSO Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras, Vladimir Ashkenazy and David Robertson. In 2010–11 the orchestra made concert recordings of the complete Mahler symphonies with Ashkenazy, and has also released recordings of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, as well as numerous recordings on ABC Classics.

This is the first year of David Robertson’s tenure as Chief Conductor and Artistic Director.

DAVID ROBERTSON Chief Conductor and Artistic Director

PATRON Her Excellency Professor Marie Bashir ac cvo

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MUSICIANS

David RobertsonCHIEF CONDUCTOR AND ARTISTIC DIRECTOR SUPPORTED BY EMIRATES

Dene OldingCONCERTMASTER

Jessica CottisASSISTANT CONDUCTOR SUPPORTED BY PREMIER PARTNER CREDIT SUISSE

Andrew HaveronCONCERTMASTER

FIRST VIOLINS Dene OldingCONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Jenny BoothBrielle ClapsonSophie ColeGeorges LentzNicola LewisAlexander NortonLéone ZieglerBelinda Jezek°Alexandra D’Elia*Andrew Haveron CONCERTMASTER

Amber DavisJennifer HoyAlexandra Mitchell

SECOND VIOLINS Kirsty Hilton Marianne Broadfoot Emma Jezek ASSISTANT PRINCIPAL

Maria DurekEmma HayesShuti HuangStan W KornelBenjamin LiEmily LongNicole MastersPhilippa PaigeMaja VerunicaMarina Marsden Biyana Rozenblit

VIOLASRoger Benedict Tobias Breider Justin Williams ASSISTANT PRINCIPAL

Sandro CostantinoJane HazelwoodGraham HenningsStuart JohnsonJustine Marsden Felicity TsaiLeonid VolovelskyAnne-Louise Comerford Rosemary CurtinAmanda Verner

CELLOSHenry David Varema Leah Lynn ASSISTANT PRINCIPAL

Timothy NankervisElizabeth NevilleChristopher PidcockAdrian WallisDavid WickhamJames sang-oh Yoo†

Umberto ClericiCatherine Hewgill Kristy ConrauFenella Gill

DOUBLE BASSESKees Boersma David CampbellSteven LarsonRichard LynnBenjamin WardJosef Bisits*Alex Henery Neil Brawley PRINCIPAL EMERITUS

David Murray

FLUTES Emma Sholl Lloyd Hudson*Suzanne Sherrington*Janet Webb Carolyn HarrisRosamund Plummer PRINCIPAL PICCOLO

OBOESShefali Pryor ACTING PRINCIPAL

David PappAlexandre Oguey PRINCIPAL COR ANGLAIS

Diana Doherty

CLARINETSFrancesco Celata Christopher TingayLawrence Dobell Craig Wernicke PRINCIPAL BASS CLARINET

BASSOONSMatthew Wilkie Noriko Shimada PRINCIPAL CONTRABASSOON

Fiona McNamara

SAXOPHONENicholas Russoniello*

HORNSBen Jacks Geoffrey O’Reilly PRINCIPAL 3RD

Marnie SebireRachel SilverKara Hahn*Brendan Parravicini*Robert Johnson Euan Harvey

TRUMPETSPaul Goodchild Anthony HeinrichsOwen Morris*David Elton

TROMBONESRonald Prussing Nick ByrneChristopher Harris PRINCIPAL BASS TROMBONE

Scott Kinmont

TUBASteve Rossé

TIMPANIMark Robinson ASSISTANT PRINCIPAL

Richard Miller

PERCUSSIONRebecca Lagos Brian Nixon*Philip South* HARP Genevieve Lang*Louise Johnson

PIANOSusanne Powell*

BOLD = PRINCIPAL

ITALICS = ASSOCIATE PRINCIPAL

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN† = SSO FELLOW

GREY = PERMANENT MEMBER OF THE

SYDNEY SYMPHONY ORCHESTRA NOT

APPEARING IN THIS CONCERT

The men of the Sydney Symphony Orchestra are proudly outfitted by Van Heusen.

To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musicians

If you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer.

