the Tristan und Isolde program book

TRISTAN UND ISOLDE
SPECIAL EVENT
PREMIER PARTNER CREDIT SUISSE
Saturday 20 June 2015
Monday 22 June 2015
concert diary
CLASSICAL
Tchaikovsky’s Manfred
TOVEY Urban Runway
BARBER Violin Concerto
TCHAIKOVSKY Manfred Symphony
Bramwell Tovey conductor
Gil Shaham violin (PICTURED)
Bach Concertos
Emirates Metro Series
Fri 26 Jun 8pm
Great Classics
Sat 27 Jun 2pm
Mondays @ 7
Mon 29 Jun 7pm
Pre-concert talk 45 minutes
before each performance
Tea & Symphony
JS BACH Brandenburg Concerto No.6, BWV 1051
JS BACH Violin Concerto in A minor, BWV 1041*
JS BACH Violin Concerto in E major, BWV 1042*
JS BACH Double Violin Concerto in D minor, BWV 1043*
Gil Shaham violin-director
Adele Anthony violin
Yuja Wang in Recital
Fri 3 Jul 11am*
Special Event
Premier Partner Credit Suisse
Sat 4 Jul 8pm
Pre-concert talk by
Robert Murray at 7.15pm
(Sat 4 Jul)
International Pianists in Recital
Presented by Theme & Variations
CHOPIN
Sonata No.2 in B flat minor
Sonata No.3 in B minor
SCRIABIN
Preludes and poems
Sonata No.9, Black Mass
BALAKIREV Islamey (1902)
Mon 13 Jul 7pm
Yuja Wang plays Brahms
APT Masters Series
City Recital Hall Angel Place
Pre-concert talk at 6.15pm
WIDMANN
Con brio, on motifs by Beethoven australian premiere
BRAHMS Piano Concerto No.2
DVOŘÁK Symphony No.8
Lionel Bringuier conductor
Yuja Wang piano
Wed 15 Jul 8pm
Fri 17 Jul 8pm
Sat 18 Jul 8pm
Pre-concert talk 45 minutes
before each performance
SSO PRESENTS
Chris Botti live with the SSO
Harnessing creative expression that begins in
jazz and expands across pop, rock and R&B,
trumpet extraordinaire Chris Botti performs hits
such as When I Fall in Love, The Look of Love,
Emmanuel and more.
Thu 2 Jul 8pm
Fri 3 Jul 8pm
Nicholas Buc conductor
Danny Elfman
Music from the films of Tim Burton
Fri 10 Jul 8pm
Sat 11 Jul 2pm
Featuring works from Batman, Edward Scissorhands
and The Nightmare Before Christmas, a concert
celebrating the partnership of iconic filmmaker Tim
Burton and composer Danny Elfman, enhanced by
original screen sketches, drawings and storyboards.
Scott Dunn conductor
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WELCOME
Credit Suisse warmly welcomes you to the Sydney
Symphony Orchestra’s Opera in the Concert Hall
presentation for 2015 – the musical highlight of
the season.
Wagner’s Tristan und Isolde is an unchallenged
masterpiece of the operatic repertoire, but presenting
it on stage or even in concert is a major enterprise for
any organisation. The music is emotionally demanding
and the duration alone makes it a marathon for all the
performers involved – the orchestral musicians, the
conductor and especially the two leading soloists.
All of which makes any presentation of Tristan und Isolde a
truly special event. SSO audiences first heard this opera –
in concert – in 1982, with the orchestra conducted by its
then chief conductor, Charles Mackerras, and it has been
staged here only twice since then, including in 1990 with
another chief conductor, Stuart Challender.
We’re delighted, therefore, to be playing a part in helping
to bring Tristan und Isolde to Sydney for the fourth time,
once more with the SSO’s current chief conductor at
the helm.
We hope this evening’s concert presentation will leave
you moved and exhilarated by the power of great music
and great performances.
John Knox
Chief Executive Officer
Credit Suisse Australia
2015
concert season
SPECIAL EVENT
PREMIER PARTNER CREDIT SUISSE
SATURDAY 20 JUNE, 6PM
MONDAY 22 JUNE, 6PM
SYDNEY OPERA HOUSE CONCERT HALL
TRISTAN UND ISOLDE
Saturday night’s performance will be
recorded for later broadcast by ABC
Classic FM on Sunday 21 June at 7pm.
RICHARD WAGNER (1813–1883)
Sung in German with English surtitles
n n n n n n n n
David Robertson conductor
The SSO thanks the following
patrons who have generously
supported this production of
Tristan und Isolde:
Tristan
Isolde
Brangäne
Kurwenal
King Marke
Melot
Young Sailor
Steersman
Shepherd
Lance Ryan tenor
Christine Brewer soprano
Katarina Karnéus mezzo-soprano
Boaz Daniel baritone
John Relyea bass
Angus Wood tenor
John Tessier tenor
Harrison Collins baritone
John Tessier tenor
Sydney Philharmonia Choirs
Brett Weymark, Music Director
S Katy Tucker video and projection design
Pre-concert talk by David Larkin 5.15pm
in the Northern Foyer.
Act I – 82 minutes, 40-minute dinner break,
Act II – 77 minutes, 20-minute interval,
Act III – 77 minutes
The performance will conclude at
approximately 11pm
Tristan und Isolde Concert Patrons
ARTIST PATRONS
Justice Jane Mathews ao
Mr Kenneth Reed am
Peter Braithwaite & Gary Linnane
PRODUCTION SUPPORTERS
Christine Bishop
Audrey Blunden
John Kaldor am
Helen & Phil Meddings
PRODUCTION FRIENDS
John Augustus & Kim Ryrie
William Brooks & Alasdair Beck
Mrs Margaret Brown
Mr Phillip Cornwell
Dr Robert Dickinson
Dr Rupert C Edwards
Dr Stephen Freiberg &
Donald Campbell
Aernout Kerbert & Elizabeth Neville
Ian & Pam McGaw
J A McKernan
Mrs Barbara Murphy
The Hon. Dr Rodney Purvis am &
Mrs Marian Purvis
Suzanne & Ross Tzannes
Anonymous (1)
CAST AND CREDITS
TRISTAN UND ISOLDE
A Handlung [drama] in three acts
Libretto and music by Richard Wagner
Sung in German with English surtitles
David Robertson conductor
Tristan, a Breton nobleman
and adopted heir to King Marke
Isolde, an Irish princess
Brangäne, Isolde’s maid
Kurwenal, Tristan’s servant
Marke, King of Cornwall
Melot, Tristan’s friend
Young Sailor
Steersman
Shepherd
Sailors, knights and courtiers
Lance Ryan tenor
Christine Brewer soprano
Katarina Karnéus mezzo-soprano
Boaz Daniel baritone
John Relyea bass
Angus Wood tenor
John Tessier tenor
Harrison Collins baritone
John Tessier tenor
Men of Sydney Philharmonia Choirs
S Katy Tucker video and projection design
Sydney Philharmonia Choirs
Brett Weymark, Music Director
Chris Cartner, Chorusmaster
PRODUCTION
Erik Docktor, Video and Projection Programmer
Laura Daniel, Production Manager (SSO)
Thomas Creative
Technical Direction Company
English language surtitles provided by Symphony Services International
Prepared by Antony Ernst and operated by Takefumi Ogawa
ARTIST PATRONS
The role of Isolde is generously supported by Mr Kenneth Reed am,
the role of Tristan by Justice Jane Mathews ao, and the role of
Kurwenal by Peter Braithwaite and Gary Linnane.
6
SYNOPSIS
Previously…
In Cornwall’s struggle for independence from Ireland,
Tristan – nephew and heir to King Marke – killed Morold, the
betrothed of the Irish princess Isolde, and sent her his head to
taunt her. But a wound from the battle refuses to heal, and in
desperation Tristan disguises himself to seek help from Isolde,
who has healing powers. She nurses the stranger but he is
betrayed by his sword: a notch in its blade matches the steel
fragment found in Morold’s head.
Isolde has Morold’s slayer at her mercy, but as she raises the
sword to take her revenge, Tristan looks to her – not at the sword,
not at her hand, but into her eyes. They do not speak, there is no
declaration of love, but her heart, once filled with hate, is
overwhelmed.
Restored to health, Tristan departs, swearing ‘eternal fidelity’.
He knows, however, that his bloody deed will divide them forever,
and in an act of selflessness and loyalty to Marke, volunteers to
bring Isolde as bride to ‘Cornwall’s weary king’.
Act I
At sea, on the deck of Tristan’s ship, during the voyage from
Ireland to Cornwall
A young sailor sings of his Irish sweetheart, but Isolde thinks he
is mocking her. She rages to her maid, Brangäne, that she will
never set foot on Cornwall’s shore and reveals to her the
circumstances that had brought her and Tristan together. In her
bitterness, Isolde demands Tristan’s death – ‘Revenge! Death to
us both!’ – and asks her maid to prepare a poison, which they will
drink together in atonement and reconciliation. But Brangäne
substitutes a powerful love philtre.
Act II
In the grounds of King Marke’s castle
The king is out on a nocturnal hunt at the suggestion of Tristan’s
friend Melot. Under the trees in front of Isolde’s chamber, Tristan
and Isolde meet in passionate embrace, despite Brangäne’s
anxious warnings. They are surprised by the king and Tristan is
treacherously wounded by his one-time friend.
Act III
The garden of Tristan’s castle in Brittany
Tristan has been brought home to his ancestral lands by his
trusted servant, Kurwenal. A shepherd plays a mournful tune.
Tristan is near death, and his delirious longing for Isolde both
sustains him and inflames his illness. The shepherd plays a
joyful tune. She has arrived! But there is time only for a brief,
ecstatic reunion before Tristan dies in her arms. Isolde utters a
despairing lament and final expression of transfigured love and
joins Tristan in rapturous death.
COVER IMAGE: Detail from a series of
murals telling the story of Tristan and
Isolde, painted by August Spiess
(1841–1923). The murals decorate the
bedroom of Ludwig II in the castle of
Neuschwanstein.
7
Possibly Wagner’s biggest fan was King
Ludwig II of Bavaria (1845–1886), who’d heard
Lohengrin as a teenager and by 1864 had
become the composer’s principal supporter. It
was under the king’s sponsorship that Tristan
und Isolde received its premiere in the Munich
Royal Court Theatre, and when Ludwig built his
fairytale castle, Neuschwanstein, he decorated
the royal bedroom with paintings by August
Spiess depicting scenes from the opera. Left:
Tristan and Isolde share the fateful potion in
Act I; below: their night of love is interrupted
in Act II; facing page: the death of Isolde
8
ABOUT THE MUSIC
A New Kind of Expression
In a letter of 1854 to his colleague and mentor Franz Liszt,
Wagner wrote: ‘As I have never in life felt the real bliss of love, I
must erect a monument to the most beautiful of all my dreams,
in which, from beginning to end, that love shall be thoroughly
satiated. I have in my head Tristan und Isolde, the simplest but
most full-blooded musical conception; with the “black flag” that
floats at its close I shall cover myself – to die.’
