Tait Memorial Trust - Winter Prom 2014

Tait Memorial Trust Proudly supporting young Australian performing artists in the UK

presents

Tait Winter Prom proudly supported by

The Commonwealth Bank of Australia

conducted by

Kelly Lovelady Grainger Handel in the Strand Mozart Piano Concerto No. 14 in E flat Vaughan Williams The Lark Ascending

Requiem—Solo Music: Fauré - Pie Jesu: Requiem in D Minor The Dying Swan Music: Saint-Saëns – The Swan: Carnival of the Animals

Mozart Ch’io mi scordi di te?

The Tait Chamber Orchestra

9th December 2014 St John’s Smith Square London SW1P 3HA

Sollima Violoncelles, Vibrez!

Penkin Changing Feet Puccini La bohème finale Act 1: Che gelida manina Si, mi chiamano Mimi O soave fanciulla presented by

Kimberley Busteed

Supported by

www.taitmemorialtrust.org

charitable trust, registered charity no. 1045390 registered in england. company no. 3028678

proudly supporting young australian performing artists in the uk registered charity no. 1042797

The Tait Memorial Trust — Est. 1992

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2099_QA061_Tait_Prom_Night_Ad.indd 1

26/11/2014 10:53

Chairman’s message

© angus forbes 2014

This year has been very exciting for the Tait Trust.

We have revitalised our Friends scheme: Our Tait Friends have helped us enormously with our awards mainly due to a threefold increase in members; in recognition of their ongoing contribution, we look forward to welcoming them to many special Friends events and hopefully offer more awards next year.

In June we launched the Leanne Benjamin Awards with amazing support from The Royal Ballet School, in whose Floral Street studios we were treated to a ballet masterclass.

Funds raised allowed us to award our first recipient Josephine Frick £8,000 towards her second year at The RBS. We are thrilled that Leanne Benjamin OBE is actively helping us in our support of young Australian dancers in the UK, and has become a Tait Patron. Leanne has coached Sophie Moffatt the Pie Jesu solo from MacMillan’s Requiem for tonight’s performance.

We are honoured to have gained the sponsorship of the Commonwealth Bank of Australia as our Principal Partner.

They have swept into our life with such enthusiasm.

Corporate support for sport is commonplace; sadly not for work such as ours, so all the more gratifying that CBA are behind us and our wonderful Australian performing talent.

Our awards this year are at their highest level, a 30% increase in funding from last year. In 2014 we are supporting 14 gifted young Australians to enable them to follow their dreams…a full list of our awardees is within this programme.

So, our 22 years of engaging with the Australian community and its friends in London has brought us to our most ambitious undertaking to date, our fourth Winter Prom, this year in the glorious surroundings of St John’s Smith Square, part of the fabric of the London classical music scene. It has been a challenge to bring this all together, but so worth it to be able to present such a distinguished and diverse group of Tait Awardees - past and present and our (nearly) all-Australian Tait Chamber Orchestra for your enjoyment.

And you, our treasured audience, are the lifeblood of our Tait Family - thank you so much for being here. I hope you enjoy tonight’s concert and will join us in applauding these talented young Australians.

Please continue to support us in any way you can.

Next year is another year, and our work goes on!

Happy Christmas and I look forward to seeing you in the New Year!

Isla Baring OAM Chairman, Tait Memorial Trust The Tait Memorial Trust — Est. 1992

Partner message

On behalf of the Commonwealth Bank of Australia, I am delighted to announce our partnership with the Tait Memorial Trust. As Principal Partner, we will work together to continue supporting young Australian musicians and performing artists in the furtherance of their careers while resident in the UK. Commonwealth Bank is a long-standing, passionate supporter and corporate partner of some of Australia’s leading arts organisations. Our partnerships with the Australian Chamber Orchestra, Bangarra Dance Theatre and Opera Australia aim to make the arts more accessible to all Australians.

This partnership with the Tait Memorial Trust is a further demonstration of the Bank’s commitment to enabling the progress of talented Australian artists as they pursue their careers in the United Kingdom.

Our Commonwealth Bank team in London is keen to support people who are relocating to Australia or New Zealand. If you, or any of your network, are planning a move in the foreseeable future, please contact me on 020 771-3993 or email walkerm@cba.com.au.

I wish you all a safe and happy festive season and hope you enjoy the world-class entertainment at the “Winter Prom”.

Melinda Walker Executive Manager Premier Banking and Migrant Financial Services – Europe Commonwealth Bank

The Tait Memorial Trust — Est. 1992

Patron 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 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 artists 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 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 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 OBE Patron, Tait Memorial Trust

leanne benjamin in requiem, the royal ballet

The Tait Memorial Trust — Est. 1992

© roh tristram kenton, 2011

The Tait Chamber Orchestra Sponsored by the Julian Baring Family

Flute/Piccolo gavin zev

Oboes toby thatcher, james hulme

Clarinets alex roberts, marcus norman

Bassoons jakab kaufmann, kylie nesbitt

Horns ian wildsmith, nicole durdin

Sponsored by Rev. John Wates OBE Trumpets dani rich

Violins julia flint, anna o’brien, joanna leask, zoe van drunen, kana ohashi, kate agostino

Violas lisa bucknell*, rebecca breen**, jennifer maccallum *

Whalley & Goldie Morrison Award 2014. Royal College of Music ** Sponsored by Mr L. E. Linaker Cellos wayne kwonn, talulah yunkers

Higgins Scholar 2014, Royal Northern College of Music Bass adam storey

Harp tara minton

Piano chad vindin

Tait Awardee 2014, Junior Fellow Royal College of Music

The Tait Memorial Trust — Est. 1992

The Tait Memorial Trust proudly presents

A showcase of Australian talent

supported by

The Commonwealth Bank of Australia The Tait Chamber Orchestra

a, d, e

conducted by

Kelly Lovelady directed by

Greg Eldridge

presented by

Kimberley Busteed

4

Concert Programme Grainger (1882–1961) Handel in the Strand jayson gillham, piano Wolfgang Amadeus Mozart (1756–1791) Piano Concerto No. 14 in E flat, K.449 jayson gillham, piano Ralph Vaughan Williams (1872–1958) The Lark Ascending xenia deviatkina-loh, violin Camille Saint-Saëns (1835–1921) The Swan, The Carnival of the Animals, The Dying Swan calvin richardson (1835-1921), choreography 3 matthew ball, dancer 3, adam szabo, cello, chad vindin, piano Gabriel Fauré (1845–1924) Requiem, Pie Jesu solo kenneth macmillan (1929-1992), choreography 1 sophie moffatt, dancer 2 coached by leanne benjamin obe marlena devoe, soprano, chad vindin, piano interval

20 mins

Wolfgang Amadeus Mozart (1756–1791) Ch’io mi scordi di te? elena xanthoudakis, soprano c, jayson gillham, piano b Giovanni Sollima (1962– ) Violoncelles, Vibrez! yelian he, cello, adam szabo, cello Kevin Penkin (1992– ) Changing Feet nicola crowe, flute Giacomo Puccini (1858–1924) La bohème Act 1: Che gelida manina, Si, mi chiamano Mimi, O soave fanciulla lauren fagan, soprano 4, gerard schneider, tenor 5 performances & appearances with kind permission of: The MacMillan Estate, 2 The Royal Ballet School, 3 The Royal Ballet, 4 the Royal Opera House, 5 The National Opera Studio a performances sponsored by: the Julian Baring Family, b Mrs Jan Gowrie-Smith, c the Braithwaite Family Foundation, d Rev John Wates OBE, e Mr L. E. Linaker 1

The Tait Memorial Trust — Est. 1992

Programme notes Percy Grainger (1882–1961) - Handel in the Strand Australian-American composer Percy Grainger is one of the truly great characters in classical music history.

