Messiah

CONCERT PROGRAM

Handel’s Messiah

9–10 December Arts Centre Melbourne, Hamer Hall

Artists Melbourne Symphony Orchestra Chad Kelly conductor Sara Macliver soprano Fiona Campbell mezzo soprano Andrew Goodwin tenor Samuel Dale Johnson bass MSO Chorus Warren Trevelyan-Jones chorus director

Program HANDEL Messiah Our musical Acknowledgment of Country, Long Time Living Here by Deborah Cheetham Fraillon AO, will be performed at these concerts.

These concerts may be recorded for future broadcast on MSO.LIVE.

Duration: 2 hours and 40 minutes including interval In consideration of your fellow patrons, the MSO thanks you for silencing and dimming the light on your phone.

Acknowledging Country

About Long Time Living Here

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 Fraillon 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.

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

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.

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.

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 Fraillon AO

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MESSIAH | 9–10 December

Melbourne Symphony Orchestra Established in 1906, the Melbourne Symphony Orchestra is Australia’s pre-eminent orchestra and a cornerstone of Victoria’s rich, cultural heritage.

Each year, the MSO engages with more than 5 million people, presenting in excess of 180 public events across live performances, TV, radio and online broadcasts, and via its online concert hall, MSO.LIVE, with audiences in 56 countries.

With a reputation for excellence, versatility and innovation, the MSO works with culturally diverse and First Nations leaders to build community and deliver music to people across Melbourne, the state of Victoria and around the world.

In 2023, the MSO’s Chief Conductor, Jaime Martín continues an exciting new phase in the Orchestra’s history. Maestro Martín joins an Artistic Family that includes Principal Guest Conductor, Xian Zhang, Principal Conductor in Residence, Benjamin Northey, Conductor Laureate, Sir Andrew Davis CBE, Cybec Assistant Conductor Fellow, Carlo Antonioli, MSO Chorus Director, Warren Trevelyan-Jones, Soloist in Residence, Siobhan Stagg, Composer in Residence, Mary Finsterer, Ensemble in Residence, Gondwana Voices, Cybec Young Composer in Residence, Melissa Douglas and Young Artist in Association, Christian Li. The Melbourne Symphony Orchestra 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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MESSIAH | 9–10 December

Musicians Performing in this Concert FIRST VIOLINS

VIOLAS

OBOES

Dale Barltrop

Christopher Moore

Michael Pisani

Tair Khisambeev

William Clark Isabel Morse Fiona Sargeant

Concertmaster David Li AM and Angela Li# Assistant Concertmaster Di Jameson and Frank Mercurio#

Deborah Goodall Karla Hanna Mark Mogilevski Kathryn Taylor Jacqueline Edwards* Oksana Thompson* SECOND VIOLINS Monica Curro

Principal Di Jameson and Frank Mercurio#

Rachel Curkpatrick* BASSOONS Elise Millman

Associate Principal

CELLOS

TRUMPETS

David Berlin

Owen Morris

Principal

Principal

Rohan de Korte

Andrew Dudgeon AM

Joel Walmsley*

Rebecca Proietto

TIMPANI

DOUBLE BASSES

Matthew Thomas

#

Assistant Principal Dr Mary-Jane Gething AO#

Jonathan Coco

Freya Franzen Cong Gu

Stephen Newton

Newton Family in memory of Rae Rothfield#

Acting Principal

Principal

Sophie Galaise and Clarence Fraser#

Principal

HARPSICHORD Anthony Abouhamad*

Caitlin Bass*

Andrew Hall Philippa West

Andrew Dudgeon AM#

Cameron Jamieson* Marie-Louise Slaytor* Donica Tran*

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Correct as of 20 November 2023 Learn more about our musicians on the MSO website.

* Denotes Guest Musician ^ Denotes MSO Academy # Position supported by

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MESSIAH | 9–10 December

Chad Kelly conductor British musician Chad Kelly emigrated to Australia in 2022. Since arriving he has received regular invitations to perform with the Australian Chamber Orchestra, as well as conducting engagements with the Australian Haydn Ensemble, Victorian Opera, and the Melbourne Symphony Orchestra.

He is on the music staff of Opera Australia, having spent several seasons at the Bavarian State Opera and at English National Opera. His operatic conducting engagements in Europe include the Bavarian State Opera, Göttingen Händelfestpiele, Vienna’s Resonanzen festival, The Globe’s Sam Wanamaker Theatre, and the London Handel Festival.

As a historical keyboard player and director, he has performed at many of the major Bach festivals in Germany, and has enjoyed many fruitful collaborations with conductors John Eliot Gardiner and Trevor Pinnock, and an enduring collaboration with violinist Rachel Podger.

Chad studied at Cambridge University and the Royal Academy of Music. He became Lector in Music at Trinity College, Cambridge, and was elected Associate of the Royal Academy of Music in recognition of his contribution to the music profession.

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MESSIAH | 9–10 December

Sara Macliver 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.

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. Sara records for ABC Classics with more than 35 CDs and many awards to her credit.

