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WELCOME

Welcome to the fi rst EnergyAustralia Master Series concerts of 2011. If you were attending Master Series concerts in 2009, you might remember the energy and drama of A Midsummer Night’s Dream – beginning the season with Shakespeare and Mendelssohn.

This year, Vladimir Ashkenazy has chosen to open the season with the combined genius of Ibsen and Grieg, once more bringing a dramatic atmosphere to the concert hall stage. We’re delighted to welcome actor John de Lancie, who provides the narration that will weave tonight’s concert together.

As one of the most recognised names in the energy industry and with more than 1.4 million customers in New South Wales, the ACT, Victoria and Queensland, we are proud to be associated with the Sydney Symphony and we’re very excited to be linked to the orchestra’s fl agship Master Series.

We trust that you will enjoy tonight’s performance and look forward to seeing you at EnergyAustralia Master Series concerts in 2011.

George MaltabarowManaging Director

PRESENTING PARTNER

Friday night’s performance will be broadcast live across Australia on ABC Classic FM.

Friday night’s performance will be webcast by BigPond. Visit sydneysymphony.bigpondmusic.com

Pre-concert talk by Yvonne Frindle at 7.15pm in the Northern Foyer.Visit sydneysymphony.com/talk-bios for speaker biographies.

Estimated duration: 90 minutes (there is no interval)The performance will conclude at approximately 9.30pm.

2011 SEASON

ENERGYAUSTRALIA MASTER SERIES

Wednesday 23 February | 8pmFriday 25 February | 8pmSaturday 26 February | 8pm

Sydney Opera House Concert Hall

PEER GYNTVladimir Ashkenazy conductor

Narrator, Old Man of the Dovre (The Mountain King), The Bøyg, The Button Moulder John de Lancie

Solveig Jacqueline Porter sopranoAnitra Rachel Bate sopranoPeer Gynt Simon Halligan baritone

Åse Marnie Mosiman

Three Herdswomen, The Thief, The Fence, Troll Courtier, TrollsMembers and guests of VOX

VOX – Sydney Philharmonia ChoirsElizabeth Scott, chorusmaster

EDVARD GRIEG (1843–1907)Peer Gynt

Incidental music with an adaptation of Henrik Ibsen’s play, devised by John de Lancie

The Dance of the Trolls

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7 | Sydney Symphony

INTRODUCTION

Peer Gynt

Peer Gynt is the story of a man searching for what he already has. A familiar story. Colourful, naughty, but in the end, very sad. It’s a universal theme that women innately seem to know and most men learn too late. That’s what makes it a classic. That is why the power of this cautionary tale has never faded. We are fascinated by Peer, a rogue who lives life so fully while recklessly speeding his way to destruction. Peer Gynt is one of the great guilty pleasures. How wonderfully indulgent to imagine one’s self just like him – without the despair at the end, of course.

JOHN DE LANCIE

But Peer Gynt does end in a kind of despair, and in resignation. Vladimir Ashkenazy talks frequently of the devastating eff ect of Solveig’s fi nal song, a lullaby – music to make you weep as she sings over the man who has kept her waiting a quarter of a century. ‘You simply can’t be indiff erent to this story,’ he says.

But the story is not so well known in English-speaking countries. The Peer Gynt concert suites are very famous. More so than Ibsen’s play, whose staging diffi culties prompted the fi ve-word ‘essay’ in Willy Russell’s Educating Rita: ‘Do it on the radio.’ Ibsen had said his conception was for voices, and challenges such as the role of the Button Moulder, whose ladle would need to be very large to hold human souls, led him to say that he didn’t think the play was for acting.

Performing the music in a dramatised concert dispenses with some of the challenges of staging. In what John de Lancie calls a ‘heightened narration’, there is just enough storytelling and dialogue to bring the deeply touching plot to life, while off ering a chance to hear Grieg’s music in a fresh context. This is not a play, says de Lancie. The music is fi rst. The words are there to cast images and ideas into the imagination – they’re evocative rather than explicit – then the music ‘fi lls the image’. And that music ‘is some of the best Grieg ever composed,’ says Ashkenazy. ‘Devastatin gly good.’

Vocal texts and illustrations begin on page 8. Program notes begin on page 18.

8 | Sydney Symphony

Trond i Valfjeldet! Bård og Kåre!Troldpak! Vil I sove i Armene vore?

Hvem skriger I efter?

Efter Trold! Efter Trold!Trond! Far med Lempe!Bård! Far med Vold!I Sælet står alle Koverne tomme!Vold er Lempe!Og Lempe er Vold!Fattes der Gutter, en leger med Trold!

Hvor er Gutterne da?

De kan ikke komme!

Min kaldte mig både for Kjærest og Frænke.Nu er han gift med en halvgammel Enke.

Min mødte en Tatertøs nord i Lien.Nu traver de to på Fantestien.

Min tog Løsungen vor afdage.Nu står hans Hoved og griner på en Stage.

Trond i Valfjeldet! Bård og Kåre!Troldpak! Vil I sove i Armene vore?

Jeg er tre Hoders Trold, og tre Jenters Gut!

Er du slig Karl, du?

I får dømme tillslut!

MUSICAL NUMBERS AND VOCAL TEXTS

THREE HERDSWOMEN

Hey! Trond of Valfjeld! Bård and Kåre!Troll scoundrels! Would you sleep in our arms tonight?

PEER

Who are you calling to?

HERDSWOMEN

To the Trolls! To the Trolls!Come, sweetie! Come, wild one!The beds in our cabin are all standing empty!Violence is sweetness!And sweetness is violence!If there aren’t any lads around,we’ll play with the trolls!

PEER

Where are the lads, then?

HERDSWOMEN

They can’t make it!

HERDSWOMEN Mine called me his sweetheart and called me his darling. Now he has married a middle-aged widow.

Mine met a gypsy wench north on the upland. Now they’re tramping the country together.

Mine cut our bastard-child’s throat. Now his head’s grinning from the top of a stake.

Trond of Valfjeld! Bård and Kåre! Tonight would you sleep in our arms?

PEER

I am a three-headed troll, just the guy for you girls!

HERDSWOMEN

Are you such a lad, eh?

PEER

Better than your three idiots!

Prelude: At the Wedding – Halling – Springar

The Abduction of the Bride: Ingrid’s Lament

Peer Gynt and the herdswomen

9 | Sydney Symphony

Peer Gynt and the Woman in Green – ‘Great folk may be known by the mounts that they ride’

In the hall of the Mountain King

Till Sælet! Till Sælet!Vi har Mjød!

Lad den fl omme!

Denne Lørdagsnatt skal ingen Kover stå tomme!Han gnistrer og sprutter som glohede Jernet!Som Barneøjne fra svarteste Tjernet.Trond i Valfjeldet! Bård og Kåre!Troldpak! Fik I sove i Armene vore?

Hugen sturen og Tanken kådI Øjet Latter; i Halsen Gråd!

Slagt ham! Kristenmands Søn har dåretDovregubbens veneste Mø!Må jeg skjære ham i Fingren?Slagt ham!Må jeg rive ham i Håret?Hu hei; lad mig bide ham i Låret!Skal han lages till Sodd og Sø?Skal han steges på Spidd eller brunes i Gryde?Slagt ham!

Dance of the Mountain King’s Daughter

Peer Gynt hunted by trolls

Slipp mig, Djævelstøj!

Tomtegubber! Nisser!Bid ham bag!Stæng alle Ridser!

Hvor de morer sig, de små!

HERDWOMEN

To the hut! To the hut!We’ve got beer!

PEER

Let it fl ow!

HERDSWOMEN

No bed shall stand empty tonight!He pops and sparkles like red-hot iron!Like a baby’s eyes from the blackest pond!Trond of Valfjeld! Bård and Kåre!Troll scoundrels! Did you sleep in our arms?

PEER

Sad is the mood, and ravenous the craving... Laughter in the eyes, a lump in the throat!

TROLLS

Tear him to pieces! A Christian man’s sonhas seduced the Dovre-King’s loveliest maid! Can I hack off his fi ngers?Slay him!Can I tear out his hair?I want to bite him on the bottom!Shall he be boiled in broth and brine? Shall he roast on a spit or be stewed in a saucepan?Slay him!

PEER

Leave me alone, infernal scoundrels!

TROLLS

Goblins! Gnomes! Bite his bottom!Plug every hole!

TROLL COURTIER

See how the kids have fun?

CONDUC T A SYMPHONY AT YOUR PL ACE

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11 | Sydney Symphony

Vil du slippe, dit Skarn!

Tag varsomt, Slyngel, på et kongeligt Barn!

Et Rottehul – !

Nissebror! Det må du spærre!

Den Gamle var fæl; de Unge er værre!

Flæng ham!

Ak; den, der var liden som en Mus!

Stæng Gjærde!

Ak; var jeg en Lus!

