L'ENFANCE DU CHRIST

15, 16 AND 18 JUNE 2018

CONCERT PROGRAM Melbourne Symphony Orchestra Sir Andrew Davis conductor Sasha Cooke mezzo-soprano (Maria) Andrew Staples tenor (Le Récitant) Roderick Williams baritone (Joseph) Andrew Goodwin tenor (Centurion) Shane Lowrencev bass (Polydore) Matthew Brook bass (Hérode, Père de famille) Warren Trevelyan-Jones chorus master Melbourne Symphony Orchestra Chorus

Berlioz L'Enfance du Christ

Pre-Concert Conversation (Friday & Saturday) Join internationally renowned conductor and choral master, Jonathan Grieves-Smith in Hamer Hall from 6.15pm for a pre-concert conversation. Post-Concert Conversation (Monday) Join composer and writer, Andrew Aronowicz, for a post-concert conversation inside the Stalls Foyer of Hamer Hall from 8.30pm.

This concert will be recorded for video broadcast on Foxtel Arts. The Monday 18 June performance will be recorded by Chandos for possible CD release

Running time: 2 hours, including a 20-minute interval

In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone. The MSO acknowledge the Traditional Owners of the land on which we are performing. We pay our respects to their Elders, past and present, and the Elders from mso.com.au other communities who may be in attendance. (03) 9929 9600

2 MELBOURNE SYMPHONY SIR ANDREW DAVIS ORCHESTRA CONDUCTOR

Established in 1906, the Melbourne Chief Conductor of the Melbourne Symphony Orchestra (MSO) is an Symphony Orchestra, Sir Andrew arts leader and Australia’s longest- Davis is also Music Director and running professional orchestra. Chief Principal Conductor of the Lyric Opera Conductor Sir Andrew Davis has of Chicago. He is Conductor Laureate been at the helm of MSO since 2013. of both the BBC Symphony Orchestra Engaging more than 4 million people and the Toronto Symphony, where he each year, the MSO reaches diverse has also been named interim Artistic audiences through live performances, Director until 2020. recordings, TV and radio broadcasts In a career spanning more than and live streaming. 40 years he has conducted virtually The MSO works with Associate all the world’s major orchestras Conductor Benjamin Northey and and opera companies, and at the Cybec Assistant Conductor Tianyi Lu, major festivals. Recent highlights as well as with such eminent recent have included Die Walküre in a new guest conductors as Tan Dun, John production at Chicago Lyric. Adams, Jakub Hrůša and Jukka-Pekka Sir Andrew’s many CDs include Saraste. It also collaborates with non- Messiah nominated for a 2018 classical musicians such as Elton John, Grammy, Bliss’ The Beatitudes, Nick Cave and Flight Facilities. and a recording with the Bergen Philharmonic of Vaughan Williams’ Job/Symphony No.9 nominated for a 2018 BBC Music Magazine Award. With the MSO he has just released a third recording in the ongoing Richard Strauss series, featuring the Alpine Symphony and Till Eulenspiegel.

3 SASHA COOKE ANDREW STAPLES MEZZO-SOPRANO (MARIA) TENOR (LE RÉCITANT)

Grammy Award-winning mezzo- Andrew Staples’ repertoire ranges soprano Sasha Cooke has been called from Handel to Britten. Concert a ‘luminous standout’ (New York appearances have included The Times). Ms. Cooke is sought after Dream of Gerontius, Verdi’s Requiem, by the world’s leading orchestras, and Mahler’s Das Lied von der Erde. opera companies, and chamber music He has sung with conductors such ensembles for her versatile repertoire as Sir Simon Rattle, Daniel Harding and commitment to new music. and Yannick Nezet-Seguin, and with orchestras such as the Berlin In the 2017-18 season, Ms. Cooke’s Philharmonic, Philadelphia Orchestra, engagements take her to such exciting and London Symphony. He is a regular venues as Carnegie Hall (New York), guest at the Royal Opera House and Royal Concertgebouw (Amsterdam), has appeared in Salzburg, Hamburg, and Barbican Centre (London). She Brussels and Prague. will perform with the San Francisco Symphony, London Symphony As a director, Andrew Staples has Orchestra, Elbphilharmonie in staged operas such as Nozze di Hamburg, Melbourne Symphony, Figaro and La bohème. With Berlin’s and more. Some conductors with Kiez Oper, he created a site-specific whom she is collaborating this season production of Dido and Aeneas at include Michael Tilson Thomas, Sir the techno club Wilde Renate. His Andrew Davis, Jaap van Zweden, production Blessed Cecilia interwove Edo de Waart, and Osmo Vänskä. music of Britten with depositions from Palestinian detainees. Staples is also a portrait photographer.

4 RODERICK WILLIAMS ANDREW GOODWIN BARITONE (JOSEPH) TENOR (CENTURION)

Roderick Williams’ repertoire ranges Andrew Goodwin has appeared with from baroque to contemporary music opera companies in Europe, the UK, - from Mozart to world premieres of Asia and Australia, including the operas by Sally Beamish, Michael van Bolshoi Opera, Gran Theatre Liceu der Aa and others. He has appeared Barcelona, Teatro Real Madrid, La with orchestras such as the Philharmonia, Scala Milan, Opera Australia, Pinchgut Deutsches Symphonie-Orchester Berlin, Opera and Chamber Opera. Orchestre Philharmonique de Radio He has performed with the St France, and Academy of Ancient Music. Petersburg Philharmonic Orchestra, Recordings include Vaughan Williams, the Sydney, Melbourne, Queensland Berkeley and Britten operas as well and Symphony Orchestras, as a DVD of Peter Sellars’ staging of Moscow and Melbourne Chamber the St. John Passion with the Berlin Orchestras. Andrew regularly gives Philharmonic. recitals with pianist Daniel de Borah. Recent engagements have included Roderick Williams is also a composer appearances with the Melbourne and was Artistic Director of Leeds Symphony Orchestra (Mozart Lieder + in April 2016. He was awarded Requiem), Melbourne Bach Choir (St an OBE for services to music in June John Passion), Sydney Chamber Opera 2017, and was nominated for an Olivier (Biographica and The Rape of Lucretia), Award in 2018 for his performance in Melbourne Chamber Orchestra, and The Royal Opera’s Return of Ulysses. the Auckland Philharmonia Orchestra.

5 SHANE LOWRENCEV MATTHEW BROOK BASS (POLYDORE) BASS (HÉRODE, PÈRE DE FAMILLE)

Shane Lowrencev’s most recent Matthew Brook came to prominence engagements include the title roles in with a 2007 Gramophone Award- Le nozze di Figaro and Don Giovanni, winning recording of Handel’s Messiah Scarpia (Tosca), Escamillo (Carmen) with the Dunedin Consort. Recent and Schaunard (La bohème) for Opera appearances include Dido and Aeneas Australia, Hunding in Die Walküre for with the Dutch Bach Society, a concert the Adelaide Symphony Orchestra with the Llandaff Cathedral Choral and concert appearances with the Society, appearing in Purcell’s The Melbourne, Tasmanian and West Fairy Queen for Boston’s Handel and Australian Symphony Orchestras. Haydn Society, Bach’s St. Matthew In 2018, he sings the title role in Don Passion with the Orchestra of the Quichotte for Opera Australia and Hans Age of Enlightenment on tour, and Sachs in State Opera of SA’s Act 3 playing the King in Ariodante at the presentation of Die Meistersinger von Staatstheater Stuttgart, a role with Nürnberg. which he made his Carnegie Hall debut in 2017. Other repertoire covered Shane has enjoyed a distinguished recently includes Mendelssohn’s career on the concert platform Elijah, Brahms’ Triumphlied, and the having performed the bass solos in Fauré and Verdi Requiems. Matthew Handel’s Messiah and La Resurrezione; Brook’s recordings include also Acis Mendelssohn’s Elijah, Mozart’s and Galatea, Rameau’s Anacréon, and Requiem, Mass in C Minor; Bach’s The Sunlight on the Garden (songs of Mass in B Minor, St John Passion, Stephen Wilkinson). Christmas Oratorio and St Matthew Passion and Haydn’s Creation with Australasia’s leading symphony orchestras and choral organisations.

