MELBOURNE RECITAL CENTRE PRESENTS

GABRIELI CONSORT & PLAYERS

HENRY PURCELL’S KING ARTHUR

Saturday 16 February & Sunday 17 February 2019 ELISABETH MURDOCH HALL, MELBOURNE RECITAL CENTRE

1 2 M E S S A G E F R O M THE CEO

Wominjeka and welcome to Melbourne Recital Centre. I’m delighted you could join us for this exquisite performance of ’s King Arthur by one of the world’s greatest Baroque ensembles. This is the debut of the Gabrieli Consort & Players led by founder and conductor Paul McCreesh. They are celebrated for imaginative and virtuosic explorations of masterpieces from the Renaissance to the present day which have transformed the way audiences and performers understand and enjoy this music. While founded in scholarship and research, Gabrieli’s playing is anything but academic; as you’ll discover, it is alive with the dancing rhythms, colour and imagination that we love in . Creativity knows no borders, and so in Purcell’s opera you’ll hear music in the Italian, French and German styles: a musical European union in this

Euan Murdoch, CEO most British of stories. After this world tour, the Gabrieli Consort & Players will release definitive recordings of King Arthur and The Fairy Queen capturing the unique beauty of Purcell’s music and the pomp, magic and romance that music-lovers have cherished for centuries.

These performances are Melbourne Recital Centre Signature Events, our annual presentation of the world’s greatest ensembles that has included Helpmann Award-winning concerts by Jordi Savall, the Academy of St Martin in the Fields with Joshua Bell, and Les Arts Florissants with William Christie. It is an honour and a pleasure to present the internationally acclaimed Gabrieli Consort & Players. Melbourne Recital Centre is deeply grateful to Yvonne von Hartel AM, Robert Peck AM, Rachel Peck and Marten Peck for their longstanding support of Signature Events and for sharing their passion for music and great performance with us. The Centre celebrates its 10th Anniversary this year. The 10 years of great music we’ve been privileged to bring you is thanks to the generosity of donors, musicians, partners and music-lovers. Thank you for immeasurably enriching our community with the power of transforming performances like the one you’ll hear today.

Enjoy!

Euan Murdoch CEO

3 PROGRAM Henry Purcell's King Arthur Gabrieli Consort & Players

SATURDAY 16 FEBRUARY & Act III SUNDAY 17 FEBRUARY 2019 Prelude 'What ho, thou genius of this isle' Free pre-concert conversation with Marshall McGuire and 'What power art thou, who from below' Paul McCreesh, 45-minutes prior to each performance in 'Thou doting fool' Elisabeth Murdoch Hall. 'Great Love, I know thee now' 'No part of my dominion shall be waste' HENRY PURCELL 'See, see, we assemble' (b. 1659, Westminster, United Kingdom – Prelude d. 1695, London, United Kingdom) ‘Tis I, ‘tis I, ‘tis I, that have warm’d ye' 'Sound a parley' JOHN DRYDEN (b. 1631, Aldwincle, United Kingdom – INTERVAL 20-minutes d. 1700, London, United Kingdom) Act IV

King Arthur, or The British Worthy, Z.628 Act Tune 'Two daughters of this aged stream are we' First Music Passacaglia: 'How happy the lover' Second Music ‘You say ‘tis Love’ Overture Act IV Tune

Act I Act V

'Woden, first to thee' 'Ye blust’ring brethren of the skies' 'The white horse neigh’d aloud' Symphony 'The lot is cast, and Tanfan pleas’d' 'Round thy coast, fair nymph of Britain' 'Brave souls, to be renown’d in story' 'For folded flocks, and fruitful plains' 'I call you all to Woden’s Hall' 'Your hay it is mow’d, and your corn is reap’d' 'Come if you dare' 'Fairest Isle' Act I Tune Tune for Trumpets A New Song and Chorus for Britannia & St George: Act II 'Sound Heroes, Sound your brazen trumpets!' 'Hither this way' 'Let not a moonborn elf mislead ye' Performing edition by Christopher Suckling & Paul McCreesh 'Hither this way' This concert is being recorded by ABC Classic for a deferred broadcast, and filmed for Live from Melbourne Recital Centre. 'Come, follow me' Melbourne Recital Centre proudly stands on the land of the Boon Wurrung 'How blest are shepherds, how happy their lasses' people of the Kulin Nation and we pay our respects to Melbourne’s First 'Shepherd, shepherd, leave decoying' People, to their Elders past and present, and to our shared future. 'Come, Shepherds, lead up a lively measure' Supported by Yvonne von Hartel AM, Robert Peck AM, Rachel Act II Tune Peck & Marten Peck of peckvonhartel architects

4 Gabrieli Consort & Players GABRIELI CONSORT & PLAYERS (U.K.)

‘May the Gabrieli Consort & Players CONDUCTOR Paul McCreesh live forever in health and glory!’ ————————————————————————————————————————————————————————————————————————————————————— The Times (U.K.) SOLOISTS Anna Dennis soprano Mhairi Lawson soprano Hugo Hymas tenor James Gilchrist tenor Marcus Farnsworth baritone Ashley Riches bass-baritone

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ENSEMBLE Emily Dickens soprano Christopher Fitzgerald-Lombard tenor Thomas Castle tenor

Catherine Martin violin I/concertmaster Persephone Gibbs violin I Ruth Slater violin I Oliver Webber violin II Ellen O’Dell violin II Sarah Bealby Wright violin II Rachel Byrt viola Stefanie Heichelheim viola Christopher Suckling bass violin Gavin Kibble bass violin Christopher Palameta oboe/recorder Sarah Humphrys oboe/recorder Zoe Shevlin bassoon Jean-Francois Madeuf trumpet Paula Chateauneuf theorbo Eligio Quinteiro theorbo Jan Waterfield harpsichord

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John McMunn general manager Paul McCreesh Peter Reynolds concerts & tours manager

5 his Saxon opponent Oswald, his love-interest Emmeline, his ABOUT THE MUSIC adviser Merlin are, so they will not be heard.