Stæng Gjærde! Stæng Gjærde!Flæng ham! Flæng ham!Nu i Synet på ham!

Hjælp, Mor, jeg dør!

Peer Gynt and the Bøyg – melodrama

…Den store Bøygen vinder altid med Lempe.

Kommer han, Bøyg?

Ja; Fod for fod!

Alle Systre langt borte!Flyv frem till Mødet!

Skal du berge mig, Jente, så gjør det snart !Glan ikke ned for dig, lud og bøjet.Spændebogen! Kyl ham den bent i Øjet!

Han vimrer!

PEER

Go away, pig!

TROLL COURTIER

How dare you? He has royal blood!

PEER

A rat hole!

TROLLS

Plug it, gnomes!

PEER

These young ones are worse than the old ones!

TROLLS

Flay him!

TROLLS

Oh, if only I were as small as a mouse!

TROLLS

Surround him!

PEER

Oh, if I were a louse!

TROLLS

Surround him! Surround him!Flay him! Flay him!Now cut out his eyes!

PEER

Mother, help me, or I will die!

THE BØYG

…The Bøyg wins – with kindness.

BIRD’S CRIES (CHORUS)Is he coming, Bøyg?

THE BØYG

Yes, step by step.

BIRD’S CRIES Come, sisters, wherever you are!

PEER

I you want to save me, girls, make haste!Don’t look down, don’t lower your head!Throw the prayer book in his face!

BIRD’S CRIES

He stumbles!


Vi har ham!

Systre! Skyd Fart!

For dyrt, at kjøbe sig Livet tillfor slig en Times tærende Spil.

Bøyg, der stupte han!Tag ham! Tag ham!

Han var for stærk. Der stod Kvinder bag ham.

The Death of Åse – melodrama

– pause, please remain in the hall –

Morning Mood

The Thief and the Fence

Lansernes Tungerslikkende, spillende, –Se, se!

Jeg føler alt Knappeni Sandet trillende!Ve, ve!

Min Fader var Tyv;hans Søn må stjæle.

Min Fader var Hæler;hans Søn må hæle.

Din Lod skal du bære;dig selv skal du være.

Fodtrin i Krattet!På Flugt! Men hvor?

Hulen er dybog Profeten stor!

THE BØYG

He’s ours!

BIRD’S CRIES

Sisters, make haste!Sisters, make haste.

PEER

This life is not worth redeeming,so full of sorrows!

BIRD’S CRIES

He’s falling! Now Bøyg,take him, take him!

THE BØYG

He was too strong.There are women behind him.

THIEF

The tongues of the spears are licking their lips, –See, see!

FENCE

I already feel my head rolling on the sand!Woe, woe

THIEF

My father was a thief: the son must steal.

FENCE

My father was a receiver of stolen goods, a fence: the son must fence.

THIEF

You must accept fate: you must be yourself.

FENCE I hear footsteps in the bushes.Let’s get out of here!

THIEF

Deep is the cavern and great is the Prophet!


Arabian Dance

Profeten er kommen!Rør Fløjten og Trommen!Profeten, Herren, den alting vidende,till os er han kommenover Sandhavet ridende!Profeten, Herren, den aldrig fejlende,till os er han kommengjennem Sandhavet sejlende!

Rør Fløjten og Trommen;Profeten, Profeten, er kommen!

Hans Ganger er Mælken, den hvide,som strømmer i Paradisets Floder.Bøj eders Knæ! Sænk eders Hoder!Hans Øjne er Stjerner, blinkende, blide.Intet Jordbarn tålerGlansens Glans af de Stjerners Stråler!

Gjennem Ørken han kom.Guld og Perler sprang frem på hans Bryst,hvor han red blev det lyst.Bag ham for Mørke,Samum og Tørke.

Han, den herlige, kom!Gjennem Ørken han komsom en Jordsøn pyntet.Kaba, Kaba står tom.Han har selv forkyndt det!

Profeten er kommen! etc.

Anitra’s Dance

Peer Gynt’s Serenade

Jeg stængte for mit Paradisog tog dets Nøgle med.Det bar tillhavs for nordlig Bris,mens skjønne Kvinder sit Forlispå Havsens Strand begræd.

Mod Syd, mod Syd skar Kjølen Flugtde salte Strømmes Vand.Hvor Palmen svajer stolt og smukt,i Krans om Oceanets Bugt,jeg stak mit Skib i Brand.

CHORUS OF GIRLS

The Prophet has arrived!Play fl utes and drums! The Prophet, rich in every wisdom, has arrived among us, riding upon a sea of sand! The Prophet, the infallible, has arrived navigating upon a sea of sand!

Play fl utes and drums! The Prophet has arrived!

ANITRA His steed is as white as the milk thatfl ows in the rivers of Paradise! Kneel down, all of you! His eyes are the stars that sweetly shine. But what earthly creature can endure the dazzling splendour that strikes her?

From the desert he has arrived. Gold and pearls bounce off his chest. Where he appears, joy and light appear. Where he does not appear, darkness and famine make everything desolate. He, the Almighty, has arrived! Across the desert he camein the form of a mortal man.The Kaaba is empty now, he himself has foretold it.

CHORUS The Prophet has arrived! etc.

I closed my Paradise and carried away the key with me. I took the sea with the wind of the north while the beautiful girls on the shore were crying about my departure.

Toward the south the course of the ship cut the water of the salty sea. Where the beautiful palm trees sway, crowning the bay on the sea, I burned my ship.


Ombord jeg steg på Slettens Skib,et Skib på fi re Ben.Det skummed under Piskens Hieb, –jeg er en fl ygtig Fugl; o, grib, –jeg kviddrer på en Gren!

Anitra, du er Palmens Most,det må jeg sande nu!Ja, selv Angoragjedens Oster næppe halvt så sød en Kost,Anitra, ak, som du!

Solveig’s Song

Kanske vil der gå både Vinter og Vår,og næste Sommer med, og det hele År,men engang vil du komme, det ved jeg visst;og jeg skal nok vente, for det lovte jeg sidst.

Gud styrke dig, hvor du i Verden går,Gud glæde dig, hvis du for hans Fodskammel står!Her skal jeg vente till du kommer igjen;og venter du hisst oppe, vi træffes der, min Ven.

Peer Gynt’s Homecoming: Tempestuous Night at Sea

The Shipwreck

Solveig sings in the hut

Nu er her stellet till Pinsekveld.Kjære Gutten min, langt borte,kommer du vel,når kommer du vel?Har du tungt at hente,så und dig Frist; –jeg skal nok vente;jeg lovte så sidst.

Night Scene

Hva for Gråd af Barnerøster?Gråd, men halvt på Vej till Sang. Og for Foden triller Nøster!Vak! I gjør mig Stien trang!

I boarded the ship in the desert, the ship with four legs, that foams below the lashes. I am a lightweight bird, take me! I twitter on the top of a branch.

Anitra, now I know: you are wine of the palm! Cheese from the Angora goat, though fi ne, is not half so sweet to dine upon, Anitra, as you!

Perhaps winter and spring will pass,and then the summer and the entire year. One day you will return, I know it.And I will be waiting because I promised it to you.

May God keep you strong wherever you may be.May God comfort you, if you are before him! Here shall I wait until you come back again! And if you wait on high, I shall meet you there, my own.

Everything is ready for Pentecost.My adored boy, are you still far away? Will you still bide?Will you will bide?If your burden is heavy, take your time: I will await you, as I promised you.

PEER But what is this weeping?Weeping that seems a song? And what is this tumbleweed rolling before me? Off the road – back where you belong!


Vi er Tanker; du skulde tænkt os.Pusselanker du skulde skjænkt os.

Livet har jeg skjænkt till En;det blev Fusk og skjæve Ben.

Tillvejrs vi skulde som skakende Røster,og her må vi rulle som Grågarns-Nøster.

Nøste! Dit fordømte Drog!Spænder du for Far din Krog?

Vi er et Løsen; du skulde stillet os!Se, hvor Døsen har ynkelig pillet os.Ormen har ædt os i alle Bugter;vi fi k aldrig spredt os som Krans om Frugter.

Fåfængt var dog ej jer Fødsel;lægg jer stillt og tjen som Gjödsel.

Vi er Sange; du skulde sunget os.Tusende Gange har du knuget og tvunget os.I din Hjertegrube har vi ligget og ventet;vi blev aldrig hentet.Gift i din Strube!

Gift i dig, dit dumme Stev!Fik jeg Tid till Vers og Væv?

Vi er Tårer, der ej blev fældte.Isbrodd, som sårer, kunde vi smelte.Nu sidder Brodden i Bringen loddenSåret er lukket; vor Magt er slukket.

Takk; jeg gråd i Rondesvalen,fi k dog lige fuldt på Halen!

