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Home , Antoinette Halloran, Hiroyuki Iwaki, Joan Hammond, Melbourne Opera, Oleg Caetani, O mio babbino caro

Proudly sponsored by Schweppes The Symphony Orchestra performs at Phillip Island

Escape to the classics on the spectacular lawns Melbourne of Churchill Island Heritage Farm 2 February 2013

Phillip Island

A4 concept-final.indd 1 17/01/13 3:41 PM MELBOURNE SYMPHONY ORCHESTRA SPONSORS

PRINCIPAL PARTNER MSO AMBASSADOR Geoffrey Rush

GOVERNMENT PARTNERS CONCERTMASTER PARTNERS ASSOCIATE PARTNERS

REGIONAL TOURING PARTNER

SUPPORTING ­PARTNERS

SUPPLIERS

Kent Moving and Storage Quince’s Scenicruisers Melbourne Brass and Woodwind Nose to Tail

2 welcome

MSO musicians (from left) Caleb Wright. Saul Lewis and Trevor Jones on Phillip Island

Summer on Phillip Island usually means time in the surf, relaxing on one of the many beaches with the family or experiencing the magical sunset return of little penguins on a balmy night at the Penguin Parade. The inaugural MSO concert at Churchill Island, one of the four major parks operated by Phillip Island Nature Parks, heralds a new era in quality summer events in the Bass Coast region and is sure to become a Victorian favourite. The picturesque and tranquil setting of Churchill Island is a natural fit for a concert by one of the world’s premier orchestras. Set amongst the historic grounds of the heritage farm, and surrounded by significant wetlands, ancient trees and the echoes of Aboriginal heritage, the stage is set for the Orchestra to delight us with the classics against a stunning backdrop. We welcome you to our secret island and invite you to leave behind the rigours of the mainland with a special day amongst the picturesque gardens and historic buildings. Lay out the picnic rug, enjoy the local wine and produce and let yourself escape. Most of all – enjoy the music.

Matthew Jackson CEO Phillip Island Nature Parks

3 Melbourne Symphony Orchestra Benjamin Northey conductor Phillip Island Nature Parks

Dvorˇák Carnival Overture, Op.92 Phillip Island Nature Parks, located 90 minutes from Melbourne, manages four major parks: the Penguin Parade, Koala Conservation : ‘Song to the Moon’ soprano Centre, Churchill Island Heritage Farm and the Nobbies Centre, as well as other recreational areas including beaches, wetlands and woodlands Bizet across Phillip Island. : ‘Je dis que rien ne m’épouvante’ We’re a not-for-profit organisation. Revenue generated through Antoinette Halloran soprano ecotourism activities and events such as this MSO concert help fund vital Carmen: Suite No.1 conservation, research and education programs. INTERVAL 20 MINUTES Churchill Island holds a special place in Victoria’s heritage and is a site Rossini of significant Indigenous connections and European settler history. The Barber of Seville: Overture The Boonwurrung people were the first to visit the island and the Puccini ancient Moonah trees on the eastern side are entwined with cultural : stories. We acknowledge the traditional owners and their connections ‘’ to this special place. Antoinette Halloran soprano In 1801 Lt James Grant visited and named the island after the man Mascagni who gave him seeds to plant. Thus Churchill Island became the site Cavalleria rusticana: Intermezzo of the first agricultural pursuits in Victoria and the island has been Puccini continuously farmed since the 1850s. Historical buildings still remain as : ‘Un bel dì’ testament to the rich European history. Antoinette Halloran soprano We hope you enjoy your time at Phillip Island Nature Parks and Tchaikovsky Overture 1812 encourage you to explore the range of activities available. www.penguins.org.au

Melbourne Symphony Orchestra programs can be read on-line or downloaded up to a week before Tonight’s concert each concert, from mso.com.au. sponsored by Please turn your mobile phone – and all other electronic devices – to ‘silent’ before the performance commences.

4 ABOUT THE MUSIC

The term ‘Romantic’, used to Perhaps out of keeping with an ˇ classify much music of the 19th emphasis on ‘life’, Rusalka is a Antonín Dvorák century, may be thought to refer fairytale. Dvorˇák had been looking (1841–1904) to an emphasis on subjective for a new after the success Carnival Overture, Op.92 emotions and their influence of his comedy, The Devil and Kate. on objective forms created in Rusalka was presented to him Rusalka, O p.114 : ‘Song to the Moon’ the Classical period, such as the almost by chance after it had Antoinette Halloran soprano symphony. The opening works on been turned down by four other this program exemplify Dvorˇák’s composers; the director of the unique form of Romanticism. Czech National Theatre contrived Subjectivity bears fruit in an a meeting between Dvorˇák and the emphasis on nature and ethnic ’s librettist, Jaroslav Kvapil, roots (nationalism) as well as the and the tragic fairytale turned depiction of something beyond out to be exactly what Dvorˇák had sound itself. been looking for. Carnival, composed in 1892, was Rusalka the water nymph falls one of a series of three overtures in love with a young prince. which originally bore the titles Desperate to marry him, she Nature, Life and Love (later known persuades a witch to turn her into as In Nature’s Realm, Carnival and a human being, even though this Othello). The opening of Carnival means losing the power of speech. suggests a rural fair in full swing, The prince soon tires of a wife who ‘life’ denoted by boisterous dance won’t speak and woos a visiting rhythms. Reflective moments princess. When he learns the truth include the theme associated with about Rusalka and tries to return nature from In Nature’s Realm. As to her, however, she warns him that with other works composed by her kiss would now be his death Dvorˇák in this period, with this but he begs her to embrace him one he felt he had moved beyond and give him peace. abstract forms: ‘I am a poet as The ‘Song to the Moon’ comes well as a musician,’ he wrote to his early in the opera, before the friend, Emanuel Chvála. tragedy has been set in train: From program music to opera is Rusalka pleads with the moon to a short step. ‘I do not write opera look for her beloved and tell him from a desire for glory, but because of her love. I consider it the most beneficial for Gordon Kalton Williams © 2012 the people,’ the Czech nationalist said in 1904. WATER NYMPH

