hh sheikh ahmed bin saeed al-maktoum · romÉo et juliette friday 6 june | 8pm sydney opera house...

Music touches the hearts of people worldwide, bringing pleasure,creating memorable experiences and offering a common platform forvaried cultures and communities to come together. It is for these reasonsthat the Sydney Symphony – a first class orchestra in one of the world’smost diverse and beautiful cities – is an ideal partner for Emirates Airline.

With more than 300 major international awards for excellence, Emirateshas developed an international reputation for providing a standard ofservice and an inflight experience to which other airlines aspire.

And like the Sydney Symphony, Emirates reaches out to a truly globalaudience, flying to every continent in the world from its hub in Dubai. We also have a long term growth strategy for Emirates in Australia.Emirates will increase services from its current 49 to 70 flights every week from Sydney, Brisbane, Melbourne and Perth to Dubai by the end of 2009. This will include a third daily flight from Sydney, makingconnections to our expanding network across Europe, Middle East,Africa, Asia and the Americas easier for local travellers.

Emirates continues to take great pleasure in supporting the SydneySymphony and fostering the growth of arts in the community.

We look forward to an exciting and memorable 2008.

HH SHEIKH AHMED BIN SAEED AL-MAKTOUMCHAIRMAN AND CHIEF EXECUTIVE, EMIRATES AIRLINE AND GROUP

SEASON 2008

EMIRATES METRO SERIES

ROMÉO ET JULIETTE

Friday 6 June | 8pm

Sydney Opera House Concert Hall

Charles Dutoit conductorFiona Janes mezzo-sopranoGregory Kunde tenorPeter Coleman-Wright baritone (Friar Laurence)Sydney Philharmonia Choirs

Brett Weymark chorusmaster

HECTOR BERLIOZ (1803–1869)

Roméo et Juliette – dramatic symphony, Op.17

PART ONE

Introduction: Strife – Commotion – Intervention of the PrincePrologueStrophesScherzetto

PART TWO

Romeo alone – sadness – distant music and dancing –festivities at the Capulets’

Peaceful night – the Capulets’ garden, silent and deserted –the young Capulets, leaving the ball, pass by singing fragments of the dance music – Love scene

Queen Mab, the Fairy of Dreams (Scherzo)

PART THREE

Juliet’s Funeral Procession Romeo at the Tomb of the Capulets: Invocation –

Juliet’s awakening – delirious joy, despair – Last agony and death of the two lovers

FINALE

The crowd hastens to the cemetery – Brawl between Capuletsand Montagues –

Friar Laurence’s recitative and aria – Oath of reconciliation

Friday night’s performance will bebroadcast live across Australia onABC Classic FM 92.9.

Pre-concert talk by Tony Cane at7.15pm in the Northern Foyer. Visit www.sydneysymphony.com/talk-bios for biographies of pre-concert speakers.

The performance will conclude at approximately 9.40pm.There is no interval.

Welcome to the concert

Apia is pleased to bring you this performance in the GreatClassics series for 2008.

Like you, we’re an enthusiastic supporter of the SydneySymphony. We understand that a world-class performance canonly be assured when people work in a concerted effort.

It’s this understanding that’s at the heart of all our endeavours.It enables us to deliver a range of insurance productsspecifically designed for people over 50 and not working full-time.

If that sounds like you, Apia can offer you an insurance dealthat best reflects your life experience. We have policies toprotect your home, investment property, car, caravan,motorhome or boat. And when you call us on 13 50 50, you’llsoon discover that our focus on looking after our customersnever wavers.

We hope you enjoy the upcoming performance. We’ve certainlyenjoyed bringing it to you.

David AtchisonNSW Regional Manager

Australian Pensioners Insurance Agency Pty Ltd is an authorised representative of Australian Alliance Insurance Company Limited.

SEASON 2008

GREAT CLASSICS

PRESENTED BY APIA

ROMÉO ET JULIETTE

Saturday 7 June | 2pm

Sydney Opera House Concert Hall

Charles Dutoit conductorFiona Janes mezzo-sopranoGregory Kunde tenorPeter Coleman-Wright baritone (Friar Laurence)Sydney Philharmonia Choirs

Brett Weymark chorusmaster

HECTOR BERLIOZ (1803–1869)


PART ONE

Introduction: Strife – Commotion – Intervention of the PrincePrologueStrophesScherzetto

PART TWO


Peaceful night – the Capulets’ garden, silent and deserted –the young Capulets, leaving the ball, pass by singing fragments of the dance music – Love scene


PART THREE

Juliet’s Funeral Procession Romeo at the Tomb of the Capulets: Invocation –

Juliet’s awakening – delirious joy, despair – Last agony and death of the two lovers

FINALE

The crowd hastens to the cemetery – Brawl between Capulets and Montagues –

Friar Laurence’s recitative and aria – Oath of reconciliation

Friday night’s performance will bebroadcast live across Australia onABC Classic FM 92.9.

Pre-concert talk by Tony Cane at1.15pm in the Northern Foyer. Visitwww.sydneysymphony.com/talk-bios for biographies of pre-concert speakers.

The performance will conclude at approximately 3.40pm.There is no interval.

PRESENTING PARTNER

INTRODUCTION

A dramatic symphony

Few composers have excited such vitriol from theircolleagues as Hector Berlioz. ‘Thank God it’s not music,’Rossini is reported to have remarked while reading throughthe score of Symphonie fantastique. Even much later musiciansfound his works a challenge to appreciate. ‘Great genius and little talent,’ was Maurice Ravel’s verdict, although in the same breath he acknowledged Berlioz’s place as thepreeminent French composer. But one believer did recognisein Berlioz an important musical voice – it was as a result ofthe aging Nicoló Paganini’s financial support that the work in this concert, Roméo et Juliette, was made possible.

Roméo et Juliette represents a revolution in the expressivepotential of the orchestra. Berlioz called it a ‘dramaticsymphony’ with all the hybrid possibilities such a genreinfers. The text, a translation of excerpts from Garrick’sadaptation of Shakespeare, is only a distant descendantfrom the original play, and in fact, the only dramaticcharacter who sings is Brother Laurence. Berlioz deploys the text only sporadically, instead using orchestral music to carry the narrative forward, in startling and ravishingstyle. Such a work was destined to have an impact in twodirections, both on symphonic and on operatic music.Listeners will hear prophetic moments of what Wagnerwould achieve in Tristan und Isolde – a debt which the lattercomposer acknowledged in a touching dedication to Berlioz.

Berlioz’s life story is that of the tempestuous romantic par excellence, and the story of Romeo and Juliet had deeplypersonal connections for him. We are delighted to presentthis work with a world-renowned Berlioz interpreter on thepodium in Charles Dutoit.

Free Programs

We’re delighted to continue bringing you free programs this year. And we want to thank youfor helping to make our sharing policy work in 2007.

If you’re new to Sydney Symphony concerts, please remember:

• We ask patrons who are attending in couples or groups to share one between two. (If there are spare copies at the conclusion of the concert you are welcome to take an extraone then.)

• If you normally don’t keep your program after the concert, please feel free to return it to atable in the foyer when you leave.

You can also read the program in advance by downloading it from our website in the week ofthe concert. Click on the orange ‘Program Library’ icon at the bottom right corner of any pageon sydneysymphony.com.

4 | Sydney Symphony

5 | Sydney Symphony

Hector Berlioz (1803–1869)


The individual parts and sections of the symphony are outlinedin the Synopsis, beginning page 10.

Romeo and Juliet – a play by Shakespeare. But the stage isset tonight for an orchestral concert, and the title of thepiece to be played is ‘symphony’.

Yet the spirit of Shakespeare hovers around tonight’sperformance. On 24 November 1839, in the hall of theParis Conservatoire, an audience gathered for the firsttime to hear this music. The seating plans show that allthe great figures of French romanticism were present tohear this tribute to their presiding genius, Shakespeare.Ardently they acclaimed the animator who had conceivedand organised this tribute: Hector Berlioz.

For the 35-year-old composer, this night was an artisticfulfilment of a passion which had first struck him twelveyears before, in 1827. On 11 September he attended aperformance of Hamlet at Paris’ Odéon Theatre given byan English company with Charles Kemble as Hamlet andHarriet Smithson as Ophelia:

I come now to the supreme drama of my life…Shakespeare, coming upon me unawares, struck melike a thunderbolt. The lightning flash of that discoveryrevealed to me at a stroke the whole heaven of art,illuminating it to its remotest corners. I recognisedthe meaning of grandeur, beauty dramatic truth.

Four days later, Berlioz saw Romeo and Juliet, withequally overwhelming results. Although the youngmusician understood, then, not a word of English, themeaning of Shakespeare was unmistakeable:

The play of the actors, and especially of the actress, thesuccession of scenes, the actions, and the tone of voice,penetrated me with the Shakespearian ideas and passions…It was stated… that after seeing Miss Smithson asJuliet I cried out ‘I will marry that woman! and I willwrite my greatest symphony on that play!’ I did both;but I never said anything of the kind… strangecircumstances brought about a result which I was toocompletely overwhelmed even to dream of at the time.

