MELBOURNE RECITAL CENTRE PRESENTS 1 STUART SKELTON WITH RICHARD PEIRSON FRIDAY 3 AUGUST 2018

GREAT PERFORMERS CONCERT SERIES 2018 2

‘Skelton’s monumental performance combined glorious warmth and colour with elemental expressive energy that taps into something deeply human and intuitive.’ THE SYDNEY MORNING HERALD TENOR

STUART SKELTON AUS

RICHARD PEIRSON PIANO U.K.

FRIDAY 3 AUGUST 2018, 7.30PM Elisabeth Murdoch Hall

6.45PM Free pre-concert talk with Andrea Katz

DURATION One hour and 50 minutes including a 20-minute interval

This concert is being recorded by ABC Classic FM for a deferred broadcast. Melbourne Recital Centre acknowledges the people of the Kulin Nation on whose land this concert is being presented.

SERIES PARTNER

LEGAL FRIENDS OF MELBOURNE RECITAL CENTRE 4 STUART SKELTON (1859 version) Settings of poemsby Victor Hugo (1811-1886) FRANZ LISZT Ave María SIGVALDI KALDALÓNS Draumalandið (1877-1939) SIGFÚS EINARSSON Þú einahjartans yndiðmitt (1881-1946) SIGVALDI KALDALÓNS Fuglinn ifjörunni (1917-2012) JÓN ÞÓRARINSSON Hard-hearted Barb’ra (H)Ellen Willow, Willow Bold WilliamTaylor (1882-1961) PERCY GRAINGER Comment, disaient-ils,Comment, S.271 Enfant, sij’étais roi, S.283 S’il estuncharmantgazon Oh! quandjedors, S.281

PROGRAM Sterbelied Vier Abschiedslieder (1897-1957) ERICH WOLFGANG KORNGOLD Träume Schmerzen Wesendonck Lieder (1813-1883) RICHARD WAGNER INTERVAL Cantares Poema en forma deCanciones (1882-1949) JOAQUÍN TURINA Der Engel Dedicatoria Dies einekann meinSehnennimmerfassen Im Treibhaus Stehe still! Las locas poramor Los dosmiedos Nunca olvida Gefaßter Abschied Mond, sogehst duwiederauf 20-minutes

, Op.14

GREAT PERFORMERS 2018 5 PERCY GRAINGER adopt cultural forms from elsewhere. In the late- elsewhere. from forms adopt cultural amateurs various centuries, 19th and early-20th and the clergy (in the true sense) – doctors, on develop culture an art music to – worked like sagas, which were ‘what Nordic art should be ‘what Nordic which were sagas, many-sided yet … but “Formless”, shapely, drastic, multitudinous, rambling, monotonous, truth-proclaiming’. ruthlessly stoical, tragic, C.E., largely in the 9th century settled Iceland, in isolation, language preserved the Old Norse is until the 19th century tradition and its musical or Norwegian times under various At vocal. largely its parliament founded Iceland Danish sovereignty, continuously (Alþingi) in 930 and it has functioned an independent became the country since; much of mainland Europe, in 1944. As in republic in the developed a nationalist movement Iceland to time began but at the same mid-19th century, Grainger’s bizarre ideas about Nordic supremacy supremacy about Nordic ideas bizarre Grainger’s of Icelandic childhood readings by fuelled were

of 1838-40. ABOUT THE MUSIC THE ABOUT threw himself into the collection the collection into himself threw , rightly considered one of Grainger’s finest one of Grainger’s , rightly considered spurned lover to cover the church tower, which tower, the church cover to spurned lover with ‘exultation’. treated Grainger variety of illustrative effects, notably church bells church notably effects, of illustrative variety rose and of the image extraordinary and the final and her of Barbara the graves from briar growing Grainger made two settings of ‘Hard-hearted of ‘Hard-hearted settings made two Grainger one ballad, Scots an ostensibly (H)Ellen’, Barb’ra and then again of the 20th century at the turn a uses the piano for version in 1946. The latter settings, uses a tune from William Chappell’s William Chappell’s from uses a tune settings, Music Old English Popular ‘Willow, Willow’, the lament sung by Desdemona the lament sung by Willow’, ‘Willow, in Shakespeare’s her murder shortly before Othello enjoy a successful military career. Grainger keeps keeps Grainger military career. a successful enjoy but freely of the sung verses, form the strophic and drama. colour for the accompaniment varies William, goes to war, Sally – missing him – dresses Sally – missing him – dresses war, to William, goes the battle him to and follows apparel in man’s he has married an ‘Irish field; when she discovers on to and goes she shoots him dead, lady gay’, Grainger recorded two men in Lincolnshire singing men in Lincolnshire two recorded Grainger in 1906. When her lover, ‘Bold William Taylor’ irretrievable nature of the world they of the world depict. He nature irretrievable have ‘I other composers that unlike noted once than gay’ rather … energetic been sad or furious tunes. folk in setting of British folk music most intensely between between music most intensely of British folk an settings his folk-song 1905 and 1909, and gave the that acknowledges emotional force intense Percy Grainger Percy STUART SKELTON

His near-contemporary Sigfús Einarsson was a teacher and composer, and was very influential as a resident organist at the Lutheran Cathedral in Reykjavík from 1913. Guðmundur Magnusson’s ‘Draumalandið’ (The Landscape of my heart) inspired him to depict a glimmering northern summer landscape of flowers and birdsong, in contrast to the bleak Atlantic beaches of the first two songs.

In 1945 Kaldalóns set ‘Ave María’ – not the liturgical text, but a poem by Indriði Einarsson that prays for

JÓN ÞÓRARINSSON peace, the protection of Christ and the repose of the dead – as a simple ecstatic melody over gently 6 repeated figurations. European lines, composing their own music and pushing for the foundation of a music school in Possibly the least appreciated aspect of Reykjavík. One result was large scale cultivation Franz Liszt’s output is his large number of songs in of art songs to Icelandic texts. a variety of languages, including German, is native Hungarian, and French. Victor Hugo, whom Liszt Jón Þórarinsson, one of Iceland’s most respected knew, was a particular influence – the so-called 20th-century composers, taught at the Reykjavík ‘Dante Sonata’ is a response to a Hugo poem about College of Music, as well as playing an important reading Dante, for instance – and Liszt set seven of role as music director for Icelandic State Radio and its television network. He studied at Yale with Paul Hindemith, then at Juilliard and later in Austria. His best-loved song, the charmingly lively ‘Fuglinn i fjörunni’ (Friend of the Ocean), dates from 1936, and sets a folk poem that describes the look and sound of the seagull.

