NIGHT AND NOW 2021 CONCERT SEASON

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For more information visit omegaensemble.com.au/donate 20 Feb - 26 Mar 2021 NIGHT AND NOW Concertos, Quintets and World Premieres

Gordon Kerry Newcastle

Clarinet Quintet Sat 20 Feb 2021 Elena Kats-Chernin 7:00PM Newcastle City Hall Flute Quintet, 'Night and Now' Presented as part of * World Premiere New Annual Festival Frédéric Chopin Penrith

Piano Concerto No. 1 in E minor, Op. 11 Fri 26 Feb 2021 (Arrangement for Piano Quintet) 7:30PM Joan Sutherland This performance will last approximately Performing Arts Centre 90 minutes without interval Sydney

Sat 27 Feb 2021 2:30PM & 6:30PM Utzon Room, Sydney Opera House Melbourne

Fri 26 Mar 2021 2:30PM & 7:00PM Primrose Potter Salon, Acknowledgment of Country Melbourne Recital Centre

Omega Ensemble acknowledges the traditional custodians of the many lands on which we perform and work. We pay respect to the Elders both past and present, and extend that respect to all Aboriginal and Torres Strait Islander peoples.

Details correct at time of printing. All performance times are approximate. Omega Ensemble reserves the right to alter scheduled artists and programs as necessary. Cover Photo: Keith Saunders 3 WELCOME

Welcome to our 2021 Concert Season.

Frédéric Chopin once wrote: "Sometimes I can only groan, suffer, and pour out my despair at the piano!"

Over 385 days since our last public performance, the music in this program is not only a celebration of our triumphant return to the concert stage, but also a pouring out of our own musical hearts. It's true that the past year has been the most challenging period in our Ensemble's history, and we can't overexpress how grateful we are to be back on stage performing for you (a living, breathing audience!) after so long.

It is equally special to mark our return to the concert hall with music by two of Australia's most celebrated composers, and Elena Kats-Chernin. It is an honour to add these important new works and musical voices to our Ensemble's ever-growing commissioning profile.

I truly hope this performance is as fulfilling a musical experience for you as it will be for us. We thank you for your continued support and I can't wait to share more news of our 2021 Season with you very soon.

David Rowden Artistic Director & Founder 4 MUSIC NOTES

Gordon Kerry (1961— ) Clarinet Quintet

Composed in 2019. Commissioned by Omega Ensemble with the generous support of Kim Williams AM. Digital world premiere at Sydney Opera House on 12 September 2020 followed by the first public performance at Nanda\Hobbs Gallery, Sydney on 18 October 2020.

I. Grave – II. Andantino con moto – meno mosso Gordon Kerry III. Allegro – IV. Sostenuto – moderato – V. Grave

Gordon Kerry lives on a hill in north-eastern Victoria, where he composes and writes about music. The 2021 season sees several new works for ensemble, orchestra and choir.

Of his Clarinet Quintet, the composer writes:

One can only hope that to compose a clarinet quintet isn’t tempting fate, given that the greatest of them – Mozart’s and Brahms’ – are late, if not last works. Brahms had essentially decided to stop composing and set his affairs in order at around my current age, and only an unexpected experience of hearing Richard Mühlfeld’s clarinet-playing spurred him to write those late masterpieces for the instrument.

It is always a pleasure to write for specific performers, and I hope this work adequately celebrates David Rowden’s lyricism and technical agility, as well as the talents of those fine musicians who have formed Omega Ensemble. In addition, I am grateful for the support of Kim Williams – himself both clarinettist and composer, and an exemplary patron of the arts.

5 6 The piece is in five linked movements: the opening Grave poses a number of questions, before a kind of cadenza for clarinet set against spacious chords. The Andantino that alternates between fast-moving shimmer and sparser counterpoint, and moves via a second cadenza to the Allegro. This contrasts passages of florid writing with broader melodic sections, before raucous unmusical sounds lead to the Sostenuto section. The music here is much gentler at first, becoming more agitated and collapsing in a ruck of string sounds. The finale section is marked Grave and is often very slow, picking up some threads from the opening, but adding layers of ever more elaborate texture.

