JANDAMARRASing for the Country

MEET THE MUSIC

Wednesday 16 July 2014Thursday 17 July 2014

TEA & SYMPHONY

Friday 18 July 2014

MAJOR PARTNER:

*Selected performances. Booking fees of $7.50 – $8.95 may apply.

concert diary

FOR COMPLETE DETAILS OF THE 2014 SEASON VISIT

SYDNEYSYMPHONY.COM NO FEES WHEN YOU BOOK THESE CONCERTS ONLINE WITH THE SSO

CALL 8215 4600 MON-FRI 9AM-5PM

JandamarraHOLST A Fugal Overture VAUGHAN WILLIAMS Oboe Concerto STANHOPE & HAWKE^ Jandamarra – Sing for the Country premiere

Brett Weymark conductor Diana Doherty oboe Simon Lobelson baritone Yilimbirri Ensemble – singers and dancers Members of Gondwana Choirs

Meet the Music

Wed 16 Jul 6.30pm Thu 17 Jul 6.30pm^Tea & Symphony

Fri 18 Jul 11am complimentary morning tea from 10am

Major Partner Kimberley Diamond

Pre-concert talk by Vincent Plush (Wed, Thu only)

Harp LegendsLISZT Orpheus RODRIGO Concierto serenata for harp BRACEGIRDLE Legends of the Old Castle – Harp Concertino AUSTrALiAN premiere ZEMLINSKY The Mermaid

Simone Young conductor Louise Johnson harp (Bracegirdle) Sivan Magen harp (Rodrigo) Harpists of the World Harp Congress

Thursday Afternoon Symphony

Thu 24 Jul 1.30pmEmirates Metro Series

Fri 25 Jul 8pmMondays @ 7

Mon 28 Jul 7pm

Pre-concert talk by Yvonne Frindle

Pepe RomeroROSSINI The Barber of Seville: Overture RODRIGO Concierto de Aranjuez VIVALDI Concerto in D, RV 93 BEETHOVEN Symphony No.8

Tito Muñoz conductor Pepe Romero guitar

Special Event Premier Partner Credit Suisse

Fri 1 Aug 8pm Sat 2 Aug 8pm

Pre-concert talk 45 minutes before each performance

Four Last SongsGLANERT Frenesia AUSTrALiAN premiere R STRAUSS Four Last Songs BRAHMS Symphony No.2

David Robertson conductor Christine Brewer soprano

APT Master Series

Wed 13 Aug 8pm Fri 15 Aug 8pm Sat 16 Aug 8pm

Pre-concert talk by David Larkin

Hear it, Feel itMOZART Symphony No.25: 1st movement LIGETI Piano Concerto^ SCRIABIN The Poem of Ecstasy^

David Robertson conductor Nicolas Hodges piano

Meet the Music

Wed 20 Aug 6:30pm Thu 21 Aug 6:30pm^Tea & Symphony

Fri 22 Aug 11am complimentary morning tea from 10am

Pre-concert talk by Scott Davie (Wed, Thu only)

CLASSICAL

TICKETS FROM $39*

Tickets also available atsydneyoperahouse.com 9250 7777 Mon-Sat 9am-8.30pm Sun 10am-6pm

WELCOME

Kimberley Diamond Company is proud to welcome you to Jandamarra – Sing for the Country. The performance you are witnessing today marks the culmination of years of advanced planning, months of composition and revisions, and many, many hours of rehearsal.

The Jandamarra project represents more than the sum of

its parts. Through the work of Paul Stanhope, Steve Hawke

and the Bunuba People, it brings to wider attention a powerful

and moving story from Australia’s history and at the same

time offers a meeting of cultural traditions that points to a

harmonious future.

Just as the warrior Jandamarra knew the country of the

Bunuba tribe like the back of his hand, those on stage today

have come to learn this new creation intimately. The

performers’ efforts in presenting the story with utmost

respect to its origins reflect KDC’s commitment to the local

Kimberley community. Through our staff training activities,

regional education and health support programs, we

continually focus on giving back to the people of West

Kimberley. Today, though, we are absolutely thrilled to be

bringing this heroic story from the Bunuba land to a wider

audience – in the concert hall and around the world.

We hope you enjoy the performance!

Kimberley Diamond Company Major Partner for

Jandamarra – Sing for the Country

2014 concert season

MEET THE MUSICWEDNESDAY 16 JULY, 6.30PM

THURSDAY 17 JULY, 6.30PM

TEA & SYMPHONYFRIDAY 18 JULY, 11AM

SYDNEY OPERA HOUSE CONCERT HALL

JANDAMARRABrett Weymark conductor Diana Doherty oboe Simon Lobelson baritone Emmanuel Brown Jandamarra Patsy Bedford Jini Margaret Mills Mary Bligh Peter Docker Richardson Dominic Grimshaw Lindsay Mataika Wymarra-Gerrie Young Jandamarra Yilimbirri Ensemble singers and dancers Gondwana Choirs (Lyn Williams, Artistic Director)

A Fugal Overture, Op.40 No.1 Gustav Holst (1874–1934)

Oboe Concerto in A minor Ralph Vaughan Williams (1872–1958)

Rondo pastorale Minuet and Musette Finale (Scherzo)

INTERVAL

Jandamarra – Sing for the Country (Ngalanybarra Muwayi.u)Music by Paul Stanhope (born 1969) Traditional music used with permission of the Bunuba People Texts by Steve Hawke (born 1959), with the Bunuba People, who own the Jandamarra story

PREMIERE

Wednesday night’s performance will be broadcast across Australia by ABC Classic FM from 8pm.

Pre-concert talk by Vincent Plush in the Northern Foyer on Wednesday and Thursday at 5.45pm. Visit sydneysymphony.com/talk-bios for speaker biographies.

Estimated durations: 6 minutes (Holst), 19 minutes (Vaughan Williams), 20-minute interval, 55 minutes (Jandamarra) The concert will conclude at approximately 8.30pm (Wed and Thu), 12.05pm (Fri)

Friday’s Tea & Symphony concert will include Jandamarra only.

Jandamarra was commissioned by the Sydney Symphony Orchestra for the SSO and the Australian network orchestras, the Yilimbirri Ensemble, and Gondwana Choirs, with the generous support of Vicki Olsson, Geoff Ainsworth am and Symphony Services International.

MAJOR PARTNER

6

Bandilngan nhingi Jumburrurru biliga Gunbi ganinyi rawurra.

Windjana Gorge (Bandilngan) in the foreground, Jumburru country in the middle, and Mount Broome (Gunbi) in the distance.

MA

RIA

MA

NN

RO

BE

RT

KO

EN

IG-L

UC

K

The South Entrance of Baraah (Tunnel Creek), where Jandamarra recovered after suffering near-mortal wounds in the battle of Windjana Gorge.

To Baraah we take him, barely alive,There in the tunnel we sing by our fire.Sing to the warrior, sing to the land. Ngalanyba muwayi sing to the land.

7

COVER IMAGE: Photo of Windjana Gorge in Bunuba country in the Kimberley, WA.

(Wolter Peeters / Fairfax Media).

Jandamarra – Sing to the Country

INTRODUCTION

These concerts mark the culmination of a major collaborative project, bringing together composer Paul Stanhope, librettist and playwright Steve Hawke and the owners of a powerful Australian story, the Bunuba People, from the Kimberley region of Western Australia. It has been a bold and ambitious undertaking, and a challenging one, which we are excited now to be able to present to you as its first hearers.

Jandamarra, a Bunuba hero, has not been well-known outside the lands of his people, but that is changing, with his story being told in books for adults and for children, on the stage, and now in the concert hall. We hope this dramatic cantata will not only introduce you to an aspect of Australian history but also leave you moved by its universal themes: the love of country, loyalty to kin, bravery in conflict and, above all, the power of song.

Those themes are faintly echoed in the two English works that complete the Meet the Music program. Gustav Holst and Ralph Vaughan Williams were born around the same time as Jandamarra, in the 1870s. They both witnessed the horrors of war. The premiere of Vaughan Williams’ oboe concerto in 1944 had to be postponed (and moved from London to Liverpool) because of German air raids. As with his Lark Ascending, the rhapsodic calm and pastoral beauty of the music belies the shadow of war that lay over its creation.

The Vaughan Williams also has an unexpected connection with Western Australia, which fans of Tim Winton might recognise. One of Winton’s characters finds himself at a concert where he hears this oboe concerto. He is swept up in the music, ‘amazed by the soloist’s reckless brio…She was nailing it. Surfing it.…skating home on the glory of having dared and won’.

Human stories aren’t necessarily like concertos, and when conflict is involved the glory of winning is often far away. Sometimes young men die for their country, ‘for making it strong again’. And we remember them, and give our spirits strength, through music.

Turn to page 35 to read Bravo! – musician profiles, articles and news from the orchestra. There are nine issues through the year, also available at sydneysymphony.com/bravo

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

8

ABOUT THE MUSIC

Gustav Holst (1874–1934) A Fugal Overture, Op.40 No.1

This overture begins as it means to go on, with a dance-like but oddly uneven rhythm. Both the opening fanfare and the principal fugue tune break the four-square metre into a compelling 3 + 3 + 2 pattern (listen for the 1 2 3 1 2 3 1 2 pulse). This is what keeps the music on its toes and it’s no surprise to learn that Holst intended the overture as the first movement of a ‘fugal ballet’, nor that he recycled it as the overture to his opera The Perfect Fool, which itself begins with a ballet.

After the brief introduction with its emphatic chords from brass, woodwinds and sleigh bells, the fugal writing begins. Cellos and double basses set out the main theme, the other voices tumbling in one after the other with the same tune, just as you might in a singing round. The simultaneously fleeing and chasing character of the fugue technique is enhanced by scurrying woodwind gestures and the fanfare motif interrupts as momentum builds. A loud trombone entry with its own cross-rhythm gives, says the composer’s daughter Imogen Holst, the impression of a ‘cleverly worked-out mathematical problem’. Midway through the overture, everything suddenly breaks off and quiet plucked strings bring back the first half of the subject in augmentation (which Imogen suggests resembles a muttered chorus entry in The Perfect Fool); a solo cello captures a mood of solitude. Then the fugal idea returns with lively dialogue between high piccolo and low bassoon, and a brilliant, rousing ending suggests the Holst we know from The Planets.

Given the fugal writing (a technique that flourished in the 18th century) you might assume this overture belongs to the neoclassical movement with its revival of interest in Baroque music. But in 1922 Holst had probably not yet encountered neoclassicism – Stravinsky’s Octet and Hindemith’s Kammermusik were as yet unwritten – and it’s more likely he was motivated by his own intellectual satisfaction rather than international fashion. Regardless, the result is a glittering miniature masterpiece.

YVONNE FRINDLE, SSO © 2014

A Fugal Overture calls for three each of flutes, oboes, clarinets and bassoons; four horns, three trumpets, three trombones and tuba; timpani and percussion; and strings.The SSO’s most recent performance of the overture was in 1989.

