2017 SEASON
Belshazzar’s Feast
EMIRATES METRO SERIES
Friday 24 November, 8pm GREAT CLASSICS
Saturday 25 November, 2pm
concert diary
CLASSICAL
Belshazzar’s Feast EÖTVÖS Halleluja – Oratorium balbulum AUSTRALIAN PREMIERE
Fri 24 Nov, 8pm Great Classics
WALTON Belshazzar’s Feast David Robertson conductor Michelle DeYoung mezzo-soprano Topi Lehtipuu tenor Andrew Foster-Williams bass-baritone Martin Crewes narrator Sydney Philharmonia Choirs & TSO Chorus
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2017 CONCERT SEASON
EMIRATES METRO SERIES FRIDAY 24 NOVEMBER, 8PM GREAT CLASSICS SATURDAY 25 NOVEMBER, 2PM SYDNEY OPERA HOUSE CONCERT HALL
BELSHAZZAR’S FEAST David Robertson conductor Michelle DeYoung mezzo-soprano Topi Lehtipuu tenor Peter Coleman-Wright baritone Martin Crewes narrator Sydney Philharmonia Choirs Tasmanian Symphony Orchestra Chorus PÉTER EÖTVÖS (born 1944) Halleluja – Oratorium balbulum AUSTRALIAN PREMIERE
Michelle DeYoung, mezzo-soprano Topi Lehtipuu, tenor Martin Crewes, narrator Sydney Philharmonia Chamber Singers & VOX INTERVAL
WILLIAM WALTON (1902–1983) Belshazzar’s Feast Peter Coleman-Wright, baritone Sydney Philharmonia Symphony Chorus Tasmanian Symphony Orchestra Chorus
Saturday’s performance will be recorded by ABC Classic FM for broadcast on Thursday 7 December at 8pm. Pre-concert talk by Raff Wilson in the Northern Foyer 45 minutes before each performance. Visit sydneysymphony.com/talk-bios for more information. Estimated durations: 50 minutes, 20-minute interval, 36 minutes The concert will conclude at approximately 10pm (Fri), 4pm (Sat). Halleluja – Oratorium balbulum was commissioned by the Salzburg Festival, Wiener Konzerthaus in collaboration with Wien Modern, Müpa Budapest (Palace of the Arts), WDR and Acht Brücken/Musik für Köln, TonhalleGesellschaft Zürich, and the Sydney Symphony Orchestra with the generous support of Geoff Stearn. COVER IMAGE: Belshazzar’s Feast (c.1635–38) by Rembrandt CHANGE OF ARTIST: The advertised soloist for Belshazzar’s Feast, Andrew Foster-Williams, has had to withdraw from these concerts because of illness. We are grateful to Peter ColemanWright for joining us at short notice.
ABOUT THE MUSIC Péter Eötvös (born 1944) Halleluja – Oratorium balbulum Four Fragments for mezzo-soprano, tenor, narrator, choir and orchestra I. Wer sind wir? (Who are we?) II. Wo sind wir? (Where are we?) III. Was wollen wir? (What do we want?) IV. Worüber schweigen wir? (What do we keep silent about?) PHOTO: WILFRIED HOESL
Original Hungarian text by Péter Esterházy German translation by György Buda Sung in German with English surtitles and English narration
Michelle DeYoung mezzo-soprano (The Angel) Topi Lehtipuu tenor (The Prophet) Martin Crewes narrator Sydney Philharmonia Chamber Singers & VOX ‘I know that my Redeemer liveth’: those used to be the words. Such confident assertions, which we might remember from oratorios past, are perhaps more difficult for us to voice today. Certainly there is no intention to voice them on the part of the creators of this work: Péter Eötvös, who composed the music in 2015, and his fellow Hungarian, the master literary ironist Péter Esterházy, who died shortly before the premiere, which took place at the Salzburg Festival in the summer of the following year. Lacking statements, they offer questions, with which we may feel a lot more comfortable. Who are we? Where are we? What do we want? What do we keep silent about?
I. ‘Who are we?’ The question, like those that follow, is spoken by the choir, this first time supported by piano, harps and metal percussion. An orchestral cloud develops, perhaps bespeaking confusion, and then a quote: the opening figure from Schumann’s Vogel als Prophet (Bird as Prophet), from his piano collection Waldscenen (Forest Scenes). This introduces the Narrator, who, while the Schumannesque music goes on, expresses reluctance before accepting his role, which is inevitably that of an outsider, standing apart from the music. (In German, ‘Der Narrator’ is close to ‘Der Narr’, the fool.) He is, he says, as the brass introduce another quotation, an error. He does not err, though, in remarking that the situation he is in, evidently that of oratorio, abounds in repetition. The Angel enters to agree, and is followed by the Prophet, who, in stammering, repeats seemingly uncontrollably. The Narrator offers some clarification of the dramatis personae and recalls an 6
Péter Eötvös
earlier stammerer, the ninth-century Notker of St Gallen (a place then in Frankish territory, currently Swiss), known as Notker the Stammerer. He wrote some of the earliest music by a known composer, liturgical pieces that include what we are currently hearing from the men of the choir in bare fourths: ‘Natus ante sæcula’. He is also an appropriate patron saint for an oratorio certain only of its uncertainty. And indeed, the Narrator goes on to announce the work’s subtitle, ‘Oratorium balbulum’ (Stammering Oratorio), words massively amplified by the assembled soloists, chorus and orchestra. ‘In the beginning was the Word’, declaims the Prophet, in Greek, but the Narrator demurs against himself; here only music counts, as is proved, in a way, by the first and most recognizable of several ‘hallelujah’ settings quoted from former times. The solo singers return, and the chorus adds its commentary. To the Angel’s call for another hallelujah, the chorus supplies one that keeps rotating in a kind of Bartókian modality. Should this be the end? No: the Narrator remembers that each part of the oratorio has to include a Scene. Piano, harps and percussion roll the dice, and the Prophet seems about to make himself useful as a predictor of lottery numbers. He cuts off the chorus as they begin a hallelujah from a Bach cantata, but seems to be playing for time until he in turn is interrupted by the Angel, recalling Nietzsche as an old drinking buddy.
Notker the Stammerer… is an appropriate patron saint for an oratorio certain only of its uncertainty.
II. Where are we? The question is whispered to drum rolls, punctuated by piano and harps in the bass, and supplemented by another question: What are we doing? The chorus announces a new Scene, taking place on the date that has defined this century so far: September 11, 2001. However, the narrative falls apart, with the chorus wanting to sing about the creation of the world and supplying a hallelujah to music developed from Mussorgsky’s opera Boris Godunov. Uncertainty overcomes the work. The soloists come together in false assurances, which the chorus noisily rejects before shedding all pretences in insisting: ‘We are the choir’, thus resituating the work in territory where it can talk only about itself. Soloists and chorus circle that abyss, examining its implications, until the work seems to stall, lacking a subject. The section ends with the Mussorgskian hallelujah decaying into silence. III. What do we want? In contrast with the quiet ending of the second part, the third opens with full forces engaged and moves to another key moment in world history: the assassination that unleashed the First World War. The Narrator invites us to consider this in connection with the present, but again the story is soon derailed, and we have the choral singers asking and extending their 7
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questions: Who are we? What do we want? What can we expect? Ignoring the Angel, they burst on with a hallelujah by an early 17th-century German composer, Johann Hermann Schein. While the Prophet and the Angel consider the nature of God, the chorus finds another hallelujah of the same period, by Monteverdi. As altercation goes on among the soloists, and between them and the chorus, the focus swivels back and forth between the great questions and the actuality of performance (‘We are the choir’). The Angel at one point delivers a plainsong hallelujah as blues, the orchestra a giant swirl. An oratorio, the Narrator concludes, must present an image of its time; since this third part has failed in that task, it must lapse into silence.
IV. What do we keep silent about? Again the question is spoken by the chorus, this time without accompaniment, as the Narrator speculates on the silence of the future, the absence now of any future. To broken fanfares, the Prophet announces: ‘There is no future. There is no forwards.’ Angel and Prophet dispute this before moving into discussion once more of the work they find themselves in. This is an oratorio that cannot end, being only a fragment. Existence without hope, the chorus declares, leaves only the hallelujah, and they move towards two settings they sing simultaneously, the women singing Mozart to the men’s Bruckner. But everything comes to an end, says the Narrator; this is the oratorio’s optimism. The chorus then cue the Narrator that there must be a Scene, and he duly returns us to September 11, 2001. This, however, is a scene that indeed has no ending.
This is an oratorio that cannot end, being only a fragment.
PAUL GRIFFITHS © 2016 In addition to the vocal soloists, narrator and four-part chorus, Halleluja calls for a large orchestra of four flutes (doubling piccolo and alto flute), two oboes, cor anglais, two clarinets, bass clarinet, two bassoons and contrabassoon; four horns, three trumpets, three trombones and tuba; timpani and a large percussion section; two harps; piano and celesta; accordion; and strings. Halleluja – Oratorium balbulum was commissioned by the Salzburg Festival, Wiener Konzerthaus in collaboration with Wien Modern, Müpa Budapest (Palace of the Arts), WDR and Acht Brücken/Musik für Köln, Tonhalle-Gesellschaft Zürich, and the Sydney Symphony Orchestra with the generous support of Geoff Stearn. It was premiered at the 2016 Salzburg Festival by the Vienna Philharmonic and Hungarian Radio Choir, conducted by Daniel Harding with soloists Iris Vermillion and Topi Lehtipuu and narrator Peter Simonischek. This is the Australian premiere.
