PROGRAM May 1

2MORNING MASTERWORKS & MAESTRO

QSO, ALONDRA & SERGIO

Pre-concert talk on Saturday 23 May at 6.30pm with Dr Simon Perry

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Please take one program between two and keep your program for the month.

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CONTENTSMAY

PROGRAM May 32 PROGRAM May

Tchaikovsky Piano Concerto No.1 Rimsky-Korsakov Scheherazade

Stravinsky The Rite of Spring*

It had been to Anton Rubinstein’s younger brother, Nikolai that Tchaikovsky had turned within days of the score’s completion, seeking advice about piano composition that only a professional could offer. Instead, and quite notoriously, he savaged the concerto, devastating its composer with comments suggesting that, in all, only a few pages could be salvaged and that the remainder should be discarded. There has been speculation ever since over the reason for Rubinstein’s reaction – ranging from jealousy to a tempestuous personality – but the defiant young Tchaikovsky remained true to his word, publishing the work exactly as it stood. Rubinstein was soon to recant his position, however: as well as conducting the first Moscow performance with Taneyev, he performed it often as soloist in the years before his early death.

In hindsight, it may have been over the demanding solo part that he had voiced concerns, or about sections where piano textures might be lost beneath the orchestration. Similarly, it could have been about structural matters that are still difficult to explain today, chief of which is the famous melody that begins the concerto but which, inexplicably, never returns. In this opening passage, Tchaikovsky eventually relented to advice, replacing lightweight arpeggios that had previously accompanied the soaring melody with the now-famous double-octave chords. In terms of structure, it is the brisk, dotted theme that quietly follows which is the real first subject in this sonata-form movement. And here, as if to indicate to the world the ethnic authenticity of his music, Tchaikovsky follows in the style of the newly formed nationalist group of composers (the so-called ‘Mighty Handful’) by using a Ukrainian folksong, Oy, kryatshe, kryatshe.

Peter Ilyich Tchaikovsky (1840-1893)

Piano Concerto No.1 in B flat minor, Op.23

Allegro non troppo e molto maestoso – Allegro con spirito

Andantino semplice – Prestissimo – Andantino semplice

Allegro con fuoco

If it was fortuitous that Tchaikovsky succeeded at his first attempt, writing perhaps the ‘greatest piano concerto of all time’, then it is remarkable that he simultaneously created a new Russian genre. The striking mix of lyricism and virtuosity in his First Piano Concerto, written over six weeks in 1874, would later be emulated by many Russian composers.

The dedicatee of the concerto, Hans von Bülow, performed the premiere in Boston, Massachusetts in 1875 to positive reviews, yet one wonders if the small band, consisting of only four first violins, were a match for the music’s potential. (A critic noted that, after a missed entry of the trombones in the first movement, von Bülow cried out ‘the brass may go to hell!’) Rather, it is likely that the potential of the new concerto was first realised in a performance in Moscow by Sergei Taneyev later that year, following an apparently mediocre performance given by Gustav Kross in St Petersburg.

PROGRAM NOTES

Alondra de la Parra Conductor

SAT 23 MAY7.30PM

FRI 22 MAY11AM

QPAC Concert Hall

MAESTRO SERIES

MORNING MASTERWORKS

ALONDRA & SERGIO

QSO,

Free pre-concert talk with Dr Simon Perry at 6.30pm

*Performed only on Saturday 23 May (Maestro Concert)

PROGRAM May 54 PROGRAM May

PROGRAM NOTES PROGRAM NOTES

The simple theme that opens the second movement typifies Tchaikovsky’s innate gift for melody, the solo flute conjuring folk-like affinities. A central section briefly quotes a café waltz, Il faut s’amuser, danser et rire, well-known to the composer’s circle of friends. And it is to another Ukrainian folksong, Vïdy, vïdy, Ivan’ku that Tchaikovsky turns for the principal theme of the finale, its dance-like cross-rhythms again evoking national character. The broadly lyrical melody that contrasts with this material twice succeeds in holding back the momentum, before the concerto arrives at a seemingly inevitable conclusion: a forceful octave cadenza traverses the entire keyboard, and moves headlong into an apotheosised statement of the movement’s main lyrical theme. With the pianist indefatigably leading the entire orchestra with fortissimo treble chords, it is a famous and satisfying ending. (And for more than a few composers who followed, one that proved irresistible to copy!)

