DIE WALKÜRE ACT 1OPERA IN CONCERT

CONCERT PROGRAM

25 AUGUST 2018Arts Centre Melbourne, Hamer Hall

Melbourne Symphony OrchestraSir Andrew Davis conductor

Eva-Maria Westbroek soprano (Sieglinde)

Frank Van Aken tenor (Siegmund)

Daniel Sumegi bass (Hunding)

Wagner Siegfried Idyll

INTERVAL

Wagner Die Walküre Act 1

Running time: 1 hour 50 minutes, including a 20-minute interval. This concert features surtitles.

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The MSO acknowledges the Traditional Owners of the land on which it is performing. MSO pays its respects to their Elders, past and present, and the Elders from other communities who may be in attendance.

mso.com.au (03) 9929 9600

Pre-concert talk Join us for a pre-concert conversation with Monash University music expert, Andrys Onsman, inside Hamer Hall from 6.15pm.

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MELBOURNE SYMPHONY ORCHESTRA

Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia’s oldest professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of MSO since 2013. Engaging more than 4 million people each year, the MSO reaches diverse audiences through live performances, recordings, TV and radio broadcasts and live streaming. Its international audiences include China, where MSO has performed in 2012, 2016 and most recently in May 2018, Europe (2014) and Indonesia, where in 2017 it performed at the UNESCO World Heritage Site, Prambanan Temple.

The MSO performs a variety of concerts ranging from symphonic performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne’s largest outdoor venue, the Sidney Myer Music Bowl. The MSO also delivers innovative and engaging programs and digital tools to audiences of all ages through its Education and Outreach initiatives.

SIR ANDREW DAVIS CONDUCTOR

Chief Conductor of the Melbourne Symphony Orchestra, Sir Andrew Davis is also Music Director and Principal Conductor of the Lyric Opera of Chicago. He is Conductor Laureate of both the BBC Symphony Orchestra and the Toronto Symphony, where he has also been named interim Artistic Director until 2020.

In a career spanning more than 40 years he has conducted virtually all the world’s major orchestras and opera companies, and at the major festivals. Recent highlights have included Die Walküre in a new production at Chicago Lyric.

Sir Andrew’s many CDs include Messiah nominated for a 2018 Grammy, Bliss’ The Beatitudes, and a recording with the Bergen Philharmonic of Vaughan Williams’ Job/Symphony No.9 nominated for a 2018 BBC Music Magazine Award. With the MSO he has just released a third recording in the ongoing Richard Strauss series, featuring the Alpine Symphony and Till Eulenspiegel.

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EVA-MARIA WESTBROEK SOPRANO

FRANK VAN AKEN TENOR

Eva-Maria Westbroek has appeared at opera houses such as Bayreuth, the Opéra National de Paris, Vienna State Opera, Deutsche Oper Berlin, and La Scala in Milan, concert halls such as the Concertgebouw and Royal Albert Hall, and at festivals such as Aix-en-Provence, France. Her signature roles include Sieglinde in Die Walküre, Maddalena in Andrea Chénier and the title roles in Jenůfa, Manon Lescaut, Katya Kabanova, and Riccardo Zandonai’s Francesca da Rimini.

Recent appearances have included Giorgetta in Il tabarro at the Bavarian State Opera, Munich, and Katerina Ismailova (a signature role) in Lady Macbeth of Mtsensk at the Royal Opera House, Covent Garden conducted by Antonio Pappano. Recordings include the Metropolitan Opera’s Walküre and premiere release of Mark-Anthony Turnage’s Anna Nicole.

Dutch singer Frank van Aken made his professional debut as Macduff in Macbeth at the Nederlandse Reisopera, followed by his debut in Rome as Cavaradossi in Tosca. His Italian repertoire also includes Otello and he has appeared in operas by Shostakovich and Prokofiev. Among the great Wagner roles, he has performed Parsifal in Frankfurt and Turin, and Siegmund in Die Walküre at La Scala and the Met.