6 MELBOURNE SYMPHONY WARREN TREVELYAN-JONES ORCHESTRA CHORUS MSO CHORUS MASTER

For more than 50 years the Melbourne Warren Trevelyan-Jones is the Head Symphony Orchestra Chorus has been of Music at St James’, King Street the unstinting voice of the Orchestra’s in Sydney and is regarded as one of choral repertoire. The MSO Chorus the leading choral conductors and sings with the finest conductors choir trainers in Australia. Warren has including Sir Andrew Davis, Edward had an extensive singing career as a Gardner, Mark Wigglesworth, Bernard soloist and ensemble singer in Europe, Labadie, Vladimir Ashkenazy and including nine years in the Choir of Manfred Honeck, and is committed Westminster Abbey, and regular work to developing and performing new with the Gabrieli Consort, Collegium Australian and international choral Vocale (Ghent), the Taverner Consort, repertoire. The Kings Consort, Dunedin Consort, The Sixteen and the Tallis Scholars. Commissions include Brett Dean’s Katz und Spatz, Ross Edwards’ Mountain Warren is also Director of the Parsons Chant, and Paul Stanhope’s Exile Affayre, Founder and Co-Director of Lamentations. Recordings by the MSO The Consort of Melbourne and, in 2001 Chorus have received critical acclaim. with Dr Michael Noone, founded the It has performed across Brazil and Gramophone award-winning group at the Cultura Inglese Festival in Sao Ensemble Plus Ultra. Warren is also Paolo, with The Australian Ballet, a qualified music therapist. Sydney Symphony Orchestra, at the AFL Grand Final and at Anzac Day commemorative ceremonies.

7 PROGRAM NOTES joined by two other movements, also conceived (in the composer’s words) ‘in the manner of the old illuminated HECTOR BERLIOZ missals’: an overture on a modal theme (1803-1869) and a piece for solo tenor describing L'Enfance du Christ (The Childhood of the Holy Family arriving at an oasis. Christ) The resulting work, The Flight into Le Songe d’Hérode (Herod’s Dream) Egypt, later to form the central panel La Fuite en Égypte (The Flight into of L'Enfance du Christ, was put to one Egypt) side and apparently forgotten. It was L’arrivée à Saïs (The Arrival at Saïs) not until three years later, in Leipzig, that Berlioz performed it in full. Only Épilogue (Epilogue) then did the composer decide to take his ‘naïve, rustic’ composition seriously. Alone among Berlioz’s major works, A sequel, The Arrival at Saïs, was written L'Enfance du Christ came into being early in 1854, and the ‘sacred trilogy’ not in response to a clear plan but was completed in July by the addition gradually, haphazardly, over a period of an introductory section, Herod’s of several years. One evening in 1850 Dream. The whole work was performed at a party, while his fellow guests played in Paris the following December. It had cards, his friend the architect Joseph- taken four years to grow from its first Louis Duc asked him to write something seemingly chance seed. for his album. Berlioz complied: One reason was his reluctance I take a scrap of paper and draw to commit himself to large-scale a few staves, on which in a little while composition during these years. an Andantino in four parts for organ He deliberately suppressed the urge makes its appearance. I am struck to write a symphony, ideas for which by a certain character of naïve, rustic kept coming to him. Once it was devoutness in the music and decide written he would feel impelled to have to add some words in the same vein. it performed and therefore to spend The organ piece disappears and turns money (including a heavy copyist’s bill) into a chorus of Bethlehem shepherds which he didn’t have. The failure of The saying goodbye to the child Jesus at Damnation of Faust and the crippling the moment when the Holy Family set debts Berlioz had incurred because out on their journey to Egypt. of it had a profoundly discouraging The cardplayers were amused by its effect on him; he had vowed never archaic flavour; and Berlioz included to risk putting on a big work in Paris the piece at his next concert, passing again. L'Enfance du Christ could come it off as the work of a forgotten 17th- into the world only by stealth. When century master of the Sainte Chapelle, he eventually yielded and the concert, whom he christened Ducré in homage enthusiastically received, actually made to his friend Duc. In the meantime a profit, he was delighted. The work the Shepherds’ Farewell had been was hailed as a masterpiece. It seemed

8 Berlioz had finally become respectable. Faithful to these principles, the He found himself praised for the very composer of L'Enfance du Christ remains qualities he had always been told he a dramatist. Though it is not a work lacked: gentleness, charm, simplicity, for the theatre, and the delineation economy of means, melodiousness. of character is stylised ‘in the manner Those who, like Heine, had spoken of the old illuminated missals’, the of him as a freak, obsessed with the approach is the same. The work is macabre and the gigantic, hastened structured as a series of tableaux in to recant. which we are shown the various human elements of the story: the uneasy might All this, though gratifying, was of Rome, the world-weariness of Herod, somewhat two-edged. Berlioz could the blind fanaticism of the soothsayers, not help regarding the extraordinary the joys and griefs of Jesus’ parents, the success of his little oratorio as insulting shepherds’ friendliness and the busy to his other works. He understood the welcome of the Ishmaelite household. irritation the painter Salvator Rosa felt The tableaux are juxtaposed in a when people kept praising his small manner which anticipates the cinema. landscapes: ‘sempre piccoli paesi!’. An example is the transition from L'Enfance du Christ was a ‘piccolo Herod’s rage to the peace of the stable. paese’ beside The Damnation of Faust, We see, as though in angry close-up, which Paris had shown no interest in, the fear-distorted faces of Herod and or beside the monumental Te Deum, the soothsayers, like faces in a Bosch still unperformed after five years. or Brueghel crucifixion. Then the Even more galling was the suggestion nightmare fades and the manger comes that he had changed, that he of all into focus. In the epilogue it is again people, for whom artistic integrity as though the glowing family circle of was part of the religion of his life, had the Ishmaelites were growing faint and altered his style, even adapted his blurring before our eyes. The moment approach to suit the taste of the public. has come to close the book and draw ‘I should have written L'Enfance du the timeless moral; and the composer, Christ in the same manner 20 years having shown us the loving-kindness of ago. The subject naturally prompted his good Samaritans, tracks away from a naïve and gentle style of music.’ the scene, causes the picture to fade And in the nearest he ever came to a by means of a series of quiet, still statement of his artistic aims, he went unison notes, surrounded by silence. on to emphasise his belief in ‘passionate Their purpose is to separate us from expression’, that is, ‘expression bent the scenes we have been witnessing, on reproducing the essence of its to make them recede across the subject’, even when the subject was, centuries and return to the ancient past superficially, the opposite of passion, from which they have been called up. and the feelings to be expressed were This distancing process, by removing us tender and gentle. It was a truth which, from the action, achieves the necessary in his view, applied just as much to transition to the final meditation on the sacred music as to secular. meaning of the Christian drama.