GUSTAV HOLST

Born Cheltenham, England, 1874 Died in London, 1934

The Planets (1914) is Gustav Holst’s best-known work, but it’s something of an outlier: for much of his career, Holst focused on writing small, compact pieces. By and large, Holst’s music is simple and economical, a characteristic that suggests the influence of English folksong, which he shared with his friend Ralph Vaughan Williams.

Holst was a shy and introverted man and he tended to pursue musical ideas that appealed to his intellect – as in A Fugal Overture (1922) – while showing little concern for writing music that might have better capitalised on his earlier successes.

9

RALPH VAUGHAN WILLIAMS

Born Gloucestershire, 1872 Died London, 1958

His father was a vicar, his mother descended from Josiah Wedgwood, an uncle was Lord Chief Justice, and Charles Darwin a great uncle. RVW himself was a mild-mannered, mystical, agnostic Labour voter. At the Royal College of Music, Stokowski and Holst were friends, Stanford and Parry his teachers, as also later in Berlin and Paris were Bruch and Ravel. Like Bartók in Hungary, from 1900 onwards RVW found inspiration in his country’s age-old folk music traditions. His major legacy is his nine symphonies, works of huge emotional span, from the pastoral third and fifth, to the dissonant wartime fourth and dramatic ninth. (‘Ralph’ is pronounced in the traditional way: rafe)

Ralph Vaughan Williams Concerto in A minor for oboe and stringsRondo pastorale Minuet and Musette Finale (Scherzo)

Diana Doherty oboe

It was probably inevitable that a composer so associated with English landscapes should turn to the most ‘pastoral’ of orchestral instruments, the oboe. Vaughan Williams was no doubt also inspired by the legendary musicianship of Léon Goossens, to whom the concerto is dedicated. The accompanying scoring for strings allows the oboe to create a range of effects, from effortless-seeming virtuosity to quiet reflection, without the strain of competing with a full orchestra.

It dates from the time of Vaughan Williams’ great triptych, the Fourth, Fifth and Sixth symphonies, and some of its material is derived from discarded sketches for the Fifth, which in turn relates to the composer’s great opera The Pilgrim’s Progress. The Fifth Symphony’s gleaming serenity, in the depths of the war years, also pervades the concerto.

The scheduled London premiere had to be abandoned owing to the intensity of bombing by the Luftwaffe, and the concerto was first performed by Goossens in Liverpool under Malcolm Sargent in 1944.

The first movement is rhapsodic, filled with the kind of pentatonic arabesques that dominate such works as The Lark Ascending (another piece whose apparent calm belies its being written in the face of impending tragedy). The second movement, in C minor, offers an often witty and poised homage to the Baroque tradition in the solo figurations and the elegant counterpoint of the strings. Its title refers to two dances: the familiar minuet and the musette, a gavotte with a drone bass that evokes the small bagpipe of the same name. The finale is the most structurally and emotionally complex movement. Its subtitle, scherzo, sets the tone for joyful passages in waltz rhythm, but on two occasions this is interrupted by pensive interludes, which seem, in Michael Kennedy’s words, to express ‘yearning for some lost and precious thing’.

GORDON KERRY © 2012

The SSO gave the Australian premiere of the Oboe Concerto in 1954 with the dedicatee, Léon Goossens, as soloist and Eugene Goossens conducting. Our most recent performance was in 1985 with Thomas Indermühle and Louis Frémaux conducting.

10

Paul Stanhope and Steve Hawke in collaboration with the Bunuba People Jandamarra – Sing for the Country (Ngalanybarra Muwayi.u)A dramatic cantata for solo baritone, choirs, orchestra, indigenous ensemble and actors

Simon Lobelson baritone Emmanuel Brown Jandamarra Patsy Bedford Jini Margaret Mills Mary Bligh Peter Docker Richardson Dominic Grimshaw Lindsay Mataika Wymarra-Gerrie Young Jandamarra Yilimbirri Ensemble singers and dancers Gondwana Choirs

In order to tell the story of Jandamarra through song, a vast array of soundscapes have been brought together in what we call a dramatic cantata. Two boy soloists, a children’s choir, larger and smaller four-part (SATB) choirs, solo baritone, a large orchestral palette and the earthy sounds of traditional music from the Kimberley all combine in this epic tale.

Although a cantata is a concert piece, Jandamarra is essentially a hybrid work, bringing in dramatic elements such as two narrators in character, and actors and singers (also in character), which tend to suggest more of a dramatic form. In truth, the piece sits somewhere between music drama and a concert work. Narration and spoken lines move the story forward so that other parts of the narrative can be sung or, at times, reflective moments dwell on a particular emotion.

The piece is in 12 sections; some are longer discrete movements while other sections are short interludes including traditional music from the Kimberley.

Prelude. “This Land is Full of Spirits” –  Children’s choir

The Lirga Wangga Yilimbirri singers and didjeridu

The Boys Two boy soloists, children’s choir, SATB choir and orchestra

Interlude. Requiem for Lindsay Children’s choir, Yilimbirri ensemble, cellos and basses

The Tracker Baritone solo, SATB semi-chorus, actors and orchestra

The Choice Baritone solo, all choirs, Yilimbirri ensemble, actors and orchestra

PAUL STANHOPE

Born 1969

Paul Stanhope is a Sydney-based composer who has had prominent performances of his music in the UK, Europe, Taiwan and Japan as well as North and South America. He studied composition with Peter Sculthorpe, after which a Charles Mackerras Scholarship enabled him to study at the Guildhall School of Music in London in 2000. His international standing was confirmed in 2004 when he was won the Toru Takemitsu Composition Prize for his Fantasia on a Theme of Vaughan Williams. He subsequently won two APRA/Australian Music Centre Awards in 2011, and in 2013–14 he was a recipient of a Sidney Meyer Creative Fellowship, the first Australian composer to be granted this honour. In 2010 he was Musica Viva’s featured composer. Recent works include a piccolo concerto (2013) and Qinoth for chamber orchestra (2011). The SSO gave the Australian premiere of the Fantasia on a Theme of Vaughan Williams in 2005 and performed it again in 2010.

Paul Stanhope is a Senior Lecturer at the Sydney Conservatorium of Music and Artistic Chair of the Australia Ensemble.

JAS

ON

CAT

LETT

11

Sing to the Land – Jandamarra and the Unggud Baritone solo, all choirs and orchestra

Yalanggani Jaulja Junba Yilimbirri ensemble and dancers

The Land is Healed SATB semi-chorus

Tunnel Creek SATB choir, orchestra and actors

Dirrari Lament All choirs, orchestra and actors

This is Our Home – “Ngindaji ngarragi muwayi” All choirs and orchestra

Jandamarra is unified by a number of devices: the re-appearance of verses of the Yilimbirri Junba is one unique aspect of the piece, but complemented by other musical themes, such as the Jandamarra’s Spirit motif, first heard in the Prelude. This theme also returns in Sing to the Land and is woven into the polyphonic texture of Dirrari Lament. The mysterious Yilimbirri Unggud – the snake spirit from the Yilimbirri spring – is also given special musical treatment with a curling motif found in the bass clarinet, low reeds and an air of percussion mysticism, evoked by gongs, cymbals and tam tam.

Traditional music from the Kimberley (mostly from the Junba song cycle owned by the Andrews family) is either laced between larger choral/orchestral movements or is woven into those textures – in, for example Requiem for Lindsay and The Choice. In Dirrari Lament, a melody composed by Molly Jalakbiya is used – with permission of its custodians June Oscar and Patsy Bedford – as the basis of a movement which laments and commemorates Jandamarra’s sacrifice. Incorporating this wonderful Kimberley music into the cantata has been an immense privilege, involving four research trips to work with the musicians and to gain an understanding of their beautiful country. This is on top of more than 30 years experience by librettist Steve Hawke with members of the community. This dramatic cantata builds on the Jandamarra play, written by Steve in collaboration with the Bunuba people of Fitzroy Crossing. It adds a new dimension to the Jandamarra story, telling it in song through a respectful and genuinely collaborative venture. It has been an immense privilege being involved.

PAUL STANHOPE © 2014

In addition to the vocal forces, actors and dancers, Jandamarra calls for an orchestra of piccolo, two flutes (one doubling alto flute and piccolo), two oboes (one doubling cor anglais), three clarinets (with E flat and bass clarinet doubling) and two bassoons (one doubling contrabassoon); four horns, three trumpets, three trombones and tuba; timpani and four percussionists; harp and keyboard (doubling celesta) and strings.

STEVE HAWKE

Born 1959

Steve Hawke grew up in Melbourne, but found his way to the Northern Territory, and then to the Kimberley as a 19 year old in 1978. Captivated by the country, the history and the people, he finished up staying for almost 15 years, working for Aboriginal communities and organisations. He now lives in the hills outside Perth, but continues his strong association with the Kimberley. His writings on the Kimberley include Noonkanbah (1989); Barefoot Kids (2007), a children’s novel set in Broome; and A Town Is Born (2013), a history of Fitzroy Crossing. He has worked with the Bunuba community for 30 years: on the Jandamarra project and other cultural projects for Bunuba Cultural Enterprises, and on a wide range of community, organisational, land and native title projects and activities. He wrote the Jandamarra stage play.

The Jandamarra cantata is dedicated to three much-loved elders: Adam Andrews, Hazel Hawke and Molly Jalakbiya.

JAS

ON

CAT

LETT

12

…in his short life he created a legacy that will never be forgotten.

The Jandamarra Story

Jandamarra is a legend of the Bunuba people. We remember him as a great warrior, and as a clever and courageous leader who defended our country against overwhelming odds. We remember him as a Jalgangurru, a man bestowed with spiritual powers that flowed from the timeless law of our country, who could disappear, transform into a bird and shield himself from deadly weapons.

He grew up at the time when the pastoralists were first laying claim to our country. It was the frontier; a time of violence and great upheavals. He was only in his mid-20s when he was gunned down, but in his short life he created a legacy that will never be forgotten.

He was born around 1873. At about the age of 11, Jandamarra and his mother came in from the bush to live on Lennard River Station, one of the earliest pastoral stations in the Kimberley. Jandamarra became a strong horseman, a crack shot and a competent English speaker. But after this first taste of station life, he returned to join the Bunuba still living a traditional life, outside the control of the stations. He was caught up in a police raid, and served time in Derby in jail for sheep-stealing.

When he eventually returned to his country, he worked at Lillimooloora Station with Bill Richardson. When Richardson joined the police force, Jandamarra became his tracker. As a tracker, he helped the police capture many of our ancestors – his own people – taken away in chains to distant gaols, many never to be seen again. It was in this period that he became known as a reckless womaniser who flouted the kinship and skin laws.

His close but uneasy friendship with Richardson came to a dramatic end. In late 1894 the pair succeeded in capturing a group that included virtually all of the most senior Bunuba leaders and elders. During the night of 31 October 1894, he chose to return to us. He shot Richardson, armed the Bunuba people and began a guerilla campaign against the European invaders.