In recent years Sara has sung with Sydney Symphony Orchestra, West Australian Opera, West Australian, Tasmanian, Queensland and Adelaide Symphony Orchestras, the Australian String Quartet, St George’s Cathedral, the Auckland Philharmonic Orchestra and in several programs with the Melbourne Symphony Orchestra; she also sang with Sydney Philharmonia, Ten Days on the Island, the Peninsula Summer Festival, Brisbane Camerata, ANAM, Bangalow Festival, St George’s Cathedral and Collegium Musicum amongst many other projects. Sara recorded a CD of Calvin Bowman songs which was released recently.

In 2022/23 Sara sings with the West Australian, Adelaide, Melbourne, Queensland and Sydney Symphony Orchestras, ANAM, St George’s Cathedral, Melbourne Philharmonic and Genesis Baroque, amongst others.

Sara has been awarded an honorary doctorate from the University of Western Australia in recognition of her services to singing, and teaches at the Conservatorium there.

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MESSIAH | 9–10 December

Fiona Campbell mezzo soprano Fiona Campbell is one of Australia’s most versatile and beloved classical singers – the winner of the national Limelight Award for Best Solo Performance 2011 and vocal winner of the ABC Young Performer of the Year Award and the ASC Opera Awards.

Fiona sings regularly as a principal artist with all of the major ensembles and orchestras in Australia and with Opera Australia, Opera Queensland and West Australian Opera. Her international collaborators have included the Brodsky Quartet, Tokyo Philharmonic, Manchester Camerata, Prague Chamber Orchestra, Hong Kong Philharmonic and Glyndebourne Festival Opera.

She was Associate Artist for José Carreras in Japan, Korea and Australia and for Barbara Bonney in Tokyo and London.

In 2021, she sang Hippolyta in A Midsummer Night’s Dream for The Adelaide Festival and was soloist with the Australian String Quartet and the Queensland and West Australian Symphony Orchestras. In 2022, she returned to WASO and the QSO and appeared as Laura (Iolanta) and Flora (La traviata) for West Australian Opera.

Recently, Fiona became an inaugural member of Katie Noonan’s vocal quartet AVÉ – Australian Vocal Ensemble – and the Creative Director of the Perth Symphony Orchestra.

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MESSIAH | 9–10 December

Andrew Goodwin tenor Born in Sydney, Andrew Goodwin studied voice at the St. Petersburg Conservatory under the direction of Professor Lev Morozov, graduating with a Bachelor of Music.

He has appeared with opera companies and orchestras throughout Europe, Asia and Australia including the Bolshoi Opera, Gran Theatre Liceu Barcelona, Teatro Real Madrid, La Scala Milan, Opera Australia, Pinchgut Opera, Sydney Chamber Opera, St. Petersburg Philharmonic, the New Zealand and all the Australian symphony orchestras, Moscow and Melbourne Chamber Orchestras, and in recital at Wigmore Hall and major festivals.

This year Andrew returns to the QSO, to SSO (Britten’s Serenade for tenor and horn and as Mime in Das Rheingold), Brisbane Festival (War Requiem), Melbourne Bach Choir (St John Passion, evangelist), Canberra International Music Festival, Australia Ensemble, Sydney Philharmonia Choirs (Bach’s Christmas Oratorio), and in recital in Brisbane and at Ukaria.

Recent engagements include Handel’s Il Trionfo with Yulia Lezhneva and Dmitry Sinkovsky (Moscow), Beethoven 9 (Brandenburg State Orchestra), Lysander, A Midsummer Night’s Dream (Adelaide Festival), Jacquino, Fidelio (WASO), Diary of one who disappeared and Rape of Lucretia (Sydney Chamber Opera), Nadir, The Pearlfishers (State Opera South Australia), Artaxerxes title role (Pinchgut Opera).

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MESSIAH | 9–10 December

Samuel Dale Johnson bass With a voice described by Bachtrack as “gloriously lyrical”, Australian Samuel Dale Johnson has established a reputation as one of the leading young baritones of today. In the 2023-2024 season, Mr. Johnson returns to Scottish Opera to perform Figaro in a new production of Il barbiere di Siviglia, and to the Deutsche Oper Berlin for numerous roles including the Father in Hänsel und Gretel, Ping in Turandot and Angelotti in Tosca. In concert, Mr. Johnson will make his debut with the Melbourne Symphony Orchestra for Messiah, and appears again with the Royal Philharmonic Orchestra for Beethoven’s Symphony No.9.

From 2017–2023, Mr. Johnson was a member of the ensemble of the Deutsche Oper Berlin where his recent roles included Escamillo in Carmen, Figaro in Il barbiere, the title role in Don Giovanni, Demetrius in A Midsummer Night’s Dream, Marcello in La bohéme and Angelotti in Tosca. Other recent highlights include house debuts with Opéra de Rouen Normandie and the Glyndebourne Festival, both as Demetrius in A Midsummer Night’s Dream, and a concert debut with the National Symphony Orchestra of Ireland for Carmina Burana.

