SATURDAY Series CSO Opera Gala Season 2019 · COLE PORTER Kiss Me Kate —Wunderbar ... stars—Jacqueline Porter and Jeremy Kleeman join the CSO for an evening of passion and drama

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Saturday 18 May, 2019Llewellyn Hall, ANU, 7.30pm

Richard Gill AO In Memoriam

Jessica Cottis Conductor

Jacqueline Porter SopranoJeremy Kleeman Bass-baritoneANU School of Music Chamber Choir

MONTEVERDI Orfeo—OvertureGLUCK Orfeo ed Euridice Che fiero momentoGLUCK Orfeo ed Euridice OvertureGLUCK Orfeo ed Euridice—Dance of the Blessed SpiritsMOZART Le Nozze di FigaroCinque, dieci, venti/ora si ch’ioSe a caso MadamaSe vuol ballareDove sonoAprite un po’BEETHOVEN Fidelio op. 72 OvertureBEETHOVEN Fidelio, op. 72 O war itch schonBIZET Carmen—Prelude and AragonaiseBIZET Carmen—IntermezzoBIZET Carmen—Chanson de ToreadorPUCCINI La Bohème—Vecchia zimaraPUCCINI La Bohème—Donde lietaLEHAR Die lustige Witwe—Lippen schweigenCOLE PORTER Kiss Me Kate —WunderbarSONDHEIM Sunday in the Park with George—Sunday

Estimated Durations:FIRST HALF 45 minutesInterval 20 minutesSECOND HALF 45 minutes—Program notes by Angus McPherson © 2019Angus is Deputy Editor at Limelight Magazine

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Program

SATURDAYSeriesOpera Gala

New Combination “Bean” Lorry No.341 commissioned 31st December 1925.

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The CSO has launched its annual tax appeal. It’s your advocacy, by way of donation (big or small), that makes new musical partnerships and technically-demanding performance opportunities possible. More shared experiences for our part-time professional orchestra will result in stronger performances and artistic cohesion that will sustain our audiences into the future. You can donate online, or by calling the CSO office. We are always looking for ways to make giving to the CSO easier. After receiving terrific feedback from some of our audience who wanted to give a small amount more regularly, we now have two tap to donate portals. Each tap will donate five dollars to the CSO. I encourage you to tap your card as many times as you like! As ever, we sincerely thank the ACT Government, the Australia Council and all of our partners and donors for their generous support in 2019. Also, the CSO applauds you, our patrons, for your continued support of the CSO.—Rachel Thomas Chief Executive Officer (Acting)

The CSO’s beloved Richard Gill AO was to have conducted this opera gala. Until the very end, he held on to the hope that this would be his last performance with the CSO. He programmed it exactly as it will be heard, and I had the pleasure to have many conversations with him about his ideas for this concert. The CSO would not exist in its present form were it not for the love and dedication that Richard poured into our organisation, and we mourn his loss deeply. This Opera Gala will be a moving tribute to the great man. It will be conducted by the remarkable Jessica Cottis, one of the few conductors who can approach Richard’s unique level of eloquence as both musician and as an advocate for inspirational musical connections.—Dr Nicholas Milton AMArtistic Patronage ActewAGL Chief Conductor and Artistic Director

Welcome back to Llewellyn Hall for the Canberra Symphony Orchestra’s Opera Gala. Tonight, two of opera’s most exciting young stars—Jacqueline Porter and Jeremy Kleeman join the CSO for an evening of passion and drama as we present an opera program created by the late Richard Gill AO and beautifully illustrated for you tonight by conductor Jessica Cottis. Off the stage, the CSO proudly offered four scholarships through its Rediscovering Music program for people with hearing loss. Two adult and two children in the hearing impaired community can learn an instrument of their choice with a CSO musician. Thank you to Kristen Sutcliffe for directing this important program in our community.

New Combination “Bean” Lorry No.341 commissioned 31st December 1925.

Photograph courtesy of The University of Melbourne Archives 2008.0045.0601

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Welcome

WELCOME

the Sydney Symphony Orchestra where she conducted over thirty concerts per year with the orchestra, being lauded in the Australian press as “one of the big hopes for change”. Born in Australia and a dual British-Australian citizen, Jessica Cottis was awarded a first class honours degree in organ, piano and musicology from the Australian National University and continued her studies as an organist with Marie-Claire Alain in Paris, winning awards from the Royal Philharmonic Society and Royal College of Organists. A wrist injury subsequently halted her playing career and, after reading Law, she began conducting studies in 2006, studying with Colin Metters and Sir Colin Davis on the postgraduate conducting course at the Royal Academy of Music. A gifted communicator, Jessica Cottis is already acting as an inspiration to the younger generation. She has filmed projects for Play School (ABC Australia), CBeebies (BBC) and the Royal Opera House, has conducted projects with organisations such as the National Youth Orchestra of Great Britain and Sistema Scotland, and led courses for female conductors with London’s Royal Philharmonic Society.

