CARMEN

Saturday 12 August 7.30pm Federation Concert Hall

Marko Letonja Conductor Escamillo Elena Schwarz Assistant Conductor Emma Pearson Micaëla

June Tyzack Chorusmaster Shane Lowrencev Zuniga HOBART SPECIAL 4 Elizabeth Hill Staging Samuel Dundas Moralès/Le Dancaïre Ingrid Rahlén Stage Manager Kathryn Radcliffe Frasquita Phoebe Briggs Music Preparation Sally-Anne Russell Mercédès With a long and rich Elena Maximova Carmen Jonathan Abernethy Le Remendado relationship spanning Marcelo Puente Don José TSO Chorus more than a decade, The20 are proud to be Opéra comique in Four Acts by to a libretto by Henri Meilhac and Ludovic Helévy, after Prosper Mérimée’s novel. First performed at the creative collaborators Opéra-Comique, Paris, 3 March 1875. with the cultural icon Act I Act III that is the Tasmanian A public square in Seville; a tobacco A rocky place near Seville at night. Symphony Orchestra. factory on the right faces a guardroom on Duration 36 mins the left with a covered gallery in front. Duration 47 mins Act IV Outside the bullring in Seville. Act II Duration 21 mins Lillas Pastia’s tavern. Duration 36 mins

INTERVAL Performed in French with surtitles. Duration 20 mins This concert will end at approximately 10.30pm.

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the20.com.au Cover image: Elena Maximova as Carmen © ROH. Photographer Catherine Ashmore in keeping coughing to a minimum. Please ensure that your mobile phone is switched off.

1 Marko Letonja Elena Schwarz June Tyzack Elena Maximova

Marko Letonja is Chief Conductor Australian and Swiss conductor Elena June Tyzack is a graduate of the Tasmanian Elena Maximova studied singing at Moscow’s and Artistic Director of the Tasmanian Schwarz studied at the Geneva University and Conservatoriums and London’s Tchaikovsky Conservatory. She went on Symphony Orchestra and Music Director of Music in the class of Laurent Gay, Trinity College of Music. Her career with to join the Stanislavsky and Nemirovich- of the Orchestre Philharmonique de subsequently specialising in contemporary singers has included the Tasmanian Danchenko Music Theatre, where her roles Strasbourg. Born in Slovenia, he studied at performance with Arturo Tamayo at the Company, , the Opera Studio included Rosina (), the Academy of Music in Ljubljana and the Conservatorio della Svizzera Italiana. She of the Sydney Conservatorium, Belvoir Isabella (The Italian Girl in Algiers), Carmen, has benefited from the advice of Bernard Vienna Academy of Music. He was Music Street Theatre, Sydney Philharmonia Massed Olga, Siébel (Faust), Nicklausse (The Tales of Haitink, Neeme Järvi, Peter Eötvös and Hoffmann), Charlotte (Werther), Paulina (The Director of the Slovenian Philharmonic and Pacific Opera. She became Matthias Pintscher. A member of Symphony Queen of Spades), Suzuki () Orchestra from 1991 to 2003 and Music Chorusmaster of the TSO Chorus in 2001. Services International’s Conductor and Prince Orlofsky (). She Director and Chief Conductor of both the Under her direction, the TSO Chorus has Development Program since 2013, she has made her debut at the Symphony Orchestra and the Opera in given performances in Hobart and regional participated in conducting courses with in 2005 as Maddalena in and has Basel from 2003 to 2006. He was Principal Tasmania, and performed with Sydney Christopher Seaman, Asher Fisch, Johannes returned there to sing Federica (Luisa Miller), Guest Conductor of Orchestra Victoria in Philharmonia Choirs, Festival Fritzsch and Giordano Bellincampi, and Carmen, Olga and Suzuki. For Vienna State 2008 and made his debut with the TSO Chorus, West Australian Symphony Orchestra with the Tasmanian and West Australian Opera her roles include Carmen, Maddalena, the following year. He took up the post of (WASO) Chorus and in Hong Kong with the Symphony Orchestras and the Eboli (Don Carlos), Rosina and Marfa Chief Conductor and Artistic Director of Philharmonia. Elena Schwarz won first prize WASO Chorus and Hong Kong Philharmonic. (Khovanshchina). Engagements elsewhere the Tasmanian Symphony Orchestra at the at the Princess Astrid Competition with the As chorusmaster of include Carmen for La Scala, Milan, Berlin start of 2012. He has worked with many Trondheim Symphony Orchestra (Norway) International Symphony Orchestra Institute State Opera, Semperoper Dresden, Finnish orchestras in Europe including the Munich and second prize at the 2015 Jorma Panula she has prepared Mahler’s Second and Third National Opera and in Palermo, Eboli for competition in Vaasa, Finland. In 2016 Symphonies and Stravinsky’s Symphony of Philharmonic, Vienna Symphony, Berlin Finnish National Opera, Leonora (Donizetti’s she was selected as one of three young Psalms, and in 2009 was chorusmaster and Radio Orchestra, Mozarteum Orchestra La Favorite) and Marguerite (La Damnation conductors supported by Adami, the conductor for the Australian Intervarsity and the Orchestra Filarmonica della de Faust) for St Gallen Festival, Preziosilla Scala, Milan. He has also worked in many French Performers’ Association. Recent Choral Festival. In 2014 she was assistant to engagements include the Martha Argerich (The Force of Destiny) in Florence, Giulietta renowned opera houses such as the Vienna the conductor for the production of Handel’s Festival in Lugano, where she conducted (Tales of Hoffmann) and Olga for the State Opera, Berlin State Opera, La Scala Orlando for Hobart Baroque. In recent Alban Berg’s Chamber Concerto with , Charlotte in Tokyo Milan, Semper Oper Dresden, and the seasons she has devised cutting-edge TSO soloists Renaud Capuçon and Nicholas and Paulina for Rome Opera. She made her Grand Théâtre de Genève. Additionally, Chorus programs for a number of festivals, Angelich, and a portrait concert of Olga Royal Opera debut in 2013 as Olga (Eugene including a program in the Speigeltent for he has conducted at the Arena di Verona. Neuwirth’s music with the Lucerne Festival Onegin) and has since returned to sing Recent and future engagements include Academy. In 2017, in addition to the joint Ten Days on the Island, Mona Foma, Dark Carmen. Elena Maximova performs regularly the Mozarteum Orchestra Salzburg, Berlin assistantship between the Tasmanian and Mofo, Synaesthesia and Synaesthesia+. Last in concert with Russian orchestras including Radio Orchestra, Bavarian State Opera West Australian Symphony Orchestras, year she was Director for Bach’s St Matthew the Tchaikovsky Symphony Orchestra, in Munich and Wagner’s Der Ring des Elena Schwarz will assist Mikko Franck at Passion during the Festival of Voices, National Philharmonic of Russia, Hermitage Nibelungen for the Royal Swedish Opera the Orchestre Philharmonique de Radio including overseeing the English translation Chamber Orchestra and the St Petersburg with Nina Stemme as Brünnhilde. France in Paris. and design of surtitles for the performance. Philharmonic.