Vi er Værker; du skulde øvet os!Tvivl, som kværker, har krøblet og kløvet os.På yderste Dagen vi kommer i Flokog melder Sagen så får du nok!

THREADBALLS (CHORUS)We are thoughts you should have thought.You had to give us tiny feet, to walk!

PEER

One saw the light, thanks to me;but thanks to me he is a monster.

THREADBALLS

We should fl y in the blue sky,instead we roll, balls of the gray thread.

PEER

Ball of thread, eh? Away!Go trip your father up!

DRY LEAVES (CHORUS)We are the passwords that you had to dictate! You see how the inactivity reduced us; the worm consumed us and never did we blossom along with the fruits.

PEER

You will become fertilizer! Be therefore glad: you are not in this world without purpose.

THE MURMURS (CHORSUS) We are the songs that you had to sing.You suffocated us and repressed us so many times. We were waiting in the depths of your heart; you never called to us. Your throat is poison!

PEER

Poison is yours, quick stand aside!I had no time to lose!

DEWDROPS (CHORUS)We are the tears that you wept.We could have melted the iciness of your heart. Now the sting is embedded in your breast, the wound is closed, we have no more power.

PEER

I wept before the old man of Dovre:and I was beaten just the same.

BROKEN STRAWS

We are the works that you had to complete.The doubt that suffocates broke us to pieces. On Judgement Day we will all come to accuse you, woe to you then.


Tvi, for en Skydsgut!Hu, du har væltet mig!Sne faldt her nys, Gut!

Bedst, en Stakkar væk sig skynder.Skal en bære Fandens Synder,må en snart i Bakken segne;de er tunge nok, ens egne.

Pentecost Hymn: ‘Blessed Morn’

Velsignede Morgen,da Gudsrigets Tungertraf Jorden som fl ammende Stål!Fra Jorden mod Borgennu Arvingen sjungerpå Gudsrigets Tungemål!

Solveig’s Cradle Song

Sov du, dyreste Gutten min!Jeg skal vugge dig, jeg skal våge.

Gutten har siddet på sin Moders Fang.De to har leget hele Livsdagen lang.

Gutten har hvilet ved sin Moders Brysthele Livsdagen lang. Gud signe dig, min Lyst!

Gutten har ligget till mit Hjerts tætthele Livsdagen lang. Nu er han så trætt.

Sov du, dyreste Gutten min!Sov! Sov!Jeg skal vugge dig, jeg skal våge.

Sov! Sov!

Jeg skal vugge dig, jeg skal våge. Sov og drøm du, Gutten min!

Velsignede Morgen,da Gudsrigets Tungerraf Jorden som fl ammende Stål!Far Jorden mod Borgennu Arvingen sjungerpå Gudsrigets Tungemål

ADAPTED FROM HENRIK IBSEN

ÅSE

Be careful Peer. It’s snowed all day.Please, not so fast, you’ll overturn the sleigh.

PEER

Horror! Am I to pay for the sins of the devil? You cannot burden me with what I did not do!

CHORUS

Blessed be the day in whichthe tongues of Heaven descended upon the Earth like fl aming steel! From the Earth to Heaventhe heirs to the divine kingdom sing in its celestial tongue.

SOLVEIG

Sleep, my sweet baby,I will rock you, I will watch over you.

In my lap he listened to the song, with me he played all his life.

Now he wants to stay tightly at the breast of his mother,may God bless him!

Upon my breast I let him rest, For all his life. Now he is tired.

Sleep, my sweet baby. Sleep! Sleep! I will rock you, I will watch over you.

Sleep! Sleep!

I will rock you, I will watch over you; Sleep, my sweet baby

CHORUS

Blessed be the day in whichthe tongues of Heaven descended upon the Earth, fl aming steel! From the Earth to Heaventhe heirs to the divine kingdom sing in its celestial tongue.

ENGLISH AFTER THE PERFORMING VERSION PREPARED BY JOHN DE LANCIE


ABOUT THE MUSIC

Grieg’s Peer GyntEveryone knows Grieg’s Peer Gynt music, even if they don’t realise it. Fewer Australians have seen the play by Henrik Ibsen for which it was written (it is notoriously diffi cult to stage). But the success of Ibsen’s play with its early audiences was greatly helped by Grieg’s music, and the two familiar orchestral suites have since taken the work into concert halls, studios and elevators everywhere. It is easily one of Grieg’s most popular creations.

Ironically, Grieg at fi rst was unenthusiastic about the project, considering the subject unmanageable, and commenting later on one of the numbers: ‘I have written something…which smacks so much of cow dung, ultra-Norwegianism and self-satisfaction that I quite literally cannot bear to listen to it. But I imagine that the irony will also be apparent, especially when afterwards Peer Gynt, against his will, is forced to say “I swear the dance and the music are, by God, quite beyond compare”.’

The forceful side of Ibsen’s story, such as the Mountain King episode, is not what most people expect from Grieg. This composer’s music was wickedly described by Debussy

GRIEG

Born Bergen, 1843Died Bergen, 1907

Grieg excelled in the art of the musical miniature and the character piece in an era when there was a huge demand for charming and evocative music that could be played at home – sophisticated, yet not too diffi cult for amateurs. A signifi cant part of his output comprises sets of piano pieces and songs – sparkling, congenial and deftly characterised. This reputation sometimes overshadows Grieg’s other strengths: his harmonic daring and his penetration of the spirit of folk music. He is best known for his Piano Concerto in A minor (championed by Australian Percy Grainger) and for his incidental music for Peer Gynt.

Peer and Solveig at the wedding – “Let’s dance. I’ll lift you off your feet as if you were fl ying.”

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PEER GYNT – THE MUSIC

The familiar Peer Gynt suites normally heard in the concert hall give barely a third of the music that Grieg wrote for Ibsen’s play. The complete work includes songs for several characters, dances and interludes, and the kind of music known as melodrama: carefully written to align with and underscore spoken dialogue, rather like a fi lm soundtrack.

In tonight’s dramatic presentation the last thing you should do is bury your head in a program book. But keep your ears open for a few musical landmarks: there’s the solo viola and the distinctive sound of the Hardanger fi ddle in the opening scene, and the way the troll voices make the famous Hall of the Mountain King even more fearsome! Listen for the elegy for strings that underpins the poignant scene between Peer and his dying mother. Keep in mind that Morning Mood isn’t sunrise over the Norwegian fjords, but sunrise over the Sahara desert, and that Grieg considered it ‘pure music’ anyway. Smile at Anitra as she dances a Polish mazurka. And enjoy the direct borrowing from real Norwegian folk music in Solveig’s Song.

as ‘a pink sweetmeat stuff ed with snow’. But Grieg’s range was greater than Debussy suspected, notably in Peer Gynt, and tonight’s opportunity to hear the full incidental music will give a better idea of his dramatic and expressive instincts.

It was Ibsen himself, the Norwegian dramatist, who asked Grieg in 1874 to write the music for a revised and staged version of his poetical drama Peer Gynt. The central character, Peer, is reckless, irresponsible, boastful, and a storyteller full of imagination. He lives with his aged mother Åse, until he elopes with an heiress, Ingrid, on her wedding day. Deserting Ingrid almost immediately, Peer becomes an outlaw, and in the mountains meets the daughter of the Troll King. Peer spurns her father’s demand that, to marry her, he become a troll. He is attacked by the trolls, and saved only by the sound of church bells which puts them to fl ight.

Hiding in a hut in the wood, Peer is found by the gentle Solveig, who loves him. But he cannot stay with her until he has cast off the load of his past. Peer goes to his mother, who is dying, and ‘rides her into heaven’. Then he is off again,

Peer before the Troll King – “Your daughter and your kingdom as a dowry, King of the Trolls!”

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to America, Morocco (where he witnesses the famous sunrise of Morning Mood) and Egypt, in adventures lasting a quarter of a century. He tries to seduce and is robbed by Anitra, a Bedouin chief ’s daughter. When he returns home, he is older, more wasted, but no wiser nor more truthful than before, though he still fi rmly believes he has lived with truth to himself. He hasn’t, and Death comes to claim him in the person of the Button Moulder. But in the search for one more chance to redeem himself, Peer fi nds Solveig, now old and blind. She has waited for his return, and affi rms that Peer has indeed lived as himself, in her faith, hope and love. At the end, she cradles him in her arms and sings him to rest.

Grieg’s discovery of Norwegian folklore, which gives Peer Gynt so much of its distinctive character, added a new adventurousness to his harmonic and rhythmic language, by comparison with his early music, which had been formed largely by his orientation towards Danish culture. While remaining accessibly based in the world of Romantic musical nationalism, Grieg baptised Norwegian folksong and dance as ‘art music’, paving the way for later composers (including Australia’s Percy Grainger) to take on the idiom.

