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SPECIAL EVENT PREMIER PARTNER CREDIT SUISSE Thursday 20 August 2015 TEA & SYMPHONY Friday 21 August 2015 GREAT CLASSICS Saturday 22 August 2015 MONDAYS @ 7 Monday 24 August 2015 ROMEO AND JULIET with Bell Shakespeare

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SPECIAL EVENT PREMIER PARTNER CREDIT SUISSE

Thursday 20 August 2015

TEA & SYMPHONY

Friday 21 August 2015

GREAT CLASSICS

Saturday 22 August 2015

MONDAYS @ 7

Monday 24 August 2015

ROMEO AND JULIET with Bell Shakespeare

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concert diary

Kirill Gerstein in Recital BARTÓK 2 Chromatic Inventions from Mikrokosmos BACH Three-Part Inventions (Sinfonias) LISZT Transcendental Etudes

International Pianists in Recital Presented by Theme & Variations

Mon 17 Aug 7pm City Recital Hall Angel Place

Pre-concert talk by David Garrett at 6.15pm

Romeo & Juliet with Bell Shakespeare PROKOFIEV Romeo and Juliet: Scenes from the ballet music with excerpts from Shakespeare’s play

Simone Young conductor John Bell director Actors from Bell Shakespeare

SPECIAL EVENT Premier Partner Credit Suisse

Thu 20 Aug 8pmTea & Symphony

Fri 21 Aug 11am complimentary morning tea from 10am

Great Classics

Sat 22 Aug 2pmMondays @ 7

Mon 24 Aug 7pmPre-concert talk by Yvonne Frindle 45 minutes before each performance (Thu, Sat, Mon)

Discover Ravel RAVEL Mother Goose – Suite

Richard Gill conductor SSO Sinfonia

Tenix Discovery

Tue 25 Aug 6.30pm City Recital Hall Angel Place

Time for Three America’s hottest string trio Three young Americans who defy classification, happily and infectiously. Including their own ingenious mash-ups of the Beatles, Mumford & Sons’ Little Lion Man, Hallelujah and more. Enjoy these ultimate crossover artists in a concert of pure fun!

Meet the Music

Thu 27 Aug 6.30pmKaleidoscope

Fri 28 Aug 8pm Sat 29 Aug 8pmPre-concert talk 45 minutes before each performance

French ImpressionsRAVEL Rapsodie espagnole DEBUSSY Nocturnes BERLIOZ Te Deum

Charles Dutoit conductor • Joseph Kaiser tenor Sydney Philharmonia Choirs • Sydney Children’s Choir Tasmanian Symphony Orchestra Chorus

Thursday Afternoon Symphony

Thu 3 Sep 1.30pmEmirates Metro Series

Fri 4 Sep 8pmPre-concert talk by David Garrett 45 minutes before each performance

Roman TrilogyBERLIOZ Roman Carnival – Overture SCHUMANN Cello Concerto RESPIGHI Roman Festivals Fountains of Rome Pines of Rome

Charles Dutoit conductor Daniel Müller-Schott cello (PICTURED)

APT Master Series

Wed 9 Sep 8pm Fri 11 Sep 8pm Sat 12 Sep 8pmPre-concert talk by David Larkin at 7.15pm

CLASSICAL

NO FEES WHEN YOU BOOK CLASSICAL CONCERTS ONLINE WITH THE SSO

FOR COMPLETE DETAILS OF THE 2015 SEASON VISIT

SYDNEYSYMPHONY.COM CALL 8215 4600 Mon–Fri 9am–5pm

Tickets also available atSYDNEYOPERAHOUSE.COM 9250 7777 Mon–Sat 9am–8.30pm Sun 10am–6pmCITYRECITALHALL.COM 8256 2222 Mon–Fri 9am–5pm

All concerts at Sydney Opera House unless otherwise stated

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WELCOME

Credit Suisse warmly welcomes you to Romeo and Juliet – a collaboration between the Sydney Symphony Orchestra and Bell Shakespeare.

Music as an art form does not exist in isolation and some

of the most exciting experiences in the concert hall are

when music joins with theatre or dance or the visual arts

to make a powerful multi-faceted experience. It has

always been our very great pleasure during our

partnership with the SSO to play a part by supporting

some of these collaborations.

In this performance we are able to enjoy the combined

genius of Shakespeare’s great tragedy of Romeo and

Juliet and Prokofiev’s thrilling ballet score. Centuries

separate the creation of these works, but under the

direction of John Bell and conductor Simone Young, the

SSO and the Bell Shakespeare actors will realise the

visionary drama that comes when music and theatre find

common ground.

We are confident this performance will leave you inspired

by great music and even greater drama. We look forward

to seeing you at many concerts in the future.

John Knox

Chief Executive Officer

Credit Suisse Australia

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2015 concert season

SPECIAL EVENT PREMIER PARTNER CREDIT SUISSE THURSDAY 20 AUGUST, 8PM

TEA & SYMPHONY FRIDAY 21 AUGUST, 11AM

GREAT CLASSICS SATURDAY 22 AUGUST, 2PM

MONDAYS @ 7 MONDAY 24 AUGUST, 7PM

SYDNEY OPERA HOUSE CONCERT HALL

ROMEO AND JULIETwith Bell Shakespeare

Romeo and Juliet Scenes from Prokofiev’s ballet music, selected and arranged by Simone Young, with excerpts from Shakespeare’s play, chosen and directed by John Bell

Simone Young conductor John Bell director

Juliet Lucy Bell Romeo Tim Walter Benvolio Nathan Lovejoy

Nicholas Rayment lighting designer Anthony Pasquill assistant conductor

Turn to page 12 for a listing of the musical numbers

Pre-concert talk by Yvonne Frindle in the Northern Foyer, 45 minutes before each performance (except Friday).

The concert will be performed without interval and will conclude at approximately 9.25pm (Thu), 12.15pm (Fri), 3.25m (Sat), 8.25pm (Mon)

COVER IMAGE: Romeo and Juliet, painting by Håkon Søreide (www.galleryhakon.com)

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Undoubtedly one of the greatest musical works in the Shakespeare

music canon is Prokofiev’s score for the ballet Romeo and Juliet.

Probably because Prokofiev was playing the narrative in his

head, visualising the play as he wrote, the score is full of action

and character. We have the delightful music for Juliet, petite and

lively; the swaggering, menacing pomp of the Capulet ball; the

reckless capering of Mercutio and the exquisite, heart-wrenching

beauty of the balcony scene. They are all underscored by notes

of doom that introduce the ballet and recur throughout,

graphically describing the death of Tybalt and tragic melancholy

of the final tomb scene.

Prokofiev understands and manages these shifts in the mood

with the art of a master storyteller. Romeo and Juliet comes

early in Shakespeare’s career, written before he was 30 years

of age, and has all the breathless excitement of a young poet

stretching his wings and soaring to the heights of lyricism.

The play is a heady mix of gorgeous poetry, bawdy vulgarity,

and vibrant characterisation.

Simone Young and I discussed a collaboration between SSO

and Bell Shakespeare on Romeo and Juliet after our happy

experience of working together in the SSO’s performance of

Holst’s Planets in the Symphony in the Domain concert of 2014.

Simone presented me with her arrangement of selections from

Prokofiev’s score; it is thematic rather than sequential. So I set

about finding fragments of Shakespeare’s text which fitted well

with the music while supplying enough of the narrative for you

to join the dots and know where you are in the story.

Sometimes in the fully staged performance the lyrical beauty

of the language gets trampled by the boisterous action. So it

has been a joyful experience, in rehearsing this presentation, to

stand still and let the words speak for themselves and to relish

their congruence with Prokofiev’s sympathetic interpretation.

JOHN BELL

FROM THE DIRECTOR

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What is Romeo and Juliet? A play, of course, by William

Shakespeare. But it’s also a fantasy overture (Tchaikovsky), a

dramatic symphony (Berlioz), an opera several times over (one

of the earliest dates from 1776, Gounod’s from 1867 is the most

famous), and more than a few ballets (the first was created in

1811 for the Royal Danish Ballet with music by Claus Schall, other

composers who’ve joined the project include Constant Lambert

and Frederick Delius).

