Tait Winter Prom 2018

TAIT

WINTER PROM

Howard

Celebrating the 70th Birthday of Australian pianist Leslie Howard with

Tait young artists December 10th 2018

Leslie

Australia House

Supported by

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ROBERT HELPMANN & THE TAITS “When I first went into the theatre in the early 'twenties, the current theatrical joke concerned an English comedian who came to this country under contract to J.C. Williamson. Arriving in Sydney, he went to the 'The Firm's' head office and asked to see Mr Tait. 'Which one?' he was asked. 'Mr Charles, Mr John, Mr Nevin, Mr E.J. or Mr Frank?' ‘Good God,' he replied, 'I thought the rabbits were the pest in Australia.'

I left Australia to go overseas in 1932. By that time, the Taits, 'The Family of Brothers' who controlled J.C. Williamson Limited, were perhaps the most important factor in the theatrical life of Australia. When I reached London, I had already seen most of the great stars of drama, musical comedy, opera and ballet, all of whom had visited Australia for the Taits - and when they imported a 'star', you could be sure it was a star!

“...the Taits, 'The Family of Brothers' who controlled J.C. Williamson Limited, were perhaps the most important factor in the theatrical life of Australia.”

Not only that, the Tait brothers created their own stars - great stars such as Gladys Moncrieff, Josie Melville, Gus Bluett, Madge Elliott, and Cyril Richard, to mention only a few, and presented them in productions to a standard equal to anything seen in London or New York. Even more important then was the number of 'live' theatres in each Australian capital city, the majority of which were J.C. Williamson's theatres.

I did not return to Australia until 1955, when I appeared with Katharine Hepburn in the Old Vic tour under J.C. Williamson's management. Since then, I have returned many times, always under the same banner, until I joined The Australian Ballet as the Co-Artistic Director, although I doubt very much if that ballet company would exist if the strong foundations of today's Australian ballet public had not been laid by 'The Firm', under the direction of Sir Frank Tait and his brothers.

I have been asked time and time again if I did not think that the standard of theatre in Australia had improved, and always have been forced to reply that I did not think so: I wonder how many people, particularly the younger generation, appreciate the fact that the Taits represented the foremost standards in theatrical entertainment , or realise that these standards created a vast Australian theatre public. A Gladys Moncrieff, first night, for instance, reached a pitch of hysteria I have seen equalled only by a ballet first night at Covent Garden, with queues of people waiting sometimes two to three days for seats in the gallery, while footmen dressed in eighteenthcentury French court costume made a first night at the opera at His Majesty's, Sydney, a spectacular occasion.

The Taits were men who not only knew theatre, but loved it, lived it, and understood it. Hard men, clever men; men who made it their business to know their public, and whose lives were spent in providing that public with productions of the highest quality. I am very proud that my career began under the guidance of this, 'The Family of Brothers’ ” Robert Helpmann (1909—1986) Foreword: Viola, Lady Tait’s, A family of brothers : the Taits and J.C. Williamson : a theatre history | Melbourne, Heinemann, 1971

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CHAIRMAN’S MESSAGE This year’s Winter Prom is dedicated to our esteemed Patron, the late Dowager Countess of Harewood, and the late Chevalier Richard Gunter, both great supporters of our work for many years.

We wish to thank the Australian High Commissioner HE the Hon George Brandis QC for hosting this evening, and we warmly welcome our new event sponsor, ANZ Bank for their generous support. Long may it continue!

Tonight we celebrate the 70th Birthday of a special friend of The Tait Trust, distinguished Australian pianist Leslie Howard Our concert is inspired by the recent launch of Leslie’s solo CD of Beethoven’s Eroica Variations and The Creatures of Prometheus, and we are extremely grateful that he has agreed to accompany our young artists.

Stuart Skelton and Isla Baring celebrating the Tait’s 25th Anniversary Stuart Skelton sings Wagner September 2017 Photo Credit: Angus Forbes

Australia House is also celebrating: 100 years of this iconic building on the Strand.

King George V laid the foundation stone on 24th July 1913 - a symbol of a new nationhood. Its architects and builders incorporated marble from all over Australia. Australia House was opened in August 1918 while the Great War still raged.

Isla Baring with Chev Richard Gunter

The Tait Trust was born inside these magnificent marble halls 26 years ago, in memory of my parents, Frank and Viola Tait and his brothers. The Taits shaped the Australasian theatrical and entertainment world for more than five decades. We have

Lord & Lady Harewood

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CHAIRMAN’S MESSAGE produced many concerts here to showcase so many young talented Australians, and New Zealanders, and are very proud to have played a small part in in its history.

Mr & Mrs Nicholas Heesom, Richard Bonynge AC CBE with Isla Baring OAM | Tait Friends event 2018

Huge thanks to our Patron, Leanne Benjamin for her tremendous help with our ballet awards, and for inspiring tonight’s ballet works with two former Tait awardees, now Soloists with the Royal Ballet. How gratifying to have our first ballet awardee dancing tonight!

Thank you to the Music Committee for their time and guidance, particularly the Chairman, Jessica Cottis. My gratitude to the Trustees, my loyal Committee and James Hancock for their dedication to the Tait Trust.

Waynne Kwon, cello | Higgins Scholar (2014—2017 Tait Winter Prom 2016 | Photo: Hannan Images) Currently: Masters, Royal Northern College of Music

We also acknowledge all of our generous sponsors who have donated to our various support schemes, and for all the encouragement from our Friends and Tait family. Special thanks to Earl Cadogan KBE DL, Anne Longden, Michael Whalley, Karen Goldie-Morrison, Barbara Ross and The Hon Sarah Joiner for their generous contributions to our Endowment Fund. This year we have given out more than any previous year! Please help us to continue our commitment to these brilliantly talented young Australians and New Zealanders.