Elena Kats-Chernin (1957— ) Flute Quintet, 'Night and Now'

Based on Flute Concerto, premiered by Sally Walker and Darwin Symphony Orchestra in 2015. Adapted for flute quintet by Elena Kats- Chernin and Elizabeth Jigalin, and commissioned by Omega Ensemble with the generous support of the Stanley Family.

I. Solemn – piu mosso – tranquillo II. Allegro moderato e molto ritmico – slower, expansive III. Cadenza – Rondo

Within Elena Kats-Chernin’s prodigious output are several recurring preoccupations. There is her interest in fairy tale and myth: one of her finest orchestral works is entitled, simply, Mythic and specific tales inform various other works including her celebrated ballet, Wild Swans and its satellite pieces, inspired by Hans Christian Andersen’s story. At the same time, Kats-Chernin’s music often recalls and evokes Russia; she was born in Tashkent and, as she says, until she was 17 years old, the old Soviet Union ‘was everything that I knew’.

These two preoccupations came together in Night and Now, in its first iteration as a flute concerto written for flautist Sally Walker in 2015, and now adapted for flute quintet for Walker and Omega Ensemble.

The first of its three movements, as Kats-Chernin notes:

... is based on two imagined Russian fairy tales; one

Opposite Page: Elena Kats-Chernin. Photo: Bruria Hammer 7 Above (L-R): Composer Elena taking place deep in the woods – always a place of Kats-Chernin and flautist Sally Walker. Photo: Steven foreboding and unease (for this writer), but also promise Godbee and adventure and transformation. The other is in a silvery castle, impressively elaborate and bejewelled. A place of immersive succour and plenty. Two very different ‘nights’.

The woods are rendered in simple textures, as the strings provide sustained harmonic support for the flutes often folk-like phrases. The castle, perhaps, is evoked by more active music, with ornate lines for the flute and emphatic rhythms that final reach a state of tranquillity.

By way of complete contrast, the Russia that haunts the second movement is more recent and immediate one, as Kats-Chernin explains:

One of my overriding memories of childhood in Russia is of lining up for hours and hours for one loaf of bread or piece of cheese, and the perseverance and sometimes ultimate disappointment that had to be faced when food just ran out. This was absolutely distinct from the wonder and open-mouthed joy my family would feel when we were able

8 to get (greatly prized) oranges or strawberries. What a joy that was! Both of these extremes, joy and disappointment, are embedded in this movement.

So, the movement consists of two highly contrasting musical manners: the first is a frenetic A minor Allegro, with an angular theme given out first by the flute and elaborated in insistent counterpoint by the whole ensemble; ‘joy’ is embodied in what Kats-Chernin described as ‘a more romantic, starry-eyed melody in a completely different key (D flat major)’ marked ‘slower, expansive’.

The final movement begins with a cadenza, in which the flute develops material distantly related to the rising arpeggios and falling scales of the first movement, and the strongly profiled rhythmic motifs of the second. Its final trills imperceptibly become obsessive triplets, leading to the main body of the movement, a tarantella in C minor. This ever more energetic dance – associated with the southern Italian city of Taranto – has attracted its own myth, which Kats-Chernin found attractive:

I like the story of the Tarantella evolving from the agitated dance of the victim of a tarantula bite. The bitten would attempt to draw out the spider poison through ever more vigorous and indefatigable movements, gestures and signs. Most Tarantellas are in 6/8 but mine is in 12/8. Perhaps there were two spiders?

Frédéric Chopin (1810–1849) Piano Concerto No.1 in E minor, Op.11 (for Piano Quintet)

Composed in 1830.

I. Allegro maestoso II. Romanze: Larghetto III. Rondo: Vivace

Frédéric Chopin, detail of a photo by L.A. Bisson, 1849, Chopin knew from very early in adult life that the career of piano taken in the home of his virtuoso was not for him. According to his friend, colleague and rival Parisian publisher. , Chopin was ‘repelled by the furious and frenzied face of Romanticism’. Where Liszt’s career traces a magnificent arc from prodigy through virtuoso to distinguished composer of large-scale works, Chopin’s seems a story of withdrawal from the concert

9 "It should be like dreaming in beautiful springtime – by moonlight."

platform and even from metropolitan society. But the cliché of him retreating into miniatures is inaccurate. Not only do the solo works in the genres that he made his own, such as the nocturne, ballade, polonaise or mazurka, often take on a substantial scale and an amazing intricacy, Chopin remained interested enough in ‘classical’ forms to complete his Third Sonata as late as 1844.