It was to be another 11 years before Wagner saw the
completion and first production of his love-opera Tristan und
Isolde, years in which he was absorbed with continuing work on
the vast Ring cycle and with preparation for the satirical
Mastersingers of Nuremberg (which makes passing reference in
its libretto to the Tristan and Isolde legend). Yet, in many senses,
the preoccupations of Tristan are fundamental to Wagner’s
whole creative output. Its central theme – the consummation of
passion in death – is one that is shared not only by The Flying
Dutchman and Parsifal but which finds an unstated resonance in
the Ring also. Tristan is, perhaps, Wagner’s most perfect
expression of the Romantic ‘love-death’ concept, the notion that
only through a physical, earthly death will the spirit be free to
find fulfilment in a mystical realm. At the end of The Flying
Dutchman the character of Senta plunges herself into the waves;
in Götterdämmerung Brünnhilde goes through fire and water; in
…only through a
physical, earthly
death will the spirit
be free to find
fulfilment in a
mystical realm.
9
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10
Tristan, Isolde sings of the flood of oblivion. In each case it is
only by returning to the physical, elemental universe that the
characters attain wholeness and fulfilment.
Musically there is, perhaps, no work about whose significance
more has been written than Tristan. It represents the pinnacle of
19th-century chromaticism and laid the foundation for a
harmonic freedom which culminates in the atonality of
Schoenberg. Essential to the construction and drama of the
opera is Wagner’s use of leitmotifs: fixed, recurrent musical
formulae or themes which gain extra-musical significance by
association throughout the course of the work.
For almost a century after its appearance in 1865, Tristan
aroused passions and reactions as intense as those it contained,
unleashing in the artistic world a new kind of expression.
Rapturously admired, imitated slavishly or inventively, shunned
with intent, Tristan demanded a reaction from every musician
who grew up in its shadow, and from nearly everyone in Europe’s
artistic and intellectual milieu. After a performance in 1879, the
French composer Emmanuel Chabrier, as if voicing the
sentiments of all composers, acclaimed the work: ‘There’s music
there for a hundred years; he hasn’t left us chaps anything to do.
Who would dare?’
ADAPTED FROM AN ARTICLE BY ANTHONY FOGG © 1996
Keynotes
WAGNER
Born Leipzig, 1813
Died Venice, 1883
Richard Wagner is best known for
his near-complete transformation
of opera in the 19th century. He
regarded opera as a unity of art
forms: music and words
inextricably linked and organically
developed as ‘music drama’. It
was a vision that influenced
singers, orchestras, the theatre,
and even the science of acoustics.
Wagner’s personality,
philosophies and music were
controversial during his lifetime
and after his death, attracting
equally passionate fans and
detractors within the musical
world and beyond. His Ring cycle
of four operas based on The Ring
of the Nibelung was his most
ambitious creation, composed
over 26 years.
TRISTAN UND ISOLDE
In the middle of writing the Ring,
Wagner took two years out to
compose the epic music drama
that is Tristan und Isolde. It was
completed in 1859 and premiered
in Munich in 1865. Wagner wrote
both the music and the libretto,
which is based on a mediæval
adaption by Gottfried von
Strassburg of the 12th-century
legend of Tristan and Iseult. In the
background are the philosophy of
Schopenhauer and Wagner’s
affair with Mathilde Wesendonck.
Wagner’s harmonic strategies in
the opera and his use of the
orchestra proved to be hugely
influential. The opening phrase
and the very first chord (the
so-called Tristan chord) establish
an atmosphere of yearning that
doesn’t find resolution until five
hours later.
11
‘More thoroughly musical’
Wagner’s Tristan und Isolde is arguably the Romantic opera par
excellence. With its setting in the Celtic dreamtime of Arthurian
legend, use of magic potions and the central theme of fatally
unrequited love, Tristan has it all.
Wagner interrupted work on Siegfried, the third opera in his
massive Ring cycle, to compose Tristan between 1856 and 1859.
Why the interruption? Partly he wanted to give expression to a
passion he had conceived for Mathilde Wesendonck, the wife of a
Zurich silk merchant. And Tristan could indeed be considered
opera’s ‘greatest love story ever told’. But there were
philosophical considerations as well.
In some respects it seems that Wagner needed time out from
the scale and complexity of the Ring dramas. Tristan, with its
much simpler plot, enabled Wagner to refine his musical and
dramatic means of depicting the psychology of his characters. It
was also at about this time that Wagner became deeply
influenced by Arthur Schopenhauer, whose philosophy was an
amalgam of certain Buddhist teachings with a very German
pessimism. Put simply, Schopenhauer argued that the liberation
of the soul came about through the renunciation of the will to
live. This was a perfect fit with Wagner’s long-held obsession
with redemption through renunciation (his heroines are forever
throwing themselves off cliffs or into funeral pyres to save the
men they love). In Tristan und Isolde death is not only the goal of
life, it is the ultimate consummation of erotic passion.
The Tristan story is an ancient Celtic legend, but Wagner based
his version on that of Gottfried von Strassburg who wrote at the
beginning of the 13th century. Tristan is escorting Isolde from
Ireland to her wedding to King Marke in Cornwall. They have some
history: Tristan had killed Isolde’s betrothed in battle, but had
found himself in her care when he himself was wounded. Now
seeking revenge, Isolde orders her maid to prepare a death
potion, but the well-meaning servant substitutes a love potion
which both Tristan and Isolde drink. Act II of the opera is
effectively a long love duet, but the lovers are discovered by the
king at a crucial moment. Tristan is wounded and is carried off to
his castle on the Breton coast where, at the end of Act III, he dies
in Isolde’s arms. She then sings the famous Liebestod (lovedeath) and dies in ecstatic expectation of their reunion beyond
the grave. This all takes place with a minimum of action, dramatic
incident stripped down basically to entrances and exits.
While the drama is very simple, Wagner’s music is
revolutionary in the way in which it depicts unrequited love. In
essence, the music of whole opera avoids any conventional
12
Did you know?
Wagner always called the Prelude
of Tristan the ‘Liebestod’ (or LoveDeath), and referred to Isolde’s
final scene as the ‘Transfiguration’.
Then Franz Liszt came along and
made a piano transcription of the
final scene, which he called
Isolde’s Liebestod. And Liszt’s
piano transcriptions of orchestral
and operatic repertoire were so
influential that it has been his
name that has stuck.
The orchestra for Tristan und Isolde
comprises two flutes, piccolo, two
oboes, cor anglais, two clarinets,
bass clarinet and three bassoons;
ten horns (six offstage), six
trumpets (three offstage), six
trombones (three offstage) and
tuba; timpani and percussion; harp
and strings.
resolution of dissonance until the very end. The Prelude opens
with three unaccompanied notes high in the cellos, which land
on the so-called ‘Tristan chord’, a dissonant chord which in
traditional harmonic syntax can lead anywhere: here it is
followed by a second, marginally less dissonant chord.
Throughout the Prelude this use of unresolved dissonance, and
sequences which promise a climax but never quite fulfil it, gives
the music its sense of mounting erotic tension.
The climax of the drama, Isolde’s Liebestod, develops from
music heard in the Act II duet. Here Wagner uses common
(mainly major) chords, but the music moves restlessly from one
key to another, again avoiding any sense of repose. In the duet
the expected climax was foiled by the arrival of Marke,
represented by a hideous forte discord. Here, however, as Isolde
sings her transfigured vision of Tristan, and ‘drowns, sinks
unconscious’ in ‘supreme bliss’, the music finally discovers a
radiant and serene B major.
Wagner described the work as ‘more thoroughly musical than
anything I have done up until now’ and it is here that music, as
possibly never before, enacts and describes the psychology at
the basis of his drama. With this, and the large scale use of
unresolved dissonance, music itself would never be quite the
same again.
ADAPTED FROM AN ARTICLE BY GORDON KERRY © 2004
Pitching the Sails…
If you saw Tristan und Isolde here in the Concert Hall in the 1990s
you would have seen a production for which water was literally
the foundation – the sea was ever-present. Act I, for example,
takes place on board a ship, but Wagner’s description
emphasises something else: ‘A marquee, richly hung with rugs,
on the forward deck.’ Isolde is on deck but in a tent – shielded
from the elements and unable to see the progress of the ship
just as others cannot see her. This one of the ideas that S Katy
Tucker and David Robertson have tried to evoke through
tonight’s visual projections. The draped fabric behind the
orchestra could represent that tent-like interior, or it could
represent sails or Tristan’s castle high above the sea. On a
metaphorical level, the simple act of draping means that not all
of the surfaces are visible, suggesting, as Robertson points out,
that contrast between public and private self, and as the drama
progresses the fabric of the sails becomes a metaphor for the
fabric of relationships.
PROGRAMMATIC DECLARATION
TO TRISTAN UND ISOLDE
Here, in music’s own most
unrestricted element, the musician
who chose this theme as
introduction to his love drama
could have but one care: how to
restrain himself, since exhaustion
of the theme is quite impossible. So
in one long breath he let that
unslaked longing swell from first
avowal of the gentlest tremor of
attraction, through half-heaved
sighs, through hopes and fears,
laments and wishes, joy and
torment, to the mightiest onset,
most resolute attempt to find the
breach unbarring to the heart a
path into the sea of endless love’s
delight. In vain! Its power spent, the
heart sinks back to pine of its
desire – desire without attainment;
for each fruition sows the seeds of
fresh desire, till in its final lassitude
the breaking eye beholds a glimmer
of the highest bliss: it is the bliss of
quitting life, of being no more, of
last redemption into that wondrous
realm from which we stray the
furthest when we strive to enter it
by fiercest force. Shall we call it
death? Or is it not night’s wonder
world, whence – as the story says – an ivy and a vine sprang up in
locked embrace o’er Tristan and
Isolde’s grave.
Wagner added this declaration to a
letter to Mathilde Wesendonck
(1859)
13
The Tristan Chord
In the early 1990s, the music students at Sydney University
were expected to learn to play the opening bars of Tristan und
Isolde – beginning on any note of the keyboard. Before exam
time the practice rooms would be ringing with the opening
phrase and the all-important first chord of Wagner’s greatest
opera. The practicality of the exercise might be debated but it
certainly drummed into impressionable young minds the
establishing phrase from one of the most important works of
19th-century music.