2 3 Marcelo Puente Teddy Tahu Rhodes Emma Pearson Shane Lowrencev

Argentine Marcelo Puente is rapidly With an international career on the opera Principal artist at the Hessian State Theatre, In 2016, Shane Lowrencev sang Escamillo gaining recognition as an important “lirico- stage and concert platform, Teddy Tahu Wiesbaden, from 2005-2014, Emma’s (Carmen) and Schaunard (La bohème) for repertoire included the title roles in Lucia di spinto” tenor at such theatres as the Rhodes has performed with the San Opera Australia and appeared as Hunding Lammermoor, Lulu and La Calisto, as well Deutsche Oper Berlin, Stuttgart State Opera, Francisco Opera, Washington National (Die Walküre) for the Adelaide Symphony as Queen of the Night (), Opera, Metropolitan Opera (New York), Orchestra. In 2017, he sings Scarpia (), Teatro Colón in Buenos Aires, Teatro de la Zerbinetta (), Jenny (The Bavarian State Opera, at the Théâtre du Escamillo and Schaunard for Opera Australia Zarzuela in Madrid, State Opera Prague, Rise and Fall of the City of Mahagonny), Châtelet (Paris), and at Welsh National and several others. Recent engagements Nanetta (), Woglinde, Gerhilde and and is soloist with the and Opera and Scottish Opera, among others. have included Pinkerton in Madam Butterfly Woodbird (Wagner’s Ring cycle), Sophie (Der West Australian Symphony Orchestras. He had notable success as Stanley in Previn’s at , Royal Opera Rosenkavalier), and Norina (). After studies in Melbourne and London, he Streetcar Named Desire in Sydney, Vienna House Covent Garden, New National On departing she was the youngest joined Opera Australia as a principal artist. and Chicago, and in ’s Dead singer to be awarded the honorary title of His roles have included the title roles in Theatre Tokyo and at Brussels’ La Monnaie; Man Walking. Recent roles have included “Kammersängerin”. Recent engagements and , Cavaradossi in Tosca at Deutsche Oper am Don Giovanni, Escamillo in Carmen, Scarpia have included Beethoven’s Missa solemnis Scarpia, Escamillo, Schaunard and principal Rhein, Düsseldorf, and Don José in Carmen in Tosca, Emile De Becque () (Bratislava) under Bertrand de Billy, Micaëla bass roles in Bliss, The Girl of the Golden at Michigan Opera Theatre, Detroit. Other and the King in . 2015/16 (Carmen) for NBR Opera, West, A Midsummer Night’s Dream, , roles include Rodolfo in La bohème with saw his role debuts as Sweeney Todd for Violetta (La traviata) for Opera Queensland; Così fan tutte, , The Pearlfishers Stuttgart State Opera, and the title role in a Victorian and New Zealand , and Gilda (Rigoletto) for NBR New Zealand and others. Concert appearances have new production of Verdi’s Don Carlos at the Méphistophélès (Faust). His awards include Opera, Theater St Gallen and Saarland included Judas Maccabaeus, , La State Opera Prague. Marcelo Puente starred an ARIA, two , a Limelight State Theatre, Saarbrücken; Clorinda () for Semperoper Dresden; Resurrezione, , Mozart’s , Mass as Riccardo in A Masked Ball at the Teatro Award, Green Room Award and a MO Sophie for Opera Australia, Minneapolis in C Minor, Coronation Mass and Missa Colón in his native Argentina and Rodolfo in Award. Recordings include Fauré’s Requiem Brevis; Bach’s B-Minor Mass, St John Passion, and Le naissance de Vénus, Handel’s and Valencia; Hilda Mack in Henze‘s Elegy La bohème in Montevideo, Uruguay. He has for Young Lovers in Wiesbaden; Nanetta Messiah, Musical Renegades (on CD/DVD), Christmas Oratorio and St Matthew Passion. also performed in La bohème at theatres in (Falstaff) in the Nationaltheater Mannheim From Broadway to La Scala (based on the In 2014, Shane Lowrencev reprised the roles Lucca, Pisa, Ravenna and Livorno; Macduff and Susanna (The Marriage of Figaro) concert tour), and solo discs including Mozart of Schaunard and Escamillo and starred in in Macbeth with Opera de Lima, and Cassio for West Australian Opera. Upcoming Arias (with the TSO), Teddy Tahu Rhodes two of Opera Australia’s new productions as in at the Palau de les Arts Reina Sofía engagements will include recitals at Ukaria Sings Mahler Songs (also with the TSO), Prince Selim in Il turco in Italia and Leporello Cultural Centre, Adelaide, performing music in Valencia. Marcelo Puente studied at the in Don Giovanni. The following year, he The Voice, The Bach Arias, and You’ll Never by Piazzolla, Purcell, Rameau and Golijov, and Córdoba Conservatory and Teatro Colón, sang Scarpia, Leporello, Schaunard and The Walk Alone (with ). In 2017 singing the title role in Lucia di Lammermoor Buenos Aires, with Renato Sassola. Other he returns to the West Australian Opera, for West Australian Opera. Emma has been Count (in a new production of The Marriage roles in his developing repertoire include Auckland Philharmonia, Queensland Pops a finalist in many international and Australian of Figaro); he also took the role of Brander Turridu in , Maurizio in Orchestra and gives a series of Christmas awards including the Australian Singing in the Melbourne Symphony Orchestra’s Adriana Lecouvreur and Calaf in Turandot. concerts in Tasmania. Competition‘s Marianne Mathy Scholarship. performances of Le damnation de Faust.