Much is inevitably lost by omitting the staging and all the words that are spoken, not sung. A Purcell scholar of the 20th century, Sir Jack Westrup, was adamant that King Arthur needs a stage HENRY PURCELL presentation. A concert performance without the dialogue is, (b. 1659, Westminster, United Kingdom – in his view, ‘ridiculous and meaningless’. The present writer, d. 1695, London, United Kingdom) recalling the experience long ago of a staged King Arthur, remembers some patriotic spectacle, such as Britannia, a JOHN DRYDEN statuesque soprano draped in the Union Jack, making ‘Fairest (b. 1631, Aldwincle, United Kingdom – Isle’ anticipate ‘Land of Hope and Glory’. Before that came the d. 1700, London, United Kingdom) startling view of two of his singer friends, seen for the first time King Arthur, or The British Worthy, Z.628 naked from the waist up, as the nymphs of the stream who try to ————————————————————————————————————————————————————————————————————————————————————— entice Arthur in for a frolic. The parts of the show that remained King Arthur is the semi-legendary sixth-century king of the in memory and made the most sense were musical numbers and Britons, later celebrated in literature, and associated with the scenes. Especially – and this was true for the very first audiences courtly idea of knights of the round table at Camelot. He is the – the extraordinary Frost Scene, painted in music. Even Dryden subject of a collaboration between John Dryden (words) and a little grudgingly admitted that much of what was best in King Henry Purcell (music). The subtitle ‘or The British Worthy’ refers Arthur is to the credit of his composer collaborator, Henry Purcell. to a person of eminent worth or merit. The kind of entertainment King Arthur represents is notoriously difficult to present on the concert platform, so as at least to Purcell was the English musical genius of his age (some would suggest the fusion of drama, dance, and lavish theatrical effects. say of all ages). Dryden, poet, critic and playwright, was the The version presented by the Gabrieli Consort & Players strips major literary figure of later 17th-century England. King Arthur, most of the narrative surrounding Purcell’s music, but what first staged at the theatre in London’s Dorset Garden in 1691, was remains is self-validating (with the help of Dryden’s words) – a triumph for both men, yet it has many features which make a convincing and rewarding. full revival problematical.

What is King Arthur? • Is it a patriotic spectacle, with elements of the latter-day Royal Command Performance? • Is it a magic play, with wizards and enchanters practicing their illusions and deceptions? • Is it a forerunner of the ‘musical’, where a spoken play is framework and pretext for song and dance numbers? • Is it essentially a Baroque opera, where elaborate music accompanies elaborate staging? • Is it thinly disguised propaganda, where contemporary audiences would have discerned political subtext? King Arthur is ALL these things, and more.

The title page of John Dryden’s final version of King Arthur, or The British Worthy calls this stage piece ‘A Dramatick Opera’. Dryden wrote: ‘It cannot properly be called a play, because the action of it is supposed to be conducted sometimes by supernatural means, nor an opera, because the story of it is not sung’.

In this performance, the emphasis is on music. It is dramatic music, but that is only half of what Dryden meant by ‘dramatick opera’. The story-telling dramatic framework is omitted, for two main reasons: there is no staging, sets and costumes, and most of the drama is spoken, not sung. The main characters exclusively speaking parts, including Arthur, King Arthur by Charles Ernest Butler

6 converted to Catholicism. After six years, and after the ‘Glorious Revolution’ of 1688 had swept James away and replaced him with William and Mary, the Theatre Royal, Dorset Garden, had a great success with The Prophetess, or The History of Dioclesian, an operatic adaptation of an old play, with music by Purcell. The theatre managers wanted more like it. Dryden had much work to do on his King Arthur text, but what Dryden had already written enabled Purcell to begin setting the lyrics to music.

In his preface Dryden strove to convince the new royal censors that he had removed from his King Arthur all that might be politically inappropriate. He stressed the fairy-tale aspects of the story. And Dryden made the masque in the final act of King Arthur underline the parable of reconciliation of conflicting kings, ending with a perhaps backhanded compliment to a king for whom he did not much care. William, this king from across the water: a British Worthy? Dryden’s assurances were accepted. King Arthur was licensed for the stage, premiered triumphantly in spring 1691, and stayed in the repertory for over a century. Dryden’s most ambitious work for the musical stage had become Purcell’s also.

Overview Tapestry of King Arthur (c. 1385) Before examining the musical sequence of scenes, some general Scenes conceived largely for music did most to establish King points. This performance presents a collation of the scattered and Arthur’s immediate and long-lasting fame. The Frost Scene, for numerous sources for King Arthur, none of them complete, and example, marvelously satisfies the Baroque taste for sensational none in Purcell’s hand. The edition performed is a recent one, effect, while its daring music moves the listener through sheer which also reviews and revises the Gabrieli ensemble’s 20-year imaginative power. traditions performing the music, in the light of modern scholarship. In describing King Arthur as ‘an almost perpetual delight’, How King Arthur came into being modern critics are referring mainly to how its dramatic Purcell, you may have read, composed only one opera, Dido & articulation is achieved by Purcell’s music. Dryden’s words help, Aeneas (1689), for performance in a girls’ school. True, but only by keeping the musical and dramatic scenes in closest possible if we accept an anachronistic definition of opera. Dido & Aeneas contact. In the performance, you may be puzzled at times, is the only stage music of Purcell’s where all the words are sung, lacking signs of the dramatic motivation of certain scenes. But but ‘opera’, in England when Purcell was young, meant a full- the music will surely soon banish your cares. length, expensively staged, theatre piece, with a considerable amount of music and Baroque spectacle. King Arthur is all these, Summary of the drama and although the story is largely spoken, not sung, is referred The central conflict is the rivalry between the British king Arthur to as an opera by contemporaries. One commented that ‘our and the Saxon king Oswald for the hand of Emmeline, blind English genius will not relish that perpetual singing’ such as daughter of the Duke of Cornwall (all these are speaking roles is found in French and Italian opera. ‘Our English Gentleman, only). By the end of Act I the Britons have defeated the Saxons. when their Ear is satisfy’d, are desirous to have their mind Oswald is helped by an evil magician, Osmond, and his earthly pleas’d, and Musick and Dancing industriously intermix’d with spirit Grimbald. Arthur is assisted by Merlin, and Philidel, a spirit Comedy or Tragedy’. of air. These two spirits are singing roles. In Act II Merlin and Unlike Purcell’s other stage works, King Arthur has a text Philidel lead the Britons out of the bogs into which Grimbald has originally intended for music, rather than being a play later enticed them, but too late to save Emmeline from kidnapping adapted for music. But Dryden wrote the first of his several by the Saxons. Merlin’s magic restores Emmeline’s sight, with a versions of King Arthur before he became associated with magical essence smuggled to her by Philidel, but Osmond, the Purcell. The King to be bathed in Arthur’s reflected glory was evil one, has fallen for her himself and keeps her prisoner in an Charles II, who commissioned the piece from Dryden. Work enchanted wood, chaining his own king in a dungeon. When stopped on Charles’ death, and Dryden filed it away, busy Osmond declares his love, Emmeline replies ‘I am frozen’, so with projects for King James II, in whose service the poet he uses magic to show the power of love in warming back to

7 life dwellers in a region of ice and snow. This Frost Scene is the a typically Baroque contrast of transformation. This masque is first of the extended masques in King Arthur (a masque was a highlight, placed at the very centre of King Arthur. Action will an entertainment, self-contained though often within a longer resume after interval. evening, involving dancing and acting, dialogue and song). In Act IV. In the enchanted wood Arthur is enticed by the Act IV Arthur is tempted in the magic wood, notably by the aforementioned Sirens, whose bewitching appeal his manliness bathing nymphs, but, being the British worthy, he of course resists. Purcell’s music is seductive enough, yet with a warning resists, successfully. Arthur, coping with Grimbald disguised as dissonance for naked danger. This leads straight to a mighty Emmeline, cuts his way through the wood, and in Act V defeats passacaglia, the largest single piece in King Arthur (‘How happy the released Oswald in single combat. Merlin hails Arthur as a the lover’). As in the chaconnes of Lullyan opera, this singing Christian Worthy, first Lord of a great empire to be. Waving his and playing is also a pretext for dancing. Arthur is roused, in the wand, Merlin calls forth the masque, a vision of Britain (‘Fairest ensuing spoken action, from any music-induced reverie, to hack isle, all isles excelling’), which concludes King Arthur. at the tree from which Emmeline’s plaintive voice is heard.

