SATURDAY Series Opera Gala CSO Season 2019 Support the CSO’S 2019 Tax Appeal

SATURDAY Series Opera Gala CSO Season 2019 Support the CSO’s 2019 Tax Appeal

As the votes are counted from today’s federal election, one thing is certain: the CSO will strive to deliver our policy of thrilling musical experiences for you and the community. The CSO depends upon our fundraising activities to keep delivering great concerts and life-changing programs. They are a vital source of income, so we urge you to give generously to this year’s end of financial year campaign. Today, you’ve exercised your democratic duty. If you’ve not already done so, you could complete your civic duty with a tax deductable contribution. Look out for our newest additions to the fundraising team, ‘Tap to Donate’ portals, in the foyer or near the exits on level 4. Donate before June 30 by phone, online, or donation portals. 02 6247 9191 cso.org.au Program Saturday 18 May, 2019 Llewellyn Hall, ANU, 7.30pm

Richard Gill AO In Memoriam

Jessica Cottis Conductor

Jacqueline Porter Soprano Jeremy Kleeman Bass-baritone ANU School of Music Chamber Choir

MONTEVERDI Orfeo—Overture GLUCK Orfeo ed Euridice Che fiero momento GLUCK Orfeo ed Euridice Overture GLUCK Orfeo ed Euridice—Dance of the Blessed Spirits MOZART Le Nozze di Figaro Cinque, dieci, venti/ora si ch’io Se a caso Madama Se vuol ballare Dove sono Aprite un po’ BEETHOVEN Fidelio op. 72 Overture BEETHOVEN Fidelio, op. 72 O war itch schon BIZET Carmen—Prelude and Aragonaise BIZET Carmen—Intermezzo BIZET Carmen—Chanson de Toreador PUCCINI La Bohème—Vecchia zimara PUCCINI La Bohème—Donde lieta LEHAR Die lustige Witwe—Lippen schweigen COLE PORTER Kiss Me Kate —Wunderbar SONDHEIM Sunday in the Park with George—Sunday

We acknowledge and celebrate the Estimated Durations: First Australians on whose traditional FIRST HALF 45 minutes lands we meet, and pay our respect to Interval 20 minutes the elders of the Ngunnawal people SECOND HALF 45 minutes past and present. — Program notes by Angus McPherson © 2019 Angus is Deputy Editor at Limelight Magazine OUR GOVERNMENT PARTNERS SATURDAY The CSO is assisted by the Commonwealth Goverment through the Australia Council, its arts funding and advisory body Series

Canberra Symphony Orchestra Season 2019 3 Opera Gala New Combination “Bean” Lorry No.341 commissioned 31st December 1925.

117 YEARS OF POWERING PROGRESS TOGETHER

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Photograph courtesy of The University of Melbourne Archives 2008.0045.0601

SHA3112_CSO_245x172.indd 1 19/01/2018 11:11 AM Welcome

The CSO has launched its annual tax appeal. It’s your advocacy, by way of donation (big or small), that makes new musical partnerships and technically-demanding performance opportunities possible. More shared experiences for our part-time professional orchestra will result in stronger performances and artistic cohesion that will sustain our audiences into the future. You can donate online, or by calling Welcome back to Llewellyn the CSO office. The CSO’s beloved Richard Hall for the Canberra We are always looking Gill AO was to have Symphony Orchestra’s for ways to make giving conducted this opera Opera Gala. to the CSO easier. After gala. Until the very end, Tonight, two of receiving terrific feedback he held on to the hope opera’s most exciting young from some of our audience that this would be his last stars—Jacqueline Porter who wanted to give a small performance with the CSO. and Jeremy Kleeman join amount more regularly, we He programmed it exactly the CSO for an evening of now have two tap to donate as it will be heard, and I passion and drama as we portals. Each tap will had the pleasure to have present an opera program donate five dollars to the many conversations with created by the late Richard CSO. I encourage you to him about his ideas for this Gill AO and beautifully tap your card as many concert. The CSO would illustrated for you tonight times as you like! not exist in its present New Combination “Bean” Lorry No.341 commissioned 31st December 1925. by conductor Jessica Cottis. As ever, we sincerely form were it not for the Off the stage, the thank the ACT Government, love and dedication that CSO proudly offered four the Australia Council and all Richard poured into our scholarships through of our partners and donors organisation, and we mourn its Rediscovering Music for their generous support his loss deeply. This Opera program for people with in 2019. Also, the CSO Gala will be a moving 117 YEARS OF POWERING hearing loss. Two adult and applauds you, our patrons, tribute to the great man. two children in the hearing for your continued support It will be conducted by the PROGRESS TOGETHER impaired community can of the CSO. remarkable Jessica Cottis, learn an instrument of their — one of the few conductors choice with a CSO musician. Rachel Thomas who can approach Since 1901, Shell has invested in large projects which have contributed to the prosperity of Thank you to Kristen Chief Executive Officer Richard’s unique level of the Australian economy. We value our partnerships with communities, governments and Sutcliffe for directing this (Acting) eloquence as both musician industry. And celebrate our longstanding partnership with the Canberra Symphony Orchestra. important program in our and as an advocate for community. inspirational musical connections. — Dr Nicholas Milton AM Artistic Patronage ActewAGL Chief Conductor and Artistic Director