And here is the effect Shakespeare’s Romeo and Julietmade on Berlioz:

…the hot sunshine and balmy nights of Italy… thelove, quick as thought, burning as lava, imperious,

‘…Shakespeare, coming

upon me unawares,

struck me like a

thunderbolt.’

BERLIOZ

ABOUT THE MUSIC

7 | Sydney Symphony

irresistible, illimitably pure and beautiful as the smileof an angel; the raging revenges, delirious embraces,and desperate struggles between love and death…Such a subject! – actually created for music!… Firstthere is the splendid ball at the Capulets’, at whichyoung Montague first sees the ‘sweet Juliet’, whose lovewill cost her her life…then those fierce combats in thestreets of Verona… the unutterable night scene inJuliet’s balcony, in which the lovers utter their tenderlove, true and pure as the light of the evening starwhich shines smiling down on them; then there is thecareless Mercutio’s mirthful buffoonery… the gravehermit, with his fruitless efforts to pour oil upon thetroubled waters in this conflict of love and hate whichhas penetrated even to his still, sequestered cell…thenthe awful catastrophe, the conflict between deliriouslove and despair, passion dying away into the death-sob; and finally the solemn, tardy reconciliation of thefeuding families burying their hate in the graves oftheir dead children.

A subject created for music. But how to render it? Notas an opera like Bellini’s The Montagues and the Capulets,which Berlioz attended, hopefully, as a Prix de Romescholar in Italy.

What a disappointment!…no Shakespeare, nothing bututter failure…Shakespeare’s masterpiece boiled downinto a bald libretto to suit the requirements of thecontemptible Italian stage!

Not that Berlioz didn’t want to write operas after hisown manner. His first opera, Benvenuto Cellini, owed muchto the influence of Shakespeare, in the freedom of its literarytreatment, so different from the mechanical rhymingprose typical of French librettos. Benvenuto Cellini was afailure when first produced in 1838 – Berlioz gave up forthe time being the ambition of every French composer:success at the opera, with its repeated performances. His energies went into organising performances of hisworks for the concert hall: the Symphonie fantastique (1830),its sequel Lélio, and Harold in Italy (1834) – symphonicworks.

It was at a concert including the Symphonie fantastiquethat Paganini heard for the first time the work, Harold inItaly, written for him but which he had spurned as notshowy enough for the solo viola. Declaring that he hadnever in his life been so powerfully impressed at a concert,Paganini sent Berlioz a cheque for 20,000 francs. Paganiniwas reputed to have said ‘Beethoven has at last a successor.’

8 | Sydney Symphony

His generous gift, in those days before government grants to composers, made it possible for Berlioz to give upscribbling music journalism for a living, and embark onhis next creative project:

‘a symphony with choruses, vocal solos, and choralrecitatives, on the sublime and ever-novel theme ofShakespeare’s Romeo and Juliet. I wrote in prose all the text intended… Emile Deschamps… set it to verse for me…I swam on that great sea of poetry…under the warm beams of the sun of love lit byShakespeare.’

A tribute to two of Berlioz’s heroes, Beethoven andShakespeare. When this is understood, the paradox ofBerlioz’s Roméo et Juliette disappears: that text and singingare only accessory to his presentation of the drama, whosehigh points are expressed in purely instrumental terms by the orchestra alone. As the critic Janin said at the time,quoting Berlioz:

‘the symphony by itself and without the accessories of Shakespeare’s play, will make known to you the sumof passion contained in the original’…

Berlioz remarked ironically in his preface to Roméo etJuliette:

No one, I suppose, will misunderstand the genre towhich this work belongs…

A typical Romantic in this as in other ways, Berliozrefused to acknowledge any rigid demarcation betweentraditional categories established by neoclassical thought (especially in the France of Descartes!): betweenart and life, between the real and the imaginary, andbetween opera and symphony, or oratorio. His Roméo etJuliette preface insists that the piece is neither a purelyconcert piece nor a cantata (oratorio), but a choralsymphony in the tradition of Beethoven. Voices are used to prepare the listener for what is entrusted to theorchestra, and they return to provide a resolution andmusical climax, Berlioz’s combative biographer JacquesBarzun has suggested that the composer’s contemporariescould accept more readily than we the form of Roméo et Juliette, and appreciate its symmetry, because nearlyevery concert included vocal and choral pieces side byside with symphonic. Perhaps Berlioz knew better: that few had the intense vividness of his imaginativefaculty.

…text and singing are

only accessory to his

presentation of the

drama, whose high

points are expressed in

purely instrumental

terms…

9 | Sydney Symphony

Form of the Symphony

Berlioz laid out and structured Roméo et Juliette in a waythat would help the audience grasp his purpose at eachpoint, and this becomes clearer when his elaboratedirections for performance are followed, as far as ispossible:

In the first of the three parts, words are used to set the scene,but only once the orchestra has been established as a powerfuldescriptive and poetic force. Throughout the second part, theorchestra – with all its range of colours – is the true protagonistin the drama. The individual instruments combine and contrastto mirror the poetic images of Shakespeare. In the ‘Love Scene’,for instance, it is the woodwind who clearly match the sighs ofJuliet, while the strings voice the fervour of the young Romeo.

In the third and final part, words are reintroduced gently withthe Funeral March. In the second movement, the orchestra againasserts its leading descriptive rôle; the heart-rending events of

Romeo & Juliet: Illustration by Lamb

‘There is no question of

this work’s genre ever

being confused with any

other. Notwithstanding

the frequent use of the

voice, this is neither an

opera nor a cantata;

it is a symphony with

choir. The writing for

voices almost from the

outset is intended to

prepare the listener

for the dramatic scenes

whose feelings and

passions are to be

given expression by

the orchestra.’

BERLIOZ

10 | Sydney Symphony

the lovers’ final meeting are sculpted in sound with remarkableimmediacy. From the start of the Finale, the Chorus assumes adistinct dramatic character and Friar Laurence’s long narrationcombines compassion and real anger to striking effect. At the end,the hearts of both families are softened, and the Friar leads themin a catharsis of exalted reconciliation – ‘amis pour toujours’.

Synopsis of the Symphony

PART ONE

IntroductionStrife – Commotion – Intervention of the Prince

The orchestra, in fugal music, represents the feud inVerona between the Montague and Capulet families. Thetrombones declaim the words of the Prince, interveningto stop the conflict.

Prologue SEMI-CHORUS

The Prologue, a Shakespearean idea, is presented by asmall chorus. The words explain the music which has justbeen heard (the warring houses), and point forward, withbrief snatches of musical preview, to what is to come. ThePrologue concludes with the famous balcony scene…

…Déjà sur son balcon la blanche Juliette

Paraît, et se croyant seule jusques au jour

Confie à la nuit son amour. Roméo, palpitant d’une joie inquiète. Se découvre à Juliette Et de son coeur les feux éclatent

à leur tour.

StrophesMEZZO-SOPRANO AND SEMI-CHORUS

The words of this song are crucial to Berlioz’s artisticpurpose. They evoke both his love of Italy and his passionfor Shakespeare. The love of Romeo and Juliet is celebratedin Shakespearean terms, but in music, which is above evenpoetry. As Shakespeare has a character say in the play: ‘Letmusic’s rich tongue / Unfold the imagined happiness.’

…Already on her balcony, fair Julietstands

and believing herself alone til daylight,

she confides her love to the night.Romeo, trembling with eager joysteps into the light,and in his heart the fire flares up

in turn.


…Premier amour, n’êtes-vous pas plus haut

Que toute poésie,Ou ne seriez vous pointdans notre exil mortel Cette poésie elle-même Dont Shakespeare lui seul eut le

secret suprême,Et qu’il remporta dans le ciel?…

Scherzetto TENOR, SEMI-CHORUS

A tenor soloist sings the words of Mercutio’s railingspeech about Queen Mab. The effect of weightless delicacyachieved in this ‘little Scherzo’ will be fully developed,without words, in the Scherzo proper.

The first part then concludes with a brief epilogue inwhich the recited style of the Prologue returns – and thetragic concerns of the third part of the work are forecast.

Bientôt la mort est souveraine; Capulets, Montaigus, domptés par

les douleurs,Se rapprochent pour enfin abjurer

la haine Qui fit verser tant de sang et de

pleurs.

PART TWO


This is in reality the first movement of the traditionalsymphony, and the long expressive melody for the firstviolins is an important thematic source for much thatfollows (as in the Symphonie fantastique). Romeo’s musingsevoke a second theme, for solo oboe, and all the materialis combined in the Allegro which presents the Capulets’ball in all its brilliance.

