MONTEVERDI & BACH

LAUGHTER , TEARS, VENGEANCE

ONE WOMAN. THREE EMOTIONAL TALES. A DRAMATICALLY STAGED PERFORMANCE. B i t t e r s w e e t O b s e s s i o n s B i t t e r s w e e t O b s e s s i o n s

Australian Brandenburg Orchestra

LAMENTO DELLA NINFA CAST Music Natasha Wilson Soprano (New Zealand) Libretto Ottavio Rinuccini Ninfa, Clorinda, Lieschen Karim Sulayman Tenor (USA) Shepherd 1, Testo/Narrator, Narrator IL COMBATTIMENTO DI TANCREDI E CLORINDA Jakob Bloch Jespersen Baritone (Denmark) Music Claudio Monteverdi Shepherd 3, Tancredi, Schlendrian Libretto Torquato Tasso Spencer Darby Tenor (Australia) Shepherd 2 Melanie Lindenthal Aikido Performer COFFEE CANTATA From wealth and financial advice, Andrew Sunter Aikido Performer to home loans and business banking, Music Macquarie is the smart choice for all Libretto Christian Friedrich Henrici of your banking and financial needs. ARTISTIC TEAM Paul Dyer AO Artistic Director, Conductor PROGRAM Constantine Costi Director Scene 1 Charlotte Mungomery Set Designer Kapsberger Toccata arpeggiata Genevieve Graham Costume Designer Monteverdi Lamento della ninfa John Rayment Lighting Designer

Scene 2 The duration of this concert is approximately 2 hours Falconieri Ciaccona including interval. Monteverdi Overture to Il ritorno d’Ulisse in patria Monteverdi Il combattimento di Tancredi e Clorinda Sung in Italian and German with English surtitles. Trabaci Consonanze stravaganti We kindly request that you switch off all electronic devices during the performance. macquarie.com INTERVAL This concert series is proudly supported by the Scene 3 Brandenburg Opera Circle. Bach Brandenburg Concerto No. 4, BWV 1049 (first movement) Bach Coffee Cantata, BWV 211

1 ARTISTIC POWER IN DIRECTOR' S PARTNERSHIPS MESSAGE

A close group of my mates and I have a regular ritual Macquarie Group is delighted to welcome you to Bittersweet Obsessions: of cooking together followed by a movie or TV series Monteverdi & Bach. at home. It could be science fiction, action, comedy or drama and often compressed into a couple This concert series marks an exciting departure from the Brandenburg’s usual of hours of entertainment. These exaggerated, performance style. The three stories in Bittersweet Obsessions are heightened and emotional tales, so it is fitting that Paul Dyer and his team have created a rich and heightened stories let our imaginations fly and often dramatic staged experience for us to enjoy this thrilling program. expose our fears and insecurities, as well as our Starring in three roles: Monteverdi’s Nymph; the dreams and desires. Harry Potter is a pure example warrior maiden Clorinda; and the coffee-obsessed Throughout history, the arts have been an important vehicle for people to record of this wonderment. There is something deeply Lieschen; is the beautiful New Zealand soprano, significant events, reflect on society and keep stories alive for future generations to compelling about settling down in a darkened room Natasha Wilson. Natasha is joined by brilliant learn from. The Brandenburg is renowned for presenting historically informed music and disappearing into another world for a couple tenors Karim Sulayman (USA) and Spencer Darby performance in a way that resonates with today’s audiences, and this concert series of hours. It is no wonder that millions of Australians (Australia), and powerful baritone Jakob Bloch is a perfect demonstration. Bittersweet Obsessions brings a contemporary twist to tuned in to smash hit series Game of Thrones. Jespersen (Denmark). emotional stories that transcend time and place, reminding us of the significance of the past and our place in it. Compelling drama with amazing costumes, beautiful Bittersweet Obsessions: Monteverdi & Bach is design, and breathtaking music has always captured a project that has been in my mind for several years Macquarie is proud to announce that we have recently renewed our Principal Partnership with the Brandenburg for a further three years. This partnership is an human imagination. The story could be ancient or and I am thrilled to bring it to life in this 2017 season. important part of our investment to the advancement of arts and culture in Australia, modern, but the feelings and sentiments explored This year marks 450 years since the birth of Claudio and we look forward to a partnership of continued growth, delivering bold visions, are almost always timeless. Monteverdi in Cremona, Italy on the 15th of May 1567. This pivotal figure bridged the renaissance and celebrating the Orchestra's milestone 30th anniversary in 2019. and baroque periods and had a profound impact Our tale tonight is about a woman: her passions, Brandenburg’s dedication to delivering innovative artistic triumphs, and on musical history and the development of opera. obsessions and her sadness. The score is Claudio Macquarie’s commitment to supporting these, is what empowers our partnership. A dramatic theatrical production such as this is Monteverdi, the great master of music and text The orchestra continues to broaden its reach each year – through touring widely, along with Johann Sebastian Bach, the genius of the a tremendous undertaking both logistically and introducing baroque music to new audiences, and inspiring emerging artists. financially, and my hat goes off to the whole baroque. Both men had a keen eye for drama. Together we will continue to celebrate creativity and culture, to sustain vibrant local Brandenburg team. communities and economies. I have assembled an exceptional creative team, I hope you enjoy this stunning homage to the great led by Constantine Costi who directed Handel’s I hope you enjoy this performance and I look forward to welcoming you again at Claudio Monteverdi and Johann Sebastian Bach. Messiah earlier this year, to produce our drama future Brandenburg concerts. tonight. Con and his dynamic creative team featuring two recent NIDA graduates have imagined three compelling worlds in which the story unfolds. This music is bold and brave and the tales told are as relevant today as they were many centuries ago. Paul Dyer AO Bill Marynissen 2 Artistic Director Head of Wealth Management 3 W O R K I N G IN HARMONY

Accenture is proud to support the Australian Brandenburg Orchestra as Series Partner of Bittersweet Obsessions: Monteverdi & Bach.

Since 2014, Accenture and the Brandenburg have collaborated on developing the Brandenburg’s presence in the digital space. Together we will continue to enhance the way people experience Brandenburg performances, and devise new ways to PAUL DYER reach wider audiences of all ages and backgrounds. These initiatives aim to provide enriched experiences and a deeper understanding of the inspired visions that ARTISTIC DIRECTOR Artistic Director Paul Dyer brings to baroque music.

