Belshazzar’s Feast · PDF fileA Mozart Celebration ... pianist Emanuel Ax performs six great piano concertos, alongside the ... enjoy another world-class experience with the Emirates

2017 SEASON

EMIRATES METRO SERIES

Friday 24 November, 8pm

GREAT CLASSICS

Saturday 25 November, 2pm

Belshazzar’s Feast

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CLASSICAL

SSO PRESENTS

COMING UP IN 2018

Belshazzar’s FeastEÖTVÖS Halleluja – Oratorium balbulum AUSTRALIAN PREMIERE

WALTON Belshazzar’s Feast

David Robertson conductor Michelle DeYoung mezzo-soprano Topi Lehtipuu tenor Andrew Foster-Williams bass-baritone Martin Crewes narrator Sydney Philharmonia Choirs & TSO Chorus

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A Mozart CelebrationEmanuel Ax & David Robertson

Celebrate the genius of Mozart when acclaimed pianist Emanuel Ax performs six great piano concertos, alongside the final three symphonies, conducted by David Robertson.

David Robertson conductor Emanuel Ax piano

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2017 CONCERT SEASON

EMIRATES METRO SERIESFRIDAY 24 NOVEMBER, 8PM

GREAT CLASSICSSATURDAY 25 NOVEMBER, 2PM

SYDNEY OPERA HOUSE CONCERT HALL

BELSHAZZAR’S FEASTDavid Robertson conductor Michelle DeYoung mezzo-soprano Topi Lehtipuu tenor Peter Coleman-Wright baritone Martin Crewes narrator Sydney Philharmonia Choirs Tasmanian Symphony Orchestra Chorus

PÉTER EÖTVÖS (born 1944) Halleluja – Oratorium balbulumAUSTRALIAN PREMIERE

Michelle DeYoung, mezzo-soprano

Topi Lehtipuu, tenor

Martin Crewes, narrator

Sydney Philharmonia Chamber Singers & VOX

INTERVAL

WILLIAM WALTON (1902–1983) Belshazzar’s Feast

Peter Coleman-Wright, baritone

Sydney Philharmonia Symphony Chorus

Tasmanian Symphony Orchestra Chorus

Saturday’s performance will be recorded by ABC Classic FM for broadcast on Thursday 7 December at 8pm.

Pre-concert talk by Raff Wilson in the Northern Foyer 45 minutes before each performance. Visit sydneysymphony.com/talk-bios for more information.

Estimated durations: 50 minutes, 20-minute interval, 36 minutes The concert will conclude at approximately 10pm (Fri), 4pm (Sat).

Halleluja – Oratorium balbulum was commissioned by the Salzburg Festival, Wiener Konzerthaus in collaboration with Wien Modern, Müpa Budapest (Palace of the Arts), WDR and Acht Brücken/Musik für Köln, Tonhalle-Gesellschaft Zürich, and the Sydney Symphony Orchestra with the generous support of Geoff Stearn.

COVER IMAGE: Belshazzar’s Feast (c.1635–38) by Rembrandt

CHANGE OF ARTIST: The advertised soloist for Belshazzar’s Feast, Andrew Foster-Williams, has had to withdraw from these concerts because of illness. We are grateful to Peter Coleman-Wright for joining us at short notice.

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ABOUT THE MUSIC

Péter Eötvös (born 1944) Halleluja – Oratorium balbulum Four Fragments for mezzo-soprano, tenor, narrator, choir and orchestraI. Wer sind wir? (Who are we?)

II. Wo sind wir? (Where are we?)

III. Was wollen wir? (What do we want?)

IV. Worüber schweigen wir? (What do we keep silent about?)

Original Hungarian text by Péter Esterházy German translation by György Buda Sung in German with English surtitles and English narration

Michelle DeYoung mezzo-soprano (The Angel)

Topi Lehtipuu tenor (The Prophet)

Martin Crewes narrator Sydney Philharmonia Chamber Singers & VOX

‘I know that my Redeemer liveth’: those used to be the words. Such confident assertions, which we might remember from oratorios past, are perhaps more difficult for us to voice today. Certainly there is no intention to voice them on the part of the creators of this work: Péter Eötvös, who composed the music in 2015, and his fellow Hungarian, the master literary ironist Péter Esterházy, who died shortly before the premiere, which took place at the Salzburg Festival in the summer of the following year. Lacking statements, they offer questions, with which we may feel a lot more comfortable. Who are we? Where are we? What do we want? What do we keep silent about?

I. ‘Who are we?’

The question, like those that follow, is spoken by the choir, this first time supported by piano, harps and metal percussion. An orchestral cloud develops, perhaps bespeaking confusion, and then a quote: the opening figure from Schumann’s Vogel als Prophet (Bird as Prophet), from his piano collection Waldscenen (Forest Scenes). This introduces the Narrator, who, while the Schumannesque music goes on, expresses reluctance before accepting his role, which is inevitably that of an outsider, standing apart from the music. (In German, ‘Der Narrator’ is close to ‘Der Narr’, the fool.) He is, he says, as the brass introduce another quotation, an error.

He does not err, though, in remarking that the situation he is in, evidently that of oratorio, abounds in repetition. The Angel enters to agree, and is followed by the Prophet, who, in stammering, repeats seemingly uncontrollably. The Narrator offers some clarification of the dramatis personae and recalls an

Péter Eötvös

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earlier stammerer, the ninth-century Notker of St Gallen (a place then in Frankish territory, currently Swiss), known as Notker the Stammerer. He wrote some of the earliest music by a known composer, liturgical pieces that include what we are currently hearing from the men of the choir in bare fourths: ‘Natus ante sæcula’. He is also an appropriate patron saint for an oratorio certain only of its uncertainty. And indeed, the Narrator goes on to announce the work’s subtitle, ‘Oratorium balbulum’ (Stammering Oratorio), words massively amplified by the assembled soloists, chorus and orchestra.

‘In the beginning was the Word’, declaims the Prophet, in Greek, but the Narrator demurs against himself; here only music counts, as is proved, in a way, by the first and most recognizable of several ‘hallelujah’ settings quoted from former times. The  solo singers return, and the chorus adds its commentary. To the Angel’s call for another hallelujah, the chorus supplies one that keeps rotating in a kind of Bartókian modality. Should this be the end? No: the Narrator remembers that each part of the oratorio has to include a Scene. Piano, harps and percussion roll the dice, and the Prophet seems about to make himself useful as a predictor of lottery numbers. He cuts off the chorus as they begin a hallelujah from a Bach cantata, but seems to be playing for time until he in turn is interrupted by the Angel, recalling Nietzsche as an old drinking buddy.

II. Where are we?

The question is whispered to drum rolls, punctuated by piano and harps in the bass, and supplemented by another question: What are we doing? The chorus announces a new Scene, taking place on the date that has defined this century so far: September 11, 2001. However, the narrative falls apart, with the chorus wanting to sing about the creation of the world and supplying a hallelujah to music developed from Mussorgsky’s opera Boris Godunov. Uncertainty overcomes the work. The soloists come together in false assurances, which the chorus noisily rejects before shedding all pretences in insisting: ‘We are the choir’, thus resituating the work in territory where it can talk only about itself. Soloists and chorus circle that abyss, examining its implications, until the work seems to stall, lacking a subject. The section ends with the Mussorgskian hallelujah decaying into silence.

III. What do we want?

In contrast with the quiet ending of the second part, the third opens with full forces engaged and moves to another key moment in world history: the assassination that unleashed the First World War. The Narrator invites us to consider this in connection with the present, but again the story is soon derailed, and we have the choral singers asking and extending their

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is an appropriate patron saint for an oratorio certain only of its uncertainty.

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questions: Who are we? What do we want? What can we expect? Ignoring the Angel, they burst on with a hallelujah by an early 17th-century German composer, Johann Hermann Schein. While the Prophet and the Angel consider the nature of God, the chorus finds another hallelujah of the same period, by Monteverdi. As altercation goes on among the soloists, and between them and the chorus, the focus swivels back and forth between the great questions and the actuality of performance (‘We are the choir’). The Angel at one point delivers a plainsong hallelujah as blues, the orchestra a giant swirl. An oratorio, the Narrator concludes, must present an image of its time; since this third part has failed in that task, it must lapse into silence.

IV. What do we keep silent about?

Again the question is spoken by the chorus, this time without accompaniment, as the Narrator speculates on the silence of the future, the absence now of any future. To broken fanfares, the Prophet announces: ‘There is no future. There is no forwards.’ Angel and Prophet dispute this before moving into discussion once more of the work they find themselves in. This is an oratorio that cannot end, being only a fragment. Existence without hope, the chorus declares, leaves only the hallelujah, and they move towards two settings they sing simultaneously, the women singing Mozart to the men’s Bruckner. But everything comes to an end, says the Narrator; this is the oratorio’s optimism. The chorus then cue the Narrator that there must be a Scene, and he duly returns us to September 11, 2001. This, however, is a scene that indeed has no ending.

PAUL GRIFFITHS © 2016

In addition to the vocal soloists, narrator and four-part chorus, Halleluja

calls for a large orchestra of four flutes (doubling piccolo and alto flute),

two oboes, cor anglais, two clarinets, bass clarinet, two bassoons and

contrabassoon; four horns, three trumpets, three trombones and tuba;

timpani and a large percussion section; two harps; piano and celesta;

accordion; and strings.