The plot is a bewildering maze of intrigue, whose relation to Act V. Arthur has vanquished Oswald in single combat (no music credibility, writes one scholar, ‘is entirely coincidental’. But words survives for this), and the victor’s wizard adviser Merlin, the play and music conspire, in this dramatick opera, to turn irrationality having ended, conjures up the masque: tableaux foretelling the to advantage. Some hints follow as to how this is done. future greatness of Britain. Aeolus’s call to the winds to make way for Britannia’s rise implies the appearance of ‘The Queen The musical numbers of Islands’ in a transformation achieved by stage machinery, for Act I. After three instrumental pieces: ‘First Music’, ‘Second which Purcell provides the music. The celebration of England’s Music’, and an Overture. Purcell blends and reconciles French pastoral delights, idyllic enough, gives way to an anticlerical Baroque conventions with an English style very much his own. folksong, jolly despite the hostile sentiments (cheating the Then comes a relatively tame religious liturgy invoking Woden, parson of his tithe – ‘one in 10’). These singers are obviously in the Britons’ deity. After this drinking ceremony come strains of their cups, but the mood rises skyward for the most famous war. Offstage the Britons are fighting the Saxons. ‘Come if you number in the opera, ‘Fairest isle’, even if we can’t agree this is dare’ marks the Britons’ victory, with martial trumpets, and Purcell’s greatest song. word-painting for drums (‘double, double, double beat’). This quickly became one of Purcell’s hits. At the end this Gabrieli performing edition makes an ingenious rearrangement of the surviving Purcell/Dryden materials, best Act II. The magic begins. The spirit Philidel is a deserter from explained by one of the editors, Christopher Suckling. Osmond’s evil band. She contests with her opponent Grimbald, as she tries to lead the Britons out of the marsh. Arthur is unsure ‘The final climactic sequence honoring St. George … may have which to follow, as the music illustrates (‘Hither this way, this been cut, or altered, as a result of religious tensions following way bend’). The gestural music and words call out for dancing the ascent of William and Mary … a suspiciously poor chorus, and mime. The scene ends by exalting patriotism over the far below Purcell’s usual standards, and a song in a somewhat supernatural, a main theme of King Arthur. later musical style, suggesting an early 18th-century attempt to reconstruct the scene. This performance adapts what is The shepherds’ music of the following scene occurs as probably Purcell’s finest trumpet song and chorus, the climax Emmeline awaits Arthur’s return. She does not sing, but the to Act IV of Dioclesian; with relatively few changes of text it music celebrates her beauty and aptness for love, sometimes has been possible to create in spirit the Paean to St. George, in lines from Dryden found too explicit by a later public, who Britannia, and the Order of the Garter, envisaged by Dryden, nevertheless didn’t want to deprive themselves of Purcell’s albeit not in precisely his own words. Similarly, the sources exquisite music! seem to lack all the instrumental music one might expect to find … a few additional pieces have been included from that rich Act III. The context of the masque known as the Frost Scene treasure trove of incidental music to other plays’. was described above. The action is in suspense, and the heroine (Robert Etheridge Moore wittily points out) must be kept in How lucky are we that the music of King Arthur is so rich cold storage. Cupid takes the lead among other allegorical already, and that we have such faithful and imaginative figures, dominated by the Cold Genius. He is immeasurably interpreters to bring it alive! old, so his music is in a deliberately antiquated style. The stiff, teeth chattering, shivering music he shares with the chorus of Cold People has precedents, notably in Lully’s opera Isis © David Garrett 2019 (1677). Purcell’s dissonances are weirder, yet they are not just a sensational effect, but under masterful control, and evoke pity David Garrett is an Australian writer, historian, music programmer for the frozen sufferers. Cupid then melts bodies and hearts in and broadcaster, with extensive experience in vocal music.

8 KING ARTHUR or THE BRITISH WORTHY A DRAMATICK OPERA

FIRST MUSIC SECOND MUSIC OVERTURE

FIRST ACT Tenor I call you all Bass To Woden’s Hall, Woden, first to thee, Your temples round A milk-white steed in battle won, With ivy bound, We have sacrific’d. In goblets crown’d, Chorus And plenteous bowls of burnish’d gold, We have sacrific’d. Where ye shall laugh, And dance and quaff, Tenor The juice, that makes the Britons bold. Let our next oblation be, To Thor, thy thund’ring son, Chorus Of such another. To Woden’s Hall all, Where in plenteous bowls of burnish’d gold

Chorus We shall laugh We have sacrific’d. And dance and quaff, Bass The juice, that makes the Britons bold. A third; (of Friesland breed was he,) ——————————————————————————————————————————————————————————————————————————————— To Woden’s wife, and to Thor’s mother: And now, we have aton’d all three. Tenor & Chorus “Come if you dare”, our trumpets sound; Chorus “Come if you dare”, the foes rebound: We have sacrific’d. “We come, we come, we come, we come”, Tenor Duet & Chorus Says the double, double, double beat of the thund’ring drum. The white horse neigh’d aloud. Now they charge on amain, To Woden thanks we render, Now they rally again: To Woden we have vow’d. The Gods from above the mad labour behold, To Woden, our defender. And pity mankind that will perish for gold.

Soprano The fainting Saxons quit their ground, The lot is cast, and Tanfan pleas’d; Their trumpets languish in their sound; Of mortal cares you shall be eas’d, They fly, they fly, they fly, they fly; Chorus “Victoria, Victoria”, the bold Britons cry. Brave souls, to be renown’d in story. Now the victory’s won, Honour prizing, To the plunder we run: Death despising, We return to our lasses like fortunate traders, Fame acquiring Triumphant with spoils of the vainquish’d invaders. By expiring, Die, and reap the fruit of glory. First Act Tune

9 SECOND ACT And greensward all your way shall be. Soprano – Philidel Come, follow me etc. Hither this way, this way bend, No goblin or elf shall dare to offend ye. Trust not the malicious fiend: Those are false deluding lights, We brethren of air Wafted far and near by sprites. You heroes will bear, Trust ‘em not, for they’ll deceive ye; To the kind and the fair that attend ye. And in bogs and marshes leave ye. ———————————————————————————————————————————————————————————————————————————————

Chorus of Philidel’s Spirits Tenor – Shepherd Hither this way, this way bend. How blest are shepherds, how happy their lasses, While drums and trumpets are sounding alarms!