as debuts with Houston Symphony Orchestra, London Symphony Orchestra, Malmö Symphony Orchestra, Orquestra Simfònica de Barcelona i Nacional de Catalunya, Gavle Symphony Orchestra, Royal Liverpool Philharmonic Orchestra and Malaysian Philharmonic among others. In the upcoming 2018-19 season, Jessica will perform in her Los Angeles Philharmonic Orchestra debut, as well as revisiting the City of London Sinfonia, Scottish Chamber Orchestra, London’s Royal Philharmonic Orchestra, laVerdi in Milan, and the OBC in Barcelona. She will return to work for the Royal Opera House in London again, conducting the premieres of two significant new opera commissions. She will return also to her native Australia to conduct Canberra Symphony Orchestra, as well as Monash Academy Orchestra in Melbourne. Her international career was launched through close working relationships with mentors including Vladimir Ashkenazy and Donald Runnicles. From 2009 to 2011 she was Assistant Conductor at the BBC Scottish Symphony Orchestra and Fellow in Conducting at the Royal Conservatoire of Scotland, and from 2012 to 2014 Assistant Conductor of

Hailed in the UK music press as “one to watch”, Jessica Cottis possesses intellectual rigour, innate musicality and an easy authority; she is a charismatic figure on the podium who brings dynamism, intensity and clarity of vision to all her performances. Frequently in demand as guest conductor, highlights of recent seasons include performances with the Sydney Symphony Orchestra, London Philharmonic Orchestra, Royal Philharmonic Orchestra, BBC Symphony Orchestra, BBC National Orchestra of Wales, BBC Concert Orchestra, L’Orchestra Sinfonica di Milano Giuseppe Verdi (laVerdi), l’Orchestre Philharmonique de Monte Carlo, New Zealand Symphony Orchestra, and recording with the BBC Scottish Symphony Orchestra. The 2017-18 season marked a return – after the success of her debut in 2016 – to the prestigious BBC Proms in July, as well


Conductor

CONDUCTORJessica Cottis

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Featured Artists

Recent performances have included the role of the Princess in Respighi’s The Sleeping Beauty for Victorian Opera, (also performed at Dark Mofo, Hobart) performances with the Melbourne Symphony Orchestra (Exsultate Jubilate, Thaïs and Beethoven’s Symphony No. 9), Adelaide Symphony Orchestra (A Night in Vienna), Brahms Requiem (Victoria Chorale), and Handel Salve Regina in St Paul’s Cathedral (with the University of Melbourne). In 2018 Jacqueline features at the Woodend Winter Arts Festival, sings the title role in Susanna for Handel In The Theatre, Canberra, Beethoven’s Symphony No. 9 for Adelaide Symphony Orchestra, Brahms’ Requiem for Festival of Voices in Hobart, Haydn’s Nelson Mass and Mozart’s Requiem for Canberra Choral Society, Mozart’s Requiem for Melbourne Bach Choir and recitals at the Tasmanian Chamber Music Festival.

Jacqueline has performed Mahler Symphony No. 4 with both Melbourne Symphony Orchestra conducted by Sir Andrew Davis and Adelaide Symphony Orchestra; Mozart’s “Litany of the Blessed Sacrament” for Sydney Symphony Orchestra; Fauré Requiem and Beethoven’s Mass in C for Melbourne Symphony Orchestra; Haydn Nelson Mass and Mozart Vespers at the Woodend Winter Arts Festival; Purcell’s King Arthur at Brisbane Baroque; St. Matthew Passion for Melbourne Bach Choir; Jephtha for Canberra Choral Society; The Vow (Handel in the Theatre) Judas Maccabeus (Heidelberg Choral Society) and an Art Song recital with Aura Go in the Salon at the Melbourne Recital Centre. Her extensive concert repertoire also features Bach Passions and Cantatas, Berlioz Les Nuits d’été, Britten Les Illuminations, Enescu Vox Maris, Haydn Maria Theresa Mass, Mozart Coronation Mass and Requiem and Vaughan Williams Sea Symphony and Serenade to Music.