Scott Davie © 2011/2013

The Queensland Symphony Orchestra first performed Tchaikovsky’s Piano Concerto No.1 on 3 September 1947 with conductor John Farnsworth Hall and soloist Allen McCristal.

Nikolai Rimsky-Korsakov (1844-1908)

Scheherazade – Symphonic Suite, Op.35

The Sea and Sinbad’s Ship

The Story of the Kalender Prince

The Young Prince and the Young Princess

Festival at Baghdad – The Sea – The Ship Goes to Pieces on a Rock Surmounted by a Bronze Warrior – Conclusion

The Sultan Shahriyar, convinced of the duplicity and infidelity of all women, had vowed to slay each of his wives after the first night. The Sultana Scheherazade, however, saved her life by the expedient of recounting to the Sultan a succession of tales over a period of a thousand and one nights. Overcome by curiosity, the Sultan postponed from day to day the execution of his wife, and ended by renouncing altogether his sanguinary resolution.

Rimsky-Korsakov’s preface to the score of Scheherazade sets the scene for his symphonic suite inspired by tales from The Thousand and One Nights. The titles notwithstanding, Rimsky-Korsakov didn’t intend for the movements to be taken as a literal, programmatic reading of the stories, describing the work as ‘a kaleidoscope of fairy tale images and designs of Oriental character’. The orchestration guarantees the luminosity of this work: Scheherazade’s way of weaving a story is expressed by a solo violin, whose arabesques preface the first,

second and fourth movements and appear toward the end of the third, and you can hear the severe sultan in the trombone-heavy introduction of the principal theme.

After the stern opening cedes to the sweetness of Scheherazade’s tale-spinning violin, the first movement depicts The Sea and Sinbad’s Ship. Through repetitions of the simplest material, Rimsky-Korsakov uncannily depicts the billowing and undulating of the ocean. Perhaps here we can glimpse the composer who began adult life as a naval midshipman (and who took Berlioz’s treatise on orchestration aboard ship). In The Story of the Kalender Prince a fakir tells Sinbad how he was buffeted between veiled women and a monstrous genie. Rimsky-Korsakov’s ternary form – a peaceful opening with more tempestuous middle section – is largely based on the same theme, subjected to the form of variation traditional in Russian music since the time of Glinka: graphic changes in orchestral colouring. The Young Prince and the Young Princess provides the inspiration for Rimsky’s slow movement. The final movement conveys the teeming activity of an Oriental festival before segueing into a reprise of the opening movement’s depiction of the sea, this time with crashing cymbals as the ‘ship goes to pieces on a rock surmounted by a bronze warrior’. Finally, Scheherazade has the last word.

Adapted from a note by Gordon Kalton Williams © 2014

Rimsky-Korsakov himself conducted the first performance of Scheherazade, in November 1888 in Saint Petersburg. The Ballets Russes staged an adaptation in Paris in 1910. The Queensland Symphony Orchestra gave its first full performance of the work on 24 July 1948 at a Youth Concert conducted by John Farnsworth Hall.

