CONCERT PROGRAMCONCERT PROGRAM

HANDEL MESSIAH

9–10 DECEMBER 2017

Melbourne Symphony Orchestra

Rinaldo Alessandrini conductor

Sara Macliver soprano

Joslyn Rechter mezzo-soprano

Ed Lyon tenor

Salvo Vitale bass

Melbourne Symphony Orchestra Chorus

Warren Trevelyan-Jones chorus master

Handel Messiah

mso.com.au (03) 9929 9600

Running time: 2 hours and 40 minutes, including a 20-minute interval after Act I

In consideration of your fellow patrons, the MSO thanks you for dimming the lighting on your mobile phone.

The MSO acknowledge the Traditional Owners of the land on which we are performing. We pay our respects to their Elders, past and present, and the Elders from other communities who may be in attendance.

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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 the MSO since 2013. Engaging more than 2.5 million people each year, and as a truly global orchestra, the MSO collaborates with guest artists and arts organisations from across the world.

The MSO performs a variety of concerts ranging from core classical 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 to audiences of all ages through its Education and Outreach initiatives.

Image courtesy Daniel Aulsebrook

RINALDO ALESSANDRINI CONDUCTOR

In addition to his activities as Founder-Director of Concerto Italiano, Rinaldo Alessandrini is renowned as a recitalist on the harpsichord, fortepiano and organ, and is considered one of the most authoritative interpreters of Monteverdi worldwide. His profound knowledge and love of the Italian repertoire is naturally reflected in programmes in which he seeks to reproduce the essential, but often elusive, expressive and cantabile elements so fundamental to Italian music in the 17th and 18th centuries.

His recordings include not only Italian music, but Bach and his contemporaries as well. He has garnered the highest critical plaudits including five Gramophone Awards, two Grand Prix du Disque, three Deutscher Schallplattenpreis, Prix Caecilia, the Premio Cini and four Midem Awards in Cannes.

He and Concerto Italiano appeared in Melbourne in February 2016 performing Monteverdi’s Vespers.

Rinaldo has performed with Orchestra of the Age of Enlightenment, Orchestra of Lyon Opera House, Melbourne Symphony Orchestra (2010), Washington Symphony Orchestra.

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SARA MACLIVER SOPRANO

Sara Macliver is one of Australia’s most popular and versatile artists, and is regarded as one of the leading exponents of Baroque repertoire.

Sara is a regular performer with all the Australian symphony orchestras as well as the Perth, Melbourne and Sydney Festivals, Pinchgut Opera, the Australian Chamber Orchestra and Australian Brandenburg Orchestra, Musica Viva, and a number of international companies.

In 2016, Sara sang the St John and the St Matthew Passions for WASO and TSO respectively, and with the Adelaide String Quartet, Auckland Philharmonic, Australia Ensemble, Melbourne Chamber Orchestra, Australian Haydn Ensemble, St George’s Cathedral, Sydney Philharmonia Choirs and ANAM. Earlier in 2017 she performed Mozart’s Requiem with the MSO and Richard Egarr.

JOSLYN RECHTER MEZZO-SOPRANO

Australian mezzo-soprano Joslyn Rechter has worked extensively as a stage, concert and recital artist, and has been a soloist with Opera Australia, and the Cologne and Wuppertal Opera companies. Joslyn studied at the Sydney Conservatorium of Music, gaining Bachelor of Music and a Diploma in Operatic art.

Joslyn's concert repertoire has included performances with the Melbourne, Tasmanian and Sydney Symphony Orchestras, the Orchestra of the Welsh National Opera and with many orchestras and chamber ensembles in Germany, including Hagen, Wuppertal and the Cologne Philharmonic. Major awards have included study and performance opportunities with the Royal Northern College of Music in Manchester, and a scholarship awarded by The Wager Society in Cologne to attend performances at the Bayreuth Festival.

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ED LYON TENOR

Ed Lyon is one of Britain's most versatile and sought after young tenors. Having studied History of Art at St John's, Cambridge, he studied at the Royal Academy of Music and the National Opera Studio. As well as performing roles at Royal Opera House, English National Opera, Opera North, Glyndebourne and Welsh National Opera, his international career has included performances in Madrid, Paris (Châtelet and Opéra Comique), as well as at Netherlands Opera, the Brooklyn Academy of Music, Festival d'Aix-en-Provence, Lyon, Bordeaux, La Scala, Theater an der Wien, Lille and Opéra National de Rhin.

His busy concert schedule has similarly taken him to some of the greatest concerts halls in the world including Birmingham Symphony Hall, the Royal Festival Hall, the Royal Albert Hall, Berlin Philharmonie, Alice Tully Hall New York, Palau de la Musica Valencia, Gulbenkian Foundation Lisbon.

SALVO VITALE BASS

Born in Catania, Salvo Vitale began his vocal studies at the Civica Scuola di Musica Claudio Abbado in Milan, where he studied baroque repertoire with Alan Curtis.

He has appeared at the Vienna Konzerthaus, Concertgebouw Amsterdam, Concertgebouw Bruges, Tokyo Opera City Concert Hall, Palau de la Música Catalana in Barcelona, Royal Opera of Versailles, and Teatro Regio Turin.