Of all the great playwrights and storytellers, none has inspired

more music than Shakespeare, and of his plays the one that

has given greatest inspiration is Romeo and Juliet.

Shakespeare himself found inspiration in older traditions,

including the tale of Pyramus and Thisbe from Ovid’s

Metamorphoses. This tragic love story turns up in comical

form when the rustics perform it in A Midsummer Night’s Dream.

Perhaps you remember our concert hall presentation of that

play with Mendelssohn’s music in 2009.

A Midsummer Night’s Dream was staged in and around the

orchestra and we cut as little of Shakespeare’s text as possible.

That made sense, since Mendelssohn had composed his music

as incidental music, that is, intended to accompany and

underscore a production of the play. With Romeo and Juliet

we are bringing together Shakespeare’s words and Prokofiev’s

music, composed for a ballet ‘translation’ of the play. The

premise is a very different one. As John Bell explains opposite,

the selections, both dramatic and musical, have looked to the

broad themes of the play rather than its precise narrative.

We hope that what we have devised in this collaboration

will highlight both the wonders of Shakespeare’s language and

dramatic power of Prokofiev’s music, and that you’ll experience

the lyrical beauty and the humanity that’s present in both works.

INTRODUCTION

Romeo and Juliet Prokofiev and Shakespeare

PLEASE SHAREPrograms grow on trees – help us be environmentally responsible and keep ticket prices down by sharing your program with your companion.

READ IN ADVANCEYou can also read SSO program books on your computer or mobile device by visiting our online program library in the week leading up to the concert: sydneysymphony.com/program_library

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ABOUT THE MUSIC

KeynotesPROKOFIEVBorn Sontsovka, 1891 Died Moscow, 1953

Sergei Prokofiev left the Soviet Union soon after the October Revolution in 1917. He returned nearly 20 years later to discover new audiences flocking to concert halls. ‘The time is past when music was composed for a circle of aesthetes. Now, the great mass of people in touch with serious music is expectant and enquiring...’ He played a significant role in Soviet culture, combining his innate traditionalism with the astringent neoclassical style he helped invent.

ROMEO AND JULIET

Prokofiev’s Romeo and Juliet ballet music first reached the public ear in 1936, through concert suites that Prokofiev devised, carefully selecting and re-working the music, often fusing several episodes from the ballet to create a single movement. The Soviet premiere of the ballet itself took place later, in 1940, overcoming protests from the dancers – including Galina Ulanova as Juliet – that the music was ‘undanceable’.

For this concert Simone Young has chosen and arranged numbers from the original ballet score (rather than the concert suites) to support John Bell’s selections from the play. These highlight the narrative thread of the drama – although you’ll notice that the selections aren’t always sequential – while emphasising the themes of the play.

Romeo and Juliet – Prokofiev’s ballet music

If you know Prokofiev’s Romeo and Juliet ballet music from the concert hall, chances are your memory of it begins with a tortured orchestral shriek: the ominous beginning of Montagues and Capulets – the most famous number from the second and most popular of the concert suites. And perhaps your memory will end not with the deaths of the lovers but with the Death of Tybalt – the impetuous study in orchestral virtuosity that concludes the first suite.

If you’ve come to know the music in the theatre – if you’re a ballet fan, in other words – you’ll know that the curtain rises to the strains of a love motif, doomed from the outset, and that it will fall as the final sombre sounds die away, icy violins poised above the lowest of the orchestral instruments: tuba, double bass, contrabassoon.

In this concert we offer a chance to form yet another memory: one in which Prokofiev’s music is united with the great Shakespeare tragedy it ‘translates’. Music and words, instead of music and dance.

In the way it mirrors details of the action and the story’s emotional development, Prokofiev’s music echoes the strategies of the great silent film scores. One of the extraordinary things about it, says choreographer Graeme Murphy, is ‘how incredibly prescriptive it is; how completely it dictates what you must do in terms of the action’. Biographer Claude Samuel described Romeo and Juliet as a ‘silent opera’ – an intriguing image.

Like a great opera, there are few moments in the score that don’t advance the story or develop character. Leonid Lavrovsky, the first Soviet choreographer of Romeo and Juliet, described Prokofiev as ‘one of the first Soviet composers to bring to the ballet stage genuine human emotions and full-blooded characters. The boldness of his musical treatment, the clear-cut characterisations, the diversity and intricacy of his rhythms, the unorthodoxy of his harmonies…serve to create the dramatic development of the performance.’

Boldness. Clarity. Characterisation. Colour. Heartfelt drama. And a dash of the unexpected, not to mention Prokofiev’s quirky melodies – so very singable, until you try to sing them. These are the reasons audiences love Prokofiev’s Romeo and Juliet, whether in the concert hall or the theatre.

But the road to popularity never did run smooth. Conceived in 1934 after Prokofiev’s return to the Soviet Union, the ballet didn’t receive its Soviet premiere with Galina Ulanova as Juliet

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until 1940. The ballerina supposedly offered a toast on opening night: ‘Never was a tale of greater woe, than Prokofiev’s music to Romeo.’ Along the way, the Kirov in Leningrad (St Petersburg) and then the Bolshoi in Moscow backed out of the project. At one point, the Bolshoi declared the music ‘impossible to dance to’ – placing Prokofiev in excellent company, since Tchaikovsky had weathered the same criticism.

The opportunity to give the premiere was seized by Ivo Vana-Psota, the artistic director of the Brno Ballet in Czechoslovakia, and on 30 December 1938 a performance using about 60 minutes of Prokofiev’s music was received with much enthusiasm. (The Juliet in that first production, Zora Šemberová, came to Australia in 1968.)

Romeo and Juliet eventually came home to the Kirov with ‘great pomp and our best dancers’, as Prokofiev reported. ‘The dancers were rather mistrustful at the start, but when they were called out for 15 curtain calls at the premiere, they decided that new forms can be accepted after all.’

Today, Romeo and Juliet easily ranks as the greatest of 20th-century ballet scores. Stravinsky may take the contest in the concert hall with The Rite of Spring, Firebird and Petrushka, but in the theatre it’s Romeo and Juliet that has entered the

Sergei Prokofiev

Zora Šemberová (1913–2012) was the first ballerina to dance the role of Juliet to Prokofiev’s music, in the premiere production that took place not in Moscow or Leningrad but in Brno, Czechoslovakia (1938). In 1968 she moved to Adelaide to join her second husband, who’d been appointed to a professorship at Flinders University. She herself took up a position at the university – teaching movement to actors.

I have ‘taken special pains to achieve a simplicity which will, I hope, reach the hearts of all listeners. If people find no melody and no emotion in this work of mine, I shall be very sorry; but I feel sure that they will sooner or later…’

PROKOFIEV

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canon, most notably in the versions by John Cranko and Kenneth MacMillan. It was Prokofiev who, as Lavrovsky expressed it, ‘carried on where Tchaikovsky left off’. In Lavrovsky’s eyes, this meant developing and elaborating symphonic principles in ballet music. Although the music follows ballet convention with a modular structure of 52 often sharply contrasting numbers, Romeo and Juliet was also Prokofiev’s most cohesive theatrical work to date, especially deft in its use of motto themes to develop character and shape the narrative.

The ballet has its highlights: the love music of the balcony and bedroom scenes, the impetuous and virtuosic duels; the formal yet savage posturing in the Dance of the Knights. But more than this, Prokofiev gives us the chance to hear Romeo develop from a gawky and embarrassingly lovelorn boy to a romantic hero, a doomed lover torn between loyalties. And to hear Juliet in three thematic guises: vivacious girl, poised young woman, and tragic lover.

Galina Ulanova and Yuri Zhdanov from the Soviet film of the ballet, made in 1954.

Shakespeare, First Folio, 1623 – copper engraving by Martin Droeshout.

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I. The Prince’s Order (Act I, No.7)

This powerful descriptive moment from the ballet may be more familiar as the dramatic beginning of Montagues and Capulets in the second suite. Vast chords accumulate over a crescendo (brass instruments entering in turn) and then die away from an orchestral shriek. The harmonic tension cries out for resolution and the mood is one of suppressed violence.