4 5 Samuel Dundas Kathryn Radcliffe Sally-Anne Russell Jonathan Abernethy

Samuel Dundas is a graduate of the Melba Melbourne-based soprano Kathryn Radcliffe Sally-Anne Russell has performed in concerts New Zealand tenor Jonathan Abernethy is Conservatorium of Music, Melbourne. and operatic performances in over 15 has enjoyed success as a soloist with Opera an HSBC Laureate with the Festival d’Aix- He has performed with the Adelaide, countries and can be heard on the ABC en-Provence and winner of the Australian Australia and the Vienna State Opera. Melbourne, Tasmanian and West Australian Classics, Chandos, Naxos and Decca labels. Opera Awards. Later this year Jonathan will Symphony Orchestras, the Australian Winner of the 2014 Herald-Sun Aria, she Recording highlights include the ARIA travel to Zurich to become a member of the Youth Orchestra, Sydney Philharmonia people’s choice award for Pergolesi’s Stabat appeared the following year as Pamina in International Opera Studio in Zurich Opera’s Choirs and the Auckland Philharmonia Mater, her solo disc Enchanting and Opera Opera Australia’s touring production of The 2017-18 season. In 2015 he was invited into in repertoire including Carmina burana, Australia’s 50th Birthday DVD. With over 70 the Aix-en-Provence Mozart Residency, the Fauré’s Requiem, Brahms’ German Requiem, Magic Flute and won the Opera Foundation operatic roles in her repertoire, she has sung Solti Accademia in Tuscany and Ravinia’s and Vaughan Williams’ Serenade to Music. Vienna Award. In 2016 Kathryn worked for with all the Australian opera companies, Steans Music Institute in Chicago, working Samuel made his opera debut with Opera several months at the Vienna State Opera symphony orchestras, Australian Chamber Queensland, before joining Victorian Orchestra, , Australian String with distinguished artists including Sir Richard – covering a range of roles such as Pamina, Opera’s Artist Development program Quartet, and major festivals and choral Bonynge, James Conlon and Leo Nucci. An and Opera Australia’s Moffatt Oxenbould Fiordiligi in Così fan tutte, Ortlinde in Die organisations. International highlights include Opera Australia Young Artist since 2012, Young Artist program. He subsequently Walküre, Pousette in Manon, Echo in Ariadne Bruckner’s Te Deum at Vienna’s Musikverein, his roles have included Tamino (The Magic became a principal artist with Opera auf Naxos and The High Priestess in Aida. Xerxes (Oper der Stadt Köln), Washington Flute), Don Ottavio (Don Giovanni), Fenton Australia where his repertoire includes Opera (DC), Carmel Bach Festival in (Falstaff) for which he received a Green Room the title role in Don Giovanni, Papageno She made her Vienna debut in a small role in California, Spoleto Festival Italy and in NZ, nomination, Ruiz (Il trovatore), Normanno (The Magic Flute), Silvio (), Marquis The Cunning Little Vixen. Kathryn returned Canada, UK, Japan and Singapore. Recent (Lucia di Lammermoor), Count Lerma (Don (La traviata), Guglielmo (Così fan tutte), home to win one of Australia’s most lucrative performances include a national tour of Carlos), Remendado (Carmen), Nadir (The Belcore (The Elixir of Love), Dr Malatesta competitions – the Opera & Arts Support Voyage to the Moon (Musica Viva and (Don Pasquale), Marcello (La bohème), Pearlfishers) and Ferrando (Così fan tutte). Victorian Opera), Mozart’s Litaniae (Sydney Prosdocimo (Il turco in Italia), Pish Tush (The Group Scholarship. In 2017 she makes her In 2016 Jonathan made his debut with Symphony Orchestra), St John Passion (West Mikado), Sid (Albert Herring) and Starveling debut with Victorian Opera and well as the West Australian Opera as Nadir. Concert Australian Symphony Orchestra), Nixon (A Midsummer Night’s Dream). He has also highlights include Die schöne Müllerin and Tasmanian Symphony Orchestra. Other roles in China (New Zealand Festival), Handel’s recently sung Harasta (The Cunning Little Great Opera Hits at the Sydney Opera Kathryn Radcliffe has performed include The Messiah (Melbourne and New Zealand Vixen) for Victorian Opera, Papageno for House, Handel’s Messiah and Mozart’s Symphony Orchestras), Mozart arias and New Zealand Opera, Count Almaviva Governess in The Turn of the Screw (Hawaii Requiem with Sydney Philharmonia, TSO’s Requiem (TSO), and Voices in The Forest (The Marriage of Figaro) and Valentin Performing Arts Festival); Ernesta in LOL G & S Spectacular and Beethoven’s Ninth (Faust) for West Australian Opera, and with Sumi Jo (). 2017 performances Opera by Nina Sofo (Australian première Symphony (Dunedin). 2017 engagements Marcello (La bohème) in Hanoi, Vietnam. include Bach’s St Matthew Passion with include debuting with NZ Opera in The Upcoming engagements include the role 2010) and Daisy in Contact by Angus Grant Sydney Philharmonia Choirs, Belshazzar in Mikado, St Matthew Passion with Sydney of Enrico in Lucia di Lammermoor for (world première 2011). For OzOpera, she has Adelaide, and Beethoven’s Symphony No West Australian Opera. Samuel was the 9 with Symphony Orchestra. Philharmonia, a recital for Opera Australia sung Mother/Witch/Sandman in Hansel and recipient of the 2013 Lady Fairfax New She has also recently been invited to join the and returning to Aix-en-Provence. Jonathan York Scholarship and the inaugural Dame Gretel and The Queen of the Night/Pamina Kathaumixw Festival Artistic Council in British continues to have mentoring and support Heather Begg Award in 2014. in The Magic Flute. Columbia, Canada. from the Foundation.