Halleluja – Oratorium balbulum was commissioned by the Salzburg

Festival, Wiener Konzerthaus in collaboration with Wien Modern, Müpa

Budapest (Palace of the Arts), WDR and Acht Brücken/Musik für Köln,

Tonhalle-Gesellschaft Zürich, and the Sydney Symphony Orchestra with

the generous support of Geoff Stearn. It was premiered at the 2016

Salzburg Festival by the Vienna Philharmonic and Hungarian Radio Choir,

conducted by Daniel Harding with soloists Iris Vermillion and Topi Lehtipuu

and narrator Peter Simonischek. This is the Australian premiere.

This is an oratorio that cannot end, being only a fragment.

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INTERVIEW

Péter Eötvös’s home is in one of the leafy suburbs of Budapest, far away from the bustle and noise of the city. Situated behind a well- kept garden, the house is unimposing from the outside, but spacious and light once we are inside. The matching colours of the walls and furniture are warm and pleasing to the eye, and there is plenty of room downstairs for a comfortable work space next to the open-plan kitchen and living area. This is where we sit with strong smoky tea and an assortment of equally smoky nuts to talk about Eötvös’s recent work, Halleluja – Oratorium balbulum.

‘I was guest-conducting a Bartók program with the Vienna Philharmonic Orchestra at the Salzburg Festival back in 2008,’ he begins. ‘We were only in the interval of the first rehearsal, when one of the principal players, who was also a member of the programming committee, came to me and asked if I would consider writing an oratorio for their orchestra. The exact reasons why they wanted an oratorio were never revealed to me; but it may have helped that they liked my rubato style of conducting Bartók’s Bluebeard’s Castle and thus, my interest in interpreting sung words.’

The text for Halleluja is by one of the foremost writers in contemporary Hungarian literature, Péter Eszterházy. The two Péters knew each other for a long time; apart from their friendship, they met regularly at the meetings of the Berlin Academy of the Arts, of which they were both members. Working on the score of Halleluja was truly a joint artistic venture, symbolically expressed on the score’s first page which says: Music and text written by E. P. & E. P. In fact Eötvös’s only condition to the Vienna Philharmonic’s request was that the libretto be written by Eszterházy. ‘He is a highly regarded writer in Austria, as most of his novels are translated into German,’ says Eötvös. ‘He and I share a similar sense of humour, something

Hallelujahs and FragmentsLast year, Sydney cellist Zoltán Szabó visited Péter Eötvös in Budapest to talk about his new oratorio

I value very much. Also, his way of thinking about music is similar to how I think about literature. We worked intensely and extremely well. As it turned out, it was not only our first, but also our last project together, as he died a few days before the first performance in Salzburg.

‘In an oratorio, there is always a narrator,’ Eötvös explains. ‘As I was fascinated by Eszterházy’s way of putting words together, I knew immediately that my Narrator would speak in prose to make those erudite sentences clear.’

Z.S. The work is called Halleluja  – Oratorium balbulum. This title needs some explanation…

P.E. After quite some research, we came across the figure of an amazing ninth-century monk, musician, poet, called Notker Balbulus from Sankt Gallen in Switzerland. He was a stutterer which appealed to Eszterházy, who said that ‘words are important to those for whom they are difficult’. Needless to say, the stuttering had motivating implications regarding both the text and the music. The Prophet is not the historical Notker, though, although he definitely inspired us.

So, with a Prophet as the protagonist, is this a sacred oratorio?

Next to the Prophet, there is also a solo part for mezzo-soprano, that of the Angel. But no, this is not a sacred work. After all, these days, there are profane oratorios, rock oratorios, you name it. I would say our work treats a sacred theme in a profane way. Also, the real protagonist of this composition is not so much the Prophet or the Angel, but the chorus, the voice of the people. They are doomed to respond with a commentary of a hallelujah whatever turns their life will take. In various ways, the hallelujahs hold up a mirror to our society. Their inclusion throughout the work was Eszterházy’s idea.

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These hallelujahs are fundamental pillars to the oratorio then. How did you choose them and make them such organic part of this work?

As is often the case in his works, Eszterházy’s text is full of references, quotations, and paraphrases. Thus, the concept of borrowed material was already there. I took that one step further when I started to search for pre-existing hallelujah settings. Naturally, I found hundreds of them; in some cases, I did not even know their composer before. After an extended selection process, I decided to use hallelujahs originally composed by Monteverdi, Schein, Handel, Bach, and perhaps my favourite: Mussorgsky’s chorus from Boris Godunov. I added only one hallelujah setting on my own and I composed that in Bartók’s style. I have also included a hallelujah that Mozart composed, which is a canon for female voices, and another by Bruckner for male voices. Towards the end of the work, I juxtaposed them, as, when performed simultaneously, they sound incredibly good together. I am rather proud of that.

The title also says ‘Four fragments’…

And that is very important. On a superficial level, of course, all the hallelujahs are fragments themselves. But that is not what the title suggests. When Eszterházy first wrote the text, he came up with a substantial work in its own right, a kind of a short drama, which was, however, much longer than what we feasibly could work with. In the end, only the most concentrated fragments of it remained. The nature of these fragments means that musical, historical or even political references notwithstanding, Eszterházy’s potent text and my composition bring up momentous topics and ask questions, but cannot offer answers.

ZOLTÁN SZABÓ © 2017

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William Walton Belshazzar’s FeastPeter Coleman-Wright baritone Sydney Philharmonia Symphony Chorus Tasmanian Symphony Orchestra Chorus

‘No man, I thought, as slim and pale as that,’ wrote C.B. Rees after hearing the first performance of Belshazzar’s Feast in 1931, ‘could possibly be strong enough to write music of such savage splendour’. The exciting impact of this music was irresistible, and remains so. There has always been an element of surprise in it – whence came such a startlingly novel approach to the conventions of large-scale choral/orchestral music, and who was this 29-year-old composer, William Walton? He had treasured up as a deep design the music that burst on the public when Malcolm Sargent conducted Belshazzar’s Feast at that Leeds Festival. Walton, commissioned by the BBC to write a large-scale choral work, had found it hard to choose a subject. He wanted it to be a familiar one, and the eventual proposal of Belshazzar’s Feast, it can be seen in retrospect, is a tribute to the English oratorio tradition, dominated from Handel to Mendelssohn and beyond by Old Testament subjects. Perhaps for that reason too, it has since been taken into the repertoire of most competent choirs, although the authorities who ran the Three Choirs Festival long banned it from performance in that church-based festival.

The text was assembled from the Bible by Osbert Sitwell, one of the Sitwell brothers Walton had met at Oxford and who had taken him into their home as an ‘adopted, or elected brother’. Walton’s setting of their sister Edith’s poems in Façade (1921–2) had gained him notoriety as a modernist and an artistic extremist. Belshazzar’s Feast, his next major musical encounter with words, was recognised as coming from the same milieu.

Although the text is an account of the fall of Belshazzar and his Babylonian empire through outraged Jewish eyes, there is a strong suspicion that both Sitwell and Walton were at least as much attracted to the pagan magnificence of the description as to the moral repugnance of the narrative. It is certainly true that Belshazzar’s Feast is a piece of historical drama, rather than a religious reflection on the text, but this is true of many of Handel’s oratorios (including, to a degree, his own Belshazzar). At the height of the Depression in 1931, the barbarism of Babylon’s worship of the God of Gold had a secular meaning.

Walton knew that a work by Berlioz was to be performed at the same Leeds Festival – accounts vary as to whether it was the Requiem or the Te Deum, both works which require brass choirs in addition to very large choral and orchestral forces.

KeynotesWALTON

Born Oldham, 1902 Died Ischia, Italy, 1983

William Walton was the major English composer to emerge between Vaughan Williams and Britten. Born into a family of singers, his early influence was the Anglican choral tradition. He was a student at Oxford, but left without a degree in 1920, having failed to pass an obligatory exam. He became an ‘adopted, or elected brother’ of the Sitwell family, who gave him a ‘lively cultural education’ as well as introducing him to the delights of Italy. Walton’s stature was assured by his first symphony, an entertainment called Façade, concertos for violin, viola and cello, and Belshazzar’s Feast.

BELSHAZZAR’S FEAST

Belshazzar’s Feast was commissioned by the BBC and premiered at the Leeds Festival in 1931, when Walton was 29. From the first it made a tremendous impact on listeners – exciting and irresistible music, recognised for its ‘savage splendour’. It belongs to the 18th-century tradition of the English oratorio, with a sacred story dramatised (but not staged) in music, although Walton himself thought of it as a choral symphony rather than an oratorio.

Knowing there would be many brass players at Leeds for a Berlioz performance, Walton scored the music extravagantly for a large orchestra with two brass bands, placed either side of the stage. There is a strong jazz influence in the rhythms and instrumentation.

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William Walton – ‘slim and pale’

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TSThe story is that Walton went to Sir Thomas Beecham for advice as to whether he too should use the extra brass bands. Beecham, observing the work in progress, said grandly ‘You’ll never hear the thing more than once – throw in a brass band’. Walton used two, disposed spatially, as in Berlioz’s Requiem, on either side of the main forces. As a chorister at Christ Church Cathedral, Oxford, he had reinforced his familiarity with choral music absorbed as a boy in the north of England. Walton’s arresting idiom for choral music with orchestra also had a partial model in his friend Constant Lambert’s Rio Grande, a setting of a poem by another of the Sitwells, Sacheverell. Both Lambert and Walton were attracted to jazz, integrating its rhythms and some of its instrumentation into their own music.

