Koorie Perspectives in Curriculum Bulletin: January - February 2021
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Featuring the Brandenburg Choir Noël! Noël! Featuring the Brandenburg Choir
Noël! Noël! Featuring the Brandenburg Choir Noël! Noël! Featuring the Brandenburg Choir Morgan Balfour (San Francisco) soprano 2019 Australian Brandenburg Orchestra Brandenburg Choir SYDNEY Matthew Manchester Conductor City Recital Hall Paul Dyer AO Artistic Director, Conductor Saturday 14 December 5:00PM Saturday 14 December 7:30PM PROGRAM Wednesday 18 December 5:00PM Mendelssohn Hark! The Herald Angels Sing Wednesday 18 December 7:30PM Anonymous Sonata à 9 Gjeilo Prelude MELBOURNE Eccard Ich steh an deiner Krippen hier Melbourne Recital Centre Crüger Im finstern Stall, o Wunder groβ Saturday 7 December 5:00PM Palestrina ‘Kyrie’ from Missa Gabriel Archangelus Saturday 7 December 7:30PM Arbeau Ding Dong! Merrily on High Handel ‘Rejoice greatly, O daughter of Zion’ NEWTOWN from Messiah, HWV 56 Friday 6 December 7:00PM Head The Little Road to Bethlehem Gjeilo The Ground PARRAMATTA Tuesday 10 December 7:30PM Vivaldi La Folia, RV 63 Handel Eternal source of light divine, HWV 74 MOSMAN Traditional Deck the Hall Wednesday 11 December 7:00PM Traditional The Coventry Carol WAHROONGA Traditional O Little Town of Bethlehem Thursday 12 December 7:00PM Traditional God Rest Ye Merry, Gentlemen Palmer A Sparkling Christmas WOOLLAHRA Adam O Holy Night Monday 16 December 7:00PM Gruber Stille Nacht Anonymous O Come, All Ye Faithful CHAIRMAN’S 11 Proudly supporting our guest artists. Concert duration is approximately 75 minutes without an interval. Please note concert duration is approximate only and subject to change. We kindly request that you switch off all electronic devices prior to the performance. This concert will be broadcast on ABC Classic on 21 December at 8:00PM NOËL! NOËL! 1 Biography From our Principal Partner: Macquarie Group Paul Dyer Imagination & Connection Paul Dyer is one of Australia’s leading specialists On behalf of Macquarie Group, it is my great pleasure to in period performance. -
Darkemu-Program.Pdf
1 Bringing the connection to the arts “Broadcast Australia is proud to partner with one of Australia’s most recognised and iconic performing arts companies, Bangarra Dance Theatre. We are committed to supporting the Bangarra community on their journey to create inspiring experiences that change society and bring cultures together. The strength of our partnership is defined by our shared passion of Photo: Daniel Boud Photo: SYDNEY | Sydney Opera House, 14 June – 14 July connecting people across Australia’s CANBERRA | Canberra Theatre Centre, 26 – 28 July vast landscape in metropolitan, PERTH | State Theatre Centre of WA, 2 – 5 August regional and remote communities.” BRISBANE | QPAC, 24 August – 1 September PETER LAMBOURNE MELBOURNE | Arts Centre Melbourne, 6 – 15 September CEO, BROADCAST AUSTRALIA broadcastaustralia.com.au Led by Artistic Director Stephen Page, we are Bangarra’s annual program includes a national in our 29th year, but our dance technique is tour of a world premiere work, performed in forged from more than 65,000 years of culture, Australia’s most iconic venues; a regional tour embodied with contemporary movement. The allowing audiences outside of capital cities company’s dancers are dynamic artists who the opportunity to experience Bangarra; and represent the pinnacle of Australian dance. an international tour to maintain our global WE ARE BANGARRA Each has a proud Aboriginal and/or Torres reputation for excellence. Strait Islander background, from various BANGARRA DANCE THEATRE IS AN ABORIGINAL Complementing Bangarra’s touring roster are locations across the country. AND TORRES STRAIT ISLANDER ORGANISATION AND ONE OF education programs, workshops and special AUSTRALIA’S LEADING PERFORMING ARTS COMPANIES, WIDELY Our relationships with Aboriginal and Torres performances and projects, planting the seeds for ACCLAIMED NATIONALLY AND AROUND THE WORLD FOR OUR Strait Islander communities are the heart of the next generation of performers and storytellers. -