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INTERVIEW
Hallelujahs and Fragments Last year, Sydney cellist Zoltán Szabó visited Péter Eötvös in Budapest to talk about his new oratorio Péter Eötvös’s home is in one of the leafy suburbs of Budapest, far away from the bustle and noise of the city. Situated behind a wellkept garden, the house is unimposing from the outside, but spacious and light once we are inside. The matching colours of the walls and furniture are warm and pleasing to the eye, and there is plenty of room downstairs for a comfortable work space next to the open-plan kitchen and living area. This is where we sit with strong smoky tea and an assortment of equally smoky nuts to talk about Eötvös’s recent work, Halleluja – Oratorium balbulum. ‘I was guest-conducting a Bartók program with the Vienna Philharmonic Orchestra at the Salzburg Festival back in 2008,’ he begins. ‘We were only in the interval of the first rehearsal, when one of the principal players, who was also a member of the programming committee, came to me and asked if I would consider writing an oratorio for their orchestra. The exact reasons why they wanted an oratorio were never revealed to me; but it may have helped that they liked my rubato style of conducting Bartók’s Bluebeard’s Castle and thus, my interest in interpreting sung words.’ The text for Halleluja is by one of the foremost writers in contemporary Hungarian literature, Péter Eszterházy. The two Péters knew each other for a long time; apart from their friendship, they met regularly at the meetings of the Berlin Academy of the Arts, of which they were both members. Working on the score of Halleluja was truly a joint artistic venture, symbolically expressed on the score’s first page which says: Music and text written by E. P. & E. P. In fact Eötvös’s only condition to the Vienna Philharmonic’s request was that the libretto be written by Eszterházy. ‘He is a highly regarded writer in Austria, as most of his novels are translated into German,’ says Eötvös. ‘He and I share a similar sense of humour, something
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I value very much. Also, his way of thinking about music is similar to how I think about literature. We worked intensely and extremely well. As it turned out, it was not only our first, but also our last project together, as he died a few days before the first performance in Salzburg. ‘In an oratorio, there is always a narrator,’ Eötvös explains. ‘As I was fascinated by Eszterházy’s way of putting words together, I knew immediately that my Narrator would speak in prose to make those erudite sentences clear.’ Z.S. The work is called Halleluja – Oratorium balbulum. This title needs some explanation… P.E. After quite some research, we came across the figure of an amazing ninth-century monk, musician, poet, called Notker Balbulus from Sankt Gallen in Switzerland. He was a stutterer which appealed to Eszterházy, who said that ‘words are important to those for whom they are difficult’. Needless to say, the stuttering had motivating implications regarding both the text and the music. The Prophet is not the historical Notker, though, although he definitely inspired us. So, with a Prophet as the protagonist, is this a sacred oratorio? Next to the Prophet, there is also a solo part for mezzo-soprano, that of the Angel. But no, this is not a sacred work. After all, these days, there are profane oratorios, rock oratorios, you name it. I would say our work treats a sacred theme in a profane way. Also, the real protagonist of this composition is not so much the Prophet or the Angel, but the chorus, the voice of the people. They are doomed to respond with a commentary of a hallelujah whatever turns their life will take. In various ways, the hallelujahs hold up a mirror to our society. Their inclusion throughout the work was Eszterházy’s idea.
PHOTO: PRISKA KETTERER
These hallelujahs are fundamental pillars to the oratorio then. How did you choose them and make them such organic part of this work? As is often the case in his works, Eszterházy’s text is full of references, quotations, and paraphrases. Thus, the concept of borrowed material was already there. I took that one step further when I started to search for pre-existing hallelujah settings. Naturally, I found hundreds of them; in some cases, I did not even know their composer before. After an extended selection process, I decided to use hallelujahs originally composed by Monteverdi, Schein, Handel, Bach, and perhaps my favourite: Mussorgsky’s chorus from Boris Godunov. I added only one hallelujah setting on my own and I composed that in Bartók’s style. I have also included a hallelujah that Mozart composed, which is a canon for female voices, and another by Bruckner for male voices. Towards the end of the work, I juxtaposed them, as, when performed simultaneously, they sound incredibly good together. I am rather proud of that.
The title also says ‘Four fragments’… And that is very important. On a superficial level, of course, all the hallelujahs are fragments themselves. But that is not what the title suggests. When Eszterházy first wrote the text, he came up with a substantial work in its own right, a kind of a short drama, which was, however, much longer than what we feasibly could work with. In the end, only the most concentrated fragments of it remained. The nature of these fragments means that musical, historical or even political references notwithstanding, Eszterházy’s potent text and my composition bring up momentous topics and ask questions, but cannot offer answers. ZOLTÁN SZABÓ © 2017
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William Walton Belshazzar’s Feast
Keynotes
Peter Coleman-Wright baritone Sydney Philharmonia Symphony Chorus Tasmanian Symphony Orchestra Chorus
Born Oldham, 1902 Died Ischia, Italy, 1983
‘No man, I thought, as slim and pale as that,’ wrote C.B. Rees after hearing the first performance of Belshazzar’s Feast in 1931, ‘could possibly be strong enough to write music of such savage splendour’. The exciting impact of this music was irresistible, and remains so. There has always been an element of surprise in it – whence came such a startlingly novel approach to the conventions of large-scale choral/orchestral music, and who was this 29-year-old composer, William Walton? He had treasured up as a deep design the music that burst on the public when Malcolm Sargent conducted Belshazzar’s Feast at that Leeds Festival. Walton, commissioned by the BBC to write a large-scale choral work, had found it hard to choose a subject. He wanted it to be a familiar one, and the eventual proposal of Belshazzar’s Feast, it can be seen in retrospect, is a tribute to the English oratorio tradition, dominated from Handel to Mendelssohn and beyond by Old Testament subjects. Perhaps for that reason too, it has since been taken into the repertoire of most competent choirs, although the authorities who ran the Three Choirs Festival long banned it from performance in that church-based festival. The text was assembled from the Bible by Osbert Sitwell, one of the Sitwell brothers Walton had met at Oxford and who had taken him into their home as an ‘adopted, or elected brother’. Walton’s setting of their sister Edith’s poems in Façade (1921–2) had gained him notoriety as a modernist and an artistic extremist. Belshazzar’s Feast, his next major musical encounter with words, was recognised as coming from the same milieu. Although the text is an account of the fall of Belshazzar and his Babylonian empire through outraged Jewish eyes, there is a strong suspicion that both Sitwell and Walton were at least as much attracted to the pagan magnificence of the description as to the moral repugnance of the narrative. It is certainly true that Belshazzar’s Feast is a piece of historical drama, rather than a religious reflection on the text, but this is true of many of Handel’s oratorios (including, to a degree, his own Belshazzar). At the height of the Depression in 1931, the barbarism of Babylon’s worship of the God of Gold had a secular meaning. Walton knew that a work by Berlioz was to be performed at the same Leeds Festival – accounts vary as to whether it was the Requiem or the Te Deum, both works which require brass choirs in addition to very large choral and orchestral forces.
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WALTON
William Walton was the major English composer to emerge between Vaughan Williams and Britten. Born into a family of singers, his early influence was the Anglican choral tradition. He was a student at Oxford, but left without a degree in 1920, having failed to pass an obligatory exam. He became an ‘adopted, or elected brother’ of the Sitwell family, who gave him a ‘lively cultural education’ as well as introducing him to the delights of Italy. Walton’s stature was assured by his first symphony, an entertainment called Façade, concertos for violin, viola and cello, and Belshazzar’s Feast. BELSHAZZAR’S FEAST Belshazzar’s Feast was commissioned by the BBC and premiered at the Leeds Festival in 1931, when Walton was 29. From the first it made a tremendous impact on listeners – exciting and irresistible music, recognised for its ‘savage splendour’. It belongs to the 18th-century tradition of the English oratorio, with a sacred story dramatised (but not staged) in music, although Walton himself thought of it as a choral symphony rather than an oratorio. Knowing there would be many brass players at Leeds for a Berlioz performance, Walton scored the music extravagantly for a large orchestra with two brass bands, placed either side of the stage. There is a strong jazz influence in the rhythms and instrumentation.
PHOTO: HOWARD COSTER / LEBRECHT-MUSIC & ARTS
The story is that Walton went to Sir Thomas Beecham for advice as to whether he too should use the extra brass bands. Beecham, observing the work in progress, said grandly ‘You’ll never hear the thing more than once – throw in a brass band’. Walton used two, disposed spatially, as in Berlioz’s Requiem, on either side of the main forces. As a chorister at Christ Church Cathedral, Oxford, he had reinforced his familiarity with choral music absorbed as a boy in the north of England. Walton’s arresting idiom for choral music with orchestra also had a partial model in his friend Constant Lambert’s Rio Grande, a setting of a poem by another of the Sitwells, Sacheverell. Both Lambert and Walton were attracted to jazz, integrating its rhythms and some of its instrumentation into their own music. Walton’s Belshazzar’s Feast, however, is more ambitious than Lambert’s masterpiece. Walton said that he thought of it not as an oratorio but as a choral symphony. It falls into three continuous movements, the first, as in Walton’s concertos, a slow movement. After a trombone fanfare, the warning of the Prophet Isaiah is declaimed by male voices in harsh, dissonant unaccompanied recitative. The exiles’ lament is a setting of Psalm 137, in which Walton’s characteristic lyricism has an undercurrent of bitterness. When this develops into gladness, then triumphant scorn and certainty of Babylon’s destruction, the listener grasps how apt is the composer’s musical personality to his subject. John Warrack has described Walton at this time as a man of nervous vitality and sense of violence, coupled with a bitter melancholy. The baritone soloist makes his entrance during the singing of the Psalm. Next, unaccompanied, he describes the King’s feast, enumerating the riches that make Babylon great in a matter-of-
William Walton – ‘slim and pale’
The Writing on the Wall According to modern scholars more than 4000 Jews had been exiled to Babylon at the time of Belshazzar. In a calculated insult, Belshazzar uses sacred vessels looted from the Temple of Jerusalem in a sumptuous and decadent feast. Rembrandt’s painting shows the moment in the feast when a disembodied hand appears and writes ‘mene, mene, tekel upharsin’ (terms for three particular coins in Aramaic). Daniel is called upon to decipher and he interprets the divine graffiti to mean ‘Thou [Belshazzar] art weighed in the balance and found wanting’. That night Belshazzar is murdered and Babylon falls to the enemy.
