DOCSLIB.ORG

2011 Annual Report 05 Chairman’S Review

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Annual Report 2011 SYDNEYSYMPHONY.COM Contents Sydney Symphony Musicians 2011 02 The Year in Review 04 Chairman’s Review 06 Managing Director’s Report 08 Community 12 Supporters – Donors and Sponsors 18 Five-Year Performance Summary 22 1 2 In April, the Sydney Symphony launched its free mobile App with the support of Telstra BigPond. As part of the App, the Sydney Symphony became the first orchestra in the world to stream its concerts live on mobile devices. At the end of 2011, the Sydney Symphony App had received over 3,000 downloads across 41 countries. 3 4 5 IMAGES: 1. Symphony in the Domain; 2. 2011 Fellow Katie Zagorski (image: Ben Symons); 3. Roger Benedict and the 2011 Fellows at St James’ Church (image: Ben Symons); 4. A scene from Metropolis; 5. Robert Johnson during Playerlink masterclass in Armidale (image: Tim Barnsley); 6. Conductor Dan Carter and students at Newcastle Town Hall (image: Jamie Wicks); 7. Rory Jeffes, Shefali Pryor, Jacqui Cronin, Rowena Macneish, Emily Long, Aernout Kerbert at the Australia – Japan Goodwill Dinner in Tokyo; 8. Lang Lang (image: Ben Symons). COVER IMAGE: Lore secest dit quia. 01 6 7 8 First Violins Violas Harp Bassoon Bass Trombone Sydney Sun Yi Roger Benedict Louise Johnson Matthew Wilkie Christopher Harris Associate Concertmaster Principal Principal Principal Principal Kim Williams AM & Symphony Kirsten Williams Catherine Dovey Chair Roger Brooke Associate Concertmaster Associate Principal Tobias Breider Katherine Lukey Principal Flutes Fiona McNamara Tuba Assistant Concertmaster Musicians Anne Louise Comerford Janet Webb Steve Rossé Fiona Ziegler Associate Principal Principal Principal Assistant Concertmaster Yvette Goodchild Emma Sholl Contrabassoon 2011 Associate Principal Julie Batty Assistant Principal Robert & Janet Constable Chair Noriko Shimada Timpani Jennifer Booth Robyn Brookfield Principal Carolyn Harris Richard Miller Marianne Broadfoot Sandro Costantino Principal Brielle Clapson Jane Hazelwood Piccolo Horns Mark Robinson Veolia Environmental Assistant Principal Vladimir Ashkenazy Sophie Cole Services Chair Rosamund Plummer Robert Johnson and Tutti Percussion Principal Principal Conductor & Artistic Advisor Amber Davis Graham Hennings Principal Sponsored by Emirates Ben Jacks Stuart Johnson Georges Lentz Principal Percussion Nicola Lewis Justine Marsden Oboes Geoff O’Reilly Principal 3rd Rebecca Lagos Nicholas Carter Nicole Masters Felicity Tsai Diana Doherty Principal Principal Oboe Lee Bracegirdle Associate Conductor Alexandra Mitchell Leonid Volovelsky Andrew Kaldor & Colin Piper Renata Kaldor AO Chair Euan Harvey Justice Jane Supported by Premier Partner Léone Ziegler Mathews AO Chair Credit Suisse and Symphony Shefali Pryor Marnie Sebire Services International Associate Principal Cellos Rose Herceg Chair Second Violins Catherine Hewgill Piano Michael Dauth Principal David Papp Concertmaster Marina Marsden Tony & Fran Meagher Chair Trumpets Josephine Allan Principal Daniel Mendelow Principal (contract) Leah Lynn Principal Dene Olding Kirsty Hilton Assistant Principal Cor Anglais Concertmaster Principal Paul Goodchild Kristy Conrau Alexandre Oguey Associate Principal Emma West Principal Assistant Principal Fenella Gill John Foster Jennifer Hoy Timothy Nankervis Anthony Heinrichs A/Assistant Principal Elizabeth Neville Clarinets Bob & Ruth Magid Chair Susan Dobbie Lawrence Dobell Principal Emeritus Adrian Wallis Principal Anne Arcus & Terrey Trombones Maria Durek David Wickham Arcus AM Chair Ronald Prussing Emma Hayes Francesco Celata Principal Shuti Huang Associate Principal Scott Kinmont Double Basses Christopher Tingay Associate Principal Stan Kornel Kees Boersma Nick Byrne Benjamin Li Principal Emily Long Alex Henery Bass Clarinet Principal Philippa Paige Craig Wernicke Neil Brawley Principal Biyana Rozenblit Principal Emeritus Maja Verunica David Campbell Steven Larson Richard Lynn David Murray Benjamin Ward Dene Olding (image: Keith Saunders) 02 The Year in Review Sydney Subscription Series g 120 people attended the Sinfonietta and Stand-Alone Mainstage workshop in Sydney and 220 teachers Performances from around Australia requested g The Sydney Symphony presented the Teacher Resource Kit, with 70 118 concerts in the Sydney Opera attending the composition workshops In 2011 the House and City Recital Hall Angel in Sydney, Melbourne and Hobart. Place to 235,398 patrons. g 95 students and 15 local music g These performances included teachers participated in the Playerlink Sydney Symphony 92 concerts to which subscriptions workshop and associated activities were sold across 11 series, nine in Armidale. gala performances and a further 17 performances which fell outside Touring and Outreach performed over the main subscription series. g The