Walton’s Belshazzar’s Feast, however, is more ambitious than Lambert’s masterpiece. Walton said that he thought of it not as an oratorio but as a choral symphony. It falls into three continuous movements, the first, as in Walton’s concertos, a  slow movement. After a trombone fanfare, the warning of the Prophet Isaiah is declaimed by male voices in harsh, dissonant unaccompanied recitative. The exiles’ lament is a setting of Psalm 137, in which Walton’s characteristic lyricism has an undercurrent of bitterness. When this develops into gladness, then triumphant scorn and certainty of Babylon’s destruction, the listener grasps how apt is the composer’s musical personality to his subject. John Warrack has described Walton at this time as a man of nervous vitality and sense of violence, coupled with a bitter melancholy.

The baritone soloist makes his entrance during the singing of the Psalm. Next, unaccompanied, he describes the King’s feast, enumerating the riches that make Babylon great in a matter-of-

The Writing on the WallAccording to modern scholars more than 4000 Jews had been exiled to Babylon at the time of Belshazzar. In a calculated insult, Belshazzar uses sacred vessels looted from the Temple of Jerusalem in a sumptuous and decadent feast. Rembrandt’s painting shows the moment in the feast when a disembodied hand appears and writes ‘mene, mene, tekel upharsin’ (terms for three particular coins in Aramaic). Daniel is called upon to decipher and he interprets the divine graffiti to mean ‘Thou [Belshazzar] art weighed in the balance and found wanting’. That night Belshazzar is murdered and Babylon falls to the enemy.

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fact way which made Walton refer to this passage as ‘the shopping list’. The account of the feast itself is from Daniel V. In a combination of march and song, the various deities are suggested in the sounds of choir and orchestra: golden instruments for the gods of gold; female voices, flute, glockenspiel and triangle for the gods of silver; the iron god is praised by male voices, violins col legno and xylophone, and the stone and brass gods in equally appropriate sounds. Here the brass bands break out to terrific effect. Walton, always a slow, even a ‘reluctant’ composer, was held up for seven months at the word ‘gold’, but the effectiveness of the jagged, jazzy rhythms and sounds of this section show that it was worth waiting.

After a reprise comes the eerie representation of the writing on the wall, with its skeletal accompaniment, then the minimalist but overwhelming daring of the choir’s amazed underlining of Belshazzar’s death. The final section is a setting of Psalm 81, a song of triumph over the fallen city, broken – as it needed to be, lest it become merely wearing – by a quieter passage whose imagery, like that of the rest of the work, grows naturally out of the text. ‘The trumpeters and pipers are silent’ – but not for long!

© DAVID GARRETT

In addition to the soloist and chorus, Belshazzar’s Feast calls for a mighty

orchestra with two flutes, piccolo, two oboes, three clarinets (doubling on

E flat and bass clarinet), two bassoons, contrabassoon and alto saxophone;

four horns, three trumpets, three trombones and tuba; timpani and a large

percussion sections; two harps; organ; strings; and two optional brass

bands, each comprising three trumpets, three trombones and tuba.

The SSO first performed Belshazzar’s Feast in 1944, conducted by

Malcolm Sargent with soloist Raymond Beatty. (The same guest artists had

given the Australian premiere in Melbourne.) Our most recent performances

were in 2009 with Vladimir Ashkenazy, Peter Coleman-Wright and Sydney

Philharmonia Choirs.

These performances of Belshazzar’s Feast by William Walton are given by

permission of Boosey & Hawkes Pty Ltd, as agent for Oxford University Press.

Walton, always a slow, even a ‘reluctant’ composer, was held up for seven months at the word ‘gold’ in ‘Praise ye the god of gold’ – the effectiveness of the jagged, jazzy rhythms in this section suggests it was worth the wait.

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David Robertson is a compelling and passionate communicator whose stimulating ideas and music-making have captivated audiences and musicians alike. A consummate musician and masterful programmer, he has forged strong relationships with major orchestras throughout Europe and North America.

He made his Australian debut with the SSO in 2003 and soon became a regular visitor to Sydney, with highlights including the Australian premiere of John Adams’ Doctor Atomic Symphony and concert performances of The Flying Dutchman. In 2014, his inaugural season as Chief Conductor and Artistic Director, he led the SSO on a seven-city tour of China. More recent highlights have included presentations of Elektra, Tristan und Isolde, Beethoven’s Missa Solemnis, and Porgy and Bess; the Australian premiere of Adams’ Scheherazade.2 violin concerto, Messiaen’s From the Canyons to the Stars and Stravinsky ballet scores (also recorded for CD release), as well as the launch of the SSO at Carriageworks series.

Last year he began his 12th season as Music Director of the St Louis Symphony. Other titled posts have included Principal Guest Conductor of the BBC Symphony Orchestra, Music Director of the Orchestre National de Lyon and resident conductor of the Jerusalem Symphony Orchestra. An expert in 20th- and 21st-century music, he has been Music Director of the Ensemble Intercontemporain in Paris (where composer and conductor Pierre Boulez was an early supporter).

He is also a champion of young musicians, devoting time to working with students and young artists.

David Robertson is a frequent guest with major orchestras and opera houses worldwide, conducting the New York Philharmonic, Los Angeles Philharmonic, Boston Symphony Orchestra, Chicago Symphony Orchestra, the Philadelphia and Cleveland orchestras, Berlin Philharmonic, Staatskapelle Dresden, BBC Symphony Orchestra and Hong Kong Philharmonic Orchestra, as well as conducting at La Scala, Opéra de Lyon, San Francisco Opera and the Bavarian and Hamburg state operas. In 2014 he conducted the controversial but highly acclaimed Metropolitan Opera premiere of John Adams’ Death of Klinghoffer.

His awards and accolades include Musical America Conductor of the Year (2000), Columbia University’s 2006 Ditson Conductor’s Award, and the 2005–06 ASCAP Morton Gould Award for Innovative Programming. In 2010 he was elected a Fellow of the American Academy of Arts and Sciences, and in 2011 a Chevalier de l’Ordre des Arts et des Lettres.

David Robertson was born in Santa Monica, California, and educated at the Royal Academy of Music in London, where he studied French horn and composition before turning to conducting. He is married to pianist Orli Shaham.

The position of Chief Conductor and Artistic Director is also supported by Principal Partner Emirates.

David RobertsonTHE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

THE ARTISTS

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Michelle DeYoung is in demand worldwide, appearing regularly with the New York Philharmonic, Boston and Chicago symphony orchestras, Cleveland Orchestra, San Francisco Symphony, Pittsburgh Symphony Orchestra, The Met Orchestra, London Symphony Orchestra, BBC Symphony Orchestra, Vienna Philharmonic, and the Royal Concertgebouw Orchestra, and performing at prestigious festivals. She appears frequently with the SSO and recently sang Kundry (Parsifal) in concert for Opera Australia.

Equally at home in opera, she has appeared with the Metropolitan Opera, Lyric Opera of Chicago, Teatro alla Scala, Bayreuth Festival, Berliner Staatsoper, Paris Opera, Theater Basel and Tokyo Opera. Her repertoire includes the title roles in Samson et Dalila and The Rape of Lucretia; a number of Wagner roles and Judith in Bluebeard’s Castle, which she sings with the SSO next week.

Her award-winning discography includes Mahler’s Kindertotenlieder, Third Symphony and Das klagende Lied (Michael Tilson Thomas, San Francisco Symphony); The Trojans (Colin Davis, London Symphony Orchestra), and two further recordings of Mahler’s Third (Bernard Haitink, Chicago and Manfred Honeck, Pittsburgh).

In the 2017–18 season, she makes her debut at English National Opera singing Amneris (Aida), and appears in concert with the Philharmonia, London Philharmonic, Hong Kong Philharmonic and Dallas Symphony orchestras.

Michelle DeYoung mezzo-soprano

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Topi Lehtipuu tenor

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Topi Lehtipuu is one of Finland’s most highly individual artists. In addition to his international career as a tenor, he has been Director of the Helsinki Festival since 2015. Previously he was artistic director of the Turku Music Festival (2010–15), and of the Joroinen Music Days chamber music festival.

As a singer, he has appeared in concert halls and opera houses throughout the world, and enjoys close working relationships with conductors such as John Eliot Gardiner, René Jacobs, Riccardo Muti, Simon Rattle and Esa-Pekka Salonen. A versatile and skilled stage performer, his repertoire ranges from early music and Bach to contemporary creations. Recent highlights include acclaimed performances as Pylade in Gluck’s Iphigénie en Tauride (Salzburg Whitsun Festival) and semi-staged performances of Bach’s St Matthew Passion with Peter Sellars, Simon Rattle and the Berlin Philharmonic. He created the role of The Prophet in Eötvös’ Halleluja at the 2016 Salzburg Festival, with revivals in Vienna, Budapest, Cologne and Zurich.

He features on numerous recordings, including acclaimed DVD recordings of The Rake’s Progress and The Mastersingers, and multiple versions of the St Matthew Passion, including a DVD conducted by Simon Rattle with the Berlin Philharmonic.

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Australian Peter Coleman-Wright is one of the most versatile singers in the world today. His career has taken him to the great opera houses and concert halls of the world, most notably with Royal Opera House Covent Garden, the Met in New York, English National Opera and Paris Opera, collaborating with world-class conductors and directors.