II. The Young Juliet (Act I, No.10)

Even as a young girl, barely of an age to marry, Juliet appears as a complex character. Prokofiev gives her yearning, half-finished phrases, with different instruments from the woodwinds suggesting the welling up of unfamiliar emotion. But he also represents her with the spontaneous playfulness of a scherzo: light and fast, simple but musically vibrant.

III. *Introduction to Act I (No.1)

This is how Prokofiev establishes the mood in the theatre: with a suggestion of the love theme that will later become the core of the balcony scene.

IV. Arrival of the Guests (Minuet) –  Dance of the Knights (Act I, No.11 and 13)

Prokofiev’s take on the minuet form adds forthright confidence to the traditional stately elegance – the Capulets and their guests on home territory. The Dance of the Knights is heard at the same ball. Now there’s ritual solemnity and a sense of tribal posturing in the heavy, stamping bass line, the emphasis on brass and drums and the jerky rhythms of the wide-ranging melody. There’s savagery lurking under the surface; menace in the sound of a saxophone. But partway in is a section labelled ‘Ladies Dance’ – graceful and courtly.

V. Balcony Scene (Act I, No.19)

VI. Balcony Scene (conclusion) – Love Dance (Act I, No.19 and 21)

Prokofiev recognised the balletic potential of the balcony scene, expanding it into three separate numbers (we omit the central one, Romeo’s solo). Dreamy strings accompany Juliet’s musings and Romeo’s signature motif

In this presentation we will perform the following musical scenes. [An asterisk marks those numbers omitted from the Friday morning performance.]

Dramatic narrative is just as deftly represented. When Mercutio and Tybalt fight, it isn’t the Tybalt–Capulet motif that dominates but Mercutio’s own mercurial and energetic theme. The musical implication is that Mercutio has the upper hand in this combat, making his fatal wound ‘wrong’, the result of Romeo’s ill-fated interference.

At the same time, the needs of ballet as a dance form are wonderfully met. The ballroom and duel scenes are expanded from Shakespeare’s original and Prokofiev draws on ‘antique’ dance forms in one of his few concessions to the Italian Renaissance setting (the Capulets’ guests arrive to the sound of a minuet).

The SSO and conductor Eugene Goossens gave the Australian premiere of the second suite from Prokofiev’s Romeo and Juliet in 1953. Most recently, in 2011, James Gaffigan conducted a selection from the suites. Other recent performances of note include a selection from the ballet numbers, conducted by Vladimir Ashkenazy in 2009, and in 2004 Carl Davis conducted the complete score as accompaniment to the 1966 film of Kenneth MacMillan’s ballet, starring Margot Fonteyn and Rudolf Nureyev. The SSO also recorded the complete ballet with Vladimir Ashkenazy.

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appears with new lyrical potential. The first act of the ballet then concludes with the soaring ecstasy of the lovers’ first pas de deux.

VII. Introduction to Act III – Dance of the Five Couples – The Festival Continues (Act III, No.37; Act II, No.24 and 30)

The market place in the light of day calls for earthier music. Plucked strings imitate mandolins – the real thing will be heard a little later!

VIII. Mercutio – The Fight – Romeo avenges Mercutio – Finale to Act II (Act I, No.15 and 6; Act II, No.35 and 36)

Mercutio’s music is full of energy, shooting up and down through the range of the orchestra with relentless rapidity. There are hints of aggression, but at the same time Mercutio is a man of wit and style and the music always resolves accordingly. The duel theme is a furious presto – as fast as possible – ripping through the violins. When it pauses for breath, fragments of the Knights’ theme emerge from different sections of the orchestra.

Prokofiev’s own scenario makes a key distinction between the two duels: ‘Unlike the duel between Tybalt and Mercutio, in which the opponents did not take account of the seriousness of the situation and fought because of their high spirits, here Tybalt and Romeo fight furiously, to the death.’ The music is volatile and reaches a peak of intensity with 15 thudding strokes of the timpani – musical death throes which then underpin the distraught funeral march that concludes Act II of the ballet.

IX. *Introduction to Act III – *Interlude – Farewell Before Departing (Act III, No.37, 43 and 39)

In the Farewell Before Parting we finally hear, fully developed, the idea that began the Introduction to Act I. This is poignant, bittersweet music: the first and last consummation of love.

X. Juliet Alone and Juliet’s Room – Morning Serenade (Aubade) (Act III, No.47, 46 and 48)

Juliet has told her parents she will marry Paris and a quiet but inexorable pacing accompanies her as she prepares to place her faith in Friar Laurence and take his potion. When morning comes, Paris arrives to wake his bride, bringing with him an orchestra of mandolins and the bright sounds of piccolo, violin and triangle.

XI. Juliet’s Funeral – Death of Juliet (Act IV, No.51 and 52)

The unsettling sound of high violin tremolos introduces the final scenes of Prokofiev’s ballet music. The music is slow and stately – funereal – yet marked by extreme emotion. When the brass take over from the strings, the music becomes edgier. Eventually melody is abandoned to anguished strings and discordant fragments… a return of the great love theme… and all subsides. The waves of emotion hinted at in The Young Juliet reach fruition, richly coloured, full of heart-breaking chords and sublimely poised melody.

ADAPTED FROM PROGRAM NOTES BY

YVONNE FRINDLE © 2012

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The Globe was a low-tech theatre. Its tiny open-air stage could be transformed into fair Verona or Birnam Wood only by a poet’s language. The one special effect at Shakespeare’s disposal was music, and when he wants us to understand that a miraculous transformation has taken place – a statue restored to life as a woman, four noble lovers waking from what they think was a crazy dream, a prince cast ashore on a desert island – he does so by calling for music.

Shakespeare was as magical for music as music was for Shakespeare, at least when the temper of the times allowed it. The mere handful of Shakespeare-derived musical entertainments from the later 17th century includes John Blow’s Venus and Adonis and the unconscionably bowdlerised version of A Midsummer Night’s Dream which became Henry Purcell’s Fairy Queen. The Enlightenment had little use for a poet of verbal ambiguity, supernatural visitations and unhappy endings, though Beethoven acknowledged the influence of Romeo and Juliet on the slow movement of his String Quartet in F, Op.18 No.1, and his plan for an opera on Macbeth seems to have left its mark on the so-called Ghost Trio, Op.70 No.1.

With the rise of Romanticism in the 19th century, however, the Bard was back – the ‘gothic’ world of King Lear, Macbeth or Hamlet; the passion of Romeo and Juliet; the magical realms of the Dream or The Tempest. One of the first to succumb was the young Hector Berlioz – partly no doubt as a side effect of his passion for the Irish actress Harriet Smithson whom he saw act the role of Juliet. Shakespeare remained a potent and profound force in Berlioz’s music throughout his life, in the ‘dramatic symphony’ Romeo and Juliet, the fantasy on The Tempest, the King Lear overture and the gentle comedy of his last opera Béatrice et Bénédict, but also in what he called the ‘Shakespeareanised Virgil’ of his operatic masterpiece, The Trojans.

In the first part of the 19th century Schlegel and Tieck – themselves in the vanguard of the Romantic movement – were translating Shakespeare into German, inspiring the young Felix Mendelssohn to write his celebrated overture to A Midsummer Night’s Dream in 1826 and, many years later, his incidental music to the play. Shakespeare’s blend of broad-brush dramaturgy and exploration of individual characters’ inmost thoughts was attractive to composers like Berlioz and Franz Liszt, whose (wordless) symphonic poems Hamlet and Othello likewise balance a sense of dramatic action with that

INTERLUDE

The one special effect at Shakespeare’s disposal was music…

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of profound soliloquy. Liszt’s model proved invaluable to Richard Strauss in his symphonic poem Macbeth of 1892 and an influence on Tchaikovsky in his concert overture (a symphonic poem by any other name…) Romeo and Juliet.

Romeo and Juliet was irresistible to a number of composers: Charles Gounod made an opera of it, as did Leonard Bernstein in West Side Story (1957). One of the more spectacular ‘translations’ of Romeo and Juliet is into Sergei Prokofiev’s ballet score of 1938. Russian interest in Shakespeare grew hugely during the Soviet period, with the music that Dmitri Shostakovich contributed to the burgeoning film industry including an astonishing score for Hamlet. Like Shostakovich, William Walton had a gift for capturing Shakespeare as filmed – in Henry V, Hamlet and Richard III – by Laurence Olivier.