Sydney Symphony performed at two free outdoor concerts in 2011: Commercial Collaborations Symphony in the Domain – 60,000 Parramatta Park – 1,200 concerts The Sydney Symphony plans its seasons 200 well in advance. Acknowledging that g The Sydney Symphony toured to opportunities to perform in collaboration Wollongong where it played to a with popular commercial artists requires packed hall of 800 to raise funds for to more than a shorter planning window, the Company rural families. allocates a percentage of available orchestral playing time to these projects g The Sydney Symphony also gave This work is undertaken either with concerts in Penrith, Blacktown the Sydney Symphony taking the role and Newcastle. of presenter or as a ‘band for hire’. g More than 72 hours of Sydney In 2011 the Sydney Symphony performed Symphony recorded concerts were in 17 concerts in this category, which broadcast on ABC Classic FM in 2011. attracted 35,386 attendees. g Ten performances were made available for streaming on the The Education Program BigPond website. 340,000 g 33,500 knowledge seekers attended g Four Mahler cycle CDs were released the Sydney Symphony’s 65 education on the Sydney Symphony’s own label: people. activities in 2011. Of these: Symphonies Nos. 3, 4, 6 and 7. g 29,000 pupils attended schools g Sydney Symphony musicians also concerts that were held at the ABC NUMBER OF NUMBER OF PAID continued to contribute to the wider SERIES PERFORMANCES PROGRAMS OCCUPANCY Centre in Ultimo, Sydney Olympic community in their capacity as Park, Sydney Opera House and in the teachers and members of community Ausgrid Master Series 27 9 57,908 regional centres of Wagga Wagga, music groups. Griffith, Albury, Campbelltown and Thursday Afternoon Symphony 9 9 20,397 Newcastle (eight performances). g Under the direction of Principal Conductor and Artistic Advisor Emirates Metro Series 8 8 16,393 g 750 students from outer-metropolitan Vladimir Ashkenazy, the Sydney Meet the Music 8 4 16,257 Sydney attended five open rehearsals Symphony toured Japan and Korea at the Sydney Opera House and in November 2011, performing eight Kaleidoscope 8 4 15,339 Sydney Olympic Park. concerts to over 18,000 audience Great Classics 7 7 15,924 g 2,200 concert-goers enjoyed members in the Japanese cities 18 performances by the Sydney of Tokyo, Fukuoka, Nagoya and Tea & Symphony 8 8 15,037 Symphony Fellows throughout Nishinomiya as well as in the South Sydney and NSW. Korean capital, Seoul. Mondays @ 7 5 5 10,672 g 120 tertiary students and teachers The tour marked the Orchestra’s first Discovery Program 4 4 3,466 attended masterclasses as part of the visit to Korea in its 79-year history International Pianists in Recital 4 4 3,958 Sinfonia and Fellowship programs and was part of the 2011 Year of and an additional 550 piano students Friendship between Australian and Mozart in the City 4 4 3,873 and their teachers attended a special the Democratic Republic of South workshop with pianist Lang Lang. Korea, marking 50 years of diplomatic Gala performances 9 8 20,788 g 520 teachers attended eight accredited relations between the two countries. Commercial concerts 17 8 35,386 professional learning courses. IMAGES FROM TOP LEFT: Total 118 82 235,398 Diana Doherty, Principal Oboe. 04 SYDNEY SYMPHONY / 2011 ANNUAL REPORT 05 Chairman’s Review The Board continues to focus on the The year 2011 will be remembered by our audiences key performance criteria embodied as one of outstanding artistic highlights. It marked in our business plans, being Artistic Vibrancy, Access and Financial Stability. the culmination of the two-year Mahler Odyssey, We exceeded target expectations in respect of all key performance indicators which represented a landmark in our partnership in 2011 and we look forward to continued improvements in the 2012 with Principal Conductor and Artistic Advisor year. I thank my fellow directors for Vladimir Ashkenazy. Our audiences embraced these their efforts during the year and I make special mention of Ms Gabriele Trainor performances with enthusiasm and we are delighted who retired from the Board in May 2011. During her seven years on the Board they have been captured for posterity in recordings Gabrielle was a tireless advocate for the that are being released as they become available. Orchestra and her contributions were much appreciated by directors, musicians and management. The year has also been a strong one for We acknowledge the continued support the Sydney Symphony from a financial of our subscribers, donors and sponsors results perspective. The net operating and thank the Federal Government, surplus of $1.022 million is indicative of through the Australia Council for the the Company’s strength and resilience Arts, and the NSW Government, through to recover from
Recommended publications
  • Sebastian Lang-Lessing Chief Conductor & Artistic Director