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fact way which made Walton refer to this passage as ‘the shopping list’. The account of the feast itself is from Daniel V. In a combination of march and song, the various deities are suggested in the sounds of choir and orchestra: golden instruments for the gods of gold; female voices, flute, glockenspiel and triangle for the gods of silver; the iron god is praised by male voices, violins col legno and xylophone, and the stone and brass gods in equally appropriate sounds. Here the brass bands break out to terrific effect. Walton, always a slow, even a ‘reluctant’ composer, was held up for seven months at the word ‘gold’, but the effectiveness of the jagged, jazzy rhythms and sounds of this section show that it was worth waiting. After a reprise comes the eerie representation of the writing on the wall, with its skeletal accompaniment, then the minimalist but overwhelming daring of the choir’s amazed underlining of Belshazzar’s death. The final section is a setting of Psalm 81, a song of triumph over the fallen city, broken – as it needed to be, lest it become merely wearing – by a quieter passage whose imagery, like that of the rest of the work, grows naturally out of the text. ‘The trumpeters and pipers are silent’ – but not for long!
Walton, always a slow, even a ‘reluctant’ composer, was held up for seven months at the word ‘gold’ in ‘Praise ye the god of gold’ – the effectiveness of the jagged, jazzy rhythms in this section suggests it was worth the wait.
© DAVID GARRETT In addition to the soloist and chorus, Belshazzar’s Feast calls for a mighty orchestra with two flutes, piccolo, two oboes, three clarinets (doubling on E flat and bass clarinet), two bassoons, contrabassoon and alto saxophone; four horns, three trumpets, three trombones and tuba; timpani and a large percussion sections; two harps; organ; strings; and two optional brass bands, each comprising three trumpets, three trombones and tuba. The SSO first performed Belshazzar’s Feast in 1944, conducted by Malcolm Sargent with soloist Raymond Beatty. (The same guest artists had given the Australian premiere in Melbourne.) Our most recent performances were in 2009 with Vladimir Ashkenazy, Peter Coleman-Wright and Sydney Philharmonia Choirs. These performances of Belshazzar’s Feast by William Walton are given by permission of Boosey & Hawkes Pty Ltd, as agent for Oxford University Press.
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PHOTO: JAY FRAM
THE ARTISTS
David Robertson THE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR
David Robertson is a compelling and passionate communicator whose stimulating ideas and music-making have captivated audiences and musicians alike. A consummate musician and masterful programmer, he has forged strong relationships with major orchestras throughout Europe and North America. He made his Australian debut with the SSO in 2003 and soon became a regular visitor to Sydney, with highlights including the Australian premiere of John Adams’ Doctor Atomic Symphony and concert performances of The Flying Dutchman. In 2014, his inaugural season as Chief Conductor and Artistic Director, he led the SSO on a seven-city tour of China. More recent highlights have included presentations of Elektra, Tristan und Isolde, Beethoven’s Missa Solemnis, and Porgy and Bess; the Australian premiere of Adams’ Scheherazade.2 violin concerto, Messiaen’s From the Canyons to the Stars and Stravinsky ballet scores (also recorded for CD release), as well as the launch of the SSO at Carriageworks series. Last year he began his 12th season as Music Director of the St Louis Symphony. Other titled posts have included Principal Guest Conductor of the BBC Symphony Orchestra, Music Director of the Orchestre National de Lyon and resident conductor of the Jerusalem Symphony Orchestra. An expert in 20th- and 21st-century music, he has been Music Director of the Ensemble Intercontemporain in Paris (where composer and conductor Pierre Boulez was an early supporter).
He is also a champion of young musicians, devoting time to working with students and young artists. David Robertson is a frequent guest with major orchestras and opera houses worldwide, conducting the New York Philharmonic, Los Angeles Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, the Philadelphia and Cleveland orchestras, Berlin Philharmonic, Staatskapelle Dresden, BBC Symphony Orchestra and Hong Kong Philharmonic Orchestra, as well as conducting at La Scala, Opéra de Lyon, San Francisco Opera and the Bavarian and Hamburg state operas. In 2014 he conducted the controversial but highly acclaimed Metropolitan Opera premiere of John Adams’ Death of Klinghoffer. His awards and accolades include Musical America Conductor of the Year (2000), Columbia University’s 2006 Ditson Conductor’s Award, and the 2005–06 ASCAP Morton Gould Award for Innovative Programming. In 2010 he was elected a Fellow of the American Academy of Arts and Sciences, and in 2011 a Chevalier de l’Ordre des Arts et des Lettres. David Robertson was born in Santa Monica, California, and educated at the Royal Academy of Music in London, where he studied French horn and composition before turning to conducting. He is married to pianist Orli Shaham. The position of Chief Conductor and Artistic Director is also supported by Principal Partner Emirates.
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PHOTO: MONICA-RITTERSHAUS
PHOTO: KRISTIN HOEBERMANN
Michelle DeYoung
Topi Lehtipuu
mezzo-soprano
tenor
Michelle DeYoung is in demand worldwide, appearing regularly with the New York Philharmonic, Boston and Chicago symphony orchestras, Cleveland Orchestra, San Francisco Symphony, Pittsburgh Symphony Orchestra, The Met Orchestra, London Symphony Orchestra, BBC Symphony Orchestra, Vienna Philharmonic, and the Royal Concertgebouw Orchestra, and performing at prestigious festivals. She appears frequently with the SSO and recently sang Kundry (Parsifal) in concert for Opera Australia. Equally at home in opera, she has appeared with the Metropolitan Opera, Lyric Opera of Chicago, Teatro alla Scala, Bayreuth Festival, Berliner Staatsoper, Paris Opera, Theater Basel and Tokyo Opera. Her repertoire includes the title roles in Samson et Dalila and The Rape of Lucretia; a number of Wagner roles and Judith in Bluebeard’s Castle, which she sings with the SSO next week. Her award-winning discography includes Mahler’s Kindertotenlieder, Third Symphony and Das klagende Lied (Michael Tilson Thomas, San Francisco Symphony); The Trojans (Colin Davis, London Symphony Orchestra), and two further recordings of Mahler’s Third (Bernard Haitink, Chicago and Manfred Honeck, Pittsburgh). In the 2017–18 season, she makes her debut at English National Opera singing Amneris (Aida), and appears in concert with the Philharmonia, London Philharmonic, Hong Kong Philharmonic and Dallas Symphony orchestras.
Topi Lehtipuu is one of Finland’s most highly individual artists. In addition to his international career as a tenor, he has been Director of the Helsinki Festival since 2015. Previously he was artistic director of the Turku Music Festival (2010–15), and of the Joroinen Music Days chamber music festival. As a singer, he has appeared in concert halls and opera houses throughout the world, and enjoys close working relationships with conductors such as John Eliot Gardiner, René Jacobs, Riccardo Muti, Simon Rattle and Esa-Pekka Salonen. A versatile and skilled stage performer, his repertoire ranges from early music and Bach to contemporary creations. Recent highlights include acclaimed performances as Pylade in Gluck’s Iphigénie en Tauride (Salzburg Whitsun Festival) and semistaged performances of Bach’s St Matthew Passion with Peter Sellars, Simon Rattle and the Berlin Philharmonic. He created the role of The Prophet in Eötvös’ Halleluja at the 2016 Salzburg Festival, with revivals in Vienna, Budapest, Cologne and Zurich. He features on numerous recordings, including acclaimed DVD recordings of The Rake’s Progress and The Mastersingers, and multiple versions of the St Matthew Passion, including a DVD conducted by Simon Rattle with the Berlin Philharmonic.
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PHOTO: ADAM ULRICH
Peter Coleman-Wright
Martin Crewes
baritone
narrator
Australian Peter Coleman-Wright is one of the most versatile singers in the world today. His career has taken him to the great opera houses and concert halls of the world, most notably with Royal Opera House Covent Garden, the Met in New York, English National Opera and Paris Opera, collaborating with world-class conductors and directors. He is a frequent guest with Opera Australia, where his roles have included Onegin, Don Giovanni, Count Almaviva, Chorèbe (The Trojans), Orestes (Iphigénie en Tauride), Wolfram (Tannhäuser), Golaud (Pelléas et Mélisande), Germont (La Traviata), Billy Budd, Sweeney Todd, the seven baritone roles in Death in Venice, Mandryka (Arabella), Pizarro, Balstrode (Peter Grimes) and Macbeth. In concert, he has performed throughout Britain with all the leading orchestras, in the major European capitals, and at New York’s Carnegie and Avery Fisher halls, and he performs frequently with the Australian symphony orchestras. Engagement highlights include Glanert’s Caligula (Teatro Colon and in concert at the Concertgebouw Amsterdam, the first performances of Death in Venice in Moscow, Adès’ opera Powder Her Face, and Dean’s Last Days of Socrates with the Los Angeles Philharmonic and the Melbourne Symphony Orchestra, which was named Performance of the Year in the Art Music Awards. He was awarded the Order of Australia in 2015 and holds an honorary doctorate from Melbourne University.
