Great Performers 2019 Great Performers Melbourne Recital Centre Presents

Nicole Car Étienne Dupuis & Jayson Gillham

—Great Performers 2019 2 Photo: Georges Antoni

3 Great Performers 2019 Great Performers —Soprano, Baritone & Piano

‘Nicole Car is one of our finest classical singers. Her performances with Opera Australia have been a succession of triumphs.’ — The Australian

Nicole Car Étienne Dupuis & Jayson Gillham Australia & Canada

Wednesday 7 August, 7.30pm Elisabeth Murdoch Hall

6.45pm Free pre-concert talk with Andrea Katz

Duration One hour & 50-minutes including a 20-minute interval

Melbourne Recital Centre proudly stands on the land of the Kulin Nation and we pay our respects to Melbourne’s First People, to their Elders past and present, and to our shared future.

3 —Program

HENRI DUPARC (1848-1933) L’invitation au voyage

Chanson triste

Le manoir de Rosemonde

GABRIEL FAURÉ (1845-1924) Chansons du pêcheurs

Automne

JULES MASSENET (1842-1912) Élégie

CHARLES GOUNOD (1818-1893) ‘Elles se cachaient…Il ne revient pas’ from Faust

REYNALDO HAHN (1874- 1947) L’énamourée

L’heure exquise

KEVIN MARCH La Noche Oscura – world premiere

INTERVAL 20 minutes

JULES MASSENET Nuit d’espagne

LÉO DELIBES (1836- 1891) Les filles de Cadix

MAURICE RAVEL (1875-1937) Trois chansons de Don Quichotte à Dulcinée

GIUSEPPE VERDI (1813-1901) ‘Per me giunto’ from Don Carlo

‘Tu che le vanita’ from Don Carlo, Act IV

4 Great Performers 2019 Great Performers —About the music

We begin with poetry, with movement, with a beckoning outstretched hand: Henri Duparc’s L’invitation au voyage, based on the poetry of Charles Baudelaire is welcoming and sensual, promising and understated. An apt beginning, then, for a recital of some of the most exquisite songs and arias in the repertoire. The Invitation, written around 1870, is distinctly French, but takes inspiration from Richard Wagner (it is said that Duparc heard Rheingold in 1869, and was greatly taken by the work). You can hear the passion in the poetry – Baudelaire was desperately in love with the actress, Marie Daubrun, as he was writing, and he uses the verses to describe a great trip he would take. It’s a journey of the mind more than it is of the body, which is perhaps the reason it translates so well to music; we are able to traverse the world of Baudelaire’s imagination, via Duparc’s notes in an instant from our seat in the concert hall. Duparc’s other showings on the program – his Chansons triste (1868) and Le manoir de Rosemonde (1879) – give insight into the composer’s development. The early pieces speaking to his great reverence for his teacher, César Franck, and the clear influence of Franz Liszt and the aforementioned Wagner. By the time we visit Rosemonde, Duparc was working on bigger projects, specifically a larger operatic work, Roussalka, a piece ultimately abandoned when the composer later left the composition life altogether at the onset of mental illness.

Charles Gounod, a man who wrote a significant 12 operas in his lifetime, revising them until the day he died, composed Faust to only mild success in 1859. Though it had a slow commercial beginning, Faust became not only one of Gounod’s best loved operas, but also one of the most frequently staged works of all time. Charles Gounod

5 —About the music

‘Elles se cachaient...Il ne revient pas’ sings Marguerite at her spinning wheel, of her loneliness and the deep betrayal caused by Faust, who slept beside her and did not return. Federico Moreno Torroba’s aria ‘Amor, vida de mi vida’ from the opera Maravilla echoes this sadness in love – the gifted but luckless singer Rafael is in love with Elvira, who happens to be in a relationship already. Gabriel Fauré Hopeless love is continued in the two great arias from Giuseppe Verdi’s Don Carlos: in Tu che le vanità, the French princess Élisabeth, who has married the elderly King Philip II of Spain for political reasons, prepares for the arrival of her once-fiancé, now step-son Don Carlos. She, a devoutly religious and loyal woman, broke her happy engagement for the good of the two nations, and sings this prayer for all those in her life – her husband, so he may lead well and with benevolence, for Don Carlos, who she remembers with such fondness, and for herself, and the peace she knows she will find in death. Rodrigo, Don Carlos’ great confidante, who is about to falsely confess to the treason his friend is currently on death row for, sings of his great love for Carlos in Per me giunto. It is in equal parts heart-breaking and heartening – the celebration of male friendship as potent today as it was at its premiere in 1867.

Just a few years later in 1871, Gabriel Fauré’s music had taken on a ‘new sombreness, a dark-hued sense of tragedy’ that became evident in his song writing, particularly in La Chanson du pêcheur. Gone were the days of Fauré’s great, young charm. He had arrived at a new chapter, this one mature, with a greater understanding of poetry, and a deepening

6 Great Performers 2019 Great Performers

interest in musical experimentation. Later still, in the writing of Automne as a 33-year-old, Fauré took the pleasant enough season and transformed it into a metaphor for the inevitability of passing time, and the elusiveness of memory. Here was a man with an ever-expanding understanding of the world he was living in, and the heartbreak that lay just around the corner. The text, by poet Paul-Armand Silvestre, paints an evocative picture: ‘Autumn, time of misty Jules Massenet skies and heart-breaking horizons, of rapid sunsets and pale dawns, I watch your melancholy days flow past like a torrent’. The music echoes this gloomy feeling, it is circular, moving its listener into a sense of timelessness. We are stuck in a loop – musical memories repeating and returning as if stuck in an almost Groundhog Day-like pattern.

Jules Massenet’s Élégie is another musical depiction of melancholy, written specifically to praise and express sorrow for one who has passed away. Massenet’s Élégie, in its many forms, was one of the most popular pieces in the last decades of the nineteenth century – the sorrowful melody reaching the hearts of many. Originally written for cello, and later adapted for a wide variety of instruments and ensembles, the piece was eventually set to Louis Gallet’s poem ‘O doux printemps d’autrefois’. Nuit d’Espagne shows a different side of Massenet. The piece finds joy in the world, in nature, in love. There is a subtle recognition of darkness, but the piece, after a small interlude of self-awareness (‘You understand me, cruel one, and you do not come’), returns to its glad beginnings. ‘The night is serene, calm my heart!’ goes the poem, ‘it’s time for love!’

7 —About the music

Reynaldo Hahn also uses his songs to discuss the great themes of human existence – love, loss and time passing. In L’enamourée, he keeps his long-lost love alive by thinking of them at night. Conjuring up their image makes them real, if only for a second. With a similar reverence for the power of nature, L’heure exquise explores the possibilities that occur in the evening as ‘the white moon gleams in the woods...

