To Barbra, with Love

M E L B O U R N E S Y M P H O N Y O R C H E S T R A & L I V E N AT I O N P R E S E N T

AN 80TH BIRTHDAY CELEBRATION

CONCERT PROGRAM HAMER HALL, ARTS CENTRE MELBOURNE

21–23 APRIL 2022

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Welcome One year ago, I had a coffee meeting with Live Nation to discuss potential future collaborations. The question was asked…which iconic female artist would you feature in concert? My quick response… Barbra Streisand.

This Sunday, 24 April 2022, Barbra Streisand celebrates her 80 th Birthday. What better way to mark the occasion then for the Melbourne Symphony Orchestra to play homage to her extraordinary six decade spanning career.

Where does one start to plan a concert featuring some of the most beloved and iconic songs of all time…you invite some of the best Australian talent to join the MSO. Tonight we are joined by Broadway and West End star Caroline O’Connor, genre defying Katie Noonan, along with musical theatre stars Elise McCann and Ryan Gonzalez.

Together they will cover the many facets of Ms Streisand’s career under the baton of Vanessa Scammell and our Director Cameron Mitchell. Expect music from some of her most iconic film roles, award winning songs and multi-platinum albums. Don’t be surprised if you are up dancing by the end!

Thanks to Nicholas Buc for his brand-new arrangements and to the musicians of the MSO, along with our extraordinary cast and creative team for bringing these songs to life.

Special thanks to Graham Kennedy at Live Nation for having faith in the idea, the commitment to partner with the MSO for its Australian Premiere and for providing the opportunity for a national tour later this year.

Welcome to To Barbra, With Love!

Mark Sutcliffe Executive Producer MSO Presentations

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Artists Melbourne Symphony Orchestra Vanessa Scammell conductor Cameron Mitchell director

Caroline O’Connor vocalist Katie Noonan vocalist Elise McCann vocalist Ryan Gonzalez vocalist

This concert may be recorded for future broadcast on MSO.LIVE .

A musical Acknowledgement of Country, Long Time Living Here by Deborah Cheetham AO, will be performed before the start of this concert. The Melbourne Symphony Orchestra acknowledges the Traditional Owners of the Land on which we perform and would like to pay our respects to their Elders and Community both past and present.

Running time: approximately 2 hours including a 20 minute interval.

Please note audience members are strongly recommended to wear face masks where 1.5m distancing is not possible, however wearing a mask is no longer a requirement for entry.

In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone.

Repertoire ACT ONE

ACT TWO

Barbrature

Cry Me A River Katie Noonan

Putting it Together Cast

Music by Arthur Hamilton

One Less Bell to Answer/ House is Not a Home Caroline O’Connor and Elise McCann

Music by Stephen Sondheim

Woman in Love Katie Noonan Music by Barry Alan and Robin Hugh Gibb

Music by Burt F Bacharach, Lyrics by Hal David

Before the Parade Passes By Elise McCann

How Lucky Can You Get Ryan Gonzalez

Music by Jerry Herman, Charles Strouse and Lee Adams

Music by John Kander, Lyrics by Fred Ebb

Papa Can You Hear Me/ Piece of the Sky Elise McCann

Gotta Move Ryan Gonzalez Music by Peter Matz

Music by Michel Jean Legend, Lyrics by Marilyn and Alan Bergman

People Caroline O’Connor

Send in the Clowns Caroline O’Connor

Music by Jule Styne, Lyrics by Bob Merrill

Music by Stephen Sondheim

Evergreen Katie Noonan

Somewhere Katie Noonan

Music by Barbra Streisand and Paul H Williams

Music by Leonard Bernstein, Lyrics by Stephen Sondheim

You Don’t Bring Me Flowers Elise McCann and Ryan Gonzalez

Guilty Katie Noonan and Ryan Gonzalez

Music by Alan Bergman, Marilyn Bergman and Neil Leslie Diamond

Music by Barry, Robin and Maurice Gibb

Happy Days Are Here Again Ryan Gonzalez

Music That Makes Me Dance/ My Man Elise McCann and Caroline O’Connor

Music by Milton Ager, Lyrics by Jack Yellen

Music by Jule Styne, Lyrics by Bob Merrill

Don’t Rain on My Parade Caroline O’Connor Music by Jule Styne, Lyrics by Bob Merrill

INTERVAL

Arrangements by Nicholas Buc.

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Memories

The spotlight is firmly on Barbra Streisand as she turns 80 this month. After almost 58 years Funny Girl – her defining theatrical break – is also having its first Broadway revival. To celebrate her birthday, a stellar line-up of music theatre and concert artists are reaching for the stars with the Melbourne Symphony Orchestra, writes BRYCE HALLETT.

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he former chief classical music critic of The New York Times, Anthony Tommasini, had long been intrigued by the beauty and power of Barbra Streisand’s voice. As an opera devotee and firm admirer of the legendary artist’s ability to “shape a phrase with velvety legato and find the right colouring for each note and each word”, Tommasini resolved to meet Streisand in person in the autumn of 2009 to better understand how she uses her diaphragm and to learn about her vocal technique.

time she was seven, she wanted to be an actress, not a singer, and that singing came as an extension of that passion…”.

Towards the end of their meeting, the scholarly critic asked Streisand if it was true, like Luciano Pavarotti, that she essentially cannot read music. She replied in a Fanny Brice deadpan: “I don’t read music. Not even essentially. Not even nonessentially.”

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URNING 80 on April 24, 2022, Streisand’s extraordinary career spans six decades across stage, film and music, during which she has honed her craft, developed the skills to direct and produce, and, moreover, control her own artistic vision and destiny. The accolades, ovations and awards have been plentiful. Streisand’s record-breaking 52 gold albums and 31 platinum albums, each bearing distinctive artwork, feature some of the most popular and enduring songs of all time, including The Way We Were, Evergreen, Don’t Rain on My Parade, A Piece of Sky, Somewhere, Send in The Clowns, You Don’t Bring Me Flowers and Guilty, among many others. All of these songs are showcased in the Melbourne Symphony Orchestra’s To Barbra, With Love, a celebration of Barbra Streisand’s 80 th birthday and a valentine to her inimitable and inspirational talent.

They met at an Upper West Side apartment in New York for what was an honest and revealing conversation in which Streisand’s extra-special something as a singer – her unique vocal agility and magic – would defy neat categorisation, at least in any academic sense. Asked if she always thought about breathing deeply from the diaphragm, like an opera singer, or using the diaphragm as a natural support for her voice, Streisand exclaimed, “Never!”, upon which she explained that singing came to her naturally. It soon became apparent that she hardly ever does vocal exercises and that whatever vocal power, finesse and richness she possesses, was not the result of conventional study or analysis.

“I didn’t do it intellectually. I did it intuitively, unconsciously, I kind of like that.”