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BEHIND THE SCENES

MANAGING DIRECTOR

Rory Jeffes

EXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNING

Benjamin Schwartz

ARTISTIC ADMINISTRATION MANAGER

Eleasha Mah

ARTIST LIAISON MANAGER

Ilmar Leetberg

RECORDING ENTERPRISE MANAGER

Philip Powers

LibraryAnna CernikVictoria GrantMary-Ann Mead

LEARNING AND ENGAGEMENT

DIRECTOR OF LEARNING AND ENGAGEMENT

Kim Waldock

EMERGING ARTISTS PROGRAM MANAGER

Mark Lawrenson

EDUCATION MANAGER

Rachel McLarin

EDUCATION OFFICER

Amy Walsh

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout Kerbert

ORCHESTRA COORDINATOR

Georgia Stamatopoulos

OPERATIONS MANAGER

Kerry-Anne Cook

PRODUCTION MANAGER

Laura Daniel

STAGE MANAGER

Courtney Wilson

PRODUCTION COORDINATOR

Tim Dayman

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J Elliott

SENIOR SALES & MARKETING MANAGER

Penny Evans

MARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-Meates

MARKETING MANAGER, CLASSICAL SALES

Matthew Rive

MARKETING MANAGER, WEB & DIGITAL MEDIA

Eve Le Gall

MARKETING MANAGER, CRM & DATABASE

Matthew Hodge

DATABASE ANALYST

David Patrick

SENIOR GRAPHIC DESIGNER

Christie Brewster

MARKETING COORDINATOR

Jonathon Symonds

SENIOR ONLINE MARKETING COORDINATOR

Jenny Sargant

ONLINE MARKETING COORDINATOR

Jonathan Davidoff

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlin

BOX OFFICE SYSTEMS SUPERVISOR

Jacqueline Tooley

BOX OFFICE BUSINESS ADMINISTRATOR

John Robertson

CUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – Senior CSR Michael DowlingKatarzyna OstafijczukTim Walsh

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

EXTERNAL RELATIONS

DIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

PhilanthropyHEAD OF PHILANTHROPY

Luke Andrew Gay

DEVELOPMENT MANAGER

Amelia Morgan-Hunn

PHILANTHROPY COORDINATOR

Sarah Morrisby

Corporate RelationsHEAD OF CORPORATE RELATIONS

Jeremy Goff

CORPORATE RELATIONS MANAGER

Janine Harris

BUSINESS DEVELOPMENT MANAGER

Belinda Besson

CommunicationsPUBLIC RELATIONS MANAGER

Katherine Stevenson

DIGITAL CONTENT PRODUCER

Kai Raisbeck

SOCIAL MEDIA AND PUBLICITY OFFICER

Caitlin Benetatos

BUSINESS SERVICES

DIRECTOR OF FINANCE

John Horn

FINANCE MANAGER

Ruth Tolentino

ACCOUNTANT

Minerva Prescott

ACCOUNTS ASSISTANT

Emma Ferrer

PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTURE

IN-HOUSE COUNSEL

Michel Maree Hryce

SYDNEY SYMPHONY ORCHESTRA STAFF

John C Conde ao ChairmanTerrey Arcus am

Ewen Crouch am

Ross GrantCatherine HewgillJennifer HoyRory JeffesAndrew Kaldor am

David LivingstoneThe Hon. Justice AJ MeagherGoetz Richter

SYDNEY SYMPHONY ORCHESTRA BOARD

SYDNEY SYMPHONY ORCHESTRA COUNCIL

Geoff Ainsworth am

Andrew Andersons ao

Michael Baume ao

Christine BishopIta Buttrose ao obe

Peter CudlippJohn Curtis am

Greg Daniel am

John Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood ao obe

Dr Michael Joel am

Simon JohnsonYvonne Kenny am

Gary LinnaneAmanda LoveHelen Lynch am

David Maloney am

David Malouf ao

Deborah MarrThe Hon. Justice Jane Mathews ao

Danny MayWendy McCarthy ao

Jane MorschelDr Timothy Pascoe am

Prof. Ron Penny ao

Jerome RowleyPaul SalteriSandra SalteriJuliana SchaefferLeo Schofield am

Fred Stein oam

Gabrielle TrainorIvan UngarJohn van OgtropPeter Weiss ao HonDLittMary WhelanRosemary White

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Through their inspired financial support, Patrons ensure the SSO’s continued success, resilience and growth. Join the SSO Patrons Program today and make a difference.

sydneysymphony.com/patrons (02) 8215 4674 • philanthropy@sydneysymphony.com

MAKE A DIFFERENCE

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SYDNEY SYMPHONY ORCHESTRA PATRONS

MAESTRO’S CIRCLESUPPORTING THE ARTISTIC VISION OF DAVID ROBERTSON, CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