    Sebastian Lang-Lessing Chief Conductor & Artistic Director

    2 0 0 9 SEBASTIAN LANG-LESSING Chief Conductor & Artistic Director 3 2009 3 HIGHLIGHTS WORLD PREMIERES The TSO and TSO Chorus under conductor Richard Mills gave the world première of Mills’s Passion According to St Mark in Hobart on 4 April, a Ten Days on the Island event. Lux Aeterna, by New Zealand composer Kenneth Young, received its world première under conductor Nicholas Milton in Hobart on 24 July. AUSTRALIAN PREMIERE Elena Kats-Chernin’s Ornamental Air, co-commissioned by the TSO, received its Australian première under conductor Baldur Brönnimann in concerts in Launceston and Hobart on 3 and 5 December. CONTENTS ACOUSTIC UPGRADE Highlights 2 The acoustics in Federation Concert Hall received a significant upgrade thanks to an acoustic screen and purpose- Chairman 4 built risers funded by a special one-off grant from the State Government. Managing Director 4 AUSTRALIAN COMPOSER SERIES VOL 3 TSO Holdings Board of Directors 5 The Hon. Peter Garrett, Federal Minister for the Arts, launched the Australian Composer Series Volume 3 at Moorilla on Strategies, Goals, KPIs 7 31 March. The five-CD box set, which features the music of Gerard Brophy, Brett Dean, Peggy Glanville-Hicks, Concerts 9 Richard Meale and Malcolm Williamson, brings the total number of CDs in the Australian Composer Series to 18. Artists 10 (L-R) Richard Mills, Lyndon Terracini, Core Repertoire Sebastian Lang-Lessing, the Hon. Peter Garrett and Nicholas Heyward. Classical and Early Romantic Music 11 Australian Music 13 CD Releases 14 Recordings 16 Marketing and Business Development 17 Education and Training 17 ABAF AwaRDS Orchestra 19 The TSO took out national honours at the Australia Business Arts Staff 20 Foundation (AbaF) awards in the ‘Giving Award’ category at a ceremony TSO Chorus 20 held in Brisbane on 15 October.
  • Artist Biographies