Jandamarra’s first major act of war was a direct confrontation – the battle of Windjana Gorge on 16 November 1894 – between 30 armed police and a large group of the Bunuba in which he was very badly wounded. He recovered, but the appalling and indiscriminate reprisal killings of Aboriginal people throughout the Fitzroy River valley led Jandamarra to develop different tactics. The Bunuba now targeted property, crops and stock, and harassed and ‘stalked’ the pastoralists without causing human casualties.

WO

LTE

R P

EE

TER

S /

FAIR

FAX

ME

DIA

13

In this way they tied down the progress of pastoral expansion for over three years. Jandamarra developed an almost superhuman reputation amongst white settlers and police for his ability to elude them.

He was finally tracked down and killed on 1 April 1897 when the police brought in another Aboriginal tracker, Mingo Mick, who had equally legendary powers.

It is over a century since he was killed. But he has been an inspiration to us down through the decades, remembered in stories, in dances, in songs traditional and contempory, in a stage play and now in this dramatic cantata for the concert hall.

Jandamarra’s extraordinary position – poised between the white and black worlds – makes him a compelling tragic hero. And it makes this story one of the most dramatic of all the tales of the 19th-century conflict between Aboriginal people and white settlers.

The definitive historical account of his story is Jandamarra and the Bunuba Resistance written by Howard Petersen in collaboration with Bunuba elder Banjo Woorunmurra, published by Magabala Books.

Associate Concertmaster Kirsten Williams, Steve Hawke, Emmanuel Brown, Jimmy Dillon Andrews, Kristin Andrews, Paul Stanhope, and Clarinet Fellow Alexei Dupressoir on location in Bandilngan (Windjana Gorge).

WO

LTE

R P

EE

TER

S /

FAIR

FAX

ME

DIA

14

Adam Andrews

The Yilimbirri Junba and the role of song in the Jandamarra story

Junbas are the storytelling songs of the Bunuba people and many other Indigenous peoples of the north. The Yilimbirri Junba is a dance and a song story about two rainbow serpents, or Ungguds. It was given to a Bunuba elder, Adam Andrews, in a dream brought to him by the rayi, the spirits of the Bunuba world.

The junba does not easily translate in a word-for-word way. It uses a number of languages that the rayi speak, including Bunuba, Ngarinyin, Gooniyandi and Walmajarri. It evokes the story, rather than tells it in a literal way; with the story also being illustrated by the dancers, and told by the singers in the course of the performance.

The junba touches on the story of Jandamarra. With the participation and agreement of the Andrews family, Bunuba Cultural Enterprises used the theme of Jandamarra and Yilimbirri Unggud as a central element of the Jandamarra stage play, with the cast singing verses from the junba selected by the family as part of the play.

This is the story that Adam Andrews would tell with the junba, as remembered by June Oscar and Patsy Bedford:

This junba came to me in a dream from the rayi. The Unggud snakes looked after the country and the main waterholes that were made in the Ngarranggani (the Creation time). You can’t mess around in those places. You must respect them; follow the rules the Ungguds made. If you don’t follow the rules, you can get hurt, or a big rain might come and hunt you out. You’ll see, the clouds will come from nowhere, bringing rain. That’s why we’ve got to look after all our country.

Yilimbirri Spring dried up when all the fighting was going on with Jandamarra. All the rayi carried that Unggud away to Iminyji, where he stopped with the Unggud there. When everything settled down, the rayi went and called to him, and brought that Unggud back.

When they were coming back, the rayi took him through Winyjiwi (Mount Rose), and Manaliyan (Mount House), and Gululu (Milliwindie). Near Dimond Gorge (Jiyjidgi) some kids were mucking around at the waterhole, and the Unggud there made a big whirlwind (jula).

The rayi and Yilimbirri Unggud saw the hill kangaroo (walambayi) eating black plums (giyindi). They travelled through the mountains, and across the black soil plains (galanganyja).

15

The rayi took him to Jinjinarra, and then on to Yilimbirri, where they left him there on top. And then the rayi went to Jandamarra at Limalurru where he was lying down surrounded by soldiers (jaulja).

I train all these Bunuba kids to dance this junba so they can know the story for this country, and carry their culture on.

June Oscar, who is a Bunuba Cultural Enterprises company director, and a singer, language coach and cultural advisor on this cantata project, said, ‘A major theme of the play is the power of song: its central role in the life of the community; its role in celebrating and remembering country; Jandamarra’s quest to “sing home” the rainbow snake Yilimbirri Unggud in order to heal the land. This made the notion of a choral work drawing from the story and the play seem especially appropriate and exciting to the Bunuba Community.’

The Bunuba People

Bunuba Country lies in the central Kimberley region of Western Australia, extending north and west from the township of Fitzroy Crossing. Most Bunuba people live in the communities of Junjuwa and Darlngunaya in Fitzroy Crossing township, and in small outstation communities to the north and north west. Just as Fitzroy Crossing was the political epicentre for the land rights struggle that gave inspiration to Aboriginal people throughout Western Australia in the 1980s, today Bunuba leaders are showing the way for political action of a different kind; the social reconstruction of modern day Indigenous life.

Since the dark days of the 1960s, when we had literally nothing, the Bunuba have been able to establish a community infrastructure. There is a series of outstations scattered around our homelands. We have acquired the pastoral leases of Fairfield, Leopold Downs and Milliwindie. We are stakeholders in the town’s major enterprises, providing opportunities for many of our young people. The Jandamarra project is another manifestation of this positive spirit and strength. It has involved a wide range of community members, young and old. It has used traditional skills and knowledge, and has introduced new skills and experiences. It demonstrates a fundamental truth of Bunuba life. We draw our greatest strength from our history, our culture and our country. We will never leave these things behind.

‘A major theme of the play is the power of song…’

JUNE OSCAR ao

Kimberley Diamond Company is proud to support the Sydney Symphony Orchestra

in these performances of Jandamarra: Sing for the Country

by Paul Stanhope and Steve Hawke.

17

Kimberley Diamond Company is proud to support the Sydney Symphony Orchestra

in these performances of Jandamarra: Sing for the Country

by Paul Stanhope and Steve Hawke.

Bunuba Cultural Enterprises

Bunuba Cultural Enterprises is the trading name of Bunuba Films Pty Ltd, a company owned by the Bunuba people, through our parent body Bunuba Dawangarri Aboriginal Corporation, the Prescribed Body Corporate that represents the Bunuba community and holds its native title over our traditional lands. Our four directors are Bunuba people living in Fitzroy Crossing.

The story of Jandamarra is an essential part of our history and our identity. His story has been told in many ways: around campfires in story, song and dance; in books and on film. BCE’s primary role is to represent the Bunuba people in promoting the story of Jandamarra, and bringing this story to the world, in a way that is true to the spirit of the man himself, and to the way it is told and remembered by his people.

The original aim of BCE was to make a feature film that would tell the story through Bunuba eyes. The film project has been through many phases, and a number of times has come close to success. In 2005 we entered into a partnership with Western Australia’s flagship theatre company Black Swan to create a stage play, which premiered at the Perth International Arts Festival in February 2008. In 2011 we were able to take a new production of the play on a hugely successful tour of the Kimberley, including a five-night season at Windjana Gorge, in the heart of Jandamarra country.

The company owns the copyright to the Jandamarra play and film scripts, and to the libretto to this cantata.

The Bunuba people are proud to be partners with the Sydney Symphony Orchestra and Gondwana Choirs in presenting Jandamarra – Sing for the Country (Ngalanyba Muwayi.u) at the Sydney Opera House.

We thank all the organisations and individuals who have worked with us to realise this dream.

We pay tribute to the old men and women who carried this story and set up the company that has become Bunuba Cultural Enterprises.

We hope that you will not only have a wonderful experience, but that you will come away with a deeper understanding of our history and our muwayi, our country.

The story of Jandamarra is an essential part of our history and our identity.

18

MORE MUSIC

JANDAMARRATo learn more about Jandamarra and Bunuba Cultural Enterprises, visit jandamarra.com.au

The script of the Jandamarra stage play by Steve Hawke has recently been published by Currency Press: www.currency.com.au

PAUL STANHOPEPaul Stanhope’s recent recordings include Songs for the Shadowland, a beautiful collection of his vocal music in performances by Cantillation, Jane Sheldon, Sydney Chamber Choir and Gondwana Voices, with Ironwood and the Southern Cross Soloists.ABC CLASSICS 476 3870

Earlier this year the Melbourne Symphony Orchestra released a concert recording of his Piccolo Concerto with soloist Andrew Macleod and conductor Benjamin Northey. It’s paired with Polaris by Thomas Adès, conducted by Markus Stenz.ABC CLASSICS 481 0862

JOURNEY TO HORSESHOE BENDIf you’ve enjoyed Jandamarra – Sing for the Country you might like Journey to Horseshoe Bend. This dramatic cantata, which the SSO commissioned from composer Andrew Schultz and librettist Gordon Williams in 2003, was based on TGH Strehlow’s autobiographical novel about his journey through Central Australia and the ancient landscapes of the Aranda people. A fascinating fusion of European and Aboriginal traditions in a narrative of shared history. The performance, conducted by David Porcelijn, included actors Aaron Pedersen and John Stanton and the Ntaria Ladies Choir from Hermannsburg in the Northern Territory.ABC CLASSICS 476 2266

HOLST & VAUGHAN WILLIAMSThe Planets is by far the most often performed and recorded of Holst’s works. For A Fugal Overture, and a representative selection of his other orchestral works (including A Somerset Rhapsody) look for Richard Hickox’s recording with the London Symphony Orchestra.CHANDOS 9420

If you’re curious about the ballet music for The Perfect Fool, Hickox conducts the BBC National Orchestra of Wales and the Joyful Company of Singers in this and three other Holst ballet scores.CHANDOS 5069

The Vaughan Williams Oboe Concerto is included in The Spirit of England, a recording conducted by William Boughton and featuring favourites such as The Lark Ascending, the Tallis Fantasia, Elgar’s Cockaigne

Broadcast DiaryJuly–August

Wednesday 16 July, 8pm JANDAMARRA

See this program for details.

Monday 28 July, 7pm HARP LEGENDSSimone Young conductor Louise Johnson harp Sivan Magen harp

Liszt, Bracegirdle, Rodrigo, Zemlinsky

Sunday 3 August, 1pm PEPE ROMEROTito Muñoz conductor Pepe Romero guitar

Rossini, Rodrigo, Vivaldi, Beethoven

Friday 15 August, 8pm FOUR LAST SONGSDavid Robertson conductor Christine Brewer soprano

Glanert, Richard Strauss, Brahms

Saturday 23 August, 8pm HEAR IT, FEEL ITDavid Robertson conductor Nicolas Hodges piano

Mozart, Ligeti, Boulez, Scriabin

SYDNEY SYMPHONY ORCHESTRA 2014 Tuesday 12 August, 6pm

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

Overture and Holst’s St Paul’s Suite, together with music by Britten, Warlock, Parry, Finzi, Butterworth and Delius. NIMBUS 5210

DIANA DOHERTYA number of composers have written music for Diana Doherty, including Ross Edwards, whose Bird spirit dreaming oboe concerto also calls upon its soloist to move and dance! Diana has recorded it with the Melbourne Symphony Orchestra and Arvo Volmer.ABC CLASSICS 476 3768

19

SSO Live RecordingsThe Sydney Symphony Orchestra Live label was founded in 2006 and we’ve since released more than a dozen recordings featuring the orchestra in live concert performances with our titled conductors and leading guest artists. To buy, visit sydneysymphony.com/shop

LOOK OUT FOR…Our recording of Holst’s Planets with David Robertson. Due for release later in 2014.