SONG for NAIDOC Thursday 7 July 7Pm, Salon Presented by Melbourne Recital Centre
Short Black Opera SONG FOR NAIDOC Thursday 7 July 7pm, Salon Presented by Melbourne Recital Centre ARTISTS ARTISTS Deborah Cheetham AO Edward Bryant Shauntai Batzke Baden Hitchcock Zoy Frangos Sermsah Bin Saad Michael Lapiña John Wayne Parsons Jessica Hitchcock with Toni Lalich, piano Minjaara Atkinson PROGRAM PROGRAM LÉO DELIBES KATE MILLER-HEIDKE, IAIN GRANDAGE & ‘Flower Duet’ from Lakmé LALLY KATZ Deborah Cheetham AO and Shauntai Batzke ‘Flinch’s Dream’ from The Rabbits Jessica Hitchcock BENNY ANDERSSON, BJÖRN ULVAEUS & TIM RICE SIR ANDREW LLOYD WEBBER ‘Anthem’ from Chess ‘Til I Hear You Sing’ from Love Never Dies Zoy Frangos Zoy Frangos GIACOMO PUCCINI DEBORAH CHEETHAM AO ‘Chi il bel sogno’ from La Rondine Excerpts from Pecan Summer: Deborah Cheetham AO ‘In 1964’ ‘Che gelida manina’ from La Boheme Shauntai Batzke & Zoy Frangos Michael Lapina ‘The Meeting Scene’ ‘Si, mi chiamano Mimi’ from La Boheme Short Black Opera Ensemble Shauntai Batzke ‘Biami Creation Story’ ‘O soave fanciulla’ from La Boheme John Wayne Parsons and Jessica Hitchcock Shauntai Batzke and Michael Lapina ‘The Exodus’ FRANCESCO CILEA Short Black Opera Ensemble ‘Io son lumille ancella’ from Adriana Lecouvreur Deborah Cheetham AO ABOUT THE MUSIC Pecan Summer Australia’s first Indigenous opera, written by Deborah Cheetham AO, the opera is based on the events of the 1939 Cummeragunja walk-off. On February 3rd, 1939, hundreds of Yorta Yorta chose to leave their homes on Cummeragunja mission, located on the banks of the Murray River in New South Wales, in protest at harsh conditions and treatment by the mission’s manager. Many opted to start new lives over the border in Victoria. -
Impact Report 2019 Impact Report
2019 Impact Report 2019 Impact Report 1 Sydney Symphony Orchestra 2019 Impact Report “ Simone Young and the Sydney Symphony Orchestra’s outstanding interpretation captured its distinctive structure and imaginative folkloric atmosphere. The sumptuous string sonorities, evocative woodwind calls and polished brass chords highlighted the young Mahler’s distinctive orchestral sound-world.” The Australian, December 2019 Mahler’s Das klagende Lied with (L–R) Brett Weymark, Simone Young, Andrew Collis, Steve Davislim, Eleanor Lyons and Michaela Schuster. (Sydney Opera House, December 2019) Photo: Jay Patel Sydney Symphony Orchestra 2019 Impact Report Table of Contents 2019 at a Glance 06 Critical Acclaim 08 Chair’s Report 10 CEO’s Report 12 2019 Artistic Highlights 14 The Orchestra 18 Farewelling David Robertson 20 Welcome, Simone Young 22 50 Fanfares 24 Sydney Symphony Orchestra Fellowship 28 Building Audiences for Orchestral Music 30 Serving Our State 34 Acknowledging Your Support 38 Business Performance 40 2019 Annual Fund Donors 42 Sponsor Salute 46 Sydney Symphony Under the Stars. (Parramatta Park, January 2019) Photo: Victor Frankowski 4 5 Sydney Symphony Orchestra 2019 Impact Report 2019 at a Glance 146 Schools participated in Sydney Symphony Orchestra education programs 33,000 Students and Teachers 19,700 engaged in Sydney Symphony Students 234 Orchestra education programs attended Sydney Symphony $19.5 performances Orchestra concerts 64% in Australia of revenue Million self-generated in box office revenue 3,100 Hours of livestream concerts -
