7.30PM, FRIDAY 6 OCTOBER 2017

Melbourne Recital Centre & Australian National Academy of Music (ANAM) in association with Melbourne Festival present

Brenda Rae sings Rameau

GLORIES OF THE FRENCH BAROQUE

Melbourne Recital Centre acknowledges the people of the Kulin nation on whose land this concert is being presented.

BRENDA RAE SOPRANOBENJAMIN BAYL HARPSICHORD/DIRECTOR

ANAM ORCHESTRA

‘A constant source of vocal allure with the kind of dramatic instincts that turn a flashy cadenza

into an intense character study.’THE PHILADELPHIA INQUIRER

Friday 6 October 20177.30pm Elisabeth Murdoch Hall

Duration: Two hours including one 20-minute interval.

JEAN-PHILIPPE RAMEAULes folies françaises – Suites and Arias from

Tragédies en musique, Opéra-ballets and Comédies lyriques

Les PaladinsOuverture très vive – Menuet lent – Air gay

Loure – Air très gay‘Je vole, Amour’ (aria of Argie)

Menuet – Contredanse

Castor et PolluxPassepieds – Bruit de guerre – Ritournelle tendre

‘Tristes apprêts, pâles flambeaux’ (aria of Télaire)Danse des Démons

PlatéeRigaudons – Tambourins

‘Formons les plus brillants concerts – Aux langueurs d’Apollon’ (recitative & aria of La Folie)

Orage

INTERVAL

ZoroastreOuverture – Air léger – Entrée de peuples différents –

Air tendre en rondeau – Tambourin‘Sur nos coeurs épuise tes armes’ (aria of Amélite)

Menuet - Air grave - Air vif – Air très vif

Les BoréadesPrélude

‘Un horizon serein’ (aria of Alphise) Entrée de Polymnie

Les Indes galantesAir vif – Air pour l’adoration du Soleil – Contredanse

‘Vaste empire des mers’ (aria of Emilie)Air pour les sauvages – Chaconne

‘Régnez, plaisirs’ (aria of Zima)

PROGRAM

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‘The past is a foreign country’, wrote L.P. Hartley, and so, for a very long time, were the operas of Jean-Philippe Rameau. For more than 200 years after his death, Rameau’s works were about as remote and mysterious for the average music lover as the planet of Mars is to the modern tourist. In 1956, Cuthbert Girdlestone, Rameau’s first English biographer, wrote, ‘His music enfolds a great wealth of beauty of the highest order which is almost unknown and certainly unexploited’, and for almost the next two decades not much changed. How could such a great composer fall off the map for so long? Rameau’s rebirth finally came during the 1970s, thanks to the curiosity of early music pioneers like Nikolaus Harnoncourt and Jean-François Paillard who disinterred a handful of these unexploited scores and gave them the kiss of life. What began as a tentative trickle has slowly become a steady stream, and audiences can now re-enter a theatrical world lost for two centuries. Rameau’s ‘foreign country’ is looking and sounding less foreign, and that’s a very good thing, because Jean-Philippe Rameau wrote far too much beautiful music for us to ignore him.

Rameau was born in Dijon in 1683, the son of an organist, and by 16 was deputising for his father in the loft. He was no star pupil at the Jesuit college he attended, nor did he stand out as a child prodigy, and had he died in his mid-40s we might know him as hardly more than a footnote - albeit an important one - in the chronicle of Western music - as the composer of some attractive keyboard pieces and cantatas, and the author of some forward-thinking treatises on harmony, tuning systems, figured bass, and other such matters that excite musicologists but no one else.

ABOUT THE MUSIC

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But at the age of 49, Rameau did something remarkable: he embarked on a career as an opera composer. Why? We don’t know exactly. To walk into the bear-pit of Parisian opera at a relatively late stage in life must have taken some guts. Perhaps it was the enticement of wealth, for there was serious money to be made. Or perhaps it was the burning conviction, too strong to be suppressed, that he could do it better. If so, he was vindicated with the success of his first opera, Hippolyte et Aricie. It was a hit, but it also stirred up a hornet’s nest, for Rameau had threatened the supremacy of Jean-Baptiste Lully, long-reigning monarch of French music. For the next 20 years, even after Lully’s death, the rival fan clubs, the Lullistes and the Ramistes, railed at each other in opera houses and in print. The Lullistes were offended by Rameau’s audacious harmonies and imaginative orchestration, and the Ramistes equally heated in their defence. Today, we may smile condescendingly at the antics of these warring claques and the invective hurled back and forth, but at least they cared. If only audiences today were similarly fired up, let alone engaged. After scoring his first hit, it was clear that Rameau had been bitten by the showbiz bug, for over the next

30 years he wrote no fewer than 26 works for the stage, some hits, some flops. His last, composed Verdi-like at the age of 79, was Les Boréades, a miracle of lyric grace and emotional power, that he never heard performed.

We casually call these works for the stage ‘operas’, but in truth they are opéras-ballets, for at least a quarter of a typical Rameau score may be given over to dance music. Opéra-ballet was, indeed, just the heading for a dizzying list of genres that included tragédie en musique, comédie-ballet, comédie lyrique, pastorale-héroique, acte de ballet and so on (Polonius, able to reel off all the dramatic genres and sub-genres to Hamlet, had nothing on the Parisians.) For the French theatregoers, the art of the dance was every bit as important as the art of song, and modern productions of Rameau can succeed or fail depending on their producers’ skill in integrating the choreographic element.