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Melbourne Symphony Orchestra Chorus Director Warren Trevelyan-Jones is the 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. Warren is also Director of the Parsons Affayre, Founder and Co-Director of The Consort of Melbourne and, in 2001 with Dr Michael Noone, founded the Gramophone awardwinning group Ensemble Plus Ultra. Warren is also a qualified music therapist.

MESSIAH | 9–10 December

Warren Trevelyan-Jones chorus director

Melbourne Symphony Orchestra Chorus For more than 50 years the Melbourne Symphony Orchestra Chorus has been the unstinting voice of the Orchestra’s choral repertoire. The MSO Chorus sings with the finest conductors including Sir Andrew Davis, Edward Gardner, Mark Wigglesworth, Bernard Labadie, Vladimir Ashkenazy, Manfred Honeck, Xian Zhang and Nodoko Okisawa, and is committed to developing and performing new Australian and international choral repertoire.

Commissions include Brett Dean’s Katz und Spatz, Ross Edwards’ Mountain Chant, and Paul Stanhope’s Exile Lamentations. Recordings by the MSO Chorus have received critical acclaim. It has performed across Brazil and at the Cultura Inglese Festival in Sao Paolo, with The Australian Ballet, Sydney Symphony Orchestra, at the AFL Grand Final and at the Anzac Day commemorative ceremonies.

The MSO Chorus is always welcoming new members. If you would like to audition, please visit mso.com.au/chorus for more information.

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MESSIAH | 9–10 December

MSO Chorus Performing in this Concert SOPRANO

ALTO

Shirin Albert

Satu Aho

Julie Arblaster

Tes Benton

Sheila Baker

Jane Brodie

Aliz Cole

Alexandra Chubaty

Samantha Davies

Juliarna Clark

Michele de Courcy

Marie Connett

Isabelle Dennis

Mari Eleanor-Rapp

Laura Fahey

Natasha Godfrey

Rita Fitzgerald

Jillian Graham

Nicole Free

Debbie Griffiths

Emma Hamley

Ros Harbison

Penny Huggett

Kristine Hensel

Leanne Hyndman

Helen Hill

Tania Jacobs

Yvonne Ho

Gwen Kennelly

Helen MacLean

Theresa Lam

Stephanie Mitchell

Judy Longbottom

Penelope Monger

Karin Otto

Natasha Pracejus

Amanda Powell

Alison Ralph

Tanja Redl

Annie Runnalls

Jodi Samartgis

Fiona Steffensen

Jillian Samuels

Melvin Tan

Elizabeth Tindall

Libby Timcke

Christa Tom

Jennifer Henry

Fabienne Vandenburie

Claudia Funder

Julia Wang Janelle Wytkamp Tara Zamin Jasmine Zuyderwyk Veryan Croggon

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BASS

James Allen

Alexandras Bartaska

Adam Birch

David Bennett

Kent Borchard

Richard Bolitho

Steve Burnett

Roger Dargaville

Peter Campbell

Ted Davies

Allan Chiang

Peter Deane

Keaton Cloherty

Simon Evans

Carlos Del Cueto

Andrew Ham

James Dipnall

Andrew Hibbard

Simon Gaites

John Howard

Lyndon Horsburgh

John Hunt

Michael Mobach

Jordan Janssen

Jean-Francois Ravat

Gary Levy

Linton Roe

Tim March

Colin Schultz

Douglas Proctor

Stephen Wood

Stephen Pyk

MESSIAH | 9–10 December

TENOR

Nick Sharman Liam Straughan Matthew Toulmin

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MESSIAH | 9–10 December

Program Notes

Chorus: Behold the Lamb of God

GEORGE FRIDERIC HANDEL

Air: He was despised (Mezzo Soprano)

Messiah: An oratorio (HWV 56)

Chorus: Surely He hath borne our griefs...And with His stripes

(1685–1759)

Words selected from the Holy Bible

by Charles Jennens (1700–1773)

Part One Prophecy of Christ’s appearance on earth; the nativity.

Sinfony Recit: Comfort ye (Tenor) Air: Every valley (Tenor) Chorus: And the glory of the Lord Recit: Thus saith the Lord (Bass) Air: But who may abide (Mezzo Soprano)

Chorus: All we, like sheep Recit: All they that see Him (tenor) Chorus: He trusted in God Recit: Thy rebuke hath broken His heart (Tenor) Air: Behold and see (Tenor) Recit: He was cut off (Tenor) Air: But Thou didst not leave (Tenor) Air: How beautiful are the feet (Soprano) Chorus: Their sound is gone out Air: Why do the nations (Bass) Chorus: Let us break their bonds

Chorus: And He shall purify

Recit: He that dwelleth in heaven (Tenor)

Recit: Behold, a virgin shall conceive (Mezzo Soprano)

Air: Thou shalt break them (Tenor) Chorus: Hallelujah

Chorus: For unto us a Child is born

Part Three

Pastoral Symphony Recit: There were shepherds abiding in the field (Soprano) Recit: And lo! The angel of the Lord (Soprano)

Victory over Death.