Equally at home on the operatic stage and the concert platform, Jacqueline appears regularly with Australia’s major symphony orchestras and choral societies. She has worked with celebrated conductors including Sir Neville Marriner, Vladimir Ashkenazy, Sir Andrew Davis, Richard Egarr and Oleg Caetani, and her recitals and concerts are frequently broadcast on ABC Classic FM. Her opera roles include Susanna (The Marriage of Figaro), Despina (Così fan tutte), Drusilla, Virtù and Pallade (L’incoronazione di Poppea); L’Amour (Orpheé et Eurydice); Saskia and Hendrickje Stoffels (Rembrandt’s Wife); Clorinda (Il Combattimento di Tancredi e Clorinda) and Momus (Der Streit Zwischen Phoebus und Pan) (Baroque Triple Bill) for Victorian Opera and Gretel (Hansel and Gretel) for State Opera South Australia.

JACQUELINE Porter


Featured Artists

Jeremy’s 2018 engagements include Walter Furst in William Tell, Albert in The Magic Pudding and Collatinus in The Rape of Lucretia at the Dark MoFo Festival for Victorian Opera, Nielson Symphony No.3 with Melbourne Symphony Orchestra, a return to Opera by the Lakes and Second Elder (Susanna, Handel) for Handel In The Theatre, Canberra. Past roles for Victorian Opera include Rapunzel’s Prince in Into the Woods, Marquis D’Obiginy in La traviata, a featured vocalist in Assembly at Melbourne and Sydney Festivals (with Chunky Move), and Albert the Pudding in the world premiére of The Magic Pudding – The Opera. Jeremy has also appeared in recital and as soloist with Royal Melbourne Philharmonic Choir and Orchestra, Consort of Melbourne, Australian Boys Choir, and St. John’s Southgate, Melbourne.

Last year Jeremy made his company debuts with Sydney Chamber Opera as Collatinus in The Rape of Lucretia and with Pinchgut Opera in The Coronation of Poppea. He returned to Victorian Opera as Badger and Parson in The Cunning Little Vixen and to the Melbourne Bach Choir for St John Passion and the Duruflé Requiem, the latter on a European tour. Further engagements included Opera in the Market, The Murray River International Music Festival, Opera By The Lakes (Gippsland Opera), Opera in the Paddock (Opera North West) and The Canberra International Music Festival. Other recent engagements and career highlights include his Brisbane Baroque Festival debut as Teobaldo in Handel’s Faramondo, appearances with Victorian Opera as Lord Valton in I puritani, Jonas Fogg in Sweeney Todd, and Mother in Kurt Weill’s Seven Deadly Sins, St. Matthew Passion with both Newcastle University Choir and Melbourne Bach Choir, Toby Raven in the world premiere season of Cloudstreet (George Palmer) for State Opera of South Australia and the title role in The Marriage of Figaro with Opera Australia Touring.

Jeremy Kleeman is a graduate of Victorian Opera’s Developing Artist Program, and has a Master of Music (Opera Performance) and Bachelor of Music from the Melbourne Conservatorium of Music. In 2014 and 2015, Jeremy was a scholar with Melba Opera Trust on the Joseph Sambrook Opera Scholarship, and in 2016 was the recipient of the Dame Heather Begg Memorial Award. He has also received Helpmann and Green Room Award nominations, as Best Male Performer in a Supporting Role in an Opera, for the role of Magus in Musica Viva and Victorian Opera’s Voyage to the Moon which toured nationally.

JEREMYKleeman

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Life is better with music Gluck’s Orfeo ed Euridice

represents another milestone in the history of opera. Gluck’s version of the legend of Orpheus’s descent into the underworld to retrieve his wife Euridice, with a libretto by Ranieri de’ Calzabigi, was the first of the composer’s ‘reform operas’, which replaced the traditional – and highly stylised – alternation of recitatives and arias in Baroque opera with a more natural singing style, the music serving the poetry and drama. The urgent aria Che fiero momento (What a proud moment) is the pinnacle of this drama. Orpheus must not look at Euridice until they have escaped the underworld, but Euridice takes this as a sign he no longer loves her – declaring she would prefer death to losing his love.

The Greek myth of Orpheus has woven its way through the history of opera for some 400 years and Italian composer Claudio Monteverdi’s take on the tale – of a singer with the power to charm even the trees and stones with his music – is the earliest opera still performed. Monteverdi, considered the ‘father of opera’ for his work integrating the 17th-century intermedio (a musical section between acts of a play) into a complete musical drama, wrote L’Orfeo for a court performance at Mantua in 1607. The Toccata that opens the opera with a bright trumpet flourish grabs the audience’s attention before a La Musica – representing the ‘spirit of music’ – sings a prologue proclaiming the power of music and introducing the hero, Orfeo.

