An Evening with Gun-Brit Barkmin

An Evening with Gun-Brit Barkmin Friday 23 August 2019, 7.30pm & Sunday 25 August 2019, 5pm Perth Concert Hall West Australian Symphony Orchestra and Wesfarmers Arts, creating the spark that sets off a lifelong love of music.

Julia Brooke – WASO Horn The West Australian Symphony Orchestra respectfully acknowledges the Traditional Owners, Custodians and Elders of the Indigenous Nations across Western Australia and on whose Lands we work.

OPERA GALA West Australian An Evening with Gun-Brit Barkmin Symphony Orchestra and Wesfarmers Arts, BEETHOVEN Fidelio: Overture (7 mins) BEETHOVEN Fidelio: Abscheulicher! wo eilst du hin? (9 mins) creating the spark MAHLER Blumine (9 mins) that sets off a lifelong STRAUSS, R. Four Last Songs (25 mins) love of music. Frühling (Spring) September Beim Schlafengehen (On Going to Sleep) Im Abendrot (At Sunset)

Interval (25 mins)

WAGNER Tannhäuser: Entrance of the Guests (7 mins) WAGNER Tannhäuser: Dich, teure Halle (5 mins) STRAUSS, R. Salome: Dance of the Seven Veils (10 mins) STRAUSS, R. Salome: Final scene (17 mins)

Gun-Brit Barkmin soprano Asher Fisch conductor Asher Fisch appears courtesy of Wesfarmers Arts

Wesfarmers Arts Pre-concert Talk Find out more about the music in the concert with this week’s speaker, Kathie Drake (see page 16 for her biography). The Pre-concert Talk will take place Friday at 6.45pm and Sunday at 4.15pm in the Terrace Level Foyer.

Listen to WASO Sunday’s performance will be broadcast live on ABC Classic and repeated as a delayed broadcast at 8pm AWST (or 5pm online), Saturday 9 November 2019. For further details visit abc.net.au/classic Julia Brooke – WASO Horn

3 2019 Upcoming Concerts

MASTERS SERIES Schumann & Strauss Fri 30 & Sat 31 Aug 7.30pm Perth Concert Hall Maestro and soloist trade places. One of the world’s finest violinists, Nikolaj Szeps-Znaider, is also a much sought-after conductor, while our very own Maestro, Asher Fisch, is renowned as a sensitive and stylish pianist. MENDELSSOHN Ruy Blas: Overture SCHUMANN Piano Concerto TICKETS

Photo: Chris Gonz Chris Photo: STRAUSS, R. Don Juan FROM $33* STRAUSS, R. Death and Transfiguration

Nikolaj Szeps-Znaider conductor (2019 WASO Featured Artist) Asher Fisch piano (pictured)

SPECIAL EVENT Star Wars: The Empire Strikes Back - In Concert Fri 6 Sept 7.30pm & Sat 7 Sept 1.30pm & 7.30pm Riverside Theatre, Perth Convention and Exhibition Centre Experience the complete Star Wars film on the giant screen with John Williams’ epic score played live by WASO. Han Solo (Harrison Ford) and Princess Leia (Carrie Fisher) are captured by Darth Vader, and Luke Skywalker (Mark Hamill) journeys to the mysterious, marshy planet of Dagobah. A stunning revelation – and a seeming life-or-death duel with Darth Vader – await. Benjamin Northey conductor

This performance includes subtitles on the screen. Rating: PG contains some violent scenes.

WASO CHORUS SINGS Vespers Sun 22 Sept 2pm St Mary’s Cathedral Separated into two parts, the evening Vespers and the morning Matins, this sublime work is drenched in rich harmonies that will profoundly resonate in the magnificent acoustics of St Mary’s Cathedral. RACHMANINOV Vespers (All-Night Vigil) TICKETS Andrew Foote conductor $30* WASO Chorus

BOOK NOW – 9326 0000 – waso.com.au

Asher Fisch appears courtesy of Wesfarmers Arts.

*A one-off handling fee of $6.60 per transaction applies to all web, phone and mail bookings. A fee of $3.85 applies to over the counter bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post. 4 West Australian Symphony Orchestra

From the centre of Perth to the furthest WASO Chorus, to create exceptional corners of our State, every year since 1928, performances for hundreds of thousands we set hearts racing with extraordinary of people each year. music and exhilarating performances for all West Australians to share. Our Orchestra is led by Principal Conductor and Artistic Adviser West Australian Symphony Orchestra Asher Fisch. Israeli-born, Fisch is an (WASO) is a for-purpose not-for-profit internationally renowned conductor company that thrives on the enthusiasm, in both the operatic and symphonic passion and support of our entire repertoire, and is a frequent guest at the community. We harness this energy world’s great opera houses including La to create events and programs across Scala, the Bayerische Staatsoper and the the State to stimulate learning and Metropolitan Opera in New York. participation in a vibrant cultural life. We are proud to call Perth Concert Hall We are both fierce advocates for our home. great classical musical heritage and passionate leaders in the commissioning and performance of new music by leading Australian and international Connect With WASO composers. Every year we mobilise and waso.com.au nurture a new generation of young and emerging artists to help secure a bright facebook.com/ future for music in Australia. WASymphonyOrchestra

We create the spark that sets off a lifelong twitter.com/WASymphony love of music because we believe it has the power to touch the soul and enrich lives. instagram.com/ Our resident company of full-time wasymphonyorchestra professional musicians are the beating youtube.com/ heart of our organisation. The Orchestra WestAustSymOrchestra plays a central role in the vibrancy of our creative state, and they are also Stay up to date and sign-up to our supported by hundreds of visiting SymphonE-news at waso.com.au artists, alongside the volunteers of the

5 WASO On Stage

VIOLIN VIOLA PICCOLO TRUMPET Laurence Jackson Daniel Schmitt Michael Waye Brent Grapes Concertmaster Alex Brogan • Pamela & Josh Pitt Jenna Smith Riley Skevington^ Kierstan Arkleysmith Fletcher Cox° Guest Assoc Concertmaster OBOE Nik Babic Semra Lee-Smith Sarah Young^ TROMBONE George Batey^ A/Assoc Concertmaster Liz Chee Joshua Davis Graeme Norris Benjamin Caddy A/Principal Oboe • Dr Ken Evans and A/Assistant Concertmaster Rachael Kirk Dr Glenda Campbell-Evans Rebecca Glorie Allan McLean COR ANGLAIS Liam O’Malley A/Principal 1st Violin Elliot O’Brien Leanne Glover • Sam & Leanne Walsh BASS TROMBONE Zak Rowntree* Katherine Potter^ Philip Holdsworth Principal 2nd Violin Helen Tuckey CLARINET Kylie Liang TUBA • Penrhos College CELLO Allan Meyer Assoc Principal 2nd Violin Lorna Cook Cameron Brook Rod McGrath • Peter & Jean Stokes Kate Sullivan • Tokyo Gas Jodie Upton^ Assistant Principal Eve Silver* 2nd Violin BASS CLARINET TIMPANI Melinda Forsythe° Stephanie Dean Alexander Millier Alex Timcke • Marc & Nadia Geary Shigeru Komatsu Beth Hebert Oliver McAslan BASSOON PERCUSSION Alexandra Isted Nicholas Metcalfe Jane Kircher-Lindner Brian Maloney Fotis Skordas Adam Mikulicz Francois Combemorel Jane Johnston° Assoc Principal Sunmi Jung Tim South CONTRABASSOON Percussion & Timpani Christina Katsimbardis Xiao Le Wu Chloe Turner Jordan Berini^ Ellie Lawrence DOUBLE BASS Amanda Dean^ Andrea Mendham° HORN Andrew Sinclair* Robyn Gray^ Akiko Miyazawa Section partnered by Paul Tanner^ John Keene Margaret & Rod Marston Lucas O’Brien Elizabeth Browning^ David Evans Melanie Pearn HARP Louise Elaerts Robert Gladstones Ken Peeler Bronwyn Wallis^ Christine Reitzenstein Principal 3rd Horn Louise Sandercock Andrew Tait Julia Brooke CELESTE Jolanta Schenk Mark Tooby Julian Leslie^ Adam Pinto^ Jane Serrangeli Francesco Lo Surdo Kathryn Shinnick FLUTE Bao Di Tang Andrew Nicholson Cerys Tooby • Anonymous •Chair partnered by Mary-Anne Blades *Instruments used by these Teresa Vinci° musicians are on loan from David Yeh Emily Clements^ Janet Holmes à Court AC.