Paul Dyer is one of Australia’s leading Marc Destrubé, Christoph Prégardien, Hidemi Accenture applauds this concert series for engaging a number of creative talents specialists in period performance. He Suzuki, Manfredo Kraemer, Andrew Manze, Yvonne at the early stage of their careers, including soloists, directors and designers. co-founded the Brandenburg in 1990 after Kenny, Emma Kirkby, Philippe Jaroussky and Providing professional opportunities for young talent in Australia is essential to completing postgraduate studies at the Royal many others. In 1998 he made his debut in Tokyo this country’s cultural future. This approach will shine new perspectives onto Conservatorium in The Hague, and has been with countertenor Derek Lee Ragin, leading an well-known works, and ensure the performance is accessible to a whole new Artistic Director and conductor since that time. ensemble of Brandenburg soloists, and in August generation of audiences. Paul is a performing artist comfortable in his 2001 Paul toured the orchestra to Europe with guest unique music arena – whether working in ancient soloist Andreas Scholl, and recently featured in the We hope you will join us in enjoying this orchestral experience. music, contemporary music, opera, with artists soundtrack of the James Bond 007 movie, Spectre. such as circus performers, contemporary dance, or visual art. His busy performing schedule in A passionate cook, entertainer, foodie, teacher, Europe, Asia, the USA and Canada over the swimmer, traveller, he is friends with people and artists years has synchronised perfectly alongside his from Istanbul to India and Japan to Italy creating a David Mann bold stage work in Australia. unique platform for overseas performing artists to Managing Director work with him and the Brandenburg in Australia. Accenture Paul is an inspiring teacher and has been a staff member at various Conservatories throughout the Among his list of many awards and medals, world. In 1995 he received a Churchill Fellowship Paul was awarded the Officer of the Order of and he has won numerous international and Australia (AO) for his ‘distinguished service to the national awards for his CD recordings with the performing arts in Australia’. Paul is Patron of St Australian Brandenburg Orchestra and Choir, Gabriel’s School for Hearing Impaired Children. In including the 1998, 2001, 2005, 2009 and 2010 2003 Paul was awarded the Australian Centenary ARIA Awards for Best Classical Album. Medal for his services to Australian society and the advancement of music. In 2010 Paul was Paul has performed with many international awarded the Sydney University Alumni Medal for 4 soloists including Andreas Scholl, Cyndia Sieden, Professional Achievement. 5 DIRECTOR' S DATES& NOTE TIMES

Constantine Costi To capture the unique flavour of each scene, Sydney, Charlotte Mungomery (set design), Genevieve October – November 2017 To express something new, Monteverdi looked to Graham (costume design) and John Rayment the past. (lighting design) have created three visually distinct worlds. What unites them is the passionate journey Sydney In the third book of The Republic Plato writes, of one woman. City Recital Hall “Take that harmony that would fittingly imitate Wednesday 25 October at 7pm the utterances of a brave man who is engaged The artistry, insight, and flair of Paul Dyer and the in warfare”. In other words: fuse the action to the Brandenburg team have made the process of Friday 27 October at 7pm music, and the music to the action. bringing this journey to life a distinct joy. Saturday 28 October at 2pm Saturday 28 October at 7pm Upon reading this, Monteverdi was inspired. He The first thing you see on stage tonight is a painted Tuesday 31 October at 7pm developed his stile concitato, or agitated style, backdrop version of Claude Lorrain’s Ascanius which you will hear tonight In Il combattimento di Shooting the Stag of Sylvia – his last work painted Wednesday 1 November at 7pm Tancredi e Clorinda. His music conveys specific for the Roman prince, Lorenzo Colonna in 1682. sounds of war – horses galloping, swords clashing and even the heavy breathing of exhausted lovers The starting point of tonight’s concert is a baroque Melbourne engaged in battle. pastoral, and we will conclude in a modern day Melbourne Recital Centre café. Finding ourselves in these pieces of then and Saturday 4 November at 7pm In the context of 17th-century musical norms, now – being heartbroken, fighting against love, Sunday 5 November at 5pm this cohesive approach to operatic scena was and breaking free. groundbreaking and injected his work with a spirit of burning immediacy.

We too have delved into the past to invigorate our staging. Tonight we present a dramatically staged concert centring around three scenes.

Monteverdi looked to Plato’s assertion that there are three humours that compose a human being: Reflective – seen tonight in a woman’s pensive sadness in Lamento della Nympha. Spirited – Clorinda’s heated and tragic romance in Il combattimento di Tancredi e Clorinda. Appetitive – Lieschen’s insatiable caffeine-mad rebellion in Bach’s Coffee Cantata.

Costume design sketch of 6 La Ninfa by Genevieve Graham 7 THE CREATIVE TEAM

Constantine Costi – Director Genevieve Graham – Costume Designer Charlotte Mungomery – Set Designer John Rayment – Lighting Designer

