energy boo… · commissioned score for 2001: a space odyssey in a radical decision favouring...

It is my great pleasure to welcome you to tonight’s concert in theEnergyAustralia Master Series, in which we’ll be privileged to hearthe Sydney Symphony play under the baton of Sir Charles Mackerras.

Chief Conductor of the Sydney Symphony from 1982 to 1985,Mackerras has followed a career defined by meticulous scholarshipand electrifying performances in collaboration with the world’sgreatest orchestras and musicians. In this concert we hear ThusSpake Zarathustra – Richard Strauss’ epic tone poem based on thewritings of German philosopher, Nietzsche. Sir Charles will then bejoined by four of Australia’s favourite singers and the SydneyPhilharmonia Choirs for the Great C Minor Mass, which Mozart wrotein gratitude for his happy marriage and which he composed for hiswife to sing.

EnergyAustralia is one of Australia’s leading energy companies, with more than 1.4 million energy customers in NSW, the ACT andQueensland.

With one of the most recognised brands in the energy industry, we are proud to be associated with the Sydney Symphony, and we’revery excited to be linked to the Orchestra’s flagship Master Series.

I hope you enjoy tonight’s performance and will join us again for theremaining concerts in the EnergyAustralia Master Series this year.

George MaltabarowManaging Director

SEASON 2007

ENERGYAUSTRALIA MASTER SERIES

MOZART’S GREAT C MINOR MASS

Wednesday 24 October | 8pm

Friday 26 October | 8pm

Saturday 27 October | 8pm

Sydney Opera House Concert Hall

Charles Mackerras conductor Emma Matthews sopranoYvonne Kenny sopranoSteve Davislim tenorPaul Whelan bass-baritone

Sydney Philharmonia Choirs

Brett Weymark chorusmaster

RICHARD STRAUSS (1864–1949)

Also sprach Zarathustra – Symphonic poem, Op.30

(Thus Spake Zarathustra)

INTERVAL

WOLFGANG AMADEUS MOZART (1756–1791)

Mass in C minor, K427

Wednesday evening’s performancewill be broadcast live acrossAustralia on ABC Classic FM 92.9.

This program will be webcast byBigPond. View live online onWednesday 24 October at 8pm and available On Demand fromNovember. Visit:sydneysymphony.bigpondmusic.com

Pre-concert talk by Raff Wilson at7.15pm in the Northern Foyer. Visit www.sydneysymphony.com/talk-biosfor biographies of pre-concertspeakers.

Estimated timings: 33 minutes, 20-minute interval, 60 minutes.The performance will conclude atapproximately 10.05pm.

Cover images: see page 30 forcaptions

Program notes begin on page 5

Artist biographies begin on page 17

PRESENTING PARTNER

5 | Sydney Symphony

INTRODUCTION

Mozart’s Great C Minor Mass

Mozart’s Great C Minor Mass is often described as atorso – magnificent in the manner of a Venus de Milo,but a torso nonetheless, since Mozart never got aroundto completing all the music required for liturgical use of the music. Even so, it was performed in church, mostlikely with substitutions from other masses orplainchant filling the gaps – 18th-century pragmatism to the rescue. And since the 1950s the Mass has found a deserved place in modern concert halls, the variousperforming options ranging from H.C. Robbins Landon’srelatively unobtrusive edition that we perform tonight(nothing but Mozart) to more ambitious completionsand reconstructions. The Mass may be liturgicallyinadequate, but as inspiring concert music it is amasterpiece.

The other work on the program is known to millions as a torso, even though it is a complete andsubstantial work. In 1968 Stanley Kubrick abandoned acommissioned score for 2001: A Space Odyssey in a radicaldecision favouring existing classical works. The largelynon-verbal power of the film was launched with theopening of Richard Strauss’s Thus Spake Zarathustra – the ‘sunrise’. But for concertgoers, Strauss’s symphonicpoem is much more than a sunrise, however awe-inspiring – the half hour that follows gives onemusician’s free interpretation of Nietzsche’sphilosophical poem Also sprach Zarathustra. Strausshimself was more than a little pleased with the result: ‘of all my pieces, the most perfect in form, the richest incontent and the most individual in character’.

It’s easy to imagine Mozart saying something like this, too. The perfection of form in his Mass might bemarred by its unfinished state, but in richness of contentand distinctiveness of character it is unsurpassed.

Mackerras and choral

music

In Nancy Phelan’s biography,Charles Mackerras: Amusician’s musician, SirCharles writes: ‘I have alwaysenjoyed choral conducting, it appears to me a crossbetween the symphonic andoperatic styles. During mycareer I have conductednearly all the great choralworks, most of them religiousin character – since some of the greatest of all werewritten to be sung inchurch…’ And the variousresponses of composers tothe words of the Mass, hesays, ‘are among the mostsublime works of musicalliterature’.

That leaning towards choralmusic was evident duringMackerras’ years as ChiefConductor (1982–1985) and in the programs he hasconducted on his return visitssince, programs that haveincluded Beethoven’s Missasolemnis, Carl Orff’s CarminaBurana, Haydn’s Creation andJanácek’s Glagolitic Mass.

ABOUT THE MUSIC

6 | Sydney Symphony

Richard Strauss

Also sprach Zarathustra – Symphonic poem, Op.30

(Thus Spake Zarathustra)

In 1891–92 the usually robust Strauss suffered a period ofserious illness, including bouts of pneumonia, bronchitisand pleurisy. In the summer of 1892 he took leave of hisduties at the Weimar Opera and travelled extensivelythrough Italy, Greece and Egypt, soaking up the sun, butmore importantly enjoying the awesome physical remainsof the ancient pagan civilisations in those countries. It was at this time that he began to think about a musical response to some of the ideas of the Germanphilosopher Friedrich Nietzsche, particularly thoseexpressed in his poem Also sprach Zarathustra, though the work’s composition had to wait until 1896.

Zoroaster (as he was known to the ancient Greeks) was a Persian prophet living in the sixth century BCE whotaught that the universe, and humankind in particular, issubject to the eternal struggle of two gods, represented bylight and darkness; his religion survives among the Parseesof modern India. Nietzsche’s relationship to Zoroastrianideas is fairly loose, and as Norman Del Mar puts it, heused these ‘as a prop on which to clothe his own ideas onthe purpose and destiny of mankind’. The most famous –indeed, notorious – of these is the idea of the Übermenschor Superman. ‘Man,’ in Nietzsche’s words, ‘is a thing to besurmounted…what is the ape to man? A jest or a thing ofshame. So shall man be to the Superman.’ While Nietzsche(and, it must be admitted, the younger Strauss) weredisdainful of Christianity’s compassion for weakness,it is drawing a long bow to make Nietzsche responsible for the atrocities of Nazism. Indeed, Nietzsche scholarJoachim Köhler argues that Also sprach Zarathustra, with its celebration of the individual will, partly grew out ofthe poet’s freeing himself from the dominating personalityof the composer Richard Wagner. And Wagner’s widowCosima, writing to her son-in-law Houston StewartChamberlain (whose racist ideas definitely did influenceHitler), condemned Nietzsche’s book for its ‘Jewishness’.

Listening Guide

Strauss’ work is, as he said, ‘freely after Fr. Nietzsche’: hetakes some of the chapter headings as the defining imagesfor each section of his tone poem. It begins with the famous

Keynotes

R STRAUSS

Born Munich, 1864 Died Garmisch-Partenkirchen, 1949

Richard Strauss wrote two

symphonies as a teenager,

but this was not the musical

genre that captured his

imagination. Instead he

made his name in the theatre

and with the evocative and

storytelling possibilities of

the symphonic poem as

invented by Liszt. Even

Strauss’ Alpine ‘Symphony’

and the ‘Symphonia’

domestica are large-scale

symphonic poems with an

underlying narrative.

THUS SPAKE ZARATHUSTRA

Thus Spake Zarathustrawas composed in 1896 –

a relatively early work –

and takes its name from a

philosophical poem by

Nietzsche. The inspiration

is loose, but Strauss does

name the individual sections

of the music (performed

without pause) after different

chapters in Nietzsche’s

poem. The famous Sunrise

is followed by musical

explorations of the tensions

between nature and

mankind. Although

Nietzsche is frequently

associated with the concept

of the ‘Superman’ and his

poem ends in triumph,

Strauss’s free interpretation

closes in a mysterious and

tranquil mood.

7 | Sydney Symphony

invocation to the sun (Introduction: Sunrise), with lowrumbling accompanying the trumpets’ simple C-G-C theme(which in much of Strauss represents primeval nature). Theincreasing blaze of full chords establishes C major as onepole of the work (and as Del Mar notes, the sound of theorgan at the end of the section adds a liturgical note). Of

the Back-worlds-men depicts humanity in its primitive, orrather naïve state (in B minor, significantly – B being theother tonal pole of the piece). Strauss includes those whoprofess Christianity in this category, quoting a fragmentof the plainchant for the Credo to underline his point.