Mesiku na nebi hlubokem O silver moon high in the deep sky, The Melbourne Symphony Orchestra first Svetlo tvé daleko vidi, Your light sees far and wide, performed Dvorˇák’s Carnival Overture on Po svete bloudis sirokém, You travel round the wide world, 8 September 1941 under , and most recently in September 2012 with Divas se v pribytky lidi. And see into others’ homes. Louis Langrée. Mesicku, postuj chvili O silver moon, stand still a while, The MSO first performed ‘Song to the Moon’ Tell me, ah, tell me where is my loved from Rusalka on 17 September 1953 under reckni mi, kde je muj mily one. conductor Juan José Castro; the soloist was Rekni mu, stribmy mesicku, Tell him, silvery moon in the sky, . The MSO most recently me ze jej objima rame, That I am embracing him, performed it at a 2006 Myer Free Concert with conductor Nicholas Milton and soprano aby si alespon chvilicku That he should at least fleetingly Tiffany Speight. vzpomenul ve sneni na mne. Remember his dreams of me. Zasvet mu do daleka, Illuminate his faraway place, rekni mu, rekni m kdo tu nan Tell him, ah, tell him who is here ceka! waiting! O mneli duse lidska sni, If he is dreaming about me, at’se tou vzpominkou vzbudi! May the memory awaken him! Mesicku, nezhasni, nezhasni! O, moon, don’t disappear, disappear! 5 ABOUT THE MUSIC

Set in Seville, Bizet’s opera Carmen During rehearsals the orchestral tells the story of the gypsy girl musicians also complained about who is arrested for causing a the forthrightness of Bizet’s (1838–1875) disturbance among the girls at music. Carmen has since become Carmen, Act III: ‘Je dis que rien the cigarette factory where she one of the most popular . ne m’épouvante’ works. Corporal Don José aids Audiences love its music and the Antoinette Halloran soprano Carmen’s escape from jail and earthy directness of its story. in the process falls in love with Carmen – Suite No.1: Carmen is painted in strong her. When she eventually spurns I Prélude and stark contrasts – Carmen’s him in favour of the bullfighter II Aragonaise sexuality and Escamillo’s vanity Escamillo, Don José stabs her to III Intermezzo contrast with the purity of José IV Séguedille death in a fit of jealous passion. and Micaëla. Micaëla is the sort of V Les Dragons d’Alcala VI Les Toréadors At the time of its first production girl José was meant to marry. In in 1875, Carmen caused the Act III, she arrives at a smugglers’ directors of the Opéra-Comique camp with a letter from José’s (where it was to premiere) a good mother imploring him to return deal of nervous apprehension. to them. In this ‘wilderness [lieu Part of the work’s shock value lay sauvage]’ where José’s fall from in Carmen’s blatant sexuality and grace has landed him, she steels her ‘readiness to discard men her nerves with ‘Je dis que rien ne like picked flowers’ (as theNew m’épouvante’ [I say that nothing Grove Dictionary of Opera puts it). frightens me...]

C’est des contrebandiers le refuge Here is the smugglers’ hideout. ordinaire. He is here; I will see him! Il est ici; je le verrai! And the task that his mother entrusted Et le devoir que m’imposa sa mère to me Sans trembler je l’accomplirai. I will accomplish without trembling. Je dis que rien ne m’épouvante, I say that nothing frightens me; Je dis, hélas! que je réponds de I say, alas! that I respond to myself; moi; But I am only playing the role of Mais j’ai beau faire la vaillante... someone brave... Au fond du coeur je meurs From the depths of my heart I am d’effroi! deadly afraid! Seule en ce lieu sauvage Alone in this wilderness, Toute seule j’ai peur, All alone, I am frightened; Mais j’ai tort d’avoir peur. But I am wrong to be afraid. Vous me donnerez du courage; You will give me courage – Vous me protégerez, Seigneur! You, Lord, will protect me! Je vais voir de près cette femme, I will meet this woman in person, Dont les artifices maudits Who with her nasty wiles Ont fini par faire un infâme Has created a monster De celui que j’aimais jadis! From the one I loved! Elle est dangereuse...elle est belle! She is dangerous...she is beautiful! Mais je ne veux pas avoir peur! But I don’t want to be afraid! Non, non, je ne veux pas avoir peur! No, no, I don’t want to be afraid! Je parlerai haut devant elle...ah! I will speak out against her...ah! Seigneur, vous me protégerez. Lord, You will protect me. Protégez-moi! Ô Seigneur! Protect me! O Lord! Donnez-moi du courage! Grant me courage!