In 2016 Constantine directed Suor Angelica by As an artist, Genevieve has always been fuelled by Charlotte’s practice investigates the boundaries : Includes Two Weddings, One Puccini (Opera Projects Sydney) and co-wrote an her immense appreciation of zeitgeist in culture, which between theatre, film and visual art. She also Bride, Handa Opera on Sydney Harbour: La immersive theatre experience for Sydney’s Vivid feeds into her skills of combining and utilising different likes talking to strangers. Charlotte is a recent Traviata and ; La Bohème, Salome, Das Festival called Visiting Hours. Constantine was pastiche to highlight the humanity in her work. graduate of the Design for Performance BFA Rheingold, Die Walküre, Norma, The Mikado, co-assistant director on Turandot (dir. Chen at NIDA and is currently completing an MFA in Aida, The Little Mermaid, The Trojans Parts 1 & Shi-Zheng) for Opera Australia’s Handa Opera on In 2013 her artwork ‘All The World’s a Stage’ was Design at NIDA. Prior to NIDA, Charlotte studied 2, Orpheus in the Underworld, Lulu; The Life and Sydney Harbour. He is also directed The Space exhibited in the Art Gallery of New South Wales as Theatre and Fine Art at the Queensland Academy Adventures of Nicholas Nickleby (OA & STC). Between the Fuel and the Fire by Laura Lethlean, at part of Art Express. In the same year her costume of Creative Industries where she received a CIVA: the National Institute of Dramatic Art, and Puccini’s designs for ‘Cyrano de Bergerac’ were exhibited in Creative Innovation Vision Award, for her multi- Other Companies: Don Carlos (VSO); Lady Il Tabarro at Alfie’s Warehouse Theatre Sydney. the 2013 Onstage exhibition. disciplinary art-making approach. of Mtsensk, Salome, La Bohème Constantine also assisted Sir David McVicar at the (SOSA); Sleeping Beauty, Cinderella, Red Earth on Verdi’s Falstaff. Whilst studying at NIDA, Genevieve has designed She has created and designed for Charlie (2013, (The Australian Ballet); The Nutcracker (ENB); two music videos as part of the Triple J Unearthed Brisbane Emerging Art Festival), Submerge (2013, Romeo and Juliet, The Nutcracker, The Wedding, In 2015 Constantine won The Berlin New Music project: ‘Gold’ (2015, Donatachi), and ‘I’ve Gotta Terra Nemo Theatre Company), The Lost Thing Salterello (RNZB); Poppy, Beauty and The Beast, Opera Award with The Opera Foundation Have You’ (2016, Fluir). Genevieve was also the (2013, Zen Zen Zo), and One of the Good Ones Berlin, The Protecting Veil, Synergy with Synergy, for Young Australians where he worked with Production Designer for 'A Clockwork Orange' as (2016, The Red Rattler). Her latest film work Free Radicals and Salome among some thirty Komische Oper Berlin’s assistant team on the part of the NIDA director's productions 2016 season. includes Production Design for the 2016 Tropfest designs for Sydney Dance Co; Mulan, Nutcracker premiere of Tchaikovsky’s Eugene Onegin, finalist short filmWhy Would I Lie, as well as two Magic (Shanghai City Entertainment Group); directed by Barrie Kosky. In 2016, Genevieve seconded on the set of music videos for Triple J Unearthed: Grow Up Opening and Closing Ceremonies, Sydney 2000 ‘Alien: Covenant’ by renowned director Ridley (2015, Nastaij), and Vampires (2016, Mid Ayr). Olympics; original conception & realisation of Other directing credits include The Canterbury Scott, assisting in both the art department and Hong Kong’s permanent cityscape display, A Tales by Chaucer, Young Artist’s Program wardrobe. She was also awarded the William Charlotte recently collaborated on an installation Symphony of Lights; the multi-award winning Showcase for Opera Australia, Thomas Arne’s Fletcher Foundation Grant for the development and Rats in the Walls, and performance work Tribes, Walking With Dinosaurs - Arena Spectacular; City The Sailor’s Return, The Shewing-Up of Blanco advancement of talented young Australian artists. at the Prague Quadrennial for Performance of Lights display (Brisbane Festival 2011, 2012, Posnet by GB Shaw, The Master and Margarita Design and Space. Her practice is driven by the 2013) and Debbie Allen’s Freeze Frame - 2013 after Bulgakov, The Merchant of Venice, and Genevieve completed her Bachelor of Fine Arts ephemeral quality of transient experiences; a (AUS), 2016 (USA). Accidental Death of an Anarchist by Dario Fo. (Design for Performance) in 2016, and is currently philosophy that feeds into her obsession with the undertaking her Masters of Fine Arts (Design For imperfect, the unpredictable, and the mundanity In 2013 Constantine completed a Graduate Performance). of day-to-day life. Diploma of Dramatic Art (Directing) at the National Institute of Dramatic Art. For Genevieve, a satisfying collaboration thrives in an environment that encourages fluidity between creative roles. 8 9 THE SOLOISTS

NATASHA WILSON KARIM SULAYMAN JAKOB BLOCH JESPERSEN SPENCER DARBY Soprano (New Zealand) Tenor (USA) Bass-Baritone (Denmark) Tenor (Australia) Natasha Wilson was born and raised in Auckland Karim Sulayman is consistently praised for his Bass-Baritone Jakob Bloch Jespersen acquired Spencer Darby has recently completed and is of Maori and European heritage. Natasha sensitive musicianship, vivid portrayals, and beautiful his initial musical education and interest in singing postgraduate vocal studies at the Sydney studied at the University of Auckland, graduating voice. With a vast repertoire that spans from the as a member of the Copenhagen Boy's Choir. This Conservatorium. Having initially studied as a with a BMus (Hons) majoring in classical vocal Renaissance to contemporary music, he has firmly led to his earning a diploma from the Royal Danish baritone, Spencer has spent the past five years performance with first class honours in 2016. established himself as a sophisticated and versatile Academy of Music and to further studies at the making the transition to the tenor voice, currently artist of his generation. Recent highlights include Opera Academy of the Royal Danish Theatre from under the guidance of Glenn Winslade. Natasha made her professional debut with New engagements at Lincoln Center, the Kennedy Center, where he made his debut in 2006. Zealand Opera in 2017, as a member of the Carnegie Hall, New York City Opera, Boston Lyric Spencer’s first musical love was the Lieder of company for their touring production of The Mikado. Opera, Chicago Opera Theater, Aldeburgh Festival In 2013 Jakob Bloch Jespersen received the Schubert, which formed the basis of his passion In 2016, Natasha was involved in workshops of Tim and Snape Proms, the Casals Festival, Aspen Music Danish Music Critic’s Choice award. Jakob Bloch for story telling in music. He has subsequently Finn's upcoming opera, Star Navigator, in the role Festival and the International Bach Festival. Jespersen is in demand as a concert singer excelled in roles from Gilbert and Sullivan to of Purea, also through NZ Opera. Other operatic throughout Europe, with a repertoire stretching Mozart, to Johann Strauss and beyond. His roles include Ilia: Idomeneo (University of Auckland, Mr Sulayman recently completed three seasons at the from the 17th to the 21st century. He has a passion for music is not restricted to a single ‘Opera Scenes’, 2015), Belinda: , Marlboro Music Festival collaborating with Mitsuko particular affinity for German Baroque music, era or composer though; he is equally at home : Rusalka (University of Auckland, ‘Opera Uchida and Richard Goode, and continues to focus on especially composers such as Buxtehude, Bach, performing early music or challenging new works. Scenes’, 2016). In May this year, Natasha made her championing vocal chamber music under the auspices and Händel of whom he has performed numerous Australian debut with the Australian Brandenburg of Philadelphia Chamber Music Society, Brooklyn cantatas and large-scale works with groups Aside from performing, Spencer is a committed Orchestra, in collaboration with C!RCA, in the Chamber Music Society, Cleveland ChamberFest, such as Trinity Baroque, Lautten Compagney, concertgoer, reader, writer, and teacher. In his 'Spanish Baroque' series, performing in Sydney, and earlier this season performed programs of French Barokkanerne, Barokksolistene, Leipziger spare time, he keeps fit doing yoga and playing Melbourne, and Brisbane. chamber works at the Roman River Festival in the UK. Kammerorchester, Concerto Copenhagen, indoor soccer, and he enjoys travel, cooking, In the 2016-2017 season, he debuted with Houston Dei Suonatori, and Nieuwe Philharmonie Utrecht. entertaining. Spencer performed as a soloist in the Natasha enjoys the support of the Kiri Te Kanawa Grand Opera as Albert in the world premiere of Laura Australian Brandenburg Orchestra’s 2016 Noël! Foundation as a member of their ‘Kiri programme’, Kaminsky’s Some Light Emerges. On the opera stage Jakob Bloch Jespersen has, Noël! concerts and ABC recording performing The a mentoring programme initiated by the foundation among others, sung roles of Angelotti in Puccini’s Luckiest by Ben Folds. His growing discography includes the title role in to foster the next generation of New Zealand's Tosca, The Magister in Carl Nielsen’s Masquerade, Handel’s Acis and Galatea, and two releases for operatic voices. Natasha also enjoys the support of and The Drunken Poet in Purcell’s The Fairy Queen NAXOS in works of Philidor and Grétry, as well as the the Dame Malvina Major Foundation, which most at The Royal Danish Theatre in Copenhagen, as release of Sephardic Journey with Apollo's Fire on AVIE recently sent her to Florence, Tuscany, to attend well as appearances with regional Danish opera which debuted at the Number 2 slot on the Billboard ‘Patricia’s Opera Tours’, where she performed in companies in roles such as Basilio in Rossini’s World Music Chart and Number 5 on the Classical concerts, both in Florence and Rome. The Barber in Seville, Masetto in Mozart’s Don Chart. He's also featured on the album of Jonathan Giovanni. Jakob's favourite coffee is the Australian Dawe's 21st-century chamber works, Piercing are the invention: a Flat White – Cortado being too strong, Darts, on the Furious Artisans label and on the future Latte too milky! EP release of Matt Frey's new chamber opera 111 10 Heavy with the ensemble Hotel Elefant. 11 BITTERSWEET AUSTRALIAN OBSESSIONS BRANDENBURG ORCHESTRA MONTEVERDI & BACH “…what stands out at concert after concert is the impression that this bunch of Paul Dyer AO Artistic Director, Conductor musicians is having a really good time. They look at each other and smile and laugh... there’s a warmth and sense of fun not often associated with classical performance.”

