Handel's Messiah

HANDEL MESSIAH 9–10 DECEMBER 2017

CONCERT PROGRAM

Melbourne Symphony Orchestra Rinaldo Alessandrini conductor Sara Macliver soprano Joslyn Rechter mezzo-soprano Ed Lyon tenor Salvo Vitale bass Melbourne Symphony Orchestra Chorus Warren Trevelyan-Jones chorus master Handel Messiah

Running time: 2 hours and 40 minutes, including a 20-minute interval after Act I In consideration of your fellow patrons, the MSO thanks you for dimming the lighting on your mobile phone.

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

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MELBOURNE SYMPHONY ORCHESTRA

RINALDO ALESSANDRINI CONDUCTOR

Established in 1906, the Melbourne Symphony Orchestra (MSO) is an arts leader and Australia’s oldest professional orchestra. Chief Conductor, Sir Andrew Davis, has been at the helm of the MSO since 2013. Engaging more than 2.5 million people each year, and as a truly global orchestra, the MSO collaborates with guest artists and arts organisations from across the world.

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

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

Image courtesy Daniel Aulsebrook

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

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

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

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SARA MACLIVER SOPRANO

JOSLYN RECHTER MEZZO-SOPRANO

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

Australian mezzo-soprano Joslyn Rechter has worked extensively as a stage, concert and recital artist, and has been a soloist with Opera Australia, and the Cologne and Wuppertal Opera companies.

Joslyn studied at the Sydney Conservatorium of Music, gaining Bachelor of Music and a Diploma in Operatic art.

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

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

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

ED LYON TENOR

SALVO VITALE BASS

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

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

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

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

Recent recordings include Agostino Steffani’s Stabat mater, Monteverdi’s Orfeo and The Return of Ulysses, and Davide Perez’s Mattutino de’ Morti.

Recent performances have included Monteverdi’s Orfeo at Belgium’s BOZAR, L'incoronazione di Poppea in Schwetzingen and at Carnegie Hall and Monteverdi’s Lamento della ninfa and Combattimento di Tancredi e Clorinda at the Utrecht Early Music Festival. He has also performed Monteverdi’s Vespers with Concerto Italiano and Rinaldo Alessandrini in Melbourne.

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MELBOURNE SYMPHONY ORCHESTRA CHORUS

WARREN TREVELYAN-JONES CHORUS MASTER

For more than 50 years the Melbourne Symphony Orchestra Chorus has been the unstinting voice of the Orchestra’s choral repertoire.

In 2017 the Chorus joins forces with the Orchestra on more than 20 different occasions to perform some of the most moving and inspiring repertoire from the canon, as well as once again presenting its own a cappella performances.

Warren Trevelyan-Jones is Chorus Master of the MSO Chorus and Head of Music at St James’, King Street in Sydney and is regarded as one of the leading choral conductors and choir trainers in Australia.

Warren has had an extensive singing career as a soloist and ensemble singer in Europe, including nine years in the Choir of Westminster Abbey, and regular work with the Gabrieli Consort, Collegium Vocale (Ghent), the Taverner Consort, The Kings Consort, Dunedin Consort, The Sixteen and the Tallis Scholars.

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

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

PROGRAM NOTES

GEORGE FRIDERIC HANDEL (1685–1759) Messiah: An oratorio, HWV 56 Words selected from the Holy Bible

by Charles Jennens (1700–1773)

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

In the English city of Chester one November morning in 1741, a schoolboy observed a portly gentleman with a pronounced German accent smoking a pipe at the Exchange Coffeehouse.

For the 15-year-old Charles Burney, later England’s great music historian, it was his first sighting of George Frideric Handel, at 56 the embattled erstwhile dean of London’s cut-throat opera world, and recently purveyor of a new and peculiarly English type of oratorio. Burney watched Handel ‘narrowly’ throughout his stay in Chester, while he waited until better weather allowed him to embark from Ellesmere Port for Dublin.