Igor Stravinsky (1882-1971)

Le Sacre du printemps (The Rite of Spring)

PART 1 L’Adoration de la terre (Adoration of the Earth)IntroductionLes augures printaniers – Danses des adolescentes (The Augurs of Spring – Dances of the Young Girls)Jeu du rapt (Ritual of Abduction)Rondes printanières (Spring Rounds)Jeux des cités rivales (Ritual of the Rival Tribes)Cortège du sage (Procession of the Sage)Le sage (The Sage)Danse de la terre (Dance of the Earth)

PART 2 Le SacrificeIntroductionCercles mystérieux des adolescentes (Mystic Circles of the Young Girls)Glorification de l’élue (Glorification of the Chosen One)Evocation des ancêtres (Evocation of the Ancestors)Action rituelle des ancêtres (Ritual Action of the Ancestors)Danse sacrale – L’élue (Sacrificial dance – The Chosen One)

6 PROGRAM May

PLUS DEMIDENKO WITH QSOFRI 19 JUN 11AM

SAT 20 JUN 7.30PM QPAC Concert Hall

Conductor Edvard Tchivzhel Piano Nikolai Demidenko

Organ Christopher Wrench

THE ORGAN SYMPHONY by Saint-Saëns

he was pulling their leg. Admirers accepted Nijinsky’s choreography as Spring seen from inside, biological ballet, with surges, spasms and fissions.

It was clever of Diaghilev to capitalise on fashionable Paris’ fascination with the Russian and the primitive. Stravinsky later emphasised The Rite’s newness and musical necessity, and played down its Russianness. But this work, the fountainhead of international modernism, with which Stravinsky left Russia for good, was Russian in every way. The opening bassoon solo, said Stravinsky, ‘is the only folk melody in The Rite’, concealing the indebtedness of most of its musical material to Russian folksongs, to which Richard Taruskin traces the limited range of the melodies, the ostinato structure, and the modal formulas. Even the instrumentation is based on Stravinsky and Roerich’s ethnological research, particularly the ‘reed pipes’ of the Introduction scored for wind instruments.

It was the Russian spring which Stravinsky celebrated – that spring which bursts out so quickly with a terrifying noise. The libretto really boiled down to the succession of episodes described by the titles. The music took over, and created the dance. As modernist Pierre Boulez has said, the composition doesn’t depend on the argument of the ballet, which is why it transfers so well to the concert hall: ‘This ritual of “Pagan Russia” attains by itself a dimension quite beyond its formal point of departure: it has become the ritual – and the myth – of modern music.’

Abridged from an annotation by David Garrett © 1999

The Ballets Russes gave the first performance of The Rite of Spring on 29 May 1913 at the Théâtre des Champs-Élysées in Paris. The conductor was Pierre Monteux and the choreographer, Vaslav Nijinsky. The principal dancers were Maria Plitz (Chosen One), Ludmila Guliuk (Old Woman) and Alexander Vorontzov (Sage).

The Queensland Symphony Orchestra’s first complete performance of the work, conducted by Sachio Fujioka, took place in October 2004.

The first performance of The Rite of Spring was one of the greatest scandals in the history of any of the arts. The ballet, whose completely novel choreography was part of the offence it gave to traditionalists, has rarely been re-staged. It is Stravinsky’s music which has endured as an icon of modernism, and its power and originality can still be felt, even now that its lessons have been absorbed by so much music that followed.

The Rite is composed for a very large orchestra. The Russian impresario Sergei Diaghilev had generous financial backing for the 1913 season of his Ballets Russes in Paris, and Stravinsky had an orchestral palette even richer than for his two previous Diaghilev ballets, The Firebird and Petrushka. Even so, and in spite of the clear acoustic of the then-new Théâtre des Champs-Elysées, the playing of the music was almost drowned out by the noise which broke out in the auditorium, as people shouted insults, howled and whistled. There were even punches thrown, as the supporters of artistic novelty confronted well-dressed patrons who were shocked by what they heard and saw. The dancers could hardly hear the music, and the choreographer, Vaslav Nijinsky, had to shout numbers to them from the wings. Conductor Pierre Monteux, with admirable sang-froid, piloted his musicians through to the end.