Of the Great Longing, which follows a gorgeous climaxfor the strings, is a depiction of humanity’s search forsomething beyond mere superstition, but Strauss’ musicdramatises the conflict between nature (the trumpettheme) and humanity’s tendency to create dogma withmore hints of plainchant and the unresolved conflictbetween the keys of C and B. A new chromatic motif leadsinto the Of Joys and Passions section with a theme thatStrauss described as ‘A flat (brass: dark blue)’. Actually thesection tends to be in C minor, linking it to the idea ofnature, whereas the following Funeral Song is in B minor,and therefore linked to the idea of man.

Of Science is based on a deeply-voiced fugue thatStrauss described as ‘spine-chilling’ and Del Mar regardsas having a ‘strangely mysterious quality’ despite its dourtimbre. In The Convalescent, Nietzsche describes Zoroaster’sspiritual and physical collapse, after which he emerges as the Superman. The Dance Song of the Superman is,like the ‘Dance of Seven Veils’ in Salome, a Viennese waltz – a Straussian joke, perhaps. Here poet and composer part company: Strauss’ Zoroaster displays none of thetriumphalism that Nietzsche’s does, and the work closeswith a mysterious and tranquil Night Wanderer’s Song inwhich the keys of nature and man still quietly contend.

GORDON KERRY ©2004

Thus Spake Zarathustra calls for four flutes (doubling piccolo), threeoboes (doubling cor anglais), four clarinets (doubling E flat clarinet),four bassoons (doubling contrabassoon); six horns, four trumpets,three trombones and two tubas; timpani and percussion; two harps,organ and strings.

The Sydney Symphony first performed the complete symphonicpoem in 1947 under Bernard Heinze and most recently in 1998 underSimone Young. In 2005 Alexander Briger conducted the opening in the Symphony in the Domain concert. Mackerras’ most recentperformance of the work in a Sydney Symphony concert was in 1978.

Nietzsche afforded

Strauss ‘much aesthetic

enjoyment’ rather

than any profound

philosophical conversion.

After the final rehearsal

for the premiere, Strauss,

with characteristic

modesty, wrote to his

wife: ‘Zarathustra is

glorious…of all my

pieces, the most perfect

in form, the richest in

content and the most

individual in character…

I’m a fine fellow after

all, and feel just a little

pleased with myself.’

Wolfgang Amadeus Mozart

Mass in C minor, K427

(Edited by H.C. Robbins Landon)

Emma Matthews sopranoYvonne Kenny sopranoSteve Davislim tenorPaul Whelan bass-baritoneSharolyn Kimmorley repetiteur


From the opening of the Kyrie of this Mass, theimagination of the mature Mozart is at full stretch. There is gravity, and a severity laced with pathos: a validexpression of the prayer for mercy of the text. Thepromise of the opening is fulfilled in much of whatfollows: Mozart is working on the grandest scale. In theQui tollis and Cum sancto spiritu fugue, he seems to joinhands with the greatest masters of the Baroque. Thechoral idioms of Bach’s Mass in B minor and Handel’sIsrael in Egypt are re-composed in the style of Vienneseclassicism, and Mozart does this without becoming less himself.

And yet this Mass in C minor remains incomplete,like Mozart’s other major choral work of his maturity,the Requiem. Death interrupted Mozart’s creation of theRequiem, which was completed, in a fairly satisfying way,by Mozart’s pupil, Süssmayr. Mozart’s failure to completethe C minor Mass is more puzzling, for there is enoughof it to rank the work, with the Requiem, as one of thesummits of late 18th-century church music.

The Mass in C minor has become widely known only in recent years. In 1901 the movements Mozart hadcomposed were completed by Alois Schmitt, but it wasthe 1956 revision and reconstruction by H.C. RobbinsLandon which really brought the Mass back into regularperformance. The incompleteness of Mozart’s musicmakes the Mass unsuitable for liturgical use, andsupplying the missing movements from earlier Mozartmasses is not a solution. The torso Mozart left, however,makes a varied and impressive concert work, with twobeautiful and demanding solo soprano parts.

Once Mozart had left the service of the PrinceArchbishop of Salzburg in May 1781, he was no longerobliged to compose church music. It was withoutexternal motivation that he began a large-scale mass.

8 | Sydney Symphony

Keynotes

MOZART

Born Salzburg, 1756Died Vienna, 1791

Mozart was a dutiful son:

he wrote to his father

frequently and for the most

part heeded his musical and

personal advice, except (it

seems) in the matter of his

marriage to the soprano

Constanze Weber in 1782.

Leopold’s consent was

grudging and even after the

wedding the 26-year-old

Mozart seemed anxious to

win his full approval.

GREAT C MINOR MASS

The composition of the Mass

in C Minor in 1783 may have

stemmed from a vow that

Mozart made – that he would

bring Constanze to Salzburg

as his wife and perform a

new mass there – and the

music features impressive

soprano solos intended for

her to sing. But the Mass

also shows the influence of

a short-lived but significant

period during which Mozart

was fascinated by the

Baroque style of Bach and

Handel. The Mass remains

unfinished and therefore

unsuitable for liturgical use;

although some editors have

reconstructed the missing

sections, the edition for this

performance confines itself

to the music that Mozart

wrote.

9 | Sydney Symphony

The usual explanation is the vow he made during the struggle to gain paternal approval for his marriage toConstanze Weber. Mozart had Constanze in mind for oneof the soprano solos, which has an unusually extensiverange, including low notes which modern sopranos oftenfind problematical.

Mozart wrote to his father on 4 January 1783 that hehad ‘promised in his heart’ that when he broughtConstanze to Salzburg as his wife he would perform anewly composed mass there, and he mentioned ‘as proofthat I really made the promise – the score of half a massfor which I still have high hopes’.

The Mass was destined to remain incomplete. Aperformance probably took place in Salzburg later in1783, with Constanze singing the solo soprano part,possibly with movements from earlier Mozart massesused for the unset part of the text. But does a vow inconnection with his marriage provide a satisfactoryexplanation of Mozart’s composition of a mass on thelargest scale, in a style new for him? This C minor workrevives the archaic form of the Baroque cantata mass,in which choruses and solos alternate as separatemovements. Haydn had used this form (familiar fromBach’s Mass in B minor), in his St Cecilia Mass of 1766,but went on to perfect the Classical ‘symphonic’ Mass,in which each part of the mass is set as a continuousmovement.

There were models for a strict and searching ‘learned’style in Austrian Baroque church music, and Mozart wasnot the only composer to be reminded of these in the1780s (the same tendency can be found in the churchmusic of Joseph and Michael Haydn). But Mozart’srecourse to an older form and style is perhaps a resultof his encounter with the music of Bach and Handel.This came about through Baron Gottfried van Swieten,of the Imperial Court in Vienna, who owned scores ofBach and Handel’s major works and performed them in his house concerts. The discovery of the major worksof Bach in particular impelled Mozart to deepen hisunderstanding of contrapuntal writing, with by-productssuch as the Fugue for two pianos (K426) and thetranscriptions of Bach preludes and fugues for string trio.

The Mass in C minor is likewise marked by passagesthoroughly Baroque in conception and style. For a briefperiod this was the dominant influence in Mozart’s music,though in the remaining years of his life he reserved

‘…half a mass for which

I still have high hopes.’

MOZART, 1783

Baroque idioms for movements of high seriousness, suchas the chorale for the two armed men in The Magic Flute.The Bach-inspired crisis in Mozart’s music, according toAlfred Einstein, came to an end while the C minor Masswas coming into being. Perhaps Mozart felt that thedisparities in style between some of the parts of thisMass were too great to be resolved, and no longer wishedto continue along the way he had set out.

Listening Guide

Lack of stylistic unity has been a common criticism ofthe Mass in C minor, which displays elements of Bachand Handel in the choruses, and writing of a moreoperatic and Italian character in the solos and ensembles.Looking at each movement in turn, we find the Kyriein C minor, sombre and remarkable for consistentdevelopment of its themes; and the soprano solo Christe a complete contrast, in the relative major key.

The spirited opening of the Gloria is suggestive ofHandel’s ceremonial manner. Laudamus te is a coloraturaaria for the second soprano, very Italian in style. Gratias agimus tibi is a five-part chorus, full of emotionaltension and suggesting awe at the majesty of God.Domine Deus is a duet for the two sopranos illustratingthe duality in unity of God, Father and Son. The Qui tollis, in G minor with the chorus in eight parts, is the

10 | Sydney Symphony

This unfinished portrait of Mozart was

begun by Mozart’s brother-in-law,

Joseph Lange, around the time of the

Mass in C Minor. It is said that

Constanze considered it the best

likeness of her husband.