Famed not only for his compositions, and the revival of British folksong but also for his patriotic and unique music which holds a special place in Australian music history.

Handel in the Strand was composed between 1911-1912, and has been arranged for several different ensembles; originally for ‘piano and two-or-more strings’, the composer recommends it performed by at least four pianos for ‘good tonal balance’, and concessions for up to twenty simultaneously performing.

He originally penned the piece under the title ‘Clog Dance’, though at the recommendation of the dedicatee, amended it to Handel in the Strand, as it seemed to depict both Handel (the Harmonious Blacksmith is quoted throughout), and the home of Musical Theatre in London at the time: Strand. Dancing is recommended, though not required.

W.A. Mozart (1756–1791) - Piano Concerto No. 14 in Eb major, K. 449 i. Allegro vivace; ii. Andantino; iii. Allegro ma non troppo The fourteenth piano concerto by Mozart was composed after taking a hiatus from the format for two years.

K. 449 was completed on February 9th, 1784, between the premiere of Die Entführung aus dem Serail, his marriage to Constanze van Weber, and the commencement of Le Nozze di Figaro. During this period, he enjoyed a great deal of success as both pianist and composer.

The concerto is curious for several reasons. Most interesting is the fact that the woodwind is marked in the score as optional. The piece was composed for one of his favourite piano and composition students, Barbara Ployer, and Mozart intended for her to be able to perform it in her sitting room with a small string ensemble – as small as a quartet, whilst also being large enough for the concert hall.

Mozart composed two of his six piano concerti in 1784 for her, and also appreciated her pianistic abilities enough to perform his Sonata for Two Pianos K. 448 in public with her.

The first movement (Allegro vivace) provides another moment of curiosity, as it is one of only three piano concertos (out of twenty-seven) to have a first movement in triple meter. The second is a typically gorgeous slow Andantino; with two non-contrasting themes weaving around each other, whilst the third (Allegro ma non troppo) a brilliant rondo played at fast pace – mirroring the opera buffa style of the upcoming Le Nozze di Figaro.

The two cadenzas (first and third movement) were both written by Mozart, most likely for Barbara, as he preferred to improvise these sections when playing the solo part.

The Tait Memorial Trust — Est. 1992

Ralph Vaughan Williams (1872–1958) - The Lark Ascending The Lark Ascending is a romance for violin and orchestra, composed by one of the most popular modern English composers, Ralph Vaughan Williams. The work takes its name from a poem with the same title by English poet, George Meredith, and depicts the sound of the skylark’s song, the beauty of it’s flight, and the calmness of the English countryside. It is one of the most popular pieces in Britain, having topped the ClassicFM charts from 2007–2011.

Vaughan Williams first conceived this piece on the same day Great Britain entered World War I in 1914. Apparently whilst sketching notes in his composition book, a child mistook this for writing secret notes and reported it to a police officer who promptly arrested him. The piece was finally completed in 1920 alongside its dedicatee and eventual premiere performer, Marie Hall. The full orchestral version was premiered in July 1921 with Hall as soloist and Sir Adrian Boult conducting the British Symphony Orchestra at the Queen’s Hall.

“He rises and begins to round, He drops the silver chain of sound, Of many links without a break, In chirrup, whistle, slur and shake.

For singing till his heaven fills, ’Tis love of earth that he instills, And ever winging up and up, Our valley is his golden cup And he the wine which overflows to lift us with him as he goes.

Till lost on his aërial rings In light, and then the fancy sings.”

(Preface to the composition, from Meredith’s poem)

The Tait Memorial Trust — Est. 1992

- The Dying Swan* Choreography; Calvin Richardson, Music: Camille Saint-Saëns 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.

Camille Saint-Saëns (1835–1921) - Carnival of the Animals XIII. Le Cygne Saint-Saëns was a musical prodigy of his age, performing solo piano concerts from the age of six, and joining the faculty at the École 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, SaintSaëns 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-Saëns death, on February 26th, 1922.

- Requiem* Choreography: Kenneth MacMillan; Design: Yolanda Sonnabend; Composer: Gabriel Fauré Première: 28th of November 1976 Requiem was choreographed in 1976 by Kenneth MacMillan as tribute to his friend and fellow choreographer John Cranko who had died unexpectedly three years earlier. The ballet, choreographed for the Stuttgart Ballet Company, showed the dancers as community coming to terms with the loss of their leader. The solo Pie Jesu, originally danced by Marcia Haydée, portrays a prayer for eternal peace. The solo tonight has been coached by former ballerina Leanne Benjamin.

The Tait Memorial Trust — Est. 1992

Gabriel Fauré (1825–1924) - Requiem in D Minor, Op. 48; IV. Pie Jesu Fauré was a seminal figure in 19th century Paris, playing an influential role in not only influencing the compositional styles of the French school, but also educating the next generation of composers such as Maurice Ravel, George Enescu and Nadia Boulanger during his years at the Paris Conservatoire.

The Pie Jesu is one of his most treasured works, and is taken from the Requiem in D Minor, Op. 48. The piece was composed between 1887 and 1890, and is a setting of the Roman Catholic mass for the dead. The first version premiere took place in 1888, though this version was arranged in 1900, alongside the first version of the complete work. It was performed in 1924 at Fauré’s own funeral.

The piece was considered a great success during the composer’s lifetime, with fellow composer and former teacher Camille Saint-Saëns quoted as saying ‘Just as Mozart’s is the only Ave Verum Corpus, this is the only Pie Jesu.’

Pious Lord Jesus, Give them rest.

Pious Lord Jesus, Give them everlasting rest.

Pie Jesu Domine, Dona eis requiem.

Pie Jesu Domine, Dona eis requiem sempiternam.