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Viewed dramaturgically, Rameau’s operas did not re-invent the wheel. For the most part he and his collaborators stuck to the same mythological and classical subjects as Lully. Operatic naturalism – insofar as such a thing is even possible – seems not to have been a concern for Rameau. (Only late in life did he confess that, were he to start over, he would follow the example of Pergolesi’s La serva padrona.) His achievement was to take the established themes and clothe them in richer, more imaginative music. When Rameau’s characters soared heavenwards, they soared higher, and when they had to trudge down to the underworld, the demons were bigger and scarier. And to top it all off, he seemed to have at his fingertips an endless supply of crackerjack dance tunes, real foot-stompers that sounded as if they had come straight from the streets and fairgrounds, and in some cases perhaps did.

Rameau died in 1764, relatively rich and revered. But when the Revolution came in 1789 his works – and those of Lully – suffered the same merciless fate as the guillotined aristocrats. They were lumped in with the detested Ancien Régime and consigned to the dusty archives. Then came Figaro, and the game was well and truly up for all those gods and goddesses. Through

ABOUT THE MUSIC

the whole 19th century the ever-insightful Hector Berlioz was one of the few great minds to appreciate the greatness of Rameau, but many considered him eccentric for doing so. In 1895 Rameau’s stock finally took a sharp turn upwards when Camille Saint-Saëns, motivated partly by nationalistic pride, commenced the editorship of the first complete edition, but this laudable project was interrupted by the First World War and then sadly abandoned less than a third complete. In 1991 the brilliant French musicologist Sylvie Bouissou founded the Société Jean-Philippe Rameau, dedicated to publishing a modern critical edition of the composer’s entire works. The Sociéte’s honorary committee boasts a galaxy of luminaries including William Christie, John Eliot Gardiner and Philippe Herreweghe, and its team of editors includes such outstanding scholars as Graham Sadler and Denis Herlin. Their work is still by no means finished, but we already owe them a lot. Welcome to Melbourne, Monsieur Rameau.Words by Philip Lambert © ANAM Library

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THE TEXTS

Les Paladins comédie lyrique, premiered 12 February 1760

Rameau’s second-last opera was this comedy-fairy tale based on a fable by La Fontaine. The young heroine, Argie, is in love with Atis, a palatin (a warrior of Charlemagne’s court) but is held captive by her wicked guardian Anselme. At the end of the second act she pours out her heart in this delicately scored aria.

Je vole, amour, où tu m’appelles,Prête-moi, prête-moi tes ailes.Quelles sont tes faveursPour les amants fidèles?Tu brises leurs chaînes cruelles,Et tu les enchaînes de fleurs.

(librettist unknown)

I fly, love, where you call me,lend me your wings.What are your rewardsfor faithful lovers?You break their cruel chainsand you enchain them in flowers.

Castor et Pollux tragédie en musique, premiered 24 October 1737

Castor and Pollux are the heroic twins of classical myth whom the gods transformed into the stars of the Gemini constellation. At the start of the opera, Castor has been killed in battle and Télaïre is in mourning.

Tristes apprêts, pâles flambeaux,Jour plus affreux que les ténèbres,Astres lugubres des tombeaux,Non, je ne verrai plus que vos clartés funèbres.Toi, qui vois mon coeur éperdu,Père du Jour! ô Soleil! ô mon Père!Je ne veux plus d’un bien que Castor a perdu,Et je renounce à ta lumière.

Sad apparitions, pale flames,Day more frightening than darkness,Dismal stars of the tombs,No – I shall no longer see anything other than your funereal beams.You, who see my broken heart, Father of Daylight! Oh, Sun! O, my Father!I no longer want the gift of life that Castor has lost, And I renounce the light.

(libretto: Pierre-Joseph-Justin Bernard)

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THE TEXTS

Platée comédie lyrique, premiered 31 March, 1745

This ribald comedy may be Rameau’s most original creation. Platée is an ugly marsh nymph (played by a tenor), utterly convinced of her own beauty. When the god Jupiter courts Platée as a prank, La Folie tries to warn her not to take him seriously, and sings her the admonitory tale of Apollo and Daphne.

Formons les plus brillants concerts; Quand Jupiter porte les fers de l’incomparable Platée,Je veux que les transports de son ame enchantée, S’expriment par mes chants divers.Admirez tous mon art celebre.Je fais d’une image funébre une alégresse par mes chants.Aux langeurs d’Apollon, Daphné se refusa.L’Amour sur son tombeau, éteignit son flambeau, La métamorphosa.C’est ainsi que l’Amour de tout temps s’est vengé:Que l’Amour est cruel, quand il est outragé!

Let’s put on the most brilliant concerts.When Jupiter is enchained by the peerless Platée,May the rapture of his enchanted soul be expressed by my songs.Watch now and admire my art - May my songs turn a sad picture into one of joy.Daphne turned down Apollo’s ardent advances.Upon her tomb, Love put out the flame and transformed her. Thus has Love always avenged itself.Love is so cruel when it is unrequited!

(libretto: Adrien-Joseph Le Valois d’Orville)

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Zoroastre tragédie en musique, premiered 5 December 1749

Good and evil are personified in this opera by Zoroastre, the great religious reformer of ancient Persia, and the wicked sorcerer Abramane. Both are in love with Amélite. Zoroastre was one of the first operas to imitate Masonic rituals on stage. The aria Aimez vous was sung by Zoroastre in the original 1749 production, but a 1756 revival assigned it to Amélite.