Frank van Aken has also appeared at major houses such as Bayreuth, Teatro Regio and Barcelona’s Gran Teatro del Liceu, and worked with conductors including Petrenko, Barenboim and Thielemann.

Recent appearances include the title roles in Tannhäuser and Parsifal at the Nationaltheater Mannheim, and an Opera Gala (with Eva-Maria Westbroek) at Scheveningen’s Festival Classique.

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DANIEL SUMEGI BASS

Daniel Sumegi has carved out an impressive international career with over one hundred roles in his repertoire, having performed at the Metropolitan Opera, Covent Garden and the Paris Opera, as well as major opera companies across the United States, Europe, Asia, South America and Australia.

Recent appearances have included the world premiere of Manchurian Candidate (Minnesota Opera), The Pearl Fishers (OA Sydney), Eugene Onegin (OA Melbourne), Der Ring des Nibelungen (Melbourne, Seattle, San Francisco, Buenos Aires, Los Angeles), Billy Budd (Los Angeles), Salome (Washington, Hong Kong) and Götterdämmerung (Strasbourg and Tokyo).

Daniel Sumegi appears on CD in Seattle Opera’s acclaimed Ring cycle, and on DVD in Opera Australia’s Don Giovanni, and the historic condensed Ring cycle from Teatro Colon, Buenos Aires.

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PROGRAM NOTES

RICHARD WAGNER (1813-1883)

Siegfried Idyll

The Siegfried Idyll reveals a touchingly gentle and domestic side of a composer who often displayed the opposite. Wagner’s full title for the piece was Tribschen Idyll, with Fidi’s Birdsong and Orange Sunrise, as a Symphonic Birthday Greeting from Richard to Cosima.

Tribschen is the villa near the Swiss town of Lucerne where Wagner was living with his wife, Cosima, whom he had recently married when her divorce from Hans von Bülow was finalised. She already had two daughters by Wagner, and in 1869 a son was born, Siegfried, known in the family circle as Fidi. On Christmas Day 1870, which was also Cosima’s birthday, she awoke to the strains of music. As the music died away, Richard came into the room and offered Cosima the score of the ‘symphonic birthday poem’. The 13 musicians stood on various levels of the staircase of Tribschen. They were rehearsed secretly by the young Hans Richter (later to become famous as a conductor), who played horn, and also the brief trumpet part.

The Siegfried Idyll is a kind of pendant to the music drama Siegfried, on which Wagner had been working, and many of its themes are to be found in the opera. The peaceful melody with which it begins is associated in the opera’s last act with Brünnhilde’s yielding, her giving up of memories of immortality for love of Siegfried. Another theme, appearing in counterpoint with it, is

that of Brünnhilde’s sleep. There is a second theme, not from the opera, based on an old German lullaby, and later the wind instruments present the theme associated with the words ‘Siegfried, Treasure of the World’, from the opera’s love duet. We hear the horn melody associated with the young Siegfried as hero, and the theme of the woodbird who leads Siegfried to Brünnhilde’s fire-surrounded rock.

Although it began as private chamber music, the Siegfried Idyll is really an early example of the symphonic poem, a genre invented by Liszt and developed by Richard Strauss. Wagner here depends less on an extraneous program than either of these composers. The first theme, in fact, comes from a planned string quartet Richard had promised to Cosima in the days of their first love. Only later was it incorporated into the opera Siegfried. Cosima recalled Richard telling her that ‘all that he had set out to do was to work the theme which had come to him in Starnberg (where we were living together), and which he had promised me as a quartet, into a morning serenade, and then he had unconsciously woven our whole life into it – Fidi’s birth, my recuperation, Fidi’s bird, etc. As Schopenhauer said, this is the way a musician works – he expresses life in a language which reason does not understand.’

Abridged from a note © David Garrett

The Melbourne Symphony Orchestra first performed this work on 25 August 1939 under conductor Sir Malcolm Sargent, and most recently on 27-29 August 2009 with Sir Andrew Davis.