It is true, though, that after he left Poland in 1830, his piano music became ever more subtle – more suited to the salon than the concert hall – and that he wrote virtually no music involving any other instruments. The pieces for piano and orchestra, including the two concertos, were, with one exception, the work of the late- teenaged composer in his native Warsaw.

There are three major works for piano and orchestra that predate the concertos. In 1828 Chopin composed the Variations on Polish National Themes, Op.13 and the Rondo à la Krakowiak, Op.14 – the latter based on a popular dance form from the Kraków region. Both, therefore, reflect Chopin’s early interest in Polish demotic music, which had been cultivated by his composition teacher, Józef Elsner and been hailed by critics as expressing ‘the Polish soul’. In the previous year Chopin had composed his Variations on ‘Là ci darem la mano’ from Mozart’s Don Giovanni, the work that prompted Robert Schumann’s famous review, with its conclusion: ‘Hats off, Gentlemen. A genius!’

Chopin’s innovation, in his solo music especially, was to introduce a polyphonic complexity to this simple texture without destroying its effect. He famously criticised the music of Beethoven, saying it is occasionally ‘obscure and seems lacking in unity… the reason is that he turns his back on eternal principles; Mozart never’. It would be wrong, however, to imagine that in writing his two concertos, Chopin used Mozart’s as a model. Charles Rosen has argued that ‘as a student, Chopin knew the solo works of Mozart, but probably none

10 Above: Chopin’s heart is of the concertos: his idea of the concerto form came from Johann paraded past an honor guard in Poland in 1945. Credit: The Nepomuk Hummel, Frédéric Kalkbrenner, and John Field’, and it was Fryderyk Chopin Institute, to Kalkbrenner that he dedicated his Piano Concerto in E minor. Warsaw The Concerto opens with a movement in triple metre that anticipates some of Schumann’s symphonic writing and which builds to a climactic fanfare; after a quieter reprise of the opening the piano, again, enters with an arresting gesture.

At the time of composition, Chopin was infatuated with singer Konstancja Gladowska, and this may also lie behind the slow movement, marked Romanze: larghetto, of the concerto. Writing to his friend Tytus Woyciechowski, Chopin explained that this movement:

... is not supposed to be strong, but romantic, soft, calm, melancholy; it should give the impression of gazing at a spot which brings back a thousand memories. It should be like dreaming in beautiful springtime – by moonlight.

This would be one of the few times Chopin indulged in any such explication of his music. Nonetheless, that the concertos continue his assertion of Polishness, in the face of growing tensions with

11 Russia, is clear in the finales. In the finale, the ensemble solemnly introduces the piano playing a sparkling 2/4 krakowiak that it elaborates in ever more brilliant ways throughout.

Chopin ‘premiered’ both concertos in concerts in private houses, in both cases accompanied by a small scratch orchestra; there are also versions of the works as two-piano or piano and string quartet scores. The first public performances were triumphs but soon Chopin was doubting his ability to perform in large halls. He wrote to Liszt that he was ‘not fit to give concerts; the crowd intimidates me and I feel asphyxiated by its eager breath, paralysed by its inquisitive stare, silenced by its alien faces’.

Sadly there exists no autograph score of the Piano Concerto in E minor but both concertos were published during Chopin’s lifetime so we can assume he took responsibility for the scoring. This has been generally regarded as less engaging than the orchestration of the earlier works with orchestra, and has tempted numerous people to ‘improve’ the scores – and to make the piano parts more ‘Lisztian’. On the basis of one such, George Bernard Shaw noted that the early death of the arranger, pianist Carl Tausig, was ‘like that of Ananias, the result of supernatural interposition for the extermination of a sacrilegious meddler.’ In fact, however, the concerto as a genre was becoming increasingly unfashionable, as attention was focused on solo virtuoso recitals and the intimate miniatures of Romanticism. Maybe this was part of Chopin’s motivation in sanctioning chamber versions of his concertos.

