18–20 February Town Hall CONDUCTS BEETHOVEN

Principal Partner 2021 CONCERT SEASON Thursday 18 February, 1.30pm SYDNEY ORCHESTRA THURSDAY AFTERNOON SYMPHONY Saturday 20 February, 2pm GREAT CLASSICS Sydney Town Hall

PATRON Her Excellency The Honourable Margaret Beazley ac qc Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony Orchestra has evolved into one of the world’s finest orchestras as Sydney has become one of the world’s great cities. Resident at the iconic , the Sydney Symphony Orchestra also performs in venues throughout Sydney and regional New South Wales, and international tours to Europe, Asia and the USA have earned the Orchestra worldwide recognition for artistic excellence. SIMONE YOUNG The Orchestra’s first chief conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, , , , Louis Frémaux, Sir , Zdenêk Mácal, , Edo de CONDUCTS Waart and . was Principal Conductor from 2009 to 2013, followed by David Robertson as Chief Conductor from 2014 to 2019. Australia-born Simone Young has been the Orchestra’s Chief Conductor Designate BEETHOVEN since 2020. She commences her role as Chief Conductor in 2022 as the Orchestra returns to the renewed Concert Hall of the Sydney Opera House. The Sydney Symphony Orchestra's concerts encompass masterpieces from the classical repertoire, music by some of the finest living composers, and collaborations SIMONE YOUNG conductor ESTIMATED DURATIONS with guest artists from all genres, reflecting the Orchestra's versatility and diverse LAUREN FAGAN soprano 14 minutes, 13 minutes, appeal. Its award-winning education program is central to its commitment to the interval 20 minutes, future of live symphonic music, and the Orchestra promotes the work of Australian 36 minutes. composers through performances, recordings and its commissioning program. (1770–1827) COVER IMAGE ‘Leonore’ Overture No.3, Op.72 Simone Young Photo: Nic Walker Simone Young SECOND VIOLINS CELLOS CLARINETS TUBA Ah! perfido (Oh, faithless one), Op.65 Chief Conductor Marina Marsden Catherine Hewgill Francesco Celata Steve Rossé Designate Principal Principal Associate Principal Principal Donald Runnicles Marianne Edwards Leah Lynn Christopher Tingay Principal Guest Associate Principal Acting Associate TIMPANI Conductor James Burke Emma Jezek Principal Principal Mark Robinson Symphony No.7 in A major, Op.92 Vladimir Ashkenazy Assistant Principal Kristy Conrau Acting Principal Conductor Laureate Alexander Morris Poco sostenuto - vivace Alice Bartsch Fenella Gill Principal Bass Clarinet Elizabeth Neville PERCUSSION Andrew Haveron Victoria Bihun Allegretto Christopher Pidcock BASSOONS Rebecca Lagos Concertmaster Emma Hayes Adrian Wallis Principal Presto Chair supported by Shuti Huang Matthew Wilkie David Wickham Vicki Olsson Monique Irik Principal Emeritus Timothy Constable Allegro con brio Wendy Kong Timothy Nankervis Fiona McNamara * = Guest Musician FIRST VIOLINS Benjamin Li Nicole Masters DOUBLE BASSES Tobb Gibson-Cornish ° = Contract Musician Andrew Haveron Principal Rebecca Gill Kees Boersma † = Sydney Symphony Concertmaster Maja Verunica Principal Noriko Shimada Fellow Harry Bennetts Principal Alex Henery Grey = Permanent Associate VIOLAS Contrabassoon Principal Member of the Sydney Concertmaster Tobias Breider David Campbell HORNS Symphony Orchestra Sun Yi Principal Steven Larson not appearing in Ben Jacks Associate Justin Williams Richard Lynn this concert Principal Concertmaster Acting Associate Jaan Pallandi Fiona Ziegler Principal Benjamin Ward Geoffrey O’Reilly Principal 3rd Horn Assistant Rosemary Curtin Concertmaster Graham Hennings FLUTES Euan Harvey Kirsten Williams Stuart Johnson Joshua Batty Rachel Silver Associate Justine Marsden Principal Marnie Sebire Concertmaster Felicity Tsai Emma Sholl TRUMPETS Emeritus Amanda Verner Associate Principal Jenny Booth Leonid Volovelsky Carolyn Harris David Elton Sophie Cole Dana Lee† Principal Georges Lentz Anne-Louise OBOES Anthony Heinrichs Nicola Lewis David Johnson* Comerford Diana Doherty Emily Long Associate Principal Principal Alexandra Mitchell TROMBONES Sandro Costantino Nicola Bell* Alexander Norton Jane Hazelwood Scott Kinmont Anna Skálová Shefali Pryor Associate Principal Léone Ziegler Associate Principal Nick Byrne Lerida Delbridge Alexandre Oguey PRINCIPAL PARTNER Christopher Harris Assistant Principal Cor Anglais Principal Bass Concertmaster Trombone Claire Herrick Ronald Prussing Principal WELCOME ABOUT THE ARTISTS