ADAPTED FROM A NOTE BY DAVID GARRETT

In addition to the vocal soloists and chorus, Grieg’s incidental music for Peer Gynt calls for three fl utes (all doubling piccolo) and pairs of oboes, clarinets and bassoons; four horns, two trumpets, three trombones and tuba; timpani and percussion; harp and piano; and strings. There are solos for the principal viola and for the traditional Hardanger fi ddle.

The Sydney Symphony fi rst performed incidental music from Peer Gynt in the 1991 Festival of Sydney in a concert conducted by Diego Masson with soprano Jennifer McGregor and narration by John Howard and Nancye Hayes.

Henrik Ibsen

Ibsen not a music lover?

The more you know about Grieg and Ibsen, the more and more surprising their association becomes. Grieg comes across as gentle, friendly and generous; Ibsen had a reputation for being crabby and diffi cult to get along with. And he had generally little liking for music, although he clearly understood its importance in the theatre.

So what brought Ibsen together with Grieg on a joint project? It was hearing Grieg and his wife Nina, a fi ne singer, interpreting Grieg’s setting to music of Ibsen’s songs. As Grieg reported Ibsen’s reaction: ‘With tears in his eyes he came across to us at the piano and squeezed our hands, almost unable to speak. He mumbled something to the effect that this was real understanding.’


ABOUT THE PLAY

Life – what a price to pay for being bornBy May-Brit Akerholt

Peer Gynt is often thought of as a dramatic piece of poetry. But the play never becomes abstract or symbolic. Everything in it – imagery, metaphors, symbols, history, fairy tales – is given life and veracity, everything lives and breathes. Peer Gynt is written with contagious exuberance and vitality. The play is a veritable blast of energetic action, colourful tableaux and spectacular events. It is also a highly political and serious dramatisation of a life wasted in pursuing dreams, fl eeing from responsibility, seeking power instead of love.

For more than a century, this boy from a small Norwegian valley has captured the imagination of a world. After seeing Jean-Pierre Mignon’s Anthill production of Peer Gynt, Australian critic Peter Craven described the play as ‘a cathedral full of gargoyles like Moby Dick’; reviewing a National Theatre production in London, Michael Billington argues that, with this play, we see Ibsen ‘inventing Theatre of the Absurd long before Beckett and Ionesco.…You go to Peer Gynt expecting a Romantic epic: you discover a modern drama being invented on the spot.’

The rapid and turbulent changes in the 19th century created the most successful group of writers, musicians and painters Scandinavia has ever had, and many were Norwegian – Henrik Ibsen, Bjørnstjerne Bjørnson, Edvard Grieg, Edvard Munch among others. Ibsen’s work created a wide range of reactions in its day because it challenged the status quo. The 19th-century critic George Brandes claims that ‘Ibsen stood in a sort of mysterious correspondence with the fermenting, germinating ideas of the day…he had the ear for the low rumbling that tells of ideas undermining the ground.’

Yes, Ibsen dramatised the underbelly of his society, he preached the revolt of the individual against the social order, and his plays soon found international relevance. And they remain relevant; the low underground rumbling of human experience has not changed much. And as he kept laying the foundations of a permissive society before Freud, one might say, other Norwegian writers, composers and painters such as Grieg and Munch, joined his journey. Together they revolutionised the ideas and concepts of various art forms, and changed the social thinking of their generation – and generations to come. Our own Judy Davis said in an interview that the artist’s responsibility is

Take The Troll Test!

Is your housemate big, hairy, ugly and incredibly egocentric?

Yes No

❑ ❑Would he prefer to live in a cave?

Yes No

❑ ❑Does she hate being around other people?

Yes No

❑ ❑Has he expressed a great fear of being struck by lightning?

Yes No

❑ ❑Or perhaps she gets all emotional at the mention of high mountains and Norwegian fjords?

Yes No

❑ ❑

If you answered ‘yes’ to any of these questions, you may be living with a troll. Exercise extreme caution.


to see what is happening and to respond to it, to tell us about it. That is what these Norwegian artists did.

In 1874 Ibsen wrote to Grieg and told him he was ‘thinking of adapting Peer Gynt…for the stage. Will you compose the music that will be required?’ Then followed detailed specifi cations of how Ibsen imagines the music has to work. Apparently, it is remarkable to what extent Grieg followed Ibsen’s specifi cations.

Peer’s imagination and poetic sensibilities should have freed him from the chains of an earthbound life. But when he meets The Bøyg, he goes round him – a character who is a physical expression of a force in us that refuses to tackle problems or make diffi cult choices. The play warns of the dangers of burying one’s imagination, as refl ected in the Dovre proverb: ‘Troll, be yourself enough.’ The play is both a satire and a celebration of Norway’s heritage, of her legends and folktales and the very imagination which keeps them alive and creates new myths out of the old. Like Patrick

The Death of Åse – Peer comes down from the mountain and sits by his mother’s bed. He holds her hand and tells her a tale: East of the

Sun, West of the Moon, to the Soria Moria, to the enchanted castle on a sleigh with fi ve horses.

The Bøyg…

Although sometimes depicted taking the shape of an enormous serpent, the mysterious Bøyg of Scandinavian folklore is essentially formless. But the riddle of the Bøyg isn’t confi ned to its physical form. When Peer repeatedly demands of the Bøyg ‘Who are you?’ the creature simply replies ‘Myself.’ The one constant of the Bøyg’s statements is that they consistently contradict themselves: ‘The Bøyg is unharmed and the Bøyg is injured. The Bøyg is dead and the Bøyg is alive.’ Shapeless, unconquerable, and mysterious beyond measure, the Great Bøyg is the riddle of existence.

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White in his plays, Ibsen combines a portrayal of the darker side of life with a comic expression of it, and the result is high irony rather than the classical notions of tragedy or comedy.

We readily follow Peer on his adventures; we accept the fantasy fi gures entering his life. We mourn when the Button Moulder comes to fetch Peer’s soul because: ‘You were designed to be a shining button / On the waist-coat of the world. But your loop broke / So you go with the rejects, a token / Merely, in the melting pot.’ We take the journey into worlds in which legends, folklore, fairy tales and reality jostle for space. The action weaves in and out of the grotesque, the lyrical, the surreal and the realistic; its tone moves swiftly between diff erent genres and styles: comic and tragic, epic and intimate, sentimental and ironic. The play is a forerunner to expressionism in the way Peer’s inner life is dramatised in his environment and his actions – in the wild buck ride where he hurtles towards his own image in the abyss, in the trolls who live inside the dark Dovre mountain and feast on the souls of those

…and the Button Moulder

Unlike the Bøyg, who has no physical manifestation, the Button Moulder is merely a man with a ladle – or is he?

His job, as he explains to Peer, is to melt down the souls of fl awed individuals in his ladle and re-cast them (just as a maker of metal buttons would do). He offers Peer the chance to prove that he has done something signifi cant in his life, but Peer has diffi culty in coming up with even one instance. The Button Moulder challenges Peer to prove when in his life he has truly been ‘himself’ and although Peer insists that ‘himself’ is what he has always been, the untimely interjection of the troll king (who claims that Peer has been a troll) puts Peer in a tight spot.

It’s been suggested that the character of the Button Moulder originated in a memory of Ibsen’s childhood. He experimented with button moulding in his youth, and the experience and the ‘horror of being lost in the molten mass’ appears to have left a lasting impression.

Anitra’s Dance – “Dance! Dance! The Prophet wants to chase away bad memories.”

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who seek them, in the barren, sunbaked desert where the seductress Anitra plays out Peer’s own greed, in the storm and the shipwreck, in the fogbound and burnt-out forest landscape where the Thin Man and the Button Moulder challenge the very nature and existence of Peer’s Self.

I have always thought that if Peer Gynt had not been Norwegian, he might have been Australian. We rather warm to a similar kind of ‘hero’ here, often a combination of the Aussie battler and the storyteller with an imagination bigger than reality. It is curious how many movies and mini-series have been about our glorious defeats – remember Bodyline, in which Don Bradman takes on the Empire and is celebrated for losing the Ashes? I doubt the French would say with Peer: ‘My kingdom – well, half my kingdom – for a horse!’ An Australian might.

MAY-BRIT AKERHOLT ©2011

Perspicacious Peer Plodded Pleasantly on his Pilgrimage, Patiently Passing Picture-Perfect Pastoral Pastures while Partaking in the Pastime of Polishing off Palatable Passionfruit Pastilles. The Playful Poet Planned a Picnic on a Picturesque Peak but Piles of Pitiless Pirates Pinched Peer’s Peanuts, Pork Pies, Puddings, and Plastic Plates, Picked his Pockets and Proceeded to Pirouette Playfully to Piltingsrud via Pramhusvangen.

meanwhile…

Seriously Sad Solveig Sobbed and Sniffl ed Simultaneously and Sullenly Snivelled at her Sorrowful Situation. A Siesta on her Sealy Settled her Soul and, her Stoical Spirit Stirred, She Solemnly Swore to Stymie any Subsequent Sabbaticals of her Strolling Sweetheart.