6 7 Synopsis

Act I A public square in Seville; a tobacco factory on the right faces a guardroom on the left with a covered gallery in front. TSO Chorus It’s a quiet day in Seville. Soldiers loll about the town square and notice the arrival of shy country girl Micaëla, who is looking Celebrating 25 years with the Tasmanian for Don José, a corporal. José is not there Symphony Orchestra, the TSO Chorus but Moralès, a sergeant, suggests that marks the anniversary in 2017 in the same Micaëla wait for him. She ignores his advice fashion as it began – as an opera chorus, and leaves. The changing of the guard adding Bizet’s Carmen to a repertoire list takes place. José arrives and Moralès tells him that a girl was asking after him. that now embraces masses, requiems and José explains to Zuniga, a lieutenant, that symphonies for chorus and orchestra, as Micaëla, an orphan, has been brought well as a diverse array of sacred and secular up by his widowed mother. The women a cappella works. In addition to concerts workers from the tobacco factory spill out with the TSO, TSO Chorus highlights into the square on their afternoon break. across 25 years include performances with Among them is Carmen (La Carmencita), who arrives with a flower in her mouth. the Sydney Symphony, West Australian She sings her famous “Habanera”. After Symphony Orchestra, Adelaide Symphony the song, she brazenly approaches José Orchestra, Orchestra Victoria, Australian and throws the flower at his feet. Intrigued, International Symphony Orchestra and the he picks it up but hides it when Micaëla Hong Kong Philharmonic Orchestra. With returns. Micaëla brings three things from Moralès, are making merry. Into the bustling pub comes the renowned bullfighter, a reputation for innovative performances his mother: a letter, some money and a kiss. José sends a kiss in return. In the Escamillo. He launches into the “Toreador under the direction of Chorusmaster June letter, José’s mother entreats her son to Song”, one of the best known numbers Tyzack, the TSO Chorus has featured in marry Micaëla. A commotion is heard in in the opera. Escamillo flirts with Carmen 10 Days on the Island with a performance the factory; José rushes in and brings out but she rejects him. The smugglers Le in the Spiegeltent, collaborated with the alleged perpetrator, Carmen. Zuniga Dancaïre and Le Remendado try to interest the Festival of Voices, developed a bids José to escort Carmen to prison Carmen in one of their illegal schemes but distinctive presence at Mona (Mofo but Carmen flirts with José – she knows she declines, saying that she is in love. that he has kept the flower – and sings Right at that moment the voice of Don and Synaesthesia) and in 2016 was the her “Seguidilla”. She sings of the tavern José is heard. He has served a short prison opening act of Dark Mofo on Hobart’s owned by her friend, Lillas Pastia, and the sentence for allowing Carmen to escape waterfront. The sincerity of the 80-voiced sexual pleasures that she enjoys there. and now seeks her out. Carmen orders food chorus delivering a universal message of José is tempted. As Carmen is being led and drink, and sings and dances for José. hope for all mankind in Beethoven’s to prison, she whispers to José to fall when Upon hearing the bugle call, José tells Ode to Joy will set the tone for milestone she pushes him. He does so and Carmen Carmen that he has to return to barracks, escapes in the melee that follows. festivities throughout 2017. The TSO which irritates her and leads her to question his love. José responds by showing her the Chorus welcomes new members. Act II crumpled flower which he has kept as a Interested choristers should contact the Lillas Pastia’s tavern. memento. This is the cue for his emotional Chorus Coordinator on 03 6232 4421 or It’s a lively night in the tavern. Carmen, “Flower Song”. Carmen urges José to visit the website for more information, along with her friends Frasquita and join her and the smugglers but he refuses tsochorus.com.au. Mercédès, and the soldiers Zuniga and and bids her farewell. Right at that point