Chorus of Grimbald’s Spirits Over our lowly sheds all the storm passes; This way, hither this way, this way bend. And when we die, ‘tis in each other’s arms. Philidel All the day on our herds, and flocks employing; If you step no longer thinking, All the night on our flutes, and in enjoying. Down you fall, a furlong sinking: Chorus ‘Tis a fiend who has annoy’d ye; How blest are shepherds etc. Name but Heav’n, and he’ll avoid ye. Hither this way. Shepherd Bright nymphs of Britain, with graces attended, Chorus of Philidel’s Spirits Let not your days without pleasure expire; Hither this way, this way bend. Honour’s but empty, and when youth is ended, Chorus of Grimbald’s Spirits All men will praise you, but none will desire. This way, hither this way, this way bend. Let not youth fly away without contenting; Age will come time enough for your repenting. Chorus of Philidel’s Spirits Trust not the malicious fiend. Chorus Hither this way, this way bend. Bright nymphs of Britain etc.

Chorus of Grimbald’s Spirits Soprano Duet – Two Shepherdesses This way, hither this way, this way bend. Shepherd, shepherd, leave decoying, Pipes are sweet on summer’s day, Bass – Grimbald But a little after toying, Let not a moonborn elf mislead ye, Women have the shot to pay. From our prey, and from your glory; Here are marriage-vows for signing, To far, alas, he has betray’d ye; Set their marks that cannot write: Follow the flames, that wave before ye; After that, without repining, Sometimes sev’n, and sometimes one; Play and welcome, day and night. Hurry, hurry, hurry, hurry on. Chorus of Shepherds See, see the footsteps plan appearing, Come, Shepherds, lead up a lively measure; That way Oswald chose for flying: The cares of wedlock are cares of pleasure: Firm is the turf, and fit for bearing, But whether marriage brings joy, or sorrow, Where yonder pearly dews are lying. Make sure of this day, and hang tomorrow. Far he cannot hence be gone Hurry, hurry, hurry, hurry on. Second Act Tune

Chorus of Philidel’s Spirits Hither this way, this way bend.

Chorus of Grimbald’s Spirits THIRD ACT This way, hither this way, this way bend. Prelude

Chorus of Philidel’s Spirits Soprano – Cupid Trust not the malicious fiend. What ho, thou genius of this isle, what ho! Hither this way, this way bend. Liest thou asleep beneath those hills of snow? Chorus of Grimbald’s Spirits Stretch out thy lazy limbs; Awake, awake, This way, hither this way, this way bend. And winter from thy furry mantle shake.

Philidel, Solos & Chorus Bass – Cold Genius Come, follow me. What power art thou, who from below, And me. And me. Hast made me rise, unwillingly, and slow.

10 From beds of everlasting snow! FOURTH ACT See’st thou not how stiff, and wondrous old, Far unfit to bear the bitter cold, Act Tune I can scarcely move, or draw my breath; Soprano Duet – Two Sirens Let me, let me, freeze again to death. Two daughters of this aged stream are we; Cupid And both our sea-green locks have comb’d for ye; Thou doting fool, forbear, forbear; Come bathe with us an hour or two, What dost thou mean by freezing here? Come naked in, for we are so; At Love’s appearing, all the sky clearing, What danger from a naked foe? The stormy winds their fury spare: Come bathe with us, come bathe, and share, Thou doting fool, forbear, forbear; What pleasures in the floods appear; What dost thou mean by freezing here? We’ll beat the waters till they bound, Winter subduing, and Spring renewing, And circle round. My beams create a more glorious year. PASSACAGLIA Cold Genius Great Love, I know thee now: Tenor Eldest of the gods art thou: How happy the lover, Heav’n and earth, by thee were made. How easy his chain, Human nature, How pleasing his pain, Is thy creature. How sweet to discover! Ev’rywhere thou art obey’d. He sighs not in vain.

Cupid Chorus No part of my dominion shall be waste, How happy the lover etc. To spread my sway, and sing my praise, Soprano & Bass E’en here, e’en here I will a people raise, For love ev’ry creature Of kind embracing lovers, and embrac’d. Is form’d by his nature; Chorus of Cold People No joys are above See, see, we assemble, The pleasures of love. Thy revels to hold:

Tho’ quiv’ring with cold, Chorus No joys are above etc. We chatter and tremble.

Prelude Soprano & Bass – He & She She

Cupid You say, ‘tis Love creates the pain, ‘Tis I, ‘tis I, ‘tis I, that have warm’d ye; Of which so sadly you complain; In spite of cold weather, And yet would fain engage my heart I’ve brought ye together. In that uneasy cruel part: ‘Tis I, ‘tis I, ‘tis I, that have warm’d ye. But how, alas! think you, that I, Chorus Can bear the wounds of which you die? ‘Tis Love that has warm’d us etc. He Cupid & Genius ‘Tis not my passion makes my care, Sound a parley, ye fair, and surrender; But your indifference gives despair: Set yourselves, and your lovers at ease; The lusty sun begets no spring, He’s a grateful offender Till gentle show’rs assistance bring: Who pleasure dare seize: So Love that scorches, and destroys, But the whining pretender Till kindness aids, can cause no joys. Is sure to displease. She Since the fruit of desire is possessing Love has a thousand ways to please, ‘Tis unmanly to sigh and complain; But more to rob us of our ease; When we kneel for redressing, For waking nights, and careful days, We move your disdain: Some hours of pleasure he repays; Love was made for a blessing, But absence soon, or jealous fears, And not for a pain. O’erflows the joy with floods of tears. Chorus He ‘Tis Love that has warm’d us etc. But one soft moment makes amends INTERVAL For all the torment that attends.

11 She & He Till pudding and dumpling are burnt to pot; Let us love, let us love, and to happiness haste; Burnt to pot, Age and wisdom come too fast: Burnt to pot; Youth for loving was design’d. Till pudding and dumpling are burnt to pot.

He We’ll toss off our ale till we cannot stand. I’ll be constant, you be kind. And heigh for the honour of old England: Old England, She Old England; You be constant, I’ll be kind. And heigh for the honour of old England. She & He Soprano – Venus Heav’n can give no greater blessing Fairest Isle, all isles excelling, Than faithful love, and kind possessing. Seat of pleasure, and of love; Fourth Act Tune Venus here, will choose her dwelling, And forsake her Cyprian grove.