shell.com.au Canberra Symphony Orchestra Season 2019 Photograph courtesy of The University of Melbourne Archives 2008.0045.0601 5 WELCOME

SHA3112_CSO_245x172.indd 1 19/01/2018 11:11 AM

Conductor

as debuts with Houston the Sydney Symphony Symphony Orchestra, Orchestra where she London Symphony conducted over thirty Orchestra, Malmö concerts per year with the Symphony Orchestra, orchestra, being lauded Orquestra Simfònica de in the Australian press as Barcelona i Nacional de “one of the big hopes for Catalunya, Gavle Symphony change”. Orchestra, Royal Liverpool Born in Australia and Philharmonic Orchestra and a dual British-Australian Malaysian Philharmonic citizen, Jessica Cottis among others. was awarded a first class In the upcoming honours degree in organ, 2018-19 season, Jessica piano and musicology from will perform in her Los the Australian National Angeles Philharmonic University and continued Hailed in the UK music Orchestra debut, as well as her studies as an organist press as “one to watch”, revisiting the City of London with Marie-Claire Alain in Jessica Cottis possesses Sinfonia, Scottish Chamber Paris, winning awards from intellectual rigour, Orchestra, London’s Royal the Royal Philharmonic innate musicality and Philharmonic Orchestra, Society and Royal College an easy authority; she is laVerdi in Milan, and the OBC of Organists. A wrist injury a charismatic figure on in Barcelona. She will return subsequently halted her the podium who brings to work for the Royal Opera playing career and, after dynamism, intensity and House in London again, reading Law, she began clarity of vision to all her conducting the premieres of conducting studies in 2006, performances. two significant new opera studying with Colin Metters Frequently in demand commissions. She will return and Sir Colin Davis on the as guest conductor, also to her native Australia postgraduate conducting highlights of recent seasons to conduct Canberra course at the Royal include performances with Symphony Orchestra, as Academy of Music. the Sydney Symphony well as Monash Academy A gifted communicator, Orchestra, London Orchestra in Melbourne. Jessica Cottis is already Philharmonic Orchestra, Her international career acting as an inspiration to Royal Philharmonic was launched through the younger generation. Orchestra, BBC Symphony close working relationships She has filmed projects for Orchestra, BBC National with mentors including Play School (ABC Australia), Orchestra of Wales, Vladimir Ashkenazy and CBeebies (BBC) and the BBC Concert Orchestra, Donald Runnicles. From Royal Opera House, has L’Orchestra Sinfonica di 2009 to 2011 she was conducted projects with Milano Giuseppe Verdi Assistant Conductor at the organisations such as the (laVerdi), l’Orchestre BBC Scottish Symphony National Youth Orchestra of Philharmonique de Monte Orchestra and Fellow in Great Britain and Sistema Carlo, New Zealand Conducting at the Royal Scotland, and led courses Symphony Orchestra, Conservatoire of Scotland, for female conductors and recording with the and from 2012 to 2014 with London’s Royal BBC Scottish Symphony Assistant Conductor of Philharmonic Society. Orchestra. The 2017-18 season marked a return – after the success of her debut in 2016 – to the prestigious BBC Proms in July, as well CONDUCTOR

