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Home , Christof Loy, Donald Runnicles, National Theatre Munich, Nina Stemme, Philippe Jordan, Simone Young

2016

Tristan und Isolde We are proud to support the Tasmanian Orchestra

5580 TSO Milton Ad for Program 2015_July.indd 1 17/07/2015 9:43 am und Isolde

SATURDAY 19 NOVEMBER 7.30PM FEDERATION CONCERT HALL HOBART

Marko Letonja Conductor Isolde Tristan Monika Bohinec Brangäne Men of the TSO Chorus

RICHARD 1813-1883 This concert performance of excerpts from will offer each of the three acts of Wagner’s in abridged form. In keeping with Wagner’s notion of “endless melody”, each part will be seamless in itself. Act I (abridged) Duration 48 mins

INTERVAL Duration 20 mins. Complimentary sparkling wine will be served. The Tasmanian Symphony Orchestra would like to thank TSO Wine Sponsor, Icon Wines, for making this possible.

Act II (abridged) Duration 30 mins

Act III (abridged) Duration 24 mins

This concert will end at approximately 9.45pm. We are proud to support the Performed in German with surtitles. Tasmanian Symphony Orchestra

Tasmanian Symphony Orchestra concerts are broadcast and streamed throughout Australia and around the world by ABC Classic FM. We would appreciate your cooperation in keeping coughing to a minimum. Please ensure that your mobile phone is switched off.

1

5580 TSO Milton Ad for Program 2015_July.indd 1 17/07/2015 9:43 am MARKO LETONJA NINA STEMME

Marko Letonja is Chief Conductor and Swedish soprano Nina Stemme is in demand Artistic Director of the Tasmanian Symphony at all the world’s major opera houses. Recent appearances have included Isolde Orchestra and Music Director of the Orchestre and the title roles in and Philharmonique de Strasbourg. Born in at the , Isolde at the Slovenia, he studied at the Academy of Music Dresden, and Brünnhilde in in Ljubljana and the Academy of Francesca Zambello’s Washington National Music. He was Music Director of the Slovenian Opera production of Wagner’s Ring cycle. Philharmonic Orchestra from 1991 to 2003 Other roles also include , Butterfly, and Music Director and Chief Conductor , Leonora in The Force of Destiny, of both the Symphony Orchestra and the Leonore in and the Marschallin in Der Opera in Basel from 2003 to 2006. He was Rosenkavalier. In 2010 she won a Laurence Principal Guest Conductor of Orchestra Olivier award for “Best Interpretation” Victoria in 2008 and made his debut with for her Isolde in Christof Loy’s production of Tristan und Isolde at the Royal Opera, the TSO the following year. He took up the Covent Garden. In 2013 she was named post of Chief Conductor and Artistic Director “Best Female Singer” in Opera magazine’s of the Tasmanian Symphony Orchestra at inaugural International Opera Awards. Other the start of 2012. He has worked with many awards include the titles of Swedish Court orchestras in Europe including the Singer (2006) and Kammersängerin from Philharmonic, , Berlin Radio (2012). She has been Orchestra, Mozarteum Orchestra and the named “Singer of the Year” twice (2005 Orchestra Filarmonica della Scala, Milan. He and 2012) by German magazine Opernwelt, has also worked in many renowned opera and been awarded Sweden’s Litteris et houses such as the Vienna State Opera, Berlin Artibus. Nina Stemme’s recordings include State Opera, Milan, Semperoper an award-winning Fidelio with conductor , two recordings of Tristan Dresden, and the Grand Théâtre de Genève. und Isolde (one with , the Additionally, he has conducted at the Arena other with ), Tannhäuser with di Verona. Future engagements include the Marek Janowski, Martinu°’s Greek Passion, Mozarteum Orchestra Salzburg, Berlin Radio Die Walküre with , The Flying Orchestra, in Munich Dutchman in English, Zemlinsky’s King and Wagner’s for Kandaules, Vier letzte Lieder, Wesendonck the with Nina Stemme Lieder, and DVDs of Jenu°fa and . as Brünnhilde. Photo credit: Kristian Schuller

