Linus Ensemble 2018 Concert Program
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ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS from the LEADERSHIP
ANNUAL REPORT 2019/20 Fadi Kheir Fadi LETTERS FROM THE LEADERSHIP The New York Philharmonic’s 2019–20 season certainly saw it all. We recall the remarkable performances ranging from Berlioz to Beethoven, with special pride in the launch of Project 19 — the single largest commissioning program ever created for women composers — honoring the ratification of the 19th Amendment. Together with Lincoln Center we unveiled specific plans for the renovation and re-opening of David Geffen Hall, which will have both great acoustics and also public spaces that can welcome the community. In March came the shock of a worldwide pandemic hurtling down the tracks at us, and on the 10th we played what was to be our final concert of the season. Like all New Yorkers, we tried to come to grips with the life-changing ramifications The Philharmonic responded quickly and in one week created NY Phil Plays On, a portal to hundreds of hours of past performances, to offer joy, pleasure, solace, and comfort in the only way we could. In August we launched NY Phil Bandwagon, bringing live music back to New York. Bandwagon presented 81 concerts from Chris Lee midtown to the far reaches of every one of the five boroughs. In the wake of the Erin Baiano horrific deaths of Black men and women, and the realization that we must all participate to change society, we began the hard work of self-evaluation to create a Philharmonic that is truly equitable, diverse, and inclusive. The severe financial challenge caused by cancelling fully a third of our 2019–20 concerts resulting in the loss of $10 million is obvious. -
Adams & Shostakovich
27 May 2021 Sydney Town Hall ADAMS & SHOSTAKOVICH Principal Partner Presenting Partner SYDNEY SYMPHONY ORCHESTRA PATRON Her Excellency The Honourable Margaret Beazley AC QC Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony Orchestra has evolved into one of the world’s finest orchestras as Sydney has become one of the world’s great cities. Resident at the iconic Sydney Opera House, the Sydney Symphony Orchestra also performs in venues throughout Sydney and regional New South Wales, and international tours to Europe, Asia and the USA have earned the Orchestra worldwide recognition for artistic excellence. The Orchestra’s first chief conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenêk Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from 2009 to 2013, followed by David Robertson as Chief Conductor from 2014 to 2019. Australia-born Simone Young has been the Orchestra’s Chief Conductor Designate since 2020. She commences her role as Chief Conductor in 2022 as the Orchestra returns to the renewed Concert Hall of the Sydney Opera House. The Sydney Symphony Orchestra’s concerts encompass masterpieces from the classical repertoire, music by some of the finest living composers, and collaborations with guest artists from all genres, reflecting the Orchestra’s versatility and diverse appeal. Its award-winning education program is central to its commitment to the future of live symphonic music, and the Orchestra promotes the work of Australian composers through performances, recordings and its commissioning program. -
Sydney Conservatorium of Music Postgraduate Handbook
2008 Postgraduate handbook Sydney Conservatorium of Music Postgraduate handbook Set a course for Handbooks online … visit www.usyd.edu.au/handbooks Acknowledgements Acknowledgements The Arms of the University Sidere mens eadem mutato Though the constellation may change the spirit remains the same Copyright Disclaimers This work is copyright. No material anywhere in this work may be 1. The material in this handbook may contain references to persons copied, reproduced or further disseminated ± unless for private use who are deceased. or study ± without the express and written permission of the legal 2. The information in this handbook was as accurate as possible at holder of that copyright. The information in this handbook is not to be the time of printing. The University reserves the right to make used for commercial purposes. changes to the information in this handbook, including prerequisites for units of study, as appropriate. Students should Official course information check with faculties for current, detailed information regarding Faculty handbooks and their respective online updates along with the units of study. University of Sydney Calendar form the official legal source of Price information relating to study at the University of Sydney. Please refer to the following websites: The price of this handbook can be found on the back cover and is in www.usyd.edu.au/handbooks Australian dollars. The price includes GST. www.usyd.edu.au/calendar Handbook purchases Amendments You can purchase handbooks at the Student Centre, or online at -
My Fifty Years with Wagner