The curtain had risen on Nicholas Roerich’s setting for the tableaux of pagan Russia which were his scenario for the ballet. He and Stravinsky were later to dispute who first had the idea for the ballet, with Stravinsky’s vision (in a dream) of a maiden sacrificed and dancing herself to death given priority. Nijinsky’s choreography was, in its way, as radical as Stravinsky’s music. The stylised gestures, the spare, restricted dancing, with heads in profile contrasted with bodies full-on, elbows hugged into the waist, the convulsions of the Chosen One, the renouncing of conventional dance ensembles and story-telling in favour of primitive immediacy – these were Nijinsky’s inventions, and many of the public thought

PROGRAM NOTES

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PROGRAM May 98 PROGRAM May

BIOGRAPHIES

she collaborated with actor Geoffrey Rush, and the Washington National Opera in a gala concert with Plácido Domingo. In addition, since 2005 she has been Music Director of the Music Festival of the Americas in Stowe, Vermont.

Alondra de la Parra makes her home in Mexico City and holds a B.A. in piano performance and an M.M. in conducting from the Manhattan School of Music.

Sergio TiempoPiano

Described by Gramophone magazine as “a colourist in love with the infinite variety a piano can produce,” Sergio Tiempo has developed a reputation as one of the most thought-provoking pianists of his generation. Since his Amsterdam Concertgebouw debut at age 14, Tiempo has performed with many of the world’s leading orchestras such as Los Angeles Philharmonic, Cleveland Orchestra, Chicago Symphony, BBC Symphony, Bamberg Symphony, Deutsches Symphonie Orchester Berlin, and Simón Bolívar; and alongside conductors the likes of Claudio Abbaddo, Christoph Eschenbach, and fellow countryman Gustavo Dudamel, with whom he performs regularly.

Born in Venezuela, Tiempo began his piano studies with his mother, Lyl Tiempo, at the age of two and made his concert debut by three. Whilst at the Fondazione per il Pianoforte in Italy, he worked with Dimitri Bashkirov, Fou Tsong, Murray Perahia and Dietrich Fischer-Dieskau. He has received frequent musical guidance from Martha Argerich, Nelson Freire and Nikita Magaloff.

Alondra de la ParraConductor

Alondra de la Parra has gained wide- spread attention for her spellbinding and vibrant performances, making her one of the most compelling conductors of her generation. She holds the distinction of being the first Mexican woman to conduct in New York City, and is an official Cultural Ambassador for Mexican Tourism. She has been heralded by Plácido Domingo as “an extraordinary conductor”.

Alondra de la Parra founded the Philharmonic Orchestra of the Americas (POA) in 2004, when she was 23. Her mission was to create an orchestra that would serve as a platform to showcase young performers and composers from the Americas, giving music from the Americas an unquestioned place in the standard orchestral repertoire.

Frequently in demand as a guest conductor, Alondra de la Parra has led the symphony orchestras of Dallas, Houston, San Francisco, Phoenix, Columbus, San Antonio, the Los Angeles Chamber Orchestra, Miami’s New World Symphony, Canada’s Edmonton Symphony, Germany’s Kammerakademie Potsdam and Moritzburg Festival Orchestra, Denmark’s Tivoli Symphony, the Russia Orchestra, Brazil’s Sao Paulo Symphony, the Orquesta Sinfónica del Estado de Mexico, Mexico’s Orquesta Sinfónica de Xalapa and Orquesta Sinfónica Nacional, Venezuela’s Simón Bolivar Youth Orchestra, the Buenos Aires Philharmonic, the Orquesta Sinfónica de Aguascalientes, Vancouver Symphony Orchestra, Orquestra Sinfônica Brasileira, Uruguay’s Montevideo Philharmonic, MDR Symphony Orchestra, Rundfunk-Sinfonieorchester Berlin, Orchestre de Paris, Tokyo Philharmonic Orchestra, the Singapore Sun Festival Orchestra where

Mesmerising sounds, dazzling colour and movement

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10 PROGRAM May PROGRAM May 11

