metropolis: a film icon restored a film icon restored ... 35mm versions to produce a 35mm version...

2011 SEASON KALEIDOSCOPEFriday 28 October | 8pmSaturday 29 October | 8pm

Sydney Opera House Concert Hall

METROPOLIS: A FILM ICON RESTOREDFrank Strobel conductor

Presented in association with The Mad Square: Modernity in German Art 1910–1937 at the Art Gallery of NSW.

Pre-concert talk by Rod Webb in conversation with Frank Strobel in the Northern Foyer at 7.15pmVisit sydneysymphony.com/talk-bios for speaker biographies.

The performance will conclude at approximately 10.50pm.

There will be one interval of 20 minutes.

METROPOLIS

Directed by Fritz Lang (1927)Original music by Gottfried Huppertz

Australian premiere of the restored version (2010)

CAST

Alfred Abel – Joh Fredersen, the leader of the cityGustav Fröhlich – Freder, son of FredersenBrigitte Helm – Maria and the Maria ‘machine’Rudolf Klein-Rogge – C.A. Rotwang, a mad scientistHeinrich George – Grot, Foreman of the Heart MachineFritz Rasp – The Thin Man, Fredersen’s spyTheodor Loos – JosaphatErwin Biswanger – 11811 (Georgy), a worker

FILMPHILHARMONIC EDITIONFilm by courtesy of Friedrich-Wilhelm-Muranu-Stiftung,Music by courtesy of European Filmphilharmonic.

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Metropolis: A Film Icon Restored

In a silent movie, the music is the fi lm’s voice. When that music has been planned and composed in close collaboration with the fi lm-maker and during the shooting itself, then it is an extraordinarily powerful voice, integral to the emotion and drama. (Among the most famous examples is Prokofi ev’s music for Eisenstein’s 1938 fi lm Alexander Nevsky.) By extension, an original silent movie score is in some ways a script – a guide to scenes and pacing.

The 2010 restoration of Fritz Lang’s Metropolis restores scenes previously thought lost, scenes that bring into clearer focus the human element that infuses the science fi ction. For fi lm enthusiasts, this is an opportunity to see Metropolis in a form that is as close to the 1927 original as we’re ever likely to see.

For music enthusiasts, just as exciting is the opportunity we now have to hear Gottfried Huppertz’s score in its entirety, and in context. Huppertz’s music – and conductor Frank Strobel – played a key role in the restoration process. When the Buenos Aires 16mm copy of the fi lm surfaced in 2008, it was initially thought that the known gaps in previous restorations could simply be fi lled with the new material. The situation turned out to be far more complicated, and it was the detailed information in the various copies of the score and Huppertz’s journal, as well as the music’s highly gestural character, that enabled the dramaturgy of the original to be recreated.

There’s an atmosphere of extravagance when the full forces of a symphony orchestra accompany a silent fi lm in the concert hall. It’s exceptional for us, and yet this is how early fi lms such as Metropolis were experienced. There’s a reason cinemas were called ‘palaces’. In this case, the extravagance and lavishness of the music complements the ambition and breathtaking conception of Lang’s fi lm.

INTRODUCTION

OPPOSITE: Poster for the screenings at the UFA Pavilion on Berlin’s Nollendorfplatz, where Metropolis was shown from 10 January to 13 May 1927. The fi lm was simultaneously premiered at the UFA Palast am Zoo, the venue to which Germany’s elite were invited.

MAHLER 2: RESURRECTION SYMPHONY

SCHUBERT’S GREAT C MAJOR: SIGNATURE SOUND

BEETHOVEN’S EROICA: HERO/ANTIHERO

ANNE SOFIE VON OTTER AND FRIENDS

UNFORGETTABLE NATALIE COLE & THE SYDNEY SYMPHONY

AN ALPINE SYMPHONY:MUSIC AT THE PEAK

THUS SPAKE ZARATHUSTRA

BEETHOVEN 9: ODE TO JOY

SYDNEY OPERA HOUSE

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PREMIER PARTNER CREDIT SUISSE

THU 3 NOV 8PMExperience the exquisite sound, gracious eloquence and tremendous versatility of Anne Sofi e von Otter with full orchestra.

KRÁSA Overture for small orchestraCANTELOUBE Songs of the Auvergne: HighlightsMILHAUD The Creation of the WorldPopular Melodies – including songs by George Gershwin, Kurt Weill and others.

Anne Sofi e von Otter mezzo-sopranoSvante Henryson celloBengt Forsberg piano Nicholas Carter conductor

THU 2 FEB 8PMFRI 3 FEB 8PMTimeless hits including Unforgettable, This Will Be, Pink Cadillac, Miss You Like Crazy, Wild Women Do.

EMIRATES METRO SERIES

FRI 17 FEB 8PMGREAT CLASSICS

SAT 18 FEB 2PMBEETHOVEN Piano Concerto No.4R STRAUSS An Alpine Symphony

Vladimir Ashkenazy conductorStephen Kovacevich piano

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MON 13 FEB 7PMR STRAUSS MetamorphosenBEETHOVEN Symphony No.9 (Choral)

Vladimir Ashkenazy conductorLorina Gore sopranoSally-Anne Russell mezzo-sopranoJames Egglestone tenorMichael Nagy baritoneSydney Philharmonia Choirs (Symphony Chorus, Chamber Singers and VOX)


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MON 28 NOV 7PMMahler’s all-embracing symphony– a sublime vision of faith.

MAHLER Symphony No.2, Resurrection

Vladimir Ashkenazy conductorEmma Matthews sopranoMichelle DeYoung mezzo-sopranoSydney Philharmonia Choirs

THURSDAY AFTERNOON SYMPHONY

THU 1 DEC 1.30PMEMIRATES METRO SERIES

FRI 2 DEC 8PMGREAT CLASSICS

SAT 3 DEC 2PMBRAHMS Tragic OvertureDEAN The Lost Art of Letter Writing– Violin Concerto SYDNEY PREMIERESCHUBERT Symphony No.9 (Great C Major)

Jonathan Nott conductorFrank Peter Zimmermann violin


WED 7 DEC 8PMFRI 9 DEC 8PMSAT 10 DEC 8PMTCHAIKOVSKY The Voyevoda – Symphonic ballad, Op.78PROKOFIEV Symphony-Concerto for cello and orchestraBEETHOVEN Symphony No.3, Eroica

Osmo Vänskä conductorAlisa Weilerstein cello

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ABOUT THE FILM & ITS MUSIC

The discoveryIt was a fi lm archivist’s dream come true.

In 2008, in the vaults of a Buenos Aires fi lm museum, Fernando Peña and Paula Felix-Didier found a 16mm negative of the longest existing version of one of the world’s most famous incomplete fi lms, Fritz Lang’s Metropolis of 1927. The negative contained about 25 minutes of the fi lm that had hitherto been presumed lost.