He is a frequent guest with Opera Australia, where his roles have included Onegin, Don Giovanni, Count Almaviva, Chorèbe (The Trojans), Orestes (Iphigénie en Tauride), Wolfram (Tannhäuser), Golaud (Pelléas et Mélisande), Germont (La Traviata), Billy Budd, Sweeney Todd, the seven baritone roles in Death in Venice, Mandryka (Arabella), Pizarro, Balstrode (Peter Grimes) and Macbeth. In concert, he has performed throughout Britain with all the leading orchestras, in the major European capitals, and at New York’s Carnegie and Avery Fisher halls, and he performs frequently with the Australian symphony orchestras.

Engagement highlights include Glanert’s Caligula (Teatro Colon and in concert at the Concertgebouw Amsterdam, the first performances of Death in Venice in Moscow, Adès’ opera Powder Her Face, and Dean’s Last Days of Socrates with the Los Angeles Philharmonic and the Melbourne Symphony Orchestra, which was named Performance of the Year in the Art Music Awards. He was awarded the Order of Australia in 2015 and holds an honorary doctorate from Melbourne University.

Peter Coleman-Wright baritone

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Martin Crewes narrator

Martin Crewes appeared most recently in the Hayes Theatre production of Assassins and last year created the role of Steve Blauner in Dream Lover. Other credits include Sweet Charity, Doctor Zhivago, South Pacific, Chess, Hair, Guys and Dolls, Joseph and the Amazing Technicolor Dreamcoat, Aspects of Love, Oh! What a Night, The Man From Snowy River – Arena Spectacular, and West Side Story. And he has performed the role of Marius (Les Misérables) in London’s West End, Asia, South Africa and in the Scandinavian Concert Tour. UK appearances include Pal Joey, The Woman in White, and the Royal Shakespeare Company production of Merry Wives – The Musical with Judi Dench.

He won Sydney Theatre and Glug awards for Doctor Zhivago and Green Room awards for Hair and Sweet Charity, and received Helpmann Award nominations for Oh! What a Night, Doctor Zhivago and Sweet Charity.

He has appeared on Australian television in A Place to Call Home, Crownies and Neighbours, and in the UK in Dream Team, Casualty, Heartbeat and Bad Girls. His feature film credits include Resident Evil, DOA: Dead or Alive and the Aussie horror movie Patrick.

Born in London, Martin Crewes grew up in Perth and is a graduate of WAAPA.

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THE CHOIRS

Sydney Philharmonia Choirs

Sydney Philharmonia Choirs presents the art of choral singing at the highest standard, and develops the talents of those with a passion for singing in Sydney and beyond. Founded in 1920, it has become Australia’s finest choral performing arts company and appears regularly at the Sydney Opera House.

Led by Music Director Brett Weymark since 2003, Sydney Philharmonia comprises six choirs that perform a range of repertoire from choral classics to musical theatre and commissions by Australian composers. It also presents its own annual season and collaborates with leading conductors, soloists and orchestras in Australia and overseas. In 2002, Sydney Philharmonia Choirs was the first Australian choir to sing at the BBC Proms (Mahler’s Eighth Symphony under Simon Rattle), returning again in 2010.

The choirs perform in the SSO’s subscription series every year. In 2016 Brett Weymark conducted Sydney Philharmonia Chamber Singers in a Haydn and Mozart program, and the Symphony Chorus performed Haydn’s Creation, Beethoven’s Ninth and a semi-staged production of Porgy and Bess. This year’s collaborations have included Brahms choral songs, Debussy’s Pelléas et Mélisande, Mahler’s Third Symphony, Ravel’s Daphnis et Chloé and the annual Last Night of the Proms.

Highlights of Sydney Philharmonia’s own concert series this year have included Bach’s St Matthew Passion, Rossini’s Stabat Mater, Tudor Portraits and Elgar’s Dream of Gerontius, and in December Messiah.

sydneyphilharmonia.com.au

BRETT WEYMARK Music Director

Brett Weymark is one of the foremost choral conductors in Australia. He has held positions with the Song Company, Opera Australia, Pacific Opera, Sounds Baroque, Cantillation and the University of Western Sydney, as well as working for many of Australia’s major musical organisations, and in 2002 he was awarded a Centenary Award for services to music.

Since he was appointed Music Director of Sydney Philharmonia Choirs in 2003, he has conducted the choirs in performances throughout Australia and internationally, and has led them to accolades such the Helpmann Award- winning performances of Stravinsky’s Oedipus Rex and Symphony of Psalms, directed by Peter Sellars, as well as preparing them for conductors such as Simon Rattle, Charles Mackerras, Vladimir Ashkenazy, Edo de Waart, Charles Dutoit and David Robertson. He initiated the annual ChorusOz event and has developed programs such as Singing at the House and Festival Chorus.

He has also conducted the Sydney, West Australian and Tasmanian symphony orchestras, Orchestra of the Antipodes, Sydney Youth Orchestra, and productions for WAAPA, Pacific Opera and OzOpera.

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Brett Weymark Music Director Elizabeth Scott Music Director, VOX Hannah Mason General Manager Claire Howard Race Assistant Chorusmaster & Principal Rehearsal PianistRehearsal chorusmasters: Sarah Penicka-Smith, David Anthony Taylor

Rehearsal pianists: Ben Burton, Paul Fitzsimons, Ying Ho, Estella Roche, Ingrid Sakurovs

Language coaches: Tanja Binggeli, Chris Matthies

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SOPRANOSNicole Baz Jodie Boehme Nikki Bogard Anita Burkart Claire Christie Alexandra Little Maria Lopes Georgia Moore Gabrielle Nottle Jayne Oishi Judith Pickering Maya Schwenke Amelia Shaw Katherine Stein

Katherine Thompson Charisse van Niekerk Narelle Vance Abbey Whittle Dorothy Wu

ALTOSIsabel Colman Karen Cortez Jessica Farrell Vesna Hatezic Sonia Kao Rachel Maiden

Madi Moore Lindsey Paget-Cooke Victoria Pham Beverley Price Megan Solomon Fiona Young Priscilla Yuen Nicole Zhou

TENORSJoshua Borja Vitor Cortes-Borges Thomas Hallworth

Steven Hankey Selwyn Lemos Rhys Little Alex McEwan Tim Matthies Rajah Selvarajah Robert Thomson Alex Walter

BASSESTim Cerexhe Andy Clare Ian Davies Nicholas Davison Simon Harris

Tom Hazell Jason McFarland Samuel Morrell-Feitelberg Liam Mulligan Bruce Munro Andrew Pettingell-Ward Bruce Watson Ben Yi Stephen Young

EÖTVÖS Sydney Philharmonia Chamber Singers & VOX

SOPRANOSDebra Baker Georgina Bitcon Anne Blake Valerie Blechar Olga Bodrova* Natalie Brown Claire Christie* Anne Cooke* Pam Cunningham Shamistha De Soysa Vanessa Downing Caris Doyle Lauren Fisher Luda Goncharova Natalie Gooneratne Judith Gorry Belinda Griffiths Caroline Gude* Nina Harris Rachel Harris* Keryn Hassall Kellie Hewitt-Taylor Sue Justice* Timothea Lau Jessica Lee

Bernadette Mitchell Nathalie O’Toole* Anita Paas Dympna Paterson Linda Peach Laura Platts* Georgia Rivers Jolanda Rotteveel Elani Rottier Allison Rowlands Meg Shaw Katherine Thompson Sarah Thompson Jessica Veliscek Carolan Marit Waaseth Sara Watts Genni Wetherell Jacqui Wilkins

ALTOSLeonie Armitage Meaghan Backhouse Amanda Baird Gillian Behrens Katie Blake Alison Dutton Helen Esmond Jessica Farrell* Jan Fawke* Jenny Harry* Kathryn Harwood* Margaret Hofman* Sarah Howell Tracey Jordan* Rachel Maiden Janice McKeand* Maggie McKelvey Hannah Mason* Tijana Miljovska Penelope Morris Marj O’Callaghan Virginia Rowlands Susannah Russell Debbie Scholem

Johanna Segall Jan Shaw Megan Solomon Noriko Yamanaka Lucy Yu

TENORSMatthew Allchurch Malcolm Day Robert Elliott* Tony Green* Adela Greenbaum* Steven Hankey Nick Hazell Jude Holdsworth* Michael Kertesz Vincent Lo Joao Lourenco* Frank Maio* Dimitry Moraitis* George Panaretos Martin Stebbings Alex Walter*

BASSESPeter Callaghan Julian Coghlan* Daryl Colquhoun Paul Couvret* Philip Crenigan* Robert Cunningham James Devenish* Tom Forrester-Paton Paul Green* Eric Hansen Miles Harris Simon Harris Derek Hodgkins David Jacobs Ian Jurd Fintan Keane Bruce Lane Johann Loibl Mark McGoldrick* Paul Myatt Eric Nelson Ian Pettener* Peter Poole* Michael Ryan* = semi-chorus

WALTONSydney Philharmonia Symphony Chorus

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Tasmanian Symphony Orchestra Chorus

Celebrating 25 years with the Tasmanian Symphony Orchestra this year, the TSO Chorus has marked the anniversary with sold-out performances of Beethoven Nine and Bizet’s Carmen. In addition to concerts with the TSO and these concerts in Sydney, performance highlights include concerts with the West Australian and Adelaide symphony orchestras, Orchestra Victoria, Hong Kong Philharmonic Orchestra and the Australian International Symphony Orchestra Institute. Earlier this year, members of the TSO Chorus participated in a Mitsingkonzert in the Berlin Philharmonie.