Orfeo ed Euridice was Gluck’s most popular opera. It was first performed in Vienna in 1762, and the opera has remained in the repertoire more or less ever since. It was also hugely influential on opera as a genre, paving the way for the work of Mozart and even Wagner. It is undoubtedly the most famous of the many Orpheus operas. The directness with which Gluck retells the legend – eschewing the decorated da capo arias that typified Italian opera – was revolutionary, speaking directly to the emotions of the listener. The lively Overture, for instance, swings from a festive opening to the darker drama of the development, which foreshadows Orfeo’s struggles to come, and the opening scene of the opera: Euridice’s funeral.

CHRISTOPH WILLIBALD GLUCK(1714–1787)

Che fiero momento from Orfeo ed Euridice

CLAUDIO MONTEVERDI(1567–1643)

Toccata from L’Orfeo


Overture from Orfeo ed Euridice


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“Five, ten, twenty,” the servant Figaro measures up his new room for the bridal bed he will share with his soon-to-be-wife Susanna, who shows off her new hat, in the opening of The Marriage of Figaro. Mozart’s 1786 comedy, the first of three operas he wrote to libretti by Lorenzo da Ponte, is based on Pierre Beaumarchais’s play, La folle journée, ou le Mariage de Figaro (The Day of Madness, or the Marriage of Figaro), which sees the servants outsmart their lecherous employer, Count Almaviva. Susanna expresses misgivings about their room, however, in the duettino Se a caso Madama la notte ti chiama (If the Countess should call you during the night), concerned about their proximity to the Count’s room.

The womanising Count Almaviva plans to reinstate the feudal right of a lord to sleep with a servant on her wedding night, despite having abolished the practice when he married his own wife, the Countess Rosina. In the gutsy cavatina for baritone Se vuol ballare (If you want to dance), the cunning Figaro – having learned of his master’s sinister intentions – explains how he will pretend to be obedient, while biding his time, confident that he can outsmart and, ultimately, humiliate the Count. “If you want to dance, my pretty Count, I’ll play the little guitar for you,” Figaro sings, lampooning the manners of the nobility. “Artfully fencing, artfully working, stinging here, joking there, all of your schemes I’ll turn inside out.”

WOLFGANG AMADEUS MOZART(1756–1791)

Cinque... dieci... venti... and Se a caso Madama la notte ti chiama from The Marriage of Figaro


Se vuol ballare from The Marriage of Figaro

Gluck revisited Orfeo ed Euridice in 1774 for a performance in Paris, with a new French libretto by Pierre-Louis Moline. Gluck made several revisions to the score designed to appeal to the Parisian public, such as changing the lead role from a castrato to a high tenor, and the addition of several ballet sequences, including the Dance of the Furies (lifted from his Don Juan) and the Dance of the Blessed Spirits. Having charmed Hell’s Furies, Orfeo enters the Elysian Fields, and Gluck’s music depicts – with flutes and strings – an overwhelming, pastoral calm. At the centre of this piece is a flute solo of eye-watering beauty, a mournful melody evoking the spirits’ sadness, and Orfeo’s pain knowing Euridice is among them.


Dance of the Blessed Spirits from Orphée et Eurydice

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By The Marriage of Figaro’s fourth act, Figaro and Susanna are – after an improbable series of twists, turns and surprise reveals – finally married. But before all the threads are neatly tied off in the opera’s happy ending, some crossed wires leave Figaro fuming. He has found out about the Count’s upcoming tryst in the garden (orchestrated by the Countess Rosina and Susanna), but thinks it is his new wife – and not the Countess in disguise – who will be meeting his master there. In a rage, he sings Aprite un po’ quegli occhi (Open your eyes a little), a warning to “incautious and stupid men” that all women are enchanting witches, roses with thorns, charming foxes – and the list goes on.

This overture is the fourth and final overture Beethoven composed for his only opera, Fidelio, a project which spanned from 1804, when Beethoven began composing, to 1814, when it was performed in its final form. Beethoven used a libretto by Jean-Nicolas Bouilly, which tells the story of Leonora, who disguises herself as a man, Fidelio, to save her husband Florestan from wrongful imprisonment. Bouilly’s libretto had been set to music three times, so the theatre renamed the opera from Leonore to Fidelio – Fidelio – against Beethoven’s wishes – to avoid confusion. Unlike his earlier attempts (which are still played as concert works today), Beethoven’s final say on the overture for Fidelio is a compact, energetic introduction that launches the listener straight into the action.


