BERLIOZ’S THE DAMNATION OF FAUST 1 What’s On April — July

Sarah Chang Plays Bruch Anzac Tribute Beethoven: the 1808 FRIDAY 10 APRIL THURSDAY 23 APRIL Vienna Concert SATURDAY 11 APRIL FRIDAY 24 APRIL SATURDAY 2 MAY MONDAY 13 APRIL On the eve of the 100th anniversary With a line-up of internationally Following her enormously popular of the Gallipoli landings, Diego acclaimed soloists and the Royal concerts in 2013, celebrated violinist Matheuz conducts Beethoven’s Melbourne Philharmonic Choir Sarah Chang returns to perform Ninth Symphony, and incidental joining the Orchestra for this rare Bruch’s famous Violin Concerto in music to Goethe’s Egmont. With event, we invite you to sit back G minor. Conducted by MSO Chief the MSO Chorus and Australian and and relax in the company of one of Conductor Sir Andrew Davis. international soloists. music’s greatest creative minds.

Beethoven’s Symphony No.7 Britten’s War Requiem Yuja Wang plays Prokofiev THURSDAY 22 MAY THURSDAY 11 JUNE THURSDAY 23 JULY FRIDAY 23 MAY FRIDAY 12 JUNE FRIDAY 24 JULY MONDAY 25 MAY Benjamin Britten’s War Requiem, SATURDAY 25 JULY One of the world’s most sought- a haunting piece interweaving Chinese piano superstar Yuja Wang after composers, Matthias Pintscher, the traditional Latin Mass for the brings her acclaimed virtuosity to returns to conduct the Australian Dead with the works of First World Prokofiev’s tempestuous Second premiere of Idyll, an MSO co- War poet Wilfred Owen, is paired Piano Concerto. Also featuring commission, in a program that with the profoundly moving Elegy Tchaikovsky’s Marche Slave and also includes Beethoven’s Seventh in memoriam Rupert Brooke by Brahms’ luminous fourth and final Symphony and Saint-Saëns’ Third Frederick Kelly. symphony. Violin Concerto.

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Sign up for our monthly e-news at @MelbSymphony TheMSOrchestra mso.com.au and receive special offers from the MSO and our partners. Welcome to Berlioz’s The Damnation of Faust

MELBOURNE SYMPHONY ORCHESTRA

Let us forth!/Come and taste life and With a reputation for excellence, The MSO reaches an even larger pleasure./While every sense shall versatility and innovation, the audience through its regular concert glow with a joy beyond measure. Melbourne Symphony Orchestra broadcasts on ABC Classic FM, Thus, with such tempting is Australia’s oldest orchestra, also streamed online, and through pleasantries, does Méphistophèlés established in 1906. The Orchestra recordings on Chandos and ABC lure Faust into his satanic web. This currently performs live to more Classics. The MSO’s Education devilish entreaty proves as irresistible than 200,000 people annually, in and Community Engagement to the lovelorn Faust as Goethe’s concerts ranging from subscription initiatives deliver innovative and epic poem did to Hector Berlioz. performances at its home, Hamer engaging programs to audiences Hall at Arts Centre Melbourne, to its of all ages, including MSO Learn, an Welcome to this special annual free concerts at Melbourne’s educational iPhone and iPad app performance of The Damnation largest outdoor venue, the Sidney designed to teach children about of Faust – an operatic oratorio Myer Music Bowl. the inner workings of an orchestra. described by its master composer as a ‘Légende dramatique’. Such Sir Andrew Davis gave his inaugural The Melbourne Symphony Orchestra are the complexities of its scoring concerts as Chief Conductor of the is funded principally by the Australian and fearsome singing demands, the MSO in April 2013, having made his Government through the Australia work is rarely performed. But it is one debut with the Orchestra in 2009. Council, its arts funding and of those huge pieces that positively Highlights of his tenure have included advisory body, and is generously demands to be performed. One of collaborations with artists including supported by the Victorian its foremost interpreters is MSO Chief Bryn Terfel, Emanuel Ax and Truls Government through Creative Conductor Sir Andrew Davis, whom Mørk, the release of recordings Victoria, Department of Economic we proudly welcome back for his of music by Percy Grainger and Development, Jobs, Transport and third season. Eugene Goossens, a 2014 European Resources. The MSO is also funded Festivals tour, and a multi-year cycle by the City of Melbourne, its Principal The Damnation of Faust is of of Mahler’s Symphonies. Partner, Emirates, corporate sponsors symphonic strength and dramatic The MSO also works each season and individual donors, trusts and intensity, and is the true test of foundations. orchestra, chorus and soloists. To do with Principal Guest Conductor it justice, Sir Andrew has assembled Diego Matheuz, Associate the finest cast available. The singers Conductor Benjamin Northey and include the incomparable Welsh the Melbourne Symphony Orchestra bass-baritone Bryn Terfel, who returns Chorus. Recent guest conductors after his landmark concerts in 2013 to the MSO have included Thomas to sing Méphistophèlés. Faust is Adès, John Adams, Tan Dun, sung by tenor Andrew Staples, and Charles Dutoit, Jakub Hrůša, Mark Marguerite by Croatian mezzo- Wigglesworth, Markus Stenz and soprano Renata Pokupić. Simone Young. The Orchestra has also collaborated with non-classical The other vital ingredient in The musicians including Burt Bacharach, Damnation of Faust is the chorus, Ben Folds, Nick Cave, Sting and whose role is not only indispensable Tim Minchin. but almost omnipresent. For this performance the MSO Chorus, celebrating its 50th anniversary this year, is joined by the men of the Sydney Philharmonia Choir. I hope you enjoy this performance of one of the most astonishing and extravagant works in the repertoire.