It’s hard to overstate the importance of the discovery. Even in its reduced and somewhat incomprehensible pre-2008 state, Metropolis had achieved legendary status as an important historical work of art, as well as providing the inspiration for many classics of world cinema. James Whale’s Frankenstein (1931) and Bride of Frankenstein (1935), for instance, owe much to the technical brilliance of the laboratory that produces Lang’s evil robot Maria. Charlie Chaplin’s assembly line in Modern Times (1936) is reminiscent of Lang’s frightening images of repetitive drudgery at the Heart Machine, and the exterior of the Tyrell Tower in Ridley Scott’s Blade Runner (1982) bears an uncanny likeness to Lang’s New Tower of Babel. Other references reside in Stanley Kubrick’s 2001 – A Space Odyssey (1968), Andrei Tarkovsky’s Stalker (1979), Jean-Luc Godard’s

The fl ooding of the Workers’ City was one of the most elaborate scenes of the production. Director Fritz Lang (left) on set.

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Alphaville (1965), Ken Russell’s The Devils (1971), Luc Besson’s The Fifth Element (1997), George Lucas’s The Phantom Menace (1999), Alan Parker’s Pink Floyd The Wall (1982) and John Schlesinger’s The Day of the Locust (1974).

Film-lovers are indeed fortunate that a negative of Metropolis had been acquired for Argentine distribution during the few weeks between the date of the world premiere, in Berlin on 10 January 1927, and April 1927, when the German distributor withdrew Metropolis from distribution and replaced it with a drastically shortened version. This was in line with cuts made to the US version released by Paramount in New York on 7 March 1927, reducing the fi lm’s length from 4,189 metres to 3,241 metres.

The deleted negative footage is presumed destroyed, which means that the most complete remaining version is the copy found in Buenos Aires. It’s presumed that the original Argentine 35mm negative was also destroyed, but not before a copy was made by a private collector. This copy was in turn destroyed after a government agency transferred the movie from its (dangerously) infl ammable nitrate stock to the safer acetate stock. Unfortunately, the transfer was done only on 16mm acetate stock, which resulted in a serious loss of quality. No attempt appears to have been made to clean the print of dirt and scratches before the transfer, so the resulting copy was what fi lm preservationist Martin Körber called ‘the worst material

The creation of the machine men. (Walter Schulze-Mittendorff: Sculptures and Robotics)

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I’ve ever seen in my life. Never have I seen a fi lm as ruined as this one’.

Before the Buenos Aires discovery, the longest existing version of Metropolis had been assembled, in 2001, by the Friedrich-Wilhelm-Murnau Foundation, using the Paramount negative as its basis with help from other copies recovered from New York, London, Moscow and Canberra. The result still ran short by about 25 minutes.

Following the Buenos Aires discovery, the Murnau Foundation combined the 16mm segments of the hitherto missing footage with the best of all the other available 35mm versions to produce a 35mm version that is probably the closest to the original Berlin version we’ll ever get to see.

The painstaking reconstruction of Metropolis was aided by the existence of a piano version of the music score that accompanied the fi lm at its Berlin premiere. With its 1,019 cues for synchronising what’s happening on the screen, this score remains, paradoxically, the most reliable evidence of the duration and narrative order of the original version of the fi lm.

With the Australian premiere presentation of Metropolis (1927/2010) – the screening of the restored fi lm accompanied by Gottfried Huppertz’s complete score – Sydney audiences are thus in the privileged position of being able to experience, for the fi rst time, the fi lm as it was shown for those few weeks in Berlin in 1927.

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‘FaceTime’ c.1927.Ruler Joh Fredersen speaks via video link to Grot, warden of the Heart Machine. (Alfred Abel and Heinrich George)

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Metropolis took 310 days and 60 nights to fi lm, employed 36,000 extras, and used 25,000 special effects.

The fi lm and its creation

Metropolis was produced in the second period of Weimar cinema (1924–29), when the German currency had been stabilised and art and cinema eschewed post-war Expressionist sensitivities for a style known as Neue Sachlichkeit (New Objectivity, or New Sobriety). The period also witnessed a higher public consciousness of the power of America in infl uencing Germany’s future, through its domination of the international fi lm market and its aggressive pursuit of the new industrial doctrines of Taylorism and Fordism. Traditional German authoritarian values were challenged by Amerikanismus, a more open, democratic and modern social order threatening the two main Weimar contestants: the Old Order, smarting over the indignity of war reparations, and the Left, licking its wounds over its failure to establish soviets in the immediate post-war period.

Metropolis was expected to restore German cultural pride in the face of the enthusiastic public reception to cultural challenges from the Soviet Union, spearheaded by Sergei Eisenstein’s masterpiece Battleship Potemkin (1925), which opened in Germany in 1926.

Metropolis was a project of the UFA studio, the largest in Germany following the privatisation of the former wartime propaganda unit. The fi lm’s producer, Erich Pommer, had achieved distinction with The Cabinet of Dr Caligari (1920), The Last Laugh (1924), and two earlier Lang fi lms: Dr Mabuse, the Gambler (1922) and The Nibelungs. Lang himself was the most celebrated director in Germany at the time. He and his screenwriter wife, Thea von Harbou, were riding a wave of popularity after The Nibelungs became ‘the cultural event of the year 1924’. Von Harbou was a successful author before becoming a leading screenwriter, and her novel of Metropolis (which reads much like a fi lm script) was serialised in the press as part of the massive publicity campaign leading to the fi lm’s glittering premiere. The press fed the public a regular diet of photographs of celebrities visiting the huge fi lm set, and statistics of the scale and scope of the production, which took 310 days and 60 nights to fi lm, employed 36,000 extras, and used 25,000 special eff ects.

Metropolis was the most expensive movie made anywhere up to that time, but it was a disaster at the box offi ce. It precipitated a major restructure of the UFA studio and severely dented the German industry’s plans to resist US encroachment. Even so, the fi lm is nowadays reckoned as one of the most important fi lms ever made, and its appeal


is only bound to increase as the new, virtually complete version becomes known.

How can this be explained? Just what do successive generations of fi lmgoers fi nd appealing in a science fi ction fable about labour relations involving the absolute ruler of a huge metropolis, his pampered son, a female labour agitator, a robotic clone of the agitator created by a mad scientist, and thousands of anonymous, downtrodden and restless workers?

The fi lm’s endurance probably hangs on the inability of German Expressionism ever to be really out of fashion. There always seems to be a time or place where, like now, public disillusionment with the order of things can only be expressed in such a distinctive way as Expressionism did, distorting reality with angry intent. Freder the pampered son doesn’t actually see the dreadful machine turn into Moloch, but Lang has no need to paint the scene with a dream sequence to make his point. Nor, too, would the workers change shifts or burn a witch in such precisely choreographed formation, but we are willing to suspend disbelief to appreciate the full horror of their situation.

This is not to say that Metropolis is a totally Expressionist fi lm, only that it’s the Expressionist elements that survive the test of time. When it comes to the fi lm holding its exalted place in cultural history, the love story, the religious mysticism and the naïve ending on the cathedral steps are trumped by the spectacular architectural sets, the frightening machines, the faceless workers, the mad scientist and his scheming robot.