Cupid from his fav’rite nation, Care and envy will remove; FIFTH ACT Jealousy, that poisons passion, And despair that dies for love. Bass – Aeolus Ye blust’ring brethren of the skies, Gentle murmurs, sweet complaining, Whose breath has ruffled all the wat’ry plain, Sighs that blow the fire of love; Retire, and let Britannia rise Soft repulses, kind disdaining, In triumph o’er the main. Shall be all the pains you prove. Serene and calm, and void of fear, Ev’ry swain shall pay his duty, The Queen of Islands must appear. Grateful ev’ry nymph shall prove; Symphony And as these excel in beauty, Those shall be renown’d for love. Soprano – Nereid & Chorus Round thy coast, fair nymph of Britain, Tune for Trumpets For thy guard our waters flow; A New Song and Chorus Proteus all his herd admitting, for Britannia & St George On thy green to graze below. Foreign lands thy fish are tasting, Tenor Learn from thee luxurious fasting. Sound Heroes, Sound your brazen trumpets! Stand in the centre of the universe, Two Tenors & Bass And call the list’ning world around, For folded flocks, and fruitful plains, While we with joyful notes rehearse, The shepherd’s and the farmer’s gains, In artful numbers, and well-chosen verse, Fair Britain all the world outvies; Mighty Britannia’s story. And Pan, as in Arcadia reigns, Where pleasure mix’d with profit lies. Chorus Tho’ Jason’s fleece was fam’d of old, Let all rehearse in lofty verse; The British wool is growing gold; Great is the Garter’s glory. No mines can more of wealth supply: Sound its renown, It keeps the peasants from the cold, Resplendent crown: And takes for kings the Tyrian dye. Most priz’d by monarchs, Reigning o’er the realms! Song & Chorus Your hay it is mow’d, and your corn is reap’d; O! Bless’d St George, Your barns will be full, and your hovels heap’:. O! Patron rever’d. Come, boys, come; Enshrine this fair and sceptr’d isle, Come, boys, come; In splendour evermore. And merrily roar out our harvest home. Sing, sing the glory, We’ve cheated the parson, we’ll cheat him again, Swell, swell the story: For why shou’d a blockhead have one in ten? St George and Britannia One in ten, Triumph o’er the earth! One in ten; For why shou’d a blockhead have one in ten?

For prating so long like a book-learn’d sot,

12 ABOUT THE ARTISTS

Paul McCreesh

Paul McCreesh is renowned for the energy and passion of White Light Festival in New York, Orff’s Carmina Burana with his musicianship, and the interpretive insight he brings to the Orquestra Gulbenkian in Lisbon, Bach’s Christmas Oratorio repertoire of the widest stylistic and historical breadth. His with the Australian Chamber Orchestra in the Sydney Opera authoritative performances are founded on uncompromising House and with Concerto Copenhagen in Amsterdam, and drive and vision, alongside a hunger for new challenges. Haydn’s Schöpfung with Orchestra Ensemble Kanazawa in First established as the founder and artistic director of the Japan. Her recordings include Rameau’s Anacréon of 1754 with Gabrieli Consort & Players, he now conducts such orchestras the Orchestra of the Age of Enlightenment, Handel’s Siroe as the Leipzig Gewandhaus, Bergen Philharmonic, Hong Kong and Joshua with Laurence Cummings and Festspiel Orchester Philharmonic, Sydney Symphony, The Saint Paul Chamber Göttingen, and a CD of Russian composer Elena Langer’s Orchestra and Verbier Festival Orchestra. He is a former chamber works, Landscape with Three People, on the Harmonia Principal Conductor and Artistic Advisor at the Gulbenkian Mundi label. Orchestra, Lisbon and served for six seasons as Artistic As a soloist Mhairi Lawson has performed in opera houses and Director of the International Festival Wratislavia Cantans in concert halls worldwide including , Les Wrocław, Poland. At the heart of McCreesh’s music-making Arts Florissants, The Gabrieli Consort and The Scottish Chamber is a determination to broaden and democratise access to the Orchestra, and with leading conductors such as William Christie, arts. He is actively involved in developing new performing Sir Charles Mackerras, Paul McCreesh, John Butt, Richard Egarr opportunities and educational initiatives across Europe, and Sir . Recent and future highlights include and carefully curated collaborations with youth choirs and performances of Handel’s Messiah with the Hallé Orchestra and orchestras are central to his work. McCreesh’s ever-questioning with the Bournemouth Symphony Orchestra, the title role in spirit makes him a difficult artist to categorise: he is as likely with the City of Birmingham Symphony Orchestra, Acis to be found conducting Purcell’s theatre works as Elgar’s & Galatea and Bach’s B minor Mass with the Gabrieli Consort, symphonies or an a cappella part song. He is increasingly Venus & Adonis with the Dunedin Consort, Mozart’s Mass in C known for his performances of major choral works, such as Minor with the Scottish Chamber Orchestra, Haydn’s Creation Britten’s War Requiem, Mendelssohn’s Elijah, Verdi’s Requiem, with the Arctic Philharmonic, a residency at the Carmel Bach Elgar’s The Dream of Gerontius and Haydn’s The Creation and Festival in the U.S.A., a recital with lutenist Elizabeth Kenny The Seasons. He brings to all this repertoire the same rigorous as part of the St Magnus International Festival, and Mhairi scholarship and interpretive flair that defined his early career, continues her recital collaboration with Eugene Asti. confirming his reputation for innovation, and making him one of today’s most highly regarded recording artists. British tenor Hugo Hymas was born and grew up in Cambridge. He graduated with an honours degree in Music from the Described by The Times as a ‘delectable soprano and a serene, University of Durham in 2014 and then moved to London to ever-sentient presence’, Anna Dennis is especially noted for sing. Hugo has performed on the concert platform as a soloist her work in modern and Baroque repertoire. Notable concert in several of Europe’s great concert halls: Philharmonie Paris, performances have included Britten’s War Requiem at the Concertgebouw, KKL Luzern, Philharmonie Berlin and Royal Berlin Philharmonie, a programme of Russian operatic arias Albert Hall. He is increasingly in demand on the international with Philharmonia Baroque in San Francisco, Thomas Adès’ Life stage and is building a reputation as an Evangelist for Bach’s Story accompanied by the composer at the Lincoln Centre’s Passions. Other regular concert repertoire includes Monteverdi’s