THE MUSICIANS ON PERIOD INSTRUMENTS SYDNEY MORNING HERALD

Baroque Violin Violone Theorbo / Baroque Guitar / The Australian Brandenburg Orchestra, led by Orchestra has been a member of the Major Shaun Lee-Chen, Perth Rob Nairn, Adelaide Gallichon charismatic Artistic Director Paul Dyer, celebrates Performing Arts Group, which comprises 28 Concertmaster* Tommie Andersson, Sydney* the music of the sixteenth, seventeenth and flagship national arts organisations supported by Matt Bruce, Sydney Baroque Flute / Recorder eighteenth centuries with excellence, flair and the Australia Council for the Arts. The Orchestra Associate Concertmaster* Melissa Farrow, Sydney* Harpsichord / Chamber Organ joy. Comprising leading specialists in informed began regular touring to Queensland in 2015. Ben Dollman, Adelaide* Paul Dyer, Sydney performance practice from all over Australia, Recorder the Brandenburg performs using original edition Since its beginning, the Brandenburg has been popular with both audiences and critics. In Baroque Mikaela Oberg, Sydney Baroque Harp scores and instruments of the period, breathing 1998 The Age proclaimed the Brandenburg Monique O'Dea, Sydney1 Hannah Lane, Melbourne fresh life and vitality into baroque and classical Lirone / Viola da gamba masterpieces – as though the music has just “had reached the ranks of the world’s best period instrument orchestras”. In 2010 the UK’s Baroque Cello Laura Vaughan, Melbourne Percussion sprung from the composer’s pen. Gramophone Magazine declared “the Australian Jamie Hey, Melbourne* Adam Cooper-Stanbury, Sydney The Orchestra’s name pays tribute to the Brandenburg Orchestra is Australia’s finest Brandenburg Concertos of J.S. Bach, whose period-instrument ensemble. Under their inspiring musical genius was central to the baroque area. musical director Paul Dyer, their vibrant concerts The Australian Brandenburg Orchestra greatly acknowledges the support from: NIDA for their Celebrating their 28th anniversary in 2017, the and recordings combine historical integrity with collaboration on this project, NIDA Design for Performance Student Placement: Genevieve Graham, Brandenburg continues to deliver exhilarating electrifying virtuosity and a passion for beauty”. Charlotte Mungomery for this production. Caffé Molinari for supplying coffee equipment. Aikido in performances. Sydney, Backcloths painted by Scenografic Studios. The Opera Australia Props Department: Simon The Australian proclaimed that “a concert with Craw, Gerard Foley. The technical staff from City Recital Hall for their ongoing support. The Brandenburg has collaborated with such the Australian Brandenburg Orchestra is like acclaimed and dynamic virtuosi as Andreas stepping back in time, as the sounds of period Scholl, Philippe Jaroussky, Kristian Bezuidenhout, instruments resurrect baroque and classical Emma Kirkby, Andreas Staier, Elizabeth Wallfisch, works with reverence and authority”. , Andrew Manze and more. The Brandenburg’s 20 recordings with ABC Through its annual subscription series in Sydney Classics include five ARIA Award winners for and Melbourne, the Australian Brandenburg Best Classical Album (1998, 2001, 2005, 2009 Orchestra performs before a live audience in and 2010). In 2015 the Australian Brandenburg excess of 52,000 people, and hundreds of Orchestra was the recipient of the Sidney Myer thousands more through national broadcasts Performing Arts Group Award and in 2016 the * Denotes Brandenburg Core Musician on ABC Classic FM. The Orchestra also has a 1 Monique O’Dea appears courtesy of Presbyterian Ladies’ College, Sydney (staff) Helpmann Award for Best Chamber Concert. Organ preparation by Joanna Butler. regular commitment to performing in regional 12 Harpsichord preparation by Alistair McAllister in Melbourne, and Joanna Butler in Sydney Australia. Since 2003 the Australian Brandenburg Discover more at brandenburg.com.au 13 PROGRAM SCENE I NOTES

GIOVANNI GIROLAMO KAPSBERGER (C. 1580 – 1651) CLAUDIO MONTEVERDI (1567 – 1643) Toccata arpeggiata Lamento della ninfa

While little is known of Kapsberger’s life, he is primarily remembered as a composer As you walk through Venice for the first time, nobody can escape two things: the for theorbo, a large guitar-like instrument that was common in the period. This work, labyrinth of canals, and the striking Piazzo San Marco (St Mark’s Square), which which features on our ARIA award-winning recording Tapas, comes from a beautiful has been walked by countless musical geniuses over the years. One of these was 60-page manuscript published in Venice in 1604, titled Libro primo d'intavolatura di Claudio Monteverdi, who was the head of music at the stunning St Mark’s Basilica chitarrone (first book of theorbo tablature). Tablature is a form of music notation that which dominates the square. Famed for its extraordinary acoustic, St Mark’s indicates fingering rather than specific pitches. In this case, it shows which fingers Basilica was practically Monteverdi’s home, and it was during his over 30 years here are to be placed on which strings of the theorbo. The manuscript below constitutes that he cemented his position as one of the most influential and monumental figures the entirety of the music notated by Kapsberger for this piece: all other aspects in music history. He is usually credited as the father of the opera, and also as the of realising the music are left to the performers. However, the marking arpeggiata most important transitional figure between the Renaissance and Baroque periods indicates that is to be played with arpeggios: musical phrases that take individual of music. He composed an enormous volume of both secular and sacred music, notes of a chord, and sound them individually in succession. An earlier page of the although sadly much of it has been lost. The many musical concepts pioneered by manuscript also suggests that this piece is a toccata: a musical work that typically Monteverdi include the basso continuo, a small group of bass instruments which features fast-moving or complex passages, in these performances realised by provide the harmonic foundation of a work. In these performances, the continuo the Brandenburg’s principal theorbo player, Tommie Andersson. The result is an group consists of the harpsichord, theorbo, cello, violone, lirone and viola da exciting and virtuosic journey through adventurous musical territory. gamba. The bulk of Monteverdi’s work is contained in nine books of madrigals: secular vocal compositions common in the Renaissance. The Lamento della ninfa (lament of the nymph) comes from the eighth book, which is evocatively titled Madrigali guerrieri et amorosi (Madrigals of war and love). It is structured in two roughly equal halves: the first for ‘war’ and the second for ‘love’. Unsurprisingly, this short work comes from the part of the book devoted to love.