Air: I know that my Redeemer liveth (Soprano) Chorus: Since by man came death

Recit: And the angel said unto them (Soprano)

Recit: Behold, I tell you a mystery (Bass)

Recit: And suddenly there was with the angel (Soprano)

Air: If God be for us (Soprano)

Chorus: Glory to God

Chorus: Amen

Air: Rejoice greatly (Soprano) Recit: Then shall the eyes of the blind (Mezzo Soprano) Duet: He shall feed his flock (Mezzo Soprano & Soprano) Chorus: His yoke is easy — Part Two

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of Christ; the spreading of the Gospel.

The death, resurrection and ascension

Air: The trumpet shall sound (Bass) Chorus: Worthy is the Lamb

the precedent which was to be followed in every subsequent Handel oratorio concert.

During the next few years oratorio remained peripheral in Handel’s life.

Most of his energy was devoted to Italian opera, but he was also composing an increasing amount of chamber music for semi-domestic performance: harpsichord suites, sonatas for various instruments, cantatas for one or more singers, and ceremonial music for the Chapel Royal and for important state occasions. However, a number of oratorios appeared: Deborah (1733), Athaliah (composed for and premiered during Handel’s very successful visit to Oxford in the same year), Saul and Israel in Egypt (both written in 1738). In February 1741 Handel produced his last opera Deidamia. Having no sympathy with the new direction that the Italian opera company was taking in London, and disillusioned with the public’s waning interest in the genre, he was delighted to accept an invitation from the Lord Lieutenant of Ireland, William Cavendish, to undertake a concert season in Dublin from late in 1741 until Easter 1742. Messiah served as the pièce de résistance of this season. It was publicly rehearsed on Friday 9 April 1742 and premiered on Tuesday 13 April at the New Musick-Hall, Fishamble Street. A capacity audience of 700 attended the latter, the expectation of an audience larger than the concert hall could comfortably hold leading to the quaint newspaper request that ladies come without hooped dresses and gentlemen without swords. The concert was a charity performance ‘For the Relief of the Prisoners in the several Gaols, and for the support of Mercer’s Hospital, and the Charitable Infirmary’.

The work was a great success. One contemporary reviewer enthused poetically, with a sure grasp of the aesthetic doctrines of the time:

MESSIAH | 9–10 December

Messiah, Handel’s most enduringly popular oratorio, was composed in just over three weeks, during the summer of 1741. It appeared at a crucial point in the composer’s career. His first oratorios (non-staged dramatic vocal works with either a sacred or secular text) had been composed during his very important four-year stay in Italy between 1706 and 1710. These were Il Trionfo del Tempo e del Disinganno (The Triumph of Time and Truth) and La Resurrezione (The Resurrection), premièred in the Eternal City in 1707 and 1708 respectively. Handel’s next work in the genre was the Brockes Passion, composed in London c.1716 to a German text, and clearly intended for performance in Germany. This was soon followed by his first oratorio to an English text, Esther, in c.1718 when Handel was resident at Cannons, Edgware, under the patronage of James Brydges, Earl of Carnarvon and later Duke of Chandos. It was written during a lull in operatic activities in London – the main focus of Handel’s musical life from his arrival there in 1711 until the time that Messiah was composed. His interest in oratorio was rekindled by a revival of Esther by the Children [i.e. choristers] of the Chapel Royal, London, under the direction of their Master, Bernard Gates. This performance was staged, with limited use of costumes and acting, at the Crown and Anchor Tavern in the Strand (a much-used concert venue) in March 1732. It so impressed Handel that he decided to perform the work in his opera theatre the same year, but in an expanded and revised version.

Professional soloists were employed, but the choir used was again that of the Chapel Royal. Handel, it seems, had originally intended to use costumes and scenery, but the Bishop of London forbade acting by the choir in an opera house ‘even with books in the children’s hands’. Consequently, a non-staged performance occurred, and this created

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MESSIAH | 9–10 December

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the best Judges allowed it to be the most finished Piece of Music. Words are wanting to express the exquisite Delight it afforded to the admiring crouded Audience. The Sublime, the Grand, and the Tender, adapted to the most elevated, majestic and moving Words, conspired to transport and charm the ravished Heart and Ear. However, the initial performances in London, in March 1743, were greeted with less enthusiasm, and it was only when Handel began to perform the work in association with the Foundling Hospital at Lincoln’s Inn (of which he was a governor) from 1750 onwards, that it became a favourite in London and began to assume its modern iconic status. During the intervening years Handel produced a new oratorio each concert season; he found they were less taxing to compose than operas, less difficult and expensive to produce, more popular with his audiences, and brought him greater box office returns.

Among his greatest works of the next decade are Samson (1741), Semele (1743), Belshazzar (1744), Susanna and Solomon (both 1748), Theodora (1749), and Jephtha (1751).