9 Everything is visualised. In Part 3, its time. But it is pure Berlioz, as are the when the Holy Family, having trudged long, chaste melodic lines and sweet across the desert, reach Egypt thirsty serenity of the narrator’s account and exhausted, and beg for shelter, of the pilgrims at the oasis. the musical imagery brings the scene How are we to account for the before us. The plaintive viola motif, sharpness of vision and the unclouded the wailing oboe and cor anglais, the truthfulness of feeling that made the fragmentary violin phrases, the tremor music of this scene as fresh as the of cellos and basses, Mary’s panting spring water gushing up in the desert? utterances, Joseph’s long, swaying Beyond the possession of a style able melodic line returning, Gluck-like, on to encompass such simple sublimities itself, the tap of drums as he knocks, lay something else: the memory of the shouts of ‘Get away, filthy Jews!’ childhood beliefs once central to which brusquely interrupt the prevailing Berlioz’s life and of music experienced 3/8 metre – all these combine to make as drama in the context of religious a vivid and poignant ‘expression of the ceremony. The intensity of recollected subject’. Nor is it only the refugees emotion was such that in composing from intolerance and persecution who the work he could momentarily arouse the composer’s compassionate re-enter a world in which the events understanding. He illuminates the and personages of the Christmas loneliness of the tormented Herod and story, as they stamped themselves the forlornness of the soothsayers, on a hypersensitive child, were once whose gloomy choruses and weird again vibrantly alive. The pang of cabalistic dance in 7/4 time express regret gives an added sharpness to the sense that superstition is at once the retelling. He remembers what it sinister and ridiculous, to be pitied. was like to have faith. And at the end, Such music was not unfamiliar to having re-enacted the age-old myth the public that had followed Berlioz and stepped out of the magic circle, over the years. What surprised it he can only pay tribute to the power was the Shepherds’ Farewell and the of the Christian message and, agnostic trio for flutes and harp, the purity of that he is, bow before the mystery of the scene of the Holy Family at the Christ’s birth and death. oasis, the hushed beauty of the final, Reprinted with permission © David Cairns unaccompanied chorus. Here he was, The only previous performance of this work by using only a handful of instruments the Melbourne Symphony Orchestra took place as if to the manner born. In fact, it on 7 September 1969 under conductor Willem involved no essential change. The van Otterloo. music’s simplicity and archaic flavour were in his blood, nourished by the noëls and other popular chants heard in his boyhood, and by the biblical oratorios of his teacher, Jean-François Le Sueur. The Overture to Part 2, with its modal theme, is certainly atypical of

10 TEXT

Première Partie: Le Songe d’Hérode Part 1: Herod’s Dream Prologue Prologue

Le Récitant Narrator Dans la crèche, en ce temps, Jésus At that time Jesus had just been born venait de naître, in the manger; Mais nul prodige encor ne l’avait fait but no portent had yet made him connaître; known. Et déjà les puissants tremblaient, Yet already the mighty trembled, Déjà les faibles espéraient. already the weak had hope. Tous attendaient… Everyone waited… Or, apprenez, Chrétiens, quel crime Learn now, Christian folk, what hideous épouvantable au roi des Juifs alors crime terror prompted then in the King suggéra la terreur, et le céleste avis que, of the Jews, and the heavenly counsel dans leur humble étable, aux parents de the Lord sent to Jesus’ parents in their Jésus envoya le Seigneur. lowly stable. Scène 1 Scene 1 Un rue de Jérusalem. Un corps de garde. A street in Jerusalem. A guardhouse. Soldats romains faisant la ronde de nuit. Roman soldiers on night patrol. Marche Nocturne Night March Un Centurion A Centurion Qui vient? Who’s there? Polydorus Polydorus Rome. Rome. Le Centurion Centurion Avancez! Advance! Polydorus Polydorus Halte! Halt! Le Centurion Centurion Polydorus! Polydorus! Je te croyais déjà, soldat, aux bords Corporal, I thought you were on Tiber’s du Tibre. banks by now. Polydorus Polydorus J’y serais en effet, si Gallus, notre So I should be if Gallus, our precious illustre Préteur, m’eût enfin laissé libre. Praetor, had only let me. Mais il m’as sans raison. But for no good reason. Imposé pour prison He’s shut me up Cette triste cité, pour y voir ses folies, in this dreary city, watching its antics

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11 Et d’un roitelet juif garder les and keeping guard over a petty Jewish insomnies. king’s sleepless nights. Le Centurion Centurion Que fait Hérode? What’s Herod doing? Polydorus Polydorus Il rêve, il tremble, He , quakes with fear, Il voit partout des traîtres, il assemble sees traitors on every side, and daily son conseil chaque jour; et du soir summons his Council; and from dusk to au matin il faut sur lui veiller: il nous dawn has to be looked after; he’s getting obsède enfin. on our nerves. Le Centurion Centurion Ridicule tyran! Mais va, poursuis ta Absurd despot! But off on your rounds ronde. now. Polydorus Polydorus Il le faut bien. Adieu! Jupiter le confonde! Yes, I must. Good night! Jove’s curse on him! (La patrouille se remet en marche et (The patrol resumes its march and moves s’éloigne.) off into the distance.)

Scène 2 Scene 2 L’intérieur du palais d’Hérode The interior of Herod’s palace Hérode Herod Toujours ce rêve! Encore cet enfant The dream again! Again the child Qui doit me détrôner. who is to cast me down. Et ne savoir me croire And not to know what to believe De ce présage menaçant of this omen which threatens Pour ma vie et ma gloire! my glory and my existence! Ô misère des rois! O the wretchedness of kings! Régner et ne pas vivre! To reign, yet not to live! A tous donner des lois, To mete our laws to all, Et désirer de suivre yet long to follow Le chevrier au fond des bois! the goat herd into the heart of the woods! Ô nuit profonde Fathomless night Qui tiens le monde holding the world Dans le repos plongé, deep sunk in sleep, A mon sein ravagé to my tormented breast Donne la paix une heure, grant peace for one hour, Et que ton voile effleure and let thy shadows touch Mon front d’ennuis chargé. my gloom-pressed brow. Ô misère des rois!, etc. O the wretchedness of kings!, etc. Effort stérile! All effort’s useless! Le sommeil fuit; Sleep shuns me; Et ma plainte inutile and my vain complaining Ne hâte point ton cours, interminable no swifter makes thy course, O endless nuit. night. 12 Scène 3 Scene 3 Polydorus Polydorus Seigneur! My lord! Hérode Herod Lâches, tremblez! Cowards, beware! Je sais tenir encore une épéé… I can still handle a sword… Polydorus Polydorus Arrêtez! Stop! Hérode (le reconnaissant) Herod (recognising him) Ah! c’est toi, Polydore! Oh, Polydorus, it’s you! Que viens-tu m’annoncer! What have you to tell me! Polydorus Polydorus Seigneur, les devins juifs viennent My lord, the Jewish soothsayers have de s’assembler par vos ordres. assembled as you commanded. Hérode Herod Enfin! At last! Polydorus Polydorus Ils sont là. They are here. Hérode Herod Qu’ils paraissent. Let them come in. Scène 4 Scene 4 Les Devins Soothsayers Les sages de Judée, The wise men of Judaea, Ô roi, te reconnaissent O king, know thee Pour un prince savant et généreux; for a learned and liberal prince; Ils te sont dévoués; they are thy servants; Parle, qu’attends-tu d’eux? speak, what wouldst thou of them? Hérode Herod Qu’ils veuillent m’éclairer. That they reveal to me Est-il quelque remède if there is any remedy Au souci dévorant for the devouring care Qui dès longtemps m’obsède? which has so long beset me. Les Devins Soothsayers Quel est-il? What is it? Hérode Herod Chaque nuit, Each night Le même songe m’épouvante; the same dream affrights me; Toujours une voix grave et lente a slow and solemn voice Me répète ces mots: ‘Ton heureux repeats these words: ‘The time of thy