ANNUAL REPORT Contents
SEASON 2019 ANNUAL REPORT Contents Governor's Message 03 Chairman’s Report 04 Managing Director’s Report 0 5 Chief Conductor's Report 06 2019 Highlights 08 Vision, Mission and Values 10 Meet the Orchestra 12 Meet the Chorus 13 2019 Artistic Family 14 Performance Highlights 16 MSO in the Media 20 Contemporary Australia 24 Empowering our Community 30 Celebrating First Nations 36 Reecting our Diversity 40 Discovering the Joy of Music 46 Creative Alliances 50 MSO on the Road 54 Beyond the Concert Hall 58 Our Donors 60 Our Partners 64 Our Management 66 Coporate Governance and Our Board 70 Financial Report 81 Governor’s Message 2019 Annual Report Annual 2019 MESSAGE FOR THE MELBOURNE SYMPHONY ORCHESTRA 2019 ANNUAL REPORT The Melbourne Symphony Orchestra represents the very best of Australian The Melbournemusical Symphonytalent both Orchestrahere and abroadrepresents and, asthe Patron, very bestI am of proud Australian of its musical talent bothachievements here and abroad during and2019., as Patron, I am proud of its achievements during 2019. The Orchestra welcomed a total global audience of more than 5 million The Orchestrapeople welcomedand staged morea total than global 170 performances, audience of includingmore than 20 free5 million concerts. people and A highlight was the celebration of 90 years of free outdoor concerts and Her Excellency, the Honourable Lindastaged Dessau more60 years than in 170 the Sidneyperformances, Myer Music including Bowl: a remarkable20 free concerts. gift to the A peoplehighlight of was the AC, Governor of Victoria and MSO PatroncelebrationVictoria. of 90 years of free outdoor concerts and 60 years in the Sidney Myer Music Bowl: a remarkableThe 2019 year gift also to thesaw peoplethe MSO of tour Victoria to the. -
Regent Theatre Ulumbarra Theatre, Bendigo
melbourne opera Part One of e Ring of the Nibelung WAGNER’S Regent Theatre Ulumbarra Theatre, Bendigo Principal Sponsor: Henkell Brothers Investment Managers Sponsors: Richard Wagner Society (VIC) • Wagner Society (nsw) Dr Alastair Jackson AM • Lady Potter AC CMRI • Angior Family Foundation Robert Salzer Foundation • Dr Douglas & Mrs Monica Mitchell • Roy Morgan Restart Investment to Sustain and Expand (RISE) Fund melbourneopera.com Classic bistro wine – ethereal, aromatic, textural, sophisticated and so easy to pair with food. They’re wines with poise and charm. Enjoy with friends over a few plates of tapas. debortoli.com.au /DeBortoliWines melbourne opera WAGNER’S COMPOSER & LIBRETTIST RICHARD WAGNER First performed at Munich National Theatre, Munich, Germany on 22nd September 1869. Wotan BASS Eddie Muliaumaseali’i Alberich BARITONE Simon Meadows Loge TENOR James Egglestone Fricka MEZZO-SOPRANO Sarah Sweeting Freia SOPRANO Lee Abrahmsen Froh TENOR Jason Wasley Donner BASS-BARITONE Darcy Carroll Erda MEZZO-SOPRANO Roxane Hislop Mime TENOR Michael Lapina Fasolt BASS Adrian Tamburini Fafner BASS Steven Gallop Woglinde SOPRANO Rebecca Rashleigh Wellgunde SOPRANO Louise Keast Flosshilde MEZZO-SOPRANO Karen Van Spall Conductors Anthony Negus, David Kram FEB 5, 21 Director Suzanne Chaundy Head of Music Raymond Lawrence Set Design Andrew Bailey Video Designer Tobias Edwards Lighting Designer Rob Sowinski Costume Designer Harriet Oxley Set Build & Construction Manager Greg Carroll German Language Diction Coach Carmen Jakobi Company Manager Robbie McPhee Producer Greg Hocking AM MELBOURNE OPERA ORCHESTRA The performance lasts approximately 2 hours 25 minutes with no interval. Principal Sponsor: Henkell Brothers Investment Managers Sponsors: Dr Alastair Jackson AM • Lady Potter AC CMRI • Angior Family Foundation Robert Salzer Foundation • Dr Douglas & Mrs Monica Mitchell • Roy Morgan Restart Investment to Sustain and The role of Loge, performed by James Egglestone, is proudly supported by Expland (RISE) Fund – an Australian the Richard Wagner Society of Victoria. -