Happy Christmas, and may the New Year bring health and love to all.

Lauren Fagan, Tait Awardee 2013 Michael Whalley & Karen Goldie-Morrison Award Currently: Royal Opera House soloist

Isla Baring OAM Chairman, Tait Memorial Trust 5

Australian dancer Leanne Benjamin is a former Principal of The Royal Ballet. She joined The Royal Ballet School at the age of 16 and graduated into Sadler’s Wells Royal Ballet (later Birmingham Royal Ballet) in 1983. In 1992 she joined The Royal Ballet as a First Soloist and was promoted to Principal at the end of her first Season. Benjamin retired at the end of the 2012/13 Season, after 20 years as a Principal with The Royal Ballet. In 2005 she received an OBE in recognition of her services to dance.

Benjamin was born in Rockhampton in Queensland, Australia, and began dancing at the age of three. After training locally she went to The Royal Ballet School, and while at the School won the 1980 Adeline Genee gold medal and the 1981 Prix de Lausanne. At Sadler’s Wells Royal Ballet she was promoted to principal in 1987; the following year she joined London Festival Ballet as a principal and in 1990 joined Deutsche Oper Ballet, Berlin.

Benjamin’s wide repertory included Juliet, Manon, the Firebird and Odette/Odile (Swan Lake), among many others, and creating new roles for choreographers including Wayne McGregor, Alexei Ratmansky Twyla Tharp and Christopher Wheeldon.

She was one of the last dancers of The Royal Ballet to work with Ninette de Valois, Frederick Ashton and Kenneth MacMillan. Her final performance at the Royal Opera House was as Mary Vetsera in Mayerling on 15 June 2013, a role she first danced with the Company on 10 November 1992.

She won two National Dance Awards (2004, 2009) and the De Valois Award (2013) and was appointed a Member of the Order of Australia in 2015.

Leanne Benjamin is a Governor of The Royal Ballet Companies and a Patron of the Tait Memorial Trust.

Leanne Benjamin in The Royal Ballet's Manon ©ROH Johan Persson, 2011

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PATRON’S MESSAGE ‘I was delighted to be asked to support the Tait Memorial Trust by Isla Baring, as I feel very passionate about what it strives to accomplish, particularly as I can personally relate to what a difference their awards can make.

I grew up with all the wonderful support any child could hope to have, with loving parents, and a beautiful home in Rockhampton, Central Queensland. My parents worked hard to make any opportunity available to me and my siblings- 4 children, all with different gifts, meant financial sacrifices and long hours for them. To be able to explore your child’s talent should be a uniquely rewarding experience for the parents and the child, but all too often the financial burden can either be a cause of stress, or at worst, make it impossible to follow through on a child’s potential.

...Australians and New Zealanders NEED to extend their footprints to corners of the world where their talents can be nurtured.”

The support that the Trust aspires to offer, I think, can often make the difference between saying yes instead of no. It can open doors that might otherwise be closed. It does this by offering financial support in the early development of an artist’s journey, paying for school fees, or other artist related expenses. What this means, is that the potential of a young artist does not have to be tempered for financial reasons, and they can get a chance to find out if they can make that next step based on merit alone.

I also feel strongly that Australians and New Zealanders must endure an additional hurdle to realize their potential. To take advantage of what the world has to offer, you have to be exposed to the very best, and to do that means travel and time a long way from home. So Australians and New Zealanders NEED to extend their footprints to corners of the world where their talents can be nurtured.

I know how hard my parents worked to make the world my oyster- would I have had the opportunities I had, if I had not gone to The Royal Ballet School at 16? Maybe I still would have become a professional artist, but I doubt I would have had the expansive career that I am so fortunate to have had.

For that, I am always grateful, and realize that there may be many others less fortunate than me, who might have the talent, but not the financial ‘wind in their sails’ to get them where they need to go.’

LEANNE BENJAMIN IN REQUIEM, THE ROYAL BALLET © ROH TRISTRAM KENTON, 2011

Leanne Benjamin AM OBE Patron, Tait Memorial Trust 7

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LEANNE BENJAMIN AWARDS Ballet has been an important part of our mission to support young artists since our foundation in 1992. The Leanne Benjamin Awards, created in 2014, bring our ballet awards under the direction of the Australian ballerina, ex Royal Ballet principal, Leanne Benjamin AM OBE. We are also delighted to confirm that ballet has been added to our Adopt a Performer scheme. Join the Tait today as a Borovansky Partner to directly support a young dancer. If you would like to learn more about the scheme and you wish to play an active role in the career development of a young dancer from Australia or New Zealand please contact james@taitmemorialtrust.org

Chloe Kenneally Swan Lake English National Ballet School

EDOUARD Borovansky

Self-portrait by Edouard Borovansky, 1948, oil on board, National Library of Australia, Australia

Edouard Borovansky (1902 – 1959) was a Czechborn Australian ballet dancer, choreographer and director. After touring with Anna Pavlova's company, he and his wife, Xenia, settled in Australia where they established the Borovansky Ballet company. From 1943 onwards seasons by the company were presented

by J. C. Williamson Theatres Ltd. The Borovansky Company school trained the first wave of Australian born ballet dancers and toured Australia, staging many classical ballets as well as producing the first original Australian ballets, including Terra Australis, Black Swan and The Outlaw. After Borovansky’s death in 1959 re-emerging in 1962 as the Australian Ballet with much support from Frank Tait. Sir Frank Tait was the first Chairman of The Australian Ballet. Australian dance heritage owes much of its history to the foresight and tenacity of the Tait Brothers, and now produces some of the best classical dancers in the world.