Peer and the Threadballs – “But what is this weeping? Weep ing that seems a song? And what is this tumbleweed rolling before me?

Off the road – back where you belong!”

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EPHEMERA PREPARED BY ALEXANDRA PINKHAM


MORE MUSIC

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GRIEG’S PEER GYNTAmong recent releases, Herbert Blomstedt’s 1988 recording with the San Francisco Symphony and Chorus offers a generous selection from Grieg’s incidental music, including songs and melodramas.DECCA ELOQUENCE 480 4838

For the every note of Grieg’s Peer Gynt, turn to Neeme Järvi’s recording with the Gothenburg Symphony Orchestra and Chorus and Barbara Bonney in the role of Solveig. Currently available as part of a 6-CD set, Grieg’s Complete Music with Orchestra.DEUTSCHE GRAMMOPHON 471 300-2

In 2003 Ole Kristian Ruud and the Bergen Philharmonic Orchestra presented a semi-staged concert version of Peer Gynt, including the complete incidental music and an adaptation of Henrik Ibsen’s dialogue for a cast of six. Recaptured in the studio, this 2-CD recording is one of the few currently available to include full texts and translations from the Norwegian.BIS SACD-1441/42

MORE PEER GYNTGrieg wasn’t the only composer to take inspiration from Ibsen’s Peer Gynt. If you’re curious, seek out Werner Egk’s opera from 1938 (ORFEO C005 822H), Harald Sæverud’s incidental music from 1947 (BIS CD-762), or Schnittke’s music for John Neumeier’s ballet, completed in 1987 (BIS CD-677/678).And for sheer fun, you can’t beat Duke Ellington’s take on Grieg’s Peer Gynt music, with a suite of fi ve numbers adapted for big band.COLUMBIA 467 9132

ASHKENAZY WITH THE SYDNEY SYMPHONYVladimir Ashkenazy’s recordings with the Sydney Symphony now include performances of Elgar symphonies, Prokofi ev symphonies and piano concertos, and the Mahler symphonies and selected song cycles, which are being recorded during the course of the Mahler Odyssey (2010–2011). These recordings, issued on Exton/Triton or on the Sydney Symphony’s own label, are available from our website, in record shops and in the foyer at interval.

JOHN DE LANCIEExperience John de Lancie’s work for Alien Voices in two audio collaborations with Leonard Nimoy: The Invisible Man by H.G. Wells and The Lost World by Arthur Conan Doyle. SIMON & SCHUSTER AUDIO

Selected Discography

Friday night’s concert will be webcast live on BigPond and be available for later viewing On Demand. Visit: bigpondmusic.com/sydneysymphony

Webcasts

2MBS-FM 102.5

SYDNEY SYMPHONY 2010

Tuesday 8 March, 6pm

Musicians, staff and guest artists discuss what’s in store in our forthcoming concerts.

Broadcast Diary

FEBRUARY–MARCH

Friday 25 February, 8pm

GRIEG’S PEER GYNT

Vladimir Ashkenazy conductorJohn de Lancie narrator

With choir and vocal soloists

Friday 4 March, 8pm

MAHLER 6

Vladimir Ashkenazy conductorJean-Effl am Bavouzet piano

Liszt, Mahler

Monday 21 March, 8pm

LOVERS & ENIGMAS (2010)

Vladimir Ashkenazy conductor

Richard Strauss, Sibelius, Elgar

Thursday 24 March, 1.05pm

VIVA ESPAÑA (2010)

Miguel Harth-Bedoya conductorSlava Grigoryan guitar

Turina, Rodrigo, Lovelady, Benzecry, Falla


ABOUT THE ARTISTS

Vladimir Ashkenazy conductor

In the years since Vladimir Ashkenazy fi rst came to prominence on the world stage in the 1955 Chopin Competition in Warsaw he has built an extraordinary career, not only as one of the most renowned and revered pianists of our times, but as an inspiring artist whose creative life encompasses a vast range of activities.

Conducting has formed the largest part of his music-making for the past 20 years. He has been Chief Conductor of the Czech Philharmonic (1998–2003), and Music Director of the NHK Symphony Orchestra, Tokyo (2004–2007). Since 2009 he has held the position of Principal Conductor and Artistic Advisor of the Sydney Symphony.

Alongside these roles, Vladimir Ashkenazy is also Conductor Laureate of the Philharmonia Orchestra, with whom he has developed landmark projects such as Prokofi ev and Shostakovich Under Stalin (a project which he toured and later developed into a TV documentary) and Rachmaninoff Revisited at the Lincoln Center, New York.

He also holds the positions of Music Director of the European Union Youth Orchestra and Conductor Laureate of the Iceland Symphony Orchestra. He maintains strong links with a number of other major orchestras, including the Cleveland Orchestra (where he was formerly Principal Guest Conductor), San Francisco Symphony, and Deutsches Symphonie Orchester Berlin (Chief Conductor and Music Director, 1988–96), as well as making guest appearances with orchestras such as the Berlin Philharmonic.

Vladimir Ashkenazy continues to devote himself to the piano, building his comprehensive recording catalogue with releases such as the 1999 Grammy award-winning Shostakovich Preludes and Fugues, Rautavaara’s Piano Concerto No.3 (which he commissioned), Rachmaninoff transcriptions, Bach’s Wohltemperierte Klavier and Beethoven’s Diabelli Variations. His most recent release is a recording of Bach’s six partitas for keyboard.

A regular visitor to Sydney over many years, he has conducted subscription concerts and composer festivals for the Sydney Symphony, with his fi ve-program Rachmaninoff festival forming a highlight of the 75th Anniversary Season in 2007. Vladimir Ashkenazy’s artistic role with the Sydney Symphony includes collaborations on composer festivals, recording projects and international touring.

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John de Lancie actor

John de Lancie’s eclectic career has encompassed fi lm, television and the stage, as well as projects in the world of music. His fi lm credits include The Hand that Rocks the Cradle and Fearless, and he has appeared in numerous television shows, including Breaking Bad, The Unit and The West Wing, but his best-known role is as Q in Star Trek. He has been a member of the American Shakespeare Festival, Seattle Repertory Company, South Coast Repertory, Mark Taper Forum and the Old Globe, where he appeared in Resurrection Blues. Highlights include Man and Superman, Art and the premiere of A Naked Girl on the Appian Way, as well as a national tour of The Great Tennessee Monkey Trial with Ed Asner.

On the concert stage he has performed with Kurt Masur, Colin Davis (New York Philharmonic), Vladimir Ashkenazy (Cleveland Orchestra, National Symphony Orchestra), Esa Pekka Salonen (Los Angeles Philharmonic), Charles Dutoit (Philadelphia Orchestra, Montreal Symphony Orchestra). In addition to Peer Gynt, his repertoire with orchestra includes Honegger’s King David, A Lincoln Portrait, Stravinsky’s Oedipus Rex, A Young Person’s Guide to the Orchestra, Egmont and Peter and the Wolf.

He hosted the Los Angeles Philharmonic’s Symphonies for Youth for four years, and was the writer, director and host of the orchestra’s First Nights series. He has also created ten ‘symphonic plays’, including Romeo and Juliet, A Midsummer Night’s Dream, Bourgeois Gentleman, The Abduction from the Seraglio, and a vaudeville, Carnival of the Animals. More recently he has begun directing opera, with productions of Tosca and Cold Sassy Tree (Atlanta), and Madama Butterfl y (San Antonio).

He has performed and directed for L.A. Theater Works and was co-owner, with Leonard Nimoy, of Alien Voices, a production company devoted to the dramatisation of classic science fi ction.

John de Lancie was born in Philadelphia, the son of Andrea and John de Lancie, principal oboe of the Philadelphia Orchestra and one of the best-known oboists of his day. He is a graduate of Kent State University and the Juilliard School and when all is said and done would rather be sailing.


Jacqueline Porter soprano (Solveig)

Jacqueline Porter holds an Honours degree in Music Performance and a Bachelor of Arts (Italian) from the University of Melbourne. She is a regular soloist with the major orchestras and choirs in Australia and a principal artist with Victorian Opera. She is the 2010 Dame Nellie Melba Opera Trust Scholarship recipient.

She has worked with such conductors as Vladimir Ashkenazy, Neville Marriner, Oleg Caetani and Markus Stenz. Her extensive concert repertoire includes Bach’s Cantata No.207 and St Matthew Passion, Berlioz’s Nuits d’été, Les Illuminations by Britten, Haydn’s Nelson Mass and Maria Theresa Mass, Mozart’s Coronation Mass and Requiem, and Vaughan Williams’ Sea Symphony. Her performance in 2009 of Prokofi ev’s Ugly Duckling with Vladimir Ashkenazy and the Sydney Symphony was recorded for international release.