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

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

With this achievement only recently behind him, Handel arrived in Dublin on 18 November 1741. He discovered no shortage of talented local musicians, and chose the best of them, including the violinist Matthew Dubourg, Master of the State Music, to lead his orchestra.

Most of the chorus singers belonged to the choirs of Dublin’s two cathedrals, St Patrick’s and Christ Church, to the disapproval initially of St Patrick’s Dean, the redoubtable Jonathan Swift. Sixteen

Rinaldo Alessandrini conductor Sara Macliver soprano Joslyn Rechter mezzo-soprano Ed Lyon tenor Salvo Vitale bass MSO Chorus

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PROGRAM NOTES

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

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

Of the premiere at the New Music Hall on 13 April 1742, The Dublin Journal commented: The best Judges allowed it to be the most finished piece of Musick.

Words are wanting to express the exquisite Delight it afforded to the admiring crowded Audience.

The Sublime, the Grand, and the Tender, adapted to the most elevated, majestick and moving Words, conspired to transport and charm the ravished Heart and Ear. Handel was, as it transpired, wise to introduce Messiah first in Dublin.

Later, in London in 1743, it was ‘indifferently relish’d’, drawing criticism from zealots who objected

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

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

Handel completed the full score of the work in three weeks in AugustSeptember 1741, a less extraordinary feat then than it sounds today, and typical of the speed at which Handel and his contemporaries composed.

He was assisted, moreover, by several notable instances of self-borrowing.

Handel mined the scores of several blatantly erotic Italian cantatas he’d composed 30 years earlier to produce the triumphal last judgement duet-andchorus, O Death, where is thy sting, and four more choruses, And he shall purify, All we like sheep, His yoke is easy, and the great For unto us a child is born.

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

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

As to the effect of the Dublin premiere on the work’s first audience of 700, Edward Synge, the upright bishop of Elphin, judiciously summed up: They Seem’d indeed throughly engag’d frome one End to the other.

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

Abridged from Graeme Skinner © 2008 Messiah was first performed by the Melbourne Symphony Orchestra in association with the Melbourne Philharmonic Society on 25 December 1940, under the direction of Bernard Heinze. The soloists were Thea Philips, Joan Jones, William Herbert and Stanley Clarkson. The Orchestra’s most recent performance, under Paul Goodwin, was on 10 December 2016 with Emma Matthews, Luciana Mancini, Charles Daniels, Christopher Richardson, and the MSO Chorus.

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Messiah

An Oratorio, HW56 The words selected from Holy Scripture by Charles Jennens

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Sinfony Comfort ye (Isaiah 40:1-3) Accompagnato: Tenor Ev’ry valley (Isaiah 40:4) Air: Tenor Comfort ye, comfort ye my people, saith your God; speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplish’d, that her iniquity is pardon’d.

The voice of him that crieth in the wilderness, prepare ye the way of the Lord, make straight in the desert a highway for our God. Ev’ry valley shall be exalted, and ev’ry mountain and hill made low, the crooked straight, and the rough places plain.

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

Thus saith the Lord (Haggai 2:6-7; Malachi 3:1) Accompagnato: Bass Thus saith the Lord, the Lord of Hosts; Yet once a little while, and I will shake the heav’ns and the earth; the sea and the dry land; And I will shake all nations; and the desire of all nations shall come.

The Lord, whom you seek, shall suddenly come to His temple, even the Messenger of the Covenant, whom ye delight in: behold, He shall come, saith the Lord of Hosts.

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

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and who shall stand when He appeareth?

For He is like a refiner’s fire.

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

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

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

For behold, darkness (Isaiah 60:2-3) Accompagnato: Bass The people that walked in darkness (Isaiah 9:2) Air: Bass For behold, darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and His glory shall be seen upon thee.

And the Gentiles shall come to thy light, and kings to the brightness of thy rising.