Principal Associate Principal Assistant Principal Contract Player˚ Guest Musician^

6 About The Artist

Asher Fisch Principal Conductor & Artistic Adviser

A renowned conductor in both the operatic and symphonic worlds, Asher Fisch is especially celebrated for his interpretative command of core German and Italian repertoire of the Romantic and post-Romantic era. He conducts a wide variety of repertoire from Gluck to contemporary works by living composers. Since 2014, Asher Fisch has been Photo: Chris Gonz Chris Photo: the Principal Conductor and Artistic Advisor of the West Australian Symphony Chicago, San Francisco Opera, Teatro Orchestra (WASO). His former posts alla Scala, Royal Opera House at Covent include Principal Guest Conductor of Garden, and Semperoper Dresden. Fisch the Seattle Opera (2007-2013), Music is also a regular guest conductor at leading Director of the New Israeli Opera (1998- American symphony orchestras including 2008), and Music Director of the Wiener those of Boston, Chicago, Cleveland, Volksoper (1995-2000). In 2019, Fisch New York, and Philadelphia. In Europe he won Helpmann Awards for Best Individual has appeared at the Berlin Philharmonic, Classical Music Performance and Best Munich Philharmonic, London Symphony Symphony Orchestra Concert for WASO’s Orchestra, Leipzig Gewandhaus Orchestra, production of Tristan und Isolde. and the Orchestre National de France, among others. Highlights of Asher Fisch’s 2018-19 season include guest engagements with Asher Fisch’s recent recordings include the Düsseldorf Philharmonic, Sydney tenor Stuart Skelton’s first solo album, Symphony, Teatro Massimo Orchestra in recorded with WASO and released on Palermo, Boston Symphony Orchestra at ABC Classics in 2018, and a recording of Tanglewood, and the Cleveland Orchestra Ravel’s L’heure espagnole with the Munich at the Blossom Festival. Guest opera Radio Orchestra, which won Limelight engagements include Il Trovatore, Otello, Magazine’s Opera Recording of the Year Die Fliegende Holländer, and Andrea in 2017. In 2016, he recorded the complete Chénier at the Bayerische Staatsoper, Brahms symphonies with WASO, released Arabella and Hansel und Gretel at the on ABC Classics to great acclaim. His Semperoper Dresden, Tannhäuser at the recording of Wagner’s Ring Cycle with Tokyo National Theater, and Cristof Loy’s the Seattle Opera was released on the new production of Capriccio at the Teatro Avie label in 2014. His first completeRing , Real in Madrid. with the State Opera of South Australia, won ten Helpmann Awards, including Born in Israel, Fisch began his conducting best opera and best music direction. Fisch career as Daniel Barenboim’s assistant and is also an accomplished pianist and has kappellmeister at the Berlin Staatsoper. recorded a solo disc of Wagner piano He has built his versatile repertoire at transcriptions for the Melba label. the major opera houses such as the Metropolitan Opera, Lyric Opera of Asher Fisch appears courtesy of Wesfarmers Arts.

7 About The Artist

Gun-Brit Barkmin Soprano

Gun-Brit Barkmin sings some of opera’s most complex characters including Katerina Izmailova (Lady Macbeth of Mtsensk), Emilia Marty (The Makropulos Affair), and Salome. Her Wagner repertoire includes Sieglinde (Die Walküre) and Elsa (Lohengrin). She sang Isolde in Perth with the West Australian Symphony Orchestra last year, having first sung Isolde at Oper Graz in Gonz Chris Photo: 2016. In January 2018 she debuted as In early 2019, she performed at Bavarian Brünnhilde in Götterdämmerung as part State Opera in Krenek’s Karl V as well of the Hong Kong Philharmonic and Jaap as in Salome at Vienna State Opera. She van Zweden’s Ring Cycle project. returns to Hamburg Staatsoper in 2019-20 Gun-Brit Barkmin created the role of to sing in Korngold’s Die tote Stadt. Elena in Sotelo’s El Público at Teatro In concert, Gun-Brit Barkmin has Real Madrid, and has appeared in such performed in Janácˇek’s Glagolitic Mass modern repertoire as Birtwistle’s Gawain (Philharmonia Orchestra under Jakub under Ingo Metzmacher, and Reimann’s Hru˚ša), Strauss’ Four Last Songs with Lear under Franz Welser-Möst (Salzburg the Dresden Philharmonic and Seattle Festival). Her performance as Marie in Symphony, and Schoenberg’s Gurrelieder, Andreas Homoki’s Zurich production of among others. She was nominated as a Wozzeck was released on DVD. Limelight Magazine International Artist of Early in her career, Barkmin was a the Year, 2018. member of Komische Oper Berlin where she sang in Zemlinsky’s Der Zwerg, Willy Decker’s production of Jenu˚fa and Harry Kupfer’s production of The Turn of the Screw. She has strong relationships with companies such as the Vienna State Opera and Bavarian State Opera.

8 About The Music

Ludwig van Beethoven (1770-1827) Fidelio: Overture Act 1: ‘Abscheulicher! Wo eilst du hin’ Gustav Mahler (1860-1911) Blumine Richard Strauss (1864-1949) Gustav Mahler Four Last Songs: Frühling (Spring) The whole period saw the rise of a new September form of musical drama, encapsulated Beim Schlafengehen (On Going to Sleep) in Wagner’s operas which were later Im Abendrot (At Sunset) interpreted by Mahler and Strauss but also affecting the purely symphonic form that Beethoven had begun to expand, Richard Wagner and of which Mahler arguably became (1813-1883) the late 19th/early 20th century’s greatest Tannhäuser: exponent. Act 2: Entrance of the Guests Beethoven was the Titan of them all. Act 2: ‘Dich, teure Halle’ (Elisabeth’s Wagner conducted Beethoven’s Fidelio at Greeting to the Hall) opera houses in Würzburg, Magdeburg and Riga in his early years, and conducted Richard Strauss Beethoven’s Ninth at the 1872 laying of the foundation stone at the Bayreuth Festival Salome: House, the special venue he had built for ‘Dance of the Seven Veils’ the sole purpose otherwise of performing Final Scene his own operas. Mahler and Richard Introduction Strauss were renowned conductors of Wagner (and of course, Beethoven). This concert program follows a certain trajectory. Not only does it contain music More importantly, Wagner took his that is in Gun-Brit Barkmin’s repertoire, cue for the creation of his operas from the running order outlines a particular line Beethoven. According to Wagner, of musical development. Beethoven had reverted to the text of Schiller’s ‘Ode to Joy’ in the last In short, this concert is a snapshot of the movement of his Ninth Symphony German Romantic period – Beethoven because musical expression now needed begat Wagner who begat Mahler and the emotional extension provided Richard Strauss. In what sense ‘begat’? by words: thus laying the ground for Wagnerian opera.

9 Salome Dresden premiere 1905 Wagner’s operas aimed to extend and costumes, went beyond the Wagnerian music’s expressiveness in the service concept of the Gesamtkunstwerk (or of storytelling that would ring deep in ‘total work of art’, encompassing music, the psyche of the German people and drama, text, design) to ‘embrace the world’. supposedly inspire them to a greater Jewish, Mahler was probably not meant society. His tools included a much richer to be a beneficiary of the society Wagner and larger orchestra and the enrichment the musical dramatist sought to inspire. of harmony (chromaticism) to the point Nevertheless, he was a Wagnerian, and where the subtlest shades of emotion they were all Beethovenians. could be expressed. Wagner, Mahler and -- Strauss used huge orchestras, though they often focused on chamber textures. Fidelio was Beethoven’s only opera, which is ironic given his importance in inspiring Strauss became a major opera composer Wagner, arguably the greatest opera of the early 20th century and Salome, composer of the 19th century. his opera of 1905, heard in this concert, took the chromatic harmonic language In Fidelio, Leonore, wife of Florestan from Wagner’s Tristan and Isolde and (tenor), disguises herself as a boy, Fidelio, intensified it even further. Contemporaries in order to gain access to the prison where might have said, ‘to lurid extremes’. Florestan is kept prisoner by his political enemy, Don Pizarro. With Leonore risking Though an opera conductor, Gustav her life to save Florestan and succeeding, Mahler wrote symphonies – admittedly of Fidelio gave rise to a new early 19th- gargantuan size – that, even without sets century genre, the ‘rescue’ opera.

