MOZART'S HAFFNER SYMPHONY

TEA & SYMPHONY

Friday 6 June 2014

The exotic and mysterious East was a source of inspiration for composers and artists of the 18th century, as revealed in this painting by Jean-Étienne Liotard: Marie-Adélaïde de France

in Turkish costume (1753)

2014 concert season

TEA & SYMPHONY FRIDAY 6 JUNE, 11AM

SYDNEY OPERA HOUSE CONCERT HALL

MOZART’S HAFFNER SYMPHONYJessica Cottis conductor Dene Olding violin

WOLFGANG AMADEUS MOZART (1756–1791) Symphony No.35 in D, K385 (Haffner)

Allegro con spirito Andante Menuetto – Trio Finale (Presto)

LEONARD BERNSTEIN (1918–1990) Serenade after Plato’s Symposium

I Phaedrus – Pausanias (Lento – Allegro) II Aristophanes (Allegretto) III Erixymathus (Presto) IV Agathon (Adagio) V Socrates – Alcibiades (Molto tenuto – Allegro molto vivace)

Dene Olding, violin

MOZART The Abduction from the Seraglio: Overture

Estimated durations: 18 minutes, 31 minutes, 6 minutes The concert will conclude at approximately 12.10 pm.

COVER IMAGE: Salzburg in Mozart’s time (c.1790). Detail. Painted wood, scale model by Johann Rupert Fontaine. akg-images / Erich Lessing

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ABOUT THE MUSIC

Mozart’s Haffner Symphony

MOZART Symphony No.35 in D, K385 (Haffner)Allegro con spirito Andante Menuetto – Trio Finale (Presto)

A symphony orchestra has a bias built into its name. Otherwise this concert could have ‘serenade’ in its title. Mozart often made little distinction between serenade and symphony – this ‘Haffner’ music is a case in point.

This symphony was the first Mozart completed after moving from Salzburg to Vienna in 1781. It is known as the Haffner, because its music was composed for a celebration in Salzburg, when the Mozarts’ friend Siegmund Haffner was ennobled. Mozart composed festive music in six movements, including two minuets and a march. This was standard for the kind of occasional music grouped by cataloguers under ‘serenade’, a name Mozart used for it, among others. (This ‘Haffner’ music is not to be confused with K250, the piece we call the Haffner Serenade, composed in 1776 for a marriage in the same family – it includes important violin solos, and is part of the background to the Bernstein Serenade in this concert.)

In 1782, when planning a concert in Vienna, Mozart asked his father to send him from Salzburg the ‘Haffner music’. When he received it, he wrote back: ‘I was quite surprised by the new Haffner symphony – I hadn’t remembered a thing about it; it must certainly be very effective.’ For the concert on 22 March 1783 Mozart added flutes and clarinets to the first and last movements, and deleted the march and the first minuet. The result is a grand and rather festive symphony.

The Haffner Symphony begins with a striking gesture to make a talkative audience sit up and pay attention. Mozart asked for it to be played ‘with great fire’. The two leaps of an octave followed by a rhythmic flourish are the main substance of the first movement – as in many of the first movements of Mozart’s older colleague Joseph Haydn, there is no contrasting second theme.

The grace of the Andante in G major has been related to its serenade origins. Relaxation was just what was needed after an unusually tightly written first movement, with so much imitative counterpoint.

The Menuetto is grand without being pompous – a minuet asking to be listened to, no mere dancing background music, and with delicate subtleties in the Trio.

The finale recalls the opera Mozart was writing (The Abduction from the Seraglio), especially the blustering triumphant rage of the overseer of the Harem, Osmin. In this finale, which he said should go ‘as fast as possible’, Mozart imitates the quicksilver patter of Italian musical comedy. The final bars even anticipate Rossini.

Sigmund Hafner (Haffner)

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BERNSTEIN Serenade after Plato’s Symposium for solo violin, strings, harp and percussionI Phaedrus – Pausanias (Lento – Allegro) II Aristophanes (Allegretto) III Erixymathus (Presto) IV Agathon (Adagio) V Socrates – Alcibiades (Molto tenuto – Allegro molto vivace)

Bernstein’s Serenade was commissioned by the Koussevitsky Foundation and dedicated ‘to the beloved memory of Serge and Natalie Koussevitsky’. Serge Koussevitsky, the legendary conductor of the Boston Symphony Orchestra, had been Bernstein’s mentor in Boston and Tanglewood. The summer of 1954 was devoted to composing this ‘violin concerto’ for Isaac Stern (Bernstein was also working on Candide). The composer conducted the premiere in the Teatro La Fenice in Venice on 12 September, with the Israel Philharmonic and Stern as soloist.

Preparing for this work, Bernstein re-read Plato’s Symposium by which he had been impressed during his student years at Harvard. The Symposium is a dialogue between guests at an imaginary banquet. The choice of the title Serenade may be related to courtship, flirtation and love – in keeping with Plato’s themes – but Bernstein may also have wanted an appropriate title for a piece with more than the three movements usual in a concerto, like the Mozart serenades that included violin solos.

Bernstein’s Serenade is an essay-discussion in praise of love. The solo violin is the host, the commentator who provokes debate between the guests at Plato’s party. The music follows no literal program, but like the dialogue is ‘a series of related statements in praise of love, and generally follows the Platonic form through the succession of speakers at a banquet’.

The music frequently suggests Bernstein’s familiarity with Stravinsky’s Apollo (1928), where a solo violin often leads the string orchestra, and which shares the Serenade’s antique Greek subject matter. About the hint of jazz, particularly in the last section of the work, Bernstein commented ‘I hope it will not be taken as anachronistic Greek party-music, but rather as the natural

Bernstein in 1945

Plato’s Symposium, a painting by Anselm Feuerbach (1873)

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expression of a contemporary American composer imbued with the spirit of that timeless dinner-party.’