With those qualities in mind, four of Australia’s exceptional and versatile stage and concert performers, Caroline O’Connor [ West Side Story, Chicago, Anastasia], Katie Noonan [Gratitude and Grief, With Love and Fury, Songs That Made Me], Elise McCann [Into The Woods, South Pacific, Matilda the Musical] and Ryan Gonzalez [In The Heights, Jersey

Ever curious, Tommasini pressed on like a detective trying to solve a mystery. In his own words: “Ms Streisand revealed herself as a vocal artist with powerful, if innate, insights into phrasing, legato, vibrato, interpretative nuances and, most important, the art of singing as an expression of words. She kept emphasising, however, that from the

Opp / Barbra Streisand, circa 1975 (Photo by Steve Schapiro/Corbis via Getty Images)

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Boys, Moulin Rouge! The Musical], are converging on the expansive Hamer Hall stage to honour the trailblazing legend.

Conducted by Vanessa Scammell, who is currently Musical Director of An American in Paris, with songs arranged by conductor and composer Nicholas Buc, the concert is directed by the vastly-experienced Cameron Mitchell, who choreographed the hit musical Calamity Jane and made his directorial debut on the acclaimed Catch Me If You Can for Hayes Theatre Co.

stratosphere. As the celebrated classical pianist Glenn Gould once described her singing voice, “It is one of the natural wonders of the age, an instrument of infinite diversity and timbral resource.”

Observes Mitchell, “She touches so many people, not just her amazing voice but her incredible humanity. She paved the way for many performers and gave them the confidence to be true to themselves. We all let our fears and insecurities drive us to be better, and Streisand is an inspiration on that score alone … She has the balls to do everything.”

“There are so many great Streisand songs across the gamut that it was as much a question of what do we leave out as what do we put in?” says Mitchell. “The concert includes all the big signature tunes, but I also wanted people to learn more through some lesser-known songs, especially from her early career.”

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HEN Streisand was 18 she entered a talent quest at The Lion, a gay club in Greenwich Village. She sang Harold Arlen and Truman Capote’s 1954 song, A Sleepin’ Bee, after which there was a deafening silence, then a rousing ovation. Her second song of the night was the 1952 jazz hit, Lullaby of Birdland which, microphone in hand, she performed walking through the small, packed room. The distinctive young woman from Brooklyn won the talent quest, a coming of age that landed her a weekly spot at The Lion, followed by a residency nearby at the bigger nightspot Bon Soir.

Word-of-mouth spread through Manhattan and beyond about the star in the making.

Within the space of several months, she came in contact with influential figures who would become life-long friends, including her manager Martin Erlichman, the lyricists Alan and Marilyn Bergman, who wrote numerous songs for Streisand, including The Way We Were [1973], written with Marvin Hamlisch, and a decade later the Yentl soundtrack with Michel Legrand.

Given the number of ballads that Streisand has recorded and judiciously performed over the years, there was also the matter of curating a program that offered light and shade, be it the vocal dynamics of the duet One Less Bell To Answer/A House Is Not A Home, performed by McCann and O’Connor, the climactic epic A Piece of Sky [McCann] or the seductive pop rhythms of Barry, Robin & Maurice Gibb’s Guilty [Noonan and Gonzalez]. “Hearing pops songs with an orchestra adds a whole other layer that’s wondrous and thrilling.”

Mitchell’s career in the entertainment industry spans more than 30 years. Early on, through grit and determination, he came to prominence as one of Australia’s most in-demand choreographers. He recalls his mother constantly playing Streisand’s Guilty album in the house when he was growing up. “I was 11 and it used to annoy me as a kid [but] later my guilty pleasure was listening to her Memories album and The Broadway Album. I was won over.” Streisand may not have had a formal musical education but her instincts, prodigious talent, interpretative skills, comic flair and sheer will-power places her in a rare

In 1962, Arthur Laurents hired the 19-yearold to feature in I Can Get It for You Wholesale. Streisand stopped the show with her solo Miss Marmelstein, a comic tour de force. Less than two years later, her big theatrical break arrived in the form of Funny Girl, about a Ziegfeld star who won, then lost her man. To this day, her indelible performances in the musical, not 8

least her towering interpretation of People, has meant that few producers are brave enough to revive the show.

Enter Caroline O’Connor, a dazzling stage performer and one of musical theatre’s truly resourceful triple threats who can belt to the rafters, dance up a storm and sensitively connect to the lyric through acting and instinct.

“When I first did Funny Girl I was frightened about doing it because of Streisand’s imprint,” says O’Connor, who first performed the role for The Production Company in its 1999 debut season. “I had to keep telling myself, ‘You’re playing Fanny Brice!’ but I knew I had my work cut out.” Many Broadway and West End performers have shied away from the role, including Sierra Boggess, who starred in The Phantom of the Opera on Broadway. Boggess told The New York Times that Streisand “is so ruthlessly herself and so unique, I wouldn’t know how to make it my own.”

O’Connor may have had her work cut out, but it was a chance to show her acting chops and comic timing as well as her vocal dexterity and command. “I don’t think anyone’s had a career like Barbra; she has an amazing skills’ set,” O’Connor observes. “There’s so much emotion in a good song that tells a story and genuinely moves people, and Barbra is drawn to that material. Her instrument is so perfect and her singing is so powerful. You get completely sucked in.”

Barbra Streisand in Funny Girl 1968 (Photo by Silver Screen Collection/Getty Images)

singers of the English language…”.

Whatever the initial trepidation, O’Connor went on to play Fanny Brice a second time in Gale Edwards’ highly praised version for The Production Company in 2016. Audiences and critics were ecstatic.

“O’Connor is a whirling dynamo of emotion, song and dance, barely pausing for breath as she hurtles through the massive role with charismatic flair,” noted a Melbourne reviewer whilst The Australian’s theatre critic declared that her “extraordinary” performance “deserves to be rated with Barbara Cook and ‘the guardian of tenuous dreams’ Mabel Mercer as one of the great

O’Connor – currently revealing her comedic flair in Dolly Parton’s 9 to 5 The Musical – credits Streisand as having a pivotal influence in her career, ever since she began treading the boards. “As an actress, I couldn’t believe how hilarious she was in Funny Girl, all those funny accents and kooky expressions. I was struck by her humour as much as anything else. I was in awe of her talent when I was in my early 20s. I would keep holding notes for as long as I could and I kept trying to replicate her vocal hot spot; that transition 9

of holding a note and reaching the highest note; you can’t really work it out.”

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HE multi-talented vocalist Katie Noonan admits that her appreciation of Barbra Streisand’s talent came somewhat late in life. “My major influences have been classical, jazz, opera and pop, and listening to bands like Crowded House and U2. Music theatre and cabaret are not what I do although the musical role I’ve only ever wanted to do was Maria in West Side Story. I’m a [Leonard] Bernstein junkie.”

Noonan, at heart, is not averse to creative risk-taking and is fearless when it comes to “getting out of my comfort zone”.