It was all about the so-called ‘Tristan chord’. Wagner’s use of
this chord is an extreme version of a very old idea that goes back
to the baroque period: the appoggiatura or leaning note. This
involves playing a chord, at the top of which is a note that
doesn’t ‘belong’, but which gives a teasing, pleasurable sensation
of dissonance. That note then falls to the note below, which does
belong to the chord, giving an equally pleasurable sensation of
resolution. Yearning, in other words, followed by release.
The ‘Tristan chord’ as a set of notes was not new (you can find
it in Beethoven), nor was its emotional power unique to Wagner
and classical music. In the 20th century the jazz musicians
would have called it a half-diminished seventh chord, and it
turns up, at the exact same pitch, at a telling moment in the
chorus of Gershwin’s song ‘The Man I Love’. Yearning and release.
But in Tristan und Isolde, that opening dissonance doesn’t
quite resolve and so there is no release. Or rather, Wagner
doesn’t give us a resolution until the end of Act III, after four
hours of music and a dinner break.
YVONNE FRINDLE © 2013
Opening bars of Tristan und Isolde, the famous chord marked with a box.
14
‘…with no theme
beyond a kind of
chromatic moan, but
full of dissonant
chords made still
more painful by
prolonged
appoggiaturas which
replace the true note
in the harmony’
BERLIOZ REVIEWS THE TRISTAN
PRELUDE
Tristan und Isolde – a performance history
The Tristan und Isolde Prelude was first performed in a concert in
March 1859, before the opera’s completion in August. The stage
premiere was planned for Vienna, but abandoned after more than
70 rehearsals between 1862 and 1864. Meanwhile, the
symphonic pairing of the Prelude and Act III Liebestod was
performed in 1863, and with the support of Ludwig II of Bavaria,
Tristan und Isolde eventually received its premiere in Munich on
10 June 1865 with Hans von Bülow conducting.
We believe the first Sydney performances of the opera were
those given in 1912 by the touring Quinlan Opera Company. The
SSO performed the Prelude and Liebestod in 1938, conducted by
Joseph Post, but didn’t perform the complete opera until 1982,
conducted by Charles Mackerras. In this concert presentation by
the Australian Opera and the ABC, Alberto Remedios sang Tristan
and Rita Hunter sang Isolde.
The SSO’s next performances of the opera were in February
1990 in a staged production (presented by the Australian Opera
in the Sydney Opera House Concert Hall) directed by Neil Armfield
and conducted by Stuart Challender. William Johns and Marilyn
Richardson sang the title roles. The raked Perspex stage suspended
over a water tank and surrounded by an arcing white curtain was
designed by Brian Thomson. The following month the entire
production, including the SSO, was taken to the Adelaide Festival.
The Armfield production was revived in Sydney in 1993, this
time with Horst Hoffmann singing Tristan and with Carlo Felice
Cillario conducting the SSO. This is the first time since then that
the SSO has performed the complete opera.
There were scenes of
undiminished enthusiasm at Her
Majesty’s Theatre last night on
the occasion of the third
performance this season of
“Tristan and Isolde”. Therein the
orchestra unfolded “fresh joys
and new delights” to the now more
deeply instructed listeners – for
many in the crowded audience
were hearing the great Wagnerian
masterpiece a second time and
some even a third. “Hats off to the
artists who can sing the
protracted love-duet of Act II” was
a prevailing sentiment, and the
more so since the faithless knight
and the beguiling queen are locked
in each other’s arms, and must
sing their maze-like music from
memory without a glimpse in their
heaven of that guiding star, the
conductor’s beat!
Sydney Morning Herald,
13 August 1912
Ludwig and Malvina Schnorr von
Carolsfeld sang the roles of
Tristan and Isolde in the Munich
premiere in 1865. Ludwig died
after just four performances of
the opera, of a sudden and
coincidental illness, which
nonetheless gave early impetus
to the stories of a “Tristan curse”.
15
MORE MUSIC
TRISTAN UND ISOLDE
This production of Tristan und Isolde will be captured
by ABC Classic FM for national broadcast, with the
first airing on Sunday 21 June – a perfect opportunity
to revisit (or preview) the opera while our cast enjoy a
well-earned rest day between performances.
But if you’re after a commercial release featuring
Christine Brewer as Isolde, look for the much-praised
live concert recording made by the BBC Symphony
Orchestra and Donald Runnicles in 2002–03. John
Treleaven sings Tristan and you’ll recognise Boaz
Daniel as Kurwenal and Dagmar Pecková (who sang
in Mahler 8 with the SSO in 2010) as Brangäne.
WARNER CLASSICS 62964
To get a sense of how the opera sounds in Wagner’s
purpose-built theatre in Bayreuth, look for the live
recording from 1974, conducted by Carlos Kleiber with
Helge Brilioth as Tristan and Catarina Ligendza as Isolde.
D'OPERA ORO 7039
Or try Herbert von Karajan’s recording from 1972
with the Berlin Philharmonic orchestra and
Deutsche Oper Chorus and a cast including Jon
Vickers (Tristan), Helga Dernesch (Isolde) and
Christa Ludwig (Brangäne).
WARNER CLASSICS 28858
EXPLORING FURTHER
Broadcast Diary
June–July
abc.net.au/classic
Sunday 21 June, 7pm
TRISTAN UND ISOLDE
David Robertson conductor
See this program for details
Monday 29 June, 7pm
TCHAIKOVSKY’S MANFRED
Bramwell Tovey conductor
Gil Shaham violin
Tovey, Barber, Tchaikovsky
Saturday 4 July, 8pm
BACH CONCERTOS
Gil Shaham violin-director
Adele Anthony violin
JS Bach
Saturday 25 July, 1pm
RUSSIAN ROMANTICS
Vasily Petrenko conductor
Simon Trpčeski piano
Schultz, Tchaikovsky, Rachmaninoff
Earlier this year David Robertson drew our attention
to Stephen Fry’s brilliant and affectionate exploration
of the Tristan und Isolde prelude and the so-called
Tristan chord that ‘opened the door to modern music’.
Available on YouTube bit.ly/StephenFryTristanChord
Sunday 26 July, 5pm
YUJA WANG IN RECITAL
Yuja Wang piano
Chopin, Scriabin, Balakirev
WHY SO SERIOUS?
SSO Radio
A creation like Tristan und Isolde can’t get far without
attracting some loving parodies. Among the earliest
is Emmanuel Chabrier, who wrote Souvenirs de
Munich, a cheeky set of quadrilles based on themes
from Tristan. The opera’s endless, unresolving
harmonies are made to fit the eight-bar phrases of
the 19th-century ballroom to entertaining results!
Find it on Kontra Wagner, featuring musicians of the
Berlin Philharmonic and also including Hindemith’s
arrangement of the Flying Dutchman overture ‘as
played at sight by a second-rate spa orchestra’.
COL LEGNO 60018
Or listen closely next time you hear Debussy’s
Golliwogg’s cake-walk, which tucks the famous
opening bars of Tristan in the middle of its ragtime
rhythms, marked ‘with great feeling’ – ‘don’t be afraid
to overdo it here’, said Debussy.
16
Selected SSO performances, as recorded
by the ABC, are available on demand:
sydneysymphony.com/SSO_radio
SYDNEY SYMPHONY ORCHESTRA HOUR
Tuesday 14 July, 6pm
Musicians and staff of the SSO talk about the life of
the orchestra and forthcoming concerts. Hosted by
Andrew Bukenya. Special guest: new assistant
conductor Toby Thatcher.
finemusicfm.com
MICHAEL TAMMARO
THE ARTISTS
David Robertson
THE LOWY CHAIR OF
CHIEF CONDUCTOR AND ARTISTIC DIRECTOR
David Robertson is a compelling and passionate
communicator whose stimulating ideas and
music-making have captivated audiences and
musicians alike. A consummate musician and
masterful programmer, he has forged strong
relationships with major orchestras throughout
Europe and North America.
He made his Australian debut with the Sydney
Symphony Orchestra in 2003 and soon became
a regular visitor to Sydney, with projects such
as The Colour of Time, a conceptual multimedia
concert; the Australian premiere of John Adams’
Doctor Atomic Symphony; and concert
performances of The Flying Dutchman with video
projections. In 2014, his inaugural season as
Chief Conductor and Artistic Director, he led the
SSO on a seven-city tour of China.
Last year he launched his tenth season
as Music Director of the St Louis Symphony.
Other titled posts have included Principal Guest
Conductor of the BBC Symphony Orchestra,
Music Director of the Orchestre National de
Lyon and resident conductor of the Jerusalem
Symphony Orchestra. An expert in 20th- and
21st-century music, he has also been Music
Director of the Ensemble Intercontemporain in
Paris (where composer and conductor Pierre
Boulez was an early supporter). He is also a
champion of young musicians, devoting time to
working with students and young artists.
David Robertson is a frequent guest with
major orchestras and opera houses throughout
the word and in recent seasons he has
conducted the New York Philharmonic, Los
Angeles Philharmonic, Boston Symphony
Orchestra, Chicago Symphony Orchestra, and
the Philadelphia and Cleveland orchestras, as
well as the Berlin Philharmonic, Staatskapelle
Dresden, BBC Symphony Orchestra and the
Hong Kong Philharmonic Orchestra. Last year
he conducted the controversial but highly
acclaimed Metropolitan Opera premiere of John
Adams’ Death of Klinghoffer.
His awards and accolades include Musical
America Conductor of the Year (2000), Columbia
University’s 2006 Ditson Conductor’s Award,
and, with the SLSO, the 2005–06 ASCAP Morton
Gould Award for Innovative Programming. In
2010 he was elected a Fellow of the American
Academy of Arts and Sciences, and in 2011 a
Chevalier de l’Ordre des Arts et des Lettres.
David Robertson was born in Santa Monica,
California, and educated at the Royal Academy of
Music in London, where he studied French horn
and composition before turning to conducting.
He is married to pianist Orli Shaham.
The position of Chief Conductor and Artistic
Director is also supported by Principal Partner
Emirates.