Join us on Facebook facebook.com/sydneysymphony

Follow us on Twitter twitter.com/sydsymph

Watch us on YouTube www.youtube.com/SydneySymphony

Visit sydneysymphony.com for concert information, podcasts, and to read the program book in the week of the concert.

Stay tuned. Sign up to receive our fortnightly e-newsletter sydneysymphony.com/staytuned

Download our free mobile app for iPhone/iPad or Android sydneysymphony.com/mobile_app

SSO Online

Mahler 1 & Songs of a Wayfarer SSO 201001

Mahler 2 SSO 201203

Mahler 3 SSO 201101

Mahler 4 SSO 201102

Mahler 5 SSO 201003 Mahler 6 SSO 201103

Mahler 7 SSO 201104

Mahler 8 (Symphony of a Thousand) SSO 201002

Mahler 9 SSO 201201

Mahler 10 (Barshai completion) SSO 201202

Song of the Earth SSO 201004

From the archives: Rückert-Lieder, Kindertotenlieder, Das Lied von der Erde SSO 201204

MAHLER ODYSSEYThe complete Mahler symphonies (including the Barshai completion of No.10) together with some of the song cycles. Recorded in concert with Vladimir Ashkenazy during the 2010 and 2011 seasons. As a bonus: recordings from our archives of Rückert-Lieder, Kintertotenlieder and Das Lied von der Erde. Available in a handsome boxed set of 12 discs or individually.

Strauss & SchubertGianluigi Gelmetti conducts Schubert’s Unfinished and R Strauss’s Four Last Songs with Ricarda Merbeth. SSO 200803

Sir Charles MackerrasA 2CD set featuring Sir Charles’s final performances with the orchestra, in October 2007. SSO 200705

Brett DeanTwo discs featuring the music of Brett Dean, including his award-winning violin concerto, The Lost Art of Letter Writing. SSO 200702, SSO 201302

RavelGelmetti conducts music by one of his favourite composers: Maurice Ravel. Includes Bolero. SSO 200801

Rare RachmaninoffRachmaninoff chamber music with Dene Olding, the Goldner Quartet, soprano Joan Rodgers and Vladimir Ashkenazy at the piano. SSO 200901

Prokofiev’s Romeo and JulietVladimir Ashkenazy conducts the complete Romeo and Juliet ballet music of Prokofiev – a fiery and impassioned performance. SSO 201205

Tchaikovsky Violin ConcertoIn 2013 this recording with James Ehnes and Ashkenazy was awarded a Juno (the Canadian Grammy). Lyrical miniatures fill out the disc. SSO 201206

Tchaikovsky Second Piano ConcertoGarrick Ohlsson is the soloist in one of the few recordings of the original version of Tchaikovsky’s Piano Concerto No.2. Ashkenazy conducts. SSO 201301

Stravinsky’s FirebirdDavid Robertson conducts Stravinsky’s brilliant and colourful Firebird ballet, recorded with the SSO in concert in 2008. SSO 201402

20

Brett Weymark is one of the foremost choral conductors in Australia and Music Director of Sydney Philharmonia Choirs, a post he has held since 2003.

He studied singing at the University of Sydney and conducting at the Sydney Conservatorium under Mats Nilsson, John Hopkins, Henryk Pisarek and Patrick Thomas. He also studied in Europe and America with Simon Halsey, Vance George, Daniel Barenboim and Sir John Eliot Gardiner amongst others. In 2001 he was awarded a Centenary Medal for his services to music.

Since his appointment as Music Director, he has conducted Sydney Philharmonia Choirs in performances throughout Australia and internationally, and prepared the choirs for concerts with conductors such as Sir Charles Mackerras, Charles Dutoit, Vladimir Ashkenazy, Zubin Mehta, Edo de Waart and Sir Simon Rattle. In addition to classic works from the choral repertoire such as the Bach passions and cantatas, the Mozart and Verdi requiems and Orff’s Carmina Burana, he has also conducted SPC in premieres of works by composers such as Elena Kats-Chernin, Ross Edwards, Andrew Schultz, Matthew Hindson and Peter Sculthorpe.

He has performed with all the major ensembles from the Sydney Symphony Orchestra to The Black Arm Band, including conducting the West Australian Symphony Orchestra, Orchestra of the Antipodes, Sydney Youth Orchestra, Tasmanian Symphony Orchestra and productions for WAAPA, Pacific Opera and OzOpera. He has performed professionally with Opera Australia, the Australian Chamber Orchestra, the Song Company and Musica Viva. He also worked for five years as music coach and repetiteur at Theatre Nepean, University of Western Sydney. Recent highlights include conducting the Hong Kong Philharmonic Orchestra, and this year, in addition to conducting a full program with Sydney Philharmonia Choirs, he will conduct Handel’s Alexander Balus for Canberra Choral Society.

Brett Weymark has recorded with ensembles and artists such as Cantillation, Sara Macliver and Teddy Tahu Rodes, as well as conducting a wide range of film scores from Happy Feet to Australia. His most recent appearances with the SSO were in 2011 and 2012, when he conducted Symphony in the Domain.

Brett Weymarkconductor

THE ARTISTS

21

Diana Doherty joined the Sydney Symphony Orchestra as Principal Oboe in 1997, having held the same position with the Symphony Orchestra of Lucerne (1990–1997). She was born in Brisbane and completed her undergraduate studies at the Victorian College of the Arts. In 1985 she won the Other Instruments section of the ABC Instrumental and Vocal Competition, and was named Most Outstanding Competitor Overall. In 1989 she completed her post-graduate diploma in Zurich, studying with Thomas Indermühle. Since then she has appeared as a soloist throughout the world, and career highlights have included the premiere of Ross Edward’s oboe concerto, Bird spirit dreaming, with the SSO, followed by invitations to perform it with the New York, Royal Liverpool and Hong Kong philharmonic orchestras.

Diana Doherty has played concertos with the major symphony orchestras in Australia and New Zealand, the Australian Chamber Orchestra (including performances of the Vaughan Williams concerto in 2010), Musica Viva, Seymour Group and Ensemble Kanazawa Japan. In 1994 she was the soloist on the Queensland Symphony Orchestra’s tour of China, and in 2005 on the Tasmanian Symphony Orchestra’s tour of Japan.

She has also appeared in numerous international festivals, including the Prague Spring Festival, where she won first prize in the 1991 festival competition and a special prize for her performance of the Martinů oboe concerto.

Her most recent solo appearances in SSO subscription concerts were in 2008, when she played Mozart, and 2010 when, together with Alexandre Oguey (cor anglais), she was a featured soloist in Georges Lentz’s Guyuhmgan. Since then she has also performed Mozart’s Oboe Concerto in F (K313) at the Sydney Town Hall and on tour with the SSO, and the Adagio from Bach’s Double Concerto (BWV 1060) in the 2013 Symphony in the Domain.

See the June issue of Bravo! for an interview with Diana. bit.ly/Bravo201404

Diana Dohertyoboe

KE

ITH

SA

UN

DE

RS

principal oboe, andrew kaldor am & renata kaldor ao chair

22

Simon Lobelson was born in Sydney of Egyptian parents and brought up in Brussels. He gained a first-class honours music degree from the University of Sydney, after which a scholarship enabled him to complete an opera diploma with distinction at the Royal College of Music under Roderick Earle, with further studies under Donald McIntyre. He has since worked as a soloist in Australia, the Middle East, Asia, the United Kingdom and Europe.

In Sydney he has appeared several times for Pinchgut Opera – including singing the role of the Drunken Poet in Purcell’s Fairy Queen (2003) and Joabel in Charpentier’s David et Jonathas (2008). Overseas he has appeared with companies such as the Royal Opera House Covent Garden, English National Opera, Garsington Opera, Chelsea Opera Group, English Touring Opera, Buxton Festival, Longborough Festival Opera, Iford Festival Opera, Valladolid Opera, The Classical Opera Company, The Young Vic, British Youth Opera, Swansea City Opera and The Opera Project.

Concert highlights have included Haydn’s Creation and Nelson Mass with the Israel Camerata and London Mozart Players, Berio’s Sinfonia under Pierre Boulez, Gubaidulina’s Now Always Snow with Cantillation and the SSO conducted

by Reinbert de Leeuw and again under Daniel Reuss for the Lucerne Festival, Bach’s St John Passion, Christmas Oratorio and Ascension Oratorio alongside James Bowman, Mozart’s Requiem and Great Mass in C minor with the English Chamber Orchestra, Messiah, A Sea Symphony, Ein deutsches Requiem, Elijah, Carmina Burana and Rameau’s Grands Motets with Sydney Philharmonia Choirs, and New Year’s Day Concerts all over China.

His recordings include The Sofa for Chandos, Haydn’s Nelson Mass and Nicolai Mass for Israel Camerata, and the Pinchgut productions of The Fairy Queen and David et Jonathas. He has also appeared on BBC Radio 3, ABC Classic FM and Fine Music 102.5, Foxtel’s History Channel and the in-flight programming for British Airways and Qantas.

www.simonlobelson.com/about

Simon Lobelsonbaritone

BE

N G

UN

SB

ER

GE

R

PE

TRIN

E M

cCR

OH

AN

23

Most of the singers and dancers of the Yilimbirri Ensemble are members of four generations of the extended family of the Yilimbirri Junba’s creator Adam Andrews. Lead singer Kristin Andrews is his youngest adopted son. Lead dancer Keith Andrews is his eldest grandson. His son Jimmy Dillon Andrews is a singer and the group leader. They are people of the Mililiny Dawangarri, holders of land in the north of Bunuba Country. Other members of the ensemble include didjeridoo player and dancer Dennis Midmee, and singers Keith Bedford and June Oscar ao, a prominent leader of the Bunuba and the people of the Fitzroy Valley. Most of the members live in Junjuwa Community in Fitzroy Crossing.

Emmanuel Brown JandamarraEmmanuel Brown was discovered at an acting workshop in Fitzroy Crossing during development of the original Jandamarra production, in which he played Ilaji. After that production he graduated from the Indigenous acting course at WAAPA, and appeared in the TV documentary Jandamarra’s War. For the 2011 Kimberley tour of Jandamarra he won a promotion to the role of the warrior leader Yilimarra, as well as creating an inspired comic cameo as the crippled station hand Jacky. When not acting, ‘EJB’ works in his grandfather Dillon Andrews’ tourism enterprise Bungoolee Tours. With Bunuba Cultural Enterprises, Emmanuel is currently developing a new theatre work, So Long Suckers.

