2013 SEASON SPECIAL EVENT

SATURDAY 20 JULY 7PM | MONDAY 22 JULY 7PM

The Flying Dutchman

https://www.credit-suisse.com/ch/en/about-us/sponsorship/classical-music.html

Thank you for downloading this interactive program book for the Sydney Symphony’s performances of The Flying Dutchman in July 2013.

This is a first step in the direction of digital program books that will offer richer visual content and, especially, musical content to support the words we already publish. You can think of it as a beta version.

We’ve begun by exploring what we can do with the PDF format, since we already make our program books available that way. This means:

• the program is best enjoyed on a desktop computer

• if you do download it to a tablet, not all features will work in all readers. On the iPad we’ve had best success with PDF Expert.

Finally, we’d love to receive your feedback: program.editor@sydneysymphony.com

mailto:program.editor%40sydneysymphony.com?subject=Flying%20Dutchman%20interactive%20program%3A%20feedback

Rob StewartChief Executive Officer Credit Suisse Australia

On behalf of Credit Suisse, Premier Partner of the Sydney Symphony, I am delighted to welcome you to this concert hall performance of Wagner’s opera The Flying Dutchman, conducted by David Robertson.

As the orchestra’s chief conductor designate, David Robertson is already planning the exciting concert seasons ahead, and multimedia performances of great opera, semi-staged in the Sydney Opera House Concert Hall, are central to those plans.

Through these productions, the orchestra, its new chief conductor and his collaborators hope to bring a special dimension to great works from the operatic repertoire.

That will be the case tonight with The Flying Dutchman, which will be given added drama and spectacle through the projections of video artist and designer S Katy Tucker.

Credit Suisse is proud to support the development of this exciting project – sure to delight opera lovers and fans of symphonic music. We hope you find this gala performance musically thrilling and visually breathtaking, and we look forward to seeing you at many more concerts in the future.

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Saturday night’s performance will be recorded for later broadcast on ABC Classic FM.

Pre-concert talk by David Garrett at 6.15pm in the Northern Foyer.

The opera will be performed without interval, concluding at approximately 9.15pm

The Flying Dutchmanby Richard WagnerDer fliegende Holländer Sung in German with English surtitles

David Robertson CONDUCTOR

S Katy Tucker VIDEO AND PROJECTIONS DESIGNER

The Dutchman Eric Owens BARITONE Senta Orla Boylan SOPRANO Daland Ain Anger BASS Erik John Daszak TENOR The Steersman John Tessier TENOR Mary Sally-Anne Russell MEZZO-SOPRANO

Sydney Philharmonia Choirs Brett Weymark, Music Director

Jessica Cottis, Assistant Conductor

Surtitles provided by Opera Australia

2013 seasonspecial event premier partner credit suisseSaturday 20 July | 7pmmondays @ 7Monday 22 July | 7pmSydney Opera House Concert Hall

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http://www.sydneysymphony.com/concerts-tickets/your-visit/pre-concert-talks/pre-concert-speakers/david-garrett.aspx

INTRODUCTION A speed read introducing our production and the background to the Flying Dutchman legend.

SYNOPSIS The action of the opera. Spoilers.

MUSICAL THEMES A guide to some of the key musical themes in the opera.

INTERVIEW We asked S Katy Tucker about the way she works, her vision for The Flying Dutchman and why she needed to visit Bondi.

ABOUT THE OPERA‘The Sea Gives Wagner Music for a Legend.’ An in-depth essay by David Garrett.

MORE MUSICFurther listening and online exploration, with information about SSO broadcasts and webcasts.

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The Flying Dutchman

Last week, after one of our performances of Verdi’s Requiem, David Robertson made an observation you don’t often hear. He said, ‘The eyes are quick, but the ears are slow.’

He was discussing the very thing you’re experiencing tonight: a concert hall presentation of an opera in which the music and the performances of the orchestra and singers are supported and enhanced by a visual interpretation. It’s a combination that needs to be gently handled, because the immediacy of a visual stimulus can all too easily override an aural one where the ears must respond in time. The eyes are quick…

S Katy Tucker, creator of tonight’s projections, says much the same thing when she talks about supplementing the music, not overshadowing it, and of always keeping the focus on the music. One of the ways she’s done that is to mirror Wagner’s key musical themes with her images, following their associations with characters, emotions and ideas. We like to think that this aspect of the performance may even help bring the ears up to speed. After all, we listen with our eyes as much as our ears, even when we’re in the concert hall.

You may well have seen The Flying Dutchman in the theatre, with sets and costumes and singers moving about (except when Wagner gives instructions that they remain still!).

But tonight, by presenting orchestra and singers together on the same platform, we hope to reveal Wagner’s music to best advantage. And by collaborating with a visual artist, we bring some of the theatre into the concert hall. Whether you’re an opera buff or a dedicated fan of orchestral concerts, we hope you’ll find this a powerful and memorable evening.

The Flying Dutchman was completed in 1841 when Wagner was 28, and it was the first of his operas to reveal a distinctive style and a new concept of music drama. The inspiration is a legend from 17th-century folklore – one of the earliest references in print appears in A Voyage to Botany Bay (1795). The story combines the theme of the ghost ship (the original Flying Dutchman was a Dutch man-o-war lost off the Cape of Good Hope in 1641) with the idea of eternal damnation and, in Wagner’s hands, redemption.

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Swearing to be true, Senta throws herself into the sea and the Dutchman’s ship sinks. ‘The Flying Dutchman’ published in Harper’s Monthly Magazine (January 1902). Original watercolour by American illustrator Howard Pyle (1853–1911).

Click on the image to enlarge PRODUCTION CREDITSToby Sewell Lighting Designer Michael Kohler Visual Image Operator David Thomas Screen Design Laura Daniel Production Manager (Sydney Symphony)

Surtitles provided by Opera Australia Prepared by Brian Fitzgerald Operated by Takefumi Ogawa

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ACT I

In a bay on a rocky part of the Norwegian coast, Daland has just anchored his ship to escape a storm, and clambered ashore to get his bearings. Daland can see his house: it’s close enough to anticipate the warm embraces of his daughter, Senta, but the storm keeps them apart. Daland bids his exhausted crew rest, leaving the Steersman in charge.

The Steersman sings of the south wind that brings him home to his sweetheart. Drowsy, he does not notice the ship with blood-red sails that has dropped anchor nearby. He falls asleep.

The other ship’s captain appears. ‘The time is up.’ Every seven years he is permitted to land and find relief from his condemnation to eternal tossing on the waves. Try as he might, he cannot

A ship with blood red sails has dropped anchor nearby… Set design for Act I for the 1901 production of The Flying Dutchman in Bayreuth. Sketch by Max Bruckner (1836–1919)

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find death. Was the angel mocking, when she showed him the way to his salvation? No woman could be faithful unto death. He looks forward to Judgement Day, when he can fade into the void. Likewise doomed to wandering, his crew echo his longing for extinction.

Daland is alarmed that his Steersman has not seen the strange ship. Hailed by Daland, the newcomer tells only that he is a Dutchman. He offers Daland all his riches for a home – and wife. Daland can’t believe his luck – all the Dutchman’s treasure in exchange for his daughter! ‘The next favourable wind takes us home,’ says Daland, and the Dutchman promises to follow.

The Flying Dutchman

In accordance with Wagner’s preference, the opera will be performed without an interval.

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ACT II

In Daland’s house, the women are spinning, while Senta daydreams. Though betrothed to Erik, Senta is entranced by a portrait on the wall. She sings the ballad of the Flying Dutchman, the man in the painting, who swore by all the devils that he could round a cape and was condemned by Satan to sail the seas until released by the love of a faithful woman.

Senta declares she is that woman, just as Erik arrives to announce Daland’s return. Erik seeks reassurance that Senta returns his love. He knows that wealth can turn Daland’s head. When Senta mocks Erik for being unsettled by a mere song, he narrates his dream: how he saw Daland returning with the man in the picture; Senta threw herself at his feet and they embraced and sailed away. Senta is excited, and Erik flees in despair. As Senta prays that the man in the picture will soon find his true woman… he appears.

Daland bids his daughter make the stranger welcome. He has asked for her hand. Receiving no answer, Daland leaves the two alone. In a long duet Senta promises obedience to her father; the Dutchman warns of her fate if she breaks her vow of constancy. Daland returns and Senta gives the Dutchman her hand.

