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Home , Orchestra Victoria, Richard Bonynge, Richard Divall, Steve Davislim

MASTER 10

SATURDAY 10 SEPTEMBER 7.30PM FEDERATION CONCERT HALL HOBART

Otto Tausk conductor INTERVAL Lorina Gore soprano Duration 20 mins Derek Welton bass-baritone Part Three: Seventh Day of Creation TSO Chorus Duration 29 mins HAYDN This performance will be sung in English. The Creation Part One: First, Second, Third and This concert will end at approximately Fourth Days of Creation 9.45pm. Part Two: Fifth and Sixth Days of Creation Duration 80 mins

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11 OTTO TAUSK LORINA GORE STEVE DAVISLIM DEREK WELTON

Music Director of the Symphony Orchestra Lorina Gore is a regular performer with Twice awarded the Queen Elizabeth II Derek Welton has performed in concert and Theatre St Gallen (Switzerland), where her roles include Silver Jubilee award, Australian tenor Steve at venues across Europe, North America, Otto Tausk works with all the major Violetta (La traviata), Queen of the Night Davislim began as a horn player, then Asia and Australasia in repertoire that studied voice at the VCA under Dame Joan orchestras in his native Netherlands. Recent (Die Zauberflöte), Die Fiakermilli (Arabella), includes over 60 choral and orchestral appearances have included Amsterdam’s Amina (), Leïla (The Hammond. After attending Zurich Opera’s Opernstudio, he started his career as an works as well as a diverse song repertoire. Concertgebouw Orchestra. In St Gallen Otto Pearlfishers), Tytania (A Midsummer Night’s ensemble member of the Zurich Opera. His many operatic roles include Figaro Tausk conducts the major concert series as Dream), Honey B (Bliss), Marzelline (Fidelio), Engagements include Beethoven’s Ninth in Glyndebourne’s touring production of well as . In previous seasons he has Oscar (Un ballo in maschera), Yum-Yum (London Symphony Orchestra and Bernard The Marriage of Figaro, and Voland in conducted Eugene Onegin, The Abduction (The Mikado), Despina (Così fan tutte), Haitink), Das von der Erde (Bordeaux), York Höller’s The Master and Margarita at from the Seraglio, Korngold’s Die tote Stadt Musetta (La bohème), Nanetta (Falstaff), Dvo ák’s Stabat mater (Basilique Cathédrale ř . His competition wins and the Swiss première of George Benjamin’s and Woglinde (Der Ring des Nibelungen). de Saint-Denis, Paris), Tamino in The Magic include the Emmerich Smola Förderpreis Written on Skin. Guest appearances In 2010 she performed as Pip in Moby-Dick Flute (Semperoper Dresden), Mozart’s have included the Stuttgart Philharmonic, for the State Opera of South Australia, for with Thielemann (Salzburg), the and the Australian Youth Aria. He has been Symphony Orchestra of Porto da Música and which she received a Helpmann Award Italian Singer in Der Rosenkavalier (National a member of the ensemble of the Deutsche BBC Scottish Symphony Orchestra. Outside nomination. International performances Symphony Orchestra, Kennedy Centre