Giuseppe Verdi looked to Shakespeare for his blood and thunder Macbeth and for the late masterpieces Otello and Falstaff (based on The Merry Wives of Windsor). Ralph Vaughan

Composer Hector Berlioz (left) was one of the first to succumb to the lure of the Bard in the 19th century. His imagination was triggered by seeing Irish actress Harriet Smithson play Juliet opposite Charles Kemble in an English production in Paris, 1827 (right). He didn’t understand a word, but his passion was aroused, not only for Miss Smithson (whom he later married) but for Shakespeare.

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By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specified on the title page of this publication 17634 — 1/200815 — 28S/TS/G/MO S67/70

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

Chairman & Advertising Director Brian Nebenzahl OAM RFD

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

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

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

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

Please address all correspondence to the Publications Editor: Email [email protected]

SYDNEY OPERA HOUSE TRUSTNicholas Moore [Chair]Catherine Brenner, The Hon Helen Coonan, Brenna Hobson, Chris Knoblanche am, Deborah Mailman, Peter Mason am, Jillian Segal am, Robert Wannan, Phillip Wolanski am

Executive Management

Chief Executive Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Louise Herron am

Director, Programming. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jonathan BielskiDirector, Theatre & Events [Acting] . . . . . . . . . . . . . . . . . . .Heather ClarkeChief Financial Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Natasha CollierGeneral Counsel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Michelle DixonDirector, Building . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Greg McTaggartDirector, Marketing [Acting] . . . . . . . . . . . . . . . . . . . . . . . . .Stephen O’ConnorDirector, External Relations . . . . . . . . . . . . . . . . . . . . . . . . . .Brook Turner

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

Williams had a go at the latter in his Sir John in Love, a work which tests the orthodox view that Shakespeare’s actual words should not be set to music, as if they contain sufficient inherent music of their own. Benjamin Britten likewise felt that this was an empty taboo, noting drily (as he began cutting A Midsummer Night’s Dream down to a manageable length in 1960) that ‘the original Shakespeare will survive’. Tan Dun, using fragments of The Tempest alongside Chinese folksong in his Ghost Opera for Chinese lute and string quartet (1994) might have said the same thing.

Shakespeare does of course survive. What Keats called Shakespeare’s ‘negative capability’ – the ability to seem completely removed from his poetry – makes his work endlessly interpretable, and particularly suited to the fluid responses of music.

ABRIDGED FROM AN ARTICLE BY GORDON KERRY © 2002

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MUSICAL SHAKESPEARE

If you’ve been fortunate enough to experience a Shakespeare play in the reconstructed Globe Theatre in London, you may have heard the ‘house band’, the Musicians of the Globe. For armchair travellers there are several recordings featuring them in music by Shakespeare’s contemporaries and from the early performance traditions of his plays. The most vivid of these is a 2CD set, This World’s Globe – Celebrating Shakespeare, in which each musical number is preceded by a play excerpt.SIGNUM UK 77

Broadcast Diary

August–September

abc.net.au/classic

Saturday 22 August, 8pmDANCING WITH THE DEVILJames Gaffigan conductor Kirill Gerstein piano

Verdi, Rachmaninoff, Shostakovich

Saturday 12 September, 8pmROMAN TRILOGYCharles Dutoit conductor Daniel Müller-Schott cello

Berlioz, Schumann, Respighi

SSO RadioSelected SSO performances, as recorded by the ABC, are available on demand:

sydneysymphony.com/SSO_radio

SYDNEY SYMPHONY ORCHESTRA HOUR

Tuesday 8 September, 6pm

Musicians and staff of the SSO talk about the life of the orchestra and forthcoming concerts. Hosted by Andrew Bukenya.

finemusicfm.com

MORE MUSIC

PROKOFIEV IN THE THEATRE

If you’re after a home team performance of Prokofiev’s complete Romeo and Juliet ballet music, look for our recording with Vladimir Ashkenazy.

SSO LIVE SSO201205

Even before the premiere of the ballet, Prokofiev began devising suites of highlights for the concert hall. The first two of the three suites are available with other Prokofiev ballet music (including Cinderella and the Scythian Suite), in performances with Ernest Ansermet and the Suisse Romande orchestra.

ELOQUENCE 4800830

Prokofiev’s other major ballet score was Cinderella, composed in 1945. You can find it in a 6-CD collection of his ballets, orchestral works and film scores, alongside the Romeo and Juliet music, the Classical Symphony, Alexander Nevsky, Ivan the Terrible and the suite from Lieutenant Kijé. André Previn conducts the London Symphony Orchestra in both the ballets.

WARNER CLASSICS 05575

Prokofiev’s music was composed for dancing and it truly comes into its own in the theatre. If you’re a local ballet fan you’ll probably know John Cranko’s version of Romeo and Juliet, in the repertoire of the Australian Ballet. The other most frequently performed version is by Kenneth MacMillan, available on DVD in a performance by the Royal Ballet with the Orchestra of the Royal Opera House conducted by Barry Wordsworth, and Lauren Cuthbertson and Federico Bonelli in the title roles.

OPUS ARTE OA1100D (DVD)

In 2011 the Australian Ballet commissioned master storyteller Graeme Murphy to create a new version of Romeo and Juliet and the premiere season was recorded for DVD release with Madeleine Eastoe and Kevin Jackson dancing the leads. Nicolette Fraillon conducts Orchestra Victoria.

ABC CLASSICS 762872 (DVD)

Or find out how Prokofiev’s score was interpreted by its first choreographer, Leonid Lavrovsky, via the historic 1954 Technicolor film, made just 14 years after the Soviet premiere. Galina Ulanova and Yuri Zhdanov dance the leads in this Bolshoi production. The conductor is Gennady Rozhdestvensky.

KULTUR VIDEO 1202

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Australian-born Simone Young am is internationally recognised as one of the leading conductors of her generation and from 2005 to 2015 was General Manager and Music Director of the Hamburg State Opera and Music Director of the Hamburg Philharmonic State Orchestra. An acknowledged interpreter of the operas of Wagner and Strauss, she has conducted several complete cycles of Der Ring des Nibelungen: at the Vienna State Opera and Berlin State Opera, and in Hamburg as part of the Wagner-Wahn Festival (2013), during which she conducted the ten major Wagner operas. Her Hamburg recordings include the Ring cycle, Hindemith’s Mathis der Maler and symphonies by Bruckner, Brahms and Mahler.

Simone Young has been Music Director of Opera Australia, Chief Conductor of the Bergen Philharmonic Orchestra and Principal Guest Conductor of the Gulbenkian Orchestra, Lisbon. She has conducted at all the leading opera houses including the Vienna State Opera, Opéra National de Paris, Royal Opera House Covent Garden, Bavarian State Opera, Metropolitan Opera New York, Los Angeles Opera and Houston Grand Opera. And she

regularly conducts some of the world’s great orchestras including the Berlin, Vienna, Munich, London and New York philharmonic orchestras, the Staatskapelle Dresden, Bruckner Orchestra Linz, City of Birmingham Symphony Orchestra, and the Vienna Symphony.

She has been elected to the Akademie der Künste in Hamburg and awarded a professorship at the Musikhochschule in Hamburg, as well as honorary doctorates from Griffith University, Monash University and the University of New South Wales. Other awards include Green Room and Helpmann Awards, the Goethe Institute Medal, Sir Bernard Heinze Award, and Best Anniversary Production (Verdi) in the 2014 International Opera Awards for her Verdi trilogy in Hamburg (La battaglia di Legnano, I due Foscari and I Lombardi). She has also been named a Chevalier de l’Ordre des Arts et des Lettres (France).

Simone Young regularly returns to Australasia; this year she also conducts the Queensland and West Australian symphony orchestras, the Australian National Academy of Music (Melbourne) and the New Zealand Symphony Orchestra.

