tristan und isolde

TRISTAN UND ISOLDE

SPECIAL EVENT PREMIER PARTNER CREDIT SUISSE

Saturday 20 June 2015 Monday 22 June 2015

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CLASSICAL

Tchaikovsky’s Manfred TOVEY Urban Runway BARBER Violin Concerto TCHAIKOVSKY Manfred Symphony Bramwell Tovey conductor Gil Shaham violin (PICTURED)

Bach Concertos

Emirates Metro Series

Fri 26 Jun 8pm Great Classics

Sat 27 Jun 2pm Mondays @ 7

Mon 29 Jun 7pm Pre-concert talk 45 minutes before each performance Tea & Symphony

JS BACH Brandenburg Concerto No.6, BWV 1051 JS BACH Violin Concerto in A minor, BWV 1041* JS BACH Violin Concerto in E major, BWV 1042* JS BACH Double Violin Concerto in D minor, BWV 1043* Gil Shaham violin-director Adele Anthony violin

Yuja Wang in Recital

Fri 3 Jul 11am* Special Event Premier Partner Credit Suisse

Sat 4 Jul 8pm Pre-concert talk by Robert Murray at 7.15pm (Sat 4 Jul) International Pianists in Recital Presented by Theme & Variations

CHOPIN Sonata No.2 in B flat minor Sonata No.3 in B minor SCRIABIN Preludes and poems Sonata No.9, Black Mass BALAKIREV Islamey (1902)

Mon 13 Jul 7pm

Yuja Wang plays Brahms

APT Masters Series

City Recital Hall Angel Place

Pre-concert talk at 6.15pm

WIDMANN Con brio, on motifs by Beethoven australian premiere BRAHMS Piano Concerto No.2 DVOŘÁK Symphony No.8 Lionel Bringuier conductor Yuja Wang piano

Wed 15 Jul 8pm Fri 17 Jul 8pm Sat 18 Jul 8pm Pre-concert talk 45 minutes before each performance

SSO PRESENTS

Chris Botti live with the SSO Harnessing creative expression that begins in jazz and expands across pop, rock and R&B, trumpet extraordinaire Chris Botti performs hits such as When I Fall in Love, The Look of Love, Emmanuel and more.

Thu 2 Jul 8pm Fri 3 Jul 8pm

Nicholas Buc conductor

Danny Elfman

Music from the films of Tim Burton

Fri 10 Jul 8pm Sat 11 Jul 2pm

Featuring works from Batman, Edward Scissorhands and The Nightmare Before Christmas, a concert celebrating the partnership of iconic filmmaker Tim Burton and composer Danny Elfman, enhanced by original screen sketches, drawings and storyboards.

Scott Dunn conductor FOR COMPLETE DETAILS OF THE 2015 SEASON VISIT

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WELCOME

Credit Suisse warmly welcomes you to the Sydney Symphony Orchestra’s Opera in the Concert Hall presentation for 2015 – the musical highlight of the season. Wagner’s Tristan und Isolde is an unchallenged masterpiece of the operatic repertoire, but presenting it on stage or even in concert is a major enterprise for any organisation. The music is emotionally demanding and the duration alone makes it a marathon for all the performers involved – the orchestral musicians, the conductor and especially the two leading soloists. All of which makes any presentation of Tristan und Isolde a truly special event. SSO audiences first heard this opera – in concert – in 1982, with the orchestra conducted by its then chief conductor, Charles Mackerras, and it has been staged here only twice since then, including in 1990 with another chief conductor, Stuart Challender. We’re delighted, therefore, to be playing a part in helping to bring Tristan und Isolde to Sydney for the fourth time, once more with the SSO’s current chief conductor at the helm. We hope this evening’s concert presentation will leave you moved and exhilarated by the power of great music and great performances.

John Knox Chief Executive Officer Credit Suisse Australia

2015

concert season

SPECIAL EVENT PREMIER PARTNER CREDIT SUISSE SATURDAY 20 JUNE, 6PM MONDAY 22 JUNE, 6PM SYDNEY OPERA HOUSE CONCERT HALL

TRISTAN UND ISOLDE

Saturday night’s performance will be recorded for later broadcast by ABC Classic FM on Sunday 21 June at 7pm.

RICHARD WAGNER (1813–1883) Sung in German with English surtitles

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David Robertson conductor

The SSO thanks the following patrons who have generously supported this production of Tristan und Isolde:

Tristan Isolde Brangäne Kurwenal King Marke Melot Young Sailor Steersman Shepherd

Lance Ryan tenor Christine Brewer soprano Katarina Karnéus mezzo-soprano Boaz Daniel baritone John Relyea bass Angus Wood tenor John Tessier tenor Harrison Collins baritone John Tessier tenor

Sydney Philharmonia Choirs Brett Weymark, Music Director S Katy Tucker video and projection design

Pre-concert talk by David Larkin 5.15pm in the Northern Foyer. Act I – 82 minutes, 40-minute dinner break, Act II – 77 minutes, 20-minute interval, Act III – 77 minutes The performance will conclude at approximately 11pm

Tristan und Isolde Concert Patrons

ARTIST PATRONS Justice Jane Mathews ao Mr Kenneth Reed am Peter Braithwaite & Gary Linnane PRODUCTION SUPPORTERS Christine Bishop Audrey Blunden John Kaldor am Helen & Phil Meddings PRODUCTION FRIENDS John Augustus & Kim Ryrie William Brooks & Alasdair Beck Mrs Margaret Brown Mr Phillip Cornwell Dr Robert Dickinson Dr Rupert C Edwards Dr Stephen Freiberg & Donald Campbell Aernout Kerbert & Elizabeth Neville Ian & Pam McGaw J A McKernan Mrs Barbara Murphy The Hon. Dr Rodney Purvis am & Mrs Marian Purvis Suzanne & Ross Tzannes Anonymous (1)

CAST AND CREDITS

TRISTAN UND ISOLDE A Handlung [drama] in three acts Libretto and music by Richard Wagner Sung in German with English surtitles David Robertson conductor Tristan, a Breton nobleman and adopted heir to King Marke Isolde, an Irish princess Brangäne, Isolde’s maid Kurwenal, Tristan’s servant Marke, King of Cornwall Melot, Tristan’s friend Young Sailor Steersman Shepherd Sailors, knights and courtiers

Lance Ryan tenor Christine Brewer soprano Katarina Karnéus mezzo-soprano Boaz Daniel baritone John Relyea bass Angus Wood tenor John Tessier tenor Harrison Collins baritone John Tessier tenor Men of Sydney Philharmonia Choirs

S Katy Tucker video and projection design Sydney Philharmonia Choirs Brett Weymark, Music Director Chris Cartner, Chorusmaster PRODUCTION Erik Docktor, Video and Projection Programmer Laura Daniel, Production Manager (SSO) Thomas Creative Technical Direction Company English language surtitles provided by Symphony Services International Prepared by Antony Ernst and operated by Takefumi Ogawa ARTIST PATRONS The role of Isolde is generously supported by Mr Kenneth Reed am, the role of Tristan by Justice Jane Mathews ao, and the role of Kurwenal by Peter Braithwaite and Gary Linnane.

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SYNOPSIS Previously… In Cornwall’s struggle for independence from Ireland, Tristan – nephew and heir to King Marke – killed Morold, the betrothed of the Irish princess Isolde, and sent her his head to taunt her. But a wound from the battle refuses to heal, and in desperation Tristan disguises himself to seek help from Isolde, who has healing powers. She nurses the stranger but he is betrayed by his sword: a notch in its blade matches the steel fragment found in Morold’s head. Isolde has Morold’s slayer at her mercy, but as she raises the sword to take her revenge, Tristan looks to her – not at the sword, not at her hand, but into her eyes. They do not speak, there is no declaration of love, but her heart, once filled with hate, is overwhelmed. Restored to health, Tristan departs, swearing ‘eternal fidelity’. He knows, however, that his bloody deed will divide them forever, and in an act of selflessness and loyalty to Marke, volunteers to bring Isolde as bride to ‘Cornwall’s weary king’.

Act I At sea, on the deck of Tristan’s ship, during the voyage from Ireland to Cornwall A young sailor sings of his Irish sweetheart, but Isolde thinks he is mocking her. She rages to her maid, Brangäne, that she will never set foot on Cornwall’s shore and reveals to her the circumstances that had brought her and Tristan together. In her bitterness, Isolde demands Tristan’s death – ‘Revenge! Death to us both!’ – and asks her maid to prepare a poison, which they will drink together in atonement and reconciliation. But Brangäne substitutes a powerful love philtre.

Act II In the grounds of King Marke’s castle The king is out on a nocturnal hunt at the suggestion of Tristan’s friend Melot. Under the trees in front of Isolde’s chamber, Tristan and Isolde meet in passionate embrace, despite Brangäne’s anxious warnings. They are surprised by the king and Tristan is treacherously wounded by his one-time friend.

Act III The garden of Tristan’s castle in Brittany Tristan has been brought home to his ancestral lands by his trusted servant, Kurwenal. A shepherd plays a mournful tune. Tristan is near death, and his delirious longing for Isolde both sustains him and inflames his illness. The shepherd plays a joyful tune. She has arrived! But there is time only for a brief, ecstatic reunion before Tristan dies in her arms. Isolde utters a despairing lament and final expression of transfigured love and joins Tristan in rapturous death.