and Oper Berlin since the 2015/16 season. His Europe Tausk has conducted the Los Angeles have included the title role in Lucia di Christoph Eschenbach), roles there for 2016/17 include Saint-Bris in Orchestral Songs (the Hallé and Sir Mark Philharmonic. He most recently appeared Lammermoor for Iford Arts, Fiakermilli under Michele Mariotti, Peter Elder), and Elijah with Hengelbrock. His with the Tasmanian Symphony Orchestra for Garsington Opera, Giulia ( di in Hansel and Gretel under Nicholas Carter, extensive discography includes Bach cantatas in 2014. In 2011 Otto Tausk was presented seta) for Independent Opera, Blonde (Die with Sir , Martinu°’s Klingsor in Parsifal under Donald Runnicles with the “de Olifant” prize by the city of Entführung aus dem Serail), Agilea (Teseo) Giulietta with Sir , Tippett’s and Mr Flint in Billy Budd under Moritz Haarlem for his contribution to the arts in and Sandrina (L’infedeltà delusa) for English A Child of Our Time with Sir Gnann. Concerts for the 2016/17 season The Netherlands, particularly his work with Touring Opera, and Norina (Don Pasquale) and the LSO, Brahms’ Rinaldo with Michel include A Child of our Time with the Leipzig the Holland Symfonia. His recording of Hans and Violetta (La traviata) for New Zealand Plasson, and Richard Strauss songs with Gewandhaus Orchestra under Stefan Asbury Pfitzner’sOrchesterlieder with the Northwest Opera. She studied at the Australian National Orchestra and . and Martinu°’s The Epic of Gilgamesh with the German Philharmonic won Classica France’s University and at the National Opera Studio 2015/16 highlights include Beethoven’s Czech Philharmonic under Jiří Beˇlohlávek. Choc du mois. Tausk was born in Utrecht in London, and has been the recipient of Ninth (Berlin Philharmonic and Sir Simon Recordings include a solo CD of Vaughan and studied violin with Viktor Liberman numerous prestigious opera awards. ABC Rattle), Bruckner’s Te Deum (Chicago Symphony Orchestra and Riccardo Muti), Williams with Iain Burnside, as Creonte on and István Párkányi and conducting with Classics recordings include highlights from Elijah (Gewandhaus Orchestra, Leipzig), Jurjen Hempel and Kenneth Montgomery. Strauss’s Der Rosenkavalier with Yvonne Pinchgut Live’s CD of Haydn’s L’anima del Baron Kronthal in Lortzing’s Der Wildschütz filosofo and on DVDs He continued conducting studies in Vilnius Kenny, selections from Handel’s Rodelinda (Semperoper Dresden), Tom in The Rake’s of Parsifal and Richard Strauss’s Arabella. with Jonas Aleksa. Between 2004 and 2006 with , and Bliss with Opera Progress (Finnish National Opera) and, in he was assistant to Valery Gergiev at the Australia. Her engagements in 2016 include Australia, Beethoven’s Ninth (SSO), Haydn’s Derek Welton is a graduate of the University Rotterdam Philharmonic and later worked at La bohème and Der Ring des Nibelungen for Creation (TSO), Mozart’s Requiem (WASO) of and London’s Guildhall School the Mariinsky. Opera Australia. and in recital (ANAM). of Music and Drama.