Another important Icelandic composer wrote under the pen-name Sigvaldi Kaldalóns (after the Kaldalón fjord). While working in the north of the country between 1910 and 1921, he set Guðmundur Geirdal’s ‘Þú eina hjartans yndið mitt’ (You, my only heart’s desire), which

graphically evokes wild coastlines. SIGFÚS EINARSSON GREAT PERFORMERS 2018 7 concluded concluded for guitar and, like and, like guitar for Autre , figures of authority in of authority , figures Richard Wagner Wagner Richard alguazils In October 1858 Liszt’s friend and colleague (and friend and colleague 1858 Liszt’s In October son-in-law) soon-to-be with Mathilde Wesendonck. Mathilde’s his affair out financially Wagner had bailed Otto, husband, a into move him to in 1852 and in 1857 invited and Wagner in Zurich. small house on his property and made no secret in love fell Mathilde promptly wife, Wagner’s been stoic; have of it. seems to Otto livid. understandably Minna, was in the second with trembling, motionless textures motionless textures with trembling, in the second signs of love. the longed-for that represent he) murmured (‘O how,’ ‘Comment, disaient-ils’ poem called a Hugo sets of on the contrast song, is based the previous figurations guitar-like Urgent kinds of music. two they asking how men in their boats represent the escape can in a seductive say the women, ‘Row’ law. Spanish the two informs This pattern rising octave. escape to how as the men ask subsequent verses, women. to charm beautiful and how conflict In ‘Enfant, si j’étais roi’ (Child, if I were king), the (Child, if I were roi’ si j’étais In ‘Enfant, verse) he king (in the first were claims that singer a for all away give he would or God (in the second) Liszt sets his beloved. and then a kiss from glance wealth the represents music that off the bombastic of God the power and verse of the king in the first

FRANZ LISZT piano postlude. gazon’ (If there’s a lovely meadow), with with meadow), a lovely (If there’s gazon’ and of rippling piano its imagery flowers of this revised Liszt heavily accompaniment. in 1859, adding an optional publication for the sense of erotic abandon. the sense of erotic ‘S’il est un charmant pervade of love Dreams to, and inspired, the poet Petrarch. The gentle The gentle Petrarch. the poet and inspired, to, as ecstatic more music of the opening becomes Liszt added of radiance; an image it approaches underline to version the later to cadenza a vocal One such is ‘Oh! quand je dors’, in which the in which the One such is ‘Oh! quand je dors’, vision of his beloved, a dream hopes for poet appeared Laura and ideal as the unattainable Hugo’s poems as songs in the early 1840s, early poems as songs in the Hugo’s – here heard – including the four several revising 1849 and 1859. between STUART SKELTON

grow, flower and, following the Schopenhauerian ideal, renounce the will and die.

When Erich Wolfgang Korngold died in Hollywood he was all but forgotten despite having been one of the most important composers of film music ever. Rather than providing ‘atmosphere’ in reaction to a film’s events, Korngold created large-scale scores linked by motifs representing particular characters, as Wagner did in his operas, and contributed immensely to the mise-en-scène with a masterful knowledge of instrumental colour.

RICHARD WAGNER He had learned it all in Vienna, where he was 8 one of the most striking prodigies since Mozart. Wagner set five of Mathilde’s poems for voice and Mahler heard some of the 10-year-old Korngold’s piano, and two songs, ‘Im Treibhaus’ and ‘Träume’, music and pronounced him a genius. Before provided music for Tristan und Isolde, on which he he had turned 20, Korngold had composed was then working. ‘Der Engel’ (The Angel), with orchestral works and his first two operas, its image of redemption from a world of pain and and shortly after completed his most successful suffering, prepares the ground for ‘Stehe still!’ opera, Die tote Stadt, and the Vier Abschiedslieder (Stand still!). Here the poet may be deliberately (Four Songs of Farewell). exploring the philosophical ideas of Arthur Schopenhauer, whose crypto-Buddhist ideal of the renunciation of the will was very influential on Wagner in the 1850s. ‘Stehe still!’ calls on nature to stop its flux, and on the will to renounce desire, in order to reach true enlightenment. This theme is taken up in ‘Im Treibhaus’ (In the Greenhouse) where the plants, marooned in their pots, suffer unrequited desire for the sun. The diurnal rhythm of the sun is the central image of ‘Schmerzen’ (Sorrows); its setting and rising reflects the waves of despair and elation felt by the poet. Finally ‘Träume’ (Dreams) gathers a number of the images together: dreams are images of the Buddhist unreality of existence, which ‘disappear into bleak nothingness’; like plants in the greenhouse, dreams ERIC WOLFGANG KORNGOLD GREAT PERFORMERS 2018 9

, dismissed the idea of eternal, of eternal, , dismissed the idea jota JOAQUÍN TURINA © Gordon Kerry© Gordon 2018 Kerry Gordon Composer and writer Victoria. on a hill in North-Eastern lives piano), the singer launches into an ambiguous launches into piano), the singer – forgiving (Never forget) olvida’ ‘Nunca farewell, his enemies, but never the one he has loved. is developed of this love nature The obsessive vocal with its florid Iberian in the ‘Cantares’, dos miedos’ ‘Los contrast By ornamentation. the ambiguities of love reflects fears) (The two Fear, harmony. but fluid Debussyan in its gentle por the final ‘Las locas by away is swept however, where love’) ones for crazy ‘the (literally amor’ rhythm, in a bounding dance Venus, the goddess perhaps a of blazing short-term in favour love, discreet passion. His song cycle, to poems by Ramòn Maria de Ramòn poems by His song cycle, to y Campoosorio de Campoamor las Mercedes in 1917 and is music composed (1817-1901), was styles. vernacular Spanish by highly coloured for prelude (a stand-alone a ‘Dedicatoria’ After

Poema en forma de Canciones en forma Poema ’s the stage, and in 1930 he was appointed Professor Professor appointed and in 1930 he was the stage, of Composition at the Madrid Conservatorium. Spanish music as the basis for his own. With Falla With Falla his own. for music as the basis Spanish of World the outbreak with Spain to he returned for highly regarded he was I in 1914 where War and orchestra as music for as well chamber works anti-academic composers like Debussy and – at like composers anti-academic and of his friends – Manuel de Falla the urging traditional explore to Isaac Albéniz, and he began native city. Like many Spanish musicians, he felt musicians, he felt many Spanish Like city. native Paris to so he travelled abroad, study he needed to at the Schola Cantorum. he enrolled in 1905 where of of the influence he absorbed more In fact, leave or die. Turina was born in the Andalusian was or die. Turina leave origin and had of Italian a family city of Seville into his composer and pianist in as successes his first Korngold reflects in music of growing tenderness. in music of growing reflects Korngold Turina Joaquín about to with the lover in similar territory, starts offers an image of serenity. Also by Lothar, the Lothar, by Also of serenity. an image offers combines Farewell) Abschied’ (Resigned ‘Gefaßter which of reunion, with the promise grief at parting As the moon rises again in ‘Mond, so gehst du in ‘Mond, so gehst As the moon rises again the gift of stoicism; wieder auf’ for pleads the poet it, but poem does not grant Ernst Lothar’s end shimmering music at the song’s Korngold’s calls for more anguished music as the poet imagines poet the as music anguished more for calls silent, distant, paths’. unknown ‘on the beloved restrained in accordance with the poet’s injunction the poet’s with in accordance restrained Edith Ronsperger’s me’. ‘sing no sad songs for to (This mein Sehnen nimmer fassen’ ‘Dies eine kann naturally never grasp) one thing my longing can death and yearning, beginning with ‘Sterbelied’, a with ‘Sterbelied’, beginning and yearning, death Requiem, of Christina Rossetti’s German version the music is Here my dearest’. ‘When I am dead These essay the late Romantic obsessions with Romantic These essay the late STUART SKELTON THE TEXTS

GRAINGER

Bold William Taylor I’ll sing you a song about two lovers, ‘If you’ve come te seek yer own true lover, O from Lichfeeddeld town tha came; Pray tell to me his name.’ O the young man’s name was Willyum Taylor, ‘His name it is boddeld Willyum Taylor, The maaden’s name was Sally Gray. O from Leitchfeeddeld town he came.’