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Jacqueline has Recent performances performed Mahler have included the role of Symphony No. 4 with both the Princess in Respighi’s Melbourne Symphony The Sleeping Beauty for Orchestra conducted Victorian Opera, (also TAKING SOLAR by Sir Andrew Davis performed at Dark Mofo, and Adelaide Symphony Hobart) performances Orchestra; Mozart’s “Litany with the Melbourne of the Blessed Sacrament” Symphony Orchestra for Sydney Symphony (Exsultate Jubilate, Thaïs ENERGY TO Orchestra; Fauré Requiem and Beethoven’s Symphony and Beethoven’s Mass in No. 9), Adelaide Symphony C for Melbourne Symphony Orchestra (A Night in Orchestra; Haydn Nelson Vienna), Brahms Requiem NEW HEIGHTS Mass and Mozart Vespers (Victoria Chorale), and at the Woodend Winter Handel Salve Regina in St Equally at home on Arts Festival; Purcell’s King Paul’s Cathedral (with the the operatic stage and Arthur at Brisbane Baroque; University of Melbourne). the concert platform, St. Matthew Passion for In 2018 Jacqueline Jacqueline appears Melbourne Bach Choir; features at the Woodend regularly with Australia’s Jephtha for Canberra Choral Winter Arts Festival, major symphony orchestras Society; The Vow (Handel sings the title role in and choral societies. in the Theatre) Judas Susanna for Handel In She has worked with Maccabeus (Heidelberg The Theatre, Canberra, celebrated conductors Choral Society) and an Art Beethoven’s Symphony No. including Sir Neville Song recital with Aura Go in 9 for Adelaide Symphony Marriner, Vladimir the Salon at the Melbourne Orchestra, Brahms’ Requiem Ashkenazy, Sir Andrew Recital Centre. Her for Festival of Voices in Davis, Richard Egarr and extensive concert repertoire Hobart, Haydn’s Nelson Oleg Caetani, and her also features Bach Passions Mass and Mozart’s Requiem recitals and concerts are and Cantatas, Berlioz Les for Canberra Choral Society, frequently broadcast on Nuits d’été, Britten Les Mozart’s Requiem for ABC Classic FM. Illuminations, Enescu Vox Melbourne Bach Choir and Her opera roles include Maris, Haydn Maria Theresa recitals at the Tasmanian Susanna (The Marriage of Mass, Mozart Coronation Chamber Music Festival. ActewAGL Solar. An energy cost saving solution Figaro), Despina (Così fan Mass and Requiem and tutte), Drusilla, Virtù and Vaughan Williams Sea plus complete peace of mind. Pallade (L’incoronazione di Symphony and Serenade to Poppea); L’Amour (Orpheé Music. 100+ years’ experience in the region’s energy arena. et Eurydice); Saskia Innovative solar + battery + smart meter solutions. and Hendrickje Stoffels High quality components. (Rembrandt’s Wife); Clorinda (Il Combattimento 5-year whole-of-system warranty. di Tancredi e Clorinda) and Exceptional support – before, during and after installation. Momus (Der Streit Zwischen Competitive feed-in tariff offer. Phoebus und Pan) (Baroque Various payment options including $0 upfront and interest free plans. Triple Bill) for Victorian Opera and Gretel (Hansel and Gretel) for State Opera actewagl.com.au/solar South Australia. JACQUELINE ActewAGL Retail ABN 46 221 314 841 a partnership of AGL ACT Retail Investments Pty Ltd ABN 53 093 631 586 and Icon Retail Investments Limited ABN 23 074 371 207 Canberra Symphony Orchestra Season 2019 9 Porter