ACT III

The Norwegian sailors revel on board while the strange ship sits silent. Their girls join them and they try to rouse the other crew. The sea around the Dutchman’s ship begins to seethe and his crew awakens to sing of their accursed captain’s unending search. The Norwegians, terrified, flee. Gloom and silence again envelop the Dutchman’s ship.

Erik pursues Senta and reminds her of her vow to him. The Dutchman overhears and prepares to renounce Senta, committing himself once more to endless torment on the sea. He tells Senta of the fate from which he is sparing her.

But Erik’s cries for help have brought Daland and the townspeople to the scene. The Dutchman finally confirms his identity and prepares to set sail. Senta is restrained by Daland and Erik, but she breaks their grip and rushes to a cliff. Swearing to be true, she throws herself into the sea. All at once the Dutchman’s ship sinks. Senta and the Dutchman can be seen, clasped in each other’s arms, rising over the wreck, transfigured.

ABRIDGED FROM A SYNOPSIS BY GORDON KALTON WILLIAMS SYMPHONY AUSTRALIA © 2008

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Richard Wagner’s great legacy was the system of Leitmotive, or ‘leading motifs’. When fully developed – in operas such as Tristan und Isolde and the Ring cycle – these characteristic musical phrases signify a person, a mood or an idea. Dramatically, the strategy allowed him to associate each emotion with a particular musical expression. Although the technique is still in its earliest form

in The Flying Dutchman, it’s still possible to recognise and follow some principal thematic ideas, all of which are introduced in the overture. In tonight’s production this aural experience is enhanced by S Katy Tucker’s video projections, which mirror and support the key themes with distinctive imagery. And on these pages we offer a taste…

Hearing and Seeing The Flying Dutchman

Wandering Motif

The Dutchman

The Dutchman’s motif is heard at the very beginning of the overture: a horn call (helped along by the bassoons) above a busy flurry of strings.

Dutchman Motif

The Dutchman is a wanderer, tossed on the seas in his ghost ship with its blood red sails, and he yearns for rest. Mixed in with the horn calls and the stormy sound of the sea is an urgent wandering motif.

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MUSICAL THEMES

Redemption

Within the first two minutes, the mood changes completely. The music slows, a kettle drum rumbles, there is a pause. The hymn-like Redemption motif is heard, beginning with a horn, bassoons and the achingly sad sound of the cor anglais. This is music representing the sacrificial love of the eternal woman, as personified by Senta.

Redemption Motif

Immediately after the presentation of this motif, a fourth idea is introduced. This is a Fate motif, played by the horn. But forget the thunderous knocking of Beethoven’s Fifth, or Tchaikovsky’s strident fanfares – Wagner’s Fate motif seems weary, almost resigned.

Fate Motif

Visit the SSO YouTube channel to listen to the first few minutes of the overture with accompanying imagery.

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http://youtu.be/xhnqA099r1A

Seeing with the Ears, Listening with the Eyes – An Artist at Work

‘If you were a fly on the wall of my studio,’ says S Katy Tucker, ‘you’d be very tired of listening to The Flying Dutchman by now!’ For the last two months she’s listened to the opera in full at least two to three times a day. ‘I have to know a piece of music well enough that I can listen to it and anticipate what comes next…that I start to hear the music subconsciously, even when I’m not actively thinking about it.’

Originally a painter, Tucker has always had a deep love of music and theatre. ‘When listening to music, probably like most people, I find myself picturing what it looks like.’ An internship at the Metropolitan Opera sparked a desire to pursue Wagner’s principle of Gesamtkunstwerk (complete work of art). ‘I’m not saying what I create achieves that,’ she says, ‘but I find myself drawn to works that appeal to all the human senses. For me, painting lacked that holistic emotional appeal.’

For a project like this one, Tucker listens to the music while researching imagery, concepts and characters; later she listens to it while following the orchestral score. Although she doesn’t really read music (‘I played piano for seven years, but was not remotely talented!’), following the notes helps her figure out how best to serve the production.

‘My goal in video design is to supplement the music, not overshadow it.’ With the possible exception of her mother, she explains, no one goes to a concert to watch her video – ‘they go to hear the music, so it’s important to keep the focus on the music and find those moments that call for visual enhancement.’

Tucker often begins by drawing and painting, or by creating a storyboard. For Dutchman, she ‘dove in and started compositing imagery’. She also visited Sydney in February so she could shoot water with

‘When listening to music, probably like most people, I find myself picturing what it looks like.’

S KATY TUCKER

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videographer Bruce Ingles. ‘I liked the idea of building from the water shot in Bondi and around Sydney.’ Using a program called After Effects, she then took the water footage and abstracted it and layered it to achieve the feel of the music. Back home in her studio, Tucker also filmed Eric Owens to give another layer to the imagery.

‘Aligning the visual interpretation of the music with the narrative is really about following the music. Particularly with Wagner, he tells you musically what should happen visually.’ Tucker has adopted an approach similar to the leitmotif technique characteristic of Wagner’s later operas. Each character is given a visual world that loosely corresponds to the appearances of their musical themes; the characters and their environments are woven together with the music. ‘The Dutchman isn’t just a man,’ she explains, ‘he’s represented as a myth,

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as something idealised by Senta, as impending doom, as a churning darkness and unrest.’ Similarly, Senta is about redemption, about hope and lightness, but also (for Daland) she represents a source of money and wealth.

All this has been conceived for one of the most iconic venues in the world. ‘As an American,’ says Tucker, ‘the Sydney Opera House is what I picture when I think of Sydney. The sail-inspired architecture is such a strong point of departure and reflects Sydney’s strong relationship with water.’ She initially explored basing some of the video rendering on the Sydney Opera House, before settling on another idea: projecting sails that help draw focus to the hall’s interior and to the grand organ with geometric planes jutting out of the ceiling. The ‘screens’ are based on sails – Tucker’s drawings made into reality by fabricator David Thomas. Also supporting the technical side of Tucker’s vision is Michael Kohler. ‘When you are working on a show of this scale, and with so many cues, and such a short amount of time to realise the production, it’s important to have a collaborator who knows what you want before you do,’ she says. ‘Michael programs the video to do what I’ve designed, so I can focus on the overall stage picture and collaborating with David Robertson.’

This isn’t Tucker’s first collaboration with Robertson. They first worked together in 2012 at Carnegie Hall on Carmina Burana with the Orchestra of St Luke’s. ‘Watching him taught me so much about music and finding the right breaths and moments. Now that I’m immersed in live performance, having the opportunity to work with a conductor like David Robertson is really why I do what I do.’

YVONNE FRINDLE, SYDNEY SYMPHONY © 2013

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The Sea Gives Wagner Music for a Legend

The Flying Dutchman is the earliest Wagner opera to have gained and kept a place in the repertoire. Even after creating the Ring cycle, Tristan und Isolde and Parsifal, Wagner acknowledged his achievement in Dutchman, and was still revising it. Here for the first time Wagner had taken as subject matter a legend: that of the ship’s captain who, in peril, swore by the devil and was condemned to be tossed on the waves until judgement day. The legend imposed itself on Wagner’s consciousness while he too was in peril on the sea, fleeing his musical appointment in Riga to escape his creditors. A storm forced the ship to shelter in a bay on the Norwegian coast, and this became the setting of Wagner’s drama.

According to his reminiscences, Wagner began with two main ideas: one was the sailors’ choruses, evoking the world of the sea. The other was the ballad telling the story of the accursed Dutchman.

These themes are the essence of the musical drama, which to a large extent grows from them. Both capture the power of the sea, as threat and curse, to such an extent that the conservative composer and conductor Franz Lachner complained that the wind blew out at you the moment you opened the score of The Flying Dutchman. The two themes dominate the Overture, described by critic Ernest Newman as ‘the first real sea-picture in music’.

What I had taken to be a continuous line of cliffs turned out on our approach to be a series of separate rocks projecting from the sea. The hurricane was so broken by the rocks in our rear that the further we sailed through this ever-changing labyrinth of projecting rocks, the calmer the sea became. A feeling of indescribable content came over me when the enormous granite walls

Wagner captures the power of the sea to such an extent that one conductor complained ‘the wind blows out at you wherever you open the score’.