8 9 Zuniga bursts in and orders José to leave, Act IV Love and Death in Carmen but he refuses. In a crucial development, Outside the bullring in Seville. Zuniga is disarmed by the smugglers, which immediately places José in a compromising Excitement is mounting on the streets of Seville as crowds arrive for the bullfight. position. He’s now left with little choice but For a work that is well over a century old astray by a woman of dubious character and to join Carmen and the criminal gang. A warrant has been issued for José’s arrest but he has managed to evade capture. and firmly entrenched in the operatic reputation. repertoire, it is well to remember that Act III Frasquita has fears for Carmen’s safety. But, in fact, Carmen isn’t a black and Carmen was at one time startlingly A rocky place near Seville at night. The toreador Escamillo arrives and is feted white morality tale at all, a truth that must confrontational. Among the opera’s many by the crowd. He and Carmen declare their have been recognised by the respectable The entr’acte conjures up an idyllic world surprising qualities is the unconventionality love and Escamillo proceeds to enter the patrons of the Opéra-Comique. It is but we soon learn from the exchange of the title character. The Gypsy woman bullring. Frasquita warns Carmen that José Carmen who holds our attention, not between Carmen and José that their Carmen is a rebel and a free spirit. As a is milling about but Carmen claims to be José. Both musically and dramatically relationship is somewhat rocky. Indeed, member of an itinerant community, she unafraid of him and even waits outside the she is the focus of the drama. And while Carmen admits that her love for José is is an outsider and is happy to remain so. bullring while everyone else goes inside. she might not be the most sympathetic waning and advises him to return to his Not for her is a settled existence with She and José come face to face. José of protagonists – she’s manipulative and mother. Frasquita and Mercédès consult the a husband, children and middle-class pleads with Carmen to return to him but she emotionally cold – she’s tremendously cards to see what the future holds. Carmen comforts. Her outlook on life is altogether insists that the relationship is over. Cries of magnetic. She is also resolutely her own joins them but is disturbed by what the deck more fluid. This is something that Carmen victory are heard coming from the bullring. woman and will live her life as she chooses, foretells for both her and José: death. The makes perfectly clear from the moment Carmen walks towards the entrance but whatever the consequences. As it turns smugglers decide to set out for Seville to she first appears and sings her famous José blocks her way. She rebuffs him once out, those consequences are shocking. She carry out a job, leaving José behind to “Habanera”. Love, as she explains in the more and thrusts to the ground a ring that is cut down in the opera’s confrontational guard the camp. Micaëla arrives at the he gave her as a gift. Enraged, José stabs “Habanera”’s erotically sinuous descending and scandalous closing scene (a scene hideout looking for José. She calls out to her. The “Toreador Song” rings out and melody, is flighty, thrilling and dangerous that was far too strong for the likes of the him but, mistaking her for an intruder, José Escamillo and his followers pour out of the (forget sentimental notions of it being family-oriented Opéra-Comique) simply fires a shot which misses her but almost hits bullring. Horrified, they see José standing patient and kind). To love Carmen, we are because she refuses to bend to the will of Escamillo, who has arrived at the camp over Carmen’s lifeless body. to understand, is to share in these highly her jealous former lover, José. It is José, not looking for Carmen. Madly jealous, José charged pleasures. pulls a knife and lunges at Escamillo. The Robert Gibson © 2017 Carmen, who is the diminished figure at the scuffle that follows Micaëla’s rectitude stands in stark contrast end of the opera. to Carmen’s impropriety (and her chaste is very nearly fatal While not entirely successful in its opening kisses stand in stark contrast to Carmen’s for both men. The season in Paris in March 1875, Carmen overtly sexual come-ons). Micaëla was smugglers return started to win over audiences with a run written into the plot at the insistence of and Carmen of performances in Vienna later that year. the management of the Opéra-Comique, breaks up the Among its many admirers were Brahms, the theatre that commissioned the opera. fight, saving Nietzsche and Mahler. Within a few years (She does not exist in Prosper Mérimée’s Escamillo’s life. Carmen had been staged at opposite Carmen, the 1840s novella on which the The latter invites ends of Europe – Brussels in 1876 and opera is based.) Her wholesomeness was everyone to his St Petersburg in 1878. It made its way to intended to act as a counterweight to next bullfight in Australia in 1879 with performances in Carmen’s brazenness. She’s clearly the good Seville. Micaëla, Melbourne, Sydney and Adelaide. In fact, girl whom Don José should marry, a fact who ducked for audiences in Paris had to wait until 1883 for that he himself recognises. cover during the a return season at the Opéra-Comique, by brawl, is brought Given what appear to be clear moral which time Carmen was literally a worldwide out from her messages embedded in Carmen – among hit. The tragedy is that Bizet, who struggled hiding place. She pleads with José to return them the point that falling in with a bad throughout his career, died three months to his mother, a suggestion that Carmen crowd will lead to misery and ruin – we after Carmen was first unveiled. The creator supports. Consumed by jealousy, José might think that bourgeois, nineteenth- of one of the most successful operas of all declares that he will stay with Carmen even century opera audiences would have taken time went to his grave thinking that, yet if it results in his death. But upon learning comfort from the black and white morality again, lasting success had eluded him. from Micaëla that his mother is in extremis, tale that Carmen depicts. Basically, we José changes his mind and rushes off, witness the decline and fall of José, a good Robert Gibson © 2017 warning Carmen that he will meet her again. but weak man who allows himself to be led