10 In many ways the soprano Leonore is Beethoven’s ideal of the perfect help- mate, an early 19th-century example of the eternal woman (‘ein holdes Weib’, to quote Beethoven’s Ninth Symphony) who was such an important figure of German Romantic art and literature. Beethoven had originally wanted to name his opera Leonore, after her, but several operas had already been based on the libretto of that name by Jean-Nicolas Bouilly, and the management at Vienna’s Theater an der Wien where the work was premiered insisted on the title change. Beethoven tried four different overtures to this work, three known by the name ‘Leonore’. He dismissed Leonore No.1 as inadequate. Leonore No.2 prefaced Fidelio’s 1805 premiere but then Beethoven revised the work and wrote a new overture. Leonore No.3 inclined toward symphonic-poem proportions. Finally, Beethoven came up with an overture which effectively prepares the listener for the drama ahead without pre- empting the comic nature of the opera’s Marie Wittich original Salome Dresden 1905 opening scenes. (Incidentally, Mahler, as conductor, would insert Leonore scene from Goethe’s play Faust, for No.3 between Act 2 scenes 1 and 2 to massive orchestra, eight soloists and a cover the scene-change from Florestan’s chorus so numerous the work almost dungeon to sunlit courtyard.) bursts the confines of the average concert hall stage. Early in the opera, Leonore, still in disguise, overhears Pizarro plotting to kill Mahler’s First Symphony of 1889 was her husband. Once he has left the stage rather more modest. It began life as she gives vent to her true feelings about a ‘Programmatic Symphony in Two Florestan’s longtime political foe, Pizarro: Parts’ and Mahler later gave the work a ‘Abscheulicher!’ (Loathsome creature) subtitle, Titan, after a Romantic novel she sings. ‘What savage cruelty have by Jean-Paul Richter. With quotes from you planned?’ The aria demonstrates Mahler’s own Songs of a Wayfarer, the Beethoven’s dramatic range. work had a biographical angle and some of the movements were labelled in such -- a way as to indicate ‘Endless Spring’. The Perhaps the ne plus ultra of Mahler’s second movement, Blumine, conveyed a compositional career was his Eighth sense of ‘flowering’. Symphony (1907), a setting of the Latin hymn Veni Creator Spiritus and the last

11 But the Symphony No.1 we know today accords more with our notions of a traditional four-movement symphony, albeit with programmatic aspects. Mahler had discarded the Blumine movement, reducing five movements to four. Why? Perhaps because its simple beauty sat at odds with the angst and irony of the rest of the symphony. It was premiered as a standalone piece by Benjamin Britten in 1967. --

Strauss' Salome alarmed early 20th- Richard Strauss century audiences who already thought Wagner had taken musical expression denotes the experienced opera composer as far as it should decently go. Salome’s and conductor. As Australian composer language was expressive in the extreme, Gordon Kerry has written elsewhere, even violent. ‘Just as 19th-century figures like Novalis and Wagner conflated eroticism and But there was another side to Strauss extinction, here the texts of Hermann – the lover of Mozart, whose follow-up Hesse and Eichendorff identify the end of opera to Salome and Elektra was 1911’s life and love with the peaceful embrace of Der Rosenkavalier, a tribute in some night, dreams and death.’ ways to the Mozart-Da Ponte operas, and who, after the First World War, helped The order of the Songs is variable and set up the Salzburg Festival, dedicated the work’s first interpreters sang them to Mozart, with Franz Schalk, Alfred in different order from that established Roller, the director Max Reinhardt, and by Strauss' publisher, Ernst Roth. (It’s not his Rosenkavalier librettist, Hugo von clear that Strauss intended them as a Hofmannsthal. set, anyway.) But the texts are: Hesse’s Frühling (Spring), with Spring imagery The Four Last Songs, composed in 1948 (birdsong, etc.…) amplifying a feeling of when Strauss was 84, show this mellower emotional expectation; Hesse’s September side of his nature. They are the product of – seasonal imagery again, with Summer the composer’s ‘Indian Summer’ when he closing ‘his’ tired eyes upon the arrival suddenly experienced a fresh outpouring of rain; Hesse’s Beim Shlafengehen (On of music in his last, sad years in a Going to Sleep) expressing freedom defeated Germany, and, in the words of from consciousness; and Joseph von Strauss biographer Michael Kennedy, they Eichendorff’sIm Abendrot (In Sunset’s express ‘the music of old age and wisdom Glow), in which an old couple stop to and serenity, of death and transfiguration’. ponder two larks still flying in nature as it They also express his lifelong love of the darkens and whether the peacefulness of soprano voice, particularly that of Pauline the scene could, perhaps, be death. de Ahna, to whom he had been married Gun-Brit Barkmin’s performance of these for 50 years. There is a sensuousness Songs in Seattle in 2017 was described by to the treatment of the voice here that critic Melinda Bargreen as a ‘revelation…

12 Huge and supple, her expressive voice makes the music sound effortless, soaring above the staff with ease and warmth, and with obvious deep understanding of the autumnal songs .’ -- The Wagner who inspired the generation of composers comprising Richard Strauss and Mahler was the creator of massive integrated theatrical conceptions, epics that inspired the building of a bespoke opera house (at Bayreuth) to premiere them. The music, with an almost oceanic Richard Wagner, Paris 1867 interplay of musical motifs representing characters, magic objects, and concepts, again, one of those ‘eternal women’ was meant to underscore and amplify apotheosised by Romantic poets. the fluid progress of the drama. But In Act 2, Tannhäuser will rejoin the Wagner took a while getting to that traditional song contest where Elisabeth unique concept. Tannhäuser is a work he first lost her heart to him. (It is the first wrote in 1842-45 on the cusp of his new ‘song-contest’ depicted in Wagner; 1868’s style (though later revised in light of his Mastersingers of Nuremberg will end with musical growth). It still bears traces of one.) A traditional march accompanies traditional opera – set numbers, formal the arrival of the auditors; while Elisabeth groupings – though the psychological anticipates the excitement of the occasion ambition is greater. in her Greeting to the Hall; repeated Customarily mining old German texts to quaver triplets effectively portray find stories that would stir his listeners’ Elisabeth’s agitation in a classic early 19th- emotions, Wagner based Tannhäuser on century orchestration. a conflation of two strands of medieval -- legends: those to do with Tannhäuser, originally a crusading knight from Wagner’s achievement in the 19th century Franconia whom Wagner turned into a left the composers who followed him with minstrel, and the song contest on the big shoes to fill. Mahler responded by Wartburg – drawing on narratives, such as allowing his symphonies to grow to epic that of Eichendorff. proportions. While always retaining his rich vocal lyricism, the young Strauss increased The story of Tannhäuser dramatises a harmonic chromaticism to a point of almost conflict between carnal and spiritual excruciating dissonance, especially apt for desire as Tannhäuser struggles to find depicting the mental sickness of Salome, satisfaction in the pure love of Elisabeth, the title character of his third opera. having left behind the carnal pleasures of the Venusberg. When Elisabeth Wagner had written his own librettos, saves Tannhäuser’s soul at the very end intent on personally guaranteeing the after he cannot resist Venus' repeated dramatic integrity of his texts. With blandishments, she becomes, once Salome Richard Strauss chose another, interesting and path-setting option – an

13 actual play, in this case, Oscar Wilde’s 1894 Salomé. All he needed to do was trim the text. The story concerns Salome, the alluring daughter of Herodias, lusted after by her stepfather King Herod. When her sexual advances are rebuffed by John the Baptist (Jochanaan), Salome demands Jochanaan’s head on a platter. Even lustful Herod is appalled but if she will dance the Seven Veils for him…Strauss’ music could be considered a prime example of 19th- century sexual orientalism with its sinuous woodwind melodies and teasing garnish of percussion. It may be the nastiest waltz ever to come from the pen of someone named Strauss. The final scene, in which Salome finally kisses the beheaded Jochanaan’s lips, Pauline de Ahna Tannhäuser as Elisabeth is a tour de force. It unfolds in several This last scene has been described by long paragraphs, each building to a musicologist Michael Kennedy as a larger and larger climax as the dramatic ‘perverted Liebestod’, a reference to soprano brings the opera to its repellent, the final aria of Wagner’s Isolde. But if emotional, conclusion. The executioner we’ve come a long way from heroines brings Salome the head. ‘You would like Elisabeth or Leonore; Salome has not let me kiss your mouth, Jochanaan,’ few redeeming features as she upbraids she gloats. The music settles down Jochanaan’s trunkless head for not and Salome praises the closed eyes succumbing to her beauty. that would not look on her, the silent Salome has proved a pivotal role in tongue that spat venom…She compares Gun-Brit Barkmin’s recent seasons, with Jochanaan’s voice to incense…The productions at Vienna State Opera, Zurich, blending of sensations is similar to those Prague, and Oper Stuttgart, among others. in Wagner’s Tristan and Isolde. Finally, Her success in this role augurs well for a she concludes: ‘The mystery of love is riveting end to this concert. greater than the mystery of death.’ In the opera Herod now interjects. ‘She Gordon Kalton Williams © 2019 is a monster.’ As Salome rises once more to exult, Strauss builds his music to its paradoxically radiant, lyrical and YOU MAY ALSO ENJOY discordant climax. A beam of moonlight Verdi’s Requiem falls on Salome. Herod orders that she be Fri 29 & Sat 30 November 2019 killed, and his soldiers crush her under their shields.