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RICHARD WAGNER (1813-1883)

Die Walküre: Act I

Eva-Maria Westbroek soprano (Sieglinde)

Frank Van Aken tenor (Siegmund)

Daniel Sumegi bass (Hunding)

The Ring cycle grew out of Wagner’s idea for an opera called Siegfrieds Tod (Siegfried’s Death), the text of which he sketched in 1848. Much of this material would end up in Götterdämmerung (The Twilight of the Gods), the last opera in the cycle. Wagner found that he needed to trace the Teutonic legend further and further back, ultimately producing a sequence of four operas which, as he once put it, contain ’the world’s end and its beginning’. These are linked by a web of musical tags or leitmotifs, each of which represents a character, idea or emotion.

An avid polemicist, Wagner devoted his 1852 monograph Opera and Drama to the need to reform the genre along the lines that Gluck had in the 18th century, and execrated those works which elevated the singer, through the medium of the aria, to the primary role. Wagner felt that in ‘music-drama’ the music should be seamless, and able to ‘completely stir, and also to completely satisfy, feeling’; vocal lines should be a kind of heightened speech, so as to render the libretto intelligible. Together with the stage picture, these elements in Wagner’s view fuse to form the ‘total work of art’ where no element draws attention to itself.

In Das Rheingold, the first opera in the tetralogy, we can still hear the outlines

of set-pieces – arias, interludes and so on. By Act I of Die Walküre, however, the ideals of Opera and Drama have been largely met. The cross-referencing effect of the leitmotifs gives the music an intense unity, and the vocal writing responds sensitively to the content of the text – here in a scenario which is almost claustrophobically intimate. Die Walküre was completed in 1856 and first presented in 1870. In 1876 it was seen as part of the first Ring cycle at Wagner’s theatre in Bayreuth.

The story so far:In Das Rheingold, the Nibelung dwarf Alberich steals the gold guarded on the river’s bed by the Rhinemaidens. With it he fashions a magic ring which allows him to enslave his fellow Nibelungs. Meanwhile two giants, Fafner and Fasolt, have completed the building of Valhalla, the castle of Wotan and his fellow gods. The agreed payment for their work is the goddess Freia, but Wotan reneges; with the help of the fire-god Loge he tricks Alberich into giving up his treasure (including the ring) in order to buy off the giants. Alberich curses the ring as it is taken from him, and sure enough the giants fight over it. Fafner kills his brother and retreats with the treasure to the wilderness (where he later assumes the form of a dragon). The Gods enter Valhalla in triumph, despite the pleas of the Rhinemaidens for the return of their gold, and the cynical asides of Loge, who knows that it will all end badly.

Between the end of Das Rheingold and Act I of Die Walküre, Wotan has had a couple of affairs. With the earth goddess, Erda, he has fathered the Valkyries, warrior maidens who gather the souls of fallen heroes and take

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them to Valhalla. The Ring, after all, is at still at large, so Wotan’s power is not absolute and he needs a bodyguard. Disguised as a man, Wälse, he has also fathered twins with a mortal mother, hoping to produce a hero who will save the world from the net of curses and lies which Wotan has allowed to develop. The twins Siegmund and Sieglinde were separated as children, but meet again in Act I of Die Walküre.

Now read on:The opera opens with a fierce orchestral storm, at the height of which Siegmund bursts into a hut built around a huge ash tree in the forest. He is fleeing from enemies and is exhausted, so asks the young woman in the hut for a drink. She is frightened, but gives him a drink, as Wagner’s music spins a passage of extraordinary warmth out of a high cello line. Neither knows the other’s identity, but a powerful attraction develops. Sieglinde, however, is married – against her will – to Hunding, who arrives home to the sound of a grim motif for horns and Wagner tubas. According to the rules of hospitality he must make his guest welcome, despite his evident distrust of this man who calls himself Wehwalt, or ‘son of sorrow’.

Siegmund describes how he, his mother and sister lived in the forest until a day when he came home to find the women gone and their hut destroyed. In the course of the discussion, however, it becomes clear that the enemies from whom Siegmund was fleeing are Hunding’s clan. As Siegmund killed some of them, Hunding gives him the protection of his house for the night, but vows vengeance on the unarmed Siegmund the following morning.