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

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

Pifa (Pastoral Symphony) There were shepherds abiding in the field (Luke 2:8) Recit.: Soprano And lo, the angel of the Lord (Luke 2:9) Accompagnato: Soprano And suddenly, there was with the angel (Luke 2:13) Accompagnato: Soprano Glory to God (Luke 2:14) Chorus And there were shepherds abiding in the field, keeping watch over their flock by night.

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

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

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

Rejoice greatly (Zechariah 9:9-10) Air: Soprano Rejoice greatly, O daughter of Zion, shout, O daughter of Jerusalem; behold thy King cometh unto thee.

He is the righteous Saviour; And He shall speak peace unto the heathen.

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

He shall feed His flock like a shepherd: and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young.

Come unto Him all ye that labour, come unto Him, that are heavy laden, and He will give you rest.

Take His yoke upon you, and learn of Him; for He is meek and lowly of heart: and ye shall find rest unto your souls.

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

– Interval 20 minutes –

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

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

He was despised (Isaiah 53:3 a:6) Air: Alto He was despised and rejected of men, a man of sorrows, and acquainted with grief.

He gave His back to the smiters, and His cheeks to them that plucked off the hair: He hid not His face from shame and spitting.

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

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

All they that see Him (Psalm 22:7 – Book of Common Prayer) Accompagnato: Tenor He trusted in God (Psalm 22:8 – BCP) Chorus All they that see Him laugh Him to scorn; they shoot out their lips, and shake their heads, saying: He trusted in God that He would deliver him: let Him deliver Him, if He delight in Him. Please turn the page quietly

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Thy rebuke hath broken His heart (Psalm 69:20 – BCP) Accompagnato: Tenor Behold and see (Lamentations 1:12) Air: Tenor Thy rebuke hath broken His heart; He is full of heaviness.

He looked for some to have pity on Him, but there was no man, neither found He any to comfort Him. Behold, and see, if there be any sorrow like unto His sorrow!

Let all the angels of God (Hebrews 1:6) Chorus Let all the angels of God worship Him. Thou art gone up on high (Psalm 68:18) Air: Alto Thou art gone up on high; Thou hast led captivity captive, and received gifts for men, yea, even for Thine enemies, that the Lord God might dwell among them.

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

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

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

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Why do the nations (Psalm 2:1-2 – BCP) Air: Bass Let us break their bonds (Psalm 2:3) Chorus He that dwelleth in heaven (Psalm 2:4 – BCP) Recit.: Tenor Thou shalt break them (Psalm 2:9) Air: Tenor Why do the nations so furiously rage together: why do the people imagine a vain thing?

The kings of the earth rise up, and the rulers take counsel together against the Lord and against His anointed.

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

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

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

Hallelujah (Revelation 19:6; 11:15; 19:16) Chorus Hallelujah, for the Lord God Omnipotent reigneth, Hallelujah!

The Kingdom of this world is become the Kingdom of our Lord and of his Christ; and he shall reign forever and ever, King of Kings, and Lord of Lords, Hallelujah!

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

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Part the Third Victory over Death.

I know that my Redeemer liveth (Job 19:25-26; 1 Corinthians 15:20) Air: Soprano I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth.

And tho’ worms destroy this body, yet in my flesh shall I see God. For now is Christ risen from the dead, the first fruits of them that sleep.

Since by man came death (1 Corinthians 15:21-22) Chorus Since by man came death, by man came also the resurrection of the dead.

For as in Adam all die, even so in Christ shall all be made alive.

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

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

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

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O death, where is thy sting?

O grave, where is thy victory?

The sting of death is sin, and the strength of sin is the law.

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

If God be for us (Romans 18:31, 33-34) Air: Soprano If God be for us, who can be against us?

Who shall lay anything to the charge of God’s elect?

It is God that justifieth: Who is he that condemneth?

It is Christ that died, yea, rather that is risen again; who is at the right hand of God, who makes intercession for us.