Aprite un po’ quegli occhi from The Marriage of Figaro

LUDWIG VAN BEETHOVEN(1770–1827)

Overture to Fidelio, Op.72

In The Marriage of Figaro’s third act, the Countess and Susanna conspire to catch Count Almaviva out in his infidelity, with a complicated plan involving disguises and a night-time tryst in the garden. Left on her own, the Countess takes stock of her situation. After a bitter introductory recitative – in which she rails against her husband’s betrayal and laments the state of affairs that sees her switching clothes with her maid – she sings the tender soprano aria “Dove sono i bei momenti di dolcezza e di piacer?” (Where are they, the beautiful moments of sweetness and pleasure?). Despite the pain of this lament, it concludes with the possibility of hope – that through her love she may one day change the Count’s heart.


Dove sono i bei momenti from The Marriage of Figaro


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The dark Prelude that opens the curtain on Carmen drips menace, while the hot-blooded Spanish dance of the Entr’acte to the fourth act, a driving Aragonaise, sets the scene for the tragic finale, at a crowded bullfight in Seville. With a libretto by Henri Meilhac and Ludovic Halévy based on Prosper Mérimée’s novella, Bizet’s opera tells of a fiery gypsy woman, Carmen, who seduces a naïve young soldier, Don José, who ultimately kills her in a jealous rage. Carmen scandalised audiences in Paris when it premiered in 1875 and was panned by the critics – but it has given us some of the best-loved music in the repertoire. Bizet died shortly after Carmen opened and never saw what an enduring hit his opera would become.

A tranquil flute solo opens this intermezzo, the entr’acte to the third act of Carmen. Besotted with Carmen, the soldier Don José is imprisoned for dereliction of duty – for allowing Carmen to escape arrest in act one – and by the end of the opera’s second act two months later he has also attacked a superior officer, Zuniga, who also has has his eye on the alluring gypsy. Don José has no choice but to desert his post and join Carmen and a band of smugglers in the wilderness. With his life spinning out of control – the action barrelling towards the opera’s bloody conclusion – act three opens on the beauty of the smuggler’s mountain hideout, clarinet joining flute above the plucking of the harp.

GEORGES BIZET(1838–1875)

Prelude and Aragonaise from Carmen


Intermezzo from Carmen

The action of Fidelio takes place in Spain, where Florestan has been secretly imprisoned for attempting to expose the crimes of a rival nobleman, Pizarro. Florestan’s wife Leonore has disguised herself as a boy, ‘Fidelio’, and earned the favour of the prison warden, Rocco. In the first act, Marzelline – the warden’s daughter – has broken the news to her father’s assistant Jaquino that she will never marry him, because she is in love with Fidelio (not realising Fidelio is Leonore in disguise). In the touching soprano aria O war’ ich schon mit dir vereint (O, if you and I were already united), Marzelline, alone, sings of how happy she will be with Fidelio, daydreaming of their life together and all the future holds.

LUDWIG VAN BEETHOVEN(1770–1827)

O war’ ich schon mit dir vereint from Fidelio, Op.72


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Puccini’s La Bohème – with libretto by Luigi Illica and Giuseppe Giacosa based on a Henri Murger novel – follows a group of young bohemians living in Paris’s Latin Quarter in the 1840s. The central romance, between the poet Rodolfo and seamstress Mimì, ends in tragedy, but Puccini’s score is gorgeous. In the final act, Mimì is dying of tuberculosis. Her friends Musetta and Marcello have helped her into bed in her freezing attic and left to sell her jewellery for medicine, while the philosopher Colline decides to pawn his favourite coat. The bass aria Vecchia zimarra is a touching, bittersweet song of thanksgiving to the coat that has kept him warm and sheltered in its pockets the writings of poets and philosophers.

In La Bohème’s third act, Mimì seeks out Marcello, who is painting signs at an inn, and confesses that her relationship with Rodolfo is troubled – the poet is incredibly jealous and abandoned her the night before. Marcello tells Mimì that Rodolfo is inside the inn, but when he comes out she hides. She hears Rodolfo explain that his jealousy is just a sham to drive Mimì away – since in his poverty he cannot cure the deadly illness that is consuming her – in the hope that she will find a wealthier suitor. In the heartbreaking aria Donde lieta Uscì (Whence happily she came), Mimì tells Rodolfo she is leaving him amicably to return to her lonely nest, to embroider imitation flowers.

GIACOMO PUCCINI(1858–1924)

Vecchia zimarra from La Bohème

GIACOMO PUCCINI(1858–1924)

Donde lieta Uscì from La Bohème

Don José’s jealousy drives a lot of the drama in Carmen, but it’s not just the officer Zuniga who he has to watch out for. In the opening scene of Carmen’s second act, the gypsy and her friends are in Lillas Pastia’s smoke-filled soldier’s tavern, when outside people are heard saluting the popular bullfighter Escamillo. Invited in for a drink, Escamillo introduces himself with his bragging Toreador’s Song to impress the girls, singing of the danger and excitement of the bull ring – and attracting Carmen’s attention in the process. “And think as you are fighting,” he sings, “that a dark eye is watching you, and that love is waiting for you, Toreador, love, love is waiting for you!”