Peaceful night – the Capulets’ garden, silent and deserted –the young Capulets, leaving the ball, pass by singing fragmentsof the dance music – Love scene

The voices offstage (‘young Capulets leaving the ball’) playno part in explaining the drama to the audience; they are

…First love, are you notabove all poetry?

Or perhaps you are,in our mortal decay,that very poetry itself,whose secret Shakespeare

alone grasped,and which he took back to heaven?…

Soon death will reign. Capulets, Montagues, subdued by

tragedy,At last will be reconciled, and will

rejectThe hatred which poured out blood

and tears.

part of an almost impressionistic transition, painting thescene then leaving all attention on the love music in theorchestra:

Hey Capulets! Good night gentlemen!…Go dream of love till day breaks, tra la la!

What follows, the ‘Love scene’, is the core around whichthe whole work revolves. This music, Berlioz noted in hismemoirs, was ranked above all he had written by three-fourths of the European musicians who knew it.


The idea that the Queen Mab speech could be theinspiration of a scherzo occurred to Berlioz while he was a student in Rome. He mentioned this to Mendelssohn,then regretted giving him the idea. As it turned out,Berlioz’s own Scherzo came into being ten years beforeMendelssohn’s equally magical, but different, Scherzo for A Midsummer Night’s Dream. The antique cymbalsprominent at the end were first discovered by Berlioz atPompeii, where they had been found in the ruins. This is the first ever use of these instruments in a symphonicwork.

PART THREE

Following these three orchestral movements, the thirdpart returns to using words. It is as though the orchestra’splaying of the funeral march for Juliet draws the sound ofvoices, adding their onlookers’ admonitions, in themanner of the chorus in ancient Greek drama. Berlioz’sdescription is ‘Fugal march; for instruments at first, witha chant by the voices on a single note. Then the melody inthe voices, with the chant in the orchestra.’

Juliet’s Funeral Procession CHORUS

Jetez des fleurs Pour la vierge expirée Jusqu’au tombeau Et suivez au tombeau Notre soeur adorée.


Scatter flowers for the dead maid all the way to her tomb,and follow to her tomb our beloved sister.


Romeo at the Tomb of the Capulets:Invocation – Juliet’s awakening – delirious joy, despair – Last agony and death of the two lovers

This separate movement again renounces words. In musicconcerned with the lovers – who have no sung wordsanywhere in the work – Berlioz reproduces every step ofDavid Garrick’s version of Romeo and Juliet, Act V Scene 3.(Garrick’s version, in which Juliet wakes before the poisonhas killed Romeo, was the one Berlioz had seen performedby the English company.)

The events represented are Romeo’s slaying of Paris atthe entrance to the tomb, the awe of the place, hiscontemplation of Juliet’s beauty, taking poison, Juliet’swaking (a clarinet solo), frenzied moments in a speededup and fragmented version of earlier love – motives,Romeo’s death agony, Juliet’s stabbing and death.

In a note on the score, Berlioz warns againstperforming this movement to audiences not familiar withGarrick’s version of the play, ‘that is to say 99 times out of100’. Opinion over time has shifted towards the view thatit is among the most original things even Berlioz everwrote.

FINALE

The crowd hastens to the cemetery – Brawl between Capulets and Montagues – Friar Laurence’s recitative and aria – Oath of reconciliationBARITONE (FRIAR LAURENCE), DOUBLE CHORUS, SEMI-CHORUS

The symphony’s dramatic finale begins. The main choir is seated in the two families, Montagues andCapulets; the small choir of the prologue sings from infront of this group.

For the first time, one of the characters in the dramaactually sings; this is Friar Laurence, making virtually adeus ex machina entrance following the brawling families’discovery of their dead children:

Dead! Both of them,Their blood still warm!

In a recitative (‘I will unveil the mystery’) and a deeplyexpressive aria (‘Poor youths, I mourn you’) Friar Laurenceexplains what has happened, and berates the warringfamilies for causing the lovers’ deaths, a result of theirfutile rivalry. The chorus resists his sermon at first – in


music based on the symphony’s introduction, whichrepresented their feuding – but Friar Laurence’s appeal to God and reason wins them to his reconciling cause. In the final section (the Oath), Friar Laurence enjoins the Montagues and Capulets to give up their resentmentof each other and join in brotherly friendship:

Jurez donc par l’auguste symbole Sur le corps de la fille et sur le corps

du fils. Par ce bois douloureux qui console Jurez tous, jurez par le saint crucifix De sceller entre vous une chaîne

éternelle De tendre charité, d’amitié fraternelle; Et Dieu qui tient en main le futur

jugementAu livre du pardon inscrira ce

serment. Nous jurons d’éteindre enfin Tous nos ressentiments,Amis pour toujours!

The powerful word setting, the lively use of the doublechorus, above all the psychological understanding ofthe music betray an operatic master. As ‘drama throughmusic’, this finale ranks on a level with much of TheTrojans. The whole work is a free-spirited response to thepoetic genius of Shakespeare, and it places the sound ofthe orchestra within a poetic context. It is not an oratorio,but a unique fusion of contrasting elements, withoutparallels, without imitators.

ADAPTED FROM A NOTE BY DAVID GARRETT ©1992

English translations and surtitles prepared by Raff Wilson, Sydney Symphony ©2008

Surtitle supervisor, Brian Fitzgerald; surtitle operators, David Schwartzand Louise O’Brien

Swear then, by this dread symbol,The corpses of your children,

By this holy cross which brings comfort– Swear, all of you, by the Cross,To bind between you an eternal

chain of tender charity, and brotherly friendship!And God, before the last

judgement,will inscribe this oath in the book of

pardon.All bitterness now is extinguished,

Friends! Forever!


MORE MUSIC

Selected Discography

CHARLES DUTOIT

Charles Dutoit’s recordings number well into thehundreds, leaving a wealth of choice for the musiclover. Many of his acclaimed releases were made with the Montreal Symphony Orchestra, with which he was associated for 25 years.

Ravel: Daphnis et Chloé – the recording that isacknowledged as putting Dutoit and the Montreal SO‘on the musical map’ in 1980. (In this release it iscoupled with the Pavane… and La Valse.)DECCA LEGENDS 458605

A more recent release offers music for piano andorchestra by Saint-Saëns and Franck, recorded lastyear with Jean-Yves Thibaudet and the SuisseRomande Orchestra. (Incidentally, two of these piecesare coming up in Sydney Symphony concerts thisyear: Saint-Saëns’ Piano Concerto No.2 in July andFranck’s Symphonic Variations in November.)DECCA 000974402

Dutoit is renowned for his Berlioz interpretations andhis recordings, for Decca and with the Montreal SO,have included Harold in Italie (with PinchasZukerman), 8 Scènes de Faust and other orchestralworks, and a disc of Berlioz overtures.Also available: Grand Scenes from The Trojans with a cast including Deborah Voigt.LONDON/DECCA 458208

The Art of Charles Dutoit is a 6-CD set that presentshighlights from his recording career in performanceswith the Philharmonia Orchestra, French NationalOrchestra and Suisse Romande Orchestra, as well as Montreal. The music – favourites from theorchestral repertoire – ranges from Mendelssohn,Berlioz and Saint-Saëns to Ravel, Gershwin andStravinsky.PHILIPS 000771602

ROMÉO ET JULIETTE

Dutoit’s recording with the Montreal SymphonyOrchestra of Berlioz’s Roméo et Juliette featuressoloists Florence Quivar, Alberto Cupido and TomKrause. It can be hard to find, but is currentlyavailable as a reissue through arkivmusic.comDECCA 417302

Sir Colin Davis has recorded Roméo et Juliette onseveral occasions, most recently in a live performancewith the London Symphony Orchestra and Chorus forthe LSO Live label’s Berlioz – Edition du Bicentenairerelease. This 12-disc set also includes The Trojans,Béatrice et Bénédict, Harold in Italy and Symphoniefantastique. In Roméo et Juliette the soloists includemezzo-soprano Daniela Barcellona.LSO LIVE 46

LSO LIVE 3 (Roméo et Juliette only)

JUNE–JULY

18 June, 8pmEMANUEL AX PLAYS MOZART

Robin Ticciati conductorEmanuel Ax pianoSchubert, Mozart, Meale, Sibelius

21 June, 8pmMOZART AND GRIEG

Michael Dauth violin-directorJasminka Stancul pianoGrieg, Mozart, Bridge

28 June, 12.05pmIN BLACK AND WHITE

Dene Olding violin-directorIan Munro pianoLambert, Waxman, Mozart

4 July, 8pmMAHLER 1

Gianluigi Gelmetti conductorMichael Dauth violin, Shefali Pryor oboe,Matthew Wilkie bassoon, Catherine Hewgill celloHaydn, Mahler

29 & 30 July, 8pmSYDNEY INTERNATIONAL PIANO COMPETITION

Nicholas Milton conductorFinalists to be advised

Mozart concertos

Broadcast Diary

Selected Sydney Symphony concerts are recorded forwebcast by BigPond and are available On Demand.Visit: sydneysymphony.bigpondmusic.com

June webcast:ALPINE AND JUPITER SYMPHONIES

with Charles DutoitAvailable On Demand

sydneysymphony.com

Visit the Sydney Symphony online for concertinformation, podcasts, and to read the program book inadvance of the concert.