THE STORY The Lamento della ninfa (Lament of the nymph) is a three-part work, opened and closed by a chorus of three shepherds, who introduce the nymph as full of fuora (anger) and dolor (pain). The central and most striking section is the nymph’s lament itself – a grief-stricken song where she bemoans her fate. She has been betrayed by a lover and is consumed by anguish. Most likely, he has abandoned her for another woman. The shepherds interject throughout her song, calling her miserella (miserable girl) and lamenting her fate. Their final words make the poignant comment that mesce amor fiamma, e gel (love blends fire and ice).

Theorbo tablature of Toccata Arpeggiata from Libro primo d'intavolatura di 14 chitarrone by Kapsberger 15 SCENE II

ANDREA FALCONIERI (C. 1585 – 1656) centerpiece of the ‘war’ component of the manuscript. It is considered an operatic Ciaccona scena (scene): a short work which is difficult to label using modern musical terms, but approximates opera in a period when the concept was in its infancy. The work contains Andrea Falconieri, or Falconiero, was born in Naples, but travelled across Italy, one of the first known uses of pizzicato – the technique where string players pluck their France and Spain during his long life. He worked at a convent in Genoa for some strings with the finger rather than playing them with the bow. This is believed to represent time, before being ejected by the Mother Superior, who complained that his music Tancredi and Clorinda striking one another with the bases of their swords. Monteverdi was unsettling to the nuns. He then returned to Naples, where after the death of also uses music to paint various other aspects of the story, including lilting rhythms for Trebacci, who appears later in this program, Falconieri was named his successor the motto de cavallo (horse trot) and fiery string passages for the clash of Tancredi and as the maestro di cappella (music master). He died of the plague, and although Clorinda. This work also pioneers the stile concitato (agitated style), which consists of little survives of his music, it is likely that he composed a very large amount. As a rapid repeated notes, usually to convey tension. lutenist, many of his published works are popular songs and villanellas (rustic songs common in Naples in the period). This particular work comes from the composer’s primo libro (first book) of assorted works, which was published in 1650. It is a THE STORY ciaccona: a piece with a repeated bass line that featured varied musical lines above Set during the First Crusade (1095 – 1099), the scena tells the story of a it. In this case, these lines are wonderfully virtuosic on the part of the violins. wandering knight, Tancredi, who encounters a mysterious armoured figure, who he takes for an opposing soldier. They fight and, when Tancredi is CLAUDIO MONTEVERDI (1567 – 1643) victorious, he removes the mortally wounded soldier’s helmet to tragically discover his lover, Clorinda. In her dying moments, Tancredi baptises Clorinda Overture from Il ritorno d’Ulisse in patria and she sees heaven opening to welcome her. Although Monteverdi’s Orfeo (c. 1607) is often considered the first opera, Il ritorno d’Ulisse in patria (c. 1639) is one of Monteverdi’s later works, and comes considerably closer to the modern conception of opera. For example, it includes several ensembles GIOVANNI MARIA TRABACI (C. 1575 – 1647) – where several cast members sing together – a form which was new and fashionable Consonanze stravaganti at the time. As with many works of the period, it fell into obscurity during the eighteenth and nineteenth centuries, and interest in the work was revived in 1922, Giovanni Maria Trabaci is a little-known southern Italian composer, but he left a sizeable when the score was published. For many years, the authenticity of this work was body of surviving works. His professional life seems to have taken place almost exclusively repeatedly questioned, and as a result it was not regularly performed until the 1950s, in Naples. This short work comes from a large volume of music called the Libro primo when its authorship by Monteverdi became widely accepted. Its story comes from the later part of Homer’s Odyssey, and tells of the return of the King of Ithaca, Ulysses, to (first book) in dozens of different styles, dated 1603. It is over one hundred pages long, his homeland. He discovers that his wife Penelope is beset by suitors, and resolves and contains one work titled Consonanze stravaganti (extravagant consonances). This is to vanquish each of them. The overture, or sinfonia avanti il prologo (sinfonia before most likely a reference to the striking and unusual harmonies of the piece. Unexpected the prologue), of this work is just eight bars long, however the Australian Brandenburg harmonic twists and turns make this work particularly memorable, much like the Orchestra will perform it with repetitions and variations, as was common in the period. Kapsberger that opens this program. There is evidence that Trabaci would have intended this work to have been performed on a keyboard which had more keys than the modern keyboard, which has twelve keys per octave. This instrument, which would have been CLAUDIO MONTEVERDI (1567 – 1643) known as a type of cimbalo cromatico, would have had fourteen keys per octave, with Il combattimento di Tancredi e Clorinda the capacity to distinguish between notes that a modern keyboard cannot. This work is written with extreme chromatic changes that showcase these notes. This work was first performed during the Venice carnival season of 1624. Like the 16 Lamento della ninfa, it comes from Monteverdi’s eighth book of madrigals, and is the INTERVAL 17 SCENE III

JOHANN SEBASTIAN BACH (1685 – 1750) JOHANN SEBASTIAN BACH (1685 – 1750) Brandenburg Concerto No. 4, BWV 1049 (First Movement) Coffee Cantata, BWV 211