Most of Handel’s oratorios employ librettos based on stories from the Old Testament and are dramatic in form and content. Messiah clearly does not fit into this pattern. It is one of three works which deal with Christian subject matter, the others being La Resurrezione, and Theodora, a story of early Christian martyrdom. Also, Messiah is not dramatic in the traditional sense; it is more a meditative, reflective composition, in which the events in the libretto are referred to obliquely rather than narrated directly. The libretto itself was compiled entirely from the Authorised Version of the Bible and the Psalter of the Book of Common Prayer by Charles Jennens,

a Gloucestershire landowner, who also provided Handel with the librettos of Saul, Belshazzar and possibly Israel in Egypt. Jennens arranged the synopsis of Messiah to reflect the sequence of the liturgical year, beginning with the Advent prophecies of Christ’s birth, the celebration of the Nativity at Christmas (significantly narrated directly), and the life and ministry of Christ in the postChristmas period. Lent and Holy Week dominate the central Passion section of the work (again narrated directly), while there is a progression (from the middle of Part II to the conclusion) through Easter, Ascension, Pentecost, the life and witness of the Apostles and Saints, to Eternity. The way that the drama unfolds can be interpreted as encapsulating a quintessentially enlightenment presentation of the Christian story, and while this may reflect an ethos typical of Anglicanism of the 18th century, its decorum, rationality and restraint also endow it with an air of universality.

Musically, this universality can be seen in the work’s combination of diverse but complementary stylistic elements. For it fuses in a unique way the musically sacred and secular, namely the traditions of Italian opera and chamber music, the German Lutheran Passion tradition, and the English ceremonial, liturgical anthem. Interestingly, these different stylistic elements can also be seen to progress through the work. Thus, Part I shows the strongest Italianate influence in its arias, accompanied recitatives and choruses. The earlier section of Part II has the strongest Germanic influence; the tenor is used as narrator of the Passion story like the Evangelist in the Lutheran Passion tradition, while from the Resurrection onwards there is a return to Italianate influence with a strong and very prominent admixture of English ceremonial music, particularly in the celebrated Hallelujah Chorus

Handel’s original performance of Messiah in Dublin employed quite modest forces. The soloists and orchestra consisted of a mixture of artists brought from London by the composer and the best available local talent. The choir consisted of the combined forces of the two Cathedrals of St Patrick and Christ Church, and was therefore all male. Handel scored Messiah for a modest orchestra of strings, oboes and continuo, with the addition of trumpets and timpani for special dramatic effect (his trumpets first enter quite magically with the Angels in the chorus Glory to God). The composer’s subsequent performances in London, during which numerous adaptations were made to the work (particularly the arias, as these were adjusted for a changing cast of soloists each season), were always performed by similar forces. Only after his death did a tradition arise of increasing the numbers of performers on a massive scale. This began, interestingly, in Westminster Abbey, where Handel had been buried in 1759. In 1784 (the supposed but mistaken centenary of his birth, due to differences in the calendar at the time between the British Isles and the Continent) a vast commemorative performance took place there. Haydn heard Messiah at a repeat of this festival during his visit to London early in 1791 and was deeply impressed by the thrilling and awesome sound. Meanwhile, Mozart had started the trend to ‘enrich’ Handel’s orchestration by an adaptation of the work for a 1789 performance in the Hall of the Imperial Library, Vienna, where limited continuo instruments were available. Both of these performance trends continued, reaching their apogee at the Crystal Palace, London, in 1857

when a ‘wonderful assembly of 2000 vocal and 500 instrumental performers’ was involved. From the mid-20th century, however, a revisionary attitude has led to a general desire to return to the masterpiece as Handel conceived, composed, adapted, knew, and performed it.

Robert Forgacs © 2009

MESSIAH | 9–10 December

and the massive concluding choral paean, Worthy is the Lamb, with their celebratory timpani, trumpets, and fanfare figures.

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MESSIAH | 9–10 December

Libretto PART THE FIRST

Prophecy of Christ’s appearance on earth; the nativity.

Sinfony Comfort ye (Isaiah 40:1-3) Accompagnato: Tenor Ev’ry valley (Isaiah 40:4) Song: 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) Song: Mezzo Soprano But who may abide the day of His coming? 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.

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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.

MESSIAH | 9–10 December

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

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 the angel said unto them (Luke 2:10-11) Recit.: 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 the angel said unto them, Fear not: for behold, I bring you good tidings of great joy, which shall be to all people.

For unto you is born this day, in the city of David, a Saviour, which is Christ the Lord.

Please turn pages quietly

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MESSIAH | 9–10 December

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) Song: 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.

Then shall the eyes of the blind (Isaiah 35:5-6) Recit.: Mezzo Soprano He shall feed his flock (Isaiah 40:11; Matthew 11:28-29) Duet: Mezzo Soprano & 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

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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 and 50:6) Song: Mezzo Soprano He was despised and rejected of men, a man of sorrows, and acquainted with grief.

MESSIAH | 9–10 December

PART THE SECOND

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

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. Thy rebuke hath broken His heart (Psalm 69:20 – BCP) Accompagnato: Tenor Behold and see (Lamentations 1:12) Song: Tenor He was cut off (Isaiah 53:8) Accompagnato: Tenor But Thou didst not leave (Psalm 16:10) Song: 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.

Please turn pages quietly

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MESSIAH | 9–10 December

Behold, and see, if there be any sorrow like unto His sorrow!