Left alone, Siegmund remembers that his father once promised that he would provide a sword in the time of highest need. Sieglinde, who has drugged her husband, returns and tells Siegmund that on her wedding night a disguised stranger (whom the orchestra identifies for us as Wotan) strode into the hut and plunged into the trunk of the ash tree a sword which no-one has been able to pull out. The C major trumpet arpeggio which represents the sword glows in the orchestra.

Suddenly the hut’s door blows open to reveal a spring landscape bathed in moonlight. Siegmund sings what is almost a conventional aria about the passing of winter’s storms and reveals that he is Siegmund the Wälsung; Sieglinde responds by revealing her identity as his twin sister. He pulls the sword from the tree and calls it ‘Nothung’ (from Not or ‘need’) and the twins rush into the forest to consummate their love for each other and continue the Wälsung blood-line as the curtain falls.

And then:Siegmund must, of course, die for breaking the incest taboo, and Brünnhilde, the Valkyrie of the title will be punished for trying to help him in defiance of her father. But Sieglinde will escape, and give birth to Siegfried, and there will be two more operas before the Rhinemaidens get their gold back.

Gordon Kerry © 2004

The Melbourne Symphony Orchestra was the first Symphony Australia network orchestra to perform Act I of Die Walküre, in August 1981 with conductor Sir Charles Mackerras, as part of a complete concert performance of the opera. The Adelaide Symphony Orchestra performed Act I in May 1988 with Nicholas Braithwaite; this is the third Symphony Australia network performance.

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MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis Chief Conductor

Benjamin Northey Associate Conductor Anthony Pratt#

Tianyi Lu Cybec Assistant Conductor

Hiroyuki Iwaki Conductor Laureate (1974–2006)

FIRST VIOLINS

Dale Barltrop Concertmaster

Sophie Rowell Concertmaster The Ullmer Family Foundation#

Peter Edwards Assistant Principal John McKay and Lois McKay#

Kirsty BremnerSarah Curro Michael Aquilina#

Peter FellinDeborah GoodallLorraine HookAnne-Marie JohnsonKirstin KennyJi Won KimEleanor Mancini Chisholm & Gamon#

Mark Mogilevski Michelle RuffoloKathryn Taylor Michael Aquilina#

Harry Bennetts*Zoe Black*Nicholas Waters*

SECOND VIOLINS

Matthew Tomkins Principal The Gross Foundation#

Robert Macindoe Associate Principal

Monica Curro Assistant Principal Danny Gorog and Lindy Susskind#

Mary AllisonIsin CakmakciogluTiffany ChengFreya FranzenCong GuAndrew HallIsy WassermanPhilippa WestPatrick WongRoger YoungMichael Loftus-Hills*

VIOLAS

Christopher Moore Principal Di Jameson#

Fiona Sargeant Associate Principal

Lauren Brigden Mr Tam Vu and Dr Cherilyn Tillman#

Katharine BrockmanChristopher Cartlidge Michael Aquilina#

Anthony Chataway Dr Elizabeth E Lewis AM#

Gabrielle Halloran Maria Sola#

Trevor Jones Cindy WatkinElizabeth WoolnoughCaleb WrightWilliam Clark*Ceridwen Davies*Nadine Delbridge*

CELLOS

David Berlin Principal MS Newman Family#

Rachael Tobin Associate Principal

Nicholas Bochner Assistant Principal

Miranda Brockman Geelong Friends of the MSO#

Rohan de Korte Andrew Dudgeon#

Keith JohnsonSarah MorseAngela Sargeant Maria Sola#

Michelle Wood Andrew and Theresa Dyer#

Zoe Knighton*

DOUBLE BASSES

Steve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen Newton Sophie Galaise and Clarence Fraser#

Emma Sullivan*

FLUTES

Prudence Davis Principal Anonymous#

Wendy Clarke Associate Principal

Sarah Beggs

PICCOLO

Andrew Macleod Principal

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MSO BOARD

ChairmanMichael Ullmer

Managing DirectorSophie Galaise

Board MembersAndrew DyerDanny GorogMargaret Jackson ACDi JamesonDavid KrasnosteinDavid LiHyon-Ju NewmanGlenn SedgwickHelen Silver AO