The discovery of the

major works of Bach in

particular impelled

Mozart to deepen his

understanding of

contrapuntal writing.


mightiest and most expressive chorus of the work. The majestic double-dotted rhythm of the orchestra andthe free use of a passacaglia principle derive from Handeland Bach. Einstein sees the music as a representation of the Saviour making his way under whiplashes andbearing the weight of the Cross. The Quoniam is aconcerto-like trio for the sopranos and the tenor. A six-bar adagio introduction on the words ‘Jesu Christe’ leadsto an alla breve double fugue, Cum sancto spiritu.

Mozart partially completed only two movements ofthe Credo, as far as Et incarnatus est. An almost martialpattern in the orchestra undergirds the Credo while thechorus in five parts alternate unified proclamation offaith with freer imitative patterns. Et incarnatus est is intotal contrast. This virtuoso aria for soprano – withobbligato parts for flute, oboe and bassoon, andculminating in an elaborate cadenza – reminded oneEnglish Mozart specialist of the Mad Scene from Lucia di Lammermoor. Such organ-loft severity will not allowthat a popular and pretty style could be a genuineresponse to the mystery of the Incarnation. Einsteinlikened it, more sympathetically, to Italian Christmasmusic: a nativity song for an angel.

The Sanctus is another grand double-chorus, solemnwith the sound of horns and trombones. The Osanna is a double-fugue full of brilliant running figuration forvoices and strings. (The second choir’s part was missingand had to be reconstructed from the orchestral parts.)The Benedictus is the only place where the four solo voices sing together. The reprise of the Osanna concludes,if not Mozart’s greatest church work, at least the workcontaining his greatest choral writing.

DAVID GARRETT ©2007

Robbins Landon’s version of the Mass in C Minor confines itself to movements for which material exists in Mozart’s own hand,cautiously fills out Mozart’s incompletely realised intentions for the instrumentation of the Credo, and arranges the Sanctus andHosanna for double choir, as was clearly Mozart’s intention.

The Mass calls for an orchestra of one flute, pairs of oboes, bassoons,horns and trumpets, three trombones, timpani, organ and strings.

The Sydney Symphony first performed the Mass in 1971 withMoshe Atzmon and the Royal Christchurch Musical Society Choirand soloists Joan Carden, Maureen Lehane, John Mitchinson andGrant Dickson; and most recently in the 2001 Master Series withEdo de Waart, soloists Inger Dam-Jensen, Yvonne Kenny, JamieAllen and Peter Coleman-Wright, and the Sydney PhilharmoniaChoirs. (The H.C. Robbins Landon edition was used.)

CORRECTION

In a program earlier this month we gave Mackerras’ most recentperformance of Janácek’sSinfonietta with the SydneySymphony as 1963. This was themost recent performance in aSydney Symphony subscriptionconcert. However, Mackerrassubsequently performed theSinfonietta with the orchestra in aconcert organised by specialarrangement for the 1983Physiological Sciences Conferencein Sydney.

The virtuoso aria Etincarnatus est…reminded one English

Mozart specialist of the

Mad Scene from Luciadi Lammermoor.


Soprano and chorus

Kyrie eleisonChriste eleisonKyrie eleison

Chorus

Gloria in excelsis Deo,et in terra paxhominibus bonae voluntatis.

Soprano

Laudamus te, Benedicimus te,Adoramus te,Glorificamus te.

Chorus

Gratias agimus tibiPropter magnam gloriam tuam.

Sopranos 1 & 2

Domine Deus, Rex coelestis,Deus Pater omnipotens.Domine Fili unigeniteJesu Christe,Domine Deus, Agnus Dei,Filius Patris.

Chorus

Qui tollis peccata mundi,Miserere nobis.Qui tollis peccata mundi,Suscipe deprecationem nostram.Qui sedes ad dexteram Patris,Miserere nobis.

Sopranos 1 & 2, Tenor

Quoniam tu solus sanctus,Tu solus Dominus,Tu solus Altissimus,

MASS IN C MINOR

Lord, have mercy

Christ, have mercy

Lord, have mercy

Glory be to God on high,

and on earth peace,

Goodwill to all mankind.

We praise Thee,

We bless Thee,

We worship Thee,

We glorify Thee.

We give thanks to Thee

For Thy great glory.

Lord God, heavenly King,

Almighty God and Father.

Lord, the only begotten Son,

Jesus Christ,

Lord God, Lamb of God,

Son of the Father.

Thou that takest away the sins of the world,

Have mercy on us.

Thou that takest away the sins of the world,

Receive our prayer.

Thou that sittest at the right hand of the Father,

Have mercy on us.

For Thou only are holy,

Thou only art the Lord,

Thou only art the Most High.


Chorus

Jesu Christe,Cum Sancto SpirituIn gloria Dei Patris.Amen.

Chorus

Credo in unum Deum,Patrem omnipotentem,Factorem coeli et terrae,Visibilium omnium et invisibilium,Et in unum Dominum Jesum Christum,Filium Dei unigenitum,Et ex Patre natum,Ante omnia saecula.Deum de Deo, lumen de lumine,Deum verum de Deo vero,Genitum, non factum,Consubstantialem Patri,Per quem omnia facta sunt.Qui propter nos hominesEt propter nostram salutemDescendit de coelis.

Soprano

Et incarnatus est de Spiritu SanctoEx Maria Virgine,Et homo factus est.

Chorus

Sanctus, sanctus, sanctus,Dominus Deus Sabaoth.Pleni sunt coeli et terra gloria tua.Osanna in excelsis.

All soloists

Benedictus qui venitIn nomine Domini.

Chorus

Osanna in excelsis.

Jesus Christ,

With the Holy Spirit

In the Glory of God the Father.

Amen.

I believe in one God,

The Father, the Almighty,

Maker of heaven and earth,

And of all things, seen and unseen;

And in one Lord Jesus Christ,

Only begotten Son of God,

And born of the Father

Before all worlds.

God from God, light from light,

True God from True God,

Begotten, not made,

Of one being with the Father,

By whom all things were made.

Who for us

and for our salvation

Came down from heaven.

And who was incarnate of the Holy Spirit,

Born of the Virgin Mary,

And became human.

Holy, holy, holy

Lord God of Hosts.

Heaven and earth are full of Thy glory.

Hosanna in the highest.

Blessed is the one who comes

In the name of the Lord.

Hosanna in the highest.


GLOSSARY

CHROMATIC – in tonal music, the use offoreign notes and harmonies that do notbelong to the key, together with frequentmodulation to other keys. The impressionis one of harmonic richness and whilechromaticism has been used as anexpressive effect since the 16th century,it is most strongly associated with theRomantic style of the 19th century.

COLORATURA – a florid style of singing (orcomposition for the voice) requiring greatagility and flexibility.

CONTRAPUNTAL – a style of music in whichtwo or more different musical lines ormelodies are played at the same time(counterpoint). Historically, contrapuntaltechnique has been considered a ‘learned’or academic approach to composing music.At the same time, simple forms ofcounterpoint can be found in traditionalmusic, e.g. childhood rounds.

DOUBLE-DOTTED RHYTHM – a dotted rhythmis a pattern of alternating long and shortnotes where the long note is three times aslong as the short one – the musical effectis often considered majestic or sprightly,depending on the tempo. A double-dottedrhythm exaggerates the pattern and theeffect by making the long note longer andthe short note shorter (in a ratio ofapproximately 7:1).

FUGUE – a musical form in which a shortmelody, the subject, is first sounded byone part or instrument alone, and is thentaken up in imitation by other parts orinstruments one after the other. A DOUBLE

FUGUE has two distinct subjects. The Latinfuga is related to the idea of both ‘fleeing’and ‘chasing’. Its golden age was the 18th century, when it became a formalisedgenre, and J.S. Bach counts as the greatestwriter of fugues in musical history.

MASS – the Christian eucharistic service;when virtually all the texts are sung(plainchant or composed settings) it isknown as a high or solemn mass. A complete mass setting will include:Kyrie, Gloria (ending with Cum sanctospiritu), Credo, Sanctus, Benedictus andAgnus Dei.

PASSACAGLIA – a musical form withBaroque origins, which, since its revival in the 19th century, has been characterisedby its recurring ground bass, providing the support for an extended set ofvariations, and its serious tone. Manycomposers have taken inspiration from the impressive but atypical passacaglias ofBach and Handel.

PLAINCHANT – a style of Westernecclesiastical chanting associated with the Roman Catholic Church as well assome Anglican traditions. Also known asGregorian chant after Pope Gregory (theGreat).

SYMPHONIC POEM – (also ‘tone poem’) agenre of orchestral music that issymphonic in scope but adopts a freerstructure in service of an extra-musical‘program’ that provides the narrative orscene. Liszt was the first to use the term.