Johann Sebastian Bach is one of the titans of music history, and his volume of For most of his working life, Bach resided in Leipzig, which was home to Café works is enormous, varied and hugely influential. The six Brandenburg Concertos Zimmerman, the most prestigious and best-appointed Kaffeehaus (coffeehouse) have a special place among this repertoire, and so important are they to the in the town at the time. During Bach’s lifetime, coffeehouses were hugely popular. Australian Brandenburg Orchestra that they are the inspiration for our name. Coffee was introduced to Europe from Africa via the Middle East in the late These works were a gift from Bach to the Margrave of Brandenburg-Schwedt, 1500s, and it swept through the continent like wildfire in the 1600s. The earliest which is the source of their name, although this moniker was not given to the set coffeehouses in Germany were established in port cities in the 1670s, and reached until about 150 years later. Surprisingly, Leipzig some time after that. Leipzig’s Café Zimmerman was home to a Collegium there is no evidence that the Margrave Musicum (a musical society common in Germany at the time) that had been ever replied to Bach, and it is likely that established by the composer Telemann in 1702. Bach ran the society between 1729 the Margrave never even heard them and 1739, and it was during this period that he composed the cantata Schweigt performed. Each of the six concertos stille, plaudert nicht (Be quiet, stop chattering), but today it is best known as has a distinct character, and all are the Coffee Cantata. Although classified as a cantata – a vocal composition with noted for various virtuosic deployments instrumental accompaniment intended for concert performance – this particular of certain instruments. This concerto, work is rather like a miniature opera, featuring two characters plus a narrator, similar the fourth, is renowned for its technically to Monteverdi’s combattimento. brilliant violin lines. It is also the only one of the six to feature two parts for the THE STORY fiauti d’echo, although it is not entirely clear which instruments Bach had in The Coffee Cantata tells the story of Lieschen, a young girl who is addicted to mind for these parts. It is now believed coffee. Her disapproving father, Schlendrian (which literally means stick in the that they were intended for the flauto mud), threatens to withhold meals, clothes and anything else he can think of dolce, or baroque recorder. While no in order to force her to stop drinking the beverage. Ultimately, only the threat single Brandenburg Concerto requires of forbidding her from marrying has the desired effect. However, Lieschen all 17 of the musicians that Bach had is a strong-willed girl, and when her father is offstage, she admits that she at his disposal while Kappellmeister won’t marry a man who doesn’t indulge her coffee-drinking ways. In the end, (head of music-making) at Köthen, when Schlendrian seems to relent to his daughter’s ways, and the cantata closes with viewed collectively their instrumentation Lieschen, her father and the narrator singing together that drinking coffee is suggests that they were intended for natural – a sentiment still shared by many, hundreds of years later. this specific group of musicians. As a result, it was most likely Bach’s intention that these concertos be performed with an ensemble of one musician per part, and for this performance, the Australian Brandenburg Orchestra is presenting the first movement of this concerto with just such a group. Costume design sketch of Lieschen by Genevieve Graham 18 19 A U S T R A L I A N BRANDENBURG ORCHESTRA

Paul Dyer Shaun Lee-Chen Matt Bruce Ben Dollman Harpsichord / Organ Concertmaster Associate Concertmaster Baroque Violin

Monique O'Dea Jamie Hey Rob Nairn Melissa Farrow Baroque Viola Baroque Cello Viennese Violone Baroque Flute / Recorder

Tommie Andersson Mikaela Oberg Laura Vaughan Theorbo / Baroque Guitar / Hannah Lane Recorder Lirone / Viola da gamba Gallichon Baroque Harp

Adam Cooper-Stanbury Costume design sketch of 20 Percussion Tancredi by Genevieve Graham 21 OUR PARTNERS OUR DONORS

Brandenburg applauds our wonderful partners who proudly support our 2017 season. A heartfelt thank you to our generous family of supporters.

Principal “Thanks to the tremendous generosity of you and If the Brandenburg has enriched your life or if your fellow Brandenburg supporters, we have you would like to deepen your involvement with established nothing short of cultural excellence us, we would be thrilled to welcome you into our as Australia’s national baroque orchestra for valued family of supporters. nearly 30 years. Our dream is to continue doing exactly this – achieving excellence, inspiring To find out more, or to make a audiences and sharing our music with you for donation please get in touch with many more years to come.” our Development team: T: 1300 782 856 Government Paul Dyer AO Artistic Director E: [email protected] Bruce Applebaum Managing Director W: donations.brandenburg.com.au

Australian Brandenburg Orchestra is assisted Australian Brandenburg Orchestra is supported by the Australian Government through the Australia by the NSW Government through Create NSW Council, its arts funding and advisory body BRANDENBURG ANNUAL GIVING DONORS LIFE PATRONS Major Mary Holt and the late Dr John Holt

CHRISTINA $10,000 or above RUSPOLI $5,000 – $9,999

Presenting Anthony Adair and Karen McLeod Adair Antoinette Albert Aidan Allen Glenn Barnes Stephen and Sophie Allen Mrs Ros Bracher AM Virginia Braden Woolley David and Leith Bruce-Steer Graham Bradley AM and Charlene Bradley Wayne Burns and Kean Onn See Jillian Broadbent AO Louise Christie Jane and David Duncan Rick and Sue Coles* Supporting Michael Ebeid AM and Roland Howlett Ms Emmanuelle Delannoy The Faithfull Family In memory of Darrel Fraser Ms Lesley Grant Iphygenia Kallinikos Alison Harrop Katie Lahey AM and Robert Marriott Mary Holt and the late Dr John Holt Vicki and Adam Liberman Mrs W G Keighley in memory of Geoffrey Robyn Martin-Weber Media Trusts and Foundations Nick and Caroline Minogue J and R MacLeod Alison Park in loving memory of Richard Park J A McKernan Lady Potter AC CMRI Victoria Taylor Rodwell Foundation Dr Jason Wenderoth Rowan Ross AM and Annie Ross Ray Wilson OAM in memory of James Agapitos OAM Jeanne-Claude Strong in memory of James Strong Cameron Williams Anonymous x 3

To find out more about becoming a partner for the Australian Brandenburg Orchestra 22 please contact our Development team on 1300 782 856 or [email protected] 23 DURAZZO $1,000 – $4,999 ORCHESTRAL CHAIRS BRANDENBURG FOUNDATION DONORS