14 Your Concert Experience

FOR THE ENJOYMENT OF ALL When to applaud? Musicians love applause. Audience members normally applaud: • When the conductor walks onto the stage • After the completion of each piece and at the end of the performance When you need to cough, try to do it discreetly. Cough lozenges are available from the WASO Ticket Collection Desk before each performance and at the interval. ACCESSIBILITY Hearing aids that are incorrectly adjusted may disturb other patrons, please be • A universal accessible toilet is available mindful of those around you. on the ground floor (Level 1). • The Sennheiser MobileConnect Mobile phones and other electronic Personal Hearing Assistance system devices need to be switched off or is available for every seat in the silenced throughout the performance. auditorium. Visit perthconcerthall.com. au/your-visit/accessibility/ for further Photography, sound and video information. recordings are permitted prior to the start of the performance. WASO BOX OFFICE Latecomers and patrons who leave the Buy your WASO tickets and subscriptions, auditorium will be seated only after the exchange tickets, or make a donation completion of a work. at the Box Office on the ground floor (Level 1) prior to each performance and at Moving to empty seats. Please do not interval. Tickets for other performances move to empty seats prior to the at Perth Concert Hall will be available for performance as this may affect seating for purchase only at interval. Please note that latecomers when they are admitted 30 minutes prior to performance, the Box during a suitable break. Office will only be available for sales to that night's performance. FOOD & BEVERAGES Foyer bars are open for drinks and coffee The Box Office is open Monday to two hours before, during interval and after Friday, 9am to 5pm, and contactable on the concert. To save time we recommend 9326 0000. you pre-order your interval drinks. FIRST AID There are St John Ambulance officers present at every concert so please speak to them if you require any first aid assistance.

15 About The Speaker

Kathie Drake Pre-concert Speaker

Kathie retired from WASO at the end of Her first full-time job was Principal 2015 after 27 years in the viola section. Second Violin in the Queensland Theatre During this time she also performed with Orchestra, after completing a Diploma several chamber music groups, including of Arts in Music at the Tasmanian Camerata WA, Quartet Noir and The Conservatorium and a BA(Hons) in English Darlington Ensemble. Literature at Melbourne University. Prior to this she lived in Europe for She now plays viola for fun, helps migrants eight years, first studying with Bruno and asylum seekers with their English, and Giuranna in Germany and then playing helps look after her three-year-old grandson. in orchestras in Switzerland and Italy, She and her husband Dave love camping including her last three years there in the while exploring the more remote parts of Zurich Chamber Orchestra. Australia, and travelling internationally as much as possible.

Timeline of Composers & Works

RICHARD WAGNER 1813 – 1883 Born in Leipzig, Germany GUSTAV MAHLER Died in Venice, Italy 1860 – 1911 Born in Kalischt, Czech Republic Died in Vienna, Austria

LUDWIG VAN BEETHOVEN RICHARD STRAUSS 1770 – 1827 1864 – 1949 Born in Bonn, Germany Born in Munich, Germany Died in Vienna, Austria Died in Garmisch-Partenkirchen, Germany

Beethoven's Fidelio Wagner's Tannhäuser Mahler's Blumine Strauss' Salome Strauss' Four Last Songs 1805 1845 1889 1905 1950

1775 1800 1825 1850 1875 1900 1925 1950

16 RICHARD WAGNER 1813 – 1883 Born in Leipzig, Germany GUSTAV MAHLER Died in Venice, Italy 1860 – 1911 Born in Kalischt, Czech Republic Died in Vienna, Austria

LUDWIG VAN BEETHOVEN RICHARD STRAUSS 1770 – 1827 1864 – 1949 Born in Bonn, Germany Born in Munich, Germany Died in Vienna, Austria Died in Garmisch-Partenkirchen, Germany

Beethoven's Fidelio Wagner's Tannhäuser Mahler's Blumine Strauss' Salome Strauss' Four Last Songs 1805 1845 1889 1905 1950

1775 1800 1825 1850 1875 1900 1925 1950

17 Text & Translation

BEETHOVEN Fidelio: Abscheulicher! Wo eilst du hin?

Abscheulicher! Wo eilst du hin? Monster! Where are you rushing to? Was hast du vor in wildem Grimme? What are you planning in wild wrath? Des Mitleids Ruf, Mercy’s call, der Menschheit Stimme, The voice of humanity, Rührt nichts mehr deinen Tigersinn? No longer touches your tiger’s heart? Doch toben auch wie Meereswogen Yet, if like ocean waves Dir in der Seele Zorn und Wut, Rage and anger toss in your soul, So leuchtet mir ein Farbenbogen, So, a rainbow shines for me, Der hell auf dunkeln Wolken ruht: Resting brightly on dark clouds: Der blickt so still, Looking down so still, so friedlich nieder, so peacefully, Der spiegelt alte Zeiten wieder, Reflecting days of old, Und neu besänftigt wallt mein Blut. And soothed again flows my blood. Komm, Hoffnung, lass den letzten Stern Come, hope, let not the last star Der Müden nicht erbleichen! Of the weary fade! Erhell mein Ziel, sei’s noch so fern, Light my path, ever so far, Die Liebe wird’s erreichen. Love will reach it. Ich folg’ dem innern Triebe, I follow an inner call, Ich wanke nicht, I will not falter, Mich stärkt die Pflicht The duty of true conjugal love Der treuen Gattenliebe! Gives me strength! O du, für den ich alles trug, Oh you, for whom I bore everything, Könnt’ ich zur Stelle dringen, If only I could reach the place, Wo Bosheit dich in Fesseln schlug, Where malice threw you into chains, Und süssen Trost dir bringen! And bring you sweet comfort! Ich folg’ dem innern Triebe, I follow an inner call, Ich wanke nicht, I will not falter, Mich stärkt die Pflicht The duty of true conjugal love Der treuen Gattenliebe! Gives me strength! English translation: Brian Long Symphony Services International © 2019

18 Text & Translation

STRAUSS, R. Four Last Songs Frühling (Spring) Words by Hermann Hesse Im dämmrigen Grüften In darkling caverns Träumte ich lang long have I dreamed Von deinen Bäumen und blauen Lüften, of your trees and blue skies, Von deinem Duft und Vogelgesang. your fragrance and bird-songs. Nun liegst du erschlossen Now you lie before me In Gleiss und Zier in shining splendour Von Licht übergossen glowing with light – Wie ein Wunder vor mir. a miracle. Du kennst mich wieder, You greet me again, Du lockest mich zart, tempting me gently. es zittert durch all meine Glieder My whole being trembles Deine selige Gegenwart. with the bliss of your presence. September Words by Hermann Hesse Der Garten trauert, The garden mourns. Kühl sinkt in die Blumen der Regen. Cool rain sinks on the flowers; Der Sommer schauert the summer shudders Still seinem Ende entgegen. as he quietly nears his end. Golden tropft Blatt um Blatt One by one, the golden leaves Nieder vom hohen Akazienbaum. fall slowly from the tall acacia tree. Sommer lächelt erstaunt und matt Wondering and weary, the summer smiles In den sterbenden Gartentraum. on the dying garden-dream. Lange noch bei den Rosen Yearning for rest Bleibt er stehen, sehnt sich nach Ruh. he lingers long by the roses Langsam tut er die before he slowly closes Müdegewordenen Augen zu. his wide, tired eyes. Beim Schlafengehen (On Going to Sleep) Words by Hermann Hesse Nun der Tag mich müd gemacht, Now the day has made me tired, Soll mein sehnliches Verlangen may the starry night receive Freundlich die gestirnte Nacht all my fervent longing Wie ein müdes Kind empfangen. like a weary child. Hände lasst von allem Tun, Leave your doing, O my hands, Stirn vergiss du alles Denken, brow, forget your thinking! Alle meine Sinne nun All my senses yearn for rest Wollen sich in Schlummer senken. and would sink into slumber. Und die Seele unbewacht Freed from all bonds Will in freien Flügen schweben, my soul would like to soar Um im Zauberkreis der Nacht so that it may live deeply and a thousandfold Tief und tausendfach zu leben. in the magic circle of night.