CONCERTMASTERWarwick AdeneyProf. Ian Frazer AC & Mrs Caroline FrazerDr Cathryn Mittelheuser AMJohn & Georgina Story

ASSOCIATE CONCERTMASTERAlan SmithArthur Waring

FIRST VIOLINStephen Phillips Dr Graham & Mrs Kate Row

Rebecca Seymour Ashley Harris

Brenda Sullivan Heidi and Hans Rademacher Anonymous

Stephen Tooke Tony & Patricia Keane

SECTION PRINCIPAL SECOND VIOLINWayne BrennanArthur Waring

SECOND VIOLINDelia Kinmont Jordan & Pat Pearl

Helen Travers Elinor & Tony Travers

SECTION PRINCIPAL VIOLAYoko AkayasuDr Ralph & Mrs Susan Cobcroft

VIOLAGraham Simpson Alan Galwey

SECTION PRINCIPAL CELLODavid LaleArthur Waring

Andre Duthoit Anne Shipton

Matthew Kinmont Dr Julie Beeby

SECTION PRINCIPAL DOUBLE BASSJohn FardonDr Graham & Mrs Kate Row

ASSOCIATE PRINCIPAL DOUBLE BASSDushan WalkowiczSophie Galaise

DOUBLE BASSPaul O'BrienRoslyn Carter

SECTION PRINCIPAL FLUTEAlexis KennyDr Damien Thomson & Dr Glenise Berry

ASSOCIATE PRINCIPAL FLUTEHayley RadkeDesmond B Misso Esq

PRINCIPAL OBOEHuw JonesHelen & Michael Sinclair

OBOEAlexa MurrayDr Les & Ms Pam Masel

SECTION PRINCIPAL CLARINETIrit SilverArthur Waring

CLARINETKate TraversDr Julie Beeby

SECTION PRINCIPAL BASSOONNicole TaitIn memory of Miss Margaret Mittelheuser AM

ASSOCIATE PRINCIPAL BASSOONDavid MitchellJohn & Helen Keep

BASSOONEvan LewisBrett Boon

SECTION PRINCIPAL FRENCH HORNMalcolm StewartArthur Waring

PRINCIPAL FRENCH HORNIan O'BrienGaelle Lindrea

SECTION PRINCIPAL TRUMPETSarah ButlerMrs Andrea Kriewaldt

ASSOCIATE PRINCIPAL TRUMPETRichard MaddenElinor & Tony Travers

TRUMPETPaul RawsonBarry, Brenda, Thomas & Harry Moore

SECTION PRINCIPAL TROMBONEJason RedmanFrances & Stephen Maitland OAM RFD

ASSOCIATE PRINCIPAL TROMBONEDale TruscottPeggy Allen Hayes

PRINCIPAL TUBAThomas AllelyArthur Waring

PRINCIPAL HARPJill AtkinsonNoel & Geraldine Whittaker

PRINCIPAL TIMPANITim CorkeronDr Philip Aitken & Dr Susan UrquhartPeggy Allen Hayes

SECTION PRINCIPAL PERCUSSIONDavid MontgomeryDr Graham & Mrs Kate Row

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PROGRAM May 13

PATRON ($100,000+)Timothy Fairfax AC Tim Fairfax Family FoundationHarold Mitchell ACThe Pidgeon FamilyJohn B Reid AO and Lynn Rainbow ReidT & J St Baker Charitable TrustArthur WaringNoel and Geraldine WhittakerAnonymous

MAESTRO ($50,000 - $99,999)Philip Bacon GalleriesBank of QueenslandProf. Ian Frazer AC and Mrs Caroline FrazerJellinbah GroupDr Cathryn Mittelheuser AMMrs Beverley June SmithJohn and Georgina StoryGreg and Jan Wanchap