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13 temps s’enfuit! prosperity is past! Un enfant vient de naître A child has come into the world Qui fera disparaître that shall reduce to naught Ton trône et ton pouvoir.’ thy throne and thy dominion.’ Puis-je de vous savoir Can I discover from you Si cette terreur qui m’accable if this terror that oppresses me est fondée, has any truth, Et comment ce danger redoutable and how this dread peril Peut être détourné? may be averted? Les Devins Soothsayers Les esprits le sauront, The spirits will know; Et, par nous consultés, We shall consult them, Bientôt ils répondront. And they will soon give answer. (Les Devins font des évolutions (The soothsayers perform cabalistic cabalistiques et procèdent à la movements, then proceed to conjure conjuration.) the spirits.) Les Devins Soothsayers La voix dit vrai, Seigneur. The voice speaks true, O King. Un enfant vient de naître A child has come into the world Qui fera disparaître that shall reduce to naught Ton trône et ton pouvoir. thy throne and thy dominion. Mais nul ne peut savoir Yet none may know Ni son nom, ni sa race. his name nor his race. Hérode Herod Que faut-il que je fasse? What must I do? Les Devins Soothsayers Tu tomberas, à moins que l’on ne satisfasse Thou shalt fall unless the dark spirits Les noir esprits, et si, pour conjurer le sort, are appeased and, to prevent thy fate, Des enfants nouveaux-nés tu n’ordonnes for all the newborn children thou la mort. ordainest death Hérode Herod Eh bien, par le fer qu’ils périssent! So be it, let them perish by the sword! Je ne puis hésiter. I cannot waver. Que dans Jérusalem, In Jerusalem, A Nazareth, à Bethléem, In Nazareth, in Bethlehem, Sur tous les nouveaux-nés on all the newborn Mes coups s’appesantissent! let my violence strike! Malgré les cris, malgré les pleurs Though their mothers De tant de mères éperdues, despair and wail and weep, Des rivières de sang vont être répandues, rivers of blood shall flow, Je serais sourd à ces douleurs. I will be deaf to their suffering. La beauté, la grâce, ni l’âge Neither beauty, charm, nor age Ne feront faiblir mon courage: shall weaken my resolve. Il faut un terme à mes terreurs! My terrors must have an end!

14 Les Devins Soothsayers Oui, oui, par le fer qu’ils périssent! Yes, let them perish by the sword! N’hésite pas. Do not waver. Que dans Jérusalem In Jerusalem, A Nazareth, à Bethléem, in Nazareth, in Bethlehem, Sur tous les nouveaux-nés on all the newborn Tes coups s’appesantissent! let thy violence strike! Malgré les cris, malgré les pleurs Though all their mothers De tant de mères éperdues, despair and wail and weep Les rivières de sang qui seront répandues, and all rivers of blood shall flow, Demeure sourd à ces douleurs; be deaf to their suffering. Que rien nébranle ton courage! Let nothing shake thy resolve! Et vous, pour attiser sa rage, And you, spirits, to whet his rage, Esprits, redoublez ses terreurs. multiply his terrors. Hérode Herod Non, non, que dans Jérusalem, etc. No, no, in Jerusalem, etc.

Scène 5 Scene 5 L’Étable de Bethléem The stable at Bethlehem Sainte Marie Mary O mon cher fils, donne cette herbe tendre O my dear son, give this fresh grass A ces agneaux qui vers toi vont bêlant; to these lambs that come bleating to thee; Ils sont si doux! Laisse, laisse-les prendre, they are so gentle, let them take it. Ne les fais pas languir, Ô mon enfant. Don’t let them go hungry, my child. Sainte Marie, Sainte Joseph Mary, Joseph Répands encore ces fleurs sur leurs Spread these flowers, too, about their litière. straw. Ils sont heureux de tes dons, cher They are pleased with thy gifts, dear Enfant; child; Vois leur gaîeté, vois leurs jeux, see how blithe they are, how they vois leur mère gambol, and Tourner vers toi son regard how their mother turns towards thee her caressant. grateful gaze. Sainte Marie Mary Oh! sois béni, mon cher et tendre Enfant! Blessed be thou, my dear sweet child! Sainte Joseph Joseph Oh! sois béni, divin Enfant! Blessed be thou, holy child!

Scène 6 Scene 6 Chœur d’Anges Choir of Unseen Angels Joseph! Marie! Joseph! Mary! Écoutez-nous! Hearken to us!

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15 Sainte Marie, Sainte Joseph Mary, Joseph Esprits de vie, Spirits of life, Est-ce bien vous? can it be you? Les Anges Angels Il faut sauver ton fils Thou must save thy son Qu’un grand péril menace, whom great danger threatens, Marie. Mary. Saint Marie Mary Ô ciel! Mon fils! O heavens! My son! Les Anges Angels Oui, vous devez partir, Yes, you must go Et de vos pas bien dérober la trace; and leave no trace behind you; Dès ce soir au désert vers l’Egypte il this very night you shall flee through faut fuir. the desert towards Egypt. Saint Marie, Sainte Joseph Mary, Joseph A vos ordres soumis, purs esprits de Obedient to your word, pure spirits of lumière, light, Avec Jésus au désert nous fuirons. we shall flee with Jesus to the desert. Mais accordez à notre humble prière But grant us, we humbly pray, La prudence, la force, et nous le wisdom and strength, so we shall save sauverons. him. Les Anges Angels La puissance céleste The power of heaven Saura de vos pas écarter Will keep from your path Toute encontre funeste. All fatal encounters. Sainte Marie, Sainte Joseph Mary, Joseph En hâte allons tout préparer. Let us hasten to get ready. Les Anges Angels Hosanna! Hosanna! Hosanna! Hosanna!

16 Deuxième partie: La Fuite en Égypte Part Two: The Flight into Egypt

Ouverture Overture Les Bergers se rassemblent auprès de The shepherds gather before the manger. l’étable de Bethléem. L’Adieu des Bergers à la Sainte Famille The Shepherds’ Farewell to the Holy Family Chœur des Bergers Chorus of Shepherds Il s’en va loin de la terre He is going far from the land Où dans l’étable il vit le jour, where in the stable he was born; De son père et de sa mère may his father and his mother Qu’il reste le constant amour, always love him steadfastly; Qu’il grandisse, qu’il prospère may he grow and prosper Et qu’il soit bon père à son tour. and be a good father in his turn. Oncques si, chez l’idolâtre If ever among the idolaters Il vient à sentir le matheur, he should find misfortune, Fuyant la terre marâtre. let him flee the unkind land Chez nous qu’il revienne au bonheur. and come back to live happily among us. Que la pauvreté du pâtre May the shepherd’s lowly life Reste toujours chère à son coeur. be ever dear to his heart. Cher enfant, Dieu te bénisse! Dear child, may God bless thee, Dieu vous bénisse, heureux époux! and God bless you, happy pair! Que jamais de l’injustice May you never feel Vous ne puissez sentir les coups. the cruel hand of injustice. Qu’un bon ange vous avertisse May a good angel warn you Des dangers planant sur vous. of all dangers that hang over you. Le Repos de la Sainte Famille The Holy Family at Rest Le Récitant Narrator Les pèlerins étant venus The pilgrims having come En un lieu de belle apparence, to a place of fair aspect Où se trouvaient arbres touffus with bushy trees Et de l’eau pure en abondance, and fresh water in abundance, Saint Joseph dit: ‘Arrêtez-vous St Joseph said: ‘Stop! Près de cette claire fontaine, near this clear spring. Après si longue peine After such long toil Ici reponsons-nous.’ let us rest here.’ L’enfant Jésus dormait. Pour lors Sainte The child Jesus was asleep. Then Holy Marie, Mary, Arrêtant l’âne, répondit: halting the ass, answered: ‘Voyez ce beau tapis d’herbe douce et ‘Look at this fair carpet of soft grass and fleurie, flowers Le Seigneur pour mon fils au désert that the Lord spread in the desert for my l’étendit.’ son.’

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17 Puis, s’étant assis sous l’ombrage Then, having sat down in the shade De trois palmiers au vert feuillage of three green-leaved palm trees, L’âne paissant, while the ass browsed L’enfant dormant, and the child slept, Les sacrés voyageurs quelque temps the holy travellers slumbered for sommeillèrent, a while, Bercés par des songes heureux, lulled by sweet dreams, Et les anges du ciel, à genoux autour and the angels of heaven, kneeling about d’eux, them, Le divin enfant adorèrent. worshipped the divine child. Les Anges Angels Alleluia! Alleluia! Alleluia! Alleluia!