13 Vespers 1610, Mozart’s Requiem and Missa Solemnis and Britten’s Gardiner, Sir , Christian Curnyn and Sir Roger Saint Nicholas. Hugo has also performed works from the French Norrington. Future engagements include Dido & Aeneas with Baroque period (Charpentier) recently in London at King’s Place the , Lélio with the Monteverdi Choir and Wigmore Hall. On the opera stage Hugo has played the lead and Orchestra on tour in the US under Sir John Eliot Gardiner, roles in Monteverdi’s Il Combattimento di Tancredi e Clorinda, The Silver Tassie with the BBC Symphony Orchestra and Ryan Purcell’s Dido & Aeneas, Handel’s Semele, Acis & Galatea and Wigglesworth, Le Nozze de Figaro in Tokyo, concerts with MDR Mozart’s The Magic Flute, . ‘Hugo Hymas, Rundfunk, Royal Scottish National Orchestra, English Concert still in his 20s, sang with great delicacy and a stunningly easy and his debut at Glyndebourne Festival Opera. sound […] He’s a name to watch.’ The Guardian (U.K.) Gabrieli Consort & Players is a world-renowned interpreter of James Gilchrist’s extensive concert repertoire has seen great vocal and instrumental repertoire from the Renaissance him perform in major concert halls throughout the world to the present day. Formed as an early-music ensemble by Paul with conductors including Sir John Eliot Gardiner, Sir Roger McCreesh in 1982, Gabrieli Consort & Players has both outgrown Norrington, Bernard Labadie, Harry Christophers, Harry and remained true to its original identity. Over more than 35 Bicket, Masaaki Suzuki and the late Richard Hickox. A master of years, its repertoire has expanded beyond any expectation, but English music, he has performed Britten’s Church Parables in McCreesh’s ever-questioning spirit and expressive musicianship, St Petersburg, London and at the Aldeburgh Festival, Nocturne together with a healthy degree of iconoclasm, remain constant with the NHK Symphony Orchestra in Tokyo and War Requiem features of the ensemble’s dynamic performances. The ensemble with the San Francisco Symphony Orchestra and the National performs major works of the oratorio tradition, virtuosic a Youth Orchestra of Germany. Equally at home in Baroque cappella programmes of music from many centuries and mould- repertoire, appearances include Handel’s L’Allegro il Penseroso breaking reconstructions of music from historical events. ed il Moderato with Stuttgart Bachakademie and at Teatro Real, Madrid, with Les Violons du Roy, Semele with Concerto Gabrieli Consort & Players is an acclaimed interpreter of Handel Köln, Elijah with the Orquesta y Coro Nacionales de España, oratorios and Bach Passions and its recordings have garnered Madrid and Bach Collegium Japan, Hercules with the English numerous international awards, including Gramophone Awards Concert, Ode to St Cecilia with Basel Chamber Orchestra and for recordings of Haydn’s The Creation (2008 Choral Award) and Messiah with Boston Handel & Haydn Society. A New Venetian Coronation 1595 (2012 Early Music Award), BBC Music Magazine Awards for Berlioz’s Grande Messe des Morts and Marcus Farnsworth was awarded first prize in the 2009 Britten’s War Requiem, and a Grammy nomination in 2010 for Wigmore Hall International Song Competition and the Song the a cappella disc A Spotless Rose. Prize at the 2011 Kathleen Ferrier Competition. He has appeared in recital at the Concertgebouw, Amsterdam, La Monnaie, A number of strong relationships have defined its international Brussels with Julius Drake; on a U.K. tour of Schubert Winterreise profile over many years and such partnerships remain at the with James Baillieu; for Leeds Lieder with Graham Johnson and heart of its activities. For over 15 years, in conjunction with at Opéra de Lille with Simon Lepper. He has appeared many Martin Randall Travel, it has pioneered new areas of ‘cultural times at the Wigmore Hall with Malcolm Martineau, Julius tourism’ in creating festivals of music in European historic centres, Drake and Graham Johnson, the Myrthen Ensemble and Joseph developing new programmes specifically inspired by the exquisite Middleton and with the Carducci Quartet. Recent highlights have buildings and cities in which they are performed. Gabrieli was included a performance and recording of Vaughan Williams’s Sea a resident artist at Brinkburn Music in Northumberland, with Symphony conducted by Martyn Brabbins, and a performance of whom it developed some of its most exciting projects over 17 John Adams’s The Wound Dresser, both with the BBC Symphony years. From 2006 to 2012 Gabrieli was an associate artist of the Orchestra. A strong supporter of contemporary composers, he Wratislavia Cantans Festival, and subsequently embarked on has sung works by John Tavener, Sally Beamish, Thomas Larcher, an exciting partnership with the Wrocław Philharmonic Choir, Peter Maxwell Davies and David Sawer. Marcus is the founder a collaboration which features strongly in some of its critically- and artistic director of the Southwell Music Festival. acclaimed recent oratorio recordings.

British bass-baritone Ashley Riches read English at the Beyond the concert hall, Gabrieli is committed to the ongoing University of Cambridge where he was a member of the development of Gabrieli Roar, an audacious choral training prestigious King’s College Choir. He went on to study at the programme that takes a bold stance on the abilities of teenage Guildhall School of Music and Drama and subsequently joined singers. This ambitious partnership with a network of leading the Jette Parker Young Artist Programme at U.K. youth choirs offers intensive training and mentoring to House. He has appeared with the Royal Opera, English National young singers to prepare them for unrivalled performance Opera, Opera National de Lorraine, Berlin Philharmonic, and recording opportunities alongside Gabrieli’s professional Gabrieli Consort and with conductors musicians. Early successes in this scheme include a BBC Proms including Esa-Pekka Salonen, Robin Ticciatti, Sir John Eliot performance of Mendelssohn’s Elijah and studio recordings

14 Gabrieli Consort & Players

of Elijah and Britten’s War Requiem. Gabrieli Roar’s inaugural MacMillan), Incarnation (an inspiring sequence of lesser-known performance under its new name took place in February 2016 Christmas music), Silence & Music (a movingly introspective at Southwark Cathedral, followed by a large-scale celebration of survey of English part-song in the 20th century) and A Rose Anglican choral repertoire at Ely Cathedral in July 2016. Recent Magnificat (works devoted to the Blessed Virgin Mary from projects include Haydn Masses, Purcell and Praetorius programs the Renaissance to the present day); as well as A New Venetian and An English Coronation, a spectacular large-scale recreation Coronation 1595 (the much-anticipated re-recording of the of music from the 20th century’s four coronations. ensemble’s famed 1990 reconstruction featuring music by Andrea and Giovanni Gabrieli) and Handel’s L’Allegro, il In addition to its renowned live performances, Gabrieli aims Penseroso ed il Moderato (its first Handel recording in more than to create inspirational and thought-provoking recordings that a decade). Future releases include Purcell’s King Arthur and The stand out from the crowd. In 2011, Paul McCreesh established Fairy Queen, and An English Coronation. his own record label, Winged Lion, which in its first year alone released four extremely diverse recordings, underlining Gabrieli’s reputation for award-winning recordings was Gabrieli’s versatility and McCreesh’s breadth of vision. The established during a 15-year association with Deutsche focal point of Winged Lion’s output is the Wratislavia Cantans Grammophon. Its current Winged Lion releases are equally Oratorio Series, spectacular large-scale oratorio recordings regarded as benchmark recordings, receiving accolades that made in conjunction with the Wrocław Philharmonic Choir include BBC Music Magazine Awards (Berlioz’s Grande Messe with the kind support of the National Forum of Music, Wrocław. des Morts, Britten’s War Requiem), a Gramophone Award (A There are now four recordings in this series: Berlioz’s Grande New Venetian Coronation 1595) and a Diapason d’Or de l’Année Messe des Morts, Mendelssohn’s Elijah, Britten’s War Requiem (Mendelssohn’s Elijah). and Haydn’s The Seasons, released in 2017 to universal acclaim. gabrieli.com The Winged Lion catalogue also includes four of Gabrieli’s beloved a cappella programmes, A Song of Farewell (English choral repertoire from Morley and Sheppard to Howells and