No for a soldier Willyum’s ’listed, ‘If his name it is bold Willyum Taylor, For a soldier he ’as gone, And he has proved to you severe, He’s gone and left sweet loveli Sally He’s got married to adden Irish lady Foer te sigh adden foer to mourn. He got married the other yeer. 10 Sally’s parents thae controlled ’er, ‘If you rise earli in the mornin’, Filled ’er ’eart foll of greef and woe; Early by the brek of day, And then at last she vowed an’ said Then you shall spy bold Willyum Taylor For a soldier she would go. Walkin’ with this lady gay.’

She dressed herseddelf idden man’s apparel, Then She rose earli in the mornin’, Man’s appariddel she pot on; Early by the brek of day, Adden for to seek bold Willyum Taylor, And there she spied bold Willyum Taylor And for te seek him she ’as gone. Awalkin’ with this lady gay.

Won day as she was exercisin’ And then she called for a brace of pistils, Exercisin’ amongst the rest, A brace of pistils at her command, With a silver chean hung down her waastcoat And there she shot bold Willyum Taylor And there he spied her lilywhite breast. With his bride at his right ’and.

And then the capten he stepped up to her And then the capten he was well plee-zed, Ast her what had brought her there: Was well plee-zed what she had done; ‘I’ve come te seek my own treo lover, And there he made her a gret comaddender, He has proved to me severe.’ Aboard of a ship aver all his men. GREAT PERFORMERS 2018 11 )

Schwanengesang

hubert: Songs on texts hubert: Songs on texts She met his curpse acomin’. She met of cla, this curpse la doan ‘La doan, epun ’im. That I may gaze Heinrich Heine (from from And slowly she came nigh him; she came And slowly there: And all she said, when she came dyin.’ man, I think you’re ‘Yoong arms, his lily-white oat Then he stretched him; pull her to Thinkin’ to awa. and went her back She turned (H)Ellen.’ Bahbre hearted Then he cried: ‘Hard the ’igh church-yard walkin’ As she was bell tollin’; his death She heard sa And every to it seemed toll (H)Ellen.’ Bahbre ‘Hard-hearted along the streets walkin’ As she was In Scotland was e my dwellin’; was In Scotland mad, a pretty I courted And there (H)Ellen. Bahbre And her name was or two, a month her for I courted her favour; Thinkin’ I should gan kind, me did she prove But never to ’er. I paid all the coort For er e house, to Then I sent a servant in; The house that she did dwell with you, speak te wants Sayhin’ ‘My master (H)Ellen.’ name be Bahbre If your up, she got slowly slowly, Aw Hard-hearted Barb’ra (H)Ellen Barb’ra Hard-hearted (H)Ellen Barb’ra Hearted Hard born, adden bred I was In Scotland

O willow willow willow willow willow willow willow O willow Shall be my garland; willow; willow willow willow, Sing all a green must be my garland willow me the green Aye Write this on my tomb, this on my tomb, Write true. I was That in love willow, willow willow O willow Aye me the green willow must be my garland. must be my garland. willow me the green Aye adieu, and latest my farewell this for Take willow, willow Sing willow O willow willow willow willow willow willow willow O willow Shall be my garland; willow; willow willow willow, Sing all a green Sing willow willow willow: willow: willow Sing willow all pleasure, to I am dead she is gone. My true love willow, willow willow O willow Sing all a green willow, willow willow willow; willow; willow willow willow, Sing all a green must be my garland. willow me the green Aye moan, He sighed in his singing and made a great O willow willow willow willow, willow, willow willow O willow willow willow willow O willow Shall be my garland; The poor soul sat sighing by a sycamore tree, tree, a sycamore by The poor soul sat sighing willow: willow Sing willow With his hand in his bosom upon his knee. And his head Willow, Willow Willow, STUART SKELTON

ÞÓRARINSSON

Fuglinn i fjörunni Friend of the Ocean Fuglinn í fjörunni, Feathers so fine as he hann heitir már. struts by the sea Silkibleik er húfan hans Would I were so sprightly and og gult undir hár. as quick of step as he. Er sá fuglinn ekki smár, Sleek his coat of black and grey bæði digur og fótahár, pink and yellow bright array. á bakinu svartur, A strong sturdy fellow á bringunni grár. who does what he may Bröltir hann oft í snörunni, Scurrying round so jauntily. fuglinn í fjörunni. 12 Free as a bird was born to be.

Fuglinn í fjörunni, Friend of the ocean, hann er bróðir þinn. I feel you will agree. Ekki get ég stigið við þig, Even though I try my best, you’re stuttfótur minn. far too fast for me. Ekki get ég stigið við þig, Even though I try my best, stuttfótur minn. you’re too fast for me.

KALDALÓNS

Þú eina hjartans yndið mitt You, my only heart’s desire Þú eina hjartans yndið mitt, You, my only heart’s desire, í örmum villtra stranda, in arms of wild shores, þar aðeins bjarta brosið þitt there, your bright beams, mig ber til draumalanda. brings me to the land of dreams. Í þinni finn ég frjálsri brá Within you I freely find, svo fagrar innri kenndir, the most beautiful soul, er seiða til sín traust og þrá who wants trust and devotion í trú, sem hærra bendir. and faith for a higher power. GREAT PERFORMERS 2018 13

In our world there are many slippery are roads, there In our world angels, the fallen protect Evermore, Maria, Maria, Ave Maria, Ave Ave evil. them from Free For here is all that calls me, all that calls is here For of my heart. The landscape Maria Ave queen, sweet You, than the sun, brighter living and the departed, for Pray all that is evil, us from deliver Maria, Maria, Ave Maria, Ave Ave them a holy Christmas. Give son, your Pray, temptation, us from will protect to dwell there summer long, there dwell to summer long. there dwell To fields sojourning, In flow´ring song. eternal With birds´ sojourning, fields In flow´ring sojourning, fields in flow´ring song. eternal with birds´ me, befalls What ever here me, enthrals love No sweeter never part, And I can never part. And I can me, all that calls is here For of my heart. The landscape me, all that calls is here For The Landscape of my heart The Landscape is ever yearning, My heart the hills returning, And to

Um eilífð vernda allar látnar sálir. Um eilífð vernda maría. maría, Ave maría, Ave Ave illu. frá þær Frelsa Bið þinn son, villu. oss frá að vernda stígir hálir, eru margir Í veröld hríf um eilífð oss frá heljarnauðum, hríf um eilífð oss frá María. Ave María, María, Ave Ave Gef þeim himnesk jólin. Þú blíða drottning, Þú blíða drottning, en sólin, bjartari’ og dauðum, þú biður fyrir lifendum KALDALÓNS María Ave það er mitt draumaland. Því þar er allt sem ann ég, þar er allt sem ann ég, því það er mitt draumarland. þar batt mig tryggðarband, þar batt mig tryggðarband; þar er allt sem ann ég, því þar angar blómabreiða, við blíðan fuglasöng. ég, Þar aðeins yndi fann ég, þar aðeins við mig kann með sælusumrin löng. Þar angar blómabreiða, við blíðan fuglasöng. Þar angar blómabreiða, Ó leif mér þig að leiða, til landsins fjalla heiða með sælusumrin löng, EINARSSON Draumalandið STUART SKELTON

LISZT Settings of poems by Victor Hugo

Oh! quand je dors Oh, when I sleep Oh! quand je dors, viens auprès de ma couche, Oh, when I sleep, approach my bed, comme à Pétrarque apparaissait Laura, as Laura appeared to Petrarch; Et qu’en passant ton haleine me touche ... and as you pass, touch me with your breath ... Soudain ma bouche at once my lips S’entrouvrira! will part!