Reynaldo Hahn let us dream’, the poem goes, ‘it is the hour’. In what would be one of Maurice Ravel’s last compositions, the composer was working with an incredibly strict composition brief from the Austrian film-maker, Georg Pabst. For his film about the Spanish Knight, Don Quixote, Pabst asked for ‘a serenade, a heroic song and a comic one’, and while Ravel did not ever deliver (Ibert was hired to replace him), the Trois chansons de Don Quichotte à Dulcinée are wonderful vignettes, showing off Ravel’s absolute understanding of rhythm and colouring.

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The three pieces are dances: first, a quajira – a Spanish dance that alternates between bars of 6/8 and 3/4 rhythm. Then, a zortzico – a dance rhythm from Basque Country. The final piece is worked into the rhythm of the jota, a genre of music and dance originating in Aragon. The story is a well-known one: the many personality deficiencies of Don Quichotte. He is a lover, a holy warrior and a drinker, each represented in its own song.

Ravel was not the only 19th-century French composer to become fascinated with the sounds and rhythms of Spain. In fact, there was something of a trend in France from the middle of the century: locals were fascinated with the ‘exotic other’, and the rhythms and melodies of Spain became firm favourites of the French audience, and consistent inspiration for the creatives. Léo Delibes was drawn to the sounds of Spanish music, and his Les filles de Cadix (The girls of Cadix) became an immediate hit with keen listeners in France.

© Megan Steller 2019

9 —About the music

It is common for a new work to take years to move from the idea stage to the premiere. La Noche Oscura, composed specifically for Nicole Car and Étienne Dupuis, was no exception to the rule. In 2016, Étienne sang the role of Simon Doucet for the premiere of my opera Les Feluettes with Opéra de Montréal. I loved writing for and working with Étienne in the role and even wrote an additional aria for him one week before

Kevin March the premiere which he performed as if he’d lived with the aria for years. It was at the premiere that I also first met Nicole who was, at the time, Étienne’s fiancée. I was fortunate that both Nicole and Étienne liked the way I wrote for the voice so we kept in touch and kept our eyes open for an opportunity to work together on another project: perhaps a set of songs for them or a concert duet of some kind. Late in 2018, as the plans for and theme of this recital program began to come together, the idea for this work also came together and the choice of text became clear.

La Noche Oscura (Dark Night) was written in the 15th century by the Carmelite friar San Juan de la Cruz (St. John of the Cross). On its surface, the poem reads like an intense, clandestine, meeting of lovers. Each lover secrets away from their respective homes to come together under the cover of darkness to express their adoration for one another. This particular poem, in keeping with the Spanish influenced theme of this recital tour is, in some ways also reflective of Nicole’s and Étienne’s relationship, having come together, from nearly opposite ends of the world, for love of one another and for love of music. Beneath the poem’s romantic veneer however, lies a mystical, metaphorical subtext about a soul’s yearning for the divine.

© Kevin March 2019

10 Great Performers 2019 Great Performers —The Tex t s

Duparc L’invitation au voyage Invitation to journey Mon enfant, ma soeur, My child, my sister, songe a la douceur dream of the sweetness D’aller la-bas vivre ensemble, of going down there to live together, Aimer a loisir, aimer et mourir to love at leisure, to love and to die Au pays qui te ressemble! in the land that resembles you! Les soleils mouilles The damp suns De ces ciels brouilles of those hazy skies Pour mon esprit ont les charmes have charms for my spirit| Si mysterieux as mysterious De tes traitres yeux, as your treacherous eyes Brillant a travers leurs larmes. sparkling through their tears. La, tout n’est qu’ordre et beaute, There, there is nothing but order and beauty, Luxe, calme et volupte. luxury, calm, and sensual delight. Vois sur ces canaux See, on the canals Dormir ces vaisseaux sleep the vessels Dont l’humeur est vagabonde; which love to wander; C’est pour assouvir it is to satisfy your least desire Ton moindre desir that they come from the ends of the earth. Qu’il viennent du bout du monde. The setting suns clothe the fields, Les soleils couchants the canals, the entire city Revetent les champs, in hyacynthe and gold; Les canaux, la ville entiere the world falls asleep D’hyacinthe et d’or; in a warm light! Le monde s’endort There, there is nothing but order and beauty, Dans une chaude lumiere! luxury, calm, and sensual delight. La, tout n’est qu’ordre et beaute, Luxe, calme et volupte

11 —The Tex t s

Chanson triste Sad song Dans ton cœur dort un clair de lune, In your heart sleeps a moonlight,

Un doux clair de lune d’été, a soft summer’s moonlight, Et pour fuir la vie importune, and, to flee from this relentless life, Je me noierai dans ta clarté. I shall drown myself in your brightness. J’oublierai les douleurs passées, I shall forget past sufferings, Mon amour, quand tu berceras my beloved, when you cradle Mon triste cœur et mes pensées my sad heart and my thoughts Dans le calme aimant de tes bras. in the loving peace of your arms. Tu prendras ma tête malade, Oh! Sometimes you will take Oh! quelquefois sur tes genoux, my sick head upon your knees, Et lui diras une ballade and will tell it a ballad Qui semblera parler de nous; which will seem to speak of us; Et dans tes yeux pleins de tristesses, and in your eyes full of sorrows, Dans tes yeux alors je boirai in your eyes then I shall drink| Tant de baisers et de tendresses, so many kisses and tokens of love, Que peut-être je guérirai. that perhaps I shall recover. Le manoir de Rosemonde The manor of Rosemonde De sa dent soudaine et vorace, With his abrupt and beastly tooth, Comme un chien l’amour m’a mordu ... love has bitten me like a dog ... En suivant mon sang répandu, Following my bloodstains, Va, tu pourras suivre ma trace ... go, and you will be able to follow my trace. Prends un cheval de bonne race, Take a well-bred horse, Pars, et suis mon chemin ardu, leave, and follow my arduous way, Fondrière ou sentier perdu, bog or vanished path, Si la course ne te harasse! if the race doesn’t exhaust you! En passant par où j’ai passé, In passing where I passed, Tu verras que seul et blessé you will see that, alone and wounded, J’ai parcouru ce triste monde. I passed through this sad world, Et qu’ainsi je m’en fus mourir And this is how I went off to my death, Bien loin, bien loin, sans découvrir very far, far away, without finding Le bleu manoir de Rosamonde. the blue manor of Rosemonde.