2MBS-FM 102.5SYDNEY SYMPHONY 2008

Tue 10 June, 6pmWhat’s on in concerts, with interviews and music.

Webcast Diary


Charles Dutoit conductor

Since his most recent visit to Sydney, Charles Dutoit hasbeen appointed Chief Conductor and Music Advisor of thePhiladelphia Orchestra and Artistic Director and PrincipalConductor of the Royal Philharmonic Orchestra. Renownedfor his polished and idiomatic interpretations, he regularlycollaborates with the world’s pre-eminent orchestras andsoloists, including conducting the major orchestras ofthe United States, Europe, Japan and South America.

For 25 years (1977–2002) he was Artistic Director ofthe Montreal Symphony Orchestra, a dynamic musicalpartnership recognised the world over and captured in anextensive, award-winning discography. Between 1991 and2001 he was Music Director of the Orchestre National de France. In 1998 he was appointed Music Director ofthe NHK Symphony Orchestra (Tokyo) and is now MusicDirector Emeritus of the Orchestra. He is currently MusicDirector of the Miyazaki International Music Festival inJapan as well as the founding Artistic Director of theCanton International Summer Music Academy in China.

When still in his early 20s, he was invited by Karajan to lead the Vienna State Opera. He has since conductedregularly at the Royal Opera House Covent Garden, theMetropolitan Opera and the Deutsche Oper Berlin, led an acclaimed new production of Berlioz’s masterpiece Les Troyens at the Los Angeles Music Center Opera andembarked on a series of Wagner operas at the Teatro Colónin Buenos Aires.

He has received many honours in recognition of hisservice to music, including being named Grand Officier de l’Ordre national du Québec (1995) and HonoraryOfficer of the Order of Canada (1998). In 1996 the FrenchGovernment named him Commandeur de l’Ordre des Artset des Lettres.

Charles Dutoit was born in Lausanne, Switzerland, andstudied in Geneva, Siena, Venice and Boston, where hismusical training included violin, viola, piano, percussion,history of music, and composition. He has travelledextensively throughout the world, motivated by his passionfor history and archaeology, political science, art andarchitecture.

He is a regular guest with the Sydney Symphony,conducting repertoire such as Berlioz’s Damnation de Faust(2005), Bartók’s Concerto for Orchestra and Rachmaninov’sSymphonic Dances (2006).

ABOUT THE ARTISTS


Fiona Janes mezzo-soprano

Born in Sydney, Fiona Janes studied at the NSWConservatorium of Music and has won a number ofcompetitions, scholarships and awards: notably, the Joan Sutherland Scholarship, the Australian SingingCompetition, the Rémy Martin Scholarship and theVienna State Opera Award. In 1988 she joined the YoungArtist Program of the Australian Opera, now OperaAustralia, and has since been a regular Guest PrincipalArtist for the company, performing all the major mezzo-soprano repertoire from composers including Mozart,Handel, Rossini, Massenet, Puccini, Bellini and RichardStrauss. Her performances as Angelina (La Cenerentola) and Adalgisa (Norma) received Green Room Awards.

She has also performed Adalgisa for West AustralianOpera; Siebel (Faust) for Victoria State Opera and OperaQueensland; Nero (Agrippina) at the Buxton Festival; andRosina for Netherlands Opera, English National Operaand Welsh National Opera. She has sung Second Lady(The Magic Flute) for English National Opera, Sesto(La clemenza di Tito) for Glyndebourne Touring Opera,

Idamante (Idomeneo) for Flanders Philharmonic,Margherite (The Damnation of Faust) for Royal ScottishNational Orchestra and Opera Queensland, Ascanio (Les Troyens) for the London Symphony Orchestra with Sir Colin Davis, Angelina for Semperoper Dresden andOpera New Zealand, and Scitalce (Semiramide) for theRossini Festival in Wilbad, Germany, with RichardBonynge. She has sung for the Royal Opera House Covent Garden and Scottish Opera.

Fiona Janes has appeared with all the major Australianorchestras, the London, Bournemouth and NottinghamPhilharmonic Orchestras, National Orchestra of Spain,New Zealand Symphony Orchestra, and at the EdinburghFestival with Sir Charles Mackerras. Her concertrepertoire spans music from three centuries, and sherecently performed Beethoven’s Ninth Symphony with the Tasmanian Symphony Orchestra, Mahler’s SecondSymphony with the Adelaide Symphony and QueenslandOrchestras, and Messiah and The Dream of Gerontius withthe Melbourne Symphony Orchestra.

Fiona appears in video releases of Così fan tutte and Don Giovanni for the Australian Opera; and she can beheard on recordings of Donizetti’s Parisina, Meyerbeer’sSemiramide and Stravinsky’s Pulcinella.

Gregory Kunde tenor

Following studies in choral conducting at Illinois StateUniversity, tenor Gregory Kunde joined the Young ArtistsProgram at the Lyric Opera of Chicago, where he sangalongside artists including Pavarotti and Alfredo Kraus.He has since appeared regularly in many of the world’smost notable opera venues.

Gregory Kunde has made a special study of bel cantoroles, including those by Rossini, Charpentier, Massenet,Donizetti and Bellini; and also works by Mozart,Monteverdi and Berlioz. He has sung several concertperformances of Berlioz’s The Damnation of Faust withCharles Dutoit for the London Philharmonia and theAtlanta Symphony. In 2002, he undertook the title role in a new production of Berlioz’s Benvenuto Cellini withJohn Eliot Gardiner, going on to record it with OrchestraRadio France, directed by John Nelson.

Since 1992, Gregory Kunde has been a regular guest atthe Rossini Opera Festival in Pesaro, Rossini’s birthplace.He has appeared in Semiramide, Armida, Guillaume Tell,Ricciardo e Zoriade and Tancredi, with artists includingGianluigi Gelmetti and Renée Fleming. He has performedfrequently at the Teatro alla Scala, Milan, following hisdebut on the 200th anniversary of Rossini’s birthday, in a concert of Rossini’s Stabat Mater. He has subsequentlyappeared there in works by Rossini, Bellini, Mozart andGluck, with colleagues such as Thomas Allen, NatalieDessay and Cecilia Bartoli.

He has given concert performances of works by Glinka,Rossini, Berlioz and Bach with conductors includingPlasson, Chailly and Muti. He has performed Handel’sMessiah at the United States Naval Academy on severaloccasions.

Recent and forthcoming performances include Berliozwith Welsh National Opera, Philadelphia Orchestra andthe London Symphony Orchestra; and various roles withBaltimore Opera, Deutsche Oper Berlin, Opera de Nice,Geneva Opera and the Monnaie in Brussels.

His discography includes works by Bellini, Rossini andThomas; Les Troyens (Gramophone DVD of the Year 2005)and Benvenuto Cellini (Gramophone Opera Recording ofthe Year 2005).

In 2005 Gregory Kunde sang La Damnation de Faustwith the Sydney Symphony, conducted by Charles Dutoit.



Peter Coleman-Wright baritone

Australian baritone Peter Coleman-Wright first attractedattention as Guglielmo in Così fan tutte for EnglishTouring Opera and Glyndebourne Opera. He later wonthe Glyndebourne Touring Prize for his performance asSid in Britten’s Albert Herring. He has since appeared inwide-ranging repertoire for all the principal British operacompanies, concert halls and festivals, and created newroles in operas by Jonathan Harvey and David Blake. In 2002 he sang his first Scarpia in the David McVicarproduction of Tosca, opposite his wife, soprano CherylBarker.

Peter Coleman-Wright has performed in Eugene Onegin,Les Troyens, Iphigénie en Tauride, Tannhäuser, Pelléas etMélisande, La Traviata, and Billy Budd for Opera Australia,winning both the Green Room and MO awards for his portrayal of Billy in the latter. He won the 2002Helpmann Award as Best Actor in a Musical (for the titlerole of Sweeney Todd). He has also appeared for OperaQueensland.

In Europe, he has appeared with the NetherlandsOpera, Opéra de Bordeaux, La Fenice (Venice); in theprincipal opera houses of Munich, Geneva, Belgium andParis; and at the festivals of Aix-en-Provence andBregenz. He has performed throughout North America,notably for Vancouver Opera, Santa Fe Opera, New YorkCity Opera, and the Metropolitan Opera. After asuccessful debut he returned to Houston Grand Opera to create Bendrix in Jake Heggie’s The End of the Affair,composed especially for him and for Cheryl Barker.