Sur mon front morne où peut-être s’achève On my glum face, where perhaps Un songe noir qui trop longtemps dura, a dark dream has rested for too long a time, Que ton regard comme un astre se lève ... let your gaze lift it like a star ... Soudain mon rêve at once my dream Rayonnera! will be radiant!

Puis sur ma lèvre où voltige une flamme, Then on my lips, where there flits a brilliance, 14 Éclair d’amour que Dieu même épura, a flash of love that God has kept pure, Pose un baiser, et d’ange deviens femme ... place a kiss, and transform from angel into woman ... Soudain mon âme at once my soul S’éveillera! will awaken! O viens, Oh come, comme à Pétrarque apparaissait Laura. as Laura appeared to Petrarch.

S’il est un charmant gazon If there’s a lovely meadow S’il est un charmant gazon If there’s a lovely meadow Que le ciel arrose, watered by the sky, Où brille en toute saison where in every season Quelque fleur éclose, some flower blossoms, Où l’on cueille à pleine main where one can freely gather Lys, chèvrefeuille et jasmin, lilies, woodbines and jasmines ... J’en veux faire le chemin I wish to make it the path, Où ton pied se pose! on which you place your feet.

S’il est un rêve d’amour, If there is a dream of love, Parfumé de rose, scented with roses, Où l’on trouve chaque jour where one finds every day Quelque douce chose, something gentle and sweet, Un rêve que Dieu bénit, a dream blessed by God Où l’âme à l’âme s’unit, where soul is joined to soul ... Oh! j’en veux faire le nid oh, I wish to make it the nest Où ton cœur se pose! Frelsa þær frá illu. in which you rest your heart. GREAT PERFORMERS 2018 15

‘Should we forget our perils, forget ‘Should we Grief and misery?’ she. answered ‘Sleep,’ he, whispered how,’ ‘And win the maidens ‘Can we Without magic charms?’ she. answered ‘Love’ she. Answered Love.’ Sleep. ‘Row. the angels, the demons bent before my law, demons bent before the the angels, deep, and the chaos of the fertile and the worlds the heavens space, eternity, you! a kiss from for Cormier J. © Faith Translation he murmured ‘O how,’ he, murmured ‘O how,’ small boat with our ‘Can we, Flee the law?’ she. answered ‘Row’ he, muttered ‘How,’ Child, if I were king Child, if I were the empire, give king I would Child, if I were on and my subjects, my chariot, and my scepter, their knees, and my porphyry crown, baths, and my golden could not hold, that the sea and my fleets glances! one of your for with the waves, and heaven earth God, If I were

20-minutes

INTERVAL INTERVAL Sans philtres subtils? Sans philtres Aimez, disaient-elles. Dormez, disaient-elles. Comment, disaient-ils, les belles Enchanter Comment, disaient-ils, Oublier querelles, périls? et Misère Avec nos nacelles, Avec les alguazils? Fuir disaient-elles. Ramez, Comment, disaient-ils Comment, disaient-ils, Et le profond chaos aux entrailles fécondes, aux entrailles chaos Et le profond les mondes, les cieux et et l’espace L’éternité, un baiser de toi! Pour Si j’étais Dieu, la terre et l’air avec les ondes, avec l’air et Dieu, la terre Si j’étais ma loi, devant courbés anges, les démons Les genoux, de porphyre, mes bains et d’or, Et ma couronne à qui la mer ne peut suffire, Et mes flottes, de vous! un regard Pour Enfant, si j’étais roi si j’étais Enfant, l’empire, je donnerais roi, Enfant, si j’étais mon peuple à et mon sceptre, et Et mon char, WAGNER Wesendonck Lieder

Der Engel The Angel In der Kindheit frühen Tagen In the early days of my youth

STUART SKELTON Hört’ ich oft von Engeln sagen, I often heard talk of angels Die des Himmels hehre Wonne who exchanged the sublime glory of heaven Tauschen mit der Erdensonne, for earth’s sun,

Daß, wo bang ein Herz in Sorgen so that when a frightened, troubled heart Schmachtet vor der Welt verborgen, hides itself away from the world, DaB, wo still es will verbluten, when it would bleed to death in silence Und vergehn in Tränenfluten, and pass away in floods of tears,

Daß, wo brünstig sein Gebet when its fervent prayer Einzig um Erlösung fleht, is only for release, Da der Engel niederschwebt, then the angel floats down Und es sanft gen Himmel hebt. and gently carries it up to heaven.

Ja, es stieg auch mir ein Engel nieder, Yes, an angel came down to me, too, Und auf leuchtendem Gefieder and on shining wings Führt er, ferne jedem Schmerz, he leads my soul far from all pain Meinen Geist nun himmelwärts! up towards heaven!

Stehe still! Stand still! Sausendes, brausendes Rad der Zeit, Rushing, roaring wheel of time, 16 Messer du der Ewigkeit; yardstick of eternity, Leuchtende Sphären im shining spheres in the broad reaches weiten AII, of space Die ihr umringt den Weltenball; circling this ball, the earth; Urewige Schöpfung, halte doch ein, ancient, eternal creation, pause a moment: Genug des Werdens, laß mich sein! enough of becoming, let me be!

Halte an dich, zeugende Kraft, Stop, you procreating power, Urgedanke, der ewig schafft! primal thought forever creating! Hemmet den Atem, stillet den Drang, Still your breath, curb your urges, Schweiget nur eine Sekunde lang! be silent just for one second! Schwellende Pulse, fesselt den Schlag; You swelling pulse, smother your throbbing; Ende, des Wollens ewger let there be an end to the eternal day of the Tag! Will!