As Berlin critic Willy Haas pointed out on the day after its premiere, Metropolis steers a safe course between most of the

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The ten-hour clock that drives the workers to exhaustion is symbolic of the industrialists’ attempts to roll back the eight-hour day…

ideological contests swirling around Weimar Germany at the time, mixing

…a little Christianity with the idea of the ‘mediator’, of the catacomb meetings, of the holy Mary-fi gure…; a little socialism with the new machine cult, with the enslavement and dehumanisation of the proletariat, and with the epitome of ‘accumulation of capital’, to use the Marxist term, in a single, invisible individual ruler; a little Nietzscheanism with the deifi cation of the man of power – everything mixed so carefully so that it glides past every systematic idea and, for God’s sake, avoids any ‘polemic’.Haas may be claiming that the fi lm’s message was

motivated more by fashion than passion, but the word ‘polemic’ might suggest a more charitable interpretation. The troubles faced by the German distributors of The Battleship Potemkin may have alerted Lang to the unlikelihood of his getting any bold ‘polemical’ statements past his fi nancial backers – which included Paramount – let alone through the national and state censors. Perhaps all Lang felt he could do was present symbols of issues of the day without coming down too strongly in favour of either side. The ten-hour clock that drives the workers to exhaustion is, for instance, symbolic of the industrialists’ contemporary attempts to roll back the eight-hour day, wrung from them in a worker-employer accord following the failed 1918 revolution.

Whatever its intentions, Lang’s team succeeded in creating a splendid fantasy piece of its time, a document which feeds succeeding generations’ imaginations of an extraordinary era in modern history, even if it only canvasses (without resolving) the noisy debates of the period.

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the arms of Freder, who has ventured into the underground city.(Erwin Biswanger and Gustav Fröhlich)


The director

Friedrich Christian Anton Lang was born in Vienna on 5 December 1890. He fi rst studied civil engineering, but switched to art in 1908. After being wounded in World War I, he joined the UFA studio to begin a distinguished career as a writer and director, revealing a fascination for, in his own words, ‘cruelty, fear, horror and death’.

His fi rst fi lm hit was Destiny (Der Müde Tod, 1921), whose infl uence is evident in Bergman’s The Seventh Seal (1956) as well as in fi lms by Luis Buñuel, Roger Corman, Mario Bava and Terry Gilliam. Next was Dr Mabuse, the Gambler (1922) followed by The Nibelungs (1924), which was a local and international success. Metropolis followed in 1927, then Spies (1928), Woman in the Moon (1929) and M (1931), the psychological thriller regarded as the precursor of fi lm noir. The fi nal fi lm made in his fi rst German sojourn, The Testament of Dr Mabuse (1933), was banned by Joseph Goebbels, precipitating Lang’s emigration to France – where he made Liliom (1934) – and eventually to the United States, where he stayed for 21 years, becoming a citizen in 1939.

Lang directed 21 fi lms in America: fi lms noir, war and crime dramas, and westerns, most notably Fury (1936), You Only Live Once (1937), The Return of Frank James (1940), Man Hunt (1941), The Woman in the Window (1944), Scarlet Street (1945), Clash By Night, Rancho Notorious (1952), The Big Heat and While the City Sleeps (1956). Lang returned to Germany in 1959, but eventually went back to America, where he died on 2 August 1976.

Fritz Lang and his wife the writer Thea von Harbou in their Berlin apartment (published in Die Dame, 1924)


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Political and economic power in Metropolis centres on one person. From the New Tower of Babel, Joh Fredersen reigns over the Upper City and the Lower City. He perceives himself as the ‘brain’; his people mere ‘hands’ in the machinery. Human qualities, however – love, friendship, rebellion, revenge – are still powerful enough to shake the foundations of this futuristic domain’s technological world.

The rich and powerful reside in the Upper City – playing sports in a gigantic stadium, relaxing in the Eternal Gardens. This is the world of Freder, the ruler’s only son. When Maria takes workers’ children on a surprise visit to this paradise, Freder falls in love with her gentle beauty. He decides to see her world, the Lower City, and the subterranean machinery seems to him a Moloch, the sacrifi ces it demands too costly. Aghast, Freder appeals to his father, to no avail. Rather, Fredersen sets a henchman to shadow his son.

In the face of an imminent workers’ uprising, Fredersen consults the inventor Rotwang, his erstwhile rival. Rotwang

shows him his secret creation, a robot he has built to replace Hel, Freder’s mother, whom Rotwang had lost to Fredersen.

Fredersen makes a plan: the machine woman is to replace Maria and manipulate the workers. Rotwang pretends to agree, but his real aim is revenge. He wants the fake Maria to destroy the city, and Fredersen’s son. Rotwang kidnaps Maria and transfers her likeness to the machine woman, making her both ruthless agitator and lascivious seductress.

The false Maria begins the cataclysmic workers’ rebellion. The Heart Machine is destroyed and the resulting fl ood threatens to drown the Lower City. In the sweeping fi nale, Freder and the real Maria save the children from drowning. The mob goes after the false Maria and burns her at the stake. Rotwang also dies in the uprising. Fredersen and his foreman Grot seal the reconciliation between the workers and the ruling class with a handshake: ‘The heart must be the mediator between brain and hands.’

SYNOPSIS


Music and the silent fi lm

Historical records aren’t clear as to whether or not the fi rst silent fi lms were accompanied by music and other sounds in the last decade of the 19th century, but it’s certain that musical accompaniment was adopted very early. Suggested playlists were cobbled together from classical and ballroom favourites and distributed to exhibitors, or house ensembles and solitary theatre pianists fi lled in from their own repertoires. This meant, of course, that directors had little or no control over whether or not the music accompanying their fi lms was at all appropriate.

An early antidote to this creative uncertainty was Joseph Carl Breil’s score for The Birth of a Nation (1915). The director D.W. Griffi th was, apparently, intimately involved with the music, although some was still borrowed from the works of Weber, Bellini, Beethoven, Tchaikovsky, Grieg and Wagner. More thoroughly original and dedicated scores were to follow, such as Hans Erdmann’s for Nosferatu (1921, directed by F W Murnau), Edmund Meisel’s for The Battleship Potemkin, Dmitri Shostakovich’s for The New Babylon (1929, Kozintsev and Trauberg), and Gottfried Huppertz’s for The Nibelungs and Metropolis. Other well-known composers commissioned to write music for silent fi lms were Darius Milhaud, Camille Saint-Saëns, Arthur Honegger, Paul Hindemith, Erik Satie and George Antheil.

Whether or not the initial purpose of musical accompaniment was, as has been suggested, to drown out the noise of the projector, the overriding requirement for music for silent fi lms was that it be continuous. Only very brief periods of silence were permitted to provide dramatic emphases. To achieve this continuity, many composers took inspiration from the operatic style of Richard Wagner, who popularised the technique of leitmotif, which applies musical ‘tags’ to recurring ideas, attitudes, characters, objects or places in an operatic, symphonic or, now, cinematic narrative.