Aimez vous sans cesse.L’Amour va lancer tous ses traits;C’est pour votre Bonheur qu’il vous lie et vous blesse;Jouissez de votre tendresse Dans les bras des Plaisirs,dans le sein de la Paix.(libretto: Louis de Cahusac)

Love without ceasing.Love will launch herself at you; It’s for your own good that Love traps you and hurts you;Enjoy your tender feelingsin the arms of Pleasure,and in the bosom of Peace.

Les Boréades tragédie en musique and Rameau’s final work.

Although rehearsed at the Paris Opéra in 1763, it was not performed until 1770, after Rameau’s death. Alphise, Queen of Bactria, must wed Boread, one of the descendants of the god of the north wind, but her heart is with Abaris. She decides she would rather abdicate than forego the man she loves. In this aria she compares her anxieties to a storm at sea.

Un orison serain, le doux calme des airsinvitent à voguer sur l’onde.Tout à couple vent gronde,il amene l’orage,et soule les mers.

Par l’attrait des biens les plus chers,c’est ainsi que l’amour et l’himen nous ègarent;je craine les chaines quils préparant,il sous des noeuds de fleurs,je ne vois que des fern.(libretto: Louis de Cahusac)

A clear horizon,the calm sweetness of the air,tempt us to drift upon the wave.Suddenly the wind turns cold, it lashes up the storm and roilsthe surging waves.

By the lure of precious things, love and marriage lead us astray;I fear the chains they prepare,and under pretty flowers I see only fetters.

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THE TEXTSLes Indes galantes ballet héroique, premiered 23 August 1735

This lavish entertainment in a prologue and four self-contained acts, took its audience through four exotic locations: a Turkish palace, a Peruvian volcano, a Persian garden and a North American forest. In the first aria, Émilie, who has been abducted and is now the captive of a Turkish pasha, looks out to sea in despair and wonders if her husband will ever rescue her.

La nuit couvre les cieux!Quel funeste ravage!Vaste empire des mers où triomphe l’horreur,Vous êtes la terrible imageDu trouble de mon coeur.Des vents impétueux vous éprouvez la rage,D’un juste désespoir j’éprouve la fureur.Que ces cris agitent mes sens!Moimême je me crois victime de l’orage.Mais le ciel est touché de leurs périls pressants,Le ciel, le juste ciel calme l’onde et les vents;Je souffrois dans le port les tourments du naufrage.

Darkness covers the skies!What dreadful devastation!Vast empire of the seas where horror rules,You are the terrible imageof the trouble in my heart.You endure the violence of the impetuous winds,And I, the fury of just despair.Let these cries shake my senses!I believe myself a victim of the storm.But heaven is touched by their pressing perils,Heaven, the just heaven calms the wave and the winds;I suffered in the harbor the torments of the shipwreck.

In the second aria, Zima, a Native American princess, has been fought over by two European settlers. She turns them both down to marry Adario, a native warrior. The opera finishes with everyone joining in the peace-pipe ceremony.

Régnez Plaisirs et Jeux; triomphez dans nos bois.Nous n’y connaissons que vos lois.Tous ce qui blesse la tendresseest ignoré dans nos ardeurs.La nature qui fit nos coeursPrend soin de les guider sans cesse.(libretto: Louis Fuzelier)

Pleasures and Sports, rule here in our woods!We obey only your laws.Anything that hurts tendernesshas no place in our affections.Nature, which made our hearts,always guides them with care.

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Brenda Rae SOPRANO

American soprano Brenda Rae is a highly sought after artist who regularly performs in many of the world’s leading opera houses, concert halls, and recital venues. At home in a wide range of repertoire, Brenda has been praised for her ‘tireless, golden soprano’ (The Times), ‘dazzling, pinpoint coloratura’ (Opera News), and ‘breathtaking mastery’ (Frankfurter Rundschau).

Brenda Rae’s current season will begin with performances as the Queen of the Night in Die Zauberflöte on tour in Japan with the Bayerische Staatsoper, followed by the soprano’s Australian debut in this concert of Rameau arias with the Australian National Academy of Music (ANAM). Further opera performances include Aminta in Die schweigsame Frau with the Bayerische Staatsoper, Zerbinetta in Ariadne auf Naxos with both the Berlin Staatsoper and the Bayerische Staatsoper and a return to Ms. Rae’s home company, the Oper Frankfurt, for Gilda in Rigoletto and Amina in La sonnambula. She also returns to Santa Fe for an exciting role debut: Cunegonde in Candide. In concert Ms. Rae makes her La Scala debut in Christmas Concerts featuring sacred music by Mozart, and she returns to the University of Michigan in Ann

ABOUT THE ARTISTS

Arbor for Messiah. Future projects include debuts with the Metropolitan Opera, the Lyric Opera of Chicago, the Teatro Real in Madrid and Oper Zürich as well as returns to the Oper Frankfurt, Santa Fe Opera and Opera Philadelphia.