One of more than 70 film versions of the Carmen story, Loves of Carmen was made in 1927. 6 ABOUT THE MUSIC

Much of the appeal of Bizet’s The purpose of Rossini’s score stems from the variety of its overtures, as summarised by one preludes and linking interludes Gioachino Rossini of his biographers, was to electrify as well as Bizet’s use of colourful (1792–1868) listeners, predisposing them to Spanish dances. After Bizet’s death, The Barber of Seville: Overture the sheer physical enjoyment of his friend Ernest Guiraud created sound, and to declare from the two suites from these highlights. start that the composer was in charge of proceedings. Thus, as The first suite begins with the another biographer puts it, the Act I Prelude which introduces Rossini overture was ‘a musical the ominous ‘fate’ motive that visiting-card’. will recur at key points in the opera. This is followed by one of Rossini’s trademarks, in his the traditional Spanish dances, overtures, are the reduction the triple-metre Aragonaise which to musical essentials – rhythm, forms the interlude (or entr’acte) treated as enlivening musical before Act IV. The Intermezzo mechanism; a simple structure from before Act III may seem odd of slow introduction, first and music to preface an act set in a second subject, recapitulation and smugglers’ camp; it’s an exquisite coda. Then there is his love of solo, principally for flute and harp. sheer noise, achieved by brilliantly In the seductive Séguedille, Carmen skilful orchestral means. This was taunts José by telling him that ‘near essential if the attention of the the ramparts of Seville’ there is a public was to be captured, as they tavern where she will dance for him In an opera overture recognition went about the talkative business when released from prison. The test, Rossini’s William Tell would of attending the opera house, interlude before Act II is based on be a clear winner, but only for the which was meeting-place, casino, ‘Les Dragons d’Alcala’, a song José rousing march which makes up its refreshment bar and theatre all sings offstage as he approaches last two minutes. His overture to rolled into one. And finally, there’s the tavern. This song, in which he The Barber of Seville has one tune the famous ‘Rossini crescendo’, sings of pride in his military duty, is almost as instantly and universally the piling up of instruments already nostalgic by this stage. The known, and as a whole remains and volume. final number presents the famous probably the most famous overture Abridged from a note by ‘Toreador Song’. ever composed. David Garrett Even in these short extracts, one Rossini originally composed The Melbourne Symphony Orchestra first can understand why Carmen soon the overture in 1813 for another performed the Overture from The Barber of became an audience favourite, opera, Aureliano in Palmira. Then Seville on 30 April 1950 under conductor Larry Hutchins, and most recently on a tour notwithstanding the fears of its he recycled it for Elisabetta, regina original producers, and why it is of regional Victoria in August 2010 under d’Inghilterra (Elizabeth, Queen of Benjamin Northey. still probably the most famous England, 1814), before linking French opera. it (inseparably) with The Barber Gordon Kalton Williams © 2012 of Seville (1816), where it makes The Melbourne Symphony Orchestra so appropriate a curtain-raiser first performed music from Carmen on for Rossini’s operatic version of 17 July 1943, when the Orchestra gave a Beaumarchais’ comedy. This concert performance of the opera under is an opera of crackling wit, conductor Bernard Heinze. The MSO last with age-old comic themes: the performed Suite No.1 at a 2009 Sidney Myer attractive girl under the unwanted Free Concert, under the direction of . Its most recent performance of tutelage of an old and unattractive Micaëla’s from Act III took place guardian; the servant (Figaro, in a Sidney Myer Free Concert in 2006. the barber) who bids to outwit Nicholas Milton conducted and the soprano everybody, even his master; the was Tiffany Speight. introduction of the lover into the household under various disguises... INTERVAL 20 minutes

7 ABOUT THE MUSIC

Italian opera from the latter part of the high spirits of Parisian the 19th century to the early years bohemian life and the tragic of the 20th was often described as reality of its unhealthy conditions (1858–1924) verismo opera, after the Italian word (Mimì’s consumption). Gianni Gianni Schicchi: for ‘realism’. Verismo first developed Schicchi, however, is a comedy, the ‘O mio babbino caro’ in literature with writers such as conclusion to Puccini’s evening of Giuseppe Verga, who wrote the one-act operas, , premiered Pietro Mascagni one-act play Cavalleria rusticana, on in 1918. which Mascagni’s opera is based. (1863–1945) In this opera, Schicchi is Cavalleria rusticana: Intermezzo A true-to-life approach in dealing summoned by relatives of the with contemporary reality, interest wealthy Buoso Donati to help them Puccini in the poorer classes of society and falsify Buoso’s will so that they, quite often a regional flavour – rather than the church, will inherit Madama Butterfly: ‘Un bel dì’ these were among the features of his money. When Schicchi arrives verismo. Umberto Giordano’s Mala at Buoso’s home he gets into an Antoinette Halloran soprano vita probably exemplifies ‘realism’ argument with Zita, head of the to the greatest extent, with its Donati family, who looks down on portrayal of prostitution in the him. He refuses to help. However, sordid alleys of a big city. Lauretta, Schicchi’s daughter, is in love with Rinuccio, one of the Puccini’s operas exemplify younger members of the Donati veristic features in their subject family. She attempts to change her matter, pacing, and detailed father’s mind... characterisation. Think of La bohème and its portrayal of