Patsy Bedford Jini (Jandamarra’s mother)

Patsy Bedford is a much-loved and respected Bunuba woman who made her stage debut in the 2011 Kimberley tour of Jandamarra playing the same role as here in Sydney. After a long career in the WA public service, Patsy began running the Fitzroy Crossing annexe of the Kimberley Language Resource Centre, where she

Yilimbirri Ensemble

PE

TRIN

E M

cCR

OH

AN

24

worked on a wide range of projects across a number of languages. Her major project, which she recently completed, was to compile a comprehensive Bunuba dictionary. Patsy worked as linguist and cultural consultant on the 2008 production of Jandamarra, and on the translations for the play. With Bunuba Cultural Enterprises, Patsy is currently developing a new theatre work, Bandilngan to Broadway.

Margaret Mills Mary Bligh(Mary’s family, the Blighs, are the first settlers to start a station on Bunuba Country, at Lilimiloora)

Margaret Mills has worked extensively in theatre including roles in Top Girls, Boston Marriage, Dream Life of Butterflies, Les Liaisons Dangereuses, Angels in America, Lady Windermere’s Fan, A Cheery Soul, The Last Yankee, A Doll’s House, Woman in the Window, Medea and Away for MTC; and for Playbox/Malthouse Kitten on the Edge, The Odyssey, The Black Sequin Dress, All Souls, The Conjurers, Violet, Like a Metaphor, Elegy and Still Angela. Margaret has been nominated for several Green Room Awards, winning Best Actress for A Cheery Soul and Best Ensemble for Speaking in Tongues.

Peter Docker Richardson(Richardson is a loner who becomes manager of Lillimooloora and then a policeman, and friend of Jandamarra)

Peter Docker was last at the Sydney Opera House in 2012 with Jack Davis’s Honey Spot. Other theatre includes the original Jandamarra, Accidental Death of an Anarchist, Torrez, A Midsummer Night’s Dream, Romeo and Juliet, Scenes From An Execution, Conversations with the Dead, Holy Day, Up the Ladder and MacBeth. Television credits include The Circuit, Weewar, The Shark Net, The Man From Snowy River, The Flying Doctors, The Feds, Blue Heelers, Stingers, State Coroner, Pozieres and Neighbours. Film work includes Harry’s War, X and These Final Hours. Pete has written three books: Someone Else’s Country, The Waterboys and Sweet One (Fremantle Press).

Phil Thomson Visual DirectorPhil Thomson won the inaugural Swan Gold Award for Theatre Development for his trilogy of maritime plays: Paddy, Home Port and Fleets of Fortune (which he wrote and co-directed). Other highly regarded directorial works include Our Town, Honey Spot, Solid (Perth and Brisbane International Arts Festivals) and One Destiny for Black Swan Theatre. He is a former Artistic Director of the WA Youth Theatre Company, and wrote the libretto for the Nova Ensemble’s opera Into the Shimmer Heat. Phil was dramaturg and director of BCE’s 2011 production of Jandamarra.

25

Gondwana Choirs

Under founding director Lyn Williams oam, Gondwana Choirs has built a worldwide reputation for choral excellence over its 25-year history. Gondwana Choirs occupies a unique position in the Australian landscape, having developed its existing repertoire through commissioning more than 150 works. The choirs perform internationally and across Australia and enjoy a close relationship with the SSO.

Gondwana Chorale (the principal choir in Jandamarra) comprises Australia’s finest choristers aged 17–25. In 2014, they made their first recording of Australian choral repertoire, following a European tour in 2013 with recitals in St John’s Smith Square and St Paul’s Cathedral (London) and La Madeleine (Paris). In 2012 they opened the Four Winds Festival in Bermagui, NSW.

Gondwana National Indigenous Children’s Choir (GNICC) was created in 2008 to offer a musical pathway for indigenous Australians aged 9–17. Since then, the choir has performed at events such as the Shanghai World Expo (2010), NAIDOC Gala Ball (2011) and Sydney’s inaugural Coroborree Festival (2013). The choir works with leading Indigenous artists including William Barton, Archie Roach, and Jessica Mauboy. GNICC is made up of children primarily from two choral hubs based in Cairns (QLD) and Campbelltown (NSW), providing regular choral training, through the support of Principal Partner Rio Tinto.

Sydney Children’s Choir is acclaimed as a leading ensemble of its kind and has appeared with many pre-eminent orchestras and conductors. The choir tours internationally, performing a wide range of repertoire, including Australian works, to critical acclaim. An extensive European tour in 2013 included performances at La Palau de la Musica, Notre Dame and Westminster Abbey. The choir performs regularly in Sydney, and plans to tour Hong Kong in 2015.

For these performances of Jandamarra, Gondwana Choirs has brought together talented young singers from schools in Sydney and Cairns to form the Gondwana Combined Schools Choir.

Lyn Williams is Australia’s leading director of choirs for young people; over 25 years, she has been the driving force behind three internationally acclaimed choral programs, working with hundreds of young Australian musicians each year. She has conducted the Sydney, Adelaide, and Melbourne symphony orchestras, Australian Chamber Orchestra and Australian Youth Orchestra and directed music for events of national significance. Her choirs have performed with leading orchestras and conductors including Michael Tilson Thomas and Zubin Mehta; with the SSO under Edo de Waart, Charles Dutoit, Vladimir Ashkenazy and David Robertson; and with the BBC Symphony and Israel Philharmonic orchestras. Lyn Williams is a recipient of the 2006 NSW State Award (Classical Music Awards) for her contribution to the advancement of Australian music, a Churchill Fellow and a composer.

LYN WILLIAMS oamArtistic Director & Founder

THE CHOIRS

IAG is the Major Partner of Gondwana National Indigenous Children’s Choir’s participation in Jandamarra.

26

Lyn Williams oam Artistic Director & Founder Bernie Heard General Manager

Choral Preparation

Sam Allchurch, Elizabeth Scott, Paul Stanhope

Pianists

Luke Byrne, Jem Harding, Sally Whitwell

Choir Management and Operations

Emma Barnett, Lucy Berger, Erica Byrne, Vanessa Chan, Leah Flanagan, Clare Kenny, Sani Townson

SOLOISTSLindsay

Dominic Grimshaw (SCC) Understudies:

Liam Green Abel Hofflin (SCC)

Young Jandamarra

Mataika Wymarra-Gerrie (GNICC) Understudy:

Adam Takai-Thomas (GNICC)

GONDWANA CHORALEGabrielle Aescht Ashley America Olivia Bandler-Llewellyn Oliver Boyd Oliver Bruhl Thomas Buckmaster Alice Buckmaster Anita Burkart Zachary Cassard Alice Chance Cody Christopher Meta Cohen Isabel Colman Will Darbyshire Josephine Gibson Cameron Gill Sophie Gregory Ben Jobson Abhimanyu Kapoor Adrian Kenny Clare Kenny Adele Kozak Alex Li-Kim-Mui Alex McEwan Samuel Merrick Veronica Milroy Ella Moeck Ian Moriarty

Liane Papantoniou Michael Paton Sophie Perrottet Harry Phillips Adam Rowland Sophie Schlosser Sophie Schumacher Alexandria Stavely Siegers Alec Steedman Jerome Studdy Harrison Taranec Corbin Thorne Anwen Towne Daniel Verschuer Meredith Waldron Lia Weitzel Angus Wilkinson Tim Whittle William Yaxley

GONDWANA NATIONAL INDIGENOUS CHILDREN’S CHOIRJasmine Adams Sian Adidi Syrene Anu Kayla Baker Mykelle Bin Garape Bianca Ceissman Zane Court Alana Courtney Michelle Daniel Naima Daniel Jenetta Dorante-Lyons Aliah Drahm-Butler Emmanuel Drahm-Butler Brianna Durante Carrie Lee Garcia Syrana Glenn Rebecca Hatch Hayley Henry

Kimberley Jackson Melay Jacob Zhane James Zipporah James George Johnson Lara Miller Leota Munro-Tom Coen Nicholls Kaitlin Papa Stephanie Paul Georgiana Peddell Dakota Peeters Kaitlyn Richie Charlotte Rogers Shelyce Rogers Rita-Mae Ross Jaala Sadler Pele Savage Marnee Seden Nia Seden Taylor Sheppard Katie Singe Kiya Slockee Adam Takai-Thomas Taeg Twist Emily Ung Anson Ware Tyra Ware Shaniah WhaleboatJack Williams Mataika Wymarra-Gerrie

SYDNEY CHILDREN’S CHOIRSuebin Bae Cameron Bajraktarevic-Hayward Guian Balan Bridie Batterham-Murphy Lucy Blomfield Ariel Bonnell

Chrissy Burjan

Ethan Chew

Honey Christensen

Gracia Clifford

Leona Cohen

Stella Davy

Michael Donohue

Cassandra Doyle

Marianna Ebersoll

Lily Fowler

Oliver Golding

Danah Gressel-Keich

Dominic Grimshaw

Annelise Hall

Alison Hardy

Beth Harper-King

Chloe Hart

Rebecca Hilliard

Abel Hofflin

Patsy Islam-Parsons

Maeve Kelaher

Eloise Loewy

Jemima Lorenz

Genevieve Lumb

Stephanie Macindoe

Aedan MacNamara

Owen MacNamara

Anna Marsh

Lachlan Massey

Gabrielle Montalbo

Stella Mountain

Jade Ng

Rebecca O’Hanlon

Tesni Paewai

Theo Picard

Alexandra Raleigh

Emma Renaud

Julia Spiteri

Isabella Suckling

Zoe Taylor

Jill Termaat

27

Piet Tombs Adam Travis Jessica Trevelyan Beatrice Tucker Tom Warne Olivia Wei Imogen Williams Juliet Wittenoom-Louw Ye-Jean Yun Nikita Zaika

SCC YOUNG MEN’S CHOIRNeil Baker Ihnteck Chung Tim Dutton Samuel Feitelberg Alexander Gorbatov Vincent Kerin Reuben Langbein Liam Maher Dominic Nakhoul Rafi Owen Oscar Parker Daniel Picard Mackenzie Shaw Callan Smith Roland Storch Jesse Van Proctor Yilan Yu

GONDWANA SINGERSAbraham Darley Zoe Heath Sevasti Kavaras Juliet Marshall Sarah McQuinn Georgina Williams

GONDWANA COMBINED SCHOOLS CHOIR

CAIRNS STATE HIGH SCHOOL

Winona Birner Joe Benzie Kate Boylan-Ascione Joshua Coulson Ruby Draper Sophie Ellis Noah Gillespie Amie Manahan Corey Nunn Zahra Quinn Skyla Rule Alyssa Scannella Prathana Thevar-Brink Daniel Verevis Nina Whitmill Keely Wilson

SANTA SABINA COLLEGE

Sabina Aunedi Krystelle Boulos Claire Coletta Jessie Feltham Dominique Hajjar Ettiene Montzka-Caceres Michelle Mutyora Patricia Schwarzkopf Rachael Sebastian Isabella Simmonson Morgan Townsend Evonne Younan

PLC PYMBLE

Alison Campbell Grace Chen Eloise Koch Rhiannon Lloyd Carissa Mehra Aubrey Wood

SCEGGS DARLINGHURST

Katya Cahill Paris Gibson-Williams Ophilia Kong Nell Rennie Ginger-Rose Harrington Sienna Schroeder

CONSERVATORIUM HIGH SCHOOL

Miriam Alperovich Carl Bodnaruk Emily Green Dorothy Wu

BARKER COLLEGE

James Thomson

VOX (SYDNEY PHILHARMONIA CHOIRS)

Emma Hancock Cara Hitchins

NSW STATE SINGERS

Neve Winter

OAKHILL COLLEGE

Ethan Austin

RAVENSWOOD SCHOOL FOR GIRLS

Emma Bradley

\To find out more, visit: gondwanachoirs.com.au sydneychildrenschoir.com.au

THANKS AND ACKNOWLEDGEMENTS

Bunuba Cultural Enterprises would like to thank the following individuals, companies and organisations for their support and assistance in realising this project:

Kimberley Diamond Company Lee-Anne de Bruin The Western Australian Department for Culture & the Arts Tourism Western Australia Kimberley Regional Service Providers Wesley College Kimberley Aboriginal Law & Culture Centre Nic Green and Anthropos Australis Sally Treloyn and the Sustaining Junba Project David Pye for assistance with recordings Bryan Woltjen, costume design Black Swan State Theatre Company for assistance with costumes Colleen Sutherland, wardrobe supervisor Petrine McCrohan Liz Jack

28

SYDNEY SYMPHONY ORCHESTRA

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

Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the SSO also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA have earned the orchestra worldwide recognition for artistic excellence, and the SSO recently returned from its third visit to China.