COVER IMAGE: Detail from a series of murals telling the story of Tristan and Isolde, painted by August Spiess (1841–1923). The murals decorate the bedroom of Ludwig II in the castle of Neuschwanstein.

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Possibly Wagner’s biggest fan was King Ludwig II of Bavaria (1845–1886), who’d heard Lohengrin as a teenager and by 1864 had become the composer’s principal supporter. It was under the king’s sponsorship that Tristan und Isolde received its premiere in the Munich Royal Court Theatre, and when Ludwig built his fairytale castle, Neuschwanstein, he decorated the royal bedroom with paintings by August Spiess depicting scenes from the opera. Left: Tristan and Isolde share the fateful potion in Act I; below: their night of love is interrupted in Act II; facing page: the death of Isolde

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ABOUT THE MUSIC A New Kind of Expression In a letter of 1854 to his colleague and mentor Franz Liszt, Wagner wrote: ‘As I have never in life felt the real bliss of love, I must erect a monument to the most beautiful of all my dreams, in which, from beginning to end, that love shall be thoroughly satiated. I have in my head Tristan und Isolde, the simplest but most full-blooded musical conception; with the “black flag” that floats at its close I shall cover myself – to die.’ It was to be another 11 years before Wagner saw the completion and first production of his love-opera Tristan und Isolde, years in which he was absorbed with continuing work on the vast Ring cycle and with preparation for the satirical Mastersingers of Nuremberg (which makes passing reference in its libretto to the Tristan and Isolde legend). Yet, in many senses, the preoccupations of Tristan are fundamental to Wagner’s whole creative output. Its central theme – the consummation of passion in death – is one that is shared not only by The Flying Dutchman and Parsifal but which finds an unstated resonance in the Ring also. Tristan is, perhaps, Wagner’s most perfect expression of the Romantic ‘love-death’ concept, the notion that only through a physical, earthly death will the spirit be free to find fulfilment in a mystical realm. At the end of The Flying Dutchman the character of Senta plunges herself into the waves; in Götterdämmerung Brünnhilde goes through fire and water; in

…only through a physical, earthly death will the spirit be free to find fulfilment in a mystical realm.

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Tristan, Isolde sings of the flood of oblivion. In each case it is only by returning to the physical, elemental universe that the characters attain wholeness and fulfilment. Musically there is, perhaps, no work about whose significance more has been written than Tristan. It represents the pinnacle of 19th-century chromaticism and laid the foundation for a harmonic freedom which culminates in the atonality of Schoenberg. Essential to the construction and drama of the opera is Wagner’s use of leitmotifs: fixed, recurrent musical formulae or themes which gain extra-musical significance by association throughout the course of the work. For almost a century after its appearance in 1865, Tristan aroused passions and reactions as intense as those it contained, unleashing in the artistic world a new kind of expression. Rapturously admired, imitated slavishly or inventively, shunned with intent, Tristan demanded a reaction from every musician who grew up in its shadow, and from nearly everyone in Europe’s artistic and intellectual milieu. After a performance in 1879, the French composer Emmanuel Chabrier, as if voicing the sentiments of all composers, acclaimed the work: ‘There’s music there for a hundred years; he hasn’t left us chaps anything to do. Who would dare?’ ADAPTED FROM AN ARTICLE BY ANTHONY FOGG © 1996

Keynotes WAGNER Born Leipzig, 1813 Died Venice, 1883 Richard Wagner is best known for his near-complete transformation of opera in the 19th century. He regarded opera as a unity of art forms: music and words inextricably linked and organically developed as ‘music drama’. It was a vision that influenced singers, orchestras, the theatre, and even the science of acoustics. Wagner’s personality, philosophies and music were controversial during his lifetime and after his death, attracting equally passionate fans and detractors within the musical world and beyond. His Ring cycle of four operas based on The Ring of the Nibelung was his most ambitious creation, composed over 26 years. TRISTAN UND ISOLDE In the middle of writing the Ring, Wagner took two years out to compose the epic music drama that is Tristan und Isolde. It was completed in 1859 and premiered in Munich in 1865. Wagner wrote both the music and the libretto, which is based on a mediæval adaption by Gottfried von Strassburg of the 12th-century legend of Tristan and Iseult. In the background are the philosophy of Schopenhauer and Wagner’s affair with Mathilde Wesendonck. Wagner’s harmonic strategies in the opera and his use of the orchestra proved to be hugely influential. The opening phrase and the very first chord (the so-called Tristan chord) establish an atmosphere of yearning that doesn’t find resolution until five hours later.

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‘More thoroughly musical’ Wagner’s Tristan und Isolde is arguably the Romantic opera par excellence. With its setting in the Celtic dreamtime of Arthurian legend, use of magic potions and the central theme of fatally unrequited love, Tristan has it all. Wagner interrupted work on Siegfried, the third opera in his massive Ring cycle, to compose Tristan between 1856 and 1859. Why the interruption? Partly he wanted to give expression to a passion he had conceived for Mathilde Wesendonck, the wife of a Zurich silk merchant. And Tristan could indeed be considered opera’s ‘greatest love story ever told’. But there were philosophical considerations as well. In some respects it seems that Wagner needed time out from the scale and complexity of the Ring dramas. Tristan, with its much simpler plot, enabled Wagner to refine his musical and dramatic means of depicting the psychology of his characters. It was also at about this time that Wagner became deeply influenced by Arthur Schopenhauer, whose philosophy was an amalgam of certain Buddhist teachings with a very German pessimism. Put simply, Schopenhauer argued that the liberation of the soul came about through the renunciation of the will to live. This was a perfect fit with Wagner’s long-held obsession with redemption through renunciation (his heroines are forever throwing themselves off cliffs or into funeral pyres to save the men they love). In Tristan und Isolde death is not only the goal of life, it is the ultimate consummation of erotic passion. The Tristan story is an ancient Celtic legend, but Wagner based his version on that of Gottfried von Strassburg who wrote at the beginning of the 13th century. Tristan is escorting Isolde from Ireland to her wedding to King Marke in Cornwall. They have some history: Tristan had killed Isolde’s betrothed in battle, but had found himself in her care when he himself was wounded. Now seeking revenge, Isolde orders her maid to prepare a death potion, but the well-meaning servant substitutes a love potion which both Tristan and Isolde drink. Act II of the opera is effectively a long love duet, but the lovers are discovered by the king at a crucial moment. Tristan is wounded and is carried off to his castle on the Breton coast where, at the end of Act III, he dies in Isolde’s arms. She then sings the famous Liebestod (lovedeath) and dies in ecstatic expectation of their reunion beyond the grave. This all takes place with a minimum of action, dramatic incident stripped down basically to entrances and exits. While the drama is very simple, Wagner’s music is revolutionary in the way in which it depicts unrequited love. In essence, the music of whole opera avoids any conventional

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Did you know? Wagner always called the Prelude of Tristan the ‘Liebestod’ (or LoveDeath), and referred to Isolde’s final scene as the ‘Transfiguration’. Then Franz Liszt came along and made a piano transcription of the final scene, which he called Isolde’s Liebestod. And Liszt’s piano transcriptions of orchestral and operatic repertoire were so influential that it has been his name that has stuck.

The orchestra for Tristan und Isolde comprises two flutes, piccolo, two oboes, cor anglais, two clarinets, bass clarinet and three bassoons; ten horns (six offstage), six trumpets (three offstage), six trombones (three offstage) and tuba; timpani and percussion; harp and strings.

resolution of dissonance until the very end. The Prelude opens with three unaccompanied notes high in the cellos, which land on the so-called ‘Tristan chord’, a dissonant chord which in traditional harmonic syntax can lead anywhere: here it is followed by a second, marginally less dissonant chord. Throughout the Prelude this use of unresolved dissonance, and sequences which promise a climax but never quite fulfil it, gives the music its sense of mounting erotic tension. The climax of the drama, Isolde’s Liebestod, develops from music heard in the Act II duet. Here Wagner uses common (mainly major) chords, but the music moves restlessly from one key to another, again avoiding any sense of repose. In the duet the expected climax was foiled by the arrival of Marke, represented by a hideous forte discord. Here, however, as Isolde sings her transfigured vision of Tristan, and ‘drowns, sinks unconscious’ in ‘supreme bliss’, the music finally discovers a radiant and serene B major. Wagner described the work as ‘more thoroughly musical than anything I have done up until now’ and it is here that music, as possibly never before, enacts and describes the psychology at the basis of his drama. With this, and the large scale use of unresolved dissonance, music itself would never be quite the same again. ADAPTED FROM AN ARTICLE BY GORDON KERRY © 2004

Pitching the Sails… If you saw Tristan und Isolde here in the Concert Hall in the 1990s you would have seen a production for which water was literally the foundation – the sea was ever-present. Act I, for example, takes place on board a ship, but Wagner’s description emphasises something else: ‘A marquee, richly hung with rugs, on the forward deck.’ Isolde is on deck but in a tent – shielded from the elements and unable to see the progress of the ship just as others cannot see her. This one of the ideas that S Katy Tucker and David Robertson have tried to evoke through tonight’s visual projections. The draped fabric behind the orchestra could represent that tent-like interior, or it could represent sails or Tristan’s castle high above the sea. On a metaphorical level, the simple act of draping means that not all of the surfaces are visible, suggesting, as Robertson points out, that contrast between public and private self, and as the drama progresses the fabric of the sails becomes a metaphor for the fabric of relationships.