Recent accolades for the TSO Chorus include a Helpman Award-winning performance of Tristan und Isolde conducted by the TSO’s Chief Conductor and Artistic Director, Marko Letonja. With a reputation for innovative performances under the direction of Chorusmaster June Tyzack, the TSO Chorus has featured in the Spiegeltent for Ten Days on the Island, collaborated with the Festival of Voices, developed a distinctive presence at MONA (Mofo and Synaesthesia festivals), and in 2016 was the opening act of Dark Mofo on Hobart’s waterfront.

These performances of Belshazzar’s Feast will be followed by Vaughan Williams’ enigmatic Flos Campi in Hobart’s Federation Concert Hall with the TSO’s Principal Viola Stefanie Farrands.

www.tsochorus.com.au

JUNE TYZACK Chorusmaster

Tasmanian-born June Tyzack studied piano and harpsichord in Hobart and London and trained as a répétiteur at the Sydney Conservatorium. In addition to her role as Chief Vocal Coach of the Opera Studio, she held positions with the Australian Brandenburg Orchestra, Opera Australia and Pacific Opera, and worked as a répétiteur and pit musician with the Australian Opera and Ballet Orchestra, Belvoir Street Theatre and Sydney Theatre Company.

In 2001 she was appointed Chorusmaster of the Tasmanian Symphony Orchestra. Under her direction, the TSO Chorus has gained a national profile through collaborative performances with interstate symphonic choirs. Her dynamism has produced cutting edge choral performances in numerous festivals and unusual venues, including the Spiegeltent (Ten Days on the Island) and MONA (Mofo, Dark Mofo, Synaesthesia).

June Tyzack Chorusmaster

Karen Smithies Répétiteur

Alexis Hargrave Artistic & Chorus Coordinator

21

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

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Sydney Opera House TrustMr Nicholas Moore ChairThe Hon Helen CoonanMr Matthew FullerMr Chris Knoblanche am

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Managing Director Michael Nebenzahl | Editorial Director Jocelyn Nebenzahl Manager—Production—Classical Music David Cooper

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

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SOPRANOSAlice Bowman-Shaw Carmelita Coen Michaela Darlington* Madeleine Dyer Felicity Gifford Debra Jensen Felicity Kohut Bernadette Large Loretta Lohberger Stephanie McDonald* Shaunagh O’Neill Christine Ovens* Julianne Panckridge Abigail Radford Meg Scanlan Sharon Sherman Yasmin Shoobridge Frances Underwood

ALTOSClaire Blichfeldt Beth Coombe Sally Crosby* Elizabeth Eden Sue Harradence Clare Hawkins Kirsten Jones Marie Keane Mary McArthur Louise Rigozzi Jennifer Thain* Henni Veit Beth Warren Michelle Warren

TENORSMichael Kregor Bill MacDonald Tony Marshall Simon Milton* Dianne O’Toole David Pitt James Powell-Davies* Alexander Rodrigues

BASSESJohn Ballard Peter Cretan Jack Delaney Greg Foot Sam Hindell* David Horn* Michael Hutch Lincoln Law Reg Marron Tony Parker Paul Radford Philip Sabine Anthony Sprent Grant Taylor* = semi-chorus

WALTON TSO Chorus

22

SYDNEY SYMPHONY ORCHESTRA

Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony Orchestra has evolved into one of the world’s finest orchestras as Sydney has become one of the world’s great cities. Resident at the iconic Sydney Opera House, the SSO also performs in venues throughout Sydney and regional New South Wales, and international tours to Europe, Asia and the USA have earned the orchestra worldwide recognition for artistic excellence.

Well on its way to becoming the premier orchestra of the Asia Pacific region, the SSO has toured China on four occasions, and in 2014 won the arts category in the Australian Government’s inaugural Australia-China Achievement Awards, recognising ground-breaking work in nurturing the cultural and artistic relationship between the two nations.

The orchestra’s first chief conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux,

Sir Charles Mackerras, Zdeněk Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from 2009 to 2013. The orchestra’s history also boasts collaborations with legendary figures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

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

Other releases on the SSO Live label, established in 2006, include performances conducted by Alexander Lazarev, Sir Charles Mackerras and David Robertson, as well as the complete Mahler symphonies conducted by Vladimir Ashkenazy.

This is David Robertson’s fourth year as Chief Conductor and Artistic Director.

DAVID ROBERTSON THE LOWY CHAIR OF

CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

PATRON Professor The Hon. Dame Marie Bashir ad cvo

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Andrew HaveronCONCERTMASTER SUPPORTED BY VICKI OLSSON

David RobertsonTHE LOWY CHAIR OF CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

Toby ThatcherASSISTANT CONDUCTOR SUPPORTED BY RACHEL & GEOFFREY O’CONOR AND SYMPHONY SERVICES INTERNATIONAL

Brett DeanARTIST IN RESIDENCE SUPPORTED BY GEOFF AINSWORTH am & JOHANNA FEATHERSTONE

www.sydneysymphony.com/SSO_musicians

FIRST VIOLINS Thomas Bowes* CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Sophie Cole Claire Herrick Georges Lentz Nicola Lewis Emily Long Alexandra Mitchell Alexander Norton Anna SkálováMadeleine Boud*Sercan Danis*Gemma Lee†

Minxian Sun*Cristina Vaszilcsin*Andrew Haveron CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Jenny Booth Brielle Clapson Amber Davis Léone Ziegler

SECOND VIOLINS Kirsty Hilton Marina Marsden Marianne Edwards Emma Jezek ASSISTANT PRINCIPAL

Victoria Bihun Rebecca GillEmma Hayes Shuti Huang Monique Irik Wendy KongStan W Kornel Benjamin Li Nicole Masters Maja Verunica

VIOLASRoger Benedict Tobias Breider Anne-Louise Comerford

Justin Williams ASSISTANT PRINCIPAL

Sandro Costantino Rosemary Curtin Jane Hazelwood Graham Hennings Leonid Volovelsky Jacqueline Cronin°Andrew Jezek°Kuan Liu*Stuart Johnson Justine Marsden Felicity Tsai Amanda Verner

CELLOSUmberto Clerici Catherine Hewgill Edward King Kristy Conrau Timothy Nankervis Christopher Pidcock Adrian Wallis David Wickham Ruben Palma†

Paul Stender*Leah Lynn ASSISTANT PRINCIPAL

Fenella Gill Elizabeth Neville

DOUBLE BASSESKees Boersma Alex Henery Steven Larson Richard Lynn Jaan Pallandi Josef Bisits°Hugh Kluger°Kaixuan Zhang*David Campbell Benjamin Ward

FLUTES Emma Sholl A/ PRINCIPAL

Carolyn Harris Rosamund Plummer PRINCIPAL PICCOLO

Kate Proctor*

OBOESShefali Pryor David Papp Alexandre Oguey PRINCIPAL COR ANGLAIS

Diana Doherty

CLARINETSFrancesco Celata A/ PRINCIPAL

Craig Wernicke PRINCIPAL BASS CLARINET

David McGregor†

Christopher Tingay

BASSOONSTodd Gibson-Cornish Fiona McNamara Melissa Woodroffe°Matthew Wilkie PRINCIPAL EMERITUS

Noriko Shimada PRINCIPAL CONTRABASSOON

SAXOPHONEChristina Leonard*

HORNSTim Jones*Euan Harvey Marnie Sebire Lee Wadenpfuhl*Ben Jacks Geoffrey O’Reilly PRINCIPAL 3RD

Rachel Silver

TRUMPETSDavid Elton Paul Goodchild Anthony Heinrichs Yosuke Matsui Fletcher Cox*Timothy Keenihan*Brody Linke*Michael Olsen*Jenna Smith†

TROMBONESScott Kinmont Nick Byrne Christopher Harris PRINCIPAL BASS TROMBONE

Jarrod Callaghan*Ashley Carter*Nigel Crocker*Andrew Nissen*Mitchell Nissen*Amanda Tillett†

Ronald Prussing

TUBASteve Rossé Jason Catchpowle*Andrew Jefferies*

TIMPANIMark Robinson ASSISTANT PRINCIPAL

Richard Miller

PERCUSSIONRebecca Lagos Timothy Constable Tim Brigden*Joshua Hill*Philip South *

HARP Louise JohnsonEmily Granger*

ORGANDavid Drury*

PIANO & CELESTASusanne Powell*

ACCORDIONJames Crabb*

Bold = PRINCIPALBold Italics = ASSOCIATE PRINCIPAL

° = CONTRACT MUSICIAN* = GUEST MUSICIANGrey = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT

THE ORCHESTRA

The men of the Sydney Symphony Orchestra are proudly outfitted by Van Heusen.

The men’s tails are hand tailored by Sydney’s leading bespoke tailors, G.A. Zink & Sons.