This is borne out by her recordings and performances with the jazz trio Elixir, and innovative collaborations with Paul Grabowsky AO, Deborah Conway, Karen Schaupp, The Australian String Quartet, among others.

Barbra Streisand on the set of A Star is Born (Photo by Sunset Boulevard/Corbis via Getty Images)

inhabits the songs. You just think they were written for her and that it’s real.”

In Noonan’s quest for new musical challenges, combined with her constant striving for authenticity, it becomes evident that she has a natural affinity with Streisand. “I’m a pianist first, a singer second,” says Noonan. “It’s not only about making a variety of sounds but getting to tell a story that has meaning and resonance.” Aside from interpreting the Streisand classic Evergreen, the singersongwriter gets to reveal the beauty and soaring strength of her voice in Somewhere, composed by Bernstein, with lyrics by Stephen Sondheim, and incorporating a phrase from the slow movement of Beethoven’s ‘ Emperor ’ Piano Concerto, which forms the start of the melody.

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HE first Broadway production of Funny Girl since its 1964 premiere is nearing opening night at the August Wilson Theatre on April 24.

Directed by Michael Mayer [Spring Awakening] and featuring a revised book

by Harvey Fierstein [La Cage aux Folles], the keenly awaited revival stars Beanie Feldstein, 28, in the coveted headline role. It’s a moment that Feldstein admits to dreaming about since she saw the film as a toddler. Feldstein came to notice portraying Monica Lewinsky in Impeachment: American Crime Story and made her Broadway debut five years ago in the Bette Midler-led revival of Hello, Dolly! For Elise McCann, such dreams and ambitions in her world of musical theatre and cabaret, have largely sprung from Streisand: unapologetic role model, astute businesswoman.

“I’m hearing the song in a new light and I get teary thinking about it. Somewhere has universal themes about displacement and conflict, and I’ll be singing it to Ukraine.

The lyrics are so apt at the moment. This concert with the Melbourne Symphony is a wonderful opportunity for me to learn and more fully appreciate the influence and legacy of Barbra Streisand. For me, the main thing is how brilliantly she

“I’m an old-school Streisand fan. I love all her movies – Funny Girl, What’s Up, Doc?, Hello, Dolly! , Yentl – and as a child I used to try to mimic her voice,” says McCann, who wowed audiences when she portrayed 10

Lucille Ball in her one-woman show Everybody Love Lucy. “I’ve always loved the cleanness and dexterity of Barbra’s voice, but the thing I most responded to was [that] she was something of a clown. She got to play strong women who are full of life, yet she wasn’t your typical ingenue. She’s funny and smart, and everything is heartfelt.”

Gotta Move. “It’s tricky and demanding.

I have a tenor male voice with a large vocal range and Gotta Move has a relentless vocalisation. As trained singers we can map it out, work out key changes and find the place to belt but you don’t want to think too much; you have to vocalise through feeling and acting.”

You don’t have to look too closely at McCann’s career to appreciate Streisand’s influence. “When I was young, I felt like the ugly duckling. I was chubby and wore glasses, and I loved watching Funny Girl because it was the first time I’d seen that kind of woman portrayed on screen. For me, it offered a sense of permission to be bold, quirky and fun.”

The recipient of a Sydney Theatre Award for their portrayal of Usnavi in Hayes Theatre Co’s In the Heights, Gonzalez is honoured to be part of the Streisand birthday celebration. “It’s a brilliant opportunity for diverse artists and an orchestra to be doing this repertoire. Barbra is an enigma and this concert, in essence, is a showcase of her creativity, versatility and artistry. Barbra is so limitless that I would like to think this occasion can inspire a form of concert that is gender-less, fluid, inclusive and also limitless. We have to learn to shift theatre and move it forward; to be open to change and broaden our horizons.”

In recent years, the singer-actor has also sought to branch out as a producer in her own right. “I love performing but have come to the point where I want to create my own opportunities; to have agency for myself and for others.”

Barbra Streisand’s ability to move across genres and to control her artistic destiny greatly appeals to Ryan Gonzalez, who steams up the stage as Santiago in Moulin Rouge! The Musical. “Barbra’s the quintessential storytelling vocalist whose voice caresses and embraces you,” observes Gonzalez. “I’ve studied a lot of music theatre and have come to realise just how incredibly versatile an artist she is, whether its jazz, blues or classic songbook.

When you listen to Funny Girl you not only appreciate how massive a role it is but just how much of a chameleon Barbra is; everything is rooted in feeling and acting.”

(Photo by Jurgen Vollmer/Popperfoto via Getty Images)

Having played Angel in Kinky Boots, Franki Valli in the national tour of Jersey Boys and Gabriel in Kiss of the Spiderwoman for Melbourne Theatre Company, the dynamic actor-singer-dancer is also the embodiment of versatility. Nothing, it seems, is out of reach. In To Barbra, With Love, Gonzalez performs two signature yet contrasting duets, You Don’t Bring Me Flowers, with Elise McCann, and Guilty [Noonan], as well as the fast and furious

“What’s wrong with wanting more?

If you can fly, then soar With all there is, why settle for Just a piece of sky?”

Bryce Hallett is a former arts writer and theatre critic at The Sydney Morning Herald. He is the writer of the rock drama Rolling Thunder Vietnam.

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Acknowledging Country

About Long Time Living Here In all the world, only Australia can lay claim to the longest continuing cultures and we celebrate this more today than in any other time since our shared history began. We live each day drawing energy from a land which has been nurtured by the traditional owners for more than 2000 generations.

When we acknowledge country we pay respect to the land and to the people in equal measure.

In the first project of its kind in Australia, the MSO has developed a musical Acknowledgment of Country with music composed by Yorta Yorta composer Deborah Cheetham AO, featuring Indigenous languages from across Victoria. Generously supported by Helen Macpherson Smith Trust and the Commonwealth Government through the Australian National Commission for UNESCO, the MSO is working in partnership with Short Black Opera and Indigenous language custodians who are generously sharing their cultural knowledge.

As a composer I have specialised in coupling the beauty and diversity of our Indigenous languages with the power and intensity of classical music. In order to compose the music for this Acknowledgement of Country Project I have had the great privilege of working with no fewer than eleven ancient languages from the state of Victoria, including the language of my late Grandmother, Yorta Yorta woman Frances McGee. I pay my deepest respects to the elders and ancestors who are represented in these songs of acknowledgement and to the language custodians who have shared their knowledge and expertise in providing each text.

The Acknowledgement of Country allows us to pay our respects to the traditional owners of the land on which we perform in the language of that country and in the orchestral language of music.

Australian National Commission for UNESCO United Nations Educational, Scientific and Cultural Organization

I am so proud of the MSO for initiating this landmark project and grateful that they afforded me the opportunity to make this contribution to the ongoing quest of understanding our belonging in this land.