The orchestra’s first Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenĕk Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from 2009 to 2013. The orchestra’s history also boasts collaborations with legendary figures such

as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

The SSO’s award-winning education program is central to its commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The orchestra promotes the work of Australian composers through performances, recordings and its commissioning program. Recent premieres have included major works by Ross Edwards, Lee Bracegirdle, Gordon Kerry, Mary Finsterer, Nigel Westlake and Georges Lentz, and the orchestra’s recordings of music by Brett Dean have been released on both the BIS and SSO Live labels.

Other releases on the SSO Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras, Vladimir Ashkenazy and David Robertson. In 2010–11 the orchestra made concert recordings of the complete Mahler symphonies with Ashkenazy, and has also released recordings of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, as well as numerous recordings on ABC Classics.

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

DAVID ROBERTSON Chief Conductor and Artistic Director

PATRONHer Excellency, Prof. The Hon. Dame Marie Bashir ad cvo

29

FIRST VIOLINS Andrew Haveron CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Jenny BoothBrielle ClapsonClaire HerricGeorges LentzEmily LongAlexandra MitchellElizabeth Jones#

Liisa Pallandi†

Emily Qin°Nicholas Waters†

Dene Olding CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Sophie ColeAmber DavisNicola LewisAlexander NortonLéone Ziegler

SECOND VIOLINS Kirsty Hilton Marianne Broadfoot Emma Jezek ASSISTANT PRINCIPAL

Emma HayesStan W KornelBenjamin LiNicole MastersPhilippa PaigeMadeleine Boud*Rebecca Gill†

Vivien Jeffery°Belinda Jezek°Marina Marsden Maria DurekShuti HuangBiyana RozenblitMaja Verunica

VIOLASTobias Breider Justin Williams ASSISTANT PRINCIPAL

Sandro CostantinoJane HazelwoodGraham HenningsFelicity TsaiAmanda VernerLeonid VolovelskyCarl Lee†

David Wicks*Roger Benedict Anne-Louise Comerford Rosemary CurtinStuart JohnsonJustine Marsden

CELLOSCatherine Hewgill Henry David Varema Leah Lynn ASSISTANT PRINCIPAL

Kristy ConrauTimothy NankervisElizabeth NevilleAdrian WallisDavid WickhamUmberto ClericiFenella GillChristopher Pidcock

DOUBLE BASSESKees Boersma Alex Henery Neil Brawley PRINCIPAL EMERITUS

David CampbellBenjamin WardJosef Bisits°Steven LarsonRichard LynnDavid Murray

FLUTES Emma Sholl Carolyn HarrisRosamund Plummer PRINCIPAL PICCOLO

Janet Webb

OBOESShefali Pryor Alexandre Oguey PRINCIPAL COR ANGLAIS

Georgina Roberts†

Diana Doherty David Papp

CLARINETSFrancesco Celata Christopher TingayCraig Wernicke PRINCIPAL BASS CLARINET

Lawrence Dobell

BASSOONSMark Gaydon*Fiona McNamaraTimothy Murray†

Matthew Wilkie Noriko Shimada PRINCIPAL CONTRABASSOON

HORNSBen Jacks Geoffrey O’ReillyPRINCIPAL 3RD

Rachel SilverEuan HarveyRobert Johnson Marnie Sebire

TRUMPETSDavid Elton Anthony HeinrichsGreg Flynn*Paul Goodchild

TROMBONESScott Kinmont Nick ByrneChristopher Harris PRINCIPAL BASS TROMBONE

Ronald Prussing

TUBASteve Rossé

TIMPANIMark Robinson ASSISTANT PRINCIPAL

Richard Miller

PERCUSSIONRebecca Lagos Chiron Meller*Brian Nixon*Alison Pratt*Timothy Constable

HARP Louise Johnson

KEYBOARDS Susanne Powell*

BOLD = PRINCIPAL

ITALICS = ASSOCIATE PRINCIPAL

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN† = SSO FELLOW

GREY = PERMANENT MEMBER OF THE SSO NOT APPEARING IN THE ENSEMBLE FOR THIS CONCERT

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 RobertsonCHIEF CONDUCTOR AND ARTISTIC DIRECTOR SUPPORTED BY EMIRATES

Dene OldingCONCERTMASTER

Jessica CottisASSISTANT CONDUCTOR SUPPORTED BY PREMIER PARTNER CREDIT SUISSE

Andrew HaveronCONCERTMASTER

30

BEHIND THE SCENES

MANAGING DIRECTOR

Rory Jeffes

EXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNING

Benjamin Schwartz

ARTISTIC ADMINISTRATION MANAGER

Eleasha Mah

ARTIST LIAISON MANAGER

Ilmar Leetberg

RECORDING ENTERPRISE MANAGER

Philip Powers

LibraryAnna CernikVictoria GrantMary-Ann Mead

LEARNING AND ENGAGEMENT

DIRECTOR OF LEARNING AND ENGAGEMENT

Kim Waldock

EMERGING ARTISTS PROGRAM MANAGER

Mark Lawrenson

EDUCATION MANAGER

Rachel McLarin

EDUCATION OFFICER

Amy Walsh

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout Kerbert

ORCHESTRA MANAGER

Rachel Whealy

ORCHESTRA COORDINATOR

Georgia Fryer

OPERATIONS MANAGER

Kerry-Anne Cook

PRODUCTION MANAGER

Laura Daniel

STAGE MANAGER

Courtney Wilson

PRODUCTION COORDINATORS

Tim DaymanDave Stabback

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J Elliott

SENIOR SALES & MARKETING MANAGER

Penny Evans

MARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-Meates

MARKETING MANAGER, CLASSICAL SALES

Matthew Rive

MARKETING MANAGER, WEB & DIGITAL MEDIA

Eve Le Gall

MARKETING MANAGER, CRM & DATABASE

Matthew Hodge

DATABASE ANALYST

David Patrick

SENIOR GRAPHIC DESIGNER

Christie Brewster

GRAPHIC DESIGNER

Tessa Conn

MARKETING COORDINATOR

Jonathon Symonds

SENIOR ONLINE MARKETING COORDINATOR

Jenny Sargant

ONLINE MARKETING COORDINATOR

Jonathan Davidoff

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlin

BOX OFFICE SYSTEMS SUPERVISOR

Jennifer Laing

BOX OFFICE BUSINESS ADMINISTRATOR

John Robertson

CUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – Senior CSR Michael DowlingKatarzyna OstafijczukTim Walsh

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

EXTERNAL RELATIONS

DIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

PhilanthropyHEAD OF PHILANTHROPY

Luke Andrew Gay

DEVELOPMENT MANAGER

Amelia Morgan-Hunn

PHILANTHROPY COORDINATOR

Sarah Morrisby

Corporate RelationsBUSINESS DEVELOPMENT MANAGER

Belinda Besson

CORPORATE RELATIONS MANAGER

Janine Harris

CommunicationsPUBLIC RELATIONS MANAGER

Katherine Stevenson

COMMUNICATIONS & MEDIA MANAGER

Bridget Cormack

DIGITAL CONTENT PRODUCER

Kai Raisbeck

SOCIAL MEDIA AND PUBLICITY OFFICER

Caitlin Benetatos

BUSINESS SERVICES

DIRECTOR OF FINANCE

John Horn

FINANCE MANAGER

Ruth Tolentino

ACCOUNTANT

Minerva Prescott

ACCOUNTS ASSISTANT

Emma Ferrer

PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTURE

IN-HOUSE COUNSEL

Michel Maree Hryce

SYDNEY SYMPHONY ORCHESTRA STAFF

John C Conde ao ChairmanTerrey Arcus am

Ewen Crouch am

Ross GrantCatherine HewgillJennifer HoyRory JeffesAndrew Kaldor am

David LivingstoneThe Hon. Justice AJ MeagherGoetz Richter

SYDNEY SYMPHONY ORCHESTRA BOARD

SYDNEY SYMPHONY ORCHESTRA COUNCIL

Geoff Ainsworth am

Andrew Andersons ao

Michael Baume ao

Christine BishopIta Buttrose ao obe

Peter CudlippJohn Curtis am

Greg Daniel am

John Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood ao obe

Dr Michael Joel am

Simon JohnsonYvonne Kenny am

Gary LinnaneAmanda LoveHelen Lynch am

David Maloney am

David Malouf ao

Deborah MarrThe Hon. Justice Jane Mathews ao

Danny MayWendy McCarthy ao

Jane MorschelDr Timothy Pascoe am

Prof. Ron Penny ao

Jerome RowleyPaul Salteri am

Sandra SalteriJuliana SchaefferLeo Schofield am

Fred Stein oam

Gabrielle TrainorJohn van OgtropPeter Weiss ao HonDLittMary WhelanRosemary White

31

SYDNEY SYMPHONY ORCHESTRA PATRONS

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

Peter Weiss ao Founding President & Doris WeissJohn C Conde ao ChairmanBrian AbelGeoff Ainsworth am Tom Breen & Rachael KohnIn memory of Hetty & Egon GordonAndrew Kaldor am & Renata Kaldor aoVicki Olsson

Roslyn Packer aoDavid RobertsonPenelope Seidler amMr Fred Street am & Mrs Dorothy StreetWestfield GroupBrian & Rosemary WhiteRay Wilson oam in memory of the late James Agapitos oam

Through their inspired financial support, Patrons ensure the SSO’s continued success, resilience and growth. Join the SSO Patrons Program today and make a difference.