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Tait Winter Prom Australia House Supported by

Monday 10th December 2018

Presented by The High Commissioner of Australia His Excellency the Hon George Brandis QC and the Tait Memorial Trust Leslie Howard¹, piano with Ed Babar, double bass Bronwyn Douglass *, mezzo-soprano Tristan Dyer *², dance Amy Huang*, violin Waynne Kwon *, cello Tara Minton *, harp / composer Bridget O’Donnell *, violin Calvin Richardson * ², dance / choreography Bronte Zemlic *, mezzo-soprano Artistic Director, Music: Jessica Cottis* ᵅ Artistic Director, Ballet: Leanne Benjamin** Event Consultant: Cameron Menzies Stage Manager: Kirstin Gerking-Rabach ¹ ² ᵅ * **

Leslie Howard is represented by Antony Barlow Consultants Appearing with the kind permission of The Royal Ballet Chairman of Tait Music Board Tait Awardee Chairman of Tait Ballet Board, Patron of Tait Memorial Trust

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CONCERT PROGRAMME

Beethoven Eroica’ Variations, Op. 35

Leslie Howard

Tchaikovsky Valse Scherzo Op 34

Amy Huang Leslie Howard

Debussy/Heifetz l'après-midi d'un faune

Bridget O'Donnell Leslie Howard

Martinu Variations on a Theme of Rossini

Waynne Kwon Leslie Howard

Gounod ‘O ma lyre immortelle' from Sapho

Bronte Zemlic Leslie Howard

Donizetti 'Per questa fiamma indomita' from Anna Bolena

Bronwyn Douglass Leslie Howard

Monteverdi Duet 'Pur ti miro' from L'incoronazione di Poppea

Bronwyn Douglass Bronte Zemlic Tara Minton,

Piazzolla/Minton 'Libertango'

Tara Minton Ed Babar

BALLET

Ballet sequences artistically directed by Leanne Benjamin AM OBE

Liszt / Lanchbery Bratfisch solo from Act 2, Mayerling*

Tristan Dyer

Choreographed by Kenneth MacMillan

Leslie Howard

Saint-Saëns's 'Le Cygne' from Le Carnaval des animaux’

Calvin Richardson

choreographed by Calvin Richardson

Waynne Kwon

Inspired by Mikhail Fokine

Leslie Howard

* Performed with the kind permission of Lady MacMillan & The Royal Ballet

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Viola Tait began working on her memoirs, I Have a Song to Sing, in the late 1960s, but the manuscript was filed away.

It was revived in 2001, but she died before the work could be completed, leaving her daughter Sally and editor Elisabeth Kumm to finish the task.

Unfortunately this too was put aside - until now, when Elisabeth, through her involvement with Theatre Heritage Australia suggested that Viola's memoirs should finally be published. And thanks to a small team from THA, the book is now complete, and set to roll off the presses in early December‌ and here it is !!

To pre-order please email us at info@taitmemorialtrust.org

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PROGRAMME NOTES Beethoven

Eroica’ Variations, Op. 35

To celebrate his 70th birthday, Leslie Howard is going to play Beethoven’s ‘Eroica’ Variations, Op. 35 - which along with ‘The Creatures of Prometheus’ feature on his latest CD for Heritage Records.

This mighty work is the first of Beethoven's three greatest sets of piano variations (the others are the 32 Variations, WoO 80, and the 'Diabelli' Variations, opus 120), and although it is by no means unpopular, it seems more familiar than it actually is because of its well-known theme. This theme (much more than a mere tune) must have been particularly beloved by its composer, since Beethoven used it in no fewer than four works - a contredanse (WoO 14, no. 7), the finale of the ballet "The Creatures of Prometheus", the present variations - all from 1801, and the finale of the Third Symphony ["Eroica"] of 1804. The opus 35 has thus been nicknamed the "Eroica" or "Prometheus" Variations from the outset. And there are many similarities between these variations and the variations in the symphony.

Tchaikovsky

Valse Scherzo Op 34

The Valse-Scherzo in C major, Opus 34 (TH 58 ; CW 60) was Tchaikovsky's second composition for violin and orchestra, written around January to February 1877. In the second half of the 19th century, the waltz was all the rage all over Europe (including Russia). Yet no symphonic composer, not even Brahms who was excessively fond of this dance, gave it as wide a range of characters as did Tchaikovsky, who featured it in his symphonies and other works including his operas and, of course, his three great evening-filling ballets. In the Valse-scherzo, the waltz becomes a vehicle for the violin soloist, with abundant double-stops and other virtuoso fireworks. Like the Serenade, it is in ABA form, with a contrasting middle section where one particular melodic turn strongly anticipates the Violin Concerto, Tchaikovsky's next major work.

Debussy/Heifetz

l'après-midi d'un faune

This composition was inspired by the poem l’apres midi d’un faune by Stephanie Mallarme. It is a symphonic poem for orchestra and was first performed in Paris in 1894. It is called a prelude because Debussy originally planned to write a suite of three movements – Prelude, Interlude and Final Paraphrase – but the last two 13

PROGRAMME NOTES movements were never completed. The poem tells the story of a Faun, half-goat, half-man, in the guise of the god Pan. Diaghilev later used the score as a basis for a ballet for the dancer Nijinsky which was not well received due to the pagan and somewhat risque nature of the subject matter. Apparently Debussy was very unhappy with the way his music had been used in this way.