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Sydney Symphony Orchestra StaffACTING MANAGING DIRECTOR

John Horn

EXECUTIVE ADMINISTRATOR

Lisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNING

Raff Wilson

ARTISTIC PLANNING MANAGER

Sam Torrens

ARTIST LIAISON MANAGER

Ilmar Leetberg

LIBRARY MANAGER

Alastair McKean

LIBRARIANS

Victoria GrantMary-Ann Mead

LEARNING AND ENGAGEMENT

DIRECTOR OF LEARNING & ENGAGEMENT

Linda Lorenza

EMERGING ARTISTS PROGRAM MANAGER

Rachel McLarin

EDUCATION MANAGER

Amy WalshTim Walsh

EDUCATION OFFICER

Laura Andrew

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout Kerbert

ORCHESTRA MANAGER

Rachel Whealy

ORCHESTRA COORDINATOR

Rosie Marks-Smith

OPERATIONS MANAGER

Kerry-Anne Cook

HEAD OF PRODUCTION

Jack Woods

STAGE MANAGER

Suzanne Large

PRODUCTION COORDINATORS

Elissa SeedBrendon Taylor

HEAD OF COMMERCIAL PROGRAMMING

Mark Sutcliffe

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J Elliott

SENIOR SALES & MARKETING MANAGER

Penny Evans

MARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-Meates

MARKETING MANAGER, CLASSICAL SALES

Matthew Rive

SENIOR GRAPHIC DESIGNER

Christie Brewster

GRAPHIC DESIGNER

Tessa Conn

MARKETING MANAGER, DIGITAL & ONLINE

Meera Gooley

SENIOR ONLINE MARKETING COORDINATOR

Jenny Sargant

MARKETING COORDINATOR

Doug Emery

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlin

BOX OFFICE SALES & SYSTEMS MANAGER

Emma Burgess

CUSTOMER SERVICE REPRESENTATIVES

Rosie BakerMichael DowlingShareeka Helaluddin

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

EXTERNAL RELATIONS

DIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

PhilanthropyHEAD OF PHILANTHROPY

Rosemary Swift

PHILANTHROPY MANAGER

Jennifer Drysdale

PATRONS EXECUTIVE

Claire Whittle

TRUSTS & FOUNDATIONS OFFICER

Sally-Anne Biggins

Corporate RelationsA/ HEAD OF CORPORATE RELATIONS

Benjamin Moh

CORPORATE RELATIONS COORDINATOR

Mihka Chee

CommunicationsHEAD OF COMMUNICATIONS

Bridget Cormack

PUBLICIST

Alyssa Lim

MULTIMEDIA CONTENT PRODUCER

Daniela Testa

BUSINESS SERVICESINTERIM DIRECTOR OF FINANCE

Christopher Brennan

FINANCE MANAGER

Ruth Tolentino

ACCOUNTANT

Minerva Prescott

ACCOUNTS ASSISTANT

Emma Ferrer

PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTUREIN-HOUSE COUNSEL

Michel Maree HryceLEGAL INTERN

Georgie Hannam

BEHIND THE SCENES

Terrey Arcus AM Chairman

Andrew Baxter

Ewen Crouch AM

Catherine Hewgill

Jennifer Hoy

David Livingstone

The Hon. Justice AJ Meagher

Karen Moses

John Vallance

Sydney Symphony Orchestra Board

Sydney Symphony Orchestra CouncilGeoff Ainsworth AM

Doug Battersby

Christine Bishop

The Hon. John Della Bosca

John C Conde AO

Alan Fang

Erin Flaherty

Dr Stephen Freiberg

Robert Joannides

Simon Johnson

Gary Linnane

Helen Lynch AM

David Maloney AM

Justice Jane Mathews AO

Danny May

Jane Morschel

Dr Eileen Ong

Andy Plummer

Deirdre Plummer

Seamus Robert Quick

Paul Salteri AM

Sandra Salteri

Juliana Schaeffer

Fred Stein OAM

Brian White AO

Rosemary White

HONORARY COUNCIL MEMBERS

Ita Buttrose AO OBE

Donald Hazelwood AO OBE

Yvonne Kenny AM

David Malouf AO

Wendy McCarthy AO

Dene Olding AM

Leo Schofield AM

Peter Weiss AO

Anthony Whelan MBE

Concertmasters EmeritusDonald Hazelwood AO OBE

Dene Olding AM

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SSO PATRONS

Maestro’s Circle

Roslyn Packer AC PresidentTerrey Arcus AM Chairman & Anne ArcusBrian AbelTom Breen & Rachel KohnThe Berg Family FoundationJohn C Conde AO

Michael Crouch AO & Shanny CrouchVicki OlssonDrs Keith & Eileen OngRuth & Bob MagidKenneth R Reed AM

David Robertson & Orli ShahamPenelope Seidler AM

Mr Fred Street AM & Dorothy StreetPeter Weiss AO President Emeritus & Doris WeissBrian White AO & Rosemary WhiteRay Wilson OAM in memory of the late James Agapitos OAM

Anonymous (1)

Supporting the artistic vision of David Robertson, Chief Conductor and Artistic Director

David Robertson

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FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM CALL (02) 8215 4625

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Nora Goodridge with Tutti Second Violin Nicole Masters. Nicole says she feels incredibly privileged to have this connection with someone who wants to support her chair in the orchestra. ‘I feel really grateful that there are people like Nora still in this world.’ For her part, Nora sums it up: ‘It’s my choice, and it’s a joy!’

Lerida DelbridgeAssistant ConcertmasterSimon Johnson Chair

Diana DohertyPrincipal OboeJohn C Conde AO Chair

Carolyn HarrisFluteDr Barry Landa Chair

Jane HazelwoodViolaBob & Julie Clampett Chair in memory of Carolyn Clampett

Claire HerrickViolinMary & Russell McMurray Chair

Catherine HewgillPrincipal CelloThe Hon. Justice AJ & Mrs Fran Meagher Chair

Scott KinmontAssociate Principal TromboneAudrey Blunden Chair

Leah LynnAssistant Principal CelloSSO Vanguard Chair with lead support from Taine Moufarrige and Seamus R Quick

Nicole MastersSecond ViolinNora Goodridge Chair

Timothy NankervisCelloDr Rebecca Chin & Family Chair

Chair PatronsDavid RobertsonThe Lowy Chair of Chief Conductor and Artistic Director

Andrew HaveronConcertmasterVicki Olsson Chair

Brett DeanArtist in ResidenceGeoff Ainsworth AM & Johanna Featherstone Chair

Toby ThatcherAssistant ConductorSupported by Rachel & Geoffrey O’Connor and Symphony Services International

Kees BoersmaPrincipal Double BassSSO Council Chair

Francesco CelataActing Principal ClarinetKaren Moses Chair

Umberto ClericiPrincipal CelloGarry & Shiva Rich Chair

Anne-Louise ComerfordAssociate Principal ViolaWhite Family Chair

Kristy ConrauCelloJames Graham AM & Helen Graham Chair

Timothy ConstablePercussionJustice Jane Mathews AO Chair

Elizabeth NevilleCelloRuth & Bob Magid Chair

Shefali PryorAssociate Principal OboeEmma & David Livingstone Chair

Mark RobinsonAssistant Principal TimpaniRodney Rosenblum Memorial Chair

Emma ShollActing Principal FluteRobert & Janet Constable Chair

Kirsten WilliamsAssociate ConcertmasterI Kallinikos Chair

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fellowship patronsRobert Albert AO & Elizabeth Albert Flute ChairChristine Bishop Percussion ChairSandra & Neil Burns Clarinet ChairIn Memory of Matthew Krel Violin ChairThe late Mrs T Merewether OAM Horn ChairPaul Salteri AM & Sandra Salteri Violin and Viola ChairsIn Memory of Joyce Sproat Viola ChairMrs W Stening Cello ChairsJune & Alan Woods Family Bequest Bassoon ChairAnonymous Oboe ChairAnonymous Trumpet ChairAnonymous Double Bass Chair

fellowship supporting patronsBronze Patrons & aboveMr Stephen J BellBennelong Arts FoundationThe Greatorex FoundationDr Gary Holmes & Dr Anne ReeckmannDr Barry LandaGabriel LopataThe Dr Lee MacCormick Edwards Charitable FoundationDrs Eileen & Keith OngDominic Pak & Cecilia TsaiDr John Yu AC

Anonymous (1)

tuned-up!Bronze Patrons & aboveAntoinette Albert Ian & Jennifer Burton Ian Dickson & Reg HollowayDrs Keith & Eileen OngTony StrachanSusan & Isaac Wakil

major education donorsBronze Patrons & aboveBeverley & Phil BirnbaumThe late Mrs PM Bridges OBE

Bob & Julie ClampettHoward & Maureen ConnorsKimberley HoldenMrs WG KeighleyRoland LeeMr & Mrs Nigel PriceMr Dougall SquairMr Robert & Mrs Rosemary WalshAnonymous (1)

Sydney Symphony Orchestra 2017 Fellows The Fellowship program receives generous support from the Estate of the late Helen MacDonnell Morgan

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Learning & Engagement

SSO PATRONS

Commissioning CircleSupporting the creation of new works

ANZAC Centenary Arts and Culture FundGeoff Ainsworth AM & Johanna FeatherstoneDr Raji AmbikairajahChristine BishopDr John EdmondsAlvaro Rodas FernandezDr Stephen Freiberg & Donald CampbellPeter HowardAndrew Kaldor AM & Renata Kaldor AO

Gary Linnane & Peter BraithwaiteGabriel LopataDr Peter LouwJustice Jane Mathews AO

Vicki OlssonCaroline & Tim RogersGeoff StearnRosemary SwiftIan TaylorDr Richard T WhiteKim Williams AM & Catherine DoveyAnonymous