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Fritz Lang and Brigitte Helm (centre) play jazz on set


The original Metropolis score

Gottfried Huppertz’s music is an integral part of Metropolis. It was composed in collaboration with Thea von Harbou and Fritz Lang, with some sections being written during the shooting. The music perfectly interlocks with the fi lm, creating a complementary (emotional) space for Fritz Lang’s fi lmic construction.

The score is dominated by Huppertz’s vivid and imaginative leitmotifs, which serve to guide the audience through what can seem to be a convoluted storyline. Huppertz off ers at least one motif for each main character, and each musical motif links the character, stylistically, to either of the two competing classes, in much the same way as the fi lm’s competing visual styles – Expressionist and New Objectivist – are divided between the workers and bosses respectively.

The workers, together with the mad scientist Rotwang and his robot Maria, are accompanied by music that refl ects the modernist infl uences of the day, especially the ‘machine-music’ of composers like Honegger and Schoenberg’s early experiments with tonality. It is, in eff ect, a stylistic reaction to established order (in this case to the high Romanticism of German music at the end of the 19th century). The music for the ruler Joh Fredersen, his son Freder and the real Maria is, on the other hand, in a decidedly Romantic vein, à la Chopin, Brahms, Zemlinsky and Richard Strauss.

The motifs are mostly very short, and very few are given musical development; they’re usually only repeated, or combined with other motifs as required by the dramatic action. Here’s a selective list, in order of fi rst appearance:

Opening fanfareA repetitive three-note fi gure fi rst appearing when the credits begin. It later introduces Maria’s sermon in the catacombs, based on the biblical Tower of Babel. In both sequences it’s immediately followed by the…

Metropolis theme The anthem of the ruler of Metropolis, with confi dent major chords and drumbeats of quavers in march time. It fi rst appears when the fi lm’s title appears on screen, and then whenever the New Tower of Babel or the above-ground streets are shown.

Industrial musicThis is either a warning against, or a hymn to, the future implementation of US-style rationalised work practices. Its musical style echoes contemporary Constructivist

GOTTFRIED HUPPERTZ

Born Cologne, 1887Died Berlin, 1937

Gottfried Huppertz was born in Cologne, Germany on 11 March 1887. He studied music and, during World War I, worked as an opera singer and actor, as well as writing music for the theatre. In 1920 he moved to Berlin, where he met and became close friends with Thea von Harbou and Fritz Lang. This led him into the world of cinema, which became the focus of his career. He had small roles in two Lang fi lms, Four Around a Woman and Dr Mabuse, the Gambler, and was then hired to write the music for The Nibelungs and Metropolis. He also played a small part as a violinist in one of the Yoshiwara nightclub sequences in Metropolis and in Lang’s next fi lm, Spies, for which he also wrote the music.

Huppertz’s fi rst sound-fi lm score was for The Judas of Tyrol (1933, directed by Franz Osten). This was followed by Elisabeth and the Fool (1933, Thea von Harbou), The Assumption of Hannele (1934, Thea von Harbou), The Green Domino (1935, Henri Decoin and Herbert Selpin) and Through the Desert (1936, J A Hübler-Kahla). Gottfried Huppertz died of a heart attack on 7 February 1937.


compositions such as Honegger’s Pacifi c 231 (an orchestral work named for a train). This motif is dissonant and impatient, accompanying many scenes in the lower depths or whenever the Fredersens discuss what the workers might be up to. Its fi rst occurrence accompanies the montage (a popular Expressionist technique) of driving pistons and towering skyscrapers, and sets the scene for those striking images of the formations of downcast workers shuffl ing to and from their ten-hour shifts. It also fi gures in Maria’s sermon of the Tower of Babel.

The factory whistleThis is the ‘fanfare’ for the workers – shrill, harsh and urgent, usually pictured against a backdrop of the skyscrapers. It fi rst occurs when the long hand of the ten-hour clock reaches the top, then subsides to the daily shift change as we see…

The workersThe workers are served by four separate melancholy and somewhat monotonous themes, usually played in sequence. The second theme, a falling scale of minor chords, is interrupted by the return of the siren, and later emphasises the gait of the workers as they stagger down the catacomb stairs to hear Maria’s sermon. Distorted and more triumphant versions appear in the marches accompanying the workers’ uprising.

FrederA theme for a man without a care in the world, sounding quite like the main theme of the fi rst movement of Chopin’s

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The New Tower of Babel rises above the streets of Metropolis

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E minor piano concerto. Its fi rst appearance is at the stadium of the Club of the Sons as Freder is shown in full, sunlit frame.

MariaThis is one of the more agreeable tunes in the score, making its fi rst appearance when Maria and her juvenile charges interrupt the waltz accompanying Freder cavorting in the Eternal Gardens. It’s introduced by solo violin and bell-like celesta, then alternates with Freder’s theme and the waltz.

The heartThis theme, which bears a rhythmic and melodic similarity to the opening bars of the second movement of Brahms’s third symphony, appears as Maria and the children are ushered from the Gardens. It is shared by Maria and Freder, symbolising the harmony they seek for all inhabitants of the metropolis: a Heart to mediate between the Brain and the Hands.

MolochFour ominous chords, long-long-short-long, which attend matters dreadful, such as the explosion of the machine that Freder identifi es with Moloch; Freder’s report of the explosion to his father; and the introduction of the mad scientist Rotwang. A lyrical development of the motif accompanies Fredersen’s discovery of the statue of his late wife, Hel, at Rotwang’s house.

Dies Irae (Day of Wrath)This ancient liturgical melody refering to the biblical Day of Judgment has been used by many composers – including Berlioz, Liszt, Mahler, Saint-Saëns and Shostakovich – to

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represent deathly matters. It’s here used as the motif for Freder’s creepy minder, as well as for the Grim Reaper in Freder’s delirium. It fi rst appears when Fredersen directs The Thin Man to report Freder’s every movement.

Rotwang’s robotThis could well be the fi rst cyborg music in cinema. Celesta and strings play a melody not (and not inappropriately) unlike the real Maria’s motif. It acquires a more sinister and jaunty fl avour when the robot Maria performs her seductive dance before the Ten Thousand at Yoshiwara.

La MarseillaiseThe opening bars of the French national anthem here serve as the rallying call for insurrection, as the workers set about destroying the machines and the city. The tune is, however, distorted in several ways, presumably refl ecting Lang’s judgment on the questionable revolutionary credentials of the workers’ actions.

PROGRAM NOTES BY ROD WEBB ©2011

The orchestra for Huppertz’s Metropolis score calls for two fl utes (one doubling piccolo), two oboes (one doubling cor anglais), two alto saxophones and two bassoons; four horns, three trumpets, three trombones and tuba; timpani and percussion; harp, celesta, organ and strings.

This is the Australian premiere of the 2010 restoration of the 1927 original.

FILM & MUSIC CREDITS

Director: Fritz Lang (Germany, 1927)Script: Thea von Harbou, Fritz LangProducer: Erich PommerDirector of Photography: Karl Freund, Günther RittauDesign: Otto Hunte, Erich Kettelhut, Karl VollbrechtMusic: Gottfried Huppertz (1926); adaptation, synchronisation and re-instrumentation: Frank Strobel, Marco Jovic (2010)The new edition of the score material strictly follows the original manuscripts preserved at the Berlin Film Museum. It is published by European Filmphilharmonic as an urtext edition and as a critical-editorial performance edition.