17
CHRISTIAN STEINER
Christine Brewer soprano
Isolde
Christine Brewer was born in Illinois and began
her professional career with the Opera Theatre of
Saint Louis. Since then she has appeared in most
of the world’s leading opera houses, including
the Metropolitan Opera New York, Royal Opera
House Covent Garden, San Francisco Opera, New
York City Opera, Madrid, Lisbon, Paris Opera,
Opéra de Lyon and English National Opera. She is
also an avid recitalist, performing in venues such
as the Zankel Hall at Carnegie Hall, Wigmore Hall
and the Amsterdam Concertgebouw, as well as
singing at major festivals such as Edinburgh,
Aldeburgh and the BBC Proms. In 2008 she
received the BBC Radio 3 Listener’s Award in the
Royal Philharmonic Society Music Awards.
She has sung Isolde with the BBC Symphony
Orchestra and San Francisco Opera (both
conducted by Donald Runnicles), Los Angeles
Philharmonic (Esa-Pekka Salonen), and at the
Edinburgh Festival with Jonathan Nott. She has
also sung Färberin (Die Frau ohne Schatten) in
Chicago and Paris, and has achieved international
renown for her performances in the title role of
Richard Strauss’s Ariadne auf Naxos. Her
repertoire also includes Countess Almaviva (The
Marriage of Figaro), Donna Anna (Don Giovanni),
Leonore (Fidelio) and Chrysothemis (Elektra).
In concert, she performs with the major
American orchestras, working with such
conductors as Pierre Boulez, James Levine,
James Conlon, Michael Tilson Thomas, David
18
Robertson, Alan Gilbert, Christoph Eschenbach,
Christoph von Dohnányi and Gustavo Dudamel.
Her European appearances have included the
Concertgebouw and Bavarian Radio orchestras
(Mariss Jansons), Berlin Philharmonic, BBC
Symphony Orchestra (Jiří Bělohlávek), London
Philharmonic Orchestra (Vladimir Jurowski),
London Symphony Orchestra (Colin Davis) and
the Accademia Santa Cecilia (Antonio Pappano).
Recent engagement highlights have included
Albert Herring (BBCSO), The Sound of Music (Lyric
Opera of Chicago), Mme Lidoine in Dialogues des
Carmélites (St Louis) and Strauss’s Four Last
Songs (BBC Scottish Symphony Orchestra and
Martyn Brabbins). This season she will also
appear in recital with Roger Vignoles for the
Edinburgh Festival.
Christine Brewer previously performed with
the SSO in 2012, singing Wagner, and in 2014,
when she sang Four Last Songs with David
Robertson conducting. On this visit to Australia
she will also sing Four Last Songs with the
Adelaide Symphony Orchestra.
The role of Isolde is generously supported by
Mr Kenneth Reed am.
Lance Ryan tenor
Tristan
Canadian Lance Ryan is one of the most soughtafter heldentenors in the world today –
especially acclaimed in the major roles of
Richard Strauss and Wagner. He studied with
Gianni Raimondi and Carlo Bergonzi, and his
career was launched in 2002 through the
Associazione Lirica e Concertistica Italiana
(AsLiCo). In 2005 he moved to German where, as
a permanent member of the Badisches
Staatstheater Karlsruhe he made debuts in key
roles such as Siegmund (Die Walküre), Siegfried
(Siegfried, Götterdämmerung), Cavaradossi
(Tosca), Otello, Calaf (Turandot), Kaiser (Die Frau
ohne Schatten), Bacchus (Ariadne auf Naxos),
Andrea Chénier, Florestan (Fidelio), Enzo
(Gioconda) and Lohengrin.
Lance Ryan has enjoyed enormous success
singing Siegfried, appearing at the Bayreuth
Festival, Bavarian State Opera in Munich,
Frankfurt Opera and Deutsche Oper Berlin
(Simon Rattle, Daniel Barenboim), Seville, Milan,
Florence, Palau de les Arts in Valencia (Zubin
Mehta), Salzburg Festival, Strasbourg Opera
(Claus Peter Flor, Marko Letonja) and Vlaamse
Opera in Ghent, as well as in concert at the
Cologne Philharmonie and in Shanghai. Recent
highlights in this role have included the new
production of Wagner’s Ring cycle in Frankfurt,
new productions in Berlin and La Scala di Milano,
and the bicentennial Ring in the 2013 Bayreuth
Festival, conducted by Kirill Petrenko.
He has also appeared for the Dresden and
Vienna state opera houses, Royal Opera House
Covent Garden, Metropolitan Opera New York, St
Petersburg Mariinsky (Gergiev), Netherlands
Opera in Amsterdam (Yannick Nézet-Séguin) and
in Oslo, Barcelona, Hannover, Stuttgart,
Mannheim, Cologne and Shanghai.
He has sung Lohengrin in concert with the
City of Birmingham Symphony Orchestra, and
performed Mahler’s Song of the Earth with the
Kiel Philharmonic Orchestra and Janáček’s
Glagolitic Mass with the Chicago Symphony
Orchestra under Pierre Boulez. He has performed
Gurrelieder in Strasbourg and in Paris under the
baton of Marc Albrecht.
In the 2013–14 season he made his role debut
as Tristan in Frankfurt. Other recent highlights
have included Don José (Carmen) for Vienna
State Opera, Tannhäuser in Frankfurt, and
debuts as Alvaro (The Force of Destiny) and
Samson (Samson et Dalila) in Cologne. This is
Lance Ryan’s Australian debut.
The role of Tristan is generously supported by
Justice Jane Mathews ao.
19
CHRISTIAN STEINER
MATS BÄCKER
Katarina Karnéus mezzo-soprano
Boaz Daniel baritone
Brangäne
Kurwenal
Born in Stockholm, Katarina Karnéus studied at
Trinity College of Music, London and the National
Opera Studio, and in 1995 won the BBC Cardiff
Singer of the World Competition. Since then she
has appeared throughout the world in opera,
concert and recital, and she is a member of
Gothenburg Opera and an international
ambassador for the company.
Her repertoire includes the great mezzosoprano roles of Handel, Mozart, Rossini, Bizet,
Wagner and Richard Strauss, and her opera
engagements have taken her to the Metropolitan
Opera New York, Royal Opera House Covent
Garden and Glyndebourne Festival Opera. She
has previously sung the role of Brangäne in
Stuttgart and Gothenburg. As a concert artist,
she has worked with some of the world’s finest
orchestras, and with many leading conductors
including Simon Rattle, Charles Mackerras, Mark
Elder, Roger Norrington, Antonio Pappano,
Michael Tilson Thomas, Franz Welser-Möst and
Ivor Bolton. She has appeared at the BBC Proms,
Edinburgh International Festival and Salzburg
Festival, and as a recitalist in major venues such
as London’s Wigmore Hall, Amsterdam
Concertgebouw, Lincoln Center New York and La
Monnaie Brussels.
Earlier this month she performed Berlioz’s
Nuits d’été with the SSO and David Robertson; on
this visit to Australia she also appears with the
Melbourne and Adelaide symphony orchestras.
Boaz Daniel was born in Tel-Aviv, where he
graduated in 1996 from the Rubin Academy of
Music; he then completed a second degree at
the Vienna Conservatory. From 1998 to 2005 he
was an ensemble member of the Vienna State
Opera, where he continues to perform as a guest
artist and where his repertoire has included Ford
(Falstaff), Kurwenal, Sharpless (Madama
Butterfly), Lescaut (Manon Lescaut), Graf (The
Marriage of Figaro), Belcore (The Elixir of Love),
Paolo (Simone Boccanegra), Marcello (La
Boheme), Heerufer (Lohengrin) and Gunther
(Götterdämmerung), as well as roles in Die
Meistersinger, Puritani, Carmen, Lucia di
Lammermoor, Die Fledermaus, The Queen of
Spades, Faust and Don Carlo.
Boaz Daniel has also sung at opera houses
such as the Vienna Volksoper, Deutsche Oper
Berlin, Opera Frankfurt, Cologne, Barcelona,
Teatro all Scala Milano, Royal Opera House
Covent Garden, Lyric Opera of Chicago and San
Francisco Opera as well as at the Salzburg
Festival, and in concert with the Bavarian Radio
Symphony Orchestra in Munich.
He has sung the role of Kurwenal in San
Francisco, Dresden, Berlin and Hamburg; in
Tokyo on tour with the Paris Opera; and in
concert with the BBC Symphony Orchestra at the
Barbican (available on CD) and again in the 2013
BBC Proms.
20
The role of Kurwenal is generously supported by
Peter Braithwaite & Gary Linnane
SHIRLEY SUAREZ
John Relyea bass
Angus Wood tenor
Marke, King of Cornwall
Melot
John Relyea has appeared in the world’s most
celebrated opera houses including the
Metropolitan Opera, Lyric Opera of Chicago, San
Francisco Opera, Royal Opera House Covent
Garden, Paris Opera, Munich State Opera and
Vienna State Opera. His operatic repertoire
includes the title roles in The Marriage of Figaro,
Bluebeard’s Castle and Aleko; Méphistophélès in
both Faust and The Damnation of Faust, the Four
Villains in The Tales of Hoffmann, Bertram in
Roberto Diablo, and Marke in Tristan und Isolde.
He is also in high demand throughout the
concert world, appearing with the distinguished
orchestras of Chicago, New York, Philadelphia,
Boston, Pittsburgh, Cleveland, London and Berlin.
He has also appeared at the Tanglewood, Ravinia,
Salzburg, Edinburgh, Lucerne and Mostly Mozart
festivals, and in the BBC Proms. His many audio
and video recordings include the Verdi Requiem
with the LSO and Mahler’s Eighth Symphony with
the CBSO, the Royal Opera House production of
Robert le Diable (and the Metropolitan Opera
productions of I Puritani and Macbeth).
Angus Wood studied at the Royal College of Music
in London before returning to Australia to become
a member of the Victorian State Opera and then
the Opera Australia young artist programs.
At Opera Australia he sang many of the leading
lyric baritone roles, before completing a Master of
Music degree at the University of Michigan. Since
then, his roles in Australia and New Zealand have
included Jupiter (Semele) for Pinchgut Opera;
Cassio (Otello), Aeneas (Dido and Aeneas), and
Eisenstein (Die Fledermaus) for Opera Australia;
Cavaradossi (Tosca), Pinkerton (Madama
Butterfly) and Turridu (Cavalleria rusticana) for
West Australian Opera; Anthony Hope (Sweeney
Todd) and the Steersman (The Flying Dutchman)
for State Opera South Australia; and Alfredo (La
Traviata), Cavaradossi and Edgardo (Lucia di
Lammermoor) for Canterbury Opera.
He has been a resident principal artist at the
Hessisches Staatstheater in Wiesbaden and
Anhaltisches Theater in Dessau, and is currently
principal tenor at the theatre in Heidelberg, where his
roles have included Radamès (Aida), Don José
(Carmen), Cavaradossi and Gustavo (A Masked Ball).