Troisième partie: L’arrivée à Saïs Part Three: The Arrival at Saïs Le Récitant Narrator Depuis trois jours, malgré l’ardeur du vent. For three days, despite the hot winds, Ils cheminaient dans le sable mouvant. they journeyed through the shifting sands. Le pauvre serviteur de la famille sainte, The holy family’s poor servant, L’âne, dans le désert, était déjà tombé; the ass, had already fallen in the desert dust; Et, bien avant de voir d’une cité l’enceinte, and long before they saw a city’s walls, De fatigue et de soif son maître eût his master would have died from succombé exhaustion and thirst Sans le secours de Dieu. but for God’s help. Seule Sainte Marie Only Holy Mary Marchait calme et sereine, et de son walked on, serene and untroubled; and doux enfant her sweet child’s La blonde chevelure et la tête bénie fair locks and blessed head, Semblaient la ranimer, sur son coeur resting against her breast, seemed to give reposant. her strength. Mais bientôt ses pas chancelèrent… But soon her feet stumbled… Combien de fois les époux How many times the couple stopped… s’arrêtèrent… At length they came Enfin pourtant, ils arrivèrent to Saïs, gasping A Saïs, haletants, and near to death. Presque mourants. It was a city that had long been part C’était une cité dès longtemps réunie of the Roman Empire, A l’Empire romain, full of cruel folk, with haughty airs. Pleine de gens cruels, au visage hautain. Hear now of the grievous agony endured Oyez combien dura la navrante agonie so long Des pèlerins cherchant un asile et du by the pilgrims in their search for food pain. and shelter.

Scène 1 Scene 1 L’intérieur de la ville de Saïs Within the town of Saïs

18 Sainte Marie Mary Dans cette ville immense In this immense town Où le peuple en foule s’élance, the roar and bustle Quelle rumeur! of the hurrying crowds! Joseph! J’ai peur… Joseph, I’m frightened… Je n’en puis plus…hélas! …je suis morte… I can’t go on…alas…I’m dead… Allez frapper à cette porte. Go and knock at the door. Sainte Joseph Joseph Ouvrez, ouvrez, secourez-nous, Open, open, help us, Laissez-nous reposer chez vous! let us rest in your house! Que l’hospitalité sainte Grant sacred hospitality soit accordée à la mère, à l’Enfant. to mother and child! Hélas! De la Judée Alas, from Judaea Nous arrivons à pied. we have come on foot. Chœr Chorus Arrière, vils Hébreux! Get away, dirty Jews! Les gens de Rome n’ont que faire Roman people have nothing to do De vagabonds et de lépreux! with tramps and lepers! Sainte Marie Mary Mes pieds de sang teignent la terre! My bleeding feet stain the ground! Sainte Joseph Joseph Seigneur! Ma femme est presque morte! Master! My wife is nearly dead! Sainte Marie Mary Jésus va mourir…c’en est fait. Jesus is going to die…all is lost. Mon sein tari n’a plus de lait! My breast has run dry, no milk is left. Sainte Joseph Joseph Frappons encore à cette porte. We’ll try knocking at this door. Oh! par pitié, secourez-nous! For pity’s sake, help us! Laissez-nous reposer chez vous! Let us rest in your house! Que l’hospitalité sainte Grant sacred hospitality soit accordée à la mère, à l’Enfant! To mother and child! Hélas! De la Judée Alas, from Judea Nous arrivons à pied. We have come on foot. Chœur Chorus Arrière, vils Hébreux! Get away, dirty Jews! Les gens d’Égypte n’ont que faire Egyptian people have nothing to do De vagabonds et de lépreux! With tramps and lepers! Sainte Joseph Joseph Seigneur! Sauvez la mère! Master, save the mother! Marie expire…c’en est fait… Mary is fainting…all is lost… Et son Enfant n’a plus de lait. And her child has no more milk. Votre maison, cruels, reste fermée. Cruel people, your house remains closed.

19 Vos coeurs sont durs. Your hearts are hard. Sous la ramée de ces sycomores, l’on Beneath the branches of those voit tout à l’écart un humble toit… sycamores, set apart from the rest, Frappons encore…Mais qu’à ma voix there’s a lowly dwelling… unie, We shall knock there… but Mary, Votre voix si douce, Marie, Join your gentle voice to mine, Tente aussi de les attendrir. You, too, try to move them. (Il se dirige vers la maison au loin.) (He goes towards the distant house.) Sainte Marie Mary Hélas! Nous aurons à souffrir Alas, everywhere we must endure Partout l’insulte et l’avanie! insult and rebuff! Je vais tomber… I am fainting… Sainte Joseph Joseph Oh! par pitié! For pity’s sake! Sainte Marie, Sainte Joseph Mary, Joseph Oh, par pitié, secourez-nous, For pity’s sake help us, Laissez-nous reposer chez vous! let us rest in your house! Que l’hospitalité sainte soit accordée Grant sacred hospitality Aux parents, à l’enfant! Hélas! De la Judée to parents and child. Alas, from Judea Nous arrivons à pied. we have come on foot. Le maître de maison Householder Entrez, pauvres Hébreux: Come in, come in, you poor Jews! La porte n’est jamais fermée The door of our house Chez nous aux malheureux. is never closed to the unfortunate. Pauvres Hébreux, entrez, Poor Jews, come in, Entrez, entrez. come in, come in! (Joseph et Marie entrent.) (Joseph and Mary go in.)

Scène 2 Scene 2 L’intérieur de la maison des Ismaélites Inside the Ishmaelites’ house Le maître de maison Householder Grands Dieux! Quelle détresse! Great Gods! What a dreadful sight! Qu’autour d’eux on s’empresse! Come quickly and see to their needs! Filles et fils et serviteurs, Daughters, sons, servants, Montrez la bonté de vos coeurs! show the kindness of your hearts! Que de leurs pieds meurtris on lave les Wash the sores on their blessures! bruised feet! Donnez de l’eau, donnez du lait, des Give them water, give them milk and grappes mûres; ripe grapes; Préparez à l’instant make up a cot Une couchette pour l’enfant. for the child at once.

20 Chœur d’Ismaélites Chorus of Ishmaelites Que de leurs pieds meurtris on lave les Wash the sores on their blessures! bruised feet! Donnons de l’eau, donnons du lait, des We’ll give them water, we’ll give them grappes mûres; milk and ripe grapes; Préparons à l’instant we’ll make up a cot Une couchette pour l’enfant. for the child at once. (Les jeunes Ismaélites et leurs domestiques (The young Ishmaelites and their s’égaillent à travers la maison pour servants scatter about the house, transmettre les ordres du père.) carrying out their father’s orders.) Le maître de maison Householder Sur vos traits fatigués Your tired faces La tristesse est empreinte; are lined with sorrow. Ayez courage, nous ferons Take heart, we’ll do Ce que nous pourrons what we can Pour vous aider. to help you. Bannissez toute crainte; Cast away all fear; Les enfants d’Ismaël the children of Ishmael Sont frères de ceux d’Israël. are brothers of the children of Israel. Nous avons vu le jour au Liban, en Syrie. We were born in Lebanon, in Syria. Comment vous nomme-t-on? What are your names? Sainte Joseph Joseph Elle a pour nom Marie, Her name is Mary, Je m’appelle Joseph, et nous nommons I’m called Joseph, and we have named l’Enfant Jésus. the child Jesus. Le maître de maison Householder Jésus! Quel nom charmant! Jesus – what a sweet name! Dites, que faites-vous pour gagner votre Tell me, what do you do for vie? a living? Oui, quel est votre état? What is your trade? Sainte Joseph Joseph Moi, je suis charpentier. I am a carpenter. Le maître de maison Householder Eh bien, c’est mon métier, That’s my job too! Vous êtes mon compère. We’re comrades. Ensemble nous travaillerons, We shall work together, Bien des deniers nous gagnerons. and make lots of money. Laissez faire. No need to worry. Près de nous Jésus grandira, Jesus shall be brought up with us, Puis bientôt il vous aidera, then before long he’ll be helping you, Et la sagesse il apprendra. and he’ll grow up to be a good boy. Laissez, laissez faire. No need to worry at all.