Martinu

Variations on a Theme of Rossini

Written in 1942, Martinu's Variations on a Theme of Rossini was among the first compositions he completed in the U.S., and it was composed for the famous virtuoso cellist Gregor Piatigorsky (1903-1976), for whom Martinu also wrote several other works. The titular "Theme of Rossini" refers to Dal tuo stellato soglio (From Your Starry Throne), from Rossini’s opera, Mosè in Egitto (Moses in Egypt, 1819 version). But before Martinu got hold of it, Rossini's tune was first used by Italian violin virtuoso Niccolo Paganini (1782-1840), in his Sonata "a Preghiera" ("In Prayer" Sonata), aka, Moses Fantasy, a set of variations written originally for the violin's G-string. Regardless of whether Martinu heard a cello transcription, or perhaps even studied the violin original during his conservatory days, Paganini's Fantasy, with its transformation of Rossini's prayer into a light-hearted romp, is where his fanciful flight actually originates.

Gounod

‘O ma lyre immortelle'

Sapho

Considered to be one of the great suicide arias, Sapho, tragically renounces life after being abandoned by her lover Phaon. As the opera ends she sings the great aria Ô ma lyre immortelle, at the end of which she jumps off a cliff and drowns in the raging sea below.

It's a slow aria, the melodic line is continuous. Perfect breath control combined with seamless legato are indispensable to link the long arches of melody and wide leaps. Sapho was a poetess, a passionate woman, not a queen like Dido or Cleopatra.

Donizetti

'Per questa fiamma indomita'

Anna Bolena

After his first great success with Anna Bolena (1830), on the doomed second wife of Henry VIII, Gaetano Donizetti wrote two more operas on subjects drawn 14

PROGRAMME NOTES from English Tudor history: Maria Stuarda (1835), on the doomed Scottish queen, and Roberto Devereux (1837), on the Earl of Essex, the doomed favorite of Elizabeth I. This aria is sung by Jane Seymour to the King as the Queen, Anna Bolena, and her lover, Percy, are led off by guards to their cells. Jane Seymour then intercedes for the unfortunate Queen she both loves and rivals. Sadly her plea fails and the Council decides to proceed with the sentence of death on the Queen and her accomplices.

Monteverdi

'Pur ti miro'

L'incoronazione di Poppea

Although this erotically-charged duet is undoubtedly the most famous moment in Monteverdi's opera, ironically, it may not actually have been written by the great man. The opera remained unfinished on Monteverdi's death in 1643 and the text for this scene does not appear in the published libretto.

Emperor Nero rejects his wife Octavia to marry his ambitious mistress Poppaea, who ultimately becomes the Empress of Rome. Monteverdi’s music bows to the service of sensuality, as well as to scenes of compelling comedy. The score culminates with the renowned love duet “Pur ti miro, pur ti godo”, despite not being written by Monteverdi, but rather attributed to several composers. Be that as it may, this duet is the touching end to this landmark opera. As Poppea is bestowed the title of empress, she stares into Emperor Nero’s eyes, and they sing to each other, “I gaze at you, I possess you.”

Piazzolla/Minton

'Libertango'

"Libertango" is one of the most beloved and recognisable compositions by Astor Piazzolla, the great Argentine tango composer. A portmanteau merging "libertad" (Spanish for liberty) and tango, it was first recorded in Milan in 1974 and marked Piazzolla's break from classical tango to tango nuevo. It has been recorded and performed by many great artists including Al Di Meola, Yo Yo Ma and last year by Hiromi and Edmar Castaneda at the Montreal Jazz Festival. Tonight you will hear Tara Minton's own arrangement for harp and double bass. It draws inspiration from the great jazz pianists and arrangers, Duke Ellington and Bill Evans, as well as flavours from the Gypsy jazz tradition. Tara would like to thank Phil Merriman and Malcolm Edmonstone for their invaluable guidance.

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PROGRAMME NOTES Liszt / Lanchbery

Bratfisch solo

Mayerling*

Mayerling was Kenneth MacMillan’s fourth three-act ballet, completed after he had resigned as artistic director of the Royal Ballet in 1977. His interest in the Hapsburg royal family and the demise of the Austro-Hungarian empire had been sparked by a 1974 book, The Eagles Die, by George Marek. The story of the double suicide of the Crown Prince and his young mistress at the Mayerling hunting lodge inspired MacMillan to show the social, political and personal pressures that might have driven the prince to such desperate measures.

John Lanchbery, who had been the Royal Ballet’s chief conductor from 1960, suggested Liszt as an appropriate choice of composer. Not only would Liszt’s music provide the right atmosphere for the dramatic events (extracts from his Faust Symphony serving as a motif for Rudolf’s obsession with guns and death) but he had actually written piano music for Empress Elisabeth to play. Lanchbery arranged and orchestrated some 30 pieces of Liszt’s music for the score.

Originally danced by Graham Fletcher, the solo in question, with its flashy cossack squats and shimmying shoulder-work, has grown beyond its context into a bravura show-piece, favoured by star students competing to be accepted into the elite ranks of the Royal Ballet. Joseph Bratfisch was a real person, a whistler by profession, a skill of which the genius of MacMillan has somehow managed to approximate with the dexterous use of a top hat. On stage Bratfisch is Rudolf’s closest male collaborator, procuring prostitutes for him, and at the end of the ballet helping to drag Mary Vetsera’s body, with a broom handle shoved up the back of her dress to keep her in semblance of life, unceremoniously from the double suicide scene. The last dark notes of the ballet belong to Bratfisch as he lingers by her grave.