His concert engagements have included
Messiah for Sydney Philharmonia Choirs, West
Australian Symphony Orchestra and Melbourne
Symphony Orchestra, Verdi’s Requiem (WASO),
and Beethoven’s Ninth Symphony for Sydney
Philharmonia Choirs and the Tasmanian
Symphony Orchestra. Angus Wood previously
appeared with the SSO in 2012, singing
Chekalinsky in The Queen of Spades, conducted
by Vladimir Ashkenazy.
Stephen Milling, who was originally cast in this
role, recently suffered an injury that prevented
him travelling. We are grateful to John Relyea
for stepping in at short notice.
21
DAMFEYEN/BRENDAN LIM
ROZARII LYNCH
John Tessier tenor
Harrison Collins baritone
Young Sailor, Shepherd
Steersman
Canadian John Tessier has garnered praise for his
refined style and versatility in the lyric tenor
repertoire. A Juno Award winner, he has worked
with many notable conductors, including Lorin
Maazel, Leonard Slatkin, Plácido Domingo, John
Nelson, Franz Welser-Möst, Emmanuelle Haïm,
Charles Dutoit, Donald Runnicles, Robert Spano,
Yannick Nézet-Séguin and Bernard Labadie. The
role of Count Almaviva (The Barber of Seville) has
featured prominently in his career, with
performances at English National Opera, New York
City Opera, Edmonton Opera, Austin Lyric Opera,
L’Opéra de Québec and Glimmerglass Opera. In the 2014–15 season, he returned to the
Vienna State Opera as Arturo (I Puritani) and Count
Almaviva, having made his house debut as Tonio
(The Daughter of the Regiment). He also sang
Castor in Rameau’s Castor et Pollux at Théâtre des
Champs-Élysées and Don Ramiro in New Zealand
Opera’s Cenerentola. Other recent performance
highlights have included The Pearl Fishers for
English National Opera, Lakmé for Montreal Opera,
Cherubini’s Médée for Théâtre des ChampsÉlysées and Rossini’s Italiana in Algeri for Calgary
Opera. He also sang Britten’s Spring Symphony
(Cleveland Orchestra and Franz Welser-Möst),
Messiah with the Toronto Symphony Orchestra and
with Paul Goodwin and the Philadelphia Orchestra,
Haydn’s Creation (Credo Chamber Music and John
Nelson), the Evangelist in Bach’s St Matthew
Passion at Carnegie Hall and Carmina Burana
(Baltimore Symphony and Marin Alsop).
John Tessier first appeared for the SSO in 2013,
singing The Steersman in The Flying Dutchman,
conducted by David Robertson.
Harrison Collins is a fourth-year music and
science student at the University of New South
Wales, majoring in classical voice and currently
studying with Stephen Yalouris.
His love of singing emerged early and he
performed solo and children’s chorus parts
in various productions for Opera Australia from
2005 to 2007. In 2012, at the commencement of
his studies at UNSW, he received the Richard
Munz scholarship for music.
He has more than ten years of choral and solo
training in an extensive repertoire, and he
regularly performs with the UNSW chamber and
collegium choirs as both chorister and soloist.
Later this year he will be performing the Fauré
Requiem with the UNSW Collegium Musicum
choir. Also a conductor and a pianist, Harrison
Collins is equally at home in music theatre and
jazz as he is in the classical tradition. This is his
SSO debut.
22
S Katy Tucker
video and projection design
Based in Brooklyn, New York, S Katy Tucker
began her career as a painter and video
installation artist, exhibiting in such galleries as
the Corcoran Museum in Washington, DC, and
Artists’ Space in New York City. As her
installations became more theatrical, she
shifted her focus toward the stage. Katy is a
member of Wingspace, a collective of artists,
designers, writers and thinkers committed to the
practice of collaboration in theatrical design.
Since 2003, she has worked in opera, theatre
and dance with companies including Brooklyn
Academy of Music, New York City Ballet, San
Francisco Opera, Teatro Amazonas and Wolf Trap
Opera, and collaborated with such musicians as
John Zorn and Jeffrey Ziegler of the Kronos
Quartet. She designed Paul McCartney’s Ocean’s
Kingdom for New York City Ballet,
Götterdämmerung in Francesca Zambello’s Ring
cycle, and created a 3D spectacle for Orff’s
Carmina Burana at Carnegie Hall with conductor
David Robertson. For Robertson and the St Louis
Symphony she also created designs for
Brünnhilde’s Immolation.
Recent project highlights include Prince Igor
for the Metropolitan Opera and Excalibur, a new
musical by Frank Wildhorn directed by Zambello
in St Gallen, Switzerland. In 2013 she made her
SSO debut with lighting and video designs for The
Flying Dutchman, conducted by David Robertson,
and that same year her designs featured in the
San Francisco Opera’s Flying Dutchman.
Support the music you love
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Orchestra and special opportunities, such as
open rehearsals, exclusive events and more.
You can direct your gift to the SSO’s Orchestra Fund, Education Fund
or Emerging Artists Fund.
Donate before 30 June 2015 | Gifts of $2 or greater are fully tax-deductible
sydneysymphony.com/appeal
or call Philanthropy on 8215 4650 (9am–5pm, Mon–Fri)
23
Sydney Philharmonia Choirs
Sydney Philharmonia Choirs is Australia’s most
established and finest choral organisation, and
will be celebrating its centenary in 2020.
Members of the Sydney Philharmonia Choirs
believe in sharing the joy of choral singing with
fellow choristers and audiences alike. The
choristers, numbering 1500 people across the
organisation, volunteer their time and talents to
sing in extraordinary performances with major
international artists and orchestras, appearing in
the country’s leading concert halls. Brett
Weymark has been the Music Director of Sydney
Philharmonia Choirs since 2003.
The choirs appear regularly in the Sydney
Symphony Orchestra’s subscription series, most
recently in Beethoven Nine, conducted by David
Robertson. This season they will also perform
with the SSO in Holst’s Planets, Danny Elfman’s
music from the films of Tim Burton, Berlioz’s Te
Deum and Beethoven’s Missa Solemnis. SPC also
presents its own series of programs each year. In
2015 these include JS Bach’s St John Passion at
Easter, The Armed Man: A Mass for Peace by Karl
Jenkins, Fauré’s Requiem and Handel’s Messiah. 24
CHRIS CARTNER
Chorusmaster
As a teenager, Chris Cartner was appointed
Organ Scholar at Rochester Cathedral in the UK.
He went on to graduate in classical piano
performance from Trinity College of Music,
London, before completing his training under
concert pianist Matthijs Verschoor at the
Amsterdam Conservatoire. After a period as
repetiteur with British Youth Opera, he became a
much sought-after musician on the busy
London circuit. He has worked as solo pianist,
accompanist, chamber musician and musical
director in various parts of the world, and has
performed several hundred recital programs in
the British and Dutch capitals. Chris Cartner was
recently appointed Assistant Chorus Master for
Sydney Philharmonia Choirs
Brett Weymark Music Director
David Francis General Manager
Elizabeth Scott Music Director, VOX
Chris Cartner Assistant Chorus Master
Josephine Allan Rehearsal Pianist
Michael Curtain Rehearsal Pianist
Rajah Selvarajah
Daniel Sloman
Martin Stebbings
Jerome Studdy
Robert Thomson
Alex Walter
TENORS
BASSES
Kevin Gormley
Eric Hansen
Simon Harris
Derek Hodgkins
Ian Jurd
Michael Kallidis
Martin Kuskis
Michael Nolan
Ian Pettener
James Shannon
Theo Small
Rory Struthers
Nicholas Tong
Nick Whiley
Adam Williams
Arthur Winckler
David Wood
Stephen Young
Jock Baird
Simon Boileau
William Bond
Peter Callaghan
Edwin Carter
Andy Clare
Julian Coghlan
Philip Crenigan
Daryl Colquhoun
Robert Cunningham
Tom Forrester-Paton
Patrick Blake
Paul Boswell
Simon Cadwallader
Malcolm Day
Joshua Ebert
Robert Elliott
Steven Hankey
Michael Kertesz
Vincent Lo
Juan Martin Marangoni
George Panaretos
To find out about Sydney Philharmonia concerts or joining one of the choirs,
visit www.sydneyphilharmonia.com.au
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25
SYDNEY SYMPHONY ORCHESTR A
DAVID ROBERTSON
THE LOWY CHAIR OF
CHIEF CONDUCTOR AND ARTISTIC DIRECTOR
PATRON Professor The Hon. Dame Marie Bashir ad cvo
Founded in 1932 by the Australian Broadcasting
Commission, the Sydney Symphony Orchestra
has evolved into one of the world’s finest
orchestras as Sydney has become one of the
world’s great cities.
Resident at the iconic Sydney Opera House,
where it gives more than 100 performances
each year, the SSO also performs in venues
throughout Sydney and regional New South
Wales. International tours to Europe, Asia and
the USA – including three visits to China – have
earned the orchestra worldwide recognition for
artistic excellence.
The orchestra’s first Chief Conductor was
Sir Eugene Goossens, appointed in 1947; he was
followed by Nicolai Malko, Dean Dixon, Moshe
Atzmon, Willem van Otterloo, Louis Frémaux,
Sir Charles Mackerras, Zdenĕk Mácal, Stuart
Challender, Edo de Waart and Gianluigi Gelmetti.
Vladimir Ashkenazy was Principal Conductor
from 2009 to 2013. The orchestra’s history also
boasts collaborations with legendary figures
26
such as George Szell, Sir Thomas Beecham,
Otto Klemperer and Igor Stravinsky.
The SSO’s award-winning education program
is central to its commitment to the future of live
symphonic music, developing audiences and
engaging the participation of young people.
The orchestra promotes the work of Australian
composers through performances, recordings
and its commissioning program. Recent
premieres have included major works by Ross
Edwards, Lee Bracegirdle, Gordon Kerry, Mary
Finsterer, Nigel Westlake and Georges Lentz,
and the orchestra’s recordings of music by
Brett Dean have been released on both the BIS
and SSO Live labels.
Other releases on the SSO Live label,
established in 2006, include performances
with Alexander Lazarev, Gianluigi Gelmetti,
Sir Charles Mackerras, Vladimir Ashkenazy and
David Robertson. In 2010–11 the orchestra made
concert recordings of the complete Mahler
symphonies with Ashkenazy, and has also
released recordings of Rachmaninoff and Elgar
orchestral works on the Exton/Triton labels, as
well as numerous recordings on ABC Classics.