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Fauré Chansons du pêcheurs Songs of the fisherman Ma belle amie est morte: My beautiful girlfriend is dead: Je pleurerai toujours; I shall weep for ever; Sous la tombe elle emporte into the tomb she carries Mon âme et mes amours. my soul and my loves. Dans le ciel, sans m’attendre, To heaven, without waiting for me, Elle s’en retourna; she has returned; L’ange qui l’emmena the angel who lead her away Ne voulut pas me prendre. would not take me. Que mon sort est amer! How bitter is my fate! Ah! sans amours, s’en aller sur la mer! Ah! Without love, to set off on the sea! La blanche créature The white being Est couchée au cercueil. is lying in her coffin. Comme dans la nature Oh! How all nature Tout me parait en deuil! seems to me to be in mourning! La colombe oubliée The forgotten dove Pleure et songe à l’absent; weeps and thinks of the absent one; Mon âme pleure et sent my soul weeps and feels Qu’elle est dépareillée. that it is incomplete. Que mon sort est amer! How bitter is my fate! Ah! sans amours, s’en aller sur la mer! Ah! Without love, to set off on the sea! Sur moi la nuit immense Over me the immense night S’étend comme un linceul; spreads like a shroud; Je chante ma romance I sing my romance Que le ciel entend seul. that heaven alone hears. Ah! comme elle était belle Ah! How beautiful she was Et comme je l’aimais! and how I loved her! Je n’aimerai jamais I shall never love Une femme autant qu’elle. another woman as much as her. Que mon sort est amer! How bitter is my fate! Ah! sans amours, s’en aller sur la mer! Ah! Without love, to set off on the sea!

13 Automne Autumn Automne au ciel brumeux, aux horizons Autumn with a misty sky, with heart- navrants. breaking horizons, Aux rapides couchants, aux aurores pâlies, With rapid sunsets, with pale dawns, Je regarde couler, comme l’eau du torrent, I watch the flow, like the water of a torrent, Tes jours faits de mélancolie. Of your days made of melancholy. Sur l’aile des regrets mes esprits My thoughts, carried off on wings of emportés, regret, -Comme s’il se pouvait que notre âge As if it were possible for our life to start renaisse!- over, Parcourent, en rêvant, les coteaux Travel while dreaming through the enchantés, enchanted slopes Où jadis sourit ma jeunesse! Where in former days my youth smiled! Je sens, au clair soleil du souvenir I feel in the bright sunlight of a victorious vainqueur, memory Refleurir en bouquet les roses The slender rises blooming again in a deliées, bouquet Et monter à mes yeux des larmes, qu’en And I feel rising to my eyes tears that in mon coeur, my heart Mes vingt ans avaient oubliées! I at age twenty had forgotten. Massenet Élégie Elegy Ô, doux printemps d’autre fois, vertes O sweet springtimes of old verdant saisons, seasons Vous avez fui pour toujours! You have fled forever Je ne vois plus le ciel bleu; I no longer see the blue sky Je n’entends plus les chants joyeux des I no longer hear the bird’s joyful oiseaux! singing En emportant mon bonheur, mon And, taking my happiness with bonheur... you Ô bien-amé, tu t’en es allé! You have gone on your way my love! Et c’est en vain que [le printemps In vain Spring revient!]1 returns Oui, sans retour, Yes, never to return avec toi, le gai soleil, The bright sun has gone with you Les jours riants sont partis! The days of happiness have fled Comme en mon coeur tout est sombre et How gloomy and cold is my glacé! heart Tout est flétri All is withered pour toujours! Forever

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O, I wait. I wait for his step at the door. of – so weary My poor heart is sore waiting Almighty! Gracious Lord! I would be me, Could I see him before so happy! He does not return, I long and yearn. How I weep, I am lonely. I wait for him alone. does he wander? Oh where Far into the distance I gaze and I mourn As I wait for him and yearn! My grief, I must bear it – with none can it! I share and I weep. can I sleep, I wake No more to him are All my grief and sorrow unknow! He does not returnHe does scorn gone away! Ah, they They have me! words ago I could not find Not so long too strong vices, people’s For other who will show meAnd today – it is they no pity. In my turn, I must suffer too! I had no true, heaven knows, But it’s thought of evil; longing was love,My only wish, my only true! tender love good and … away have gone They

S’il allait paraître quelle joie! S’il allait paraître Mon seigneur, mon maître! Mon seigneur, Si las de l’attendre! pas!! Il ne revient Mon coeur est si las, Oh! le voir, entendre Oh! le voir, Le bruit de ses pas. Il ne revient pas! Il ne revient Ma douleur! Hélas! Où donc peut-il être? Je pleure tout bas; Je pleure S’il pouvait connaître Il faut me contraindre! Il ne revient pas! Il ne revient Je n’ose me plaindre, Où donc peut-il être? Je plonge là -bas hélas! Mon regard, Seule à ma fenêtre, Il ne revient pas! Il ne revient Où donc peut-il être? En vain l’heure sonne; En vain l’heure J’ai peur, je frissonne; J’ai peur, Je languis, hélas! Il ne revient pas! Il ne revient Tout ce qui t’entraîna, mon âme, ce Tout et qu’amour! N’ètait que tendresse Je n’étais pas infâme; Je ne suis que honte à mon tour! Je ne suis que honte said, Et pourtant Dieu le Où l’on est sans pitié pour les nôtres! Où l’on est sans pitié Jadis, pour les péches des autres! Jadis, pour Un jour vient Je ne trouvais pas d’outrage assez fort, pas Je ne trouvais Elles se cachaient! Ah! cruelles! Elles se cachaient! Elles se cachaient ... Il ne revient pas ne revient ... Il se cachaient Elles Gounod: Faust Gounod: —The Tex t s

Hahn L’énamourée The enamoured Ils se disent, ma colombe, They say, my dove, Que tu rêves, morte encore, that you dream, even now dead, Sous la pierre d’une tombe: beneath the stone of a tomb: Mais pour l’âme qui t’adore, but for the soul which loves you, Tu t’éveilles, ranimée, you awaken, revived, O pensive bien-aimée! o thoughtful dearest beloved! Par les blanches nuits d’étoiles, In the white night of stars, Dans la brise qui murmure, in the murmuring breeze, Je caresse tes longs voiles, I caress your long veils, Ta mourante chevelure, your dying hair, Et les ailes demi-closes and the half-closed wings Qui voltigent sur les roses! which hover over the roses! O délices! je respire O sweetness! I breath in Tes divines tresses blondes! your divine blond tresses! Ta voix pure, cette lyre, your pure voice, this lyre, Suit la vague sur les ondes, follows the wave across the waters Et, suave, les effleure, and, suavely, brushes against them Comme un cygne qui se pleure! like a weeping swan! L’heure exquise The exquisite hour La lune blanche The white moon Luit dans les bois; Gleams in the woods; De chaque branche From every branch Part une voix There comes a voice Sous la ramée ... Beneath the boughs ... Ô bien aimée. O my beloved. L’étang reflète, The pool reflects, Profond miroir, Deep mirror, La silhouette The silhouette Du saule noir Of the black willow Où le vent pleure ... Where the wind is weeping ... Rêvons, c’est l’heure. Let us dream, it is the hour. Un vaste et tendre A vast and tender Apaisement Consolation Semble descendre Seems to fall Du firmament From the sky Que l’astre irise ... The moon illumines ... C’est l’heure exquise. Exquisite hour.