SYMPHONY ($20,000 - $49,999)Dr Philip Aitken and Dr Susan UrquhartDr Julie BeebyThe English Family Prize for Young InstrumentalistsPeggy Allen HayesLeonie HenryMrs Andrea KriewaldtFrances and Stephen Maitland OAM RFDDesmond B Misso Esq.In memory of Miss Margaret Mittelheuser AMJustice Anthe PhilippidesDr Graham and Mrs Kate RowRodney WylieAnonymous

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RONDO ($1,000 - $4,999)Jill AtkinsonEmeritus Professor Cora V. Baldock Dr Geoffrey and Mrs Elizabeth BarnesProf. Margaret Barrett Brett BoonProfessors Catherin Bull AM and Dennis Gibson AOM. Burke Mrs Georgina ByromPeter and Tricia CallaghanMrs J. Cassidy Drew and Christine CastleyGreg and Jacinta ChalmersCherrill and David CharltonMr Ian and Mrs Penny CharltonRobert ClelandRoger Cragg Julie CrozierDr Beverley Czerwonka-LedezLaurie James DeaneRalph DohertyGarth and Floranne Everson Dr Bertram and Mrs Judith FrostC.M. and I.G. FurnivalDr Joan E. Godfrey, OBEIan and Ruth GoughLea and John GreenawayFred and Maria HansenYvonne HansenMadeleine Harasty Harp Society of Queensland Inc Ashley Harris

Queensland Symphony Orchestra is proud to acknowledge the generosity and support of our donors for our philanthropic programs.

DONORS

Lisa Harris Ted and Frances HenzellPatrick and Enid Hill Prof. Ken Ho and Dr Tessa Ho Jenny HodgsonSylvia HodgsonJohn HughesMiss Lynette Hunter Sandra Jeffries and Brian CookJohn and Wendy Jewell Ainslie JustDr Ray and Mrs Beverley KerrDr Colin and Mrs Noela KratzingSabina LangenhanDr Frank LeschhornRachel LeungShirley LeuthnerGaelle LindreaLynne and Franciose LipProf. Andrew and Mrs Kate ListerMary Lyons and John FardonSusan MabinRose-Marie Malyon Belinda McKay and Cynthia Parrill Mrs Daphne McKinnonAnnalisa and Tony MeikleIn memory of Jolanta Metter In memory of Carol MillsB and D MooreBarry, Brenda, Thomas and Harry MooreMartin Moynihan AO QC and Marg O’Donnell AOHoward and Katherine MunroKaren Murphy John and Robyn Murray

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JOHN FARNSWORTH HALL CIRCLENamed in honour of the first Chief Conductor of QSO (1947-1954)

Roberta Bourne Henry

All enquiries, please call Gaelle Lindrea on (07) 3833 5050

Instruments on loan

QSO thanks the National Instrument Bank and The NFA Anthony Camden Fund for their generous loan of fine instruments to the recitalists of our English Family Prize for Young Instrumentalists.

Please contact Gaelle Lindrea on (07) 3833 5050, or you can donate online at qso.com.au/donatenow All donations over $2 are tax deductible ABN 97 094 916 444

For a list of Building for the Future donors go to qso.com.au/giving/ourdonors

Thank you

12 PROGRAM May

PROGRAM May 1514 PROGRAM May

QUEENSLAND SYMPHONY ORCHESTRA

PATRON His Excellency the Honourable Paul de Jersey AC, Governor of Queensland

CONDUCTOR LAUREATE Johannes Fritzsch

SOLOIST-IN-RESIDENCE Shlomo Mintz

CONCERTMASTER Warwick Adeney

ASSOCIATE CONCERTMASTER Alan Smith

CELLO David Lale~ Kathryn Close  Andre Duthoit Matthew Jones Matthew Kinmont Kaja Skorka Craig Allister Young

DOUBLE BASS Dushan Walkowicz= Anne Buchanan Justin Bullock Paul O’Brien Ken Poggioli