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echoed the hail of the crew as they cast anchor and furled the sails. The sharp rhythm of this call clung to me like an omen of good cheer, and shaped itself presently into the seamen’s song in my Fliegende Holländer. The idea of this opera was, even at that time, ever present in my mind, and it now took on a definite poetic and musical colour under the influence of my recent impressions’. Wagner, from My Life

As he made the fateful sea journey in 1839, Wagner had recently read a version of the legend in From the Memoirs of Herr von Schnabelewopski, by Heinrich Heine (1834). Heine’s fictional gentleman recalls attending in Amsterdam a play on the subject of the Flying Dutchman. He mocks the Dutchman’s failure to redeem himself through a faithful woman: ‘Time after time he is glad enough to be saved from marriage, so back he goes to his ship.’ Wagner was later to meet Heine in Paris, where he began to write the Flying Dutchman libretto, and modelled his own journalism on Heine’s lively, witty style.

But Wagner’s reading of Heine’s Flying Dutchman story completely ignores its mockingly ironic tone. Instead, Wagner seized on the new element Heine had added to the old legend: the idea of redemption by a woman. In his autobiography Mein Leben (My Life), written more than 20 years after composing The Flying Dutchman, Wagner acknowledged that Heine’s ‘treatment of the redemption of this Wandering Jew of the ocean…gave me everything at hand for utilising this legend as an operatic subject’. But Wagner also implied that the kernel of Senta’s ballad was his own idea – her vision of herself as the Dutchman’s redeemer through love. He described how ‘a thematic image spread involuntarily before my eyes as a complete web covering the whole drama.’

Wagner seized on the new element Heine had added: …redemption by a woman.

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Have you met the ship at sea With blood-red sails and black mast? On the high deck, the pale man, The master of the ship, keeps endless watch… Yet this pale man may one day find salvation, If he can find a wife, who would remain True to him on this earth, until death!

During the voyage, the ship carrying the Wagners – husband and wife (and their dog Robber) – encountered another, still more violent storm. Richard began to suspect that the crew were blaming him for the threatening disaster, guessing that his need to escape ‘had arisen from suspicious or even criminal circumstances’. His wife Minna ‘expressed the fervent wish to be struck by lightning

Senta sings the ballad of the Flying Dutchman, whose portrait hangs on the wall. Etching by Ferdinand Leeke (1859–1923)

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Click on the audio icon at the bottom of the image to hear the beginning of Senta’s ballad.

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with me rather than to sink, living, into the fearful flood’. Melodramatically, Wagner was identifying with the doomed Dutchman of the legend and casting his wife as the self-sacrificing woman.

The heroine of Heine’s version of the story was called Katharina. Wagner at first named her Minna, a tribute to his wife’s fidelity and her sacrifices for him in Riga and later in Paris. The change of the heroine’s name to Senta prefigures Wagner’s lifelong craving for a blindly loyal, self-sacrificing woman, who would understand his mission intuitively, as Senta does the Dutchman’s: ‘It was the longing of my Flying Dutchman for the woman, not the wife who waited for Odysseus but the redeeming Woman whose character I could not see in any definite form but who was only dimly present in my imagination as the element of Womanhood in principle…let me say it in one word, the Woman of the Future’. Was Cosima, Wagner’s second wife, looking over his shoulder as he wrote this?

Having arrived in his intended destination, Paris, with the sailors’ choruses and Senta’s ballad possibly already sketched, Wagner completed the libretto. It was conceived as a single act. Wagner later explained that this allowed him to confine the drama to the relationships between the principal characters, without troubling about the ‘tiresome accessories’ of traditional opera. But there was another reason at the time: ‘I thought I could rely on a better prospect for the acceptance of my proposed work if it were cast in the form of a one-act opera, such as was frequently given as a curtain-raiser before a ballet at the Grand Opera.’

Wagner’s original prose scenario was purchased by the director of the Paris Opéra, Léon Pillet. But Pillet commissioned the music from one Pierre-Louis Dietsch, who eventually composed an opera based not on Wagner’s scenario, but mainly on a novel by Captain Marryat. It was probably because Le vaisseau fantôme (The Phantom Ship) was appearing on the

…without troubling about the ‘tiresome accessories’ of traditional opera.

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Paris stage in 1842 as rehearsals were beginning in Dresden for Der fliegende Holländer that Wagner changed his setting from the Scottish to the Norwegian coast, with different names for the characters.

Wagner now elaborated the opera in three acts, played without a break. Expecting the opera to be first performed in Berlin, and possibly to suit requirements there, he further broke it into three discrete acts, by repeating the themes which end Act I in the orchestral prelude to Act II, and the same procedure between Acts II and III. (This concession to theatres’ desire for the customary intervals stayed, until the Bayreuth Festival, under Wagner’s widow Cosima, decided in 1901 to restore the one-act version as presenting the work more convincingly as an incipient music drama.)

Wagner had not yet established himself as a composer, and hoped that a Berlin premiere would bring fame throughout Germany. When Berlin disappointed him by postponing The Flying Dutchman, he asked for the return of the score, so that it could be premiered in Dresden to capitalise on the success there of his Rienzi.

Wagner grasped that The Flying Dutchman was both original and convincing. Hence his dismay when the audience in Dresden received the premiere so badly. They had expected something more like the Meyerbeerian spectacle and effects of Rienzi, and were disconcerted by the gloomy subject of The Flying Dutchman – ‘ghastly pallid’ was one comment. In the rush to stage the opera, the sets were taken from existing productions: the cyclorama from Oberon, the hulls of the ships from the ballet Der Seeräuber (The Pirates), the room in Daland’s house from Faust, and the exterior of the house in Act III from William Tell!

Although Wagnerians prefer to regard The Flying Dutchman as the first of Wagner’s music dramas, it can equally be seen as his first successful

At the time of his escape from Riga, and sojourn in Paris from late 1839 to 1842, Wagner was composing Rienzi, a grand, five-act historical opera in the French manner (though written in German) based on the fortunes of Cola di Rienzo, a 14th-century political figure who was reputed to have been the last Roman tribune and champion of liberty in an autocratic age.

Rienzi is a conventional ‘numbers opera’, a succession of closed musical forms: arias, duets, ensembles and choruses, interspersed with ballets and orchestral interludes. In his maturity, Wagner’s music dramas were constructed out of very different materials and with far more exalted aims. As he strove to complete (and to stage) Der Ring des Nibelungen, Tristan und Isolde, Die Meistersinger von Nürnberg and his sacred festival drama Parsifal, Wagner detected, or fancied he could detect, the first inkling of that revolutionary kind of musical theatre in Der fliegende Holländer.

ANDREW RIEMER

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contribution to the line of German Romantic opera. If Rienzi was an imitation of the cosmopolitan – which in 1842 meant Parisian – style, then The Flying Dutchman’s predecessors were The Magic Flute, Der Freischütz and Fidelio. With Mozart’s entertainment it has in common myth, with Weber’s a folk tale and with Beethoven’s, an anticipation of ‘redemption by love’ in the selfless devotion of Leonore, saving her husband. Wagner was first swept away by Fidelio in 1829, when he saw as Beethoven’s heroine the singer who was to be the first Senta, Wilhelmine Schröder-Devrient.

But it was Beethoven’s symphonic writing from which Wagner learnt most. In ‘A Pilgrimage to Beethoven’ (1840) he makes Beethoven say: ‘I am no opera composer…Any opera that I would write after my own heart would make people run away. Operas today are patched together out of arias, duets, and

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Portrait of Wagner, painted by Ernst August Becker in 1843, the year of the Flying Dutchman premiere.

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terzettos, which I would replace by music no singer would want to perform and no audience would want to hear…why should not vocal music be regarded as equally great and serious as instrumental music?’

Wagner also has Beethoven say of the Ninth Symphony that the Ode to Joy of Schiller is a very uplifting poem, yet a long way from expressing the ideas represented in the music. This is what was in Wagner’s mind when he wrote the libretto for The Flying Dutchman: a new art in which music would be fertilised by poetry, by the dramatic elucidation of the emotions implicit in the music. Wagner’s musical language wasn’t yet able to keep pace with his dramatic instincts, and what he had to keep, of arias and ensembles, does not always sit comfortably with the originality of the overall unity of conception, and the enhanced role of the orchestra, using a symphonically inspired interweaving of motives for reminiscence and dramatic development.

The Flying Dutchman can be successfully staged, but the intense and largely static encounters of Senta and the Dutchman, where all the focus is on the character’s emotions, require no conventional stage poses and gestures, as Wagner’s perceptive instructions to the actors show.