O mio babbino caro, Oh, my dear daddy, mi piace, è bello, bello; I love him, he’s so handsome. vo’ andare in Porta Rossa I want to go to Porta Rossa a comperar l’anello! and buy the ring! Sì, sì, ci voglio andare! Yes, I want to go there! E se l’amassi indarno, And if I love him in vain, andrei sul Ponte Vecchio, I’ll go to Ponte Vecchio ma per buttarmi in Arno! and throw myself into the Arno! PUCCINI Mi struggo e mi tormento! I am consumed with torment! O dio, vorrei morir! Oh God, I would rather die! Babbo, pietà, pietà! Daddy have pity! Text: Translation: Symphony Australia/Matthew Absalom © 2009

Though ostensibly realistic, seduced Santuzza, has returned verismo operas frequently flew to his first love, Lola, now married into heightened emotional states to Alfio. Scorned, Santuzza tells expressed by heartfelt melodic Alfio of the affair. Alfio confronts lyricism. Verismo are among Turiddu and challenges him to a the most heart-rending in the duel. After entrusting Santuzza repertory, and the orchestral into the care of his mother, intermezzo from Cavalleria Turiddu goes out into the fields, rusticana is poignantly melodic. where Alfio kills him. Much of the Mascagni action of the opera takes place Mascagni composed 16 operas, but while the Easter Service is taking is best known for this one, which place in the church. Santuzza, who won a publisher’s competition for has been excommunicated, stands one-act operas in 1889. The plot outside while the congregation of Cavalleria rusticana is simple but sings the Easter Hymn. The strong. It also makes a virtue of its 8 famous Intermezzo occurs after Sicilian setting. Turiddu, having ABOUT THE MUSIC

Un bel dì vedremo One fine day we’ll see levarsi un fil di fumo rising up a wisp of smoke, dall’estremo confin del mare. from over the extreme verge of the sea’s horizon, E poi la nave appare. and afterwards the ship will appear. Poi la nave bianca Then the white ship entra nel porto, romba will enter the harbour, will thunder il suo saluto. a salute. Vedi? E venuto! You see? He’s arrived! Io non gli scendo incontro. I shall not go down to meet him. Io no. Mi metto là sul ciglio No. I shall stand there del colle e aspetto, on the brow of the hill and wait, e aspetto gran tempo and wait a long time. e non mi pesa, and I shall not find la lunga attesa. the long wait tiresome. E uscito dalla folla cittadina And… from amidst the city crowd un uomo, un picciol punto, a man, a tiny point, s’avvia per la collina… will make his way up the hill. Original poster Chi sarà? Chi sarà? Who is it? Who can it be? E come sarà giunto – And when he arrives – the scene between Santuzza Che dirà Che dirà? What will he say? What? and Alfio. Played as the church Chiamerà Butterfly He will call out Butterfly service is concluding, it continues dalla lontana. from the distance. the action orchestrally, recalling Io senza dar riposta I will not answer previous events and foreshadowing me ne starò nascosta but will remain hidden, the final tragedy. un po’ per celia… in part to tease e un po’ per non morire and in part so as not to die The penchant of verismo composers al primo incontro, at the first meeting, for contemporary themes can ed egli alquanto in pena and, a trifle worried, also be seen in Madama Butterfly, chiamerà, chiamerà: he’ll call, he’ll call: Puccini’s 1904 portrayal of the Piccina mogliettina, ‘Dear little wife, tragic results of the mutual olezzo di verbena – fragrant verbena’ – incomprehension of one society i nomi che mi dava the names he used to call me for another in the early years of al suo venire. when he came here. contact between the Americans Tutto questo avverà, All this will happen, and Japanese. Te lo prometto. I promise you. When Captain Pinkerton marries Tienti la tua paura, Keep your fears, Butterfly, he gloats over the fact io con sicura fede l’aspetto. I, in secure faith, shall wait for him. that he can get out of the Japanese marriage contract as easily as Text: Luigi Illica and Giuseppe Giacosa disposing of a house. (Such is Translation: Symphony Australia © 2001 Puccini’s melodic eloquence however that we don’t hear this cynicism under the enchanting power of Puccini’s love music.) But Butterfly thinks Pinkerton truly loves her and has risked denunciation by her family for marrying a westerner. Even when Program notes by Gordon Kalton The MSO first performed the Intermezzo Pinkerton returns with his ship, Williams © 2012 from Cavalleria rusticana on 22 November 1953 under conductor Bernard Heinze, and the Abraham Lincoln, to the US, The Melbourne Symphony Orchestra was most recently on 19 and 20 June 2010 with Butterfly is convinced that he will the first of the former ABC orchestras to Anthony Inglis. come back to her in Nagasaki perform ‘O mio babbino caro’, on 30 April The MSO first performed ‘Un bel dì’ from (‘Un bel dì’). He does return 1950 with conductor Harry Hutchins and Madama Butterfly on 30 April 1950 with eventually, but with an American soprano Betna Pontin. The Orchestra most recently performed it in November 2009 with Harry Hutchins and Betna Pontin, and wife, a tragic result for Butterfly Alexander Shelley and Emma Matthews. most recently on 22 and 23 April 2005 who has borne him a child in the with conductor Philip Ellis and soprano meantime. Lesley Garrett. 9 ABOUT THE MUSIC