TONAL POLE – a way of referring to tonalcentres in a work where there are two suchcentres. A tonal centre is described interms of the ‘home’ note (or key) to whichthe music leads or gravitates.

This glossary is intended only as a quick and easyguide, not as a set of comprehensive and absolutedefinitions. Most of these terms have many subtleshades of meaning which cannot be included forreasons of space.


MORE MUSIC

Selected Discography

MOZART

Raff Wilson, Artistic Manager, writes:Leonard Bernstein, together with the BayerischerRundfunk Orchestra and Choir, gives a stunning renditionof the C Minor Mass, with a balance between sensitivephrasing and the gravity of modern instruments andmassed voices. This recording features the late greatsoprano Arleen Augér and the wonderful mezzoFrederica von Stade in the second soprano part. DEUTSCHE GRAMMOPHON 431791

The Gabrieli Consort and Players, conducted by PaulMcCreesh, give a fresh and exhilarating energy to theMass. The finale to the Gloria is as brisk and optimistic aspossible – smaller choral forces make for incredibly crispand flexible delivery, and elsewhere the original windinstruments give an almost pastoral colour to the work.ARKIV PRODUKTION (DG) 000576202

RICHARD STRAUSS

The Chicago Symphony Orchestra’s performance ofThus Spake Zarathustra under Fritz Reiner – an earlystereo recording from 1954 – is remarkably fresh andvigorous. Paired with Ein Heldenleben.RCA VICTOR LIVING STEREO 61494 (61389 FOR SACD)

Decca’s complete Strauss Tone Poems – a boxed setfeaturing a variety of orchestras and conductors –includes Thus Spake Zarathustra with Zubin Mehta andthe Los Angeles Philharmonic.DECCA 470 954-2

SIR CHARLES CONDUCTS THE SYDNEY

SYMPHONY

Beethoven’s Missa Solemnis with soloists RosamundIlling, Elizabeth Campbell, Christopher Doyg, andRodney Macann, and the Sydney Philharmonia Choir.ABC CLASSICS 434722

‘Brünnhilde’s Immolation Scene’ from Wagner’sGötterdämmerung, sung by Birgit Nilsson in the historicconcert for the opening of the Sydney Opera House in1973. In the 75th Anniversary Collection featuring theSydney Symphony’s recording heritage.ABC CLASSICS 476 5957

SYDNEY SYMPHONY: LIVE RECORDINGS

Strauss and Schubert

R. Strauss Four Last Songs; Schubert Symphony No.8(Unfinished); J. Strauss II Blue Danube Waltz Gianluigi Gelmetti (cond.), Ricarda Merbeth (sop.)SSO1

Glazunov and Shostakovich

Glazunov The Seasons; Shostakovich Symphony No.9Alexander Lazarev (conductor)SSO2

NOVEMBER

3 November, 8pmROMEO AND JULIET

Tugan Sokhiev conductorTchaikovsky, Rimsky-Korsakov, Prokofiev

10 November, 8pmDON JOHN OF AUSTRIA

Alexander Briger conductorCheryl Barker, Sally-Anne Russell, Steve Davislim,Grant Doyle, Paul Whelan vocal soloistsSydney Philharmonia Chamber SingersThe first opera to be composed and performed inAustralia, by Isaac Nathan

14 November, 1.05pmCONCERTO FOR ORCHESTRA

Hugh Wolff conductorMichael Dauth violinDean, Walton, Lutoslawski

RACHMANINOV FESTIVAL

Vladimir Ashkenazy conductor

Mon 12 November, 7pm – LIVE

Rhapsody on a theme of Paganini; Symphony No.3Lukás Vondrácek piano

Tue 13 November, 8pmPiano Concerto No.2, Symphony No.1Cristina Ortiz piano

Thu 15 November, 8pmPiano Concerto No.4, Symphony No.2Kazune Shimizu piano

Fri 16 November, 8pm – LIVE

Symphonic Dances, Piano Concerto No.3Garrick Ohlsson piano

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The glint in a young Mackerras’ eye:

Sydney and the world

resumed search for an import, fulfilled inGoossens with impressive results.

Heinze himself never seems to havedone any conductor training, or suggestedany, in his role as the ABC’s main musicadviser. Whether any of the Australianconductors of that time could have beennurtured into the post is doubtful – JosephPost is said to have lacked necessaryqualities, for all his musical talent and finetechnique. What was needed, clearly, inaddition, was drive and initiative. A youngoboe player in the orchestra of the 1940shad those, even though he may have wishedat times that less patience was required. His nephew, and a cohort of youngconductors, some of them trained in theprograms instituted by the ABC thenSymphony Australia, since the 1980s, maybe a sign of the future. Whether the chiefis Australian matters less because of themusical results than as a sign of the healthand vitality of Australia’s musical culture.

David Garrett, a historian and former programmerfor Australia’s symphony orchestras, is studying the history of the ABC as a musical organisation.

Batons and knapsacks?

The return of Sir Charles Mackerras toconduct in the orchestra’s 75th anniversaryyear, under the banner ‘Australia’s mostdistinguished conductor’, prompts thequestion why there have been so fewAustralians among the Sydney Symphony’schief conductors. Mackerras was the first,and since then only Stuart Challender. That still puts the Sydney orchestra twoAustralians ahead of Melbourne!

Charles Mackerras’ career path, fromoboist in the Sydney Symphony, throughstudies in Prague and extensive experiencein Britain and Europe, especially in theopera house, resembles Challender’s insome ways, and suggests part of the answer: it is difficult to get the rightexperience here in Australia, and enough of it. Apart from Challender, and perhapsMoshe Atzmon (aged 36 when he took overthe Sydney Symphony in 1967), the Sydneyorchestra has never had a chief near theoutset of a career, and for several it was,sadly, the end: Nicolai Malko and Willemvan Otterloo died here, and Goossens never recovered from the mode of hisgoing from Sydney.

Some say the ‘cultural cringe’ madeimports more acceptable, to audiences atleast, than natives. But one would havethought the ABC’s network of 6 full-timesymphony orchestras could have been anideal training ground for local conductors.Some ABC music officials pointed to thepotential, near the beginning in the 1930s.Then the war-time cancellation of plannedvisits by overseas conductors was given a positive spin, as an opportunity for the residents. The main beneficiary was Sir Bernard Heinze, who conducted here,there and everywhere during the war years. Audiences for music grew, the localconductors and soloists were acknowledgedto have done well, yet the upshot was a

75 YEARS: HISTORICAL SNAPSHOT


ABOUT THE ARTISTS

Sir Charles Mackerras was born to Australian parents in the USA, and is a former Principal Oboe and ChiefConductor of the Sydney Symphony. He conducted the firstconcert in the Concert Hall of the Sydney Opera House,an all-Wagner program, part of which is now on CD.

Sir Charles is Principal Guest Conductor of thePhilharmonia Orchestra, Conductor Laureate of theScottish Chamber Orchestra, Conductor Emeritus ofWelsh National Opera, Principal Guest ConductorEmeritus of the San Francisco Opera, and ConductorEmeritus of the Orchestra of the Age of Enlightenment. A specialist in Czech repertoire, he was Principal GuestConductor of the Czech Philharmonic from 1997 to 2003.

His discography includes a cycle of Janácek operas with the Vienna Philharmonic (he has conducted these operasin New York, Paris, Sydney and London) and award-winning recordings of Britten’s Gloriana and Dvorák’sRusalka. He has also recorded symphonies of Mahler and Brahms, eight Mozart piano concertos (with AlfredBrendel), Mozart operas and works by Smetana andMartin°u.

Sir Charles has undertaken much research into 18th-and 19th-century performance. In 1991 he conducted anew production of Don Giovanni at the re-opening ofPrague’s Estates Theatre, scene of its original premiere,to mark the bicentenary of Mozart’s death.

In 2005 Sir Charles celebrated a 50-year association with the Royal Opera House, Covent Garden conductingVerdi’s A Masked Ball, and recently, at Covent Garden,conducted Kátya Kabanová, a work he first presented atSadler’s Wells in 1951, introducing Janácek to UK operaaudiences. He marked his 55th year at the EdinburghFestival in 2006, conducting all the Beethoven symphonies.

In the 2007–08 season Sir Charles also conducts theRoyal Liverpool Philharmonic, Vienna Philharmonic,Leipzig Gewandhaus Orchester and Dresden StateOrchestra.

Sir Charles was made a Commander of the BritishEmpire in 1974 and in 1979 was knighted for his servicesto music. In 1997 he was made a Companion of the Orderof Australia and in 2003 he was made a Companion ofHonour. In 2005 he was the first recipient of the Queen’sMedal for Music.

