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Utas.Edu.Au/125 ART IS HOW WE DECORATE SPACE. MUSIC IS ART IS HOW WE DECORATE SPACE. MUSIC IS HOW HOBART SPECIAL WE DECORATE SATURDAY MOZART TIME. 28 NOVEMBER 7.30PM Requiem FEDERATION INTROIT CONCERT HALL Requiem Kyrie Marko Letonja conductor SEQUENCE Emma Matthews soprano Dies irae Sally-Anne Russell mezzo-soprano Tuba mirum Steve Davislim tenor Rex tremendae Teddy Tahu Rhodes bass Recordare TSO Chorus Confutatis Lacrimosa MOZART Amen Arias OFFERTORIUM Duration 35 mins Domine Jesu Hostias INTERVAL SANCTUS BENEDICTUS Duration 20 mins AGNUS DEI COMMUNION Lux aeterna Cum sanctis tuis Duration 48 mins SPONSORED BY This concert will end at approximately utas.edu.au/125 9.30pm. Tasmanian Symphony Orchestra concerts are broadcast and streamed throughout Australia and around the world by ABC Classic FM. We would appreciate your cooperation in keeping coughing to a minimum. Please ensure that your mobile phone is switched off. 62 63 CRICOS Provider Code: 00586B Quote by just-shower-thoughts UTMC14622rj UTMC14622_125 year TSO partnership_A5_V4_CC.indd 1 22/01/15 1:03 PM MARKO LETONJA EMMA MATTHEWS SALLY-ANNE RUSSELL STEVE DAVISLIM Marko Letonja is Chief Conductor Emma Matthews, Australia’s most highly Sally-Anne Russell has over fifty operatic Twice awarded the Queen Elizabeth II Silver and Artistic Director of the Tasmanian acclaimed and awarded soprano, performs roles in her repertoire and has sung in Jubilee Award, Steve Davislim began his Symphony Orchestra, and Music Director regularly with the major symphony fifteen countries. As a principal guest she musical training as a horn player before of the Orchestre Philharmonique de orchestras, festivals, Opera Australia, the has sung with Opera Australia, and all studying voice at the Victorian College of state opera companies and in recital. Her Strasbourg. Born in Slovenia, he studied at of the state opera companies and major the Arts under Dame Joan Hammond. After many opera roles include the title roles in the Academy of Music in Ljubljana and the Australian symphony orchestras. Her many attending Zurich Opera's Opernstudio, Lulu, Lakmé, Lucia di Lammermoor, The recordings include her solo disc Enchanting, he started his career as an ensemble Vienna Academy of Music. He was Music Cunning Little Vixen (Royal Opera House, Pergolesi’s Stabat Mater, Bach Arias and member of Zurich Opera. Now engaged Director of the Slovenian Philharmonic Covent Garden) and Partenope; Fiorilla Duets, Mozart’s Requiem, Don John Of at the most prestigious opera theatres Orchestra from 1991 to 2003 and Music (Il turco in Italia), Violetta (La Traviata), Austria, Top 100 ABC Concert Gala, Opera and concert venues worldwide, recent Director and Chief Conductor of both the Cleopatra (Giulio Cesare), Juliette (Roméo Australia’s Golden Jubilee/50th Anniversary, appearances include Beethoven’s Ninth Symphony Orchestra and the Opera in et Juliette), Marie (La Fille du Regiment), Prokofiev’s Love for Three Oranges and Symphony with the London Symphony Basel from 2003 to 2006. He was Principal Gilda (Rigoletto), Konstanze (Die Entführung The No 1 Classical Album 2007 and 2009 Orchestra and Haitink, Das Lied von der aus dem Serail), Amina (La Sonnambula), Guest Conductor of Orchestra Victoria in (Decca). Recent engagements include Erde in Bordeaux, Dvorˇák's Stabat Mater at Giulietta (I Capuleti e i Montecchi), the 2008 and made his debut with the TSO Haydn Harmoniemesse (TSO), St Matthew the Basilique Cathédrale de Saint-Denis, four heroines (The Tales of Hoffmann), the following year. He took up the post Passion and St John Passion, Nancy T’ang Tamino in The Magic Flute at Semperoper and Cunegonde (Candide). Further career of Chief Conductor and Artistic Director in Nixon in China (Victorian Opera), Mozart Dresden, Mozart’s Requiem with highlights include Mahler’s Symphony of the Tasmanian Symphony Orchestra Requiem and Beethoven Symphony No 9 Thielemann in Salzburg, the Italian Singer No 4 with Orchestre Philharmonique de at the start of 2012. Marko Letonja has (Melbourne Symphony), Mary in The in Der Rosenkavalier with the National Monte Carlo with Yakov Kreizberg, Ismene Flying Dutchman (Sydney Symphony), Das Symphony Orchestra and Eschenbach worked with many orchestras in Europe (Mitridate) for the Sydney Festival and her Rheingold with Auckland Philharmonia, at the Kennedy Center, Richard Strauss including the Munich Philharmonic, Vienna solo recordings: Emma Matthews in Monte Messiah (Queensland Symphony, Sydney orchestral songs with the Hallé and Sir Symphony and the Orchestra Filarmonica Carlo with Orchestre Philharmonique de della Scala, Milan; and in many renowned Monte Carlo (Deutsche Grammophon/ Philharmonia Choirs and Christchurch City Mark Elder, and a tour with Hengelbrock opera houses, such as the Vienna State ABC Classics) and Mozart Arias with the Choir), Mahler’s Songs of the Wayfarer and of the Handel opera pasticcio Armida e Symphony No 4 (Tasmanian Symphony and Rinaldo. His wide-ranging discography Opera, Berlin State Opera, La Scala, Milan, Tasmanian Symphony Orchestra (ABC Orchestra Victoria), recitals