16 Great Performers 2019 Great Performers Kevin March La Noche Oscura Dark Night En una noche oscura, During a dark night, con ansias, en amores inflamada, Inflamed with love’s longing, ¡oh dichosa ventura!, O happy fortune! salí sin ser notada I went out without being noticed, estando ya mi casa sosegada. When my house was quiet. A oscuras y segura, Under the safe cover of darkness, por la secreta escala, disfrazada, I went to the secret place, disguised. ¡oh dichosa ventura!, O happy fortune! a oscuras y en celada, Concealed by the darkness, estando ya mi casa sosegada. When the house was completely still. En la noche dichosa, Oh radiant night. en secreto, que nadie me veía, I went to the secret place ni yo miraba cosa, Where no one saw me, sin otra luz y guía With no light to guide, sino la que en el corazón ardía. Save the light that burned in my heart. Aquésta me guiaba This light that led me, más cierto que la luz de mediodía, More true than the sun at mid-day, adonde me esperaba To the secret place where I expected quien yo bien me sabía, The one I knew so well, en parte donde nadie parecía. Here in this place, where we were alone. ¡Oh noche que guiaste! O night that led me here! ¡oh noche amable más que el alborada! O night more kind than dawn! ¡oh noche que juntaste O night that joined Amado con amada, Love with love, amada en el Amado transformada! transforming the lover into the beloved. En mi pecho florido, He sleeps quietly in my bosom que entero para él solo se guardaba, Which is full of flowers, allí quedó dormido, Which I saved for you alone: y yo le regalaba, I cherish you, y el ventalle de cedros aire daba. and refresh it with my cedar fan. El aire de la almena, A gentle breeze cuando yo sus cabellos esparcía, rustles her hair, con su mano serena his soft hand en mi cuello hería grazes my neck. y todos mis sentidos suspendía. and he/she suspends all my senses. Quedéme y olvidéme, I left myself and I forgot myself, el rostro recliné sobre el Amado, I leaned my face against my love. cesó todo y dejéme, I left myself, I forgot myself, vdejando mi cuidado Leaving my cares entre las azucenas olvidado. Forgotten among the lilies.

Text: San Juan de la Cruz (1578) Translation: Father Jean Maillard (1695)

17 Massenet Nuit d’espagne Spanish Night L’air est embaumé, The air is balmy, La nuit est sereine The night is serene Et mon âme est pleine And my soul is full de pensers joyeux; of joyful thoughts ô bien aimée, O beloved, Viens! ô bien aimée, Come! O beloved, Voici l’instant de l’amour! Here it is the moment of love! Dans les bois profonds, In the deep woods, où les fleurs s’endorment, where the flowers go to sleep, Où chantent les sources; Where the sources sing; Vite enfuyons nous! Quickly, we run away! Vois, la lune est claire See, the moon is clear et nous sourit dans le ciel ... and we smile under the sky ... Les yeux indiscrets ne sont plus à craindre. Prying eyes are no longer to be feared. Viens, ô bien aimée, Come, O beloved, la nuit protège ton front rougissant! the night protects your flushing forhead! La nuit est sereine, apaise mon cœur! The night is serene, calm my heart! Viens! ô bien aimée, Come! O beloved, La nuit est sereine, apaise mon cœur! ... The night is serene, calm my heart! ... c’est l’heure d’amour! c’est l’heure! it’s time for love! it’s the time! Dans le sombre azur, In the dark (sad) blue, Les blondes etoiles The blonde stars Ecartent leurs voiles deviate their veils pour te voir passer, to see you pass by, ô bien aimée! O beloved! Viens, ô bien aimée, Come, O beloved! Voici l’instant de l’amour! Here is the moment of love! J’ai vu s’entr’ouvrir I saw about to open ton rideau de gaze. your gauze curtain. Tu m’entends, cruelle, You understand me, cruel one, et tu ne viens pas! and you do not come, Vois, la route est sombre you do not come! sous les rameaux enlacés! See, the road is dark Cueille en leur splendeur under the entwined branches! Tes jeunes années, Pick in their splendor Viens! car l’heure est brève, Your younger years, Un jour effeuille les fleurs Come! because the time is short, du printemps! one day the spring flowers will fade. La nuit est sereine, apaise mon cœur! The night is serene, calm my heart. Viens! ô bien aimée, Come! O beloved, La nuit est sereine, apaise mon cœur The night is serene, calm my heart! ... c’est l’heure d’amour! c’est l’heure! it’s time for love! Come! it’s time for love!

18 Great Performers 2019 Great Performers Delibes Les filles de Cadix The girls of Cadix Nous venions de voir le taurreau, We had just seen the bull, Trois garçon, trois fillettes, Three boys, three girls, Sur la pelouse il faisait beau On the lawn it was sunny Et nous dansions un boléro And we were dancing a bolero Au son des castagnettes. At the sound of the castanets. ‘Dites-moi, ce matin, ‘Tell me, this morning, Si j’ai bonne mine, If I look well, Vous me trouvez la taille fine?… Do you think my waist is slim?… Les filles de Cadix aiment assez cela!’ The girls of Cadiz tend to love that!’ Et nous dansions un boléro, And we were dancing a bolero, Un soir c’était dimanche One Sunday evening Vers nous s’en vint un hidalgo, A hidalgo came to us, Cousu d’or, la plume au chapeau, Dressed in gold, with a feather on his hat, Et le poing sur la hanche: And his fist on his hip: ‘Si tu veux, ‘If you want, Cet or est à toi. This gold is yours. Beau sire, Fair sir, Passez votre chemin, beau sire... Go your way, fair sir... Les filles de Cadix n’entendent pas cela! The girls of Cadiz don’t understand that! Ah! ah!’ Ah! ah!’ Et nous dansions un boléro, And we were dancing a bolero, Au pied de la colline, Down the hill, Sur le chemin passait Diègo, On the way went Diego, Qui pour tout bien n’a qu’un manteau Who counts just a coat for his possessions Et qu’une mandoline: And a mandolin: ‘La belle aux doux yeux, ‘The fair soft-eyed lady, Je suis jaloux, I am jealous, Jaloux, jaloux, Jealous, jealous, Jaloux! jaloux! quelle sottise! Jealous! jealous! what a folly! Les filles de Cadix craignent ce défaut-là!’ The girls of Cadiz fear this flaw!’