This is the second year of David Robertson’s
tenure as Chief Conductor and Artistic Director.
MUSICIANS
Toby Thatcher
ASSISTANT CONDUCTOR
SUPPORTED BY CREDIT
SUISSE, RACHEL &
GEOFFREY O’CONOR AND
SYMPHONY SERVICES
INTERNATIONAL
David Robertson
THE LOWY CHAIR OF
CHIEF CONDUCTOR
AND ARTISTIC DIRECTOR
Andrew Haveron
Dene Olding
CONCERTMASTER
CONCERTMASTER
FIRST VIOLINS
VIOLAS
FLUTES
TRUMPETS
Andrew Haveron
Roger Benedict
Tobias Breider
Justin Williams
Janet Webb
Carolyn Harris
Rosamund Plummer
ASSISTANT PRINCIPAL
PRINCIPAL PICCOLO
Sandro Costantino
Rosemary Curtin
Jane Hazelwood
Graham Hennings
Stuart Johnson
Justine Marsden
Felicity Tsai
Amanda Verner
Leonid Volovelsky
Anne-Louise Comerford
Emma Sholl
David Elton
Paul Goodchild
Anthony Heinrichs
Owen Morris†
Josh Rogan°
Jenna Smith*
CONCERTMASTER
Kirsten Williams
ASSOCIATE CONCERTMASTER
Sun Yi
ASSOCIATE CONCERTMASTER
Lerida Delbridge
ASSISTANT CONCERTMASTER
Fiona Ziegler
ASSISTANT CONCERTMASTER
Jenny Booth
Sophie Cole
Amber Davis
Claire Herrick
Georges Lentz
Nicola Lewis
Emily Long
Alexandra Mitchell
Alexander Norton
Léone Ziegler
Emily Qin°
Dene Olding
CONCERTMASTER
SECOND VIOLINS
Kirsty Hilton
Marina Marsden
Marianne Broadfoot
Emma Jezek
ASSISTANT PRINCIPAL
Emma Hayes
Benjamin Li
Nicole Masters
Philippa Paige
Biyana Rozenblit
Victoria Bihun†
Freya Franzen*
Monique Irik°
Elizabeth Jones°
Cristina Vaszilcsin*
Shuti Huang
Stan W Kornel
Maja Verunica
CELLOS
Umberto Clerici
Catherine Hewgill
Leah Lynn
ASSISTANT PRINCIPAL
Kristy Conrau
Fenella Gill
Timothy Nankervis
Elizabeth Neville
Christopher Pidcock
Adrian Wallis
David Wickham
DOUBLE BASSES
Kees Boersma
Alex Henery
Neil Brawley
PRINCIPAL EMERITUS
David Campbell
Steven Larson
Richard Lynn
Benjamin Ward
Josef Bisits°
David Murray
To see photographs of the full roster of permanent musicians
and find out more about the orchestra, visit our website:
www.sydneysymphony.com/SSO_musicians
If you don’t have access to the internet, ask one of our customer
service representatives for a copy of our Musicians flyer.
OBOES
Diana Doherty
David Papp
Alexandre Oguey
PRINCIPAL COR ANGLAIS
Shefali Pryor
CLARINETS
Francesco Celata
Christopher Tingay
Craig Wernicke
PRINCIPAL BASS CLARINET
Lawrence Dobell
BASSOONS
Matthew Wilkie
Fiona McNamara
Noriko Shimada
TROMBONES
Ronald Prussing
Scott Kinmont
Christopher Harris
PRINCIPAL BASS TROMBONE
Milo Dodd*
Iain Faragher†
Minami Takahashi*
Nick Byrne
TUBA
Steve Rossé
TIMPANI
Richard Miller
Mark Robinson
ASSISTANT PRINCIPAL
PRINCIPAL CONTRABASSOON
HORNS
Ben Jacks
Robert Johnson
Geoffrey O’Reilly
PRINCIPAL 3RD
Euan Harvey
Marnie Sebire
Rachel Silver
Michael Dixon*
Katy Grisdale*
Kara Hahn†
Alex Morton*
PERCUSSION
Rebecca Lagos
Timothy Constable
HARP
Louise Johnson
BOLD = PRINCIPAL
ITALICS = ASSOCIATE PRINCIPAL
° = CONTRACT MUSICIAN
* = GUEST MUSICIAN
† = SSO FELLOW
GREY = PERMANENT MEMBER OF THE
SYDNEY SYMPHONY ORCHESTRA NOT
APPEARING IN THIS CONCERT
The men of the Sydney
Symphony Orchestra are
proudly outfitted by
Van Heusen.
27
BEHIND THE SCENES
Sydney Symphony
Orchestra Board
Terrey Arcus AM Chairman
Ewen Crouch AM
Ross Grant
Catherine Hewgill
Jennifer Hoy
Rory Jeffes
David Livingstone
The Hon. Justice AJ Meagher
Goetz Richter
Sydney Symphony Orchestra Staff
MANAGING DIRECTOR
SENIOR GRAPHIC DESIGNER
Rory Jeffes
Christie Brewster
EXECUTIVE TEAM ASSISTANT
Tessa Conn
ARTISTIC OPERATIONS
Jenny Sargant
DIRECTOR OF ARTISTIC PLANNING
MARKETING ASSISTANT
Laura Andrew
ARTISTIC ADMINISTRATION MANAGER
Box Office
Eleasha Mah
ARTIST LIAISON MANAGER
RECORDING ENTERPRISE MANAGER
Geoff Ainsworth AM
Doug Battersby
Christine Bishop
The Hon John Della Bosca MLC
John C Conde ao
Michael J Crouch AO
Alan Fang
Erin Flaherty
Dr Stephen Freiberg
Simon Johnson
Gary Linnane
Helen Lynch AM
David Maloney AM
Justice Jane Mathews AO
Danny May
Jane Morschel
Dr Eileen Ong
Andy Plummer
Deirdre Plummer
Seamus Robert Quick
Paul Salteri AM
Sandra Salteri
Juliana Schaeffer
Fred Stein OAM
John van Ogtrop
Brian White
Rosemary White
HONORARY COUNCIL MEMBERS
Ita Buttrose AO OBE
Donald Hazelwood AO OBE
Yvonne Kenny AM
David Malouf AO
Wendy McCarthy AO
Leo Schofield AM
Peter Weiss AO
MANAGER OF BOX OFFICE SALES &
OPERATIONS
Lynn McLaughlin
BOX OFFICE SYSTEMS SUPERVISOR
Philip Powers
Jennifer Laing
Library
Anna Cernik
Victoria Grant
Mary-Ann Mead
John Robertson
BOX OFFICE BUSINESS ADMINISTRATOR
CUSTOMER SERVICE REPRESENTATIVES
LEARNING AND ENGAGEMENT
Karen Wagg – CS Manager
Michael Dowling
Tim Walsh
DIRECTOR OF LEARNING AND ENGAGEMENT
Publications
Kim Waldock
PUBLICATIONS EDITOR &
MUSIC PRESENTATION MANAGER
EMERGING ARTISTS PROGRAM MANAGER
Rachel McLarin
EDUCATION MANAGER
Amy Walsh
EDUCATION OFFICER
Tim Walsh
ORCHESTRA MANAGEMENT
DIRECTOR OF ORCHESTRA MANAGEMENT
Aernout Kerbert
ORCHESTRA MANAGER
Rachel Whealy
ORCHESTRA COORDINATOR
Rosie Marks-Smith
OPERATIONS MANAGER
Kerry-Anne Cook
PRODUCTION MANAGER
Laura Daniel
STAGE MANAGER
Courtney Wilson
PRODUCTION COORDINATORS
Yvonne Frindle
EXTERNAL RELATIONS
DIRECTOR OF EXTERNAL RELATIONS
Yvonne Zammit
Philanthropy
HEAD OF PHILANTHROPY
Luke Andrew Gay
PHILANTHROPY MANAGER
Jennifer Drysdale
A/ PATRONS EXECUTIVE
Sarah Morrisby
PHILANTHROPY COORDINATOR
Claire Whittle
Corporate Relations
CORPORATE PARTNERSHIPS MANAGER
Belinda Besson
CORPORATE PARTNERSHIPS EXECUTIVE
Paloma Gould
Communications
COMMUNICATIONS & MEDIA MANAGER
Elissa Seed
Ollie Townsend
Bridget Cormack
SALES AND MARKETING
Caitlin Benetatos
DIRECTOR OF SALES & MARKETING
PUBLICIST
DIGITAL CONTENT PRODUCER
Mark J Elliott
Kai Raisbeck
MARKETING MANAGER, SUBSCRIPTION SALES
BUSINESS SERVICES
Simon Crossley-Meates
SENIOR SALES & MARKETING MANAGER
Penny Evans
A/ SENIOR SALES & MARKETING MANAGER
Matthew Rive
MARKETING MANAGER, WEB & DIGITAL MEDIA
Eve Le Gall
MARKETING MANAGER, CRM & DATABASE
Matthew Hodge
A/ SALES & MARKETING MANAGER,
SINGLE TICKET CAMPAIGNS
Jonathon Symonds
DATABASE ANALYST
David Patrick
28
SENIOR ONLINE MARKETING COORDINATOR
Benjamin Schwartz
Ilmar Leetberg
Sydney Symphony
Orchestra Council
GRAPHIC DESIGNER
Lisa Davies-Galli
DIRECTOR OF FINANCE
John Horn
FINANCE MANAGER
Ruth Tolentino
ACCOUNTANT
Minerva Prescott
ACCOUNTS ASSISTANT
Emma Ferrer
PAYROLL OFFICER
Laura Soutter
PEOPLE AND CULTURE
IN-HOUSE COUNSEL
Michel Maree Hryce
SSO PATRONS
Maestro’s Circle
Supporting the artistic vision of David Robertson,
Chief Conductor and Artistic Director
Peter Weiss AO Founding President & Doris Weiss
Terrey Arcus AM Chairman & Anne Arcus
Brian Abel
Tom Breen & Rachel Kohn
The Berg Family Foundation
John C Conde AO
Andrew Kaldor AM & Renata Kaldor AO
Vicki Olsson
Roslyn Packer AO
David Robertson & Orli Shaham
Penelope Seidler AM
Mr Fred Street AM & Dorothy Street
Brian White AO & Rosemary White
Ray Wilson OAM in memory of the late James Agapitos OAM
David Robertson
David Robertson
The Lowy Chair of
Chief Conductor and
Artistic Director
Jane Hazelwood
Viola
Bob & Julie Clampett Chair
in memory of Carolyn Clampett
Roger Benedict
Principal Viola
Kim Williams AM &
Catherine Dovey Chair
Catherine Hewgill
Principal Cello
The Hon. Justice AJ &
Mrs Fran Meagher Chair
Kees Boersma
Principal Double Bass
SSO Council Chair
Robert Johnson
Principal Horn
James & Leonie Furber Chair
Umberto Clerici
Principal Cello
Garry & Shiva Rich Chair
Elizabeth Neville
Cello
Ruth & Bob Magid Chair
Timothy Constable
Percussion
Justice Jane Mathews AO Chair
Shefali Pryor
Associate Principal Oboe
Mrs Barbara Murphy Chair
Lerida Delbridge
Assistant Concertmaster
Simon Johnson Chair
Emma Sholl
Associate Principal Flute
Robert & Janet Constable Chair
Lawrence Dobell
Principal Clarinet
Anne Arcus &
Terrey Arcus AM Chair
Janet Webb
Principal Flute
Helen Lynch AM &
Helen Bauer Chair
Diana Doherty
Principal Oboe
Andrew Kaldor AM &
Renata Kaldor AO Chair
Kirsten Williams
Associate Concertmaster
I Kallinikos Chair
Richard Gill oam
Artistic Director,
DownerTenix Discovery
Paul Salteri AM &
Sandra Salteri Chair
KEITH SAUNDERS
Chair Patrons
Timothy Constable joined the SSO
Percussion section in 2014. He is also a
composer, eletronica producer and singer.