2 STUART SKELTON MONIKA BOHINEC

Stuart Skelton was named “Best Male Singer” Slovenian mezzo-soprano Monika Bohinec at the 2014 International Opera Awards and studied singing at the Mozarteum in Salzburg has received two Helpmann Awards. His roles and at the University of Music and Performing include Wagner’s Tristan , , Arts in Vienna. She made her operatic debut , Siegmund and Erik, Strauss’s Kaiser in 2006 as Clarissa (The Love for Three and Bacchus, Janácvek’s Laca, Saint-Saëns’ Oranges) at the Slovenian National Opera, Samson, Beethoven’s Florestan and Britten’s and from 2009 to 2011 was a member of the . He appears regularly on the leading concert and operatic stages of the National Theatre Mannheim. She is currently world, including Berlin, Hamburg, London, an ensemble member of the Vienna State Los Angeles, Madrid, Munich, New York, Opera. She has been heard in the roles , San Francisco, Tokyo, Vienna and of Eboli (Don Carlo), Fenena (Nabucco), , with orchestras including the Berlin Suzuki (), Marcellina (The Philharmonic, Boston Symphony, Los Angeles Marriage of Figaro), Ulrica (A Masked Ball), Philharmonic, London Symphony, Vienna Foreign Princess (Rusalka) and First Norn Philharmonic, and at the BBC Proms and (Götterdämmerung), performing under such Festival. He has sung with such conductors as , Ádám acclaimed conductors as , , Jirvi Bev lohlávek, James Fischer, Franz Welser-Möst, Marco Armiliato, Conlon, Sir Andrew Davis, Christoph von and Alain Altinoglu. Also in Dohnanyi, , Philippe Jordan, demand as a concert artist, she has appeared James Levine, , Lorin Maazel, Sir in such venues as the Vienna Konzerthaus, , Sir Simon Rattle, David Gasteig Munich, Berlin Philharmonie, Robertson, Donald Runnicles, Michael Tilson- Amsterdam Concertgebouw, Carnegie Hall Thomas and . Recent and and the Salle Pleyel in Paris. Appearances upcoming performances include Tristan und in recent seasons include Magdalena in Isolde for the Metropolitan Opera, English The Mastersingers of Nuremberg at the National Opera and also at the Baden-Baden 2013 , Emilia (Otello) Festival with the Berlin Philharmonic, Wagner arias with Asher Fisch and WASO, Parsifal Act with the Bavarian State Opera, a recital at II with the Melbourne Symphony Orchestra the Vienna Musikverein, Amneris (Aida) in and Simone Young, Lohengrin for Opéra Munich, and Ortrud (Lohengrin) in concert National de Paris, Jenu°fa for the Bavarian with the Bamberg Symphony Orchestra at State Opera and with Neuschwanstein Castle. In March 2016 she the Cincinnati Symphony Orchestra. made her debut in the role of Marina in Boris Photo credit: Sim Canetty-Clarke Godunov at the Wiesbaden State Theatre.

3 TSO CHORUS

The TSO Chorus is an auditioned group of approximately 80 voices. June Tyzack has been Chorusmaster since 2001 and is supported by Assistant Chorusmaster Andrew Bainbridge. Founded in 1992 to present concert performances of opera, the TSO Chorus has since broadened its repertoire to include the requiems of Mozart, Cherubini, Brahms, Verdi, Fauré, and Sculthorpe; masses by Mozart, Haydn, Schubert and Puccini; and by Beethoven, Mendelssohn, Mahler and Vaughan Williams. Many performances are broadcast on ABC Classic FM. In addition to performing with the TSO and touring regional Tasmania, the TSO Chorus is frequently invited to augment interstate symphonic choirs. Since 2006 the TSO Chorus has performed at the Sydney , the Adelaide Festival and Perth Concert Hall. In 2012 members of the TSO Chorus made their international debut augmenting the WASO Chorus in performances of Brahms’s Ein Deutsches in Hong Kong with Jaap van Zweden and the Hong Kong Philharmonic Orchestra. Concerts with the TSO in 2016 have included the Gilbert and Sullivan Spectacular, Haydn’s Creation and, as part of the Festival of Voices, JS Bach’s St Matthew Passion. The TSO Chorus welcomes new members. Interested choristers should contact the Chorus Coordinator on 6232 4421 or go to tsochorus.com.au for more information.