The power of the seascapes, and the evocation of a brooding and doom-fraught atmosphere more than compensate for The Flying Dutchman’s more conventional passages, when allied to the psycho-logically acute characterisation of the Dutchman in his encounters with Daland and above all Senta. In a sense the whole scenario is a realised projection of Senta’s inner world, fixated on the picture of the legendary Dutchman, but it is also true that Wagner was already a master dramatist, well able to make the bursting of the Dutchman into Senta’s real life a thing of flesh and blood.

DAVID GARRETT © 2013

Wagner insists that when the Dutchman and Senta are left alone together, they should stand perfectly still. The performers should not be afraid this will be wearisome to the audience, he says – experience had shown him that this very immobility impresses the opera-goer, and is memorable.

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A DEMONIC DUTCHMAN

In 1839, hounded by the Prussian authorities, Wagner found a ship’s captain willing to sail him to London without a passport (shades of Edward Snowden). His dangerous voyage via Norwegian fjords inspired the greatest sea opera in the repertoire, and lent the Dutchman what Wagner called its ‘distinctive, strange colouring’. A recent video recording that puts the maritime firmly back into these dramas is Martin Kušej’s striking 2011 staging for the Netherlands Opera, with Juha Uusitalo as a demonic Dutchman.OPUS ARTE OABD7084D (DVD & BLU-RAY)

The gothic horror element of the Dutchman also makes it one of the most gripping grand operas for young adults. Naxos has accordingly produced an attractive budget disc in its Opera Explained series: Wagner The Flying Dutchman. NAXOS 8558013

Watch Ian Campbell, Australian-born opera singer and long-serving director of San Diego Opera, in a fascinating 2002 UC-TV open-access documentary introducing his company’s production. Visit YouTube.com and search for “San Diego Opera Spotlight: Wagner’s The Flying Dutchman”.

READING THE DUTCHMAN

The earliest reference to the mystery ship The Flying Dutchman has a Sydney twist! It appears in a book entitled A Voyage to New South Wales, published in London in 1795, written by George Barrington. Call up the title in Google books, and search on “Flying Dutchman” to find the passage. You can also read the earliest fictionalised version of the story, first published in 1821 – just search on the word string “She was an Amsterdam vessel and sailed from port seventy years ago”.

’43 OPERAS

Wagner conducted the premiere of The Flying Dutchman in Dresden in 1843. That same year his exact contemporary Giuseppe Verdi (both of them born 200 years ago) embarked on what he dubbed his ‘galley years’ – a decade of musical servitude in which he churned out a new opera every 8 months. First up in 1843 was I Lombardi, a very different type of opera from Dutchman, but full of luminous tunes. Exactly a century later, in 1943, this year’s other composer-centenarian, Benjamin Britten (born 100 years ago) embarked on the score of his own oceanic-operatic mystery Peter Grimes. You can’t go past Britten’s own 1958 Covent Garden recording, with Australian contralto Lauris Elms as Grimes’s chief accuser, Mrs Sedley.DECCA 475 7713 (2CD)

Broadcast DiaryAugust

abc.net.au/classic

Saturday 10 August, 8pmlisa gasteen returnsSimone Young conductor Lisa Gasteen sopranoWagner, Bruckner

Friday 23 August, 8pmadams conducts adamsJohn Adams conductor Leila Josefowicz violin Timothy McAllister sopranoBeethoven, Adams, Respighi

Monday 26 August, 1.05pmjoyce yang in recitalJoyce Yang pianoBartók, Schumann, Rachmaninoff, Chopin

Friday 30 August, 1.05pmselby plays mozartRoger Benedict conductor Kathryn Selby pianoSchreker, Mozart

Fine Music 102.5sydney symphony 2013Tuesday 13 August, 6pmMusicians, staff and guest artists discuss what’s in store in our forthcoming concerts.

Webcasts

Selected Sydney Symphony concerts are webcast live on BigPond and Telstra T-box and made available for later viewing On Demand. Our most recent webcast:verdi’s requiem

Visit: bigpondmusic.com/sydneysymphonyLive webcasts can also be viewed on our free mobile app, now optimised for the iPad

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http://youtu.be/0pTX2-iXm5ghttp://youtu.be/0pTX2-iXm5ghttp://books.google.com.au/books%3Fid%3DenQZJwJWTWcC%26printsec%3Dfrontcover%26dq%3DBarrington%2B%2522A%2Bvoyage%2522%26hl%3Den%26sa%3DX%26ei%3DGOjlUa_UGcq3kgWh4YDYBA%26ved%3D0CDYQ6AEwAQ%23v%3Donepage%26q%3D%2522Flying%2520Dutchman%2522%26f%3Dfalsehttp://books.google.com.au/books%3Fid%3DenQZJwJWTWcC%26printsec%3Dfrontcover%26dq%3DBarrington%2B%2522A%2Bvoyage%2522%26hl%3Den%26sa%3DX%26ei%3DGOjlUa_UGcq3kgWh4YDYBA%26ved%3D0CDYQ6AEwAQ%23v%3Donepage%26q%3D%2522Flying%2520Dutchman%2522%26f%3Dfalsehttp://books.google.com.au/books%3Fid%3DHN-xPYkeSJ8C%26pg%3DPA238%26lpg%3DPA238%26dq%3D%2522She%2Bwas%2Ban%2BAmsterdam%2Bvessel%2Band%2Bsailed%2Bfrom%2Bport%2Bseventy%2Byears%2Bago%25E2%2580%259D%2522%26source%3Dbl%26ots%3DbPGi36tVw9%26sig%3D_dBu8U0wwjUAJzJYZO0SQMAIDcM%26hl%3Den%26sa%3DX%26ei%3Dy-flUaP-JqLeigesr4GIAg%26ved%3D0CEcQ6AEwAw%23v%3Donepage%26q%3D%2522She%2520was%2520an%2520Amsterdam%2520vessel%2520and%2520sailed%2520from%2520port%2520seventy%2520years%2520ago%25E2%2580%259D%2522%26f%3Dfalsehttp://books.google.com.au/books%3Fid%3DHN-xPYkeSJ8C%26pg%3DPA238%26lpg%3DPA238%26dq%3D%2522She%2Bwas%2Ban%2BAmsterdam%2Bvessel%2Band%2Bsailed%2Bfrom%2Bport%2Bseventy%2Byears%2Bago%25E2%2580%259D%2522%26source%3Dbl%26ots%3DbPGi36tVw9%26sig%3D_dBu8U0wwjUAJzJYZO0SQMAIDcM%26hl%3Den%26sa%3DX%26ei%3Dy-flUaP-JqLeigesr4GIAg%26ved%3D0CEcQ6AEwAw%23v%3Donepage%26q%3D%2522She%2520was%2520an%2520Amsterdam%2520vessel%2520and%2520sailed%2520from%2520port%2520seventy%2520years%2520ago%25E2%2580%259D%2522%26f%3Dfalsehttp://bigpondmusic.com/sydneysymphony

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David Robertson conductor S Katy Tucker video and projections designer

Ain Anger Daland

Orla Boylan SentaEric Owens The Dutchman

John Daszak Erik

John Tessier The Steersman Sally-Anne Russell Mary

David Robertson CONDUCTOR

American conductor David Robertson is a compelling and passionate communicator whose stimulating ideas and music-making have captivated audiences and musicians alike, and he has established strong relationships with major orchestras throughout Europe and North America. He begins his tenure as Chief Conductor of the Sydney Symphony Orchestra in 2014.

He is currently Music Director of the Saint Louis Symphony Orchestra (since 2004). Other titled posts have included Principal Guest Conductor of the BBC Symphony Orchestra (2006–2012), Music Director of the Orchestre National de Lyon and resident conductor of the Jerusalem Symphony Orchestra. A recognised expert in 20th- and 21st-century music, he has also been Music Director of the Ensemble Intercontemporain in Paris – where composer and conductor Pierre Boulez was an early supporter – and his discography includes works by such composers as Adams, Bartók, Boulez, Carter, Ginastera, Milhaud and Reich. He is also a champion of young musicians, devoting time to working with students and young artists.