Peter Weiss ao Founding President & Doris WeissJohn C Conde ao ChairmanGeoff Ainsworth am Tom Breen & Rachael KohnIn memory of Hetty & Egon GordonAndrew Kaldor am & Renata Kaldor aoVicki Olsson

Roslyn Packer aoDavid RobertsonPenelope Seidler amMr Fred Street am & Mrs Dorothy StreetWestfield GroupBrian & Rosemary WhiteRay Wilson oam in memory of the late James Agapitos oam

CHAIR PATRONS

06 Kirsty Hilton Principal Second Violin Corrs Chambers Westgarth Chair

07 Robert Johnson Principal Horn James & Leonie Furber Chair

08 Elizabeth Neville Cello Ruth & Bob Magid Chair

09 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

10 Janet Webb Principal Flute Helen Lynch am & Helen Bauer Chair

01 Roger Benedict Principal Viola Kim Williams am & Catherine Dovey Chair

02 Lawrence Dobell Principal Clarinet Terrey Arcus am & Anne Arcus Chair

03 Diana Doherty Principal Oboe Andrew Kaldor am & Renata Kaldor ao Chair

04 Richard Gill oam Artistic Director, Education Sandra & Paul Salteri Chair

05 Catherine Hewgill Principal Cello The Hon. Justice AJ & Mrs Fran Meagher Chair

FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM,

CALL (02) 8215 4619.

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PLAYING YOUR PART

The Sydney Symphony Orchestra gratefully acknowledges the music lovers who donate to the orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Donations of $50 and above are acknowledged on our website at www.sydneysymphony.com/patrons

DIAMOND PATRONS: $30,000+Geoff Ainsworth am

Mr John C Conde ao

Mr Andrew Kaldor am & Mrs Renata Kaldor ao

In Memory of Matthew KrelMrs Roslyn Packer ao

Paul & Sandra SalteriScully FoundationMrs W SteningMr Fred Street am &

Mrs Dorothy StreetPeter Weiss ao & Doris WeissMr Brian & Mrs Rosemary WhiteKim Williams am &

Catherine Dovey

PLATINUM PATRONS: $20,000–$29,999Brian AbelRobert Albert ao &

Elizabeth AlbertTerrey Arcus am & Anne ArcusTom Breen & Rachael KohnSandra & Neil BurnsRobert & Janet ConstableJames & Leonie FurberIn memory of Hetty &

Egon Gordon

BRONZE PATRONS: PRESTO $2,500–$4,999Mr Henri W Aram oam

The Berg Family Foundation in memory of Hetty Gordon

Dr Diana Choquette & Mr Robert Milliner

Mr B & Mrs M ColesMr Howard ConnorsGreta DavisFirehold Pty LtdStephen Freiberg &

Donald CampbellAnn HobanIrwin Imhof in memory of

Herta ImhofRobert McDougallJames & Elsie MooreMs Jackie O’BrienJ F & A van OgtropMarliese & Georges TeitlerMr Robert & Mrs Rosemary

WalshYim Family FoundationMr & Mrs T & D Yim

BRONZE PATRONS: VIVACE $1,000–$2,499Mrs Lenore AdamsonMrs Antoinette AlbertAndrew Andersons ao

Sibilla BaerDavid BarnesAllan & Julie BlighDr & Mrs Hannes BoshoffJan BowenLenore P BuckleMargaret BulmerIn memory of RW BurleyIta Buttrose ao obe

Mr JC Campbell qc & Mrs Campbell

Dr Rebecca ChinMr Peter ClarkeConstable Estate Vineyards Dom Cottam &

Kanako ImamuraDebby Cramer & Bill CaukillMr John Cunningham SCM &

Mrs Margaret CunninghamLisa & Miro DavisMatthew DelaseyMr & Mrs Grant Dixon

Colin Draper & Mary Jane Brodribb

Malcolm Ellis & Erin O’NeillMrs Margaret EppsPaul R EspieProfessor Michael Field am

Mr Tom FrancisWarren GreenAnthony GreggAkiko GregoryIn memory of Dora &

Oscar GrynbergJanette HamiltonMrs Jennifer HershonMrs & Mr HolmesMichael & Anna JoelAron KleinlehrerMr Justin LamL M B LampratiMr Peter Lazar am

Professor Winston LiauwDr David LuisPeter Lowry oam &

Dr Carolyn Lowry oam

Kevin & Deirdre McCannIan & Pam McGawMacquarie Group Foundation

The Estate of Dr Lynn JosephI KallinikosHelen Lynch am & Helen BauerMrs T Merewether oam