Brenda appears on several recordings including Offenbach’s Fantasio (Opera Rara), Lowell Liebermann’s Little Heaven (Albany Records), Strauss’ Ariadne auf Naxos and Wagner’s Die Feen (both on Oehms Classics), Milhaud’s The Oresteia of Aeschylus (Naxos; nominated for a Grammy award), and also on DVD/Blu-ray in Handel’s Rinaldo from Glyndebourne (Opus Arte). Brenda earned an artistic diploma from the Juilliard Opera Center, a master’s degree from the Juilliard School, and a bachelor’s degree from the University of Wisconsin-Madison.brendarae.comBrenda Rae’s ANAM residency is generously supported by Peter Jopling AM QC

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ABOUT THE ARTISTS

Benjamin Bayl HARPSICHORD/DIRECTOR

Benjamin Bayl is co-founder and Principal Guest Conductor of the period-instrument Australian Romantic & Classical Orchestra (ARCO) and Associate Director of The Hanover Band. Born in Sydney in 1978, he was the first Australian Organ Scholar of King’s College Cambridge, and then studied conducting at the Royal Academy of Music with Colin Metters and George Hurst. An alumnus of the National Opera Studio, he became Assistant Conductor to the Budapest Festival Orchestra and Iván Fischer in 2006, and was also mentored by and assisted Sir John Eliot Gardiner, Yannick Nézet-Séguin and Richard Hickox. From 2007-2010 he served as Assistant Artistic Director to the Gabrieli Consort & Paul McCreesh, and also worked with Fischer and the Konzerthausorchester Berlin.

He recently made his conducting debut in the Amsterdam Concertgebouw with Collegium Vocale Gent and Akademie für Alte Musik Berlin, and was immediately re-invited to conduct them on a European tour with the music of CPE Bach in the 18/19

Season. Working extensively in the early music field (both as conductor or directing from the keyboard) recent and regular collaborations include: The Hanover Band, Concerto Copenhagen, Concerto Köln, Wroclaw Baroque Orchestra, and Warsaw Chamber Opera.

Current and forthcoming season highlights include concerts with Malaysian Philharmonic and Hong Kong Philharmonic Orchestras, Orchestra Haydn di Bolzano, Orchestra Sinfonia G.Rossini, Stavanger Symphony Orchestra, Bremer Philharmoniker, ARCO, Orchestra i Pomeriggi Musicali, Croatian Baroque Orchestra, a tour of China with The Hanover Band, a tour of Europe with B’Rock and Vocalconsort Berlin, La finta semplice and Lully’s Armide at Warsaw Chamber Opera, La Clemenza di Tito at Polish National Opera and Così fan tutte at the Cartagena Festival in Colombia. benjaminbayl.com

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THE ARTISTS

SOPRANOBrenda Rae

HARPSICHORD/DIRECTORBenjamin Bayl

CONCERTMASTERShaun Lee-Chen

ANAM Musicians in alphabetical order

VIOLINLaura Barton NZKarla Hanna VIC Principal 2ndNatasha Hanna VICLily Higson-Spence QLDWilliam Huxtable WAKyla Matsuura-Miller QLDLiam Oborne VICMana Ohashi VICRiley Skevington WADaniel Tagiev guestSunkyoung Kim guest

VIOLAEunise Cheng WARachel Grimwood alumnaAlexander MacDonald NZ PrincipalMariette Reefman NSWRuby Shirres guestEli Vincent QLD

CELLOJonathan Békés NSWLiam Meany NSW Co-PrincipalDavid Moran SADaniel Smith QLD Co-PrincipalCaleb Wong NSWVicky Zhang NSW

BASSKinga Janiszewski QLDGiovanni Vinci NSW Principal

FLUTE/PICCOLOAndrew Baird SA Pl, ZAnna Coe QLD B, IGEliza Shephard NSW Pns, C

OBOEOwen Jackson QLD IGEve Osborn NSW Pns, C, Pl

CLARINETMitchell Jones QLDMagdalenna Krstevska VIC Z

BASSOONJenna Schijf WAMatthew Ventura NSW Pns, C, PlCarol Wang NZ Z, B, IG

HORNAidan Gabriels QLDEmily Newham QLD Principal

TRUMPET Samuel Beagley VICSarah Henderson NZ Principal

TIMPANI & PERCUSSIONMatthew Horsley guestScott Weatherson guest

HARPSICHORDAdam McMillan QLDAlexander Waite VICLiam Wooding NZ

ABOUT ANAMThe Australian National Academy of Music (ANAM) is dedicated to the artistic and professional development of the most exceptional young classical musicians from Australia and New Zealand. It is a place in which young musicians fulfill their potential as music leaders, distinguished by their skill, imagination and courage, and by their determined contribution to a vibrant music culture. Renowned for its innovation and energy, ANAM is committed to pushing the boundaries of how music is presented and performed.

ANAM musicians learn and transform through unique, performance-based training tailored to individual goals and aspirations. Presenting over 180 events each year, in some of the finest venues in Australia, musicians share the stage with their peers and the world’s best artists and educators. Many ANAM Alumni have been recipients of major national and international prizes and awards, and occupy leading positions in ensembles and orchestras in Australia and around the world.

For more information visit anam.com.au or call 03 9645 7911

Pns = Principal Les Paladins, C = Principal Castor et Pollux, Pl = Principal Platée Z = Principal Zoroastre, B = Principal Les Boréades, IG = Principal Les Indes galantes

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INSPIRED GIVING

LEADERSHIP CIRCLESThe Leadership Circles comprise individual donors whose lead gifts support the Centre’s core concert program and its mission to be a singular place of inspiration, creativity, self-expression, learning and enrichment through music.

Artist DevelopmentInaugural Artist Development & Music Education Benefactor The Late Betty Amsden aoPeter Jopling am qcMrs Margaret S Ross am & Dr Ian C Ross

Children & FamiliesThe Late Betty Amsden AO

Master ClassPrice/Lowy Family in memory of John PriceEnsemble Giovane

Great PerformersAnonymous (1)Brian & Esther BenjaminPaulette & Warwick BisleyThe John & Jennifer Brukner FoundationGeorge & Laila EmbeltonGeoff & Jan PhillipsMaria Sola

Signature EventsInaugural Signature Events Benefactors Yvonne von Hartel AM & Robert Peck AM of

peckvonhartel architects

Local HeroesInaugural Local Heroes Benefactor The Klein Family FoundationMajlis Pty LtdMaria Sola

MUSIC CIRCLE PATRONS PROGRAMProviding support essential to the breadth, diversity and quality of the Centre’s artistic program.