Daß in selig süßem Vergessen that in sweet, blessed forgetting lch mög alle Wonnen ermessen! I might fathom all joys! Wenn Aug’ in Auge wonnig trinken, When eyes drink deeply of each other in joy, Seele ganz in Seele versinken; when soul sinks into soul, Wesen in Wesen sich wiederfindet, when beings find themselves in each other, Und alles Hoffens Ende sich kündet, and the end of all hope is declared, Die Lippe verstummt in staunendem Schweigen, when lips fall dumb in astonished silence Keinen Wunsch mehr will das Innre zeugen: and desires no longer reveal the inner being: Erkennt der Mensch des then will humanity perceive the mark of Ewgen Spur, the eternal Und löst dein Rätsel, heilge Natur! and solve your mystery; holy Nature! GREAT PERFORMERS 2018 17

And if death gives birth to life, life, birth to gives And if death yield only joys: and sorrows I am thankful Oh, how me such sorrows! has given that Nature Sorrows O Sun, every cry evening you eyes red, lovely your sea, in the mirror-smooth when, bathing death. early by overtaken are you splendour, former in your rise again you Yet the glory world, of the grim morning new each waking hero. and conquering a proud like Ah, why should I lament, my heart? be so heavy, why should you Does not the sun himself despair, down? does not the sun himself go It’s true, I know, poor plants, true, I know, It’s the same fate. share that we us, shine around Though light and splendour our home is not here. leave take And as the sun is glad to of the day, of the empty glare so the one who truly suffers himself in the darkness of silence. cloaks murmuring, like A weaving, quiet. It grows fear. room with fills the dark poised drops I see heavy of the leaves. edges on the green In the Greenhouse Greenhouse In the of leaves, crowns High-arched of emerald, canopies climes, far from children you weep? you me why tell branches your bow Silently you in the air, signs and paint suffering your and in silent witness of rises. fragrance a sweet arms wide your stretch You desire in yearning in illusion, embrace and, caught emptiness. of bleak horror the hollow

Geben Schmerzen Wonne nur: Wonne Geben Schmerzen 0 wie dank ich, daß gegeben mir Natur! Solche Schmerzen Muß die Sonne selbst verzagen, Muß die Sonne selbst verzagen, Muß die Sonne untergehn? nur Leben Tod Und gebieret Wie ein stolzer Siegesheld! Wie ein stolzer ich da klagen, Ach, wie sollte dich sehn, so schwer Wie, mein Herz, Doch erstehst in alter Pracht, in alter Doch erstehst Welt, Glorie der düstren neu erwacht,Du am Morgen Dir die schönen Augen rot, Dir die schönen Augen badend im Meeresspiegel Wenn Tod; der frühe Dich erreicht An der Blätter grünem Saum. An der Blätter Schmerzen jeden Abend Sonne, weinest Stille wird’s, ein säuselnd Weben ein säuselnd Weben Stille wird’s, bang den dunklen Raum: Füllet seh ich schweben Tropfen Schwere Und wie froh die Sonne scheidet die Sonne scheidet Und wie froh Schein, leerem des Tages Von leidet, der wahrhaft der, Hüllet ein. Dunkel Sich in Schweigens Ein Geschicke teilen wir, www wir, teilen Ein Geschicke Licht und Glanze, von Ob umstrahlt Heimat ist nicht hier! Unsre Und umschlinget wahnbefangen wahnbefangen Und umschlinget Graus. nichtgen Öder Leere es, arme Pflanze; ich weiß Wohl, Steiget aufwärts, süßer Duft. süßer aufwärts, Steiget in sehnendem Verlangen Weit ihr die Arme aus, Breitet Schweigend neiget ihr die Zweige, ihr die Zweige, neiget Schweigend in die Luft, Zeichen Malet Zeuge stummer Und der Leiden Baldachine von Smaragd, Smaragd, Baldachine von Zonen fernen Kinder ihr aus klagt? ihr warum mir, Saget Im Treibhaus Blätterkronen, Hochgewölbte Träume Dreams Sag, welch wunderbare Träume Tell me, what wondrous dreams are these Halten meinen Sinn umfangen, that hold my soul in thrall, STUART SKELTON Daß sie nicht wie leere Schäume yet do not, like empty bubbles, Sind in ödes Nichts vergangen? disappear into bleak nothingness?

Träume, die in jeder Stunde, Dreams which every hour, Jedem Tage schöner blühn, every day bloom more fair, Und mit ihrer Himmelskunde and carry their heavenly tidings Selig durchs Gemüte ziehn! through my senses in bliss!

Träume, die wie hehre Strahlen Dreams which sink themselves into the soul In die Seele sich versenken. like a sublime radiance, Dort ein ewig Bild zu malen: to paint there an eternal canvas: Allvergessen, Eingedenken! all-forgetting, all-mindful!

Träume, wie wenn Frühlingssonne Dreams like the Spring sun Aus dem Schnee die Blüten küßt, kissing blossoms from the snow, Daß zu nie geahnter Wonne so that the new day may welcome them Sie der neue Tag begrüßt, to joys beyond imagining,

Daß sie wachsen, daß sie blühen, that they may grow, that they may bloom Träumend spenden ihren Duft, and dreamily give forth their fragrance, Sanft an deiner Brust verglühen softly fade upon your breast, 18 Und dann sinken in die Gruft and then sink into their grave.

KORNGOLD Vier Abschiedslieder

Sterbelied Requiem Laß Liebster, wenn ich tot bin, When I am dead, my dearest, laß du von Klagen ab. Do not lament. Statt Rosen und Cypressen Instead of roses and cypresses wächst Gras auf meinem Grab. Grass will cover my grave.

Ich schlafe still im Zwielichtschein I sleep, silently in half light, in schwerer Dämmernis – In the heavy dusk. Und wenn du willst, gedenke mein And if you want, remember, und wenn du willst, vergiß. And if you want, forget.

Ich fühle nicht den Regen, I do not feel the rain, ich seh’ nicht ob es tagt, I see not the dawn ich höre nicht die Nachtigall, I hear not the nightingale die in den Büschen klagt. That mourns in the trees.

Vom Schlaf erweckt mich keiner, No one can wake me from this sleep die Erdenwelt verblich. All the world has vanished. Vielleicht gedenk ich deiner, Perhaps I will think of you, vielleicht vergaß ich dich. Perhaps I have already forgotten

Translation © Alfred Kerr GREAT PERFORMERS 2018 19

and keener pain. and keener this: Oh, in the depths of me I feel separation that suffers The heart Will burn eternally. But I still have not made my peace with my fate my fate with not made my peace But I still have or its dark, boundless depths more rise once Moon, you the dark valley over more rise once Moon, you tears? of unwept her, long for not to me how oh teach Teach, my blood run pale, make To when this sorrow not suffer To souls part. two yourself. shroud See, in mists you the shining images darken can’t But still you in me wilder that every night awaken This one thing my longing can never grasp never my longing can This one thing never grasp my longing can This one thing you. me to that leads is no path there That now silent, distant, my door into by pass That you paths. unknown fades, image my wish that your Would it be a happy in mists, like sunshine drowned like in the smooth mirror sunk reflection landscape’s of an evening pond? falls. The rain droop. The weary trees so many sun-filled hours leaves, withered Like away. blown are

das Herz, das sich mußt’ trennen, das sich mußt’ das Herz, ohne Ende brennen. wird Doch verfinstern kannst du nicht den Doch verfinstern Glanz der Bilder, und wilder. jede Nacht erweckt die mir weher fühle ich: Ach! im Tiefsten dies Leid nicht zu erleiden nicht zu dies Leid Menschen Scheiden. aus zweier Sieh, in Nebel hüllst du dich. überm dunklen Tal der ungeweinten Tränen? der ungeweinten überm dunklen Tal doch, mich nicht nach ihr zu so lehr mich’s Lehr, Lauf, machen Blutes sehnen, blaß zu auf Mond, so gehst du wieder Mond, so gehst du wieder auf Wie welkes Laub verwehn viel Sonnenstunden. verwehn Laub Wie welkes mich nicht gefunden ich in mein Los Noch hab’ Tiefen. uferlose und seines Dunkels im glatten Spiegel abendstiller Teiche? im glatten fällt. Der Regen Die müden Bäume triefen. Wär’ Bild erbleiche, Wunsch, daß mir dein es mein Nebeln aufgetrunken, wie Sonnenglanz, von versunken Bild, frohes wie einer Landschaft Dies eine kann mein Sehnen nimmer fassen, mein Sehnen Dies eine kann mehr führe, Weg kein dir mir zu daß nun von meiner Türe an daß du vorübergehst Gassen. ungekannte stumme, in ferne, Dies eine kann mein Sehnen nimmer fassen mein Sehnen nimmer Dies eine kann STUART SKELTON

Gefaßter Abschied Resigned Farewell Weine nicht, daß ich jetzt gehe, Do not weep that I am going, heiter lass’ dich von mir küssen. Kiss me cheerfully. Blüht das Glück nicht aus der Nähe, If joy does not bloom when we are near fernher wirds dich keuscher grüssen. From afar it will greet you more chastely.