12 13 JOSEPH HAYDN (1732-1809)

The Creation the Psalms, and on Milton’s poem Paradise Lost). After Haydn had written the music, Haydn’s The Creation is a masterpiece Swieten then translated the text back into and a miracle. As a masterwork, few English in a version that would fit the same would dispute its qualifications: exquisitely rhythms as the German – making it the beautiful arias, brilliant use of orchestral first large-scale work in music history to be colours, and choruses bursting with delight, TSO CHORUS HAYDN’S CREATION published with a bilingual text. all on a scale both epic and intimate. AND HOBART TOWN HALL What makes it miraculous is that it was Making “singable” translations is always a The TSO Chorus is an auditioned group created, like the world it describes, difficult task, and Swieten’s English, though of approximately 80 voices. June Tyzack from nothing. much better than Haydn’s, was by no means “The new Town Hall, Hobart Town, is a perfect, resulting in some very strange turns has been Chorusmaster since 2001 and Haydn in 1797 was an international musical magnificent pile of buildings situated in of phrase (“ye finny tribes”, for fish, and superstar. The composer who for more than is supported by Assistant Chorusmaster Macquarie-street, between Elizabeth and Adam’s forehead described as “the large a decade had been thrilling Europe with Andrew Bainbridge. Founded in 1992 to Argyle-street, on a block of land granted and arched front sublime”) and some his ground-breaking symphonies and string to the Corporation by the Government… German word order that doesn’t work in present concert performances of opera, quartets while confined to his employer’s It consists of a centre and two wings, English. The real challenge of setting the the TSO Chorus has since broadened palace at Eszterháza, in the backwoods of containing Town Hall, Court-house, text to music, though, was the subject its repertoire to include the requiems of Hungary, had at last appeared in the flesh, matter itself – there is basically no story, public library and reading room besides a with two immensely successful trips to Mozart, Cherubini, Brahms, Verdi, Fauré, in any kind of dramatic sense. Perhaps multiplicity of ante-chambers and offices. London. and Sculthorpe; masses by Mozart, Haydn, The centre building was designed on the this is why Handel had let this libretto lie: Haydn returned from his London seasons Schubert and Puccini; and symphonies example of the celebrated Farnese palace it’s all good news. Three angels, Raphael, a wealthy man. But money was not all he by Beethoven, Mendelssohn, Mahler, and at Rome…” Gabriel and Uriel, tell how over the course had acquired: he had experienced for the of six days God creates heaven and earth Vaughan Williams. Many performances are Mercury, 25 October 1866 first time the oratorios of Handel – not just and all living things – but stopping before broadcast on ABC Classic FM. In addition The City of Hobart and Haydn’s Creation the music, but the overwhelming emotional Adam and Eve get expelled from Paradise. effect of Messiah and Israel in Egypt, to performing with the TSO and touring have been entwined ever since the opening Nothing goes wrong here, and nobody gets performed in Westminster Abbey by more hurt. And this is where Haydn works his regional Tasmania, the TSO Chorus is of Hobart Town Hall in September 1866, than 1000 musicians, and not for a small miracle: out of a story with no real drama frequently invited to augment interstate with Haydn’s oratorio as the key work in an circle of connoisseurs, but reaching a vast in it, which does nothing but get happier symphonic choirs. Since 2006 the TSO accompanying music festival. The inaugural crowd of ordinary music lovers. and happier, Haydn creates music that has Chorus has performed at the concert on 27 September 1866 was so Haydn’s tour manager, Johann Salomon, direction and shape. Opera House, the Adelaide Festival and strongly attended – it was reported that hundreds of patrons had to be turned away must have seen how impressed the There is, of course, plenty of scope for Perth Concert Hall. In 2012 members of composer was by his Handel experience: musical word painting, and Haydn takes – a second performance of The Creation the TSO Chorus made their international just as Haydn was leaving London for full advantage of every opportunity. We was given two days later. Not only were the second time, Salomon handed him a hear the surging of the sea in Raphael’s debut augmenting the WASO Chorus in these the first concerts in Hobart Town Hall, performances of Brahms’s Ein Deutsches libretto that had originally been written for aria “Rolling in foaming billows” on the they were the first complete performances Handel himself. Nobody could remember Third Day; the powerful strokes of the Requiem in Hong Kong with Jaap van of Haydn’s oratorio in Tasmania. One would who had written it, but certainly Handel eagle’s wings and trilling of the nightingale Zweden and the Hong Kong Philharmonic like to imagine that the quality of the music- had never composed any music for it. in Gabriel’s aria “On mighty pens” on the Orchestra. Concerts with the TSO in 2016 making was high, but the orchestra was The subject was the creation of the world. Fifth Day; and the “sudden leaps” of the include the Gilbert and Sullivan Spectacular, wildly unbalanced: a reasonably complete Would Haydn be interested in using it for “flexible tiger” in Raphael’s recitative “Strait wind, brass and percussion band (that said, Haydn’s Creation and, as part of the Festival an oratorio of his own? opening her fertile womb” on the Sixth Day. there were no horns) competed with a string of Voices, JS Bach’s St Matthew Passion. Haydn most definitely was. But his English One of the tools that Haydn (more so than section of only 13 players (including a solitary The TSO Chorus welcomes new members. wasn’t great, so he turned to his friend Handel) was able to use was the orchestra viola!). The choral forces must have been Baron Gottfried van Swieten, who created itself. Developments in the construction Interested choristers should contact the substantial with possibly up to 170 singers a German version based very closely on of wind instruments at the end of the 18th Chorus Coordinator on 6232 4421 or go to taking part. One of the soloists was Mr Henry the original English (which in turn drew very century had made them much more reliable tsochorus.com.au for more information. Hunter, the Town Hall’s architect. heavily on the Biblical books of Genesis and members of the orchestra, and so on the