— Deborah Cheetham AO 12

Melbourne Symphony Orchestra

Live Nation

The Melbourne Symphony Orchestra is a leading cultural figure in the Australian arts landscape, bringing the best in orchestral music and passionate performance to a diverse audience across Victoria, the nation and around the world.

Live Nation is Australia and the world’s leading live entertainment company.

Our teams produce more concerts, sell more tickets and connect more people to music than anyone else in the world.

As the world’s leading live entertainment company, we are privileged to work with artists to bring their creativity to life on stages around the world. Whether it’s two hours at a packed club, an intimate orchestral show in an iconic theatre, or an entire weekend of sets at a festival, a live show does more than entertain. It can uplift, inspire and create a memory that lasts a lifetime.

Each year the MSO engages with more than 5 million people through live concerts, TV, radio and online broadcasts, international tours, recordings and education programs.

The MSO is a vital presence, both onstage and in the community, in cultivating classical music in Australia. The nation’s first professional orchestra, the MSO has been the sound of the city of Melbourne since 1906.

The MSO regularly attracts great artists from around the globe including AnneSophie Mutter, Lang Lang, Renée Fleming and Thomas Hampson, while bringing Melbourne’s finest musicians to the world through tours to China, Europe and the United States.

The Melbourne Symphony Orchestra and Live Nation respectfully acknowledges the people of the Eastern Kulin Nations, on whose un‑ceded lands we honour the continuation of the oldest music practice in the world.

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Vanessa Scammell CONDUCTOR

In 2018/2019, Vanessa Scammell conducted Sweeney Todd and Jekyll & Hyde (both starring Anthony Warlow), an encore national tour of From Broadway to La Scala , The Merry Widow for Opera Australia, West Australian Opera and Opera Queensland and led symphonic tours of Planet Earth and Blue Planet 2 for the BBC. In 2021/2022, she conducts the Sydney, Melbourne, Queensland and West Australian Symphony Orchestras in programmes such as Vera Blue, The Bamboos and Birds of Tokyo. Vanessa also leads performances of Opera in the Outback for Opera Queensland and An American in Paris for The Australian Ballet.

Vanessa’s concert credits include: From Broadway to La Scala; Peter and Jack starring Barry Humphries, Idina Menzel LIVE – Barefoot at the Symphony; Eskimo Joe and Lea Salonga in Concert.

She was Musical Director for The Divorce (an opera commissioned for television by Opera Australia, Princess Pictures and the ABC) and has been the Helpmann Award’s Music Director for the past 13 years.

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Cameron Mitchell DIRECTOR

Cameron Mitchell has been working in the entertainment industry for over 30 years.

Starting his career in musical theatre, he soon became one of Australia’s most versatile and sought-after choreographers. With his extensive experience on stage and TV, it was only a natural progression for Cameron to extend his repertoire to now include directing.

Cameron choreographed for the Logie and Aria award winning children’s group Hi-5 for many years. He was instrumental in creating the internationally successful Boys In The Band with SMA Productions and his work was heavily featured in So You Think You Can Dance on Network Ten. Cameron choreographed numerous performances over three seasons of Ten’s Dancing With The Stars, and worked as choreographer on the feature film Peter Rabbit 2 .

He has worked as choreographer on many musical theatre productions including the national tour of Heathers the musical, High Society, The Fantastiks, Mack & Mabel, Big Fish, Brigadoon for the Production Company, The Rover for Belvoir Theater, The View Upstairs, Calamity Jane, High Fidelity, Gypsy, Cry-Baby and Spamalot.

Cameron made his directorial debut for the critically acclaimed Australian premiere of the Broadway musical Catch Me If You Can with a sellout season at The Hayes Theatre.

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Caroline O’Connor VOCALIST

Caroline O’Connor is a multi-award-winning entertainer and performer who has worked across three continents during her illustrious musical theatre career.

Caroline’s Broadway credits include the musical Chicago; she created the roles of Countess Lily Malevsky-Malevitch in Anastasia (Drama League Nomination, Outer Critics Circle Nomination); and the role of Miss Shields in A Christmas Story the Musical, which transferred to Madison Square Garden. She was a featured performer at the 2013 Tony Awards at Radio City Music Hall. Caroline played Reno Sweeney in Anything Goes (Helpmann Award): Rose in Gypsy for the Production Company in Melbourne, Judy Garland in the World Premiere of End of The Rainbow. Other Australian productions include Chicago, West Side Story, Piaf, Man of La Mancha , Funny Girl, Candide, Kiss of the Spiderwoman and The Boy from Oz. West End credits include Mack and Mabel (Olivier nomination), The Rink and Cabaret, Romance Romance, Me and My Girl and Street Scene.

Bombshells, a one-woman play, commissioned by Melbourne Theatre Company and written for Caroline by Joanna Murray-Smith, won her critical acclaim internationally, including a Green Room Award, Fringe First Award, Laurence Olivier nomination and a London Theatregoers Award.

She has performed in numerous concerts worldwide including Stephen Sondheim’s 80th Birthday Concert and The Proms at the Royal Albert Hall and her one woman show at the legendary Birdland in New York.

Film credits include De Lovely and Nini Legs-in-the-Air in Baz Luhrmann’s Moulin Rouge.

Caroline has recorded three solo CDs. She was awarded an AM (Order of Australia) in 2020 for her extraordinary service to Theatre.

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Katie Noonan VOCALIST

Over the past 20 years, five-time ARIA award-winning artist Katie Noonan has proven herself one of Australia’s most hardworking, versatile and prolific artists. Named one of the greatest Australian singers of all time by The Herald Sun, Katie has produced 21 studio albums over her career with seven x platinum record sales under her belt and 27 ARIA award nominations that span diverse genres.

Katie first came into the nation’s view in 2002 while fronting indie rock band george – their debut album, the two-times platinum Polyserena , rolled in at number one in the ARIA charts. They ultimately won the ARIA award for Breakthrough Artist that same year.

Since then, Katie has performed by invitation for members of the Danish and British Royal families, and His Holiness the 13 th Dalai Lama. She was an inaugural recipient of the prestigious Sidney Myer Creative Fellowship in 2011, an honour awarded to candidates that display outstanding talent and exceptional courage. In 2018, Katie took on the Commonwealth Games Opening and Closing ceremonies as Music Director, performing to more than a billion viewers worldwide.

Katie has performed for royalty, national and international leaders, and blazed a trail for young women artists. Music, for Katie, is a lifelong lesson, a generous act of giving, and a means to change the world.

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Elise McCann VOCALIST

Elise is most well-known for originating the role of Miss Honey in the Australian production of Matilda for which she won the 2016 Helpmann Award, the 2015 Sydney Theatre Award and was nominated for the 2016 Green Room Award. As well as for her role as Lucille Ball in Everybody Loves Lucy for which she was nominated in the 2015 Sydney Theatre Awards, and for her appearance as Lynne Woolnough, in the Australian television miniseries Peter Allen: Not the Boy Next Door for Channel 7.