sydneysymphony.com/patrons (02) 8215 4674 • philanthropy@sydneysymphony.com

MAKE A DIFFERENCE

CHAIR PATRONS

01 Roger Benedict Principal Viola Kim Williams am & Catherine Dovey Chair

02 Lawrence Dobell Principal Clarinet Anne & Terrey Arcus am Chair

03 Diana Doherty Principal Oboe Andrew Kaldor am & Renata Kaldor ao Chair

04 Richard Gill oam Artistic Director, Education Paul Salteri am & Sandra Salteri Chair

05 Jane Hazelwood, Viola Bob & Julie Clampett Chair in memory of Carolyn Clampett

06 Catherine Hewgill Principal Cello The Hon. Justice AJ & Mrs Fran Meagher Chair

07 Kirsty Hilton Principal Second Violin Corrs Chambers Westgarth Chair

08 Robert Johnson Principal Horn James & Leonie Furber Chair

09 Elizabeth Neville Cello Ruth & Bob Magid Chair

10 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

11 Janet Webb Principal Flute Helen Lynch am & Helen Bauer Chair

12 Kirsten Williams, Associate Concertmaster I Kallinikos Chair

FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM,

CALL (02) 8215 4619.

n n n n n n n n n n

0401 02 03

09 10 11 12

06 07 0805

32

PLAYING YOUR PART

The Sydney Symphony Orchestra gratefully acknowledges the music lovers who donate to the orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Donations of $50 and above are acknowledged on our website at www.sydneysymphony.com/patrons

DIAMOND PATRONS: $30,000+Geoff Ainsworth am

Anne & Terrey Arcus am

Tom Breen & Rachael KohnMr John C Conde ao

Robert & Janet ConstableMr Andrew Kaldor am &

Mrs Renata Kaldor ao

In Memory of Matthew KrelMrs Roslyn Packer ao

Paul Salteri am & Sandra SalteriScully FoundationMrs W SteningMr Fred Street am &

Mrs Dorothy StreetPeter Weiss ao & Doris WeissMr Brian & Mrs Rosemary WhiteKim Williams am &

Catherine Dovey

PLATINUM PATRONS: $20,000–$29,999Brian AbelRobert Albert ao &

Elizabeth AlbertSandra & Neil BurnsJames & Leonie FurberIn memory of Hetty &

Egon GordonThe Estate of Dr Lynn Joseph

I KallinikosHelen Lynch am & Helen BauerMrs T Merewether oam

Mr B G O’ConorVicki OlssonDavid RobertsonMrs Penelope Seidler am

G & C Solomon in memory of Joan MacKenzie

Westfield GroupRay Wilson oam in memory of

James Agapitos oam

Anonymous (1)

GOLD PATRONS: $10,000–$19,999Bailey Family FoundationDoug & Alison BattersbyAlan & Christine BishopAudrey BlundenMr Robert BrakspearIan & Jennifer BurtonMr Robert & Mrs L Alison Carr Bob & Julie ClampettMichael Crouch ao &

Shanny CrouchCopyright Agency Cultural Fund The Hon. Mrs Ashley Dawson-

Damer am

Edward & Diane FedermanNora GoodridgeMr Ross Grant

Mr Ervin KatzJames N Kirby FoundationRuth & Bob MagidThe Hon. Justice AJ Meagher

& Mrs Fran MeagherMr John MorschelDrs Keith & Eileen OngMr John Symond am

Andy & Deirdre PlummerCaroline WilkinsonAnonymous (2)

SILVER PATRONS: $5000–$9,999Dr Francis J AugustusStephen J BellThe Berg Family FoundationDr & Mrs Hannes BoshoffMr Alexander & Mrs Vera

BoyarskyPeter Braithwaite & Gary

LinnaneMr David & Mrs Halina BrettEwen Crouch am &

Catherine CrouchIan Dickson & Reg HollowayIn memory of

Dr Lee MacCormick EdwardsDr Stephen Freiberg &

Donald CampbellDr Colin GoldschmidtThe Greatorex Foundation

Rory & Jane JeffesThe late Mrs Isabelle JosephJudges of the Supreme Court

of NSW Frank Lowy am &

Shirley Lowy oam

J A McKernanDavid Maloney am & Erin

FlahertyR & S Maple-BrownJustice Jane Mathews ao

Mora MaxwellMrs Barbara MurphyWilliam McIlrath Charitable

FoundationJohn & Akky van OgtropRodney Rosenblum am &

Sylvia RosenblumDr Evelyn RoyalThe Estate of the late

Greta C RyanManfred & Linda SalamonSimpsons SolicitorsMrs Joyce Sproat &

Mrs Janet CookeDavid Tudehope & Liz DibbsWestpac GroupMichael & Mary Whelan TrustIn memory of Geoff WhiteJune & Alan Woods Family

BequestAnonymous (1)

BRONZE PATRONS: PRESTO $2,500–$4,999Mr Henri W Aram oam

Dr Diana Choquette & Mr Robert Milliner

Mr B & Mrs M ColesMr Howard ConnorsGreta DavisFirehold Pty LtdStephen Freiberg &

Donald CampbellAnn HobanIrwin Imhof in memory of

Herta ImhofRobert McDougallJames & Elsie MooreMs Jackie O’BrienMarliese & Georges TeitlerMr Robert & Mrs Rosemary

WalshYim Family FoundationMr & Mrs T & D Yim

BRONZE PATRONS: VIVACE $1,000–$2,499Mrs Lenore AdamsonMrs Antoinette AlbertAndrew Andersons ao

Sibilla BaerDavid BarnesAllan & Julie BlighJan BowenLenore P BuckleMargaret BulmerIn memory of RW BurleyIta Buttrose ao obe

Mr JC Campbell qc & Mrs Campbell

Dr Rebecca ChinMr Peter ClarkeConstable Estate Vineyards Dom Cottam &

Kanako ImamuraDebby Cramer & Bill CaukillMr John Cunningham SCM &

Mrs Margaret CunninghamLisa & Miro DavisMatthew DelaseyMr & Mrs Grant Dixon

Colin Draper & Mary Jane Brodribb

Malcolm Ellis & Erin O’NeillMrs Margaret EppsPaul R EspieProfessor Michael Field am

Mr Tom FrancisWarren GreenAnthony GreggAkiko GregoryIn memory of Dora &

Oscar GrynbergJanette HamiltonMrs Jennifer HershonMrs & Mr HolmesMichael & Anna JoelAron KleinlehrerMr Justin LamL M B LampratiMr Peter Lazar am

Professor Winston LiauwDr David LuisPeter Lowry oam &

Dr Carolyn Lowry oam

Kevin & Deirdre McCannIan & Pam McGaw

Macquarie Group Foundation

Renee MarkovicHenry & Ursula MooserMilja & David MorrisMrs J MulveneyMr & Mrs OrtisMr Darrol NormanDr A J PalmerMr Andrew C PattersonDr Natalie E PelhamAlmut PiattiRobin PotterIn memory of Sandra Paul

PottingerTA & MT Murray-PriorDr Raffi QasabianMichael QuaileyMr Patrick Quinn-GrahamErnest & Judith RapeeKenneth R ReedPatricia H Reid Endowment

Pty LtdDr Marilyn RichardsonRobin Rodgers

33

PLAYING YOUR PART

TO FIND OUT MORE ABOUT BECOMING A

SYDNEY SYMPHONY ORCHESTRA PATRON, PLEASE

CONTACT THE PHILANTHROPY OFFICE ON (02) 8215 4674

OR EMAIL PHILANTHROPY@SYDNEYSYMPHONY.COM

n n n n n n n n n n

Lesley & Andrew RosenbergIn memory of H St P ScarlettCaroline SharpenDavid & Isabel SmithersMrs Judith SouthamCatherine StephenThe Hon. Brian Sully qc

Mildred TeitlerKevin TroyJohn E TuckeyIn memory of Joan &

Rupert VallentineDr Alla WaldmanMiss Sherry WangHenry & Ruth WeinbergThe Hon. Justice A G WhealyA Willmers & R PalMr & Mrs B C WilsonDr Richard WingMr Robert WoodsIn memory of Lorna WrightDr John YuAnonymous (11)

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

Dr Miles BurgessPat & Jenny BurnettEric & Rosemary CampbellBarrie CarterMr Jonathan ChissickMrs Sandra ClarkMichael & Natalie CoatesCoffs Airport Security Car ParkJen CornishDegabriele KitchensPhil Diment am & Bill

ZafiropoulosDr David DixonElizabeth DonatiMrs Jane DrexlerDr Nita Durham &

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

Mr & Mrs Harold & Althea Halliday

Benjamin Hasic & Belinda DavieMr Robert HavardRoger HenningSue HewittIn memory of Emil HiltonDorothy Hoddinott ao

Mr Joerg HofmannMr Angus HoldenMr Kevin HollandBill & Pam HughesDr Esther Janssen

Niki KallenbergerMrs W G KeighleyMrs Margaret KeoghDr Henry KilhamChris J KitchingAnna-Lisa KlettenbergMr & Mrs Gilles T KrygerThe Laing FamilySonia LalDr Leo & Mrs Shirley LeaderMargaret LedermanMrs Erna Levy Sydney & Airdrie LloydMrs A LohanPanee LowDr David LuisMelvyn MadiganBarbara MaidmentHelen & Phil MeddingsDavid MillsKenneth Newton MitchellHelen MorganChris Morgan-HunnMr Graham NorthE J NuffieldDr Margaret ParkerDr Kevin PedemontDr John PittMrs Greeba PritchardMiss Julie RadosavljevicRenaissance ToursAnna RoAgnes Ross

Mr Kenneth RyanGarry Scarf & Morgie BlaxillPeter & Virginia ShawV ShoreMrs Diane Shteinman am

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

Janet WilliamsDr Edward J WillsAudrey & Michael Wilson

Dr Richard WingateDr Peter Wong &

Mrs Emmy K WongGeoff Wood & Melissa WaitesMrs Robin YabsleyAnonymous (29)

List correct as of 1 May 2014

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

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

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

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

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

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

34

SALUTE

The Sydney Symphony Orchestra is assisted by the

Commonwealth Government through the Australia Council,

its arts funding and advisory body

GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is

assisted by the NSW Government

through Arts NSW

PRINCIPAL PARTNER

PREMIER PARTNER

EDUCATION PARTNERPLATINUM PARTNER

MAJOR PARTNERS

GOLD PARTNERS

REGIONAL TOUR PARTNER MARKETING PARTNERVANGUARD PARTNER

SILVER PARTNERS

Salute 2014_FOUR-2A.indd 1 26/06/14 2:21 PM

❝Tuning, tuning, tuning…

❞‘With the harp being a solo instrument in the orchestra, I tend to prepare everything as though it’s going to be a solo.’ It’s certainly true that composers often use the harp as a special colour within the orchestra, rather than treating it as part of a larger section. And cadenzas and other soloistic passages are not uncommon in the music of Ravel, Tchaikovsky and Stravinsky.

Performing as soloist out the front of the orchestra does allow certain refreshing freedoms, however. ‘I have the freedom to decide my own dynamics, the shape of phrases and other musical elements, rather than having to realise just the conductor’s intentions.’ Legends of the Old Castle, then, will offer Louise the chance to exercise her own self-expression. ‘I’m free to have my own ideas about this work,’ she says with relish.