Bernstein described each of the movements as follows:

Phaedrus; Pausanias – Phaedrus opens the symposium with a lyrical oration in praise of Eros, the god of love. (Fugato, begun by the solo violin.) Pausanias continues by describing the duality of lover and beloved. This is expressed in a classical sonata-allegro, based on the material of the opening fugato.

Aristophanes – Aristophanes does not play the role of clown in this dialogue, but instead that of the bedtime story-teller, invoking the fairy-tale mythology of love.

Erixymathus – The physician speaks of bodily harmony as a scientific model for the workings of love-patterns. This is an extremely short fugato scherzo, born of a blend of mystery and humour.

Agathon – Perhaps the most moving speech of the dialogue, Agathon’s panegyric embraces all aspects of love’s powers, charms and functions. This movement is a simple three-part song.

Socrates; Alcibiades – Socrates describes his visit to the seer Diotima, quoting her speech on the demonology of love. This is a slow introduction of greater weight than any of the preceding movements; and serves as a highly developed reprise of the middle section of the Agathon movement, thus suggesting a hidden sonata-form. The famous interruption by Alcibiades and his band of drunken revelers ushers in the Allegro, which is an extended Rondo ranging in spirit from agitation through jig-like dance music to joyful celebration.

MOZART Overture to The Abduction from the SeraglioThe percussionists for Bernstein’s Serenade are still available, and the concert needs a lively ending. Only a hang-up about titles restrains anyone from using an overture as an ending, rather than a beginning. It’s a fine thing to do, if the music is right. Mozart’s Seraglio music has already been echoed in this concert in the finale of the Haffner Symphony. No accident: he was writing both at the same time.

The opera is set in Turkey, and the beginning and end of the overture set the scene with Mozart’s wonderful take on clichéd Turkish music, faddish at the time. Mozart wrote to his father that the overture ‘is quite short, constantly alternates between piano and forte, and at the fortes the Turkish music breaks in every time, and so it goes on modulating through the keys, and I believe nobody will be able to sleep through it, even if one hadn’t slept at all the night before.’

A Turkish entertainment could still give the public a frisson. It was a century since the Ottoman Turks had besieged Vienna. The philosophical influence of the Enlightenment replaced the ‘savage Turk’ with the ‘noble’ one. Mozart’s plot plays cleverly on both these stereotypes. The Pasha Selim is gradually revealed as magnanimous in spite of his imprisonment of the heroine, Constanze, and his

TRIBUTE TO LOVE

Into the Serenade there are woven three movements from Bernstein’s Anniversaries, short piano pieces composed as gifts or tributes. In the Pausanias section of the first movement is ‘For Sandy Gellhorn’ (adopted son of Martha Gellhorn with whom Bernstein stayed in Mexico in 1951). Aristophanes begins and ends with ‘For Elisabeth Rudolf’ (mother of a Tanglewood friend), and the middle section is ‘For Lukas Foss’ (composer and conductor and a friend of Bernstein’s). The fast conclusion of the whole Serenade uses ‘for Elisabeth B Ehrmann’ (mother of a Harvard friend). Thus Bernstein included loved ones in his musical tribute to love.

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MOZART’S TURKISH MUSIC

Mozart – ever astute to musical fashion – capitalised on the fad for Turkish music in his unfinished Singspiel Zaïde, an early ballet called Le gelosie del seraglio (Jealousy in the Harem), the finale of his Violin Concerto K219 (which Anne-Sophie Mutter played in Sydney earlier this year), and the famous Rondo alla turca of his Piano Sonata K331, as well as The Abduction from the Seraglio.

Page from the score of the overture to The Abduction from the Seraglio

amorous advances to her. Setting the drama in a harem brings a hint of voyeurism, stressing the passion and sensuality of Orientals. (Mozart himself misquoted the opera’s title in a letter to his father: The Seduction from the Seraglio.) But in essence the story is a ‘rescue’ drama in an exotic setting.

The Turkish music shows no concern for authenticity, but suggests the music of the janissaries, the elite troops of the Ottoman Empire. Their bands were renowned for ‘barbarous’ sounds and overpowering rhythms, ‘so strongly marked…that it is virtually impossible to get out of step’. The piccolo imitates the military fife, oboes the strident shawms, and above all there is percussion: bass drum, cymbals and triangle.

The fast outer sections of the overture are the same ‘Turkish music’. In the tiny middle section the tempo slows. When the curtain rises, Belmonte will sing – hopefully and in C major – of having finally found where his beloved Constanze is being held. But in the overture, Mozart gives this tune a plaintive character, suggesting, perhaps, the fruitless searching Belmonte has already endured.

In the theatre the overture moves seamlessly into the drama. For concert performances a brief concert ending is played – in this performance we hear one by Johann Anton André, dating from 1807.

DAVID GARRETT © 2014

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MORE MUSIC

MOZART OVERTURESFor a delightful collection of Mozart’s opera overtures, including the one for The Abduction from the Seraglio, look for Yehudi Menhuin conducting the Lausanne Chamber Orchestra.VIRGIN CLASSICS 63284

BERNSTEIN SERENADEBernstein’s emotionally charged Serenade is performed with daring precision and energy by violinist Joshua Bell and the Philharmonia Orchestra, conducted by David Zinman. This recording is a treat for anyone wanting to hear more of Bernstein’s dazzling violin music, and also includes showpiece arrangements for violin and orchestra of music from West Side Story, On the Town and Candide.SONY 89358

MOZART’S HAFFNER MUSICSince Mozart and Bernstein come together in this concert, look out for Bernstein himself conducting Mozart symphonies with the Vienna Philharmonic. One enticing release features the Haffner and Linz symphonies (Nos. 35 and 36) and the dramatic Symphony No.40 in G minor.DEUTSCHE GRAMMOPHON 477 5745