in Canberra and includes Bach cantatas with Sir John Eliot and the Semper Oper, Dresden. He has Classics). In 2015 her engagements Adelaide, concerts for Brisbane Festival, Gardiner, Martinů’s Julietta with Sir Charles also conducted at the Arena di Verona. His include the roles of Queen of the Night in Musica Viva, Australian String Quartet, Mackerras, Tippett’s A Child of Our Time engagements in Australia have included The Magic Flute and Donna Anna in Don Giovanni for Opera Australia, Rosina in Coriole Festival, the world première of with Sir Colin Davis and the LSO, Brahms’ the West Australian Symphony Orchestra The Barber of Seville and Susanna in The Nootka and Bacalov’s Misa Tango in Canada Rinaldo with Michel Plasson, Richard Strauss and productions for Opera Australia Marriage of Figaro for West Australian and the Carmel Bach Festival in California. songs with Orchestra Victoria under Simone and the West Australian Opera. Future Opera, and performances with the Her engagements in 2015 include recitals Young, Schubert’s Winterreise, Saint-Saëns’ engagements include the Grand Théâtre de Melbourne and West Australian Symphony in Sydney and Perth, Beethoven Symphony Hélène, and Britten folksong arrangements. Genève, Mozarteum Orchestra, Salzburg, Orchestras, Australian National Academy No 9 in Melbourne and Messiah with the Upcoming engagements include Bruckner’s Berlin Radio Orchestra and a return of Music with Simone Young and with Melbourne and New Zealand Symphony Te Deum with the Chicago Symphony appearance at the Vienna State Opera. Ensemble Liaison. Orchestras. Orchestra and Riccardo Muti. 64 65 WOLFGANG AMADEUS MOZART (1756-1791) [COMPLETED BY FRANZ SÜSSMAYR, ED NOWAK] Requiem Mass, K 626 Mozart’s Requiem also contains music INTROIT of great tenderness and consolation. In a letter of April 1787 Mozart almost Requiem seemed to welcome death as a friend, but TEDDY TAHU RHODES TSO CHORUS Kyrie resignation with mild protests is probably SEQUENCE closer to Mozart’s real feelings. The best Dies irae evidence is in the music, which seems to Teddy Tahu Rhodes studied with Mary The TSO Chorus is an auditioned group of express acceptance of a world beyond life Tuba mirum and death. Mozart’s instrumentation reflects Adams Taylor and David Harper, is a approximately 80 voices. June Tyzack has Rex tremendae the two facets of the music: fierce, with graduate of the Guildhall School of been Chorusmaster since 2001 and she Recordare trumpets and drums in the sterner sections; Music and Drama and was a finalist in is supported by Assistant Chorusmaster Confutatis coloured elsewhere by the mild, liquid tones of basset horns. the Kathleen Ferrier Award. Roles for Andrew Bainbridge. Founded in 1992 to Lacrimosa Opera Australia have included Dandini (La Mozart’s Requiem is a kind of summation present concert performances of opera, the Amen Cenerentola), Count Almaviva and Figaro of its models and counterparts in the music TSO Chorus in its first five years performed OFFERTORIUM of contemporaries and predecessors. (Le nozze di Figaro), Guglielmo (Così fan La traviata, La bohème, Madama Butterfly, Domine Jesu Haydn’s admiration was surely a tribute tutte), Escamillo (Carmen), Don Giovanni, Carmen and La cenerentola. Since then the Hostias to the Requiem’s successful uniting of Stanley (A Streetcar Named Desire) and different styles and forms. This Requiem repertoire has broadened to include the SANCTUS Billy Budd. He sang Joe (Heggie’s Dead is a cantata mass in the sense that the requiems of Mozart, Fauré, Brahms and BENEDICTUS Sequence (beginning Dies irae) is divided Man Walking) for the San Francisco Opera, Sculthorpe; masses by Haydn, Puccini and AGNUS DEI up into separate choral and solo ensemble Bendrix (Heggie’s The End of the Affair) in movements, but Mozart brought choral Schubert; and symphonies by Beethoven, COMMUNION Houston, Billy Budd in Santa Fe, and Ned and solo movements into balance with Mendelssohn and Vaughan Williams. Many Lux aeterna Keene (Peter Grimes) and Escamillo for the each other. In his earlier unfinished Mass performances are broadcast on ABC Classic Cum sanctis tuis in C minor K 427, each movement was Metropolitan Opera, and has appeared with FM. In addition to performing with the TSO developed on a massive scale; Mozart may the opera companies of Cincinnati, Dallas, Haydn said that Mozart’s fame would be and touring regional Tasmania, the TSO have felt it lacked stylistic unity. Philadelphia and Austin. In Europe he secure if he had written nothing but the Chorus is frequently invited to augment Requiem, but it is a problematical work, Given that sacred music is an inherently sang Stanley for the Theater an der Wien, conservative genre, it is no surprise that interstate symphonic choirs. Since 2006 the which Mozart did not live to complete. Escamillo and Al Kasim (Henze’s L’Upupa) Mozart, mortally ill and agitated while the Requiem includes Baroque elements, TSO Chorus has performed at the Sydney in Hamburg, Papageno (Die Zauberflöte) composing it, chose the key of D minor: revealing the impact of Bach and Handel.
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