In the 2012–2013 season he appeared with the New York Philharmonic, Los Angeles Philharmonic, San Francisco Symphony and at the Metropolitan Opera, and in Europe with the Royal Concertgebouw Orchestra, Vienna Radio Symphony Orchestra, Bavarian Radio Symphony Orchestra, Israel

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Philharmonic and Ensemble Intercontemporain. Last year he also toured Europe with the SLSO and violinist Christian Tetzlaff.

His awards and accolades include Musical America Conductor of the Year (2000), Columbia University’s 2006 Ditson Conductor’s Award, and, with the SLSO, the 2005–06 ASCAP Morton Gould Award for Innovative Programming. In 2010 he was elected a Fellow of the American Academy of Arts and Sciences, and in 2011 a Chevalier de l’Ordre des Arts et des Lettres.

He was born in Santa Monica, California, and educated at the Royal Academy of Music in London, where he studied French horn and composition before turning to conducting. He is married to pianist Orli Shaham.

David Robertson made his Australian debut with the Sydney Symphony in 2003 and since then has appeared regularly with the orchestra, most recently in 2012 when he conducted two programs of music ranging from Adès and Mackey to Mozart and Tchaikovsky.

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PIANO CONCERTO NO.2TCHAIKOVSKYRecorded live, leading pianist Garrick Ohlsson performs the original version of Tchaikovsky’s second piano concerto. Vladimir Ashkenazy conducts.

Available at sydneysymphony.com/shop

Purchase it now for just $25*

*Handling & postage $7

NEW LIVE CD JUST RELEASED!

S Katy Tucker VIDEO & PROJECTIONS DESIGNER

skatytucker.com

Based in Brooklyn, New York, Katy Tucker began her career as a painter and video installation artist, exhibiting in such galleries as the Corcoran Museum in Washington, DC, and Artists’ Space in New York City. As her installations became more theatrical, she shifted her focus toward the stage. Katy is a member of Wingspace, a collective of artists, designers, writers and thinkers committed to the practice of collaboration in theatrical design.

Since 2005, she has worked in opera, theatre and dance with companies including Brooklyn Academy of Music, New York City Ballet, San Francisco Opera, Teatro Amazonas and Wolf Trap Opera, and she has collaborated with such musicians as John Zorn and

Jeffrey Ziegler of the Kronos Quartet. Recently she designed Paul McCartney’s Ocean’s Kingdom for New York City Ballet, Wagner’s Götterdämmerung in Francesca Zambello’s Ring cycle, and created a 3D spectacle for Orff’s Carmina Burana at Carnegie Hall with conductor David Robertson. This season’s projects include Listen, Quiet with choreographer Lar Lubovitch and composer Paola Prestini, The Aging Magician with director Julian Crouch, and Excalibur, a new musical by Frank Wildhorn directed by Zambello in St Gallen, Switzerland. Her lighting designs will also feature in the San Francisco Opera’s Flying Dutchman in October.

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Eric Owens BARITONE

A native of Philadelphia, Eric Owens studied piano and oboe before turning to voice as an undergraduate at Temple University, and later at the Curtis Institute of Music. He currently studies with Armen Boyajian, and is a trustee of the National Foundation for Advancement in the Arts. Having created the role of General Leslie Groves in the 2005 premiere of John Adams’ Doctor Atomic at San Francisco Opera, he also appears in the Metropolitan Opera’s 2011 Grammy award-winning DVD recording of the opera.

In recent seasons he has appeared as Ramfis in Verdi’s Aida at San Francisco Opera, and in the title role of Peter Sellars’ new production of Handel’s Hercules at Lyric Opera of Chicago. He made his Ring debut as Alberich in the new Robert Lepage production of Das Rheingold, conducted by James Levine, on the opening night of the Metropolitan Opera’s 2010–11 season, and continued in the role over the past two seasons in the final instalments of Lepage’s Met cycle, Siegfried and Götterdämmerung. As artist-in-residence at Francesca Zambello’s 2012 Glimmerglass Festival, he starred in Aida and Kurt Weill’s Lost in the Stars. Earlier this month he sang Bach and Shostakovich in Peter Sellars’ new stage work Michelangelo Sonnets at the Manchester International Festival.

Orla Boylan SOPRANO

Irish soprano Orla Boylan has made her name playing Slavonic heroines. After Tatyana in Tchaikovsky’s Eugene Onegin in Baden Baden and Paris, the title roles in Janáček’s Jenůfa and Katya Kabanova took her to Berlin’s Deutsche Oper Berlin, Hamburg State Opera, Oper Köln, Opéra de Lyon and Glyndebourne. She was Blanche Dubois in Previn’s A Streetcar Named Desire for Opera Ireland, Madame Lidoine in Poulenc’s Carmelites for English National Opera, and Ellen in Britten’s Peter Grimes for West Australian Opera. She received a 2007 Helpmann award for creating the role of Procne in the Perth Festival’s premiere of Richard Mills’ Love of the Nightingale.

Heralding a move toward dramatic repertoire, last year she made her role debut as Senta in The Flying Dutchman for English National Opera, and as Chrysothemis in Strauss’s Elektra for West Australian Opera. She has also performed Wagner and Strauss roles for the Salzburg Festspiele, Teatro Communale di Bologna, and Garsington Opera. Concert appearances have included scenes from Berg’s Wozzeck (Royal Liverpool Philharmonic Orchestra, under Andrew Davis) and Strauss’s Four Last Songs (Hallé Orchestra, Mark Elder). This March she appeared in Britten’s War Requiem with the Auckland Philharmonia, and in September she will sing Senta again for NBR New Zealand Opera.

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Ain Anger BASS

Having first studied physics and mathematics, Estonian Ain Anger commenced his vocal training at Tallinn’s Academy of Music in 1996. After launching his professional singing career in Estonia, he worked with Leipzig Opera, and then joined the Vienna State Opera in 2004, making his debut there as Monterone in Verdi’s Rigoletto. He has sung more than 40 roles with the Vienna company, most recently as Pogner in Wagner’s Meistersinger (under Simone Young), Fiesco in Verdi’s Simon Boccanegra and Orest in Strauss’s Elektra. He also appeared in the 2012–13 season at Berlin’s Deutsche Oper, La Scala Milan, and Barcelona’s Liceu, and returned home to sing Mephistopheles in Gounod’s Faust for the Estonian National Opera.

In 2009 he made his Bayreuth Festival debut as Fafner in Rheingold and Siegfried, and has recently sung in new productions of Wagner’s Walküre at Bavarian State Opera (under Kent Nagano) and Frankfurt Opera (Sebastian Weigle). In concert, he has appeared with orchestras in New York, Cleveland, Stockholm and Tokyo under conductors including Lorin Maazel, Seiji Ozawa, Zubin Mehta, Riccardo Muti and Esa-Pekka Salonen. With the San Francisco Symphony he has recently sung in both Beethoven’s Missa Solemnis (under Michael Tilson Thomas) and Verdi’s Requiem (James Conlon).

John Daszak TENOR

A graduate of London’s Guildhall School of Music and Drama, Manchester’s Royal Northern College of Music and Italy’s Accademia d’Arte Lirica, John Daszak made his debut at English National Opera as Steva in Janáček’s Jenůfa, followed by appearances at Welsh National Opera, again as Steva and in the title role of Britten’s Peter Grimes.

He has appeared as Adolar (Weber’s Euryanthe) at Glyndebourne, and for the ENO as Achilles (Tippett’s King Priam), Dimitri (Mussorgsky’s Boris Godunov) and Pierre (Prokofiev’s War and Peace). This season he sings his first Siegfried in Wagner’s Götterdämmerung in São Paulo, Brazil, as well as appearing in Mussorgsky’s Khovanshchina for Oper Frankfurt and Weill’s Mahagonny at Berlin’s Komische Oper. He has also appeared for the Vienna State Opera as Aron in Schoenberg’s Moses und Aron, and at the Opéra de Paris as Boris in Janáček’s Katya Kabanova.

His discography includes Respighi’s La campana sommersa and Spoletta in Verdi’s Tosca on CD, and on DVD Pfitzner’s Palestrina (Bavarian State Opera, Simone Young) and Wagner’s Rheingold (Zubin Mehta). Under David Robertson, he was Vere in Britten’s Billy Budd at the Metropolitan Opera.