Simone Youngconductor

THE ARTISTS

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2016 SEASON NOW ON SALEPick the perfect SSO concert package.Have fun trying our new concert package selector to find packages you’ll love.SydneySymphony.com/Package-Selector

John Bell ao is founder and Co-Artistic Director of the Bell Shakespeare Company. After graduating from Sydney University he spent five years in England with the Royal Shakespeare Company where he became an Associate Artist. Returning to Australia, he worked with all the major State theatre companies and co-founded the Nimrod Theatre where he spent 14 years.

In 1990 he founded Bell Shakespeare. He has played most of the major roles in Shakespeare’s plays and directed most of them as well. He has also directed for Opera Australia and Victoria Opera.

John Belldirector

He has an Honorary Doctorate of Letters from the universities of Sydney, Newcastle and NSW. He is an Officer of the Order of Australia and the Order of the British Empire. In 1997 he was named by the National Trust as one of Australia’s National Living Treasures, and has won numerous awards as an actor and director.

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Lucy Bell has performed extensively on stage including productions of The Duchess Of Malfi, Pericles and Twelfth Night for Bell Shakespeare; The Cherry Orchard, As You Like It and Darling Oscar for the Sydney Theatre Company; Speaking In Tongues, Through The Wire, The Falls, Wolf Lullaby and Dreams in White for Griffin Theatre Company; Twelfth Night and Blue Murder for Belvoir; and For Julia for the Melbourne Theatre Company. Her recent performance as Kate in the Griffin Theatre production of Emerald City earned her the Norman Kessell Memorial Award for Most Outstanding Actor in the 2014 Glugs Awards.

Recent feature film credits include The Square and Ten Empty. And on television, she has appeared in 30 Seconds, City Homicide, Wildside, Dirt Game, Bastard Boys, Farscape, All Saints, Grass Roots, My Husband, My Killer, Murder Call, Crownies, Love Child, A Place To Call Home, the ABC telemovie Magazine Wars and Catching Milat.

Lucy BellJuliet

Tim Walter trained at the Western Australian Academy of Performing Arts and is a graduate of the Victorian College of the Arts. His theatre credits include: Kryptonite, Perplex and Rosencrantz and Guildenstern are Dead (Sydney Theatre Company); Hedda Gabler, As You Like It and Baghdad Wedding (Belvoir); and Romeo and Juliet, King Lear, Macbeth, The Merchant of Venice, Measure for Measure, Wars of the Roses, A Midsummer Night’s Dream and the Actors at Work touring education program (Bell Shakespeare), as well as Anatomy Titus Fall of Rome (Bell Shakespeare/Queensland Theatre Company).

He has also appeared in Casanova (Ensemble Theatre), A Midsummer Night’s Dream (B Sharp), Frenzy for Two (NIDA), Rainbow’s End (Ideas Australia/Riverside Theatre), Summerfolk (Bob Presents), Jet of Blood (Ignite) and Bat Boy: The Musical (Loudmouth Productions). He has appeared in the short films Swingers, Bloodwood, Closer, The Tell-Tale Heart, Anniversary and Pervert; in Home and Away; and in an ABC Radio National production of Hamlet.

Tim WalterRomeo

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Nathan Lovejoy graduated from the National Institute of Dramatic Art in 2004. His stage credits include The Good Person of Szechuan (Malthouse Theatre), Clybourne Park (Ensemble Theatre), Hamlet (Belvoir), Henry IV (Bell Shakespeare), Empire: Terror on the High Seas (TRS), This Year’s Ashes (Griffin Theatre Company), Much Ado About Nothing (Bell Shakespeare), Way To Heaven (Ride On Theatre/Griffin Independent), The Crucible (Sydney Theatre Company), A Midsummer Night’s Dream (Sydney Symphony Orchestra), Anatomy Titus Fall of Rome (Bell Shakespeare/Queensland Theatre Company), The Tempest (Bell Shakespeare), The Merchant of Venice (Ride On Theatre/B Sharp), Twelfth Night (Siren Theatre Company), Bones (New Black/Darlinghurst Theatre Company), King Lear (Harlos Productions) and Homeland (Keene/Taylor Theatre Project).

His film and television credits include Sammy J & Randy in Ricketts Lane, The Kettering Incident, This is Littleton, The Mystery of a Hansom Cab, The Pacific, My Place (Part 2), Laid, Review with Myles Barlow, At Home with Julia, Headland, Storm Warning and The Code (Season 2).

Nathan LovejoyBenvolio

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Nicholas Rayment is a graduate of the NIDA Production course and was the recipient of the Back Row Scholarship to London. He has created designs for James Anthony Productions, Bell Shakespeare, Teatro Zinzanni, Sydney Theatre Company, Belvoir Theatre Company, Griffin Theatre Company, Sydney Festival, Sydney Chamber Opera, Force Majeure, Strings Attached, Cerebral Palsy Alliance, Australian Theatre for Young People and Legs On The Wall, and has also worked as an associate for Opera Australia, where his projects included the Opera on Sydney Harbour productions of Carmen and La Traviata.

Recent theatre credits include Romeo and Juliet and Macbeth (Bell Shakespeare), Mojo and Romeo and Juliet (Sydney Theatre Company), Jump for Jordan (Griffin Theatre Company), All My Sons and Torch Song Trilogy (Darlinghurst Theatre Company) and Tale of Samulnori (Legs on the Wall). He also designed the lighting for Intimate Letters, a collaboration between the Australian Chamber Orchestra and Bell Shakespeare.

He is a member of the Darlinghurst Theatre Company artists membership group and an artistic associate of US-A-UM.

Nicholas Raymentlighting designer

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SYDNEY SYMPHONY ORCHESTRA

Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony Orchestra has evolved into one of the world’s finest orchestras as Sydney has become one of the world’s great cities.

Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the SSO also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA – 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

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.

DAVID ROBERTSON THE LOWY CHAIR OF

CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

PATRON Professor The Hon. Dame Marie Bashir ad cvo

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The men of the Sydney Symphony Orchestra are proudly outfitted by Van Heusen.

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.

MUSICIANS

David RobertsonTHE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

Dene OldingCONCERTMASTER

Andrew HaveronCONCERTMASTER

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

FIRST VIOLINS Dene Olding CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Jenny BoothSophie ColeAmber DavisClaire HerrickGeorges LentzEmily LongAlexandra MitchellAlexander NortonLéone ZieglerMadeleine Boud*Kathryn Chilmaid*Rebecca Gill*Cristina Vaszilcsin*Andrew Haveron CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Nicola Lewis

SECOND VIOLINS Marina Marsden Marianne BroadfootEmma Jezek ASSISTANT PRINCIPAL

Freya FranzenEmma HayesShuti HuangStan W KornelBenjamin LiNicole MastersPhilippa PaigeMaja VerunicaMonique Irik°Elizabeth Jones°Kirsty Hilton Biyana Rozenblit

VIOLASTobias Breider Justin Williams ASSISTANT PRINCIPAL

Sandro CostantinoRosemary CurtinJane HazelwoodGraham HenningsStuart JohnsonJustine MarsdenFelicity TsaiAmanda VernerLeonid VolovelskyAndrew Jezek*Anne-Louise Comerford

CELLOSCatherine Hewgill Leah Lynn ASSISTANT PRINCIPAL

Kristy ConrauFenella GillElizabeth NevilleChristopher PidcockAdrian WallisEleanor Betts*Andrew Hines*Bethan Lillicrap*Umberto ClericiTimothy NankervisDavid Wickham

DOUBLE BASSESKees Boersma Alex Henery Neil Brawley PRINCIPAL EMERITUS

David CampbellSteven LarsonRichard LynnJosef Bisits°Benjamin Ward

FLUTES Janet Webb Carolyn HarrisRosamund Plummer PRINCIPAL PICCOLO

Emma Sholl

OBOESShefali Pryor Alexandre Oguey PRINCIPAL COR ANGLAIS

Eve Newsome*Diana Doherty David Papp

CLARINETSLawrence Dobell Christopher TingayCraig Wernicke PRINCIPAL BASS CLARINET