“To enable players to devote themselves fully to the fellowship, every place is free, and every player receives a bursary. Southbank Sinfonia receive no public funding and is indebted to its many individual donors, trusts & foundations, and corporate supporters who believe in the potential of its young musicians.“

www.southbanksinfonia.co.uk We are honoured to support the Tait & Sir Charles Mackerras Chair at the Southbank Sinfonia jointly with the Estate of Lady Mackerras for the next 10 years 16

"Mr Howard's recording of the Eroica Variations and The Creatures of Prometheus - HTGCD 187 is available at £12.00, directly from Heritage Records. www.heritage-records.com

There will be a limited number available after tonight’s concert at £10.00, which Mr Howard will be very happy to sign."

PROGRAMME NOTES Saint-Saëns's

'Le Cygne'

Le Carnaval des animaux’ Saint-Saens's The Dying Swan solo was first choreographed for Anna Pavlova in 1905 by Mikhail Fokine. It would become Pavlova’s most famous solo and has gone on to be performed by ballerinas for the last century. The Dying Swan has also influenced many choreographers who have attempted to reimagine this poignant solo. In this reinterpretation Richardson brings the solo up to the twenty first century whilst remaining true to the piece’s rich heritage. SaintSaens was a musical prodigy of his age, performing solo piano concerts from the age of six, and joining the faculty at the Ecole Niedermeyer school in Paris by age twenty-six. Though Carnival of the Animals: ‘A Grand Zoological Fantasy’ is now one of his most popular works, Saint - Saens in fact did not allow a full public performance of the work during his lifetime, thinking the piece too frivolous for the serious classical music loving population in Paris. Franz Liszt was a great supporter of his work and requested further performances after the private premiere, though the full work was only performed in public two months after Saint-Saens death, on February 26th, 1922.

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BIOGRAPHIES LESLIE HOWARD is deeply grateful to The High Commissioner of Australia, HE the Hon George Brandis QC, for so kindly hosting this special 70th birthday concert, and to the generosity of Isla Baring OAM of the Tait Trust for making this possible.

(For Leslie Howard’s wonderful recordings of Liszt)…our debt is incalculable.....never is his technique or taste in any doubt - his consistency, his intelligence, and his subtlety of tone all confirm a dizzying recording monument, which will inevitably eradicate many of our previously held ideas .”

Diapason d’Or, France For his seventieth birthday year, Leslie Howard has been celebrating by playing a programme of Liszt’s operatically inspired piano music both here and around the world.

This year has also seen the release of one further CD of hitherto unrecorded pieces by Liszt, bringing his recordings of the composer’s complete piano works to 100. This is an unequalled accomplishment in the history of recorded classical music, for which he has received many awards.

For more than half a century he has performed with the world’s finest orchestras, whilst also pursuing a distinguished career as a chamber musician. Never one to be confined by one composer, he is a renowned interpreter of the music of Tchaikovsky, Rakhmaninov and Rubinstein, and Beethoven.

Some of his finest recordings have included world premieres, especially four piano sonatas by Rubinstein, three sonatas of Scandinavian music, and for this 70th year a CD comprising the complete ‘Creatures of Prometheus’ in Beethoven’s own solo piano version, together with the composer’s ‘Eroica Variations’ for the Heritage label.

Amongst his extensive discography, feature his early recordings of the works of Percy Grainger, recently re-released in a 5 CD set for Eloquence, as well as the complete music of Reynaldo Hahn for two pianos with Mattia Ometto for Melba Recordings.

A distinguished composer in his own right, he has recorded 25 ‘Etudes in Black and White’ for ArtCorp.

A renowned scholar, Professor Howard has produced 13 volumes of Liszt Society Publications for The Hardie Press, including the complete chamber music and 7 volumes of the new Urtext Liszt scores for Edition Peters. Among his admired editorial work is the now-standard two-piano score of Rakhmaninov’s 4th Concerto for Boosey & Hawkes.

Leslie Howard was made a Member of the Order of Australia, AM, in the Queen’s Birthday Honours 1999 "for service to the arts as a musicologist, composer, piano soloist and mentor to young musicians".

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BIOGRAPHIES Ed Babar is a London-based jazz and orchestral double bassist. He has performed on Jools Holland and the Graham Norton Show (Liam Gallagher), Radio 1 Live Lounge and the Michael Macintyre Show (Tom Odell), The One Show, recorded for Sky Arts, ITV and albums for Mimika, Circuit, Tara Minton, The Tim Boniface Ensemble, The Bevin Boys and The Three Belles. Ed is the founder and director of The Blues and Roots Ensemble, showcasing the music of Charles Mingus. Most recently they combined with Serious for the London Jazz festival, performing Mingus’ music with 120 community musicians at The Southbank Centre. As an educator Ed is a partner and workshop leader with Be Creative and is the visiting double bass teacher at King's College School, Wimbledon and at Wimbledon High School. Ed and Tara met at the Ashtead Jazz Club five years ago and have been playing together ever since.