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Featured Artists

Last year Jeremy made Jeremy’s 2018 his company debuts with engagements include Sydney Chamber Opera as Walter Furst in William Tell, Collatinus in The Rape of Albert in The Magic Pudding Lucretia and with Pinchgut and Collatinus in The Rape Opera in The Coronation of Lucretia at the Dark MoFo of Poppea. He returned to Festival for Victorian Opera, Victorian Opera as Badger Nielson Symphony No.3 and Parson in The Cunning with Melbourne Symphony Little Vixen and to the Orchestra, a return to Opera Melbourne Bach Choir for by the Lakes and Second St John Passion and the Elder (Susanna, Handel) Duruflé Requiem, the latter for Handel In The Theatre, on a European tour. Further Canberra. engagements included Past roles for Victorian Opera in the Market, The Opera include Rapunzel’s Jeremy Kleeman is a Murray River International Prince in Into the Woods, graduate of Victorian Music Festival, Opera By Marquis D’Obiginy in La Opera’s Developing The Lakes (Gippsland traviata, a featured vocalist Artist Program, and Opera), Opera in the in Assembly at Melbourne has a Master of Music Paddock (Opera North and Sydney Festivals (with (Opera Performance) and West) and The Canberra Chunky Move), and Albert Bachelor of Music from the International Music Festival. the Pudding in the world Melbourne Conservatorium Other recent premiére of The Magic of Music. In 2014 and 2015, engagements and career Pudding – The Opera. Jeremy was a scholar highlights include his Jeremy has also with Melba Opera Trust Brisbane Baroque Festival appeared in recital and on the Joseph Sambrook debut as Teobaldo in as soloist with Royal Opera Scholarship, and in Handel’s Faramondo, Melbourne Philharmonic 2016 was the recipient of appearances with Victorian Choir and Orchestra, the Dame Heather Begg Opera as Lord Valton in Consort of Melbourne, Memorial Award. He has I puritani, Jonas Fogg in Australian Boys Choir, also received Helpmann Sweeney Todd, and Mother and St. John’s Southgate, and Green Room Award in Kurt Weill’s Seven Deadly Melbourne. nominations, as Best Male Sins, St. Matthew Passion Performer in a Supporting with both Newcastle Role in an Opera, for the University Choir and role of Magus in Musica Melbourne Bach Choir, Toby Viva and Victorian Opera’s Raven in the world premiere Voyage to the Moon which season of Cloudstreet toured nationally. (George Palmer) for State Opera of South Australia and the title role in The Marriage of Figaro with Opera Australia Touring.

JEREMY

Canberra Symphony Orchestra Season 2019 11 Kleeman Life is better with music

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CLAUDIO MONTEVERDI Gluck’s Orfeo ed Euridice Orfeo ed Euridice was with music (1567–1643) represents another Gluck’s most popular milestone in the history of opera. It was first performed Toccata from L’Orfeo opera. Gluck’s version of in Vienna in 1762, and the legend of Orpheus’s the opera has remained descent into the underworld in the repertoire more or ... and life in Canberra is better The Greek myth of Orpheus to retrieve his wife Euridice, less ever since. It was has woven its way through with a libretto by Ranieri also hugely influential with Canberra Weekly, the history of opera for de’ Calzabigi, was the first on opera as a genre, proudly supporting the CSO. some 400 years and of the composer’s ‘reform paving the way for the Italian composer Claudio operas’, which replaced work of Mozart and even Monteverdi’s take on the the traditional – and highly Wagner. It is undoubtedly tale – of a singer with the stylised – alternation of the most famous of the power to charm even the recitatives and arias in many Orpheus operas. trees and stones with his Baroque opera with a more The directness with which music – is the earliest natural singing style, the Gluck retells the legend opera still performed. music serving the poetry – eschewing the decorated Monteverdi, considered and drama. The urgent aria da capo arias that typified the ‘father of opera’ for Che fiero momento (What Italian opera – was his work integrating the a proud moment) is the revolutionary, speaking 17th-century intermedio (a pinnacle of this drama. directly to the emotions musical section between Orpheus must not look at of the listener. The lively acts of a play) into a Euridice until they have Overture, for instance, complete musical drama, escaped the underworld, swings from a festive wrote L’Orfeo for a court but Euridice takes this as a opening to the darker performance at Mantua sign he no longer loves her drama of the development, in 1607. The Toccata that – declaring she would prefer which foreshadows Orfeo’s opens the opera with a death to losing his love. struggles to come, and the bright trumpet flourish opening scene of the opera: grabs the audience’s Euridice’s funeral. attention before a La Musica – representing the ‘spirit of music’ – sings a prologue proclaiming the power of music and introducing the hero, Orfeo.