21 Chœur d’Ismaélites Ishmaelites Laissez, laissez faire. No need to worry at all. Près de nous Jésus grandira, Jesus shall be brought up with us, Puis bientôt il vous aidera, then before long he’ll be helping you, Et la sagesse il apprendra. and he’ll grow up to be a good boy. Le maître de maison Householder Pour bien finir cette soirée To round off the evening Et réjouir nos hôtes, employons and cheer our guests, let’s use La science sacrée, the sacred science, Le pouvoir des doux sons. the power of sweet sounds. Prenez vos instruments, mes enfants; Get your instruments, children; all toute peine cares Cède à la flûte unie à la harpe thébaine. yield to the flute and the Theban harp. Trio Trio pour deux flûtes et harpe for two flutes and harp Le maître de maison Householder Vous pleurez, jeune mère. You weep, young mother. Douces larmes, tant mieux! gentle tears; good, so be it! Allez dormir, bon père, Go to bed, good father, Bien reposez, rest well, Mal ne songez, peaceful dreams, Plus d’alarmes. no more alarms. Que les charmes May the hope De l’espoir du bonheur of happiness once more Rentrent en votre coeur. gladden your heart. Sainte Marie, Sainte Joseph Mary, Joseph Adieu, merci, bon père, Good night and thanks, good father, Déjà ma peine amère already my bitter afflictions Semble s’enfuir, seem to be vanishing, S’évanouir. fading away. Plus d’alarmes, No more alarms. Oui, les charmes Yes, the hope De l’espoir du bonheur of happiness once more Rentrent en notre coeur. gladdens our hearts. Adieu, merci, bon père. Good night, thank you, good father. Le maître de maison, Chœur d’Ismaélites Householder, Ishmaelites Allez dormir, bon père, Go to bed, good father, Doux enfant, tendre mère. sweet child, gentle mother. Bien reposez, Sleep well, Mal ne songez, peaceful dreams, Plus d’alarmes. no more alarms. Que les charmes May the hope De l’espoir du bonheur of happiness once more Rentrent en votre coeur. gladden your hearts.

22 Épilogue Epilogue Le Récitant Narrator Ce fut ainsi que par un infidèle Thus it came to pass that the Saviour Fut sauvé le Sauveur. was saved by an infidel. Pendant dix ans Marie, et Joseph avec elle, For ten years Mary, and Joseph with her, Virent fleurir en lui la sublime douceur, watched sublime humility flower in him, La tendresse infinie infinite love A la sagesse unie. joined to wisdom. Puis enfin de retour Then at length he returned Au lieu qui lui donna le jour, to the country of his birth, Il voulut accomplir le divin sacrifice that he might accomplish the divine Qui racheta le genre humain sacrifice De l’éternel supplice, which ransomed mankind Et du salut lui fraya le chemin. from eternal torment O mon âme, pour toi que reste-t-il à and marked out the way of salvation. faire, O my soul, what remains for you to do Qu’à briser ton orgeuil devant un tel but shatter your pride before so great a mystère? mystery? Chœur Chorus O mon âme, pour toi que reste-t-il à faire, O my soul, what remains for you to do Qu’à briser ton orgeuil devant un tel but shatter your pride before so great a mystère! mystery? Le Récitant, Chœur Narrator, Chorus O mon coeur, emplis-toi du grave et pur O my heart, be filled with the pure deep amour love Qui seul peut nous ouvrir le céleste which alone can open for us the séjour. kingdom of heaven. Amen. Amen.

Libretto: Hector Berlioz English translation © David Cairns Reprinted with permission

23 MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis SECOND VIOLINS CELLOS Chief Conductor Matthew Tomkins David Berlin Benjamin Northey Principal Principal Associate Conductor The Gross Foundation# MS Newman Family# Anthony Pratt# Robert Macindoe Rachael Tobin Tianyi Lu Associate Principal Associate Principal Assistant Conductor The Cybec Foundation# Monica Curro Nicholas Bochner Assistant Principal Assistant Principal Hiroyuki Iwaki Danny Gorog and Lindy Conductor Laureate # Miranda Brockman Susskind # (1974–2006) Geelong Friends of the MSO Mary Allison Rohan de Korte FIRST VIOLINS Isin Cakmakcioglu Andrew Dudgeon# Dale Barltrop Freya Franzen Keith Johnson # Concertmaster Anonymous Sarah Morse Sophie Rowell Zoe Freisberg Angela Sargeant Concertmaster Cong Gu Maria Sola# The Ullmer Family Foundation# Andrew Hall Peter Edwards Michelle Wood Andrew and Judy Rogers# Andrew and Theresa Dyer# Assistant Principal # Isy Wasserman John McKay and Lois McKay DOUBLE BASSES Kirsty Bremner Philippa West Steve Reeves Sarah Curro Patrick Wong Principal Michael Aquilina# Roger Young Peter Fellin Andrew Moon Jacqueline Edwards* Associate Principal Deborah Goodall Nicholas Waters* Sylvia Hosking Lorraine Hook Assistant Principal VIOLAS Anne-Marie Johnson Damien Eckersley Kirstin Kenny Christopher Moore Benjamin Hanlon Ji Won Kim Principal Di Jameson# Suzanne Lee Eleanor Mancini Fiona Sargeant Stephen Newton Mark Mogilevski Associate Principal Sophie Galaise and Clarence Michelle Ruffolo Fraser# Lauren Brigden Kathryn Taylor Mr Tam Vu and Dr Cherilyn Esther Toh* Michael Aquilina# Tillman# FLUTES Amy Brookman* Katharine Brockman Prudence Davis Michael Loftus-Hills* Christopher Cartlidge Principal Michael Aquilina# Anonymous# Anthony Chataway Wendy Clarke Dr Elizabeth E Lewis AM# Associate Principal Gabrielle Halloran Sarah Beggs Maria Sola# Trevor Jones PICCOLO Cindy Watkin Andrew Macleod Elizabeth Woolnough Principal Caleb Wright

24 OBOES TRUMPETS MSO BOARD Jeffrey Crellin Geoffrey Payne* Chairman Principal Guest Principal Michael Ullmer Thomas Hutchinson Shane Hooton Associate Principal Associate Principal Managing Director Ann Blackburn William Evans Sophie Galaise The Rosemary Norman Rosie Turner Foundation# Board Members TROMBONES COR ANGLAIS Andrew Dyer Brett Kelly Danny Gorog Michael Pisani Principal Principal Margaret Jackson AC Richard Shirley Di Jameson CLARINETS Mike Szabo David Krasnostein David Thomas Principal Bass Trombone David Li Principal TUBA Hyon-Ju Newman Philip Arkinstall Associate Principal Timothy Buzbee Glenn Sedgwick Craig Hill Principal Helen Silver AO BASS CLARINET TIMPANI** Company Secretary Oliver Carton Jon Craven Christopher Lane Principal PERCUSSION BASSOONS Robert Clarke Jack Schiller Principal Principal John Arcaro # Elise Millman Tim and Lyn Edward Associate Principal Robert Cossom Natasha Thomas HARP CONTRABASSOON Yinuo Mu Brock Imison Principal Principal HARMONIUM HORNS Jacob Abela* Saul Lewis Principal Third Abbey Edlin Nereda Hanlon and Michael Hanlon AM#

Trinette McClimont # Position supported by Rachel Shaw*‡ * Guest Musician Ian Wildsmith* ‡ Courtesy of Orchestra Victoria ** Timpani Chair position supported by Lady Potter AC