Magnum Opus Circle ($20,000+)Melbourne Recital Centre Board of Directors Kathryn Fagg Peter & Cally Bartlett Stephen Carpenter &

Leigh Ellwood Joseph Corponi The Hon Mary Delahunty

Paul Donnelly & Brigitte Treutenaere

Margaret Farren-Price & Prof Ronald Farren-Price AM Eda Ritchie AM

Composers Circle ($4000+)Anonymous (1)John & Lorraine BatesRobert & Jan GreenHenkell Family FundJenny & Peter HordernMessage Consultants AustraliaJames Ostroburski & Leo OstroburskiDrs Victor & Karen WayneMary Vallentine AO

Musicians Circle ($2500+)Liz & Charles BaréAnn LahoreDiana LempriereJoyce Marks & Danielle DavisShelley & Euan MurdochSirius Foundation

Prelude Circle ($1000+)Adrienne BasserHelen BrackBill & Sandra BurdettMaggie CashJohn Castles AM & Thelma Castles OAMJulie Ann Cox & Laurie Cox AOKathy & George DeutschMary DraperLord Francis Ebury & Lady Suzanne EburyMaggie EdmondSusan FallawThe Leo & Mina Fink FundAngela GloverAnn GordonJan GrantNance Grant AM MBE & Ian HarrisSue Hamilton & Stuart Hamilton AOIn memory of Beryl HooleyStuart JenningsDr Garry Joslin & Prof Dimity Reed AMSnowe LiMaria MercurioBaillieu Myer AC & Sarah MyerStephen Newton AODr Paul Nisselle AMGreg NoonanElizabeth O’KeeffeHelen PerlenDr Robert PiaggioKerryn PratchettSandra Robertson & Philip Cachia

Dr Peter Rogers & Cathy RogersPeter Rose & Christopher MenzIn Memory of Pauline SpeedyRob & Philippa SpringallPamela SwanssonSally WebsterJanet Whiting AM & Phil Lukies

Supporters ($500+)Anonymous (1)Jenny AndersonPeter J ArmstrongMin Li ChongProf John Daley & Rebecca CoatesSylvia GeddesPenelope HughesBarbara Kolliner & Peter Kolliner OAMDr Anne LierseDr Diane Tibbits

ELISABETH MURDOCH CREATIVE DEVELOPMENT FUNDNamed after the Centre’s Founding Patron, this Fund supports projects that make a difference to young artists and accessibility to music.

($20,000+)Annamila Pty LtdThe John & Jennifer Brukner FoundationAnne Kantor AO & Dr Milan Kantor OAM

($10,000+)The Pratt FoundationAngelina & Graeme Wise

($4000+)John Calvert-Jones AM & Janet Calvert-Jones AOAndrew & Theresa DyerJo Fisher*Yvonne von Hartel AM & Robert Peck AM of

peckvonhartel architectsLyndsey & Peter HawkinsDr Alastair JacksonChristine Sather*Lyn Williams AMYMF Australia

($2500+)John & Mary BarlowArnold & Mary BramJacinta Carboon*Dr Shirley Chu & Wanghua William ChuChristine & Michael CloughKathryn Fagg*Joyce Marks & Danielle Davis*Dr Cherilyn Tillman & Tam Vu

($1000+)Anonymous (3)ARM ArchitecturePeter J Armstrong*Bailey-Lord Family*Fiona Bennett*Mary Beth Bauer*Jane BloomfieldHelen BrackNorah Breekveldt*Zoe Brinsden*Barbara BurgePaul Donnelly & Brigitte TreutenaereW K Clark & B Heilemann*Dr Jane Gilmour OAM & Terry Brain*Andrea GoldsmithRobert & Jan GreenProf Andrea Hull AO*Dr Garry Joslin & Prof Dimity Reed AMLiane Kemp*Sally MacIndoeAnnette MaluishNorene Leslie McCormac*Andrew Millis & Barnadown Run Heathcote Wines*Dr Richard Mills AMRosemary O’Connor*Tim Orton & Barbara DennisProf David Penington AC & Dr Sonay PeningtonHoward PennyGeoff & Jan Phillips

($500+)Stirling Larkin, Australian Standfirst°Ann BryceJohn Castles AM & Thelma Castles OAMJim Cousins AO & Libby CousinsGeorge & Laila EmbeltonJoshua Evans°Margaret Farren-Price & Prof Ronald Farren-Price AMNaomi Golvan & George Golvan QCNance Grant AM MBE & Ian Harris

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The Hon Justice Michelle Gordon & The Hon Kenneth M Hayne AC QCJohn Howie AM & Dr Linsey HowiePeter Jopling AM QC & Dr Sam MandengAnthony J & Philippa M KellySnowe Li °Message Consultants AustraliaSimon & Genevieve MooreTravis PembertonRalph & Ruth RenardRae RothfieldProf Richard Smallwood AO & Mrs Carol SmallwoodLady Marigold Southey ACSusan Thacore

LEGAL FRIENDS OF MELBOURNE RECITAL CENTREEach year the group brings together music lovers from the legal profession to help fund one or more concerts by an artist appearing as part of the Centre’s Great Performers Series.