14 15 glorious explosion of sound which is in fact PART ONE 17 Trio (Gabriel, Uriel, Raphael) the simplest of musical resources: a simple 1 Introduction Most beautiful appear. (though very large) C major chord. The Representation of Chaos. 18 Chorus (Gabriel, Uriel, Raphael, Chorus) The Creation was first performed in April Recitative (Raphael, Chorus, Uriel) The Lord is great. 1798 in Vienna, in a private performance In the beginning God created the heaven for Haydn’s patron Prince Joseph von and the earth. 19 Recitative (Raphael) And God said: Let the earth bring forth. Schwarzenberg and his guests; thirty police 2 Aria (Uriel, Chorus) officers had to be called to hold back the Now vanish before the holy beams. 20 Recitative (Raphael) crowds trying to get in. At the first public Strait opening her fertile womb, the earth performance, in March 1799, the theatre 3 Recitative (Raphael) obey’d the word. was completely full three hours before the And God made the firmament. start of the concert. In London the following 4 Chorus (Gabriel, Chorus) 21 Aria (Raphael) year, poor Salomon missed out on giving The marv’lous work beholds amaz’d. Now heav’n in fullest glory shone. the English première performance when a rival impresario managed to get hold of a 5 Recitative (Raphael) 22 Recitative (Uriel) copy of the score and arrange for copies to And God said: Let the waters under the And God created man in his own image. heaven be gathered together. be made of parts for 120 performers, all in 23 Aria (Uriel) less than one week – this in the days before 6 Aria (Raphael) In native worth and honour clad. photocopiers! Rolling in foaming billows uplifted roars 24 Recitative (Raphael) In 1802, amidst all this acclaim, Haydn the boist’rous sea. And God saw ev’ry thing that he had recalled his experience of writing The 7 Recitative (Gabriel) made. Creation: “Often, when I was struggling And God said: Let the earth bring forth with all kinds of obstacles…a secret voice grass. 25 Chorus whispered to me: ‘There are so few happy Achieved is the glorious work (I). JOSEPH HAYDN 8 Aria (Gabriel) and contented people in this world; sorrow With verdure clad the fields appear. and grief follow them everywhere; perhaps 26 Trio (Gabriel, Uriel, Raphael) Sixth Day, flute and bassoon together evoke your labour will become a source from which 9 Recitative (Uriel) On thee each living soul awaits. a tranquil scene of cattle grazing on the the careworn…will for a while derive peace And the heavenly host proclaimed. 27 Chorus meadows; trombone and contrabassoon and refreshment.’” May it be so tonight, and 10 Chorus Achieved is the glorious work (II). add their earth-shaking resonances to always. Awake the harp, the lyre awake! the roar of the “tawny lion”; and there is Natalie Shea © 2016 PART THREE a special magic in Haydn’s use of the low 11 Recitative (Uriel) 28 Recitative (Uriel) strings to take us down into the ‘watery And God said: Let there be lights. The Tasmanian Symphony Orchestra first In rosy mantle appears. deep’ on the Fifth Day. performed this work with conductor , 12 Recitative (Uriel) soloists Marilyn Richardson, Robert Gard and 29 Chorus (Adam, Eve, Chorus) The one place in the story where something In splendour bright is rising now the sun. Russell Smith, and the Tasmanian Conservatorium By thee with bliss, O bounteous Lord. decisive does happen is right at the Chorale in Hobart on 14 December 1978 and, 13 Chorus (Chorus, Gabriel, Uriel, Raphael) beginning, and here Haydn gives us a coup most recently, with Sebastian Lang-Lessing, The heavens are telling the glory of God. 30 Recitative (Adam, Eve) Sara Macliver, Jamie Allen, Daniel Sumegi and the de théâtre which amazed and delighted TSO Chorus Hobart on 5 July 2008. Our duty we performed now in off’ring his audiences to the point where the music PART TWO up to God our thanks. couldn’t continue for the thunderous 14 Recitative (Gabriel) 31 Duet (Adam, Eve) applause. He begins with an extended And God said: Let the waters bring forth. Graceful consort! At thy side. musical reflection of the chaos before the 15 Aria (Gabriel) Creation: harmonies that don’t resolve as On mighty pens uplifted soars the eagle 32 Recitative (Uriel) we expect, unexpected surges of sound, aloft. O happy pair, and always happy yet. individual instruments attempting fragments of melodies. And then, when God achieves 16 Recitative (Raphael) 33 Chorus with Soloists his first act of creation by calling Light And God created great whales. Sing the Lord ye voices all! into being, Haydn dazzles our ears with a

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