PRESENTING PARTNER SIMONE YOUNG conductor

Simone Young am, General Manager and Music Director of the and Music Director of the Philharmonic State Orchestra Hamburg from 2005 – 2015 is currently Principal Guest Conductor of the Lausanne Chamber Orchestra. She has conducted complete cycles of at the Vienna Staatsoper, the Staatsoper Berlin and Staatsoper Hamburg. Her Welcome to Simone Young conducts Beethoven, Hamburg recordings include the Ring cycle, Mathis der proudly supported by Emirates. Maler (Hindemith), and of Bruckner, Brahms Two great musical spirits meet as Chief Conductor Designate Simone and Mahler. Her 2012 Hamburg Opera and Ballet tour to Young masterfully interprets the music of Beethoven. An overture to his Brisbane, ( in concert, and Mahler Symphony only opera, Fidelio and one of his most-loved pieces, Symphony No.7 No. 2 “Resurrection”), won her the 2013 Helpmann Award Simone Young feature in today’s program. for the Best Individual Classical Music Performance. Photo: Nic Walker Almost 20 years ago, Emirates and the Sydney Symphony Orchestra met Simone Young’s most recent engagements have included to partner in a great synergy of culture and travel. COVID-19 has caused return invitations to the New York and Monte Carlo both of our organisations to navigate through uncharted skies, but we are Philharmonic Orchestras; the Helsinki, Barcelona, proud to do this side by side. Cincinnati, and Minnesota Orchestras; Orchestre Emirates has led the way in response to COVID-19 with safety initiatives de Paris; and the West Australian and Queensland to boost travel confidence. We continue to seek ways to support our Symphony Orchestras. community during this challenging time and we hope today’s music helps The BBC Symphony, Berlin, Vienna, Munich, Dresden, to brings joy during these times. and London Philharmonic Orchestras, the Staatskapelle It is my pleasure to welcome you to this performance of Simone Young Dresden, the Bruckner Orchestra, Linz, City of Birmingham conducts Beethoven, and we wish you all the best for the year ahead. Symphony, Dallas Symphony Orchestra, and the Wiener Symphoniker, are among the leading orchestras Simone Enjoy your listening and exploring! Young also regularly conducts. Maintaining her passionate interest in and understanding of the voice, her recent invitations to conduct opera have included Reimann’s Lear (Madrid), Fidelio, a Verdi Gala and Der Rosenkavalier (), Lohengrin and Elektra (Zürich), A Midsummer Night’s Dream and Henze’s Das verratene Meer (), and Tannhäuser (Munich). Simone Young has been Music Director of , Barry Brown Conductor of the Bergen Philharmonic Orchestra, and Emirates’ Divisional Vice President Principal Guest Conductor of the Gulbenkian Orchestra, for Australasia Lisbon. Her many accolades include a Professorship at the Musikhochschule in Hamburg, Honorary Doctorates from Griffith University, University of Western Australia, Monash University and the University of New South Wales; the Chevalier de l’Ordre des Arts et des Lettres from France, the Goethe Institute Medal and the Sir Award. Simone Young has been the Orchestra’s Chief Conductor Designate since 2020. She commences her role as Chief Conductor in 2022 as the Orchestra returns to the renewed Concert Hall of the Sydney Opera House.