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marketing 0418 480 029 opfconsulting.com.au communication [email protected] Music Notes WOLFGANG AMADEUS MOZART (1756–1791) Se vuol ballare from The Marriage of Figaro

The womanising Count Almaviva plans to reinstate the feudal right of a lord to sleep with a servant on her wedding night, despite having abolished the practice when he married his own wife, the CHRISTOPH WILLIBALD WOLFGANG AMADEUS Countess Rosina. In the LETTERPRESS GLUCK MOZART gutsy cavatina for baritone (1714–1787) (1756–1791) Se vuol ballare (If you want PRINTING & DESIGN to dance), the cunning Dance of the Blessed Cinque... dieci... venti... Figaro – having learned CORPORATE AND WEDDING STATIONERY Spirits from Orphée et and Se a caso Madama of his master’s sinister CUSTOM PACKAGING Eurydice la notte ti chiama from intentions – explains The Marriage of Figaro how he will pretend to be (02) 6162 1258 #42LINES_LETTERPRESS obedient, while biding his Gluck revisited Orfeo time, confident that he can PART OF THE QOTE GROUP ed Euridice in 1774 for a “Five, ten, twenty,” the outsmart and, ultimately, performance in Paris, with servant Figaro measures humiliate the Count. “If you a new French libretto by up his new room for the want to dance, my pretty Pierre-Louis Moline. Gluck bridal bed he will share Count, I’ll play the little made several revisions with his soon-to-be-wife guitar for you,” Figaro sings, to the score designed to Susanna, who shows off lampooning the manners appeal to the Parisian her new hat, in the opening of the nobility. “Artfully public, such as changing of The Marriage of Figaro. fencing, artfully working, the lead role from a castrato Mozart’s 1786 comedy, stinging here, joking there, to a high tenor, and the the first of three operas all of your schemes I’ll turn addition of several ballet he wrote to libretti by inside out.” sequences, including the Lorenzo da Ponte, is based Dance of the Furies (lifted on Pierre Beaumarchais’s from his Don Juan) and play, La folle journée, ou the Dance of the Blessed le Mariage de Figaro (The Spirits. Having charmed Day of Madness, or the Hell’s Furies, Orfeo enters Marriage of Figaro), which the Elysian Fields, and sees the servants outsmart Gluck’s music depicts their lecherous employer, – with flutes and strings – Count Almaviva. Susanna an overwhelming, pastoral expresses misgivings about calm. At the centre of this their room, however, in the piece is a flute solo of duettino Se a caso Madama eye-watering beauty, a la notte ti chiama (If the mournful melody evoking Countess should call you the spirits’ sadness, and during the night), concerned Orfeo’s pain knowing about their proximity to the Euridice is among them. Count’s room.

Canberra Symphony Orchestra Season 2019 15 BRAND IDENTITY DESIGN DIGITAL

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SUITE 3 75 PRINTERS WAY KINGSTON ACT 2604 Music Notes LUDWIG VAN BEETHOVEN (1770–1827) Overture to Fidelio, Op.72

This overture is the fourth and final overture WOLFGANG AMADEUS Beethoven composed for MOZART his only opera, Fidelio, a (1756–1791) project which spanned from 1804, when Beethoven Aprite un po’ quegli began composing, to 1814, occhi from The Marriage when it was performed in of Figaro its final form. Beethoven used a libretto by Jean- Nicolas Bouilly, which tells WOLFGANG AMADEUS By The Marriage of Figaro’s the story of Leonora, who MOZART fourth act, Figaro and disguises herself as a (1756–1791) Susanna are – after an man, Fidelio, to save her improbable series of twists, husband Florestan from Dove sono i bei turns and surprise reveals wrongful imprisonment. momenti from The – finally married. But before Bouilly’s libretto had been Marriage of Figaro all the threads are neatly set to music three times, tied off in the opera’s happy so the theatre renamed ending, some crossed wires the opera from Leonore to In The Marriage of Figaro’s leave Figaro fuming. He Fidelio – Fidelio – against third act, the Countess has found out about the Beethoven’s wishes – to and Susanna conspire Count’s upcoming tryst in avoid confusion. Unlike his to catch Count Almaviva the garden (orchestrated earlier attempts (which out in his infidelity, with a by the Countess Rosina and are still played as concert complicated plan involving Susanna), but thinks it is works today), Beethoven’s disguises and a night-time his new wife – and not the final say on the overture tryst in the garden. Left Countess in disguise – who for Fidelio is a compact, on her own, the Countess will be meeting his master energetic introduction takes stock of her situation. there. In a rage, he sings that launches the listener After a bitter introductory Aprite un po’ quegli occhi straight into the action. recitative – in which she (Open your eyes a little), a rails against her husband’s warning to “incautious and betrayal and laments the stupid men” that all women state of affairs that sees her are enchanting witches, switching clothes with her roses with thorns, charming maid – she sings the tender foxes – and the list goes on. soprano aria “Dove sono i bei momenti di dolcezza e di piacer?” (Where are they, the beautiful moments of sweetness and pleasure?). Despite the pain of this lament, it concludes with the possibility of hope – that through her love she may one day change the Count’s heart.