André Gremillet Managing Director, MSO

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EMI0310_MSO_176x121_v4.indd 1 8/05/14 3:52 PM

BRITTEN’S WAR REQUIEM Sir Andrew Davis conducts this haunting piece, and the profoundly moving Elegy in memoriam Rupert Brooke by Frederick Septimus Kelly. Ian Bostridge tenor

11 & 12 June at 8pm BOOK NOW Arts Centre Melbourne, Hamer Hall MSO.COM.AU | (03) 9929 9600 Berlioz’s The Damnation of Faust

ABOUT THE ARTISTS Melbourne Symphony Sir Andrew Davis Renata Pokupić Orchestra conductor mezzo-soprano (Marguerite) Sir Andrew Davis Sir Andrew Davis is Chief Conductor Croatian mezzo-soprano Renata conductor of the Melbourne Symphony Pokupić is praised for her engaging Renata Pokupić Orchestra. He recently extended and expressive interpretation of mezzo-soprano (Marguerite) his contract as the Music Director Baroque, Classical and coloratura and Principal Conductor of the repertoire. Recent operatic Andrew Staples Lyric Opera of Chicago through and concert highlights include tenor (Faust) to the 2020/2021 season, having performances at Royal Opera been appointed in 2000. He is also House, Covent Garden, Opéra de Bryn Terfel Conductor Laureate of the Toronto Lille, Washington National Opera, bass-baritone (Méphistophélès) Symphony and BBC Symphony Orchestre de Paris, Orchestre Shane Lowrencev Orchestras. A former organ scholar des Champs-Élysées, Hofkapelle bass (Brander) at King’s College, Cambridge, he Esterházy, Göttingen International has conducted all of the world’s Handel Festival, Scottish Chamber Dimity Shepherd major orchestras as well as at Orchestra, Academy of Ancient mezzo soprano (solo in the leading opera houses and festivals. Music, and an extensive tour final chorus) His tenure as Chief Conductor of the with the Orchestra of the Age of BBC Symphony, whom he led at the Enlightenment, ‘Tribute to Lorraine Melbourne Symphony Hunt Lieberson’. Orchestra Chorus Proms and on tour to Europe, the USA and Asia, was the longest since Highlights in 2014/15 include a Jonathan Grieves-Smith that of the Orchestra’s founder Sir return to Wigmore Hall in recital MSO chorus master Adrian Boult. with Roger Vignoles, Berlioz’s He was made a Commander of the Roméo et Juliette with the Bergen Men of the Sydney Philharmonic Orchestra, Cherubino Philharmonia Choirs British Empire in 1992, and a Knight Bachelor in 1999. (The Marriage of Figaro) with Flemish Brett Weymark Opera and the Gulbenkian, Lisbon, and Dvořák’s Stabat Mater with Sydney Philharmonia Choirs Collegium Vocale Gent. This marks music director her Australian debut. — Berlioz’s La damnation de Faust, op.24

This concert is two hours 20 minutes duration with one 20 minute interval, which will take place immediately following the conclusion of Part 2. Saturday night’s concert will be broadcast and streamed live around Australia on ABC Classic FM Pre-concert talk Join Professor Kerry Murphy, University of Melbourne for a free pre-concert talk prior to each performance at 7pm in the Hamer Hall stalls foyer.

BERLIOZ’S THE DAMNATION OF FAUST 5 ABOUT THE ARTISTS

Andrew Staples Bryn Terfel Shane Lowrencev tenor (Faust) bass-baritone (Méphistophélès) bass (Brander)

Andrew Staples sang as a chorister in The Welsh bass-baritone Bryn Shane Lowrencev was born in St Paul’s Cathedral before winning a Terfel made his operatic debut as Melbourne and studied in Melbourne choral scholarship to King’s College Guglielmo (Così fan tutte) for Welsh and London. In 2008, he won the Cambridge, where he gained a National Opera, and has since Australian Singing Competition’s degree in Music. performed at La Monnaie; Santa Opera Awards. Fe Opera; the BBC Proms; La Scala; He has performed with the Shane is a full-time principal artist Royal Opera House; Metropolitan Berlin Philharmonic, Swedish with Opera Australia. Recent Opera; and the Bavarian State Radio Symphony Orchestra, highlights have included Scarpia in Opera. Highlights in 2015 include his Swedish Chamber Orchestra, The Tosca, Schaunard in La bohème, debut in the role of Tevye (Fiddler on Philadelphia Orchestra, Scottish Wotan/The Wanderer in Der Ring des the Roof) for Grange Park Opera, Chamber Orchestra, Gävle Nibelungen, Prince Selim in Il turco in the title role in Sweeney Todd Symphony Orchestra, Orchestra of Italia and Leporello in Don Giovanni. for English National Opera, and the Age of Enlightenment, London Méphistophélès in The Damnation His concert appearances have Symphony Orchestra, Bavarian of Faust for Paris Opera and the included Messiah, Mozart’s Requiem; Radio Symphony Orchestra, Melbourne Symphony Orchestra. Bach’s B minor Mass, St John Passion, Rotterdam Philharmonic Orchestra, and Haydn’s Creation. and Accademia Nazionale di He is known for his versatility as a Santa Cecilia. concert performer, with highlights including the opening ceremony He is a regular guest at the Royal of the Wales Millennium Centre, the Opera House, where he has sung the BBC Last Night of the Proms, the roles of Jaquino (Fidelio), Flamand Royal Variety Performance and a (Capriccio), Tamino (The Magic gala concert with Andrea Bocelli Flute), Artabanes (Arne’s Artaxerxes) in Central Park, New York. For nine and Narraboth (Salome). years he has hosted his own music His recent venture, Opera for festival in Faenol, North Wales. Change, has taken The Magic Flute Bryn Terfel is a Grammy, Classical Brit on tour in Africa. and Gramophone Award winner. In 2003 he was made a CBE for services to opera, and in 2006 was awarded the Queen’s Medal for Music.

