MASTER 10 SATURDAY 10 SEPTEMBER 7.30PM FEDERATION CONCERT HALL HOBART Otto Tausk conductor INTERVAL Lorina Gore soprano Duration 20 mins Steve Davislim tenor Derek Welton bass-baritone Part Three: Seventh Day of Creation TSO Chorus Duration 29 mins HAYDN This performance will be sung in English. The Creation Part One: First, Second, Third and This concert will end at approximately Fourth Days of Creation 9.45pm. Part Two: Fifth and Sixth Days of Creation Duration 80 mins 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. 11 OTTO TAUSK LORINA GORE STEVE DAVISLIM DEREK WELTON Music Director of the Symphony Orchestra Lorina Gore is a regular performer with Twice awarded the Queen Elizabeth II Derek Welton has performed in concert and Opera Theatre St Gallen (Switzerland), Opera Australia where her roles include Silver Jubilee award, Australian tenor Steve at venues across Europe, North America, Otto Tausk works with all the major Violetta (La traviata), Queen of the Night Davislim began as a horn player, then Asia and Australasia in repertoire that studied voice at the VCA under Dame Joan orchestras in his native Netherlands. Recent (Die Zauberflöte), Die Fiakermilli (Arabella), includes over 60 choral and orchestral appearances have included Amsterdam’s Amina (La sonnambula), Leïla (The Hammond. After attending Zurich Opera’s Opernstudio, he started his career as an works as well as a diverse song repertoire. Concertgebouw Orchestra. In St Gallen Otto Pearlfishers), Tytania (A Midsummer Night’s ensemble member of the Zurich Opera. His many operatic roles include Figaro Tausk conducts the major concert series as Dream), Honey B (Bliss), Marzelline (Fidelio), Engagements include Beethoven’s Ninth in Glyndebourne’s touring production of well as operas. In previous seasons he has Oscar (Un ballo in maschera), Yum-Yum (London Symphony Orchestra and Bernard The Marriage of Figaro, and Voland in conducted Eugene Onegin, The Abduction (The Mikado), Despina (Così fan tutte), Haitink), Das Lied von der Erde (Bordeaux), York Höller’s The Master and Margarita at from the Seraglio, Korngold’s Die tote Stadt Musetta (La bohème), Nanetta (Falstaff), Dvo ák’s Stabat mater (Basilique Cathédrale ř Hamburg State Opera. His competition wins and the Swiss première of George Benjamin’s and Woglinde (Der Ring des Nibelungen). de Saint-Denis, Paris), Tamino in The Magic include the Emmerich Smola Förderpreis Written on Skin. Guest appearances In 2010 she performed as Pip in Moby-Dick Flute (Semperoper Dresden), Mozart’s have included the Stuttgart Philharmonic, for the State Opera of South Australia, for Requiem with Thielemann (Salzburg), the and the Australian Youth Aria. He has been Symphony Orchestra of Porto da Música and which she received a Helpmann Award Italian Singer in Der Rosenkavalier (National a member of the ensemble of the Deutsche BBC Scottish Symphony Orchestra. Outside nomination. International performances Symphony Orchestra, Kennedy Centre and Oper Berlin since the 2015/16 season. His Europe Tausk has conducted the Los Angeles have included the title role in Lucia di Christoph Eschenbach), Richard Strauss roles there for 2016/17 include Saint-Bris in Orchestral Songs (the Hallé and Sir Mark Philharmonic. He most recently appeared Lammermoor for Iford Arts, Fiakermilli Les Huguenots under Michele Mariotti, Peter Elder), and Elijah with Hengelbrock. His with the Tasmanian Symphony Orchestra for Garsington Opera, Giulia (La scala di in Hansel and Gretel under Nicholas Carter, extensive discography includes Bach cantatas in 2014. In 2011 Otto Tausk was presented seta) for Independent Opera, Blonde (Die with Sir John Eliot Gardiner, Martinu°’s Klingsor in Parsifal under Donald Runnicles with the “de Olifant” prize by the city of Entführung aus dem Serail), Agilea (Teseo) Giulietta with Sir Charles Mackerras, Tippett’s and Mr Flint in Billy Budd under Moritz Haarlem for his contribution to the arts in and Sandrina (L’infedeltà delusa) for English A Child of Our Time with Sir Colin Davis Gnann. Concerts for the 2016/17 season The Netherlands, particularly his work with Touring Opera, and Norina (Don Pasquale) and the LSO, Brahms’ Rinaldo with Michel include A Child of our Time with the Leipzig the Holland Symfonia. His recording of Hans and Violetta (La traviata) for New Zealand Plasson, and Richard Strauss songs with Gewandhaus Orchestra under Stefan Asbury Pfitzner’sOrchesterlieder with the Northwest Opera. She studied at the Australian National Orchestra Victoria and Simone Young. and Martinu°’s The Epic of Gilgamesh with the German Philharmonic won Classica France’s University and at the National Opera Studio 2015/16 highlights include Beethoven’s Czech Philharmonic under Jiří Beˇlohlávek. Choc du mois. Tausk was born in Utrecht in London, and has been the recipient of Ninth (Berlin Philharmonic and Sir Simon Recordings include a solo CD of