Legal Friends Inaugural PatronsThe Hon Justice Michelle Gordon & The Hon Kenneth M Hayne AC QC

($4000+)Naomi Golvan & George Golvan QCThe Hon Justice Michelle Gordon & The Hon Kenneth M Hayne AC QCPeter & Ruth McMullinPeter B Murdoch QC & Helen MurdochMaya Rozner & Alex King

($2500+)Anonymous (1)Meredith SchillingPeter J Stirling & Kimberley Kane

($1000+)Anonymous (3)Marcia & John K ArthurPeter BartlettAnnette Blonski & Martin Bartfeld QCDavid ByrneThe Hon Alex Chernov AC QC & Mrs Elizabeth ChernovLeslie G ClementsChristine CloughThe Hon Julie Dodds-Streeton

Colin Golvan QC & Dr Deborah GolvanTimothy GoodwinThe Hon Hartley Hansen QC & Rosalind HansenRobert Heathcote & Meredith KingThe Hon Peter Heerey AM QC & Sally HeereyJudge Sara Hinchey & Tom PikusaJohn Howie AM & Dr Linsey HowiePandora Kay & John LarkinsAnthony J & Philippa M KellyMaryanne B Loughnan QCBanjo McLachlan & Paul MahonyElizabeth O’KeeffeRalph & Ruth RenardMichael Shand QCTom SmythThe Hon Judge Josh Wilson & Dr Silvana Wilson

($500+)Ingrid BraunElizabeth BorosKatherine BrazenorThe Hon Stephen Charles & Jennifer CharlesGeorgie ColemanThe Hon David L Harper AMThe Hon Chris Maxwell ACThe Hon Justice O’CallaghanMichael & Penny Rush

THE MARY VALLENTINE LIMITLESS STAGE FUNDThe Fund supports projects of the Centre like digital broadcasts, recordings, webcasts or other forms of outreach, enabling the Centre’s music-making to be available everywhere.

($20,000+)Naomi Milgrom AOKim Williams AMMelbourne Recital Centre Board of Directors Kathryn Fagg Peter & Cally Bartlett Stephen Carpenter & Leigh Ellwood Joseph Corponi The Hon Mary Delahunty Paul Donnelly & Brigitte Treutenaere Margaret Farren-Price & Prof Ronald Farren-Price AM Eda Ritchie AMThe John & Jennifer Brukner Foundation

($10,000+)The Late Betty Amsden AOAnnamila Pty LtdJohn Calvert-Jones AM & Janet Calvert-Jones AOPeter Jopling AM QC & Dr Sam MandengAllan Myers AC QC & Maria Myers ACLady Marigold Southey AC

($4000+)Deborah Dadon AMKatherine Greiner AOThe Hon Justice Michelle Gordon & The Hon Kenneth Hayne AC QCPeter & Ruth McMullinLouise & Martyn Myer FoundationIn honour of Kath Vallentine

($2500+)Rohan MeadLady Primrose Potter AC

($1000+)Helen BrackThe Leo & Mina Fink FundJenny & Peter HordernBarbara Kolliner & Peter Kolliner OAMProf John Langford AM & The Late Christina McCallumCathy LowyDr Robert PiaggioProf David Penington AC & Dr Sonay PeningtonSandra Robertson & Philip CachiaThe Ullmer Family FoundationLeonard Vary & Dr Matt Collins QCJanet Whiting AM & Phil LukiesAngela WoodIgor Zambelli

($500+)Richard & Susan BuntingBarbara BurgeThe Hon Alex Chernov AC QC & Mrs Elizabeth ChernovJim Cousins AO & Libby CousinsDr Garry Joslin & Prof Dimity Reed AMGerry & Susan MoriartyGreg NoonanHelen PerlenSusan M RenoufLyn Williams AM

SHARE THE MUSIC PROGRAMThis program enables disadvantaged children and adults to attend concerts by providing tickets and transport free of charge. Over 500 of these visits take place each year through the generosity of our donors.

($10,000+)Krystyna Campbell-PrettyJohn & Susan Davies

($4000+)Helen & Michael Gannon

($2500+)Anne Burgi & Kerin Carr

($1000+)Keith & Debby BadgerKaye & David BirksMaria HansenIn memory of Beryl HooleyGeorge & Grace KassProf John Langford AM & The Late Christina McCallumAnn MillerGreg Shalit & Miriam FaineProf Richard Smallwood AO & Carol Smallwood

($500+)Anonymous (4)Caroline & Robert ClementeVivien & Jacob FajgenbaumShulan Guo & Morris WatersDr Robert HetzelDr Kingsley GeeWendy Kozica, Alan Kozica & David OÇallaghanDr Marion LustigDennis & Fairlie NassauAndrew & Georgina PorterBarry & Barbara ShyingRosemary Walls

* Ensemble Giovane: Donors in support of Masterclasses

° Amplify: Young Donors in support of Artist Development

List of patrons at 18 September 2017

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Melbourne Recital Centre acknowledges the generous support of its business partners, philanthropic supporters and patrons.