    Artist Biographies

    ARTIST BIOGRAPHIES Richard Gill AO | Artistic Director & Conductor in March 2019 Australian conductor and educator, Richard Gill, one of Australia's best-known and best-loved musical figures, is a significant and vital key member of ARCO. His career has taken him from teaching music in Sydney's western suburbs to Music Director of the Victorian Opera, Artistic Director of the Sydney Symphony Education Program, and along the way an involvement with almost every major opera company and orchestra in Australia. He is one of this country's pre-eminent conductors and a passionate advocate of music education. He specialises in opera, music theatre and vocal and choral training and his work in developing young musicians and creating opportunities for them is recognised world-wide. His appearances on the ABC’s “Spicks and Specks” and “Q&A” have made him a household name within and beyond Australia’s musical world. What truly distinguishes Richard is his passion and enthusiasm for spreading not just the joy of music, but its myriad benefits. He is Australia’s greatest musical educator, and many say one of the best in the world. His life's work - alongside his other roles - has been advocating music in our education system, and furthering the development of those who have gone on to choose music as a vocation. He brings music to life, and his knowledge and deep enjoyment of his subject is as inspiring and enlightening to a class of primary school students as it is to the cast of a major opera. The majority of Australia’s young contemporary professional musicians count Richard as a powerful influence on their musical development.
  • Download Booklet

    Download Booklet

    PROGRAMME NOTE While America’s culture of performance VIOLIN CONCERTOS inevitably turned to Europe for its models, it ROY HARRIS • JOHN ADAMS Among the enduring transformations that gradually gathered strands of American identity coursed through the United States in the – complete with works by native musicians – to decades following the Civil War, one stands set alongside classics by Handel, Mozart and proud in the history of the nation’s musical life. Beethoven and more recent scores from It concerns what the scholar and critic Joseph the Old World. The New York-born composer Horowitz calls the “culture of performance”, Edward MacDowell, for instance, directed his Concerto for Violin and Orchestra (1949) Roy Harris (1898-1979) the creation of civic institutions devoted to thoroughly European training in France and 1 Section One [8.46] the making of music and the rise of a new Germany to the intentional cultivation of a 2 Section Two [9.53] generation of American musicians determined distinct brand of musical nationalism, “a 3 Section Three [6.05] to build their own traditions of ‘classical music which should be American”, as he 4 Section Four [3.24] music’. The process was already in train put it. The nature of what ‘American’ meant, before the war in many east coast cities, as so often with debates about cultural Concerto for Violin & Orchestra (1993) John Adams (b. 1947) where orchestral and choral societies arose identity, varied according to perspective. Many 5 I – [15.51] to meet the needs of a growing middle-class Americans at
  • Berkeley Symphony Biography

    Berkeley Symphony Biography

    Berkeley Symphony Biography Berkeley Symphony is unique among American orchestras: founded in 1969 in the intellectual and artistic nexus of Berkeley, California; led by the restlessly innovative Music Director Joana Carneiro and Executive Director René Mandel, an actively performing violinist; committed to premiering and commissioning new music, including a disproportionate amount of music written by women; and sustained by the supportive musical environment of Berkeley, the East Bay, and the San Francisco Bay Area. From the outset, the people behind Berkeley Symphony’s culture and programming were attuned to the culturally diverse people and the heady creative climate of their home city. Thomas Rarick, a protégé of the great English maestro Sir Adrian Boult, founded the orchestra in 1969 as the Berkeley Promenade Orchestra. Reflecting the spirit of the times, musicians performed in street dress and at unusual locations such as the University Art Museum. When Kent Nagano became the music director of the orchestra in 1978, he charted a new course by offering innovative programming that included a number of rarely performed 20th-century works and numerous premieres. The renamed Berkeley Symphony Orchestra gained an international reputation for its adventurous programming, and became known for premiering the music of international composers and showcasing young local talents. During the 30 years he served as music director, Nagano established an international reputation as a gifted interpreter of both the operatic and symphonic repertoire. Nagano stepped down from his post at Berkeley Symphony in 2008, after his 30th anniversary season. In January 2009, Portuguese conductor Joana Carneiro became the orchestra’s third Music Director in its 40-year history.
  • City Recital Hall Limited