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Information about the services and facilities provided in the village is correct at the time of printing but may change as the needs of residents change. Photographs are for illustrative purposes. Some images may depict items not provided by Lendlease within the units such as furniture and other decorative items. March 2019. Published by Lendlease RL Realty (NSW) Pty Ltd ABN 27 138 535 823. Music Notes GEORGES BIZET (1838–1875) Intermezzo from Carmen LUDWIG VAN BEETHOVEN (1770–1827) A tranquil flute solo opens O war’ ich schon mit this intermezzo, the dir vereint from Fidelio, entr’acte to the third act Op.72 of Carmen. Besotted with Carmen, the soldier Don José is imprisoned for The action of Fidelio takes dereliction of duty – for place in Spain, where allowing Carmen to escape Florestan has been secretly arrest in act one – and imprisoned for attempting by the end of the opera’s to expose the crimes of a second act two months rival nobleman, Pizarro. later he has also attacked Florestan’s wife Leonore a superior officer, Zuniga, Live in harmony has disguised herself GEORGES BIZET who also has has his eye on as a boy, ‘Fidelio’, and (1838–1875) the alluring gypsy. Don José earned the favour of the has no choice but to desert Feel great - Hydrate! prison warden, Rocco. In Prelude and Aragonaise his post and join Carmen the first act, Marzelline from Carmen and a band of smugglers Proud sponsors of the Canberra Symphony Orchestra – the warden’s daughter in the wilderness. With his [email protected] | (02) 6248 3111 | @iconwater | iconwater.com.au – has broken the news life spinning out of control to her father’s assistant The dark Prelude that opens – the action barrelling Jaquino that she will the curtain on Carmen towards the opera’s bloody never marry him, because drips menace, while the conclusion – act three she is in love with Fidelio hot-blooded Spanish dance opens on the beauty of (not realising Fidelio is of the Entr’acte to the fourth the smuggler’s mountain Leonore in disguise). In act, a driving Aragonaise, hideout, clarinet joining the touching soprano aria sets the scene for the flute above the plucking of O war’ ich schon mit dir tragic finale, at a crowded the harp. vereint (O, if you and I were bullfight in Seville. With a already united), Marzelline, libretto by Henri Meilhac alone, sings of how happy and Ludovic Halévy based she will be with Fidelio, on Prosper Mérimée’s daydreaming of their life novella, Bizet’s opera tells together and all the future of a fiery gypsy woman, holds. Carmen, who seduces a naïve young soldier, Don José, who ultimately kills her in a jealous rage. Carmen scandalised audiences in Paris when it premiered in 1875 and was panned by the critics – but it has given us some of the best-loved music in the repertoire. Bizet died shortly after Carmen opened and never saw what an enduring hit his opera would become.

Canberra Symphony Orchestra Season 2019 19 These musicians are passionate about excellence. So are we.

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Come for the collection, stay for the brunch.