Mezzo-Soprano Bronwyn Douglass was the winner of The Opera Foundation for young Australians Lady Fairfax New York Scholarship and the Joan Sutherland and Richard Bonynge Bel Canto Award in 2017. This saw her undertaking private study in Italy, Germany and New York this year. Bronwyn holds a Masters of Music from the Queensland Conservatorium Griffith University (2014) and a Bachelor of Music from the Australian National University School of Music (2012). She was also the Amelia Joscelyne Memorial Scholar with the Melba Opera Trust (2016-2017). Earlier this year Bronwyn performed the role of Rosina in Il barbiere di Siviglia for Co-Opera, touring throughout regional Australia. In June she attended the Georg Solti Accademia di Bel Canto where she was incredibly fortunate to study with Barbara Frittoli, Alessandro Corbelli and Maestro Richard Bonynge AC, CBE. She then undertook three months of private study in New York with coaches and teachers from The Juilliard School and The Metropolitan Opera.

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BIOGRAPHIES Tristan Dyer is a Soloist of The Royal Ballet. He trained at The Royal Ballet School and graduated into the Company as an Artist in 2009, promoted to First Artist in 2013 and Soloist in 2014.

Dyer was born in Rhode Island. He trained locally and at The National Ballet School of Canada, Australian Ballet School and The Royal Ballet School. While a student he received second prize at the 2008 Young British Dancer of the Year Competition.

With the Company, his roles include Hans-Peter/Nutcracker (The Nutcracker), Alain (La Fille mal gardée), Florestan (The Sleeping Beauty), Matador (Don Quixote), lead pas de six (Giselle), pas de trois and Neapolitan dance (Swan Lake), Magdaveya (La Bayadère), pas de six (La Sylphide), Benvolio (Romeo and Juliet), Dancing Gentleman (Manon), Bratfisch (Mayerling), Footman/Fish (Alice’s Adventures in Wonderland), the title role in Frankenstein, Viscera quintet and roles in Rhapsody, The Vertiginous Thrill of Exactitude, Tetractys, Symphonic Variations, DGV: Danse { grande vitesse, ‘Rubies’ (Jewels), Chroma, Monotones I, Infra, Polyphonia, Symphony in C, Ceremony of Innocence, Aeternum, Song of the Earth, Within the Golden Hour, Multiverse & Carbon Life.

Photo Credit: Tristan Dyer as Frankenstein in Frankenstein. The Royal Ballet ©2016 ROH. Bill Cooper

Australian violinist Amy Huang is in her second year of Bachelor of Music Performance studies as a RCM Scholar – 2018/19 Knights of the Round Table Award Holder – at the Royal College of Music in London with Professor Itzhak Rashkovsky. Amy transferred from the Sydney Conservatorium, where she studied with Professor Ole Bohn as a recipient of the Matteson and Nancy Roberts Scholarship. By 14, Amy had received her AMEB AMusA and LMusA in violin with distinction and AMusA in piano.

In 2016, Amy received a BBM classical music award to travel to the UK and was a finalist in the prestigious Doctors’ Orchestra Scholarship. Highlights for 2018 include receiving a Tait Memorial Trust Special Award, performing the Mendelssohn Violin Concerto with the Macquarie Towns Orchestra, being concertmaster at the FEMUSC festival and partaking in the Australian Youth Orchestra July Season and finals of the Australian Music Foundation awards. Amy is very excited to grow musically and personally in this new environment.

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BIOGRAPHIES Tara Minton is an Australian jazz harpist and vocalist. She relocated to London in 2011 and has built a reputation as one of the leading contemporary harpists in Europe.

Tara has given concerts in France, Italy, Spain, Switzerland, Poland, Lithuania, The Netherlands, New York and Australia - highlights including performing for the High Commissioner of Australia in London, playing Jools Holland and Primavera Sound Festival with Bjork, launching her debut UK album "The Tides of Love" at the Elgar Room, Royal Albert Hall and regular appearances at her favourite jazz club, the 606 in Chelsea. Tara is also a passionate educator and has conducted master classes and workshops in jazz and improvisation at The Royal Northern College of Music, Birmingham Conservatoire and Cardiff Metropolitan University. She is currently studying a Masters of Jazz at The Guildhall and is proudly endorsed by Camac Harps, France. Tara is thrilled to be a Tait Memorial Trust awardee.

Australian violinist Bridget O’Donnell studied under Alice Waten at the Sydney Conservatorium of Music. She was invited to Canada to study intensively with Pinchas Zukerman at the 2017 Young Artists Programme. She has also performed in masterclasses for eminent violinists Christian Tetzlaff, Vadim Gluzman and pianist Lang Lang. With the support of the Marten Bequest and the Tait Memorial Trust, she has taken up a scholarship position at the Royal Academy of Music under So-Ock Kim. As an SSO Fellow in 2016 and 2017, she was mentored by Andrew Haveron and also performed as the soloist with the SSO giving 9 performances across Regional NSW. In January 2018, Bridget joined the Academy of St Martin in the Fields orchestra on their tour of UK and Germany under director Joshua Bell, and has continued working with them since. As a chamber musician she has lead the RAM Chamber Orchestra and in January 2019 Bridget will give performances in Patagonia, Argentina as part of the Festival de los Siete Lagos. She plays on the Leandro Bisiach violin used in the film Master & Commander, on loan to her by private donors.