For a different take on Mozart’s symphonic style, there’s Nikolaus Harnoncourt and the Vienna Concentus Musicus. They pair the Haffner Symphony (No.35) with the Posthorn Serenade, K320 and an obligatory serenade march.SONY CLASSICAL 372068

And at the risk of sowing confusion… we have to recommend a different work of Mozart’s that also happens to carry the Haffner name: his Haffner Serenade in D, K250. (No connection with Symphony No.35, although it yields its own mini-symphony when selected movements are performed.) Sir Charles Mackerras conducts the Prague Chamber Orchestra in a recording that also includes the cheeky Serenata notturna, K239.TELARC 80161

Broadcast DiaryJune–July

FIVE BEETHOVEN PIANO CONCERTOS IN ONE WEEKENDDavid Robertson conductor Emanuel Ax piano

Saturday 21 June, 1pm BEETHOVEN 1 & 2Hindemith, Beethoven Piano Concertos 1 & 2

Saturday 21 June, 8pm BEETHOVEN 3 & 4Tippett, Beethoven Piano Concertos 3 & 4

Sunday 22 June, 2pm BEETHOVEN’S EMPERORDean, Beethoven, Richard Strauss

Saturday 12 July, 2pm BRAHMS & DVOŘÁK Jakub Hrůša conductor Truls Mørk cello

Saturday 12 July, 8pm SSO BRASSHear the SSO Horns in the gala opening concert from the 2014 Sydney International Brass Festival

Wednesday 16 July, 8pm JANDAMARRA Brett Weymark conductor Diana Doherty oboe Yilimbirri Ensemble Members of Gondwana Choirs Holst, Vaughan Williams, Stanhope & Hawke

Monday 28 July, 7pm HARP LEGENDS Simone Young conductor Louise Johnson harp Sivan Magen harpLiszt, Bracegirdle, Rodrigo, Zemlinsky

SYDNEY SYMPHONY ORCHESTRA 2014 Tuesday 10 June, 6pm

Musicians, staff and guest artists discuss what’s in store in our forthcoming concerts.

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THE ARTISTS

Dene Olding violinCONCERTMASTER

Dene Olding is one of Australia’s most outstanding instrumentalists and has achieved a distinguished career in many aspects of musical life. In addition to his role as Concertmaster of the SSO, he is first violinist for the Australia Ensemble and the Goldner String Quartet. As a soloist, he appears regularly with the Australian symphony orchestras and has given the Australian premieres of Lutosławski’s Chain 2, Carter’s Violin Concerto and the Glass Violin Concerto, as well as concertos by Ross Edwards and Bozidar Kos, and Richard Mills’ Double Concerto, written for him and his wife, violist Irina Morozova.

A graduate of the Juilliard School, in 1985 he was awarded a Churchill Fellowship and was a Laureate of the Queen Elisabeth of Belgium International Violin Competition. He rejoined the Sydney Symphony as Co-Concertmaster in 2002, having held the position from 1987 to 1994. Other concertmaster positions have included the Australian Chamber Orchestra and Melbourne Symphony Orchestra. He has conducted the SSO and Auckland Philharmonia, and appeared as conductor-soloist with chamber orchestras in Australia and America.

His recordings include Brahms, Beethoven and Mozart sonatas, concertos by Martin, Milhaud, Hindemith and Barber, the premiere recording of Edwards’ violin concerto, Maninyas, the complete Beethoven string quartets and a Rachmaninoff disc with Vladimir Ashkenazy.

Dene Olding plays a 1720 Joseph Guarnerius violin.

Read more in Bravo! bit.ly/Bravo2012-7

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Jessica Cottis conductorASSISTANT CONDUCTOR, SUPPORTED BY CREDIT SUISSE

Jessica Cottis was born in Sale, Victoria and studied organ and musicology at the Australian National University. She continued her organ studies with Marie-Claire Alain in Paris, making her European debut at Westminster Cathedral in 2003. A hand injury halted her playing career and she began studying conducting at the Royal Academy of Music with Colin Metters, George Hurst and Colin Davis; she was appointed the RAM Manson Fellow in Composition in 2009. She was subsequently Assistant Conductor to Donald Runnicles at the BBC Scottish Symphony Orchestra and Conducting Fellow at the Royal Conservatoire of Scotland (2009–2011); other mentors have included Vladimir Ashkenazy and Charles Dutoit.

As the SSO’s Assistant Conductor, she divides her time between Australia and Britain, where she is increasingly in demand as a guest conductor. Last year in the Mozart in the City series she conducted the premiere of Mary Finsterer’s double bass concerto Lake Ice, and Mozart’s Jupiter Symphony. She also conducted Dvořák’s New World Symphony at the Sydney Opera House.

Engagement highlights include debuts with Opera Australia, Scottish Opera, Philharmonia Orchestra, BBC Philharmonic, London Philharmonic Orchestra and the Adelaide, Queensland and New Zealand symphony orchestras. Jessica Cottis made her BBC Proms debut in 2010 and her Edinburgh Festival debut in 2011, and in 2014 she will conduct a new work by Peter Maxwell Davies in the Royal Festival Hall.