Recent recordings include Agostino Steffani’s Stabat mater, Monteverdi’s Orfeo and The Return of Ulysses, and Davide Perez’s Mattutino de’ Morti. Recent performances have included Monteverdi’s Orfeo at Belgium’s BOZAR, L'incoronazione di Poppea in Schwetzingen and at Carnegie Hall and Monteverdi’s Lamento della ninfa and Combattimento di Tancredi e Clorinda at the Utrecht Early Music Festival. He has also performed Monteverdi’s Vespers with Concerto Italiano and Rinaldo Alessandrini in Melbourne.

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MELBOURNE SYMPHONY ORCHESTRA CHORUS

For more than 50 years the Melbourne Symphony Orchestra Chorus has been the unstinting voice of the Orchestra’s choral repertoire. In 2017 the Chorus joins forces with the Orchestra on more than 20 different occasions to perform some of the most moving and inspiring repertoire from the canon, as well as once again presenting its own a cappella performances.

The MSO Chorus sings with the finest conductors, including Sir Andrew Davis, Edward Gardner, Mark Wigglesworth, Bernard Labadie, Stephen Layton, Vladimir Ashkenazy, Masaaki Suzuki and Manfred Honeck, and is committed to developing and performing new Australian and international choral repertoire.

WARREN TREVELYAN-JONES CHORUS MASTER

Warren Trevelyan-Jones is Chorus Master of the MSO Chorus and Head of Music at St James’, King Street in Sydney and is regarded as one of the leading choral conductors and choir trainers in Australia. Warren has had an extensive singing career as a soloist and ensemble singer in Europe, including nine years in the Choir of Westminster Abbey, and regular work with the Gabrieli Consort, Collegium Vocale (Ghent), the Taverner Consort, The Kings Consort, Dunedin Consort, The Sixteen and the Tallis Scholars.

Warren has appeared on more than 60 CD recordings, numerous television and radio broadcasts, and in many of the worlds' leading music festivals and concert halls.

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GEORGE FRIDERIC HANDEL (1685–1759)

Messiah: An oratorio, HWV 56Words selected from the Holy Bible by Charles Jennens (1700–1773)

Rinaldo Alessandrini conductorSara Macliver sopranoJoslyn Rechter mezzo-sopranoEd Lyon tenorSalvo Vitale bassMSO Chorus

In the English city of Chester one November morning in 1741, a schoolboy observed a portly gentleman with a pronounced German accent smoking a pipe at the Exchange Coffeehouse. For the 15-year-old Charles Burney, later England’s great music historian, it was his first sighting of George Frideric Handel, at 56 the embattled erstwhile dean of London’s cut-throat opera world, and recently purveyor of a new and peculiarly English type of oratorio. Burney watched Handel ‘narrowly’ throughout his stay in Chester, while he waited until better weather allowed him to embark from Ellesmere Port for Dublin.

Even thus stranded, Handel was probably happy merely to be away from London. Opera, his chief activity for 30 years, had brought him a share of commercial unhappiness recently, as a fickle public, following even more fickle patrons, effectively edged his previously successful company out of the market. By going to Dublin, Handel was denying London the premiere of not one new oratorio, Samson, but two. And in the case of the latter, the

PROGRAM NOTES

English capital would have to live down ever after the indignity of knowing that Dublin, instead, had been vouchsafed the first performance of Handel’s magnum opus, Messiah.

Handel had first turned his hand to oratorio in Rome. His La Resurrezione, to a text in Italian, was a type of sacred music drama originally designed to fill in the gaps caused in public entertainment by the church’s ban on opera performances on certain days of the ecclesiastical calendar. Thus, on Easter Day, 1708, Resurrezione’s brilliantly costumed cast enacted human and heavenly responses to Christ’s miraculous rising-from-the-dead, in a series of declamatory recitatives broken up by arias, often overlaid with brilliant instrumental obbligati. Still following this musical schema, but now adapted to English taste (and the English tongue), Handel’s sacred oratorios had recently reached a peak of perfection in Israel in Egypt (1738), a retelling of the Exodus story that further expanded the form’s musical resources with its sequences of vivid, fugal and anthemic choruses.

With this achievement only recently behind him, Handel arrived in Dublin on 18 November 1741. He discovered no shortage of talented local musicians, and chose the best of them, including the violinist Matthew Dubourg, Master of the State Music, to lead his orchestra. Most of the chorus singers belonged to the choirs of Dublin’s two cathedrals, St Patrick’s and Christ Church, to the disapproval initially of St Patrick’s Dean, the redoubtable Jonathan Swift. Sixteen

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PROGRAM NOTES

years on from Gulliver’s Travels, the erratic septuagenarian inveighed against his choir-men for frequenting Handel’s ‘club of fiddlers’ in Fishamble Street. But even Swift eventually conceded that Handel was ‘A German, and a Genius!’.

Possibly an attraction for the choir-men, and cause of Swift’s earlier disquiet, was Handel’s exotic entourage, centred on his soprano, Signora Avoglio, prima donna at the Messiah premiere. By coincidence, the popular actor Susanna Cibber, sister of composer Thomas Arne, was also in town fleeing London and the scandal of her failed marriage, and created such a favourable impression when she sang first for Handel in March, that he engaged her for Messiah, too.

Of the premiere at the New Music Hall on 13 April 1742, The Dublin Journal commented:

The best Judges allowed it to be the most finished piece of Musick. Words are wanting to express the exquisite Delight it afforded to the admiring crowded Audience. The Sublime, the Grand, and the Tender, adapted to the most elevated, majestick and moving Words, conspired to transport and charm the ravished Heart and Ear.