Paula Adamovich Margaret and Chris de Guingand Professor David Penington J M Alroe H L Hanks Dr John Percy Concertmaster Chair supported by Jacqui and John Mullen Brett Andersen and Brad Bowen Audrey Hawkins WJ and R Poate John and Robyn Armstrong Jane Hemstritch Jim and Chris Pollitt Cathy Aston Dr Ailsa Hocking and Dr Bernard Williams Kevin Powell and Alison Deans Baroque Cello Chair supported by Mrs W G Keighley AMATI $250,000 – $500,000 Ian Baker and Cheryl Saunders J Holden Family Foundation Ted and Jean Radford Peter Barclay Carr and Ann Hordern Micheal L Rattigan The Eileen Marie Dyer AM Fund Frederic Baudry and Paul Bailey Jenny and Peter Hordern Patricia H Reid Endowment Pty Ltd Theorbo/Baroque Guitar Chair supported by The Alexandra Jeanette Beaumont J L Hossack Dr David and Dr Gillian Ritchie and Lloyd Martin Family Foundation and friends, in memory of Anonymous Marc Besen AC and Eva Besen AO Jill and David Hunt Alexander and Rosemary Roche Dr Beverley and Mr Alan Castleman Belinda Hutchinson AM Lois Roffey Lloyd Martin AM Dr Catherine Brown-Watt PSM and Mr Derek Watt Dr Alastair Jackson Justice Ronald Sackville AO and Mrs Pamela Sackville Kay Buckeridge Gayl Jenkins & Chris Pellegrinetti John Scott Henry Burmester and Peter Mason Nuala and Ajit Kamath Dr Celina Seeto STRADIVARI $100,000 – $249,999 Elizabeth Butcher AM The Hon Rod Kemp and Mrs Daniele Kemp Daniela Shannon CHAIRMAN’S 11 Dr Annette E Carruthers Liana Kestelman Dr Gideon and Mrs Barbara Shaw Mr Peter Clark and Mrs Jan Clark Arthur and Vicky Koumoukelis Paul Sheehan and Susan Wyndham Cary and Rob Gillespie Rebecca and Craig Clarke Ann and James Lahore Mr Charlie Shuetrim AM and Mrs Sandra Shuetrim Dedicated to the memory of James Strong AO. Chairman’s 11 Anonymous Margaret and Bernard Coles Mr John Lamble AO Alan and Jennifer Smith Emeritus Professor Martin Comte OAM Paul Lindwall Chris and Bea Sochan supports the Brandenburg’s international and local guest artists. Professor Geoffrey N Cooper Greg Livingstone Mrs Beverley Southern Phillip Cornwell and Cecilia Rice Richard and Elizabeth Longes Brendan Sowry Dom Cottam and Kanako Imamura Elizabeth Mackenzie and Michael Bremner Keith Stammers Louise Christie Carol Haynes and Skipp Williamson GUARNERI $50,000 – $99,999 Jim Cousins AO and Libby Cousins Professor Roy and Doctor Kimberley MacLeod Dr Murray and Mrs Joy Stapleton Roxane Clayton In memory of a first class cricketer Tim and Bryony Cox Aggie Maisano The Suich Family Jan and Frank Conroy (UK), W G Keighley A L Crotty Carina Martin Mrs Suzy and Dr Mark Suss Chris and Kathy Harrop Dr John Dale AO and Mrs Joan Dale Dr Diana Marks and Dennis Bluth Penny Swain Jamieson Coote Bonds Grant and Jennifer King Macquarie Group Foundation David Davies and Paul Presa Joanna B Maxwell Mark and Debra Taylor Richard Fisher AM and Diana Fisher Susan Maple-Brown AM Emeritus Professor Dexter Dunphy AM Mora Maxwell Mr Mike Thompson The Martin Family in memory of Lloyd Martin AM Richard Grellman AM Ms Gretel Packer Nita Durham Richard and Rowena McDonald Ms Janet Torney Christine Yip and Paul Brady Ralph and Maria Evans Peter McGrath Mrs C and Mr P Vaughan-Reid Chris and Gina Grubb Anonymous Rosemary Farrow John Milhinch OAM Stephen and Ruth Walsh Anonymous Wendy and Ron Feiner Dr David Millons AM and Mrs Barbara Millons Sally and Geoffrey White Nancy Fox and Bruce Arnold Glenn Moss Yanina White Brian and Philippa France Dr Paul Nisselle AM and Mrs Sue Nisselle Bruce Williams BRANDENBURG OPERA CIRCLE Carrillo and Ziyin Gantner Rointon Nugara and Brendan Nugent Judith Williams Justin and Anne Gardener Rosemary and Jim O'Collins Richard Willis MAESTRI $25,000 – $49,999 Bill and Julie Goold Paul O'Donnell Gregory W Won The following donors have supported the establishment of the Ann Gordon* Faye Parker Gregory Wood Richard and Anna Green Trevor J Parkin K A Wratten Brandenburg Opera Circle, enabling the Orchestra to expand its John and Robyn Armstrong Ken Groves and Yun-sik Jang Remembering Tom and Jenny Parramore Anonymous x 16 repertoire into the world of baroque opera, as well as nurturing Greg Hutchinson AM and Lynda Hutchinson SUPPORTER I $500 – $999 young opera singers and creative teams. Nick and Caroline Minogue Rowan Ross AM and Annie Ross Jaci Armstrong Peter and Deirdre Graham Christina Pender Toula and Nicholas Cowell Dr Agnes Sinclair Catherine Broady Sandra Haslam Helen Perlen Keith and Louise Brodie Armon Hicks and Dr Karin Sowada Nella Pinkerton Deborah Fox and Harald Jahrling Victoria Taylor Professor David Bryant Geoff Hogbin Beverly and Ian Pryer ARCANGELI $15,000 – $24,999 Annette and Kevin Burges Geoff Howard Mr Paul Rein Justin and Anne Gardener Greg Ward Ita Buttrose Penelope Hughes Barbara and Malcolm Richardson Irene and John Garran Marianne Cochrane Michael Jones G J Rowe Ray Wilson OAM in memory of Mr David Baffsky AO and Mrs Helen Baffsky Chris and Trudy Coote Nicholas Korner Peter Rush Ken Groves and Yun-sik Jang James Agapitos OAM Melinda Conrad and David Jones Deborah Debnam Betty Lynch Jeannette Sharpe Mary Holt and the late Dr John Holt Carol des Cognets A le Marchant Dr Agnes Sinclair Christine Yip and Paul Brady Glenn Moss and the late Dr Ken Moss AM Susan Dixon and Stephen Rix J & J Martin Jann Skinner A le Marchant Margaret Dobbin Richard Masiulanis Robyn Smiles Anonymous x 2 David and Rachel Zehner Jane Edmanson OAM Wendy E McCarthy AO Margot Smith Peter McGrath Elisabeth and Grahame Elder Kate McCue The Hon Susan and Dr Frank Morgan Sarah Findlay Ross McNair and Robin Richardson Anthony Tarleton Peter Fletcher AM and Kate Fletcher Julie Ann Morrison Sue Thomson CAMERATA $10,000 – $14,999 Malcolm and Barbara France Mrs June Musgrove in memory of Dr Peter Musgrove Mr Frank Tisher OAM and Dr Miriam Tisher CORPORATE DONORS Leigh Garvan John and Susan Myatt Jillian Walton Christine George Andrew Naylor Susanne Ward Norman Gillespie Moffatt Oxenbould AM and Graeme Ewer AM Dr J and A Whaite Accenture Link Group Graham Bradley AM and Charlene Bradley Patricia Glanville-Miller Dr Alice J Palmer David Wood and Gary Fung APA Group Pacific Equity Partners Richard and Heather Gorrell In memory of Jenny Parramore Susan Young The Clayton Family Philip and Anabel Gosse Dr Kevin Pedemont Anonymous x 24 Bain & Company QANTAS Loyalty Norman Gillespie Carole A. P. Grace John Peisley and Ros Royal Rohan Mead SUPPORTER II $250 – $499 PLANNED GIVING