As well as broadcasts for the BBC, he has sung for theDutch VARA Radio and Radio France Paris, and can beheard on numerous CDs. As a recitalist, Peter Coleman-Wright has sung in Italy, France, Finland, Austria andSpain; and made concert appearances in Iceland, HongKong and the Sultanate of Oman.

Recent and future engagements include performanceswith the Metropolitan Opera, English National Opera,Glyndebourne Festival Opera, Opera Australia, RoyalOpera Covent Garden, London Symphony Orchestra,London Philharmonic Orchestra, and a national tourwith Musica Viva, for whom he also toured in 2005.


Formed in 1920, Sydney PhilharmoniaChoirs is Australia’s largest choralorganisation. With four choirs – the 32-voice Chamber Singers (the Motet Choir),the 100-voice Symphony Chorus, the youth-focussed 70-voice Vox and the 300-voice Festival Chorus – SydneyPhilharmonia presents its own annualconcert series as well as acting as chorus for the Sydney Symphony.

Sydney Philharmonia has worked withconductors such as Eugene Ormandy,Otto Klemperer, David Willcocks, CharlesMackerras, Edo de Waart, Charles Dutoit,Christopher Hogwood, Mark Elder, JohnNelson, Richard Hickox, Gianluigi Gelmettiand Bruno Weil. Previous Musical Directorshave included Mats Nilsson, AntonyWalker, John Grundy and Peter Seymour.

In 2002 Sydney Philharmonia was the firstAustralian choir to sing at the BBC Proms,performing Mahler’s Eighth Symphony

www.sydneyphilharmonia.com.au

Brett Weymark studied singing at SydneyUniversity and conducting at the SydneyConservatorium. He is passionate aboutnew Australian compositions, baroquemasterworks, music education, and accessto the art of choral singing, and in 2001 hewas awarded a Centenary Medal for servicesto choral music.

In 2000 he was appointed AssistantChorus Master at Sydney Philharmonia,and Musical Director in 2003. In 2002 hereceived a NSW Ministry for the Arts grantto study conducting in Europe and America.From 2003 to 2005 he was also MusicalDirector and Conductor for Pacific Opera.As a chorusmaster, he has prepared worksfor Charles Mackerras, Gianluigi Gelmetti,

under Simon Rattle. Other highlights haveincluded performances for the SydneyOlympics and the Nagano Winter Olympics, concerts with Barbra Streisand,Schoenberg’s Gurrelieder for the MelbourneFestival, and the premiere recording ofAndrew Schultz and Gordon K. Williams’Journey to Horseshoe Bend with the SydneySymphony. In 2006 the schedule includedrecording for the soundtrack of Happy Feetand Stravinsky’s Symphony of Psalms with the Australian Youth Orchestra and OlegCaetani, and last year’s highlights includedBritten’s War Requiem for the Perth Festival,a tour to Hobart to perform and record withthe TSO, and appearances with the SydneySymphony in Rossini’s Stabat Mater. Thisseason’s collaborations with the SydneySymphony will continue with Beethoven’sMissa Solemnis for World Youth Day in Julyand The Dream of Gerontius in the ElgarFestival in November.

Edo de Waart, Simon Rattle and CharlesDutoit.

In the Sydney Philharmonia 2005 seasonhe presented 32 of Bach’s church cantatas ina 10-concert series and conducted A Child of Our Time for the Tippett centenary.

Highlights in 2006 included a SydneyFestival concert of Danish works and TheWizard of Oz with the Sydney Symphony. He conducted music for the film HappyFeet and led a workshopped performance of Mozart’s Requiem with over 1300 voices. Last year he conducted the SydneySymphony in concerts with MichaelParkinson and his concerts with SydneyPhilharmonia in 2008 include Bach’s Massin B minor.

Brett Weymark artistic and musical director


Brett Weymark artistic director and chorusmaster

Jo Jacobs general managerElizabeth Scott assistant chorusmasterJosephine Allan rehearsal pianist

SOPRANOS

Shelley AndrewsSarah AshtonJacqui BinetskyAnne BlakeJodie BoehmeFemmie BuysAnne CookePamela CunninghamRouna DaleyCatherine De LucaVanessa DowningMarnie FairlieKarina FallandNatalie FisherMarie-Louise FoxDorothy GillJudith GorryCaroline GudeGillian Haslehurst-

SmithSue JusticeAlison KeeneCarolyn LowryGillian MarkhamClare MillsHannah NorthDympna PatersonVicky PiroloLaura PlattsNarelle RobertsonJacqui RowlandsRegula ScheideggerAmy SmithMyanna Sorensen

Sharla VijayaratnamZoe WaltonJulia WeeJacqui Wilkins

ALTOS

Elizabeth AdersJan BorrieGae BristowMegan BrockJo Burton*Ruth CollersonCatriona DebelleJenny Duck-Chong*Ruth EdenboroughPhoebe FergusonPenny GayJennifer GillmanEdith GrayVictoria Jane Hall*Sue HarrisKathryn HarwoodMelinda JeffersonSophie KillenMaggie McKelveyTijana MiljovskaSusie NorthHelen PedersenNatalie Shea*Megan SolomonVanessa SouthRobyn TupmanSheli WallachAdriana Zlatinova

TENORS

Freddie ArguellesPatrick BlakeMichael Butchard*Michael ClarkDavid Commisso*Stephen CoulingAndrew DaviesMalcolm DaySimon Gilkes*Denys GillespieSteven HankeyDamien KuanGreg LawlerFrank MaioTim MatthiesJohn McFadzeanScott McLennanSean NewellJohn O’BrienPeter RobertsRavi SamiJerry ScelziJohn StuartRobert ThomsonBruce TurnerDan Walker*Alex Walter

BASSES

Jonathan Alley*Warwick AndersonMartin BairdBryan BanstonJohn Bartholomaeus

Graeme BartlettCorin Bone*Peter CallaghanHubert ChanGordon ChengPaul CouvretPaul CunninghamRobert CunninghamTim DunstoneAlan GarnerPaul GreenRobert GreenSimon HarrisNeil HendryDavid HoffmanRalf KerstenIan McCullochJean-Claude NiedererJurgen OttoMorgan Pearse*Peter PhillipsPeter PooleDavid PriceAndrew RafteryMichael RyanAlex SerranoMatthew Thomas*Edward ToalRobert WilliamsArthur Winckler

* Semi-Chorus

(members of SPVoices)

Sydney Philharmonia Choirs


THE SYDNEY SYMPHONY

Founded in 1932, the Sydney Symphonyhas evolved into one of the world’s finestorchestras as Sydney has become one of theworld’s great cities. Last year the Orchestracelebrated its 75th anniversary and themilestone achievements during itsdistinguished history.

Resident at the iconic Sydney OperaHouse, where it gives more than 100performances each year, the SydneySymphony also performs concerts in avariety of venues around Sydney andregional New South Wales. Internationaltours to Europe, Asia and the USA haveearned the Orchestra world-widerecognition for artistic excellence.

Critical to the success of the SydneySymphony has been the leadership givenby its former Chief Conductors including:Sir Eugene Goossens, Nicolai Malko,Dean Dixon,Willem van Otterloo, LouisFrémaux, Sir Charles Mackerras, StuartChallender and Edo de Waart. Alsocontributing to the outstanding success of the Orchestra have been collaborationswith legendary figures such as GeorgeSzell, Sir Thomas Beecham, OttoKlemperer and Igor Stravinsky.

Maestro Gianluigi Gelmetti, whoseappointment followed a ten-yearrelationship with the Orchestra as GuestConductor, is now in his fifth and finalyear as Chief Conductor and ArtisticDirector of the Sydney Symphony, aposition he holds in tandem with that ofMusic Director at Rome Opera. MaestroGelmetti’s particularly strong rapportwith French and German repertoire iscomplemented by his innovativeprogramming in the Shock of the Newconcerts.

The Sydney Symphony’s award-winningEducation Program is central to theOrchestra’s commitment to the future of live symphonic music, developingaudiences and engaging the participationof young people. The Sydney Symphonyalso maintains an active commissioningprogram promoting the work of Australiancomposers, and recent premieres haveincluded major works by Ross Edwards and Brett Dean, as well as Liza Lim, whowas composer-in-residence from 2004 to2006.

In 2009 Maestro Vladimir Ashkenazywill begin his three-year tenure asPrincipal Conductor and Artistic Advisor.