Her roles with Victorian Opera include L’Amour (Orphée et Eurydice), Despina (Così fan tutte), Drusilla, Virtù and Pallade (L’incoronazione di Poppea), and Saskia and Hendrickje Stoff els (Rembrandt’s Wife). This season she will perform Clorinda in Monteverdi’s Fight between Tancredi and Clorinda, conducted by Paul Dyer.

Recent performance highlights have included Gretel (Hansel and Gretel) for State Opera South Australia, The Bells by Rachmaninoff (MSO and Ashkenazy), Symphony under the Stars (Tasmanian Symphony Orchestra), and Brahms’s Deutsches Requiem with MSO Chorus.

Rachel Bate soprano (Anitra)

Rachel Bate graduated from the Sydney Conservatorium of Music in 2008 with a degree in vocal performance, and she is currently in her fi nal year of the Advanced Diploma of Opera. During her studies she has participated in masterclasses with David Miller, Maree Ryan, Amelia Farrugia, Michael Lewis and Yvonne Kenny.

Last year she was awarded the Joan Carden Scholarship, which will include a solo engagement with the Sydney Graduate Orchestra and Choir in 2011. She was also the 2010 Australian Singing Competition winner, receiving the Marianne Mathy Scholarship, and winner of the Opera Foundation’s German Opera Scholarship.

A lyric spinto soprano, she has performed the roles of Nancy in Britten’s Albert Herring and Une dame élégante in Poulenc’s Mamelles de Tirésias, and in September 2010 she sang Frau Fluth in the Sydney Conservatorium production of Nicolai’s Lustigen Weiber von Windsor. She has also performed in concerts throughout Sydney, including the recent Joan Sutherland tribute concert.

Rachel leaves for Germany in July to begin a Young Artist program at Cologne Opera.


Simon Halligan baritone (Peer Gynt)

Simon Halligan recently graduated with an Advanced Diploma of Opera from the Sydney Conservatorium of Music, having studied with Maree Ryan and Michael Halliwell. His extensive performance experience includes opera, operetta, musical theatre, cabaret and acting as well as concerts.

He was the recipient of the Conservatorium’s Geoff rey Rothwell Scholarship, and also received a Helpmann Fellowship and Wagner Society Overseas Study Scholarship, which recently allowed him to pursue a three-month period of professional development and language study in Europe.

He has performed numerous recitals for the Sydney Conservatorium of Music, and appeared in concerts with orchestras and presenters throughout Sydney, New South Wales and Queensland. Last year he was a soloist in Carmina Burana with Leichhardt Espresso Chorus.

A lyric baritone, Simon Halligan has sung operatic roles such as the title role in Milhaud’s Malheur d’Orphée, Herr Fluth (Die Lustigen Weiber von Windsor), Enrico (Il Campanello), Padre Bruschino (Il Signor Bruschino), Sid (Albert Herring), Le Directeur (Les Mamelles de Tirésias), Falke (Die Fledermaus), Boniface (Angélique) and Orderly (Hin und Zurück). He has worked as a chorister with Opera Australia, and this year he will sing the role of Strongman in Oz Opera’s touring production of Sid the Serpent.

Marnie Moisman actor (Åse)

Marnie Mosiman’s career ranges from fi lm, television and the stage to opera and musical theatre. Recent appearances have included the narrator in The Great Tennessee Monkey Trial (L.A. Theatre Works), Madame Jourdain in The Bourgeois Gentleman (Chicago Symphony Orchestra) and Trina in Falsettos (NPR/L.A. Theatre Works).

Her musical work has included Olga Kromow in The Merry Widow (Los Angeles Opera) and Joan of Arc in Honegger’s Jeanne D’Arc au bûcher (Aspen Music Festival), as well as the Witch of Endor in King David (Philadelphia Orchestra and Charles Dutoit), Peer Gynt (National Symphony Orchestra and Vladimir Ashkenazy) and major roles in Godspell, Sweeney Todd, A Little Night Music and Così fan tutte.

She has played leading roles in eight shows at South Coast Repertory, including Arcadia and Six Degrees of Separation. Winner of a Los Angeles Drama Critics award and fi ve Dramalogue awards, she has also worked with the Mark Taper Forum, Seattle Rep, A.C.T., The Empty Space and the Guthrie. Her fi lm and television credits include What Women Want, Hero and Exit to Eden, and guest appearances in Ally McBeal, Frasier and Star Trek:TNG.

Marnie Mosiman sings with the Los Angeles Master Chorale and is the creator and artistic director of their award-winning outreach program, Voices Within. For eight years she wrote, directed and produced shows for the highly acclaimed Summersounds Festival at the Hollywood Bowl.


SOPRANOSRia AndrianiJennifer Bonner*Victoria CampbellCharlotte CampbellCaitlin CampbellMaria ChanCharmaine CusackHelen EadeVanessa EdeSerena FernandezBridget GeraghtyMeredith Harrison BrownPenny HarrissonTianna Leung

Georgia MelvilleEmma Moore*Mary OsbornEve OsbornRebekah PetersonClaudia RapisardaAlessandra RussekMaya SchwenkeErika Simons*

ALTOSJessica BarcaRebecca CampbellErin ChapmanDemi ChilchikNaomi Cooper

Kerry FrancisEmma HancockKaren HenwoodKate McCallumGabriella PonzioJenna SchroderKaila SercombeLia WeitzelChela WeitzelBrigitte Wirfl er

TENORSLanhowe ChenZac GoughTodd HawkenFenn Idle

Hamish LanePaul MaiStephen McDonnellAndrew MulhollandJack Pengelly

BASSESGerard AcklandTimothy BennettDominic BlakeJordi CroninTristan EntwistleDavid Hidden*Angus JohnsonAlexander Knight*Harold Lander

Sam MerrickSean MoloneyJohnathan MoreyMichael NolanDaniel TameRobert TotonjianLewis TranJohn TranRyan WiblinBen Wirfl er

* Guest singers

VOXBrett Weymark Artistic and Musical Director, Sydney Philharmonia Choirs | Lisa Nolan General Manager Elizabeth Scott Musical Director, VOX | Luke Byrne, Josephine Allan Repetiteurs | Astri Forsyth Language coach

SOLOISTSHerdswomen Jennifer Bonner, Emma Moore, Erika Simons | The Thief David HiddenThe Fence Alexander Knight | Troll Courtier Todd HawkenTrolls Jessica Barca, Rebecca Campbell, Tristan Entwistle, Rebekah Peterson, Robert Totonjian

VOX – Sydney Philharmonia Choirs

Vox – a 50-voice chamber vocal ensemble for singers aged 16 to 26 – is one of four main choral groups that make up Sydney Philharmonia Choirs, which also includes the 40-voice Chamber Singers, 100-voice Symphony Chorus and 300-voice Festival Chorus. In 2011, Vox will perform with the Festival Chorus at the Sydney Opera House in May, singing Gershwin, and at the Sydney Town Hall in September in an Australian program, as well as appearing in the Sydney Symphony’s performances of The Fellowship of the Ring. In recent years, the profi le of the choir has grown as a result of Flash Mob performances at venues such the George Street Apple Store and in the Lights of Christmas program. This year the choir has achieved a new status within the Sydney Philharmonia concert season: having previously performed alongside the Symphony Chorus in Sydney Symphony concerts such as Daphnis et Chloé (2008) and Mahler’s Eighth Symphony (2010), Vox is making its fi rst appearance with the orchestra in its own right. www.sydneyphilharmonia.com.au

Elizabeth Scott Musical Director, VOX

Elizabeth Scott graduated from the Sydney Conservatorium of Music in 1995 as a fl ute major, holding the Student of the Year Award and the Reuben F. Scarf Scholarship. Assisted by scholarships from the Hungarian Ministry of Education, she completed postgraduate studies in choral conducting, vocal performance and aural training in Hungary and Germany, returning to Australia in 2004. Before her appointment as Musical Director of Vox, she was the Sydney Philharmonia Assistant Chorusmaster from 2006 to 2008, and she is also Associate Conductor of the Sydney Chamber Choir and a guest choral director for ensembles including Coro Innominata, Macquarie University Singers and Orpheus Choral Music. She is currently the Instrumental Music program coordinator at Fort St High School, and is Music Projects Offi cer at The Arts Unit (Department of Education and Training). Since 2007, she has participated in the Symphony Australia Conductor Development Program, and in 2008 was awarded the Sydney Choral Symposium Foundation Choral Conducting Scholarship. Elizabeth Scott sings with Cantillation and has performed with Pinchgut Opera and The Song Company.