Charles Rosen has pointed out:

To accompany another pianist with a reduction for a second piano of the orchestral score of one of these concertos is an interesting experience. When I did this once, I felt as if I were playing the accompanying continuo or figured-bass part for organ or harpsichord of a Bach cantata. Chopin made a lifelong study of Bach, and the results are perceptible in all his work.

This goes to the heart of Chopin’s music: his Romanticism was never about the illusion of unmediated spontaneity at the expense of formal coherence. Even his ‘miniatures’ are the product of rigorous design, which he had honed in these larger scale pieces.

All notes by Gordon Kerry

12 FEATURED ARTISTS

David Rowden Sally Walker Clemens Leske

David Rowden Clarinet / Artistic Director Omega Ensemble, Shanghai String Quartet, Acacia String Quartet, Halcyon. Premieres Orchestras Sydney Symphony Orchestra, Elena Kats-Chernin: 'Night and Now' Flute Australian Opera and Ballet Orchestra, Concerto, : Once Upon a Time The Queensland Orchestra, New Zealand there were Three Brothers…, Coco Nelegatti: Symphony Orchestra, Seoul Philharmonic Tres Temas Argentinas. Selected Recordings Orchestra, Adelaide Symphony Orchestra. French Miniatures (Chartreuse), Hemispheres Ensembles Omega Ensemble, Australia (Chartreuse), Kaleidoscope (Chartreuse), Ensemble, Sydney Soloists. Premieres Waves II (Halcyon), ACO: Mozart’s Last George Palmer: Clarinet Concerto, : Symphonies (ABC Classics), ACO: Heroines Clarinet Quintet, Nico Muhly: Unexpected (ABC Classics), Women of Note (ABC Classics), News, Gordon Kerry: Clarinet Quintet. Monday to Friday (Birdland). Awards/Study Selected Recordings Unexpected News: 2nd Prize Friedrich Kuhlau International Nico Muhly and Philip Glass (ABC Classics), Flute Competition, BMus (Sydney), Artist Omega Ensemble: Mozart—Munro—Palmer Diploma (Hanover), Masters (Munich). German (ABC Classics), Play School 50th Anniversary Government Scholarship (DAAD), Ian Potter Special (ABC). Awards/Study BMus (London), Foundation Cultural Award, Queens Trust Prize, LRAM, Associate of the Royal Academy of Vice-Chancellors’ Award for Excellence in Music (ARAM). David Rowden is a F. Arthur teaching (UON). Uebel & D’Addario Artist and performs on F. Arthur Uebel “Zenit” 24K Mopane clarinets. Clemens Leske Piano

Sally Walker Flute Orchestras London Philharmonic Orchestra, Moscow Virtuosi, Guangzhou (Pearl River) Orchestras , Leipzig Philharmonic, Australian Chamber Orchestra, Gewandhaus Orchestra, Kammerakademie Australian Youth Orchestra, Australian Potsdam, City of Birmingham Symphony Doctors’ Orchestra, Sydney, Melbourne, Orchestra, BBC National Orchestra of Wales, Adelaide, Queensland, West Australian and Australian Chamber Orchestra. Ensembles Tasmanian Symphony Orchestras. Ensembles