Chanson du Toréador from Carmen


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For the complete repertoire and 2019 events, visit cso.org.au/events

RECITAL TWO—Sunday 16 JuneGreat Hall, University House__2pm—Slava and Leonard Grigoryan Guitars—Join the Grigoryan Brothers as they journey to a dimension of guitar playing rarely seen in the musical world.

ACTEWAGL LLEWELLYN TWO—Wednesday 19 JuneThursday 20 JuneLlewellyn Hall, ANU__7.30pmPre-concert talk__6.45pm—Paul Kildea ConductorSlava and Leonard Grigoryan Guitars—David Pereira CelloMOZART The Marriage of Figaro OvertureJOAQUN RODRIGO Concierto madrigal KENNETH AND KIRSTEN LAMPL To the Memory of Nelson Cooke: an Elegy for Cello and OrchestraBEETHOVEN Symphony No. 8 in F major, op. 93

Coming up

Cole Porter’s first ‘book musical’ (in which songs and dances are fully integrated into the story), Kiss Me Kate won a string of Tony Awards when it premiered on Broadway in 1948, including Best Musical and Best Original Score. The show has had a long life – it was revived yet again on Broadway earlier this year. Kiss Me Kate centres around a production of a musical version of Shakespeare’s The Taming of the Shrew – and tensions between its two stars, Fred Graham and his ex-wife Lilli Vanessi. The duet Wunderbar sees the pair reminiscing, on the anniversary of their divorce, about the Viennese operetta at which they met, and the music pays cheeky homage to the likes of Lehár and Johann Strauss II.

Stephen Sondheim’s Pullitzer Prize-winning musical Sunday in the Park with George, with a book by James Lapine, was inspired by French pointillist painter Georges Seurat’s A Sunday Afternoon on the Island of La Grande Jatte. The famous tableau of Seurat’s painting is recreated on stage in the uplifting second-act number Sunday. The musical centres on a fictionalised Georges Seurat, immersed in creating his masterpiece, and his great-grandson, a contemporary artist, also named George, who is struggling to find his voice as an artist. The younger George is invited by the French Government to present his work on the island depicted in his great-grandfather’s painting, and as he reads from his great-grandfather’s notes, the characters depicted in the painting come to life on stage.

COLE PORTER(1891–1964)

Wunderbar from Kiss Me Kate

STEPHEN SONDHEIM(B.1930)

Sunday from Sunday in the Park with George

Franz Lehár’s 1905 operetta The Merry Widow – about a rich widow, Hanna Glawari, and her countrymen’s attempts to keep her wealth in the poverty-stricken principality of Pontevedro – was the composer’s greatest hit. It’s thanks to numbers like the charming Lippen Schweigen (Lips stay silent) – better known as The Merry Widow Waltz – that the operetta has remained so popular. The duet from the opera’s conclusion sees the show’s two lovers, Hanna and Danilo, rekindle their love in a sweet, celebratory waltz. “At each step of the waltz, my soul joins in the dance,” Hanna sings. This music has also had plenty of life outside the theatre, performed by myriad combinations of operatic royalty, from Anna Netrebko and Plácido Domingo to Renée Fleming and Dmitri Hvorostovsky.

FRANZ LEHÁR(1870–1948)

Lippen schweigen from Die lustige Witwe


Music Notes

Please note: strings seating is rotational

Dr Nicholas Milton AMChief Conductor and Artistic DirectorArtistic Patronage ActewAGL

Jessica Cottis Guest ConductorKirsten Williams ConcertmasterTor Frømyhr Concertmaster Emeritus

The ANU School of Music Chamber Choir is delighted to join the CSO in the 2019 Opera Gala and looks forward to many more fruitful partnerships.

The OrchestraOpera Gala

ViolinKirsten WilliamsDoreen CummingCatherine BucknellTahni Chan Lauren DavisIrene de SilvaTess DuflouJenny HiggsMichelle HiggsValerie JacksonJocelyn James Andrew LorenzDoug MacnicolClaire PhillipsMadeleine RetterDan RussellIska SampsonPip ThompsonTim Wickham