A graduate of NIDA, Elise’s theatre credits include: The Last Five Years (Ensemble Theatre), Oklahoma and Brigadoon (TPC), the 10th Anniversary Australian Tour of MAMMA MIA! (Littlestar); South Pacific (Opera Australia/GFO); The World Premiere production of Doctor Zhivago (GFO); Fiddler on the Roof (TML); Falsettos (Darlinghurst Theatre Company); Into The Woods (Victorian Arts Opera); Little Women (Kookaburra); My Fair Lady (Opera Australia); In Conversation with Stephen Schwartz (Enda Markey Presents) as well as the national tour of Beyond The Barricade (Lunchbox Theatricals UK). Television: the pilot of The Modern Guide to Dating created by Joh Fields and the pilot comedy drama Tumbling (Two Little Films).

In 2017 Elise’s debut album Dahlesque was released nationally under ABC/ Universal Music.

Dahlesque has been performed in concert with the Adelaide Cabaret Festival (2017), Melbourne Symphony Orchestra (2018) and the Auckland Philarmonia (2019).

Most recently Elise appeared as Mary Flynn in the Stephen Sondheim classic Merrily We Roll Along (Hayes Theatre) for which she was nominated for Best Performance in a Leading Role in a Musical at the 2021 Sydney Theatre Awards.

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Ryan Gonzalez VOCALIST

Ryan Gonzalez is a true triple threat performer with a career in cabaret, film and theatre.

Currently they are starring as Santiago in Moulin Rouge! The Musical Australia. Ryan performed the role of Roy in Sydney Theatre Company’s Co-Production of Fun Home and appeared as Gabriel in Melbourne Theatre Company’s Kiss of the Spider Woman. Ryan’s vocals were recently recorded on the studio concept album for new Australian rock musical Dubbo Championship Wrestling.

In 2019 Ryan starred as Frankie Valli in the national tour of Jersey Boys, receiving a Greenroom Award nomination for Best Actor in a Musical. Other recent roles include Usnavi in In The Heights (Hayes Theatre) for which they won the Sydney Theatre Award for Best Actor in a Musical; The View Upstairs (Hayes Theatre); Assassins (Hayes Theatre) at the Sydney Opera House; and Eddie Ryan in Funny Girl in Concert and soloist in the Bernstein Songbook Series (both Sydney Symphony Orchestra). Ryan won Best Cabaret Performer for the 2016 Sydney Broadway World Awards for their one man show ¡Hispanic Attack!

Other credits include Mike in Velvet Rewired, Angel in Kinky Boots, Wayne Burns in Strictly Ballroom the Musical (cover Scott Hastings), King Kong Live on Stage, the Australian tour of Legally Blonde, Virgil in Violet and Opera Australia’s Carmen. Film credits include motion capture artist in Happy Feet Two directed by George Miller, The Great Gatsby directed by Baz Luhrmann and Australian film Goddess. Ryan’s creative credits include, Gypsy (Resident Choreographer), Young Frankenstein (Associate Choreographer) and American Psycho (Associate Choreographer).

To stay updated with Ryan’s journey you can follow them on Instagram @rgonzy.

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Melbourne Symphony Orchestra Jaime Martín

Chief Conductor Dr Marc Besen AC and the late Dr Eva Besen AO#

Xian Zhang

Principal Guest Conductor

Benjamin Northey Principal Conductor in Residence

Carlo Antonioli Cybec Assistant Conductor Fellow

SECOND VIOLINS

CELLOS

Matthew Tomkins

David Berlin

Robert Macindoe

Rachael Tobin

Monica Curro

Nicholas Bochner

Principal The Gross Foundation# Associate Principal Assistant Principal Danny Gorog and Lindy Susskind#

Dale Barltrop

Mary Allison Isin Cakmakcioglu Tiffany Cheng Freya Franzen Cong Gu Andrew Hall Isy Wasserman Philippa West

Sophie Rowell

Patrick Wong Roger Young

Sir Andrew Davis Conductor Laureate

Hiroyuki Iwaki †

Conductor Laureate (1974–2006)

FIRST VIOLINS Concertmaster David Li AM and Angela Li# Concertmaster The Ullmer Family Foundation#

Tair Khisambeev

Assistant Concertmaster Di Jameson#

Peter Edwards

Assistant Principal

Kirsty Bremner Sarah Curro Peter Fellin Deborah Goodall Lorraine Hook Anne-Marie Johnson Kirstin Kenny Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor

Andrew Dudgeon AM#

Shane Buggle#

Principal Hyon Ju Newman# Associate Principal Assistant Principal

Miranda Brockman

Geelong Friends of the MSO#

Rohan de Korte

Andrew Dudgeon AM#

Sarah Morse Angela Sargeant Michelle Wood

Andrew and Judy Rogers#

DOUBLE BASSES Benjamin Hanlon

Frank Mercurio and Di Jameson#

Suzanne Lee Stephen Newton

Sophie Galaise and Clarence Fraser#

VIOLAS Christopher Moore Principal Di Jameson#

Christopher Cartlidge Associate Principal

Lauren Brigden Katharine Brockman Anthony Chataway

Dr Elizabeth E Lewis AM#

Gabrielle Halloran Trevor Jones Anne Neil#

Fiona Sargeant Cindy Watkin

FLUTES Prudence Davis Principal Anonymous#

Wendy Clarke

Associate Principal

Sarah Beggs PICCOLO Andrew Macleod Principal

OBOES Thomas Hutchinson Associate Principal

Ann Blackburn

The Rosemary Norman Foundation#

Learn more about our musicians on the MSO website.

20

Clarinet Stuart Byrne

COR ANGLAIS

TRUMPETS

Michael Pisani

Owen Morris

CLARINETS

Shane Hooton

David Thomas

William Evans Rosie Turner

Principal

Principal

Philip Arkinstall

Associate Principal

Principal

Associate Principal

John and Diana Frew#

Craig Hill

TROMBONES

BASS CLARINET

Richard Shirley Mike Szabo

Jon Craven Principal

BASSOONS

Principal Bass Trombone

TUBA

Horn Anton Schroeder Trumpet Tristan Rebien Trombone Ken McClimont Cian Malikides James Littlewood Timpani Brent Miller

Timothy Buzbee

Percussion Lara Wilson

Elise Millman

TIMPANI

Harp Megan Reeve

Natasha Thomas

PERCUSSION

Jack Schiller Principal

Principal

Associate Principal Dr Martin Tymms and Patricia Nilsson#

John Arcaro

CONTRABASSOON

Robert Cossom

Brock Imison Principal

HORNS Nicolas Fleury

Principal Margaret Jackson AC #

Saul Lewis

Principal Third The Hon Michael Watt QC and Cecilie Hall#

Abbey Edlin

Nereda Hanlon and Michael Hanlon AM#

Trinette McClimont Rachel Shaw Gary McPherson#

Anonymous#

Drs Rhyl Wade and Clem Gruen#

HARP

Alto Saxophone Lachlan Davidson Tenor Saxophone Carl Mackey Baritone Saxophone Mirko Guerrini