Mr B G O’ConorVicki OlssonDavid RobertsonMrs Penelope Seidler am

G & C Solomon in memory of Joan MacKenzie

Westfield GroupRay Wilson oam in memory of

James Agapitos oam

Anonymous (1)

GOLD PATRONS: $10,000–$19,999Doug & Alison BattersbyAlan & Christine BishopIan & Jennifer BurtonMichael Crouch ao &

Shanny CrouchCopyright Agency Cultural

Fund Edward & Diane FedermanNora GoodridgeMr Ross GrantMr Ervin KatzJames N Kirby FoundationMs Irene Lee

Ruth & Bob MagidThe Hon. Justice AJ Meagher

& Mrs Fran MeagherMr John MorschelDrs Keith & Eileen OngMr John SymondAndy & Deirdre PlummerCaroline WilkinsonAnonymous (1)

SILVER PATRONS: $5000–$9,999Dr Francis J AugustusStephen J BellMr Alexander & Mrs Vera

BoyarskyPeter Braithwaite & Gary

LinnaneMr Robert BrakspearMr David & Mrs Halina BrettMr Robert & Mrs L Alison Carr Bob & Julie ClampettEwen Crouch am &

Catherine CrouchThe Hon. Mrs Ashley Dawson-

DamerIan Dickson & Reg HollowayDr Lee MacCormick Edwards &

Mr Michael CraneDr Colin Goldschmidt

The Greatorex Foundation Mr Rory JeffesThe late Mrs Isabelle JosephJudges of the Supreme Court

of NSW J A McKernanDavid Maloney am & Erin

FlahertyR & S Maple-BrownJustice Jane Mathews ao

Mora MaxwellMrs Barbara MurphyWilliam McIlrath Charitable

FoundationRodney Rosenblum am &

Sylvia RosenblumDr Evelyn RoyalThe Estate of the late

Greta C RyanManfred & Linda SalamonSimpsons SolicitorsMrs Joyce Sproat &

Mrs Janet CookeWestpac GroupMichael & Mary Whelan TrustJune & Alan Woods Family

BequestAnonymous (1)

Renee MarkovicHenry & Ursula MooserMilja & David MorrisMrs J MulveneyMr & Mrs OrtisMr Darrol NormanDr A J PalmerMr Andrew C PattersonDr Natalie E PelhamAlmut PiattiRobin PotterIn memory of Sandra Paul

PottingerTA & MT Murray-PriorDr Raffi QasabianMichael QuaileyMr Patrick Quinn-GrahamErnest & Judith RapeeKenneth R ReedPatricia H Reid Endowment

Pty LtdDr Marilyn RichardsonRobin RodgersLesley & Andrew RosenbergIn memory of H St P ScarlettCaroline SharpenDavid & Isabel Smithers

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SYDNEY SYMPHONY ORCHESTRA VANGUARDA MEMBERSHIP PROGRAM FOR A DYNAMIC GROUP OF GEN X & Y SSO FANS AND FUTURE PHILANTHROPISTS

Vanguard CollectiveJustin Di Lollo ChairKees BoersmaAmelia Morgan-HunnJonathan PeaseSeamus R QuickChloe SassonCamille Thioulouse

MembersJames ArmstrongDamien BaileyJoan BallantineAndrew BaxterMar BeltranEvonne BennettNicole BilletDavid BluffAndrew BraggPeter BraithwaiteBlake Briggs

Andrea BrownMelanie BrownProf. Attila BrungsHelen CaldwellHilary CaldwellHahn ChauAlistair ClarkPaul ColganJuliet CurtinAlastair FurnivalAlexandra GibsonAlistair GibsonSam GiddingsMarina GoTony GriersonLouise HaggertyRose HercegPhilip HeuzenroederFrancis HicksPaolo HookePeter Howard

Jennifer HoyKatie HryceScott JacksonJustin JamesonJonathan KennedyAernout KerbertPatrick KokAlisa LaiTristan LandersGary LinnanePaul MacdonaldKylie McCaigRebecca MacFarlingDavid McKeanHayden McLeanTaine MoufarrigeNick NichlesTom O’DonnellKate O’ReillyLaurissa PoulosJingmin Qian