He was cut off out of the land of the living; for the transgression of Thy people was He stricken.

But Thou didst not leave His soul in Hell, nor didst Thou suffer Thy Holy One to see corruption.

How beautiful are the feet (Romans 10: 15) Song: 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.

Why do the nations (Psalm 2:1-2 – BCP) Song: 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) Song: 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!

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PART THE THIRD

Victory over Death.

I know that my Redeemer liveth (Job 19:25-26; 1 Corinthians 15:20) Song: 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.

MESSIAH | 9–10 December

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

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) Song: 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.

If God be for us (Romans 18: 31, 33-34) Song: Soprano or Mezzo 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.

Please turn pages quietly

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MESSIAH | 9–10 December

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Worthy is the Lamb (Revelation 5:12-13) Chorus 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.

RYMAN HEALTHCARE SEASON OPENING GALA

JAIME CONDUCTS

THE PLANETS Join the MSO and conductor Jaime Martín for some of the most emotionally-stirring music of all time.

Alban Gerhardt performs Elgar’s Cello Concerto, and Deborah Cheetham Fraillon’s Earth takes its place alongside Holst’s The Planets.

21 & 23 MARCH 7.30PM Arts Centre Melbourne, Hamer Hall B O O K N OW

M S O.C O M . AU

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Joyce Bown

Goldschlager Family Charitable Foundation

Youth Music Foundation

Colin Golvan AM KC and Dr Deborah Golvan

Miranda Brockman

Jennifer Gorog

Stuart Brown

C M Gray Marshall Grosby and Margie Bromilow Ian Kennedy AM & Dr Sandra Hacker AO Susan and Gary Hearst Dr Keith Higgins and Dr Jane Joshi Hartmut and Ruth Hofmann Doug Hooley Sandy Jenkins John Jones

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Ruth and Ralph Renard

Professor Ian Brighthope Drs John D L Brookes and Lucy V Hanlon Jill and Christopher Buckley Dr Robin Burns and Dr Roger Douglas Ronald and Kate Burnstein Kaye Cleary Breen Creighton and Elsbeth Hadenfeldt Mrs Nola Daley Panch Das and Laurel Young-Das Caroline Davies

Mrs Qian Li

Natasha Davies, for the Trikojus Education Fund

Carolynne Marks

Suzanne Dembo

Margaret and John Mason OAM

Rick and Sue Deering

H E McKenzie

John and Anne Duncan

Dr Isabel McLean

Jane Edmanson OAM

Christopher Menz and Peter Rose

Diane Fisher

Ian Merrylees

Grant Fisher and Helen Bird

Dr Paul Nisselle AM

Alex Forrest

Alan and Dorothy Pattison

Applebay Pty Ltd

David and Nancy Price

David H and Esther Frenkiel OAM

Professor Geoffrey Metz

Simon Gaites

Sylvia Miller

Anthony Garvey and Estelle O’Callaghan

Ian Morrey and Geoffrey Minter

David I Gibbs AM and Susie O’Neill

Anthony and Anna Morton

Sonia Gilderdale

Dr Judith S Nimmo

Dr Celia Godfrey

Laurence O’Keefe and Christopher James

Dr Marged Goode

Susan Pelka

Hilary Hall in memory of Wilma Collie

Ian Penboss

David Hardy

Peter Priest

Tilda and the late Brian Haughney

John Prokupets

Cathy Henry

Professor Charles Qin OAM and Kate Ritchie

Dr Jennifer Henry Anthony and Karen Ho Lorraine Hook Jenny and Peter Hordern Katherine Horwood Jordan Janssen Shyama Jayaswal Basil and Rita Jenkins Sue Johnston John Kaufman Angela Kayser Drs Bruce and Natalie Kellett Akira Kikkawa Dr Judith Kinnear Dr Richard Knafelc and Mr Grevis Beard Dr Jerry Koliha and Marlene Krelle Kerry Landman Bryan Lawrence Lesley McMullin Foundation Dr Jenny Lewis Phil Lewis Dr Kin Liu Andrew Lockwood

Eli Raskin Jan and Keith Richards Roger Parker and Ruth Parker Dr Peter Rogers and Cathy Rogers OAM Dr Ronald and Elizabeth Rosanove Marie Rowland Martin and Susan Shirley P Shore John E Smith Dr Peter Strickland Dr Joel Symons and Liora Symons Russell Taylor and Tara Obeyesekere Geoffrey Thomlinson Frank Tisher OAM and Dr Miriam Tisher Andrew and Penny Torok Christina Turner Leon and Sandra Velik The late Reverend Noel Whale Edward & Paddy White Nic and Ann Willcock Lorraine Woolley Dr Kelly and Dr Heathcote Wright

Elizabeth H Loftus

Anonymous (15)