Francesco Celata

BASSOONSLyndon Watts*Fiona McNamaraNoriko Shimada PRINCIPAL CONTRABASSOON

Matthew Wilkie

TENOR SAXOPHONEChristina Leonard*

HORNSRobert Johnson Geoffrey O’Reilly PRINCIPAL 3RD

Euan HarveyMarnie SebireRachel SilverJenny McLeod-Sneyd*Ben Jacks

TRUMPETSDavid Elton Paul Goodchild Anthony HeinrichsRosie Turner°

TROMBONESRonald Prussing Scott Kinmont Christopher Harris PRINCIPAL BASS TROMBONE

Nick Byrne

TUBASteve Rossé

TIMPANIRichard Miller

PERCUSSIONRebecca Lagos Timothy ConstableMark Robinson Ian Cleworth*Alison Pratt*

HARP Louise Johnson Genevieve Huppert*

MANDOLINSQuentin Bamford*Robin Brawley*Stephen Lalor*Giuseppe Zangari*

PIANO & CELESTASusanne Powell*

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN

GREY = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT

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BEHIND THE SCENES

Sydney Symphony Orchestra StaffMANAGING DIRECTORRory Jeffes

EXECUTIVE TEAM ASSISTANTLisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNINGBenjamin Schwartz

ARTISTIC ADMINISTRATION MANAGER Eleasha Mah

ARTIST LIAISON MANAGERIlmar Leetberg

RECORDING ENTERPRISE MANAGER Philip Powers

LibraryAnna CernikVictoria GrantMary-Ann Mead

LEARNING AND ENGAGEMENT

DIRECTOR OF LEARNING AND ENGAGEMENT Linda Lorenza

EMERGING ARTISTS PROGRAM MANAGER Rachel McLarin

EDUCATION MANAGER Amy Walsh

EDUCATION OFFICER Tim Walsh

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT Aernout Kerbert

ORCHESTRA MANAGERRachel Whealy

ORCHESTRA COORDINATOR Rosie Marks-Smith

OPERATIONS MANAGER Kerry-Anne Cook

PRODUCTION MANAGER Laura Daniel

STAGE MANAGERCourtney Wilson

PRODUCTION COORDINATORSElissa SeedOllie Townsend

PRODUCER, SPECIAL EVENTSMark Sutcliffe

SALES AND MARKETING

DIRECTOR OF SALES & MARKETINGMark J Elliott

MARKETING MANAGER, SUBSCRIPTION SALES Simon Crossley-Meates

SENIOR SALES & MARKETING MANAGERPenny Evans

A/ SENIOR SALES & MARKETING MANAGER Matthew Rive

MARKETING MANAGER, WEB & DIGITAL MEDIA Eve Le Gall

MARKETING MANAGER, CRM & DATABASEMatthew Hodge

A/ SALES & MARKETING MANAGER, SINGLE TICKET CAMPAIGNSJonathon Symonds

DATABASE ANALYSTDavid Patrick

SENIOR GRAPHIC DESIGNERChristie Brewster GRAPHIC DESIGNER

Tessa ConnSENIOR ONLINE MARKETING COORDINATOR

Jenny SargantMARKETING ASSISTANT

Laura Andrew

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlinBOX OFFICE SYSTEMS SUPERVISOR

Jennifer LaingBOX OFFICE BUSINESS ADMINISTRATOR

John RobertsonCUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – CS ManagerRosie BakerMichael Dowling

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

EXTERNAL RELATIONS

DIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

PhilanthropyHEAD OF PHILANTHROPY

Luke Andrew Gay PHILANTHROPY MANAGER

Jennifer DrysdalePATRONS EXECUTIVE

Sarah MorrisbyPHILANTHROPY COORDINATOR

Claire Whittle

Corporate RelationsCORPORATE PARTNERSHIPS MANAGER

Belinda BessonCORPORATE PARTNERSHIPS EXECUTIVE

Paloma Gould

CommunicationsCOMMUNICATIONS & MEDIA MANAGER

Bridget CormackPUBLICIST

Caitlin BenetatosDIGITAL CONTENT PRODUCER

Kai Raisbeck

BUSINESS SERVICES

DIRECTOR OF FINANCE

John HornFINANCE MANAGER

Ruth Tolentino ACCOUNTANT

Minerva Prescott ACCOUNTS ASSISTANT

Emma Ferrer PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTUREIN-HOUSE COUNSEL

Michel Maree Hryce

Terrey Arcus AM Chairman Ewen Crouch AM

Ross GrantCatherine HewgillJennifer HoyRory JeffesDavid LivingstoneThe Hon. Justice AJ Meagher Goetz Richter

Sydney Symphony Orchestra CouncilGeoff Ainsworth AM

Doug BattersbyChristine BishopThe Hon John Della Bosca MLC

John C Conde ao

Michael J Crouch AO

Alan FangErin FlahertyDr Stephen Freiberg Simon JohnsonGary LinnaneHelen Lynch AM

David Maloney AM Justice Jane Mathews AO Danny MayJane MorschelDr Eileen OngAndy PlummerDeirdre Plummer Seamus Robert Quick Paul Salteri AM

Sandra SalteriJuliana SchaefferFred Stein OAM

John van OgtropBrian WhiteRosemary White

HONORARY COUNCIL MEMBERSIta Buttrose AO OBE Donald Hazelwood AO OBE

Yvonne Kenny AM

David Malouf AO

Wendy McCarthy AO

Leo Schofield AM

Peter Weiss AO

Anthony Whelan mbe

Sydney Symphony Orchestra Board

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SSO PATRONS

Maestro’s Circle

David Robertson

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

Supporting the artistic vision of David Robertson, Chief Conductor and Artistic Director

Chair PatronsDavid RobertsonThe Lowy Chair of Chief Conductor and Artistic Director

Roger BenedictPrincipal ViolaKim Williams AM & Catherine Dovey Chair

Kees BoersmaPrincipal Double BassSSO Council Chair

Umberto ClericiPrincipal CelloGarry & Shiva Rich Chair

Timothy ConstablePercussionJustice Jane Mathews AO Chair

Lerida DelbridgeAssistant ConcertmasterSimon Johnson Chair

Lawrence DobellPrincipal ClarinetAnne Arcus & Terrey Arcus AM Chair

Diana DohertyPrincipal OboeJohn C Conde AO Chair

Richard Gill oam

Artistic Director, DownerTenix DiscoveryPaul Salteri AM & Sandra Salteri Chair

Jane HazelwoodViolaBob & Julie Clampett Chair in memory of Carolyn Clampett

Catherine HewgillPrincipal CelloThe Hon. Justice AJ & Mrs Fran Meagher Chair

Robert JohnsonPrincipal HornJames & Leonie Furber Chair

Leah LynnAssistant Principal CelloSSO Vanguard Chair With lead support from Taine Moufarrige, Seamus R Quick, and Chris Robertson & Katherine Shaw

Elizabeth NevilleCelloRuth & Bob Magid Chair

Shefali PryorAssociate Principal OboeMrs Barbara Murphy Chair

Emma ShollAssociate Principal FluteRobert & Janet Constable Chair

Janet WebbPrincipal FluteHelen Lynch AM & Helen Bauer Chair

Kirsten WilliamsAssociate ConcertmasterI Kallinikos Chair

FOR INFORMATION ABOUT THE CHAIR PATRONS

PROGRAM, CALL (02) 8215 4625.

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Lerida Delbridge was appointed Assistant Concertmaster of the SSO in 2013. She is a founding member of the Tinalley String Quartet and was previously a member of the Melbourne Symphony Orchestra. SSO Council member and leading providore Simon Johnson has been following Lerida’s career since her days in the Australian Youth Orchestra and is delighted to support her chair.

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Learning & Engagement

SSO PATRONS

fellowship patronsRobert Albert AO & Elizabeth Albert Flute ChairChristine Bishop Percussion ChairSandra & Neil Burns Clarinet ChairIn Memory of Matthew Krel Violin ChairMrs T Merewether OAM Horn ChairPaul Salteri AM & Sandra Salteri Violin and Viola ChairsMrs W Stening Cello ChairKim Williams AM & Catherine Dovey Patrons of Roger Benedict,

Artistic Director, FellowshipJune & Alan Woods Family Bequest Bassoon ChairAnonymous Double Bass ChairAnonymous Trumpet Chair

fellowship supporting patronsMr Stephen J BellJoan MacKenzie ScholarshipDrs Eileen & Keith OngIn Memory of Geoff White

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 HollowayMrs Barbara MurphyTony Strachan

major education donorsBronze Patrons & above

John Augustus & Kim RyrieBob & Julie ClampettHoward & Maureen ConnorsThe Greatorex FoundationJ A McKernanMr & Mrs Nigel Price

Sydney Symphony Orchestra 2015 Fellows

KE

ITH

SA

UN

DE

RS

Commissioning CircleSupporting the creation of new works.