Leah RanieSudeep RaoMichael ReedePaul ReidyChris RobertsonDr Benjamin RobinsonEmma RodigariJacqueline RowlandsBenjamin SchwartzCaroline SharpenKatherine ShawRandal TameSandra TangMichael TidballMark TimminsKim WaldockJonathan WatkinsonJon WilkieYvonne Zammit

TO FIND OUT MORE ABOUT BECOMING A

SYDNEY SYMPHONY ORCHESTRA PATRON, PLEASE

CONTACT THE PHILANTHROPY OFFICE ON (02) 8215 4674

OR EMAIL PHILANTHROPY@SYDNEYSYMPHONY.COM

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PLAYING YOUR PART

Mrs Judith SouthamCatherine StephenThe Hon. Brian Sully qc

Mildred TeitlerKevin TroyJohn E TuckeyIn memory of Joan &

Rupert VallentineDr Alla WaldmanMiss Sherry WangHenry & Ruth WeinbergThe Hon. Justice A G WhealyIn memory of Geoff WhiteA Willmers & R PalMr & Mrs B C WilsonDr Richard Wing

Mr Robert WoodsIn memory of Lorna WrightDr John YuAnonymous (11)

BRONZE PATRONS: ALLEGRO $500–$999David & Rae AllenMr & Mrs Garry S AshDr Lilon BandlerMichael Baume ao & Toni BaumeBeauty Point Retirement ResortRichard & Margaret BellMrs Jan BiberMinnie BiggsMrs Elizabeth BoonMr Colin G BoothDr Margaret BoothMr Frederick BowersMr Harry H BrianR D & L M BroadfootMiss Tanya BryckerDr Miles BurgessPat & Jenny BurnettEric & Rosemary Campbell

Barrie CarterMr Jonathan ChissickMrs Sandra ClarkMichael & Natalie CoatesCoffs Airport Security Car ParkJen CornishDegabriele KitchensPhil Diment am & Bill

ZafiropoulosDr David DixonElizabeth DonatiMrs Jane DrexlerDr Nita Durham &

Dr James DurhamJohn FavaloroMs Julie Flynn & Mr Trevor CookMrs Lesley FinnMr John GadenVivienne GoldschmidtClive & Jenny GoodwinRuth GrahameMs Fay GrearIn Memory of Angelica GreenMr Robert GreenRichard Griffin am

Mr & Mrs Harold & Althea Halliday

Benjamin Hasic & Belinda Davie

Mr Robert HavardRoger HenningSue HewittIn memory of Emil HiltonDorothy Hoddinott ao

Mr Joerg HofmannMr Angus HoldenMr Kevin HollandBill & Pam HughesDr Esther JanssenNiki KallenbergerMrs W G Keighley

Mrs Margaret KeoghDr Henry KilhamChris J KitchingAnna-Lisa KlettenbergMr & Mrs Gilles T KrygerThe Laing FamilySonia LalDr Leo & Mrs Shirley LeaderMargaret LedermanMrs Erna Levy Sydney & Airdrie LloydMrs A LohanPanee LowDr David LuisMelvyn MadiganBarbara MaidmentHelen & Phil MeddingsDavid MillsKenneth Newton MitchellHelen MorganChris Morgan-HunnMr Graham NorthE J NuffieldDr Margaret ParkerDr Kevin PedemontDr John PittMrs Greeba PritchardMiss Julie RadosavljevicRenaissance ToursAnna RoAgnes RossMr Kenneth RyanGarry Scarf & Morgie Blaxill

Peter & Virginia ShawV ShoreMrs Diane Shteinman am

Victoria SmythDr Judy SoperDoug & Judy SotherenRuth StaplesMr & Mrs Ashley StephensonMargaret SuthersMs Margaret SwansonThe Taplin FamilyDr & Mrs H K TeyAlma Toohey Judge Robyn TupmanMrs M TurkingtonGillian Turner & Rob BishopRonald WalledgeIn memory of Denis WallisThe Wilkinson FamilyEvan Williams am &

Janet WilliamsDr Edward J WillsAudrey & Michael Wilson

Dr Richard WingateDr Peter Wong &

Mrs Emmy K WongGeoff Wood & Melissa

WaitesMrs Robin YabsleyAnonymous (29)

List correct as of 1 May 2014

26

SALUTE

The Sydney Symphony Orchestra is assisted by the

Commonwealth Government through the Australia Council,

its arts funding and advisory body

GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is

assisted by the NSW Government

through Arts NSW

PRINCIPAL PARTNER

PREMIER PARTNER

GOLD PARTNERS

SILVER PARTNERS

REGIONAL TOUR PARTNER MARKETING PARTNER

EDUCATION PARTNERPLATINUM PARTNER

MAJOR PARTNERS

Salute 2014_THREE.indd 1 15/04/14 7:27 AM

❝I’d practise trumpet in the off season.