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John Tessier TENOR

Canadian John Tessier began his operatic training in the vocal program at the University of Colorado. Acclaimed performances in Handel’s Acis and Galatea for Glimmerglass and New York City Opera were followed by European debuts in oratorio and lyric tenor roles. In recent seasons he has made his South American debut as Don Ottavio in Don Giovanni for Teatro Colón, his Netherlands Opera debut as John F. Kennedy in the premiere of Robin de Raaff’s Waiting for Miss Monroe, and with Boston Lyric Opera as the Count in Rossini’s Barber of Seville.

In the current season he appears in Cherubini’s Médée at the Théâtre des Champs-Elysées, Saint-Saëns’s Henry VIII with the Bard Festival, and Beethoven’s Fidelio with Seattle Opera. Last Easter he sang the Evangelist in Bach’s Matthew Passion with Iván Fischer and the Orchestra of St Luke’s at Carnegie Hall, and in April made his Vienna State Opera debut as Tonio in Donizetti’s Daughter of the Regiment. He has previously sung the Steersman in The Flying Dutchman at Covent Garden in 2011, under the baton of Jeffrey Tate. In August he also takes up a new teaching position on the vocal faculty of Alberta University.

Sally-Anne Russell MEZZO

Sally-Anne Russell regularly performs with all the Australian opera companies, symphony orchestras, major festivals and choral societies. She has also recorded extensively, including an ARIA Award-winning release of Pergolesi’s Stabat Mater.

Her recent appearances include Carmen (Opera Queensland), Falstaff (West Australian Opera), La Sonnambula and Orpheus in the Underworld (State Opera of South Australia), Das Rheingold (Auckland Philharmonia Orchestra), Mozart’s Requiem (Adelaide Symphony Orchestra), Messiah (Melbourne Perth, Tasmania and Christchurch), St John Passion (Adelaide, Melbourne and Sydney), Bach’s Magnificat (Adelaide Symphony Orchestra), Bach’s B Minor Mass (Melbourne and Sydney), Beethoven’s Ninth Symphony (Sydney and Tasmanian symphony orchestras), and Mahler’s Songs of a Wayfarer and Fourth Symphony (Tasmanian Symphony Orchestra, Orchestra Victoria). In addition she has performed for the Adelaide and Brisbane festivals, Musica Viva, Australian String Quartet and a ninth season at the Carmel Bach Festival in California. She has also given recitals for ABC Classic FM, as well as in Sydney with Tony Legge, and in Singapore and the United States.

This season, Sally-Anne Russell performs in John Adams’ Nixon in China (Victorian Opera), Mozart’s Requiem and Beethoven’s Ninth (Melbourne Symphony Orchestra), Mahler’s Rückert-Lieder and Songs of a Wayfarer (Melbourne Recital Centre), Art Gallery of NSW, Messiah (Sydney Philharmonia) and will be recording with Auckland Philharmonia.

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Formed in 1920, Sydney Philharmonia Choirs is Australia’s largest choral org-anisation. The three principal choirs – the Chamber Singers, Symphony Chorus and the young adult choir VOX – perform a diverse repertoire each year, ranging from early a cappella works to challenging contemporary music. Sydney Philharmonia Choirs presents an annual concert series of choral masterpieces, and has premiered several commissioned works, most recently Andrew Ford’s Waiting for the Barbarians and Rautavaara’s Missa a Cappella. In 2002, Sydney Philharmonia was the first Australian choir to sing at the BBC Proms (Mahler’s Eighth Symphony

under Simon Rattle), returning again in 2010. Other highlights have included Britten’s War Requiem at the 2007 Perth Festival and Semele Walk at the 2013 Sydney Festival. Appearances with the Sydney Symphony have included Mahler’s Eighth for the Olympic Arts Festival (2000), Stravinsky’s Oedipus Rex and Symphony of Psalms, ‘Midsummer Shakespeare’ and 2001: A Space Odyssey (Sydney Festival), the choral symphonies in Vladimir Ashkenazy’s Mahler Odyssey (2010–11), Sibelius’s Kullervo, the Lord of the Rings trilogy, and concert performances of Tchaikovsky’s Queen of Spades, conducted by Ashkenazy.

Brett Weymark music director

Brett Weymark studied singing at the University of Sydney and conducting at the Sydney Conservatorium. In 2003 he was appointed Musical Director of Sydney Philharmonia Choirs. He has conducted the choirs in premieres of works by composers such as Elena Kats-Chernin and Peter Sculthorpe, and has also prepared the choirs for concerts with conductors such as Charles Mackerras, Charles Dutoit and Simon Rattle. In 2012 he conducted Symphony in the Domain for the Sydney Festival, a new production of Mozart’s Don Giovanni for OzOpera and the Australian premiere of Goetz’s Taming of the Shrew for the Western Australian Academ yof Performing Arts. This year he has conducted the Hong Kong Philharmonic Orchestra, performed Handel’s Theodora in Canberra and will return to WAAPA to conduct a concert of French and English music.

Sydney Philharmonia Choirs

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To find out about Sydney Philharmonia concerts or joining one of the choirs, visit www.sydneyphilharmonia.com.au

Brett Weymark Music Director Atul Joshi General Manager Elizabeth Scott Music Director, VOX Anthony Pasquill Assistant Chorus Master David Taylor Assistant Chorus MasterRehearsal pianists Josephine Allan, Michael CurtainLanguage coach Anke Ryan

SOPRANOS

Shelley Andrews Georgina Bitcon Anne Blake Jodie Boehme Nikki Bogard Megan Boundey Lisa Clews Anne Cooke Pam Cunningham Catherine De Luca Soline Epain-Marzac Natalie Fisher Christine Fulcher Caroline Gude Laura Keller Karolina Kulczynska Yvette Leonard Carolyn Lowry Lyanne Macfarlane Bernadette Mitchell Lindsey Paget-Cooke Dympna Paterson Jane Prosser Marina Rados Georgia Rivers Natasha Roberts Allison Rowlands Meg Shaw Sarah Thompson Brandi Veretto Jacqui Wilkins

ALTOS

Amanda Baird Mallika Bender Katie Blake Jan Borrie Gae Bristow Heather Burnett Ruth Collerson Claire Duffy Alison Dutton Ruth Edenborough Helen Esmond Phoebe Ferguson Penny Gay Linda Gerryts Rebecca Gladys-Lee Sue Harris Kathryn Harwood Vesna Hatezic Helen Hughson Sanne Hulst Emi Kubota Rachel Maiden Tijana Miljovska Susannah Russell Johanna Segall Jan Shaw Megan Solomon Therese Stafford Natasja Stul Noriko Yamanaka

TENORS

Patrick Blake Paul Boswell Simon Cadwallader Daniel Comarmond Robert Elliott Denys Gillespie Andrew Guy Steven Hankey Rob Hansen* Jude Holdsworth Ben Hurley Keyan Karroobee David Larkin Selwyn Lemos Vincent Lo Thomas MacDonald Adam Majsay* Juan Martin Marangoni Jareth Norman Joshua Oxley* George Panaretos Joel Roast* Richard Sanchez* Rajah Selvarajah* Ian Seppelt Daniel Sloman Martin Stebbings Joseph Toltz* Alex Walter Michael Warby* Richard Wheeldon Mark Wong Chamberlain Zhang

BASSES

Bryan Banston Simon Boileau Peter Callaghan Edwin Carter Gordon Cheng Julian Coghlan Daryl Colquhoun Robert Cunningham Nicholas Davison* Graham Dick Timothy Dunstone David Faulkner Tom Forrester-Paton Franco Freda Ashley Giles* Eric Hansen Simon Harris David Hidden* David Jacobs Timothy Jenkins Alexander Knight* Martin Kuskis Simon Masterton* Sebastien Maury* Anthony Pasquill Ian Pettener Sam Piper* Andrew Raftery Tim Storer Antony Strong Nicholas Tong Dallas Watts* Arthur Winckler David Wood Ken Zhang

* SP Voices

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http://www.sydneyphilharmonia.com.au

Vladimir AshkenazyPrincipal Conductor and Artistic Advisor supported by Emirates

Dene OldingConcertmaster

Jessica CottisAssistant Conductor supported by Premier Partner Credit Suisse

Andrew HaveronConcertmaster

To see photographs of the full roster of permanent musicians and find out more about the orchestra, visit our website: www.sydneysymphony.com/SSO_musicians

The men of the Sydney Symphony are proudly outfitted by Van Heusen.