The Tait Memorial Trust — Est. 1992

W.A. Mozart - Ch’io mi scordi di te?... Non temer, amato bene? Mozart composed Ch’io mi scordi di te?... non temer, amato bene (You ask that I forget you?... Fear nothing my beloved), K. 505 as a concert aria for the farewell of one of his favourite sopranos, London born Nancy Storace. Storace was a soprano who had come to Vienna in 1783 with an Italian opera ensemble, who became such friends with Mozart that she created Susanna for the premiere of Le Nozze di Figaro in 1786.

Storace was returning to London, and Mozart composed and performed it with her at her farewell party on February 23rd, 1787.

The text of the work is a reworking from Mozart’s 1781 opera, Idomeneo, and is performed by the character Idamante (originally meant to be for castrato). The concert aria genre often recycled text like this as the pieces were composed to be input into rejuvenated operas or as stand alone works. Mozart composed fifty-four (mostly soprano) concert arias. The piece itself is unique in its treatment of the obbligato piano line, with the piano and voice sharing a truly cohesive collaboration throughout the rondo aria.

You ask that I forget you?

You can advise me to give myself to her?

And this while yet I live?

Ah no! My life would be far worse than death!

Let death come, I await it fearlessly.

But how could I attempt to warm myself to another flame, to lavish my affections on another?

Ah! I should die of grief!

Fear nothing, my beloved, my heart will always be yours.

I can no longer suffer such distress, my spirit fails me.

You sigh? O mournful sorrow!

Just think what a moment this is!

O God! I cannot express myself.

Barbarous stars, pitiless stars, why are you so stern?

Fair souls who see my sufferings at such a moment, tell me if a faithful heart could suffer such torment?

The Tait Memorial Trust — Est. 1992

Giovanni Sollima (b. 1962) - Violoncelles, Vibrez! (1993) Giovanni Sollima is one of the 21st century’s greatest living composers, transcending genre in composition whilst maintaining a successful and incredibly high level performance career. He was born into a family of musicians, and studied composition with his father, Eliodor Sollima at the Conservatorio di Palermo, as well as cello with Giovanni Perriera. He then studied further at the Musikhochschule Stuttgart and the Universität Mozarteum in Salzburg.

Violoncelles, Vibrez! (Cellos, strike up!) was composed in 1993, and is dedicated to his fellow students at the Mozarteum. Composed for two cellos and string ensemble, it has been described by Angelo Foletto as:

“A reverberant melody made of a thousand magical echoes… a theme of fantasy of a near-menacing evil.”

Sollima describes the piece as:

“a dialogue, an embrace, between the two cellos in which the orchestra is limited to outlining the background”.

Kevin Penkin (b. 1996) - Changing Feet (World Premiere) Perth-born composer Kevin Penkin is truly an up-andcoming star in the contemporary music scene. Currently studying at the Royal College of Music, London, he is a current Tait Awardee, and his work has been featured in everything from video games to concert halls.

His entrepreneurial approach to composition is both refreshing and exciting, with his work commissioned by the Perth Symphony Orchestra and the Perth Chamber Orchestra. His UK Concert Debut was by the RCM Student Film Orchestra earlier this year.

Changing Feet is a commission from the Tait Memorial Trust, and is receiving its premiere tonight. For solo flute and chamber orchestra, Penkin describes it as:

“Changing Feet is about changing pace.

Leaving the world’s most isolated city to live in one of the most industrious and compact environments requires a huge mental change.

This piece tries to reflect not only the mentality of someone who grew up in Perth, but the experience of moving to London and ultimately returning home back to Australia.This work explores what one could miss of Perth, be it the silence, the space or the natural beauty…”

The Tait Memorial Trust — Est. 1992

Giacomo Puccini (1858–1924) - La bohème: an opera in four acts Che gelida manina (Rodolfo); Sì, mi chiamano Mimì (Mimi); O soave fanciulla (Duet) Giacomo Puccini is one of the foremost figures in Italian romantic opera composition, having been nominated early in his career as the logical successor to Verdi, Rossini and Bellini. He composed such works as Madame Butterfly, Turandot and Tosca, amongst several others, but none perhaps reach the importance in the operatic repertory as his masterpiece, La bohème.

The synopsis of La bohème is taken from the semiautobiographical works of Henri Murger in Scènes de la vie de bohème (1849), and depict the loosely related tales of a group of cultural Bohemians living in the Latin Quarter of Paris in the 1830s.

Che gelida manina (What a cold little hand), Sì mi chiamano Mimì (Yes, they call me Mimi), and O soave fanciulla (Oh lovely girl) form the end of the first act in the opera. They detail the meeting of the two protagonists, Rodolfo and Mimi, and the moment they fall in love.

© Notes by Christopher Lloyd with additional ballet notes by Caroline Hamilton* The Tait Memorial Trust — Est. 1992

La bohème - Che gelida manina (Rodolfo) What a frozen little hand, let me warm it for you.

What’s the use of looking?

We won’t find it in the dark.

But luckily it’s a moonlit night, and the moon is near us here.

Wait, mademoiselle, I will tell you in two words, who I am, what I do, and how I live. May I? Who am I? I am a poet.

What do I do? I write.

And how do I live? I live.

In my carefree poverty I squander rhymes and love songs like a lord.

When it comes to dreams and visions and castles in the air, I’ve the soul of a millionaire.

From time to time two thieves steal all the jewels out of my safe, two pretty eyes.

They came in with you just now, and my customary dreams my lovely dreams, melted at once into thin air!

But the theft doesn’t anger me, for their place has been taken by hope!

Now that you know all about me, you tell me who you are.

Please do!

The Tait Memorial Trust — Est. 1992

La bohème - Sì, mi chiamano Mimì (Mimi) Yes, they call me Mimi, but my true name is Lucia.

My story is short.

A canvas or a silk I embroider at home and abroad...

I am happy, happy and at peace and my pastime is to make lilies and roses.

I love all things that have gentle sweet smells, that speak of love, of spring, of dreams and fanciful things, those things that have poetic names ...

Do you understand me?

They call me Mimi, I do not know why.

Alone, I make lunch by myself.

I do not go to church, but I pray a lot to the Lord.

I stay all alone there in a white room and look upon the roofs and the sky but when the thaw comes The first sun, like my first kiss, is mine!

Buds in a vase...

Leaf and leaf I spy!

That gentle perfume of a flower!

But the flowers that I make, Alas! no smell.

Other than telling you about me, I know nothing.

I am only your neighbour who comes out to bother you.

La bohème - O soave fanciulla (Duet) Oh lovely girl, oh sweet face bathed in the soft moonlight.

I see you in a dream I’d dream forever!

Ah! Love, you rule alone!

Already I taste in spirit the heights of tenderness!

Love trembles at our kiss!

How sweet his praises enter my heart...

Love, you alone rule!

No, please!

You’re mine!

Your friends are waiting.

You send me away already?

I dare not say what I’d like...

Tell me.

If I came with you...?

What? Mimi!

It would be so fine to stay here.

Outside it’s cold.