Handel was, as it transpired, wise to introduce Messiah first in Dublin. Later, in London in 1743, it was ‘indifferently relish’d’, drawing criticism from zealots who objected

to biblical texts being given over to ‘base actors’. Further public animosity arose from the work being based on the person of Christ, rather than, as in Handel’s previous oratorios, on Old Testament personalities like Esther and Saul. In this, Messiah’s librettist, Charles Jennens, may well have drawn inspiration from Handel’s earlier Lutheran Brockes Passion, or La Resurrezione. However his Messiah libretto was far more sweeping in scope, a scriptural survey of the entire Christian salvation history, from prophesies of Christ’s birth wishfully extracted from Jewish scriptures in Part 1 (hence its continuing popularity at Christmastime), through reflections on Christ’s passion and resurrection in Part 2, to the last judgement and second coming in the third and final Part.

Keen to avert the potentially damaging (if today scarcely credible) charges of blasphemy that Messiah could earn him, Handel initially advertised the work in London not under its incendiary title, but blandly as ‘A NEW SACRED ORATORIO’. Still, Londoners remained wary of Messiah until the early 1750s, and the establishment of annual Foundling Hospital performances, to benefit the society for Maintenance and Education of Exposed and Deserted young Children. According to the 18th-century music historian John Hawkins, it was only then that ‘a change of sentiment in the public began to manifest itself; the Messiah was received with universal applause.’

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Handel completed the full score of the work in three weeks in August-September 1741, a less extraordinary feat then than it sounds today, and typical of the speed at which Handel and his contemporaries composed. He was assisted, moreover, by several notable instances of self-borrowing. Handel mined the scores of several blatantly erotic Italian cantatas he’d composed 30 years earlier to produce the triumphal last judgement duet-and-chorus, O Death, where is thy sting, and four more choruses, And he shall purify, All we like sheep, His yoke is easy, and the great For unto us a child is born.

Handel responded to the vicissitudes of performing the work by making countless alterations to it over the years. Even in Dublin, he tampered with the score, cutting the second half of the bass aria Why do the nations, and, to give his seven soloists there (not the now usual four) more to do, recast his solo setting of How beautiful are the feet as a duet and chorus. Handel’s own flexibility not only confirms Jennens’ description of Messiah as a ‘Scripture Collection’, but renders ridiculous any search for a definitive version. Yet modern performances can still provide historically accurate insights into the stages in the work’s evolution, whether based on the original 1741 score, or the particular variants heard in, say, the 1742 Dublin first performance, the 1743 London premiere, or the 1754 Foundling Hospital performance.

Dubourg’s small Dublin orchestra of strings, with trumpets and drums (added only as Messiah approaches its celestial conclusion), plus the chorus and soloists, numbered barely 50. Back in London, however, Handel expanded his forces, first adding oboes and bassoons, later even horns, and swelling strings and chorus considerably. By the end of his life, performances with several hundred participants were becoming the norm.

As to the effect of the Dublin premiere on the work’s first audience of 700, Edward Synge, the upright bishop of Elphin, judiciously summed up:

They Seem’d indeed throughly engag’d frome one End to the other. And, to their Great Honour, tho’ the Young & Gay of both Sexes were present in Great Numbers, their Behaviour was uniformly Grave & Decent, which Show’d that they were not only pleas’d but affected with the Performance. Many, I hope, were instructed by it, and had proper Sentiments inspir’d in a Stronger Manner on their Minds.

Abridged from Graeme Skinner © 2008

Messiah was first performed by the Melbourne Symphony Orchestra in association with the Melbourne Philharmonic Society on 25 December 1940, under the direction of Bernard Heinze. The soloists were Thea Philips, Joan Jones, William Herbert and Stanley Clarkson. The Orchestra’s most recent performance, under Paul Goodwin, was on 10 December 2016 with Emma Matthews, Luciana Mancini, Charles Daniels, Christopher Richardson, and the MSO Chorus.

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Messiah An Oratorio, HW56

The words selected from Holy Scripture by Charles Jennens

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Sinfony

Comfort ye (Isaiah 40:1-3) Accompagnato: TenorEv’ry valley (Isaiah 40:4) Air: TenorComfort ye, comfort ye my people,saith your God;speak ye comfortably to Jerusalem,and cry unto her,that her warfare is accomplish’d,that her iniquity is pardon’d.The voice of him that crieth in the wilderness,prepare ye the way of the Lord,make straight in the desert a highway for our God.

Ev’ry valley shall be exalted,and ev’ry mountain and hill made low,the crooked straight, and the rough places plain.

And the glory of the Lord (Isaiah 40:5) ChorusAnd the glory of the Lord shall be revealed,and all flesh shall see it together;for the mouth of the Lord hath spoken it.

Thus saith the Lord (Haggai 2:6-7; Malachi 3:1) Accompagnato: BassThus saith the Lord, the Lord of Hosts;Yet once a little while,and I will shake the heav’ns and the earth;the sea and the dry land;And I will shake all nations;and the desire of all nations shall come.The Lord, whom you seek, shall suddenly come to His temple,even the Messenger of the Covenant, whom ye delight in:behold, He shall come, saith the Lord of Hosts.

But who may abide (Malachi 3:2) Air: SopranoBut who may abide the day of His coming?

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and who shall stand when He appeareth?For He is like a refiner’s fire.

And He shall purify (Malachi 3:3) ChorusAnd He shall purify the sons of Levi,that they may offer unto the Lord an offering in righteousness.