❞Paul is a good friend of

the Barmy Army’s mascot trumpeter, Bill. The Army covers Bill’s expenses, and in return he leads many of the tunes they sing. You’ve no doubt heard him on the ABC Grandstand broadcasts. ‘Bill and I were introduced via text message by a mutual friend who happened to be in Switzerland when we were at the Sydney Cricket Ground. He suggested we should meet up, so we did – didn’t talk much about the trumpet, mostly talked about cricket and drank wine.’

The two have stayed in touch. Last year when the Ashes was played at Lords, Paul took great delight in texting Bill from the comfort of his couch on the other side of the world with suggestions about what he should play next, only to hear those tunes coming through the television moments later. There are two things for sure: technology makes the world a smaller place, and music knows no boundaries!

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In the summertime, there’s one place you’re guaranteed to find trumpeter Paul Goodchild – watching the cricket. At the ground or via the telly, Paul follows cricket with a passion. ‘My love of cricket comes from two of my uncles, who used to talk about it so passionately.’ Cricket was Paul’s game of choice at his very sporty high school. ‘I didn’t play a winter sport because I had to protect my teeth, but cricket in the summer was safe. I’d practise trumpet in the off season!’

Anyone who’s ever followed an Ashes Series will be familiar

with the Barmy Army – the jolly mob of fanatical cricket fans who travel from Blighty to wherever the English team is playing. This summer past, Paul found himself fraternising with members of the Army. ‘I wanted to make them feel welcome on hostile soil. The Barmy Army’s an institution. They’re great fun and they all love to sing. Every player on the field will have his own “anthem” that they sing. Some are very tongue in cheek, like singing “Your next queen is Camilla Parker Bowles” to the tune of Yellow Submarine to goad the Aussie side.’

GOOD SPORTMusic and sport. Who says the two can’t go hand-in-hand? Certainly not Paul Goodchild, the SSO’s Associate Principal Trumpet…

ORCHESTRA NEWS | APRIL–MAY 2014

SSO Bravo! #3 2014 Insert.indd 1 28/03/14 6:43 AM

Music and travel have gone hand in hand since Mozart’s time. ‘I assure you that without travel,’ he wrote to his father Leopold, ‘we are miserable creatures. A man of mediocre talent will remain mediocre whether he travels or not; but one of superior talent…will go to seed if he remains continually in one place.’

Mozart’s words are music to our ears as we announce our new partnership with luxury cruise and tour operator APT as the presenting partner of our Master Series. ‘We’re delighted to be working with one of Australia’s leading cultural institutions,’ says APT General Manager of Marketing and Sales, Debra Fox, ‘and look forward to sharing some outstanding concerts with music lovers from Sydney and across Australia.’

SSO Managing Director Rory Jeffes adds, ‘The SSO and APT are focused on excellence in all our offerings, be it a performance at the Sydney Opera House or a river boat cruise in Europe. Our organisations share a belief in experiences of the highest quality.’

Sponsorship Highlight Ask a MusicianIn July, we’re giving the premiere of a new cantata by composer Paul Stanhope and librettist Steve Hawke: Jandamarra: Sing for the Country, Ngalanyba Muwayi. We asked Paul about the creative and collaborative process of writing such a large-scale work.

In 2011 Paul Stanhope first contacted Steve Hawke (son of former Australian Prime Minister Bob Hawke) about setting his existing play, Jandamarra, to music. ‘He really liked the idea’, says Paul, ‘and thought it was important to involve the Bunuba community, which he’s worked with for years.’

Paul’s cantata will incorporate the music of the Bunuba people. ‘It’s a really important part of how the story is told.’ A junba (traditional song from the West Australian Kimberly region) will be performed by members of the Yilimbirri ensemble from Fitzroy Crossing, and adapted into the musical fabric of the cantata.

Paul has also had assistance from June Oscar ao, an ambassador for the Bunuba community: ‘She’s helped me to come up with song lyrics, and given me advice on how to set the language.’