Martin Crewes appeared most recently in the Hayes Theatre production of Assassins and last year created the role of Steve Blauner in Dream Lover. Other credits include Sweet Charity, Doctor Zhivago, South Pacific, Chess, Hair, Guys and Dolls, Joseph and the Amazing Technicolor Dreamcoat, Aspects of Love, Oh! What a Night, The Man From Snowy River – Arena Spectacular, and West Side Story. And he has performed the role of Marius (Les Misérables) in London’s West End, Asia, South Africa and in the Scandinavian Concert Tour. UK appearances include Pal Joey, The Woman in White, and the Royal Shakespeare Company production of Merry Wives – The Musical with Judi Dench. He won Sydney Theatre and Glug awards for Doctor Zhivago and Green Room awards for Hair and Sweet Charity, and received Helpmann Award nominations for Oh! What a Night, Doctor Zhivago and Sweet Charity. He has appeared on Australian television in A Place to Call Home, Crownies and Neighbours, and in the UK in Dream Team, Casualty, Heartbeat and Bad Girls. His feature film credits include Resident Evil, DOA: Dead or Alive and the Aussie horror movie Patrick. Born in London, Martin Crewes grew up in Perth and is a graduate of WAAPA.
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THE CHOIRS Sydney Philharmonia Choirs Brett Weymark Music Director Elizabeth Scott Music Director, VOX Hannah Mason General Manager Claire Howard Race Assistant Chorusmaster & Principal Rehearsal Pianist
Sydney Philharmonia Choirs presents the art of choral singing at the highest standard, and develops the talents of those with a passion for singing in Sydney and beyond. Founded in 1920, it has become Australia’s finest choral performing arts company and appears regularly at the Sydney Opera House. Led by Music Director Brett Weymark since 2003, Sydney Philharmonia comprises six choirs that perform a range of repertoire from choral classics to musical theatre and commissions by Australian composers. It also presents its own annual season and collaborates with leading conductors, soloists and orchestras in Australia and overseas. In 2002, Sydney Philharmonia Choirs was the first Australian choir to sing at the BBC Proms (Mahler’s Eighth Symphony under Simon Rattle), returning again in 2010. The choirs perform in the SSO’s subscription series every year. In 2016 Brett Weymark conducted Sydney Philharmonia Chamber Singers in a Haydn and Mozart program, and the Symphony Chorus performed Haydn’s Creation, Beethoven’s Ninth and a semi-staged production of Porgy and Bess. This year’s collaborations have included Brahms choral songs, Debussy’s Pelléas et Mélisande, Mahler’s Third Symphony, Ravel’s Daphnis et Chloé and the annual Last Night of the Proms. Highlights of Sydney Philharmonia’s own concert series this year have included Bach’s St Matthew Passion, Rossini’s Stabat Mater, Tudor Portraits and Elgar’s Dream of Gerontius, and in December Messiah. sydneyphilharmonia.com.au
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PHOTO: KEITH SAUNDERS
Rehearsal chorusmasters: Sarah Penicka-Smith, David Anthony Taylor Rehearsal pianists: Ben Burton, Paul Fitzsimons, Ying Ho, Estella Roche, Ingrid Sakurovs Language coaches: Tanja Binggeli, Chris Matthies
BRETT WEYMARK Music Director Brett Weymark is one of the foremost choral conductors in Australia. He has held positions with the Song Company, Opera Australia, Pacific Opera, Sounds Baroque, Cantillation and the University of Western Sydney, as well as working for many of Australia’s major musical organisations, and in 2002 he was awarded a Centenary Award for services to music. Since he was appointed Music Director of Sydney Philharmonia Choirs in 2003, he has conducted the choirs in performances throughout Australia and internationally, and has led them to accolades such the Helpmann Awardwinning performances of Stravinsky’s Oedipus Rex and Symphony of Psalms, directed by Peter Sellars, as well as preparing them for conductors such as Simon Rattle, Charles Mackerras, Vladimir Ashkenazy, Edo de Waart, Charles Dutoit and David Robertson. He initiated the annual ChorusOz event and has developed programs such as Singing at the House and Festival Chorus. He has also conducted the Sydney, West Australian and Tasmanian symphony orchestras, Orchestra of the Antipodes, Sydney Youth Orchestra, and productions for WAAPA, Pacific Opera and OzOpera.
EÖTVÖS Sydney Philharmonia Chamber Singers & VOX SOPRANOS Nicole Baz Jodie Boehme Nikki Bogard Anita Burkart Claire Christie Alexandra Little Maria Lopes Georgia Moore Gabrielle Nottle Jayne Oishi Judith Pickering Maya Schwenke Amelia Shaw Katherine Stein
Katherine Thompson Charisse van Niekerk Narelle Vance Abbey Whittle Dorothy Wu
ALTOS Isabel Colman Karen Cortez Jessica Farrell Vesna Hatezic Sonia Kao Rachel Maiden
Madi Moore Lindsey Paget-Cooke Victoria Pham Beverley Price Megan Solomon Fiona Young Priscilla Yuen Nicole Zhou
TENORS Joshua Borja Vitor Cortes-Borges Thomas Hallworth
Steven Hankey Selwyn Lemos Rhys Little Alex McEwan Tim Matthies Rajah Selvarajah Robert Thomson Alex Walter
BASSES Tim Cerexhe Andy Clare Ian Davies Nicholas Davison Simon Harris
Tom Hazell Jason McFarland Samuel Morrell-Feitelberg Liam Mulligan Bruce Munro Andrew Pettingell-Ward Bruce Watson Ben Yi Stephen Young
WALTON Sydney Philharmonia Symphony Chorus SOPRANOS Debra Baker Georgina Bitcon Anne Blake Valerie Blechar Olga Bodrova* Natalie Brown Claire Christie* Anne Cooke* Pam Cunningham Shamistha De Soysa Vanessa Downing Caris Doyle Lauren Fisher Luda Goncharova Natalie Gooneratne Judith Gorry Belinda Griffiths Caroline Gude* Nina Harris Rachel Harris* Keryn Hassall Kellie Hewitt-Taylor Sue Justice* Timothea Lau Jessica Lee
Bernadette Mitchell Nathalie O’Toole* Anita Paas Dympna Paterson Linda Peach Laura Platts* Georgia Rivers Jolanda Rotteveel Elani Rottier Allison Rowlands Meg Shaw Katherine Thompson Sarah Thompson Jessica Veliscek Carolan Marit Waaseth Sara Watts Genni Wetherell Jacqui Wilkins
ALTOS Leonie Armitage Meaghan Backhouse Amanda Baird Gillian Behrens Katie Blake Alison Dutton Helen Esmond Jessica Farrell* Jan Fawke* Jenny Harry* Kathryn Harwood* Margaret Hofman* Sarah Howell Tracey Jordan* Rachel Maiden Janice McKeand* Maggie McKelvey Hannah Mason* Tijana Miljovska Penelope Morris Marj O’Callaghan Virginia Rowlands Susannah Russell Debbie Scholem
Johanna Segall Jan Shaw Megan Solomon Noriko Yamanaka Lucy Yu
TENORS Matthew Allchurch Malcolm Day Robert Elliott* Tony Green* Adela Greenbaum* Steven Hankey Nick Hazell Jude Holdsworth* Michael Kertesz Vincent Lo Joao Lourenco* Frank Maio* Dimitry Moraitis* George Panaretos Martin Stebbings Alex Walter*
BASSES Peter Callaghan Julian Coghlan* Daryl Colquhoun Paul Couvret* Philip Crenigan* Robert Cunningham James Devenish* Tom Forrester-Paton Paul Green* Eric Hansen Miles Harris Simon Harris Derek Hodgkins David Jacobs Ian Jurd Fintan Keane Bruce Lane Johann Loibl Mark McGoldrick* Paul Myatt Eric Nelson Ian Pettener* Peter Poole* Michael Ryan * = semi-chorus
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Tasmanian Symphony Orchestra Chorus June Tyzack Chorusmaster Karen Smithies Répétiteur Alexis Hargrave Artistic & Chorus Coordinator Celebrating 25 years with the Tasmanian Symphony Orchestra this year, the TSO Chorus has marked the anniversary with sold-out performances of Beethoven Nine and Bizet’s Carmen. In addition to concerts with the TSO and these concerts in Sydney, performance highlights include concerts with the West Australian and Adelaide symphony orchestras, Orchestra Victoria, Hong Kong Philharmonic Orchestra and the Australian International Symphony Orchestra Institute. Earlier this year, members of the TSO Chorus participated in a Mitsingkonzert in the Berlin Philharmonie. Recent accolades for the TSO Chorus include a Helpman Award-winning performance of Tristan und Isolde conducted by the TSO’s Chief Conductor and Artistic Director, Marko Letonja. With a reputation for innovative performances under the direction of Chorusmaster June Tyzack, the TSO Chorus has featured in the Spiegeltent for Ten Days on the Island, collaborated with the Festival of Voices, developed a distinctive presence at MONA (Mofo and Synaesthesia festivals), and in 2016 was the opening act of Dark Mofo on Hobart’s waterfront. These performances of Belshazzar’s Feast will be followed by Vaughan Williams’ enigmatic Flos Campi in Hobart’s Federation Concert Hall with the TSO’s Principal Viola Stefanie Farrands. www.tsochorus.com.au
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JUNE TYZACK Chorusmaster Tasmanian-born June Tyzack studied piano and harpsichord in Hobart and London and trained as a répétiteur at the Sydney Conservatorium. In addition to her role as Chief Vocal Coach of the Opera Studio, she held positions with the Australian Brandenburg Orchestra, Opera Australia and Pacific Opera, and worked as a répétiteur and pit musician with the Australian Opera and Ballet Orchestra, Belvoir Street Theatre and Sydney Theatre Company. In 2001 she was appointed Chorusmaster of the Tasmanian Symphony Orchestra. Under her direction, the TSO Chorus has gained a national profile through collaborative performances with interstate symphonic choirs. Her dynamism has produced cutting edge choral performances in numerous festivals and unusual venues, including the Spiegeltent (Ten Days on the Island) and MONA (Mofo, Dark Mofo, Synaesthesia).