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MUSICIANS

David RobertsonCHIEF CONDUCTOR AND ARTISTIC DIRECTOR SUPPORTED BY EMIRATES

Dene OldingCONCERTMASTER

Jessica CottisASSISTANT CONDUCTOR SUPPORTED BY PREMIER PARTNER CREDIT SUISSE

Andrew HaveronCONCERTMASTER

FIRST VIOLINS Dene Olding CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Jenny BoothSophie ColeGeorges LentzNicola LewisAndrew Haveron CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Brielle ClapsonAmber DavisClaire HerrickJennifer HoyEmily LongAlexandra MitchellAlexander NortonLéone Ziegler

SECOND VIOLINS Marina Marsden Emma Jezek ASSISTANT PRINCIPAL

Shuti HuangNicole MastersMaja VerunicaBelinda Jezek°Kirsty Hilton Marianne Broadfoot Maria DurekEmma HayesStan W KornelBenjamin LiPhilippa PaigeBiyana Rozenblit

VIOLASRoger Benedict Anne-Louise Comerford Rosemary CurtinStuart JohnsonTobias Breider Justin Williams ASSISTANT PRINCIPAL

Sandro CostantinoJane HazelwoodGraham HenningsJustine MarsdenFelicity TsaiAmanda VernerLeonid Volovelsky

CELLOSUmberto ClericiLeah Lynn ASSISTANT PRINCIPAL

Kristy ConrauElizabeth NevilleCatherine Hewgill Henry David Varema Fenella GillTimothy NankervisChristopher PidcockAdrian WallisDavid Wickham

DOUBLE BASSESKees Boersma Steven LarsonAlex Henery Neil Brawley PRINCIPAL EMERITUS

David CampbellRichard LynnDavid MurrayBenjamin Ward

FLUTES Emma Sholl Carolyn HarrisJanet Webb Rosamund Plummer PRINCIPAL PICCOLO

OBOESShefali Pryor ACTING PRINCIPAL

Alexandre Oguey PRINCIPAL COR ANGLAIS

Diana Doherty David Papp

CLARINETSFrancesco Celata Christopher TingayLawrence Dobell Craig Wernicke PRINCIPAL BASS CLARINET

BASSOONSMatthew Wilkie Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON

HORNSGeoffrey O’Reilly PRINCIPAL 3RD

Rachel SilverBen Jacks Robert Johnson Marnie SebireEuan Harvey

TRUMPETSPaul Goodchild Colin Grisdale*David Elton Anthony Heinrichs

TROMBONESRonald Prussing Scott Kinmont Nick ByrneChristopher HarrisPRINCIPAL BASS TROMBONE

TUBASteve Rossé

TIMPANIMark Robinson ASSISTANT PRINCIPAL

Richard Miller

PERCUSSIONRebecca Lagos Joshua Hill*Kevin Man*Brian Nixon*Alison Pratt*Timothy Constable

HARP Louise Johnson

BOLD = PRINCIPAL

ITALICS = ASSOCIATE PRINCIPAL

° = C0NTRACT MUSICIAN

* = GUEST MUSICIAN

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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SYDNEY SYMPHONY ORCHESTRA

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 have earned the orchestra worldwide recognition for artistic excellence, most recently in the 2012 tour to China.

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 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 first year of David Robertson’s tenure as Chief Conductor and Artistic Director.

DAVID ROBERTSON Chief Conductor and Artistic Director

PATRON Her Excellency Professor Marie Bashir ac cvo

SYDNEY SYMPHONY ORCHESTRA BOARDJohn C Conde ao ChairmanTerrey Arcus am Rory JeffesEwen Crouch am Andrew Kaldor amRoss Grant David LivingstoneCatherine Hewgill The Hon. Justice AJ MeagherJennifer Hoy Goetz Richter

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MAESTRO’S CIRCLESUPPORTING THE ARTISTIC VISION OF DAVID ROBERTSON, CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

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Mr Robert WoodsIn memory of Lorna WrightDr John YuAnonymous (11)

BRONZE PATRONS: ALLEGRO $500–$999David & Rae AllenMr & Mrs Garry S AshDr Lilon BandlerMichael Baume ao & Toni BaumeBeauty Point Retirement ResortRichard & Margaret BellMrs Jan BiberMinnie BiggsMrs Elizabeth BoonMr Colin G BoothDr Margaret BoothMr Frederick BowersMr Harry H BrianR D & L M BroadfootMiss Tanya BryckerDr Miles BurgessPat & Jenny BurnettEric & Rosemary CampbellBarrie Carter

Mr Jonathan ChissickMrs Sandra ClarkMichael & Natalie CoatesCoffs Airport Security Car ParkJen CornishDegabriele KitchensPhil Diment am & Bill

ZafiropoulosDr David DixonElizabeth DonatiMrs Jane DrexlerDr Nita Durham &

Dr James DurhamJohn FavaloroMs Julie Flynn & Mr Trevor CookMrs Lesley FinnMr John GadenVivienne GoldschmidtClive & Jenny GoodwinRuth GrahameMs Fay GrearIn Memory of Angelica GreenMr Robert GreenRichard Griffin am

Mr & Mrs Harold & Althea Halliday

Benjamin Hasic & Belinda Davie

Mr Robert HavardRoger HenningSue HewittIn memory of Emil HiltonDorothy Hoddinott ao

Mr Joerg HofmannMr Angus HoldenMr Kevin HollandBill & Pam HughesDr Esther JanssenNiki KallenbergerMrs W G KeighleyMrs Margaret Keogh

Dr Henry KilhamChris J KitchingAnna-Lisa KlettenbergMr & Mrs Gilles T KrygerThe Laing FamilySonia LalDr Leo & Mrs Shirley LeaderMargaret LedermanMrs Erna Levy Sydney & Airdrie LloydMrs A LohanPanee LowDr David LuisMelvyn MadiganBarbara MaidmentHelen & Phil MeddingsDavid MillsKenneth Newton MitchellHelen MorganChris Morgan-HunnMr Graham NorthE J NuffieldDr Margaret ParkerDr Kevin PedemontDr John PittMrs Greeba PritchardMiss Julie RadosavljevicRenaissance ToursAnna RoAgnes RossMr Kenneth RyanGarry Scarf & Morgie BlaxillPeter & Virginia Shaw

V ShoreMrs Diane Shteinman am

Victoria SmythDr Judy SoperDoug & Judy SotherenRuth StaplesMr & Mrs Ashley StephensonMargaret SuthersMs Margaret SwansonThe Taplin FamilyDr & Mrs H K TeyAlma Toohey Judge Robyn TupmanMrs M TurkingtonGillian Turner & Rob BishopRonald WalledgeIn memory of Denis WallisThe Wilkinson FamilyEvan Williams am &