Annual Report Sydney Opera House Financial Year 2019-20
Annual Report Sydney Opera House Financial Year 2019-20 2019-20 03 The Sydney Opera House stands on Tubowgule, Gadigal country. We acknowledge the Gadigal, the traditional custodians of this place, also known as Bennelong Point. First Nations readers are advised that this document may contain the names and images of Aboriginal and Torres Strait Islander people who are now deceased. Sydney Opera House. Photo by Hamilton Lund. Front Cover: A single ghost light in the Joan Sutherland Theatre during closure (see page 52). Photo by Daniel Boud. Contents 05 About Us Financials & Reporting Who We Are 08 Our History 12 Financial Overview 100 Vision, Mission and Values 14 Financial Statements 104 Year at a Glance 16 Appendix 160 Message from the Chairman 18 Message from the CEO 20 2019-2020: Context 22 Awards 27 Acknowledgements & Contacts The Year’s Our Partners 190 Activity Our Donors 191 Contact Information 204 Trade Marks 206 Experiences 30 Index 208 Performing Arts 33 Precinct Experiences 55 The Building 60 Renewal 61 Operations & Maintenance 63 Security 64 Heritage 65 People 66 Team and Capability 67 Supporters 73 Inspiring Positive Change 76 Reconciliation Action Plan 78 Sustainability 80 Access 81 Business Excellence 82 Organisation Chart 86 Executive Team 87 Corporate Governance 90 Joan Sutherland Theatre foyers during closure. Photo by Daniel Boud. About Us 07 Sydney Opera House. Photo by by Daria Shevtsova. by by Photo Opera House. Sydney About Us 09 Who We Are The Sydney Opera House occupies The coronavirus pandemic has highlighted the value of the Opera House’s online presence and programming a unique place in the cultural to our artists and communities, and increased the “It stands by landscape. -
03 List of Members
SENIOR OFFICE BEARERS VISITOR His Excellency The Governor of Victoria, Professor David de Krester, AO MBBS Melb. MD Monash. FRACP FAA FTSE. CHANCELLOR The Hon Justice Alex Chernov, BCom Melb. LLB(Hons) Melb.Appointe d to Council 1 January 1992. Elected DeputyChancello r 8Marc h2004 .Electe dChancello r 10 January2009 . DEPUTY CHANCELLORS Ms Rosa Storelli, Bed Ade CAE GradDipStudWelf Hawthorn MEducStud Monash MACE FACEA AFA1M. Appointed 1 January 2001. Re-appointed 1 January 2005. Elected DeputyChancello r1 January2007 ;re-electe d 1 January2009 . TheHon .Justic eSusa nCrenna n ACB AMel bLL B SydPostGradDi pMelb . Elected June 2009. VICE-CHANCELLOR AND PRINCIPAL Professor Glyn Conrad Davis, AC BA NSWPh DANU .Appointe d 10 January2005 . DEPUTY VICE-CHANCELLOR / PROVOST Professor John Dewar BCL MA Oxon. PhD Griff. Appointed Deputy Vice-Chancellor (Global Relations) 6 April 2009.Appointe d Provost 28 September2009 . DEPUTY VICE-CHANCELLORS Professor Peter David Rathjen BSc Hons Adel DPhil Oxon Appointed Deputy Vice-Chancellor (Research) 1 May 2008. Professor Susan Leigh Elliott, MB BS Melb. MD Melb. FRACP. Appointed Acting Provost 15 July 2009. Appointed Deputy Vice-Chancellor (Global Engagement) 28 September 2009. Professor Warren Arthur Bebbington, MA Queens (NY) MPhil MMus PhD CUNY. Appointed Pro-Vice-Chancellor (University Relations) 1Januar y 2006. Appointed Pro-Vice-Chancellor (Global Relations) 1Jun e 2008. Appointed Deputy Vice-Chancellor (University Affairs) 28 September 2009. PRO-VICE-CHANCELLORS Professor Geoffrey Wayne Stevens, BE RM1TPh DMelb . FIChemE FAusIMM FTSE CEng. Appointed 1 January2007 . Professor Ron Slocombe, MVSc PhD Mich. ACVP. Appointed 1 January 2009. PRO-VICE-CHANCELLOR (TEACHING AND LEARNING) Philippa Eleanor Pattison, BSc Melb. -