WALTON TSO Chorus SOPRANOS
ALTOS
TENORS
BASSES
Alice Bowman-Shaw Carmelita Coen Michaela Darlington* Madeleine Dyer Felicity Gifford Debra Jensen Felicity Kohut Bernadette Large Loretta Lohberger Stephanie McDonald* Shaunagh O’Neill Christine Ovens* Julianne Panckridge Abigail Radford Meg Scanlan Sharon Sherman Yasmin Shoobridge Frances Underwood
Claire Blichfeldt Beth Coombe Sally Crosby* Elizabeth Eden Sue Harradence Clare Hawkins Kirsten Jones Marie Keane Mary McArthur Louise Rigozzi Jennifer Thain* Henni Veit Beth Warren Michelle Warren
Michael Kregor Bill MacDonald Tony Marshall Simon Milton* Dianne O’Toole David Pitt James Powell-Davies* Alexander Rodrigues
John Ballard Peter Cretan Jack Delaney Greg Foot Sam Hindell* David Horn* Michael Hutch Lincoln Law Reg Marron Tony Parker Paul Radford Philip Sabine Anthony Sprent Grant Taylor * = semi-chorus
SYMPHONY SERVICES INTERNATIONAL
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PHOTO: KEITH SAUNDERS
SYDNEY SYMPHONY ORCHESTR A
DAVID ROBERTSON THE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR
PATRON Professor The Hon. Dame Marie Bashir ad cvo
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 Sydney Opera House, the SSO 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. Well on its way to becoming the premier orchestra of the Asia Pacific region, the SSO has toured China on four occasions, and in 2014 won the arts category in the Australian Government’s inaugural Australia-China Achievement Awards, recognising ground-breaking work in nurturing the cultural and artistic relationship between the two nations. The orchestra’s first chief conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux,
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Sir Charles Mackerras, Zdeněk Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from 2009 to 2013. The orchestra’s history also boasts collaborations with legendary figures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky. The SSO’s award-winning Learning and Engagement program is central to its commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The orchestra promotes the work of Australian composers through performances, recordings and commissions. Recent premieres have included major works by Ross Edwards, Lee Bracegirdle, Gordon Kerry, Mary Finsterer, Nigel Westlake, Paul Stanhope and Georges Lentz, and recordings of music by Brett Dean have been released on both the BIS and SSO Live labels. Other releases on the SSO Live label, established in 2006, include performances conducted by Alexander Lazarev, Sir Charles Mackerras and David Robertson, as well as the complete Mahler symphonies conducted by Vladimir Ashkenazy. This is David Robertson’s fourth year as Chief Conductor and Artistic Director.
THE ORCHESTR A
David Robertson
Brett Dean
Toby Thatcher
Andrew Haveron
THE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR
ARTIST IN RESIDENCE SUPPORTED BY GEOFF AINSWORTH am & JOHANNA FEATHERSTONE
ASSISTANT CONDUCTOR SUPPORTED BY RACHEL & GEOFFREY O’CONOR AND SYMPHONY SERVICES INTERNATIONAL
CONCERTMASTER SUPPORTED BY VICKI OLSSON
FIRST VIOLINS Thomas Bowes*
Justin Williams
OBOES Shefali Pryor David Papp Alexandre Oguey
TROMBONES Scott Kinmont Nick Byrne Christopher Harris
PRINCIPAL COR ANGLAIS
PRINCIPAL BASS TROMBONE
Diana Doherty
Jarrod Callaghan* Ashley Carter* Nigel Crocker* Andrew Nissen* Mitchell Nissen* Amanda Tillett† Ronald Prussing
CONCERTMASTER
Sun Yi ASSOCIATE CONCERTMASTER
Kirsten Williams ASSOCIATE CONCERTMASTER
Lerida Delbridge ASSISTANT CONCERTMASTER
Sophie Cole Claire Herrick Georges Lentz Nicola Lewis Emily Long Alexandra Mitchell Alexander Norton Anna Skálová Madeleine Boud* Sercan Danis* Gemma Lee† Minxian Sun* Cristina Vaszilcsin* Andrew Haveron CONCERTMASTER
Fiona Ziegler ASSISTANT CONCERTMASTER
Jenny Booth Brielle Clapson Amber Davis Léone Ziegler SECOND VIOLINS Kirsty Hilton Marina Marsden Marianne Edwards Emma Jezek ASSISTANT PRINCIPAL
Victoria Bihun Rebecca Gill Emma Hayes Shuti Huang Monique Irik Wendy Kong Stan W Kornel Benjamin Li Nicole Masters Maja Verunica VIOLAS Roger Benedict Tobias Breider Anne-Louise Comerford
ASSISTANT PRINCIPAL
Sandro Costantino Rosemary Curtin Jane Hazelwood Graham Hennings Leonid Volovelsky Jacqueline Cronin° Andrew Jezek° Kuan Liu* Stuart Johnson Justine Marsden Felicity Tsai Amanda Verner CELLOS Umberto Clerici Catherine Hewgill Edward King Kristy Conrau Timothy Nankervis Christopher Pidcock Adrian Wallis David Wickham Ruben Palma† Paul Stender* Leah Lynn ASSISTANT PRINCIPAL
Fenella Gill Elizabeth Neville DOUBLE BASSES Kees Boersma Alex Henery Steven Larson Richard Lynn Jaan Pallandi Josef Bisits° Hugh Kluger° Kaixuan Zhang* David Campbell Benjamin Ward FLUTES Emma Sholl
CLARINETS Francesco Celata A/ PRINCIPAL
Craig Wernicke PRINCIPAL BASS CLARINET
David McGregor† Christopher Tingay BASSOONS Todd Gibson-Cornish Fiona McNamara Melissa Woodroffe° Matthew Wilkie PRINCIPAL EMERITUS
Noriko Shimada PRINCIPAL CONTRABASSOON
SAXOPHONE Christina Leonard* HORNS Tim Jones* Euan Harvey Marnie Sebire Lee Wadenpfuhl* Ben Jacks Geoffrey O’Reilly PRINCIPAL 3RD
Rachel Silver TRUMPETS David Elton Paul Goodchild Anthony Heinrichs Yosuke Matsui Fletcher Cox* Timothy Keenihan* Brody Linke* Michael Olsen* Jenna Smith†
A/ PRINCIPAL
Carolyn Harris Rosamund Plummer
TUBA Steve Rossé Jason Catchpowle* Andrew Jefferies* TIMPANI Mark Robinson ASSISTANT PRINCIPAL
Richard Miller PERCUSSION Rebecca Lagos Timothy Constable Tim Brigden* Joshua Hill* Philip South * HARP Louise Johnson Emily Granger* ORGAN David Drury* PIANO & CELESTA Susanne Powell* ACCORDION James Crabb* Bold = PRINCIPAL Bold Italics = ASSOCIATE PRINCIPAL ° = CONTRACT MUSICIAN * = GUEST MUSICIAN Grey = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT
PRINCIPAL PICCOLO
Kate Proctor*
www.sydneysymphony.com/SSO_musicians
The men’s tails are hand tailored by Sydney’s leading bespoke tailors, G.A. Zink & Sons.
The men of the Sydney Symphony Orchestra are proudly outfitted by Van Heusen.