Janet WilliamsDr Edward J WillsAudrey & Michael Wilson

Dr Richard WingateDr Peter Wong &

Mrs Emmy K WongGeoff Wood & Melissa

WaitesMrs Robin YabsleyAnonymous (29)

List correct as of 1 May 2014

SYDNEY SYMPHONY ORCHESTRA VANGUARDA MEMBERSHIP PROGRAM FOR A DYNAMIC GROUP OF GEN X & Y SSO FANS AND FUTURE PHILANTHROPISTS

Vanguard CollectiveJustin Di Lollo ChairKees BoersmaAmelia Morgan-HunnJonathan PeaseSeamus R QuickChloe SassonCamille Thioulouse

MembersJames ArmstrongDamien BaileyJoan BallantineAndrew BaxterMar BeltranEvonne BennettNicole BilletDavid BluffAndrew BraggPeter BraithwaiteBlake Briggs

Andrea BrownMelanie BrownProf. Attila BrungsHelen CaldwellHilary CaldwellHahn ChauAlistair ClarkPaul ColganJuliet CurtinAlastair FurnivalAlexandra GibsonAlistair GibsonSam GiddingsMarina GoTony GriersonLouise HaggertyRose HercegPhilip HeuzenroederFrancis HicksPaolo HookePeter Howard

Jennifer HoyKatie HryceScott JacksonJustin JamesonJonathan KennedyAernout KerbertPatrick KokAlisa LaiTristan LandersGary LinnanePaul MacdonaldKylie McCaigRebecca MacFarlingDavid McKeanHayden McLeanTaine MoufarrigeNick NichlesTom O’DonnellKate O’ReillyLaurissa PoulosJingmin Qian

Leah RanieSudeep RaoMichael ReedePaul ReidyChris RobertsonDr Benjamin RobinsonEmma RodigariJacqueline RowlandsBenjamin SchwartzCaroline SharpenKatherine ShawRandal TameSandra TangMichael TidballMark TimminsKim WaldockJonathan WatkinsonJon WilkieYvonne Zammit

15

SALUTE

The Sydney Symphony Orchestra is assisted by the

Commonwealth Government through the Australia Council,

its arts funding and advisory body

GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is

assisted by the NSW Government

through Arts NSW

PRINCIPAL PARTNER

PREMIER PARTNER

GOLD PARTNERS

SILVER PARTNERS

REGIONAL TOUR PARTNER MARKETING PARTNER

EDUCATION PARTNERPLATINUM PARTNER

MAJOR PARTNERS

Salute 2014_THREE.indd 1 12/05/14 12:43 PM

❝We work on our bodies, we work on our techniques. But how do we work on our mental strength?

❞mental strength is something we could use as musicians. We work on our bodies, we work on our techniques. But how do we work on mental strength?

‘Yoga’s not just physical, it also trains your mind. What we do as musicians is not only challenging in itself, but the thing is you only get one chance – often in front of 2,000 people – to get it right. It’s the context of the thing, rather than the thing itself, that makes it tricky!’

Through yoga and mindfulness, Diana has found another tool for her performance-skills ‘toolkit’. ‘I think it’s one more way in which to improve. I’ve been in the job a long time now, and hope I will be still for many years to come. I just want to get better and better at it, and finding ways to better deal with the pressure is a step in that direction. There is always something to be learned, and understanding to be deepened.’

The Principal Oboe Chair is generously supported by Andrew Kaldor am and Renata Kaldor ao.

You may have noticed that for some three months a familiar face has been missing from the platform of the Sydney Opera House Concert Hall. Principal oboist, Diana Doherty, has been taking a much-deserved break on long service leave to refresh and recharge. She’s used the ‘time out’ to explore some other longed-for creative pursuits. ‘I can now say I have hobbies!’ she enthuses.

‘I’ve been experimenting with a bit of painting, and took an online course in creative writing. And I did a 40-day intense yoga course, doing yoga six times a week, learning to meditate,

learning more about whole foods, and how to guide myself through my own yoga practice.’ And how was it? ‘Fantastic! Through the meditation side of it, I learnt a lot about mental strength, focus and calm; all things that are really useful and I can really relate to my oboe playing.

‘I’m very keen on tennis, and watch the big tournaments on television. And I’m always amazed at the mental strength those guys have. They might be up against the odds, down two match points and receiving serve, and I think: “How do you come back from a moment like that?” I’ve always thought that kind of

FINDING FOCUSDiana Doherty, Principal Oboe, has been exploring the world without and the world within…

ORCHESTRA NEWS | JUNE 2014

SSO Bravo! #4 2014 Insert.indd 1 30/05/14 7:38 AM

Ask a MusicianI am wondering what a musician does in a live concert when he or she suddenly feels the need to sneeze, not to mention what a soloist might do? Maybe it doesn’t happen because of the intense concentration. I haven’t ever noticed it, but I do wonder! Anne Irish

What a good question! I sometimes marvel that I don’t sneeze in a concert! I think you are right – the concentration required in performance overrides any desire to sneeze. I also find that if I have cold and my sinuses are blocked up, just before I have to play – especially if it’s an important solo – suddenly my head clears and I can forget that I’m unwell for a few minutes. That must be adrenaline of performance at work.

Unfortunately coughing seems to be a different matter. I have had many coughing fits in various slow movements (it always seems to happen in the slow movement!), as have most of my colleagues. It’s awful, and there’s no escape. Very occasionally a coughing fit will necessitate leaving the stage so as not to be too distracting, either to colleagues onstage or for the audience listening. If the concert is being broadcast live on radio, or recorded for later broadcast, then that adds another level of awareness.