Nimm die Blumen, die ich pflückte, Take the flowers I picked, Monatsrosen rot und Nelken – Red china roses and carnations – 20 laß die Trauer, die dich drückte, Leave the sorrow that oppresses you, Herzens Blume kann nicht welken. Hearts blossoms can never wither.

Lächle nicht mit bitterm Lächeln, Do not smile a bitter smile, stosse mich nicht stumm zur Seite. Do not push me aside in silence. Linde Luft wird bald dich wieder fächeln, Gentle breezes will soon cool you again, Bald, bald ist Liebe dein Geleite! Soon, soon love will escort you.

Gib deine Hand mir ohne Zittern, Give me your hand, without trembling, letztem Kuß gib alle Wonne. Let this last kiss have all rapture. Bang’ vor Sturm nicht: aus Gewittern Do not fear the storm: after the tempest the sun strahlender geht auf die Sonne ... shines more resplendent.

So schau zuletzt die schöne Linde, Take one last look at the lovely lime tree, D’runter uns kein Auge je erspähte. Beneath which no eye ever spied us. Glaub’, o glaub daß ich dich wiederfinde, Believe, oh believe that I will find you again, Denn ernten wird, wer Liebe lächelnd For those who sowed love with a smile will reap its säte! harvest. Weine nicht! ... Weep not! ... GREAT PERFORMERS 2018 21

I will love you, goddess Venus, I will love you! I will love Venus, goddess you, I will love by provided and translations Texts Arts Management unless indicated. She said, from a distance, She said, from me? so close to come Why do you of you. I am afraid passed has the night that And after me: She said, close to my side? from away so far you Why are without you! I am afraid love Mad for Venus goddess you, I will love calmly. forever, you I will love prefer if you responds: of Cythera and the goddess all women, like I prefer, time but madly. a short me for love that you I feel closer to you closer to I feel you, I run from The more haunts image your For The very of my thoughts. shadow me again, Tell spellbound: I was yesterday For without listening you I heard without seeing. at you And I looked © Emily Ezust Translation fears The two of the night A the beginning forget Never this world, I abandon that Now God, to account rendering before my confession you I will tell face-to-face. here, with all my soul I pardon hated. always even people I have those so much, loved I have whom you, As for you! I will never forgive Schneider © Andrew Translation

Prefiero como todas las mujeres como Prefiero locura. tiempo y con que me amen poco amaré. te diosa Venus, amaré Te Las locas por amor locas Las si prefieres diosa Venus amaré Te cordura ame mucho tiempo y con que te Citeres: la diosa de y respondió Por qué te alejas tanto de mi lado? alejas tanto qué te Por miedo sin ti! Tengo Tengo miedo de ti. Tengo Y después que la noche hubo pasado de mí: cerca Dijo, Los dos miedos Los la noche de aquel día Al comenzar Ella lejos de mí, Me decía, tanto? acercas qué te Por Y te miraba sin ver. miraba Y te Vuélvemelo a decir Vuélvemelo Pues embelesado ayer escuchaba sin oir Te Cuando más huyo de tí más huyo Cuando imagen es en mí Pues tu de mi pensamiento. Sombra Cantares siento de mí te Màs cerca hasta a los que siempre he odiado. siempre a los que hasta he amado te ¡A ti que tanto perdonaré! te nunca antes de dar cuenta a Dios, de dar cuenta antes los dos entre aquí para diré. te mi confesión perdono el alma Con toda Piano solo olvida Nunca mundo abandono que este Ya TURINA de Canciones forma en Poema Dedicatoria STUART SKELTON ABOUT THE ARTISTS

Grammy nominee and winner of the 2014 International Opera Awards for Best Male Singer as well as two Helpmann Awards, Stuart Skelton’s repertoire encompasses roles from Wagner’s Lohengrin, Parsifal, Rienzi, Siegmund and Erik to Strauss’s Kaiser and Bacchus, Janáček’s Laca, Saint-Saëns’ Samson, and Beethoven’s Florestan.

He appears regularly on the leading concert and operatic stages of the world, including Berlin, London, Los Angeles, Munich, New York, Paris, 22 Tokyo, Vienna and Sydney, with orchestras including the Berlin Philharmonic, Boston

STUART SKELTON Symphony, L.A. Philharmonic, London Symphony, Vienna Philharmonic, the Symphony Orchestras of Sydney, Adelaide, Melbourne, Tasmania and West Australia, and at the BBC Proms and Edinburgh Festival.

He has sung with such acclaimed conductors as Vladimir Ashkenazy, Daniel Barenboim, Jiří Bělohlávek, James Conlon, Sir Andrew Davis, Christoph von Dohnányi, Mariss Jansons, Philippe Jordan, James Levine, Fabio Luisi, Lorin Maazel, Sir Charles Mackerras, Sir Simon Rattle, David Robertson, Donald Runnicles, Michael Tilson- Thomas and Simone Young.

Fidelio RICHARD PEIRSON Recent performances have included at the BBC Proms and La Scala, Milan, Peter Grimes at Edinburgh Festival, Parsifal with the Berlin Philharmonic Orchestra, Tristan und Isolde for the Metropolitan Opera, English National Opera and at the Baden-Baden Festival, Lohengrin for Opéra National de Paris, Jenůfa for the Bavarian State GREAT PERFORMERS 2018 23 Memorial Trust last year), Lisa Milne (at the Perth Lisa Milne (at the Perth last year), Memorial Trust and Mary 2005), William Dazeley in Bevan. Festival and coach as a freelance also works Richard for recitals many lecture and has given accompanist and Scholars. Divas group opera the Chelsea-based the Wishes for ‘Aedh Yeats’ of W.B. His setting and Bell. Stainer is published by Cloths of Heaven’ He has given numerous recitals with international with international recitals numerous He has given Stuart including Sir John Tomlinson, singers the Tait for program (an all-Wagner Skelton ;