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Sir Charles Mackerras conductor


Emma Matthews is a Principal Artist with Opera Australia, forwhich she made her debut as Damigella in Monteverdi’sL’incoronazione di Poppea in 1993. Her many roles for Opera Australiahave included Pamina and Papagena (The Magic Flute), Lakmé,Cleopatra (Giulio Cesare), Juliette, Lulu, Zwaantie (Batavia), the titlerole in The Cunning Little Vixen, Yum-Yum (Mikado), Sophie (DerRosenkavalier), Oscar (Un ballo in maschera), Olympia (The Tales ofHoffmann), Blonde (The Abduction from the Seraglio), Cherubino (TheMarriage of Figaro), Adele (Die Fledermaus), and Morgana (Alcina).

She performs regularly with all the major Australian orchestras,Sydney Philharmonia Choirs, and the New Zealand ChamberOrchestra, with whom she has recorded Handel arias. Recent concerthighlights have included A German Requiem, Mahler’s Second andFourth Symphonies, Poulenc’s Gloria, Mozart’s Requiem, BachPassions, and Messiah.

For the 2007 Perth Festival she sang Philomele in the worldpremiere of The Love of the Nightingale. Other festival engagementshave included Ismene in Mitridate (Sydney), and performances at theMelbourne, Adelaide and Huntington Festivals. In 2004 she touredwith the Australian Chamber Orchestra in a program of Mozart arias.

Her awards include a Mo Award (Classical Performer of the Year)and a Green Room Award (Best Female Singer in a Title Role) forLulu in 2004. She is a Bachelor of Music graduate from the WestAustralian Conservatorium of Music.

Emma Matthews soprano

Born in Sydney, Yvonne Kenny made her operatic debut in Londonin 1975 singing Donizetti’s Rosmonda d’Inghilterra. After winning theKathleen Ferrier Competition she joined the Royal Opera House,where her roles have included Pamina (Die Zauberflöte), Ilia(Idomeneo), Marzelline (Fidelio), Oscar (Un ballo in maschera), Susanna(Le nozze di Figaro), Adina (L’elisir d’amore), Liu (Turandot), and DonnaAnna (Don Giovanni). She has enjoyed particular success in Handelroles such as Semele, Alcina, Cleopatra (Giulio Cesare), Armida(Rinaldo), and Deborah.

International appearances include the Vienna State Opera, LaScala, Berlin State Opera, Paris Opera, Munich, Hamburg, Zurich,English National Opera, Glyndebourne and Washington Opera. Shereturns frequently to Australia where her roles have included Gilda(Rigoletto), Pamina, Susanna, Fiordiligi (Così fan tutte), Cleopatra, andtitle roles in Maria Stuarda, Alcina, Massenet’s Manon, and L’incoronazionedi Poppea. She appears in concerts and festivals throughout Europeand North America and is a regular guest at the BBC Proms. InAustralia she has toured for Musica Viva, the Australian ChamberOrchestra and the Brandenberg Orchestra, and performs with theAustralian symphony orchestras.

Yvonne Kenny’s numerous recordings include Mozart operaswith Harnoncourt, Solti and Marriner; the Mozart Requiem; Mozartarias (ACO) and Handel arias (Brandenburg); Deborah; and Britten’sGloriana with Mackerras.

In 1989 she was made a Member of the Order of Australia.

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Yvonne Kenny soprano


Steve Davislim began his training as a horn player and studiedvoice at the Victorian College of the Arts with Dame JoanHammond. After attending the International Opera Studio inZurich, he began his career as an ensemble member of theZurich Opera, where his roles included Almaviva (Il barbiere diSiviglia), the Steersman (The Flying Dutchman), Camille (The MerryWidow) and Maler (Lulu).

He has also sung with the German State Opera, Berlin,Hamburg State Opera, Royal Opera House, and VolksoperVienna, as well as in the Ludwigsburg and Salzburg Festivals,and in 2005 he made his debut with Chicago Lyric Opera inFidelio. That same year he sang Idomeneo for the opening of LaScala. In Sydney he has sung Don Ottavio, Lenski (Onegin) andDavid (Die Meistersinger).

He has performed with the world’s leading orchestras,working with such conductors as Colin Davis, Adam Fischer,Valery Gergiev, Michael Gielen, Nikolaus Harnoncourt, BernardHaitink, René Jacobs, Armin Jordan, Simone Young, LorinMaazel, Marc Minkowski, Roger Norrington, Antonio Pappano,Michel Plasson, Riccardo Chailly, Marcello Viotti, Franz Welser-Möst, Philippe Herreweghe and David Zinman. His extensivediscography includes Bach cantatas with John Eliot Gardiner,Mozart’s Requiem and Haydn’s Creation, and a solo album ofRichard Strauss orchestral songs.

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Steve Davislim tenor

A native New Zealander, Paul Whelan studied as a baritone atthe Wellington Conservatoire and the Royal Northern College of Music. Early highlights included his debuts at Covent Garden,Netherlands Opera and the Metropolitan Opera as Schaunard inPuccini’s La bohème, and as Marcello at the Munich State Opera.And in 1993 he won the Lieder Prize in the Cardiff Singer of theWorld Competition.

During his decade-plus as a baritone he found his voicematuring and settling, and began concentrating on the bass-baritone and lyric bass repertoire. This has been reflected in such roles as Christus in Bach’s St John Passion at EnglishNational Opera and Escamillo with Welsh National Opera. Inrecent years he has added repertoire such as the Four Villains in Offenbach’s Les Contes d’Hoffmann, Schoenberg’s Gurrelieder,Delius’s Sea Drift, Argante in Handel’s Rinaldo, Apollon in Gluck’sAlceste, the Nightwatchman in Wagner’s Die Meistersinger, andMussorgsky’s Songs and Dances of Death.

With Opera Australia he has sung the title roles in Don Giovanni and Onegin, as well as Demetrius in Britten’s A Midsummer Night’s Dream. He has also sung Olivier in RichardStrauss’ Capriccio. His recordings include A Midsummer Night’sDream with the LSO and Colin Davis, and Kurt Weill’s Silberseeunder Markus Stenz.

Paul Whelan bass-baritone


Formed in 1920, Sydney Philharmonia Choirs is Australia’s largest choral organisation. With fourchoirs – the 32-voice Chamber Singers (the Motet Choir), the 100-voice Symphony Chorus, the youth-focussed 70-voice Vox and the 300-voice Festival Chorus – Sydney Philharmonia presents its ownannual concert series as well as acting as chorus for the Sydney Symphony.

Sydney Philharmonia has worked with conductors such as Eugene Ormandy, Otto Klemperer, DavidWillcocks, Charles Mackerras, Edo de Waart, Charles Dutoit, Christopher Hogwood, Mark Elder, JohnNelson, Richard Hickox, Gianluigi Gelmetti and Bruno Weil. Previous Musical Directors haveincluded Mats Nilsson, Antony Walker, John Grundy and Peter Seymour.

In 2002 Sydney Philharmonia was the first Australian choir to sing at the BBC Proms, performingMahler’s Eighth Symphony under Simon Rattle. Other highlights have included performances for the Sydney Olympics and the Nagano Winter Olympics, concerts with Barbra Streisand, Schoenberg’sGurrelieder for the Melbourne Festival, and the premiere recording of Andrew Schultz and Gordon K.Williams’ Journey to Horseshoe Bend with the Sydney Symphony. Last year the schedule includedrecording for the soundtrack of Happy Feet and Stravinsky’s Rite of Spring with the Australian YouthOrchestra and Oleg Caetani. 2007 season highlights include Britten’s War Requiem for the PerthFestival, and a tour to Hobart to work with the TSO. In May Sydney Philharmonia appeared with theSydney Symphony in Rossini’s Stabat Mater.

Brett Weymark artistic director

Brett Weymark studied singing at Sydney Universityand conducting at the Sydney Conservatorium.He is passionate about new Australian compositions,baroque masterworks, music education, andaccess to the art of choral singing, and in 2001he was awarded a Centenary Medal for servicesto choral music. In 2000 he was appointedAssistant Chorusmaster at Sydney Philharmonia,and Musical Director in 2003. In 2002 hereceived a NSW Ministry for the Arts grant tostudy conducting in Europe and America. From2003 to 2005 he was also Musical Director andConductor for Pacific Opera. As a chorusmaster,he has prepared works for Charles Mackerras,Gianluigi Gelmetti, Edo de Waart, Simon Rattleand Charles Dutoit. In the Sydney Philharmonia2005 season he presented 32 of Bach’s churchcantatas in a 10-concert series and conducted A Child of Our Time for the Tippett centenary.Highlights in 2006 included a Sydney Festivalconcert of Danish works and The Wizard of Ozwith the Sydney Symphony. He conductedmusic for Happy Feet and led a workshoppedperformance of Mozart’s Requiem with over1300 voices. Earlier this year he conducted theSydney Symphony in concerts with MichaelParkinson, and Bach’s St Matthew Passion withSydney Philharmonia.