MY FIFTY YEARS WITH RICHARD WAGNER I don't for a moment profess to be an expert on the subject of the German composer Wilhelm Richard Wagner and have not made detailed comments on performances, leaving opinions to those far more enlightened than I. However having listened to Wagnerian works on radio and record from the late 1960s, and after a chance experience in 1973, I have been fascinated by the world and works of Wagner ever since. I have been fortunate to enjoy three separate cycles of Der Ring des Nibelungen, in Bayreuth 2008, San Francisco in 2011 and Melbourne in 2013 and will see a fourth, being the world's first fully digitally staged Ring cycle in Brisbane in 2020 under the auspices of Opera Australia. I also completed three years of the degree course in Architecture at the University of Quensland from 1962 and have always been interested in the monumental buildings of Europe, old and new, including the opera houses I have visited for performance of Wagner's works. It all started in earnest on September 29, 1973 when I was 28 yrs old, when, with friend and music mentor Harold King of ABC radio fame, together we attended the inaugural orchestral concert given at the Sydney Opera House, in which the legendary Swedish soprano Birgit Nilsson opened the world renowned building singing an all Wagner programme including the Immolation scene from Götterdämmerung, accompanied by the Sydney Symphony Orchestra conducted by a young Charles Mackerras. This event fully opened my eyes to the Ring Cycle - and I have managed to keep the historic souvenir programme. -
Impact Report 2019 Impact Report
2019 Impact Report 2019 Impact Report 1 Sydney Symphony Orchestra 2019 Impact Report “ Simone Young and the Sydney Symphony Orchestra’s outstanding interpretation captured its distinctive structure and imaginative folkloric atmosphere. The sumptuous string sonorities, evocative woodwind calls and polished brass chords highlighted the young Mahler’s distinctive orchestral sound-world.” The Australian, December 2019 Mahler’s Das klagende Lied with (L–R) Brett Weymark, Simone Young, Andrew Collis, Steve Davislim, Eleanor Lyons and Michaela Schuster. (Sydney Opera House, December 2019) Photo: Jay Patel Sydney Symphony Orchestra 2019 Impact Report Table of Contents 2019 at a Glance 06 Critical Acclaim 08 Chair’s Report 10 CEO’s Report 12 2019 Artistic Highlights 14 The Orchestra 18 Farewelling David Robertson 20 Welcome, Simone Young 22 50 Fanfares 24 Sydney Symphony Orchestra Fellowship 28 Building Audiences for Orchestral Music 30 Serving Our State 34 Acknowledging Your Support 38 Business Performance 40 2019 Annual Fund Donors 42 Sponsor Salute 46 Sydney Symphony Under the Stars. (Parramatta Park, January 2019) Photo: Victor Frankowski 4 5 Sydney Symphony Orchestra 2019 Impact Report 2019 at a Glance 146 Schools participated in Sydney Symphony Orchestra education programs 33,000 Students and Teachers 19,700 engaged in Sydney Symphony Students 234 Orchestra education programs attended Sydney Symphony $19.5 performances Orchestra concerts 64% in Australia of revenue Million self-generated in box office revenue 3,100 Hours of livestream concerts -
2018–19 Chronological Listing
UPDATED June 7, 2019 CHRONOLOGICAL LISTING 2018–19 SEASON THE ART OF THE SCORE Alec Baldwin, Artistic Advisor THERE WILL BE BLOOD David Geffen Hall at Lincoln Center Wednesday, September 12, 2018, 7:30 p.m. Thursday, September 13, 2018, 7:30 p.m. Hugh Brunt*, conductor Michelle Kim, violin Jonny GREENWOOD There Will Be Blood (score performed live to complete film) THE ART OF THE SCORE Alec Baldwin, Artistic Advisor 2001: A SPACE ODYSSEY David Geffen Hall at Lincoln Center Friday, September 14, 2018, 8:00 p.m. Saturday, September 15, 2018, 8:00 p.m. André de Ridder, conductor Musica Sacra, chorus Kent Tritle, director VARIOUS 2001: A Space Odyssey (score performed live to complete film) (includes selections from works by Ligeti, R. Strauss, J. Strauss II, and Khachaturian) * New York Philharmonic debut JAAP VAN ZWEDEN CONDUCTS: OPENING GALA CONCERT NEW YORK, MEET JAAP David Geffen Hall at Lincoln Center Thursday, September 20, 2018, 7:00 p.m. Jaap van Zweden, conductor Daniil Trifonov, piano Rebekah Heller*, bassoon Nate Wooley*, trumpet Brandon Lopez*, bass Constellation Chor*, moving voices Marisa Michelson, director César Alvarez*, Lilleth Glimcher*, staging and dramaturgy Brandon Clifford*, Wes McGee*, Johanna Lobdell*, matter design Marika Kent*, lighting design Tolulope Aremu*, costume design Ashley FURE Filament (World Premiere–New York Philharmonic Commission) RAVEL Piano Concerto in G major STRAVINSKY The Rite of Spring * New York Philharmonic debut JAAP VAN ZWEDEN CONDUCTS: NEW WORK BY ASHLEY FURE, DANIIL TRIFONOV IN BEETHOVEN, AND STRAVINSKY’S THE RITE OF SPRING David Geffen Hall at Lincoln Center Friday, September 21, 2018, 8:00 p.m. -
Notes on Contributors