13 FEATURED ARTISTS

Alexandra Osborne Anna Da Silva Chen Neil Thompson Paul Stender

Ensemble Offspring, Halcyon, Sydney Soloists, Sydney Symphony Orchestra, Melbourne Moorambilla Voices, TrioKroma. Premieres Symphony Orchestra, Tasmanian Symphony Works of Australian composers Nicholas Orchestra, Auckland Philharmonia, Gourmet Vines, Graham Hair, , Rosalind Symphony, Eclipse Chamber Orchestra, SBS Page, Larry Sitsky, Carl Panvino and Cyrus Radio & Television Orchestra. Ensembles Meurant; works of Cuban composer Tania Omega Ensemble, Australian Chamber León. Selected Recordings Powerhouse: Orchestra, Chamber Music Society of Lincoln Soloist, Graeme Koehne: Capriccio for Piano Center, Jackson Hole Chamber Music, 21st & Strings (ABC Classics), Indigena: The Music Century Consort, The Last Stand Quartet, of Tania León (CRI, New York), Cool Black: Philadelphia Chamber Music Society, Chiarina Chamber Works by Rosalind Page (Halcyon/ Chamber Players. Premieres Nico Muhly: Move Records), Omega Ensemble: Unexpected Unexpected News, Nas “Illmatic” Live from News (ABC Classic), Mao’s Last Dancer OST. the Kennedy Center, Michael Giacchino, Awards/Study Juilliard School, NYC, BMus. Mason Bates Recordings Unexpected News: Hons., Hattori Foundation (London), Australia Nico Muhly and Philip Glass (ABC Classics), Council, Marten Bequest, Queen Elizabeth II Dvorak and Copland: National Symphony Trust, Churchill Fellowship, David Paul Landa Orchestra/Kennedy Center (NSO Live), Jon Scholarship, ABC Young Performer of the Year. Deak’s The Passion of Scrooge (Jon Deak/ Clemens Leske appears courtesy of Sydney Paul Moon), Medici TV Live Broadcasts Study/ Conservatorium of Music. Awards Bachelor of Music (Curtis Institute of Music), Master of Music (The Juilliard School), Alexandra Osborne Violin Australian National Academy of Music, Michael Hill International Violin Competition, Symphony Orchestras National Symphony Orchestra Australia Younger Performers Award, Gisborne (DC), Philadelphia Orchestra, New York International Music Competition, Sydney Philharmonic, Pittsburgh Symphony, The Philly Symphony Young Artists, Geelong Costa Pops, Colorado Music Festival Orchestra, Performer of the Year Concerto Competition, Chamber Orchestra of Philadelphia, Hawaii Ian Potter Cultural Trust, Marten Bequest, Youth Symphony, South Bend Symphony,

14 Australian Elizabethan Theatre Trust, Australian Quartet, Australian Chamber Orchestra, National Youth Concerto Competition Omega Ensemble. Premieres Anthony Pateras: ‘Crystalline’ String Quartet, Nico Muhly: Anna Da Silva Chen Violin Unexpected News. Selected Recordings Omega Ensemble: Munro-Mozart-Palmer (ABC Orchestras Sydney Symphony Orchestra, Classic), Omega Ensemble: Unexpected News Adelaide Symphony Orchestra, Tasmanian (ABC Classic), Hive (Kammerklang), Night Air Symphony Orchestra, Canberra Symphony (Rue Arts). Awards/Study BMus (Honours) Orchestra , Göttinger Symphonie Orchester Elder Conservatorium Adelaide, ANAM (Full Ensembles Omega Ensemble, Australia Scholarship), Australian Chamber Orchestra Piano Quartet, Selby & Friends, Ensemble Q. Emerging Artist, Sydney Symphony Orchestra Awards/Study BMus Performance (Sydney Fellowship. Conservatorium of Music, USYD), MMus (Hochschule für Musik und Tanz, Cologne), Paul Stender Cello International Music Competition (Silver), Kendall National Violin Competition Orchestras Sydney Symphony Orchestra, (Winner), National Fine Music 102.5 Young Australian Chamber Orchestra, Australian Virtuoso Award (Winner), Australian National Opera and Ballet Orchestra, ACO Collective Youth Concerto Competition (Winner), (guest principal). Ensembles Australia Gisborne International Music Competition Ensemble, Song Company, Burgundian (Prize-Winner), ABC Young Performers Awards Consort (guest soloist), Sculthorpe String (Finalist). Quartet. Selected Recordings Omega Ensemble: Munro-Mozart-Palmer (ABC Neil Thompson Viola Classics), Omega Ensemble: Unexpected News (ABC Classic). Awards/Study Canberra School Orchestras Opera Australia Orchestra, Sydney of Music, Universität für Musik Wien Symphony Orchestra, Melbourne Symphony Orchestra, Adelaide Symphony Orchestra, Ku-Ring Gai Youth Orchestra (Director). Ensembles The Nano Symphony, Caro String

15 SUPPORTERS

As a not-for-profit organisation, Omega Ensemble relies on the support of individuals to deliver our National Touring Program and outreach projects. We gratefully acknowledge the generosity of our community, including those who wish to remain anonymous.