Yinuo Mu

Piano Michael Tyack

GUEST MUSICIANS

Drumkit Dean Cooper

Principal

Second Violins Jacqueline Edwards Andrea Keeble Violas Isabel Morse Merewyn Bramble Lisa Grosman

Guitar Troy Downward Bass Guitar James Kempster

Cellos Nils Hobiger Alexandra Patridge Double Basses Vivian Qu Siyuan # Position supported by

21

Production Credits MELBOURNE SYMPHONY ORCHESTRA

Lighting Designer Peter Rubie

Executive Producer Mark Sutcliffe

Lighting Services Arts Centre Melbourne ResolutionX

Associate Producer/Artist Liaison Stephen McAllan

Audio Engineer Des O’Neill – aFX-Global

Orchestra Manager Simonette Turner

Audio Services Norwest Joseph Pearce

Orchestra Manager Nina Dubecki

Stage Manager Annie Halliday

Production Lead Geetanjali Mishra

Stage Manager Joanna Halliday

Head of Operations James Foster

Production Coordinator Rosemary Osmond

Key Artwork Design Christie Brewster – Brewster Creative

Artistic Administrator Andrew Groch Artistic Planning & Digital Rights Coordinator Hannah Cui

Hair Otis Fantauzzo Makeup Elisa Clarke

Director of Marketing and Sales Dylan Stewart

Stylists Act One Vocalists Linda Britten

Senior Manager, Marketing and Communications Clare Douglas

Act Two Caroline O’Connor Lucy Laurita

Digital Marketing Manager Emiko Hunt Digital Projects Manager Phil Paschke Graphic Designer Katya Dibb Marketing Coordinator Emily Plater

LIVE NATION AUSTRALIA

Marketing Assistant/Program Coordinator Stephanie Sheridan

CEO Roger Field

Publicist Prue Bassett

Head of Arts & Entertainment Graham Kennedy

VP of Promotions Luke Head

Head of Media Liam Hennebry

Tour Marketing Manager Michael Edney

Digital Content Producer Andrew Kirkman

Tour Operations Manager Annie Solomon

Digital Content Co-ordinator Laura Pemberton

ENCORE CREDIT

Senior Manager, Sales & Customer Experience Shannon Toyne

The Way We Were Caroline O’Connor

Box Office Manager Danielle Nicolaidis

Music by Alan and Marilyn Bergman and Marvin Hamlisch

Orchestra Library Manager Luke Speedy-Hutton

No More Tears (Enough is Enough) Cast

Orchestra Library Coordinator Veronika Reeves

Music by Paul Jabara and Bruce Roberts

Orchestra Library Assistant Jennifer Powell

22

22 – 24 SEPTEMBER 2022 Arts Centre Melbourne, Hamer Hall Book now mso.com.au WIZARDING WORLD and all related trademarks, characters, names, and indicia are © & ™ Warner Bros.

Entertainment Inc. Publishing Rights © JKR. (s22)

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

CHAIRMAN’S CIRCLE Dr Marc Besen AC and the late Dr Eva Besen AO Gandel Foundation The Gross Foundation Di Jameson Harold Mitchell Foundation Hyon Ju Newman Lady Potter AC CMRI The Cybec Foundation The Pratt Foundation Elizabeth Proust AO and Brian Lawrence The Ullmer Family Foundation

ARTIST CHAIR BENEFACTORS Chief Conductor Jaime Martín Dr Marc Besen AC and the late Dr Eva Besen AO Cybec Assistant Conductor Chair Carlo Antonioli The Cybec Foundation Concertmaster Chair Sophie Rowell The Ullmer Family Foundation Concertmaster Chair Dale Barltrop David Li AM and Angela Li Assistant Concertmaster Tair Khisambeev Di Jameson Young Composer in Residence Alex Turley The Cybec Foundation

PROGRAM BENEFACTORS Cybec 21st Century Australian Composers Program The Cybec Foundation Digital Transformation The Ian Potter Foundation, The Margaret Lawrence Bequest – Managed by Perpetual

First Nations Emerging Artist Program The Ullmer Family Foundation

VIRTUOSO PATRONS $50,000+

East meets West The Li Family Trust

Margaret Jackson AC ◊

MSO Live Online Crown Resorts Foundation, Packer Family Foundation

Elizabeth Proust AO and Brian Lawrence

Hyon-Ju Newman ◊

MSO Education Anonymous

Anonymous (1)

IMPRESARIO PATRONS $20,000+

MSO Academy Di Jameson MSO For Schools Crown Resorts Foundation, Packer Family Foundation, The Department of Education and Training, Victoria, through the Strategic Partnerships Program and the Victorian Challenge and Enrichment Series (VCES) MSO Regional Touring Creative Victoria, Freemasons Foundation Victoria, John T Reid Charitable Trusts, Robert Salzer Foundation, The Sir Andrew & Lady Fairley Foundation

The Pizzicato Effect Supported by Hume City Council’s Community Grants program, The Marian and E.H. Flack Trust, Scobie and Claire Mackinnon Trust, Jenny Anderson, Australian Decorative And Fine Arts Society, Anonymous

Harold Bentley The Hogan Family Foundation David Krasnostein and Pat Stragalinos Anonymous (1)

MAESTRO PATRONS $10,000+ Christine and Mark Armour Margaret Billson and the late Ted Billson Shane Buggle ◊ Krystyna Campbell-Pretty AM Colin Golvan AM QC and Dr Deborah Golvan Jan and Robert Green Danny Gorog and Lindy Susskind ◊ Nereda Hanlon and Michael Hanlon AM ◊

Sidney Myer Free Concerts Supported by the Sidney Myer MSO Trust Fund and the University of Melbourne

Doug Hooley

PLATINUM PATRONS $100,000+

Opalgate Foundation

Dr Marc Besen AC and the late Dr Eva Besen AO The Gross Foundation Di Jameson

◊

◊

David Li AM and Angela Li◊ The Pratt Foundation

Rosemary Jacoby in memory of James Jacoby Peter Lovell Ian and Jeannie Paterson Glenn Sedgwick Gai and David Taylor Athalie Williams and Tim Danielson Anonymous (1)

The Ullmer Family Foundation

PRINCIPAL PATRONS $5,000+

Anonymous (1) ◊

Adrienne Basser Barbara Bell in memory of Elsa Bell

24

Bodhi Education Fund John and Lyn Coppock Ann Darby in memory of Leslie J. Darby Wendy Dimmick Andrew Dudgeon AM ◊ Jaan Enden Dr Bill Fleming Susan Fry and Don Fry AO Sophie Galaise and Clarence Fraser◊