FIRST VIOLINS

Dene Olding Concertmaster

Sun Yi Associate Concertmaster

Kirsten Williams Associate Concertmaster

Fiona Ziegler Assistant Concertmaster

Julie BattyJennifer Booth Sophie Cole Amber Davis Jennifer Hoy Georges Lentz Alexandra Mitchell Alexander Norton Léone Ziegler Julia Broom* Belinda Jezek* Martin Silverton* Lisa Stewart* Marianne Broadfoot Brielle Clapson Nicola Lewis

SECOND VIOLINS

Kirsty Hilton Marina Marsden Emma Jezek A/ Associate Principal

Emily Long A/ Associate Principal

Emma HayesStan W Kornel Benjamin Li Nicole Masters Philippa Paige Biyana Rozenblit Maja Verunica Rebecca Gill† Monique Irik* Kelly Tang† Susan Dobbie Principal Emeritus

Maria Durek Shuti Huang

VIOLAS

Roger Benedict Tobias Breider Anne-Louise Comerford Justin Williams Assistant Principal

Robyn BrookfieldSandro Costantino Jane Hazelwood Stuart Johnson Leonid Volovelsky Jacqueline Cronin* Rosemary Curtin* Nicole Greentree† Graham Hennings Justine Marsden Felicity Tsai Amanda Verner

CELLOS

Catherine Hewgill Leah Lynn Assistant Principal

Kristy ConrauTimothy Nankervis Elizabeth Neville Christopher Pidcock Adrian Wallis David Wickham Anna Pokorny James sang-oh Yoo† Fenella Gill

DOUBLE BASSES

Kees Boersma Alex Henery Neil Brawley Principal Emeritus

David Campbell Steven Larson Richard Lynn David Murray Josef Bisits* Benjamin Ward

FLUTES

Janet Webb Emma Sholl Carolyn HarrisRosamund Plummer Principal Piccolo

OBOES

Diana Doherty David PappAlexandre OgueyPrincipal Cor Anglais

Shefali Pryor

CLARINETS

Lawrence Dobell Francesco Celata Christopher TingayCraig Wernicke Principal Bass Clarinet

BASSOONS

Matthew Wilkie Jack Schiller†° A/ Associate Principal

Fiona McNamaraNoriko Shimada Principal Contrabassoon

HORNS

Robert Johnson Geoffrey O’Reilly Principal 3rd

Euan HarveyMarnie Sebire Rachel Silver Milen Boubbov* Brendan Parravicini† Gillian Williams*Ben Jacks

TRUMPETS

Paul Goodchild Anthony HeinrichsDavid Elton

TROMBONES

Ronald Prussing Nick ByrneChristopher Harris Principal Bass Trombone

Scott Kinmont

TUBA

Steve Rossé

TIMPANI

Richard Miller

PERCUSSION

Colin Piper Mark Robinson Rebecca Lagos

HARP

Louise Johnson

Bold = PrincipalItalics = Associate Principal° = Contract Musician* = Guest Musician† = Sydney Symphony FellowGrey = Permanent member of the Sydney Symphony not appearing in this concert

Sydney Symphony Orchestra

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Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony has evolved into one of the world’s finest 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 the 2012 tour to China.

The Sydney Symphony’s first 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, Zdeněk Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. David Robertson will take up the post of Chief Conductor in 2014. The orchestra’s history also boasts collaborations with legendary figures 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 orchestra 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 the orchestra’s 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. In 2010–11 the orchestra made concert recordings of the complete Mahler symphonies with Ashkenazy, and has also released recordings of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, as well as numerous recordings on the ABC Classics label.

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

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Our Story

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MANAGING DIRECTOR

Rory JeffesEXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONS

DIRECTOR OF ARTISTIC PLANNING

Peter Czornyj

Artistic AdministrationARTISTIC ADMINISTRATION MANAGER

Eleasha MahARTIST LIAISON MANAGER

Ilmar LeetbergRECORDING ENTERPRISE MANAGER

Philip Powers

Education ProgramsHEAD OF EDUCATION

Kim WaldockEMERGING ARTISTS PROGRAM MANAGER

Mark LawrensonEDUCATION COORDINATOR

Rachel McLarinCUSTOMER SERVICE OFFICER

Derek Reed

LibraryAnna CernikVictoria GrantMary-Ann Mead

ORCHESTRA MANAGEMENT

DIRECTOR OF ORCHESTRA MANAGEMENT

Aernout KerbertORCHESTRA MANAGER

Chris LewisORCHESTRA COORDINATOR

Georgia StamatopoulosOPERATIONS MANAGER

Kerry-Anne CookPRODUCTION MANAGER

Laura DanielPRODUCTION COORDINATOR

Tim DaymanPRODUCTION COORDINATOR

Ian Spence

SALES AND MARKETING

DIRECTOR OF SALES & MARKETING

Mark J ElliottSENIOR SALES & MARKETING MANAGER

Penny EvansMARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-MeatesMARKETING MANAGER, CLASSICAL SALES

Matthew RiveMARKETING MANAGER, WEB & DIGITAL MEDIA

Eve Le GallMARKETING MANAGER, DATABASE & CRM

Matthew HodgeDATA ANALYST

Varsha KarnikGRAPHIC DESIGNER

Lucy McCulloughCREATIVE ARTWORKER

Nathanael van der Reyden

Sydney Symphony Staff

MARKETING COORDINATOR

Jonathon SymondsONLINE MARKETING COORDINATOR

Jenny Sargant

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlinBOX OFFICE SYSTEMS SUPERVISOR

Jacqueline TooleyBOX OFFICE BUSINESS ADMINISTRATOR

John RobertsonCUSTOMER SERVICE REPRESENTATIVES

Steve Clarke – Senior CSRMichael DowlingAmy Walsh

COMMUNICATIONS

HEAD OF COMMUNICATIONS & SPONSOR RELATIONS

Yvonne ZammitPUBLIC RELATIONS MANAGER

Katherine StevensonCOMMUNICATIONS COORDINATOR

Janine HarrisDIGITAL CONTENT PRODUCER

Kai RaisbeckFELLOWSHIP SOCIAL MEDIA OFFICER

Caitlin Benetatos

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

DEVELOPMENT

DIRECTOR OF DEVELOPMENT

Caroline SharpenHEAD OF CORPORATE RELATIONS

Jeremy GoffHEAD OF MAJOR GIFTS

Luke Andrew GayDEVELOPMENT MANAGER

Amelia Morgan-HunnDEVELOPMENT COORDINATOR

Sarah Morrisby

BUSINESS SERVICES

DIRECTOR OF FINANCE

John HornFINANCE MANAGER

Ruth TolentinoACCOUNTANT

Minerva PrescottACCOUNTS ASSISTANT

Emma FerrerPAYROLL OFFICER

Laura Soutter

HUMAN RESOURCES

HEAD OF HUMAN RESOURCES

Michel Maree Hryce

John C Conde ao ChairmanTerrey Arcus amEwen Crouch amRoss GrantJennifer HoyRory JeffesAndrew Kaldor amIrene LeeDavid LivingstoneGoetz Richter

Sydney Symphony Board

Sydney Symphony Council

Geoff Ainsworth amAndrew Andersons aoMichael Baume aoChristine BishopIta Buttrose ao obePeter CudlippJohn Curtis amGreg Daniel amJohn Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood ao obeDr Michael Joel amSimon JohnsonYvonne Kenny amGary LinnaneAmanda LoveHelen Lynch amDavid MaloneyDavid Malouf aoJulie Manfredi-HughesDeborah MarrThe Hon. Justice Jane Mathews aoDanny MayWendy McCarthy aoJane MorschelGreg ParamorDr Timothy Pascoe amProf. Ron Penny aoJerome RowleyPaul SalteriSandra SalteriJuliana SchaefferLeo Schofield amFred Stein oamGabrielle TrainorIvan UngarJohn van OgtropPeter Weiss ao HonDLittMary WhelanRosemary White

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PROGRAM

WELCOME

BEHIND THE SCENES

Maestro’s CirclePeter William Weiss ao – Founding President & Doris WeissJohn C Conde ao – ChairmanGeoff Ainsworth am & Vicki Ainsworth Tom Breen & Rachael KohnIn memory of Hetty & Egon GordonAndrew Kaldor am & Renata Kaldor aoRoslyn Packer ao

Penelope Seidler amMr Fred Street am & Mrs Dorothy StreetWestfield GroupBrian & Rosemary WhiteRay Wilson oam in memory of the late James Agapitos oam