ANZAC Centenary Arts and Culture FundGeoff Ainsworth AM

Christine BishopDr John EdmondsAndrew Kaldor AM & Renata Kaldor AO

Jane Mathews AO

Mrs Barbara MurphyNexus ITVicki OlssonCaroline & Tim RogersGeoff StearnDr Richard T WhiteAnonymous

MAKE A DIFFERENCE

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 [email protected]

A U S T R A L I A - K O R E AF O U N D A T I O N

Foundations

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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 BellMr David & Mrs Halina BrettR BurnsHoward ConnorsGreta DavisBrian GalwayMichele Gannon-MillerMiss Pauline M Griffin AM

John Lam-Po-Tang

Peter Lazar AM

Daniel LemesleLouise MillerJames & Elsie MooreVincent Kevin Morris &

Desmond McNallyDouglas PaisleyKate RobertsMary 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 AdamsonEstate of Carolyn ClampertEstate Of Jonathan Earl William ClarkEstate of Colin T EnderbyEstate of Mrs E HerrmanEstate of Irwin ImhofThe late Mrs Isabelle JosephThe Estate of Dr Lynn JosephThe Late Greta C RyanEstate of Rex Foster SmartJune & Alan Woods Family Bequest

IF YOU WOULD LIKE MORE INFORMATION ON

MAKING A BEQUEST TO THE SSO, PLEASE

CONTACT LUKE GAY ON 8215 4625.

n n n n n n n n n n

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.

Playing Your Part

DIAMOND PATRONS $50,000+Anne & Terrey Arcus am

In Memory of Matthew KrelMr Frank Lowy ac & Mrs Shirley

Lowy oam

Roslyn Packer ao

Paul Salteri am & Sandra Salteri

Estate of the late Rex Foster Smart

Peter Weiss ao & Doris WeissMr Brian White ao &

Mrs Rosemary White

PLATINUM PATRONS$30,000–$49,999Doug and Alison BattersbyMr John C Conde ao

Robert & Janet ConstableMr Andrew Kaldor am &

Mrs Renata Kaldor ao

Mrs Barbara MurphyVicki OlssonMrs W SteningMr Fred Street am &

Mrs Dorothy StreetKim Williams am & Catherine

Dovey

GOLD PATRONS $20,000–$29,999Brian AbelRobert Albert ao & Elizabeth

AlbertThe Berg Family FoundationTom Breen & Rachael KohnSandra & Neil BurnsEstate of Jonathan Earl

William ClarkJames & Leonie FurberI KallinikosHelen Lynch am & Helen

BauerJustice Jane Mathews ao

Mrs T Merewether oam

Rachel & Geoffrey O’ConorAndy & Deirdre PlummerGarry & Shiva RichDavid Robertson & Orli

ShahamMrs Penelope Seidler am

G & C Solomon in memory of Joan MacKenzie

Ray Wilson oam in memory of James Agapitos oam

Anonymous (2)

SILVER PATRONS $10,000–$19,999Geoff Ainsworth am

Christine BishopAudrey BlundenMr Robert BrakspearMr Robert & Mrs L Alison CarrBob & Julie ClampettMichael Crouch ao & Shanny

CrouchIan Dickson & Reg HollowayPaul EspieEdward & Diane FedermanNora GoodridgeMr Ross GrantThe Estate of Mr Irwin ImhofSimon JohnsonRuth & Bob MagidSusan Maple-Brown The Hon Justice AJ Meagher &

Mrs Fran MeagherMr John MorschelDrs Keith & Eileen OngMr and Mrs Nigel PriceKenneth R Reed am

Mrs Joyce Sproat & Mrs Janet Cooke

John Symond am

The Harry Triguboff FoundationCaroline WilkinsonJune & Alan Woods Family

BequestAnonymous (2)

BRONZE $5,000–$9,999Mr Henri W Aram oam

John Augustus & Kim RyrieStephen J BellDr Hannes & Mrs Barbara

BoshoffBoyarsky Family TrustPeter Braithwaite & Gary

LinnaneIan & Jennifer BurtonRebecca ChinMr Howard ConnorsDavid Z Burger FoundationDr Colin GoldschmidtThe Greatorex FoundationRory & Jane JeffesRobert JoannidesMr Ervin KatzBarbara MaidmentMora MaxwellTaine MoufarrigeRobert McDougallWilliam McIlrath Charitable

FoundationJ A McKernan

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Playing Your Part

SSO PATRONS

BRONZE PATRONS CONTINUED

Nexus ITJohn & Akky van OgtropSeamus Robert QuickChris Robertson & Katherine

ShawRodney Rosenblum am & Sylvia

RosenblumDr Evelyn RoyalManfred & Linda SalamonGeoff StearnTony StrachanMr Robert & Mrs Rosemary WalshIn memory of Geoff WhiteAnonymous

PRESTO $2,500–$4,999G & L BessonIan BradyMr David & Mrs Halina BrettMark Bryant oam

Lenore P BuckleMrs Stella ChenCheung FamilyDr Paul CollettEwen Crouch am & Catherine

CrouchProf. Neville Wills &

Ian FenwickeFirehold Pty LtdDr Kim FrumarWarren GreenAnthony GreggAnn HobanJames & Yvonne HocrothMr Roger Hundson &

Mrs Claudia Rossi-HudsonMr John W Kaldor AMProfessor Andrew Korda am &

Ms Susan PearsonIn memoriam

Dr Reg Lam-Po-TangProfessor Winston LiauwRenee MarkovicHelen & Phil MeddingsJames & Elsie MooreMs Jackie O’BrienPatricia H Reid Endowment

Pty LtdJuliana SchaefferHelen & Sam ShefferDr Agnes E SinclairEzekiel SolomonJohn & Josephine StruttMr Ervin Vidor am &

Mrs Charlotte VidorLang Walker ao & Sue WalkerWestpac GroupMary Whelan & Robert

BaulderstoneYim Family FoundationDr John YuAnonymous (2)

VIVACE $1,000–$2,499Mrs Lenore AdamsonAntoinette AlbertRae & David AllenAndrew Andersons ao

Mr Matthew AndrewsMr Garry and Mrs Tricia AshSibilla BaerThe Hon Justice Michael BallDavid BarnesDr Richard & Mrs Margaret BellIn memory of Lance BennettMs Gloria BlondeG D BoltonJan BowenIn memory of Jillian BowersIn Memory of Rosemary Boyle,

Music TeacherRoslynne BracherWilliam Brooks & Alasdair BeckMr Peter BrownIn memory of R W BurleyIta Buttrose ao obe

Mrs Rhonda CaddyHon J C Campbell qc &

Mrs CampbellDebby Cramer & Bill CaukillMr B & Mrs M ColesMs Suzanne CollinsJoan Connery oam & Maxwell

Connery oam

Mr Phillip CornwellMr John Cunningham scm &

Mrs Margaret CunninghamDiana DalyDarin Cooper FoundationGreta DavisLisa & Miro DavisDr Robert DickinsonE DonatiProfessor Jenny EdwardsDr Rupert C EdwardsMalcolm Ellis & Erin O’NeillMrs Margaret EppsMr & Mrs J B Fairfax am

Julie FlynnDr Stephen Freiberg & Donald

CampbellMr Matt GarrettVivienne Goldschmidt &

Owen JonesIn Memory of Angelica GreenAkiko GregoryDr Jan Grose oam

Mr & Mrs Harold & Althea Halliday

Janette HamiltonMrs Jennifer HershonSue HewittDorothy Hoddinott ao

Kimberley HoldenMr Kevin Holland & Mrs Roslyn

Andrews

The Hon. David Hunt ao qc & Mrs Margaret Hunt

Mr Phillip Isaacs oam

Dr Owen JonesAron KleinlehrerMrs Gilles KrygerMr Justin LamDr Barry LandaBeatrice LangMr Peter Lazar am