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BIOGRAPHIES Waynne Kwon currently studies under Hannah Roberts as a Masters student at the Royal Northern College of Music, generously supported by the Haworth Trust. He was named as the Higgins Scholar (a Tait Memorial Trust scholarship funded by the Higgins family to support his undergraduate studies at RNCM 2014—2017). He also received financial assistance from the Australian Music Foundation, and the Australian Elizabethan Theatre Trust. Since coming to the UK Waynne has won the 2015 Raphael Sommer Scholarship in London, and the 2016 Sir John Barbirolli cello prize at the RNCM. He was also chosen to be part of the Professional Engagements Scheme with the BBC Philharmonic Orchestra. Waynne also received the Finalist Prize at the Bromsgrove International Music Competition and was a winner of the 2017 Concerto Competition at the RNCM. In 2018, Waynne was awarded the Muriel Taylor Cello Scholarship from the London Festival Orchestra and the 2018 RNCM Gold Medal Competition, the college’s most prestigious award. He also won the Leonard Rose award for the highest final cello recital mark as an undergraduate student. He currently plays on a cello made by Francesco Ruggieri in 1694, generously on loan from the RNCM.

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BIOGRAPHIES Australian dancer, Calvin Richardson is a Soloist of The Royal Ballet. He trained at The Royal Ballet Upper School and joined the Company in 2014, he promoted to First Artist in 2017 and Soloist in 2018. His performances at the Royal Opera House include his own version of The Dying Swan at the School’s annual matinee on the main stage and as part of Deloitte Ignite 14 in the Paul Hamlyn Hall. Calvin grew up in Traralgon and started dancing aged five. He was initially interested in tap and turned to ballet aged 14 when he began to study at the Victorian College of the Arts Secondary School.

After becoming a finalist of the 2012 Prix de Lausanne he was awarded a full scholarship to study at The Royal Ballet Upper School. His roles since joining the Company have included Albert de Belleroche (Strapless) and in ‘Emeralds’ (Jewels), Chroma and Woolf Works. He has created roles in Flight Pattern, Multiverse, Obsidian Tear and Untouchable. His work as a choreographer includes Untitled for Draft Works.

Australian Mezzo-Soprano Bronte Zemlic has been celebrated for the "grace and warmth" of her performance as Inez, Il Trovatore, in her mainstage debut with CitiOpera (Classic Melbourne, 2017). 2017 saw the young mezzo win the coveted Australian International Opera Award, this very generous competition has allowed Bronte to gain her Masters in Advanced Vocal Arts and has made her a recent graduate of the Wales International Academy of Voice.

In partnership with this award from the AIOA she was also the recipient of the John Frost / Frank & Viola Tait Award, and recently the recipient of the Tony & Jaki Bryant Extraordinary Award, Tait Memorial Trust. Bronte is currently undergoing a private study programme under the tutelage of Tim Evans Jones in London. She would also like to thank the generosity of the Ian Potter Cultural Trust for their ongoing contribution to her current studies.

Photo Credit: ©Sian Trenberth, Photography 23

OUR SUPPORTERS Tait Endowment Patron £10,000+ Earl Cadogan KBE DL Mrs Karen Goldie-Morrison The Hon Sarah Joiner Mrs Anne Longden Mrs Barbara Ross Mr Michael Whalley Tait Grainger Patron £10,000+ Julian Baring Family* The Estate of Lady Mackerras*

Mr & Mrs David Hunter The Thornton Foundation* Mrs Louise Worthington TMT Frank & Viola Friends £500+ Mrs Lorraine Buckland The Hon Sarah Joiner E M Turner-Laing

Tait Melba Supporter £250+ Mrs Anne Longden Dame Norma Major DBE Tait Sutherland Benefactor £5,000+ Mrs Jacqueline Thompson Mr John Frost AM* Mr Damian Walsh Tait Bonynge Partner £3,000+ Ms Eugenie White* Tait Helpmann Circle £1,000+ Mr Peter Andreae Mrs Jaki Bryant* Mrs Jan Gowrie-Smith Mr & Mrs Nicholas Heesom* Mr & Mrs Paddy Linaker

TMT Friends £75+ Mr David Baillieu Miss Janina Bialoguski Mrs Lynette Braithwaite Mrs Sandra Clapham Mr John Crisp Mrs Fay Curtin Mr Roger Davenport Mrs Anne Davidson

Miss Celestine Ekerick Mrs Wanda Gase-Goodey Mr Jason Groves Mr Philip Hart Mrs Helen Hayton Lady Gail Jopling Mr Patrick Kennedy Mrs Wendy Kramer Mr Martin Kramer Lady Rosa Lipworth CBE Mrs Joanna McCallum Mrs Ellen Moloney Mr Frederick Pyne Mr John Rendall Mrs Helen Sargent Mrs Katherine Scholfield Sir Richard Storey Bt CBE Mr Ian Tegner Rev John Wates OBE Mrs Sue Whitley Mrs Sue Williams *Adopt a Performer

We are very grateful for the support that we have received from ANZ Banking Group Ltd Event Sponsor ANZ Banking Group Ltd

Special thanks Acknowledgements: Johanna Adams-Farley Antony Barlow Australia House, staff Jessica Cottis Supported by Leanne Benjamin AM OBE Kirstin Gerking-Rabach HE the Hon George Brandis QC Hannan Images Michael Cartwright Angus Forbes Partners: Martin Chapman Anne Longden Britain-Australia Society Meredith Daneman Tait Committee Royal Over-Seas League Leslie Howard Tait Ballet Board Australian Women’s Club, London Steve McRae Tonight’s artists Lady MacMillan Tait Music Board With thanks Cameron Menzies Tait Trustees Lorraine Buckland Diana Murray Tonight’s wine has been Bury Court Opera Shona Nunan kindly sponsored by: Heritage Records John Rendall John O’Grady catering Barbara Ross Roses Only Ann Seddon The Royal Ballet Katrina Sheppeard The VEC ACORN SANZA Jeremy Vinogradov Charitable Trust VEC Acorn Trust “encouraging excellence” Watlington Fine Wines West Green Opera

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We are very grateful to The Royal Ballet for their generous loan of the Harlequin Ballet flooring which enables us to showcase our talented artists here at Australia House.