Worthy is the Lamb (Revelation 5:12-13) Chorus Amen Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing.

Blessing and honour, glory and power be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever.

Amen.

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MELBOURNE SYMPHONY ORCHESTRA

Sir Andrew Davis Chief Conductor Benjamin Northey Associate Conductor Tianyi Lu Cybec Assistant Conductor Hiroyuki Iwaki Conductor Laureate (1974-2006) FIRST VIOLINS

Dale Barltrop Concertmaster

Eoin Andersen Concertmaster

Sophie Rowell

Associate Concertmaster The Ullmer Family Foundation#

John Marcus Principal

Peter Edwards

Assistant Principal

Kirsty Bremner Sarah Curro

Michael Aquilina#

Peter Fellin Deborah Goodall Lorraine Hook Kirstin Kenny Ji Won Kim Eleanor Mancini

David and Helen Moses#

Mark Mogilevski Michelle Ruffolo Kathryn Taylor Michael Aquilina#

Tiffany Cheng* Anne Martonyi* Oksana Thompson*

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SECOND VIOLINS

CELLOS

Matthew Tomkins

David Berlin

Robert Macindoe

Rachael Tobin

Associate Principal

Associate Principal

Monica Curro

Nicholas Bochner

Principal The Gross Foundation#

Assistant Principal Danny Gorog and Lindy Susskind#

Mary Allison Isin Cakmakcioglu Freya Franzen #

Anonymous

Cong Gu Andrew Hall

Andrew and Judy Rogers#

Isy Wasserman Philippa West Patrick Wong Roger Young Ingrid Homburg* Anne-Marie Johnson* Jenny Khafagi* VIOLAS

Christopher Moore Principal Di Jameson#

Fiona Sargeant

Associate Principal

Lauren Brigden

Tam Vu, Peter and Lyndsey Hawkins#

Katharine Brockman Christopher Cartlidge Michael Aquilina

#

Anthony Chataway Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright

Principal MS Newman Family#

Assistant Principal

Miranda Brockman Geelong Friends of the MSO#

Rohan de Korte

Andrew Dudgeon#

Keith Johnson Sarah Morse Angela Sargeant Michelle Wood

Andrew and Theresa Dyer# DOUBLE BASSES

Steve Reeves Principal

Andrew Moon

Associate Principal

Sylvia Hosking

Assistant Principal

Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser#

Esther Toh* FLUTES

Prudence Davis Principal Anonymous#

Wendy Clarke

Associate Principal

Sarah Beggs PICCOLO

Andrew Macleod Principal

TRUMPETS

MSO BOARD

Jeffrey Crellin

Geoffrey Payne

Chairman

Thomas Hutchinson

Shane Hooton

Associate Principal

Managing Director

Ann Blackburn

William Evans Rosie Turner

Sophie Galaise

TROMBONES

Andrew Dyer Danny Gorog Margaret Jackson AC David Krasnostein David Li Hyon-Ju Newman Helen Silver AO

OBOES Principal

Associate Principal

The Rosemary Norman Foundation# COR ANGLAIS

Michael Pisani Principal

CLARINETS

David Thomas Principal

Philip Arkinstall

Associate Principal

Craig Hill BASS CLARINET

Jon Craven

Principal

Brett Kelly Principal

Richard Shirley BASS TROMBONE

Mike Szabo Principal TUBA

Timothy Buzbee

BASSOONS

PERCUSSION

Jack Schiller

Robert Clarke

Associate Principal

John Arcaro

Tim and Lyn Edward#

Robert Cossom

CONTRABASSOON

HARP

Brock Imison

Yinuo Mu Principal

HORNS

ORGAN

Saul Lewis

Calvin Bowman*

Abbey Edlin

HARPSICHORD

Principal Third Nereda Hanlon & Michael Hanlon AM#

Trinette McClimont

Oliver Carton

Principal

Natasha Thomas

Principal

Company Secretary

TIMPANI ##

Christine Turpin*

Elise Millman

Board Members

Principal

Principal

Principal

Michael Ullmer

Donald Nicolson* # Position supported by ## Timpani Chair position supported by Lady Potter AC * Guest Musician 21