    City Recital Hall Limited

    ANNUAL REPORT 2018-19 CITY RECITAL HALL LIMITED 1 CONTENTS 3 STRATEGIC FRAMEWORK Concert: Man of Constant Sorrow: A tribute to the music 4 ACTIVITY HIGHLIGHTS of ‘O Brother Where art Thou?’ Photo: Tim da-RIn 5 CHAIR’S MESSAGE 6 CEO’S MESSAGE 7 PRESENTING PARTNERS AND HIRERS 8 APPEARING ON OUR STAGE 10 VISITOR EXPERIENCE 11 SUPPORT FOR THE SECTOR 12 COMMUNITY ENGAGEMENT 14 CITY RECITAL HALL PRESENTS 17 KEY PRESENTERS 18 VENUE HIRERS 19 PARTNERS AND SUPPORTERS 20 GIVING 21 MEMBERSHIP 22 CORPORATE GOVERNANCE 23 BOARD 26 STAFF 2 STRATEGIC FRAMEWORK Concert: Man of Constant Sorrow: A tribute to the music of ‘O Brother Where art Thou?’ Photo: Tim da-RIn VISION OUR GUIDING PRINCIPLES STRATEGIC GOALS To be one of the ‘must visit’ cultural AND VALUES BRAND destinations in Australia. • Progressive thinking and creative City Recital Hall is a place that offers excellence underpin everything we do. “music and more” to a wide audience MISSION We think outside the square to deliver unique and creative experiences for PLACE To unlock the cultural, social and our artists, partners and audiences. The beating cultural heart of the economic value of City Recital Hall. Sydney CBD • Democratic and diverse - Everyone We will do this by: plays an important part, every voice is QUALITY heard, everyone is respected. If it’s on at City Recital Hall, it must be • producing, promoting, presenting, We champion diversity by engaging good encouraging and facilitating excellent with all genres, all peoples, all ideas. cultural events; We are proud to be open, transparent SERVICE and inclusive.
  • Mahler's Klagende Lied