Film by courtesy of Friedrich-Wilhelm-Murnau-StiftungMusic by courtesy of EUROPEAN F ILMPHILHARMONIC

The false Maria(Brigitte Helm)

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MORE MUSIC

Selected Discography

METROPOLIS

Frank Strobel conducts Gottfried Huppertz’s music from the original Metropolis score with the Berlin Radio Symphony Orchestra, in a generous single CD released earlier this year.

CAPRICCIO C5066

And the restored version of the fi lm has been released in DVD and Blu-ray formats, accompanied by a 50-minute documentary, Voyage to Metropolis, on the restoration. Again, Frank Strobel conducts the Berlin Radio Symphony Orchestra.

KINO K690

FRANK STROBEL

Schnittke Film Music: Volume 4Two fi lm scores composed by Alfred Schnittke in the 1970s: The Adventures of a Dentist and Sport, Sport, Sport. Frank Strobel conducts the Berlin Radio Symphony Orchestra.

CAPRICCIO RECORDS 5002 (hybrid SACD)

Prokofi ev: Alexander NevskyThe fi rst complete recording of the original score for Eisenstein’s fi lm with 20 minutes of additional music; with the Berlin Radio Symphony Orchestra.

CAPRICCIO RECORDS 71014 (hybrid SACD)

Shostakovich: Film ScoresA reconstruction of the complete music for New Babylon (1929) and a suite from A Year is Like a Lifetime (1965), with the Southwest German Radio Symphony Orchestra.

HÄNSSLER CLASSIC 93188

Selected Sydney Symphony concerts are webcast live on BigPond and made available for later viewing On Demand.

Current webcast: Beethoven’s Egmont With Nigel Westlake’s Missa Solis

Visit: bigpondmusic.com/sydneysymphony

Webcasts

2MBS-FM 102.5

SYDNEY SYMPHONY 2011Tuesday 14 November, 6pm

Musicians, staff and guest artists discuss what’s in store in our forthcoming concerts.

Broadcast Diary

NOVEMBER

Saturday 5 November, 8pm

LENINGRAD SYMPHONY

Vasily Petrenko conductorKaren Gomyo violinAlban Gerhardt cello

Brahms, Shostakovich

Monday 14 November, 8pm

SYMPHONIC SPOTLIGHT

Nicholas Carter conductor

Kerry, Grainger, Bartók

Monday 28 November, 7pmMAHLER 2: RESURRECTIONVladimir Ashkenazy conductorEmma Matthews sopranoMichelle DeYoung mezzo-sopranoSydney Philharmonia Choirs

THE 2012 KALEIDOSCOPE SERIES

FOUR-CONCERT KALEIDOSCOPE PACKAGES START FROM JUST $212($128 FOR 30 YEARS AND UNDER)

CHECK OUT THE 2012 SEASON HEAR MUSIC SAMPLES | REQUEST A BROCHURE | BOOK NOW

SYDNEYSYMPHONY.COM/SUBSCRIBE Or call (02) 8215 4600 (Mon–Fri 9am–5pm)

Smooth, rhapsodic, whirling, hypnotic, intoxicating – a kaleidoscope for the senses in four fabulous concerts.

· American jazz trumpet sensation Chris Botti (right) with his signature fusion of jazz and pop in his first Sydney orchestral concerts.

· Infectious, poignant and timeless. A Gershwin Tribute with all the hits – Rhapsody in Blue, “Summertime”, “They can’t take that away from me” and “Fascinatin’ Rhythm”.

· Australian saxophonist Amy Dickson ‘dances’ in the moonlight with Ross Edwards’ Full Moon Dances before we’re seduced by Ravel’s Bolero and the whirlwind of La Valse.

· The Los Angeles Guitar Quartet will take you on a journey of Spanish colour that takes in the indigenous sounds of Mexico, the virile rhythms of the Argentinean plains and then America with John Adams exhilarating Lollapalooza.

“ Back arched and blowing hard, Chris Botti creates sounds of almost Alpine purity.” HERALD SUN

SYDNEY SYMPHONY


ABOUT THE CONDUCTOR

Frank Strobel conductor

Frank Strobel has established himself as an important fi gure in the world of fi lm music. From a childhood enthusiasm for the movies (his parents ran a cinema in Munich) has emerged a career that combines his thorough classical training and a wealth of experience as a conductor, arranger, editor, producer and recording artist, bringing a unique insight into a rich and relatively unexplored area of the repertoire.

His vintage fi lm credits include Battleship Potemkin, The New Babylon, Alexander Nevsky (editing and reconstructing the original music by Prokofi ev), Metropolis (conducting the premiere of a new score by Bernd Schultheis and in 2010 the premiere of the restored version with Gottfried Huppertz’s original score), and Nosferatu, as well as the Chaplin movies City Lights, The Gold Rush, Modern Times, The Circus and The Kid.

In addition to editing and conducting the original music for silent fi lm classics, he also arranges and performs new scores for German, British and American fi lms, including The Young Poisoner’s Handbook, Die Budenbrooks, and Pope Joan. He also conducted the Oscar-winning animation of Peter and the Wolf with the Olso Philharmonic. He is strongly committed to the works of Alfred Schnittke, conducting several fi rst performances and arranging and recording concert suites of his fi lm music. A number of Frank Strobel’s fi lm projects have been recorded on DVD, with recent releases including Der Rosenkavalier, The New Babylon, Der Schatz and The General Line.

Frank Strobel works closely with the Berlin Radio Symphony Orchestra, Orchestre Philharmonique de Radio France, Oslo Philharmonic, Finnish Radio Symphony Orchestra, Orchestre National de Lyon, NDR Radio Orchestra Hannover and Konzerthaus Vienna. From 1997 to 1998 he was Principal Conductor of the German Filmorchestra Babelsberg. Since 2000 he has been Artistic Director of the European Filmphilharmonic Institute Berlin.

His concert tours have taken him to Europe, North and South America, Asia and the Far East, as well as Australia. On previous visits to the Sydney Symphony he has conducted Chaplin’s Gold Rush (2007) and music by Shostakovich for a screening of Eisenstein’s Battleship Potemkin (2009).

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MUSICIANS

To see photographs of the full roster of permanent musicians and fi nd out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musicians If you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians fl yer.

To see photographs of the full roster of permanent musicians and fi nd out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musicians If you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians fl yer.