Chris and Anna Long

OVERTURE PATRONS $500+

John MacLeod

Supporters

Mary Gaidzkar

Eleanor & Phillip Mancini

Margaret Abbey PSM

Marshall Segan in memory of Berek Segan OBE and Marysia Segan

Jane Allan and Mark Redmond Mario M Anders

Ian McDonald

Jenny Anderson

Wayne McDonald and Kay Schroer

Dr Judith Armstrong and Robyn Dalziel

Lois McKay

Doris Au

Dr Eric Meadows

Lyn Bailey

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Supporters

Peter Batterham

Dr Kim Langfield-Smith

Peter Berry and Amanda Quirk

Janet and Ross Lapworth

Dr William Birch AM

Pauline and David Lawton

Richard Bolitho

Paschalina Leach

Dr Robert Brook

Sharon Li

Elizabeth Brown

Dr Susan Linton

Suzie Brown OAM and the late Harvey Brown

Kay Liu

John Brownbill

Joy Manners

Daniel Bushaway Jungpin Chen Linda Clifton Dr John Collins Judith Cowden in memory of violinist Margaret Cowden Gregory Crew Sue Cummings Dr Oliver Daly and Matilda Daly Carol des Cognets Bruce Dudon Margaret Flatman Brian Florence Chris Freelance M C Friday David and Geraldine Glenny Louise Gourlay OAM Jan and the late Robert Green Christine Grenda Dawn Hales George Hampel AM KC and Felicity Hampel AM SC Geoff Hayes John Hill William Holder Rod Home Gillian Horwood Noelle Howell and Judy Clezy Geoff and Denise Illing Rob Jackson Wendy Johnson Irene Kearsey & Michael Ridley Peter Kempen AM John Keys

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Professor David Knowles and Dr Anne McLachlan

David Loggia Morris and Helen Margolis Sandra Masel in memory of Leigh Masel Janice Mayfield Gail McKay Shirley A McKenzie Joan Mullumby Marian Neumann Ed Newbigin Valerie Newman Brendan O’Donnell Jillian Pappas Phil Parker The Hon Chris Pearce and Andrea Pearce Kerryn Pratchett William Ramirez Geoffrey Ravenscroft Dr Christopher Rees Professor John Rickard Peter Riedel Michael Riordan and Geoffrey Bush Fred and Patricia Russell Carolyn Sanders Dr Marc Saunders Julia Schlapp Hon Jim Short and Jan Rothwell Short Madeline Soloveychik Dr Alex Starr Dylan Stewart Tom Sykes Allison Taylor Reverend Angela Thomas Mely Tjandra Chris and Helen Trueman Rosemary Warnock Amanda Watson

Michael Ryan and Wendy Mead

Deborah and Dr Kevin Whithear OAM

Andrew Serpell and Anne Kieni Serpell

Charles and Jill Wright

Jennifer Shepherd

Anonymous (11)

Suzette Sherazee

MSO GUARDIANS

Supporters

Michael Whishaw

Dr Gabriela and Dr George Stephenson Pamela Swansson

Jenny Anderson

Lillian Tarry

David Angelovich

Tam Vu and Dr Cherilyn Tillman

G C Bawden and L de Kievit

Mr and Mrs R P Trebilcock

Lesley Bawden

Peter and Elisabeth Turner

Joyce Bown

Michael Ulmer AO

Patricia A Breslin

The Hon. Rosemary Varty

Mrs Jenny Bruckner and the late Mr John Bruckner

Terry Wills Cooke OAM and the late Marian Wills Cooke

The late Ken Bullen

Mark Young

Peter A Caldwell

Anonymous (20)

Luci and Ron Chambers Beryl Dean

The MSO gratefully acknowledges the support of the following Estates:

Sandra Dent

Norma Ruth Atwell

Alan Egan JP

Angela Beagley

Gunta Eglite

Christine Mary Bridgart

Marguerite Garnon-Williams

The Cuming Bequest

Drs L C Gruen and R W Wade

Margaret Davies

Louis J Hamon AOM

Neilma Gantner

Charles Hardman

The Hon Dr Alan Goldberg AO QC

Carol Hay

Enid Florence Hookey

Jennifer Henry

Gwen Hunt

Graham Hogarth

Family and Friends of James Jacoby

Rod Home

Audrey Jenkins

Lyndon Horsburgh

Joan Jones

Tony Howe

Pauline Marie Johnston

Lindsay and Michael Jacombs

C P Kemp

Laurence O’Keefe and Christopher James

Peter Forbes MacLaren

John Jones

Joan Winsome Maslen

Sylvia Lavelle

Lorraine Maxine Meldrum

Pauline and David Lawton

Prof Andrew McCredie

Cameron Mowat

Jean Moore

Ruth Muir

Joan P Robinson

David Orr

Maxwell and Jill Schultz

Matthew O’Sullivan

Miss Sheila Scotter AM MBE

Rosia Pasteur

Marion A I H M Spence

Penny Rawlins

Molly Stephens

Joan P Robinson

Gwennyth St John

Anne Roussac-Hoyne and Neil Roussac

Halinka Tarczynska-Fiddian

35

Supporters

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

Anne-Marie Johnson

Dr Harry Imber

Sarah Curro, Jack Schiller

Margaret Jackson AC Nicolas Fleury

COMMISSIONING CIRCLE

Di Jameson OAM and Frank Mercurio

Cecilie Hall and the Late Hon Michael Watt KC

The late Dr Elizabeth A Lewis AM

Tim and Lyn Edward Weis Family

Elina Fashki, Benjamin Hanlon, Tair Khisambeev, Christopher Moore Anthony Chataway