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BEHIND THE SCENES Sydney Symphony Orchestra Board Terrey Arcus AM Chairman Andrew Baxter Ewen Crouch AM Catherine Hewgill Jennifer Hoy David Livingstone The Hon. Justice AJ Meagher Karen Moses John Vallance
Sydney Symphony Orchestra Council Geoff Ainsworth AM Doug Battersby Christine Bishop The Hon. John Della Bosca John C Conde AO Alan Fang Erin Flaherty Dr Stephen Freiberg Robert Joannides Simon Johnson Gary Linnane Helen Lynch AM David Maloney AM Justice Jane Mathews AO Danny May Jane Morschel Dr Eileen Ong Andy Plummer Deirdre Plummer Seamus Robert Quick Paul Salteri AM Sandra Salteri Juliana Schaeffer Fred Stein OAM Brian White AO Rosemary White
HONORARY COUNCIL MEMBERS Ita Buttrose AO OBE Donald Hazelwood AO OBE Yvonne Kenny AM David Malouf AO Wendy McCarthy AO Dene Olding AM Leo Schofield AM Peter Weiss AO Anthony Whelan MBE
Concertmasters Emeritus Donald Hazelwood AO OBE Dene Olding AM
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Sydney Symphony Orchestra Staff ACTING MANAGING DIRECTOR
MARKETING MANAGER, DIGITAL & ONLINE
John Horn
Meera Gooley
EXECUTIVE ADMINISTRATOR
SENIOR ONLINE MARKETING COORDINATOR
Lisa Davies-Galli
Jenny Sargant
ARTISTIC OPERATIONS
Doug Emery
DIRECTOR OF ARTISTIC PLANNING
Raff Wilson
MARKETING COORDINATOR
Box Office
ARTISTIC PLANNING MANAGER
MANAGER OF BOX OFFICE SALES & OPERATIONS
Sam Torrens
Lynn McLaughlin
ARTIST LIAISON MANAGER
BOX OFFICE SALES & SYSTEMS MANAGER
Ilmar Leetberg
Emma Burgess
LIBRARY MANAGER
CUSTOMER SERVICE REPRESENTATIVES
Alastair McKean
Rosie Baker Michael Dowling Shareeka Helaluddin
LIBRARIANS
Victoria Grant Mary-Ann Mead
Publications
LEARNING AND ENGAGEMENT
PUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER
DIRECTOR OF LEARNING & ENGAGEMENT
Yvonne Frindle
Linda Lorenza EMERGING ARTISTS PROGRAM MANAGER
Rachel McLarin EDUCATION MANAGER
Amy Walsh Tim Walsh EDUCATION OFFICER
Laura Andrew
EXTERNAL RELATIONS DIRECTOR OF EXTERNAL RELATIONS
Yvonne Zammit
Philanthropy HEAD OF PHILANTHROPY
Rosemary Swift PHILANTHROPY MANAGER
Jennifer Drysdale
ORCHESTRA MANAGEMENT
PATRONS EXECUTIVE
DIRECTOR OF ORCHESTRA MANAGEMENT
Claire Whittle
Aernout Kerbert
TRUSTS & FOUNDATIONS OFFICER
ORCHESTRA MANAGER
Sally-Anne Biggins
Rachel Whealy
Corporate Relations
ORCHESTRA COORDINATOR
A/ HEAD OF CORPORATE RELATIONS
Rosie Marks-Smith
Benjamin Moh
OPERATIONS MANAGER
CORPORATE RELATIONS COORDINATOR
Kerry-Anne Cook
Mihka Chee
HEAD OF PRODUCTION
Communications
Jack Woods STAGE MANAGER
HEAD OF COMMUNICATIONS
Bridget Cormack
Suzanne Large
PUBLICIST
PRODUCTION COORDINATORS
Alyssa Lim
Elissa Seed Brendon Taylor
Daniela Testa
HEAD OF COMMERCIAL PROGRAMMING
Mark Sutcliffe
SALES AND MARKETING DIRECTOR OF SALES & MARKETING
Mark J Elliott SENIOR SALES & MARKETING MANAGER
Penny Evans MARKETING MANAGER, SUBSCRIPTION SALES
Simon Crossley-Meates
MULTIMEDIA CONTENT PRODUCER
BUSINESS SERVICES INTERIM DIRECTOR OF FINANCE
Christopher Brennan FINANCE MANAGER
Ruth Tolentino ACCOUNTANT
Minerva Prescott ACCOUNTS ASSISTANT
Emma Ferrer PAYROLL OFFICER
MARKETING MANAGER, CLASSICAL SALES
Laura Soutter
Matthew Rive
PEOPLE AND CULTURE
SENIOR GRAPHIC DESIGNER
IN-HOUSE COUNSEL
Christie Brewster
Michel Maree Hryce
GRAPHIC DESIGNER
LEGAL INTERN
Tessa Conn
Georgie Hannam
SSO PATRONS Maestro’s Circle Roslyn Packer AC President Terrey Arcus AM Chairman & Anne Arcus Brian Abel Tom Breen & Rachel Kohn The Berg Family Foundation John C Conde AO Michael Crouch AO & Shanny Crouch Vicki Olsson Drs Keith & Eileen Ong Ruth & Bob Magid Kenneth R Reed AM David Robertson & Orli Shaham Penelope Seidler AM Mr Fred Street AM & Dorothy Street Peter Weiss AO President Emeritus & Doris Weiss Brian White AO & Rosemary White Ray Wilson OAM in memory of the late James Agapitos OAM Anonymous (1)
PHOTO: JAY FRAM
Supporting the artistic vision of David Robertson, Chief Conductor and Artistic Director
David Robertson
Chair Patrons
Andrew Haveron Concertmaster Vicki Olsson Chair Brett Dean Artist in Residence Geoff Ainsworth AM & Johanna Featherstone Chair Toby Thatcher Assistant Conductor Supported by Rachel & Geoffrey O’Connor and Symphony Services International Kees Boersma Principal Double Bass SSO Council Chair Francesco Celata Acting Principal Clarinet Karen Moses Chair Umberto Clerici Principal Cello Garry & Shiva Rich Chair Anne-Louise Comerford Associate Principal Viola White Family Chair Kristy Conrau Cello James Graham AM & Helen Graham Chair Timothy Constable Percussion Justice Jane Mathews AO Chair
Lerida Delbridge Assistant Concertmaster Simon Johnson Chair
Elizabeth Neville Cello Ruth & Bob Magid Chair
Diana Doherty Principal Oboe John C Conde AO Chair
Shefali Pryor Associate Principal Oboe Emma & David Livingstone Chair
Carolyn Harris Flute Dr Barry Landa Chair
Mark Robinson Assistant Principal Timpani Rodney Rosenblum Memorial Chair
Jane Hazelwood Viola Bob & Julie Clampett Chair in memory of Carolyn Clampett
Emma Sholl Acting Principal Flute Robert & Janet Constable Chair Kirsten Williams Associate Concertmaster I Kallinikos Chair
PHOTO: CHRISTIE BREWSTER
David Robertson The Lowy Chair of Chief Conductor and Artistic Director
Claire Herrick Violin Mary & Russell McMurray Chair Catherine Hewgill Principal Cello The Hon. Justice AJ & Mrs Fran Meagher Chair Scott Kinmont Associate Principal Trombone Audrey Blunden Chair Leah Lynn Assistant Principal Cello SSO Vanguard Chair with lead support from Taine Moufarrige and Seamus R Quick Nicole Masters Second Violin Nora Goodridge Chair Timothy Nankervis Cello Dr Rebecca Chin & Family Chair
Nora Goodridge with Tutti Second Violin Nicole Masters. Nicole says she feels incredibly privileged to have this connection with someone who wants to support her chair in the orchestra. ‘I feel really grateful that there are people like Nora still in this world.’ For her part, Nora sums it up: ‘It’s my choice, and it’s a joy!’
n n n n n n n n n n FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM CALL (02) 8215 4625
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SSO PATRONS Foundations
PHOTO: KEITH SAUNDERS
Learning & Engagement
Sydney Symphony Orchestra 2017 Fellows
The Fellowship program receives generous support from the Estate of the late Helen MacDonnell Morgan fellowship patrons Robert Albert AO & Elizabeth Albert Flute Chair Christine Bishop Percussion Chair Sandra & Neil Burns Clarinet Chair In Memory of Matthew Krel Violin Chair The late Mrs T Merewether OAM Horn Chair Paul Salteri AM & Sandra Salteri Violin and Viola Chairs In Memory of Joyce Sproat Viola Chair Mrs W Stening Cello Chairs June & Alan Woods Family Bequest Bassoon Chair Anonymous Oboe Chair Anonymous Trumpet Chair Anonymous Double Bass Chair
fellowship supporting patrons Bronze Patrons & above Mr Stephen J Bell Bennelong Arts Foundation The Greatorex Foundation Dr Gary Holmes & Dr Anne Reeckmann Dr Barry Landa Gabriel Lopata The Dr Lee MacCormick Edwards Charitable Foundation Drs Eileen & Keith Ong Dominic Pak & Cecilia Tsai Dr John Yu AC Anonymous (1)
Commissioning Circle Supporting the creation of new works ANZAC Centenary Arts and Culture Fund Geoff Ainsworth AM & Johanna Featherstone Dr Raji Ambikairajah Christine Bishop Dr John Edmonds Alvaro Rodas Fernandez Dr Stephen Freiberg & Donald Campbell Peter Howard Andrew Kaldor AM & Renata Kaldor AO Gary Linnane & Peter Braithwaite Gabriel Lopata Dr Peter Louw Justice Jane Mathews AO Vicki Olsson Caroline & Tim Rogers Geoff Stearn Rosemary Swift Ian Taylor Dr Richard T White Kim Williams AM & Catherine Dovey Anonymous
tuned-up! Bronze Patrons & above Antoinette Albert Ian & Jennifer Burton Ian Dickson & Reg Holloway Drs Keith & Eileen Ong Tony Strachan Susan & Isaac Wakil
major education donors Bronze Patrons & above Beverley & Phil Birnbaum The late Mrs PM Bridges OBE Bob & Julie Clampett Howard & Maureen Connors Kimberley Holden Mrs WG Keighley Roland Lee Mr & Mrs Nigel Price Mr Dougall Squair Mr Robert & Mrs Rosemary Walsh Anonymous (1)
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“Patrons allow us to dream of projects, and then share them with others. What could be more rewarding?” DAVID ROBERTSON SSO Chief Conductor and Artistic Director
BECOME A PATRON TODAY. Call: (02) 8215 4650 Email:
[email protected]
SSO Bequest Society
Playing Your Part
Honouring the legacy of Stuart Challender
The Sydney Symphony Orchestra gratefully acknowledges the music lovers who donate to the orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs.