Airdrie LloydMrs Juliet LockhartGabriel LopataPeter Lowry oam & Carolyn

Lowry oam

Macquarie Group FoundationMelvyn MadiganDavid Maloney am & Erin

FlahertyJohn & Sophia MarMr Danny R MayMr Guido MayerKevin & Deidre McCannIan & Pam McGawMatthew McInnesI MerrickHenry & Ursula MooserMilja & David MorrisJudith MulveneyDarrol Norman & Sandra HortonMr & Mrs OrtisMr Andrew C PattersonIn memory of Sandra Paul

PottingerMr Stephen PerkinsAlmut PiattiThe Hon. Dr Rodney Purvis am

& Mrs Marian PurvisDr Raffi Qasabian &

Dr John WynterMr Patrick Quinn-GrahamErnest & Judith RapeeIn Memory of

Katherine RobertsonMr David RobinsonTim RogersDr Colin RoseLesley & Andrew RosenbergJanelle RostronMr Shah RusitiIn memory of H St P ScarlettGeorge and Mary ShadVictoria SmythDr Judy SoperJudith SouthamMr Dougall SquairThe Honourable Brian Sully am qc

Mrs Margaret SwansonThe Taplin FamilyMildred TeitlerDr & Mrs H K TeyDr Jenepher ThomasKevin TroyJohn E Tuckey

Judge Robyn TupmanDr Alla WaldmanIn memory of Denis WallisMiss Sherry WangHenry & Ruth WeinbergThe Hon. Justice A G WhealyJerry WhitcombMrs Leonore WhyteA Willmers & R PalAnn & Brooks C Wilson am

Dr Richard WingEvan WongDr Peter Wong & Mrs Emmy

K WongGeoff Wood & Melissa WaitesSir Robert WoodsLindsay & Margaret WoolveridgeIn memory of Lorna WrightMrs Robin YabsleyAnonymous (20)

ALLEGRO $500–$999Nikki AbrahamsKatherine AndrewsMr & Mrs George BallBarlow Cleaning Pty LtdBarracouta Pty LtdSimon BathgateDr Andrew BellMr Chris BennettJan BiberMinnie BiggsJane BlackmoreMrs P M BridgesR D and L M BroadfootDr Peter BroughtonDr David BryantArnaldo BuchDr Miles BurgessPat & Jenny BurnettHugh & Hilary CairnsEric & Rosemary CampbellM D & J M ChapmanJonathan ChissickMichael & Natalie CoatesDom Cottam & Kanako ImamuraAnn CoventryMr David CrossMark Dempsey sc

Dr David DixonSusan DoenauDana DupereJohn FavaloroMrs Lesley FinnMr Richard FlanaganMs Lynne FrolichMichele Gannon-MillerMs Lyn GearingMr Robert GreenMr Geoffrey GreenwellMr Richard Griffin am

In memory of Beth HarpleyV Hartstein

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VANGUARD COLLECTIVEJustin Di Lollo ChairBelinda BentleyOscar McMahonTaine Moufarrige

Founding PatronShefali PryorSeamus R Quick

Founding PatronChris Robertson & Katherine

Shaw Founding Patrons

MEMBERSLaird Abernethy Elizabeth AdamsonClare Ainsworth-HershellCharles ArcusPhoebe ArcusPhilip AtkinLuan AtkinsonJoan BallantineAndrew Batt-RawdenJames BaudzusAndrew BaxterAdam Beaupeurt Anthony BeresfordDr Andrew BotrosPeter BraithwaiteAndrea BrownNikki BrownProfessor Attila BrungsTony ChalmersDharmendra ChandranLouis ChienPaul ColganClaire CooperBridget CormackKarynne CourtsRobbie CranfieldAsha CugatiJuliet CurtinDavid CutcliffeEste Darin-CooperRosalind De SaillyPaul DeschampsCatherine DonnellyJennifer DrysdaleJohn-Paul DrysdaleKerim El GabailiRoslyn FarrarNaomi FlutterAlastair FurnivalAlexandra Gibson

Sam GiddingsJeremy GoffHilary GoodsonTony GriersonLouise HaggertyJason HairPeter HowardJennifer HoyKatie HryceVirginia JudgePaul KalmarJonathan KennedyPatrick KokJohn Lam-Po-TangTristan LandersGary LinnaneDavid LoSaskia LoGabriel LopataRobert McGroryAlexandra McGuiganDavid McKeanSarah MoufarrigeJulia NewbouldNick NichlesKate O’ReillyPeter O’SullivanCleo PosaJune PickupRoger PickupStephanie PriceMichael RadovnikovicKatie RobertsonDr Benjamin RobinsonAlvaro Rodas FernandezAdam SadlerProfessor Anthony SchembriBenjamin SchwartzCecilia StornioloRandal TameSandra TangIan TaylorDr Zoe TaylorMichael TidballMark TrevarthenMichael TuffySarah VickAlan WattersJon WilkieYvonne ZammitAmy Zhou

SSO Vanguard

A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists

n n n n n n n n n n

“Together, we have an ambition to foster a love of orchestral music in school children of all ages, and to equip their teachers with the skills they need to develop this in our young people…”DAVID ROBERTSON SSO Chief Conductor and Artistic Director

PLEASE CONSIDER MAKING A TAX-DEDUCTIBLE DONATION TODAY

Benjamin Hasic & Belinda DavieSandra HaslamAlan Hauserman & Janet NashRobert HavardMrs A HaywardRoger HenningDr Mary JohnssonMrs Margaret KeoghAernout Kerbert & Elizabeth

NevilleDr Henry KilhamJennifer KingMrs Patricia KleinhansAnna-Lisa KlettenbergMs Sonia LalL M B LampratiDavid & Val LandaElaine M LangshawMargaret LedermanRoland LeeMrs Erna LevyMrs A LohanLinda LorenzaM J MashfordMs Jolanta MasojadaKenneth Newton MitchellMr David MuttonMr & Mrs NewmanMr Graham NorthDr Lesley NorthSead NurkicMr Michael O’BrienJudith OlsenDr Alice J PalmerDr Natalie E PelhamPeter and Susan PicklesErika PidcockDr John I PittAnne PittmanJohn Porter & Annie Wesley-

SmithMrs Greeba Pritchard

Michael QuaileyMr Thomas ReinerDr Marilyn RichardsonAnna RoMr Michael RollinsonMrs Christine Rowell-MillerJorie Ryan for Meredith RyanMr Kenneth RyanGarry E Scarf & Morgie BlaxillMrs Solange SchulzPeter & Virginia ShawDavid & Alison ShilligtonMrs Diane Shteinman am

Margaret SikoraColin SpencerTitia SpragueRobert SpryMs Donna St ClairFred & Mary SteinAshley & Aveen StephensonMargaret & William SuthersPam & Ross TegelMrs Caroline ThompsonPeter & Jane ThorntonRhonda TingAlma TooheyHugh TregarthenMrs M TurkingtonGillian Turner & Rob BishopRoss TzannesMr Robert VeelRonald WalledgeMiss Roslyn WheelerIn Memoriam JBL WattDr Edward J WillsDr Wayne WongDr Roberta WoolcottPaul WyckaertAnonymous (32)

SSO Patrons pages correct as of 7 July 2015

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SALUTE

The Sydney Symphony Orchestra is assisted by the Commonwealth

Government through the Australia Council, its arts funding and

advisory body

GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is

assisted by the NSW Government

through Arts NSW

PRINCIPAL PARTNER

EDUCATION PARTNERPLATINUM PARTNER

REGIONAL TOUR PARTNER MARKETING PARTNERVANGUARD PARTNER

PREMIER PARTNER

SILVER PARTNERS

s i n f i n i m u s i c . c o m

UNIVERSAL MUSIC AUSTRALIA

MAJOR PARTNERS

GOLD PARTNERS

Salute 2015_July_#25+.indd 1 3/08/2015 9:21 am