FluteTeresa RabeKiri Sollis

OboeMegan PamplingCaroline O’Donnell

ClarinetEloise FisherRachael Allen

BassoonMatthew AngusKristen Sutcliffe

French HornDianna GaetjensCarly BrownVictoria ChatterelyMichael Jackson

TrumpetJustin LingardGreg Stenning

ViolaTor FrømyhrRobert HarrisBen CarvalhoLiz ChalkerCaroline SuthersAlina Zamfir

CelloPatrick SuthersJulia JaniszewskiSamuel PayneEmma RaynerAlex Voorhoeve

Double BassMax McBrideKyle Ramsay-DanielDavid FlynnHayley Manning

TromboneNigel CrockerMichael Bailey

Bass TromboneColin Burrows

TimpaniAndrew Heron

PercussionVeronica BaileyJohn DewhurstStephen Fitzgerald

HarpRowan Phemister

Celeste/PianoKatherine Day

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The Orchestra

TheOrchestra

Lindy Reksten CelloSponsored by

RA David Campbell

Doreen Cumming Principal Second ViolinSponsored by

Joanne Frederiksen

Tor Frømyhr Principal ViolaSponsored by

Glen & Lucille Halloran

Kiri Sollis FluteSponsored by

Jane Batts

Chair Sponsors

Andrew Heron TimpaniSponsored by

Shell

Tim Wickham ViolinSponsored by

Anne Caine & Jim Lumbers

Pip Thompson ViolinSponsored by

DAMS


Chair Sponsorship

ChairSponsorship

The CSO would like to thank all Chair Sponsors for their generous support.

A Chair Sponsorship can demonstrate your passion for a particular instrument while supporting the orchestra to achieve its artistic and community goals. It is an opportunity to forge a deeper connection with the musicians. Chair Sponsors can choose an instrument they love, a player they know, or a chair recommended by the CSO. If you are interested in a Chair Sponsorship or would liketo know more, please contact CSO Philanthropy – call 02 6247 9191 or email [email protected]

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Our Managed Service Solution means

that we're constantly working away

in the background so that your

IT is always in tune.

FLAWLESSLYCONDUCTING

YOUR ITSOLUTIONS

CSO Board

ChairAir Chief Marshal Sir Angus Houston AK, AFC (Retd)Deputy ChairMelanie Kontze

Members

Bob ClarkChris FaulksLucille HalloranRobyn HolmesJohn KalokerinosPaul LindwallAnnabelle Pegrum AMChristine Worth

CSO Artistic

Chief Conductor & Artistic DirectorDr Nicholas Milton AMArtistic Patronage ActewAGL

Australian Series CuratorProf Matthew Hindson AM

CSO Administration

Chief Executive Officer (acting)Rachel ThomasCommunications Coordinator Geordie CullenEnsembles* Eloise FisherEvents & Logistics* Julie SeatonFinance* Lou MalfoneOrchestra & Operations Andrew HeronResidents Coordinator* Lindy RekstenTicketing & Administration* David Flynn*part-time

CSO Volunteers

Dianna Laska Gail Tregear John & Anne Rundle Alison Gates

Contact the CSO

Level One 11 London Circuit (entrance off Farrell Place) Canberra CityGPO Box 1919 Canberra ACT 2601

CSO Direct (ticketing) 02 6262 6772 weekdays 10am–3pm

Administration02 6247 9191 | cso.org.au

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Your feedback is always welcome. Please find us on social media or send an email:[email protected]

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Board and Administration

Board andAdministration

28

Partners and Supporters

YARRAMUNDI PARTNER

POWERHOUSE PARTNER

AUSTRALIAN SERIES

HONORARY SOLICITORS CULTURAL PARTNER

MURRUMBIDGEE PARTNERS

Venue Partner

The CSO is assisted by the Commonwealth Goverment through the Australia Council, its arts funding and advisory body

We thank our government, corporate and community partners

GOVERNMENT PARTNERS

The CSO is all about connecting our partners with the community through music. We believe that life is better with music and our collaborative partnerships support a diverse range of concerts from the mainstage to the extensive CSO Education and Community Outreach programs.

If you would like to find out more please call us on 02 6247 9191.


Partners and Supporters

Partnerships

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Recital Series Partner

AUTOMOBILE PARTNER

IT SUPPORT PARTNER

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ESTATES PLANNING PARTNER

MEDIA PARTNERS

DESIGN PARTNER

Accommodation Partners

We thank all supporters for their commitment and generosity.