PROGRAMMATIC DECLARATION TO TRISTAN UND ISOLDE Here, in music’s own most unrestricted element, the musician who chose this theme as introduction to his love drama could have but one care: how to restrain himself, since exhaustion of the theme is quite impossible. So in one long breath he let that unslaked longing swell from first avowal of the gentlest tremor of attraction, through half-heaved sighs, through hopes and fears, laments and wishes, joy and torment, to the mightiest onset, most resolute attempt to find the breach unbarring to the heart a path into the sea of endless love’s delight. In vain! Its power spent, the heart sinks back to pine of its desire – desire without attainment; for each fruition sows the seeds of fresh desire, till in its final lassitude the breaking eye beholds a glimmer of the highest bliss: it is the bliss of quitting life, of being no more, of last redemption into that wondrous realm from which we stray the furthest when we strive to enter it by fiercest force. Shall we call it death? Or is it not night’s wonder world, whence – as the story says –  an ivy and a vine sprang up in locked embrace o’er Tristan and Isolde’s grave. Wagner added this declaration to a letter to Mathilde Wesendonck (1859)

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The Tristan Chord In the early 1990s, the music students at Sydney University were expected to learn to play the opening bars of Tristan und Isolde – beginning on any note of the keyboard. Before exam time the practice rooms would be ringing with the opening phrase and the all-important first chord of Wagner’s greatest opera. The practicality of the exercise might be debated but it certainly drummed into impressionable young minds the establishing phrase from one of the most important works of 19th-century music. It was all about the so-called ‘Tristan chord’. Wagner’s use of this chord is an extreme version of a very old idea that goes back to the baroque period: the appoggiatura or leaning note. This involves playing a chord, at the top of which is a note that doesn’t ‘belong’, but which gives a teasing, pleasurable sensation of dissonance. That note then falls to the note below, which does belong to the chord, giving an equally pleasurable sensation of resolution. Yearning, in other words, followed by release. The ‘Tristan chord’ as a set of notes was not new (you can find it in Beethoven), nor was its emotional power unique to Wagner and classical music. In the 20th century the jazz musicians would have called it a half-diminished seventh chord, and it turns up, at the exact same pitch, at a telling moment in the chorus of Gershwin’s song ‘The Man I Love’. Yearning and release. But in Tristan und Isolde, that opening dissonance doesn’t quite resolve and so there is no release. Or rather, Wagner doesn’t give us a resolution until the end of Act III, after four hours of music and a dinner break. YVONNE FRINDLE © 2013

Opening bars of Tristan und Isolde, the famous chord marked with a box.

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‘…with no theme beyond a kind of chromatic moan, but full of dissonant chords made still more painful by prolonged appoggiaturas which replace the true note in the harmony’ BERLIOZ REVIEWS THE TRISTAN PRELUDE

Tristan und Isolde – a performance history The Tristan und Isolde Prelude was first performed in a concert in March 1859, before the opera’s completion in August. The stage premiere was planned for Vienna, but abandoned after more than 70 rehearsals between 1862 and 1864. Meanwhile, the symphonic pairing of the Prelude and Act III Liebestod was performed in 1863, and with the support of Ludwig II of Bavaria, Tristan und Isolde eventually received its premiere in Munich on 10 June 1865 with Hans von Bülow conducting. We believe the first Sydney performances of the opera were those given in 1912 by the touring Quinlan Opera Company. The SSO performed the Prelude and Liebestod in 1938, conducted by Joseph Post, but didn’t perform the complete opera until 1982, conducted by Charles Mackerras. In this concert presentation by the Australian Opera and the ABC, Alberto Remedios sang Tristan and Rita Hunter sang Isolde. The SSO’s next performances of the opera were in February 1990 in a staged production (presented by the Australian Opera in the Sydney Opera House Concert Hall) directed by Neil Armfield and conducted by Stuart Challender. William Johns and Marilyn Richardson sang the title roles. The raked Perspex stage suspended over a water tank and surrounded by an arcing white curtain was designed by Brian Thomson. The following month the entire production, including the SSO, was taken to the Adelaide Festival. The Armfield production was revived in Sydney in 1993, this time with Horst Hoffmann singing Tristan and with Carlo Felice Cillario conducting the SSO. This is the first time since then that the SSO has performed the complete opera.

There were scenes of undiminished enthusiasm at Her Majesty’s Theatre last night on the occasion of the third performance this season of “Tristan and Isolde”. Therein the orchestra unfolded “fresh joys and new delights” to the now more deeply instructed listeners – for many in the crowded audience were hearing the great Wagnerian masterpiece a second time and some even a third. “Hats off to the artists who can sing the protracted love-duet of Act II” was a prevailing sentiment, and the more so since the faithless knight and the beguiling queen are locked in each other’s arms, and must sing their maze-like music from memory without a glimpse in their heaven of that guiding star, the conductor’s beat! Sydney Morning Herald, 13 August 1912

Ludwig and Malvina Schnorr von Carolsfeld sang the roles of Tristan and Isolde in the Munich premiere in 1865. Ludwig died after just four performances of the opera, of a sudden and coincidental illness, which nonetheless gave early impetus to the stories of a “Tristan curse”.

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MORE MUSIC TRISTAN UND ISOLDE This production of Tristan und Isolde will be captured by ABC Classic FM for national broadcast, with the first airing on Sunday 21 June – a perfect opportunity to revisit (or preview) the opera while our cast enjoy a well-earned rest day between performances. But if you’re after a commercial release featuring Christine Brewer as Isolde, look for the much-praised live concert recording made by the BBC Symphony Orchestra and Donald Runnicles in 2002–03. John Treleaven sings Tristan and you’ll recognise Boaz Daniel as Kurwenal and Dagmar Pecková (who sang in Mahler 8 with the SSO in 2010) as Brangäne. WARNER CLASSICS 62964

To get a sense of how the opera sounds in Wagner’s purpose-built theatre in Bayreuth, look for the live recording from 1974, conducted by Carlos Kleiber with Helge Brilioth as Tristan and Catarina Ligendza as Isolde. D'OPERA ORO 7039

Or try Herbert von Karajan’s recording from 1972 with the Berlin Philharmonic orchestra and Deutsche Oper Chorus and a cast including Jon Vickers (Tristan), Helga Dernesch (Isolde) and Christa Ludwig (Brangäne). WARNER CLASSICS 28858

EXPLORING FURTHER

Broadcast Diary June–July

abc.net.au/classic Sunday 21 June, 7pm TRISTAN UND ISOLDE David Robertson conductor See this program for details Monday 29 June, 7pm TCHAIKOVSKY’S MANFRED Bramwell Tovey conductor Gil Shaham violin Tovey, Barber, Tchaikovsky Saturday 4 July, 8pm BACH CONCERTOS Gil Shaham violin-director Adele Anthony violin JS Bach Saturday 25 July, 1pm RUSSIAN ROMANTICS Vasily Petrenko conductor Simon Trpčeski piano Schultz, Tchaikovsky, Rachmaninoff

Earlier this year David Robertson drew our attention to Stephen Fry’s brilliant and affectionate exploration of the Tristan und Isolde prelude and the so-called Tristan chord that ‘opened the door to modern music’. Available on YouTube bit.ly/StephenFryTristanChord

Sunday 26 July, 5pm YUJA WANG IN RECITAL Yuja Wang piano Chopin, Scriabin, Balakirev

WHY SO SERIOUS?

SSO Radio

A creation like Tristan und Isolde can’t get far without attracting some loving parodies. Among the earliest is Emmanuel Chabrier, who wrote Souvenirs de Munich, a cheeky set of quadrilles based on themes from Tristan. The opera’s endless, unresolving harmonies are made to fit the eight-bar phrases of the 19th-century ballroom to entertaining results! Find it on Kontra Wagner, featuring musicians of the Berlin Philharmonic and also including Hindemith’s arrangement of the Flying Dutchman overture ‘as played at sight by a second-rate spa orchestra’. COL LEGNO 60018

Or listen closely next time you hear Debussy’s Golliwogg’s cake-walk, which tucks the famous opening bars of Tristan in the middle of its ragtime rhythms, marked ‘with great feeling’ – ‘don’t be afraid to overdo it here’, said Debussy.