David Li AM and Angela Li Dale Barltrop

FIRST NATIONS CIRCLE

Rosemary and the late Douglas Meagher

John and Lorraine Bates

Gary McPherson

Colin Golvan AM KC and Dr Deborah Golvan

Anne Neil

Sascha O. Becker Maestro Jaime Martín Elizabeth Proust AO and Brian Lawrence Guy Ross

Craig Hill

Rachel Shaw

Eleanor Mancini

Newton Family in memory of Rae Rothfield Cong Gu

The Rosemary Norman Foundation Ann Blackburn

The Kate and Stephen Shelmerdine Family Foundation

Andrew and Judy Rogers

Michael Ullmer AO and Jenny Ullmer

Glenn Sedgwick

Jason Yeap OAM – Mering Management Corporation

Dr Martin Tymms and Patricia Nilsson

Michelle Wood

Tiffany Cheng, Shane Hooton Natasha Thomas

ADOPT A MUSICIAN

Anonymous

Shane Buggle and Rosie Callanan

Anonymous

Roger Young

Andrew Dudgeon AM

Rohan de Korte, Philippa West

Tim and Lyn Edward John Arcaro

Prudence Davis Rachael Tobin

HONORARY APPOINTMENTS Life Members

Dr John and Diana Frew

Mr Marc Besen AC

Rosie Turner

John Gandel AC and Pauline Gandel AC

Sophie Galaise and Clarence Fraser

Sir Elton John CBE

Stephen Newton

Dr Mary-Jane Gething AO Monica Curro

The Gross Foundation

Harold Mitchell AC Lady Potter AC CMRI Jeanne Pratt AC

Matthew Tomkins

Michael Ullmer AO and Jenny Ullmer

Dr Clem Gruen and Dr Rhyl Wade

Anonymous

Robert Cossom

Cecilie Hall and the late Hon Michael Watt KC Saul Lewis

Nereda Hanlon and Michael Hanlon AM

36

David Horowicz

Abbey Edlin

MSO Ambassador Geoffrey Rush AC

Mrs Eva Besen AO

MSO BOARD Chairman

John Brockman OAM

David Li AM

The Honourable Alan Goldberg AO QC

Co-Deputy Chairs

Roger Riordan AM

Di Jameson OAM

Ila Vanrenen

Helen Silver AO

MSO ARTISTIC FAMILY Jaime Martín

Chief Conductor

Xian Zhang

Principal Guest Conductor

Managing Director Sophie Galaise Board Directors Shane Buggle Andrew Dudgeon AM

Benjamin Northey

Martin Foley

Principal Conductor in Residence

Lorraine Hook

Carlo Antonioli

Margaret Jackson AC

Cybec Assistant Conductor

Sir Andrew Davis CBE Conductor Laureate

Hiroyuki Iwaki †

Gary McPherson Farrel Meltzer Edgar Myer

Conductor Laureate (1974–2006)

Glenn Sedgwick

Warren Trevelyan-Jones

Mary Waldron

MSO Chorus Director

Siobhan Stagg

Soloist in Residence

Supporters

The MSO honours the memory of Life Members

Company Secretary Oliver Carton

Gondwana Voices

Ensemble in Residence

Christian Li

Young Artist in Association

Mary Finsterer

Composer in Residence

Melissa Douglas

Cybec Young Composer in Residence

Christopher Moore

Creative Producer, MSO Chamber

Deborah Cheetham Fraillon AO MSO First Nations Creative Chair

Dr Anita Collins

Creative Chair for Learning and Engagement

Artistic Ambassadors Tan Dun Lu Siqing

The MSO relies on your ongoing philanthropic support to sustain our artists, and support access, education, community engagement and more.

We invite our supporters to get close to the MSO through a range of special events.

The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $500+ (Overture) $1,000+ (Player) $2,500+ (Associate) $5,000+ (Principal) $10,000+ (Maestro) $20,000+ (Impresario) $50,000+ (Virtuoso) $100,000+ (Platinum)

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Thank you to our Partners PRINCIPAL PARTNER

INTERNATIONAL LAW FIRM PARTNER

VENUE PARTNER

PREMIER PARTNERS

ORCHESTRAL TRAINING PARTNER

GOVERNMENT PARTNERS

EDUCATION PARTNERS

MAJOR PARTNERS

SUPPORTING PARTNERS

Quest Southbank

Ernst & Young

Bows for Strings

MEDIA AND BROADCAST PARTNERS

TRUSTS AND FOUNDATIONS

Freemasons Foundation Victoria

The Sir Andrew and Lady Fairley Foundation, The Angior Family Foundation, The William and Lindsay Brodie Foundation, Flora & Frank Leith Trust, The Gwen and Edna Jones Foundation, The Ray and Joyce Uebergang Foundation, Perpetual Foundation – Alan (AGL) Shaw Endowment, Sidney Myer MSO Trust Fund