Simone Young's appearances are generously supported by both Bob Magid oam & Ruth Magid and Emirates. ABOUT THE ARTISTS ABOUT THE MUSIC

LAUREN FAGAN soprano Beethoven’s only opera, Fidelio, had a tortuous gestation. The first performance in 1805 was a flop. It was far too A graduate of Covent Garden’s prestigious Jette long, but more importantly, the occupation of Vienna by Parker Young Artist Programme, Lauren Fagan has Napoleon’s troops had caused the evacuation of local developed into one of today’s most accomplished aristocrats so the small audience was made up mainly of young sopranos and had the honour of representing her French officers. Cuts and revisions followed for a revival native Australia in the 2019 BBC Cardiff Singer of the the following year, but in 1814, three librettists and four World Competition. Recent role debuts as Alcina for overtures later, Beethoven made the final version. The the Internationale Händel-Festspiele Karlsruhe, Violetta work was now a triumph. Vienna was celebrating the final in Rodula Gaitanou’s new production of La Traviata for defeat of Napoleon, but more importantly, Fidelio was now Opera Holland Park and Mimi in the classic Phyllida a powerful, focused piece of theatre. Lloyd production of La Bohème for Opera North were met The model for Fidelio was a then-fashionable French with unanimous critical acclaim for her richness of tone, genre, later known as ‘rescue opera’. The story was based thrilling top notes and compelling stage presence. Lauren Fagan on an actual incident that took place in France during The climactic scene Plans for the 20/21 season include two major company Photo: Victoria Cadisch the post-revolutionary Reign of Terror: an aristocratic from Fidelio debuts for Lauren: as ‘Norma’ in the highly-anticipated woman, portrayed in the opera as Leonore, disguises special project 7 Deaths of Maria Callas, conceived herself as a boy (Fidelio) in order to save her husband by Marina Abramovic for Bayerische Staatsoper and from wrongful execution at the hand of a tyrant. Jean- conducted by Yoel Gamzou, and as Giulietta in Andreas Nicolas Bouilly found himself in the position of Don Homoki’s new production of Les Contes d’Hoffmann at Fernando (the government minister in the opera whose Opernhaus Zürich under Antonino Fogliani. Lauren also arrival signals the release of the prisoners), and later wrote returns to the role of Violetta at Opera Holland Park for the story, changing names and places, as a libretto that the revival of their recent staging of La Traviata. On the was set by two French composers as Léonore. This was concert stage, Lauren makes two important Australian Beethoven’s preferred title for his German version, but debuts with the Adelaide Symphony Orchestra in Barber’s theatre management insisted on Fidelio, or the triumph of Knoxville: Summer of 1915 conducted by Dane Lam, conjugal love to avoid confusion with the earlier works. as well as this Sydney Symphony Orchestra debut in The three ‘Leonore’ Overtures are now often heard Beethoven’s Ah! Perfido conducted by Simone Young. as curtain-raisers in the concert hall. No.2, the first composed, dates from 1805 while No.3 was composed for the ill-fated revival of the following year and No.1 for a proposed performance in 1807. Nos.2 and 3, arguably too long to serve as overture to the opera, may be heard as symphonic précis of the drama: ‘Leonore’ 3 sets the baleful mood of the prison with sombre chords, before essaying some of the turmoil and ultimate triumph of the story. The third overture is perhaps the most symphonic, recapitulating the triumphant allegro music at its end. Beethoven had come to Vienna to study with Haydn, but also apprenticed himself to Antonio Salieri who, far from rotting away in an asylum convinced that he had murdered Mozart, remained an important and influential composer there. Salieri seems to have suggested that Beethoven write concert arias to ‘classic’ operatic texts in Italian, among them Ah! Perfido, as an exercise. Salieri had been a proponent of opera seria (serious opera), a genre characterised by high moral values expressed in stories drawn from Classical myth or history. The greatest librettist of this form was Pietro Metastasio (1698–1782), and individual librettos of his were often set by several composers. He wrote the recitative sections of this work for Achille in Sciro; the aria is anonymously penned. Beethoven responds with great agility to the shifting emotions of the text, as the spurned lover various expresses rage, sadness, a desire for apocalyptic revenge and final exhausted despair. ABOUT THE MUSIC THANK YOU