4 SYNOPSIS

Act I. that the lovers have been exposed, Mark Tristan’s ship en route from Ireland and his men enter. Mark expresses his to Cornwall. disappointment in Tristan, whom he had thought of as his most loyal friend. Swords Isolde, an Irish princess, is being escorted are drawn and the courtier Melot wounds against her will to Cornwall to marry King Tristan grievously. Mark, ruler of a people traditionally hostile to her own. Acting as Mark’s envoy is Act III. the young Cornish knight Tristan. Tristan and Isolde have a shared history. Tristan Tristan’s castle in Brittany. has slain Isolde’s betrothed, Morold, in Tristan has been spirited away to his a skirmish in which he himself has been tumble-down castle on the coast of Brittany. wounded. Renowned for her healing A shepherd plays a mournful melody on powers, Isolde has nursed Tristan back to his pipe. Keeping his eyes trained on the health, oblivious at first to his role in the horizon, the shepherd will play a more death of Morold. Upon realising that she joyous tune should Isolde’s ship be sighted. has saved the life of the man who killed Slipping in and out of consciousness and her fiancé, Isolde swears vengeance but, knowing that he is close to death, Tristan looking into Tristan’s eyes, cannot bring sees visions of Isolde in his dreams but herself to slay him. A bond forms between awakes to the anguish of her absence. the two. Isolde is therefore angry, hurt and Longing for night – a province that he humiliated that Tristan is now delivering her associates with his beloved – Tristan is as Mark’s bride-to-be. On board the ship, delirious with pain, desire and his all- Tristan and Isolde resolve to end their lives consuming passion for Isolde. Finally, the by taking poison but Brangäne, Isolde’s shepherd pipes a merry tune and Isolde maid, substitutes a love philtre. Feverish arrives. Tristan struggles to his feet and with desire, Tristan and Isolde arrive in the couple embrace but Tristan collapses. Cornwall oblivious to everything but their Staring up at Isolde’s face, Tristan utters a intense passion for each other. single word, “Isolde!”, before perishing. Isolde falls upon her dead lover. King Mark, Act II. who has arrived on a second ship, is grief- Mark’s royal castle in Cornwall. stricken at the sight of Tristan’s lifeless body. But Isolde does not see a lifeless body. On Under the cover of dark, Tristan and Isolde the contrary, she sees Tristan smiling and meet outdoors. King Mark and his men with eyes wide open reaching for the stars. are on a night-time hunt but Tristan has She hears wondrous music emanating from given them the slip to make his rendezvous within him. In a state of utter , Isolde, with Isolde. Brangäne keeps watch. In losing consciousness, follows Tristan to the a key episode in the opera, Tristan and longed-for realm of eternal night. Isolde sing of their desire to overcome their physically separate forms and to dissolve one into the other. They yearn for a sublime, metaphysical realm – one which the shadows of night begin to allow – in which love, death, desire and fulfilment roil and surge in never-ending rapture. Day slowly breaks and right at the moment that Brangäne announces, with horror,

5 (1813-1883)