25 MELBOURNE SYMPHONY ORCHESTRA CHORUS

CHORUS MASTER ALTO TENOR Warren Trevelyan-Jones Satu Aho Alexandra Amerides Ruth Anderson Steve Burnett REPETITEUR Carolyn Baker Peter Campbell Tom Griffiths Catherine Bickell John Cleghorn Cecilia Björkegren Keaton Cloherty SOPRANO Kate Bramley Geoffrey Collins Aviva Barazani Jane Brodie James Dipnall Eva Butcher Elize Brozgul David Floyd Veryan Croggon Alexandra Cameron Simon Gaites Ella Dann-Limon Serena Carmel David Henley Samantha Davies Alexandra Chubaty Lyndon Horsburgh Rita Fitzgerald Katharine Daley Wayne Kinrade Catherine Folley Nicola Eveleigh Jessop Maticevski Susan Fone Jill Giese Shumack Carolyn Francis Debbie Griffiths Michael Mobach Camilla Gorman Ros Harbison Jean-Francois Ravat Jillian Graham Sue Hawley Asher Reichman Emma Hamley Jennifer Henry Tim Wright Juliana Hassett Kristine Hensel BASS Penny Huggett Joy Lukman Naomi Hyndman Helen MacLean Maurice Amor Tania Jacobs Christina McCowan Alexandras Bartaska Gwen Kennelly Rosemary McKelvie Richard Bolitho Anna Kidman Nicole Paterson Paul Alexander Chantler Clancye Milne Sharmila Periakarpan Roger Dargaville Catriona Nguyen- Alison Ralph Ted Davies Robertson Mair Roberts Andrew Ham Caitlin Noble Helen Rommelaar Joseph Hie Susie Novella Kerry Roulston Jordan Janssen Karin Otto Annie Runnalls Evan Lawson Tanja Redl Lisa Savige Gary Levy Natalie Reid Helen Staindl Vern O'Hara Mhairi Riddet Libby Timcke Alexander Owens Jo Robin Jenny Vallins Stephen Pyk Elizabeth Rusli Katarina Van Der Linden Nick Sharman Jillian Samuels Emma Warburton Liam Straughan Jemima Sim Shu Xian Matthew Toulmin Freja Soininen Tom Turnbull Chiara Stebbing Maurice Wan Emily Swanson Foon Wong Elizabeth Tindall Simon Wright Fabienne Vandenburie Maciek Zielinski Tara Zamin

26 Find your Art Embrace the arts from Australia and around the world. Supporters

MSO PATRON PROGRAM BENEFACTORS The Honourable Linda Dessau AC, Cybec 21st Century Australian Composers Governor of Victoria Program The Cybec Foundation Cybec Young Composer in Residence Made CHAIRMAN’S CIRCLE possible by The Cybec Foundation East Meets West Supported by the Li Family Trust Marc Besen AC and Eva Besen AO Meet The Orchestra Made possible by The Ullmer The Gross Foundation Family Foundation Harold Mitchell Foundation MSO Audience Access Crown Resorts David and Angela Li Foundation, Packer Family Foundation Harold Mitchell AC MSO Building Capacity Gandel Philanthropy MS Newman Family Foundation (Director of Philanthropy) Lady Potter AC CMRI MSO Education Supported by Mrs Margaret Ross Joy Selby Smith AM and Dr Ian Ross The Cybec Foundation MSO International Touring Supported by Harold The Pratt Foundation Mitchell AC The Ullmer Family Foundation MSO Regional Touring Creative Victoria, Anonymous (1) Freemasons Foundation Victoria, The Robert Salzer Foundation ARTIST CHAIR The Pizzicato Effect (Anonymous), Collier BENEFACTORS Charitable Fund, The Marian and E.H. Flack Trust, Schapper Family Foundation, Scobie and Claire Associate Conductor Chair Mackinnon Trust, Supported by the Hume City Benjamin Northey Council’s Community Grants Program Anthony Pratt Sidney Myer Free Concerts Supported by the Orchestral Leadership Chair Myer Foundation and the University of Melbourne Joy Selby Smith Cybec Assistant Conductor Chair Tianyi Lu PLATINUM PATRONS The Cybec Foundation $100,000+ Associate Concertmaster Chair Marc Besen AC and Eva Besen AO Sophie Rowell John Gandel AC and Pauline Gandel The Ullmer Family Foundation The Gross Foundation 2018 Soloist in Residence Chair David and Angela Li Anne-Sophie Mutter MS Newman Family Foundation Marc Besen AC and Eva Besen AO Anthony Pratt Young Composer in Residence The Pratt Foundation Ade Vincent Joy Selby Smith The Cybec Foundation Cybec Ullmer Family Foundation Anonymous (1)

28 VIRTUOSO PATRONS PRINCIPAL PATRONS $50,000+ $5,000+ Di Jameson Christine and Mark Armour David Krasnostein and Pat Stragalinos John and Mary Barlow Harold Mitchell AC Barbara Bell, in memory of Elsa Bell Kim Williams AM Stephen and Caroline Brain Prof Ian Brighthope IMPRESARIO PATRONS David and Emma Capponi May and James Chen $20,000+ Wendy Dimmick Michael Aquilina Andrew Dudgeon AM The John and Jennifer Brukner Foundation Andrew and Theresa Dyer Mary and Frederick Davidson AM Tim and Lyn Edward Rachel and the late Hon. Alan Goldberg AO QC Mr Bill Fleming Margaret Jackson AC John and Diana Frew Andrew Johnston Susan Fry and Don Fry AO Mimie MacLaren Sophie Galaise and Clarence Fraser John and Lois McKay Geelong Friends of the MSO Jennifer Gorog MAESTRO PATRONS HMA Foundation $10,000+ Louis Hamon OAM Hans and Petra Henkell Kaye and David Birks Hartmut and Ruth Hofmann Mitchell Chipman Doug Hooley Sir Andrew and Lady Davis Jenny and Peter Hordern Danny Gorog and Lindy Susskind Dr Alastair Jackson Robert & Jan Green Dr Elizabeth A Lewis AM Hilary Hall, in memory of Wilma Collie Norman Lewis, in memory of Dr Phyllis Lewis Nereda Hanlon and Michael Hanlon AM Peter Lovell The Hogan Family Foundation Lesley McMullin Foundation International Music and Arts Foundation Mr Douglas and Mrs Rosemary Meagher Suzanne Kirkham Dr Paul Nisselle AM The Cuming Bequest The Rosemary Norman Foundation Ian and Jeannie Paterson Ken Ong, in memory of Lin Ong Lady Potter AC CMRI Bruce Parncutt AO Elizabeth Proust AO Jim and Fran Pfeiffer Xijian Ren and Qian Li Pzena Investment Charitable Fund Glenn Sedgwick Andrew and Judy Rogers Helen Silver AO and Harrison Young Rae Rothfield Maria Solà Max and Jill Schultz Profs. G & G Stephenson, in honour of the great Mr Tam Vu and Dr Cherilyn Tillman Romanian musicians George Enescu and Dinu The Hon. Michael Watt QC and Cecilie Hall Lipatti Lyn Williams AM Gai and David Taylor Anonymous (2) Juliet Tootell Alice Vaughan Harry and Michelle Wong Jason Yeap OAM