19 Ravel: Trois chansons de Don Quichotte à Dulcinée

Chanson romanesque Romanesque song Si vous me disiez que la terre Were you to tell me that the earth, A tant tourner vous offensa, turning so much, offended you, Je lui dépêcherais Pança: I would hurry Panza to her: Vous la verriez fixe et se taire. you would see her motionless and fall silent.

Si vous me disiez que l’ennui Were you to tell me that boredom Vous vient du ciel trop fleuri d’astres, comes to you from heaven, adorned with Déchirant les divins cadastres, too many stars, Je faucherais d’un coup la nuit. tearing apart the divine decrees, with one blow I would fell the night.

Si vous me disiez que l’espace Were you to tell me that space Ainsi vidé vous plaît point, thus emptied pleases you not Chevalier dieu, la lance au poing, knight of God, lance in hand, J’étoilerais le vent qui passe. I would scatter stars in the passing wind.

Mais si vous me disiez que mon sang But were you to tell me that my blood Est plus à moi qu’à vous, ma Dame, is more mine than yours, my Lady, Je blêmirais dessous le blâme I would grow pale under the reproach Et je mourrais, vous bénissant. And I would die, still blessing you.

O Dulcinée O Dulcinea.

Chanson épique Epic song Bon Saint Michel qui me donnez loisir Good Saint Michael who give me liberty De voir ma Dame et de l’entendre, to see my Lady and to hear her, Bon Saint Michel qui me daignez choisir good Saint Michael who deign to choose me Pour lui complaire et la défendre, to please and defend her,

Bon Saint Michel veuillez descendre good Saint Michael I beg you to come down Avec Saint Georges sur l’autel with Saint George to the altar De la Madone au bleu mantel. of the Madonna with the blue mantle.

D’un rayon du ciel bénissez ma lame With a ray from heaven bless my blade Et son égale en pureté and its equal in purity Et son égale en piété and its equal in piety Comme en pudeur et chasté: Ma Dame. as in modesty and chastity: my Lady.

O grands Saint Georges et Saint Michel O great Saint George and Saint Michael L’ange qui veille sur ma veille, the angel who watches over my vigil, Ma douce Dame si pareille my sweet Lady so like A vous, Madone au bleu mantel! you, Madonna with the blue mantle!

Amen Amen

20 Great Performers 2019 Great Performers

Chanson à boire Drinking song Foin du bâtard, illustre Dame, Away with the bastard, illustrious Lady, Qui pour me perdre à vos doux yeux, who, to disfavour me in your sweet eyes, Dit que l’amour et le vin vieux says that love and old wine Mettent en deuil mon cœur, mon âme! place my heart, my soul in mourning! Je bois à la joie! I drink to happiness! La joie est le seul but Happiness is the only goal Où je vais droit to which I go straight Lorsque j’ai bu! once I have drunk! Foin du jaloux, brune maîtresse, Away, dark-haired mistress, with the jealous man Qui geind, qui pleure et fait serment who moans, who weeps and preaches D’être toujours ce pâle amant to be forever that pale lover Qui met de l’eau dans son ivresse! who waters down his intoxication! Je bois à la joie! I drink to happiness! La joie est le seul but Happiness is the only goal Où je vais droit to which I go straight Lorsque j’ai bu! once I have drunk!

21 Verdi: Don Carlo Per me giunto My last day Per me giunto è il dì supremo, My last day has come, no, mai più ci rivedrem; We shall meet no more, ci congiunga Iddio nel ciel, God will unite us in Heaven, Ei che premia i duoi fedel’. He rewards his followers. Sul tuo ciglio il pianto io miro; I see tears in your eyes, lagrimar così perchè? why weep now, why? No, fa cor, no, fa cor, Take heart Carlos, l’ estremo spiro lieto è My last breath will be joyful a chi morrà per te. for I die for you.

22 Great Performers 2019 Great Performers

Tu che le vanita You have known the vanities Tu che le vanità conoscesti del mondo, You have known the vanities of this world e godi nell’ avel il riposo profondo, and now enjoy the grave’s last se ancor si piange in cielo, rest – if there is still pity in piangi sul mio dolore, heaven mourn over my sorrow e porta il pianto mio and carry my tears al trono del Signor, at the Lord’s presence. Carlo qui verrà, sì! Carlos will come! che parta e scordi omai ... he must leave and forget ... A Posa di vegliar I’ve sworn to Posa sui giorni suoi giurai. to watch over him. Ei segua il suo destin, He must fulfil his destiny, la gloria il traccerà. glory will show him the way. Per me, la mia giornata As for me, my day a sera è giunta già! has already come to an end! Francia, nobil suol, France, noble land, sì caro a’ miei verd’ anni! so loved in my younger days! Fontainebleau! su voi schiude Fontainebleau! all my thoughts il pensier i vanni! go to you! Eterno giuro d’ amor là There I swore eternal love Dio da me ascoltò, To God who heard me e quest’ eternità and eternity un giorno sol durò. lasted only one day. Tra voi, vaghi giardin O merry gardens di questa terra ibera, of this Iberian land, se Carlo ancor dovrà if Carlos should yet fermar i passi a sera, stop here at the end of the day, che le zolle, i ruscelli, let the tufts, the brooks, i fonti, i boschi, i fior, the fountains, the woods and flowers con le lor armonie with their melodies cantino il nostro amor. sing of our love. Addio, addio, bei sogni d’ or, Farewell, farewell golden dreams, illusion perduta! lost hopes! Il nodo si spezzò, The knot was cut, la luce s’è fatta muta! light has lost its splendour! Addio, addio verd’ anni ancor! Farewell, farewell, my younger cedendo al duol crudel, years! Giving in under the cruel il cor ha un sol desir: suffering my heart has only one la pace dell’ avel! Desire: the peace of the grave! Tu che le vanità conoscesti del You have known the vanities mondo, of this world, Se ancor si piange in cielo, ah! If there is still pity in heaven, il pianto mio reca appie’ del Signor! carry my sorrow at the feet of the Lord!