Tristan und Isolde only two years – between August 1857 and Drama in three acts August 1859. The Ring, by contrast, would occupy Wagner on and off for 26 years. In the popular imagination, Wagner’s are thought to exemplify grand But despite the relatively modest size opera at its grandest. “Wagnerian”, after of the orchestra, the compact dramatis all, is commonly understood to mean personae and the straightforward “hefty”, “colossal” and “excessive”. (When staging requirements (no underwater John Worthing, in The Importance of Being scenes, Valkyries on horseback or fire- Earnest, informs us that his Aunt Augusta, breathing dragons), Tristan proved to also known as Lady Bracknell, rings the be tremendously daunting to opera doorbell in a “Wagnerian manner”, we companies on account of its almost are left in no doubt as to the woman’s insurmountable musical challenges. disposition and demeanour, even though Putting aside for a moment the substantial she is yet to make her entrance on stage.) demands Tristan places upon its singers, It is surprising, therefore, to discover that the opera was uncharted territory for the instrumental forces required for Tristan orchestral players. Tristan’s fluid phrasing und Isolde are not massive. They stretch and rhythms, chromatic melodic lines, the normal composition of the 47-piece mercurial , unconventional Tasmanian Symphony Orchestra, but not by chord progressions and liberally applied much. An additional musician is required dissonances perplexed conductors and for most of the woodwind and brass parts, bamboozled instrumentalists. Even as and the strings need to be topped up to adventurous a composer as Hector Berlioz, balance the increased number of wind and who was also one of the most accomplished brass players, but, unlike The Ring of the conductors of the age, confessed that he Nibelung, Tristan calls for only one harp could make no sense at all of the Prelude to (not six), and there is no bass trumpet, Act I of Tristan, despite having studied the contrabass trombone or cow horn; there are score closely and heard it in performance. no anvils and no Wagner tubas. famously remarked that he stood in “wonder and terror” before Indeed, Wagner was motivated in part to Tristan. Viennese critic Eduard Hanslick compose Tristan und Isolde because the wrote that, “if all other composers were Ring was taxing him artistically (it was still to write in the style of Tristan und Isolde, far from finished when he put it aside to we listeners should inevitably wind up in embark upon Tristan) and he realised that the madhouse.” During the composition the enormous demands of the Ring were of Tristan, Wagner himself wrote in a letter, going to make it almost impossible to “this Tristan is going to be something stage. Additionally, Wagner had financial terrible! ...only mediocre performances can worries. Given that the Ring was not going save me! Completely good ones would to be finished anytime soon, Wagner make the people crazy…” needed to get something smaller up and running and he saw Tristan as the solution. Given the shock that Tristan presented to Luckily for him, he had a music publishing orchestral musicians in Wagner’s day, we firm, Breitkopf & Härtel, interested in can appreciate how difficult it was to coach buying it. Amazingly, Wagner drafted and singers in the two principal roles (never completed Tristan one act at a time. That is mind the smaller parts) who, after all, had to to say, he completed Act I and sent it to the memorise their parts – and Wagner’s words printers before he even started to draft Act are almost as challenging as his notes – in II. All up, Tristan was written in the space of addition to acting them out. Tristan, like

6 Wagner’s other mature works, is not a Wagner were engaged in a passionate “number opera”; by and large, it does not (but probably non-physical) relationship fall into discrete sections (or “numbers”) in the 1850s. Like Isolde, Mathilde was which means that the vocal parts are someone else’s bride – she was the wife enmeshed within the “endless melody” of of Otto Wesendonck, one of Wagner’s the orchestral writing, and singers therefore patrons – and Wagner was himself married, have to be attuned to the shape, nuances albeit unhappily, to his first wife, Minna and complexities of the orchestral score. Planer. Fifteen year’s Wagner’s junior and Moreover, the singers have to have the a beauty besides, Mathilde Wesendonck stamina to maintain full vocal strength right was someone with whom Wagner felt to the end. Tristan’s most punishing and both an intellectual and an emotional exposed music comes in Act III, and Isolde’s connection. He set five of her poems to voice needs to be radiant and robust for her music, the so-called , so-called “” (Love-death) in the two of which introduce themes that were opera’s closing minutes. later worked out extensively in Tristan. Soon after making the acquaintance of Mathilde WAGNER FOUND AN ANALOGUE FOR Wesendonck, Wagner came to know the THE LOVERS’ CONDITION IN WHAT HAS writings of pessimistic philosopher Arthur BEEN DUBBED THE “TRISTAN CHORD”, Schopenhauer. If Wagner at first intended A DISSONANT AGGREGATION OF NOTES Tristan to be a celebration of the ecstasy of ANNOUNCED IN THE FIRST FEW SECONDS love, he modified this substantially once he OF THE PRELUDE TO ACT I. fell under the spell of Schopenhauer, who argued that human existence consists of an In view of these challenges, far more time endless cycle of pain and misery which can elapsed in bringing Tristan to the stage only be overcome by renouncing the will to than in actually writing it. Early attempts to live. Love is not exempt from this agonising interest Paris and Karlsruhe in giving the cycle. So while Tristan and Isolde experience première came to nothing and the Vienna an intense passion, they also suffer the Court Opera abandoned Tristan in 1863 anguish of striving for the unattainable – after a phenomenal number of rehearsals the desire to meld one into the other, to – nearly 80! One of the founding deeds transcend material existence, to exist on a of Ludwig II, King of Bavaria, in becoming plane outside the phenomenal world. Wagner’s patron in 1864, was to sponsor Wagner found an analogue for the lovers’ the first production ofTristan , which took condition in what has been dubbed the place in Munich in 1865. Tristan had to wait “Tristan chord”, a dissonant aggregation of a further nine years before it was performed notes announced in the first few seconds of again, this time in Weimar. It finally made the Prelude to Act I and quoted countless it to in 1886, three years after times throughout the opera. Just as the Wagner’s death. On the subject of death, it lovers cannot find serenity, so too the should be pointed out that the singer who created the role of Tristan, Ludwig Schnorr unsteady “Tristan chord” cannot find rest. von Carolsfeld, died scarcely a month after That is until the great climax of Isolde’s the opera’s inaugural season in Munich. He closing scene when, with death drawing was aged 29. His widow, Malvina Schnorr ever closer, the orchestra comes crashing von Carolsfeld, who created the role of down on a transcendentally beautiful Isolde, blamed her husband’s premature B-. Resolution finally arrives but demise on the stress and strain of learning the price is annihilation. and performing Tristan. Robert Gibson © 2016 Any discussion of Tristan und Isolde is Composed 1857-59. Premièred Royal Court and bound to mention two figures: Mathilde National Theatre, Munich, 10 June 1865. First Wesendonck and Arthur Schopenhauer. Australian performance, Her Majesty’s Theatre, And rightly so. Mathilde Wesendonck and Melbourne, 14 June 1912.