19 Im Abendrot (In Sunset’s Glow) Words by Joseph von Eichendorff Wir sind durch Not und Freude Through grief and joy together Gegangen Hand in Hand, we have walked, hand in hand. Vom Wandern ruhn wir Now let us rest from the journey Nun überm stillen Land. high above the quiet land. Rings sich die Täler neigen, Around us the valleys are slumbering Es dunkelt schon die Luft, and darkness veils the sky. Zwei Lerchen nur noch steigen Only two larks are still soaring Nachträumend in den Duft. and dreaming as they fly. Tritt her und lass sie schwirren, Come close and let them flutter, Bald ist es Schlafenszeit, soon it is time to sleep Dass wir uns nicht verirren lest we should go astray In dieser Einsamkeit. in this dark solitude. O weiter, stiller Friede! O peace, so wide and silent, So tief im Abendrot. deep in the sunset glow! Wie sind wir wandermüde – How weary we are with wandering – Ist dies etwa der Tod? can this, perchance, be death? The text by Hermann Hesse for Frühling, English translations by Hedwig Roederer September and Beim Schlafengehen from ABC/Symphony Australia © 1986 Four Last Songs (Vier letzte Lieder) by Richard Strauss is reproduced by permission of Hal Leonard Australia exclusive agent for Boosey & Hawkes Music Publishers Ltd. of London.

WAGNER Tannhäuser: Dich, teure Halle (Elisabeth’s Greeting) Dich, teure Halle, grüss ich wieder, Dear hall, once more I give you greeting, froh grüss ich dich, geliebter Raum! joy comes to you, beloved room! In dir erwachen seine Lieder In you his songs will be awakened und wecken mich aus düstrem Traum. and rouse me from this mood of gloom. Da er aus dir geschieden, When he from here departed, wie öd erschienst du mir! how bleak you seemed to me! Aus mir entfloh der Frieden, From me then fled contentment, die Freude zog aus dir! all pleasure flew from thee! Wie jetzt mein Busen hoch sich hebet, Now ardently my breast is heaving, so scheinst du jetzt mir stolz und hehr, so proud and noble you appear. der mich und dich so neu belebet, He gives us cause for jubilation nicht länger weilt er ferne mehr! for now he hastens near! Sei mir gegrüsst! My love to you! Sei mir gegrüsst! My love to you! Du, teure Halle, O, dearest hall Sei mir gegrüsst! My love to you! English translation: Peter Bassett © 2008

20 21

WASO-2019.indd 2 3/05/2019 9:45:21 AM STRAUSS, R. Salome: Final scene SALOME SALOME an der Zisterne lauschend listening at the cistern Es ist kein Laut zu vernehmen. I cannot hear a sound. Ich höre nichts. I hear nothing. Warum schreit er nicht, der Mann? Why does that man not scream? Ah! Wenn einer mich zu töten käme, Ah! If someone came to kill me, ich würde schreien, I would scream, ich würde mich wehren, I would fight, ich würde es nicht dulden! I would not endure it! Schlag’ zu, schlag’ zu, Naaman! Hit him, hit him, Naaman! Schlag’ zu, sag’ ich dir! Hit him, I order you! Nein, ich höre nichts. No, I hear nothing. Es ist eine schreckliche Stille! It is a terrible silence! Ah! Es ist etwas zu Boden gefallen. Ah! Something fell to the ground. Ich hörte etwas fallen. I heard something fall. Es war das Schwert des Henkers. It was the sword of the hangman. Er hat Angst, dieser Sklave. He is afraid, that slave. Er hat das Schwert fallen lassen! He let the sword fall! Er traut sich nicht, ihn zu töten. He did not dare kill him. Er ist eine Memme, dieser Sklave. That slave is a coward. Schickt Soldaten ihn! Send him to the soldiers! zum Pagen To the page: Komm hierher, Come here, du warst der Freund dieses Toten, you were a friend of this dead man, nicht? were you not? Wohlan, ich sage dir: Well, I tell you: es sind noch nicht genug Tote. there are not enough dead yet. Geh zu den Soldaten Go to the soldiers und befiehl ihnen, and order them hinabzusteigen und mir zu holen, to climb down and to fetch me was ich verlange, was der Tetrarch what I desire, what the Tetrarch mir versprochen hat, was mein ist! promised me, what is mine! Der Page weicht zurück. Sie wendet sich den The page shrinks back. She addresses the Soldaten zu soldiers Hierher, ihr Soldaten, Come here, soldiers, geht ihr in die Zisterne hinunter go down to the cistern und holt mir den Kopf des Mannes! and fetch me the head of the man! Tetrarch, Tetrarch, Tetrarch, Tetrarch, befiehl deinen Soldaten, command your soldiers dass sie mir den to bring me Kopf des Jochanaan holen! Jochanaan’s head!

22 Ein riesengrosser schwarzer Arm, der Arm des Henkers, streckt sich aus der Zisterne heraus, auf einem silbernen Schild den Kopf des Jochanaan haltend. Salome ergreift ihn. Herodes verhüllt sein Gesicht mit dem Mantel. Herodias fächelt sich zu und lächelt.. Die Nazarenersinken in die Knie und beginnen zu beten An enormous black arm, the arm of the hangman, reaches from the cistern holding Jochanaan’s head on a silver tray. Salome takes it. Herod covers his face with his cloak. Herodias fans herself and smiles. The Nazarenes sink to their knees and start praying. Ah! Ah! Du wolltest mich nicht deinen Mund You did not want me to kiss küssen lassen, Jochanaan! your mouth, Jochanaan! Wohl, ich werde ihn jetzt küssen! Well, I will kiss it now! Ich will mit meinen Zähnen I want to bite into it hineinbeissen, with my teeth, wie man in eine reife Frucht like someone bites beissen mag. into a ripe fruit. Ja, ich will ihn jetzt küssen Yes, I want to kiss it now, deinen Mund, Jochanaan. your mouth, Jochanaan. Ich hab’ es gesagt. I told you. Hab’ ich’s nicht gesagt? Didn’t I tell you? Ah! ah! Ich will ihn jetzt küssen. Ah! Ah! I want to kiss it now. Aber warum siehst du mich nicht an, But why do you not look at me, Jochanaan? Jochanaan? Deine Augen, Your eyes die so schrecklich waren, that were so terrible, so voller Wut und Verachtung, so full of anger and contempt, sind jetzt geschlossen. are closed now. Warum sind sie geschlossen? Why are they closed? Öffne doch die Augen! Just open your eyes! So hebe deine Lider, Jochanaan! Lift your lids, Jochanaan! Warum siehst du mich nicht an? Why do you not look at me? Hast du Angst vor mir, Jochanaan, Are you afraid of me, Jochanaan, dass du mich nicht ansehen willst? that you do not want to look at me? Und deine Zunge, And your tongue, sie spricht kein Wort, Jochanaan, it does not say a word, Jochanaan, diese Scharlachnatter, that scarlet adder, die ihren Geifer gegen mich spie. that spat its venom at me. Es ist seltsam, nicht? It is strange, is it not? Wie kommt es, dass diese rote Natter How come this red adder sich nicht mehr rührt? does not move anymore? Du sprachst böse Worte gegen mich, You spoke harsh words against me, gegen mich, Salome, against me, Salome, die Tochter der Herodias, daughter of Herodias, Prinzessin von Judäa. Princess of Judea. Nun wohl! Well then! Ich lebe noch, aber du bist tot, I am still alive, but you are dead, und dein Kopf, dein Kopf gehört mir! and your head, your head is mine! Ich kann mit ihm tun, was ich will. I can do as I please with it. Ich kann ihn den Hunden vorwerfen I can throw it to the dogs und den Vögeln der Luft. and the birds in the sky. Was die Hunde übrig lassen, What the dogs don’t want,