23 24 Great Performers 2019 Great Performers —About the artists

Nicole Car Nicole Car is one of the most outstanding Concert engagements include Brahms’s singers to emerge from Australia in recent Deutsches Requiem for the Queensland years. In 2015, she made her début at and Tasmanian Symphony Orchestras; the Royal Opera House, Covent Garden Das Klagende Lied for the Queensland – singing Tatyana in Eugene Onegin and Symphony Orchestra; The Last Night of Micaëla in Carmen. Since this time, she has the Proms for the Tasmanian Symphony sung Fiordiligi in Così fan tutte for Deutsche Orchestra; Mozart’s Requiem for the Oper Berlin, Semperoper Dresden and Auckland Philharmonia; St John’s Passion Opera Australia, Mimi in La bohème for for Sydney Philharmonia and a major Covent Garden, Tatyana for the Opera de program of Strauss and Mozart with the Paris and the title roles in Thaïs and Luisa Melbourne Symphony. Miller for Opera Australia (winning her first She has recorded Brahms’s Deutsches Helpmann Award for the latter). Requiem with the Melbourne Symphony, After completing her Bachelor of Music at Rule Britannia! for the Tasmanian Symphony the Victorian College of the Arts, Nicole and Heroines with the Australian Chamber won the 2007 Herald Sun Aria; she was Orchestra. Nicole’s solo album of operatic the 2012 winner of the ASC Opera Awards arias The Kiss (ABC Classics) débuted at and the 2013 winner of the Neue Stimmen No.1 on the Australian classical charts. competition in Germany. Her major role This year, Nicole sings Tatyana in Munich debut occurred in 2009 performing Donna and Berlin, Micaela and Donna Elvira (Don Anna in Victorian Opera’s Don Giovanni. Giovanni) for the Opéra de Paris, Violetta For Opera Australia, Nicole has sung and Marguerite at the Opéra de Marseille Tatyana, Micaëla, Mimi, Marguerite, and Ellen Orford (Peter Grimes) for the Pamina (Die Zauberflöte), Leila (The Sydney Symphony. Pearl Fishers), The Countess (Le nozze © Patrick Togher Artists’ Management 2019 di Figaro) and both Donna Anna and Donna Elvira (Don Giovanni). She sang Donna Anna for West Australian Opera and Adalgisa (Norma) for Victorian Opera.

25 Further performances in 2019 include the title role in a new production of Don Giovanni at the Opéra National de Paris.

His discography features a solo album with the string quartet Quator Claudel- Canimex (Love Blows as the Wind Blows – ATMA Classique), in addition to appearances as a featured artist on the albums Opéra: une histoire d’Amour with the Orchestre regional Avignon- Provence (Universal), Paris, mon amour Étienne Dupuis by Sonya Yoncheva and the Orquestra Praised for his ‘suave, empathetic de la Comunitat Valenciana (Sony), and baritone’ and his ‘refined, charismatic’ Honegger and Ilbert: L’Aiglon, recorded stage presence (The New York Times), with the Montréal Symphony Orchestra Étienne Dupuis enjoys international (Decca). acclaim, appearing regularly at such renowned opera houses as the Dupuis completed his vocal studies at Metropolitan Opera, the Opéra National McGill University, after which he became de Paris, the Royal Opera House, Covent a member of l’Atelier Lyrique de l’Opéra Garden and the Deutsche Oper Berlin. de Montréal.

In the 2018/2019 season, the Canadian baritone made his house debut at the Metropolitan Opera singing Marcello in La bohème. The season also saw him return to the Opéra National de Paris as Belcore in L’Elisir d’Amore, to the Deutsche Oper Berlin as the title role in Eugene Onegin, and to the Opéra de Marseille, where he was heard as Germont in La Traviata and Valentin in Faust.

26 Great Performers 2019 Great Performers

Jayson now performs with some of the world’s leading orchestras and conductors at prestigious venues across the globe including the Wigmore Hall, Louvre Auditorium, Saffron Hall, Royal Nottingham Concert Hall, City Recital Hall Sydney, Melbourne Recital Centre and the Queensland Performing Arts Centre among others. Chamber music forms an important part of Jayson’s career with highlights including performances with the Jerusalem, Jayson Gillham Carducci, Tinalley, Brentano, Ruysdael Born and raised in Queensland, London- and Flinders string quartets. based Australian pianist Jayson Gillham is recognised as one of the finest pianists Jayson records exclusively for ABC of his generation. He is internationally Classic and the release of his debut praised for his compelling performances recital album (October 2016), featuring and relentless elegance. works by Bach, Schubert and Chopin, immediately reached the No.1 spot in After receiving numerous prizes from both the Core Classical and Classical some of the world’s leading piano Crossover ARIA charts. competitions, it was Jayson’s win at the 2014 Montreal International A graduate of the Queensland Music Competition that brought him Conservatorium of Music, where he to international attention. Jayson’s studied with Leah Horwitz, Jayson outstanding performance of Beethoven’s relocated to London in 2007 to pursue a Piano Concerto No.4 was described as Master’s degree at the Royal Academy being performed ‘with such streamlined of Music (RAM) with Christopher Elton. patrician elegance that he took home the 1st Prize and a string of engagements to follow.’ (Huffington Post)