Founding BenefactorsThe Kantor Family Helen Macpherson Smith Trust The Calvert-Jones Family Robert Salzer Foundation Lyn Williams am The Hugh Williamson Foundation

International Airline Partner Presenting Partner Learning Partner

Founding PatronThe Late Dame Elisabeth Murdoch ac dbe

ENCORE BEQUEST PROGRAMProviding sustained support for all aspects of the Centre’s artistic program through its Public Fund. Anonymous (3)The Late Betty Amsden aoJenny Anderson Barbara BlackmanJennifer Brukner

Ken BullenJim Cousins ao & Libby CousinsDr Garry JoslinJanette McLellanElizabeth O'Keeffe

The Estate of Beverley Shelton & Martin SchönthalMary Vallentine ao

Supporting Partners

Program Partners

Foundations

Business Partners

Board MembersKathryn Fagg, Chair Peter Bartlett Stephen Carpenter

Joseph Corponi The Hon Mary Delahunty Paul Donnelly

Margaret Farren-Price Eda Ritchie am

Principal Government Partner

THANK YOU

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SALON PASS $998An all-access pass to the Centre’s vibrant Salon program of jazz, chamber and contemporary music.

PREMIUM $200All the benefits of a Music Lover membership plus deeper discounts, ticket exchanges and more.

STUDENT $15

See more for less with student priced savings and offers all year round.

MUSIC LOVER $50Benefits for the frequent concertgoer and local music lover.

To find out more information and how to become a Member head to melbournerecital.com.au/membership or visit the Box Office.

For a full list of benefits visit melbournerecital.com.au/membership. Always log in to your Melbourne Recital Centre account when booking online. Some offers subject to availability. *Terms and conditions apply.

Becoming a member makes it easier for you to get closer to the music and musicians you love. Members receive a range of benefits including exclusive ticket discounts, pre-sales, waived fees, news and offers.

Membershipthat performs. Join Melbourne Recital Centre’s community of passionate music lovers.

ANAM SUPPORTERS

ANAM gratefully acknowledges the support of the following patrons:

FOUNDING PATRONDame Elisabeth Murdoch AC DBE (dec)

ANAMbassador Vanguard$100,000+Margaret Johnson

ANAMbassador Visionary$80,000+Sieglind D’Arcy

ANAMbassador Luminary$40,000+Janet Holmes à Court ACLoris OrthweinAnn & Robert RonusAnonymous (1)

ANAMbassador Champion $20,000+Philip Bacon AMJohn & Rosemary MacleodNaomi Milgrom AOPeter Weiss AO & Doris WeissKim Williams AM

ANAMbassador Leader$10,000+John & Meredith BaldwinGeoffrey ClarkeDale & Greg HighamCatherine Holmes à Court-MatherPeter Jopling AM QCKerry LandmanMartyn Myer AO & Louise Myerpeckvonhartel architectsDavid Penington AC & Sonay HusseinLady Potter AC

ANAMbassador Circle$5000+Robert Albert AO RFD RD & Libby AlbertArnold & Mary BramJannie BrownPeter de CampoHans & Petra HenkellGeorge & Grace KassGoethe-Institut AustraliaSuzanne KirkhamRon & Sharon LazarovitsRobin & Margaret MarksMarie RowlandSue & Bruce ShepherdSunning Hill FundDavid & Gai TaylorTeska CarsonRalph Ward-Ambler AM & Barbara Ward-AmblerU.S. Consulate General Melbourne

ANAMbassador$1000+Keith & Corry Adams, Robert & Dorothy Baenziger, Nick Bailey, Alison Beare, Brian & Esther Benjamin, Michael Bertram, David & Kaye Birks, Helen Brack, Jasmine Brunner, Coll & Roger Buckle Robert Butterfield, Barry Conyngham AM, John & Patricia Curotta, Angelo Delsante, John Dowling, Barbara Duhig, Lord & Lady Ebury, Anne Frankenberg & Adrian McEniery, Elisabeth Garran, Gaye & John Gaylard, Kingsley Gee, Gudrun Genee, David & Geraldine Glenny, Colin Golvan QC & Dr Deborah Golvan, Philip & Raie Goodwach, John Haasz, Hugh Hallard, John & Sue Harrison, Jim & Freda Irenic, Nancy James,

Ronald Jones, Stephen Jovanovich, Dorothy Karpin, George & Joan Lefroy, Ian Geoffrey Manning, Denys & Ingeborg McCullough, Lesley McMullin Foundation, Ian McRae AO, Hugh Morgan AC, Bill Murdoch (dec) & Richard O’Dwyer, Myles Neri & Kate Nossal, Jenny Nicol, Elizabeth Pender OAM, John & Anne Penington, Geoff & Jan Phillips, Plate Marketing Pty Ltd, Ralph & Ruth Renard, David & Gillian Ritchie, Peter Ronge & Bruce Sims, Helga & John Rose AO, Peter Rose, Barry & Pam Sheehan, Maria Sola, Pauline Speedy (dec), St Silas Anglican Church, Richard Thompson, Rod Tucker & Gretel Lamont, Ursula Hoff Institute, Stephen Whately, White & Mason Lawyers, Jan Williams, David Wood, Anonymous (5)

ANAMsyndicateDonations of $1000 and more can join an ANAMsyndicate to directly support an ANAM student’s living allowanceJan Grant, John & Meredith Baldwin, Barbara Bedwell, Andrew Boyle, Arnold & Mary Bram, Jannie Brown, Bill & Sandra Burdett, Elise Callander, Elaine Canty AM & Roy Masters AM, Marilyn Challinor, John & Chris Conquest, Mark Debeljak & Daniel Lehrer, Eric Dias & Roger Bau, Pamela Dingle, Arnis