MELBOURNE SYMPHONY ORCHESTRA CHORUS

CHORUS MASTER

ALTO

TENOR

Warren Trevelyan-Jones

Aleksandra Acker

Tony Barnett

Satu Aho

Steve Burnett

Catherine Bickell

Geoffrey Collins

Jane Brodie

James Dipnall

Jill Giese

Simon Gaites

SOPRANO

Ros Harbison

Lyndon Horsburgh

Eva Butcher

Sue Hawley

Veryan Croggon

Kristine Hensel

Jessop Maticevski Shumack

Rita Fitzgerald

Helen MacLean

Catherine Folley

Christina McCowan

Susan Fone

Rosemary McKelvie

Camilla Gorman

Alison Ralph

Jillian Graham

Mair Roberts

Karling Hamill

Helen Rommelaar

Juliana Hassett

Annie Runnalls

Penny Huggett

Lisa Savige

Tania Jacobs

Helen Staindl

Gwen Kennelly

Libby Timcke

REPETITEUR

Tom Griffiths

Lynne Muir Caitlin Noble Karin Otto Tanja Redl Jo Robin Lynda Smerdon Elizabeth Tindall Tara Zamin

Dominic McKenna Michael Mobach Jean-Francois Ravat Daniel Riley Tim Wright BASS

Richard Bolitho Paul Alexander Chantler Roger Dargaville Phil Elphinstone Andrew Ham Andrew Hibbard Jordan Janssen Edward Ounapuu Liam Straughan Matthew Toulmin Tom Turnbull Maurice Wan Maciek Zielinski

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Season Opening Gala Sir Andrew Davis conductor Nelson Freire piano Stuart Skelton tenor Program includes Carl Vine’s Microsymphony, Beethoven’s Emperor Concerto, plus arias and orchestral excerpts from Fidelio, Götterdämmerung, Die Walküre and Otello.

SATURDAY 3 MARCH 2018 | 7.30pm Arts Centre Melbourne, Hamer Hall Pre-concert talk at 6.15pm

mso.com.au Nelson Freire Piano

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SUPPORTERS MSO PATRON The Honourable Linda Dessau AC, Governor of Victoria

ARTIST CHAIR BENEFACTORS

MSO Audience Access Crown Resorts Foundation Packer Family Foundation

Anthony Pratt Associate Conductor Chair

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

Joy Selby Smith Orchestral Leadership Chair

MSO International Touring supported by Harold Mitchell AC

The Cybec Foundation Cybec Assistant Conductor Chair

MSO Regional Touring Creative Victoria The Robert Salzer Foundation

The Ullmer Family Foundation Associate Concertmaster Chair Anonymous Principal Flute Chair The Gross Foundation Principal Second Violin Chair Di Jameson Principal Viola Chair MS Newman Family Foundation Principal Cello Chair

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

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

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

PROGRAM BENEFACTORS

CHAIRMAN’S CIRCLE $100,000+

Cybec 21st Century Australian Composers Program The Cybec Foundation

Marc Besen AC and Eva Besen AO John Gandel AC and Pauline Gandel The Gross Foundation ◊ David and Angela Li MS Newman Family Foundation ◊ Anthony Pratt ◊ The Pratt Foundation Joy Selby Smith Ullmer Family Foundation ◊ Anonymous (1)

Cybec Young Composer in Residence made possible by The Cybec Foundation East Meets West supported by the Li Family Trust Meet The Orchestra made possible by The Ullmer Family Foundation 24