Warwick K Anderson Mr Henri W Aram OAM & Mrs Robin Aram Timothy Ball Stephen J Bell Christine Bishop Mr David & Mrs Halina Brett R Burns David Churches & Helen Rose Howard Connors Greta Davis Glenys Fitzpatrick Dr Stephen Freiberg Jennifer Fulton Brian Galway Michele Gannon-Miller Miss Pauline M Griffin AM John Lam-Po-Tang
Dr Barry Landa Peter Lazar AM Daniel Lemesle Ardelle Lohan Linda Lorenza Louise Miller James & Elsie Moore Vincent Kevin Morris & Desmond McNally Mrs Barbara Murphy Douglas Paisley Kate Roberts Dr Richard Spurway Rosemary Swift Mary Vallentine AO Ray Wilson OAM Anonymous (41)
Stuart Challender, SSO Chief Conductor and Artistic Director 1987–1991
bequest donors We gratefully acknowledge donors who have left a bequest to the SSO The late Mrs Lenore Adamson Estate of Carolyn Clampett Estate of Jonathan Earl William Clark Estate of Colin T Enderby Estate of Mrs E Herrman Estate of Irwin Imhof The late Mrs Isabelle Joseph The Estate of Dr Lynn Joseph Estate of Matthew Krel Estate of Helen MacDonnell Morgan The late Greta C Ryan Estate of Rex Foster Smart Estate of Joyce Sproat June & Alan Woods Family Bequest
n n n n n n n n n n IF YOU WOULD LIKE MORE INFORMATION ON MAKING A BEQUEST TO THE SSO, PLEASE CONTACT OUR PHILANTHROPY TEAM ON 8215 4625.
DIAMOND PATRONS $50,000 and above Geoff Ainsworth am & Johanna Featherstone Anne Arcus & Terrey Arcus am The Berg Family Foundation Mr Frank Lowy ac & Mrs Shirley Lowy oam Vicki Olsson Roslyn Packer ac Paul Salteri am & Sandra Salteri In memory of Joyce Sproat Peter Weiss ao & Doris Weiss Mr Brian White ao & Mrs Rosemary White
Dr Hannes & Mrs Barbara Boshoff Mr Robert & Mrs L Alison Carr Dr Rebecca Chin Bob & Julie Clampett Ian Dickson & Reg Holloway Edward & Diane Federman Dr Stephen Freiberg & Donald Campbell Nora Goodridge Simon Johnson Marianne Lesnie Emma & David Livingstone Gabriel Lopata Helen Lynch am & Helen Bauer Susan Maple-Brown am PLATINUM PATRONS The Hon. Justice A J Meagher $30,000–$49,999 & Mrs Fran Meagher Brian Abel Mr John Morschel Mr John C Conde ao Dominic Pak & Cecilia Tsai Robert & Janet Constable Seamus Robert Quick Michael Crouch ac & Garry & Shiva Rich Shanny Crouch Sylvia Rosenblum Ruth & Bob Magid Tony Strachan Justice Jane Mathews ao Susan Wakil ao & Mrs W Stening Isaac Wakil ao Judy & Sam Weiss GOLD PATRONS In memory of Geoff White $20,000–$29,999 Caroline Wilkinson Antoinette Albert Robert Albert ao & Elizabeth Albert Anonymous (6) Christine Bishop BRONZE PATRONS Tom Breen & Rachael Kohn $5,000–$9,999 Sandra & Neil Burns Dr Raji Ambikairajah Dr Gary Holmes & Stephen J Bell Dr Anne Reeckmann Beverley & Phil Birnbaum Mr Andrew Kaldor am & The late Mrs P M Bridges obe Mrs Renata Kaldor ao Daniel & Drina Brezniak I Kallinikos Ian & Jennifer Burton Dr Barry Landa Hon. J C Campbell qc & Russell & Mary McMurray Mrs Campbell The late Mrs T Merewether oam Mr Lionel Chan Karen Moses Dr Diana Choquette Rachel & Geoffrey O’Conor Richard Cobden sc Drs Keith & Eileen Ong Howard Connors Kenneth R Reed am Ewen Crouch am & David Robertson & Orli Shaham Catherine Crouch Mrs Penelope Seidler am Paul & Roslyn Espie Geoff Stearn In memory of Lyn Fergusson Mr Fred Street am & Mr Richard Flanagan Mrs Dorothy Street James & Leonie Furber Ray Wilson oam in memory of Dr Colin Goldschmidt James Agapitos oam Mr Ross Grant June & Alan Woods Family Mr David Greatorex ao & Bequest Mrs Deirdre Greatorex Anonymous (1) Warren Green SILVER PATRONS The Hilmer Family $10,000–$19,999 Endowment James & Yvonne Hochroth Ainsworth Foundation Angus & Kimberley Holden Doug & Alison Battersby Audrey Blunden Jim & Kim Jobson
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SSO PATRONS Playing Your Part VIVACE PATRONS $1,000–$2,499 Mrs Lenore Adamson Andrew Andersons ao Mr Matthew Andrews Mr Henri W Aram oam In memory of Toby Avent Margaret & James Beattie Dr Richard & Mrs Margaret Bell Allan & Julie Bligh In memory of Rosemary Boyle, Music Teacher Peter Braithwaite & Gary Linnane Mrs H Breekveldt Mrs Heather M Breeze Mr David & Mrs Halina Brett Eric & Rosemary Campbell Michel-Henri Carriol Debby Cramer & Bill Caukill PRESTO PATRONS M D Chapman am & $2,500–$4,999 Mrs J M Chapman Rae & David Allen Norman & Suellen Chapman David Barnes Mrs Stella Chen Mrs Ros Bracher am Mrs Margot Chinneck In memory of RW Burley David Churches & Helen Rose Cheung Family Mr Donald Clark Mr B & Mrs M Coles Joan Connery oam & Dr Paul Collett Max Connery oam Andrew & Barbara Dowe Dr Peter Craswell Suellen & Ron Enestrom Christie & Don Davison Anthony Gregg Greta Davis Dr Jan Grose oam Lisa & Miro Davis Roger Hudson & Claudia Kate Dixon Rossi-Hudson Stuart & Alex Donaldson Dr Michael & Mrs Penny Hunter Professor Jenny Edwards Fran & Dave Kallaway Dr Rupert C Edwards Professor Andrew Korda am & Mrs Margaret Epps Ms Susan Pearson Mr John B Fairfax ao A/Prof. Winston Liauw & Mr & Mrs Alexander Fischl Mrs Ellen Liauw Vic & Katie French Mrs Juliet Lockhart Mrs Lynne Frolich Ian & Pam McGaw Vernon Flay & Linda Gilbert Barbara Maidment Julie Flynn Renee Markovic Victoria Furrer-Brown Mrs Alexandra Martin & Michele Gannon-Miller the late Mr Lloyd Martin am Mrs Linda Gerke Helen & Phil Meddings Mr Stephen Gillies & Ms Jo Metzke James & Elsie Moore Ms Lara Goodridge Andrew Patterson & Steven Bardy Clive & Jenny Goodwin Patricia H Reid Endowment Michael & Rochelle Goot Pty Ltd Mr David Gordon Lesley & Andrew Rosenberg In Memory of Angelica Green Shah Rusiti Akiko Gregory In memory of H St P Scarlett Richard Griffin am & Jay Griffin Helen & Sam Sheffer Harry & Althea Halliday Mr David FC Thomas & Mrs Jennifer Hershon Mrs Katerina Thomas Sue Hewitt Peter & Jane Thornton Jill Hickson am Kevin Troy Dr Lybus Hillman Judge Robyn Tupman Dorothy Hoddinott ao Russell van Howe & Simon Beets Mr Peter Howard John & Akky van Ogtrop Aidan & Elizabeth Hughes Mr Robert Veel David Jeremy The Hon. Justice A G Whealy Mrs Margaret Johnston Prof. Neville Wills & Ian Fenwicke Dr Owen Jones & Ms Josette Wunder Ms Vivienne Goldschmidt Yim Family Foundation Anna-Lisa Klettenberg Anonymous (3) Dr Michael Kluger & Jane England Mr Ervin Katz Mrs W G Keighley Roland Lee Robert McDougall Judith A McKernan Mora Maxwell Mrs Elizabeth Newton Ms Jackie O’Brien Mr & Mrs Nigel Price Manfred & Linda Salamon Rod Sims & Alison Pert Mr Dougall Squair John & Jo Strutt Ms Rosemary Swift Dr Alla Waldman Mr Robert & Mrs Rosemary Walsh Mary Whelan & Rob Baulderstone Dr John Yu ac