I’d be near you!

And when we come back?

Coquettishly Who knows?

Gallantly Give me your arm, my dear...

Your servant, sir...

Tell me you love me!

I love you.

Love! Love! Love!

The Tait Memorial Trust — Est. 1992

Biographies Kelly Lovelady, conductor Kelly Lovelady is an Australian conductor based in London and in increasing demand abroad. Kelly has appeared as a guest conductor with ensembles across the UK, US, Canada, Europe and Australia and has enjoyed repeat invitations to conduct at the City of London Festival, Cluster New Music and Integrated Arts Festival and Pop Montreal International Music Festival. Kelly has appeared with soloists including Lara St John, John Williams and Amy Dickson and has assisted conductor Richard Bonynge.

Kelly is the founding Artistic Director and Conductor of Ruthless Jabiru, a chamber orchestra of professional Australian musicians based in the UK. Ruthless Jabiru’s programmes are centred around new and existing repertoire by living composers with a view to promoting humanitarian stories. Recent performances have included a tribute to the damaged landscape of Maralinga alongside the Australia exhibition at the Royal Academy of Arts and an homage to poet Oodgeroo Noonuccal at the inaugural Australia & New Zealand Festival of Literature & Arts.

In 2011 Kelly was presented to HM The Queen and HRH The Duke of Edinburgh as an Australian cultural ambassador.

Forthcoming engagements include the world premieres of new works for string orchestra by Andrew Ford and Julian Day, commissioned by Ruthless Jabiru with support from the Australia Council for the Arts, and the remaining two of three new works by early career British-based composers, commissioned by Ruthless Jabiru through the Sound and Music Portfolio scheme. Kelly trained at the University of Western Australia and the University of Manitoba, Canada.

Greg Eldridge, director Australian stage director Greg Eldridge trained as an actor (alongside studying law) in Melbourne before completing specialist study in opera directing in Florence, Italy.

He has served as Resident and Artistic Director of opera and theatre companies and has worked as visiting faculty in universities, colleges and studios. Greg has worked on over 40 productions throughout Australia and Europe and is in demand to assist and revive as well as enjoying success as a director of opera, music theatre and prose theatre.

Greg is currently based in London, UK where he is the first Australian director to join the Jette Parker Young Artist Programme at the Royal Opera, Covent Garden.

Greg also coaches singers, actors and directors across all forms of theatre. With a firm basis in text-based analysis, Greg’s training in Strasberg-inspired “method” allows him to work with singers and actors on clear actions and objectives while maintaining truthful and honest emotional connections to situation and context.

Kimberley Busteed, presenter Kimberley is an Australian Media personality, television presenter and Media producer. Kimberley has worked with various television stations, Media publications and radio networks across Australia. Having held the coveted role of presenter and segment producer on Channel 7 lifestyle programs ‘Queensland Weekender’ and ‘Creek to Coast’ for 5 years, Kimberley is well versed in most elements of media. She embodies the Australian culture of hard working, fit, healthy, out-doorsy-ness and is a passionate exponent of her home state and country.

At 18 years old, Kimberley was crowned Miss Universe Australia; winning this pageant gave Kimberley an introduction to the world stage and provided an introduction to the world of Media which has resulted in a very successful career. Kimberley has worked on global campaigns such as Olivia Newton John’s 2008 ‘Great Walk to Beijing’ and has held ambassadorial roles with luxury car manufacturers Alfa Romeo and Audi, the beauty and hair salon group Stefan, and has worked within fashion and retail brands such as Westfield C Threadbare and Co. She’s also been the face and ambassador of prestigious international events such as ‘Magic Millions’ and most recently Channel 7’s Brisbane Racing Carnival.

Kimberley is involved with various philanthropic bodies, especially the Leukemia Foundation. An accomplished speaker and MC, Kimberley is in high demand for events such as corporate occasions, dinners and balls.

The Tait Memorial Trust — Est. 1992

Tonight’s soloists Matthew Ball, dancer English dancer Matthew Ball is an Artist of The Royal Ballet. He trained at The Royal Ballet School and joined the Company in the 2013/14 Season. Ball trained & entered The Royal Ballet School, White Lodge, and continued to graduate through the School. Roles while at the School included Fritz The Nutcracker with the Company.

He was twice a finalist at Young British Dancer of the Year in 2010 and 2011, in 2011 going on to win third prize.

He was a semi-finalist at the Adeline Genée Competition in 2010. Other awards include at the School’s 2011 Lynn Seymour Competition and 2009 Kenneth MacMillan Senior Choreographic Competition.

On graduation he received the Gailene Stock and Gary Norman Award for Excellence. Performances while at the School included in John Neumeier’s Yondering and Alastair Marriott’s Simple Symphony in the School’s annual matinee.

Ball graduated into the Company in 2013 and has since danced roles in ballets including Scènes de ballet and The Age of Anxiety. He created a role in Marriott’s Connectome.

Nicola Crowe, flute Nicola was a member of Southbank Sinfonia 2014, and is very grateful to have her position so generously supported by the Sir Charles Mackerras Chair through the Tait Memorial Trust. She is very excited to have the opportunity to work with Kevin Penkin and premiere his work, Changing Feet tonight.

Nicola graduated from the Royal College of Music in 2010 with a Master of Music with distinction, studying with Simon Channing and Jaime Martin. Her studies were generously supported by The Worshipful Company of Musicians, the Tait Memorial Trust and an Australian Bicentennial Scholarship. Prior to moving to London, she was awarded the Lenore Buckle Music Scholarship to study at the Sydney Conservatorium of Music with James Kortum. During her time at the RCM, she was invited by the College to participate in the Castleton Festival in America, under the direction of Lorin Maazel and was also awarded the 2010 All Flutes Plus Prize in the RCM Senior Woodwind Competition and the June Emerson Launchpad Prize with her wind quintet.

Nicola is passionate about music education and has recently received the Patricia Prindl Prize for Outreach through the Worshipful Company of Musicians.

Since graduating, she has joined the Band of the Royal Yeomanry as their principal flautist and played with the BBC Symphony Orchestra, the orchestra of the English National Ballet and with the Macao Orchestra and has recently returned from a tour of South East Asia with the Covent Garden Soloists Orchestra. After over six years in London, she will return to Sydney later this month to take up the Sydney Symphony Orchestra’s Fellowship position for 2015.

Xenia Deviatkina-Loh, violin Xenia Deviatkina-Loh, student of Professor György Pauk, has performed with the many orchestras around Australia and New Zealand including the Queensland Symphony Orchestra, Canberra Symphony Orchestra and the Christchurch Symphony Orchestra. She has also been a recitalist in various venues across Australia, mainly Sydney and Melbourne. She’s been frequently aired live on 3MBS-FM, ABC radio, and Radio New Zealand. In 2009, Xenia was the String Finalist of the ABC Young Performer’s Award performing Shostakovich’s 1st Violin Concerto, and the 2009 winner of the Gisborne International Music Competition.