Peter Allan Peter Hales Rosemary and Jim O'Collins Carole Bailey Anthony B Hall Penelope Oerlemans Bequest Professor Fran Boyle AM Roger and Scarlet Hawke Mrs Roslyn Packer AC The Australian Brandenburg Orchestra warmly acknowledges the Dr Roderick Brooks Meredith Hellicar E K Palmer Jenny and Henry Burger Frank Hemmings* Art and Cynthia Raiche bequest it has received from the Estate of Valda Astrida Siksna. Ingrid Butters In Loving Memory of Dean Huddlestone Ken Ramshaw David and Louise Byrne Pamela Kenny in memory of Peter* Professor Steve and Dr Sharon Schach* J and M Cameron Joshua Kim and Richard House Judith Shelley Play on: a lasting legacy Toula and Nicholas Cowell Lizanne and Julian Knights AO Cathy and John Simpson In memory of Betty Curtain George Lawrence In memoriam Malcolm Stewart We are hugely appreciative to all those who have pledged a Janet Doust Ian K Lloyd Mr Mark Edward Taylor* bequest to the Brandenburg. Andrew Dunn Anne Loveridge Amanda Trenaman and Steven Turner To find out more, or to make a Rita Erlich Neil Mackintosh and Stuart Brown Margot Vaughan Kay Fell Rosemary Mangiamele Henry Vindin and Vail Bromberger Janet Doust Peter McGrath donation please get in touch: Marguerite Foxon* Morris and Helen Margolis Joy Wardle The Faithfull Family Penelope Oerlemans Dr Mark Garwood and Mrs Elizabeth Garwood Peter McCall Dr. Anthony Williams T: 1300 782 856 Judith Gibson Justin Milne Anonymous x 47 Brian and Leonie Fisher Joan and Lloyd Poulton Mrs Judith L. Gibson Katrina Molino R J Irwin Art and Cynthia Raiche E: [email protected] 24 *Donors to the Brandenburg International Baroque Study Program Lilly K Anonymous x 8 W: donations.brandenburg.com.au 25 This donor list is current for a 12-month period to 25 Sep 2017. Supporter III donations are acknowledged at donations.brandenburg.com.au Patrons His Excellency General the Honourable Sir Peter Cosgrove AK MC (Ret'd) Governor-General of Australia His Excellency General the Honourable David Hurley AC DSC (Ret'd) Governor of New South Wales CITY RECITAL HALL LIMITED 2 – 12 Angel Place Sydney NSW 2000 Artistic Director Board of Directors Paul Dyer AO Renata Kaldor AO, Chair Administration Managing Director Timothy Cox AO, Deputy Chair 02 9231 9000 Bruce Applebaum Helen Bauer The Brandenburg Council Jo Dyer Box Office Jillian Broadbent AO The Hon Justice Elizabeth Fullerton 02 8256 2222 Greg Hutchinson AM Kerri Glasscock Max Suich For Bittersweet Obsessions Marcus McArdle Website The Board Production Manager Clive Paget cityrecitalhall.com Sandie Bekavac Maria Sykes Greg Ward, Chairman Aidan Allen Production Coordinator Bruce Applebaum Shannon O’Hara CEO Elaine Chia David Baffsky AO Deputy Stage Manager Richard Boyce Alex Palmer Paul Dyer AO Head Mechanist John C Fast Stephen Bancroft Lesley Grant Alison Harrop Lighting/Technical Katie Lahey AM Tyrone Santika Rohan Mead Wardrobe David Zehner Oscar Guarnizo Bridget O’Brien, Company Secretary Hair & Makeup Deputy General Manager Peggy Carter Bridget O’Brien

Executive Assistant Head of Development Box Office Manager Accounts Assistant MELBOURNE Founding Patron Executive Staff Susan Duffy Kirsty Divehall Kateryna Collier Ian Creevey RECITAL CENTRE The Late Dame Elisabeth Euan Murdoch, Orchestral Philanthropy Manager Acting Box Office Auditors Murdoch AC DBE Chief Executive Officer Operations Manager Andrew Brook Manager KPMG Corner Southbank Boulevard Board of Directors Ashley Giles Marketing Manager Thomas Chiu Repertoire and Sturt Street Greg Diamantis, Director of Kathryn Fagg, Chair Assistant to Tom Morgan Receptionist/Ticketing Advisors (honorary) Southbank VIC 3006 Production & Presenter Services Peter Bartlett Artistic Director Marketing Manager, Assistant Charles Gwynn Marshall McGuire, Joanna Butler Ewelina Ellsmore Andrew O’Connor Administration Digital Stephen Carpenter Director of Artistic Planning Christopher Price 03 9699 2228 Librarian Tina Semple Administration/Ticketing Joseph Corponi Robert Murray, Director Alex Palmer Assistant Pre-Concert Talks Box Office Marketing Executive The Hon Mary Delahunty Marketing & Customer Relations Nastassia Laptev Dr Alan Maddox 03 9699 3333 Production Coordinator Shiki Chan Sandra Robertson, Paul Donnelly Shannon O’Hara Publicist Accountant Facsimile Director of Development John Scott 03 9207 2662 Eda Ritchie AM Steven Godbee Publicity Sandra Stoklossa, Margaret Farren-Price Website Director Corporate Services melbournerecital.com.au Brandenburg Ensemble Limited trading as Australian Brandenburg Orchestra is a non-profit organisation registered as a company limited by guarantee. ABN 41 003 908 183 Address 142 New South Head Road, Edgecliff NSW 2027 | Post GPO Box 4416, Sydney NSW 2001 26 Telephone 61 2 9328 7581 | Website brandenburg.com.au | Email [email protected] 27 NO35 RESTAURANT Thriving in

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Music moves us, lifts our spirits and can take us to another time and place. That’s why Australian Unity has proudly supported the Australian Brandenburg Orchestra for over 10 years. As wellbeing partner, we help Artistic Director Paul Dyer and his celebrated musicians bring their charismatic performances to audiences across Australia.

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SERIES ONE SERIES FOUR Thomas Tallis THe BURNING WITH STEFANO England Violin MONTANARI Soar gently above the rolling, patchwork fields of England. Stefano Montanari is a true baroque star and a thrilling performer.

SERIES TWO SERIES FIVE the harpist Lixsania and XAVIER DE MAISTRE the Labyrinth Visit inner worlds of exquisite sensitivity, filled with light and shade. Witness a vibrant new energy brought to Vivaldi, Graun and Duchiffre.

SERIES THREE SERIES SIX Karakorum A musical Journey

Cross from west to east, from concert hall to theatre, Follow your star 32 on a mysterious, cultural, and spiritual journey. Like discovering Prague’s Christmas market in the middle of your hometown. 33 Joyful and triumphant Celebrate the wonder of the season Starring tenor Joel Parnis and the Brandenburg Orchestra & Choir

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City Recital Hall Melbourne Recital Centre December 13-16 December 9