VIRTUOSO PATRONS $50,000+

PRINCIPAL PATRONS $5,000+

Di Jameson ◊ David Krasnostein and Pat Stragalinos Mr Ren Xiao Jian and Mrs Li Quian Harold Mitchell AC Kim Williams AM

Christine and Mark Armour John and Mary Barlow Stephen and Caroline Brain Prof Ian Brighthope David and Emma Capponi Wendy Dimmick Andrew Dudgeon AM ◊ Andrew and Theresa Dyer ◊ Tim and Lyn Edward ◊ Mr Bill Fleming John and Diana Frew Susan Fry and Don Fry AO Sophie Galaise and Clarence Fraser ◊ Geelong Friends of the MSO ◊ Jennifer Gorog HMA Foundation Louis Hamon OAM Hans and Petra Henkell Hartmut and Ruth Hofmann Jack Hogan Doug Hooley Jenny and Peter Hordern Dr Alastair Jackson D & CS Kipen on behalf of Israel Kipen Dr Elizabeth A Lewis AM Peter Lovell Lesley McMullin Foundation Mr Douglas and Mrs Rosemary Meagher David and Helen Moses ◊ Dr Paul Nisselle AM The Rosemary Norman Foundation ◊ Ken Ong, in memory of Lin Ong Bruce Parncutt AO Jim and Fran Pfeiffer Pzena Investment Charitable Fund Andrew and Judy Rogers ◊ Max and Jill Schultz

IMPRESARIO PATRONS $20,000+ Michael Aquilina ◊ ◊ ◊ The John and Jennifer Brukner Foundation Perri Cutten and Jo Daniell Mary and Frederick Davidson AM Rachel and the late Hon. Alan Goldberg AO QC Hilary Hall, in memory of Wilma Collie Margaret Jackson AC Andrew Johnston Mimie MacLaren John and Lois McKay

MAESTRO PATRONS $10,000+ Kaye and David Birks Mitchell Chipman Sir Andrew and Lady Davis Danny Gorog and Lindy Susskind ◊ Robert & Jan Green Nereda Hanlon and Michael Hanlon AM ◊ Suzanne Kirkham The Cuming Bequest Ian and Jeannie Paterson Lady Potter AC CMRI ◊ Elizabeth Proust AO Rae Rothfield Glenn Sedgwick Helen Silver AO and Harrison Young Maria Solà Profs. G & G Stephenson, in honour of the great Romanian musicians George Enescu and Dinu Lipatti Gai and David Taylor Juliet Tootell Alice Vaughan Kee Wong and Wai Tang Jason Yeap OAM Anonymous (1)

Stephen Shanasy Mr Tam Vu and Dr Cherilyn Tillman ◊ The Hon. Michael Watt QC and Cecilie Hall Lyn Williams AM Anonymous (2)

ASSOCIATE PATRONS $2,500+ Dandolo Partners Will and Dorothy Bailey Bequest Barbara Bell, in memory of Elsa Bell Bill Bowness Lynne Burgess Oliver Carton John and Lyn Coppock Miss Ann Darby, in memory of Leslie J. Darby Natasha Davies, for the Trikojus Education Fund Merrowyn Deacon Beryl Dean Sandra Dent Peter and Leila Doyle Lisa Dwyer and Dr Ian Dickson Jane Edmanson OAM Dr Helen M Ferguson Mr Peter Gallagher and Dr Karen Morley Dina and Ron Goldschlager Louise Gourlay OAM Peter and Lyndsey Hawkins ◊ Susan and Gary Hearst Colin Heggen, in memory of Marjorie Drysdale Heggen Rosemary and James Jacoby Jenkins Family Foundation C W Johnston Family John Jones George and Grace Kass Irene Kearsey and M J Ridley The Ilma Kelson Music Foundation Kloeden Foundation Bryan Lawrence Ann and George Littlewood