27 —Inspired Giving

10TH ANNIVERSARY GIFTS ($4000+) ($20,000+) Julie Ann Cox AM & Laurie Cox AO The John and Jennifer Melbourne Recital Centre Mary Draper AM 10th Anniversary Benefactor Brukner Foundation Board of Directors Lord Francis Ebury & The Lady Primrose Potter AC Julian Burnside QC AO & Prof Andrea Hull AO Late Lady Suzanne Ebury 10th Anniversary Public Kate Durham Peter & Cally Bartlett Maggie Edmond Activation Program John Calvert-Jones AM & Stephen Carpenter & Susan Fallaw ($50,000) Janet Calvert-Jones AO Leigh Ellwood The Leo & Mina Fink Fund Peter & Ruth McMullin Kathryn Fagg AO Joseph & Nicole Corponi Angela Glover Katrina & Simon Holmes à Court The Hon Mary Delahunty Ann Gordon 10th Anniversary Commissions Silvia & Michael Kantor Paul Donnelly & Jan Grant The Aranday Foundation Susan Thacore Brigitte Treutenaere Nance Grant AM MBE & Ian Harris Ulrike Klein AO Andrew & Jan Wheeler Assoc Prof Jody Evans Henkell Family Fund Jane Kunstler Igor & Jenny Zambelli Margaret Farren-Price & In memory of Beryl Hooley Majlis Pty Ltd. Prof Ronald Farren-Price AM Penelope Hughes ($2500+) Playking Foundation Eda Ritchie AM Stuart Jennings Susan Alberti AC & Colin North OAM Margaret S Ross AM & Audrey Zibelman Dr Garry Joslin & Dr Ian C Ross ($1000+) Prof Dimity Reed AM ($10,000+) Maria Sola Anonymous (3) George & Grace Kass Anonymous (1) Helen Symon QC & ARM Architecture Maria Mercurio John & Lorraine Bates Ian Lulham Adrienne Basser Baillieu Myer AC & Sarah Myer Paulette & Warwick Bisley The Yulgilbar Foundation Carolyn & Tony Baum Rupert Myer AO & Annabel Myer (Great Performers Jane Bloomfield Stephen Newton AO Steinway Giving Circle Leadership Supporters) Helen Brack Elizabeth O’Keeffe Benefactor Patron John & Cathy Simpson Barbara Burge Helen Perlen Gandel Philanthropy Maria Sola (Local Heroes Maggie Cash Kerryn Pratchett & Great Performers ($30,000+) John Castles AM & Sandra Robertson & Leadership Supporter) Krystyna Campbell-Pretty AM Thelma Castles OAM Philip Cachia ($10,000+) Christine & Michael Clough ($7500+) Cathy & Peter Rogers Anonymous (1) The Hon Mary Delahunty Esther & Brian Benjamin Peter Rose & Christopher Menz John Calvert-Jones AM & Paul Donnelly & (Great Performers In Memory of Pauline Speedy Janet Calvert-Jones AO Brigitte Treutenaere Leadership Supporters) Barbara & Duncan Sutherland Brian Goddard Jo Fisher & Peter Grayson Message Consultants Pamela Swansson Dr Alastair Jackson AM Colin Golvan AM QC & Australia Pearl Tang (including Dr Deborah Golvan Lady Primrose Potter AC ($4000+) matching from Naomi Golvan & Skipp Williamson & Anonymous (1) Pricewaterhouse Coopers) George Golvan QC Carol Haynes Danielle Davis & Joyce Marks Dr Michael Troy Robert & Jan Green Jenny & Peter Hordern ($500+) ($5000+) Dr Garry Joslin & Warwick & Paulette Bisley Diana Lempriere Anonymous (1) Prof Dimity Reed AM Cathy Lowy Rhonda & Ted Allen Arnold & Mary Bram Sally MacIndoe Geoff & Jan Phillips Jenny Anderson Hon Susan Crennan AC QC Jane Matthews (Great Performers Peter J Armstrong & Dr Michael Crennan QC Message Consultants Leadership Supporters) Alistaire Bowler Angelina & Graeme Wise Australia Mary Vallentine AO Min Li Chong Dr Richard Mills AM ($2500+) Dr Victor Wayne & Jean Dunn Bruce Parncutt AO Tim Orton & Barbara Dennis Dr Karen Wayne OAM MinterEllison James Ostroburski & ($1000+) Angela & Richard Kirsner Leo Ostroburski ($2500+) Anonymous (1) Dr Anne Lierse Prof David Penington AC & Anonymous (1) Kaye Cleary Jane Morris Dr Sonay Hussein Ballandry (Peter Griffin Tim Connard Dr Diane Tibbits Geoff & Jan Phillips Family) Fund Craig K Coulson Shelley Rowlands Liz & Charles Baré Janine & Timothy Fredman ACCESS TO THRILLING Christine Sather Alastair Campbell & Roger Gillard & Sohwon Kim MUSIC AND LEARNING Dr Cherilyn Tillman & Tam Vu Sue Campbell Linda Herd OPPORTUNITIES FOR The Ullmer Family Foundation Kathy & George Deutsch OAM David Lee EVERYBODY Mary Vallentine AO Ann Lahore Jay Lee and Muriel Yang Supported by the Elisabeth Janet Whiting AM & Phil Lukies Shelley & Euan Murdoch Geoff & Jan Phillips Murdoch Creative Development Dr Paul Nisselle AM MUSIC CIRCLE — Fund and the Mary Vallentine Prof Margaret Plant Greg Noonan AM A VIBRANT AND DIVERSE Limitless Stage Fund, donors Margaret S Ross & Ian & Kathleen Nowak MUSICAL PROGRAM to our learning and access Dr Ian Ross James Ostroburski & Donors who support the programs help to share the Sirius Foundation Leo Ostroburski depth and vibrancy of the music by bringing high-quality Vivian Wei Wang Jacqueline Schwarz Centre’s musical program play music and learning opportunities Dr Victor Wayne & Sirius Foundation Dr Karen Wayne OAM a crucial role in ensuring that we to people from can continue to present a rich ($1000+) all walks of life. $10 Ticket Program Anonymous (1) diversity of the greatest ($40,000+) ($20,000+) Adrienne Basser musicians and ensembles from Dr Geraldine Lazarus & Krystyna Campbell-Pretty AM Helen Brack Australia and around the globe. Mr Greig Gailey Yvonne von Hartel AM, Bill Burdett AM & ($30,000+) (Regional Touring and Robert Peck AM, Rachel Sandra Burdett Yvonne von Hartel AM, Outreach Leadership Peck & Marten Peck of Maggie Cash Robert Peck AM, Rachel Supporters) peckvonhartel architects John Castles AM & Peck & Marten Peck of Thelma Castles OAM ($30,000+) ($10,000+) peckvonhartel architects Krystyna Campbell-Pretty AM Annamila Pty Ltd (Signature Events Lady Marigold Southey AC Dara Pty Ltd Benefactors) The Robert Salzer Foundation Angelina & Graeme Wise