10 11 Kathy Brown Stan and Rhonda Kemsley Colin and Olive John Adams TSO BENEFACTORS Valerie Brown Mavis Jean Kerr Woodward Dawn Albert I and J Burleigh Helen KerrSmith Mark Worrall Honey Bacon Listing of supporters at giving level specified within past 14 months as of print date. Donald and Margaret Mr Richard King June H Wright Aileen Buchan Cameron Margaret Kinsela Dr Rosemary Yeoland John and Marilyn Hilary Cane Suzanne Kirkham Richard Zacks Canterford Please contact Ed Benyon, TUTTI VIOLIN Chapman Alan and Jean Trethewey Pamela A Carrig Rita Knox Anonymous Donors David Davey and Director Development, Janet Holmes à Court AC Dr Alastair Christie William and Karin Turner Ian Chambers and Annick Ansselin on 03 6232 4430 or email John Church and Majnun Philip and Frances Tyrell Beverly Kolberg PRINCIPAL CELLO Kathryn Arneman Ensuring the John Dickens and [email protected] to Zain Frances Underwood Kerry Larkins discuss any aspects of Richard and Gill Ireland Janet Champion TSO’s Future Dr Ian Payne Dr Stephanie Cooper Dr Michael Wilkinson Tarnia Lawrie TSO support. PICCOLO Denise and Geoff George and Jennifer Nicholas and Janet Geoff and Vicki Willis Helen Leach – the TSO David McEwan AM and Chapman Ettershank Cretan J Zimmerman Alfred Leibacher Foundation Jennifer McEwan Mrs Mary Coatman Joe Giedl and TSO Peter and Catherine Anonymous Donors Susan Lewin Benefactors BASS CLARINET Cretan Professor John and A tax deductible donation Anne Lynch David and Jeanette Lewis to the TSO Foundation Tim and Louise Mooney John Dickens and TSO SUPPORTERS Mrs F Coll Lisa Harris TSO Benefactors Catherine Lynch Trust safeguards the PRINCIPAL SECOND Dr Ian Payne Lola Cowle Donald and Jasmine generously support the $250-$999 Ms Jeanette McGaurr long term future of TSO Fund and underpin VIOLIN Martin and Susie Dickson Rex and Jane Bean Janet Crane Hempton Sam Mollard the orchestra. TSO the orchestra’s day-to-day Bruce Neill and Penny Garry Forward and Christine Beswick Ron Cridland Nicholas Heyward Clive Penney Furmage Diana Murdoch Foundation members operations, from educating Justice Alan Blow OAM Steve and Meredith Curtis and Allanah Dopson Tasmanian students to Janice Foster Ms Margaret Murray are invited to join the ASSOCIATE Aileen Buchan Sonya De Courcy Jonathon Kelly performing concerts across CONCERTMASTER George and Phyllis Ron and Gwen Murray Conductor’s Circle. Giameos Peter Cochrane Shirani de Mel Robert Kuns Tasmania and abroad. RH O’Connor Dr Peggy Nelson Emeritus Professor AR Dr and Mrs Josh and Elizabeth Delaney LIFE BENEFACTOR Kerry Larkins Conductor’s Circle PRINCIPAL OBOE Kaye Nolan members make annual and Dr OF Glenn Wendy Cocker Tony Dell $100,000 AND ABOVE Pat Leary Dr David and Mrs Glenys Joan Green David Colgrave Antonietta Di Saia Phyl Norris Susan Lewin gifts to the TSO Fund Rich Mike and Carole Ralston of $1,000 or more, Annette Hackett Katherine Olejniczak Jenny Compton Margaret Dix Dr Peter Stanton Martin and Linda Luther and share a special PRINCIPAL FIRST VIOLIN Patricia Haley Jenny Coombes Phil Dobber A Parsons Jennifer Marshall relationship and deeper Lisa Roberts Jerry L Hampton Neil Parsons Betty Curtis J Donohue FOUNDATION Diane Matthews connection with the TSO. TUTTI VIOLIN Barbara Harling Jean Penn Special invitations and Ann Darby Karen Dorney FELLOWS Erik Parris Helen and Warwick Rule Dr Geoffrey Haward AM Dr Margaret Davies Clive and Jennie Pointon backstage events are and Mrs Phyllis Haward John Evans $10,000-$59,999 Barbara Ruschanow among the opportunities PRINCIPAL TRUMPET Martin and Sally Poole Dr Don Hempton and David Dilger Lynne Farrell Dr John and Mrs Barbara Michael and Jo Scott to discover the inner Chris and John Sandow Dianne Radke Mrs Jasmine Hempton John Dickens and Ian Peter and Hilary Fawcett Roberts Dick and Sue Shoobridge workings of the orchestra. Payne Dr Anya Reading PRINCIPAL VIOLA Peter and Jeanne Debra Findlay Joy Selby Smith John and Jo Strutt Christine Dobner Jan and Alan Rees FOUNDATION TSO IMPRESARIO Hepburn Janet Fletcher Dr Peter Stanton Professor David Elliott Heather Rigby SUPPORTERS PATRONS PRINCIPAL TROMBONE Nicholas Heyward and Susan Folder