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a choice of projects: an overture century musical language. The – for the opening ceremony or Russian spirit – solemn, noble and Peter Ilyich the jubilee – or a cantata with passionate – is represented also by Tchaikovsky an orthodox flavour for the a folktune, and a duet resurrected (1840–1893) consecration of the cathedral. from Tchaikovsky’s discarded opera, The Voyevoda. Fragmentary Festival Overture – 1812, Op.49 Nearly 50 years in the building, fanfares and sparrings of the the Cathedral of the Redeemer Marseillaise yield ultimately to commemorated the events of cannon fire and the supremacy 1812, the turning point in the of God Save the Tsar. But although Napoleonic Wars, with the French the military outcome in the music general’s defeat in the face of the is accurate enough, as a historical Russian army and the Russian record the Overture leaves much winter. So when Tchaikovsky to be desired: the Russian national finally settled on the neo-classical hymn was not adopted until 1834, cathedral as the most palatable and the revolutionary and anti- of the subjects on offer, the 1812 authoritarian Marseillaise had been victory was an obvious choice for forbidden in Napoleon’s Empire. his theme. Before the month was out he had completed a Festival Although Tchaikovsky was no Overture in the notorious tradition stranger to historical pastiche, of the battle symphony. the Overture’s patriotic idiom and nationalist stance and its Tchaikovsky’s 1812 Overture glorification of military deeds were displays all the strengths of out of character. But even when this kind of music: vivid and working under sufferance, the stirring effects and a satisfyingly composer knows how to please, dramatic conclusion. We are and so today the 1812 Overture In 1881 audiences were as partial able to follow the battle precisely is unchallenged as the finale of to noise, bombast and a good tune because Tchaikovsky casts his outdoor concerts everywhere. as they are now, and no occasion national tunes into the mêlée of public importance was complete in programmatic succession, Abridged from a note by without these essentials. The punctuating the overture with Yvonne Frindle © 2002 All Russian Art and Industrial musical symbols of the warring Exhibition of that year was planned The Melbourne Symphony Orchestra first powers and setting banalities in performed Tchaikovsky’s 1812 Overture on to coincide with the silver jubilee of among moments of great beauty. 31 January 1942 under conductor Montague Tsar Alexander II and the opening Brearley, and most recently in 2008’s of Moscow’s Cathedral of Christ the The opening theme is a Russian Classical Spectacular concert with conductor Redeemer. Seeking music for these liturgical chant, ‘Save us, O Anthony Inglis at the Rod Laver Arena. displays of national pride, Nikolai Lord’, the ancient modal sound Rubinstein offered Tchaikovsky of the original intoned in 19th-

11 ABOUT THE artists

Benjamin Northey Antoinette Halloran Since returning to Australia from Europe in 2006, Antoinette Halloran performs regularly with all the Benjamin Northey has rapidly emerged as one of major Australasian opera companies and symphony the nation’s leading musical figures, whose career orchestras and appears frequently on national encompasses a wide range of styles including television and radio. A graduate of the Victorian mainstream orchestral programs, new music, opera, College of the Arts and recipient of an Honours ballet, groundbreaking cross-genre collaborations, Degree in Music from the University of Melbourne, and education and community outreach projects. she has appeared in many productions ranging from opera to musical theatre and cabaret. He has appeared with the London Philharmonic Orchestra, Salzburg Mozarteum Orchestra, Hong Engagements for have included the Kong Philharmonic, Southbank Sinfonia, and the title roles in Madama Butterfly and Rusalka, Mimì in and Christchurch Symphony orchestras. La bohème, Stella in A Streetcar Named Desire (Green He has collaborated with artists such as Julian Room Award), Donna Elvira (), Johanna Rachlin, Alban Gerhardt, Marc-André Hamelin, (Sweeney Todd), Despina (Così fan tutte), Rosalinde (Die Arnaldo Cohen, the Silver-Garburg Piano Duo, KD Fledermaus), Gianetta (), Ellen (Lakmé) Lang, Kurt Elling, Tim Minchin, Slava Grigoryan and and Josephine in H.M.S. Pinafore. She has also sung Emma Matthews. for , State Opera of South Australia, Opera Queensland, and In Australia he has appeared with all the state Victorian Opera, with whom she appeared in the symphony orchestras and with Opera Australia (Don world premiere of Midnight Son. Giovanni, Così fan tutte) and State Opera of South Australia (The Elixir of Love, , La Concert appearances have included Mozart’s sonnambula). He made his debut with the Melbourne with the Hong Kong Philharmonic, Carmina Symphony Orchestra in 2003 and was appointed Burana with the Melbourne Chorale, Adams’ El Niño to the Patricia Riordan Associate Conductor Chair with Sydney Philharmonia, and Haydn’s in 2011. His recordings include award-winning CD and Fauré’s Requiem with the Royal Melbourne releases for ABC Classics. Philharmonic. Other highlights include performing with Elvis Costello and the Brodsky Quartet for the A graduate of the University of Melbourne and the Sydney Festival. She has performed as a soloist for the Sibelius Academy in Finland, Northey’s teachers have Melbourne, Adelaide, Queensland, Tasmanian and included John Hopkins, Jorma Panula, Atso Almila Canberra Symphony orchestras and is also in demand and Leif Segerstam. In 2009, he was selected as one as a guest artist in , China and Indonesia. of three participants worldwide to the prestigious International Conductor’s Academy of the Allianz Her recordings include the ABC Classics CD Puccini Cultural Foundation, during which he conducted the Romance with . She appeared Philharmonia and London Philharmonic orchestras regularly on the ABC TV show Spicks and Specks and as under the mentorship of conductors Vladimir a guest judge and panellist on Operatunity Oz. Jurowski and Christoph von Dohnányi. Benjamin Northey’s awards include the 2010 Melbourne Prize Outstanding Musicians Award, Brian Stacey Memorial Award, Nelly Apt Scholarship, Symphony Australia Young Conductor of the Year 2001, and the 2007 Limelight Magazine Best 12 Newcomer Award. THE ORCHESTRA son w a as d c u © L