Jane Mathews has been following
Timothy’s career for some time and is
extremely pleased to support his chair.
She previously supported the chair of
retired SSO percussionist Colin Piper.
n n n n n n n n n n
FOR INFORMATION ABOUT THE CHAIR PATRONS
PROGRAM, CALL (02) 8215 4625.
29
SSO PATRONS
Learning & Engagement
Foundations
KEITH SAUNDERS
Australia-Korea Foundation
Crown Foundation
The Greatorex Foundation
James N Kirby Foundation
Packer Family Foundation
Ian Potter Foundation
AUSTRALIA-KOREA
F O U N D A T I O N
Commissioning Circle
Sydney Symphony Orchestra 2015 Fellows
fellowship patrons
Robert Albert AO & Elizabeth Albert Flute Chair
Christine Bishop Percussion Chair
Sandra & Neil Burns Clarinet Chair
In Memory of Matthew Krel Violin Chair
Mrs T Merewether OAM Horn Chair
Paul Salteri AM & Sandra Salteri Violin and Viola Chairs
Mrs W Stening Principal Patron, Cello Chair
Kim Williams AM & Catherine Dovey Patrons of Roger Benedict,
Artistic Director, Fellowship
June & Alan Woods Family Bequest Bassoon Chair
Anonymous Double Bass Chair
Supporting the creation of new works.
ANZAC Centenary Arts and Culture Fund
Geoff Ainsworth AM
Christine Bishop
Dr John Edmonds
Andrew Kaldor AM & Renata Kaldor AO
Jane Mathews AO
Mrs Barbara Murphy
Nexus IT
Vicki Olsson
Caroline & Tim Rogers
Geoff Stearn
Dr Richard T White
Anonymous
fellowship supporting patrons
Mr Stephen J Bell
Gary Linnane & Peter Braithwaite
Joan MacKenzie Scholarship
Drs Eileen & Keith Ong
In Memory of Geoff White
MAKE
A DIFFERENCE
tuned-up!
TunED-Up! is made possible with the generous support of
Fred Street AM & Dorothy Street
Additional support provided by:
Anne Arcus & Terrey Arcus AM
Ian & Jennifer Burton
Ian Dickson & Reg Holloway
Tony Strachan
major education donors
Bronze Patrons & above
John Augustus & Kim Ryrie
Mr Alexander & Mrs Vera Boyarsky
Bob & Julie Clampett
Howard & Maureen Connors
The Greatorex Foundation
The Ian Potter Foundation
James N Kirby Foundation
Mrs & Mr Judith A. McKernan
Mr & Mrs Nigel Price
30
Through their inspired financial support,
Patrons ensure the SSO’s continued
success, resilience and growth. Join the
SSO Patrons Program today and make a
difference.
sydneysymphony.com/patrons
(02) 8215 4674
philanthropy@sydneysymphony.com
Stuart Challender
Legacy Society
Celebrating the vision of donors who are leaving
a bequest to the SSO.
Henri W Aram OAM &
Robin Aram
Stephen J Bell
Mr David & Mrs Halina Brett
Howard Connors
Greta Davis
Brian Galway
Miss Pauline M Griffin AM
John Lam-Po-Tang
Peter Lazar AM
Daniel Lemesle
Louise Miller
James & Elsie Moore
Douglas Paisley
Kate Roberts
Mary Vallentine AO
Ray Wilson OAM
Anonymous (10)
Stuart Challender, SSO Chief Conductor
and Artistic Director 1987–1991
bequest donors
We gratefully acknowledge donors who have left
a bequest to the SSO.
The late Mrs Lenore Adamson
Estate of Carolyn Clampert
Estate Of Jonathan Earl William Clark
Estate of Colin T Enderby
Estate of Mrs E Herrman
Estate of Irwin Imhof
The late Mrs Isabelle Joseph
The Estate of Dr Lynn Joseph
The Late Greta C Ryan
June & Alan Woods Family Bequest
n n n n n n n n n n
IF YOU WOULD LIKE MORE INFORMATION ON
MAKING A BEQUEST TO THE SSO, PLEASE
CONTACT LUKE GAY ON 8215 4625.
Playing Your Part
The Sydney Symphony Orchestra gratefully
acknowledges the music lovers who donate to the
orchestra each year. Each gift plays an important part
in ensuring our continued artistic excellence and
helping to sustain important education and regional
touring programs.
DIAMOND PATRONS
$50,000+
Anne & Terrey Arcus AM
The Estate of Dr Lynn Joseph
Mr Andrew Kaldor AM &
Mrs Renata Kaldor AO
In Memory of Matthew Krel
Mr Frank Lowy AC &
Mrs Shirley Lowy OAM
Roslyn Packer AO
Ian Potter Foundation
Paul Salteri AM & Sandra
Salteri
Mr Fred Street AM &
Mrs Dorothy Street
Mr Peter Weiss AO &
Mrs Doris Weiss
Mr Brian White AO &
Mrs Rosemary White
PLATINUM PATRONS
$30,000–$49,999
Doug & Alison Battersby
The Berg Family Foundation
Tom Breen & Rachael Kohn
Mr John C Conde AO
Robert & Janet Constable
Mrs Barbara Murphy
Mrs W Stening
Kim Williams AM &
Catherine Dovey GOLD PATRONS
$20,000–$29,999
Brian Abel
Geoff Ainsworth AM
Robert Albert AO &
Elizabeth Albert
Christine Bishop
Sandra & Neil Burns
James & Leonie Furber
I Kallinikos
Helen Lynch AM & Helen
Bauer
Justice Jane Mathews AO
Mrs T Merewether OAM
Rachel & Geoffrey O’Conor
Vicki Olsson
Andy & Deirdre Plummer
Garry & Shiva Rich
David Robertson & Orli
Shaham
Mrs Penelope Seidler AM
G & C Solomon in memory
of Joan MacKenzie
Geoff Stearn
Ray Wilson OAM in memory
of James Agapitos OAM
Anonymous (2) SILVER PATRONS
$10,000–$19,999
Bailey Family Foundation
Audrey Blunden
Mr Robert Brakspear
Mr Robert & Mrs L Alison Carr
Bob & Julie Clampett
Michael Crouch AO &
Shanny Crouch
Paul Espie
Edward & Diane Federman
Nora Goodridge
Mr Ross Grant
Ian Dickson & Reg Holloway
Estate of Irwin Imhof
Simon Johnson
James N Kirby Foundation
Ruth & Bob Magid
The Hon. Justice AJ Meagher
& Mrs Fran Meagher
Mr John Morschel
Drs Keith & Eileen Ong
Kenneth Reed AM
Mr John Symond AM
Mrs Joyce Sproat &
Mrs Janet Cooke
The Harry Triguboff
Foundation
Caroline Wilkinson
Anonymous (3)
BRONZE PATRONS
$5,000–$9,999
Mr Henri W Aram OAM
John Augustus & Kim Ryrie
Stephen J Bell
Dr Hannes & Mrs Barbara
Boshoff
Mr Alexander & Mrs Vera
Boyarsky
Peter Braithwaite &
Gary Linnane
Mr David & Mrs Halina Brett
Ian & Jennifer Burton
Mr Howard Connors
Ewen Crouch AM &
Catherine Crouch
The Hon. Mrs Ashley
Dawson-Damer AM
In memory of Dr Lee
MacCormick Edwards
Dr Stephen Freiberg &
Donald Campbell
Dr Colin Goldschmidt
The Greatorex Foundation
Rory & Jane Jeffes
The late Mrs Isabelle Joseph
Robert McDougall
Mr Ervin Katz
31
SSO PATRONS
Playing Your Part
BRONZE PATRONS CONTINUED
J A McKernan
David Maloney AM &
Erin Flaherty
R & S Maple-Brown
Mora Maxwell
William McIlrath Charitable
Foundation
Taine Moufarrige
Nexus IT
John & Akky van Ogtrop
Seamus Robert Quick
Chris Robertson &
Katharine Shaw
Rodney Rosenblum AM &
Sylvia Rosenblum
Dr Evelyn Royal
Manfred & Linda Salamon
Tony Strachan
David Tudehope & Liz Dibbs
Mr Robert & Mrs Rosemary
Walsh
Westpac Group
Michael & Mary Whelan
Trust
In memory of Geoff White
June & Alan Woods Family
Bequest
Anonymous (2) PRESTO PATRONS
$2,500–$4,999
Ian Brady
Mr Mark Bryant oam
Ita Buttrose AO OBE
Mrs Stella Chen
Dr Joanna Cheung
Dr Rebecca Chin
Dr Diana Choquette &
Mr Robert Milliner
Firehold Pty Ltd
Dr Kim Frumar
Warren Green
Anthony Gregg
James & Yvonne Hochroth
Mr Roger Hudson &
Mrs Claudia Rossi-Hudson
Prof. Andrew Korda am &
Ms Susan Pearson
In memoriam
Dr Reg Lam-Po-Tang
Helen & Phil Meddings
James & Elsie Moore
Ms Jackie O’Brien
Juliana Schaeffer
Dr Agnes E Sinclair
Ezekiel Solomon AM
Mr Ervin Vidor AM & Mrs
Charlotte Vidor
Lang Walker AO & Sue Walker
Yim Family Foundation Anonymous (2)
32
VIVACE PATRONS
$1,000–$2,499
Mrs Lenore Adamson
Mrs Antoinette Albert