Behold, a virgin shall conceive (Isaiah 7:14; Matthew 1:23) Recit.: AltoO thou that tellest (Isaiah 40:9 and 60:1) Air: Alto, and ChorusBehold, a virgin shall conceive, and bear a son,and shall call His name Emmanuel,‘God with us’.

O thou that tellest good tidings to Zion,get thee up into the high mountain;O thou that tellest good tidings to Jerusalem,lift up thy voice with strength;lift it up, be not afraid,say unto the cities of Judah,Behold your God.O thou that tellest good tidings to Zion,arise, shine, for thy light is come,and the glory of the Lord is risen upon thee.

For behold, darkness (Isaiah 60:2-3) Accompagnato: BassThe people that walked in darkness (Isaiah 9:2) Air: BassFor behold, darkness shall cover the earth,and gross darkness the people:but the Lord shall arise upon thee,and His glory shall be seen upon thee.And the Gentiles shall come to thy light,and kings to the brightness of thy rising.

The people that walked in darkness have seen a great light;and they that dwell in the land of the shadow of death,upon them hath the light shined.

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For unto us a child is born (Isaiah 9:6) ChorusFor unto us a child is born,unto us a son is given;and the government shall be upon His shoulder;and His name shall be called Wonderful, Counsellor,The Mighty God,The Everlasting Father,The Prince of Peace.

Pifa (Pastoral Symphony)

There were shepherds abiding in the field (Luke 2:8) Recit.: SopranoAnd lo, the angel of the Lord (Luke 2:9) Accompagnato: SopranoAnd suddenly, there was with the angel (Luke 2:13) Accompagnato: SopranoGlory to God (Luke 2:14) ChorusAnd there were shepherds abiding in the field,keeping watch over their flock by night.

And lo, the angel of the Lord came upon them,and the glory of the Lord shone round about them,and they were sore afraid.

And suddenly there was with the angela multitude of the heav’nly host,praising God, and saying …

‘Glory to God in the highest,and peace on earth,goodwill towards men.’

Rejoice greatly (Zechariah 9:9-10) Air: SopranoRejoice greatly, O daughter of Zion,shout, O daughter of Jerusalem;behold thy King cometh unto thee.He is the righteous Saviour;And He shall speak peace unto the heathen.

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Then shall the eyes of the blind (Isaiah 35:5-6) Recit.: Alto He shall feed his flock (Isaiah 40:11; Matthew 11:28-29) Duet: Alto and Soprano Then shall the eyes of the blind be open’d,And the ears of the deaf unstopped;then shall the lame man leap as a hart,and the tongue of the dumb shall sing.

He shall feed His flock like a shepherd:and He shall gather the lambs with His arm,and carry them in His bosom,and gently lead those that are with young.Come unto Him all ye that labour, come unto Him, that are heavy laden, and He will give you rest.Take His yoke upon you, and learn of Him;for He is meek and lowly of heart:and ye shall find rest unto your souls.

His yoke is easy (Matthew 11:30) ChorusHis yoke is easy, His burthen is light.

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Interval 20 minutes

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Part the SecondThe death, resurrection and ascension of Christ; the spreading of the Gospel.

Behold the Lamb of God (John 1:29) ChorusBehold the Lamb of God,that taketh away the sin of the world.

He was despised (Isaiah 53:3 a:6) Air: Alto He was despised and rejected of men,a man of sorrows, and acquainted with grief.He gave His back to the smiters,and His cheeks to them that plucked off the hair:He hid not His face from shame and spitting.

Surely He hath borne our griefs (Isaiah 53:4-5) ChorusAnd with His stripes we are healed (Isaiah 53:5) ChorusAll we, like sheep (Isaiah 53:6) ChorusSurely He hath borne our griefsand carried our sorrows:He was wounded for our transgressions,He was bruised for our iniquities;the chastisement of our peace was upon Him.

And with His stripes we are healed.

All we, like sheep, have gone astray,we have turned ev’ry one to his own way;and the Lord hath laid on Himthe iniquity of us all.

All they that see Him (Psalm 22:7 – Book of Common Prayer) Accompagnato: TenorHe trusted in God (Psalm 22:8 – BCP) ChorusAll they that see Him laugh Him to scorn;they shoot out their lips,and shake their heads, saying:

He trusted in God that He would deliver him:let Him deliver Him, if He delight in Him.

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Thy rebuke hath broken His heart (Psalm 69:20 – BCP) Accompagnato: Tenor Behold and see (Lamentations 1:12) Air: Tenor Thy rebuke hath broken His heart;He is full of heaviness.He looked for some to have pity on Him,but there was no man,neither found He any to comfort Him.

Behold, and see, if there be any sorrowlike unto His sorrow!

Let all the angels of God (Hebrews 1:6) ChorusLet all the angels of God worship Him.

Thou art gone up on high (Psalm 68:18) Air: AltoThou art gone up on high;Thou hast led captivity captive,and received gifts for men,yea, even for Thine enemies,that the Lord God might dwell among them.

The Lord gave the word (Psalm 68:11 – BCP) ChorusThe Lord gave the word:great was the company of the preachers.

How beautiful are the feet (Isaiah 52:7) Air: SopranoHow beautiful are the feet of themthat preach the gospel of peace,and bring glad tidings of good things.

Their sound is gone out (Romans 10:18) ChorusTheir sound is gone out into all lands,and their words unto the ends of the world.