Elizabeth Scott assistant chorusmaster

Elizabeth Scott graduated from the SydneyConservatorium of Music in 1995 having earnedthe prestigious Student of the Year Award andthe Reuben F. Scarf Scholarship. She thencompleted postgraduate studies in choralconducting, vocal performance and auraltraining in Hungary and Germany beforereturning to Australia in 2004. She took up theposition of Assistant Chorusmaster to SydneyPhilharmonia Choirs in 2006. She was alsochorusmaster for Sydney Philharmonia Choirs’2005 and 2006 performances of Messiah, and sheis Musical Director of Vox, Sydney Philharmonia’syouth choir. Since 2005, she has been the officialaccompanist for The Arts Unit’s Primary Choral,Primary Proms and Instrumental Festivals heldat Sydney Opera House. She was the AssistantChoral Conductor for Schools Spectacular in2005 and 2006. Since 2007, Elizabeth hasparticipated in Symphony Australia’s ConductorDevelopment Program. As a singer, Elizabethhas performed extensively throughout Europeand has toured with the Allgau Sinfonietta toAustria, Hungary, Switzerland, France and Africa.She is a regular soloist for Sydney Grammar’sBach 2010 project and was a guest soloist withthe Old Sydneian String Orchestra in 2006.Elizabeth sings regularly with Cantillation and willperform later this year with the Song Company.

www.sydneyphilharmonia.com.au


Brett Weymark artistic director and chorusmaster

Jo Jacobs general managerElizabeth Scott assistant chorusmasterJosephine Allan and Benjamin van Tienen rehearsal pianists

SOPRANO I

Jacqui BinetskyJodie BoehmeAnne CookeFreja CrossPamela

CunninghamCatherine

De LucaVirginia DinhVanessa EdeKarina FallandAnika Gabriel

HaertelJudith GorryCaroline GudeEllen HopperClaire JordanSue JusticeCarolyn LowryRegula

ScheideggerMyanna SorensenAndrea TigheKathrine TomkinsJacqui Wilkins

SOPRANO II

Shelley AndrewsAnne BlakeFemmie BuysMary CapperShona CorbinRouna DaleyShamistha

de Soysa

Vanessa DowningNatalie FisherDorothy GillGillian Haslehust-

SmithCarine JenkinsHeather LeeGillian MarkhamClaire MillsElizabeth MilnerSarah Mitchell-

PatersonVicky PiroloLaura PlattsMitali SagadeLauren SaundersAmy StreaterMaree TyrrellSharla

VijayaratnamJulia Wee

ALTO I

Annette AndersonLouise BarberJan BorrieGae BristowMegan BrockClaire DuffyRuth

EdenboroughAlex FalkinerMichelle FangJan FawkeKerry FrancisSophie Killen

Juanita LestariSusie NorthBeverley PriceAriadne TaylorVictoria ToddCatherine WilsonCaroline Woolias

ALTO II

Misha ChristianRuth CollersonCatriona DebelleEdith GraySue HarrisKathryn HarwoodVesna HatezicSarah HowellMelinda JeffersonTijana MiljovskaSilvana

MladenovicAnne O’ConnorFelicity PaulsenHelen PedersenJudith PickeringMegan SolomonJane van BalenSheli WallachLouise WilliamsBrigitte WirflerPeta WolifsonCallie Wood

TENOR I

Robert ThomsonAlex WalterSteven HankeyTodd HawkenTanushan Samuel-

ThambiahSelwyn LemosEdward HooverScott McLennanBrendan DochertyFrank Maio

TENOR II

Patrick BlakeDenys GillespiePeter RobertsBruce TurnerMalcolm DayMichael WallachMichael ClarkStephen CoulingAdam BourkeStephen

McDonnell

BASS I

Greg AndersonMartin BairdBrian BanstonTimothy BennettEdwin CarterRobert

CunninghamNicholas GentileMatthew Gyton

Simon HarrisRalf KerstenMark McGoldrickJurgen OttoDavid RandallBen SweetenDaniel TameRobert WilliamsArthur WincklerBenjamine Wirfler

BASS II

John Bartholomaeus

Peter FitzgibbonBen BurtonRiley MansfieldNeil NicollPeter PooleStefan GoldfinchAlex Wylie

AtmorePaul GreenAndrew RafteryChris MooreEdward ToalIan DaviesMartin KuskisPaul CouvretMichael Ryan



THE SYDNEY SYMPHONY

Founded in 1932, the Sydney Symphonyhas evolved into one of the world’s finestorchestras as Sydney has become one ofthe world’s great cities. Resident at theiconic Sydney Opera House where theSydney Symphony gives more than 100performances each year, the Orchestra alsoperforms concerts in a variety of venuesaround Sydney and regional New SouthWales. International tours to Europe, Asiaand the USA have earned the Orchestraworld-wide recognition for artisticexcellence.

Critical to the success of the SydneySymphony has been the leadership given by its former Chief Conductors including:Sir Eugene Goossens, Nicolai Malko,Dean Dixon, Willem van Otterloo, LouisFrémaux, Sir Charles Mackerras, Stuart

Challender and Edo de Waart. Alsocontributing to the outstanding success of the Orchestra have been collaborationswith legendary figures such as GeorgeSzell, Sir Thomas Beecham, OttoKlemperer and Igor Stravinsky.

Maestro Gianluigi Gelmetti, whoseappointment followed a ten-yearrelationship with the Orchestra as GuestConductor, is now in his fourth year asChief Conductor and Artistic Director ofthe Sydney Symphony, a position he holdsin tandem with that of Music Director at the prestigious Rome Opera.

The Sydney Symphony is reaping therewards of Maestro Gelmetti’s directorshipthrough the quality of sound, intensityof playing and flexibility between styles. His particularly strong rapport withFrench and German repertoire iscomplemented by his innovativeprogramming in the Shock of the New concerts and performances ofcontemporary Australian music.

The Sydney Symphony’s award-winningEducation Program is central to theOrchestra’s commitment to the future of live symphonic music, developingaudiences and engaging the participationof young people. The Sydney Symphonymaintains an active commissioningprogram promoting the work of Australiancomposers and in 2005 Liza Lim wasappointed Composer-in-Residence forthree years.

In 2007, the Orchestra celebrates its 75th anniversary and the milestoneachievements during its distinguishedhistory.

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


MUSICIANS

01First Violins

02 03 04 05 06 07

08 09 10 11 12 13

01Second Violins

02 03 04 05 06 07

08 09 10 11 12 13

First Violins

01 Sun YiAssociate Concertmaster

02 Kirsten WilliamsAssociate ConcertmasterKirsty HiltonAssistant Concertmaster

03 Fiona ZieglerIan & Jennifer Burton Chair of Assistant Concertmaster

04 Julie Batty05 Gu Chen06 Amber Davis07 Rosalind Horton08 Jennifer Hoy09 Jennifer Johnson10 Georges Lentz11 Nicola Lewis12 Alexandra Mitchell

Moon Design Chair of Violin13 Léone Ziegler

Sophie Cole

Second Violins

01 Marina MarsdenPrincipal

02 Susan DobbieAssociate Principal

03 Emma WestAssistant Principal

04 Pieter Bersée05 Maria Durek06 Emma Hayes07 Shuti Huang08 Stan Kornel09 Benjamin Li10 Nicole Masters11 Philippa Paige12 Biyana Rozenblit13 Maja Verunica

Guest Musicians

Emily Long First Violin#

Emily Qin First Violin#

Anthea Hetherington First Violin‡

Tereza Singer First Violin

Alexander Norton Second Violin#

Thomas Dethlefs Second Violin†

Victoria Jacono Second Violin†

Thomas Dundas Second Violin

Leigh Middenway Second Violin

Deborah Scholem Second Violin

Jacqueline Cronin Viola#

Jennifer Curl Viola#

Rosemary Curtin Viola

Vera MarcuViola

Rowena Crouch Cello#

Martin Penicka Cello†

Minah Choe Cello

Josephine Costantino Cello

Jennifer Druery Double Bass#

Ann Peck Oboe#

Casey Rippon Horn#

Katy Hermann Horn

Joshua Davis Trombone#

Antonio Neilley Menendez de Llano

Tuba

Key:

# Contract Musician† Sydney Symphony

Fellow‡ Courtesy of the

Tasmnian Symphony Orchesatra

Gianluigi GelmettiChief Conductor andArtistic Director

Michael DauthChair of Concertmastersupported by the SydneySymphony Board and Council

Dene OldingChair of Concertmastersupported by the SydneySymphony Board and Council