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Mr Justin Lam L M B Lamprati Beatrice Lang Mr Peter Lazar am Anthony & Sharon Lee Foundation Mr David Lemon Airdrie Lloyd Mrs A Lohan Peter Lowry oam & Carolyn Lowry oam Dr Michael Lunzer Kevin & Susan McCabe Kevin & Deidre McCann Matthew McInnes Dr V Jean McPherson Mrs Suzanne Maple-Brown John & Sophia Mar Anna & Danny Marcus Danny May Guido & Rita Mayer Mrs Evelyn Meaney Kim Harding & Irene Miller Henry & Ursula Mooser Milja & David Morris Judith & Roderick Morton P Muller Judith Mulveney Ms Yvonne Newhouse & Mr Henry Brender Paul & Janet Newman Darrol Norman & Sandra Horton Prof. Mike O’Connor am Judith Olsen Mr & Mrs Ortis Mrs Elizabeth Ostor Mrs Faye Parker In memory of Sandra Paul Greg Peirce Mr Stephen Perkins Almut Piatti Peter & Susan Pickles Erika & Denis Pidcock Dr John I Pitt Ms Ann Pritchard Mrs Greeba Pritchard The Hon. Dr Rodney Purvis am qc & Mrs Marian Purvis Dr Raffi Qasabian & Dr John Wynter Mr Patrick Quinn-Graham Mr Graham Quinton Ernest & Judith Rapee Anna Ro In memory of Katherine Robertson Mrs Judy Rough Ms Christine Rowell-Miller Jorie Ryan for Meredith Ryan Mr Kenneth Ryan Mrs Solange Schulz George & Mary Shad Ms Kathleen Shaw Marlene & Spencer Simmons Mrs Victoria Smyth Mrs Yvonne Sontag Judith Southam Catherine Stephen Ashley & Aveen Stephenson The Hon. Brian Sully am qc Mildred Teitler Heng & Cilla Tey
Dr Jenepher Thomas Mrs Helen Twibill Mr Ken Unsworth In memory of Denis Wallis Michael Watson Henry Weinberg Jerry Whitcomb Betty Wilkenfeld A L Willmers & R Pal Dr Edward J Wills Ann & Brooks C Wilson am Margaret Wilson Dr Richard Wing Mr Evan Wong & Ms Maura Cordial Dr Peter Wong & Mrs Emmy K Wong Lindsay & Margaret Woolveridge In memory of Lorna Wright Mrs Robin Yabsley Anonymous (26)
ALLEGRO PATRONS $500–$999 Mr Nick Andrews Mr Luke Arnull Mr Garry & Mrs Tricia Ash Miss Lauren Atmore Lyn Baker Mr Ariel Balague Joy Balkind Mr Paul Balkus Simon Bathgate Ms Jan Bell Mr Chris Bennett In memory of Lance Bennett Susan Berger Ms Baiba Berzins Minnie Biggs Jane Blackmore Mrs Judith Bloxham Mr Stephen Booth R D & L M Broadfoot William Brooks & Alasdair Beck Commander W J Brash obe Dr Tracy Bryan Professor David Bryant oam Mr Darren Buczma Christine Burke & Edward Nuffield Mrs Anne Cahill Hugh & Hilary Cairns P C Chan Jonathan Chissick Simone Chuah In memory of L & R Collins Jan & Frank Conroy Suzanne Coorey Dom Cottam & Kanako Imamura Ms Fiona Cottrell Ms Mary Anne Cronin Mr David Cross Robin & Wendy Cumming D F Daly Ms Anthoula Danilatos Geoff & Christine Davidson Mark Dempsey & Jodi Steele Dr David Dixon
SSO Vanguard Grant & Kate Dixon Susan Doenau E Donati Mr George Dowling Ms Margaret Dunstan Dana Dupere Cameron Dyer & Richard Mason Miss Lili Du Mr Malcolm Ellis & Ms Erin O’Neill John Favaloro Dr Roger Feltham Ms Carole Ferguson Mrs Lesley Finn Ms Lee Galloway Ms Lyn Gearing Mr & Mrs Peter Golding Ms Carole A Grace Mr Robert Green Dr Sally Greenaway Mr Geoffrey Greenwell Peter & Yvonne Halas In memory of Beth Harpley Sandra Haslam Robert Havard Roger Henning Mrs Mary Hill In memory of my father, Emil Hilton, who introduced me to music A & J Himmelhoch Yvonne Holmes Mrs Georgina M Horton Mrs Suzzanne & Mr Alexander Houghton Robert & Heather Hughes Geoffrey & Susie Israel Dr Mary Johnsson Ms Philippa Kearsley Mrs Leslie Kennedy In memory of Bernard M H Khaw Dr Henry Kilham Jennifer King Mr & Mrs Gilles Kryger Mr Patrick Lane The Laing Family Ms Sonia Lal Elaine M Langshaw Dr Leo & Mrs Shirley Leader Mr Cheok F Lee Peter Leow & Sue Choong Mrs Erna Levy Liftronc Pty Ltd Joseph Lipski Helen Little Norma Lopata Kevin McDonald Frank Machart Ms Margaret McKenna Melvyn Madigan Mrs Silvana Mantellato Ms Kwok-Ling Mau Louise Miller Mr John Mitchell Kevin Newton Mitchell Robert Mitchell Howard Morris Alan Hauserman & Janet Nash
Mr John R Nethercote Mrs Janet & Mr Michael Neustein Mr Davil Nolan John & Verity Norman Mr Graham North Paul O’Donnell Mr Edmund Ong Dr Kevin Pedemont Michael Quailey Suzanne Rea & Graham Stewart Kim & Graham Richmond Dr Peter Roach Mr David Robinson Alexander & Rosemary Roche Mr Michael Rollinson Agnes Ross Mrs Audrey Sanderson Garry E Scarf & Morgie Blaxill Mr Tony Schlosser Lucille Seale Peter & Virginia Shaw David & Alison Shillington Mrs Diane Shteinman am Dr Evan Siegel Margaret Sikora Jan & Ian Sloan Maureen Smith Ann & Roger Smith Titia Sprague Mrs Jennifer Spitzer Robert Spry Ms Donna St Clair Cheri Stevenson Fiona Stewart Dr Vera Stoermer Margaret & Bill Suthers Mr Ian Taylor Mr Ludovic Theau Alma Toohey Hugh Tregarthen Ms Laurel Tsang Gillian Turner & Rob Bishop Ms Kathryn Turner Ross Tzannes Mr Thierry Vancaillie Jan & Arthur Waddington Ronald Walledge In memory of Don Ward Mrs Bernadette Williamson Jane Sarah Williamson Peter Williamson Mr D & Mrs H Wilson Dr Wayne Wong Mrs Sue Woodhead Sir Robert Woods Ms Roberta Woolcott Dawn & Graham Worner Mr John Wotton Ms Lee Wright Ms Juliana Wusun Paul Wyckaert Anne Yabsley LD & HY Michele & Helga Zwi Anonymous (52)
SSO Patrons pages correct as of September 2017
A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists VANGUARD COLLECTIVE Justin Di Lollo Chair Belinda Bentley Taine Moufarrige Founding Patron Seamus Robert Quick Founding Patron Alexandra McGuigan Oscar McMahon Shefali Pryor Chris Robertson & Katherine Shaw VANGUARD MEMBERS Laird Abernethy Clare Ainsworth-Herschell Simon Andrews & Luke Kelly Courtney Antico Luan Atkinson Attila Balogh Meg Bartholomew James Baudzus Andrew Baxter Hilary Blackman Adam Blake Matthew Blatchford Dr Jade Bond Dr Andrew Botros Mia & Michael Bracher Georgia Branch Peter Braithwaite Andrea Brown Nikki Brown Prof. Attila Brungs Sandra Butler Louise Cantrill CBRE Jacqueline Chalmers Louis Chien Janice Clarke Lindsay Clement-Meehan Paul Colgan Michelle Cottrell Kathryn Cowe Alex Cowie Anthony Cowie Robbie Cranfield Peter Creeden Asha Cugati Alastair & Jane Currie Paul Deschamps Shevi de Soysa Jen Drysdale Emily Elliott Shannon Engelhard Roslyn Farrar Andrea Farrell Matthew Fogarty Garth Francis Matthew Garrett Sam Giddings Jeremy Goff & Amelia Morgan-Hunn Lisa Gooch Hilary Goodson Joelle Goudsmit Charles Graham Jennifer Ham Sarah L Hesse
Kathryn Higgs James Hill Peter Howard Jennifer Hoy Jacqui Huntington Katie Hryce Inside Eagles Pty Ltd Matt James Amelia Johnson Virginia Judge Tanya Kaye Bernard Keane Tisha Kelemen Aernout Kerbert Patrick Kok John Lam-Po-Tang Robert Larosa Ben Leeson Gabriel Lopata David McKean Carl McLaughlin Kristina Macourt Marianne Mapa Henry Meagher Matt Milsom Christopher Monaghan Bede Moore Sarah Morrisby Sarah Moufarrige Julia Newbould Alasdair Nicol Simon Oaten Duane O’Donnell Shannon O’Meara Edmund Ong Olivia Pascoe Kate Quigg Michael Radovnikovic Jane Robertson Katie Robertson Alvaro Rodas Fernandez Enrique Antonio Chavez Salceda Rachel Scanlon Naomi Seeto Ben Shipley Toni Sinclair Neil Smith Tim Steele Kristina Stefanova Ben Sweeten Sandra Tang Ian Taylor Robyn Thomas Michael Tidball Melanie Tiyce James Tobin Mark Trevarthen Russell Van Howe & Simon Beets Amanda Verratti Mike Watson Alan Watters Corey Watts Jon Wilkie Adrian Wilson Danika Wright Jessica Yu Yvonne Zammit
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SALUTE SALUTE PRINCIPAL PARTNER
GOVERNMENT PARTNERS
The Sydney Symphony Orchestra is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body.
The Sydney Symphony Orchestra is assisted by the NSW Government through Arts NSW.
PREMIER PARTNER
PLATINUM PARTNER
MAJOR PARTNERS
OFFICIAL CAR PARTNER
TECHNOLOGY PARTNER
GOLD PARTNERS
SILVER PARTNERS
MEDIA PARTNERS
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VANGUARD PARTNER
REGIONAL TOUR PARTNER