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Why do the nations (Psalm 2:1-2 – BCP) Air: BassLet us break their bonds (Psalm 2:3) Chorus He that dwelleth in heaven (Psalm 2:4 – BCP) Recit.: TenorThou shalt break them (Psalm 2:9) Air: TenorWhy do the nations so furiously rage together:why do the people imagine a vain thing?The kings of the earth rise up,and the rulers take counsel togetheragainst the Lord and against His anointed.

Let us break their bonds asunder,and cast away their yokes from us.

He that dwelleth in heaven shall laugh them to scorn;the Lord shall have them in derision.

Thou shalt break them with a rod of iron;Thou shalt dash them in pieces like a potter’s vessel.

Hallelujah (Revelation 19:6; 11:15; 19:16) ChorusHallelujah,for the Lord God Omnipotent reigneth,Hallelujah!The Kingdom of this worldis become the Kingdom of our Lordand of his Christ;and he shall reign forever and ever,King of Kings,and Lord of Lords,Hallelujah!

There will be a short pause between Parts II and III, during which patrons are asked to remain in the auditorium.

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Part the ThirdVictory over Death.

I know that my Redeemer liveth (Job 19:25-26; 1 Corinthians 15:20) Air: SopranoI know that my Redeemer liveth,and that He shall stand at the latter dayupon the earth.And tho’ worms destroy this body,yet in my flesh shall I see God.For now is Christ risen from the dead,the first fruits of them that sleep.

Since by man came death (1 Corinthians 15:21-22) ChorusSince by man came death,by man came also the resurrection of the dead.For as in Adam all die,even so in Christ shall all be made alive.

Behold, I tell you a mystery (1 Corinthians 15:51-52) Accompagnato: BassThe trumpet shall sound (1 Corinthians 15:52) Air: Bass Behold, I tell you a mystery:We shall not all sleep,but we shall all be chang’d,in a moment,in the twinkling of an eye,at the last trumpet.

The trumpet shall sound,and the dead shall be rais’d incorruptible,and we shall be chang’d.

Then shall be brought to pass (1 Corinthians 15:54) Recit.: AltoO Death, where is thy sting? (1 Corinthians 15:55-56) Duet: Alto and TenorBut thanks be to God (1 Corinthians 15:57) ChorusThen shall be brought to pass the saying that is written;Death is swallow’d up in victory.

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O death, where is thy sting?O grave, where is thy victory? The sting of death is sin,and the strength of sin is the law.

But thanks be to God,who giveth us the victorythrough our Lord Jesus Christ.

If God be for us (Romans 18:31, 33-34) Air: Soprano If God be for us,who can be against us? Who shall lay anything to the charge of God’s elect?It is God that justifieth: Who is he that condemneth?It is Christ that died, yea, rather that is risen again;who is at the right hand of God,who makes intercession for us.

Worthy is the Lamb (Revelation 5:12-13) ChorusAmenWorthy is the Lamb that was slain,and hath redeemed us to God by His blood,to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing.Blessing and honour, glory and power be unto Himthat sitteth upon the throne,and unto the Lamb,for ever and ever.

Amen.

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MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis Chief Conductor

Benjamin Northey Associate Conductor

Tianyi Lu Cybec Assistant Conductor

Hiroyuki Iwaki Conductor Laureate (1974-2006)

FIRST VIOLINS

Dale Barltrop Concertmaster

Eoin Andersen Concertmaster

Sophie Rowell Associate ConcertmasterThe Ullmer Family Foundation#

John Marcus Principal

Peter Edwards Assistant Principal

Kirsty BremnerSarah Curro Michael Aquilina#

Peter FellinDeborah GoodallLorraine HookKirstin KennyJi Won KimEleanor ManciniDavid and Helen Moses#

Mark Mogilevski Michelle RuffoloKathryn TaylorMichael Aquilina#

Tiffany Cheng*Anne Martonyi*Oksana Thompson*

SECOND VIOLINS

Matthew Tomkins Principal The Gross Foundation#

Robert Macindoe Associate Principal

Monica Curro Assistant PrincipalDanny Gorog and Lindy Susskind#

Mary AllisonIsin CakmakciogluFreya Franzen Anonymous#

Cong GuAndrew HallAndrew and Judy Rogers# Isy WassermanPhilippa WestPatrick WongRoger YoungIngrid Homburg*Anne-Marie Johnson*Jenny Khafagi*

VIOLAS

Christopher Moore PrincipalDi Jameson#

Fiona Sargeant Associate Principal

Lauren BrigdenTam Vu, Peter and Lyndsey Hawkins#

Katharine BrockmanChristopher CartlidgeMichael Aquilina#

Anthony ChatawayGabrielle HalloranTrevor Jones Cindy WatkinElizabeth WoolnoughCaleb Wright

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 SargeantMichelle WoodAndrew and Theresa Dyer#

DOUBLE BASSES

Steve Reeves Principal

Andrew Moon Associate Principal

Sylvia Hosking Assistant Principal

Damien EckersleyBenjamin HanlonSuzanne LeeStephen Newton Sophie Galaise and Clarence Fraser#

Esther Toh*

FLUTES

Prudence Davis Principal Anonymous#

Wendy Clarke Associate Principal

Sarah Beggs

PICCOLO

Andrew Macleod Principal

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MSO BOARD

Chairman

Michael Ullmer

Managing Director

Sophie Galaise

Board Members

Andrew DyerDanny GorogMargaret Jackson ACDavid KrasnosteinDavid LiHyon-Ju NewmanHelen Silver AO