ASSOCIATE PATRONS $2,500+

Steinicke Family

Mary Armour

Jenny Tatchell

Sue and Barry Peake

Clayton and Christina Thomas

Anne Bowden

Jessica Thomson-Robbins

Joyce Bown

Nic and Ann Willcock

Julia and Jim Breen

Lorraine Woolley

Alan and Dr Jennifer Breschkin

Anonymous (4)

Patricia Brockman Dr John Brookes

Geelong Friends of the MSO ◊ Jennifer Gorog Dr Rhyl Wade and Dr Clem Gruen ◊

Stuart Brown Jill and Christopher Buckley

Dr Sally Adams

Lynne Burgess

Australian Decorative & Fine Arts Society

Richard and Janet Chauvel

Louis J Hamon OAM

Breen Creighton and Elsbeth Hadenfeldt

Hartmut and Ruth Hofmann

Sandra Dent

Peter and Jenny Hordern

Douglas J Savige

Dr Alastair Jackson AM

Barry Fradkin OAM and Dr Pam Fradkin

John and Diana Frew◊

Alex and Liz Furman

Suzanne Kirkham

Kim and Robert Gearon

Dr Jerry Koliha and Marlene Krelle Dr Elizabeth A Lewis AM ◊ Phil Lewis

Goldschlager Family Charitable Foundation Merv Keehn and Sue Harlow Susan and Gary Hearst

Dr Caroline Liow

John Jones

LRR Family Trust

PLAYER PATRONS $1,000+ David and Cindy Abbey

Oliver Carton

Hilary Hall in memory of Wilma Collie

Peter J Stirling

Geoffrey and Vivienne Baker Marlyn Bancroft and Peter Bancroft OAM Janet H Bell The Brett Young Family Patricia Brockman Robert and Jill Brook Nigel Broughton and Sheena Broughton Elizabeth Brown Suzie Brown OAM and the late Harvey Brown Ronald and Kate Burnstein Dr Lynda Campbell Dr Sang and Candace Chung

Gary McPherson ◊

The Ilma Kelson Music Foundation

The Mercer Family Foundation

Graham and Jo Kraehe

Michael Craig

Anne Neil◊

Ann Lahore

Dr Paul Nisselle AM

Lesley McMullin Foundation

Andrew Crockett AM and Pamela Crockett

Bruce Parncutt AO

Andrew Lockwood

Sam Ricketson and Rosemary Ayton

The Cuming Bequest

Andrew and Judy Rogers

◊

The Rosemary Norman Foundation ◊ Helen Silver AO and Harrison Young Anita Simon Dr Michael Soon The Hon Michael Watt QC and Cecilie Hall◊ Lyn Williams AM Anonymous (3) ◊

Margaret and John Mason OAM

Kaye Cleary

Panch Das and Laurel Young-Das Caroline Davies

H E McKenzie

Natasha Davies for the Trikojus Education Fund

Dr Isabel McLean

Merrowyn Deacon

Douglas and Rosemary Meagher

Rick and Sue Deering

Wayne and Penny Morgan

Elaine Walters OAM

Marie Morton FRSA Patricia Nilsson Ken Ong OAM Alan and Dorothy Pattison

John and Anne Duncan Grant Fisher and Helen Bird Alex Forrest Applebay Pty Ltd

Peter Priest

David H and Esther Frenkiel OAM

Tom and Elizabeth Romanowski

Simon Gaites

Lady Marigold Southey AC

David Gibbs and Susie O’Neill

25

Sonia Gilderdale

in memory of Muriel Poynter

Liz and Charles Baré

Janette Gill

Professor Charles Qin and Kate Ritchie

Miriam Bass

Eli Raskin

Sascha O.Becker

Dr Marged Goode Catherine Gray Chris Grikscheit and Christine Mullen Margie and Marshall Grosby Jennifer Gross Dr Sandra Hacker AO and Mr Ian Kennedy AM Tilda and the late Brian Haughney David H Hennell Anthony and Karen Ho Katherine Horwood Penelope Hughes Paul and Amy Jasper

Dr Peter Rogers and Cathy Rogers OAM Dr Ronald and Elizabeth Rosanove

Heather and David Baxter Peter Berry and Amanda Quirk Dr William Birch AM Allen and Kathryn Bloom

Marie Rowland

Graham and Mary Ann Bone

Dr Paul Schneider and Dr Margarita Silva-Schneider

Stephen Braida

Elisabeth and Doug Scott

Pamela M Carder

Sparky Foundation

Ian and Wilma Chapman

Jeffrey Sher QC and Diana Sher OAM

Dr Catherine Cherry

Martin and Susan Shirley

Geoffrey Constable

P Shore

Anita and Norman Bye

Charmaine Collins Alex Coppe

Basil and Rita Jenkins

Hon Jim Short and Jan Rothwell Short

John Kaufman

John E Smith

Irene Kearsey & Michael Ridley Drs Bruce and Natalie Kellett

Dr Norman and Dr Sue Sonenberg

Dr Anne Kennedy

Barry Spanger

John Keys

Dr Vaughan Speck

Professor David Knowles and Dr Anne McLachlan

Stephen and Caroline Brain

Janet and Ross Lapworth Bryan Lawrence

Dr Joel Symons and Liora Symons

Peter Lawrence

Gavin Taylor

Melissa and Aran Fitzgerald

Elizabeth H Loftus

Russell Taylor and Cara Obeyesekere

Brian Florence

Chris and Anna Long

Dr Peter Strickland

Shane Mackinlay

Ann and Larry Turner

Wayne McDonald and Kay Schroer

The Hon Rosemary Varty Leon and Sandra Velik

Margaret Mcgrath

P J Warr in memory of Peter Gates

Nigel and Debbie McGuckian Shirley A McKenzie John and Rosemary McLeod Don and Anne Meadows Dr Eric Meadows Sylvia Miller Dr Anthony and Anna Morton Timothy O’Connell Brendan O’Donnell Laurence O’Keefe and Christopher James Roger Parker Ian Penboss Adriana and Sienna Pesavento Alan Poynter

Marjorie Cornelius Dr Sheryl Coughlin and Paul Coughlin Gregory Crew Dr Daryl Daley and Nola Daley Michael Davies Nada Dickinson Bruce Dudon David and Dr Elizabeth Ebert Cynthia Edgell

Anthony Garvey and Estelle O’Callaghan Sandra Gillett and Jeremy Wilkins David and Geraldine Glenny Hugo and Diane Goetze

The Reverend Noel Whale

Pauline Goodison

Edward and Paddy White

Louise Gourlay OAM

Deborah Whithear

Cindy Goy

Terry Wills Cooke OAM and the late Marian Wills Cooke

Christine Grenda

Richard Withers

Dawn Hales

Anonymous (15)