6 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT ABOUT THE ARTISTS

Melbourne Symphony Jonathan Grieves-Smith MSO Chorus Orchestra Chorus MSO chorus master

Under the leadership of Jonathan Jonathan Grieves-Smith is Chorus SOPRANO Helen MacLean Grieves- Smith, the Melbourne Master of the Melbourne Symphony Philippa Allen Siobhan Ormandy Symphony Orchestra Chorus has Orchestra Chorus, Director of Naomi Angelico Sharmila Periakarpan Julie Arblaster Alison Ralph an international reputation for the Music at Trinity College, University Carolyn Archibald Kerry Roulston highest standards and for bold of Melbourne, and Artistic Director Aviva Barazani Annie Runnells artistic planning. of Australia’s professional choir Eva Butcher Rosemary Saunders Anna Castro- Helen Staindl With the finest conductors, including Hallelujah Junction. Former posts include Music Director of Brighton Grinstein Libby Timcke Sir Andrew Davis, Edward Gardner, Thea Christie Jenny Vallins Mark Wigglesworth, Bernard Festival Chorus, Chorus Master of Veryan Croggon Emma Warburton Huddersfield Choral Society, and the Labadie, Stephen Layton, Masaaki Samantha Davies TENOR Hallé Choir. Piera Dennerstien James Allen Suzuki and Manfred Honeck, the Laura Fahey Chorus sings a broad range of Jonathan has guest-conducted Steve Burnett Rita Fitzgerald Alexander Davie repertoire from Bach’s Mass in B widely and intensively with, among Catherine Folley James Dipnall minor to Brett Dean’s The Last Days many others, The BBC Singers, Royal Susan Fone Marcel Favilla of Socrates, from Kancheli’s Styx to Liverpool Philharmonic Orchestra, Rashika Gomez Lyndon Horsburgh Camilla Gorman Rachmaninov’s The Bells. Orchestre National de Lille, Hallé Wayne Kinrade Karina Gough Dominic McKenna The Chorus commissions and Orchestra, Choir of the Academy Jillian Graham Simon Milton of Santa Cecilia in Rome, Royal Karling Hamil Michael Mobach performs new Australian and Juliana Hassett international choral repertoire, Philharmonic Orchestra. Jean-Francois Ravat Penny Huggett Daniel Riley including music by Gabriel Jackson, As chorus master Jonathan Jasmine Hulme Malcolm Sinclair Brett Dean, Paul Stanhope, James has trained choirs for concerts, Tania Jacobs Tim Wright MacMillan, Arvo Pärt, Hans Werner recordings and broadcasts with Rachel Jeffreson Gwen Kennelly BASS Henze, and Peteris Vasks. outstanding musicians including Sir Judith McFarlane Maurice Amor Simon Rattle, Valery Gergiev, Mark Ruth McIntosh Richard Bolitho Wigglesworth, Stephen Layton, Klaus Lynne Muir David Brown Denny Chandra Tennstedt, Pierre Boulez and Sir Caitlin Noble Susie Novella Roger Dargaville Roger Norrington. Susannah Polya Phil Elphinstone Natalie Reid Gerard Evans Jo Robin Michael Gough Lynda Smerdon Andrew Ham Elizabeth Stephens John Howard Sylvia Tiet Daniel House Eloise Verbeek Jemly Kalangie Beth Ylvisaker Andreas Loewe Alastair McKean ALTO Andrew Murrell Aleksandra Acker Vern O’Hara Ruth Anderson Edward Ounapuu Catherine Bickell Douglas Proctor Cecilia Björkegren Matthew Toulmin Kate Bramley Foon Wong Jane Brodie Allan Yap Elize Brozgul Maciek Zielinski Alexandra Chubaty Elin-Maria Evangelista REPETITEUR Jill Giese Tom Griffiths Debbie Griffiths LANGUAGE COACH Alexandra Hadji Douglas Proctor Ros Harbison Sue Hawley Kristine Hensel Christina McCowan Rosemary McKelvie

BERLIOZ’S THE DAMNATION OF FAUST 7 ABOUT THE ARTISTS

Sydney Philharmonia Brett Weymark Sydney Philharmonia Choirs SPC music director Choirs

Sydney Philharmonia Choirs is Brett Weymark studied singing TENOR David Jacobs Australia’s most established choral at the University of Sydney Patrick Blake Ian Jurd Simon Cadwallader Martin Kuskis organisation and will be celebrating and conducting at the Sydney John Donohoe* Simon Masterton* its centenary in 2020. Members of Conservatorium alongside studies Giles Donovan Mark McGoldrick the Sydney Philharmonia Choirs in Europe and America. In 2002 Joshua Ebert Daniel Nicholson* believe in sharing the joy of choral he was awarded a Centenary Adela Greenbaum Sam Piper* singing with fellow choristers and Award for his services to music and Kaine Hayward* Peter Poole Jude Holdsworth David Randall audiences alike. Members of the in 2003 he was appointed Musical Michael Kertesz Michael Ryan choirs, which across the organisation Director of Sydney Philharmonia Selwyn Lemos Antony Strong number 1500 people, voluntarily Choirs. He has performed with Vincent Lo Nicholas Tong give their time and talents to singing all the major ensembles from Juan Martin Marangoni Dallas Watts* Dimitry Moraitis Arthur Winckler in extraordinary performances the Sydney Symphony Orchestra James Oxley David Wood with major international artists and to the Black Arm Band. He has Joshua Oxley* Ben Yi orchestras, in the country’s leading conducted the choirs in premieres George Panaretos Stephen Young John Pitman* concert halls. of works by composers such as *= SPVoices Elena Kats-Chernin, Andrew Schultz Daniel Sloman The choirs appear regularly with Paul Sutton* STAFF the Sydney Symphony Orchestra and Peter Sculthorpe and has also Robert Thomson David Francis and in 2015 will be performing in prepared the choirs for concerts Joseph Toltz* General Manager Koen van Stade* Brett Weymark Beethoven's Ninth Symphony and with conductors such as Sir Charles Mackerras, Charles Dutoit and Sir Dan Walker* Music Director Missa Solemnis, The Planets,Tristan Michael Wallach Francis Greep Simon Rattle. Recent highlights and Isolde, Danny Elfman’s Music Alex Walter Assistant Chorus Master include working with the Hong Kong Josephine Allan from the films of Tim Burton as well BASS Philharmonic Orchestra, and this Rehearsal Pianist Christopher Allan* as presenting their own programs Thomas Chiu year, in addition to conducting a full Jock Baird including Bach’s St John Passion at Rehearsal Pianist program with Sydney Philharmonia Bryan Banston Easter, The Armed Man – A Mass Michael Curtain Phil Barton* Choirs including three world Rehearsal Pianist for Peace by Karl Jenkins, Fauré’s Simon Boileau premieres, he will conduct Handel’s Natalie Shae Requiem and Handel’s Messiah. Andy Clare Language Coach Hercules in Canberra and Haydn’s Julian Coghlan Brett Weymark has been the Music The Creation with the Hong Kong Paul Couvret Director of Sydney Philharmonia Philharmonic Orchestra. Philip Crenigan Choirs since 2003. Robert Cunningham Ian Davies Tom Forrester-Paton Ashley Giles* Kevin Gormley Robert Green Eric Hansen Todd Hawken David Hidden*