Xenia has had masterclasses and private lessons with The Brentano String Quartet, Trio Dali, Tasmin Little, James Ehnes, Maxim Vengerov, Lina Bahn, Oleh Krysa, Charles Castleman, Kolja Blacher, Julian Rachlin, Zakhar Bron, Boris Kuschnir, Felix Andrievsky and Edward Dusinberre (Takács Quartet). Xenia studied in Sydney with Alice Waten, and she is currently in her final year of a Master of Arts degree at the Royal Academy of Music, London.

She thanks the Tait Memorial Trust and the Thornton Foundation for their wonderful support during her studies in the United Kingdom.

The Tait Memorial Trust — Est. 1992

Marlena Devoe, soprano Marlena Devoe, a New Zealand born Samoan soprano, has completed her MA in Advanced Vocal Studies at the Wales International Academy of Voice with Dennis O’Neill and Nuccia Focile. Marlena graduated from the University of Auckland with a Bachelor of Arts in Italian and German. Marlena completed the first year of her Master’s degree at the Manhattan School of Music in New York, studying with Marlena Malas, before transferring to the Wales International Academy of Voice in Cardiff. Whilst studying in New York, she performed as the soprano in the Opera Box Ghosts Quartet in Ghosts of Versailles and as Antonia in scenes from Les Contes d’Hoffman with the Manhattan School of Music Opera Studio.

In 2013, Marlena attended the Solti Accademia di Bel Canto in Italy, before heading to Sydney to compete in the finals for both the Sydney Eisteddfod McDonalds Aria and the Joan Sutherland and Richard Bonynge Bel Canto Award.

Here, she was awarded the Richard Bonynge Award and The Tait Memorial Trust Prize. Marlena was also placed second in the New Zealand Aria Competition in November.

Marlena recently performed at the Verbier Festival in Switzerland as part of the Solti Verbier Opera Project and sang the role of Adina in L’Elisir D’Amore. Following this performance, Marlena travelled to New Zealand to sing the role of Lucia in the Auckland Opera Studio’s production of Lucia di Lammermoor. Marlena was awarded the 2014 Bel Canto Award as part of Joan Sutherland and Richard Bonynge Bel Canto Awards.

Lauren Fagan, soprano Australian soprano Lauren Fagan graduated with a Bachelor of Business before moving to London to study on the opera course at The Guildhall School of Music and Drama. She continues to study with Susan Waters. She joined the Jette Parker Young Artist Programme in September 2014 and will make her Royal Opera debut as Papagena Die Zauberflöte, followed by Girl The Rise and Fall of the City of Mahagonny. She sang Giulia La scala di seta in Meet the Young Artist Week. Lauren was a member of the 2014 Glyndebourne Festival Chorus, where she covered the role of Annina La Traviata. She was recipient of the Dame Nellie Melba Scholarship in 2011 and 2012 and was runner up in the 2012 McDonald’s Operatic Aria Final, with finalists from around Australia and New Zealand.

First Lady Die Zauberflöte. Lauren’s continued development is generously supported by The Dame Nellie Melba Opera Trust, The Sydney Eisteddfod, The Opera and Arts Support Group and The Tait Memorial Trust.

Jayson Gillham, piano Kindly supported by Mrs Jan Gowrie-Smith

Australian-British pianist Jayson Gillham has emerged as one of the finest pianists of his generation. Highly regarded for his compelling performances, Jayson has received numerous awards and prizes reaching the finals of some of the world’s leading piano competitions including Leeds, Van Cliburn, and the Chopin Competition.

Most recently in June 2014, Jayson was awarded First Prize in the Montreal International Music Competition.

His outstanding performance of Beethoven Piano Concerto No.4 was described in the Huffington Post as being performed ‘with such streamlined patrician elegance that he took home the 1st Prize and a string of engagements to follow’ and The Montreal Gazette reported ‘Jayson Gillham earned his win with absorbing and relentless elegance’.

Jayson performs internationally including concerto engagements with the London Philharmonic Orchestra, Hallé Orchestra, English Chamber Orchestra, Melbourne and Queensland Symphony Orchestras, Orchestre Symphonique de Montreal, Orchestra Filarmonica Marchigiana and Wuhan Philharmonic. In recital, Jayson performs at prestigious venues such as the Wigmore Hall and Louvre Auditorium and festival highlights include Verbier Festival, Edinburgh Fringe, Brighton Festival, Linari Classic Festival (Tuscany), Two Moors Festival, Norfolk and Norwich Festival, and the Bangalow and Tyalgum Music Festivals (New South Wales). Chamber music forms an important part of Jayson’s career and he enjoys performances with leading ensembles including the Jerusalem, Carducci, Brentano, Ruysdael and Flinders Quartets.

A graduate of the Queensland Conservatorium of Music, where he studied with Leah Horwitz, Jayson relocated to London in 2007 to pursue a Master’s degree at the Royal Academy of Music (RAM) with Christopher Elton.

Student roles include Lia L’enfant prodigue (GSMD), Blue Fairy The Adventure’s of Pinocchio (GSMD), Mrs Coyle Owen Wingrave (Banff Centre, Canada) as well as scenes featuring Micaëla Carmen, Title role Jenu˚ fa, Marschallin Der Rosenkavalier, Natasha War and Peace, Vitellia La clemenza di Tito, Alice Falstaff, Fiordiligi Così fan tutte and The Tait Memorial Trust — Est. 1992

Yelian He, cello

Kevin Penkin, composer

Yelian most recently was awarded Artist for the City Music Foundation in London 2014. He is the recipient of multiple prizes with his pianist Yasmin Rowe, including the 2014 inaugural Australian Cello Awards Competition Grand Prize (the Allen-Evans Scholarship) as well as the Audience Prize, the Sydney Symphony Orchestra Concerto Prize, Winner of the Royal Over-Seas League Competition String Finals and Kirckman Concert Society Award to name a few.

Kevin Penkin is an award winning Australian composer who composes for video games, film and the concert stage.

He is studying for a Master’s Degree in Composition at the Royal College of Music, for which he is a ‘Tait Scholar’ supported by the Tait Memorial Trust. He has also been awarded the Doctor Harold Schenberg Prize in Music Composition from the UWA School of Music.

Yelian is honoured to have been presented to Her Majesty the Queen Elizabeth II in 2011 at an exclusive reception for outstanding Australians in the UK and again in 2013 in a private performance for the Queen and her Commonwealth guests at Buckingham Palace. He toured Australia and took part in the 2011 CHOGM in Perth where he debuted with the West Australian Symphony Orchestra in the CHOGM Gala Concert performing Haydn’s D major Cello Concerto.