15 10TH ANNIVERSARY Mary Vallentine AO Bill & Sandra Burdett INSPIRED GIFTS Janet Whiting AM & Phil Lukies Maggie Cash John Castles AM & Thelma Castles OAM Steinway Giving Circle 10th Anniversary Benefactor Julie Ann Cox AM & Laurie Cox AO GIVING ($10,000+) Mary Draper Lady Primrose Potter AC Anonymous (1) Lord Francis Ebury & The John Calvert-Jones AM & 10th Anniversary Public Late Lady Suzanne Ebury Janet Calvert-Jones AO Activation Program Maggie Edmond Dr Alastair Jackson AM ($50,000) Susan Fallaw Peter & Ruth McMullin ($2500+) The Leo & Mina Fink Fund Bruce Parncutt AO 10th Anniversary Commissions Angela Glover The Aranday Foundation ($1000+) Ann Gordon Jan Grant Ulrike Klein AO Roger Gillard & Sohwon Kim Jane Kunstler Vivian Wei Wang Nance Grant AM MBE & Ian Harris Playking Foundation Muriel Yang & Jay Lee Henkell Family Fund 2 Majlis Pty Ltd In memory of Beryl Hooley Stuart Jennings Margaret S Ross AM & Dr Ian C Ross A PLACE OF Maria Sola UNPARALLELED Dr Garry Joslin & Prof Dimity Reed AM George & Grace Kass Helen Symon QC & Ian Lulham MUSICAL VIBRANCY The Yulgilbar Foundation Maria Mercurio People of all ages and from all walks Baillieu Myer AC & Sarah Myer $10 Ticket Program of life gather at Melbourne Recital Rupert Myer AO & Annabel Myer ($20,000+) Centre to be moved by music. Stephen Newton AO Krystyna Campbell-Pretty Leadership Circles and Music Circle Elizabeth O’Keeffe Yvonne von Hartel AM, Robert Peck AM, Annual Patrons Program supporters Helen Perlen Rachel Peck & Marten Peck play a vital role in ensuring the Kerryn Pratchett of peckvonhartel architects breadth, diversity and scale of the Sandra Robertson & Philip Cachia ($10,000+) Centre’s musical offering. Cathy & Peter Rogers Peter Rose & Christopher Menz Dara Pty Ltd Local Heroes Leadership Circle In Memory of Pauline Speedy Annamila Pty Ltd Inaugural Local Heroes Benefactor Barbara & Duncan Sutherland Angelina & Graeme Wise Jane Kunstler Pamela Swansson The Robert Salzer Foundation Majlis Pty Ltd Pearl Tang (including Maria Sola ($4000+) matching from PwC) The John & Jennifer Music Circle Patrons Program Dr Michael Troy Brukner Foundation Magnum Opus Circle ($20,000+) Julian Burnside QC AO & Kate Durham Melbourne Recital Centre Board Supporters ($500+) Rhonda Allen John Calvert-Jones AM & of Directors Jenny Anderson Janet Calvert-Jones AO Kathryn Fagg Anonymous (1) Kathryn Fagg Peter & Cally Bartlett Peter J Armstrong Katrina & Simon Holmes à Court Stephen Carpenter & Alistaire Bowler Sylvia & Michael Kantor Leigh Ellwood Min Li Chong Susan Thacore Joseph & Nicole Corponi Jean Dunn Andrew & Jan Wheeler The Hon Mary Delahunty Minter Ellison Igor & Jenny Zambelli Paul Donnelly & Penelope Hughes Brigitte Treutenaere ($2500+) Angela & Richard Kirsner Margaret Farren-Price & Susan Alberti AC & Colin North OAM Dr Anne Lierse Prof Ronald Farren-Price AM ($1000+) Jane Morris Eda Ritchie AM Anonymous (3) Dr Robert Piaggio Margaret Taylor ARM Architecture Dr Diane Tibbits Adrienne Basser Virtuoso Circle ($10,000+) Carolyn & Tony Baum John & Lorraine Bates ACCESS TO Jane Bloomfield Arnold & Mary Bram THRILLING MUSIC Helen Brack John & Cathy Simpson Barbara Burge FOR EVERYONE Composers Circle ($4000+) John Castles AM & Thelma Castles OAM Danielle Davis & Joyce Marks Share the Music patrons help to bring Maggie Cash Robert & Jan Green high-quality music and learning The Hon Mary Delahunty Jenny & Peter Hordern opportunities to people from all Paul Donnelly & Brigitte Treutenaere Diana Lempriere walks of life. Our extensive Learning Jo Fisher & Peter Grayson Message Consultants Australia and Access program allows us to Colin Golvan AM QC & James Ostroburski & Leo Ostroburski share top-quality performances with Dr Deborah Golvan Dr Victor Wayne & over 2000 children and adults each Naomi Golvan & George Golvan QC Dr Karen Wayne OAM year who would otherwise miss out. Robert & Jan Green In memory of Beryl Hooley Musicians Circle ($2500+) Share the Music Dr Garry Joslin & Prof Dimity Reed AM Anonymous (1) ($10,000+) Simon Le Plastrier Liz & Charles Baré Krystyna Campbell-Pretty Sally MacIndoe Andrea Goldsmith John & Susan Davies Jane Matthews Alastair Campbell & Sue Campbell ($4000+) Kathy & George Deutsch Message Consultants Australia Jack & Hedy Brent Foundation Ann Lahore Dr Richard Mills AM Helen & Michael Gannon Shelley & Euan Murdoch Tim Orton & Barbara Dennis Linda Herd James Ostroburski & Leo Ostroburski Dr Paul Nisselle AM Prof David Penington AC & Greg Noonan ($2500+) Dr Sonay Penington Sirius Foundation Anne Burgi & Kerin Carr Geoff & Jan Phillips Mary Vallentine AO ($1000+) Shelley Rowlands Prelude Circle ($1000+) Anonymous (1) Christine Sather Adrienne Basser Keith & Debby Badger Dr Cherilyn Tillman & Tam Vu Jane Bate & Eryl Morgan Kaye & David Birks Ullmer Family Foundation Helen Brack Maria Hansen