The piece was premiered in 1798 by Josepha Duschek, Every gift makes a difference. We gratefully acknowledge the generosity who had worked with Mozart; the first fully documented of our community, including those who wish to remain anonymous. performance was in 1808, alongside the premiere of the Fifth and Sixth Symphonies. VISIONARIES Bob & Julie Clampett Three years later, Beethoven sketched and then completed Brian Abel Darin Cooper Foundation the Seventh and Eighth symphonies back to back. The Geoff Ainsworth am & Johanna Featherstone Emma Dunch Seventh was completed in April 1812 in that time of Antoinette Albert Simon Johnson celebration at Napoleon’s defeat. Terrey Arcus am & Anne Arcus Dr John Lam-Po-Tang The late Dr Barry Landa The symphony has always provoked attempts to interpret it The Berg Family Foundation Warren & Marianne Lesnie in visual terms. Maynard Solomon’s biography lists some of Robert & Janet Constable Sylvia & the late Sol Levi the more inspired: ‘a peasant dance’; ‘a village wedding’; ‘a Crown Resorts Foundation Helen Lynch am & Helen Bauer Knight’s Festival’; ‘the upsurge of a powerful dionysiac impulse, Gillian Eldershaw Susan Maple-Brown am a divine intoxication of the spirit’. Wagner famously described Dr Gary Holmes & Dr Anne Reeckmann the symphony as the ‘apotheosis of the dance’, a reference Josepha Duschek in 1796 Dr Rachael Kohn ao & Tom Breen The Hon. Justice AJ Meagher & Fran Meagher to the way in which it deifies rhythm, but the references to Sir Frank Lowy ac & the late John & Jane Morschel Lady Shirley Lowy oam dance also link the piece back to the baroque suite. Solomon, Janet & Michael Neustein Bob Magid oam & Ruth Magid moreover, has also pointed out in a more recent essay that Kenneth R Reed am the rhythms of the work may be derived from the metres of Anthony & Suzanne Maple-Brown Geoffrey Robertson ao ancient Greek poetry, in which Beethoven was well-read. Patricia H Reid Endowment Pty Ltd Graeme Robertson Roslyn Packer ac (President, Maestro’s Circle) Tim Robertson sc The Seventh Symphony puzzled listeners who expected to Packer Family Foundation In memory of Joyce Sproat hear the characteristic struggle and triumph of Beethoven’s Doris Weiss & the late Peter Weiss ao James Stening ‘heroic’ or middle period works. But Beethoven, in his music if (President Emeritus, Maestro’s Circle) June & Alan Woods Family Bequest not his life, fought Fate to a standstill in the symphonic works Judy & Sam Weiss beginning with the Eroica; in his Pastoral Symphony the Storm $10,000+ MAESTRO’S CIRCLE movement is the last gasp of that oppressive figure. In a work Rob Baulderstone & Mary Whelan Robert Albert ao & Elizabeth Albert like the Seventh Symphony there is no adversarial program. Roxane Clayton Christine Bishop Richard Cobden sc The symphony’s slow introduction acts as a reservoir for Dr Rebecca Chin Janet Cooke much of the material in all four movements setting up and John C Conde ao Ewen Crouch am & Catherine Crouch playing with the relationship between rhythmic phases, Edward & Diane Federman The Greatorex Fund the descending chords on the winds as against the rising Beethoven in 1814 Ian Dickson & Reg Holloway Carolyn Githens semiquaver scales of the strings. The transition into the Nora Goodridge oam Dr Bruno & Rhonda Giuffre buoyant first movement – via a chirruping woodwind motif – is Ingrid Kaiser ingenious. It is also an example of how, as so often, Beethoven Dr Margot Harris I Kallinikos The Hilmer Family Endowment is able to seemingly withdraw into silence, so much so that he Sharon & Anthony Lee Foundation has established the new fast tempo before we even realise it. Jim & Kim Jobson Ian & Ann Levi Roland Lee The Allegretto – hardly a slow tempo – is not Beethoven’s first Catriona Morgan-Hunn Dr Lee MacCormick Edwards Charitable ‘funeral march’ but it differs from that of the Eroica in both Karen Moses Foundation its emotional restraint and the relative optimism of its middle Nelson Meers Foundation Russell & Mary McMurray section. Death, it seems, is no longer tragic. The scherzo Rachel & Geoffrey O'Conor Sue Milliken ao and