THE MELBOURNE SYMPHONY ORCHESTRA

Harold Mitchell AC The MSO performs extensively Each year the Orchestra performs Chairman with its own choir, the Melbourne to more than 200,000 people, at Symphony Orchestra Chorus, events ranging from the Sidney André Gremillet directed by chorus master Myer Free Concerts in the Sidney Managing Director Jonathan Grieves-Smith. Recent Myer Music Bowl to the series of Sir performances together include Classic Kids concerts for young Chief Conductor Walton’s Belshazzar’s Feast under children. The MSO reaches Diego Matheuz Bramwell Tovey, Mahler’s an even larger audience across Principal Guest Conductor Symphony No. 3 under Markus Australia through its regular Stenz, music of Percy Grainger concert broadcasts on ABC Classic Benjamin Northey under Sir Andrew Davis and, FM. The Orchestra’s considerable Patricia Riordan Associate as part of the 2011 Beethoven ceremonial role in Victoria has Conductor Chair Festival, Beethoven’s Ninth included participation in the Symphony under Douglas Boyd. opening ceremony of the 2006 Commonwealth Games, in the Key musical figures in the With a reputation for excellence, 2009 bushfire memorial service Orchestra’s history include versatility and innovation, Together for Victoria, the Prime – who was Chief the internationally acclaimed Minister’s Olympic Dinner and the Conductor and then Conductor Melbourne Symphony Orchestra 2010 and 2011 AFL Grand Final. is Australia’s oldest orchestra, Laureate, between 1974 and his established in 1906. death in 2006 – and , The MSO’s extensive education who was Chief Conductor and and community outreach activities This fine Orchestra is renowned Artistic Director from 1998 until include the Meet the Orchestra, for its performances of the 2004. Oleg Caetani was the MSO’s Meet the Music and Up Close great symphonic masterworks Chief Conductor and Artistic and Musical programs, designed with leading international and Director from 2005 to 2009. In specifically for schools. In 2011 the Australian artists including Maxim June 2012 the MSO announced the MSO launched MSO Learn, an Vengerov, John Williams, Osmo appointment of Sir Andrew Davis educational iPhone and iPad app Vänskä, Charles Dutoit, Yan Pascal as Chief Conductor, from the designed to teach children about Tortelier, Donald Runnicles, Jean- 2013 season. the inner workings of an orchestra. Yves Thibaudet, Yvonne Kenny, Edo de Waart, Lang Lang, Nigel The MSO, the first Australian The Melbourne Symphony Orchestra is Kennedy, Jeffrey Tate, Midori, symphony orchestra to tour funded principally by the Australian Christine Brewer, Richard Tognetti, abroad, has received widespread Government through the Australia Emma Matthews and Teddy Tahu international recognition in tours Council, its arts funding and advisory Rhodes. It has also enjoyed hugely to the USA, Canada, Japan, Korea, body, and is generously supported by successful performances with Europe, China and St Petersburg, the Victorian Government through Arts such artists as Sir Elton John, John Russia. In addition, the Orchestra Victoria, Department of Premier and Farnham, Harry Connick, Jr., Ben tours annually throughout Cabinet. The MSO is also funded by Folds, KISS, Burt Bacharach, The regional Victoria, including a the City of Melbourne, its Principal Whitlams, Human Nature, Sting concert season in Geelong. Partner, Emirates, and individual and and Tim Minchin. corporate sponsors and donors.

13 melbourne symphony orchestra and management

MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Chief Conductor Diego Matheuz Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair

FIRST VIOLINS Rachel Homburg Sharon Draper OBOES contraBASSOON TROMBONES Wilma Smith Christine Johnson Keith Johnson Jeffrey Crellin Brock Imison Brett Kelly Harold Mitchell AC David Shafir Sarah Morse Principal Principal Principal Concertmaster Chair Isy Wasserman Angela Sargeant Philippa West Michelle Wood Vicki Philipson Kenneth McClimont Katherine Lukey Patrick Wong Molly Kadarauch* Associate Principal HORNS Associate Principal Principal Roger Young Kalina Krusteva- Ed Allen* Michael Bertoncello Peter Edwards Jenny Khafagi* Theaker* COR ANGLAIS Guest Principal Assistant Principal Michael Pisani Geoff Lierse BASS TROMBONE VIOLAS DOUBLE BASSES Associate Principal Kirsty Bremner Principal Eric Klay MSO Friends Chair Fiona Sargeant Steve Reeves Geoffrey Dodd* Saul Lewis Principal Sarah Curro Associate Principal Principal Principal 3rd Lerida Delbridge Trevor Jones Andrew Moon CLARINETS Trinette McClimont TUBA Peter Fellin Assistant Principal Associate Principal Rachel Silver David Thomas Tim Buzbee Deborah Goodall Jenna Breen* Lauren Brigden Sylvia Hosking Elisabeth Murdoch Principal Lorraine Hook Julia Brooke* Kirstin Kenny Katharine Brockman Assistant Principal Principal Clarinet Christopher Cartlidge Chair Ji Won Kim Damien Eckersley TIMPANI Simon Collins TRUMPETS Eleanor Mancini Benjamin Hanlon Philip Arkinstall Gabrielle Halloran Christine Turpin Anne Martonyi Suzanne Lee Associate Principal Geoffrey Payne Cindy Watkin Principal Mark Mogilevski Stephen Newton Principal Justin Williams Craig Hill Michelle Ruffolo Kylie Davies* Kathryn Taylor Caleb Wright Shane Hooton PERCUSSION Ceridwen Davies* Associate Principal BASS CLARINET Simon Oswell* FLUTES Robert Clarke William Evans SECOND VIOLINS Isabel Morse* Jon Craven Principal Prudence Davis Julie Payne Catherine Turnbull* Principal Matthew Tomkins Principal John Arcaro Principal Robert Cossom Wendy Clarke CELLOS BASSOONS Robert Macindoe Associate Principal Associate Principal David Berlin Elise Millman HARP Sarah Beggs Monica Curro Principal Associate Principal Julie Raines Principal Assistant Principal Nicholas Bochner Natasha Thomas PICCOLO Mary Allison Assistant Principal Tahnee van Herk*

Isin Cakmakcioglu Andrew Macleod *Guest musicians Miranda Brockman Principal Cong Gu Rohan de Korte Andrew Hall

MANAGEMENT

Board Business Artistic Operations Marketing Box Office Harold Mitchell AC Wayne Box Huw Humphreys Lou Oppenheim Merri Hagan Claire Hayes Chairman Chief Financial Officer Director, Director of Operations Director of Marketing Box Office Manager Artistic Planning André Gremillet Raelene King Angela Chilcott Jennifer Poller Paul Clutterbuck Managing Director Personnel Manager Andrew Pogson Assistant Orchestra Marketing Manager Senior Subscriptions Assistant Artistic Manager Officer Dr Bronte Adams Kaanji Skandakumar Megan Sloley Administrator Peter Biggs Accountant Tom Warneke Marketing Manager Hon. Alan Anna Melville Production Manager Development Nathalia Andries Phillip Sametz Goldberg AO QC Artistic Coordinator Finance Officer James Poole Communications Cameron Mowat Rohan Leppert Bronwyn Lobb Production Coordinator Manager Director of Development Alastair McKean Dale Bradbury Education Manager Ann Peacock Project Manager – Kerstin Schulenburg Alison Macqueen Jessica Frean Michael Ullmer Jonathan Artist Liaison Publicist Philanthropy Manager Kee Wong Grieves-Smith Alastair McKean Simon Wilson Arturs Ezergailis Chorus Master Orchestra Librarian Interactive Marketing Development Officer Company Helena Balazs Manager Kathryn O’Brien Rosemary Shaw Secretary Chorus Coordinator Assistant Librarian Nina Dubecki Development Oliver Carton Lucy Bardoel Front of House Coordinator Michael Stevens Education Assistant Supervisor Operations Assistant Executive Lara Polley André Gremillet Marketing Coordinator Managing Director Beata Lukasiak Julia Bryndzia Marketing Coordinator Executive Assistant Stella Barber Consultant Historian 14 melbourne symphony orchestra donors

The Company proudly acknowledges the support of our ARTIST CHAIR BENEFACTORS Harold Mitchell AC Concertmaster Chair benefactors, patrons and bequestors, trusts, foundations and Patricia Riordan Associate Conductor Chair sponsors in helping to realise our vision to be recognised as Elisabeth Murdoch Principal Clarinet Chair Joy Selby Smith Orchestral Leadership Chair Australia’s leading symphony orchestra. Thank you! Marc and Eva Besen International Guest Chair MSO Friends Chair MSO EDUCATION AND OUTREACH PATRON Mrs Elizabeth Chernov

IMPRESARIO PATRONS MAESTRO PATRONS TRUSTS AND FOUNDATIONS M P Chipman Andrew and Theresa Dyer Pratt Foundation John McKay and Lois McKay Tim and Lyn Edward The Ian Potter Foundation Bevelly and Harold Mitchell AC Rachel and Hon. Alan Goldberg AO QC Cybec Foundation Dame Elisabeth Murdoch AC, DBE Tom Jacob Erica Foundation Inés Scotland Ilma Kelson Music Foundation The Alan (AGL) Shaw Endowment, Mimie MacLaren managed by Perpetual Onbass Foundation The Schapper Family Foundation Elizabeth Proust AO Ivor Ronald Evans Foundation, as The Ullmer Family Endowment administered by Mr Russell Brown and Lyn Williams AM Equity Trustees Anonymous (3) The Phyllis Connor Memorial Trust, as administered by Equity Trustees Limited