Vladimir AshkenazyPrincipal Conductorand Artistic Advisorsupported by Emirates

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Dene OldingConcertmaster

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Nicholas CarterAssociate Conductor supported bySymphony Services International & Premier Partner Credit Suisse

Performing in these concerts…

FIRST VIOLINS Dene Olding Concertmaster

Sun Yi Associate Concertmaster

Fiona Ziegler Assistant Concertmaster

Julie Batty Brielle ClapsonAmber Davis Georges LentzNicola Lewis Alexandra MitchellEmily Qin#

Alexander Norton*Martin Silverton*

SECOND VIOLINS Kirsty Hilton Alexander Read*Emma West Assistant Principal

Jennifer Hoy A/Assistant Principal

Maria Durek Emma Hayes Shuti Huang Emily Long Biyana Rozenblit Maja Verunica

VIOLASAnne-Louise Comerford Robyn Brookfi eld Sandro CostantinoJane Hazelwood Graham Hennings Stuart Johnson Justine Marsden Leonid Volovelsky

CELLOSLeah Lynn Assistant Principal

Timothy NankervisElizabeth NevilleAdrian Wallis David Wickham Rowena Crouch#

DOUBLE BASSESKees Boersma Alex Henery Steven Larson Rohan Dasika*

FLUTES Janet Webb Rosamund Plummer Principal Piccolo

OBOESShefali Pryor David Papp

CLARINETSFrancesco Celata Craig Wernicke Principal Bass Clarinet

SAXOPHONESMichael Duke*Andrew Smith*

BASSOONSMatthew Wilkie Fiona McNamara

HORNSBen Jacks Lee BracegirdleMarnie Sebire Euan Harvey

TRUMPETSJohn FosterAnthony Heinrichs Adam Malone*

TROMBONESScott Kinmont Nick Byrne Christopher Harris

TUBASteve Rossé

TIMPANIRichard Miller

PERCUSSIONRebecca Lagos Mark Robinson Brian Nixon*

HARP Louise Johnson

CELESTAJosephine Allan#

ORGANDavid Drury*

Bold = PrincipalItalic= Associate Principal* = Guest Musician # = Contract Musician† = Sydney Symphony Fellow


THE SYDNEY SYMPHONYPRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR Vladimir Ashkenazy PATRON Her Excellency Professor Marie Bashir AC CVO

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Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony has evolved into one of the world’s fi nest orchestras as Sydney has become one of the world’s great cities.

Resident at the iconic Sydney Opera House, where it gives more than 100 performances each year, the Sydney Symphony also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA have earned the orchestra worldwide recognition for artistic excellence, most recently in a tour of European summer festivals, including the BBC Proms and the Edinburgh Festival.

The Sydney Symphony’s fi rst Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdenek Mácal, Stuart Challender, Edo de Waart and, most recently, Gianluigi Gelmetti. The orchestra’s history also boasts collaborations with legendary fi gures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

The Sydney Symphony’s award-winning education program is central to its commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The Sydney Symphony promotes the work of Australian composers through performances, recordings and its commissioning program. Recent premieres have included major works by Ross Edwards, Liza Lim, Lee Bracegirdle, Gordon Kerry and Georges Lentz, and a recording of works by Brett Dean was released on both the BIS and Sydney Symphony Live labels.

Other releases on the Sydney Symphony Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras and Vladimir Ashkenazy. Currently the orchestra is recording the complete Mahler symphonies. The Sydney Symphony has also released recordings with Ashkenazy of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, and numerous recordings on the ABC Classics label.

This is the third year of Ashkenazy’s tenure as Principal Conductor and Artistic Advisor.


SALUTE

PRINCIPAL PARTNER GOVERNMENT PARTNERS

The Sydney Symphony is assisted by the NSW Government through Arts NSW

The Sydney Symphony is assisted by the Commonwealth Government through the

Australia Council, its arts funding and advisory body

PREMIER PARTNER

GOLD PARTNERS

EmanateBTA Vantage

2MBS 102.5 Sydney’s Fine Music Station

BRONZE PARTNER MARKETING PARTNER

REGIONAL TOUR PARTNERS

SILVER PARTNERS

Television - Audio

COMMUNITY PARTNER PLATINUM PARTNER MAJOR PARTNERS


PLAYING YOUR PART

The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Please visit sydneysymphony.com/patrons for a list of all our donors, including those who give between $100 and $499.

PLATINUM PATRONS $20,000+Brian AbelGeoff Ainsworth AM & Vicki AinsworthRobert Albert AO & Elizabeth AlbertTerrey Arcus AM & Anne ArcusTom Breen & Rachael KohnSandra & Neil BurnsIan & Jennifer BurtonMr John C Conde AO

Robert & Janet ConstableIn memory of Hetty & Egon GordonThe Hansen FamilyMs Rose HercegThe Estate of Mrs E HerrmanJames N. Kirby FoundationMr Andrew Kaldor & Mrs Renata Kaldor AO

D & I KallinikosJustice Jane Mathews AO

Mrs Roslyn Packer AO

Dr John Roarty in memory of Mrs June RoartyPaul & Sandra SalteriMrs Penelope Seidler AM

Mrs W SteningMr Fred Street AM & Mrs Dorothy StreetIn memory of D M ThewMr Peter Weiss AM & Mrs Doris WeissWestfi eld GroupRay Wilson OAM in memory of James Agapitos OAM

Mr Brian and Mrs Rosemary WhiteJune & Alan Woods Family BequestAnonymous (1)

GOLD PATRONS $10,000–$19,999Alan & Christine BishopThe Estate of Ruth M DavidsonThe Hon Ashley Dawson-DamerPaul R. EspieFerris Family FoundationDr Bruno & Mrs Rhonda GiuffreRoss GrantMr David Greatorex AO & Mrs Deirdre GreatorexHelen Lynch AM & Helen BauerMrs Joan MacKenzieRuth & Bob MagidTony & Fran MeagherMrs T Merewether OAM

Mr B G O’ConorMrs Joyce Sproat & Mrs Janet CookeMs Caroline WilkinsonAnonymous (1)

SILVER PATRONS $5,000–$9,999Mr and Mrs Mark BethwaiteJan BowenMr Robert BrakspearMr Donald Campbell & Dr Stephen FreibergMr Robert & Mrs L Alison CarrBob & Julie ClampettMrs Gretchen M DechertIan Dickson & Reg HollowayDr Michael FieldJames & Leonie FurberMrs Jennifer HershonMichelle HiltonStephen Johns & Michele BenderJudges of the Supreme Court of NSWMr Ervin KatzGary LinnaneMr David LivingstoneWilliam McIlrath Charitable FoundationEva & Timothy Pascoe

Rodney Rosenblum AM & Sylvia RosenblumSherry-Hogan FoundationDavid & Isabel SmithersMrs Hedy SwitzerIan & Wendy ThompsonMichael & Mary Whelan TrustDr Richard WingateJill WranAnonymous (2)

BRONZE PATRONS $2,500–$4,999Dr Lilon BandlerStephen J BellMr David & Mrs Halina BrettLenore P BuckleHoward ConnorsEwen & Catherine CrouchVic & Katie FrenchMr Erich GockelMr James Graham AM & Mrs Helen GrahamKylie GreenJanette HamiltonAnn HobanIrwin Imhof in memory of Herta ImhofR & S Maple-BrownDr Greg & Mrs Susan MarieMora MaxwellJ A McKernanJustice George Palmer AM QC

James & Elsie MooreBruce & Joy Reid FoundationMary Rossi TravelGeorges & Marliese TeitlerGabrielle TrainorJ F & A van OgtropGeoff Wood & Melissa WaitesAnonymous (1)