28 ($20,000+) ($20,000+) Simon Le Plastrier Medical Friends of Kim Williams AM Margaret S Ross AM & Norene Leslie McCormac Melbourne Recital Centre (Mary Vallentine Dr Ian C Ross (Artist Rosemary O’Connor ($2000+) Limitless Stage Fund) Development Leadership Laura Thomas Dr Charlotte Slade & Supporters) ($10,000+) ($500+) Assoc Prof Sebastian King Annamila Pty Ltd ($10,000+) Anonymous (1) ($1000+) Linda Herd Peter Jopling AM QC Dianne Jacobs Mr Phillip Antippa & (Artist Development ($4000+) Legal Friends of Dr Tracey Huntley Leadership Supporter) The Betty Amsden Foundation Melbourne Recital Centre Michael Bennett & Kate Stockwin Majlis Pty Ltd Jack & Hedy Brent Foundation Prof Rod Hunt & Michael Sharpe Angelina & Graeme Wise Legal Friends The John & Jennifer Inaugural Patrons Dr Jean McMullin & Brukner Foundation ($4000+) The Hon Justice Michelle Dr Catherine Brennan Helen & Michael Gannon Annamila Pty Ltd Dr John F Mills Gordon AC & The Hon Kathryn Greiner AO Andrew & Theresa Dyer Kenneth M Hayne AC QC (Mary Vallentine Vivian Ritchie Seat Dedications Limitless Stage Fund) Vivian Wei Wang ($10,000+) Annamila Pty Ltd Silvia & Michael Kantor Lyn Williams AM The Hon Justice Michelle Lowina Blackman Susan Thacore Gordon AC & The Hon John Calvert-Jones AM & ($2500+) Kenneth M Hayne AC QC Janet Calvert-Jones AO ($2500+) Anonymous (1) The Hon Mary Delahunty Kaye Birks in memory of David ($4000+) ($1000+) Kathryn Fagg AO Anne Burgi & Kerin Carr Anonymous (1) Anonymous (1) Ronald Farren-Price AM & Maria McCarthy Naomi Golvan & Peter J Armstrong Margaret Farren-Price Margaret Taylor George Golvan QC Lin Bender AM Kristin Gill & family Peter B Murdoch QC & ($1000+) In memory of Beryl Hooley Helen Murdoch Colin & Deborah Golvan Anonymous (4) In memory of The Maya Rozner & Alex King Nance Grant AM MBE Keith & Debby Badger Late Harry Johnson Brenda Hamilton & family John & Mary Barlow Martine Letts ($2500+) Catherine Heggen Jane Bloomfield Ian & Gill McDougall Anonymous (2) Hans & Petra Henkell Helen Brack Dr Richard Mills AM Colin Golvan AM QC & Kathy Horadam Bill Burdett AM & Sandra Burdett Dr Deborah Golvan Anne Kantor AO & The Late ($500+) Christine & Michael Clough Australian Bach Society Peter J Stirling & Kimberley Kane Dr Milan Kantor OAM Paul Donnelly & Frederic & Karen Pomeranz ($1000+) Alex King & Sebastian King Brigitte Treutenaere Anonymous (3) Diana Lempriere Maria Hansen GIVING CIRCLES Marcia & John K Arthur Cathy Lowy Christine Haslam Melbourne Recital Centre James Barber Evelyn Pose Jenny & Peter Hordern Giving Circles are passionate Peter Bartlett Katherine Rechtman (Mary Vallentine and like-minded groups of Annette Blonski & Ralph & Ruth Renard donors who come together to Limitless Stage Fund) Martin Bartfeld QC Kiera Stevens collectively celebrate their love of In memory of Beryl Hooley The Hon Alex Chernov AC QC Peter J. Stirling John Howie AM & Dr Linsey Howie music by supporting special & Elizabeth Chernov Ian Suren Louise Kornman projects. Christine Clough Jenny Tatchell Prof John Langford AM & The Hon Julie Dodds-Streeton Friends of David Tong Ensemble Giovane — The Late Christina McCallum Timothy Goodwin Mary Vallentine AO Leadership Donors in support Cathy Lowy Robert Heathcote & Mary Waldron of Master classes & young (Mary Vallentine Meredith King Vivian Wei Wang artist development Limitless Stage Fund) The Hon Peter Heerey AM QC Sally MacIndoe ($10,000+) & Sally Heerey Encore Bequest Program — A Lasting Legacy Ann Miller Jim Cousins AO & Libby Cousins Judge Sara Hinchey & Dennis & Fairlie Nassau YMF Australia Tom Pikusa Anonymous (3) The Late Betty Amsden AO DSJ Greg Shalit & Miriam Faine John Howie AM & Dr Linsey Howie The Ullmer Family Foundation ($7500+) Jenny Anderson George & Laila Embelton Pandora Kay & John Larkins (Mary Vallentine Anthony J & Philippa M Kelly Barbara Blackman AO Jennifer Brukner Limitless Stage Fund) ($5000+) Maryanne B Loughnan QC Mary Vallentine AO Hon Susan Crennan AC QC Banjo McLachlan & Paul Mahony Ken Bullen Vivian Wei Wang & Dr Michael Crennan QC Elizabeth O’Keeffe Jim Cousins AO & Libby Cousins Mark & Jane Wilson Jo Fisher Ralph & Ruth Renard Dr Garry Joslin Audrey Zibelman Lyndsey & Peter Hawkins Meredith Schilling Jane Kunstler Janette McLellan NURTURING ARTISTIC Igor Zambelli & Jenny Zambelli Michael Shand AM QC Elizabeth O’Keeffe DEVELOPMENT Tom Smyth ($3000+) Penelope Rawlins — FOSTERING A BRIGHT Anonymous (1) ($500+) Prof Dimity Reed AM MUSICAL FUTURE Christine Sather Elizabeth Boros Sandy Shaw Supported by the Elisabeth Dr Cherilyn Tillman & Tam Vu Leslie G Clements The Estate of Beverley Murdoch Creative Development The Hon Hartley Hansen QC ($1000+) Shelton & Martin Schönthal Fund, donors who support our & Rosalind Hansen Peter J Armstrong Mary Vallentine AO enriching artist development The Hon David L Harper AM programs help to create a wide Bailey-Lord Family List of patrons range of unique opportunities for Mary Beth Bauer as at 30 July 2019 local musicians, and help to Fiona Bennett ensure a vibrant musical future Zoe Brinsden for Victoria and beyond. Kathryn Fagg AO Dr Jane Gilmour OAM & Betty Amsden Kids and Terry Brain Family Program Benefactor Prof Andrea Hull AO The Late Betty Amsden AO DSJ Liane Kemp

29 —Thank you

Founding Patron

The Late Dame Elisabeth Murdoch AC DBE

Board Members Prof Andrea Hull AO, Chair Joseph Corponi Assoc Prof Jody Evans Peter Bartlett The Hon Mary Delahunty Margaret Farren-Price Stephen Carpenter Paul Donnelly Eda Ritchie AM Audrey Zibelman

Founding Benefactors Life Members The Kantor Family Lin Bender AM Richard Gubbins The Calvert-Jones Family Deborah Cheetham AO Penny Hutchinson Lyn Williams AM Jim Cousins AO Julie Kantor Helen Macpherson Smith Trust Kathryn Fagg AO Jordi Savall Robert Salzer Foundation Margaret Farren-Price Mary Vallentine AO The Hugh Williamson Foundation & Ronald Farren-Price AM

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30 Melbourne Recital Centre Presents – Great Performers 2019

PaulPiano (U.K.) Lewis

Paul Lewis displays his extraordinary gifts in masterpieces by Haydn, Brahms and Beethoven’s Diabelli Variations. Tue 24 September, 7.30pm Tickets from $62 | $55 conc

Photo: Mark Chew

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