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PATRON Her Excellency Professor Marie Bashir AC CVO, Governor of New South Wales


MUSICIANS

01First Violins

02 03 04 05 06 07

08 09 10 11 12 13 14

15 01Second Violins

02 03 04 05 06

07 08 09 10 11 12 13

First Violins

01 Sun YiAssociate Concertmaster

02 Kirsten WilliamsAssociate Concertmaster

03 Kirsty HiltonAssistant Concertmaster

04 Fiona ZieglerAssistant Concertmaster

05 Julie Batty06 Gu Chen07 Sophie Cole08 Amber Gunther09 Rosalind Horton10 Jennifer Hoy11 Jennifer Johnson12 Georges Lentz13 Nicola Lewis14 Alexandra Mitchell

Moon Design Chair of Violin15 Léone Ziegler

Second Violins

01 Marina MarsdenPrincipal

02 Emma WestA/Associate Principal

03 Shuti HuangA/Assistant Principal

04 Susan DobbiePrincipal Emeritus

05 Pieter Bersée06 Maria Durek07 Emma Hayes08 Stan Kornel09 Benjamin Li10 Nicole Masters11 Philippa Paige12 Biyana Rozenblit13 Maja Verunica

Guest Musicians

Emily Long First Violin#

Michele O’Young First Violin

Emily Qin First Violin#

Martin Silverton First Violin

Natsuko Yoshimoto First Violin

Manu Berkeljon Second Violin†

Rohana Brown Second Violin†

James Cuddeford Second Violin

Alexander Norton Second Violin#

Jacqueline Cronin Viola#

Jennifer Curl Viola#

Yilin Zhu Viola†

Rowena Crouch Cello#

Patrick Murphy Cello#

Julian Smiles Cello

Gordon Hill Double Bass#

Kate Lawson Flute†

Robert Llewellyn Bassoon#

Timothy Constable Percussion

John Douglas Percussion

Kevin Man Percussion

Alison Pratt Percussion

Genevieve Lang Harp

# Contract Musician† Sydney Symphony

Fellow

Gianluigi GelmettiChief Conductor andArtistic Director

Michael DauthChair of Concertmastersupported by the SydneySymphony Board and Council

Dene OldingChair of Concertmastersupported by the SydneySymphony Board and Council


08Cellos

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01Violas

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04 05 06 07 08 09

01Double Basses

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Harp01 Flutes

02 03Piccolo

MUSICIANS

Violas

01 Roger BenedictAndrew Turner and Vivian Chang Chair of Principal Viola

02 Anne Louise ComerfordAssociate Principal

03 Yvette GoodchildAssistant Principal

04 Robyn Brookfield05 Sandro Costantino06 Jane Hazelwood07 Graham Hennings08 Mary McVarish09 Justine Marsden10 Leonid Volovelsky11 Felicity Wyithe

Cellos

01 Catherine Hewgill Mr Tony & Mrs Frances Meagher Chair of Principal Cello

02 Nathan Waks Principal

03 Leah LynnAssistant Principal

04 Kristy Conrau05 Fenella Gill06 Timothy Nankervis07 Elizabeth Neville08 Adrian Wallis09 David Wickham

Double Basses

01 Kees BoersmaBrian and Rosemary White Chair of Principal Double Bass

02 Alex HeneryPrincipal

03 Neil BrawleyPrincipal Emeritus

04 David Campbell05 Steven Larson06 Richard Lynn07 David Murray

Gordon Hill(contract, courtesy Auckland Philharmonic)

Harp

Louise JohnsonMulpha Australia Chair of Principal Harp

Flutes

01 Janet Webb Principal

02 Emma ShollMr Harcourt Gough Chair of Associate Principal Flute

03 Carolyn Harris

Piccolo

Rosamund PlummerPrincipal


Cor Anglais Clarinets Bass Clarinet

Oboes

01 Diana Doherty Andrew Kaldor and Renata Kaldor AO Chair of Principal Oboe

02 Shefali PryorAssociate Principal

Cor Anglais

Alexandre OgueyPrincipal

Clarinets

01 Lawrence Dobell Principal

02 Francesco CelataAssociate Principal

03 Christopher Tingay

Bass Clarinet

Craig WernickePrincipal

Bassoons

01 Matthew WilkiePrincipal

02 Roger BrookeAssociate Principal

03 Fiona McNamara

Contrabassoon

Noriko ShimadaPrincipal

Horns

01 Robert JohnsonPrincipal

02 Ben JacksPrincipal

03 Geoff O’ReillyPrincipal 3rd

04 Lee Bracegirdle05 Euan Harvey06 Marnie Sebire

Trumpets

01 Daniel Mendelow Principal

02 Paul Goodchild The Hansen Family Chair of Associate Principal Trumpet

03 John Foster04 Anthony Heinrichs

Trombone

01 Ronald PrussingNSW Department of State and Regional Development Chair of Principal Trombone

02 Scott KinmontAssociate Principal

03 Nick ByrneRogen International Chair of Trombone

Bass Trombone

Christopher Harris Trust Foundation Chair of Principal Bass Trombone

Tuba

Steve RosséPrincipal

Timpani

01 Richard MillerPrincipal

02 Adam JeffreyAssistant Principal Timpani/Tutti Percussion

Percussion

01 Rebecca LagosPrincipal

02 Colin Piper

Piano

Josephine AllanPrincipal (contract)

01Bassoons Contrabassoon Horns

02 03 01 02 03

01Oboes

02 01 02 03

04 05 06 01Trumpets

02 03 04

01Trombones

02 03Bass Trombone Tuba

01Timpani

02

01Percussion

02Piano

MUSICIANS

The Company is assisted by the NSW Government through Arts NSW

SALUTE


PRINCIPAL PARTNER

PLATINUM PARTNER

MAJOR PARTNERS

GOVERNMENT PARTNERS

GOLD PARTNERS


The Sydney Symphony applauds the leadership role our Partners play and their commitment to excellence,innovation and creativity.

SILVER PARTNERS

REGIONAL TOUR PARTNERS

BRONZE PARTNERS MARKETING PARTNERS PATRONS

Australia Post

Austrian National Tourist Office

Beyond Technology Consulting

Bimbadgen Estate Wines

J. Boag & Son

Vittoria Coffee

Avant Card

Blue Arc Group

Lindsay Yates and Partners

2MBS 102.5 –Sydney’s Fine Music Station

The Sydney Symphony gratefullyacknowledges the many musiclovers who contribute to theOrchestra by becoming SymphonyPatrons. Every donation plays animportant part in the success of theSydney Symphony’s wide rangingprograms.

A leadership program which linksAustralia’s top performers in theexecutive and musical worlds.For information about the Directors’Chairs program, please contact Alan Watt on (02) 8215 4619.


01 02 03 04 05

06 07 08 09 10

11 12

DIRECTORS’ CHAIRS

01Mulpha Australia Chair of Principal Harp, Louise Johnson

02Mr Harcourt Gough Chair ofAssociate Principal Flute, Emma Sholl

03Sandra and Paul SalteriChair of Artistic DirectorEducation, Richard Gill OAM

04Jonathan Sweeney, Managing Director Trust withTrust Foundation Chair ofPrincipal Bass Trombone, Christopher Harris

05NSW Department of State and Regional Development Chair of Principal Trombone,Ronald Prussing

06Brian and Rosemary White Chair of Principal DoubleBass, Kees Boersma

07Board and Council of theSydney Symphony supportsChairs of Concertmaster Michael Dauth and Dene Olding

08Gerald Tapper, Managing Director Rogen Internationalwith Rogen International Chair of Trombone, Nick Byrne

09Stuart O’Brien, ManagingDirector Moon Design with Moon Design Chair of Violin,Alexandra Mitchell

10Andrew Kaldor and RenataKaldor AO Chair of PrincipalOboe, Diana Doherty

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11Andrew Turner and VivianChang Chair of PrincipalViola and Artistic Director,Fellowship Program, Roger Benedict

12The Hansen Family Chair ofAssociate Principal Trumpet,Paul Goodchild

13 Mr Tony & Mrs FrancesMeagher Chair of PrincipalCello, Catherine Hewgill


In memory of Angelica Green §Anthony Gregg & Deanne

Whittleston ‡Dr & Mrs C Goldschmidt §Beth Harpley *Rev H & Mrs M Herbert °*Dr & Mrs Michael Hunter §Intertravel Lindfield °Mrs Greta James *Mr Stephen Jenkins *Dr Michael Joel AM &

Mrs Anna Joel °Doctor Faith M Jones §Ms Judy JoyeMr Noel Keen *Mrs Margaret Keogh °*Iven & Sylvia Klineberg *Dr Barry LandaDr & Mrs Leo Leader °Margaret Lederman §Ms A Le Marchant *Mr & Mrs Ezzelino Leonardi §Erna & Gerry Levy AM §Mr & Mrs S C Lloyd °Mr James McCarthy *Mr Ian & Mrs Pam McGaw *Mr Matthew McInnes §Ms Julie Manfredi-HughesKate & Peter Mason °Ms J Millard *‡Mr Walter B Norris °Miss C O’Connor *Mrs Rachel O’Conor °Mr R A Oppen §Mrs Roslyn Packer AO °Mrs Jill Pain ‡Mr Tom PascarellaDr Kevin Pedemont *Mr & Mrs Michael Potts Mr L T & Mrs L M Priddle *Mrs B Raghavan °Mr John Reid AO Catherine Remond °Mr John & Mrs Lynn Carol Reid §Mr Brian Russell & Mrs Irina