Notes on Contributors Patricia Shaw’s reseach interests lie in the history and analysis of twentieth-century music, including music in Australia. She has taught at ACU Melbourne and the University of Melbourne, has published on Australian composers including Sitsky, Conyngham and Sculthorpe, and is completing a doctoral thesis examining Ravel’s orchestration aesthetics and technique orchestration in its historical context. Kate Bowan is a pianist and musicologist who has studied and taught in Australia and the USA. She completed her PhD in the Research School of Humanities at the Australian National University, where she is currently a Visiting Fellow. Her research interests include early twentieth-century Western art music and music and politics in the nineteenth century. Denis Collins is Senior Lecturer in musicology in the School of Music at the University of Queensland. He studied music and classical history at University College Dublin, and was a Fulbright Scholar at Stanford University, USA, where he received his AM and PhD degrees. His research interests are in the history of music theory, renaissance and baroque counterpoint and computer applications to music research. Ian Burk completed a doctorate at the University of Melbourne in 2003, and is currently lecturer in music at the Australian Catholic University (ACU National), Melbourne. His main field of research has been the contribution of A.E. Floyd to the Australian musical landscape. Stephanie Rocke completed a BMus (Hons) degree at the University of Melbourne in 2007 and is currently a religion/music Master’s candidate at the Centre for Studies in Religion and Theology at Monash University. -
Annual Report Sydney Opera House Financial Year 2019-20
Annual Report Sydney Opera House Financial Year 2019-20 2019-20 03 The Sydney Opera House stands on Tubowgule, Gadigal country. We acknowledge the Gadigal, the traditional custodians of this place, also known as Bennelong Point. First Nations readers are advised that this document may contain the names and images of Aboriginal and Torres Strait Islander people who are now deceased. Sydney Opera House. Photo by Hamilton Lund. Front Cover: A single ghost light in the Joan Sutherland Theatre during closure (see page 52). Photo by Daniel Boud. Contents 05 About Us Financials & Reporting Who We Are 08 Our History 12 Financial Overview 100 Vision, Mission and Values 14 Financial Statements 104 Year at a Glance 16 Appendix 160 Message from the Chairman 18 Message from the CEO 20 2019-2020: Context 22 Awards 27 Acknowledgements & Contacts The Year’s Our Partners 190 Activity Our Donors 191 Contact Information 204 Trade Marks 206 Experiences 30 Index 208 Performing Arts 33 Precinct Experiences 55 The Building 60 Renewal 61 Operations & Maintenance 63 Security 64 Heritage 65 People 66 Team and Capability 67 Supporters 73 Inspiring Positive Change 76 Reconciliation Action Plan 78 Sustainability 80 Access 81 Business Excellence 82 Organisation Chart 86 Executive Team 87 Corporate Governance 90 Joan Sutherland Theatre foyers during closure. Photo by Daniel Boud. About Us 07 Sydney Opera House. Photo by by Daria Shevtsova. by by Photo Opera House. Sydney About Us 09 Who We Are The Sydney Opera House occupies The coronavirus pandemic has highlighted the value of the Opera House’s online presence and programming a unique place in the cultural to our artists and communities, and increased the “It stands by landscape. -
The Australian Music Centre Website
A select guide to Australian music theatre In Repertoire 2 I Dear Reader This guide takes you on a journey through contemporary Australian music theatre works that are currently available for touring. These and additional works in repertoire can all be found in the data base on pages 24 - 25 with contact addresses and other information. A few significant works no longer in repertoire are mentioned in the overview essay on pages 22-23. Many more are documented in Arias, Recent Australian Music Theatre (Red House Editions, 1997). A sample listing of works in progress is reported on page 26. On the same page a basic set of references can be found. A longer list is available on the Australian Music Centre website http://www.amcoz.com.au/amc The Editor Editor Keith Gallasch Assistant Editors Kirsten Krauth, Virginia Baxter Design i2i design, Sydney Cover photographs Left Arena Theatre Company, Eat Your Young, photo Jeff Busby Right Top Melbourne International Festival of the Arts, The Ghost Wife, photo Jeff Busby Right Bottom Queensland Theatre Company, The Sunshine Club, photo Rob MacColl All other photography credits page 27 Produced by RealTime for the Australia Council, the Federal Government’s arts funding and advisory body Australia Council PO Box 788 Strawberry Hills NSW Australia 2012 61 2 9215 9000 fax 61 2 9215 9111 [email protected] http://www.ozco.gov.au RealTime PO Box A2246 Sydney South NSW, Australia 1235 61 2 9283 2723 fax 61 2 9283 2724 [email protected] http://www.rtimearts.com.au/~opencity/ February 2000 ISBN 0 642 47222 X With the assistance of the Australian Music Centre 3 music theatre opera music+installation+performance Introduction The remarkable growth of Australian music theatre as we enter the new millennium appears to be exponential, manifesting itself in many different and surprising ways - as chamber opera, as the musical, as installation or site specific performance, and as pervasive musical scores and sound design in an increasing number of plays. -
Illuminating the Dark Side: an Interview with Brenton Broadstock