For more information on becoming a supporter, visit omegaensemble.com.au/support

Brillante $20,000 + Virtuosi $1,000 + Virtuosi $500 +

Paradice Family Foundation Australian Decorative and Geoff Applegate OBE & Sue Fine Arts Society Sydney Inc Glenton Maestoso $10,000 + Sam Ballas Lillian and Peter Armitage

Mr Robert Albert AO & Nena Beretin Elizabeth Avery Elizabeth Albert Mr David Emanuel Tapas Basu Wayne Burns and Penelope Failes Olivier Berckmans & Gloria Kean Onn See John Fawcett Andrzejewski Mr Geoffrey White OAM & Sian Graham Alan Blanch Ms Sally White Julie Hamblin and Martin Bernadette Brennan Maestri $5,000 + Krygier Ofelia & Roberto Brozky Bernadette Hodgson Alan & Phillippa Clark John Claudianos Mrs WG Keighley - In Jennifer Darin Bernard Coles QC memory of Keighley Quist Anne Dineen Darin Cooper Foundation Diccon and Liz Loxton Lisa Elias Mr Stuart Glenn Robert McDougall Professor Zoltán H Endre Chris, Ingrid and Daniel MCS Group Holdings Lynden Gallagher Latham Cate Nagy and Cameron Beatrice Miller John and Jo-Ann Negrine Moore Richard and Alison Morgan Ms Stephanie Smee and Mr Dianne & Peter O'Connell Gaston Nguyen Paul Schoff George and Penny Palmer Paul O'Donnell The Stokes Family Timothy & Eva Pascoe Adam Player Bruce & Mary Anne Terry Mr & Mrs Robert and Tessa Derek Recsei Ms Alida Stanley and Mr Phillips Ann and Quinn Sloan Harley Wright Justin and Jacqueline Mark Wakely in memory of Playfair Ron & Judy Solomon Steven Alward Judith and Frank Robertson John and Libby Snowdon Anonymous (1) - In memory of Katherine Mr & Mrs Tom and Dalia Robertson Stanley Jenepher Thomas Paul Stender Anonymous (3) Dr Anna Story

16 Supporters Tony and Doffy White Cameron Davie Haitao Yu Jenny Abrahmsen Ralph Davis Anonymous (2) Susanna Agardy Martin Denny Gisela Doebbeler Virtuosi $250 + Mr Russell Ashley Mr & Mrs Gary and Joanna Rebecca Dooley Emeritus Professor Christine Barnes Brian Doyle Alexander Melonie Bayl-Smith Stephen Draper Amanda Jane Armstrong Caroline Birch Kate Eccles Kate Beattie Rhonda Black Charles and Anne Sheena Boughen and Bill David Beswick Edmondson Caldicott Erica Booker Carol Fenton-Lee Susan Bryant Colin Boston Karin Findeis Mr David Cervi & Ms Liz John Boulton Otto Fischer Strasser Jeremy Bowker Anne Fitzsimmons Este Darin-Cooper Gary Boyce Maria Garvey Ermes De Zan Jane Boyd Louise Gleeson Donald-Pickett Anthony Browell Nicolas Goodman Sarah Elliott Murray Stephen Brown Debra Goodsir Heather Flood Margaret Buchanan Lyle Gurrin Ms Julia Fung Mercia Buck Brad Hale Bruce and Alison Handmer John Byrne Julie-Ann Hamilton Robert and Lindy Henderson Jonathan Carlile John Hamilton Dr Andrea Kruller Christina Caruana - In Marjorie Hamilton Diana Long memory of Andy Draper Jill Hannan Susie Lowy Peter Cassidy Catherine Hastings Norman Mackay Brian Chatterton Liane Heinke Kate Morgan Annabel Chong Annemarie Hennessy Vicki & Sam Norton Radhiah Chowdhury Claude Ho J Quist Mr Richard Cogswell Kathleen Hossack Ms Lyn Reynolds Greg Coldicutt Cathie Hull William Sewell Megan Corlette Peter Hutchings Robin Smith Anastasia Coroneo Jacqueline Ilic John Stowell Julia Cotton Florencia Irena Mr Robert Titterton OAM Mary Coupe Glynis Johns Stella Vaughan Robert Cox Beverley Johnson Julia Wright David Crocker Anna Jo David Yates Mary Crock Gar Jones Anonymous (7) Mr & Mrs Robin and Wendy Graham Kelly Cumming Rosamond Kember Ann Dark Gordon Kerry