Museum Cafe National Museum of Australia Lawson Cres, Acton 02 6208 5179

OPEN DAILY - 9am to 4.30pm Music Notes GIACOMO PUCCINI (1858–1924) Vecchia zimarra from La Bohème

Puccini’s La Bohème – with GEORGES BIZET libretto by Luigi Illica and (1838–1875) Giuseppe Giacosa based on a Henri Murger novel – Chanson du Toréador follows a group of young These musicians are from Carmen bohemians living in Paris’s Latin Quarter in the 1840s. passionate about The central romance, Don José’s jealousy drives a between the poet Rodolfo GIACOMO PUCCINI excellence. lot of the drama in Carmen, and seamstress Mimì, ends (1858–1924) but it’s not just the officer in tragedy, but Puccini’s So are we. Zuniga who he has to watch score is gorgeous. In the Donde lieta Uscì from out for. In the opening scene final act, Mimì is dying of La Bohème of Carmen’s second act, the tuberculosis. Her friends Supporting the Canberra Symphony Orchestra gypsy and her friends are Musetta and Marcello have for over 20 years to bring world class music in Lillas Pastia’s smoke- helped her into bed in her In La Bohème’s third act, to the ACT’s vibrant arts community. filled soldier’s tavern, freezing attic and left to sell Mimì seeks out Marcello, when outside people are her jewellery for medicine, who is painting signs at an heard saluting the popular while the philosopher inn, and confesses that her minterellison.com bullfighter Escamillo. Invited Colline decides to pawn his relationship with Rodolfo in for a drink, Escamillo favourite coat. The bass is troubled – the poet is introduces himself with aria Vecchia zimarra is a incredibly jealous and his bragging Toreador’s touching, bittersweet song abandoned her the night Song to impress the girls, of thanksgiving to the coat before. Marcello tells Mimì singing of the danger and that has kept him warm that Rodolfo is inside the excitement of the bull ring and sheltered in its pockets inn, but when he comes – and attracting Carmen’s the writings of poets and out she hides. She hears Come for the collection, attention in the process. philosophers. Rodolfo explain that his “And think as you are jealousy is just a sham to stay for the brunch. fighting,” he sings, “that a drive Mimì away – since in dark eye is watching you, his poverty he cannot cure and that love is waiting for the deadly illness that is you, Toreador, love, love is consuming her – in the hope waiting for you!” that she will find a wealthier suitor. In the heartbreaking aria Donde lieta Uscì (Whence happily she came), Museum Cafe Mimì tells Rodolfo she is National Museum of Australia leaving him amicably to return to her lonely nest, to Lawson Cres, Acton embroider imitation flowers. 02 6208 5179

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Canberra Symphony Orchestra Season 2019 21 Coming up DO NOT MISS OUT!

Tickets RECITAL TWO ACTEWAGL CSO Direct 6262 6772 — LLEWELLYN TWO or cso.org.au Sunday 16 June — Great Hall, Wednesday 19 June For the complete repertoire University House__2pm Thursday 20 June and 2019 events, visit — Llewellyn Hall, ANU__7.30pm cso.org.au/events Slava and Leonard Grigoryan Pre-concert talk__6.45pm Guitars — — Paul Kildea Conductor Join the Grigoryan Brothers as Slava and Leonard Grigoryan they journey to a dimension of Guitars guitar playing rarely seen in the — musical world. David Pereira Cello MOZART The Marriage of Figaro Overture JOAQUN RODRIGO Concierto madrigal KENNETH AND KIRSTEN LAMPL To the Memory of Nelson Cooke: an Elegy for Cello and Orchestra BEETHOVEN Symphony No. 8 in F major, op. 93 JUNE Music Notes STEPHEN SONDHEIM (B.1930) Sunday from Sunday in the Park with George