8 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT ABOUT THE MUSIC

HECTOR BERLIOZ (1803 – 1869)

La Damnation de Faust, op.24 Scene 7 Scene 13 Dramatic legend in four parts Bosquets et prairies du bord de Duo (Duet) l’Elbe (Woods and meadows on Scene 14 Synopsis the banks of the Elbe) Trio et Choeur (Trio and Chorus) Part 1 Scene 8 Part 4 Scene 1 Choeur de gnomes et de Scene 15 Plaines de Hongrie sylphes. Songe de Faust Romance (Plains of Hungary) (Chorus of Gnomes and Sylphs. Scene 2 Faust’s Dream) Forêts et cavernes Ronde des paysans (Forests and Caves) (Peasants’ Dance) Ballet des sylphes (Dance of Sylphs) Scene 16 Scene 3 Invocation à la nature Choeur de soldats Une autre partie de la plaine. (Invocation to Nature) Une armée qui s’avance (Soldiers’ Chorus) Scene 17 (Another part of the plain. Chanson d’étudiants Récitatif et chasse An army is seen advancing) (Students’ Song) (Recitative and Hunt) Marche Hongroise Choeur des soldats et chanson Scene 18 (Hungarian March) des étudiants - ensemble La Course à l’abîme (Soldiers’ chorus and Students’ (The Ride to the Abyss) Part 2 song – together) Scene 4 Scene 19 Nord de l’Allemagne INTERVAL 20 MINS Pandaemonium (Northern Germany) Epilogue sur la terre Chant de la Fête de Pâques Part 3 (Epilogue on earth) (Easter Hymn) Tambours et trompettes sonnant la retraite (Drums and trumpets Scene 20 Scene 5 sounding retreat) Dans le ciel Ô pure émotion!’ (In Heaven) ('O innocent emotion' - Faust, Scene 9 Mephistopheles) Air de Faust (Faust’s Aria) Apothéose de Marguerite (Marguerite’s Apotheosis) Scene 6 Scene 10 La cave d’Auerbach à Leipzig ‘Je l’entends!’ (Auerbach’s cellar in Leipzig) (‘I can hear her!’) Choeur de Buveurs Scene 11 (Chorus of Drinkers) Que l’air est étouffant!’ (‘How stifling the air is!’) Chanson de Brander (Brander’s Song: ‘Song of a Rat’) Le roi de Thulé (The King of Thule) Fugue sur le thème de la chanson de Brander (Fugue on the theme Scene 12 of Brander’s Song) Évocation (Invocation) Chanson de Méphistophélès Menuet des follets (Mephistopheles’ Song: ‘Song of (Minuet of the Wills-o’-the-Wisp) the Flea’) Sérénade de Méphistophélès et choeur de follets (Mephistopheles’ Serenade and Chorus of Wills-o’-the-Wisps)

BERLIOZ’S THE DAMNATION OF FAUST 9 ABOUT THE MUSIC

Hector Berlioz

Berlioz was always something of a chorus, the Easter hymn and the entailed).' genre bender. While composers peasants’ dance. One of the places Berlioz visited in German-speaking countries Berlioz deliberately avoided calling was Pesth, now part of Budapest, tended to make fairly clear The Damnation an opera, for where he heard the famous Rákóczi distinctions between concert, reasons that well-meaning directors March, a tune which celebrated the ceremonial and stage music, Berlioz have discovered to their cost on hero of a Hungarian uprising against was fond of hybrid forms that he numerous occasions since. Yes, the Austrians. When Christopher generated to match his own highly there are precise scene descriptions Marlowe brought the Faust story personal artistic vision. Works like in the score and the singers are all into mainstream literature in the late the Symphonie fantastique, or the characters, but the overall shape 16th century, the damnation of the Grande Symphonie funèbre et of the piece is one of disjointed central character was not, as we triomphale wear their extra-musical tableaux, and the pacing of events might have expected, a sure thing. connotations in their titles; Roméo works against the cumulative tension Certainly Faust had entered into et Juliette makes claims to being of a through-composed piece of a pact with the devil – a damning both dramatic and symphonic and music theatre. The Damnation was offence in Christian terms – but indeed the dramatic weight is, to a anything but through-composed, Marlowe’s play is, right from the certain extent, concentrated in the and not just because Berlioz outset, ambivalent about the ‘form orchestral score while the chorus recycled parts of the Eight Scenes. of Faustus’ fortunes, good or bad’. sings the program notes. Harold Wagner would write the libretto for There is a further ambivalence in en Italie is almost a viola concerto, an opera and then work on the the discernible remnants of the but with strong extra-musical links music in sequence. By contrast, morality play where salvation is the to Byron. That Berlioz used ‘concert Berlioz began his libretto with inevitable outcome: Everyman is opera’ to describe La Damnation de Nerval’s lyrics, and commissioned saved; Faustus is damned. By the Faust before settling on ‘dramatic ‘links’ from a journalist friend, Almire time Goethe took up the story, the legend’, should not, therefore, Gandonnière. While composing tenor of the times made it a vehicle surprise us, and it also gives us a clue to the so-far extant libretto, Berlioz for salvation through love. While to the sort of work it is, or rather, the undertook a concert tour in 1845, Goethe was never a Romantic sort of work it is not. Berlioz came and having completed setting (despite outliving that generation of across Gerard de Nerval’s French what there was of the text, then younger poets) the conclusion to his translation of Goethe’s Faust (part I) began to write his own. Despite the Faust was of immense importance in 1827 and the incipient composer’s libretto’s complex patrimony and to the Romantic movement. As Faust imagination was fired up by it to Berlioz’s itinerant lifestyle, he found is saved, the chorus triumphantly the extent that his opus 1 was Eight himself composing, as he puts it, reminds us that the ‘Eternal feminine Scenes from ‘Faust’. This work, on 'with an ease such as I have very draws us ever on’. But with Berlioz’s which he drew for LaDamnation rarely experienced with any of my La Damnation de Faust we are some 18 years later, contained other works. I wrote it where and again in a state of some ambiguity. Marguerite’s ‘Ballad’ and Romance, when I could: in coaches, in trains, We know, from the title alone, that Mephistopheles’ Serenade and on steamboats, even in the towns Faust hasn’t got a chance, though ‘Song of the Flea’, the ‘Song of the I visited (this despite all the various just why he is damned remains Rat’, an early version of the Sylphs’ responsibilities that my concerts something of a mystery for much