Don Otello The and . The Turn of the The Turn ) at the Royal Opera Opera ) at the Royal , harpsichord in , harpsichord with the Metropolitan with the Metropolitan La bohème La The Marriage of Figaro The Magic Flute and and was music director for for music director and was Die Walküre s with the Melbourne Symphony s with the Melbourne Symphony studied at Cambridge University, University, at Cambridge studied Medea Ariadne auf Naxos Così fan tutte Così fan , Das Lied von der Erde Das Lied von and and Mark Wigglesworth. He was music director for for music director He was and Mark Wigglesworth. 2001-2006. from Opera Orange the Norfolk-based Opera in 2005 and has worked with many in 2005 and has worked Opera Ed including Sir Charles Mackerras, conductors Armstrong Sir Richard Hickox, Richard Gardner, Gavin Bryars’ Gavin Bryars’ Opera-Go-Round’s Scottish of English National joined the music staff Richard Screw Giovanni for chorus master he was the Royal Academy of Music and the National Academy the Royal of Scottish the music staff on He was Studio. Opera as he worked 2001 where 1993 to from Opera solo piano in played repetiteur, Richard Peirson Richard include Siegmund ( include Siegmund in title role and the Garden, House, Covent Opera. at the Metropolitan Opera Orchestra, London Symphony Orchestra Symphony Orchestra London Orchestra, Opera Symphony Orchestra, Radio and Bavarian of Gerontiu Dream in 2018 performances and further Orchestra, Opera, Opera, INSPIRED GIVING

A PLACE OF Musicians Circle Angela & Richard Kirsner A PLATFORM FOR UNPARALLELED ($25 0 0+) Dr Anne Lierse THE VERY BEST Jane Morris MUSICAL VIBRANCY Anonymous (1) Melbourne Recital Centre Dr Robert Piaggio Liz & Charles Baré aspires to be a beacon to the People of all ages & from all Dr Diane Tibbits walks of life gather at Ann Lahore world’s finest artists. Shelley & Euan Murdoch Melbourne Recital Centre to ACCESS TO Donations to our Leadership be moved by music. Dr Paul Nisselle AM Circles & Legal Friends Greg Noonan THRILLING MUSIC FOR EVERYONE syndicate allow the Centre Leadership Circles & Music Sirius Foundation to attract the best of the Circle Annual Patrons Program Prelude Circle ($1000+) Share the Music patrons help best artists, culminating in supporters play a vital role in to bring high-quality music our signature events & Adrienne Basser ensuring the breadth, diversity & learning opportunities to Great Performers series. & scale of the Centre’s musical Helen Brack people from all walks of life. offering. Bill & Sandra Burdett Our extensive Learning & GREAT PERFORMERS Maggie Cash Access program allows us LEADERSHIP CIRCLE LOCAL HEROES John Castles AM to share top-quality Anonymous (1) LEADERSHIP CIRCLE & Thelma Castles OAM performances with thousands Brian & Esther Benjamin Julie Ann Cox AM & Laurie Cox AO Inaugural Local of children & adults each year Paulette & Warwick Bisley Kathy & George Deutsch Heroes Benefactor who would otherwise miss out. Geoff & Jan Phillips Mary Draper Maria Sola Jane Kunstler Lord Francis Ebury & the SHARE THE MUSIC Majlis Pty Late Lady Suzanne Ebury Maria Sola ($10,000+) SIGNATURE EVENTS Maggie Edmond Krystyna Campbell-Pretty LEADERSHIP CIRCLE Susan Fallaw MUSIC CIRCLE John & Susan Davies Inaugural Signature The Leo & Mina Fink Fund PATRONS PROGRAM Events Benefactors Angela Glover ($4000+) Magnum Opus Circle Ann Gordon Helen & Michael Gannon Yvonne von Hartel AM ($20,000+) Jan Grant Linda Herd & Robert Peck AM of Melbourne Recital Centre Nance Grant AM MBE & Ian Harris ($25 0 0+) peckvonhartel architects 24 Board of Directors Sue Hamilton Anne Burgi & Kerin Carr Kathryn Fagg LEGAL FRIENDS & Stuart Hamilton AO ($1000+) Legal Friends Peter & Cally Bartlett Henkell Family Fund Anonymous (1) Inaugural Patrons Stephen Carpenter In memory of Beryl Hooley Keith & Debby Badger & Leigh Ellwood Stuart Jennings Kaye & David Birks The Hon Justice Michelle Joseph & Nicole Corponi Dr Garry Joslin Maria Hansen Gordon & The Hon The Hon Mary Delahunty & Prof Dimity Reed AM In memory of Beryl Hooley Kenneth M Hayne AC QC Margaret Taylor George & Grace Kass Prof John Langford AM & Paul Donnelly ($10,000+) Maria Mercurio The Late Christina The Hon Justice Michelle & Brigitte Treutenaere Mr Baillieu Myer AC McCallum Gordon & The Hon Margaret Farren-Price & & Mrs Sarah Myer Ann Miller Kenneth M Hayne AC QC Prof Ronald Farren-Price AM Rupert Myer AO Dennis & Fairlie Nassau ($4000+) Eda Ritchie AM & Annabel Myer Greg Shalit & Miriam Faine Stephen Newton AO Anonymous (1) Virtuoso Circle Elizabeth O’Keeffe ($5 0 0+) Naomi Golvan ($10,000+) Anonymous (4) Helen Perlen & George Golvan QC John & Lorraine Bates Ian Baker & Cheryl Saunders Kerryn Pratchett Peter & Ruth McMullin Arnold & Mary Bram Roly Ball Sandra Robertson Peter B Murdoch QC John & Cathy Simpson Ann Blake & Philip Cachia & Helen Murdoch Caroline & Robert Clemente Composers Circle Dr Peter Rogers Maya Rozner & Alex King Vivien & Jacob Fajgenbaum ($4000+) & Cathy Rogers ($25 0 0+) Dr Kingsley Gee Danielle Davis & Joyce Marks Peter Rose & Christopher Menz Anonymous (1) Dr Robert Hetzel Robert & Jan Green In Memory of Pauline Speedy Colin Golvan AM QC & Genevieve Kennedy Jenny & Peter Hordern Barbara & Duncan Sutherland Dr Deborah Golvan Maria McCarthy Diana Lempriere Pamela Swansson Peter J Stirling Jan Morrison Message Consultants Australia & Kimberley Kane Supporters ($500+) Andrew & Georgina Porter James Ostroburski Ronda Allen Barry & Barbara Shying ($1000+) & Leo Ostroburski Anonymous (1) Rosemary Walls Anonymous (3) Mary Vallentine AO Jenny Anderson Mark & Jane Wilson Marcia & John K Arthur Dr Victor Wayne Peter J Armstrong James Barber & Dr Karen Wayne OAM Alistaire Bowler Peter Bartlett Min Li Chong Annette Blonski Jean Dunn & Martin Bartfeld QC Penelope Hughes