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Selected SSO performances, as recorded by the ABC, are available on demand: sydneysymphony.com/SSO_radio

SYDNEY SYMPHONY ORCHESTRA HOUR Tuesday 14 July, 6pm Musicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya. Special guest: new assistant conductor Toby Thatcher. finemusicfm.com

MICHAEL TAMMARO

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 Sydney Symphony Orchestra in 2003 and soon became a regular visitor to Sydney, with projects such as The Colour of Time, a conceptual multimedia concert; the Australian premiere of John Adams’ Doctor Atomic Symphony; and concert performances of The Flying Dutchman with video projections. In 2014, his inaugural season as Chief Conductor and Artistic Director, he led the SSO on a seven-city tour of China. Last year he launched his tenth 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 also 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 throughout the word and in recent seasons he has conducted the New York Philharmonic, Los Angeles Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, and the Philadelphia and Cleveland orchestras, as well as the Berlin Philharmonic, Staatskapelle Dresden, BBC Symphony Orchestra and the Hong Kong Philharmonic Orchestra. Last year 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, with the SLSO, 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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CHRISTIAN STEINER

Christine Brewer soprano Isolde Christine Brewer was born in Illinois and began her professional career with the Opera Theatre of Saint Louis. Since then she has appeared in most of the world’s leading opera houses, including the Metropolitan Opera New York, Royal Opera House Covent Garden, San Francisco Opera, New York City Opera, Madrid, Lisbon, Paris Opera, Opéra de Lyon and English National Opera. She is also an avid recitalist, performing in venues such as the Zankel Hall at Carnegie Hall, Wigmore Hall and the Amsterdam Concertgebouw, as well as singing at major festivals such as Edinburgh, Aldeburgh and the BBC Proms. In 2008 she received the BBC Radio 3 Listener’s Award in the Royal Philharmonic Society Music Awards. She has sung Isolde with the BBC Symphony Orchestra and San Francisco Opera (both conducted by Donald Runnicles), Los Angeles Philharmonic (Esa-Pekka Salonen), and at the Edinburgh Festival with Jonathan Nott. She has also sung Färberin (Die Frau ohne Schatten) in Chicago and Paris, and has achieved international renown for her performances in the title role of Richard Strauss’s Ariadne auf Naxos. Her repertoire also includes Countess Almaviva (The Marriage of Figaro), Donna Anna (Don Giovanni), Leonore (Fidelio) and Chrysothemis (Elektra). In concert, she performs with the major American orchestras, working with such conductors as Pierre Boulez, James Levine, James Conlon, Michael Tilson Thomas, David

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Robertson, Alan Gilbert, Christoph Eschenbach, Christoph von Dohnányi and Gustavo Dudamel. Her European appearances have included the Concertgebouw and Bavarian Radio orchestras (Mariss Jansons), Berlin Philharmonic, BBC Symphony Orchestra (Jiří Bělohlávek), London Philharmonic Orchestra (Vladimir Jurowski), London Symphony Orchestra (Colin Davis) and the Accademia Santa Cecilia (Antonio Pappano). Recent engagement highlights have included Albert Herring (BBCSO), The Sound of Music (Lyric Opera of Chicago), Mme Lidoine in Dialogues des Carmélites (St Louis) and Strauss’s Four Last Songs (BBC Scottish Symphony Orchestra and Martyn Brabbins). This season she will also appear in recital with Roger Vignoles for the Edinburgh Festival. Christine Brewer previously performed with the SSO in 2012, singing Wagner, and in 2014, when she sang Four Last Songs with David Robertson conducting. On this visit to Australia she will also sing Four Last Songs with the Adelaide Symphony Orchestra. The role of Isolde is generously supported by Mr Kenneth Reed am.

Lance Ryan tenor Tristan Canadian Lance Ryan is one of the most soughtafter heldentenors in the world today – especially acclaimed in the major roles of Richard Strauss and Wagner. He studied with Gianni Raimondi and Carlo Bergonzi, and his career was launched in 2002 through the Associazione Lirica e Concertistica Italiana (AsLiCo). In 2005 he moved to German where, as a permanent member of the Badisches Staatstheater Karlsruhe he made debuts in key roles such as Siegmund (Die Walküre), Siegfried (Siegfried, Götterdämmerung), Cavaradossi (Tosca), Otello, Calaf (Turandot), Kaiser (Die Frau ohne Schatten), Bacchus (Ariadne auf Naxos), Andrea Chénier, Florestan (Fidelio), Enzo (Gioconda) and Lohengrin. Lance Ryan has enjoyed enormous success singing Siegfried, appearing at the Bayreuth Festival, Bavarian State Opera in Munich, Frankfurt Opera and Deutsche Oper Berlin (Simon Rattle, Daniel Barenboim), Seville, Milan, Florence, Palau de les Arts in Valencia (Zubin Mehta), Salzburg Festival, Strasbourg Opera (Claus Peter Flor, Marko Letonja) and Vlaamse Opera in Ghent, as well as in concert at the Cologne Philharmonie and in Shanghai. Recent highlights in this role have included the new production of Wagner’s Ring cycle in Frankfurt, new productions in Berlin and La Scala di Milano, and the bicentennial Ring in the 2013 Bayreuth Festival, conducted by Kirill Petrenko.

He has also appeared for the Dresden and Vienna state opera houses, Royal Opera House Covent Garden, Metropolitan Opera New York, St Petersburg Mariinsky (Gergiev), Netherlands Opera in Amsterdam (Yannick Nézet-Séguin) and in Oslo, Barcelona, Hannover, Stuttgart, Mannheim, Cologne and Shanghai. He has sung Lohengrin in concert with the City of Birmingham Symphony Orchestra, and performed Mahler’s Song of the Earth with the Kiel Philharmonic Orchestra and Janáček’s Glagolitic Mass with the Chicago Symphony Orchestra under Pierre Boulez. He has performed Gurrelieder in Strasbourg and in Paris under the baton of Marc Albrecht. In the 2013–14 season he made his role debut as Tristan in Frankfurt. Other recent highlights have included Don José (Carmen) for Vienna State Opera, Tannhäuser in Frankfurt, and debuts as Alvaro (The Force of Destiny) and Samson (Samson et Dalila) in Cologne. This is Lance Ryan’s Australian debut. The role of Tristan is generously supported by Justice Jane Mathews ao.

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CHRISTIAN STEINER

MATS BÄCKER

Katarina Karnéus mezzo-soprano

Boaz Daniel baritone

Brangäne

Kurwenal

Born in Stockholm, Katarina Karnéus studied at Trinity College of Music, London and the National Opera Studio, and in 1995 won the BBC Cardiff Singer of the World Competition. Since then she has appeared throughout the world in opera, concert and recital, and she is a member of Gothenburg Opera and an international ambassador for the company. Her repertoire includes the great mezzosoprano roles of Handel, Mozart, Rossini, Bizet, Wagner and Richard Strauss, and her opera engagements have taken her to the Metropolitan Opera New York, Royal Opera House Covent Garden and Glyndebourne Festival Opera. She has previously sung the role of Brangäne in Stuttgart and Gothenburg. As a concert artist, she has worked with some of the world’s finest orchestras, and with many leading conductors including Simon Rattle, Charles Mackerras, Mark Elder, Roger Norrington, Antonio Pappano, Michael Tilson Thomas, Franz Welser-Möst and Ivor Bolton. She has appeared at the BBC Proms, Edinburgh International Festival and Salzburg Festival, and as a recitalist in major venues such as London’s Wigmore Hall, Amsterdam Concertgebouw, Lincoln Center New York and La Monnaie Brussels. Earlier this month she performed Berlioz’s Nuits d’été with the SSO and David Robertson; on this visit to Australia she also appears with the Melbourne and Adelaide symphony orchestras.

Boaz Daniel was born in Tel-Aviv, where he graduated in 1996 from the Rubin Academy of Music; he then completed a second degree at the Vienna Conservatory. From 1998 to 2005 he was an ensemble member of the Vienna State Opera, where he continues to perform as a guest artist and where his repertoire has included Ford (Falstaff), Kurwenal, Sharpless (Madama Butterfly), Lescaut (Manon Lescaut), Graf (The Marriage of Figaro), Belcore (The Elixir of Love), Paolo (Simone Boccanegra), Marcello (La Boheme), Heerufer (Lohengrin) and Gunther (Götterdämmerung), as well as roles in Die Meistersinger, Puritani, Carmen, Lucia di Lammermoor, Die Fledermaus, The Queen of Spades, Faust and Don Carlo. Boaz Daniel has also sung at opera houses such as the Vienna Volksoper, Deutsche Oper Berlin, Opera Frankfurt, Cologne, Barcelona, Teatro all Scala Milano, Royal Opera House Covent Garden, Lyric Opera of Chicago and San Francisco Opera as well as at the Salzburg Festival, and in concert with the Bavarian Radio Symphony Orchestra in Munich. He has sung the role of Kurwenal in San Francisco, Dresden, Berlin and Hamburg; in Tokyo on tour with the Paris Opera; and in concert with the BBC Symphony Orchestra at the Barbican (available on CD) and again in the 2013 BBC Proms.

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The role of Kurwenal is generously supported by Peter Braithwaite & Gary Linnane

SHIRLEY SUAREZ

John Relyea bass

Angus Wood tenor

Marke, King of Cornwall

Melot

John Relyea has appeared in the world’s most celebrated opera houses including the Metropolitan Opera, Lyric Opera of Chicago, San Francisco Opera, Royal Opera House Covent Garden, Paris Opera, Munich State Opera and Vienna State Opera. His operatic repertoire includes the title roles in The Marriage of Figaro, Bluebeard’s Castle and Aleko; Méphistophélès in both Faust and The Damnation of Faust, the Four Villains in The Tales of Hoffmann, Bertram in Roberto Diablo, and Marke in Tristan und Isolde. He is also in high demand throughout the concert world, appearing with the distinguished orchestras of Chicago, New York, Philadelphia, Boston, Pittsburgh, Cleveland, London and Berlin. He has also appeared at the Tanglewood, Ravinia, Salzburg, Edinburgh, Lucerne and Mostly Mozart festivals, and in the BBC Proms. His many audio and video recordings include the Verdi Requiem with the LSO and Mahler’s Eighth Symphony with the CBSO, the Royal Opera House production of Robert le Diable (and the Metropolitan Opera productions of I Puritani and Macbeth).