Yelian enjoys an international career throughout Europe, Australasia and Africa performing at numerous world-class venues including the Wigmore Hall, Bridgewater Concert Hall, Royal Festival Hall, Queen Elizabeth Hall, Hamer Hall, Perth Concert Hall, Esplanade Recital Studio as well as the Edinburgh Fringe Festival, Adelaide International Cello Festival and Port Fairy Spring Music Festival.

Kevin won “Outstanding Achievement for a Vocal Theme” at the 2013 Annual Video Game Music Awards for his song “I Race the Dawn”, and was nominated for the 2012 Annual Game Music Awards held by Square Enix Music Online under the “Outstanding Achievement: Newcomer” category for his work on his debut project “Jyuzaengi Engetsu Sangokuden”. In 2011, Kevin wrote music for his first successful Indie Game, “Defenders Quest”. Recently, it was announced that Kevin is part of a new JRPG Kickstarter, codenamed “Project Phoenix”, along with composers Nobuo Uematsu and Tomoki Miyoshi.

As a composer of concert music, Penkin has been commissioned to write works for the Perth Symphony Orchestra and the Perth Chamber Orchestra. His work “Looking for Serenity” was premiered at the inaugural concert of the Perth Chamber Orchestra in the Perth GPO building in April 2013. Penkin also made his UK debut with the Royal College of Music Student Film Orchestra, who premiered his work “Atmosphere” in January 2014.

Sophie Moffatt, dancer Sophie is 17 years old and from Sydney, Australia. She is the youngest of three sisters. Her sister Nicki graduated from The Royal Ballet School in 2008 and danced with Birmingham Royal Ballet. Sophie started dancing at the age of five and trained with The Conlan College of Classical Ballet in Turramurra, Sydney. During her final year she won first place in the City of Sydney Eisteddfod Classical and the St. George Eisteddfod, Senior Scholarship.

Sophie was invited to take part in the 2012 Prix de Lausanne in Switzerland which is where she was spotted by Gailene Stock who offered her a place at The Royal Ballet School in September 2012. Sophie is now in her final year and is currently seconded to Birmingham Royal Ballet for their Nutcracker season. Over the Christmas break Sophie will be auditioning for a professional contract with The Australian Ballet – we wish her so much luck.

Calvin Richardson, choreographer/dancer Australian dancer Calvin Richardson is an Artist of The Royal Ballet. He trained at The Royal Ballet Upper School and joined the Company at the beginning of the 2014/15 Season. His performances at the Royal Opera House include performing 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.

Richardson grew up in Traralgon, Victoria and started dancing aged five. He was initially interested in tap & jazz dance and turned to ballet aged 15 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 tuition scholarship scholarship to study at The Royal Ballet Upper School.

The Tait Memorial Trust — Est. 1992

Gerard Schneider, tenor Austrian-Australian tenor Gerard Schneider studied voice with Yvonne Kenny at the Guildhall School of Music and Drama as a member of the Opera Course. He is currently a trainee at the National Opera Studio, sponsored by the Royal Opera House. Gerard’s recent credits include the title role in La Clemenza di Tito in Salzburg and at the Maggio Musicale Fiorentino, Satyavan in Holst’s Savitri in St. Petersburg, the title role in Debussy’s L’enfant Prodigue, Jacopo in I due Foscari, Alfred in Die Fledermaus, and an appearance as a featured soloist in Der Rosenkavalier with the London Symphony Orchestra under Sir Mark Elder.

In 2014, Gerard was part of the Young Artist Program at the Salzburger Festspiele where he appeared as Ruiz alongside Placido Domingo, Anna Netrebko and Francesco Meli in a new production of Verdi’s il trovatore (Wiener Philharmoniker, cond. Daniele Gatti). Gerard’s past engagements include repertoire at the State Opera of South Australia, Co-Opera, the West Australian Opera in roles including Rodolfo in La bohème, Bardolfo in Falstaff, Don Riccardo in Ernani, and as both Don Basilio and Don Curzio in Le Nozze di Figaro in Wiesbaden, Germany and the Bregenz Festspielhaus, Austria.

Gerard’s past awards include the Phoebe Patrick Award, the Guildhall Prize, the David Harper Prize and the Australian Opera Auditions Committee Prize at the 2011 Australian Singing Competition and the Tait Memorial Trust Prize at the 2014 Royal Over-Seas League Singing Competition.

Gerard is supported by the Countess of Munster Musical Trust and the Nicholas John Trust.

Ádám Szabó, cello Ádám Szabó enjoys a busy and varied career as a freelance orchestral player, chamber musician (as a member of the Darlinghurst Duo), and teacher. This month Ádám will commence work on contract with Opera North as Assistant Principal Cello. He is also currently on trial as a tutti member of the Hallé Orchestra. Appearances in 2014 include concerts at the Canberra International Music Festival with ACO2 and the Wallfisch Band, duo recitals in Manchester and London, and a full cycle of the Bach Cello Suites presented in association with the Swiss Church in London, to be performed early next year.

Chamber Opera, Australian World Orchestra, and BBC Philharmonic Orchestra. Ádám was born in Sydney, and completed his Bachelor of Music degree at the Sydney Conservatorium of Music in 2010, under the guidance of Zoltán Szabó and Daniel Yeadon. He continued his studies in the United Kingdom, moving to Manchester to study with internationally renowned cellist and pedagogue Hannah Roberts at the Royal Northern College of Music, graduating in 2014 with a Masters in Music.

Chad Vindin, piano Chad recently finished his studies at the Royal Academy of Music, studying with Michael Dussek and Malcolm Martineau. He is now the Lord & Lady Lurgan Junior Fellow in Accompaniment at the Royal College of Music.

He has enjoyed a long collaboration with Morgan Pearse (baritone) accompanying his gold-medal winning performance at the Royal Over-seas League Competition and more recently in the Wigmore Hall International Song Competition.

He is a founding member of the Sydney Chamber Opera Company and performed with OperaUpClose in their Olivier Award-winning production of La bohème.

As an avid orchestral musician he has performed with the Sydney Symphony Orchestra and the Sydney Sinfonia’s Education and Discovery Programs, and performed with the Melbourne Symphony Orchestra at the Edinburgh International Festival in August.

Chad has performed extensively throughout the UK as an accompanist and chamber musician. Winner of the accompanist prize at the Maureen Lehane Vocal Competition at the Wigmore Hall and the Ludmilla Andrew Russian Song Accompanist Prize at the Royal Academy of Music, he has also performed throughout London and Norway with his chamber group, Trio SOL.