7 A TALE OF THREE CITIES

A revolutionary, not just in music, Wagner Ritter, at the Palazzo Giustiniani in Venice. participated in the Dresden Uprising of May It was there that he completed Act II of 1849. He printed posters supporting the Tristan, in March 1859. Given that Wagner insurrection and most likely assisted in the was a person of interest to the authorities, preparation of hand grenades. The revolt he was anxious about the political situation was put down in less than a week and a in Austrian-controlled Venice and left the warrant was issued for Wagner’s arrest, but city less than a week after finishing Act II. he escaped Saxony and sought asylum in Wagner returned to Switzerland, settling Switzerland. in Lucerne (top left), where he completed It was in (top right) that Wagner set Act III, in August 1859. Amazingly, Wagner to work on Tristan und Isolde in August composed Tristan und Isolde in the space 1857, completing Act I the following April. of two very unsettled years. But his days as Wagner’s close emotional attachment a political fugitive were soon to come to an to Mathilde Wesendonck, the wife of a end. He was allowed to return to all parts benefactor, Otto Wesendonck, helped of Germany, with the exception of Saxony, precipitate a crisis in Wagner’s marriage and in 1860, and was granted a full amnesty in he left Zurich for Italy in August 1858. 1862. Tristan und Isolde was premièred in Munich in 1865. Wagner moved into the lodgings of Karl Ritter, son of another benefactor, Julie

8 Tasmanian Symphony TSO Orchestra Chorus Marko Letonja OBOE June Tyzack Chief Conductor & David Nuttall* Chorusmaster Artistic Director Stephanie Dixon Karen Smithies VIOLIN Dinah Woods Répétiteur Emma McGrath Cor Anglais Jennifer Marten-Smith Concertmaster CLARINET Répétiteur and Elinor Lea Andrew Seymour* language coach Associate Robert Schubert Concertmaster Chris Waller Lucy Carrig-Jones Bass Clarinet Principal Second Peter Ball Jennifer Owen Simon Beswick Principal First Tahnee van Herk* Beth Coombe Victoria Bihun Roger Brooke Sally Crosby Miranda Carson Glenn Prohasky Hilary Fawcett Margaret Connolly Contrabassoon Peter Fawcett Frances Davies Michael Kregor Edwina George HORN # Tony Marshall Michael Johnston Carla Blackwood Caroline Miller Ji Won Kim Principal First Christine Lawson Greg Stephens# Simon Milton Susanna Low Principal Third David Pitt Monica Naselow Jules Evans James Powell-Davies Susannah Ng Roger Jackson Peter Tattam Jennen Ngiau-Keng Wendy Page Andrew Tulloch Christopher Nicholas Gill von Bertouch Hayato Simpson TRUMPET Beth Warren Yoram Levy* VIOLA Mark Bain Stefanie Farrands* Christopher Perrin BASS Douglas Coghill John Ballard TROMBONE Anna Larsen Roach Luke Bombardieri Rodney McDonald Jonathon Ramsay* Peter Cretan William Newbery David Robins Greg Foot David Wicks BASS TROMBONE Peter Hepburn CELLO Robert Clark* Sam Hindell Sue-Ellen Paulsen* Duncan How William Hewer TUBA Reg Marron Ivan James Tim Jones* Martin Penicka Michael Muldoon TIMPANI Sophie Radke Darcy O’Malley Matthew Goddard* Brett Rutherford Tony Parker Paul Radford DOUBLE BASS PERCUSSION Philip Sabine Stuart Thomson* Gary Wain* Aurora Henrich Steve Marskell Dick Shoobridge Matthew McGrath Tracey Patten Anthony Sprent Grant Taylor James Menzies HARP FLUTE Bronwyn Wallis# Douglas Mackie* Surtitles by Antony Ernst © Symphony Services International. Katie Zagorski Surtitles amended and edited by June Tyzack. Lloyd Hudson Surtitles operated by Marie Keane. Piccolo Cover image: Tristan and Isolde VII by Slevin Aaron. *principal player #guest principal 9 Patrons and supporters