    Mahler's Klagende Lied

    Mahler’s Klagende Lied SIMONE YOUNG’S VISIONS OF VIENNA 4 – 7 DECEMBER SYDNEY OPERA HOUSE CONCERT DIARY FEBRUARY 2020 The 1950s Latin Lounge Wed 5 Feb, 7pm Thu 6 Feb, 7pm Program includes: Sat 8 Feb, 7pm GERSHWIN Cuban Overture Sydney Town Hall MARQUEZ Danzón No.2 BERNSTEIN West Side Story – Mambo Guy Noble conductor Imogen Kelly dancer Ali McGregor soprano The Rite of Spring Symphony Hour Wed 19 Feb, 7pm RIOT AT THE BALLET Thu 20 Feb, 7pm WAGNER Die Meistersinger – Prelude Sydney Town Hall STRAVINSKY The Rite of Spring Pietari Inkinen conductor Abercrombie & Kent Debussy and Ravel Masters Series THE GREAT IMPRESSIONISTS Wed 26 Feb, 8pm RAVEL Piano Concerto in G Fri 28 Feb, 8pm MENDELSSOHN The Hebrides Sat 29 Feb, 8pm DEBUSSY La mer Thursday Afternoon Symphony Jun Märkl conductor Thu 27 Feb, 1.30pm Alexandra Dariescu piano Great Classics Sat 29 Feb, 2pm Sydney Town Hall MARCH 2020 Ben Folds Sydney Symphony Presents Fri 6 Mar, 8pm THE SYMPHONIC TOUR Sat 7 Mar, 8pm Pop icon and music innovator Ben Folds Sydney Town Hall returns to Sydney following his last sold- out shows with the Sydney Symphony. Ben Folds Nicholas Buc conductor Scheherazade Symphony Hour Wed 11 Mar, 7pm HYPNOTIC AND SUBLIME Thu 12 Mar, 7pm DEBUSSY Prelude to the Afternoon of a Faun Tea & Symphony RIMSKY-KORSAKOV Scheherazade Fri 13 Mar, 11am Alexander Shelley conductor Sydney Town Hall Debussy, Mozart and Rimsky-Korsakov Emirates Metro Series Fri 13 Mar, 8pm SENSE AND SENSUALITY Sydney Town Hall DEBUSSY Prelude to the Afternoon of a Faun MOZART Sinfonia Concertante, K.364 RIMSKY-KORSAKOV Scheherazade Alexander Shelley conductor Harry Bennetts violin Tobias Breider viola Abercrombie & Kent Beethoven Missa Solemnis Masters Series MUSIC OF INSPIRATION Wed 18 Mar, 8pm BEETHOVEN Missa Solemnis Fri 20 Mar, 8pm Sat 21 Mar, 8pm Donald Runnicles conductor Siobhan Stagg soprano Sydney Town Hall Vasilisa Berzhanskaya mezzo-soprano Samuel Sakker tenor Derek Welton bass Sydney Philharmonia Choirs Cats 240x150.indd 1 2/9/19 16:40 WELCOME Welcome to the Abercrombie & Kent Masters Series.
  • Spirit of the Plains

    Spirit of the Plains

    Spirit of the Plains Bradley Kunda, GUITAR Laura van Rijn, FLUTE Spirit of the Plains (Bradley Kunda, 2015) I. Pan II. The West Wind III. Fantasy Spirit of the Plains is inspired by the paintings of Sydney Long (1871-1955). Long remains a unique voice in Australian art, particularly for his rendering of the Australian landscape in the European Art Nouveau style; he extends the branches of gum trees into flowing lines with sinuous curves, and he decorates the bush with mythical figures – fauns, nymphs and satyrs. Brolgas and magpies are enchanted by the flute, played by Pan, the Greek god of nature, shepherds, flocks, and pastoral music (Pan, 1989), or by a similarly evocative feminine spirit (The Spirit of the Plains, 1897/1914; The West Wind, 1909). The iconographic Art Nouveau image of spirited dancing girls with flowing dresses is a feature of Long’s work Fantasy (c. 1914), where the figures are engulfed by Long’s dreamy and imaginative depiction of trees and moonlight. The musical language of Spirit of the Plains for flute and guitar draws particularly on the French music of Long’s day, especially that of Maurice Ravel, whose meandering lines and lush textures are a fitting allusion to the Art Nouveau style. In the spirit of Long’s appropriation, however, this characteristic style is re-imagined through an Australian lens; the overtone-rich and colourful sound of the Australian classical guitar evokes its own harmonic and textural sound world, which pairs beautifully with Pan’s own instrument – the flute – in an Australian re-imagining of the musical and visual world of the fin de siecle.
  • An Analysis of the Lost Art of Letter Writing By

    An Analysis of the Lost Art of Letter Writing By

    u. 0 >> ~.X 1-tu ., 0 (j) z :I 0 a:o ~ m L'\J >- G :!! (/) c: ... z o a :l 0 a:: UNIVERSITY OF SYDNEY Con Music Rare Book Q 784.272 0281 1 Thesis An analysis of "The Lost art of letter writing" by Brett Dean THE UNIVERSITY OF SYDNEY COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51(2) of the Copyright Act permits an authorised officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorised officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author's moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author's reputation For further information contact the University's Director of Copyright Services sydney.edu.au/copyright AN ANALYSIS OF 'THE LOST ART OF LETTER WRITING' BY BRETT DEAN Clare Miller A thesis submitted in partial fulfilment of requirements for the degree of Master of Music (Music Performance) Sydney Conservatorium of Music University of Sydney 2010 II I declare that the research presented here is my own original work and has not been submitted to any other institution for the award of a degree.
  • AE News 2 2015.Indd