The Australian Music Centre Website
A select guide to Australian music theatre In Repertoire 2 I Dear Reader This guide takes you on a journey through contemporary Australian music theatre works that are currently available for touring. These and additional works in repertoire can all be found in the data base on pages 24 - 25 with contact addresses and other information. A few significant works no longer in repertoire are mentioned in the overview essay on pages 22-23. Many more are documented in Arias, Recent Australian Music Theatre (Red House Editions, 1997). A sample listing of works in progress is reported on page 26. On the same page a basic set of references can be found. A longer list is available on the Australian Music Centre website http://www.amcoz.com.au/amc The Editor Editor Keith Gallasch Assistant Editors Kirsten Krauth, Virginia Baxter Design i2i design, Sydney Cover photographs Left Arena Theatre Company, Eat Your Young, photo Jeff Busby Right Top Melbourne International Festival of the Arts, The Ghost Wife, photo Jeff Busby Right Bottom Queensland Theatre Company, The Sunshine Club, photo Rob MacColl All other photography credits page 27 Produced by RealTime for the Australia Council, the Federal Government’s arts funding and advisory body Australia Council PO Box 788 Strawberry Hills NSW Australia 2012 61 2 9215 9000 fax 61 2 9215 9111 [email protected] http://www.ozco.gov.au RealTime PO Box A2246 Sydney South NSW, Australia 1235 61 2 9283 2723 fax 61 2 9283 2724 [email protected] http://www.rtimearts.com.au/~opencity/ February 2000 ISBN 0 642 47222 X With the assistance of the Australian Music Centre 3 music theatre opera music+installation+performance Introduction The remarkable growth of Australian music theatre as we enter the new millennium appears to be exponential, manifesting itself in many different and surprising ways - as chamber opera, as the musical, as installation or site specific performance, and as pervasive musical scores and sound design in an increasing number of plays. -
Towards a Cultural Policy for Great Events P
B. García, Towards a Cultural Policy for Great Events p. 148 e) Government joint initiatives The previous points indicate how, up to year 2000, the approach of most Australian government bodies to support the cultural programme was rather vague and limited. To explain this, scholars such as Louw and Turner have pointed out at the conflict that took place in terms of ‘ownership’ of the Games (2000, pers. comm., 25 Aug). The Games had been awarded to the city of Sydney, so they were designed to be the responsibility of the state of NSW, and the federal government was to have only a secondary role in terms of decision-making and resource allowances. According to Louw and Turner, this led not only to a lack of coordination between state and federal bodies, but also to a certain sense of competition among different states which also wanted to benefit from the Games and had priorities and interests differing from the ones in Sydney and NSW. On some occasions, this led to a defensive posture on the part of SOCOG or NSW. This is best exemplified in their relationship with Queensland, a state very proactive and interested in taking part of the Olympic project which was not allowed a degree of participation as high as it would have expected. The low contributions of federal arts funding during the first three years of the Olympiad could also be understood as a measure to avoid conflicts among states. However, in preparation for the Olympic period, local, state and federal bodies joined their efforts in a common initiative that was to be one of the greatest catalysts for the promotion of the OAF. -