GREAT PERFORMERS 2018 25

AC QC

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& Helen Murdoch & Erskine Rodan & Georgette Toohey & Dr Ian C Ross & Kimberley Kane & Mr Greig Gailey Australian Standfirst in support of master classes. Ensemble Giovane – donors Lady Marigold Southey ($4000+) The Hon Susan M Crennan Kathryn Greiner Peter & Ruth McMullin ($25 0 0+) Lady Primrose Potter ($1000+) Hordern Peter & Jenny Cathy Lowy The Ullmer Family Foundation * List of patrons July as at 17 2018. Peter B Murdoch Christine Rodan Campbell Rose Mrs Margaret Ross S Kim & Graham Sherry Peter J Stirling Lady Marigold Southey Felicity Teague The Ullmer Family Foundation REACHINGBEYOND THE CENTRE Giving all Victorians more opportunities to be moved, inspired & educated through important increasingly is music to us. Gifts to the Mary Vallentine Limitless Stage Fund are enabling us to expand our educational & regional top-qualityoutreach through recorded digital & live platforms, ultimately ensuring be can music Centre’s the streamed & heard by all. VALLENTINE MARY LIMITLESS STAGE FUND ($40,000+) Dr Geraldine Lazarus ($20,000+) Naomi Milgrom Kim Williams ($10,000+) The Late Betty Amsden Snowe Li° Snowe Stirling Larkin, Simon & Jodie Madden Susan & Peter Mahler Peter & Ruth McMullin

AM AO AO

AC

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* & Ian Harris

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& Phil Lukies QC

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AM & Libby Cousins AM QC & Dr Linsey Howie AM AM QC

AM MBE

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& Rachel Slattery Rachel & & Prof Ronald Farren-Price Gordon & The Hon Kenneth M Hayne & Dr Sam Mandeng & Eve McGlashan & Leo Ostroburski & Dr Sonay Penington & Thelma Castles Brigitte& Treutenaere & Terry Brain* & Dr Deborah Golvan & George Golvan & Prof Dimity Reed Jean HadgesJean Robert HetzelDr Rosemary & David Houseman John Howie Hutchinson Penny Jacobs Dianne Peter Jopling Jim Cousins Julie Anne Cox & Laurie Cox George & Laila Embelton Evans° Joshua Farren-PriceMargaret Nance Grant The Hon Justice Michelle

Michael Ullmer Michael Mary Vallentine Janet Whiting ($5 0 0+) Dr Russell Basser Brian & Esther Benjamin Marc Besen AC & Eva Besen Sir Rodrick Carnegie Adrian Collette In memory of Beryl Hooley Prof Andrea Hull Liane Kemp* Simon Le Plastrier Sally MacIndoe MatthewsJane Norene Leslie McCormac* Australia Consultants Message Dr Richard Mills Rosemary O’Connor* Tim Orton & Barbara Dennis James Ostroburski Prof David Penington Geoff & Jan Phillips Rowlands Shelley Thomas* Laura Fiona Bennett* Fiona BloomfieldJane Brack Helen Brinsden* Zoe Barbara Burge John Castles The Hon Mary Delahunty Paul Donnelly Dr Jane Gilmour Colin Golvan Naomi Golvan Heathcote Wines* Dr Garry Joslin

AO AO

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of AM

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& Dr Ian Ross

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& Colin North & Kate Durham & Janet Calvert-Jones Holmes à Court Brukner Foundation Brukner & Robert Peck peckvonhartel architects & Dr Milan Kantor & Libby Cousins Mary Beth Bauer* Susan Alberti Robert & Jan Green ($1000+) (3) Anonymous ARM Architecture Peter J Armstrong* Bailey-Lord Family* Basser Adrienne Carolyn Baum & Tony Sylvia & Michael Kantor Christine Sather* ThacoreSusan Dr Cherilyn Tillman Vu & Tam Andrew & Jan Wheeler Lyn Williams AustraliaYMF Igor Zambelli ($25 0 0+) Julian Burnside Julian John Calvert-Jones Andrew & Theresa Dyer Fagg* Kathryn Fisher*Jo Lyndsey & Peter Hawkins Katrina & Simon Dr Alastair Jackson Anne Kantor Angelina & Graeme Wise ($10,000+) The Pratt Foundation Margaret S Ross Maria Sola Vivian Wei Wang ($4000+) CREATIVE DEVELOPMENT DEVELOPMENT CREATIVE FUND ($20,000+) Annamila Pty Ltd The John & Jennifer Krystyna Campbell-Pretty Yvonne von Hartel LEADERSHIP CIRCLE The Late Betty Amsden CLASS MASTER LEADERSHIP CIRCLE Jim Cousins Ensemble Giovane George & Laila Embelton MURDOCHELISABETH CHILDREN & FAMILIES & FAMILIES CHILDREN

QC QC

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& Dr Ian C Ross & Paul Mahony & Sally Heerey Pikusa& Tom & Dr Linsey Howie & Meredith King & Mrs Elizabeth Chernov & Rosalind Hansen

($5 0 0+) Elizabeth Boros Clements G Leslie The Hon David L Harper Elizabeth O’Keeffe Renard Ruth & Ralph Meredith Schilling Michael Shand Tom Smyth Pandora Kay & John Larkins Anthony J & PhilippaM Kelly Maryanne B Loughnan Banjo McLachlan Judge Sara Hinchey John Howie The Hon Julie Dodds-Streeton Julie Hon The Timothy Goodwin Robert Heathcote The Hon Peter Heerey Christine Clough Anonymous (1) Anonymous Peter Jopling Mrs Margaret S Ross Inaugural Artist Development & Music Education Benefactor The Late Betty Amsden & national ensembles & perform in the Centre’s world-class spaces. ARTIST DEVELOPMENT LEADERSHIP CIRCLE Development support Fund opportunities the for unique performers of next generation to learn from the best in the world, collaborate with local development initiatives educate challenge gifted & of Patrons musicians. young our Leaderships Circles & Creative Elisabeth Murdoch NURTURING YOUNG ARTISTS artist Centre’s The The Hon Hartley Hansen David Byrne David The HonAlex Chernov THANK YOU

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

Founding Patron The Late Dame Elisabeth Murdoch ac dbe

Board Members Kathryn Fagg, Chair Joseph Corponi Margaret Farren-Price Peter Bartlett The Hon Mary Delahunty Eda Ritchie am Stephen Carpenter Paul Donnelly Margaret Taylor

Founding Benefactors The Kantor Family Helen Macpherson Smith Trust The Calvert-Jones Family Robert Salzer Foundation Lyn Williams am The Hugh Williamson Foundation

Principal Government Partner Business Partners Learning Partner

26 Supporting Partners

Program Partners

GREAT PERFORMERS LEADERSHIP CIRCLE

Foundations

THE ARANDAY THE JACK & HEDY THE PEGGY & LESLIE FOUNDATION BRENT FOUNDATION CRANBOURNE FOUNDATION

ENCORE BEQUEST PROGRAM Providing sustained support for all aspects of the Centre’s artistic program through its Public Fund.

Anonymous (3) Ken Bullen Prof Dimity Reed AM The Late Betty Amsden AO DSJ Jim Cousins AO & Libby Cousins The Estate of Beverley Shelton & Jenny Anderson Dr Garry Joslin Martin Schönthal Barbara Blackman Janette McLellan Mary Vallentine AO Jennifer Brukner Elizabeth O’Keeffe Encore! Help ensure a vibrant future for Melbourne Recital Centre by making a bequest.

Leaving a gift to Melbourne Recital Centre in your Will is a powerful, enduring way to help great music continue to flourish in our city, well after the applause of tonight’s concert has ended. The support we receive from bequest gifts allows us to plan with confidence and ambition; helping us to nurture young artists, attract the world’s greatest musicians, and provide access to these transformative musical experiences for more people in our community. By remembering Melbourne Recital Centre in your Will, your legacy will make a profound contribution to our collective musical future for generations to come.

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