Angus Wood studied at the Royal College of Music in London before returning to Australia to become a member of the Victorian State Opera and then the Opera Australia young artist programs. At Opera Australia he sang many of the leading lyric baritone roles, before completing a Master of Music degree at the University of Michigan. Since then, his roles in Australia and New Zealand have included Jupiter (Semele) for Pinchgut Opera; Cassio (Otello), Aeneas (Dido and Aeneas), and Eisenstein (Die Fledermaus) for Opera Australia; Cavaradossi (Tosca), Pinkerton (Madama Butterfly) and Turridu (Cavalleria rusticana) for West Australian Opera; Anthony Hope (Sweeney Todd) and the Steersman (The Flying Dutchman) for State Opera South Australia; and Alfredo (La Traviata), Cavaradossi and Edgardo (Lucia di Lammermoor) for Canterbury Opera. He has been a resident principal artist at the Hessisches Staatstheater in Wiesbaden and Anhaltisches Theater in Dessau, and is currently principal tenor at the theatre in Heidelberg, where his roles have included Radamès (Aida), Don José (Carmen), Cavaradossi and Gustavo (A Masked Ball). His concert engagements have included Messiah for Sydney Philharmonia Choirs, West Australian Symphony Orchestra and Melbourne Symphony Orchestra, Verdi’s Requiem (WASO), and Beethoven’s Ninth Symphony for Sydney Philharmonia Choirs and the Tasmanian Symphony Orchestra. Angus Wood previously appeared with the SSO in 2012, singing Chekalinsky in The Queen of Spades, conducted by Vladimir Ashkenazy.

Stephen Milling, who was originally cast in this role, recently suffered an injury that prevented him travelling. We are grateful to John Relyea for stepping in at short notice.

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DAMFEYEN/BRENDAN LIM

ROZARII LYNCH

John Tessier tenor

Harrison Collins baritone

Young Sailor, Shepherd

Steersman

Canadian John Tessier has garnered praise for his refined style and versatility in the lyric tenor repertoire. A Juno Award winner, he has worked with many notable conductors, including Lorin Maazel, Leonard Slatkin, Plácido Domingo, John Nelson, Franz Welser-Möst, Emmanuelle Haïm, Charles Dutoit, Donald Runnicles, Robert Spano, Yannick Nézet-Séguin and Bernard Labadie. The role of Count Almaviva (The Barber of Seville) has featured prominently in his career, with performances at English National Opera, New York City Opera, Edmonton Opera, Austin Lyric Opera, L’Opéra de Québec and Glimmerglass Opera.  In the 2014–15 season, he returned to the Vienna State Opera as Arturo (I Puritani) and Count Almaviva, having made his house debut as Tonio (The Daughter of the Regiment). He also sang Castor in Rameau’s Castor et Pollux at Théâtre des Champs-Élysées and Don Ramiro in New Zealand Opera’s Cenerentola. Other recent performance highlights have included The Pearl Fishers for English National Opera, Lakmé for Montreal Opera, Cherubini’s Médée for Théâtre des ChampsÉlysées and Rossini’s Italiana in Algeri for Calgary Opera. He also sang Britten’s Spring Symphony (Cleveland Orchestra and Franz Welser-Möst), Messiah with the Toronto Symphony Orchestra and with Paul Goodwin and the Philadelphia Orchestra, Haydn’s Creation (Credo Chamber Music and John Nelson), the Evangelist in Bach’s St Matthew Passion at Carnegie Hall and Carmina Burana (Baltimore Symphony and Marin Alsop). John Tessier first appeared for the SSO in 2013, singing The Steersman in The Flying Dutchman, conducted by David Robertson.

Harrison Collins is a fourth-year music and science student at the University of New South Wales, majoring in classical voice and currently studying with Stephen Yalouris. His love of singing emerged early and he performed solo and children’s chorus parts in various productions for Opera Australia from 2005 to 2007. In 2012, at the commencement of his studies at UNSW, he received the Richard Munz scholarship for music. He has more than ten years of choral and solo training in an extensive repertoire, and he regularly performs with the UNSW chamber and collegium choirs as both chorister and soloist. Later this year he will be performing the Fauré Requiem with the UNSW Collegium Musicum choir. Also a conductor and a pianist, Harrison Collins is equally at home in music theatre and jazz as he is in the classical tradition. This is his SSO debut.

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S Katy Tucker video and projection design Based in Brooklyn, New York, S Katy Tucker began her career as a painter and video installation artist, exhibiting in such galleries as the Corcoran Museum in Washington, DC, and Artists’ Space in New York City. As her installations became more theatrical, she shifted her focus toward the stage. Katy is a member of Wingspace, a collective of artists, designers, writers and thinkers committed to the practice of collaboration in theatrical design. Since 2003, she has worked in opera, theatre and dance with companies including Brooklyn Academy of Music, New York City Ballet, San Francisco Opera, Teatro Amazonas and Wolf Trap Opera, and collaborated with such musicians as John Zorn and Jeffrey Ziegler of the Kronos Quartet. She designed Paul McCartney’s Ocean’s Kingdom for New York City Ballet,

Götterdämmerung in Francesca Zambello’s Ring cycle, and created a 3D spectacle for Orff’s Carmina Burana at Carnegie Hall with conductor David Robertson. For Robertson and the St Louis Symphony she also created designs for Brünnhilde’s Immolation. Recent project highlights include Prince Igor for the Metropolitan Opera and Excalibur, a new musical by Frank Wildhorn directed by Zambello in St Gallen, Switzerland. In 2013 she made her SSO debut with lighting and video designs for The Flying Dutchman, conducted by David Robertson, and that same year her designs featured in the San Francisco Opera’s Flying Dutchman.

Support the music you love A gift to the Orchestra Fund connects you to your Orchestra and special opportunities, such as open rehearsals, exclusive events and more. You can direct your gift to the SSO’s Orchestra Fund, Education Fund or Emerging Artists Fund. Donate before 30 June 2015 | Gifts of $2 or greater are fully tax-deductible

sydneysymphony.com/appeal or call Philanthropy on 8215 4650 (9am–5pm, Mon–Fri)

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Sydney Philharmonia Choirs

Sydney Philharmonia Choirs is Australia’s most established and finest choral organisation, and will be celebrating its centenary in 2020. Members of the Sydney Philharmonia Choirs believe in sharing the joy of choral singing with fellow choristers and audiences alike. The choristers, numbering 1500 people across the organisation, volunteer their time and talents to sing in extraordinary performances with major international artists and orchestras, appearing in the country’s leading concert halls. Brett Weymark has been the Music Director of Sydney Philharmonia Choirs since 2003. The choirs appear regularly in the Sydney Symphony Orchestra’s subscription series, most recently in Beethoven Nine, conducted by David Robertson. This season they will also perform with the SSO in Holst’s Planets, Danny Elfman’s music from the films of Tim Burton, Berlioz’s Te Deum and Beethoven’s Missa Solemnis. SPC also presents its own series of programs each year. In 2015 these include JS Bach’s St John Passion at Easter, The Armed Man: A Mass for Peace by Karl Jenkins, Fauré’s Requiem and Handel’s Messiah. 

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CHRIS CARTNER Chorusmaster As a teenager, Chris Cartner was appointed Organ Scholar at Rochester Cathedral in the UK. He went on to graduate in classical piano performance from Trinity College of Music, London, before completing his training under concert pianist Matthijs Verschoor at the Amsterdam Conservatoire. After a period as repetiteur with British Youth Opera, he became a much sought-after musician on the busy London circuit. He has worked as solo pianist, accompanist, chamber musician and musical director in various parts of the world, and has performed several hundred recital programs in the British and Dutch capitals. Chris Cartner was recently appointed Assistant Chorus Master for Sydney Philharmonia Choirs

Brett Weymark Music Director David Francis General Manager Elizabeth Scott Music Director, VOX Chris Cartner Assistant Chorus Master Josephine Allan Rehearsal Pianist Michael Curtain Rehearsal Pianist

Rajah Selvarajah Daniel Sloman Martin Stebbings Jerome Studdy Robert Thomson Alex Walter

TENORS

BASSES

Kevin Gormley Eric Hansen Simon Harris Derek Hodgkins Ian Jurd Michael Kallidis Martin Kuskis Michael Nolan Ian Pettener James Shannon Theo Small Rory Struthers Nicholas Tong Nick Whiley Adam Williams Arthur Winckler David Wood Stephen Young

Jock Baird Simon Boileau William Bond Peter Callaghan Edwin Carter Andy Clare Julian Coghlan Philip Crenigan Daryl Colquhoun Robert Cunningham Tom Forrester-Paton

Patrick Blake Paul Boswell Simon Cadwallader Malcolm Day Joshua Ebert Robert Elliott Steven Hankey Michael Kertesz Vincent Lo Juan Martin Marangoni George Panaretos

To find out about Sydney Philharmonia concerts or joining one of the choirs, visit www.sydneyphilharmonia.com.au SYMPHONY SERVICES INTERNATIONAL

Clocktower Square, Argyle Street, The Rocks NSW 2000 GPO Box 4972, Sydney NSW 2001 Telephone (02) 8215 4644 Box Office (02) 8215 4600 Facsimile (02) 8215 4646 www.sydneysymphony.com All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing. The opinions expressed in this publication do not necessarily reflect the beliefs of the editor, publisher or any distributor of the programs. While every effort has been made to ensure accuracy of statements in this publication, we cannot accept responsibility for any errors or omissions, or for matters arising from clerical or printers’ errors. Every effort has been made to secure permission for copyright material prior to printing.