08Cellos

09 10 11 01 02 03

01Violas

02 03 04 05 06 07

04 05 06 07 08 09

01Double Basses

02 03 04 05 06 07

08Harp

01Flutes

02 03Piccolo

MUSICIANS

Violas

01 Roger BenedictAndrew Turner and Vivian Chang Chair of Principal Viola

02 Anne Louise ComerfordAssociate Principal

03 Yvette GoodchildAssistant Principal

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

Cellos

01 Catherine Hewgill Principal

02 Nathan Waks Principal

03 Leah LynnAssistant Principal

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

Double Basses

01 Kees BoersmaBrian and Rosemary White Chair of Principal Double Bass

02 Alex HeneryPrincipal

03 Andrew RacitiAssociate Principal

04 Neil BrawleyPrincipal Emeritus

05 David Campbell06 Steven Larson07 Richard Lynn08 David Murray

Harp

Louise JohnsonMulpha Australia Chair of Principal Harp

Flutes

01 Janet Webb Principal

02 Emma ShollMr Harcourt Gough Chair of Associate Principal Flute

03 Carolyn Harris

Piccolo

Rosamund PlummerPrincipal


Cor Anglais Clarinets Bass Clarinet

Oboes

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

02 Shefali PryorAssociate Principal

Cor Anglais

Alexandre OgueyPrincipal

Clarinets

01 Lawrence Dobell Principal

02 Francesco CelataAssociate Principal

03 Christopher Tingay

Bass Clarinet

Craig WernickePrincipal

Bassoons

01 Matthew WilkiePrincipal

02 Roger BrookeAssociate Principal

03 Fiona McNamara

Contrabassoon

01 Noriko ShimadaPrincipal

Horns

01 Robert JohnsonPrincipal

02 Ben JacksPrincipal

03 Geoff O’ReillyPrincipal 3rd

04 Lee Bracegirdle05 Marnie Sebire

Trumpets

01 Daniel Mendelow Principal

02 Paul Goodchild Associate Principal

03 John Foster04 Anthony Heinrichs

Trombone

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

02 Scott KinmontAssociate Principal

03 Nick ByrneRogen International Chair of Trombone

Bass Trombone

Christopher Harris Trust Foundation Chair of Principal Bass Trombone

Tuba

Steve RosséPrincipal

Timpani

01 Richard MillerPrincipalAdam JeffreyAssistant Principal Timpani/Tutti Percussion

Percussion

01 Rebecca LagosPrincipal

02 Colin Piper

Piano

Josephine AllanPrincipal (contract)

01Bassoons Contrabassoon Horns

02 03 01 02 03

01Oboes

02 01 02 03

04 05 01Trumpets

02 03 04

01Trombones

02 03Bass Trombone Tuba

01Timpani

01Percussion

02Piano

MUSICIANS

The Company is assisted by the NSW Government through Arts NSW

SALUTE


PRINCIPAL PARTNER

PLATINUM PARTNER MAJOR PARTNERS

GOVERNMENT PARTNERS

GOLD PARTNERS


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

SILVER PARTNERS

REGIONAL TOUR PARTNERS

BRONZE PARTNERS MARKETING PARTNERS PATRONS

Australia Post

Beyond Technology Consulting

Bimbadgen Estate Wines

J. Boag & Son

Vittoria Coffee

Avant Card

Blue Arc Group

Lindsay Yates and Partners

2MBS 102.5 –Sydney’s Fine Music Station

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

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


01 02 03 04 05 06

07 08 09 10 11 12

DIRECTORS’ CHAIRS

01Mulpha Australia Chair ofPrincipal Harp, Louise Johnson

02Mr Harcourt Gough Chair ofAssociate Principal Flute, Emma Sholl

03Sandra and Paul Salteri Chair ofArtistic Director Education,Richard Gill OAM

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

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

06Brian and Rosemary White Chair of Principal Double Bass,Kees Boersma

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

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

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

10Ian and Jennifer Burton Chair of Assistant Concertmaster,Fiona Ziegler

11Andrew Kaldor and Renata Kaldor AO Chair ofPrincipal Oboe, Diana Doherty

12Andrew Turner and VivianChang Chair of Principal Violaand Artistic Director, FellowshipProgram, Roger Benedict

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Anthony Gregg & Deanne Whittleston ‡

Dr & Mrs C GoldschmidtBeth Harpley *Rev H & Mrs M Herbert °*Ms Michelle Hilton-Vernon Dr & Mrs Michael Hunter §Mr Stephen Jenkins *Professor Faith M JonesMs Judy JoyeMr Noel Keen *Mrs Margaret Keogh °*Miss Anna-Lisa Klettenberg °§Iven & Sylvia Klineberg *Mrs Joan Langley °Mr & Mrs Pierre LastelleDr & Mrs Leo LeaderMs A Le Marchant *Mr & Mrs Ezzelino Leonardi §Barbara & Bernard Leser °Mrs Anita Levy °Erna & Gerry Levy AM §Mr & Mrs S C Lloyd °Mr James McCarthyMr Ian & Mrs Pam McGaw *Mr Matthew McInnes §Ms Julie Manfredi-HughesMs J Millard *‡Mr Andrew Nobbs Mr Graham NorthMr Stuart O’Brien Miss C O’Connor *Mrs Jill Pain °‡Dr Kevin PedemontMr Adrian & Mrs Dairneen

PittonMr & Mrs Michael Potts Mr L T & Mrs L M Priddle *Mrs B Raghavan °Mrs Caroline Ralphsmith Mr John Reid AO Mr John & Mrs Lynn Carol

Reid §Mr Brian Russell & Mrs Irina

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

Kerrie Kemp ‡Dr Heng & Mrs Cilla Tey §Mrs Elizabeth F Tocque °*Mrs Merle Turkington °Ronald Walledge °Louise Walsh & David JordanDr Thomas Wenkart Dr Richard Wing §Mr Robert Woods *Mrs Lucille Wrath ‡Mrs R Yabsley °Anonymous (12)

PLAYING YOUR PART

Maestri

Brian Abel & the late Ben Gannon AO °

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

Mrs Deirdre Greatorex §Mr Andrew Kaldor & Mrs

Renata Kaldor AO §H Kallinikos Pty Ltd §Mr B G O’Conor §The Paramor Family *The Ian Potter FoundationDr John Roarty in memory of

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

Cooke §Andrew Turner & Vivian ChangMr Brian & Mrs Rosemary White§Anonymous (1) *

Virtuosi

Mrs Antoinette Albert §Mr Roger Allen & Mrs Maggie

GrayMr & Mrs Paul Hoult Irwin Imhof in memory of

Herta Imhof °‡Mr Stephen Johns §Mr & Mrs Gilles T Kryger °§Ms Ann Lewis AM Mr E J Merewether & Mrs T

Merewether OAM *Mr & Mrs David MilmanMiss Rosemary Pryor *Bruce & Joy Reid Foundation*Rodney Rosenblum AM &

Sylvia Rosenblum *

Mrs Helen Selle §David Smithers AM & Family §Dr William & Mrs Helen Webb ‡Michael & Mary Whelan Trust §Anonymous (1) §

SoliMr Anthony Berg AMMs Jan Bowen §Mr Robert & Mrs L Alison Carr §Mr Chum Darvall §Hilmer Family Trust Ms Ann Hoban °Mr Paul Hotz §Mr Rory Jeffes Mrs Joan MacKenzie §Mrs Judith McKernan °§Miss Margaret N MacLaren °*‡§Mr David Maloney §Mr James & Mrs Elsie Moore °Ms Elizabeth ProustMs Gabrielle Trainor Mr Geoff Wood & Ms Melissa

Waites Anonymous (4) §

Tutti

Mr Henri W Aram OAM §Mr Terrey & Mrs Anne Arcus §Mr David Barnes °Mrs Joan Barnes °Mr Stephen J BellMr Alexander & Mrs Vera

Boyarsky §Mr Maximo Buch *Mrs F M Buckle °Debby Cramer & Bill Caukill §Mr Bob & Mrs Julie Clampett °§Mr John Cunningham SCM &

Mrs Margaret Cunningham§Mr & Mrs J B Fairfax AM §Mr Russell Farr Mr & Mrs David Feetham Mr Ian Fenwicke & Prof Neville

Wills §Mrs Dorit & Mr William

Franken °§Mr & Mrs J R W Furber §Mr Arshak & Ms Sophie

Galstaun §In memory of Hetty Gordon §Mrs Akiko Gregory §Miss Janette Hamilton °‡Mr A & Mrs L Heyko-Porebski°Mr Philip Isaacs OAM §Ms Judy Joye Mr & Mrs E Katz §Mr Andrew Korda & Ms Susan

Pearson Mr Justin Lam §Dr Paul A L Lancaster &

Dr Raema ProwseDr Barry LandaDr Garth Leslie °*Mr Gary Linnane §Ms Karen Loblay §