SinglemanMr M D Salamon §In memory of H St P Scarlett °*Mr John Scott °Ms Ann Sherry AO °Dr Agnes E SinclairDr John Sivewright &

Ms Kerrie Kemp ‡Dr Heng & Mrs Cilla Tey §Mrs Elizabeth F Tocque °*Mr Andrew & Mrs Isolde TornyaMrs Merle Turkington °Ronald Walledge °Louise Walsh & David Jordan °Mrs Christine WenkartDr Richard Wing §Mr Robert Woods *Jill WranMrs Lucille Wrath ‡Miss Jenny Wu Mrs R Yabsley °§Anonymous (12)

PLAYING YOUR PART

MaestriBrian Abel & the late Ben

Gannon AO °Geoff & Vicki Ainsworth *Mr Robert O Albert AO *‡Alan & Christine Bishop °§Sandra & Neil Burns *Mr Ian & Mrs Jennifer Burton °Libby Christie & Peter James °§The Clitheroe Foundation *Mr John C Conde AO °§Mr John Curtis §Penny Edwards °*Mr J O Fairfax AO *Fred P Archer Charitable Trust §Dr Bruno & Mrs Rhonda Giuffre*Mr Harcourt Gough §Mr David Greatorex AO &

Mrs Deirdre Greatorex §The Hansen Family §Mr Andrew Kaldor & Mrs

Renata Kaldor AO §H Kallinikos Pty Ltd §Mrs Joan MacKenzie §Mrs T Merewether OAM &

the late Mr EJ Merewether Mr B G O’Conor °§The Paramor Family *The Ian Potter Foundation °Dr John Roarty in memory of

Mrs June RoartyMr Paul & Mrs Sandra Salteri °Mrs Joyce Sproat & Mrs Janet

Cooke §Andrew Turner & Vivian ChangMr Brian & Mrs Rosemary White§Anonymous (2) *

VirtuosiMrs Antoinette Albert §Mr Roger Allen & Mrs Maggie

GrayMr Robert & Mrs L Alison Carr §Mr Greg Daniel Ian Dickson & Reg Holloway°Mr Ross GrantMr & Mrs Paul Hoult Irwin Imhof in memory of

Herta Imhof °‡Mr Stephen Johns §Mr & Mrs Gilles T Kryger °§Ms Ann Lewis AM Helen Lynch AM & Helen Bauer°Mr & Mrs David Milman §Mr Michael J. Perini *Miss Rosemary Pryor *

Bruce & Joy Reid Foundation*Rodney Rosenblum AM &

Sylvia Rosenblum *David Smithers AM & Family °§Ms Gabrielle Trainor °In memory of Dr William &

Mrs Helen Webb ‡Michael & Mary Whelan Trust §Anonymous (1)

SoliMr Charles Barran §Mr Anthony Berg AMMs Jan Bowen °§Mrs Emily Chang §Mr Peter Coates Ms Elise Fairbairn-SmithMr Robert Gay §Hilmer Family Trust §Ms Ann Hoban °Mr Paul Hotz §Mr Philip Isaacs OAM °§Mr Bob Longwell Mrs Judith McKernan °§Miss Margaret N MacLaren °*‡§Mr David Maloney §Mrs Mora Maxwell °§Mr James & Mrs Elsie Moore °Mr and Mrs John van OgtropMr Geoff Wood & Ms Melissa

Waites Ray Wilson OAM & the late

James Agapitos OAM*Anonymous (4)

Tutti

Mr C R Adamson §Mr Henri W Aram OAM §Mr Terrey & Mrs Anne Arcus §Mr David Barnes °Mrs Joan Barnes °Mr Stephen J Bell *‡Mr Mark BethwaiteMr Alexander & Mrs Vera

Boyarsky §Mr David S Brett *§Mr Maximo Buch *Mrs Lenore P Buckle §Debby Cramer & Bill Caukill §Mr Bob & Mrs Julie Clampett °§Mr John Cunningham SCM &

Mrs Margaret Cunningham °§Lisa & Miro Davis *Mrs Ashley Dawson-Damer °Mr Peter & Mrs Mary Doyle °*Mr & Mrs J B Fairfax AM §Mr Ian Fenwicke & Prof Neville

Wills §In memory of Hetty Gordon §Mrs Akiko Gregory °Miss Janette Hamilton °‡Mr Charles HannaMr A & Mrs L Heyko-Porebski°Mr & Mrs E Katz §Miss Anna-Lisa Klettenberg §

Mr Andrew Korda & Ms Susan Pearson

Mr Justin Lam §Dr Paul A L Lancaster &

Dr Raema ProwseDr Garth Leslie °*Mrs Belinda Lim & Mr Arti Ortis §Mr Gary Linnane °§Ms Karen Loblay §Mr Andrew & Mrs Amanda Love Mrs Carolyn A Lowry OAM °Mr & Mrs R Maple-Brown §Mr Robert & Mrs Renee

Markovic °§Mrs Alexandra Martin & the

Late Mr Lloyd Martin AM §Wendy McCarthy AO °Justice Jane Matthews §Mrs Barbara McNulty OBE §Ms Margaret Moore & Dr Paul

Hutchins *Mr Robert Orrell °Timothy & Eva Pascoe §Ms Patricia Payn °§Mrs Almitt PiattiMr Adrian & Mrs Dairneen Pilton Ms Robin Potter °§Mr Ernest & Mrs Judith Rapee §Dr K D Reeve AM °Mrs Patricia H Reid §Ms Juliana Schaeffer §The Hon. Warwick SmithDerek & Patricia Smith §Catherine Stephen §Mr Fred & Mrs Dorothy Street ‡§Mr Georges & Mrs Marliese

Teitler §Mr Ken Tribe AC & Mrs Joan

Tribe §Mr John E Tuckey °Mrs Kathleen Tutton §Ms Mary Vallentine AO §Henry & Ruth Weinberg §Audrey & Michael Wilson °Anonymous (11)

Supporters over $500Richard Ackland °Ms Madeleine AdamsPTW Architects §Mr John Azarias Mr Chris & Mrs Mary Barrett °Doug & Alison Battersby °Mr Phil Bennett Black CommunicationsGabrielle Blackstock °‡Mr G D Bolton °Dr & Mrs Hannes Boshoff §A I Butchart °*Marty Cameron §Mr Brian CaseyMr B & Mrs M Coles °Mrs Catherine Gaskin Cornberg§Mr Stan Costigan AO &

Mrs Mary Costigan °*Mrs M A Coventry °Mr Michael Crouch AO *M Danos °Mr Colin DraperMr Russell Farr Mr and Mrs David Feetham Mr Steve Gillett

Patron Annual

Donations Levels

Maestri $10,000 and above Virtuosi $5000 to $9999 Soli $2500 to $4999 Tutti $1000 to $2499 Supporters $500 to $999

To discuss givingopportunities, please callAlan Watt on (02) 8215 4619.

° Allegro Program supporter* Emerging Artist Fund supporter‡ Stuart Challender Fund supporter§ Orchestra Fund supporter

The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Every gift plays an important part in ensuring ourcontinued artistic excellence and helping to sustain important education andregional touring programs. Because we are now offering free programs andspace is limited we are unable to list donors who give between $100 and $499 –please visit sydneysymphony.com for a list of all our patrons.