Professionalism means overcoming these challenges, so I’m glad if you’ve never noticed these moments. We’re all in the service of the music.Rosamund Plummer, Principal Piccolo

Have a question about music, instruments or the inner workings of an orchestra? ‘Ask a Musician’ at yoursay@sydneysymphony.com or by writing to Bravo! Reply Paid 4338, Sydney NSW 2001.

When it comes to the future of orchestral music, David Robertson is clear about his mission: ‘We have an ambition to foster the love of orchestral music in school children of all ages, and to equip their teachers with the skills they need to develop this in our young people. Through excellence and education (and excellence in education) – this is how the music we love will survive long after us.’

But it takes more than we receive through ticket sales and government funding to achieve these noble aims. Donations from patrons who share David’s vision make the critical difference.

In 2013, Fred Street am provided the seed money for a brand new education program for teachers, TunED Up, to support that all-important step in nurturing a lifelong love of music in children. Your gift to the Allegro Education Fund will allow us to sustain and expand TunED Up into the future.

Make your gift before 30 June 2014. Any gift of $2 or greater is fully tax deductible; gifts over $500 are acknowledged in our program books.

Visit sydneysymphony.com/appeal or call (02) 8215 4600 and select option 2.

Philanthropy HighlightA gift for tomorrow

In March, five SSO brass principals visited Hong Kong to perform at the annual Credit Suisse Asian Investment Conference. They also visited the Pun U Association Wah Yan Primary School where they performed for 300 students and spoke about their instruments. In Hong Kong every child is encouraged to learn a musical instrument, with most playing piano or violin. But perhaps our visit to the school will encourage more of them to take up a brass instrument! The children greeted our brass players like rock stars, showing a huge interest in the SSO.From left: Paul Goodchild, Chris Harris, David Elton, Ron Prussing and Ben Jacks

Pho

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SSO Bravo! #4 2014 Insert.indd 2 2/06/14 10:11 AM

Ask a MusicianI am wondering what a musician does in a live concert when he or she suddenly feels the need to sneeze, not to mention what a soloist might do? Maybe it doesn’t happen because of the intense concentration. I haven’t ever noticed it, but I do wonder! Anne Irish

What a good question! I sometimes marvel that I don’t sneeze in a concert! I think you are right – the concentration required in performance overrides any desire to sneeze. I also find that if I have cold and my sinuses are blocked up, just before I have to play – especially if it’s an important solo – suddenly my head clears and I can forget that I’m unwell for a few minutes. That must be adrenaline of performance at work.

Unfortunately coughing seems to be a different matter. I have had many coughing fits in various slow movements (it always seems to happen in the slow movement!), as have most of my colleagues. It’s awful, and there’s no escape. Very occasionally a coughing fit will necessitate leaving the stage so as not to be too distracting, either to colleagues onstage or for the audience listening. If the concert is being broadcast live on radio, or recorded for later broadcast, then that adds another level of awareness.

Professionalism means overcoming these challenges, so I’m glad if you’ve never noticed these moments. We’re all in the service of the music.Rosamund Plummer, Principal Piccolo

Have a question about music, instruments or the inner workings of an orchestra? ‘Ask a Musician’ at yoursay@sydneysymphony.com or by writing to Bravo! Reply Paid 4338, Sydney NSW 2001.

When it comes to the future of orchestral music, David Robertson is clear about his mission: ‘We have an ambition to foster the love of orchestral music in school children of all ages, and to equip their teachers with the skills they need to develop this in our young people. Through excellence and education (and excellence in education) – this is how the music we love will survive long after us.’

But it takes more than we receive through ticket sales and government funding to achieve these noble aims. Donations from patrons who share David’s vision make the critical difference.

In 2013, Fred Street am provided the seed money for a brand new education program for teachers, TunED Up, to support that all-important step in nurturing a lifelong love of music in children. Your gift to the Allegro Education Fund will allow us to sustain and expand TunED Up into the future.

Make your gift before 30 June 2014. Any gift of $2 or greater is fully tax deductible; gifts over $500 are acknowledged in our program books.

Visit sydneysymphony.com/appeal or call (02) 8215 4600 and select option 2.

Philanthropy HighlightA gift for tomorrow

In March, five SSO brass principals visited Hong Kong to perform at the annual Credit Suisse Asian Investment Conference. They also visited the Pun U Association Wah Yan Primary School where they performed for 300 students and spoke about their instruments. In Hong Kong every child is encouraged to learn a musical instrument, with most playing piano or violin. But perhaps our visit to the school will encourage more of them to take up a brass instrument! The children greeted our brass players like rock stars, showing a huge interest in the SSO.From left: Paul Goodchild, Chris Harris, David Elton, Ron Prussing and Ben Jacks

Pho

to: A

ndre

w &

Ren

ata

Kal

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for

Inte

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SSO Bravo! #4 2014 Insert.indd 2 2/06/14 10:11 AM

The Score

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“The Great Guitarist”For most music-lovers the name Joaquín Rodrigo means one thing: the Concierto de Aranjuez for guitar. The concerto has become so popular that it virtually eclipses Rodrigo’s other achievements. For example, he wrote a further 12 concertos – so flautists, pianists, violinists, cellists and harpists don’t need to be too envious of the guitarists (who have five to choose from!).

But it’s that first guitar concerto that made Rodrigo’s name. So much so that years later guitarist Pepe Romero said: ‘I feel that Joaquín Rodrigo must be described as “the great guitarist”. I do not know whether this is a result of his not being a guitar player or in spite of it…’

At the beginning of August we’ll be privileged to have Pepe Romero himself gracing the stage with the SSO in a program including the Concierto de Aranjuez. But in a further treat, just the week before, Israeli harp virtuoso Sivan Magen will be performing Rodrigo’s Concierto serenata for harp in concerts conducted by Simone Young. If you love the Aranjuez concerto, chances are you’ll love the ‘Serenade’ concerto just as much, and our ‘Rodrigo fortnight’ might be the perfect chance to discover it!