With around 500 performers (including singers and dancers and 400 young choristers), there will be huge musical forces to marshal: a challenge even for a seasoned composer such as Paul. ‘It’s quite huge!’ he says. ‘It’s the biggest and most complicated project I’ve ever been involved in.’

‘This is our chance to really tell the story one of the few organised armed insurrections documented against European settlement in Australia to a whole lot of people who otherwise would never have known about it.’

Have a question about music, instruments or the inner workings of an orchestra? ‘Ask a Musician’ at yoursay@sydneysymphony.com or by writing to Bravo! Reply Paid 4338, Sydney NSW 2001.

Perfect Partners

In March, the SSO again joined with Emirates Wolgan Valley Resort & Spa for the annual Symphony under the Stars chamber music weekend – three days of food, wine and fine music. More than 70 resort guests mingled with SSO musicians and enjoyed chamber music ranging from Mozart, Mendelssohn and Tchaikovsky to Broadway favourites. You can register your interest in the 2015 event by contacting Wolgan Valley on (02) 9290 9733.

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SSO Bravo! #3 2014 Insert.indd 2 27/03/14 2:00 PM

The Score

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Yoo (returning on cello), Aurora Henrich (double bass), Georgina Roberts (oboe), Alexei Dupressoir (clarinet) and Timothy Murray (bassoon).

‘I’m really looking forward to getting stuck into some chamber music,’ says Liisa. ‘I feel that’s something that you often miss out on at university if you’re always preparing for recitals or auditions. Even if you’re freelancing you’re often playing in big groups, so chamber music gets overlooked.’

The Artistic Director of the SSO Fellowship program, Roger Benedict, says there’s a shared hunger in this crop of Fellows ‘for the experiences that take them to the next stage, that really prepare them for a career in music’.

‘After 13 years of a wonderfully successful program,’ he continues, ‘we have members in the SSO who were Fellows, and in orchestras all over the world now. The program has grown from strength to strength, and largely due to the support of Credit Suisse and our supporters.’ These generous supporters include Mrs W Stening, Tenix, Kim Williams am & Catherine Dovey, Robert Albert ao & Elizabeth Albert, Sandra & Neil Burns, Mrs T Merewether oam, and a donor who has given in memory of Matthew Krel, as well as anonymous donors.

The early months of the SSO’s annual Fellowship program are a process of learning and discovery, revealing as much about personalities as musicianship and talent. Tim Murray, bassoon Fellow, is not afraid to take a lighter look at serious subjects: ‘When I think about my expectations for the Fellowship program,’ he says with a grin, ‘I expect to get really good at sight-reading!’ Tim knows already that the musical demands of this year’s Fellowship program will require him and the seven other young musicians in the program to juggle practising and rehearsal of solo repertoire, chamber music and orchestral music.

The Sydney Symphony Orchestra Fellowship is an intensive year-long program that introduces aspiring young instrumentalists to the world of full-time music-making at the highest level. Every year, up to nine Fellows are selected from hundreds of applicants through a rigorous audition process. The successful candidates then enter a world of professional concert-giving, mentoring by SSO musicians, masterclasses with visiting guest artists, and a series of chamber music recitals. This year’s Fellows are Liisa Pallandi and Nicholas Waters (violin), Carl Lee (viola), James sang-oh

Education Focus

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We welcome our 2014 Fellows

Strictly Luhrmann: Strictly MusicalBaz Luhrmann’s boyhood might not have included music lessons but he’s a deeply musical person, someone who listens. Arranger and conductor Matt Dunkley, who’s worked on several Luhrmann films, says the director has ‘a real sensibility for music and he understands what it can do – the music’s there in the script from the beginning’.

Dunkley (pictured) is well placed to develop a concert around the soundtracks of the five Luhrmann movies. All the music is good – he recalls the cutting-edge choices in Romeo+Juliet, including early Radiohead. The challenge for an orchestral concert is that Luhrmann’s taste is so eclectic.

‘Naturally if we start trying to reinvent all the pop tracks that’s not going to work orchestrally,’ says Dunkley, ‘the result will be cheesy, like “Hooked on Classics”.’ Instead he’s tried to suggest the story of each movie, finding the heart of the scores, the big orchestral moments, and marrying these with the songs that people remember and the concert hall classics. The result mixes original music such as O Verona, written by Craig Armstrong for Romeo+Juliet, with popular vocal sequences such as the ‘Elephant Love Medley’ from Moulin Rouge, and classics such as Rhapsody in Blue (The Great Gatsby) and The Blue Danube (Strictly Ballroom).