Company Secretary

Oliver Carton

OBOES

Jeffrey Crellin Principal

Thomas Hutchinson Associate Principal

Ann BlackburnThe Rosemary Norman Foundation#

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

Saul Lewis Principal Third

Abbey Edlin Nereda Hanlon & Michael Hanlon AM#

Trinette McClimont

TRUMPETS

Geoffrey Payne Principal

Shane Hooton Associate Principal

William EvansRosie Turner

TROMBONES

Brett Kelly Principal

Richard Shirley

BASS TROMBONE

Mike Szabo Principal

TUBA

Timothy Buzbee Principal

TIMPANI##

Christine Turpin*

PERCUSSION

Robert Clarke Principal

John ArcaroTim and Lyn Edward#

Robert Cossom

HARP

Yinuo Mu Principal

ORGAN

Calvin Bowman*

HARPSICHORD

Donald Nicolson*

# Position supported by

## Timpani Chair position supported by Lady Potter AC

* Guest Musician

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MELBOURNE SYMPHONY ORCHESTRA CHORUS

CHORUS MASTER

Warren Trevelyan-Jones

REPETITEUR

Tom Griffiths

SOPRANO

Eva ButcherVeryan CroggonRita FitzgeraldCatherine FolleySusan FoneCamilla GormanJillian GrahamKarling HamillJuliana HassettPenny HuggettTania JacobsGwen KennellyLynne MuirCaitlin NobleKarin OttoTanja RedlJo RobinLynda SmerdonElizabeth TindallTara Zamin

ALTO

Aleksandra AckerSatu AhoCatherine BickellJane BrodieJill GieseRos HarbisonSue HawleyKristine HenselHelen MacLeanChristina McCowanRosemary McKelvieAlison RalphMair RobertsHelen RommelaarAnnie RunnallsLisa SavigeHelen StaindlLibby Timcke

TENOR

Tony BarnettSteve BurnettGeoffrey CollinsJames DipnallSimon GaitesLyndon HorsburghJessop Maticevski ShumackDominic McKennaMichael MobachJean-Francois RavatDaniel RileyTim Wright

BASS

Richard BolithoPaul Alexander ChantlerRoger DargavillePhil ElphinstoneAndrew HamAndrew HibbardJordan JanssenEdward OunapuuLiam StraughanMatthew ToulminTom TurnbullMaurice WanMaciek Zielinski

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mso.com.au

Program includes Carl Vine’s Microsymphony, Beethoven’s Emperor Concerto, plus arias and orchestral excerpts from Fidelio,

Götterdämmerung, Die Walküre and Otello.

SATURDAY 3 MARCH 2018 | 7.30pmArts Centre Melbourne, Hamer Hall

Pre-concert talk at 6.15pm

Season Opening Gala

Sir Andrew Davis conductorNelson Freire pianoStuart Skelton tenor

Nelson Freire Piano

MSO13688 OpeningGala2018_ProgramAd.indd 1 26/10/2017 12:11 pm

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SUPPORTERS

MSO PATRONThe Honourable Linda Dessau AC, Governor of Victoria

ARTIST CHAIR BENEFACTORSAnthony Pratt Associate Conductor Chair

Joy Selby Smith Orchestral Leadership Chair

The Cybec Foundation Cybec Assistant Conductor Chair

The Ullmer Family Foundation Associate Concertmaster Chair

Anonymous Principal Flute Chair

The Gross Foundation Principal Second Violin Chair

Di Jameson Principal Viola Chair

MS Newman Family Foundation Principal Cello Chair

Marc Besen AC and Eva Besen AO 2018 Soloist in Residence Chair

PROGRAM BENEFACTORS

Cybec 21st Century Australian Composers Program The Cybec Foundation

Cybec Young Composer in Residence made possible by The Cybec Foundation

East Meets West supported by the Li Family Trust

Meet The Orchestra made possible by The Ullmer Family Foundation

MSO Audience Access Crown Resorts Foundation Packer Family Foundation

MSO Education supported by Mrs Margaret Ross AM and Dr Ian Ross

MSO International Touring supported by Harold Mitchell AC

MSO Regional Touring Creative Victoria The Robert Salzer Foundation

The Pizzicato Effect Collier Charitable Fund The Marian and E.H. Flack Trust Schapper Family Foundation Scobie and Claire Mackinnon Trust Supported by the Hume City Council’s Community Grants Program (Anonymous)

Sidney Myer Free Concerts Supported by the Myer Foundation and the University of Melbourne

CHAIRMAN’S CIRCLE $100,000+Marc Besen AC and Eva Besen AOJohn Gandel AC and Pauline Gandel The Gross Foundation ◊

David and Angela LiMS Newman Family Foundation ◊

Anthony Pratt ◊

The Pratt FoundationJoy Selby SmithUllmer Family Foundation ◊

Anonymous (1)

VIRTUOSO PATRONS $50,000+Di Jameson ◊

David Krasnostein and Pat StragalinosMr Ren Xiao Jian and Mrs Li QuianHarold Mitchell ACKim Williams AM

IMPRESARIO PATRONS $20,000+Michael Aquilina ◊ ◊ ◊

The John and Jennifer Brukner FoundationPerri Cutten and Jo DaniellMary and Frederick Davidson AMRachel and the late Hon. Alan Goldberg AO QCHilary Hall, in memory of Wilma CollieMargaret Jackson ACAndrew JohnstonMimie MacLarenJohn and Lois McKay

MAESTRO PATRONS $10,000+Kaye and David BirksMitchell ChipmanSir Andrew and Lady DavisDanny Gorog and Lindy Susskind ◊