Sydney Symphony Board

BEHIND THE SCENES

CHAIRMAN

John Conde AO

Libby Christie John CurtisStephen JohnsAndrew KaldorGoetz RichterDavid Smithers AM

Gabrielle Trainor

Sydney Symphony Council

Geoff AinsworthAndrew Andersons AO

Michael Baume AO*Christine BishopDeeta ColvinGreg Daniel AM

John Della Bosca MLC

Alan FangErin FlahertyDr Stephen FreibergRichard Gill OAM

Donald Hazelwood AO OBE*Dr Michael Joel AM

Simon Johnson Judy JoyeYvonne Kenny AM

Gary LinnaneAmanda LoveThe Hon. Ian Macdonald MLC*Joan MacKenzieSir Charles Mackerras CH AC CBE

David MaloneyDavid MaloufJulie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Matthews AO*Danny MayWendy McCarthy AO

John MorschelGreg ParamorDr Timothy Pascoe AM

Stephen Pearse

Jerome RowleyPaul SalteriSandra SalteriJacqueline SamuelsBertie SanJulianna SchaefferLeo Schofield AM

Ivan UngarJohn van Ogtrop*Justus Veeneklaas*Peter Weiss AM

Anthony Whelan MBE

Rosemary WhiteKim Williams AM

* Regional Touring Committee member

Sydney Symphony Regional Touring Committee

The Hon. Ian Macdonald MLC

Minister for Primary Industries, Energy, MineralResources and State Development

Dr Richard Sheldrake Director-General, Department of Primary Industries

Mark Duffy Director-General, Department of Water and Energy

Colin Bloomfield Illawarra Coal BHPBilliton

Stephen David Caroona Project, BHPBilliton

Romy Meerkin Regional Express Airlines

Peter Freyberg Xstrata

Tony McPaul Cadia Valley Operations

Terry Charlton Snowy Hydro

Sivea Pascale St.George Bank

Paul Mitchell Telstra

John Azarius Deloitte Foundation

Greg Jones

Rob Vickery Royal Agricultural Society

Gerard Lawson Sunrice

Grant Cochrane The Land


Sydney Symphony Staff

MANAGING DIRECTOR

Libby ChristieEXECUTIVE ASSISTANT

Eva-Marie Alis

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC OPERATIONS

Wolfgang Fink

Artistic Administration

ARTISTIC ADMINISTRATION MANAGER

Raff WilsonARTIST LIAISON

Ilmar LeetbergPERSONAL ASSISTANT TO THE CHIEF CONDUCTOR

Lisa Davies-GalliADMINISTRATION ASSISTANT

Catherine Wyburn

Education Programs

EDUCATION MANAGER

Margaret MooreEDUCATION COORDINATOR

Bernie Heard

Library

LIBRARIAN

Anna CernikLIBRARY ASSISTANT

Victoria GrantLIBRARY ASSISTANT

Mary-Ann Mead

EXTERNAL RELATIONS

DIRECTOR OF EXTERNAL RELATIONS

Rory Jeffes

Development

CORPORATE RELATIONS MANAGER

Leann MeiersCORPORATE RELATIONS EXECUTIVE

Julia OwensCORPORATE RELATIONS EXECUTIVE

Seleena SemosPHILANTHROPY MANAGER

Alan WattDEVELOPMENT EXECUTIVE

Kylie Anania

Publications

PUBLICATIONS EDITOR AND MUSIC PRESENTATION MANAGER

Yvonne Frindle

Public Relations

PUBLIC RELATIONS MANAGER

Yvonne ZammitPUBLICIST

Stuart Fyfe

Public Affairs

PUBLIC AFFAIRS MANAGER

Claire Duffy

SALES AND MARKETING

Customer Relations

MARKETING MANAGER – CRM

Rebecca MacFarlingDATA & ONLINE TECHNOLOGY MANAGER

Marko LångONLINE MANAGER

Kate Taylor

Marketing Communications

MARKETING MANAGER – TRADITIONALMARKETS

Simon Crossley-MeatesMARKETING MANAGER – NEW MARKETS& RECORDINGS

Penny EvansMARKETING COORDINATOR

Antonia Farrugia

Groups & Tourism

NETWORK GROUP-SALES MANAGER

Paul Murray

Box Office

BOX OFFICE MANAGER

Lynn McLaughlinBOX OFFICE COORDINATOR

Peter GahanCUSTOMER SERVICE REPRESENTATIVES

Michael DowlingErich GockelNatasha Purkiss

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRAMANAGEMENT

Aernout KerbertDEPUTY ORCHESTRA MANAGER

Lisa MullineuxORCHESTRAL COORDINATOR

Greg LowTECHNICAL MANAGER

Derek CouttsPRODUCTION COORDINATOR

Tim DaymanPRODUCTION COORDINATOR

Ian SpenceSTAGE MANAGER

Marrianne Carter

BUSINESS SERVICES

DIRECTOR OF FINANCE

Martyn DominyFINANCE MANAGER

Ruth TolentinoACCOUNTS ASSISTANT

Li LiOFFICE ADMINISTRATOR

Rebecca WhittingtonPAYROLL OFFICER

Usef HoosneyINFORMATION TECHNOLOGY MANAGER

Tim Graham

HUMAN RESOURCES

HUMAN RESOURCES MANAGER

Ian Arnold

COMMERCIAL ENTERPRISES

COMMERCIAL ENTERPRISES MANAGER

David PrattRECORDING ENTERPRISES MANAGER

Philip Powers

This is a PLAYBILL / SHOWBILL publication

Publisher

Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064

Head Office:

1017 Pacific Highway, Pymble, NSW 2073

Telephone: (02) 9449 6433 Fax: (02) 9449 6053 E-mail: [email protected]: www.playbill.com.au

Operating in Sydney, Melbourne, Canberra, Brisbane,

Adelaide, Perth, Hobart and Darwin

EXECUTIVE CHAIRMAN

Brian Nebenzahl OAM, RFD

MANAGING DIRECTOR

Michael Nebenzahl

EDITORIAL DIRECTOR

Jocelyn Nebenzahl

By arrangement with the Sydney Symphony, this publication isoffered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out orotherwise circulated without the publisher’s consent in writing.It is a further condition that this publication shall not be circulatedin any form of binding or cover than that in which it was published,or distributed at any other event than specified on the title page ofthis publication.

Overseas Operations:

New Zealand: Playbill (N.Z.) Limited, Level 5, 94 Dixon Street, PO Box 11-755, Wellington, New Zealand; (64 4) 385 8893, Fax (64 4) 385 8899. Auckland: Mt. Smart Stadium, Beasley Avenue, Penrose,Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148,Email: [email protected] London: Playbill UK Limited, C/- Everett Baldwin BarclayConsultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK168001 WCH 38; (852) 2891 6799; Fax (852) 2891 1618. Malaysia: Playbill (Malaysia) Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2-E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889; Fax (60 3)7729 5998. Singapore: Playbill (HK) Limited, C/- HLB Loke Lum ConsultantsPte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore188968; (65) 6332 0088; Fax (65) 6333 9690. South Africa: Playbill South Africa Pty Ltd, C/- HLB Barnett ChownInc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333.

All enquiries for advertising space in this publication should bedirected to the above company and address.

Entire concept copyright. Reproduction without permission inwhole or in part of any material contained herein is prohibited.

Title ‘Playbill’ is the registered title of Playbill Proprietary Limited.

Title ‘Showbill’ is the registered title of Showbill ProprietaryLimited.

Additional copies of this publication are available by post from thepublisher; please write for details.

15240 – 1/060608 – 18E/18G S44/45

SYMPHONY AUSTRALIA LIMITED

Suite 3, Level 2, 561 Harris Street, Ultimo NSW 2007GPO Box 9994, Sydney NSW 2001Telephone (02) 8333 1651Facsimile (02) 8333 1678

www.symphony.net.au

Level 9, 35 Pitt Street, Sydney NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Facsimile (02) 8215 4646

Customer Services:GPO Box 4338, Sydney NSW 2001Telephone (02) 8215 4600Facsimile (02) 8215 4660

www.sydneysymphony.com

All rights reserved, no part of this publication may be reproduced ortransmitted 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 thispublication 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 acceptresponsibility for any errors or omissions, or for matters arising fromclerical or printers’ errors. Every effort has been made to securepermission for copyright material prior to printing.

Please address all correspondence to the Publications Editor, Sydney Symphony, GPO Box 4972, Sydney NSW 2001. Fax (02) 8215 4660. Email [email protected]

SYDNEY OPERA HOUSE TRUST

Mr Kim Williams AM (Chair)Mr John BallardMr Wesley EnochMs Renata Kaldor AO

Ms Jacqueline Kott Mr Robert Leece AM RFD

Ms Sue Nattrass AO

Mr Leo Schofield AM

Ms Barbara WardMr Evan Williams AM

EXECUTIVE MANAGEMENT

CHIEF EXECUTIVE OFFICER . . . . . . . . . . . . . . . . . . . . . . . . . . . .Richard EvansDIRECTOR, FACILITIES . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Paul AkhurstDIRECTOR, FINANCE & SYSTEMS . . . . . . . . . . . . . . . . . . . . . . .David AntawDIRECTOR, PEOPLE & CULTURE . . . . . . . . . . . . . . . . . . . . . . . .Rick BrowningDIRECTOR, MARKETING & DEVELOPMENT . . . . . . . . . . . . . .Victoria DoidgeDIRECTOR, PERFORMING ARTS . . . . . . . . . . . . . . . . . . . . . . . .Rachel HealyDIRECTOR, INFORMATION SYSTEMS . . . . . . . . . . . . . . . . . . .Claire SwaffieldDIRECTOR, TOURISM & VISITOR OPERATIONS . . . . . . . . . .Maria Sykes

SYDNEY OPERA HOUSE

Bennelong PointGPO Box 4274, Sydney NSW 2001Administration (02) 9250 7111Box Office (02) 9250 7777Facsimile (02) 9250 7666Website sydneyoperahouse.com

hh sheikh ahmed bin saeed al-maktoum · romÉo et juliette friday 6 june | 8pm sydney opera house...

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