Illuminating the Dark Side: An Interview with Brenton Broadstock Linda Kouvaras Over the last fifteen years, I have been an avid follower of the music of Brenton Broadstock, Associate Professor and Reader, and Co-ordinator in Composition at the Faculty of Music, University of Melbourne. I have commissioned and recorded a work for piano, In the Silence of Night (1989), performed his piano music on a number of occasions, and written several articles about his music and liner notes for two of his CDs. An interview at this point seemed a good idea, Broadstock having recently returned from an extended composing sojourn overseas. In 1998, he spent three months composing in Italy on fellowships given by the Civitella Ranieri and Rockefeller Foundations. In 1999, he received the prestigious Don Banks Award from the Australia Council, which enabled him to compose for the year, including visits to the USA (Indiana University), England and Russia. I wanted to know whether andlor how this time overseas had had an impact on his artistic direction. I was also interested to see whether his perceptions of the existence of 'Australian-ness,' in music and in general, had changed since we last spoke of these matters some years ago. This interview was recorded on 24 August 2000 at the University of Melbourne's University House over a glass of their finest, then transcribed and edited. I asked Brenton what he set out to achieve compositionally on his overseas residencies. I had a major orchestral commission to fulfill from Andrew Wheeler and the Krasnoyarsk Symphony Orchestra in Russia. -
Towards a Reflexive Paradigm for the Study of Musics in Australian Colonial Societies (1788–1900)*
2020 © David R.M. Irving and Alan Maddox, Context 46 (2020): 51–73. Towards a Reflexive Paradigm for the Study of Musics in Australian Colonial Societies (1788–1900)* David R.M. Irving and Alan Maddox Let no one say the past is dead. The past is all about us and within. — Oodgeroo Noonuccal1 When contemplating the musical activity of past cultures across vast geographical spaces and from before the era of sound recording, music researchers are confronted with multiple challenges. They must take into account the memories stored in oral histories and textual sources, recognise the plurality of cultural influences and performance practices in complex networks of personal interaction, and grapple with the representational limitations of staff notation and struggle to interpret iconography before and after the age of photography. They must understand how sounds and emotions are linked to places and spaces, and explain how they move and migrate. * We pay our respects to Elders past, present, and future of all Aboriginal and Torres Strait Islander peoples mentioned in this article and the traditional custodians of the land on which the research for the article was primarily undertaken, the Gadigal people of the Eora nation. Thanks go to the University of Sydney for supporting this research through an International Research Collaboration Award (no. 63714). We are also grateful to the anonymous readers of the manuscript for their input and feedback, and especially to Graeme Skinner for generously sharing his advice and expertise. 1 Oodgeroo Noonuccal (Kath Walker), ‘The Past,’ originally published in The Dawn is at Hand: Poems (Brisbane: Jacaranda Press, 1966). -
Melbourne Symphony Orchestra Annual Report
2009 Melbourne Symphony Orchestra Annual Report 2009 Melbourne Symphony Orchestra PTY LIMITED Annual Report Contents Page Chairman’s Report 3 Corporate Governance Statement 5 Directors 7 Managing Director’s Report 8 The Year in Performance 10 Artistic Self-Assessment Processes 17 Audience Access to the MSO 18 Education and Community Outreach 19 Government and Private Sector Support 24 Patrons 26 Key Performance Statistics 27 Annual Financial Report 29 Page 1 2009 Melbourne Symphony Orchestra – Annual Report Page 2 2009 Melbourne Symphony Orchestra – Annual Report Chairman’s report The 2009 concert year was one of The Company is well positioned to return transfers plus a seating plan for the tremendous success on many fronts for the to profitability as the economy recovers. Melbourne Town Hall. MSO. Our contributions to the opening There are many positive indicators for our season of the Melbourne Recital Centre, the current season, including strong renewals Early in this process, the then-Managing Orchestra’s involvement in the 50th by subscribers and an increasing return of Director and I met with the Lord Mayor anniversary celebrations for the Sidney Myer confidence in the financial sector. Interest rate of the City of Melbourne, Robert Doyle, Music Bowl, the two programs conducted by increases are anticipated to have a positive and his Chief of Staff, to discuss the extended Sir Andrew Davis and the new Ears Wide effect on reserves. use of the Town Hall during the Hamer Hall Open concert format with Richard Gill were closure period. The continued assistance from the Australian some of the highlights in an exciting season By mid-2009, as we worked through the Government, through the Australia Council, for the Orchestra.