    AE News 2 2015.Indd

    Issue 2, 2015: April AE NEWS newsletter of the Australia Ensemble @UNSW Never Stand Still Music Performance Unit April Events Playing the last century It is no secret to the other members Australia Ensemble @UNSW of the Australia Ensemble that Free lunch hour concert Geoffrey Collins is very pleased Tuesday April 14, 2015 to be performing Martin Bresnick’s 1.10 - 2.00pm My Twentieth Century in the April Leighton Hall, Scientia Building subscription concert. Geoffrey last Haydn: Flute quartet Op.5 no.3 performed it in 2004 at the Australian Sculthorpe: String quartet no.8 Youth Orchestra’s National Music Ravel: Mother Goose suite arr. Camp in Canberra where Bresnick was composer-in-residence, and he Munro found it to be a very engaging piece. “It is much more transparent than Australia Ensemble @UNSW Bresnick’s previous works,” Geoffrey offered. “There is a trajectory that Free lunch hour workshop carries the listener through; it builds Thursday April 16, 2015 up and intensifi es over the course 1.10 - 2.00pm of the piece”. My Twentieth Century Leighton Hall, Scientia Building (2002) is scored for fl ute, clarinet, Violinist Dene Olding in a public piano, violin, viola and cello, but also masterclass with musicians from requires each of the instrumentalists UNSW to narrate passages from a text by Free, all welcome Bresnick’s friend and colleague Tom Andrews. Sadly, the poet died between Geoffrey Collins, fl ute Australia Ensemble @UNSW completing the work and its fi rst performance in 2002, due to complications from haemophilia, a condition Subscription Concert 2, 2015 which affected him from his teenage years and coloured the perspective of Saturday April 18, 2015 much of his poetry.
  • 2006/07 Season Press Release

    2006/07 Season Press Release

    Contact: Adam Crane, 213.972.3422 Rachelle Roe, 213.972.7310 LOS ANGELES PHILHARMONIC ASSOCIATION ANNOUNCES 2006/07 SEASON Season Highlights include: • The Tristan Project premieres in New York City and returns for encore performances in Los Angeles, including the complete opera in one evening • Esa-Pekka Salonen, soprano Dawn Upshaw, and the orchestra give U.S. premiere of Kaija Saariaho’s new Philharmonic co-commissioned oratorio for orchestra and chorus: La Passion de Simone • Shadow of Stalin programs explore the effects of political climate on creativity and artistic expression • On Location residencies with Thomas Adès, Emanuel Ax, Joshua Bell, and Dawn Upshaw feature orchestral, Green Umbrella, chamber music, and recital programs • Cycle of complete symphonies by Brahms, led by Christoph von Dohnányi • Other U.S. premieres of works by Gerald Barry, Brett Dean, Esa-Pekka Salonen, Liza Lim, and Anthony Pateras Los Angeles (February 7, 2006) – The Los Angeles Philharmonic announces the season programming for the 2006/07 season, the orchestra’s 88 th subscription year, and 15th under Music Director Esa-Pekka Salonen. Beginning September 28, 2006 and running through June 3, 2007, the 2006/07 season marks the orchestra’s fourth year in Walt Disney Concert Hall. The season opens with a gala concert, led by Esa-Pekka Salonen, that features Manuel de Falla’s Master Peter’s Puppet Show with puppet theater, and works by Ravel, closing with the showpiece, Bolero . “I’m looking forward to this season,” says Music Director Esa-Pekka Salonen. “It has an energizing mix of old and new, familiar and unfamiliar, and even some repertoire returning in a richer version than before.” “The 2006/07 Los Angeles Philharmonic season bears the imprint of our unique perspective on how a season is assembled and what it offers our audiences.
  • Lionel Bringuier