10 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT ABOUT THE MUSIC

‘Berlioz...and the character of Mephistopheles, the devil, have two great things in common: a vast imagination and a sense of unbounded mischief that means breaking all the rules..’ THE INDEPENDENT (UK)

of the piece. He commits the Part Two Rhin!, ‘More drink! Some wine! Some sins of despair and, presumably, After the epic sweep of the Rhenish!’). To entertain his friends, fornication, but the cause of his Hungarian plains we find ourselves Brander (bass) sings the mock-tragic damnation is paradoxically a result in the confines of Faust’s study ‘Song of a Rat’ which concludes of his attempt to save Marguerite. in Northern Germany, where he with one of Berlioz’s favourite laments that in fact neither the open objects of musical scorn, the fugue Part One spaces nor his return home has given here setting the ironic ‘Amen’ after In the first of the four parts that him any joy (Sans regrets j’ai quitté the rat’s death. Mephistopheles constitute La Damnation de Faust les riantes campagnes, ‘Without responds with the comic ‘Song of we find Faust (tenor) alone on regret I left the smiling countryside’). the flea’. After another orchestral the plains of Hungary, a classic He is about to take poison, when the interlude describing a flight through candidate for anomic suicide. He sound of the Easter hymn (Scene the air, Scene 7 takes us to the banks extols the beauty of the countryside 4) reaches him from outside. As the of the Elbe where Mephistopheles in spring (Le vieil hiver a fait place chorus sings of the atonement of lulls Faust to sleep with promise of au printemps, ‘Old winter has made humanity by Christ’s death, Faust dreams of ‘divine utterance’ (Voici way for spring’) and muses on the is plunged into reminiscences of des roses, ‘Here are roses’). As Faust joys of utter solitude. In Scene 2 he is childhood innocence, and not sleeps he dreams of a chorus of interrupted by the distant sounds of without ambivalence declares that gnomes and sylphs, who, along a peasant dance and chorus (Les heaven has won him back. with Mephistopheles, promise him bergers quittent leurs troupeaux, that a beautiful girl will love him. Scene 5 introduces Mephistopheles ‘The shepherds leave their flocks’). Enthralled by a vision of Marguerite, (baritone) with a characteristic Berlioz quipped once that ‘where Faust (led by Mephistopheles) falls motive for muted brass, and the one ordinary voice is detestable, fifty in with a noisy throng of soldiers sarcastic observation that Faust ordinary voices can be ravishing’, (Villes entourées) and students (Iam has been charmed by ‘the pious and this chorus, with its innocent nox stellata), both singing of the pealing of silver bells’ (Ô pure bawdiness, has an energetic charm. pleasures of seduction. They will, emotion, ‘Oh innocent emotion’). Not, however, for Faust, whose Mephistopheles tells him, be passing Mephistopheles, describing himself complete alienation is intensified by Marguerite’s door. as the ‘Spirit of Life and consoler first by the peasant merrymaking, of men’, recommends a change and then again in Scene 3 by the of air and offers Faust ‘everything’. sounds – distantly heard at first – of Interestingly though, Mephistopheles the approaching Hungarian army doesn’t at this point ask for Faust’s marching to war and glory to the soul, but Faust consents to follow sound of the Rákóczi March. him and they vanish into the air. After a classic piece of Berlioz tone painting, Faust and Mephistopheles reappear in Auerbach’s Cellar in Leipzig, where a chorus of drinkers is in full cry (À boire encor! Du vin du

BERLIOZ’S THE DAMNATION OF FAUST 11 ABOUT THE MUSIC

Johann Wolfgang von Goethe

Part Three Part Four Gordon Kerry © 1998 The scene is Marguerite’s chamber Marguerite’s opening Romance The first complete performance of La where Mephistopheles hides Faust (D’amour l’ardente flame, ‘Love’s damnation de Faust by the Melbourne behind a curtain and disappears burning flame’) expresses her Symphony Orchestra took place on before Marguerite (mezzo-soprano) overwhelming love for Faust and 30 May 1957 under the direction of enters. She too has dreamed of her torment at his absence, against Enrique Jorda. The MSO’s most recent Faust (Que l’air est étouffant, ‘How fragmentary reminiscence of performance, conducted by Yan Pascal heavy is the air’) and as she braids soldiers’ and students’ songs in the Tortelier, was on 19 and 21 October 1995 her hair, sings the Ballad of the King background. Faust, meanwhile, in a and featured Françoise Pollet, John Aler, of Thule, a ‘Gothic’ story of marital landscape of forests and caves sings Kristinn Sigmundsson, David Hibbard, the love and fidelity. The scene shifts to his celebrated Invocation to Nature Melbourne Chorale and the National Mephistopheles’ evocation of the in which he again confesses to Boys Choir of Australia. spirits of the air (Esprits des flammes pathological ennui. Mephistopheles inconstantes, ‘Spirits of fickle flame’), arrives to tell him that Marguerite where he calls on their help to lead has been arrested for the murder Marguerite into sin. They respond of her mother – by a soporific, by dancing a minuet and looking which he claims Faust gave her. forward with energetic malice to the Mephistopheles says he can still downfall of Faust and Marguerite. save Marguerite, if only Faust will We return to Marguerite’s chamber, sign away his soul on this piece of where she and Faust declare parchment. their love for each other in a Faust is now damned, though he ravishing duet. They are, however, thinks the frenzied ride he now interrupted by the sudden arrival of makes with Mephistopheles is to save Mephistopheles who warns them Marguerite when in fact it carries that a crowd of angry neighbours is him to the abyss against a backdrop on its way, and will alert Marguerite’s of praying peasants and dancing mother to the fact that she has skeletons. In Pandaemonium the a strange man (not to mention a devils sing ‘in infernal language’ devil) in her room. In a splendidly of Mephistopheles’ victory, while a operatic trio, Faust and Marguerite chorus on earth describes hell falling sing of their new-found happiness, silent while a ‘frightful mystery’ is while Mephistopheles gloats over his observed. Finally, Marguerite’s soul is imminent victory. The chorus enters, taken up into heaven, where choirs singing sardonically to the mother, of angels sing quietly of her regained concluding Part Three in general innocence, and forgiveness for tumult. having loved not wisely but too well.