Robert & Jan GreenNereda Hanlon and Michael Hanlon AM ◊

Suzanne KirkhamThe Cuming BequestIan and Jeannie PatersonLady Potter AC CMRI ◊

Elizabeth Proust AORae RothfieldGlenn SedgwickHelen Silver AO and Harrison YoungMaria SolàProfs. G & G Stephenson, in honour of the great Romanian musicians George Enescu and Dinu LipattiGai and David TaylorJuliet TootellAlice VaughanKee Wong and Wai TangJason Yeap OAMAnonymous (1)

PRINCIPAL PATRONS $5,000+Christine and Mark ArmourJohn and Mary BarlowStephen and Caroline BrainProf Ian BrighthopeDavid and Emma CapponiWendy DimmickAndrew Dudgeon AM ◊

Andrew and Theresa Dyer ◊

Tim and Lyn Edward ◊ Mr Bill FlemingJohn and Diana FrewSusan Fry and Don Fry AOSophie Galaise and Clarence Fraser ◊

Geelong Friends of the MSO ◊

Jennifer GorogHMA FoundationLouis Hamon OAMHans and Petra HenkellHartmut and Ruth HofmannJack HoganDoug HooleyJenny and Peter HordernDr Alastair JacksonD & CS Kipen on behalf of Israel KipenDr Elizabeth A Lewis AMPeter LovellLesley McMullin FoundationMr Douglas and Mrs Rosemary MeagherDavid and Helen Moses ◊Dr Paul Nisselle AMThe Rosemary Norman Foundation ◊

Ken Ong, in memory of Lin OngBruce Parncutt AOJim and Fran PfeifferPzena Investment Charitable FundAndrew and Judy Rogers ◊

Max and Jill Schultz

25

Stephen ShanasyMr Tam Vu and Dr Cherilyn Tillman ◊

The Hon. Michael Watt QC and Cecilie HallLyn Williams AMAnonymous (2)

ASSOCIATE PATRONS $2,500+Dandolo PartnersWill and Dorothy Bailey BequestBarbara Bell, in memory of Elsa BellBill BownessLynne Burgess Oliver CartonJohn and Lyn CoppockMiss Ann Darby, in memory of Leslie J. DarbyNatasha Davies, for the Trikojus Education FundMerrowyn DeaconBeryl DeanSandra DentPeter and Leila DoyleLisa Dwyer and Dr Ian DicksonJane Edmanson OAMDr Helen M FergusonMr Peter Gallagher and Dr Karen Morley Dina and Ron GoldschlagerLouise Gourlay OAMPeter and Lyndsey Hawkins ◊

Susan and Gary HearstColin Heggen, in memory of Marjorie Drysdale HeggenRosemary and James JacobyJenkins Family FoundationC W Johnston FamilyJohn JonesGeorge and Grace KassIrene Kearsey and M J RidleyThe Ilma Kelson Music FoundationKloeden FoundationBryan LawrenceAnn and George Littlewood

John and Margaret MasonH E McKenzieAllan and Evelyn McLarenDon and Anne MeadowsMarie Morton FRSAAnnabel and Rupert Myer AOAnn Peacock with Andrew and Woody KrogerSue and Barry PeakeMrs W PeartGraham and Christine PeirsonRuth and Ralph RenardS M Richards AM and M R RichardsTom and Elizabeth RomanowskiJeffrey Sher QC and Diana Sher OAMDiana and Brian Snape AMDr Norman and Dr Sue SonenbergGeoff and Judy SteinickeWilliam and Jenny UllmerElisabeth WagnerBrian and Helena WorsfoldPeter and Susan YatesAnonymous (7)

PLAYER PATRONS $1,000+David and Cindy AbbeyChrista AbdallahDr Sally AdamsMary ArmourArnold Bloch LeiblerPhilip Bacon AMMarlyn and Peter Bancroft OAMAdrienne BasserProf Weston Bate and Janice BateJanet BellDavid BlackwellAnne BowdenMichael F BoytThe Late Mr John Brockman OAM and Mrs Pat Brockman

Dr John BrookesSuzie and Harvey BrownRoger and Col BuckleJill and Christopher BuckleyBill and Sandra BurdettLynne BurgessPeter CaldwellJoe CordoneAndrew and Pamela CrockettDominic and Natalie DirupoMarie DowlingJohn and Anne DuncanRuth EgglestonKay EhrenbergJaan EndenValerie Falconer and the Rayner Family in memory of Keith FalconerAmy and Simon FeiglinGrant Fisher and Helen BirdBarry Fradkin OAM and Dr Pam FradkinApplebay Pty LtdDavid Frenkiel and Esther Frenkiel OAMDavid Gibbs and Susie O'NeillMerwyn and Greta GoldblattColin Golvan QC and Dr Deborah GolvanGeorge Golvan QC and Naomi GolvanDr Marged GoodeMax GulbinDr Sandra Hacker AO and Mr Ian Kennedy AMJean HadgesMichael and Susie HamsonPaula Hansky OAMMerv Keehn and Sue HarlowTilda and Brian HaughneyPenelope HughesBasil and Rita JenkinsStuart JenningsDorothy Karpin Brett Kelly and Cindy WatkinDr Anne KennedyJulie and Simon Kessel