John and Margaret Mason H E McKenzie Allan and Evelyn McLaren Don and Anne Meadows Marie Morton FRSA Annabel and Rupert Myer AO Ann Peacock with Andrew and Woody Kroger Sue and Barry Peake Mrs W Peart Graham and Christine Peirson Ruth and Ralph Renard S M Richards AM and M R Richards Tom and Elizabeth Romanowski Jeffrey Sher QC and Diana Sher OAM Diana and Brian Snape AM Dr Norman and Dr Sue Sonenberg Geoff and Judy Steinicke William and Jenny Ullmer Elisabeth Wagner Brian and Helena Worsfold Peter and Susan Yates Anonymous (7)

PLAYER PATRONS $1,000+ David and Cindy Abbey Christa Abdallah Dr Sally Adams Mary Armour Arnold Bloch Leibler Philip Bacon AM Marlyn and Peter Bancroft OAM Adrienne Basser Prof Weston Bate and Janice Bate Janet Bell David Blackwell Anne Bowden Michael F Boyt The Late Mr John Brockman OAM and Mrs Pat Brockman

Dr John Brookes Suzie and Harvey Brown Roger and Col Buckle Jill and Christopher Buckley Bill and Sandra Burdett Lynne Burgess Peter Caldwell Joe Cordone Andrew and Pamela Crockett Dominic and Natalie Dirupo Marie Dowling John and Anne Duncan Ruth Eggleston Kay Ehrenberg Jaan Enden Valerie Falconer and the Rayner Family in memory of Keith Falconer Amy and Simon Feiglin Grant Fisher and Helen Bird Barry Fradkin OAM and Dr Pam Fradkin Applebay Pty Ltd David Frenkiel and Esther Frenkiel OAM David Gibbs and Susie O'Neill Merwyn and Greta Goldblatt Colin Golvan QC and Dr Deborah Golvan George Golvan QC and Naomi Golvan Dr Marged Goode Max Gulbin Dr Sandra Hacker AO and Mr Ian Kennedy AM Jean Hadges Michael and Susie Hamson Paula Hansky OAM Merv Keehn and Sue Harlow Tilda and Brian Haughney Penelope Hughes Basil and Rita Jenkins Stuart Jennings Dorothy Karpin Brett Kelly and Cindy Watkin Dr Anne Kennedy Julie and Simon Kessel

Kerry Landman William and Magdalena Leadston Andrew Lee Norman Lewis, in memory of Dr Phyllis Lewis Dr Anne Lierse Andrew Lockwood Violet and Jeff Loewenstein Elizabeth H Loftus Chris and Anna Long The Hon. Ian Macphee AO and Mrs Julie Macphee Vivienne Hadj and Rosemary Madden Eleanor and Phillip Mancini Dr Julianne Bayliss In memory of Leigh Masel Ruth Maxwell Jenny McGregor AM and Peter Allen Glenda McNaught Wayne and Penny Morgan Ian Morrey and Geoffrey Minter JB Hi-Fi Ltd Patricia Nilsson Laurence O'Keefe and Christopher James Alan and Dorothy Pattison Margaret Plant Kerryn Pratchett Peter Priest Treena Quarin Eli Raskin Raspin Family Trust Bobbie Renard Peter and Carolyn Rendit Dr Rosemary Ayton and Dr Sam Ricketson Joan P Robinson Cathy and Peter Rogers Doug and Elisabeth Scott Martin and Susan Shirley Dr Sam Smorgon AO and Mrs Minnie Smorgon John So Dr Michael Soon Lady Southey AC Jennifer Steinicke Dr Peter Strickland 25

SUPPORTERS Pamela Swansson Jenny Tatchell Frank Tisher OAM and Dr Miriam Tisher P and E Turner The Hon. Rosemary Varty Leon and Sandra Velik Sue Walker AM Elaine Walters OAM and Gregory Walters Edward and Paddy White Nic and Ann Willcock Marian and Terry Wills Cooke Lorraine Woolley Richard Ye Panch Das and Laurel Young-Das Anonymous (22)