Vaughan and studied violin with Viktor Liberman numerous prestigious opera awards. ABC Rattle), Bruckner’s Te Deum (Chicago Symphony Orchestra and Riccardo Muti), Williams with Iain Burnside, as Creonte on and István Párkányi and conducting with Classics recordings include highlights from Elijah (Gewandhaus Orchestra, Leipzig), Jurjen Hempel and Kenneth Montgomery. Strauss’s Der Rosenkavalier with Yvonne Pinchgut Live’s CD of Haydn’s L’anima del Baron Kronthal in Lortzing’s Der Wildschütz filosofo and on Christian Thielemann DVDs He continued conducting studies in Vilnius Kenny, selections from Handel’s Rodelinda (Semperoper Dresden), Tom in The Rake’s of Parsifal and Richard Strauss’s Arabella. with Jonas Aleksa. Between 2004 and 2006 with Richard Bonynge, and Bliss with Opera Progress (Finnish National Opera) and, in he was assistant to Valery Gergiev at the Australia. Her engagements in 2016 include Australia, Beethoven’s Ninth (SSO), Haydn’s Derek Welton is a graduate of the University Rotterdam Philharmonic and later worked at La bohème and Der Ring des Nibelungen for Creation (TSO), Mozart’s Requiem (WASO) of Melbourne and London’s Guildhall School the Mariinsky. Opera Australia. and in recital (ANAM). of Music and Drama. 12 13 JOSEPH HAYDN (1732-1809) The Creation the Psalms, and on Milton’s poem Paradise Lost). After Haydn had written the music, Haydn’s The Creation is a masterpiece Swieten then translated the text back into and a miracle. As a masterwork, few English in a version that would fit the same would dispute its qualifications: exquisitely rhythms as the German – making it the beautiful arias, brilliant use of orchestral first large-scale work in music history to be colours, and choruses bursting with delight, TSO CHORUS HAYDN’S CREATION published with a bilingual text. all on a scale both epic and intimate. AND HOBART TOWN HALL What makes it miraculous is that it was Making “singable” translations is always a The TSO Chorus is an auditioned group created, like the world it describes, difficult task, and Swieten’s English, though of approximately 80 voices. June Tyzack from nothing. much better than Haydn’s, was by no means “The new Town Hall, Hobart Town, is a perfect, resulting in some very strange turns has been Chorusmaster since 2001 and Haydn in 1797 was an international musical magnificent pile of buildings situated in of phrase (“ye finny tribes”, for fish, and superstar. The composer who for more than is supported by Assistant Chorusmaster Macquarie-street, between Elizabeth and Adam’s forehead described as “the large a decade had been thrilling Europe with Andrew Bainbridge. Founded in 1992 to Argyle-street, on a block of land granted and arched front sublime”) and some his ground-breaking symphonies and string to the Corporation by the Government… German word order that doesn’t work in present concert performances of opera, quartets while confined to his employer’s It consists of a centre and two wings, English. The real challenge of setting the the TSO Chorus has since broadened palace at Eszterháza, in the backwoods of containing Town Hall, Court-house, text to music, though, was the subject its repertoire to include the requiems of Hungary, had at last appeared in the flesh, matter itself – there is basically no story, public library and reading room besides a with two immensely successful trips to Mozart, Cherubini, Brahms, Verdi, Fauré, in any kind of dramatic sense. Perhaps multiplicity of ante-chambers and offices. London. and Sculthorpe; masses by Mozart, Haydn, The centre building was designed on the this is why Handel had let this libretto lie: Haydn returned from his London seasons Schubert and Puccini; and symphonies example of the celebrated Farnese palace it’s all good news. Three angels, Raphael, a wealthy man. But money was not all he by Beethoven, Mendelssohn, Mahler, and at Rome…” Gabriel and Uriel, tell how over the course had acquired: he had experienced for the of six days God creates heaven and earth Vaughan Williams. Many performances are Mercury, 25 October 1866 first time the oratorios of Handel – not just and all living things – but stopping before broadcast on ABC Classic FM. In addition The City of Hobart and Haydn’s Creation the music, but the overwhelming emotional Adam and Eve get expelled from Paradise. effect of Messiah and Israel in Egypt, to performing with the TSO and touring have been entwined ever since the opening Nothing goes wrong here, and nobody gets performed in Westminster Abbey by more hurt. And this is where Haydn works his regional Tasmania, the TSO Chorus is of Hobart Town Hall in September 1866, than 1000 musicians, and not for a small miracle: out of a story with no real drama frequently invited to augment interstate with Haydn’s oratorio as the key work in an circle of connoisseurs, but reaching a vast in it, which does nothing but get happier symphonic choirs.