Strictly LuhrmannKaleidoscope 2, 3 May | 8pm

SSO Bravo! #3 2014 Insert.indd 3 27/03/14 2:00 PM

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Chairman Brian Nebenzahl OAM RFD

Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production—Classical Music Alan Ziegler

Operating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin

SYMPHONY SERVICES INTERNATIONALSuite 2, Level 5, 1 Oxford Street, Darlinghurst NSW 2010PO Box 1145, Darlinghurst NSW 1300Telephone (02) 8622 9400 Facsimile (02) 8622 9422www.symphonyinternational.net

SYDNEY OPERA HOUSE TRUSTMr John Symond am [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski, am

EXECUTIVE MANAGEMENTChief Executive Officer Louise Herron am

Chief Operating Officer Claire SpencerDirector, Programming Jonathan BielskiDirector, Theatre and Events David ClaringboldDirector, Building Development and Maintenance Greg McTaggartDirector, External Affairs Brook TurnerDirector, Commercial David Watson

SYDNEY OPERA HOUSEBennelong Point GPO Box 4274, Sydney NSW 2001Administration (02) 9250 7111 Box Office (02) 9250 7777Facsimile (02) 9250 7666 Website www.sydneyoperahouse.com

Clocktower Square, Argyle Street, The Rocks NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Box Office (02) 8215 4600Facsimile (02) 8215 4646www.sydneysymphony.com

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

Please address all correspondence to the Publications Editor: Email program.editor@sydneysymphony.com

PAPER PARTNER

All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited.

By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specified on the title page of this publication 17282 — 1/040414 — 11TS S23

This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064

Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: admin@playbill.com.au Website: www.playbill.com.au

Chairman Brian Nebenzahl OAM RFD

Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production—Classical Music Alan Ziegler

Operating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin

EDITOR Genevieve Lang Huppert sydneysymphony.com/bravoCONTRIBUTOR Andrew Aronowicz

BUSY FELLOWSIn March our 2014 Fellows gave a private backstage concert for SSO Fellowship and Education patrons. The Fellows performed music by Mozart, Nielsen and Hindson, then met with their supporters over drinks.

In April the Fellows will be making a visit to the South Coast Correctional Centre, combining a one-hour chamber music performance with a workshop led by Roger Benedict exploring communication, conflict resolution and teamwork in the context of chamber music. The Fellows will also have lunch with 30 specially selected inmates, who are all taking part based on their good behaviour and enrolment in education classes.

HEALING POWERLast month we launched the 2014 season of our music4health program at Sydney Children’s Hospital, Randwick. Since starting this program six years ago, we’ve

visited hospitals throughout NSW, performed at retirement homes and given concerts at the Powerhouse Museum as part of Disability Awareness Week, and we perform each year to hundreds of autistic children in a special event in conjunction with the Autism Advisory and Support Service. This year music4health will include visits to Westmead Children’s Hospital and the Randwick and Hunters Hill campuses of the Montefiore Home.

If you would like more information or to join our musicians on a music4health visit to see firsthand the power of music, contact Amelia Morgan-Hunn at amelia.morgan-hunn@sydneysymphony.com

SUPPORTING OUR FUTUREThe SSO has received a generous bequest of $50,000 from the late Dr Lynn Joseph. Dr Joseph, a survivor of World War II, was a long-time SSO subscriber until passing away last year at the age of 94. We are deeply grateful to Dr Joseph for supporting the orchestra in such a meaningful way.

If you’d like more information about leaving a gift to the SSO in your will, contact Luke Gay on (02) 8215 4625.

JOAN MACKENZIE SCHOLARSHIPLast year a generous bequest and gift from the late Joan MacKenzie and her family allowed us to set up an annual scholarship for an out-of-state violinist in the SSO’s Sinfonia program. This year the scholarship has been awarded to 22-year-old violinist Brett Yang, from Sunnybank Queensland, and will cover his travel to Sydney as well as private lessons with SSO musicians.

SYMPHONY IN THE PARKOn 22 March we gave our seventh annual concert in Parramatta Park, performing music by Dvorák and Wieniawski, and Beethoven’s Fifth Symphony, under the baton of Pinchas Steinberg, with violin soloist Karen Gomyo. On the night we announced future plans for the event, which will incorporate primary and high school music education activities in the Parramatta region.

CODA

SSO Bravo! #3 2014 Insert.indd 4 27/03/14 2:01 PM