THE MAHLER SYNDICATE David and Kaye Birks Mary and Frederick Davidson AM Tim and Lyn Edward John and Diana Frew Francis and Robyn Hofmann The Hon. Dr Barry Jones AC Dr Paul Nisselle AM Maria Solà The Hon. Michael Watt QC and Cecilie Hall

TRUSTS AND FOUNDATIONS Ken and Asle Chilton Trust, managed by Perpetual Collier Charitable Fund Crown Resorts Foundation and the Packer Family Foundation The Cybec Foundation The Marian and E.H. Flack Trust Gandel Philanthropy Linnell/Hughes Trust, managed by Perpetual The Scobie and Claire Mackinnon Trust The Harold Mitchell Foundation The Myer Foundation 26

The Pratt Foundation The Robert Salzer Foundation Alan (AGL) Shaw Endowment, managed

by Perpetual Telematics Trust

CONDUCTOR’S CIRCLE Jenny Anderson David Angelovich G C Bawden and L de Kievit Lesley Bawden Joyce Bown Mrs Jenny Brukner and the late Mr John Brukner Ken Bullen Peter A Caldwell Luci and Ron Chambers Beryl Dean Sandra Dent Lyn Edward Alan Egan JP Gunta Eglite Mr Derek Grantham Marguerite GarnonWilliams Louis Hamon OAM Carol Hay Tony Howe Laurence O'Keefe and Christopher James Audrey M Jenkins John Jones George and Grace Kass Mrs Sylvia Lavelle Pauline and David Lawton Cameron Mowat Rosia Pasteur Elizabeth Proust AO Penny Rawlins Joan P Robinson Neil Roussac Anne Roussac-Hoyne Suzette Sherazee Michael Ryan and Wendy Mead Ann and Andrew Serpell Jennifer Shepherd Profs. Gabriela and George Stephenson Pamela Swansson Lillian Tarry Dr Cherilyn Tillman

Mr and Mrs R P Trebilcock Michael Ullmer Ila Vanrenen The Hon. Rosemary Varty Mr Tam Vu Marian and Terry Wills Cooke Mark Young Anonymous (23) The MSO gratefully acknowledges the support received from the estates of

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

Angela Beagley Neilma Gantner Gwen Hunt Audrey Jenkins Joan Jones Pauline Marie Johnston C P Kemp Peter Forbes MacLaren Joan Winsome Maslen Lorraine Maxine Meldrum Prof Andrew McCredie Miss Sheila Scotter AM MBE Marion A I H M Spence Molly Stephens Jean Tweedie Herta and Fred B Vogel Dorothy Wood

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

HONORARY APPOINTMENTS

$50,000+ (Virtuoso)

Sir Elton John CBE Life Member

$100,000+ (Chairman’s Circle)

The Hon. Alan Goldberg AO QC* Life Member

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

Geoffrey Rush AC Ambassador John Brockman OAM* Life Member

$1,000+ (Player) $2,500+ (Associate) $5,000+ (Principal) $10,000+ (Maestro) $20,000+ (Impresario)

ENQUIRIES

Ila Vanrenen* Life Member

Phone (03) 8646 1551

*Deceased

Email philanthropy@ mso.com.au

◊ Signifies Adopt an MSO Musician supporter

SUPPORTERS PRINCIPAL PARTNER

GOVERNMENT PARTNERS

PREMIER PARTNERS

VENUE PARTNER

MAJOR PARTNERS

EDUCATION PARTNERS

SUPPORTING PARTNERS

Quest Southbank

e CEO Institute

Ernst & Young

Bows for Strings

TRUSTS AND FOUNDATIONS

The Scobie and Claire Mackinnon Trust

e Gross Foundation, Li Family Trust, MS Newman Family Foundation, e Ullmer Family Foundation MEDIA AND BROADCAST PARTNERS

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Enjoy the

PERFECT PRELUDE

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

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