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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, where it gives more than 100 performances each year, the SSO also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA – including three visits to China – have earned the orchestra worldwide recognition for artistic excellence. 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, Sir Charles Mackerras, Zdenĕk 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

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such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky. The SSO’s award-winning education 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 its commissioning program. Recent premieres have included major works by Ross Edwards, Lee Bracegirdle, Gordon Kerry, Mary Finsterer, Nigel Westlake and Georges Lentz, and the orchestra’s 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 with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras, Vladimir Ashkenazy and David Robertson. In 2010–11 the orchestra made concert recordings of the complete Mahler symphonies with Ashkenazy, and has also released recordings of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, as well as numerous recordings on ABC Classics. This is the second year of David Robertson’s tenure as Chief Conductor and Artistic Director.

MUSICIANS Toby Thatcher ASSISTANT CONDUCTOR SUPPORTED BY CREDIT SUISSE, RACHEL & GEOFFREY O’CONOR AND SYMPHONY SERVICES INTERNATIONAL

David Robertson THE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

Andrew Haveron

Dene Olding

CONCERTMASTER

CONCERTMASTER

FIRST VIOLINS

VIOLAS

FLUTES

TRUMPETS

Andrew Haveron

Roger Benedict Tobias Breider Justin Williams

Janet Webb Carolyn Harris Rosamund Plummer

ASSISTANT PRINCIPAL

PRINCIPAL PICCOLO

Sandro Costantino Rosemary Curtin Jane Hazelwood Graham Hennings Stuart Johnson Justine Marsden Felicity Tsai Amanda Verner Leonid Volovelsky Anne-Louise Comerford

Emma Sholl

David Elton Paul Goodchild Anthony Heinrichs Owen Morris† Josh Rogan° Jenna Smith*

CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Jenny Booth Sophie Cole Amber Davis Claire Herrick Georges Lentz Nicola Lewis Emily Long Alexandra Mitchell Alexander Norton Léone Ziegler Emily Qin° Dene Olding CONCERTMASTER

SECOND VIOLINS Kirsty Hilton Marina Marsden Marianne Broadfoot Emma Jezek ASSISTANT PRINCIPAL

Emma Hayes Benjamin Li Nicole Masters Philippa Paige Biyana Rozenblit Victoria Bihun† Freya Franzen* Monique Irik° Elizabeth Jones° Cristina Vaszilcsin* Shuti Huang Stan W Kornel Maja Verunica

CELLOS Umberto Clerici Catherine Hewgill Leah Lynn ASSISTANT PRINCIPAL

Kristy Conrau Fenella Gill Timothy Nankervis Elizabeth Neville Christopher Pidcock Adrian Wallis David Wickham

DOUBLE BASSES Kees Boersma Alex Henery Neil Brawley PRINCIPAL EMERITUS

David Campbell Steven Larson Richard Lynn Benjamin Ward Josef Bisits° David Murray

To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musicians If you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer.

OBOES Diana Doherty David Papp Alexandre Oguey PRINCIPAL COR ANGLAIS

Shefali Pryor

CLARINETS Francesco Celata Christopher Tingay Craig Wernicke PRINCIPAL BASS CLARINET

Lawrence Dobell

BASSOONS Matthew Wilkie Fiona McNamara Noriko Shimada

TROMBONES Ronald Prussing Scott Kinmont Christopher Harris PRINCIPAL BASS TROMBONE

Milo Dodd* Iain Faragher† Minami Takahashi* Nick Byrne

TUBA Steve Rossé

TIMPANI Richard Miller Mark Robinson ASSISTANT PRINCIPAL

PRINCIPAL CONTRABASSOON

HORNS Ben Jacks Robert Johnson Geoffrey O’Reilly PRINCIPAL 3RD

Euan Harvey Marnie Sebire Rachel Silver Michael Dixon* Katy Grisdale* Kara Hahn† Alex Morton*

PERCUSSION Rebecca Lagos Timothy Constable

HARP Louise Johnson BOLD = PRINCIPAL ITALICS = ASSOCIATE PRINCIPAL ° = CONTRACT MUSICIAN * = GUEST MUSICIAN † = SSO FELLOW GREY = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT

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 Ewen Crouch AM Ross Grant Catherine Hewgill Jennifer Hoy Rory Jeffes David Livingstone The Hon. Justice AJ Meagher Goetz Richter

Sydney Symphony Orchestra Staff MANAGING DIRECTOR

SENIOR GRAPHIC DESIGNER

Rory Jeffes

Christie Brewster

EXECUTIVE TEAM ASSISTANT

Tessa Conn

ARTISTIC OPERATIONS

Jenny Sargant

DIRECTOR OF ARTISTIC PLANNING

MARKETING ASSISTANT

Laura Andrew

ARTISTIC ADMINISTRATION MANAGER

Box Office

Eleasha Mah ARTIST LIAISON MANAGER RECORDING ENTERPRISE MANAGER

Geoff Ainsworth AM Doug Battersby Christine Bishop The Hon John Della Bosca MLC John C Conde ao Michael J Crouch AO Alan Fang Erin Flaherty Dr Stephen Freiberg 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 John van Ogtrop Brian White Rosemary White

HONORARY COUNCIL MEMBERS Ita Buttrose AO OBE Donald Hazelwood AO OBE Yvonne Kenny AM David Malouf AO Wendy McCarthy AO Leo Schofield AM Peter Weiss AO

MANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlin BOX OFFICE SYSTEMS SUPERVISOR

Philip Powers

Jennifer Laing

Library Anna Cernik Victoria Grant Mary-Ann Mead

John Robertson

BOX OFFICE BUSINESS ADMINISTRATOR CUSTOMER SERVICE REPRESENTATIVES

LEARNING AND ENGAGEMENT

Karen Wagg – CS Manager Michael Dowling Tim Walsh

DIRECTOR OF LEARNING AND ENGAGEMENT

Publications

Kim Waldock

PUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

EMERGING ARTISTS PROGRAM MANAGER

Rachel McLarin EDUCATION MANAGER

Amy Walsh EDUCATION OFFICER

Tim Walsh

ORCHESTRA MANAGEMENT DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout Kerbert ORCHESTRA MANAGER

Rachel Whealy ORCHESTRA COORDINATOR

Rosie Marks-Smith OPERATIONS MANAGER

Kerry-Anne Cook PRODUCTION MANAGER

Laura Daniel STAGE MANAGER

Courtney Wilson PRODUCTION COORDINATORS

Yvonne Frindle

EXTERNAL RELATIONS DIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

Philanthropy HEAD OF PHILANTHROPY

Luke Andrew Gay PHILANTHROPY MANAGER

Jennifer Drysdale A/ PATRONS EXECUTIVE

Sarah Morrisby PHILANTHROPY COORDINATOR

Claire Whittle

Corporate Relations CORPORATE PARTNERSHIPS MANAGER

Belinda Besson CORPORATE PARTNERSHIPS EXECUTIVE

Paloma Gould

Communications COMMUNICATIONS & MEDIA MANAGER

Elissa Seed Ollie Townsend

Bridget Cormack

SALES AND MARKETING

Caitlin Benetatos

DIRECTOR OF SALES & MARKETING

PUBLICIST DIGITAL CONTENT PRODUCER

Mark J Elliott

Kai Raisbeck

MARKETING MANAGER, SUBSCRIPTION SALES

BUSINESS SERVICES

Simon Crossley-Meates SENIOR SALES & MARKETING MANAGER

Penny Evans A/ SENIOR SALES & MARKETING MANAGER

Matthew Rive MARKETING MANAGER, WEB & DIGITAL MEDIA

Eve Le Gall MARKETING MANAGER, CRM & DATABASE

Matthew Hodge A/ SALES & MARKETING MANAGER, SINGLE TICKET CAMPAIGNS

Jonathon Symonds DATABASE ANALYST

David Patrick

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SENIOR ONLINE MARKETING COORDINATOR

Benjamin Schwartz

Ilmar Leetberg

Sydney Symphony Orchestra Council

GRAPHIC DESIGNER

Lisa Davies-Galli

DIRECTOR OF FINANCE

John Horn FINANCE MANAGER

Ruth Tolentino ACCOUNTANT

Minerva Prescott ACCOUNTS ASSISTANT

Emma Ferrer PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTURE IN-HOUSE COUNSEL