TSO PATRONS TSO CHAIR PATRONS PRINCIPAL TROMBONE Andrew Tulloch TSO Patrons are generous $5,000+ ANNUAL DONATION supporters whose donations CHIEF CONDUCTOR AND PRINCIPAL TIMPANI to the TSO Fund underpin John and Marilyn Canterford the financial viability of ARTISTIC DIRECTOR the Tasmanian Symphony Anonymous PRINCIPAL PERCUSSION Orchestra by supporting the ASSOCIATE Helen Rule TSO’s day-to-day operations. CONCERTMASTER CHORUSMASTER These activities range from educating the next generation RH O’Connor Michelle Warren of Tasmanian school students PRINCIPAL SECOND VIOLIN DAVE AND ANNICK and providing training Dr Joanna de Burgh CHAMBER MUSIC FUND for Australia’s best young composers and conductors, PRINCIPAL FIRST VIOLIN TSO PATRONS to outreach programs, touring Lisa Roberts $1,000+ ANNUAL DONATION regional centres and taking the Yvonne and Keith Adkins orchestra abroad. Patron level TUTTI VIOLIN gifts to the TSO Fund start at Janet Holmes à Court AC Peter and Ruth Althaus $1,000 and are tax deductible. TUTTI VIOLIN Wendy Ashley Patrons are invited to join the Bruce Neill and Penny Clive Sylvia Barrett Conductor’s Circle. Jane and Rex Bean TUTTI VIOLIN Hans Bosman and Sue Madden CONDUCTOR’S CIRCLE Warwick Rule Aileen Buchan The Conductor’s Circle is a PRINCIPAL VIOLA group of like-minded music Anne Carmichael lovers who share a special John and Jo Strutt George and Jan Casimaty relationship with the TSO. PRINCIPAL CELLO Anne Challen and Members enjoy a deeper Richard and Gill Ireland Don Challen AM connection with the orchestra, including opportunities to TUTTI CELLO Ian Chambers and discover its inner-workings, Sue and Ron Wooller Kathryn Arneman including invitations to Dr Alastair Christie behind-the-scenes events. 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A donation or a gift in your Diane Matthews The late Doone Kennedy AO will to the TSO Foundation Estate of Stanley Raymond Colin Kent and Deanne Cooper endowment fund, whether large Merrett Judith Ker-Stout or small, ensures the TSO will Marko Letonja carry on sharing the experience Dr John Roberts and of live orchestral music with Mrs Barbara Roberts Linda and Martin Luther the Tasmanian community for David McEwan AM and generations to come. Dick and Sue Shoobridge Mrs Jennifer McEwan SCULTHORPE SOCIETY Joy Selby Smith Dr Alex McLaren By letting us know of your Joy Smith and Netta McLaren intention to leave a gift to the John Upcher Macquarie Accounting TSO Foundation in your will, Alan and Hilary Wallace Caryl McQuestin you will be invited to join the Alison Malcolm Sculthorpe Society where you Michelle Warren can connect and get to know Katherine Marsden fellow bequesters. 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The Tasmanian Symphony Orchestra’s 2017 season offers a vibrant collection of performances, each bringing its own mood and emotion. We invite you to experience this exceptional program for yourself.

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