MUSICIANS

Vladimir AshkenazyPrincipal Conductor and Artistic Advisor

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Michael DauthConcertmaster

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Dene OldingConcertmaster

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Performing in this concert…

FIRST VIOLINS Michael DauthConcertmaster

Sun Yi Associate Concertmaster

Kirsten Williams Associate Concertmaster

Fiona Ziegler Assistant Concertmaster

Julie Batty Jennifer Booth Marianne BroadfootBrielle ClapsonGeorges LentzNicola Lewis Nicole Masters Alexandra MitchellLéone Ziegler Emily Qin#

SECOND VIOLINS Kirsty Hilton Marina Marsden Jennifer Hoy A/Assistant Principal

Emma Hayes Shuti Huang Stan W Kornel Benjamin Li Maria Durek Biyana Rozenblit Maja Verunica Emily Long* Katherine Lukey#

VIOLASTobias Breider Soloist

Roger Benedict Robyn Brookfi eld Sandro CostantinoJane Hazelwood Graham Hennings Stuart Johnson Justine Marsden Leonid VolovelskyTara Houghton*

CELLOSCatherine Hewgill Julian Smiles*Leah Lynn Assistant Principal

Kristy ConrauTimothy NankervisElizabeth NevilleAdrian Wallis David Wickham

DOUBLE BASSESKees Boersma Neil Brawley Principal Emeritus

David Campbell Steven Larson Richard Lynn David Murray

FLUTES Emma Sholl Carolyn HarrisRosamund Plummer Principal Piccolo

OBOESShefali Pryor David Papp

CLARINETSFrancesco Celata Christopher Tingay

BASSOONSMatthew Wilkie Roger Brooke

HORNSBen Jacks Geoffrey O’Reilly Principal 3rd

Marnie Sebire Euan Harvey

TRUMPETSPaul Goodchild John Foster

TROMBONESScott KinmontNick Byrne Brett Page*

TUBASteve Rossé

TIMPANIRichard Miller

PERCUSSIONRebecca Lagos Colin Piper Mark Robinson Brian Nixon*

HARP Genevieve Lang*

PIANOJosephine Allan#

ORGANDavid Drury*

Bold = PrincipalItalic= Associate Principal* = Guest Musician # = Contract Musician

To see photographs of the full roster of permanent musicians and fi nd 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 fl yer.


THE SYDNEY SYMPHONYVladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR

PATRON Her Excellency Professor Marie Bashir AC CVO

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Founded in 1932 by the Australian Broadcasting Corporation, the Sydney Symphony has evolved into one of the world’s fi nest 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 Sydney Symphony 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 a tour of European summer festivals, including the BBC Proms and the Edinburgh Festival.

The Sydney Symphony’s fi rst 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, Zdenek Mácal, Stuart Challender, Edo de Waart and, most recently, Gianluigi Gelmetti. The orchestra’s history also boasts collaborations with legendary fi gures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

The Sydney Symphony’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 Sydney Symphony promotes the work of Australian composers through performances, recordings and its commissioning program. Recent premieres have included major works by Ross Edwards, Liza Lim, Lee Bracegirdle and Georges Lentz, and the orchestra’s recording of works by Brett Dean was released on both the BIS and Sydney Symphony Live labels.

Other releases on the Sydney Symphony Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras and Vladimir Ashkenazy. Currently the orchestra is recording the complete Mahler symphonies. The Sydney Symphony has also released recordings with Ashkenazy of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, and numerous recordings on the ABC Classics label.

This is the third year of Ashkenazy’s tenure as Principal Conductor and Artistic Advisor.


SALUTE PRINCIPAL PARTNER GOVERNMENT PARTNERS

The Sydney Symphony is assisted by the NSW Government through Arts NSW

The Sydney Symphony is assisted by the Commonwealth Government through the

Australia Council, its arts funding and advisory body

PLATINUM PARTNERS MAJOR PARTNERS

PREMIER PARTNER

REGIONAL TOUR PARTNERS

SILVER PARTNERS

GOLD PARTNERS

BRONZE PARTNER MARKETING PARTNER

Emanate 2MBS 102.5 Sydney’s Fine Music Station


PLAYING YOUR PART

The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Please visit sydneysymphony.com/patrons for a list of all our donors, including those who give between $100 and $499.

PLATINUM PATRONS $20,000+Brian AbelGeoff & Vicki AinsworthRobert Albert AO & Elizabeth AlbertTom Breen & Rachael KohnSandra & Neil BurnsIan & Jennifer BurtonMr John C Conde AO

Robert & Janet ConstableThe Hon. Ashley Dawson-DamerIn memory of Hetty & Egon GordonThe Hansen FamilyMs Rose HercegJames N. Kirby FoundationMr Andrew Kaldor & Mrs Renata Kaldor AO

D & I KallinikosJustice Jane Mathews AO

Mrs Roslyn Packer AO

Greg & Kerry Paramor & Equity Real Estate PartnersDr John Roarty in memory of Mrs June RoartyPaul & Sandra SalteriMrs Penelope Seidler AM

Mrs W SteningMr Fred Street AM & Mrs Dorothy StreetIn memory of D M ThewMr Peter Weiss AM & Mrs Doris WeissWestfi eld GroupRay Wilson OAM in memory of James Agapitos OAM

Mr Brian and Mrs Rosemary WhiteJune & Alan Woods Family BequestAnonymous (1)

GOLD PATRONS $10,000–$19,999Alan & Christine BishopBob & Julie ClampettThe Estate of Ruth M DavidsonPenny EdwardsPaul R. EspieDr Bruno & Mrs Rhonda GiuffreMr David Greatorex AO & Mrs Deirdre GreatorexMrs Joan MacKenzieRuth & Bob MagidTony & Fran MeagherMrs T Merewether oamMr B G O’ConorMrs Joyce Sproat & Mrs Janet CookeMs Caroline WilkinsonAnonymous (1)

SILVER PATRONS $5,000–$9,999Mr and Mrs Mark BethwaiteJan BowenMr Donald Campbell & Dr Stephen FreibergMr Robert & Mrs L Alison CarrMrs Gretchen M Dechert

Ian Dickson & Reg HollowayJames & Leonie FurberMr James Graham AM & Mrs Helen GrahamStephen Johns & Michele BenderJudges of the Supreme Court of NSWMr Ervin KatzGary LinnaneWilliam McIlrath Charitable FoundationEva & Timothy PascoeDavid & Isabel SmithersMrs Hedy SwitzerIan & Wendy ThompsonMichael & Mary Whelan TrustJill WranAnonymous (1)

BRONZE PATRONS $2,500–$4,999Stephen J BellMr David & Mrs Halina BrettLenore P BuckleKylie GreenJanette HamiltonAnn HobanPaul & Susan HotzIrwin Imhof in memory of Herta ImhofMr Justin LamR & S Maple-BrownMora MaxwellJudith McKernanJustice Geoffrey PalmerJames & Elsie MooreBruce & Joy Reid FoundationMary Rossi TravelGeorges & Marliese TeitlerGabrielle TrainorJ F & A van OgtropGeoff Wood & Melissa WaitesAnonymous (1)

BRONZE PATRONS $1,000–$2,499Charles & Renee AbramsMr Henri W Aram OAM

Terrey Arcus am & Anne ArcusClaire Armstrong & John SharpeDr Francis J AugustusRichard BanksDoug & Alison BattersbyDavid BarnesPhil & Elese BennettColin Draper & Mary Jane BrodribbM BulmerPat & Jenny BurnettDebby Cramer & Bill CaukillEwen & Catherine CrouchMr John Cunningham SCM & Mrs Margaret CunninghamLisa & Miro DavisJohn FavaloroMr Ian Fenwicke & Prof Neville Wills

Firehold Pty LtdAnthony Gregg & Deanne WhittlestonAkiko GregoryIn memory of Oscar GrynbergMrs E HerrmanMrs Jennifer HershonBarbara & John HirstBill & Pam HughesThe Hon. David Hunt AO QC & Mrs Margaret HuntDr & Mrs Michael HunterThe Hon. Paul KeatingAnna-Lisa KlettenbergIn Memory of Bernard M H KhawJeannette KingWendy LapointeMacquarie Group FoundationMelvyn MadiganMr Robert & Mrs Renee MarkovicKevin & Deidre McCannMatthew McInnesMrs Barbara McNulty OBE

Harry M. Miller, Lauren Miller Cilento & Josh CilentoNola NettheimMr R A OppenMr Robert Orrell Mr & Mrs OrtisMaria PagePiatti Holdings Pty LtdAdrian & Dairneen PiltonRobin PotterMr & Ms Stephen ProudMiss Rosemary PryorDr Raffi QasabianErnest & Judith RapeePatricia H ReidMr M D SalamonJohn SaundersJuliana SchaefferCaroline SharpenMr & Mrs Jean-Marie SimartCatherine StephenMildred TeitlerAndrew & Isolde TornyaGerry & Carolyn TraversJohn E TuckeyMrs M TurkingtonThe Hon. Justice A G WhealyDr Richard WingateMr R R WoodwardAnonymous (12)