Company SecretaryOliver Carton

OBOES

Jeffrey Crellin Principal

Thomas Hutchinson Associate Principal

Ann Blackburn The Rosemary Norman Foundation#

Rachel Curkpatrick*

COR ANGLAIS

Michael Pisani Principal

CLARINETS

David Thomas Principal

Philip Arkinstall Associate Principal

Craig Hill

BASS CLARINET

Jon Craven Principal

BASSOONS

Jack Schiller Principal

Elise Millman Associate Principal

Natasha Thomas

CONTRABASSOON

Brock Imison Principal

HORNS

Malcolm Stewart*† Guest Principal

Saul Lewis Acting Associate Principal

Ian Wildsmith* Guest Principal Third

Abbey Edlin Nereda Hanlon and Michael Hanlon AM#

Trinette McClimont

Rebecca Luton*Alexander Morton*Rachel Shaw*^Philip Wilson*

TRUMPETS

Geoffrey Payne* Guest Principal

Shane Hooton Associate Principal

William EvansRosie Turner John and Diana Frew#

TROMBONES

Brett Kelly Principal

Richard Shirley Tim and Lyn Edward#

Mike Szabo Principal Bass Trombone

Elijah Cornish* Bass Trombone

Jonathon Ramsay*‡ Bass Trumpet

TUBA

Timothy Buzbee Principal

David J. Saltzman*

TIMPANI**

Christine Turpin*

PERCUSSION

Robert Clarke Principal

John Arcaro Tim and Lyn Edward#

Robert Cossom

HARP

Yinuo Mu Principal

Delyth Stafford*

# Position supported by

* Guest Musician

** Timpani Chair position supported by Lady Potter AC CMRI

† Courtesy of Queensland Symphony Orchestra

^ Courtesy of Orchestra Victoria

‡ Courtesy of Tasmanian Symphony Orchestra

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MSO PATRON

The Honourable Linda Dessau AC, Governor of Victoria

CHAIRMAN’S CIRCLE

Marc Besen AC and Eva Besen AO Gandel PhilanthropyThe Gross Foundation Harold Mitchell FoundationDavid and Angela LiHarold Mitchell ACMS Newman Family FoundationLady Potter AC CMRIJoy Selby SmithThe Cybec FoundationThe Pratt FoundationThe Ullmer Family FoundationAnonymous (1)

ARTIST CHAIR BENEFACTORS

Associate Conductor Chair Benjamin Northey Anthony Pratt Orchestral Leadership Joy Selby SmithCybec Assistant Conductor Chair Tianyi Lu The Cybec FoundationAssociate Concertmaster Chair Sophie Rowell The Ullmer Family Foundation2018 Soloist in Residence Chair Anne-Sophie Mutter Marc Besen AC and Eva Besen AOYoung Composer in Residence Ade Vincent The Cybec Foundation

PROGRAM BENEFACTORS

Cybec 21st Century Australian Composers Program The Cybec FoundationEast Meets West Supported by the Li Family TrustMeet The Orchestra Made possible by The Ullmer Family FoundationMSO Audience Access Crown Resorts Foundation, Packer Family FoundationMSO Building Capacity Gandel Philanthropy (Director of Philanthropy)MSO Education Supported by Mrs Margaret Ross AM and Dr Ian RossMSO International Touring Supported by Harold Mitchell ACMSO Regional Touring Creative Victoria, Freemasons Foundation Victoria, The Robert Salzer Foundation, AnonymousThe Pizzicato Effect (Anonymous), Collier Charitable Fund, The Marian and E.H. Flack Trust, Scobie and Claire Mackinnon Trust, Supported by the Hume City Council’s Community Grants ProgramSidney Myer Free Concerts Supported by the Myer Foundation and the University of Melbourne