trio are inevitably upbeat in tone. The trio section’s Vicki Olsson Dr Dominic Pak & Cecilia Tsai theme has been said to refer to an Austrian pilgrims’ song, Drs Keith & Eileen Ong Nigel & Carol Price more evidence of the sense of collective experience that the Paul Salteri am & Sandra Salteri Garry & Shiva Rich work presents. In the last movement, Beethoven’s rhythmic In memory of Mrs W Stening Sylvia Rosenblum manipulation is comparable to that of the Stravinsky of Agon The Ross Trust Dougall Squair or the Symphonies of Wind Instruments: a rhythmic motive – Kathy White Rod Sims & Alison Pert compared by William Kinderman to a coiled spring – is passed In memory of Dr Bill Webb & Helen Webb Penelope Seidler am from one voice to another and at one point is accompanied Caroline Wilkinson oam Tony Strachan by an augmented (that is mathematically expanded) version Ray Wilson oam, in memory of James Agapitos oam Judge Robyn Tupman of itself. In numerous such ways the Seventh shows how the PATRONS PROGRAM Russell Tagg & Pat Woolley intense concentration Beethoven learned in the Eroica and $15,000+ Yim Family Foundation the Fifth Symphonies can be merged with the lyrical joy of the Ainsworth Foundation fourth and sixth symphonies. For a full listing of our Sydney Symphony family Doug & Alison Battersby Gordon Kerry © 2021 of donors, please visit sydneysymphony.com/our- Dugald Black supporters. Audrey Blunden To discuss your giving or learn which areas most need Sandra & Neil Burns your support, please contact our Philanthropy team on Robert & L Alison Carr 02 8215 4674 or [email protected]. BOARD OF DIRECTORS THANK YOU Terrey Arcus am Chairman The Hon. Justice AJ Meagher Geoff Ainsworth am Sam Meers ao Andrew Baxter Karen Moses Deputy Chair Kees Boersma Dr John Vallance Emma Dunch CEO Geoff Wilson Catherine Hewgill

ORCHESTRA CHAIR PATRONS PRINCIPAL PARTNER GOVERNMENT PARTNERS Emma Dunch Claire Herrick Chief Executive Officer Violin I Kallinikos Chair Russell & Mary McMurray Chair Andrew Haveron Catherine Hewgill Concertmaster Principal Cello The Sydney Symphony Orchestra is assisted by The Sydney Symphony Orchestra Vicki Olsson Chair the Commonwealth Government through the Australia is supported by the NSW Government The Hon. Justice AJ & Council, its arts funding and advisory body. through Create NSW. Joshua Batty Mrs Fran Meagher Chair Principal Flute Kirsty Hilton Karen Moses Chair Principal Second Violin Harry Bennetts Drs Keith & Eileen Ong Chair Associate Concertmaster Scott Kinmont Judy & Sam Weiss Chair Associate Principal Trombone Victoria Bihun Audrey Blunden Chair Violin Emily Long PREMIER PARTNER Sylvia & the late Sol Levi Chair First Violin Kees Boersma Dr Margot Harris Chair Principal Double Bass Leah Lynn Council Chair Assistant Principal Cello Tobias Breider Sydney Symphony Orchestra Principal Viola Vanguard Chair (lead MAJOR PARTNER FOUNDATIONS Roslyn Packer ac & support from Seamus R Quick) Gretel Packer am Chair Nicole Masters James Burke Second Violin Principal Clarinet Nora Goodridge oam Chair Oranges & Sardines Foundation Chair Fiona McNamara Nick Byrne Bassoon BRAND AGENCY PARTNER GOLD PARTNERS Trombone Nelson Meers Foundation Chair Robertson Family Chair Timothy Nankervis Anne-Louise Comerford Cello Associate Principal Viola Dr Rebecca Chin & Family Chair White Family Chair Elizabeth Neville Timothy Constable Cello Percussion Bob Magid oam & Ruth Magid Chair SILVER PARTNERS Christine Bishop Chair Alexandre Oguey Rosemary Curtin Principal Cor Anglais Viola Mackenzie’s Friend Chair John & Jane Morschel Chair Mark Robinson EVENT HIRE Lerida Delbridge Acting Principal Timpani Assistant Concertmaster Sylvia Rosenblum Chair Simon Johnson Chair in memory of Rodney Rosenblum Diana Doherty Rachel Silver Principal Oboe Horn John C Conde ao Chair Sue Milliken ao Chair Todd Gibson-Cornish Emma Sholl COMMUNITY AND INDUSTRY PARTNERS Principal Bassoon Associate Principal Flute Nelson Meers Foundation Chair Robert & Janet Constable Chair Rebecca Gill Matthew Wilke Violin Principal Emeritus Bassoon In memory of Reg & Jeannette Nelson Meers Foundation Chair Lam-Po-Tang Chair Justin Williams Carolyn Harris Assistant Principal Viola Flute Robert & L Alison Carr Chair VANGUARD PARTNER HOTEL PARTNER REGIONAL TOUR PARTNER The late Dr Barry Landa Chair Jane Hazelwood Viola Bob & Julie Clampett Chair in memory of Carolyn Clampett