BRONZE PATRONS $500–$999Mr C R AdamsonMs Baiba B. Berzins & Dr Peter LovedayMrs Jan BiberDr & Mrs Hannes Boshoff Dr Miles BurgessIta Buttrose AO OBE

Stephen Byrne & Susie GleesonHon. Justice J C & Mrs CampbellMrs Catherine J Clark

Joan Connery OAM & Maxwell Connery OAM

Mr Charles Curran AC & Mrs Eva CurranMatthew DelaseyGreg Earl & Debbie CameronRobert GellingDr & Mrs C GoldschmidtMr Robert GreenMr Richard Griffi n amJules & Tanya HallMr Hugh HallardDr Heng & Mrs Cilla TeyRoger HenningRev Harry & Mrs Meg HerbertMichelle Hilton-VernonMr Joerg HofmannDominique Hogan-DoranMr Brian Horsfi eldGreta JamesIven & Sylvia KlinebergDr & Mrs Leo LeaderMargaret LedermanMartine LettsErna & Gerry Levy AM

Dr Winston LiauwSydney & Airdrie LloydCarolyn & Peter Lowry OAM

Dr David LuisMrs M MacRae OAM

Mrs Silvana MantellatoGeoff & Jane McClellanIan & Pam McGrawMrs Inara MerrickKenneth N MitchellHelen MorganMrs Margaret NewtonSandy NightingaleMr Graham NorthDr M C O’Connor AM

Mrs Rachel O’ConorA Willmers & R PalDr A J PalmerMr Andrew C. PattersonDr Kevin PedemontLois & Ken RaePamela RogersDr Mark & Mrs Gillian SelikowitzMrs Diane Shteinman AM

Robyn SmilesRev Doug & Mrs Judith SotherenJohn & Alix SullivanMr D M SwanMs Wendy ThompsonProf Gordon E WallRonald WalledgeDavid & Katrina WilliamsAudrey & Michael WilsonMr Robert WoodsMr & Mrs Glenn WyssAnonymous (11)

To fi nd out more about becoming a Sydney Symphony Patron please contact the Philanthropy Offi ce on (02) 8215 4625 or email [email protected]


MAESTRO’S CIRCLE

Peter Weiss AM – Founding President & Doris Weiss John C Conde AO – ChairmanGeoff & Vicki AinsworthTom Breen & Rachael KohnThe Hon. Ashley Dawson-DamerIn memory of Hetty & Egon Gordon

Andrew Kaldor & Renata Kaldor AO

Roslyn Packer AO

Penelope Seidler AM

Mr Fred Street AM & Mrs Dorothy StreetWestfi eld GroupRay Wilson OAM

in memory of the late James Agapitos OAM

SYDNEY SYMPHONY LEADERSHIP ENSEMBLE David Livingstone, CEO Credit Suisse, AustraliaAlan Fang, Chairman, Tianda Group

Macquarie Group FoundationJohn Morschel, Chairman, ANZ

For information about the Directors’ Chairs program, please call (02) 8215 4619.

01Richard Gill OAM

Artistic Director Education Sandra and Paul Salteri Chair

02Ronald PrussingPrincipal TromboneIndustry & Investment NSW Chair

03Jane HazelwoodViolaVeolia Environmental Services Chair

04Nick ByrneTromboneRogenSi Chair

05Diana DohertyPrincipal Oboe Andrew Kaldor and Renata Kaldor AO Chair

06Shefali Pryor Associate Principal OboeRose Herceg & Neil LawrenceChair

07Paul Goodchild Associate Principal TrumpetThe Hansen Family Chair

08Catherine Hewgill Principal CelloTony and Fran Meagher Chair

09Emma Sholl Associate Principal FluteRobert and Janet ConstableChair

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DIRECTORS’ CHAIRS

BEHIND THE SCENES

Sydney Symphony Board

CHAIRMANJohn C Conde AO

Terrey Arcus AM

Ewen CrouchRoss GrantJennifer HoyRory JeffesAndrew KaldorIrene LeeDavid LivingstoneGoetz RichterDavid Smithers AM

Gabrielle Trainor

Geoff AinsworthAndrew 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 Johnson

Yvonne Kenny AM

Gary LinnaneAmanda LoveHelen Lynch AM

Ian Macdonald*Joan MacKenzieDavid MaloneyDavid Malouf AO

Julie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Mathews AO*Danny MayWendy McCarthy AO

Jane Morschel

Greg ParamorDr Timothy Pascoe AM

Prof. Ron Penny AO

Jerome RowleyPaul SalteriSandra SalteriJuliana SchaefferLeo Schofi eld AM

Fred Stein OAM

Ivan UngarJohn van Ogtrop*Peter Weiss AM

Anthony Whelan MBE

Rosemary White

Sydney Symphony Council

* Regional Touring Committee member

EVERYONE HAS A STORY

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Clocktower Square, Argyle Street, The Rocks NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Box Offi ce (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 refl ect 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 [email protected]

SYDNEY OPERA HOUSE TRUSTMr Kim Williams AM (Chair)Ms Catherine Brenner, Rev Dr Arthur Bridge AM, Mr Wesley Enoch, Ms Renata Kaldor AO, Mr Robert Leece AM RFD, Ms Sue Nattrass AO, Dr Thomas Parry AM, Mr Leo Schofi eld AM, Mr Evan Williams AM

EXECUTIVE MANAGEMENTMr Richard Evans Chief Executive Offi cerMr David Antaw Chief Operating Offi cerMr Jonathan Bielski Executive Producer, SOH PresentsMs Victoria Doidge Director, Marketing Communications & Customer ServicesMr Greg McTaggart Director, Building Development & MaintenanceMs Julia Pucci Director, Venue Partners & SafetyMs Claire Spencer Chief Financial Offi cer

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

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

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 specifi ed on the title page of this publication 16327 — 1/230211 — 4 S9/11

This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064Head 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: [email protected] Website: www.playbill.com.auChairman Brian Nebenzahl OAM, RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production & Graphic Design Debbie ClarkeManager—Production—Classical Music Alan ZieglerOperating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin

MANAGING DIRECTOR

Rory JeffesEXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONSDIRECTOR OF ARTISTIC PLANNING

Peter Czornyj

Artistic AdministrationARTISTIC ADMINISTRATION MANAGER

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LibraryLIBRARIAN

Anna CernikLIBRARY ASSISTANT

Victoria GrantLIBRARY ASSISTANT

Mary-Ann Mead

DEVELOPMENTHEAD OF CORPORATE RELATIONS

Leann MeiersCORPORATE RELATIONS EXECUTIVE

Julia OwensCORPORATE RELATIONS EXECUTIVE

Stephen Attfi eldHEAD OF PHILANTHROPY & PUBLIC AFFAIRS

Caroline SharpenPHILANTHROPY & PUBLIC AFFAIRS EXECUTIVE

Kylie AnaniaDEVELOPMENT COORDINATOR

Amelia Morgan-Hunn

SALES AND MARKETINGDIRECTOR OF SALES & MARKETING

Mark J ElliottSENIOR MARKETING MANAGER,SINGLE SALES

Penny EvansMARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-MeatesMARKETING MANAGER, CLASSICAL SALES

Matthew RiveMARKETING MANAGER, BUSINESS RESOURCES

Katrina Riddle

ONLINE MANAGER

Eve Le GallMARKETING & MEDIA SERVICES COORDINATOR

Alison Martin GRAPHIC DESIGNER

Christie BrewsterDATA ANALYST

Varsha Karnik

Box Offi ceMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlinMANAGER OF BOX OFFICE OPERATIONS

Natasha PurkissMANAGER OF SALES & SERVICE

Mark BarnesCUSTOMER SERVICE REPRESENTATIVES

Steve ClarkeMichael DowlingErich GockelJohn Robertson

COMMUNICATIONSHEAD OF COMMUNICATIONS

Yvonne ZammitPUBLICIST

Katherine Stevenson

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

ORCHESTRA MANAGEMENTDIRECTOR OF ORCHESTRA MANAGEMENT

Aernout KerbertDEPUTY ORCHESTRA MANAGER

Lisa MullineuxORCHESTRAL COORDINATOR

Georgia StamatopoulosOPERATIONS MANAGER

Kerry-Anne CookTECHNICAL MANAGER

Derek CouttsPRODUCTION COORDINATOR

Tim DaymanPRODUCTION COORDINATOR

Ian SpenceSTAGE MANAGER

Peter Gahan

BUSINESS SERVICESDIRECTOR OF FINANCE

John HornFINANCE MANAGER

Ruth TolentinoASSISTANT ACCOUNTANT

Minerva PrescottACCOUNTS ASSISTANT

Li LiPAYROLL OFFICER

Usef Hoosney

HUMAN RESOURCESHUMAN RESOURCES MANAGER

Anna Kearsley

Sydney Symphony Staff

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