Michel Maree Hryce

SSO PATRONS Maestro’s Circle Supporting the artistic vision of David Robertson, Chief Conductor and Artistic Director Peter Weiss AO Founding President & Doris Weiss Terrey Arcus AM Chairman & Anne Arcus Brian Abel Tom Breen & Rachel Kohn The Berg Family Foundation John C Conde AO Andrew Kaldor AM & Renata Kaldor AO Vicki Olsson Roslyn Packer AO David Robertson & Orli Shaham Penelope Seidler AM Mr Fred Street AM & Dorothy Street Brian White AO & Rosemary White Ray Wilson OAM in memory of the late James Agapitos OAM

David Robertson

David Robertson The Lowy Chair of Chief Conductor and Artistic Director

Jane Hazelwood Viola Bob & Julie Clampett Chair in memory of Carolyn Clampett

Roger Benedict Principal Viola Kim Williams AM & Catherine Dovey Chair

Catherine Hewgill Principal Cello The Hon. Justice AJ & Mrs Fran Meagher Chair

Kees Boersma Principal Double Bass SSO Council Chair

Robert Johnson Principal Horn James & Leonie Furber Chair

Umberto Clerici Principal Cello Garry & Shiva Rich Chair

Elizabeth Neville Cello Ruth & Bob Magid Chair

Timothy Constable Percussion Justice Jane Mathews AO Chair

Shefali Pryor Associate Principal Oboe Mrs Barbara Murphy Chair

Lerida Delbridge Assistant Concertmaster Simon Johnson Chair

Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

Lawrence Dobell Principal Clarinet Anne Arcus & Terrey Arcus AM Chair

Janet Webb Principal Flute Helen Lynch AM & Helen Bauer Chair

Diana Doherty Principal Oboe Andrew Kaldor AM & Renata Kaldor AO Chair

Kirsten Williams Associate Concertmaster I Kallinikos Chair

Richard Gill oam Artistic Director, DownerTenix Discovery Paul Salteri AM & Sandra Salteri Chair

KEITH SAUNDERS

Chair Patrons

Timothy Constable joined the SSO Percussion section in 2014. He is also a composer, eletronica producer and singer. Jane Mathews has been following Timothy’s career for some time and is extremely pleased to support his chair. She previously supported the chair of retired SSO percussionist Colin Piper.

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 Learning & Engagement

Foundations

KEITH SAUNDERS

Australia-Korea Foundation Crown Foundation The Greatorex Foundation

James N Kirby Foundation Packer Family Foundation Ian Potter Foundation

AUSTRALIA-KOREA F O U N D A T I O N

Commissioning Circle Sydney Symphony Orchestra 2015 Fellows

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 Mrs T Merewether OAM Horn Chair Paul Salteri AM & Sandra Salteri Violin and Viola Chairs Mrs W Stening Principal Patron, Cello Chair Kim Williams AM & Catherine Dovey Patrons of Roger Benedict, Artistic Director, Fellowship June & Alan Woods Family Bequest Bassoon Chair Anonymous Double Bass Chair

Supporting the creation of new works. ANZAC Centenary Arts and Culture Fund Geoff Ainsworth AM Christine Bishop Dr John Edmonds Andrew Kaldor AM & Renata Kaldor AO Jane Mathews AO Mrs Barbara Murphy Nexus IT Vicki Olsson Caroline & Tim Rogers Geoff Stearn Dr Richard T White Anonymous

fellowship supporting patrons Mr Stephen J Bell Gary Linnane & Peter Braithwaite Joan MacKenzie Scholarship Drs Eileen & Keith Ong In Memory of Geoff White

MAKE A DIFFERENCE

tuned-up! TunED-Up! is made possible with the generous support of Fred Street AM & Dorothy Street Additional support provided by: Anne Arcus & Terrey Arcus AM Ian & Jennifer Burton Ian Dickson & Reg Holloway Tony Strachan

major education donors Bronze Patrons & above John Augustus & Kim Ryrie Mr Alexander & Mrs Vera Boyarsky Bob & Julie Clampett Howard & Maureen Connors The Greatorex Foundation The Ian Potter Foundation James N Kirby Foundation Mrs & Mr Judith A. McKernan Mr & Mrs Nigel Price

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Through their inspired financial support, Patrons ensure the SSO’s continued success, resilience and growth. Join the SSO Patrons Program today and make a difference. sydneysymphony.com/patrons (02) 8215 4674 [email protected]

Stuart Challender Legacy Society Celebrating the vision of donors who are leaving a bequest to the SSO. Henri W Aram OAM & Robin Aram Stephen J Bell Mr David & Mrs Halina Brett Howard Connors Greta Davis Brian Galway Miss Pauline M Griffin AM John Lam-Po-Tang

Peter Lazar AM Daniel Lemesle Louise Miller James & Elsie Moore Douglas Paisley Kate Roberts Mary Vallentine AO Ray Wilson OAM Anonymous (10)

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 Clampert 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 The Late Greta C Ryan 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 LUKE GAY ON 8215 4625.

Playing Your Part 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. DIAMOND PATRONS $50,000+ Anne & Terrey Arcus AM The Estate of Dr Lynn Joseph Mr Andrew Kaldor AM & Mrs Renata Kaldor AO In Memory of Matthew Krel Mr Frank Lowy AC & Mrs Shirley Lowy OAM Roslyn Packer AO Ian Potter Foundation Paul Salteri AM & Sandra Salteri Mr Fred Street AM & Mrs Dorothy Street Mr Peter Weiss AO & Mrs Doris Weiss Mr Brian White AO & Mrs Rosemary White PLATINUM PATRONS $30,000–$49,999 Doug & Alison Battersby The Berg Family Foundation Tom Breen & Rachael Kohn Mr John C Conde AO Robert & Janet Constable Mrs Barbara Murphy Mrs W Stening Kim Williams AM & Catherine Dovey  GOLD PATRONS $20,000–$29,999 Brian Abel Geoff Ainsworth AM Robert Albert AO & Elizabeth Albert Christine Bishop Sandra & Neil Burns James & Leonie Furber I Kallinikos Helen Lynch AM & Helen Bauer Justice Jane Mathews AO Mrs T Merewether OAM Rachel & Geoffrey O’Conor Vicki Olsson Andy & Deirdre Plummer Garry & Shiva Rich David Robertson & Orli Shaham Mrs Penelope Seidler AM G & C Solomon in memory of Joan MacKenzie Geoff Stearn Ray Wilson OAM in memory of James Agapitos OAM Anonymous (2) 

SILVER PATRONS $10,000–$19,999 Bailey Family Foundation Audrey Blunden Mr Robert Brakspear Mr Robert & Mrs L Alison Carr Bob & Julie Clampett Michael Crouch AO & Shanny Crouch Paul Espie Edward & Diane Federman Nora Goodridge Mr Ross Grant Ian Dickson & Reg Holloway Estate of Irwin Imhof Simon Johnson James N Kirby Foundation Ruth & Bob Magid The Hon. Justice AJ Meagher & Mrs Fran Meagher Mr John Morschel Drs Keith & Eileen Ong Kenneth Reed AM Mr John Symond AM Mrs Joyce Sproat & Mrs Janet Cooke The Harry Triguboff Foundation Caroline Wilkinson Anonymous (3) BRONZE PATRONS $5,000–$9,999 Mr Henri W Aram OAM John Augustus & Kim Ryrie Stephen J Bell Dr Hannes & Mrs Barbara Boshoff Mr Alexander & Mrs Vera Boyarsky Peter Braithwaite & Gary Linnane Mr David & Mrs Halina Brett Ian & Jennifer Burton Mr Howard Connors Ewen Crouch AM & Catherine Crouch The Hon. Mrs Ashley Dawson-Damer AM In memory of Dr Lee MacCormick Edwards Dr Stephen Freiberg & Donald Campbell Dr Colin Goldschmidt The Greatorex Foundation Rory & Jane Jeffes The late Mrs Isabelle Joseph Robert McDougall Mr Ervin Katz

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SSO PATRONS Playing Your Part BRONZE PATRONS CONTINUED J A McKernan David Maloney AM & Erin Flaherty R & S Maple-Brown Mora Maxwell William McIlrath Charitable Foundation Taine Moufarrige Nexus IT John & Akky van Ogtrop Seamus Robert Quick Chris Robertson & Katharine Shaw Rodney Rosenblum AM & Sylvia Rosenblum Dr Evelyn Royal Manfred & Linda Salamon Tony Strachan David Tudehope & Liz Dibbs Mr Robert & Mrs Rosemary Walsh Westpac Group Michael & Mary Whelan Trust In memory of Geoff White June & Alan Woods Family Bequest Anonymous (2)  PRESTO PATRONS $2,500–$4,999 Ian Brady Mr Mark Bryant oam Ita Buttrose AO OBE Mrs Stella Chen Dr Joanna Cheung Dr Rebecca Chin Dr Diana Choquette & Mr Robert Milliner Firehold Pty Ltd Dr Kim Frumar Warren Green Anthony Gregg James & Yvonne Hochroth Mr Roger Hudson & Mrs Claudia Rossi-Hudson Prof. Andrew Korda am & Ms Susan Pearson In memoriam Dr Reg Lam-Po-Tang Helen & Phil Meddings James & Elsie Moore Ms Jackie O’Brien Juliana Schaeffer Dr Agnes E Sinclair Ezekiel Solomon AM Mr Ervin Vidor AM & Mrs Charlotte Vidor Lang Walker AO & Sue Walker Yim Family Foundation  Anonymous (2)