12 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis Harold Mitchell AC Chief Conductor Chair Diego Matheuz Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair FIRST VIOLINS Cong Gu Sarah Morse CLARINETS William Evans Dale Barltrop Andrew Hall Angela Sargeant David Thomas Julie Payne Concertmaster Francesca Hiew Michelle Wood Principal TROMBONES Eoin Andersen Rachel Homburg Rachel Atkinson* Philip Arkinstall Brett Kelly Concertmaster Christine Johnson Associate Principal DOUBLE BASSES Principal Sophie Rowell Isy Wasserman Craig Hill Steve Reeves Robert Collins* Associate Concertmaster Philippa West Principal BASS CLARINET Peter Edwards Patrick Wong BASS TROMBONE Andrew Moon Jon Craven Assistant Principal Roger Young Mike Szabo Associate Principal Principal Kirsty Bremner Edward Antonov* Principal Sylvia Hosking MSO Friends Chair BASSOONS VIOLAS Assistant Principal TUBA Sarah Curro Jack Schiller Kyle Armbrust* Damien Eckersley Timothy Buzbee Peter Fellin Principal Guest Principal Benjamin Hanlon Principal Deborah Goodall Lyndon Watts* Fiona Sargeant Suzanne Lee Lorraine Hook Guest Principal TIMPANI Associate Principal Stephen Newton Robert John Elise Millman Christine Turpin Lauren Brigden Emma Sullivan* Kirstin Kenny Associate Principal Principal Katharine Brockman Ji Won Kim FLUTES Natasha Thomas Lai Tak Chun* Christopher Cartlidge Eleanor Mancini Prudence Davis Simon Collins CONTRABASSOON PERCUSSION Anne Martonyi Principal Flute Chair Gabrielle Halloran Brock Imison Robert Clarke Mark Mogilevski (Anonymous) Trevor Jones Principal Principal Michelle Ruffolo Wendy Clarke Cindy Watkin John Arcaro Kathryn Taylor Associate Principal HORNS Caleb Wright Robert Cossom Jenny Khafagi* Sarah Beggs Zora Slokar Ceridwen Davies* Evan Pritchard* Oksana Thompson* PICCOLO Principal Simon Oswell* Andrew Macleod Geoff Lierse HARP SECOND VIOLINS Isabel Morse* Principal Associate Principal Yinuo Mu Matthew Tomkins CELLOS Saul Lewis Principal The Gross Foundation OBOES David Berlin Principal Third Alannah Guthrie-Jones* Principal Second Jeffrey Crellin MS Newman Family Jenna Breen Violin Chair Principal Principal Cello Chair Abbey Edlin *guest musician Robert Macindoe Ann Blackburn Rachael Tobin Trinette McClimont Associate Principal Associate Principal COR ANGLAIS Monica Curro TRUMPETS Nicholas Bochner Michael Pisani Assistant Principal Geoffrey Payne Assistant Principal Principal Mary Allison Principal Miranda Brockman Işin Cakmakçioğlu Shane Hooton Rohan de Korte Freya Franzen Associate Principal Keith Johnson MANAGEMENT

BOARD Leonie Woolnough OPERATIONS Kieran Clarke Rosemary Kellam Harold Mitchell AC Financial Controller Gabrielle Waters Digital Manager Trusts and Foundations Chairman Phil Noone Director of Operations Nina Dubecki Manager André Gremillet Accountant Angela Bristow Front of House Supervisor Ben Lee Managing Director Nathalia Andries Orchestra Manager James Rewell Philanthropy Executive Michael Ullmer Finance Officer James Foster Graphic Designer Michelle Monaghan Deputy Chair Operations Manager Chloe Schnell Corporate Development Andrew Dyer ARTISTIC James Poole Marketing Coordinator Manager Danny Gorog Ronald Vermeulen Production Coordinator Beata Lukasiak James Ralston David Krasnostein Director of Artistic Alastair McKean Marketing Coordinator Corporate Development David Li Planning Orchestra Librarian Stella Barber and Events Coordinator Alastair McKean Andrew Pogson Kathryn O’Brien Consultant Historian Ann Peacock Special Projects Manager Assistant Librarian Claire Hayes Helen Silver Laura Holian Michael Stevens Ticket and Database Kee Wong Artistic Coordinator Assistant Orchestra Manager Jonathan Manager Paul Congdon COMPANY Grieves-Smith Stephen McAllan Box Office Supervisor SECRETARY Chorus Master Artist Liaison Jennifer Broadhurst Oliver Carton Helena Balazs Lucy Rash Ticketing Coordinator EXECUTIVE Chorus Coordinator Operations Coordinator Angela Lang Customer Service André Gremillet MARKETING EDUCATION AND Coordinator Managing Director Alice Wilkinson COMMUNITY Chelsie Jones Julia Bryndzia Director of Marketing ENGAGEMENT Customer Service Officer Executive Assistant Jennifer Poller Bronwyn Lobb Marketing Manager Director of Education DEVELOPMENT HUMAN RESOURCES Megan Sloley and Community Leith Brooke Vikki Kimberlee Marketing Manager Engagement Director of Development Human Resources Danielle Poulos Lucy Bardoel Arturs Ezergailis Manager Communications Education Assistant Philanthropy Coordinator Manager Lucy Rash Jessica Frean BUSINESS Ali Webb Pizzicato Effect MSO Foundation Natalya Jurcheshin PR Manager Coordinator Manager Chief Financial Officer Kate Eichler Raelene King Publicity and Online Personnel Manager Engagement Coordinator

BERLIOZ’S THE DAMNATION OF FAUST 13 THANKS TO OUR WONDERFUL MSO SUPPORTERS

The MSO relies on your ongoing philanthropic support to sustain access, artists, education, community engagement programs and more. We invite our supporters to get close to the MSO through a range of special events and supporter newsletter The Full Score. The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $100 (Friend), $1,000 (Player), $2,500 (Associate), $5,000 (Principal), $10,000 (Maestro), $20,000 (Impresario), $50,000 (Benefactor) The MSO Conductor’s Circle is our bequest program for members who have notified of a planned gift in their Will. Enquiries please phone +61 (03) 9626 1248 or email us at [email protected] This honour roll is correct at time of printing.