Stephen Sondheim’s Pullitzer Prize-winning musical Sunday in the Park with George, with a book by James Lapine, was inspired by French pointillist painter FRANZ LEHÁR COLE PORTER Georges Seurat’s A Sunday (1870–1948) (1891–1964) Afternoon on the Island of La Grande Jatte. The famous Lippen schweigen from Wunderbar from Kiss tableau of Seurat’s painting Die lustige Witwe Me Kate is recreated on stage in the uplifting second-act number Sunday. The musical Franz Lehár’s 1905 operetta Cole Porter’s first ‘book centres on a fictionalised The Merry Widow – about a musical’ (in which songs Georges Seurat, immersed rich widow, Hanna Glawari, and dances are fully in creating his masterpiece, and her countrymen’s integrated into the story), and his great-grandson, a attempts to keep her wealth Kiss Me Kate won a string contemporary artist, also in the poverty-stricken of Tony Awards when it named George, who is principality of Pontevedro premiered on Broadway in struggling to find his voice – was the composer’s 1948, including Best Musical as an artist. The younger greatest hit. It’s thanks to and Best Original Score. The George is invited by the numbers like the charming show has had a long life – it French Government to Lippen Schweigen (Lips was revived yet again on present his work on the stay silent) – better known Broadway earlier this year. island depicted in his great- as The Merry Widow Waltz Kiss Me Kate centres around grandfather’s painting, – that the operetta has a production of a musical and as he reads from his remained so popular. The version of Shakespeare’s great-grandfather’s notes, duet from the opera’s The Taming of the Shrew – the characters depicted in conclusion sees the show’s and tensions between its the painting come to life on two lovers, Hanna and two stars, Fred Graham and stage. Danilo, rekindle their love his ex-wife Lilli Vanessi. in a sweet, celebratory The duet Wunderbar sees waltz. “At each step of the the pair reminiscing, on waltz, my soul joins in the the anniversary of their dance,” Hanna sings. This divorce, about the Viennese music has also had plenty operetta at which they met, of life outside the theatre, and the music pays cheeky performed by myriad homage to the likes of Lehár combinations of operatic and Johann Strauss II. royalty, from Anna Netrebko and Plácido Domingo to Renée Fleming and Dmitri Hvorostovsky.

Canberra Symphony Orchestra Season 2019 23 The Orchestra Dr Nicholas Milton AM Chief Conductor and Artistic Director Artistic Patronage ActewAGL

Jessica Cottis Guest Conductor The Orchestra Kirsten Williams Concertmaster Opera Gala Tor Frømyhr Concertmaster Emeritus

Violin Viola Flute Trombone Kirsten Williams Tor Frømyhr Teresa Rabe Nigel Crocker Doreen Cumming Robert Harris Kiri Sollis Michael Bailey Catherine Bucknell Ben Carvalho Tahni Chan Liz Chalker Oboe Bass Trombone Lauren Davis Caroline Suthers Megan Pampling Colin Burrows Irene de Silva Alina Zamfir Caroline O’Donnell Tess Duflou Timpani Jenny Higgs Cello Clarinet Andrew Heron Michelle Higgs Patrick Suthers Eloise Fisher Valerie Jackson Julia Janiszewski Rachael Allen Percussion Jocelyn James Samuel Payne Veronica Bailey Andrew Lorenz Emma Rayner Bassoon John Dewhurst Doug Macnicol Alex Voorhoeve Matthew Angus Stephen Fitzgerald Claire Phillips Kristen Sutcliffe Madeleine Retter Double Bass Harp Dan Russell Max McBride French Horn Rowan Phemister Iska Sampson Kyle Dianna Gaetjens Pip Thompson Ramsay-Daniel Carly Brown Celeste/Piano Tim Wickham David Flynn Victoria Chatterely Katherine Day Hayley Manning Michael Jackson Please note: strings seating is rotational Trumpet Justin Lingard Greg Stenning

The ANU School of Music Chamber Choir is delighted to join the CSO in the 2019 Opera Gala and looks forward to many more fruitful partnerships.

The 24 Orchestra Chair Sponsorship

Chair Sponsors The CSO would like to thank all Chair Sponsors for their generous support.

Doreen Cumming Lindy Reksten Andrew Heron Principal Second Violin Cello Timpani

Sponsored by Sponsored by Sponsored by Joanne Frederiksen RA David Campbell Shell

Tor Frømyhr Tim Wickham Pip Thompson Principal Viola Violin Violin

Sponsored by Sponsored by Sponsored by Glen & Lucille Anne Caine & DAMS Halloran Jim Lumbers

A Chair Sponsorship can demonstrate your passion for a particular instrument while supporting the orchestra to achieve its artistic and community goals. It is an opportunity to forge a deeper connection with the musicians. Chair Sponsors can choose an instrument they love, a player they know, or a chair recommended by the CSO. If you are interested in a Chair Sponsorship or would like to know more, please contact CSO Philanthropy – Kiri Sollis call 02 6247 9191 or email [email protected] Flute