Harp LegendsConcierto serenata 24, 25, 28 July

Pepe RomeroConcierto de Aranjuez 1, 2 August

for a composer to get a premiere, but very hard to ensure the piece gets subsequent performances and stays in the repertoire.’

One way to ensure future performances, says our Director of Artistic Planning Ben Schwartz, is through co-commissions. This year we’ve commissioned Detlev Glanert’s Frenesia in partnership with orchestras in Amsterdam, Cologne and St Louis. ‘Sending it around the globe like that,’ says Ben, ‘guarantees multiple performances, giving the composer greater exposure, and advocating for further future performances.’

Closer to home, and for the same reason, new music is often commissioned for the Australian network of orchestras with additional support from Symphony Services International. The Edwards saxophone concerto, for example, was heard all over the country in 2012.

Similarly, another new work this season, Jandamarra, was commissioned by the SSO for the Australian network, also with the support of Symphony Services. And again, it has benefited from the generosity of two donors, this time Vicki Olsson and Geoff Ainsworth.To find out more about supporting our commissioning program, contact Luke Gay on (02) 8215 4625.Jandamarra by Stanhope and Hawke can be heard in concerts on 16, 17 and 18 July; Glanert’s Frenesia in concerts on 13, 15 and 16 August.

Arts philanthropist and SSO Board member Andrew Kaldor freely admits that two years of music studies as a child didn’t leave him with strong musical abilities. ‘But,’ he says, ‘I love being with musicians, and the feelings that music can induce.’ He and his wife Renata, whose grandmother was an opera singer, sustain their relationship with classical music in a very special way – by commissioning new music.

The first piece Andrew supported was Ross Edwards’ Second Symphony, featuring soprano Yvonne Kenny. ‘Renata was celebrating a significant birthday,’ says Andrew, ‘…I found Ross’ music compelling, and he was writing something for the orchestra at the time, so I commissioned it. It was so easy to do!

More recently, the Kaldors commissioned another Edwards work, his Full Moon Dances saxophone concerto, and last year gave their support to the commissioning of a saxophone concerto by John Adams.

‘Our involvement in the process of commissioning a piece isn’t in any sense directive,’ says Andrew. Rather, it’s about enjoying the association with the composers and musicians involved. ‘They’re all terrific people, and it’s a joy to think that in some small way, we’ve contributed to something that will hopefully endure.’

Andrew recognises that the commission is only half the challenge. ‘It’s relatively easy

Artistic Focus

INVESTING IN NEW MUSIC

Pho

to: A

ndre

w &

Ren

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Kal

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Andrew and Renata Kaldor

SSO Bravo! #4B 2014 Insert.indd 3 2/06/14 7:06 AM

EDITOR Genevieve Huppert sydneysymphony.com/bravo

AUDITIONING VIA YOUTUBEOur Playerlink program received YouTube audition videos for the first time this year. Due to extreme popularity of Playerlink – an annual three-day pop-up orchestra camp in regional NSW – we needed a way to select the participants fairly, yet ensure a simple process for the young musicians.

This was embraced by applicants. We even received a video taken while a young trombonist was on holiday in the Northern Territory, complete with the faint sound of a waterfall in the background! Now that’s dedication!

The 2014 Playerlink program will be held in Bathurst on 1–3 August.

GROWING FELLOWSFrom 2015, our Fellowship program will be expanding. For the first time ever, brass players and percussionists are invited to apply alongside their string and woodwind-playing peers.

Applications are now open. For more information visit bit.ly/Fellowship2015Announcement

ELIJAH BANTER

A lively discussion followed after we posted the Elijah stage plan on our Facebook page. Topics ranged from questions on where to find an ophicleide for sale; requests for flashmobs on Sydney trains, and a tongue-in-cheek suggestion for cristal baschet accompaniment to Mendelssohn’s great oratorio. If you haven’t already, “like” our Facebook page and have your day suitably distracted by the latest orchestra news and some stimulating audience banter. facebook.com/sydneysymphony

A NOTE OF CAUTIONOur clarinet Fellow, Alexei Dupressoir, recently suffered an injury resulting from over-practising, leaving him unable to play his instrument for weeks. He wrote about the experience over at the SSO Fellowship blog, explaining how it changed his approach towards his practice and his work/life balance: bit.ly/FellowshipBlog_NotTheEndOfTheWorld

FAREWELLIn April, we bid farewell to Orchestra Manager Chris Lewis. Chris joined us three years ago from the UK, to whence he has returned to take up an exciting position with the Hallé Orchestra in Manchester. We wish Chris and his young family all the very best for their return home.

CODA

SYMPHONY SERVICES INTERNATIONALSuite 2, Level 5, 1 Oxford Street, Darlinghurst NSW 2010PO Box 1145, Darlinghurst NSW 1300Telephone (02) 8622 9400 Facsimile (02) 8622 9422www.symphonyinternational.net

Clocktower Square, Argyle Street, The Rocks NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Box Office (02) 8215 4600Facsimile (02) 8215 4646www.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.

Please address all correspondence to the Publications Editor: Email program.editor@sydneysymphony.com

PAPER PARTNER

All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole 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 Proprietary Limited.