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We thank our esteemed Patron, June Mendoza AO OBE for designing the profile portrait of Leslie Howard which is on the concert programme cover.

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We are also grateful that Australian fine artists, Shona Nunan & Michael Cartwright agreed to display their beautiful statues for you tonight, on display in the foyer (please refer to page 8.

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Proudly supporting young performing artists from Australia and New Zealand in the UK Founded in 1992

Chairman Isla Baring OAM Founding Patrons Dame Joan Sutherland AC OM DBE, Viola, Lady Tait AM, John McCallum AO CBE, Googie Withers AO CBE Patrons Leanne Benjamin AM OBE, John Frost AM, Julian Gavin, Barry Humphries AO CBE, Piers Lane AO, June Mendoza AO OBE, Danielle de Niese, Ermes de Zan Trustees Justin Baring, Isla Baring OAM, Anne Longden, John Rendall, Susie Thornton The Leanne Benjamin Awards—Ballet Leanne Benjamin AM OBE, Artistic Director & Patron Committee Fay Curtin, Meredith Daneman, Jan Gowrie-Smith, Wendy Kramer, Alice McCahey, Gayle McDermott, Patricia Nimmo, Margaret Rodgers, Ann Seddon, Jacqueline Thompson, Rosemary Tuck Music Board Dr Helen Ayres, Isla Baring OAM, Jessica Cottis, Julian Gavin, Jayson Gillham, Dr Leslie Howard, Deborah Humble, Anthony Roden, Katrina Sheppeard, Ballet Board Isla Baring OAM, Leanne Benjamin AM OBE, Meredith Daneman Honorary Member Nicola Downer AM Administrator James Hancock Registered charity 1042797 Tait Memorial Trust 4/80 Elm Park Gardens London SW10 9PD Phone +44 207 351 0561

info@taitmemorialtrust.org

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www.taitmemorialtrust.org

TAIT AWARDS 2018 The Tait Memorial Trust is pleased to be assisting these talented young performing artists from Australia and New Zealand in 2018/19 Isabel Bloomfield

ballet

ENBS

Leanne Benjamin Award

NZ

Zoe Brady

ballet

ENBS

Leanne Benjamin Award

QLD

Fleuranne Brockway

mezzo soprano RCM AIOA

John Frost / Frank & Viola Tait Award WA

Samantha Clarke

soprano

GSMD

Thornton Foundation

WA

Connor D'Netto

composer

RCM

Julian Baring Award

NSW

Connor D'Netto

composer

RCM

Tait Scholar

NSW

Jonathan Eyers

baritone

GSMD

Extraordinary Award

NZ

Jonathan Ferrucci

piano

ROSL

Tait Award

NSW

Amy Huang

violin

RCM

Tait Award

NSW

Chloe Keneally

ballet

ENBS

Leanne Benjamin Award

QLD

Kirsten Milenko

composer

Dartington

John Amis Award

NSW

Tara Minton

harp

GSMD

late A. Loewenthal Award

VIC

Jade Moffatt

mezzo soprano priv studies

Tait Award

QLD

Hannah Nash

ballet

ENBS

Leanne Benjamin Award

QLD

Maeve Nolan

ballet

ENBS

Leanne Benjamin Award

NSW

Bridget O’Donnell

violin

RAM

Tait Award

NSW

Madeleine Randall

oboe

GSMD

late A. Loewenthal Award

NSW

Valda Wilson

soprano

priv studies

Extraordinary Award

NSW

Bronte Zemlic

mezzo soprano priv studies

Tony & Jaki Bryant Award

NSW

Royal Ballet School

ballet

RBS

John Frost LBA

Benson Wilson

baritone

Tait platform Bel Canto Award, JSRB Fdn

NZ

Filipe Manu

tenor

Tait platform TMT Award, JSRB Fdn

NZ

The Trust has helped over 300 young Australian and New Zealand performers since 1992.

We hope to help many more in the years to come Lauren Fagan • Grant Doyle • Siobhan Stagg • Julian Gavin • Brad Cooper • Helena Dix Sky Ingram • Kevin Penkin • Daniel de Borah • Hoang Phan • Jessica Cottis Lachlan Monaghan • Thomas Rann • Tristan Dyer • Amy Dickson • Valda Wilson Liane Keegan • Alexandra Hutton • Stefan Cassemenos • Derek Welton • Morgan Pearse • Duncan Rock • Helen Sherman • Adrian Dwyer • Elena Xanthoudakis Jayson Gillham • Lauren Easton • Coady Green • Greta Bradman • Gavin Zev Yelian He • Catherine Carby • Samuel Sakker • Nicholas Lester • Caitlin Hulcup Kate Howden • Adam Szabo • Lauren Zolezzi • Gerard Schneider • Liwei Qin Marshall McGuire • Claire Howard • John Heuzenroeder • Chelsea Andrejic Natalie Christie • Kate Ladner • Benjamin Bayl • Joanna Cole • Jacqueline Dark Leanne Kenneally • Mary Jean O’Doherty • Russell Harcourt

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Supported by

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