VANGUARD MEMBER $25000 +

Prof Brian Anderson AC & Dianne Anderson AM

VIRTUOSI MEMBER ABOVE $10000

June GordonKenyon FoundationThe Tall FoundationMandy Westende & Lou Westende OAMAnonymous 1

MAESTRO MEMBERSHIP $4000-$9999RA David Campbell AMSue Daw OAM (in memory of Peter Cianchi) Ross & Sue KingslandMarjorie LindenmayerNoela McDonaldDavid McDonaldAnonymous 3

EDUCATION GIVING CIRCLE $5,000

Virginia BergerJoan BostonFay CullAnonymous 1

KINGSLAND RESIDENT ARTIST PROGRAM

Founding Donors —The late Sir Richard & Lady Kingsland & Family Robyn HolmesMajorie LindenmayerPaul & Jan KriedemannIngrid MitchellAnonymous 1

GIFTS AND BEQUESTS

Betty Beaver AMDr Pamela RothwellAnonymous 2

IN MEMORIAM

Don BeazleyJanice BeveridgePeter CianchiHeather EastwoodAnn & Liam KearnsProf John MulvaneyAlan RichardsonNancy Shackell

INSTRUMENT FUND

Prof Brian Anderson AC & Dianne Anderson AMShane Baker & Linda PearsonBoronia GiftJoan BostonProf Robert Crompton & Helen CromptonThe Flynn FamilyAnthony Hedley AMGeoffrey White OAMSally White OAMIn Memoriam Leonie Voorhoeve

PRINCIPAL MEMBER $1000-$3999

Prof Brian Anderson AC & Dianne Anderson AMHalina BarrettVirginia BergerMax & Lynne BoothAnne Caine & Jim LumbersPeter Carrigy-RyanChristoper & Rieteke ChenowethDudley & Mrs Helen CreaghHelen DouglasSue DyerJoanne Frederiksen & Paul LindwallRaydon & Alison GatesBeatrice GuppyAllan Hall AMBarbara Hall OAMDonald Harris AMAnthony Hedley AMPaddy & Louise HodgmanDavid HowardStephanie & Mike HutchinsonPaul & Jan KriedemannHenry & Dianna LaskaJim & Heather LeedmanRaymond Macourt OAMGarth Mansfield OAMMargaret Mansfield OAMDavid & Sheila MiddletonIngrid MitchellTeresa NeemanMargaret OatesCarolyn PhilpotUrsula ReidMargaret Reid AORobyn RobertsonGeoffrey White OAMSally White OAMAnonymous 8

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CSO Private Giving

ASSOCIATE MEMBER $500-$999

Virginia BergerJoan BostonNeil BattyAK & JE CooperDudley & Mrs Helen CreaghAnn FieldProf Rae Frances & Prof Bruce ScatesTony Hayward Malcolm & Rhondda HazellHeather HendersonDr Marian HillJohn & Ros JacksonPatricia JonesJohn KalokerinosMelanie KontzeHenry & Dianna LaskaRaymond Macourt OAMAnne & John MotenMarie & Peter NicholsonJohn & Libby OliverParis ‘99Katharine PierceEmma PurnellMichael & Emily ReedIsher & Norah SekhonDavid ShelmerdineKerry TrueloveMuriel WilkinsonHelen White & Bob RichardsonMarie WrightAnonymous 6

B HammondColin HarmerTony HaywardElizabeth HewsonMaureen HickmanRobyn HolmesKathleen HoltzapffelCatherine Hook & Paul CarmenJune HowardMary Elspeth HumphriesDr John & Mrs Judith HuppatzIan IngleG.A. JosephFrank KellyHelga KlippanSusanne KoerberBjarne KraghDenise KrausN. LandauDr Frederick & Mrs Penelope LilleyJudith LindgrenJohn & Jinnie LovettSue LudwigPatricia MakehamDiana MildernDr Louise MoranAnne & John MotenPenelope MoyesMargaret MyersTeresa NeemanKate NockelsMarie OakesPamela O’KeeffeRex N. OramHelen PamplingSue PidgeonPaul & Mary PollardS PurserJulie QuinnPeter RandallWayne & Linda RobertsJill Robilliard

SUPPORTING MEMBER $100–$499

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Jennifer RowlandJohn & Anne RundleIsher & Norah SekhonDr Kenneth ShepherdJoy SobellGrace StewartJohn SuttonDeane & Jennifer TerrellPamela & Graham ThomasG. TriggLeonard TuohyGraham & Rewa UtleySuzanne Vaisutis-WhiteBrenton WarrenMike & Ros WelchJune WestmacottDon Whitbread OAMNadine White & Dr Michael SchaperRosslyn WileyTony WillisJackie WraightDiane WrightAnonymous 3—The CSO would like to acknowledge all donations from Contributing Members—THE 2018 & 2019 CSO RECITAL SERIES supported by Brian & Dianne Anderson


CSO Private Giving

CSO Private Giving

You’ll be singing praises too.

Documents

SATURDAY Series CSO Opera Gala Season 2019 · COLE PORTER Kiss Me Kate —Wunderbar ... stars—Jacqueline Porter and Jeremy Kleeman join the CSO for an evening of passion and drama