PLATINUM PATRONS $100,000+

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MAESTRO PATRONS $10,000+

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SUPPORTERS

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Dr Sam Smorgon AO and Mrs Minnie SmorgonDr Norman and Dr Sue SonenbergDr Michael SoonLady Southey ACGeoff and Judy SteinickeJennifer SteinickeDr Peter StricklandPamela SwanssonAnn and Larry TurnerDavid ValentineMary Valentine AOThe Hon. Rosemary VartyLeon and Sandra VelikDavid and Yazni VennerSue Walker AMElaine Walters OAM and Gregory WaltersEdward and Paddy WhiteNic and Ann WillcockMarian and Terry Wills CookeLorraine WoolleyRichard YeAnonymous (21)

THE MAHLER SYNDICATE

David and Kaye BirksMary and Frederick Davidson AMTim and Lyn EdwardJohn and Diana FrewFrancis and Robyn HofmannThe Hon Dr Barry Jones ACDr Paul Nisselle AMMaria Solà The Hon Michael Watt QC and Cecilie Hall

TRUSTS AND FOUNDATIONS

Collier Charitable FundCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationThe Marian and E.H. Flack TrustFreemasons Foundation VictoriaGandel PhilanthropyThe International Music and Arts FoundationThe Scobie and Claire Mackinnon TrustThe Harold Mitchell FoundationThe Sidney Myer MSO Trust FundThe Pratt FoundationThe Robert Salzer FoundationTelematics TrustAnonymous

CONDUCTOR’S CIRCLE

Current Conductor’s Circle MembersJenny AndersonDavid AngelovichG C Bawden and L de KievitLesley BawdenJoyce BownMrs Jenny Brukner and the late Mr John BruknerKen BullenPeter A CaldwellLuci and Ron ChambersBeryl DeanSandra DentLyn EdwardAlan Egan JPGunta Eglite

Mr Derek GranthamMarguerite Garnon-WilliamsDrs Clem Gruen and Rhyl WadeLouis Hamon OAMCarol HayTony HoweLaurence O’Keefe and Christopher JamesAudrey M JenkinsJohn JonesGeorge and Grace KassMrs Sylvia LavellePauline and David LawtonCameron MowatDavid OrrRosia PasteurElizabeth Proust AOPenny RawlinsJoan P RobinsonNeil RoussacAnne Roussac-HoyneSuzette SherazeeMichael Ryan and Wendy MeadAnne Kieni-Serpell and Andrew SerpellJennifer ShepherdProfs. Gabriela and George StephensonPamela SwanssonLillian TarryDr Cherilyn TillmanMr and Mrs R P TrebilcockMichael UllmerIla VanrenenThe Hon. Rosemary VartyMr Tam VuMarian and Terry Wills CookeMark YoungAnonymous (26)

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The MSO gratefully acknowledges the support of the following Estates:Angela BeagleyNeilma GantnerThe Hon Dr Alan Goldberg AO QCGwen HuntAudrey JenkinsJoan JonesPauline Marie JohnstonJoan JonesC P KempPeter Forbes MacLarenJoan Winsome MaslenLorraine Maxine MeldrumProf Andrew McCredieMiss Sheila Scotter AM MBEMarion A I H M SpenceMolly StephensJennifer May TeagueJean TweedieHerta and Fred B VogelDorothy Wood

HONORARY APPOINTMENTS

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The MSO honours the memory ofJohn Brockman OAM Life MemberThe Honourable Alan Goldberg AO QC Life MemberIla Vanrenen Life Member

SUPPORTERS

The MSO relies on your ongoing philanthropic support to sustain our artists, and support access, education, community engagement and more. We invite our suporters to get close to the MSO through a range of special events.

The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $1,000+ (Player)

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Enquiries: P (03) 8646 1551 E philanthropy@mso.com.au

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Tan Dun conductor

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Arts Centre Melbourne, Hamer Hall

The world’s first passion set to the teachings of the Buddha. Journey to the Mogao Caves, a UNESCO World Heritage Centre along the Silk

Road, through this monumental opera in six acts.

Tan Dun conductor SATURDAY 6 OCTOBER | 7.30pm

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