Cathy Henry

OVERTURE PATRONS $500+*

Jason Grollo

Clive and Joyce Hollands Natasha Holmes Roderick Home

Margaret Abbey PSM

Geoff and Denise Illing

Jane Allan and Mark Redmond

Rob Jackson

Mario M Anders

Shyama Jayaswal

Jenny Anderson

Sandy Jenkins

26

Sue Johnston Huw Jones Fiona Keenan Phillip Kidd Belinda and Malcolm King Tim Knaggs David Kneipp Jane Kunstler Elizabeth-Anne Lane Paschalina Leach Jane Leitinger Dr Jenny Lewis Dr Susan Linton Janice Mayfield Wayne McDonald and Kay Schroer Dr Anne McDougall Jennifer McKean Dr Alan Meads and Sandra Boon Marie Misiurak Ann Moore

Brian Snape AM and the late Diana Snape

Sylvia Lavelle

Colin and Mary Squires

Cameron Mowat

Ruth Stringer Anthony Summers Allan and Margaret Tempest Reverend Angela Thomas Brett Thomas Amanda Watson Michael Webber and Ruth Fincher Angela Westacott Barry and Julie Wilkins Robert and Diana Wilson Fiona Woodard Dr Kelly Wright and Dr Heathcote Wright Dr Susan Yell

Pauline and David Lawton Ruth Muir David Orr Matthew O’Sullivan Rosia Pasteur Penny Rawlins Joan P Robinson Anne Roussac-Hoyne and Neil Roussac Michael Ryan and Wendy Mead Andrew Serpell Jennifer Shepherd Suzette Sherazee Dr Gabriela and Dr George Stephenson Pamela Swansson

Daniel Yosua Anonymous (36)

CONDUCTOR’S CIRCLE

Lillian Tarry Tam Vu and Dr Cherilyn Tillman Mr and Mrs R P Trebilcock Peter and Elisabeth Turner

Kevin Morrish

Jenny Anderson

Michael Ulmer AO

Joan Mullumby

David Angelovich

The Hon. Rosemary Varty

Adrian and Louise Nelson

G C Bawden and L de Kievit

Tania Nesbit

Lesley Bawden

Terry Wills Cooke OAM and the late Marian Wills Cooke

Michael Noble

Joyce Bown

Mark Young

Rosemary O’Collins

Mrs Jenny Bruckner and the late Mr John Bruckner

Anonymous (19)

Conrad O’Donohue and Dr Rosemary Kiss

Ken Bullen

The MSO gratefully acknowledges the support of the following Estates:

Phil Parker

Peter A Caldwell

Howard and Dorothy Parkinson

Luci and Ron Chambers

Sarah Patterson

Beryl Dean

Pauline and David Lawton

Sandra Dent

Wilma Plozza-Green

Alan Egan JP

Kerryn Pratchett

Gunta Eglite

Akshay Rao

Marguerite Garnon-Williams

Professor John Rickard

Drs L C Gruen and R W Wade

Liliane Rusek and Alexander Ushakoff

Louis J Hamon AOM

Viorica Samson

Graham Hogarth

Carolyn Sanders

Rod Home

Family and Friends of James Jacoby

Dr Nora Scheinkestel

Tony Howe

Audrey Jenkins

Dr Peter Seligman

Lindsay and Michael Jacombs

Joan Jones

Suzette Sherazee

Pauline Marie Johnston

Dr Frank and Valerie Silberberg

Laurence O’Keefe and Christopher James

Matt Sinclair

John Jones

Olga Skibina

Grace Kass and the late George Kass

Norma Ruth Atwell Angela Beagley Christine Mary Bridgart The Cuming Bequest Margaret Davies

Carol Hay

27

Neilma Gantner The Hon Dr Alan Goldberg AO QC Enid Florence Hookey Gwen Hunt

C P Kemp Peter Forbes MacLaren Joan Winsome Maslen

COMMISSIONING CIRCLE

MSO BOARD

Mary Armour

Chairman

Maxwell Schultz

The Hon Michael Watt QC and Cecilie Hall

David Li AM

Miss Sheila Scotter AM MBE

Tim and Lyn Edward

Di Jameson

Lorraine Maxine Meldrum Prof Andrew McCredie Jean Moore

Marion A I H M Spence

Co-Deputy Chairs Helen Silver AO

Molly Stephens

FIRST NATIONS CIRCLE

Halinka Tarczynska-Fiddian

Colin Golvan AM QC and Dr Deborah Golvan

Sophie Galaise

Elizabeth Proust AO and Brian Lawrence

Shane Buggle

Jennifer May Teague Albert Henry Ullin Jean Tweedie Herta and Fred B Vogel Dorothy Wood

Michael Ullmer AO and Jenny Ullmer

HONORARY APPOINTMENTS

Managing Director Board Directors Andrew Dudgeon AM Danny Gorog Lorraine Hook Margaret Jackson AC David Krasnostein AM

Life Members

Gary McPherson

Dr Marc Besen AC

Hyon-Ju Newman

John Gandel AC and Pauline Gandel AC

Glenn Sedgwick

Sir Elton John CBE Harold Mitchell AC Lady Potter AC CMRI Jeanne Pratt AC Artistic Ambassadors Tan Dun Lu Siqing MSO Ambassador Geoffrey Rush AC The MSO honours the memory of Life Members Dr Eva Besen AO John Brockman OAM The Honourable Alan Goldberg AO QC Roger Riordan AM Ila Vanrenen

28

Company Secretary Oliver Carton

CRAFTING WEALTH, CHANGING LIVES. PREMIUM RETURNS WITHOUT COMPROMISE

As a boutique fund manager, Payton specialises in crafting investment products for wholesale and sophisticated investors, consistently delivering premium, risk adjusted returns without compromising capital security.

Payton provides an opportunity for investors to access the Australian private debt market, traditionally the domain of large-scale banks.

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W W W . P AY T O N . C O M . A U / I N V E S T I N V E S T @ P AY T O N . C O M . A U

This information has been prepared by Payton Capital Ltd ABN 13 163 122 478, authorised representative of Payton Funds Management Pty Ltd AFSL 284280.

This information is general information only. We have not taken into consideration any individual circumstances and suggest that no person act on the basis of this information without obtaining professional advice as to how it applies to their own personal investment objectives, financial situation or needs. Investment decisions should not be made upon the basis of past performance since these can vary.

Thank you to our Partners Principal Partner

Premier Partners

Education Partner

Venue Partner

Major Partners

Government Partners

Supporting Partners

Quest Southbank Ernst & Young Bows for Strings

30

Media and Broadcast Partners

Trusts and Foundations

The Sir Andrew and Lady Fairley Foundation, John T Reid Charitable Trusts, Scobie & Claire Mackinnon Trust, Sidney Myer MSO Trust Fund, The Ullmer Family Foundation

31

BEST SEAT in the house

As Principal Partner of the Melbourne Symphony Orchestra, we know the importance of delighting an audience. That’s why when you’re in Emirates First, you’ll enjoy the ultimate flying experience with fine dining at any time in your own private suite.

*Emirates First Class Private Suite pictured. For more information visit emirates.com/au, call 1300 303 777, or contact your local travel agent.