Kerry LandmanWilliam and Magdalena LeadstonAndrew LeeNorman Lewis, in memory of Dr Phyllis LewisDr Anne LierseAndrew LockwoodViolet and Jeff LoewensteinElizabeth H LoftusChris and Anna LongThe Hon. Ian Macphee AO and Mrs Julie MacpheeVivienne Hadj and Rosemary MaddenEleanor and Phillip ManciniDr Julianne BaylissIn memory of Leigh MaselRuth MaxwellJenny McGregor AM and Peter AllenGlenda McNaughtWayne and Penny MorganIan Morrey and Geoffrey MinterJB Hi-Fi LtdPatricia NilssonLaurence O'Keefe and Christopher JamesAlan and Dorothy PattisonMargaret PlantKerryn PratchettPeter PriestTreena QuarinEli RaskinRaspin Family Trust Bobbie RenardPeter and Carolyn RenditDr Rosemary Ayton and Dr Sam RicketsonJoan P RobinsonCathy and Peter RogersDoug and Elisabeth ScottMartin and Susan ShirleyDr Sam Smorgon AO and Mrs Minnie SmorgonJohn SoDr Michael SoonLady Southey ACJennifer SteinickeDr Peter Strickland

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PRINCIPAL PARTNER

GOVERNMENT PARTNERS

PREMIER PARTNERS VENUE PARTNER

MAJOR PARTNERS EDUCATION PARTNERS

SUPPORTING PARTNERS

� e CEO InstituteQuest Southbank Bows for StringsErnst & Young

TRUSTS AND FOUNDATIONS

MEDIA AND BROADCAST PARTNERS

The Scobie and Claire Mackinnon Trust

� e Gross Foundation, Li Family Trust, MS Newman Family Foundation, � e Ullmer Family Foundation

SUPPORTERS

Pamela SwanssonJenny TatchellFrank Tisher OAM and Dr Miriam TisherP and E TurnerThe Hon. Rosemary VartyLeon and Sandra VelikSue Walker AMElaine Walters OAM and Gregory WaltersEdward and Paddy WhiteNic and Ann WillcockMarian and Terry Wills CookeLorraine WoolleyRichard YePanch Das and Laurel Young-DasAnonymous (22)

THE MAHLER SYNDICATEDavid 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 FOUNDATIONSKen and Asle Chilton Trust, managed by PerpetualCollier Charitable FundCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationThe Marian and E.H. Flack TrustGandel PhilanthropyLinnell/Hughes Trust, managed by PerpetualThe Scobie and Claire Mackinnon TrustThe Harold Mitchell FoundationThe Myer Foundation

The Pratt FoundationThe Robert Salzer FoundationAlan (AGL) Shaw Endowment, managed by PerpetualTelematics Trust

CONDUCTOR’S CIRCLEJenny 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 EgliteMr Derek GranthamMarguerite Garnon-WilliamsLouis Hamon OAMCarol HayTony HoweLaurence O'Keefe and Christopher JamesAudrey M JenkinsJohn JonesGeorge and Grace KassMrs Sylvia LavellePauline and David LawtonCameron MowatRosia PasteurElizabeth Proust AOPenny RawlinsJoan P RobinsonNeil RoussacAnne Roussac-Hoyne Suzette SherazeeMichael Ryan and Wendy MeadAnn and Andrew SerpellJennifer ShepherdProfs. Gabriela and George StephensonPamela SwanssonLillian TarryDr Cherilyn Tillman

Mr and Mrs R P TrebilcockMichael UllmerIla VanrenenThe Hon. Rosemary VartyMr Tam VuMarian and Terry Wills CookeMark YoungAnonymous (23)

The MSO gratefully acknowledges the support received from the estates of

Angela BeagleyNeilma GantnerGwen HuntAudrey JenkinsJoan JonesPauline Marie JohnstonC P KempPeter Forbes MacLarenJoan Winsome MaslenLorraine Maxine MeldrumProf Andrew McCredieMiss Sheila Scotter AM MBEMarion A I H M SpenceMolly StephensJean TweedieHerta and Fred B VogelDorothy Wood

HONORARY APPOINTMENTSSir Elton John CBELife Member

The Hon. Alan Goldberg AO QC*Life Member

Geoffrey Rush ACAmbassador

John Brockman OAM*Life Member

Ila Vanrenen*Life Member

*Deceased

◊ Signifies Adopt an MSO Musician supporter

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)

$2,500+ (Associate)

$5,000+ (Principal)

$10,000+ (Maestro)

$20,000+ (Impresario)

$50,000+ (Virtuoso)

$100,000+ (Chairman’s Circle)

The MSO Conductor’s Circle is our bequest program for members who have notified of a planned gift in their Will.

ENQUIRIES Phone (03) 8646 1551

Email philanthropy@ mso.com.au

27

PRINCIPAL PARTNER

GOVERNMENT PARTNERS

PREMIER PARTNERS VENUE PARTNER

MAJOR PARTNERS EDUCATION PARTNERS

SUPPORTING PARTNERS

� e CEO InstituteQuest Southbank Bows for StringsErnst & Young

TRUSTS AND FOUNDATIONS

MEDIA AND BROADCAST PARTNERS

The Scobie and Claire Mackinnon Trust

� e Gross Foundation, Li Family Trust, MS Newman Family Foundation, � e Ullmer Family Foundation

SUPPORTERS

*For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent.

EMIRATES FIRST AND BUSINESS

Start your journey on a high note in one of our 41 luxury lounges worldwide. Indulge in gourmet dining, paired with premium wines or spirits and take some time to unwind before you fly.

PERFECT PRELUDEEnjoy the

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