23 sollen die Vögel der Luft verzehren. the birds in the sky can have. Ah! Jochanaan, Jochanaan, Ah! Jochanaan, Jochanaan, du warst schön. you were handsome. Dein Leib war eine Elfenbeinsäule Your body was an ivory column auf silbernen Füssen. on silver feet. Er war ein Garten voller Tauben It was a garden full of doves in der Silberlilien Glanz. shining with silver lilies. Nichts in der Welt Nothing in this world war so weiss wie dein Leib. was as white as your body. Nichts in der Welt Nothing in this world war so schwarz wie dein Haar. was as black as your hair. In der ganzen Welt Nothing in this world war nichts so rot wie dein Mund. was as red as your mouth. Deine Stimme Your voice war ein Weirauchgefäss, was a frankincense dish und wenn ich ansah, and when I listened, hörte ich geheimnisvolle Musik. I heard mysterious music. Ah! Warum hast du mich nicht angesehn, Ah! Why did you not look at me, Jochanaan? Du legtest über deine Augen die Jochanaan? You covered your eyes with a Binde eines, cloth like someone der seinen Gott schauen wollte. Wohl! who wanted to see his God. Well! Du hast deinen Gott gesehn, Jochanaan, You have seen your God, Jochanaan, aber mich, mich, hast du nie gesehn. but me, me, you have never seen me. Hättest du mich gesehn, du hättest mich Had you seen me, you would have loved me! geliebt! Ich dürste nach deiner Schönheit. I yearn for your beauty. Ich hungre nach deinem Leib. I hunger for your body. Nicht Wein noch Äpfel können mein Neither wine nor apples can quell my desire. Verlangen stillen. Was soll ich jetzt tun, Jochanaan? What shall I do now, Jochanaan? Nicht die Fluten, noch die grossen Wasser Neither floods, nor the big seas können dieses brünstige Begehren löschen. can quench this fervent longing. Oh! Warum sahst du mich nicht an? Oh! Why did you not look at me? Hättest du mich angesehn, Had you looked at me, du hättest mich geliebt. you would have loved me. Ich weiss es wohl, du hättest mich geliebt. I know it well, you would have loved me. Und das Geheimnis der Liebe ist grösser And the mystery of love is greater als das Geheimnis des Todes. than the mystery of death. HERODES HEROD zu Herodias to Herodias Sie ist ein Ungeheuer, deine Tochter. She is a monster, your daughter. Ich sage dir, sie ist ein Ungeheuer! I tell you, she is a monster! HERODIAS HERODIAS Meine Tochter hat recht getan. My daughter has done right. Ich möchte jetzt hier bleiben. I want to stay here now.

24 HERODES HEROD Ah! Da spricht meines Bruders Weib! Ah! This is my brother’s wife! Komm, ich will nicht an diesem Orte bleiben. Come, I do not want to stay in this place. Komm, sag’ ich dir! Sicher, Come, I tell you! For sure, es wird Schreckliches geschehn. something terrible will happen. Wir wollen uns im Palast verbergen, We want to hide in the palace, Herodias, ich fange an zu erzittern. Herodias, I am starting to tremble. Manassah, Issachar, Ozias, löscht die Manassah, Issachar, Ozias, put out the Fackeln aus! torches! Verbergt den Mond, verbergt die Sterne! Hide the moon, hide the stars! Es wird Schreckliches geschehn. Something terrible will happen. SALOME SALOME Ah! Ich habe deinen Mund geküsst, Ah! I kissed your mouth Jochanaan. Ah! Ich habe ihn geküsst, deinen Jochanaan. Ah! I kissed it, your mouth, Mund, es war ein bitterer Geschmack auf deinen there was a bitter taste on your lips. Lippen. Hat es nach Blut geschmeckt? Was it the taste of blood? Nein? Doch es schmeckte vielleicht nach Liebe. No? But maybe it tasted of love. Sie sagen, dass die Liebe bitter schmecke. One says that love has a bitter taste. Allein was tut’s? Was tut’s? But what if? What if? Ich habe deinen Mund geküsst, Jochanaan. I kissed your mouth, Jochanaan. Ich habe ihn geküsst, deinen Mund. I kissed it, your mouth. HERODES HERODES zu den Soldaten to the soldiers Man töte dieses Weib! Kill that wench! Text: Oscar Wilde, translated Hedwig English translation © Symphony Services Lachmann, edited Richard Strauss International

25 Meet The Musician

Liam O’Malley Trombone

When did you join WASO? I joined WASO in the middle of 2012. Tell us about where you grew up? I was born and grew up in Bundaberg, Queensland. For a small town it had an amazingly vibrant music scene. I sang in choirs, played in a Brass band and was a part of the local Youth Orchestra. For a town of 50,000 people, the quality of music was unbelievable. I was also a mad keen sportsman. I played football (soccer) university finished. It is such a varied job for Queensland while at school so fitting and one that took me all over New South in three training sessions, three games, Wales. One day you’d be playing for 100 kids band, orchestra, choir and a trombone lesson at a school, the next for the President of a outside of school hours was a tough task. country, the following day for 50,000 people Do you come from a musical family? at the opening of major sporting festivals. It I would say it's split down the middle. My definitely kept me on my toes and allowed mum is a choral conductor and accompanist; me in the early years of my career to really I didn’t pay for an accompanist until I went to learn my craft as a performer. university…a definite bonus! I was regularly Who is your favourite musician? thrown out of Mum's music room when I was I don’t think there can be such a thing. Any a toddler for singing along too loudly with all musician has the chance to, at that moment her Suzuki piano students. My dad is a great in time, be your favourite musician; I think audience member; I’ll leave it at that! this is what makes music such an intriguing What is the most challenging thing about thing. playing the trombone? If you had to choose to play any other Not making a blooper reel on YouTube. instrument what would that be? There is nowhere to hide as a Trombone It would be hard to improve on perfection. player so if you make a mistake, everyone knows about it! I am most proud of… having a job that brings joy to people. Seeing an audience What is the best thing about being a engrossed in a performance is the ultimate member of the brass section? thrill of being a musician. Asher Fisch. Any conductor who specialises in Mahler, Wagner, Strauss and Bruckner is I really love… it has to be one of two going to make a member of the brass section things; sport or cheese. While I love my happy! cheese, I think I would probably be known as the biggest sport nut in WASO. If Tell us about your time in the New South something has been televised, I’ve probably Wales Police Band? watched it. If it’s being played, I’ll probably I joined the Police Band after graduating join in. After 10 years in the wilderness, I from the Queensland Conservatorium. I must say it is satisfying to see my beloved had always wanted to be a performer and a Lions finally doing well again! spot became available in the band just after

26 EY PRESENTS – A Release Creative Production Disco Wonderland A Night at Studio 54

Fri 8 & Sat 9 November 8pm Perth Concert Hall

Kate Ceberano Nathaniel Willemse ...and more

Tickets from $49* – 9326 0000 – waso.com.au

Crescendo students enjoy afternoon tea with the Governor of Western Australia On Sunday 19 May, the Year 5 students in our Crescendo Program, were invited by The Honourable Kim Beazley AC Governor of Western Australia to visit Government House for afternoon tea and a tour. Students attended a rehearsal in the magnificent Government House Ballroom as part of the ‘Music on the Terrace’ series before walking across to the House where they were met at the Musicus Joins the Choir’ at the Perth door by The Governor and his wife Ms Concert Hall as part of Education Susie Annus. They performed “Gently Week+. Students listened to music from the River” in 3-part harmony in the Music around the world performed by WASO Room, followed by afternoon tea and a and a children’s choir and enjoyed the tour of the house. This was the first time story about the musical mouse who finds our students from North Parmelia Primary himself in the concert hall. School and Medina Primary School have WASO is currently teaching 364 Pre- performed as a combined choir. Everyone primary to Year 5 students across 30 was impressed with their musicianship, classes/week in our El Sistema inspired respect and behaviour on the day. free music education program in In addition to this special trip to Kwinana. Government House, 420 students, Crescendo is proudly supported by Crown Resorts teachers and parents from our Foundation, Packer Family Foundation, Tianqi Lithium Australia, The Stan Perron Charitable Foundation, Bunning Crescendo Program attended the Family, The Department of Education Instrumental Music Primary School Concert ‘Maximus School Services and Crescendo Giving Circle.

ABC Radio Tune in to ABC Radio Great Southern on Wednesday mornings at 10.45am when WASO’s Executive Manager, Community Engagement, Cassandra Lake joins Gianni Di Giovanni to share stories about classical music and composers. Listen via the ABC Listen app.