Mr Bob Longwell Mr Andrew & Mrs Amanda Love Mrs Carolyn A Lowry OAMMr & Mrs R Maple-Brown §Mr Robert & Mrs Renee

Markovic §Mrs Alexandra Martin & the

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

Hutchins *Mr R A Oppen §Mr Arti Ortis & Mrs Belinda

Lim §Timothy & Eva Pascoe §Ms Patricia Payn §Mr Adrian & Mrs Dairneen

Pilton Ms Robin Potter §Mr & Mrs Ernest Rapee §Dr K D Reeve AM °Mrs Patricia H Reid °Mr Brian Russell & Ms Irina

Singleman Ms Juliana Schaeffer §Derek & Patricia Smith §Catherine Stephen §Mr Fred & Mrs Dorothy Street ‡§Mr Georges & Mrs Marliese

Teitler §Mr Stephen Thatcher Ms Gabrielle TrainorMr Ken Tribe AC & Mrs Joan

Tribe §Mr John E Tuckey °Mrs Kathleen Tutton °Ms Mary Vallentine AO §Henry & Ruth Weinberg §Audrey & Michael Wilson °Jill Wran §Anonymous (8)

Supporters over $500

PTW ArchitectsMr C R Adamson °§Doug & Alison Battersby °Mr Phil Bennett Gabrielle Blackstock °‡Mr G D Bolton °Mr David S Brett *A I Butchart °*Mrs B E Cary §Mrs Catherine Gaskin

Cornberg§Mr Stan Costigan AO &

Mrs Mary Costigan *Mrs M A Coventry °Mr Michael Crouch AO *M Danos °Lisa & Miro Davis *Mrs Patricia Davis §Mr Steve Gillett

Patron Annual

Donations Levels

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

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

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

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


Sydney Symphony Board

BEHIND THE SCENES

CHAIRMAN

John Conde AO

Libby Christie John CurtisStephen JohnsAndrew KaldorGoetz RichterDavid Smithers AM

Gabrielle Trainor

What’s on the cover?During the 2007 season Sydney Symphony program covers will feature photos that celebrate the Orchestra’s history over the past 75 years. The photographs on the covers will change approximately once a month, and if you subscribe to one of our concert series you will be able to collect a set over the course of the year.

COVER PHOTOGRAPHS (clockwise from top left): Little girl with SSO violinist at an Infants’ Concert (1965); Charles Mackerrasacknowledges applause at the opening of the Sydney Opera House (1973); SydneySymphony Brass Ensemble at the Parkes Radio Telescope; painting and performingmusic of Nigel Butterley in the Cell Block Theatre, a project with the artist John Peart(1967); Kees Boersma, Principal Double Bass; reading at an SSO Prom Concert (1965).


Sydney Symphony Staff

MANAGING DIRECTOR

Libby Christie

EXECUTIVE ASSISTANT

Eva-Marie Alis

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC OPERATIONS

Wolfgang Fink

Artistic Administration

ARTISTIC ADMINISTRATION MANAGER

Raff Wilson

ARTIST LIAISON

Ilmar Leetberg

PERSONAL ASSISTANT TO THE

CHIEF CONDUCTOR

Lisa Davies-Galli

ADMINISTRATION ASSISTANT,

ARTISTIC OPERATIONS

Catherine Wyburn

Education Programs

EDUCATION MANAGER

Margaret Moore

EDUCATION CO-ORDINATOR

Bernie Heard

Library

LIBRARIAN

Anna Cernik

LIBRARY ASSISTANT

Victoria Grant

LIBRARY ASSISTANT

Mary-Ann Mead

DEVELOPMENT

DIRECTOR OF DEVELOPMENT

Rory Jeffes

CORPORATE RELATIONS MANAGER

Leann Meiers

CORPORATE RELATIONS EXECUTIVE

Julia Owens

CORPORATE RELATIONS EXECUTIVE

Seleena Semos

PHILANTHROPY MANAGER

Alan Watt

MARKETING AND

CUSTOMER RELATIONS

DIRECTOR OF MARKETING AND

CUSTOMER RELATIONS

Julian Boram

Publicity

PUBLIC RELATIONS MANAGER

Yvonne Zammit

PUBLICIST

Stuart Fyfe

Customer Relationship

Management

MARKETING MANAGER – CRM

Rebecca MacFarling

ONLINE & PUBLICATIONS MANAGER

Robert Murray

DATABASE ANALYST

Marko Lång

Marketing Communications

MULTICULTURAL MARKETING

MANAGER

Xing Jin

CONCERT PROGRAM EDITOR

Yvonne Frindle

MARKETING COORDINATOR

Antonia Farrugia

Corporate & Tourism

NETWORK GROUP–SALES MANAGER

Simon Crossley-Meates

Box Office

BOX OFFICE MANAGER

Lynn McLaughlin

BOX OFFICE CO-ORDINATOR

Anna Fraser

CUSTOMER SERVICE

REPRESENTATIVES

Wendy AugustineMichael Dowling

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA

MANAGEMENT

Aernout Kerbert

ACTING DEPUTY ORCHESTRA

MANAGER

Greg Low

ORCHESTRAL ASSISTANT

Angela Chilcott

OPERATIONS MANAGER

John Glenn

TECHNICAL MANAGER

Derek Coutts

PRODUCTION CO-ORDINATOR

Tim Dayman

PRODUCTION ASSISTANT

Ian Spence

STAGE MANAGER

Marrianne Carter

COMMERCIAL PROGRAMS

DIRECTOR OF COMMERCIAL

PROGRAMMING

Baz Archer

RECORDING ENTERPRISES

RECORDING ENTERPRISES MANAGER

Aimee Paret

BUSINESS SERVICES

DIRECTOR OF FINANCE

David O’Kane

EXECUTIVE PROJECT MANAGER

Rachel Hadfield

FINANCE MANAGER

Samuel Li

OFFICE ADMINISTRATOR

Shelley Salmon

INFORMATION TECHNOLOGY

MANAGER

Tim Graham

PAYROLL AND ACCOUNTS

PAYABLE OFFICER

Caroline Hall

HUMAN RESOURCES

Ian Arnold

This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulatedin any form of binding or cover other than that in which it waspublished.

This is a /SHOWBILL publication.

Publisher

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

Head Office:

1017 Pacific Highway, Pymble, NSW 2073

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

Operating in Sydney, Melbourne, Canberra, Brisbane,

Adelaide, Perth, Hobart and Darwin

EXECUTIVE CHAIRMAN AND ADVERTISEMENT DIRECTOR

Brian Nebenzahl OAM, RFD

MANAGING DIRECTOR

Michael Nebenzahl

EDITORIAL DIRECTOR

Jocelyn Nebenzahl

DIRECTOR – PRODUCTION

Chris Breeze

Overseas Operations:

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

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

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

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

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

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

15004 – 1/241007 – 42 S85/87

SYMPHONY SERVICES AUSTRALIA LIMITED

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

www.symphony.net.au

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

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

www.sydneysymphony.com

All rights reserved, no part of this publication may be reproduced ortransmitted in any form or by any means, electronic or mechanical,including photocopy, recording or any information storage or retrieval system, without permission in writing. The opinions expressed in thispublication do not necessarily reflect the beliefs of the editor, publisher or any distributor of the programs. While every effort has been made to ensure accuracy of statements in this publication, we cannot acceptresponsibility for any errors or omissions, or for matters arising fromclerical or printers’ errors. Every effort has been made to securepermission for copyright material prior to printing.

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

SYDNEY OPERA HOUSE TRUST

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

Ms Jacqueline Kott Mr Robert Leece AM RFD

Ms Sue Nattrass AO (leave)Mr Leo Schofield AM

Ms Barbara WardMr Evan Williams AM

EXECUTIVE MANAGEMENT

ACTING CHIEF EXECUTIVE . . . . . . . . . . . . . . . . . . . . . . . .Sue Nattrass AO

DIRECTOR, FACILITIES . . . . . . . . . . . . . . . . . . . . . . . . . . . .Paul AkhurstDIRECTOR, FINANCE & SYSTEMS . . . . . . . . . . . . . . . . . .David Antaw DIRECTOR, MARKETING & DEVELOPMENT . . . . . . . . . .Naomi GrabelDIRECTOR, PERFORMING ARTS . . . . . . . . . . . . . . . . . . .Rachel HealyDIRECTOR, PEOPLE & CULTURE . . . . . . . . . . . . . . . . . . .Rick BrowningDIRECTOR, INFORMATION SYSTEMS . . . . . . . . . . . . . . .Claire SwaffieldDIRECTOR, TOURISM & VISITOR OPERATIONS . . . . . .Maria Sykes

SYDNEY OPERA HOUSE

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

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