ARTIST CHAIR BENEFACTORS Andrew and Theresa Dyer Mrs S Bignell Harold Mitchell AC Future Kids Pty Ltd Stephen and Caroline Brain Chief Conductor Chair Robert & Jan Green Mr John Brockman OAM and Mrs Pat Patricia Riordan Konfir Kabo and Monica Lim Brockman Associate Conductor Chair Norman and Betty Lees Leith Brooke Joy Selby Smith Mimie MacLaren Rhonda Burchmore Orchestral Leadership Chair Ian and Jeannie Paterson Bill and Sandra Burdett Marc Besen AC and Eva Besen AO Onbass Foundation Phillip and Susan Carthew and children International Guest Chair Peter and Natalie Schiavello Oliver Carton MSO Friends Chair Glenn Sedgwick John and Lyn Coppock The Gross Foundation Miss Ann Darby in memory of Leslie J. Darby Principal Second Violin Chair Maria Solà, in memory of Malcolm Douglas Mary and Frederick Davidson AM MS Newman Family The Gabriela and George Stephenson Gift, Principal Cello Chair in tribute to the great Romanian pianist Dinu Lauraine Diggins and Michael Blanche Lipati Principal Flute Chair – Anonymous Peter and Leila Doyle Lyn Williams AM Lisa Dwyer and Dr Ian Dickson PROGRAM BENEFACTORS Kee Wong and Wai Tang Dr Helen M Ferguson Meet The Music Anonymous (1) Mr Bill Fleming Made possible by The Ullmer Family Dina and Ron Goldschlager Foundation PRINCIPAL PATRONS $5,000+ Colin Golvan SC and Dr Deborah Golvan East meets West John and Mary Barlow Charles and Cornelia Goode Supported by the Li Family Trust Peter Biggs CNZM and Mary Biggs Michael and Susie Hamson The Pizzicato Effect (Anonymous) Lino and Di Bresciani OAM Susan and Gary Hearst MSO UPBEAT David and Emma Capponi Gillian and Michael Hund Supported by Betty Amsden OAM Paul Carter and Jennifer Bingham Rosemary and James Jacoby MSO CONNECT Tim and Lyn Edward John and Joan Jones Supported by Jason Yeap OAM John and Diana Frew Connie and Craig Kimberley Jill and Robert Grogan BENEFACTOR PATRONS $50,000+ Sylvia Lavelle Louis J Hamon OAM Phillip Bacon AM Ann and George Littlewood Nereda Hanlon and Michael Hanlon AM Marc Besen AC and Eva Besen AO Allan and Evelyn McLaren Hartmut and Ruth Hofmann Jennifer Brukner Don and Anne Meadows Jenny and Peter Hordern Rachel and Hon. Alan Goldberg AO QC Bruce Parncutt and Robin Campbell Margaret Jackson AC The Gross Foundation Ann Peacock with Andrew and Woody Jenkins Family Foundation David and Angela Li Kroger Ilma Kelson Music Foundation Annette Maluish Sue and Barry Peake Vivien and Graham Knowles Harold Mitchell AC Mrs W Peart David Krasnostein and Pat Stragalinos MS Newman Family Ruth and Ralph Renard Elizabeth Kraus in memory of Bryan Hobbs Roslyn Packer AO Max and Jill Schultz Dr Geraldine Lazarus and Mr Greg Gailey Mrs Margaret S Ross AM and Dr Ian Ross Diana and Brian Snape AM Dr Elizabeth A Lewis AM Joy Selby Smith Mr Tam Vu and Dr Cherilyn Tillman Mr Greig Gailey and Dr Geraldine Lazarus Ullmer Family Foundation William and Jenny Ullmer Peter Lovell Bert and Ila Vanrenen IMPRESARIO PATRONS $20,000+ The Cuming Bequest Brian and Helena Worsfold Betty Amsden OAM Mr and Mrs D R Meagher Anonymous (10) Perri Cutten and Jo Daniell Wayne and Penny Morgan Susan Fry and Don Fry AO Marie Morton FRSA PLAYER PATRONS $1,000+ John McKay and Lois McKay Dr Paul Nisselle AM Anita and Graham Anderson, Christine and Mark Armour, Arnold Bloch Leibler, David Elizabeth Proust AO Stephen Shanasy and Beverlie Asprey, Marlyn and Peter Rae Rothfield Gai and David Taylor Bancroft OAM, Adrienne Basser, Prof Inés Scotland the Hon. Michael Watt QC and Cecilie Hall Weston Bate and Janice Bate, Bill Bowness, Trevor and Judith St Baker Barbara and Donald Weir Michael F Boyt, M Ward Breheny, John Jason Yeap OAM Anonymous (3) Brockman OAM and Mrs Pat Brockman, Susie Brown, Jill and Christopher Buckley, MAESTRO PATRONS $10,000+ ASSOCIATE PATRONS $2,500+ Dr Lynda Campbell, Sir Roderick Carnegie Michael Aquilina Dr Bronte Adams AC, Andrew and Pamela Crockett, Natasha Kaye and David Birks Pierce Armstrong Foundation Davies, Pat and Bruce Davis, Merrowyn Mitchell Chipman Will and Dorothy Bailey Bequest Deacon, Sandra Dent, Dominic and Natalie Dirupo, John and Anne Duncan, Jane Jan and Peter Clark Barbara Bell in memory of Elsa Bell

14 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT THANKS TO OUR WONDERFUL MSO SUPPORTERS