    Lionel Bringuier

    Lionel Bringuier Conductor French conductor Lionel Bringuier’s artistic maturity, interpretive depth, and distinct programming have quickly established him as one of the most engaging conductors of his generation. He appears frequently with top orchestras to great acclaim, all of which led to his being named Chief Conductor and Music Director of the Tonhalle Orchestra Zurich in 2012 at age 26. Entering the sixth season since his momentous debut with the Tonhalle, Bringuier’s bold vision and boundless energy – both on and off the podium – are breathing new life and vitality into a historic ensemble. During the 2017/2018 season, Mr. Bringuier will be making two appearances with Orchestre National de Lyon in November 2017 and May 2018. Mr. Bringuier’s 2017/2018 season also includes appearances with Leipzig Gewandhaus Orchestra, Chicago Symphony Orchestra, Montreal Symphony Orchestra, Finnish & Swedish Radio Symphony Orchestras, Gothenburg Symphony Orchestra and Malaysia Philharmonic among others. Bringuier has appeared as a guest conductor with the New York Philharmonic, Cleveland Orchestra, Bavarian Radio Symphony Orchestra, Simón Bolívar Symphony Orchestra of Venezuela, Philharmonia Orchestra, and Israel Philharmonic, to name just a few. Following the landmark inauguration of the Creative Chair Initiative for the Tonhalle Orchestra Zurich in his first season as Chief Conductor and Music Director, this season Lionel Bringuier will collaborate with the composer Brett Dean, as well as X as TOZ Artist in Residence. The first ever Creative Chair role in Zurich was held by Esa-Pekka Salonen, followed by Jörg Widmann in the 2015/2016 season and Peter Eötvös in the 2016/2017 season. Previous TOZ Artists in Residence, Yuja Wang, Lisa Batiashvili and Martin Grubinger remain close collaborators.
  • Beethoven: the Piano Concertos

    Beethoven: the Piano Concertos

    ADELAIDE SYMPHONY ORCHESTRA SEASON 2019 SPECIAL EVENT Beethoven: The Piano Concertos June Wed 5 – Sat 15 7pm Elder Hall CONTENTS ARTIST BIOGRAPHIES 3 Nicholas Carter Conductor Jayson Gillham Piano CONCERT ONE 5 June Wed 5, 7pm CONCERT TWO 11 June Sat 8, 7pm CONCERT THREE 16 June Wed 12, 7pm CONCERT FOUR 21 June Sat 15, 7pm ABC Classic is recording the concertos for CD release in early 2020 – the 250th anniversary of Beethoven’s birth. The ASO acknowledges the Traditional Custodians of the lands on which we live, learn and work. We pay our respects to the Kaurna people of the Adelaide Plains and all Aboriginal and Torres Strait Islander Elders, past, present and future. 2 ARTIST BIOGRAPHY Nicholas Carter Conductor Newly appointed as Chief Conductor of the In Australia, he collaborates regularly with Stadttheater Klagenfurt and the Kärntner many of the country’s leading orchestras Sinfonieorchester, Nicholas Carter will lead and ensembles and led the 2018 Adelaide three new productions per season and Festival’s acclaimed full staging of Brett appear regularly in the orchestra’s concert Dean’s Hamlet. Past engagements have series. In his first season, he conducts included the Melbourne, Sydney, West Rusalka, La Clemenza di Tito and Pelléas Australian, Queensland and Tasmanian et Mélisande, and concert programmes Symphony Orchestras with soloists such include Haydn’s Die Schöpfung and Mahler’s as Michelle de Young, Simon O’Neill, Alina Symphony No. 1. Ibragimova, Alexander Gavrylyuk and James Ehnes; also galas with Maxim Vengerov Since his appointment as Principal (Queensland Symphony) and Anne Sofie von Conductor of the Adelaide Symphony Otter (Sydney Symphony).