Foundations

“Patrons allow us to dream of projects, and then share them with others. What could be more rewarding?” DAVID ROBERTSON SSO Chief Conductor and Artistic Director

BECOME A PATRON TODAY. Call: (02) 8215 4650 Email: [email protected]

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DIAMOND PATRONS $50,000 and aboveGeoff Ainsworth am & Johanna FeatherstoneAnne Arcus & Terrey Arcus amThe Berg Family FoundationMr Frank Lowy ac & Mrs Shirley Lowy oamVicki OlssonRoslyn Packer acPaul Salteri am & Sandra SalteriIn memory of Joyce SproatPeter Weiss ao & Doris WeissMr Brian White ao & Mrs Rosemary White

PLATINUM PATRONS $30,000–$49,999Brian AbelMr John C Conde aoRobert & Janet ConstableMichael Crouch ac & Shanny CrouchRuth & Bob MagidJustice Jane Mathews aoMrs W Stening

GOLD PATRONS $20,000–$29,999Antoinette AlbertRobert Albert ao & Elizabeth AlbertChristine BishopTom Breen & Rachael KohnSandra & Neil BurnsDr Gary Holmes & Dr Anne ReeckmannMr Andrew Kaldor am & Mrs Renata Kaldor aoI KallinikosDr Barry LandaRussell & Mary McMurrayThe late Mrs T Merewether oamKaren MosesRachel & Geoffrey O’ConorDrs Keith & Eileen OngKenneth R Reed amDavid Robertson & Orli ShahamMrs Penelope Seidler amGeoff StearnMr Fred Street am & Mrs Dorothy StreetRay Wilson oam in memory of James Agapitos oamJune & Alan Woods Family BequestAnonymous (1)

SILVER PATRONS $10,000–$19,999Ainsworth FoundationDoug & Alison BattersbyAudrey Blunden

Dr Hannes & Mrs Barbara BoshoffMr Robert & Mrs L Alison CarrDr Rebecca ChinBob & Julie ClampettIan Dickson & Reg HollowayEdward & Diane FedermanDr Stephen Freiberg & Donald CampbellNora GoodridgeSimon JohnsonMarianne LesnieEmma & David LivingstoneGabriel LopataHelen Lynch am & Helen BauerSusan Maple-Brown amThe Hon. Justice A J Meagher & Mrs Fran MeagherMr John MorschelDominic Pak & Cecilia TsaiSeamus Robert QuickGarry & Shiva RichSylvia RosenblumTony StrachanSusan Wakil ao & Isaac Wakil aoJudy & Sam WeissIn memory of Geoff WhiteCaroline WilkinsonAnonymous (6)

BRONZE PATRONS $5,000–$9,999Dr Raji AmbikairajahStephen J BellBeverley & Phil BirnbaumThe late Mrs P M Bridges obeDaniel & Drina BrezniakIan & Jennifer BurtonHon. J C Campbell qc & Mrs CampbellMr Lionel ChanDr Diana ChoquetteRichard Cobden scHoward ConnorsEwen Crouch am & Catherine CrouchPaul & Roslyn EspieIn memory of Lyn FergussonMr Richard FlanaganJames & Leonie FurberDr Colin GoldschmidtMr Ross GrantMr David Greatorex ao & Mrs Deirdre GreatorexWarren GreenThe Hilmer Family EndowmentJames & Yvonne HochrothAngus & Kimberley HoldenJim & Kim Jobson

The Sydney Symphony Orchestra gratefully acknowledges the music lovers who donate to the orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs.

Playing Your Part

bequest donors

We gratefully acknowledge donors who have left a bequest to the SSO

The late Mrs Lenore AdamsonEstate of Carolyn ClampettEstate of Jonathan Earl William ClarkEstate of Colin T EnderbyEstate of Mrs E HerrmanEstate of Irwin ImhofThe late Mrs Isabelle JosephThe Estate of Dr Lynn JosephEstate of Matthew KrelEstate of Helen MacDonnell MorganThe late Greta C RyanEstate of Rex Foster SmartEstate of Joyce SproatJune & Alan Woods Family Bequest

Stuart Challender, SSO Chief Conductor and Artistic Director 1987–1991

n n n n n n n n n nIF YOU WOULD LIKE MORE INFORMATION ON MAKING A BEQUEST TO THE SSO, PLEASE CONTACT OUR PHILANTHROPY TEAM ON 8215 4625.

Warwick K AndersonMr Henri W Aram OAM & Mrs Robin AramTimothy BallStephen J BellChristine BishopMr David & Mrs Halina BrettR BurnsDavid Churches & Helen RoseHoward ConnorsGreta DavisGlenys FitzpatrickDr Stephen Freiberg Jennifer FultonBrian GalwayMichele Gannon-MillerMiss Pauline M Griffin AM

John Lam-Po-Tang

Dr Barry LandaPeter Lazar AM

Daniel LemesleArdelle LohanLinda LorenzaLouise MillerJames & Elsie MooreVincent Kevin Morris &

Desmond McNallyMrs Barbara MurphyDouglas PaisleyKate RobertsDr Richard SpurwayRosemary SwiftMary Vallentine AO

Ray Wilson OAM

Anonymous (41)

Honouring the legacy of Stuart Challender

SSO Bequest Society

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SSO PATRONS

Playing Your PartMr Ervin KatzMrs W G KeighleyRoland LeeRobert McDougallJudith A McKernanMora MaxwellMrs Elizabeth NewtonMs Jackie O’BrienMr & Mrs Nigel PriceManfred & Linda SalamonRod Sims & Alison PertMr Dougall SquairJohn & Jo StruttMs Rosemary SwiftDr Alla WaldmanMr Robert & Mrs Rosemary WalshMary Whelan & Rob BaulderstoneDr John Yu ac

PRESTO PATRONS $2,500–$4,999Rae & David AllenDavid BarnesMrs Ros Bracher amIn memory of RW BurleyCheung FamilyMr B & Mrs M ColesDr Paul CollettAndrew & Barbara DoweSuellen & Ron EnestromAnthony GreggDr Jan Grose oamRoger Hudson & Claudia Rossi-HudsonDr Michael & Mrs Penny HunterFran & Dave KallawayProfessor Andrew Korda am & Ms Susan PearsonA/Prof. Winston Liauw & Mrs Ellen LiauwMrs Juliet LockhartIan & Pam McGawBarbara MaidmentRenee MarkovicMrs Alexandra Martin & the late Mr Lloyd Martin amHelen & Phil MeddingsJames & Elsie MooreAndrew Patterson & Steven BardyPatricia H Reid Endowment Pty LtdLesley & Andrew RosenbergShah RusitiIn memory of H St P ScarlettHelen & Sam ShefferMr David FC Thomas & Mrs Katerina ThomasPeter & Jane ThorntonKevin TroyJudge Robyn TupmanRussell van Howe & Simon BeetsJohn & Akky van OgtropMr Robert VeelThe Hon. Justice A G WhealyProf. Neville Wills & Ian FenwickeMs Josette WunderYim Family FoundationAnonymous (3)

VIVACE PATRONS $1,000–$2,499Mrs Lenore AdamsonAndrew Andersons aoMr Matthew AndrewsMr Henri W Aram oamIn memory of Toby AventMargaret & James BeattieDr Richard & Mrs Margaret BellAllan & Julie BlighIn memory of Rosemary Boyle, Music TeacherPeter Braithwaite & Gary LinnaneMrs H BreekveldtMrs Heather M BreezeMr David & Mrs Halina BrettEric & Rosemary CampbellMichel-Henri CarriolDebby Cramer & Bill CaukillM D Chapman am & Mrs J M ChapmanNorman & Suellen ChapmanMrs Stella ChenMrs Margot ChinneckDavid Churches & Helen RoseMr Donald ClarkJoan Connery oam & Max Connery oamDr Peter CraswellChristie & Don DavisonGreta DavisLisa & Miro DavisKate DixonStuart & Alex DonaldsonProfessor Jenny EdwardsDr Rupert C EdwardsMrs Margaret EppsMr John B Fairfax aoMr & Mrs Alexander FischlVic & Katie FrenchMrs Lynne FrolichVernon Flay & Linda GilbertJulie FlynnVictoria Furrer-BrownMichele Gannon-MillerMrs Linda GerkeMr Stephen Gillies & Ms Jo MetzkeMs Lara GoodridgeClive & Jenny GoodwinMichael & Rochelle GootMr David GordonIn Memory of Angelica GreenAkiko GregoryRichard Griffin am & Jay GriffinHarry & Althea HallidayMrs Jennifer HershonSue HewittJill Hickson amDr Lybus HillmanDorothy Hoddinott aoMr Peter HowardAidan & Elizabeth HughesDavid JeremyMrs Margaret JohnstonDr Owen Jones & Ms Vivienne GoldschmidtAnna-Lisa KlettenbergDr Michael Kluger & Jane England