Rae & David Allen
Andrew Andersons AO
Mr Matthew Andrews
Sibilla Baer
The Hon Justice Michael Ball
David Barnes
Mr Garry Besson
Allan & Julie Bligh
Jan Bowen
Roslynne Bracher
Mrs R D Bridges OBE
Lenore P Buckle
Margaret Bulmer
In memory of RW Burley
Mrs Rhonda Caddy
Mr B & Mrs M Coles
Ms Suzanne Collins
Joan Connery OAM &
Maxwell Connery OAM
Mr Phillip Cornwell
Debby Cramer & Bill Caukill
Mr John Cunningham SCM &
Mrs Margaret Cunningham
Greta Davis
Lisa & Miro Davis
Elizabeth Donati
Prof. & Mrs John Edmonds
Malcolm Ellis & Erin O’Neill
Mrs Margaret Epps
Mr Matt Garrett
Vivienne Goldschmidt &
Owen Jones
Mrs Fay Grear
In Memory of Angelica Green
Akiko Gregory
Mr & Mrs Harold &
Althea Halliday
Janette Hamilton
Mrs Jennifer Hershon
Angus Holden
Mr Kevin Holland &
Mrs Roslyn Andrews
The Hon. David Hunt AO QC &
Mrs Margaret Hunt
Dr & Mrs Michael Hunter
Mr Philip Isaacs OAM
Michael & Anna Joel
Mrs W G Keighley
Jennifer King
Aron Kleinlehrer
Mr Justin Lam
Mr Peter Lazar AM
Professor Winston Liauw
Airdrie Lloyd
Mrs Juliet Lockhart
Peter Lowry OAM &
Dr Carolyn Lowry OAM
Kevin & Deirdre McCann
Ian & Pam McGaw
Matthew McInnes
Macquarie Group Foundation
Barbara Maidment
John Mar
Renee Markovic
Mr Danny R May
I Merrick
Henry & Ursula Mooser
Milja & David Morris
Mrs J Mulveney
Mr Darrol Norman
E J Nuffield
Dr Mike O’Connor AM
Mr & Mrs Ortis
Mr Andrew C Patterson
Michael Paul
Almut Piatti
In memory of Sandra Paul
Pottinger
The Hon. Dr Rodney Purvis AM &
Mrs Marian Purvis
Dr Raffi Qasabian & Dr John
Wynter
Mr Patrick Quinn-Graham
Ernest & Judith Rapee
Patricia H Reid Endowment
Pty Ltd
In memory of Katherine
Robertson
Mr David Robinson
Tim Rogers
Dr Colin Rose
Mr Shah Rusiti
In memory of H St P Scarlett
George & Mary Shad
Mr Samuel F Sheffer
David & Alison Shilligton
Dr Judy Soper
Mrs Judith Southam
Ms Barbara Spencer
Mrs Elizabeth Squair
Catherine Stephen
The Hon. Brian Sully QC
Mrs Margaret Swanson
The Taplin Family
Dr & Mrs H K Tey
Kevin Troy
John E Tuckey
Judge Robyn Tupman
Dr Alla Waldman
Miss Sherry Wang
Westpac Banking
Corporation
Henry & Ruth Weinberg
The Hon. Justice A G Whealy
Mary Whelan & Robert
Baulderstone
Jerry Whitcomb
Dr Richard T White
Mrs Leonore Whyte
A Willmers & R Pal
Betty Wilkenfeld
Prof. Neville Wills &
Ian Fenwicke
Ann & Brooks C Wilson AM
Dr Richard Wing
Dr Peter Wong &
Mrs Emmy K Wong
Geoff Wood & Melissa Waites
Sir Robert Woods
Mr & Mrs Lindsay Woolveridge
In memory of Lorna Wright
Mrs Robin Yabsley
Dr John Yu
Anonymous (13)
ALLEGRO PATRONS
$500–$999
Nikki Abrahams
Ms Jenny Allum
Katherine Andrews
Mr Peter J Armstrong
Garry & Tricia Ash
Mr & Mrs George Ball
Mrs Blanche Cassen
Barlow Cleaning Pty Ltd
Barracouta Pty Ltd
Beauty Point Retirement
Resort
Mr Michael Beck
Dr Andrew Bell
Richard & Margaret Bell
Jan Biber
Minnie Biggs
G D Bolton
In memory of Jillian Bowers
R D & L M Broadfoot
Dr Peter Broughton
Dr David Bryant
Arnaldo Buch
Dr Miles Burgess
Pat & Jenny Burnett
Rosemary Campbell
Mr JC Campbell QC &
Mrs Campbell
Judy Chiddy
Michael & Natalie Coates
Dr Peter Craswell
Mr David Cross
Dr David Dixon
Susan Doenau
Dana Dupere
Dr Nita Durham
John Favaloro
Mrs Lesley Finn
Ms Julie Flynn & Mr Trevor
Cook
Mrs Paula Flynn
Ms Lynne Frolich
Mr John Gaden
Clive & Jenny Goodwin
Mr Geoffrey Greenwell
Richard Griffin AM
Dr Jan Grose
In memory of Beth Harpley
Benjamin Hasic &
Belinda Davie
Mr Robert Havard
Mrs Joan Henley
Roger Henning
Sue Hewitt
Dorothy Hoddinott AO
Bill & Pam Hughes
Ms Cynthia Kaye
Dr Andrew Kennedy
SSO Vanguard
Mrs Margaret Keogh
Dr Henry Kilham
Dr Joyce Kirk
Mrs Patricia Kleinhans
Anna-Lisa Klettenberg
Sonia Lal
L M B Lamprati
Dr Barry Landa
Elaine M Langshaw
Dr Leo & Mrs Shirley Leader
Margaret Lederman
Mrs Erna Levy
Mrs A Lohan
Mr Gabriel Lopata
Panee Low
Melvyn Madigan
Ms Jolanta Masojada
Mr Guido Mayer
Louise Miller
Kenneth Newton Mitchell
Mrs Judith Morton
Mr Graham North
Mr Sead Nurkic
Dr A J Palmer
Mr Michael O'Brien
Dr Kevin Pedemont
Dr Natalie E Pelham
Erika Pidcock
Dr John Pitt
John Porter & Annie
Wesley-Smith
Mrs Greeba Pritchard
Michael Quailey
Miss Julie Radosavljevic
Renaissance Tours
Dr Marilyn Richardson
Janelle Rostron
Mrs Christine Rowell-Miller
Mrs Louise Rowston
Jorie Ryan for Meredith Ryan
Mr Kenneth Ryan
Ms Donna St Clair
Garry Scarf & Morgie Blaxill
Peter & Virginia Shaw
Judge David S Shillington
Mrs Diane Shteinman AM
Mrs Solange Shulz
Victoria Smyth
Doug & Judy Sotheren
Colin Spencer
James & Alice Spigelman
Fred & May Stein
Ashley & Aveen Stephenson
Margaret & William Suthers
Dr Jenepher Thomas
Mrs Caroline Thompson
Peter & Jane Thornton
Ms Rhonda Ting
Alma Toohey
Mrs M Turkington
Gillian Turner & Rob Bishop
Ross Tzannes
Mr Robert Veel
Ronald Walledge
In memory of Denis Wallis
In memoriam JBL Watt
Miss Roslyn Wheeler
The Wilkinson Family
Edward & Yvonne Wills
Dr Edward J Wills
Yetty Windt
Mr Evan Wong
Anonymous (35)
SSO Patrons pages correct as
of 4 May 2015
A membership program for a dynamic group of
Gen X & Y SSO fans and future philanthropists
VANGUARD COLLECTIVE
Justin Di Lollo Chair
Belinda Bentley
Oscar McMahon
Taine Moufarrige
Founding Patron
Shefali Pryor
Seamus R Quick
Founding Patron
Chris Robertson & Katherine
Shaw
Founding Patrons
MEMBERS
Clare Ainsworth-Hershall
James Armstrong
Philip Atkin
Luan Atkinson
Joan Ballantine
Andrew Batt-Rawden
James Baudzus
Andrew Baxter
Adam Beaupeurt
Anthony Beresford
Andrew Botros
Peter Braithwaite
Andrea Brown
Attila Brungs
Ian Burton
Jennifer Burton
Paul Colgan
Claire Cooper
Bridget Cormack
Robbie Cranfield
Asha Cugati
Juliet Curtin
David Cutcliffe
Este Darin-Cooper
Rosalind De Sailly
Paul Deschamps
Catherine Donnelly
Jennifer Drysdale
John-Paul Drysdale
Naomi Flutter
Alistair Furnival
Alexandra Gibson
Sam Giddings
Marina Go
Jeremy Goff
Hilary Goodson
Tony Grierson
Louise Haggerty
Rose Herceg
Peter Howard
Jennifer Hoy
Katie Hryce
Virginia Judge
Jonathan Kennedy
Aernout Kerbert
Patrick Kok
John Lam-Po-Tang
Tristan Landers
Jessye Lin
Gary Linnane
David Lo
Saskia Lo
Gabriel Lopata
Robert McGrory
David McKean
Julia Newbould
Nick Nichles
Kate O’Reilly
Peter O’Sullivan
June Pickup
Roger Pickup
Cleo Posa
Stephanie Price
Michael Radovnikovic
Sudeep Rao
Benjamin Robinson
Alvaro Rodas Fernandez
Adam Sadler
Anthony Michael Schembri
Benjamin Schwartz
Cecilia Storniolo
Randal Tame
Sandra Tang
Ian Taylor
Michael Tidball
Michael Tuffy
Kim Waldock
Jon Wilkie
Yvonne Zammit
Amy Zhou
n n n n n n n n n n
33
SALUTE
PRINCIPAL PARTNER
GOVERNMENT PARTNERS
The Sydney Symphony Orchestra is assisted by the Commonwealth
Government through the Australia Council, its arts funding and
advisory body
The Sydney Symphony Orchestra is
assisted by the NSW Government
through Arts NSW
PREMIER PARTNER
PLATINUM PARTNER
EDUCATION PARTNER
MAJOR PARTNERS
GOLD PARTNERS
SILVER PARTNERS
UNIVERSAL MUSIC AUSTRALIA
sinf inimusic.com
VANGUARD PARTNER
34
REGIONAL TOUR PARTNER
MARKETING PARTNER