BRONZE PATRONS $1,000–$2,499Charles & Renee AbramsAndrew Andersons AO

Mr Henri W Aram OAM

Claire Armstrong & John SharpeDr Francis J AugustusRichard BanksDoug & Alison BattersbyDavid BarnesMichael Baume AO & Toni BaumePhil & Elese BennettNicole BergerMrs Jan BiberJulie BlighColin Draper & Mary Jane BrodribbM BulmerIn memory of R W BurleyEric & Rosemary CampbellDr John H CaseyDr Diana Choquette & Mr Robert MillinerJoan Connery OAM & Maxwell Connery OAM

Debby Cramer & Bill CaukillMr John Cunningham SCM & Mrs Margaret CunninghamLisa & Miro DavisMatthew DelaseyJohn FavaloroMr Edward FedermanMr Ian Fenwicke & Prof N R WillsFirehold Pty LtdWarren GreenAnthony Gregg & Deanne WhittlestonAkiko GregoryIn memory of the late Dora & Oscar Grynberg

Janette HamiltonBarbara & John HirstDorothy Hoddinott AO

Paul & Susan HotzBill & Pam HughesThe Hon. David Hunt AO QC & Mrs Margaret HuntDr & Mrs Michael HunterMr Peter HutchisonDr Michael Joel AM & Mrs Anna JoelThe Hon. Paul KeatingIn Memory of Bernard M H KhawJeannette KingAnna-Lisa KlettenbergJustin LamWendy LapointeMacquarie Group FoundationMr Robert & Mrs Renee MarkovicKevin & Deidre McCannRobert McDougallIan & Pam McGawMatthew McInnesMrs Barbara McNulty OBE

Harry M. Miller, Lauren Miller Cilento & Josh CilentoMiss An NhanMrs Rachel O’ConorMr R A OppenMr Robert Orrell Mr & Mrs OrtisMaria PagePiatti Holdings Pty LtdAdrian & Dairneen PiltonMr & Ms Stephen ProudMiss Rosemary PryorDr Raffi QasabianErnest & Judith RapeeKenneth R. ReedPatricia H Reid Endowment Pty LtdMr M D SalamonJohn SaundersJuliana SchaefferMr & Mrs Jean-Marie SimartCatherine StephenJohn & Alix SullivanThe Hon. Brian Sully QC

Mildred TeitlerAndrew & Isolde TornyaGerry & Carolyn TraversJohn E TuckeyMrs M TurkingtonIn memory of Dr Reg WalkerHenry & Ruth WeinbergThe Hon. Justice A G WhealyMr R R WoodwardDr John Yu & Dr George SoutterAnonymous (12)

BRONZE PATRONS $500–$999Mr C R AdamsonMr Peter J ArmstrongMs Baiba B. Berzins & Dr Peter LovedayDr & Mrs Hannes Boshoff Minnie BriggsDr Miles BurgessPat & Jenny BurnettIta Buttrose AO OBE

Stephen Byrne & Susie GleesonHon. Justice J C & Mrs CampbellPercy ChissickMrs Catherine J ClarkMr Charles Curran AC & Mrs Eva CurranGreta DavisElizabeth DonatiDr & Dr Nita DurhamGreg Earl & Debbie CameronMr & Mrs FarrellRobert Gelling

Dr & Mrs C GoldschmidtVivienne GoldschmidtMr Robert GreenMr Richard Griffi n AM

Jules & Tanya HallMr Hugh HallardMrs A HaywardRoger HenningRev Harry & Mrs Meg HerbertSue HewittMr Joerg HofmannDominique Hogan-DoranAlex HoughtonBill & Pam HughesGeoff & Susie IsraelIven & Sylvia KlinebergMr & Mrs Gilles T KrygerDr & Mrs Leo LeaderMargaret LedermanMartine LettsAnita & Chris LevyErna & Gerry Levy AM

Dr Winston LiauwMrs Helen LittleSydney & Airdrie LloydMrs A LohanCarolyn & Peter Lowry OAM

Dr David LuisMrs M MacRae OAM

Melvyn MadiganDr Jean MalcolmAlan & Joy MartinGeoff & Jane McClellanMrs Helen MeddingsDavid & Andree MilmanKenneth N MitchellHelen MorganChris Morgan-HunnNola NettheimMrs Margaret NewtonSandy NightingaleMr Graham NorthDr M C O’Connor AM

A Willmers & R PalDr A J PalmerMr Andrew C. PattersonDr Kevin PedemontRobin PotterLois & Ken RaePamela RogersAgnes RossIn memory of H.St.P ScarlettDr Mark & Mrs Gillian SelikowitzCaroline SharpenMrs Diane Shteinman AM

Robyn SmilesDoug & Judy SotherenMrs Elsie StaffordMr D M SwanMr Norman TaylorDr Heng & Mrs Cilla TeyMs Wendy ThompsonKevin TroyJudge Robyn TupmanGillian Turner & Rob BishopMr Robert & Mrs Rosemary WalshRonald WalledgeDavid & Katrina WilliamsAudrey & Michael WilsonDr Richard WingMr Robert WoodsMr & Mrs Glenn WyssAnonymous (17)

To fi nd out more about becoming a Sydney Symphony Patron please contact the Philanthropy Offi ce on (02) 8215 4625 or email [email protected]


MAESTRO’S CIRCLE

Peter Weiss AM – Founding President & Doris Weiss John C Conde AO – ChairmanGeoff & Vicki AinsworthTom Breen & Rachael KohnThe Hon. Ashley Dawson-DamerIn memory of Hetty & Egon Gordon

Andrew Kaldor & Renata Kaldor AO

Roslyn Packer AO

Penelope Seidler AM

Mr Fred Street AM & Mrs Dorothy StreetWestfi eld GroupRay Wilson OAM

in memory of the late James Agapitos OAM

SYDNEY SYMPHONY LEADERSHIP ENSEMBLE David Livingstone, CEO, Credit Suisse, AustraliaAlan Fang, Chairman, Tianda GroupMacquarie Group FoundationJohn Morschel, Chairman, ANZ

Andrew Kaldor, Chairman, Pelikan ArtlineLynn Kraus, Sydney Offi ce Managing Partner, Ernst & YoungShell Australia Pty Ltd

We also gratefully acknowledge the following patrons: Ruth & Bob Magid – supporting the position of Elizabeth Neville, cello Justice Jane Mathews AO – supporting the position of Colin Piper, percussion.

For information about the Directors’ Chairs program, please call (02) 8215 4619.