Mr Justin LamL M B LampratiBeatrice LangMr Peter Lazar amAnthony & Sharon Lee FoundationMr David LemonAirdrie LloydMrs A LohanPeter Lowry oam & Carolyn Lowry oamDr Michael LunzerKevin & Susan McCabeKevin & Deidre McCannMatthew McInnesDr V Jean McPhersonMrs Suzanne Maple-BrownJohn & Sophia MarAnna & Danny MarcusDanny MayGuido & Rita MayerMrs Evelyn MeaneyKim Harding & Irene MillerHenry & Ursula MooserMilja & David MorrisJudith & Roderick MortonP MullerJudith MulveneyMs Yvonne Newhouse & Mr Henry BrenderPaul & Janet NewmanDarrol Norman & Sandra HortonProf. Mike O’Connor amJudith OlsenMr & Mrs OrtisMrs Elizabeth OstorMrs Faye ParkerIn memory of Sandra PaulGreg PeirceMr Stephen PerkinsAlmut PiattiPeter & Susan PicklesErika & Denis PidcockDr John I PittMs Ann PritchardMrs Greeba PritchardThe Hon. Dr Rodney Purvis am qc & Mrs Marian PurvisDr Raffi Qasabian & Dr John WynterMr Patrick Quinn-GrahamMr Graham QuintonErnest & Judith RapeeAnna RoIn memory of Katherine RobertsonMrs Judy RoughMs Christine Rowell-MillerJorie Ryan for Meredith RyanMr Kenneth RyanMrs Solange SchulzGeorge & Mary ShadMs Kathleen ShawMarlene & Spencer SimmonsMrs Victoria SmythMrs Yvonne SontagJudith SouthamCatherine StephenAshley & Aveen StephensonThe Hon. Brian Sully am qcMildred TeitlerHeng & Cilla Tey

Dr Jenepher ThomasMrs Helen TwibillMr Ken UnsworthIn memory of Denis WallisMichael WatsonHenry WeinbergJerry WhitcombBetty WilkenfeldA L Willmers & R PalDr Edward J WillsAnn & Brooks C Wilson amMargaret WilsonDr Richard WingMr Evan Wong & Ms Maura CordialDr Peter Wong & Mrs Emmy K WongLindsay & Margaret WoolveridgeIn memory of Lorna WrightMrs Robin YabsleyAnonymous (26)

ALLEGRO PATRONS $500–$999Mr Nick AndrewsMr Luke ArnullMr Garry & Mrs Tricia AshMiss Lauren AtmoreLyn BakerMr Ariel BalagueJoy BalkindMr Paul BalkusSimon BathgateMs Jan BellMr Chris BennettIn memory of Lance BennettSusan BergerMs Baiba BerzinsMinnie BiggsJane BlackmoreMrs Judith BloxhamMr Stephen BoothR D & L M BroadfootWilliam Brooks & Alasdair BeckCommander W J Brash obeDr Tracy BryanProfessor David Bryant oamMr Darren BuczmaChristine Burke & Edward NuffieldMrs Anne CahillHugh & Hilary CairnsP C ChanJonathan ChissickSimone ChuahIn memory of L & R CollinsJan & Frank ConroySuzanne CooreyDom Cottam & Kanako ImamuraMs Fiona CottrellMs Mary Anne CroninMr David CrossRobin & Wendy CummingD F DalyMs Anthoula DanilatosGeoff & Christine DavidsonMark Dempsey & Jodi SteeleDr David Dixon

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Grant & Kate DixonSusan DoenauE DonatiMr George DowlingMs Margaret DunstanDana DupereCameron Dyer & Richard MasonMiss Lili DuMr Malcolm Ellis & Ms Erin O’NeillJohn FavaloroDr Roger FelthamMs Carole FergusonMrs Lesley FinnMs Lee GallowayMs Lyn GearingMr & Mrs Peter GoldingMs Carole A GraceMr Robert GreenDr Sally GreenawayMr Geoffrey GreenwellPeter & Yvonne HalasIn memory of Beth HarpleySandra HaslamRobert HavardRoger HenningMrs Mary HillIn memory of my father, Emil Hilton, who introduced me to musicA & J HimmelhochYvonne HolmesMrs Georgina M HortonMrs Suzzanne & Mr Alexander HoughtonRobert & Heather HughesGeoffrey & Susie IsraelDr Mary JohnssonMs Philippa KearsleyMrs Leslie KennedyIn memory of Bernard M H KhawDr Henry KilhamJennifer KingMr & Mrs Gilles KrygerMr Patrick LaneThe Laing FamilyMs Sonia LalElaine M LangshawDr Leo & Mrs Shirley LeaderMr Cheok F LeePeter Leow & Sue ChoongMrs Erna LevyLiftronc Pty LtdJoseph LipskiHelen LittleNorma LopataKevin McDonaldFrank MachartMs Margaret McKennaMelvyn MadiganMrs Silvana MantellatoMs Kwok-Ling MauLouise MillerMr John MitchellKevin Newton MitchellRobert MitchellHoward MorrisAlan Hauserman & Janet Nash

Mr John R NethercoteMrs Janet & Mr Michael NeusteinMr Davil NolanJohn & Verity NormanMr Graham NorthPaul O’DonnellMr Edmund OngDr Kevin PedemontMichael QuaileySuzanne Rea & Graham StewartKim & Graham RichmondDr Peter RoachMr David RobinsonAlexander & Rosemary RocheMr Michael RollinsonAgnes RossMrs Audrey SandersonGarry E Scarf & Morgie BlaxillMr Tony SchlosserLucille SealePeter & Virginia ShawDavid & Alison ShillingtonMrs Diane Shteinman amDr Evan SiegelMargaret SikoraJan & Ian SloanMaureen SmithAnn & Roger SmithTitia SpragueMrs Jennifer SpitzerRobert SpryMs Donna St ClairCheri StevensonFiona StewartDr Vera StoermerMargaret & Bill SuthersMr Ian TaylorMr Ludovic TheauAlma TooheyHugh TregarthenMs Laurel TsangGillian Turner & Rob BishopMs Kathryn TurnerRoss TzannesMr Thierry VancaillieJan & Arthur WaddingtonRonald WalledgeIn memory of Don WardMrs Bernadette WilliamsonJane Sarah WilliamsonPeter WilliamsonMr D & Mrs H WilsonDr Wayne WongMrs Sue WoodheadSir Robert WoodsMs Roberta WoolcottDawn & Graham WornerMr John WottonMs Lee WrightMs Juliana WusunPaul WyckaertAnne YabsleyL D & H YMichele & Helga ZwiAnonymous (52)

SSO Patrons pages correct as of September 2017

A membership program for a dynamic group of Gen X & Y SSO fans and future philanthropists

VANGUARD COLLECTIVEJustin Di Lollo ChairBelinda BentleyTaine Moufarrige Founding PatronSeamus Robert Quick Founding PatronAlexandra McGuiganOscar McMahonShefali PryorChris Robertson & Katherine Shaw

VANGUARD MEMBERSLaird Abernethy Clare Ainsworth-HerschellSimon Andrews & Luke KellyCourtney AnticoLuan AtkinsonAttila BaloghMeg BartholomewJames BaudzusAndrew BaxterHilary BlackmanAdam BlakeMatthew BlatchfordDr Jade BondDr Andrew BotrosMia & Michael BracherGeorgia Branch Peter BraithwaiteAndrea BrownNikki BrownProf. Attila BrungsSandra ButlerLouise CantrillCBRE Jacqueline ChalmersLouis ChienJanice ClarkeLindsay Clement-MeehanPaul ColganMichelle CottrellKathryn CoweAlex CowieAnthony Cowie Robbie CranfieldPeter CreedenAsha CugatiAlastair & Jane CurriePaul DeschampsShevi de SoysaJen DrysdaleEmily ElliottShannon EngelhardRoslyn FarrarAndrea FarrellMatthew FogartyGarth FrancisMatthew GarrettSam GiddingsJeremy Goff & Amelia Morgan-HunnLisa GoochHilary GoodsonJoelle GoudsmitCharles GrahamJennifer HamSarah L Hesse

Kathryn HiggsJames HillPeter HowardJennifer HoyJacqui HuntingtonKatie HryceInside Eagles Pty LtdMatt JamesAmelia JohnsonVirginia JudgeTanya KayeBernard KeaneTisha KelemenAernout Kerbert Patrick KokJohn Lam-Po-TangRobert LarosaBen LeesonGabriel LopataDavid McKeanCarl McLaughlinKristina MacourtMarianne MapaHenry MeagherMatt MilsomChristopher MonaghanBede MooreSarah MorrisbySarah MoufarrigeJulia NewbouldAlasdair NicolSimon OatenDuane O’DonnellShannon O’MearaEdmund OngOlivia PascoeKate QuiggMichael RadovnikovicJane RobertsonKatie RobertsonAlvaro Rodas FernandezEnrique Antonio Chavez SalcedaRachel ScanlonNaomi SeetoBen ShipleyToni SinclairNeil SmithTim SteeleKristina StefanovaBen SweetenSandra TangIan TaylorRobyn ThomasMichael TidballMelanie TiyceJames TobinMark TrevarthenRussell Van Howe & Simon BeetsAmanda VerrattiMike WatsonAlan WattersCorey WattsJon WilkieAdrian WilsonDanika WrightJessica YuYvonne Zammit

SSO Vanguard

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SALUTE

PREMIER PARTNER

GOLD PARTNERS

OFFICIAL CAR PARTNER TECHNOLOGY PARTNER

PLATINUM PARTNER MAJOR PARTNERS

PRINCIPAL PARTNER GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is

assisted by the NSW Government through

Arts NSW.

The Sydney Symphony Orchestra is assisted

by the Commonwealth Government through

the Australia Council, its arts funding and

advisory body.

SILVER PARTNERS

REGIONAL TOUR PARTNERMEDIA PARTNERS VANGUARD PARTNER

Salute 2017_Nov17_for #46+.indd 1 6/11/2017 8:50 am

SALUTE