16 In memory of Beryl Hooley Peter Bartlett Zoe Brinsden Regional Touring & Prof John Langford AM & The Late Annette Blonski & Kathryn Fagg Outreach Program Christina McCallum Martin Bartfeld QC Dr Jane Gilmour OAM & ($40,000+) Ann Miller David Byrne Terry Brain Dr Geraldine Lazarus & Dennis & Fairlie Nassau The Hon Alex Chernov AC QC & Prof Andrea Hull AO Mr Greig Gailey Greg Shalit & Miriam Faine Elizabeth Chernov Liane Kemp Mary Vallentine Limitless ($500+) Christine Clough Norene Leslie McCormac Stage Fund Anonymous (4) The Hon Julie Dodds-Streeton Rosemary O’Connor ($20,000+) Timothy Goodwin Laura Thomas Ian Baker & Cheryl Saunders Naomi Milgrom AO Robert Heathcote & Meredith King Roly Ball Elisabeth Murdoch Creative Kim Williams AM The Hon Peter Heerey AM QC & Ann Blake Development Fund Sally Heerey ($10,000+) Caroline & Robert Clemente ($10,000+) Judge Sara Hinchey & Tom Pikusa The Late Betty Amsden AO DSJ Minter Ellison Vivian Wei Wang John Howie AM & Dr Linsey Howie Lady Marigold Southey AC Vivien & Jacob Fajgenbaum Angelina & Graeme Wise Dr Kingsley Gee Pandora Kay & John Larkins ($4000+) ($4000+) Dr Robert Hetzel Anthony J & Philippa M Kelly The Hon Susan M Crennan AC QC Andrew & Theresa Dyer Genevieve Kennedy Maryanne B Loughnan QC Kathryn Greiner AO Banjo McLachlan & Paul Mahony Lyndsey & Peter Hawkins Wendy Kozica, Alan Kozica & ($1000+) Elizabeth O’Keeffe Dr Alastair Jackson AM David OÇallaghan Jenny & Peter Hordern Ralph & Ruth Renard Lyn Williams AM Maria McCarthy Cathy Lowy Meredith Schilling YMF Australia Jan Morrison The Ullmer Family Foundation Andrew & Georgina Porter Michael Shand QC ($2500+) Barry & Barbara Shying Tom Smyth Dr Cherilyn Tillman & Tam Vu LASTING LEGACY Rosemary Walls ($500+) ($1000+) Providing sustained support for Mark & Jane Wilson Elizabeth Boros Anonymous (1) Leslie G Clements all aspects of the Centre’s artistic Peter J Armstrong program through the Melbourne A PLATFORM FOR The Hon Hartley Hansen QC In memory of Beryl Hooley Recital Centre Foundation. THE VERY BEST & Rosalind Hansen Simon Le Plastrier The Hon David L Harper AM Encore Bequest Program Donations to our Leadership Circles Dr Richard Mills AM Medical Friends Anonymous (3) and Legal Friends syndicate allow ($500+) ($1000+) The Late Betty Amsden AO DSJ the Centre to attract the best of the Dr Russell Basser Michael Bennett & Kate Stockwin Jenny Anderson best artists from all over the globe, Brian & Esther Benjamin Professor Rod Hunt & Barbara Blackman culminating in our Signature Events Marc Besen AC & Eva Besen AO Michael Sharpe Jennifer Brukner and Great Performers Series. Sir Rodrick Carnegie AC & Dr Jean McMullin & Ken Bullen Eve McGlashan Great Performers Dr Catherine Brennan Jim Cousins AO & Libby Cousins Adrian Collette AM & Rachel Slattery Leadership Circle Dr John F Mills Dr Garry Joslin Jim Cousins AO & Libby Cousins Anonymous (1) Dr Charlotte Slade & Janette McLellan Julie Anne Cox & Laurie Cox AO Esther & Brian Benjamin Associate Professor Sebastian King Elizabeth O’Keeffe Paulette & Warwick Bisley George & Laila Embelton Prof Dimity Reed AM The John & NURTURING Joshua Evans° Sandy Shaw Jennifer Brukner Foundation YOUNG ARTISTS Margaret Farren-Price & The Estate of Beverley Geoff & Jan Phillips Prof Ronald Farren-Price AM Shelton & Martin Schönthal Maria Sola Patrons of our Leaderships Circles The Hon Justice Michelle Gordon & Mary Vallentine AO The Hon Kenneth M Hayne AC QC and Elisabeth Murdoch Creative Seat Dedications Signature Events Nance Grant AM MBE & Ian Harris Development Fund enable Lowina Blackman Leadership Circle Jean Hadges unique opportunities for the next John Calvert-Jones AM & Inaugural Signature Dr Robert Hetzel generation of performers. Janet Calvert-Jones AO Events Benefactors David & Rosemary Houseman The Hon Mary Delahunty Yvonne von Hartel AM, Robert Peck AM, Betty Amsden Kids & John Howie AM & Dr Linsey Howie Ronald Farren-Price AM & Rachel Peck & Marten Peck Families Program Penny Hutchinson Margaret Farren-Price of peckvonhartel architects Inaugural Benefactor Dianne Jacobs Kristin Gill & family The Late Betty Amsden AO DSJ Peter Jopling AM QC & Legal Friends Nance Grant AM MBE Dr Sam Mandeng Legal Friends Inaugural Patrons Artist Development Catherine Heggen Stirling Larkin, Australian Standfirst° The Hon Justice Michelle Leadership Circle Hans & Petra Henkell Inaugural Artist Development & Snowe Li Gordon AC & The Hon Anne Kantor AO & Music Education Benefactor Simon & Jodie Madden Kenneth M Hayne AC QC The Late Dr Milan Kantor OAM Susan & Peter Mahler The Late Betty Amsden AO DSJ Cathy Lowy ($10,000+) Anonymous (1) Peter & Ruth McMullin The Hon Justice Michelle Katherine Rechtman Peter B Murdoch QC & Peter Jopling AM QC Ralph & Ruth Renard Gordon AC & The Hon Helen Murdoch Margaret S Ross AM & Dr Ian C Ross Kiera Stevens Kenneth M Hayne AC QC Frederic & Karen Pomeranz Children & Families Peter J. Stirling Christine Rodan & Erskine Rodan OAM ($4000+) Leadership Circle Ian Suren Anonymous (1) Campbell Rose & Georgette Toohey The Late Betty Amsden AO DSJ Jenny Tatchell Margaret Ross & Dr Ian C Ross Naomi Golvan & George Golvan QC Friends of David Tong Peter & Ruth McMullin Master Class Leadership Circle Kim & Graham Sherry OAM Mary Vallentine AO Jim Cousins AO & Libby Cousins Lady Marigold Southey AC Peter B Murdoch QC & Mary Waldron George & Laila Embelton Peter J Stirling & Kimberley Kane Helen Murdoch Vivian Wei Wang Maya Rozner & Alex King Ensemble Giovane* Felicity Teague The Ullmer Family Foundation ($2500+) ($5000+) *Ensemble Giovane: Donors in Anonymous (2) Jo Fisher REACHING BEYOND support of master classes Colin Golvan AM QC & ($3000+) Dr Deborah Golvan Anonymous (1) THE CENTRE List of patrons as at 8 February 2019 Peter J Stirling & Christine Sather Giving all Victorians more Kimberley Kane ($1000+) opportunities to be moved, inspired ($1000+) Peter J Armstrong & educated through music. Gifts to Anonymous (3) Bailey-Lord Family the Mary Vallentine Limitless Stage Marcia & John K Arthur Mary Beth Bauer Fund are enabling us to expand our James Barber Fiona Bennett regional and educational outreach.

17 Melbourne Recital Centre acknowledges the generous support of its business partners, THANK YOU philanthropic supporters and patrons.

Founding Patron The Late Dame Elisabeth Murdoch ac dbe

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

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

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THE ARANDAY THE JACK & HEDY THE PEGGY & LESLIE THE MARIAN & THE SENTINEL THE VIZARD THE HUGH WILLIAMSON FOUNDATION BRENT FOUNDATION CRANBOURNE FOUNDATION E.H. FLACK TRUST FOUNDATION FOUNDATION FOUNDATION

18 Be at the heart of the music

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