29 ASSOCIATE PATRONS Diana and Brian Snape AM Dr Norman and Dr Sue Sonenberg $2,500+ Geoff and Judy Steinicke Dandolo Partners Elisabeth Wagner Will and Dorothy Bailey Bequest Brian and Helena Worsfold David Blackwell OAM Peter and Susan Yates Anne Bowden Anonymous (8) Bill Bowness Julia and Jim Breen PLAYER PATRONS $1,000+ Lynne Burgess Oliver Carton David and Cindy Abbey John and Lyn Coppock Christa Abdallah Ann Darby, in memory of Leslie J. Darby Dr Sally Adams Natasha Davies, for the Trikojus Education Fund Mary Armour Merrowyn Deacon Arnold Bloch Leibler Sandra Dent Philip Bacon AM Peter and Leila Doyle Marlyn and Peter Bancroft OAM Lisa Dwyer and Dr Ian Dickson Adrienne Basser Duxton Vineyards Prof Weston Bate and Janice Bate Jane Edmanson OAM Janet Bell Dr Helen M Ferguson Michael F Boyt Mr Peter Gallagher and Dr Karen Morley Patricia Brockman Dina and Ron Goldschlager Dr John Brookes Louise Gourlay OAM Suzie Brown OAM andHarvey Brown Peter and Lyndsey Hawkins Roger and Col Buckle Susan and Gary Hearst Jill and Christopher Buckley Colin Heggen, in memory Shane Buggle of Marjorie Drysdale Heggen Bill and Sandra Burdett Rosemary and James Jacoby Peter Caldwell Jenkins Family Foundation Joe Cordone C W Johnston Family Andrew and Pamela Crockett John Jones Beryl Dean George and Grace Kass Rick and Sue Deering Irene Kearsey and M J Ridley Dominic and Natalie Dirupo The Ilma Kelson Music Foundation Marie Dowling Kloeden Foundation John and Anne Duncan Bryan Lawrence Kay Ehrenberg Ann and George Littlewood Jaan Enden John and Margaret Mason Valerie Falconer and the Rayner Family H E McKenzie in memory of Keith Falconer Allan and Evelyn McLaren Amy & Simon Feiglin Don and Anne Meadows Grant Fisher and Helen Bird Marie Morton FRSA Barry Fradkin OAM and Dr Pam Fradkin Annabel and Rupert Myer AO Applebay Pty Ltd Sue and Barry Peake David Frenkiel and Esther Frenkiel OAM Mrs W Peart David Gibbs and Susie O’Neill Graham and Christine Peirson Merwyn and Greta Goldblatt Julie and Ian Reid Colin Golvan QC and Dr Deborah Golvan Ruth and Ralph Renard George Golvan QC and Naomi Golvan S M Richards AM and M R Richards Dr Marged Goode Tom and Elizabeth Romanowski Prof Denise Grocke AO Jeffrey Sher QC and Diana Sher OAM Max Gulbin

30 Dr Sandra Hacker AO and Mr Ian Kennedy AM Lady Southey AC Jean Hadges Jennifer Steinicke Michael and Susie Hamson Dr Peter Strickland Paula Hansky OAM Pamela Swansson Merv Keehn & Sue Harlow Jenny Tatchell Tilda and Brian Haughney Frank Tisher OAM and Dr Miriam Tisher Anna and John Holdsworth The Hon. Rosemary Varty Penelope Hughes Leon and Sandra Velik Basil and Rita Jenkins Sue Walker AM Stuart Jennings Elaine Walters OAM and Gregory Walters Dorothy Karpin Edward and Paddy White Brett Kelly and Cindy Watkin Nic and Ann Willcock Dr Anne Kennedy Marian and Terry Wills Cooke Julie and Simon Kessel Lorraine Woolley Kerry Landman Richard Ye William and Magdalena Leadston Panch Das and Laurel Young-Das Andrew Lee Anonymous (21) Dr Anne Lierse Gaelle Lindrea THE MAHLER SYNDICATE Andrew Lockwood David and Kaye Birks Violet and Jeff Loewenstein Mary and Frederick Davidson AM Elizabeth H Loftus Tim and Lyn Edward Chris and Anna Long John and Diana Frew The Hon Ian Macphee AO and Mrs Julie Macphee Francis and Robyn Hofmann Eleanor & Phillip Mancini The Hon Dr Barry Jones AC Dr Julianne Bayliss Dr Paul Nisselle AM In memory of Leigh Masel Maria Solà Ruth Maxwell The Hon Michael Watt QC and Cecilie Hall Jenny McGregor AM and Peter Allen Glenda McNaught Ian Morrey and Geoffrey Minter TRUSTS AND Patricia Nilsson FOUNDATIONS Laurence O’Keefe and Christopher James Collier Charitable Fund Alan and Dorothy Pattison Crown Resorts Foundation and Margaret Plant the Packer Family Foundation Kerryn Pratchett The Cybec Foundation Peter Priest The Marian and E.H. Flack Trust Treena Quarin Freemasons Foundation Victoria Eli Raskin Gandel Philanthropy Raspin Family Trust The Scobie and Claire Mackinnon Trust Bobbie Renard The Harold Mitchell Foundation Peter and Carolyn Rendit The Myer Foundation Dr Rosemary Ayton and Dr Sam Ricketson The Pratt Foundation Joan P Robinson The Robert Salzer Foundation Cathy and Peter Rogers Telematics Trust Doug and Elisabeth Scott Martin and Susan Shirley Penny Shore Dr Sam Smorgon AO and Mrs Minnie Smorgon John So Dr Michael Soon

31 CONDUCTOR’S CIRCLE The MSO gratefully acknowledges the support of the following Estates: Current Conductor’s Circle Members Angela Beagley Jenny Anderson Neilma Gantner David Angelovich The Hon Dr Alan Goldberg AO QC G C Bawden and L de Kievit Lesley Bawden Gwen Hunt Joyce Bown Audrey Jenkins Mrs Jenny Brukner and the late Mr John Brukner Joan Jones Ken Bullen Pauline Marie Johnston Peter A Caldwell Joan Jones Luci and Ron Chambers C P Kemp Beryl Dean Peter Forbes MacLaren Sandra Dent Lyn Edward Joan Winsome Maslen Alan Egan JP Lorraine Maxine Meldrum Gunta Eglite Prof Andrew McCredie Mr Derek Grantham Miss Sheila Scotter AM MBE Marguerite Garnon-Williams Marion A I H M Spence Drs Clem Gruen and Rhyl Wade Molly Stephens Louis Hamon OAM Jennifer May Teague Carol Hay Tony Howe Jean Tweedie Laurence O’Keefe and Christopher James Herta and Fred B Vogel Audrey M Jenkins Dorothy Wood John Jones George and Grace Kass Mrs Sylvia Lavelle The MSO relies on your ongoing philanthropic support to sustain Pauline and David Lawton our artists, and support access, Cameron Mowat education, community engagement Rosia Pasteur and more. We invite our suporters Elizabeth Proust AO to get close to the MSO through a Penny Rawlins range of special events. Joan P Robinson The MSO welcomes your support at Neil Roussac any level. Donations of $2 and over Anne Roussac-Hoyne are tax deductible, and supporters Suzette Sherazee are recognised as follows: Michael Ryan and Wendy Mead $1,000+ (Player) Anne Kieni-Serpell and Andrew Serpell $2,500+ (Associate) Jennifer Shepherd $5,000+ (Principal) Profs. Gabriela and George Stephenson Pamela Swansson $10,000+ (Maestro) Lillian Tarry $20,000+ (Impresario) Dr Cherilyn Tillman $50,000+ (Virtuoso) Mr and Mrs R P Trebilcock $100,000+ (Platinum) Michael Ullmer The MSO Conductor’s Circle Ila Vanrenen is our bequest program for members The Hon. Rosemary Varty who have notified Mr Tam Vu of a planned gift in their Will. Marian and Terry Wills Cooke Enquiries Mark Young P (03) 8646 1551 Anonymous (26) E [email protected]

32 Honorary Appointments

Sir Elton John CBE Life Member Lady Potter AC CMRI Life Member Geoffrey Rush AC Ambassador

THE MSO HONOURS THE MEMORY OF John Brockman OAM Life Member The Honourable Alan Goldberg AO QC Life Member Ila Vanrenen Life Member

33 ‘We are the music makers, and we are the dreamers of dreams.'

– Arthur O’Shaughnessy

Come dream with us by adopting your own MSO musician!

Support the music and the orchestra you love while getting to know your favourite player. Honour their talent, artistry and life-long commitment to music, and become part of the MSO family.

Adopt Principal Harp, Yinuo Mu, or any of our wonderful musicians today.

34 PRINCIPAL PARTNER

GOVERNMENT PARTNERS

PREMIER PARTNERS VENUE PARTNER

MAJOR PARTNERS EDUCATION PARTNERS

MELBOURNE CONSERVATORIUM OF MUSIC

SUPPORTING PARTNERS

Quest Southbank The CEO Institute Ernst & Young Bows for Strings

TRUSTS AND FOUNDATIONS

The Scobie and Claire Mackinnon Trust, Sidney Myer MSO Trust Fund The Gross Foundation, Li Family Trust, MS Newman Family Foundation, The Ullmer Family Foundation

MEDIA AND BROADCAST PARTNERS