PRINCIPAL PATRONS Bert and Ila Vanrenen William J Forrest AM, Joanna Foulkes, David Christine and Mark Armour The Hon. Michael Watt QC and Cecilie Hall I Gibbs and Susie O’Neill, Merwyn and Kaye and David Birks Barbara and Donald Weir KSJ Greta Goldblatt, George H Golvan QC, Dr Jennifer Brukner Joanne Wolff Marged Goode, Jean Hadges, Stuart and The Cuming Bequest Brian and Helena Worsfold Sue Hamilton, Tilda and Brian Haughney, Dominic and Natalie Dirupo George Worthington and Cameron Mowat Julian and Gisela Heinze, Hans and Petra Susan Fry and Don Fry AO Anonymous (2) Henkell, Dr Alastair Jackson, Stuart Jennings, John and Joan Jones, George Mr Greig Gailey and Dr Geraldine Lazarus THE CONDUCTOR’S CIRCLE Robert and Jan Green and Grace Kass, Irene Kearsey, Dr Anne Jill and Robert Grogan Jenny Anderson Kennedy, Vivien and Graham Knowles, Dr Louis Hamon OAM Joyce Bown Elizabeth A Lewis AM, Norman Lewis in Nereda Hanlon and Michael Hanlon AM Ken Bullen memory of Dr Phyllis Lewis, Dr Anne Lierse, Hartmut and Ruth Hofmann Luci and Ron Chambers Violet and Jeff Loewenstein, Peter Lovell, Peter and Jenny Hordern Sandra Dent Christopher and Anna Long, Vivienne Norman and Betty Lees Lyn Edward Hadj and Rosemary Madden, Sandra and Mr and Mrs D R Meagher Alan Egan JP Leigh Masel, Trevor and Moyra McAllister, Wayne and Penny Morgan Louis Hamon OAM John and Ann McArthur, Allan and Evelyn Ian and Jeannie Paterson Tony Howe McLaren, Dr Gabriele Medley AM, John and Mrs Margaret S Ross AM and Dr Ian C Ross John and Joan Jones Isobel Morgan, The Novy Family, Laurence Maria Sola and Malcolm Douglas C P Kemp O’Keefe and Christopher James, Mrs W. Kee Wong and Wai Tang Elizabeth Proust AO Peart, John and Betty Pizzey, Lady Potter AC, Anonymous (1) Penny Rawlins Peter Priest, Jiaxing Qin, Dr Sam Ricketson, Joan P Robinson Hugh T Rogers AM, Tom and Elizabeth ASSOCIATE PATRONS Pamela Swansson Romanowski, Delina Schembri-Hardy, Max Dr Cherliyn Tillman and Jill Schultz, David Shavin QC, Chris and Dr Bronte Adams Mr and Mrs R P Trebilcock Jacci Simpson, Gary Singer and Geoffrey Will and Dorothy Bailey Bequest Michael Ullmer A Smith, Dr Robert Sloane and Denise Peter and Mary Biggs Mr Tam Vu Sloane, Dr Sam Smorgon AO and Mrs Mrs S Bignell Marian and Terry Wills Cooke Minnie Smorgon, Geoff and Judy Steinicke, David and Emma Capponi Mark Young Mrs Suzy and Dr Mark Suss, Prof Seong- Paul Carter Anonymous (15) Seng Tan and Jisun Lim, Margaret Tritsch, Jan and Peter Clark Mrs Barbara Tucker, P and E Turner, Mary John and Lyn Coppock We gratefully acknowledge support received Vallentine AO, The Hon. Rosemary Varty, Peter and Leila Doyle from the Estates of Gwen Hunt, Peter Forbes Wah Yeo AM, Sue Walker AM, Pat and John Lisa Dwyer and Dr Ian Dickson MacLaren, Prof Andrew McCredie, Miss Webb, Erna Werner and Neil Werner OAM, Dr Helen M Ferguson Sheila Scotter AM MBE, Jean Tweedie, Herta Nic and Ann Willcock, Marian and Terry Colin Golvan SC and Fred B Vogel Wills Cooke, Pamela F. Wilson, Ruth Wisniak John and Agita Haddad OAM and Dr John Miller AO, Peter and Susan Susan and Gary Hearst Yates, Mark Young, Anonymous (10) Gillian and Michael Hund PLAYER PATRONS Sylvia Lavelle Marlyn and Peter Bancroft OAM, Dr At 4 December 2013 Jan Minchin Julianne Bayliss, Stephen and Caroline Marie Morton Brain, M Ward Breheny, Mr John Brockman Patrons make annual contributions of Dr Paul Nisselle AM OAM and Mrs Pat Brockman, Jill and $1,000 (Player), $2,500 (Associate), $5,000 Ann Peacock with Andrew and Christopher Buckley, Bill and Sandra (Principal), $10,000 (Maestro), $20,000 Woody Kroger Burdett, Dr Lynda Campbell, Judith M Impresario or more. The MSO Conductor’s Rae Rothfield Connelly, Ann Darby in memory of Leslie Circle recognises notified Bequestors. All Craig and Jennifer Semple J. Darby, Panch Das and Laurel Young-Das, donors are recognised on our website. Gai and David Taylor Mary and Frederick Davidson, Pat and Bruce Inquiries: T 03 9626 1107 Mr Tam Vu and Dr Cherilyn Tillman Davis, Sandra Dent, John and Anne Duncan, [email protected] 15 emirates.com/au

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EMI0042_MSO_ConcertProgram_176x128_v1_.indd 1 9/11/12 4:25 PM

melbourne symphony orchestra presents

brIng a pIcnIc! wednesday 13 saturday 16 wednesday 20 saturday 23 february all concerts start at 7pm gates open from 4pm mso.com.au conditions of entry & all other information available online

In assocIatIon wIth the unIversIty of melbourne