Susan Williams Dr Andrew Tulloch Allanah Dopson Jenny Goulding Dr Noel French Anne Riley $1,000-$9,999 $50,000 AND ABOVE Darrell Jones Anonymous PRINCIPAL FIRST HORN Brian and Jacky Hartnett Norma Goenitzer Bill and Pamela Roach Keith Anderson PRINCIPAL DOUBLE BASS Veronica Keach Mrs Michele Robb Leon and Susan Morell Mr Kenneth von Bibra AM John and Robyn Hawkins Christine Griffiths Grants, Trusts Patricia Leary Dr Mary-Anne Keady Kay Rodda Sue Oldham and Mrs Berta von Bibra Ann Hopkins Brian Haas and Sylvia and Foundations CHIEF CONDUCTOR & OAM Judith Ker-Stout Jonathon Kelly Steven and Christine Margaret Sallis Suzanne Kirkham Ledger The TSO receives ARTISTIC DIRECTOR CONTRABASSOON Dr Fiona Lee Roden Tony Stacey AM and Jerry L Hampton generous support from Anonymous Dr Hilary Wallace Roger and Valerie le Ms Jean Ross Jeanette Stacey Maitre David and Jeannette Eileen Harrison grant making and private Lewis Gwen Scanlan John and Janet Upcher TSO MAESTRO CHORUSMASTER Harvey Grey Lennon Lisa Harris philanthropic entities. Michelle Warren Alison Malcolm Megan Schaffner David and Michelle PATRONS Marko Letonja Barbara Hocking The TSO acknowledges Stan Sheppard Warren $20,000-$49,999 DAVE AND ANNICK Linda and Martin Luther Dr Katherine Marsden C Howells the support of The Estate CHAMBER MUSIC FUND Kenneth Singh Judith McDougall Margret Monks Jane Hudspeth FOUNDATION of Dr Louise Crossley PRINCIPAL CLARINET David Davey and Annick Howard Smith Dr Alex McLaren and Diane and Peter Paech Judy and Alan Hyndes DONORS as underwriter of the Dr Peter Stanton Ansselin position of Assistant Netta McLaren Valerie Pindell Joy Smith $500-$999 CONCERTMASTER The Hon Christophe Conductor. TSO PATRONS Macquarie Accounting John and Janet Upcher Illien de Valois-Lorraine Neil Spark Steve and Meredith Curtis Rob and Tricia Greenwell $1,000-$4,999 Dr Katherine Marsden Jacqui Walkden Lynne Stacpoole Lyn Inglish Robyn Montgomery and Allport Bequest TSO Friends Peter and Ruth Althaus Diane E Matthews Anonymous Donors Grant Stebbings Anzac Centenary Arts Keith Anderson Chris Ireland and Chris Johnson Juliet Mercer Margaret Gibson Celia Stone and Culture Fund Richard King TSO CHAIR PATRONS Sylvia Barrett Muriel Morillon and TSO DONORS Janet Stone Dr Nadeena Beck Kelvin Jackson and Australia-China Council $5,000-$19,999 Michael Allott $50-$249 Marlena Knight Chris Spiegel Edward C Benyon and Jennifer Tayler of Dept of Foreign Affairs PRINCIPAL TIMPANI John and Jennifer Morris James and Sue Anderson Ms Marlene Jacques Helen Tinning and Trade Jennifer Owen Jill Mure Sculthorpe John and Marilyn Robyn Atkinson Peter Jarvis and Johanna Rod and Judith Tudball Department of State Alan and Jill Birchmore Katherine Olejniczak Society Canterford, via Process Catherine Bolch Colin Baldwin van Heijster Peter Turnbull Growth Technologies Erik Parris When you include the TSO Hans Bosman and Sue John Banks and Robin Zoe Johns Edna Walker OAM Graeme Wood Madden Neil Pearson Foundation Trust in your COR ANGLAIS Jennifer Prevost Wilkinson Dr Jodi Johnson-Glading D and Lana Wall will, you are invited to join Foundation Anne Carmichael Mr John Cauchi and Mr and Mrs S Roberts Catherine Barta Mary Jolly Ms Beth Wardlaw the Sculthorpe Society. James N Kirby Ms Catherine Walker George and Jan Poul and Susan Bendtsen Alison Jones Katharine Waterworth Named for Australian Foundation Casimaty Kay Rodda PRINCIPAL BASSOON Brian and Helen Shearer Lyall and Mavis Beven Christopher Jones Elizabeth and Stephen composer and TSO Patricia H Reid Don Challen AM and Anne supporter Peter Sculthorpe Julia Farrell Dr Tony Sprent AM Margaret Binns Peter and Wendy Joyce Webber Endowment Fund Challen AO OBE, Society members PRINCIPAL TUBA Ian Chambers and Tony and Jeanette Stacey Helene Bogut-Browne Paavo Jumppanen Winston and Fay Wheeler enjoy public recognition (if Tasmanian Community Dr Marie Heitz and Kathryn Arneman Brian and Christine Sykes Robert and Fae Bown Dr Mary-Anne Keady Susan Williams desired) and invitation to Fund David Boyles Denise and Geoff Jan Tierney Ms Anne Brown Thomas Keelty Deirdre and Trevor Wise exclusive backstage events. TSO Foundation Trust