Currently based in Manchester, Ádám works regularly with Opera North, chamber orchestra Ruthless Jabiru (as principal cello), as well as with the Hallé Orchestra, the Royal Liverpool Philharmonic Orchestra, and the Australian Chamber Orchestra’s ACO2. Other orchestras he has performed with include the Sydney Symphony Orchestra, Melbourne Symphony Orchestra, Sydney The Tait Memorial Trust — Est. 1992

Elena Xanthoudakis, soprano Kindly sponsored by the Braithwaite Family Foundation

Elena Xanthoudakis began her 2014-15 season with a highly acclaimed performance in the title role of “Lucia di Lammermoor” at Winslow Hall Opera in England, and then travelled on to Athens to join Greek National Opera in a high-profile gala concert celebrating the art and talent of Maria Callas. In the new year, she travels to Lebanon to appear in another Callas tribute concert at the Al Bustan Festival, and returns to the UK for recital appearances.

Last season’s highlights include the role of First Niece Peter Grimes at Academia Nazionale di Santa Cecilia under the baton of Sir Antonio Pappano, and as Gilda Rigoletto at Opera Queensland for which she won outstanding notices. She toured her native Australia to promote her ensemble’s CD release ‘The Shepherd and the Mermaid’

TrioKROMA (piano, voice and clarinet), and returned to The Sage, Gateshead, to record a solo CD in collaboration with Richard Bonynge, ‘Jewels of the Bel Canto’, which is highly acclaimed and produced stunning reviews.

Recent successes include her appearance at English National Opera as Pamina Die Zauberflöte, and sang the roles of both Lisa and Amina La Sonnambula at the Royal Opera House, Covent Garden, conducted by Daniel Oren. Other roles include Adina L’elisir d’amore, Blonde Die Entführung aus dem Serail, Ann Truelove The Rake’s Progress, Constance Dialogue des Carmélites, Dalinda Ariodante, Matilde Matilde di Shabran, Ismene Mitridate, Micaela Carmen, Dido Dido and Aeneas, and Iris Semele among others.

The Tait Memorial Trust is pleased to be assisting these fine young Australian artists in 2014 Adopt a Performer Kevin Penkin, composer Wayne Kwonn, cello Peter Wilson, comp/piano Lisa Bucknell, viola

Royal College of Music Royal Northern College of Music Guildhall School of Music & Drama Royal College of Music

Julian Baring Family/ Tait Scholar Higgins Family Andrew Loewenthal Award Michael Whalley & Karen Goldie Morrison Award

General awards Gerard Schneider, tenor Sam Sakker, tenor Joanna Norman, soprano Chad Vindin, accompanist Alison Frilingos, cello Ádám Szabó, cello Sabina Im, piano Nicola Crowe, flute Panayiota Kalatzis, soprano Luke Styles, composer Josephine Frick, dancer James Ioelu, baritone

National Opera Studio Jette Parker Young Artist Royal Northern College of Music Private advanced language lessons Darian Trio, Chamber Music Masterclass Private lessons London Master Classes Southbank Sinfonia Australian International Opera Awards Private studies The Royal Ballet School Tait Memorial Trust/Bel Canto Awards

TBA

TBA

Royal Over-Seas League Baring Amis Award The Googie Withers Award Thornton Foundation Award Tait Award Tait Award Tait Award Sir Charles Mackerras Chair Frank and Viola Tait Award Julian Baring Award The Leanne Benjamin Awards Joan Sutherland & Richard Bonynge Foundation Dance Arches Award

The Tait Memorial Trust — Est. 1992

Fine Australian wines

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Dr John Amis 1922-2013 - Good news! -

John Amis at his piano at Eccleston Square

The John Amis Collection, which I have preciously guarded this past year in Eccleston Square, is to find the honour it deserves in a new home at his old school, Dulwich College.

The Headmaster of Dulwich College Dr Joe Spence and his colleagues have confirmed that they will acquire and preserve the collection, which was left in its entirety in Eccleston Square, where John lived for over 50 years.

“I would like to add a quote to say how proud we are to be custodians of the collection” Dr J A F Spence The Master, Dulwich College

The extraordinary breadth and depth of this accumulation of books, scores, recordings (from many years with the BBC), letters and manuscripts as well as a grand piano – legacy of his friendship with Australian pianist Noel Mewton-Wood in the 1950s - will be an invaluable aid to music scholars for years to come and will keep John’s memory alive through the active engagement of future generations with his life and work.

The Tait Trust was proud to have such a wonderful patron, and we remember his generous support of our work.

His judgement was invaluable - in editing our programs, listening to endless recordings of our young artists, and above all in giving numerous performances for us in the UK and Australia.

We hope the John Amis Award, with money raised last year through The Tait Trust, will be streamed through Dulwich College as an occasional award for a musical scholar at Dulwich to follow in John’s footsteps as a music critic.

Isla Baring The Tait Memorial Trust — Est. 1992

The Tait Brothers - Ballet in Australia -

Left to Right: Borovansky, Dame Margot Fonteyn, Brian Ashbridge, Michael Somes, Frank Tait

The five Tait brothers can be credited with many things in Australian cultural and artistic history. They produced the world’s first feature length film The Story of the Kelly Gang’ in 1906, and from the early 1910s became associated with J. C. Williamson’s eventually going on to form one of the largest theatrical empires in the world. Through this they brought the world’s best theatre, opera, operetta, musical comedy, plays and pantomimes to the antipodes.

The Firm, as they became known, was also responsible for bringing the first ballet to Australia. In 1913 Ted Tait, as newly appointed manager of J. C. Williamson’s, brought out the Imperial Russian Ballet Company starring ‘Danish toe-Danish dancer’ and darling of the London Empire, Adeline Genée, and her partner Alexandré Volinin.

This was the first time that Australian audiences had seen such dancing, and it arguably signified the birth of ballet in Australia.

In 1926 and again in the 1929 the Firm brought to Australia the famed dancer Anna Pavlova and her company.

Her extensive tour generated a wake of dancing schools all over the country. This was followed in 1934 by a tour of the ‘The Russian Ballet’, starring Olga Spessivtseva. It was, however, not until the three tours by Colonel de Basil’s Companies in the late 1930s that ballet became firmly planted in Australian soil. These three tours (1936 – 1940) had the same effect on the artistic world of Australia as Diaghilev’s Ballets Russes had on Paris in 1909.

sleeping beauty her majesty’s theatre melbourne

1958

In 1939, as Europe teetered on the edge of war, many of the Russian and Polish dancers on the tour chose to stay in Australia. Within this group was Edouard Borovansky and his Russian-born wife Xenia Smirnova, who had both come to Australian previously with the Pavlova Company.

They settled in Melbourne and set up a training school and subsequently a small seasonal company. Czech-born Borovansky had been a dancer with the Prague National Theatre before joining the Pavlova Company in 1928.

By 1943 the Borovansky Ballet Company received the sponsorship of the Firm and the following year became a professional ballet company. The school trained the first wave of Australian-born ballet dancers and the company toured Australia, staging many classical ballets as well producing the first original Australian ballets, including Terra Australis, Black Swan and The Outlaw.

After Borovansky’s death in 1959 the company continued until finally disbanding in 1961, re-emerging the following year as the Australian Ballet with much support from Frank Tait.