28 WASO Philanthropy

Help us change children's lives by joining the Crescendo Giving Circle Here at WASO, we believe all children should experience the joy of music as part of their education. The Crescendo Giving Circle supports a long-term music education program that is delivered by WASO at two primary schools in Kwinana and is based on the international El Sistema model. El Sistema has an internationally proven record of improving behaviour, numeracy, literacy, social skills and fine motor skills, as well as lowering truancy and youth violence. Crescendo starts as a vocal based program by encouraging students to use their inbuilt instrument and help ‘give them a the schools and families completely free of voice’ in the first two years, before moving charge to ensure the benefits are available on to violin tuition. Students play together to all students. To be able to provide in ensembles and are able to take violins reliable funding, we are seeking Patrons to home to practice. Each year, a new group join the Giving Circle with a gift of $1,500 of Pre-Primary students is joining the annually, which is approximately the cost program and in 2020, all students from of one child participating in the program Pre-Primary to Year 6 will be participating. per annum. Each child in the program will be participating for seven years, from Pre- WASO designs delivers and manages all Primary to Year 6. To join the Crescendo aspects of this program and its costs exceed Giving Circle, please contact Sarah Tompkin $250,000 p.a. Crucially, it is provided to on 9326 0017 or [email protected]. Patrons & Friends Event World Artist Dinner with Siobhan Stagg Wednesday 20 November | 6.30pm Ambrose Estate, Wembley Downs For all Patrons & Bequestors You won’t want to miss this year’s World Artist Dinner featuring our 2019 WASO Artist in Association, Siobhan Stagg. Tickets are $120 and are available via the The evening will be held at the delightful WASO Box Office on 9326 0000. Ambrose Estate in Wembley and will include a three course meal and beautiful This event is open to all WASO Patrons Margaret River wines while you listen to and Bequestors and will sell out, so book Siobhan and her adventures as a world artist. now to avoid disappointment! 29 Our Supporters

Philanthropic partnerships come in all shapes and sizes Whatever the shape or size, your donation helps WASO make a difference and we thank you for your support. WASO’s philanthropy program continues to grow, supporting our vision now and into the future. It is an exciting time to be a part of this community, to meet our musicians and to know you have helped your Orchestra to touch souls and enrich lives through music. Together we can do amazing things. Endowment Fund for Chairman’s Circle Education & Community the Orchestra Supporting excellence Engagement Fund Major Donations: Richard Goyder AO & Janine Goyder Jean Arkley Tom & Jean Arkley Jean Arkley David & Suzanne Biddles Bendat Family Foundation Bob & Gay Branchi Annette Cottee Janet Holmes à Court AC Janet Holmes à Court AC Megan & Arthur Criddle Minderoo Foundation Rod & Margaret Marston* Penny & Ron Crittall Sagitte Yom-Tov Fund John Rodgers Robyn Glindemann Leanne & Sam Walsh* Journey Recruitment Estates: Rosalind Lilley Rachel Mabel Chapman The 2019 WASO Eveline Read Malcolm Hood Song Book Ruth Stratton Paul Lee We are grateful to those In memory of Robert & Joan Street Anna Nottage in memory of Edgar Gwen Treasure Nottage who have supported new works commissioned for the Margaret Wood Wendy Scanlon Anonymous (3) Judy Sienkiewicz Orchestra by WASO for 2019 Mrs Roslyn Warrick and beyond Trusts & Foundations Anonymous (7) Janet Holmes à Court AC McCusker Charitable Foundation Prue Ashurst Simon Lee Foundation Symphony Circle In memory of Mary Rodoreda The James Galvin Foundation Thank you to all our Geoff Stearn Bequestors: Anonymous (1) Crescendo Ms Davilia Bleckly Trusts & Foundations Mr John Bonny Group Commission Crown Resorts Foundation Dr G Campbell-Evans Supporting a new work by Packer Family Foundation Deirdre Carlin Iain Grandage to be premiered Feilman Foundation Anita & James Clayton as part of WASO’s 2019 Stan Perron Charitable Foundation S & J Dale Season, in honour of Bunning Family Lesley & Peter Davies Professor David Tunley Euroz Charitable Foundation Dr Michael Flacks Prue Ashurst Crescendo Giving Circle Judith Gedero Mark Coughlan Robyn Glindemann AOT Consulting Pty Ltd Jean Harvey Jean Arkley Gwenyth Greenwood Evan Kennea & The Guy Family Prue Ashurst Emily Green-Armytage Gay & Robert Branchi Emy & Warren Jones Peter Leunig Barbara Joseph Dr S Cherian Sara Macliver Kaylene Cousins Colin & Jo King Cyrus Meher-Homji Rachael Kirk & Tim White Madeleine King MP, Federal John Meyer Member for Brand Wolfgang Lehmkuhl Margaret & Roger Seares Deborah Marsh LeMessurier Charitable Trust Peggy & Tom Stacy Rosalind Lilley Lesley R. McKay & Murray R. David Symons McKay C M Lommers Suzanne Nash Mrs Morrell Instrument Fund G & I Nicholas Paula Phillips John Albright & Susan Lorimer Nigel & Dr Heather Rogers Pamela Pitt Peter Ingram Deborah & Miles Protter Jacinta Sirr Deborah Marsh Ruth Stratton Dr Lance Risbey Margaret & Rod Marston Ruth & Neville Thorn John Rodgers Peggy & Tom Stacy Gavin Toovey & Jaehan Lee Rosalin Sadler in memory of Agatha van der Schaaf Jean & Peter Stokes Joyce Durbin Sadler Sheila Wileman In memory of Robert & Joan Street Sagitte Yom-Tov Fund Ruth E Thorn Anonymous (40) Reto Vogel Alan Whitham Mary Ann Wright Anonymous (4)

30 Our Supporters

Annual Giving We are proud to acknowledge the following Patrons for their generous contribution to WASO in the last twelve months through our Annual Giving program.

Principal Conductor’s Virtuoso Patron Ian & Marilyn Burton Circle Gifts $2,500 - $4,999 Constance Chapman Dr Anne Chester Gifts $20,000+ Dr Fred Affleck AO & Mrs Margaret Affleck Peter & Sue Clifton Janet Holmes à Court AC Bob & Kim Collins Jean Arkley in memory of Neil Archibald & Alan R Dodge AM David & Suzanne Biddles Hon June Craig AM Tom Arkley Kelly & Andrew Diong Dr Glenda Campbell-Evans & Peter & Marjorie Bird Prof Jonathan Carapetis & Rai & Erika Dolinschek Dr Ken Evans* Simon Douglas Patricia New Prof Sue Skull Maree Creighton & Kevin Davis Bev East Joshua & Pamela Pitt* Lorraine Ellard Peter & Jean Stokes* Lesley & Peter Davies Stephen Davis & Linda Savage Don & Marie Forrest Impresario Patron The Giorgetta Charity Fund Brooke Fowles & Dane Etheridge Gifts $10,000 - $19,999 Peter Ingram Dr Andrew Gardner Jim & Freda Irenic George Gavranic Gay & Bob Branchi Roger & Ann Gillbanks Gavin Bunning Eleanor John & Finn Barrett Michael & Dale Kitney Robyn Glindemann Prof Rachel & Jannette Gray Rev Dr John Cardell-Oliver Stephanie & the late John Kobelke Maryllis & Paul Green-Armytage Marc & Nadia Geary* Francis Landels Deidre Greenfeld Gilbert George The late Dorothy Lee Rosalind Lilley Rosemary Grigg & Peter Flanigan Tony & Gwenyth Lennon Mrs Morrell Grussgott Trust Alan Whitham Anne Nolan Richard B Hammond Trish Williams Pamela Platt Pauline & Peter Handford Anonymous (1) Thomas & Diana Potter Dr & Mrs H Hansen-Knarhoi Maestro Patron Melanie & Paul Shannon Robin Harben Gifts $5,000 - $9,999 In memory of Judith Sienkiewicz In memory of Eileen Hayes Michael Snell & Vicki Stewart John & Christine Hedges Prue Ashurst in memory of Brian Stewart Dr Penny Herbert in memory of Eoin Cameron Gail & Tony Sutherland Dunstan Herbert Bill Bloking Michael & Helen Tuite Dallas Hickman & Alex Hickman Ian & Elizabeth Constable Stan & Valerie Vicich Michael Hollingdale Mark Coughlan & Dr Pei-Yin Hsu Andrew & Marie Yuncken Helen Hollingshead Bridget Faye AM Anonymous (1) Dr K and Mr J Hopkins OAM Brian & Romola Haggerty Judith Hugo Warwick Hemsley Principal Patron P & M James Mr & Mrs Hill Gifts $1,000 - $2,499 Roger Jennings in memory of Sue Hovell Caroline Allen & Sandy Dunn Lilian Jennings Dr Patricia Kailis Margaret Atkins Emy & Warren Jones Keith & Gaye Kessell Betty Barker Anthony Kane in memory of Dr Ronny Low & Noelle Beasley Jane Leahy-Kane Dr Emma Richardson Colin and Sarah Beckett Bill Kean Dr Richard & Patricia Lyon Tony & Mary Beeley David Keast & Victoria Mizen Bryant & Louise Macfie Kevin Blake Noelle & Anthony Keller AM Paula & John Phillips Matthew J C Blampey Ulrich & Gloria Kunzmann G. J. Seach Namy Bodinner Irving Lane Richard Tarala & Lyn Beazley AO Cathy Bolt in memory of Tony Bolt Dr Sunny & Ann Lee Gene Tilbrook & Anne Seghezzi K & C Bond Ann Lewis Ros Thomson Dr & Mrs P Breidahl Ian & Judith Lunt Joyce Westrip OAM Jean Brodie-Hall Graham & Muriel Mahony Anonymous (5) Elizabeth & James Brown