01Richard Gill OAM

Artistic Director Education Sandra and Paul Salteri Chair

02Jane HazelwoodViolaVeolia Environmental Services Chair

03Nick ByrneTromboneRogenSi Chair

04Diana DohertyPrincipal Oboe Andrew Kaldor and Renata Kaldor AO Chair

05Shefali Pryor Associate Principal OboeRose Herceg Chair

06Paul Goodchild Associate Principal TrumpetThe Hansen Family Chair

07Catherine Hewgill Principal CelloTony and Fran Meagher Chair

08Emma Sholl Associate Principal FluteRobert and Janet Constable Chair

09 Lawrence DobellPrincipal ClarinetAnne & Terrey Arcus Chair

DIRECTORS’ CHAIRS03 04 01

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BEHIND THE SCENES

Geoff AinsworthAndrew Andersons AO

Michael Baume AO*Christine BishopIta Buttrose AO OBE

Peter CudlippJohn Curtis AM

Greg Daniel AM

John Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood AO OBE*Dr Michael Joel AM

Simon Johnson

Yvonne Kenny AM

Gary LinnaneAmanda LoveHelen Lynch AM

Ian Macdonald*Joan MacKenzieDavid MaloneyDavid Malouf AO

Julie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Mathews AO*Danny MayWendy McCarthy AO

Jane Morschel

Greg ParamorDr Timothy Pascoe AM

Prof. Ron Penny AO

Jerome RowleyPaul SalteriSandra SalteriJuliana SchaefferLeo Schofi eld AM

Fred Stein OAM

Gabrielle TrainorIvan UngarJohn van Ogtrop*Peter Weiss AM

Mary WhelanRosemary White

Sydney Symphony Council

* Regional Touring Committee member

Sydney Symphony Board

CHAIRMAN John C Conde AO

Terrey Arcus AM

Ewen CrouchRoss GrantJennifer HoyRory Jeffes

Andrew KaldorIrene LeeDavid LivingstoneGoetz RichterDavid Smithers AM

SYDNEY OPERA HOUSE TRUSTMr Kim Williams AM (Chair)Ms Catherine Brenner, Rev Dr Arthur Bridge AM, Mr Wesley Enoch, Ms Renata Kaldor AO, Mr Robert Leece AM RFD, Ms Sue Nattrass AO, Dr Thomas (Tom) Parry AM, Mr Leo Schofi eld AM, Mr Evan Williams AM

EXECUTIVE MANAGEMENTChief Executive Offi cer Richard Evans Chief Operating Offi cer David Antaw Chief Financial Offi cer Claire Spencer Director, Building Development & Maintenance Greg McTaggart Director, Marketing Communications & Customer Services Victoria Doidge Director, Venue Partners & Safety Julia Pucci Executive Producer, SOH Presents Jonathan Bielski

SYDNEY OPERA HOUSEBennelong Point GPO Box 4274, Sydney NSW 2001Administration (02) 9250 7111 Box Offi ce (02) 9250 7777Facsimile (02) 9250 7666 Website sydneyoperahouse.com

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All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specifi ed on the title page of this publication 16583 — 1/281011 — 31K S89/90

Clocktower Square, Argyle Street, The Rocks NSW 2000GPO Box 4972, Sydney NSW 2001Telephone (02) 8215 4644Box Offi ce (02) 8215 4600Facsimile (02) 8215 4646www.sydneysymphony.com

All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing. The opinions expressed in this publication do not necessarily refl ect the beliefs of the editor, publisher or any distributor of the programs. While every effort has been made to ensure accuracy of statements in this publication, we cannot accept responsibility for any errors or omissions, or for matters arising from clerical or printers’ errors. Every effort has been made to secure permission for copyright material prior to printing.

Please address all correspondence to the Publications Editor: Email [email protected]

SYMPHONY SERVICES INTERNATIONALSuite 2, Level 5, 1 Oxford Street, Darlinghurst NSW 2010PO Box 1145, Darlinghurst NSW 1300Telephone (02) 8622 9400 Facsimile (02) 8622 9422www.symphonyinternational.net

This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: [email protected] Website: www.playbill.com.auChairman Brian Nebenzahl OAM, RFD

Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production & Graphic Design Debbie ClarkeManager—Production—Classical Music Alan ZieglerOperating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin

MANAGING DIRECTOR

Rory JeffesEXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONSDIRECTOR OF ARTISTIC PLANNING

Peter Czornyj

Artistic AdministrationARTISTIC ADMINISTRATION MANAGER

Elaine ArmstrongARTIST LIAISON MANAGER

Ilmar LeetbergRECORDING ENTERPRISE MANAGER

Philip Powers

Education ProgramsHEAD OF EDUCATION

Kim WaldockEMERGING ARTISTS PROGRAM MANAGER

Mark LawrensonEDUCATION CO ORDINATOR

Rachel McLarin

LibraryLIBRARIAN

Anna CernikLIBRARY ASSISTANT

Victoria GrantLIBRARY ASSISTANT

Mary-Ann Mead

DEVELOPMENTHEAD OF CORPORATE RELATIONS

Leann MeiersCORPORATE RELATIONS EXECUTIVE

Julia OwensCORPORATE RELATIONS EXECUTIVE

Stephen Attfi eldHEAD OF PHILANTHROPY & PUBLIC AFFAIRS

Caroline SharpenPHILANTHROPY EXECUTIVE

Ivana JirasekPHILANTHROPY EXECUTIVE

Amelia Morgan-Hunn

SALES AND MARKETINGDIRECTOR OF SALES & MARKETING

Mark J ElliottSENIOR MARKETING MANAGER,SINGLE SALES

Penny EvansMARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-MeatesMARKETING MANAGER, CLASSICAL SALES

Matthew RiveMARKETING MANAGER, BUSINESS RESOURCES

Katrina RiddleONLINE MARKETI NG MANAGER

Eve Le Gall

MARKETING & ONLINE COORDINATOR

Kaisa HeinoGRAPHIC DESIGNER

Lucy McCulloughDATA ANALYST

Varsha Karnik

Box Offi ceMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlinMANAGER OF BOX OFFICE OPERATIONS

Natasha PurkissCUSTOMER SERVICE REPRESENTATIVES

Steve Clarke–Senior CSRMichael DowlingLisa MullineuxDerek ReedJohn RobertsonBec Sheedy

COMMUNICATIONSHEAD OF COMMUNICATIONS

Yvonne ZammitPUBLICIST

Katherine StevensonDIGITAL CONTENT PRODUCER

Ben Draisma

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

ORCHESTRA MANAGEMENTDIRECTOR OF ORCHESTRA MANAGEMENT

Aernout KerbertORCHEST RA MANAGER

Christopher Lewis-ToddORCHESTRA COORDINATOR

Georgia StamatopoulosOPERATIONS MANAGER

Kerry-Anne CookTECHNICAL MANAGER

Derek CouttsPRODUCTION COORDINATOR

Tim DaymanPRODUCTION COORDINATOR

Ian SpenceSTAGE MANAGER

Peter Gahan

BUSINESS SERVICESDIRECTOR OF FINANCE

John HornFINANCE MANAGER

Ruth TolentinoACCOUNTANT

Minerva PrescottACCOUNTS ASSISTANT

Emma FerrerPAYROLL OFFICER

Usef Hoosney

HUMAN RESOURCESHUMAN RESOURCES MANAGER

Anna Kearsley

Sydney Symphony Staff

metropolis: a film icon restored a film icon restored ... 35mm versions to produce a 35mm version...

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