The 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.

The Tait Memorial Trust continues to support Australian dance students to this day, keeping this legacy alive. © Caroline Hamilton 2014

The Tait Memorial Trust — Est. 1992

Pubs that sing to a different tune.

Proudly supporting The Tait Memorial Trust.

THE THOMAS CUBITT • PANTECHNICON ROOMS • THE ORANGE • THE GRAZING GOAT

The partners of Minter Ellison, Australia’s leading independent law firm, are proud to support the work of the Tait Memorial Trust,

ADELAIDE AUCKLAND BEIJING BRISBANE CANBERRA DARWIN GOLD COAST HONG KONG LONDON MELBOURNE PERTH SHANGHAI SYDNEY ULAANBAATAR WELLINGTON

and wish you an enjoyable evening at the Winter Prom.

www.minterellison.com

Australian Business is proud to be associated with Tait Memorial Trust, supporting talented Australians with amazing music and arts opportunities in the UK. We’re also helping entrepreneurial young Australians in the UK build successful businesses and careers through Future Leaders an exciting new event series in partnership with the Australian High Commission.

Find out more about us at www.australianbusiness.co.uk Get involved and help us create another Australian success story.

www.baileynelson.co.uk

Our supporters TMT Friends £75+ Anonymous Miss Marylyn Abbott Mr Eric Adler Mrs June Allison Ms Nina Bialoguski Mr Lindsay Birrell Ms Sue Bradbury Mr Christopher Braithwaite Mrs Lynette Braithwaite Viscountess Harriet Bridgeman Mrs Lorraine Buckland Mrs Jane Butter Mr Marcus Clapham Mrs Sandra Clapham Mr John Coke Mrs Georgia Crawford Mr Roger Davenport Mrs S. K. D. Davy Mr Edward Field Dr Rodney Foale Miss Rosemary Frischer Mr Philip Hart The Hon Sarah Joiner Dr John Keet Mr Patrick Kennedy Mr Martin Kramer Mrs Wendy Kramer Lady Lipworth CBE Sir Sydney Lipworth QC

Mr L. E. Linaker Mrs Anne Longden Miss Joanna McCallum Ms Mary Rayner Mr John Rendall Miss Marylyn Robertson Mrs Margaret Rodgers Mr Jonathan Rourke Ms Jacqueline Rowlands Mr Kerry Rubie Ms Katherine Scholfield Mrs Ann Seddon Ms Sharon Smith Mr Ian Tegner Mrs Annette Thorp Rev John Wates OBE Mrs G. C. Williams Mrs Rachelle Wilmott Mrs Rosemary K. Wood

Tait Helpmann Circle £1,000+ Mr E. N. Heesom Mr Andrew Loewenthal* Mr David Norman Mr Michael Whalley* Miss Karen Goldie-Morrison* The Thornton Foundation

Tait Melba Supporter £250+ Sir Richard Storey Bt CBE

Tait Winter Prom Angels Braithwaite Family Foundation Mrs Jan Gowrie-Smith Julian Baring Family Mr L. E. Linaker Rev J. Wates OBE

TMT Frank & Viola Friends £500+ Mr H A Bayne Mrs Jan Gowrie-Smith Chevalier Richard Gunter Ms Jacqueline Thompson Mr Damian Walsh

Tait Bonynge Partner £3,000+ Judy, Lady Mackerras Tait Sutherland Benefactor £5,000+ The Higgins Family* Lady Robertson Tait Grainger Patron £10,000+ The Julian Baring Family* *Adopt a Performer

We are very grateful for the support that we receive from: Principal Partner:

Commonwealth Bank of Australia Tait Supporters: Australian Business The Britain-Australia Society Royal Over-Seas League The Thornton Foundation

With thanks: The Australia Day Foundation Treasury Wine Estates Bailey Nelson UK Cubitt House Minter Ellison Oliveto & Olivo Ltd Qantas

The Tait Memorial Trust — Est. 1992

Acknowledgements Leanne Benjamin OBE Kimberley Busteed Greg Eldridge Kelly Lovelady Steve MacRae Raffle prize donors The Royal Ballet School Tonight’s soloists The Tait Chamber Orchestra The Tait Committee Philmore Clague, Notting Hill

ADFT (ad) 2a

25/11/14

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Welcome to The Australia Day Foundation UK Trust.

We are a newly formed charitable Trust offering financial support to young Australians who would like to further their education or career in the United Kingdom in their field of endeavour, education, business, sport, arts and culture and the professions.

To find out more about us please visit our website:

www.theaustraliadayfoundationuktrust.co.uk The Australia Day Foundation UK Trust is a non-political charity, governed by a board of trustees and administered by the Australia Day Foundation Limited, a not-for-profit foundation established in 2003. www.australiadayday.co.uk Registered Charity Number 1153770

Tait Memorial Trust Proudly supporting young Australian performing artists in the UK

Supported by

Commonwealth Bank of Australia Chairman Isla Baring OAM

Piers Lane AO June Mendoza AO OBE Ermes de Zan

Founding Patrons Dame Joan Sutherland AC OM DBE Viola, Lady Tait AM John McCallum AO CBE Googie Withers AO CBE Patrons Leanne Benjamin OBE John Frost AM Julian Gavin Peggy Haim Patricia Countess of Harewood Barry Humphries AO CBE

Trustees Isla Baring OAM Justin Baring Shirley Barr Anne Longden Susie Thornton Committee Lorraine Buckland Jan Gowrie-Smith Ros Higgins Kelly Lovelady

Wendy Kramer Dr Margaret Mayston AM Gayle McDermott Patricia Nimmo John Rendall Margaret Rodgers Ann Seddon Belinda Syme Jacqueline Thompson Rosemary Tuck Rosemary Wood Honorary Member Nicola Downer AM Executive Director James Hancock

Tait Memorial Trust 4/80 Elm Park Gardens London SW10 9PD Phone. +44 207 351 0561 • Email. info@taitmemorialtrust.org Registered charity 1042797

www.taitmemorialtrust.org

In accordance with the requirements of Westminster City Council persons shall not be permitted to sit or stand in any gangway. The taking of photographs and use of recording equipment is strictly forbidden without formal consent from St John’s. Smoking is not permitted anywhere in St John’s. Refreshments are permitted only in the restaurant in the Crypt.

Please ensure that all digital watch alarms, pagers and mobile phones are switched off. During the interval and after the concert* the restaurant is open for licensed refreshments.

* If the Crypt is to be closed to the public after the concert for a private function then this should be stated instead: The restaurant in the Crypt will be closed to the public after the concert.

Box Office Tel: 020 7222 1061

www.sjss.org.uk st john’s smith square charitable trust, registered charity

no. 1045390. registered in england. company no. 3028678.

The Tait Memorial Trust — Est. 1992

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