Indigenous Perspective 'Tuckerbag'
INDIGENOUS PERSPECTIVE ‘TUCKERBAG’ A COMPREHENSIVE AUSTRALIAN CURRICULUM RESOURCE COMPANION www.koorieheritagetrust.com Background Together with Koorie Heritage Trust, the Hawthorn Football Club are proud to provide a resource document for those wanting to build on their knowledge of Indigenous Australia. The following resource has been created to ‘Protect, Preserve and Promote’ Aboriginal culture from South Eastern Australia. Therefore, a significant number of these resources are from this area. Contents Page GENERAL 4 PROTOCOLS/ACKNOWLEDGEMENTS 5 LANGUAGES/PLACE NAMES/MAPS/FLAGS ABORIGINAL CULTURAL ORGANISATIONS VICTORIA MUSEUM AND LIBRARY RESOURCES 6 MEDIA INDIGENOUS MARCHES EMPOWERMENT/ HUMAN RIGHTS 7 ABORIGINAL LEADERS 1967 REFERENDUM CASE STUDIES-:BUDJ BIM/ LAKE CONDAH CORANDERRK 9 CROSS CURRICULUM LINKS THE NT INTERVENTION 10 STOLEN GENERATIONS ENGLISH/HISTORY 11 MATHEMATICS SCIENCE HEALTH AND PHYSICAL EDUCATION 12 THE ARTS/MUSIC/ART/PERFORMANCE KOORIE CREATION STORIES 13 INITIATION SOCIAL ORGANISATION WALERT GURN (Possum Skin Cloak) BUSH MEDICINE 14 ASTRONOMY ABORIGINAL INVENTIONS TECHNOLOGY TRADE INDIGENOUS AUSTRALIANS AT WAR 15 POLICIES WRITTEN TEXTS 16 NEWSPAPERS AND JOURNALS CD and DVD list ACKNOWLEDGMENTS 17 GENERAL ACARA Australian Curriculum, Assessment and https://www.acara.edu.au/curriculum Reporting Authority http://victoriancurriculum.vcaa.vic.edu.au/static/docs/Learning%20about%20Abori ginal%20and%20Torres%20Strait%20Islander%20Histories%20and%20Cultures.pdf Victorian Aboriginal Education Association Inc. www.vaeai.org.au -
Reconciliation Made Sound: Madjitil Moorna's Experience of Harmony
202 © Julie Rickwood, Context 37 (202): 93–06. Reconciliation Made Sound: Madjitil Moorna’s Experience of Harmony and Healing * Julie Rickwood Music both articulates and offers the immediate experience of collective identity … In responding to a song, to a sound, we are drawn into affective and emotional alliances … Music is especially important for our sense of ourselves because of its unique emotional intensity—we absorb songs into our own lives and rhythm into our own bodies … Identity is always an ideal, what we would like to be, not what we are … What makes music special is that musical identity is both fantastic—idealizing not just oneself but also the social world one inhabits—and real: it is enacted in activity. In this quote, musicologist Simon Frith captures the link between music and identity, drawing attention to music’s ability to craft affective and emotional alliances. He does not, * An earlier version of this paper was presented at ‘Power of Music’: The 34th National Conference of the Musicological Society of Australia and the 2nd International Conference on Music and Emotion, 30 Nov.– 3 Dec. 2011, The University of Western Australia. It was included in a Panel Roundtable entitled ‘Singing Sorry: Performing Emotion and Reconciliation in Kerry Fletcher’s Sorry Song’ that was chaired by my colleague, Katelyn Barney from the University of Queensland. The Sorry Song was performed by Fletcher and Madjitil Moorna as part of the roundtable. Fletcher and members of Madjitil Moorna spoke to the song in their contribution to the roundtable. Barney also presented a short paper. A more detailed discussion of those contributions and the roundtable itself will be included in my doctoral thesis (forthcoming).