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VIVACE PATRONS $1,000–$2,499 Mrs Lenore Adamson Mrs Antoinette Albert Rae & David Allen Andrew Andersons AO Mr Matthew Andrews Sibilla Baer The Hon Justice Michael Ball David Barnes Mr Garry Besson Allan & Julie Bligh Jan Bowen Roslynne Bracher Mrs R D Bridges OBE Lenore P Buckle Margaret Bulmer In memory of RW Burley Mrs Rhonda Caddy Mr B & Mrs M Coles Ms Suzanne Collins Joan Connery OAM & Maxwell Connery OAM Mr Phillip Cornwell Debby Cramer & Bill Caukill Mr John Cunningham SCM & Mrs Margaret Cunningham Greta Davis Lisa & Miro Davis Elizabeth Donati Prof. & Mrs John Edmonds Malcolm Ellis & Erin O’Neill Mrs Margaret Epps Mr Matt Garrett Vivienne Goldschmidt & Owen Jones Mrs Fay Grear In Memory of Angelica Green Akiko Gregory Mr & Mrs Harold & Althea Halliday Janette Hamilton Mrs Jennifer Hershon Angus Holden Mr Kevin Holland & Mrs Roslyn Andrews The Hon. David Hunt AO QC & Mrs Margaret Hunt Dr & Mrs Michael Hunter Mr Philip Isaacs OAM Michael & Anna Joel Mrs W G Keighley Jennifer King Aron Kleinlehrer Mr Justin Lam Mr Peter Lazar AM Professor Winston Liauw Airdrie Lloyd Mrs Juliet Lockhart Peter Lowry OAM & Dr Carolyn Lowry OAM Kevin & Deirdre McCann Ian & Pam McGaw Matthew McInnes Macquarie Group Foundation Barbara Maidment John Mar

Renee Markovic Mr Danny R May I Merrick Henry & Ursula Mooser Milja & David Morris Mrs J Mulveney Mr Darrol Norman E J Nuffield Dr Mike O’Connor AM Mr & Mrs Ortis Mr Andrew C Patterson Michael Paul Almut Piatti In memory of Sandra Paul Pottinger The Hon. Dr Rodney Purvis AM & Mrs Marian Purvis Dr Raffi Qasabian & Dr John Wynter Mr Patrick Quinn-Graham Ernest & Judith Rapee Patricia H Reid Endowment Pty Ltd In memory of Katherine Robertson Mr David Robinson Tim Rogers Dr Colin Rose Mr Shah Rusiti In memory of H St P Scarlett George & Mary Shad Mr Samuel F Sheffer David & Alison Shilligton Dr Judy Soper Mrs Judith Southam Ms Barbara Spencer Mrs Elizabeth Squair Catherine Stephen The Hon. Brian Sully QC Mrs Margaret Swanson The Taplin Family Dr & Mrs H K Tey Kevin Troy John E Tuckey Judge Robyn Tupman Dr Alla Waldman Miss Sherry Wang Westpac Banking Corporation Henry & Ruth Weinberg The Hon. Justice A G Whealy Mary Whelan & Robert Baulderstone Jerry Whitcomb Dr Richard T White Mrs Leonore Whyte A Willmers & R Pal Betty Wilkenfeld Prof. Neville Wills & Ian Fenwicke Ann & Brooks C Wilson AM Dr Richard Wing Dr Peter Wong & Mrs Emmy K Wong Geoff Wood & Melissa Waites

Sir Robert Woods Mr & Mrs Lindsay Woolveridge In memory of Lorna Wright Mrs Robin Yabsley Dr John Yu Anonymous (13)

ALLEGRO PATRONS $500–$999 Nikki Abrahams Ms Jenny Allum Katherine Andrews Mr Peter J Armstrong Garry & Tricia Ash Mr & Mrs George Ball Mrs Blanche Cassen Barlow Cleaning Pty Ltd Barracouta Pty Ltd Beauty Point Retirement Resort Mr Michael Beck Dr Andrew Bell Richard & Margaret Bell Jan Biber Minnie Biggs G D Bolton In memory of Jillian Bowers R D & L M Broadfoot Dr Peter Broughton Dr David Bryant Arnaldo Buch Dr Miles Burgess Pat & Jenny Burnett Rosemary Campbell Mr JC Campbell QC & Mrs Campbell Judy Chiddy Michael & Natalie Coates Dr Peter Craswell Mr David Cross Dr David Dixon Susan Doenau Dana Dupere Dr Nita Durham John Favaloro Mrs Lesley Finn Ms Julie Flynn & Mr Trevor Cook Mrs Paula Flynn Ms Lynne Frolich Mr John Gaden Clive & Jenny Goodwin Mr Geoffrey Greenwell Richard Griffin AM Dr Jan Grose In memory of Beth Harpley Benjamin Hasic & Belinda Davie Mr Robert Havard Mrs Joan Henley Roger Henning Sue Hewitt Dorothy Hoddinott AO Bill & Pam Hughes Ms Cynthia Kaye Dr Andrew Kennedy

SSO Vanguard Mrs Margaret Keogh Dr Henry Kilham Dr Joyce Kirk Mrs Patricia Kleinhans Anna-Lisa Klettenberg Sonia Lal L M B Lamprati Dr Barry Landa Elaine M Langshaw Dr Leo & Mrs Shirley Leader Margaret Lederman Mrs Erna Levy Mrs A Lohan Mr Gabriel Lopata Panee Low Melvyn Madigan Ms Jolanta Masojada Mr Guido Mayer Louise Miller Kenneth Newton Mitchell Mrs Judith Morton Mr Graham North Mr Sead Nurkic Dr A J Palmer Mr Michael O'Brien Dr Kevin Pedemont Dr Natalie E Pelham Erika Pidcock Dr John Pitt John Porter & Annie Wesley-Smith Mrs Greeba Pritchard Michael Quailey Miss Julie Radosavljevic Renaissance Tours Dr Marilyn Richardson Janelle Rostron Mrs Christine Rowell-Miller Mrs Louise Rowston Jorie Ryan for Meredith Ryan Mr Kenneth Ryan Ms Donna St Clair

Garry Scarf & Morgie Blaxill Peter & Virginia Shaw Judge David S Shillington Mrs Diane Shteinman AM Mrs Solange Shulz Victoria Smyth Doug & Judy Sotheren Colin Spencer James & Alice Spigelman Fred & May Stein Ashley & Aveen Stephenson Margaret & William Suthers Dr Jenepher Thomas Mrs Caroline Thompson Peter & Jane Thornton Ms Rhonda Ting Alma Toohey Mrs M Turkington Gillian Turner & Rob Bishop Ross Tzannes Mr Robert Veel Ronald Walledge In memory of Denis Wallis In memoriam JBL Watt Miss Roslyn Wheeler The Wilkinson Family Edward & Yvonne Wills Dr Edward J Wills Yetty Windt Mr Evan Wong Anonymous (35) SSO Patrons pages correct as of 4 May 2015

A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists VANGUARD COLLECTIVE Justin Di Lollo Chair Belinda Bentley Oscar McMahon Taine Moufarrige Founding Patron Shefali Pryor Seamus R Quick Founding Patron Chris Robertson & Katherine Shaw Founding Patrons MEMBERS Clare Ainsworth-Hershall James Armstrong Philip Atkin Luan Atkinson Joan Ballantine Andrew Batt-Rawden James Baudzus Andrew Baxter Adam Beaupeurt Anthony Beresford Andrew Botros Peter Braithwaite Andrea Brown Attila Brungs Ian Burton Jennifer Burton Paul Colgan Claire Cooper Bridget Cormack Robbie Cranfield Asha Cugati Juliet Curtin David Cutcliffe Este Darin-Cooper Rosalind De Sailly Paul Deschamps Catherine Donnelly Jennifer Drysdale John-Paul Drysdale Naomi Flutter Alistair Furnival Alexandra Gibson Sam Giddings Marina Go Jeremy Goff Hilary Goodson Tony Grierson Louise Haggerty Rose Herceg Peter Howard

Jennifer Hoy Katie Hryce Virginia Judge Jonathan Kennedy Aernout Kerbert Patrick Kok John Lam-Po-Tang Tristan Landers Jessye Lin Gary Linnane David Lo Saskia Lo Gabriel Lopata Robert McGrory David McKean Julia Newbould Nick Nichles Kate O’Reilly Peter O’Sullivan June Pickup Roger Pickup Cleo Posa Stephanie Price Michael Radovnikovic Sudeep Rao Benjamin Robinson Alvaro Rodas Fernandez Adam Sadler Anthony Michael Schembri Benjamin Schwartz Cecilia Storniolo Randal Tame Sandra Tang Ian Taylor Michael Tidball Michael Tuffy Kim Waldock Jon Wilkie Yvonne Zammit Amy Zhou

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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

EDUCATION PARTNER

MAJOR PARTNERS

GOLD PARTNERS

SILVER PARTNERS

UNIVERSAL MUSIC AUSTRALIA

sinf inimusic.com

VANGUARD PARTNER

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REGIONAL TOUR PARTNER

MARKETING PARTNER