There’s a lovely synergy in the fact that Simone Young is conducting this harpstravaganza – her own daughter is a gifted young harpist. ‘I’ve no doubt we’re going to get along famously,’ smiles Louise.

Louise Johnson is a soloist in Harp Legends on 24, 25 and 28 July. Simone Young conducts.

It’s a rare sight to see a harpist and their instrument out the front of the orchestra for a concerto performance. When Principal Harp, Louise Johnson appears as soloist with us in July, performing Lee Bracegirdle’s Legends of the Old Castle, it will be as part of the World Harp Congress – a weeklong celebration of this most ancient and beguiling instrument. The program features not one, but two concertos for harp (the other being Rodrigo’s Concierto serenata performed by Sivan Magen), and two orchestral works featuring multiple harps within the orchestra.

What’s the collective noun for a bunch of harpists then? An arpeggio? A cloud? ‘A haggle,’ replies Louise, without a moment’s hesitation and with a cheeky twinkle in her eye. And what are the challenges of having so many harpists in the one program? ‘Tuning, tuning, tuning,’ she says. ‘Each instrument needs to be tuned before every rehearsal and every performance. With 47 strings on each instrument you can imagine the tuning schedule we have to create!’

Preparing for a concerto is not necessarily so different to preparing an orchestral part.

MAGICAL COLOURPrincipal harpist Louise Johnson celebrates her instrument in all its guises and with all its challenges.

ORCHESTRA NEWS | JULY 2014

SSO Bravo! #5 2014 Insert.indd 1 1/07/14 1:17 PM

Pho

to: J

ulia

n K

ingm

a Warming up in the grand Shanghai Oriental Art Center, Principal Tuba Steve Rossé and Principal Double Bass Alex Henery prepare for a program that opened with Sound Lur and Serpent, Andrew Schultz’s new fanfare for brass and percussion, and Beethoven’s Emperor Piano Concerto with Shanghai-based prodigy Haochen Zhang. Steve later told us: ‘My favourite moment in our first concert was in Strauss’s Heldenleben when we hit that E flat chord which is the hero’s motif. It’s like being invincible.’

Sponsor HighlightP

hoto

: Jan

ine

Har

ris

Live at the Cortile with the SSO

From left: Kirsten Williams, Lerida Delbridge, Lawrence Dobell, Rosemary Curtin and Elizabeth Neville

Winter is definitely here but plenty of musical food lovers still ventured out into the cold for the second event in our intimate concert series in the Cortile bar and lounge at the InterContinental Sydney. Executive chef Tamas Palmer treated guests to a winter-time canapé menu, including mulled-wine martinis, chestnut veloutés and tartes Tatin, designed to match the music, which included movements from the Brahms and Mozart clarinet quintets, Elgar’s Salut d’Amour and Gershwin’s Embraceable You played by members of the SSO. The event sold out, so book now for the next SSO Live at the Cortile event on Thursday 7 August, when a quartet featuring oboist Shelfali Pryor will take you on an operatic journey of opulence and drama. Visit bit.ly/SSOLiveattheCortile

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

What a good question! I sometimes marvel that I don’t sneeze in a concert! I think you are right – the concentration required in performance overrides any desire to sneeze. I also find that if I have a cold

and my sinuses are blocked up, just before I have to play – especially if it’s an important solo – suddenly my head clears and I can forget that I’m unwell for a few minutes. That must be the adrenaline of performance at work.

Unfortunately coughing seems to be a different matter. I have had many coughing fits in various slow movements (it always seems to happen in the slow movement!), as have most of my colleagues. It’s awful, and there’s no escape. Very occasionally a coughing fit will necessitate leaving the stage so as not to be too distracting, either to colleagues onstage or for the audience listening.

If the concert is being broadcast live on radio, or recorded for later broadcast, then that adds another level of awareness.

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

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

Ask a Musician

Pho

to: A

nna

Rya

n

SSO Bravo! #5 2014 Insert.indd 2 1/07/14 1:18 PM

I never experienced the sound of an orchestra,’ Sebastian said. ‘It’s what I want to do for the rest of my life, but I never played in an orchestra until I started my undergraduate degree.’

This tour, 2000 children did have a chance to experience the sound of an orchestra and a wide variety of music – the big hit was LiteSPEED by Australian composer Matthew Hindson. ‘The music was obviously very stimulating for our “groovy” little bodies,’ praised a teacher from Morgan St Public School, Broken Hill. Kim Waldock, SSO Director of Learning and Engagement, says ‘we met students with some experience of orchestral music but the majority – especially in Cobar and Broken Hill – had absolutely no idea of what to expect. Staff and children of Cobar Public School created an “event”, arriving in tinfoil bow ties and tiaras, even the principal wore a dinner suit!’

In Broken Hill, the city’s Community Orchestra and Brass Band had great fun rehearsing with the SSO players. And five SSO players gave a lesson for the School of the Air in Broken Hill, which was later broadcast by ABC Regional Radio to other children in remote areas.

We might have returned from our third visit to China but we’ve only just made it to Cobar! Every year approximately 60 SSO players (including Fellows and Sinfonia musicians) tour to regional centres throughout NSW. Some of those towns and cities are old friends – Dubbo, Broken Hill – others are new acquaintances, like Cobar. It was a first visit that we won’t forget in a hurry: Cobar takes its footy seriously, so having our concert start during the State of Origin game presented a challenge. Cobar’s mayor Lillian Brady was thrilled the orchestra was in town but was ‘keeping an eye on the score, don’t you worry’. Conductor Daniel Carter is also a footy tragic: ‘It’s such a great cultural mix. To come somewhere like Cobar and in one night to experience great romantic Russian masterworks that are over 150 years old – and a game of NRL.’ Everyone was still able to get to the pub in time to see the Blues triumph.

Our return to Dubbo allowed Sebastian Dunn, a horn player in our Sinfonia training orchestra, to perform in his home town, not just in the public concert but also playing for his younger brother and friends at his old school. ‘Coming from Dubbo,

Regional Tour

TIARAS AND TOUCHDOWN

In Cobar, the children dressed up for the orchestra, wearing tiaras and tinfoil crowns.

Pho

to: A

nna

Rya

n

The ScoreSymphonies to SpareOrchestral concerts tend to have a standard ‘menu’: an overture or short concert opener, a concerto with a soloist, then the symphony – the big work. Sometimes the concerto is so ‘symphonic’ we put it last (the Brahms piano concertos, for example), but most of the time that’s the pattern we follow. But at the end of August, David Robertson has taken a slightly different approach, with a program that looks – at first glance – as if it has nothing but symphonies!

Brahms’s Third Symphony is serious music, sometimes melancholy, sometimes blissful, with a shimmering, floating pianissimo ending. We hope that, by playing it first rather than at the end, you’ll be able to hear it with fresh ears.

Our ‘concerto’ with soloist Vadim Repin is Lalo’s Symphonie espagnole, a ‘Spanish symphony’ composed for Sarasate. Lalo imagined the violin ‘soaring above the rigid form of an old symphony’ and the result is colourful and vibrant.

And from Janácek there’s a sinfonietta. Technically, that’s a ‘little symphony’ although this one is little only in duration – the orchestra is huge, with 12 trumpets! We’ve placed it last because it’s so striking and spectacular that really nothing could possibly follow it.

Symphonic InspirationEmirates Metro Series 29 August, 8pmGreat Classics 30 August, 2pmMondays @ 7 1 September, 7pm

Pho

to: G

ela

Meg

relid

ze

Vadim Repin

SSO Bravo! #5 2014 Insert.indd 3 1/07/14 1:18 PM

GUEST EDITOR Jacqui Smith | MUSICIAN PROFILE Genevieve Huppert sydneysymphony.com/bravo

SSO CHINA TOUR BLOGCatch up on all the highlights of our third tour to China, which took in Shanghai, Guangzhou, Shenzhen, Jinan, Hangzhou, Zi’an and Beijing, where we performed in the famous National Centre for the Performing Arts in Beijing (more commonly referred to as ‘The Egg’!).

Sharing in the tour spirit, the staff back in Sydney invited chef Gary Au to visit our office in the Rocks and demonstrate the ancient art of making Dragon Beard Candy. Check out the blog for the photo evidence, including some very sticky ‘beards’.blog.ssoontour.com

SSO CHAMBER MUSICFancy a more intimate setting for your next concert? Our musicians are busy performing chamber music alongside the big concerts…WED 23 JUL, 1.15pm St James’, King St Our Fellows perform the Elgar String Quartet and a new piece by James Wade. Entry by donation.

SUN 3 AUG, 1.30pm Turramurra Uniting Church The Chanterelle Quartet plays string quartets by Haydn, Lalor and Mozart. WED 6 AUG, 1.15pm St James’, King St Janet Webb leads a program of wind chamber music treats. Entry by donation. WED 6 AUG, 7pm, Verbrugghen Hall The SSO Brass Ensemble performs music by Barber, Terracini, Rautavaara and Copland at the Sydney Conservatorium.

SUMMER STOPOVERS IN DUBAIEmirates has announced a free 24-hour stopover package for passengers travelling from Australia on eligible flights to destinations beyond Dubai. With transfers, a 36-hour UAE entry visa and a 24-hour hotel stay, including breakfast, this is your chance to explore the vibrant city that Emirates calls home. As Principal Partner of the SSO, Emirates offers our patrons an exclusive 10% online discount on all Emirates flights. Make sure you’ve signed up to our

Stay Tuned e-newsletter to receive the special booking code. bit.ly/EmiratesDubaiStopoverSSO

STUDENT RUSHDid you know we offer student rush tickets to many of our concerts? Follow our Facebook page to find out when. Tickets are always strictly limited but you’ll often spend no more than $15. Bargain!

NEW ARRIVALSOur Bravo! editor (and regular guest harpist) Genevieve Huppert is taking a few issues off to enjoy the company of newborn Felix Islay. And Associate Principal Cello Henry Varema has been in Estonia for the birth of his daughter. Congratulations!

THANK YOUWe are extremely grateful to the many donors who responded to our recent end-of-financial-year appeal. Your support will enable us to achieve our growing educational and artistic goals and provide you in our audience and many students throughout NSW with exciting and fulfilling musical experiences.

CODA

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

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

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

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

PAPER PARTNER

All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited.

By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specified on the title page of this publication 17345 — 1/100714 — 20TH/E/G S46/48

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

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

Chairman Brian Nebenzahl OAM RFD

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

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

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

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

EXECUTIVE MANAGEMENTChief Executive Officer Louise Herron am

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

SSO Bravo! #5 2014 Insert.indd 4 1/07/14 1:18 PM

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

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

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

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

PAPER PARTNER

All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited.

By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specified on the title page of this publication 17350 — 1/160714 — 21MM/TS S49/51

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

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

Chairman Brian Nebenzahl OAM RFD

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

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

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

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

EXECUTIVE MANAGEMENTChief Executive Officer Louise Herron am

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