Dzedins, Michael J Elliott, Gina & Tim Fairfax AM, Joanna Flynn AM & Joan Bruton, Peter Frost & Coskun Uysal, Kingsley Gee, Robert Gibbs & Tony Wildman, Jennifer Gilchrist, Janet Gomeze, Andrea Goldsmith, Ann Grant, Ian Greer, Robyn Harris, Terry & Christina Hart, Elaine Harty, Lyndsey Hawkins, Peter Henderson, Virginia Henry, Robert Hook, Cate & Connor Horgan, Ashton Kable & John Howell, Merilyn & David Howorth, Alwyn James, Heather & Ross Johnson, Barry Jones AC & Rachel Faggetter, Colin & Robyn Jones, Tony & Allison Kelly, Jerry Koliha & Marlene Krelle, Stuart Kollmorgen, Kerry Landman, Diane Lightfoot, Janet Limb, Paul & Yvonne Lynch, Margaret McDougall, Judith & John Middleton, Barry & Joan Miskin, Traudl Moon, Peter Moran & Monty Stephens, Bill Murdoch (dec) & Richard O’Dwyer, Brigitte Nakashima-Wolf & Ashley Nakashima, Peter Newman, Elizabeth & Jacob Okno, The Orloff Family Charitable Trust, Liz O’Shaughnessy & Roger Badalassi, Lee Palmer, Julie Paxton, Susan Pelka & Richard Caven, Peter & Jane Phillips, Rob Piaggio, Ralph & Margaret Plarre, Rosalind Price, Estelle Redlich, Vivienne Ritchie, Elizabeth & Ron Rosanove, Graham Ryles OAM KsJ & Judith Ryles

16

OAM, Linda Savage & Stephen Davis, Anne & Greg Sewell, Yvonne Simmance, Geoffrey Smith & Gary Singer, Anna Steiner & Chloe & Monique Leung, James & Anne Syme, Helen Symon QC & Ian Lulham, Jenny Tatchell, Janine Tai, Cherilyn Tillman & Tam Vu, Frank van Straten OAM & Adrian Turley, Jo Verity & Andrew Meier, Frances & Daniel Wallace, Robert Whitehead, Jan Williams, Youth Music Foundation Australia, Igor Zambelli & Jenny Lee, Anonymous (4)

ANAMdonor$200 to $999Olga Abrahams, Felix Blatt, Jack & Carol Bloustein, Shirley Breese, Errol Broome, Elizabeth Brozgul, Jennifer Bryce, Marilyn & Ian Burton, Corrie Calegari, Maggie Cash, Enid Chapman, Min Li Chong, Greg Coldicutt, Hugh & Cherry Collins, Meredith & Diana Creightmore, John Daley & Rebecca Coates, Brett Dean, Paul Dean, Sandra Dent, Brian Diamond & Kay Ansell, Elizabeth Douglas, Jean Dunn, Julie Edgar & Iain Buckland, Steve Fargo in memory of Arbutus Beaver Falatko, Janet Foster, Peter & Carol Gardner, Robert Goodrick, Ynys Grecian, S & D Hain Foundation, Stuart & Sue Hamilton, David Hennell, Loma Henry, Sheila Hirst & Kim Thompson, Mary Hoban, Jane Hockin, Laura

Holian, Susan Humphries, Irene Irvine, Max Johnston & Owen White, Gregory Levine, Adrian Lombardo, Anwyn M Martin, Jan McDonald, David McLaren, Pat & Rob Morgan, John & Liz Morris, Sharyn Munro, Pip Nicholson, Faye & Roger Nicholson OAM, Iain & Caryl Nicolson, O’Keefe Family, Dan & Terry O’Keeffe, Elizabeth O’Keeffe, Kenneth Park, Nan & Jim Paterson, Susanne Pearce, Helen Pitt, Frank Prain, Margaret Price, Dimity Reed & Garry Joslin, L. Joyce Richards, Tim Rowley, Aubrey Schrader, John & Lorraine Smith, Kim Stowe & Amanda Graham, Tony Thomas, NS & JS Turnbull, Caroline Vaillant, Arjun von Caemmerer, Helen Vorrath, Rosemary Walls, Glennis Winnett, Peter Zegenhagen, Anonymous (28)

ANAM Instrument Capital Fund$5000+Sieglind D’Arcy, Gilbert George, Peter Ingram, Loris Orthwein, The estate of the late Dr Keith Penny

ANAMobbligatoIsobel Morgan OAM, Maggie Allmand, Evalla Ayton, Ted Bailey & Wendy Watson, Judy Barrett, Judith Ben-Meir, Di Bresciani OAM, Robyn Byrne, Sandra Deacon, Christine Gascoigne, Mathel Gottlieb-Drucker, Leonie Henry, Marilyn Jacka, Elisabeth Murphy &

John Chapman, Jill Page OAM, Barbara Rowley, Penelope Sardone, Sue Simpson, Hywel Sims, Maxine Wain, Maree Webb

BequestsAllyson AnthoniszKingsley Gee & Zhen Fu GuanLyndsey HawkinsGeorge & Grace Kass,John MacleodJoan & Barry MiskinWilliam Murdoch (dec)Richard O’DwyerSusanne PearceShane Simpson AM & Danielle Michel-SimpsonSusanne SweetlandRobert WhiteheadAnonymous (11)

ANAM Endowment FundThe Estate of Audrey Urve Tuvik

Trusts and FoundationsAngior Family FoundationAustralian Communities FoundationBeleura — The Tallis FoundationBokhara FoundationBowness Family FoundationCrown Resorts FoundationEric & Elizabeth Gross FoundationJohn T Reid Charitable TrustsKlein Family FoundationMyer FoundationNewsboys FoundationPacker Family FoundationPzena Investment Charitable Trust Robert Salzer FoundationSimon Lee Foundation

Acknowledgments correct to 21 August 2017

This performance is generously supported by Blackjack Wines. 17

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