12 13 PARTNERS

GOVERNMENT SUPPORT PARTNERS

The Tasmanian Symphony Orchestra is assisted by the Australian Government through the Australia Council, its arts funding and advisory body, and through Arts Tasmania by the Minister for the Arts, and the Tasmanian Icon Program.

PRINCIPAL PARTNER

PREMIER PARTNERS SUPPORTING PARTNERS

more than just ne printers.

MAJOR PARTNERS WINE PARTNER MEDIA SUPPORTER

LEADERSHIP PARTNERS For information on Corporate Partnership opportunities, please contact Ed Benyon on 03 6232 4430 or email [email protected].

14 15 TASMANIAN TSO CHORUS SYMPHONY June Tyzack Ann Godber ORCHESTRA Chorusmaster Helena Griggs Andrew Bainbridge Sue Harradence Marko Letonja FLUTE Assistant Kirsten Jones Chief Conductor Douglas Mackie* Chorusmaster/ Leigh Lazarus Répétiteur Josephine Legosz and Artistic Director Lloyd Hudson Piccolo Jennifer Marten-Smith Mary McArthur Elena Schwarz Répétiteur Caroline Miller OBOE Maria Stephens, Louise Rigozzi Assistant Conductor David Nuttall* Elizabeth Eden Sally Vance VIOLIN Dinah Woods Language Coach Gillian von Bertouch Emma McGrath Cor Anglais SOPRANOS Beth Warren Concertmaster CLARINET Rosina Beaumont TENOR Elinor Lea Andrew Seymour* Anne Blythe-Cooper Hilary Fawcett Associate Chris Waller Alice Bowman-Shaw Peter Fawcett Concertmaster Bass Clarinet Carmelita Coen Bill Field Lucy Carrig-Jones BASSOON Michaela Darlington Michael Kregor Principal Second Tahnee van Herk* Hannah Denman* Tony Marshall John Panckridge Madeleine Dragar* Simon Milton Jennifer Owen Contrabassoon Madeleine Dyer David Pitt Principal First Felicity Gifford James Powell-Davies HORN Madeleine Bould Debra Jensen Alexander Rodrigues Geoff Lierse# Miranda Carson Felicity Kohut Peter Tattam Principal First Bernadette Large Andrew Tulloch Frances Davies Greg Stephens# Loretta Lohberger Dominique Gallery Principal Second BASS Heather McCallum John Ballard Edwina George Roger Jackson Stephanie McDonald Timothy Begbie Wendy Page* Michael Johnston Shaunagh O’Neill Chris Carolan Christine Lawson TRUMPET Julianne Panckridge Jack Delaney* Christopher Nicholas Yoram Levy* Meg Scanlan Greg Foot Rohana O’Malley Mark Bain Christina Peter Hepburn Schallenberg Sam Hindell Hayato Simpson TROMBONE Jonathon Ramsay* Carolyn Seelen Duncan How VIOLA David Robins Joy Tattam Reg Marron Stefanie Farrands* ALTO Tony Parker BASS TROMBONE Douglas Coghill Carmen Ait Maamar Christopher Parr Matthew Claire Blichfeldt Paul Radford Anna Larsen Roach # McGeachin Sally Brown Philip Sabine Rodney McDonald TUBA Beth Coombe Dick Shoobridge William Newbery Tim Jones* Sally Crosby Anthony Sprent Elizabeth Eden *TSOC Student Program CELLO TIMPANI Sue-Ellen Paulsen* Matthew Goddard* Ivan James PERCUSSION Martin Penicka Gary Wain* Sophie Radke Steve Marskell Tracey Patten DOUBLE BASS Stuart Thomson* HARP Surtitles courtesy Opera Australia. Owen Torr# Aurora Henrich Reimagined by June Tyzack. *principal player James Menzies #guest principal Surtitles operated by Marie Keane.

16 0988 a member. Orchestra isproud tobe The Tasmanian Symphony E: [email protected] Int. Phone:+61362324444 T: 0362324444 ADMINISTRATION Email: [email protected] Telephone: 0362324450 Freecall: 1800001190 Bookings online:tso.com.au BOX OFFICE Tas 7001Australia GPO Box1450Hobart Tasmania 7000Australia 1 DaveyStreet, Hobart Federation ConcertHall ABN 81088230184 © 2017Tasmanian SymphonyOrchestra PtyLtd TSO.COM.AU Principal Partner