FLUTE Alexis Kenny~ Hayley Radke>>

PICCOLO Kate Lawson*

OBOE Huw Jones~ Sarah Meagher>> Alexa Murray

COR ANGLAIS Vivienne Brooke*

CLARINET Irit Silver~ Brian Catchlove+ Kate Travers

BASS CLARINET Nicholas Harmsen*

VIOLIN 1 Linda Carello Lynn Cole Priscilla Hocking Ann Holtzapffel Stephen Phillips Joan Shih Brenda Sullivan Stephen Tooke Brynley White

VIOLIN 2 Gail Aitken~ Wayne Brennan~ Jane Burroughs Faina Dobrenko Simon Dobrenko Delia Kinmont Natalie Low Tim Marchmont Helen Travers Harold Wilson

VIOLA Bernard Hoey= Jann Keir-Haantera+ Charlotte Burbrook de Vere Kirsten Hulin-Bobart Helen Poggioli Graham Simpson Nicholas Tomkin

Upon his retirement this month, we would like to thank John Fardon for his 29 years of service with the QSO.

~ Section Principal= Acting Section Principal>> Associate Principal + Acting Associate Principal

* Principal 

^ Acting Principal

BASSOON Nicole Tait~ David Mitchell>> Evan Lewis

CONTRABASSOON Claire Ramuscak*

FRENCH HORN Malcolm Stewart~ Peter Luff>> Ian O’Brien* Vivienne Collier-Vickers Lauren Manuel

TRUMPET Sarah Butler~ Richard Madden>> Paul Rawson

TROMBONE Jason Redman~ Dale Truscott>>

BASS TROMBONE Tom Coyle*

TUBA Thomas Allely*

HARP Jill Atkinson*

TIMPANI Tim Corkeron*

PERCUSSION David Montgomery~ Josh DeMarchi>>

BOARD OF DIRECTORSGreg Wanchap Chairman Margaret Barrett Tony Denholder Tony Keane John Keep Page Maxson James Morrison AM Karen Murphy Rod Pilbeam

MANAGEMENTSophie Galaise Chief Executive OfficerRos Atkinson Executive Assistant to CEO Richard Wenn Director – Artistic PlanningMichael Sterzinger Artistic CoordinatorFiona Lale Artist Liaison OfficerDale Truscott Contemporary Music/

Chamber Music CoordinatorMatthew Farrell Director – Orchestra Management Nina Logan Orchestra ManagerHelen Davies Operations AssistantJudy Wood Orchestra Librarian/

WHS CoordinatorNadia Myers Library and Operations

Assistant Peter Laughton Production ManagerVince Scuderi Production Assistant John Nolan Community Engagement

OfficerPam Lowry Education Liaison Officer Karen Soennichsen Director – Marketing Sarah Perrott Marketing Manager Zoe White Digital Marketing SpecialistMiranda Cass Marketing Coordinator David Martin Director – Corporate

Development & Sales Anna Jones Corporate Relationships

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QUEENSLAND PERFORMING ARTS CENTRE PO Box 3567, South Bank, Queensland 4101 T (07) 3840 7444 W qpac.com.au

CHAIR

Chris Freeman AM

DEPUTY CHAIR

Rhonda White AO

TRUSTEES

Kylie Blucher Simon Gallaher Sophie Mitchell Mick Power AM

EXECUTIVE STAFF

Chief Executive: John Kotzas Director – Presenter Services: Ross Cunningham Director – Marketing: Roxanne Hopkins Director – Corporate Services: Kieron Roost Director – Patron Services: Jackie Branch

ACKNOWLEDGEMENT

The Queensland Performing Arts Trust is a statutory body of the State of Queensland and is partially funded by the Queensland Government

The Honourable Annastacia Palaszczuk MP, Premier and Minister for the Arts

Director-General, Department of Science, Information Technology, Innovation and the Arts: Sue Rickerby

Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

16 PROGRAM May

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