By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in 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 of this publication 17321 — 1/060614 — 16TS S37

This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064

Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: admin@playbill.com.au Website: www.playbill.com.au

Chairman Brian Nebenzahl OAM RFD

Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production—Classical Music Alan Ziegler

Operating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin

SYDNEY OPERA HOUSEBennelong Point GPO Box 4274, Sydney NSW 2001Administration (02) 9250 7111 Box Office (02) 9250 7777Facsimile (02) 9250 7666 Website www.sydneyoperahouse.com

SYDNEY OPERA HOUSE TRUSTMr John Symond am [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am

EXECUTIVE MANAGEMENTChief Executive Officer Louise Herron am

Chief Operating Officer Claire SpencerDirector, Programming Jonathan BielskiDirector, Theatre and Events David ClaringboldDirector, Building Development and Maintenance Greg McTaggartDirector, External Affairs Brook TurnerDirector, Commercial David Watson

SSO Bravo! #4 2014 Insert.indd 4 29/05/14 12:44 PM

The Score

Pho

to: J

uan

Gye

nes

and

Rod

rigo

Fou

ndat

ion

“The Great Guitarist”For most music-lovers the name Joaquín Rodrigo means one thing: the Concierto de Aranjuez for guitar. The concerto has become so popular that it virtually eclipses Rodrigo’s other achievements. For example, he wrote a further 12 concertos – so flautists, pianists, violinists, cellists and harpists don’t need to be too envious of the guitarists (who have five to choose from!).

But it’s that first guitar concerto that made Rodrigo’s name. So much so that years later guitarist Pepe Romero said: ‘I feel that Joaquín Rodrigo must be described as “the great guitarist”. I do not know whether this is a result of his not being a guitar player or in spite of it…’

At the beginning of August we’ll be privileged to have Pepe Romero himself gracing the stage with the SSO in a program including the Concierto de Aranjuez. But in a further treat, just the week before, Israeli harp virtuoso Sivan Magen will be performing Rodrigo’s Concierto serenata for harp in concerts conducted by Simone Young. If you love the Aranjuez concerto, chances are you’ll love the ‘Serenade’ concerto just as much, and our ‘Rodrigo fortnight’ might be the perfect chance to discover it!

Harp LegendsConcierto serenata 24, 25, 28 July

Pepe RomeroConcierto de Aranjuez 1, 2 August

for a composer to get a premiere, but very hard to ensure the piece gets subsequent performances and stays in the repertoire.’

One way to ensure future performances, says our Director of Artistic Planning Ben Schwartz, is through co-commissions. This year we’ve commissioned Detlev Glanert’s Frenesia in partnership with orchestras in Amsterdam, Cologne and St Louis. ‘Sending it around the globe like that,’ says Ben, ‘guarantees multiple performances, giving the composer greater exposure, and advocating for further future performances.’

Closer to home, and for the same reason, new music is often commissioned for the Australian network of orchestras with additional support from Symphony Services International. The Edwards saxophone concerto, for example, was heard all over the country in 2012.

Similarly, another new work this season, Jandamarra, was commissioned by the SSO for the Australian network, also with the support of Symphony Services. And again, it has benefited from the generosity of two donors, this time Vicki Olsson and Geoff Ainsworth.To find out more about supporting our commissioning program, contact Luke Gay on (02) 8215 4625.Jandamarra by Stanhope and Hawke can be heard in concerts on 16, 17 and 18 July; Glanert’s Frenesia in concerts on 13, 15 and 16 August.

Arts philanthropist and SSO Board member Andrew Kaldor freely admits that two years of music studies as a child didn’t leave him with strong musical abilities. ‘But,’ he says, ‘I love being with musicians, and the feelings that music can induce.’ He and his wife Renata, whose grandmother was an opera singer, sustain their relationship with classical music in a very special way – by commissioning new music.

The first piece Andrew supported was Ross Edwards’ Second Symphony, featuring soprano Yvonne Kenny. ‘Renata was celebrating a significant birthday,’ says Andrew, ‘…I found Ross’ music compelling, and he was writing something for the orchestra at the time, so I commissioned it. It was so easy to do!

More recently, the Kaldors commissioned another Edwards work, his Full Moon Dances saxophone concerto, and last year gave their support to the commissioning of a saxophone concerto by John Adams.

‘Our involvement in the process of commissioning a piece isn’t in any sense directive,’ says Andrew. Rather, it’s about enjoying the association with the composers and musicians involved. ‘They’re all terrific people, and it’s a joy to think that in some small way, we’ve contributed to something that will hopefully endure.’

Andrew recognises that the commission is only half the challenge. ‘It’s relatively easy

Artistic Focus

INVESTING IN NEW MUSIC

Pho

to: A

ndre

w &

Ren

ata

Kal

dor

Cen

tre

for

Inte

rnat

iona

l Ref

ugee

Law

Andrew and Renata Kaldor

SSO Bravo! #4B 2014 Insert.indd 3 2/06/14 7:06 AM

SYMPHONY SERVICES INTERNATIONALSuite 2, Level 5, 1 Oxford Street, Darlinghurst NSW 2010PO Box 1145, Darlinghurst NSW 1300Telephone (02) 8622 9400 Facsimile (02) 8622 9422www.symphonyinternational.net

Clocktower Square, Argyle Street, The Rocks NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Box Office (02) 8215 4600Facsimile (02) 8215 4646www.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.

Please address all correspondence to the Publications Editor: Email program.editor@sydneysymphony.com

PAPER PARTNER

All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole 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 Proprietary Limited.

By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in 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 of this publication 17321 — 1/060714 — 16TS S37

This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064

Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: admin@playbill.com.au Website: www.playbill.com.au

Chairman Brian Nebenzahl OAM RFD

Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production—Classical Music Alan Ziegler

Operating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin

SYDNEY OPERA HOUSEBennelong Point GPO Box 4274, Sydney NSW 2001Administration (02) 9250 7111 Box Office (02) 9250 7777Facsimile (02) 9250 7666 Website www.sydneyoperahouse.com

SYDNEY OPERA HOUSE TRUSTMr John Symond am [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am

EXECUTIVE MANAGEMENTChief Executive Officer Louise Herron am

Chief Operating Officer Claire SpencerDirector, Programming Jonathan BielskiDirector, Theatre and Events David ClaringboldDirector, Building Development and Maintenance Greg McTaggartDirector, External Affairs Brook TurnerDirector, Commercial David Watson