Edmanson OAM, Kay Ehrenberg, Gabrielle P & E Turner, Mary Vallentine AO, The Hon. CONDUCTOR’S CIRCLE Eisen, Vivien and Jack Fajgenbaum, Grant Rosemary Varty, Leon and Sandra Velik, Sue Current Conductor’s Circle Members: Fisher and Helen Bird, Mr William J Forrest Walker AM, Elaine Walters OAM and Gregory Jenny Anderson, Lesley Bawden, Joyce AM, Barry Fradkin OAM and Dr Pam Fradkin, Walters, Janet Whiting and Phil Lukies, Nic Bown, Mrs Jenny Brukner and the late David Gibbs and Susie O’Neill, Merwyn and Ann Willcock, Marian and Terry Wills Mr John Brukner, Ken Bullen, Luci and Ron and Greta Goldblatt, George Golvan QC Cooke, Pamela F Wilson, Joanne Wolff, Chambers, Sandra Dent, Lyn Edward, Alan and Naomi Golvan, Charles and Cornelia Peter and Susan Yates, YMF Australia, Mark Egan JP, Louis Hamon OAM, Tony Howe, Goode, Dr Marged Goode, Danny Gorog Young, Panch Das and Laurel Young-Das, John and Mrs Joan Jones, Sylvia Lavelle, and Lindy Susskind, Louise Gourlay OAM, Anonymous (21) Cameron Mowat, Laurence O'Keefe Ginette and André Gremillet. Dr Sandra THE MAHLER SYNDICATE and Christopher James, Elizabeth Proust Hacker AO and Mr Ian Kennedy AM. Jean AO, Penny Rawlins, Joan P Robinson, Neil Hadges. Paula Hansky OAM and Jack David and Kaye Birks, Jennifer Brukner, Mary and Frederick Davidson AM, Tim and Roussac, Anne Roussac-Hoyne, Jennifer Hansky AM, Tilda and Brian Haughney, Shepherd, Pamela Swansson, Lillian Tarry, Julian and Gisela Heinze, Henkell Family Lyn Edward, John and Diana Frew, Louis Hamon OAM, The Hon Dr Barry Jones AC, Dr Cherilyn Tillman, Mr and Mrs R P Fund, Penelope Hughes, Dr Alastair Jackson, Trebilcock, Michael Ullmer, Mr Tam Vu, Stuart Jennings, George and Grace Kass, Dr Paul Nisselle AM, Maria Solà in memory of Malcolm Douglas, The Hon Michael Watt QC Marian and Terry Wills Cooke, Mark Young, Irene Kearsey, Dr Anne Kennedy, Lew Anonymous (22) Foundation, Norman Lewis in memory of Dr and Cecilie Hall, Anonymous (1) Phyllis Lewis, Dr Anne Lierse, Violet and Jeff THE MSO GRATEFULLY ACKNOWLEDGES THE FOUNDATIONS AND TRUSTS Loewenstein, The Hon Ian Macphee AO SUPPORT RECEIVED FROM THE ESTATES OF: The Annie Danks Trust and Mrs Julie Mcphee , Elizabeth H Loftus, Angela Beagley, Gwen Hunt, Pauline Vivienne Hadj and Rosemary Madden In Collier Charitable Fund Marie Johnston, C P Kemp, Peter Forbes memory of Leigh Masel in honour of Norma Creative Partnerships Australia MacLaren, Prof Andrew McCredie, Miss and Lloyd Rees, Trevor and Moyra McAllister, The Cybec Foundation Sheila Scotter AM MBE, Molly Stephens, H E McKenzie, David Menzies, Jan Minchin, The Harold Mitchell Foundation Jean Tweedie, Herta and Fred B Vogel, John and Isobel Morgan, Ian Morrey, Helen Macpherson Smith Trust Dorothy Wood The Novy Family, Laurence O’Keefe and Christopher James, Graham and Christine Ivor Ronald Evans Foundation, managed by HONORARY APPOINTMENTS Peirson, Andrew Penn and Kallie Blauhorn , Equity Trustees Limited and Mr Russell Brown Mrs Elizabeth Chernov John and Betty Pizzey, Lady Potter AC, Ken & Asle Chilton Trust, managed by Education and Community Engagement Peter Priest, Jiaxing Qin, Eli Raskin, Peter and Perpetual Patron Carolyn Rendit, Dr Rosemary Ayton and Dr Linnell/Hughes Trust, managed by Perpetual Sir Elton John CBE Sam Ricketson, Joan P Robinson, Tom and The Marian and EH Flack Trust Life Member Elizabeth Romanowski, Delina Schembri- The Perpetual Foundation – Alan (AGL) The Honourable Alan Goldberg AO QC Hardy, Jeffrey Sher, Dr Sam Smorgon AO Shaw Endowment, managed by Perpetual Life Member and Mrs Minnie Smorgon, Dr Norman and The Pratt Foundation Geoffrey Rush AC Dr Sue Sonenberg, Dr Michael Soon, Geoff The Robert Salzer Foundation Ambassador and Judy Steinicke, Mrs Suzy and Dr Mark Suss, Pamela Swansson, Dr Adrian Thomas, The Schapper Family Foundation Frank and Miriam Tisher, Margaret Tritsch, The Scobie and Claire Mackinnon Trust

PRINCIPAL PARTNER

MAESTRO PARTNERS

ASSOCIATE PARTNERS

SUPPORTING PARTNERS Elenberg Fraser Future Alpha Investment Golden Age Group Naomi Milgrom Foundation Fed Square (a unit of the Tong Eng Group) Kabo Lawyers PwC Flowers Vasette Future Kids Linda Britten UAG Universal

GOVERNMENT PARTNERS MEDIA PARTNER This is an ad for the MSO’s recreation of Beethoven’s 1808 Vienna concert. This ad did not take 10 years and several mental breakdowns to create, nor did it require over 100 people to produce. This ad will not be talked about, let alone re-created, in 207 years time.

Beethoven: The 1808 Vienna Concert The concert that premiered six of the most influential works in music history.

Saturday 2 May from 5pm Arts Centre Melbourne, Hamer Hall

5pm – 6.15pm 7.30pm – 8.45pm 9.30pm – 10.15pm Symphony No.6 Pastoral Piano Concerto No.4 Mass in C: Sanctus and Benedictus Ah! perfido Symphony No.5 Fantasia for Piano Mass in C: Gloria Choral Fantasy

Food and beverage packages will be available.

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