31 Our Supporters

Dr Tony Mander & Christopher Tyler Daphne Devenish in memory of Ms Loretta Byrd Maggie Venerys Bruce Devenish Gregg & Sue Marshman Geoff & Sandra Wackett Lawrence Easton Betty & Con Michael AO Adrienne & Max Walters AM Maxine & Bill Farrell AM Tony & Gillian Milne Watering Concepts Dr Jenny & Terry Fay Mrs Carolyn Milton-Smith in Ian Watson Tony & Sue Field loving memory of Emeritus Joy Wearne Susan & Gavin Fielding AM Prof John Milton-Smith Dr Deb Weir Eléonore Fuchter Hon Justice S R Moncrieff Alan Westle in memory of Jean Joan Gagliardi Geoffrey & Valmae Morris Patricia Weston Jennifer & Stephen Gardiner Jane & Jock Morrison Dr Chris & Mrs Vimala Whitaker Isobel Glencross Dr Peter Moss Dai and Anne Williams Allan & Jane Green Lyn Murray Janet Williams Pitsamai & Kevin Green Val & Barry Neubecker Mrs Jean & Mr Ian Williams AO Dr Roland Häehnel Family Nilant Jim & Gill Williams Dr Dana Halmagiu Marianne Nilsson Hilary & Peter Winterton AM J & G Hamory Dr Phillip and Mrs Erlene Noble Fred & Caroline Witting Paul & Barbara Harris Dr Walter Ong & Graeme Marshall Sara Wordsworth Alan Harvey & Dr Paulien de Boer John Overton Anonymous (25) Elizabeth & Eric Heenan Robyn Owens Rosemary Howarth Ron & Philippa Packer Tutti Patron Cynthia Jee Michael & Lesley Page Gifts $500 - $999 Lynn & Michael Jensen Athena Paton Anne Acton Diane Johnson Rosemary Peek Geoff & Joan Airey Joy Kay Charmian Phillips in memory of Kim Anderson & Paul Holmes Frances Keeley Colin Craft Catherine Bagster B M Kent Barry & Dot Price Bernard & Jackie Barnwell Dorothy Kingston Dr Leon Prindiville Shirley Barraclough Nelly Kleyn Tony & Val Ramshaw Berwine Barrett-Lennard John Kusinski & Ann Motherway James & Nicola Ridsdill-Smith Michael & Nadia Berkeley-Hill Trevor & Ane Marie Lacy John & Alison Rigg John & Sue Bird in memory of Martin & Ruth Levit Dr Lance Risbey & Penny Bird Megan Lowe Ms Elizabeth Sachse Davilia Bleckly Mary Ellen in memory of Will Riseborough Margaret Bloch Kerensa Paul Roberts John & Debbie Borshoff Oliver & Sophie Mark Bryan & Jan Rodgers E & G Bourgault in memory of Geoffrey Massey Gerry & Maurice Rousset OAM Betty Sagar Pam Mathews & Dr Mark Brogan Roger Sandercock Diane & Ron Bowyer Jennifer McComb The Hon. Kerry Sanderson, AC Ann Butcher & Dean R Kubank Kathleen McGregor Dr R & J Schwenger Adrienne & Phillip Buttrose Gaye & John McMath Robyn & Ted Sharp Maria Caesar S. McWhirter Glenice Shephard Michelle Candy Patricia Murphy Elisabeth & David Smith R & R Cant Phuong Nguyen Helen Smith OAM Nanette Carnachan G & I Nicholas Laurel & Ross Smith Claire Chambers & Jim & Wendy O’Neill Paul Smith & Denham Harry Dr Andrea Shoebridge Brian & Diana Osler Geoff & Chris Soutar Fred & Angela Chaney Marjan Oxley David Stevenson Tim & Claire Chapman Bev Penny Iain Summerlin Grant & Catherine Chappelle Adrian & Ruth Phelps Ruth Thomas in memory of Jason and Su-Lyn Chong Richard & Sharon Prince Ken & Hazel Rowley Lyn & Harvey Coates AO W. J. Quadrio Clare Thompson & Brad Power Alex Cohen AO & Rosie Reeman Ruth E Thorn Agatha van der Schaaf Leigh Robinson & Deborah Gellé Gavin Toovey & Jaehan Lee Chris Colton Nigel & Dr Heather Rogers Mary Townsend Natalie Cullity Chris & Serge Rtshiladze James & Rosemary Trotter Gina & Neil Davidson Julian & Noreen Sher David Turner & Judith Wilton Jop & Hanneke Delfos The Sherwood Family

32 Our Supporters

In memory of Judith Sienkiewicz Jan Turner Alison Woodman Paul & Margaret Skerritt Margaret Wallace Andrew Yeates Hendrik Smit John & Nita Walshe Chris & Kathy Ziatis Dr Louise Sparrow Doris Walton Anonymous (26) John & Elizabeth Spoor Diana and the late Bill Warnock Peggy & Tom Stacy Anne Watson Friend Eleanor Steinhardt Margaret Whitter Gifts $40 - $499 In Memoriam of Mr Andrew Barbara Wilcox Thank you to all our Friends David Stewart Geoff Wilkinson who support WASO through Ruth Stratton Violette William their gift. Yuko Takahashi Sally Willis Lisa & Andrew Telford Pari Willis-Jones * Orchestral Chair Partnership Loma Toohey Margaret Wood Dr Robert Turnbull

If you are interested in becoming a Patron or learning more about WASO Philanthropy please contact Alecia Benzie, Executive Manager, Philanthropy & Corporate, on 9326 0020 or email [email protected] WASO Philanthropy brochures are available from the WASO Programs and Information Desk located in the main foyer of Perth Concert Hall, or you can visit waso.com.au All donations over $2 are fully tax deductible.

THE LEEUWIN CONCERT SERIES www.leeuwinestate.com.au

33 2019 Corporate Partners

PLATINUM PARTNERS

SYMPHONY PARTNER CONCERTO PARTNERS

OVERTURE PARTNERS

SONATA PARTNERS

KEYNOTE PARTNERS

AQUINAS COLLEGE

ORCHESTRA SUPPORTERS

MEDIA PARTNERS

FUNDING PARTNERS

The West Australian Symphony Orchestra is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

To share in our vision and discuss the many opportunities extended through corporate partnerships please contact Corporate Development on 08 9326 0004.

34 At MSWA, we truly believe in the power of music to enrich the lives of those living with a neurological condition. With that in mind, we are delighted to partner with WASO for the 2019 season.

This unique partnership will not only showcase the benefits of music as medicine for the mind, but also give a whole new audience access to the wonders of classical music. Let the music play.

MSWA0864-A5 WASO Concert Program.indd 1 8/8/19 10:15 am 9 3 2 6 0 0 0 0 waso.com.au Schumann & Asher Fisch performs Schumann’s Strauss rapturous Piano Concerto.

MENDELSSOHN Ruy Blas: Overture SCHUMANN Piano Concerto STRAUSS, R. Don Juan STRAUSS, R. Death and Transfiguration Nikolaj Szeps-Znaider conductor Asher Fisch piano

Friday 30 & Saturday 31 August 7.30pm Perth Concert Hall Tickets from $33*

Asher Fisch appears courtesy of Wesfarmers Arts. *A one-off handling fee of $6.60 per transaction applies to all web, phone and mail bookings. A fee of $3.85 applies to over the counter bookings. An additional fee of $4.40 per transaction applies for delivery via Registered Post.