17 Peter Kyle Mr & Mrs Terrance & Shirley John Vaughan and Margaret Mandy Lamkin - For Maryann Plowright Foley Ann Leske Yvonne Preston Diane Villani Catherine Lucas Deborah Randall Elizabeth Walton Peter Maddox The Ransom Family Emma Warburton Brian Manning Edward Reis Hoon Chee Whitwell Merilyn Marel Stewart Rienecker Mark Wilde Elisabeth McDonald Tim Rowse Gerard Willems Jean McPherson Benete Saugbjerg Ross Williams Thomas Michael Keith Saunders Mike Wright Sandra Miles Jane Sheldon Elizabeth Yip Ruth Mitchell Anita Sibrits Aiqin Zhang Natasha Mitchell Douglas Smith Anonymous (15) Robyn Smith Steve Moffatt CoLAB Patrons Belinda Montgomery Trevor Snape Kate Morgan Annalisa Solinas John Claudianos Michael Morton-Evans OAM Alice Spigelman Darin Cooper Foundation Diana Murphy Dianne Stocks Stephanie Smee and Paul Schoff Lynne Neilson K M Strasser Mark Wakely Carolyn Noble Alexander Symes Noreen O’Donovan Professor Geoff and Renee Total donations within the past 12 Symonds months. Details accurate at time of Kate O'Neill printing. All care has been taken to Nikki Flores and Amalie Diane Openshaw - In ensure the accuracy of this list. If you Tabuteau Memory of Sean Openshaw believe an omission or error has been Edward Theodore made, please contact us at support@ Daniel Ormella omegaensemble.com.au. Joceylyn Thompson Lenore Osland Christine Tilley Trevor Parkin MJ Underwood Beverley Phillips John Ure D E Pidd

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18 PARTNERS

Government Partners Foundation Partner

Omega Ensemble is supported by the NSW Government through CreateNSW

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BEHIND THE SCENES

Board With special thanks Phillipa Birkett Elena Kats-Chernin; Gordon Kerry; David Cervi Kate Britton, Kate L. Jeffery and the Omega Ensemble is a not-for-profit Stuart Glenn (Acting Chair) New Annual team; City of Newcastle; company registered in NSW. Vicki Norton Cr Carol Duncan; Jordan Campbell, Alida Stanley Lachlan Thomas and the Civic PO Box 525 David Rowden Theatre Newcastle team; Elizabeth Surry Hills NSW 2010 Jigalin; Nicole Brady; Sean Maloney 1300 670 050 Artistic Director and Musiva Viva Australia; Valda [email protected] David Rowden Silvey, Malvina Tan, Lisa Finn Powell and The Joan Sutherland Performing Omega Ensemble ACN 120 304 725 is General Manager Arts Centre team, JK Power and the listed on the Australian Government’s David Boyce Sydney Opera House team; Studio Register of Cultural Organisations 301; Bob Scott. maintained under Subdivision 30-B of Part 2-1 of the Income Tax Assessment Act 1997 (Cth).

PHOTOGRAPHY POLICY

We encourage you to share your concert experience with friends and family, and personal photography (without a flash) is welcome. However, the light from your smartphone or camera can be distracting to others during performance, and so we ask you to not take photos while the Ensemble is playing. Instead, snap a photo when the Ensemble is taking a bow, or before or after the performance. Professional photography, flash photography or video is not permitted at any time.

And don't forget to tag us on Instagram: @omegaensembleau 19 THE ART OF CHAMPAGNE Since 1836

VISUEL ART DU CHAMPAGNE.indd 1 31/07/13 14:27