Sydney Symphony Corporate AllianceTony Grierson, Braithwaite Steiner PrettyInsurance Australia GroupJohn Morschel, Chairman, ANZ

01 Roger Benedict Principal Viola Kim Williams am & Catherine Dovey Chair

02 Lawrence Dobell Principal Clarinet Anne Arcus & Terrey Arcus am Chair

03 Diana Doherty Principal Oboe Andrew Kaldor am & Renata Kaldor ao Chair

04 Richard Gill oam Artistic Director Education Sandra & Paul Salteri Chair

05 Catherine Hewgill Principal Cello The Hon. Justice AJ & Mrs Fran Meagher Chair

06 Robert Johnson Principal Horn James & Leonie Furber Chair

07 Elizabeth Neville Cello Ruth & Bob Magid Chair

08 Colin Piper Percussion Justice Jane Mathews ao Chair

09 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

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

Directors’ Chairs

01 02 03 04 05

06 07 08 09

Sydney Symphony VanguardVanguard CollectiveJustin Di Lollo – ChairKees Boersma Marina Go David McKean Amelia Morgan-Hunn Jonathan Pease Seamus R Quick

Benoît Cocheteux George Condous Michael Cook Paul Cousins Justin Di Lollo Rose Gallo Alistair Gibson Sam Giddings Marina Go Sebastian Goldspink Rose Herceg Paolo Hooke Peter Howard Jennifer Hoy Scott Jackson Damian Kassagbi

MembersCentric Wealth Matti Alakargas James Armstrong Stephen Attfield Damien Bailey Andrew Baxter Mar Beltran Kees Boersma Andrew Bragg Peter Braithwaite Andrea Brown Ian Burton Jennifer Burton Hahn Chau Alistair Clark Matthew Clark

Jingmin Qian Seamus R Quick Leah Ranie Michael Reede Chris Robertson Emma Rodigari Jacqueline Rowlands Bernard Ryan Katherine Shaw Randal Tame Adam Wand Jon Wilkie Jonathan Watkinson Darren Woolley Misha Zelinsky

Aernout Kerbert Antony Lighten Gary Linnane Paul Macdonald David McKean Hayden McLean Amelia Morgan-Hunn Phoebe Morgan-Hunn Tom O’Donnell Taine Moufarrige Hugh Munro Fiona Osler Julia Owens Archie Paffas Jonathan Pease

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SYDNEY SYMPHONY PATRONS

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. Donations of $50 and above are acknowledged on our website at www.sydneysymphony.com/patrons

Platinum Patrons $20,000+Brian Abel Robert Albert ao & Elizabeth Albert Geoff Ainsworth Terrey Arcus am & Anne Arcus Tom Breen & Rachael Kohn Sandra & Neil Burns Mr John C Conde ao Robert & Janet Constable Michael Crouch ao & Shanny Crouch James & Leonie Furber Dr Bruno & Mrs Rhonda Giuffre In memory of Hetty & Egon Gordon Mr Andrew Kaldor am & Mrs Renata Kaldor ao D & I Kallinikos James N Kirby Foundation The late Joan MacKenzie Vicki Olsson Mrs Roslyn Packer ao Paul & Sandra Salteri Mrs Penelope Seidler am G & C Solomon in memory of Joan MacKenzie Mrs W Stening Mr Fred Street am & Mrs Dorothy Street Peter William Weiss ao & Doris Weiss Westfield Group Mr Brian & Mrs Rosemary White Kim Williams am & Catherine Dovey Ray Wilson oam in memory of James Agapitos oam

Gold Patrons $10,000–$19,999Stephen J Bell Alan & Christine Bishop Ian & Jennifer Burton Howard Connors Copyright Agency Cutlural Fund Edward Federman Nora Goodridge Mr Ross Grant The Estate of the late Ida Gugger Helen Lynch am & Helen Bauer Ruth & Bob Magid Justice Jane Mathews ao The Hon. Justice AJ Meagher & Mrs Fran Meagher Mrs T Merewether oam Mr B G O’Conor Henry & Ruth Weinberg Caroline Wilkinson June & Alan Woods Family Bequest

Silver Patrons $5000–$9,999Doug & Alison Battersby Mr Robert Brakspear Mr David & Mrs Halina Brett Mr Robert & Mrs L Alison Carr Bob & Julie Clampett Ian Dickson & Reg Holloway Dr C Goldschmidt The Greatorex Foundation Mr Rory Jeffes Judges of the Supreme Court of NSW Mr Ervin Katz The Estate of the late Patricia Lance Timothy & Eva Pascoe William McIlrath Charitable Foundation Rodney Rosenblum am & Sylvia Rosenblum Manfred & Linda Salamon Mrs Joyce Sproat & Mrs Janet Cooke Michael & Mary Whelan Trust Anonymous (1)

Bronze Patrons $2,500–$4,999Ewen Crouch am & Catherine Crouch The Hon. Ashley Dawson-Damer Firehold Pty Ltd Stephen Freiberg & Donald Campbell Vic & Katie French Mrs Jennifer Hershon Michael & Anna Joel Gary Linnane Matthew McInnes J A McKernan R & S Maple-Brown Renee Markovic Mora Maxwell James & Elsie Moore Drs Keith & Eileen Ong In memory of Sandra Paul Pottinger Dr John Roarty oam in memory of Mrs June Roarty In memory of H St P Scarlett Julianna Schaeffer David & Isabel Smithers Marliese & Georges Teitler Mr & Mrs T & D Yim Anonymous (2)

Bronze Patrons $1,000–$2,499Mrs Antoinette Albert Andrew Andersons ao Mr Henri W Aram oam Dr Francis J Augustus Richard and Christine Banks David Barnes Nicole Berger Allan & Julie Bligh Dr & Mrs Hannes Boshoff Jan Bowen Lenore P Buckle M Bulmer In memory of RW Burley Ita Buttrose ao obe Joan Connery oam & Maxwell Connery oam Constable Estate Vineyards Debby Cramer & Bill Caukill Mr John Cunningham SCM & Mrs Margaret Cunningham Greta Davis Lisa & Miro Davis Matthew Delasey Mr & Mrs Grant Dixon Colin Draper & Mary Jane Brodribb Mrs Margaret Epps Mr Ian Fenwicke & Prof. Neville Wills Mr James Graham am & Mrs Helen Graham Warren Green Anthony Gregg & Deanne Whittleston Akiko Gregory Tony Grierson Edward & Deborah Griffin Richard Griffin am In memory of Dora & Oscar Grynberg Janette Hamilton Michelle Hilton The Hon. David Hunt ao qc & Mrs Margaret Hunt Dr & Mrs Michael Hunter In memory of Bernard M H Khaw Mr Justin Lam Mr Peter Lazar am Irene Lee Associate Professor Winston Liauw Dr David Luis Carolyn & Peter Lowry oam Deirdre & Kevin McCann Ian & Pam McGaw Macquarie Group Foundation

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http://www.sydneysymphony.com/patrons

To find out more about becominga Sydney Symphony Patron, pleasecontact the Philanthropy Officeon (02) 8215 4625 or emailphilanthropy@sydneysymphony.com

Ms Jackie O’Brien JF & A van Ogtrop Mr & Mrs Ortis Mr Andrew C Patterson Piatti Holdings Pty Ltd Andy & Deirdre Plummer Robin Potter Ernest & Judith Rapee Kenneth R Reed Patricia H Reid Endowment Pty Ltd Caroline Sharpen Dr Agnes E Sinclair Catherine Stephen John & Alix Sullivan The Hon. Brian Sully qc Mildred Teitler John E Tuckey Mrs M Turkington In memory of Joan & Rupert Vallentine Dr Alla Waldman Mr Robert & Mrs Rosemary Walsh Ann & Brooks Wilson am Dr Richard Wing Mr R R Woodward In memory of Lorna Wright Dr John Yu Anonymous (9)

Bronze Patrons $500–$999Mrs Lenore Adamson Mr & Mrs Garry S Ash Barlow Cleaning Pty Ltd Beauty Point Retirement Resort Mrs Margaret Bell Minnie Biggs Mrs Jan Biber Dr Anthony Bookallil R D & L M Broadfoot Arnaldo Buch Ann & Miles Burgess Pat & Jenny Burnett The Hon. Justice JC & Mrs Campbell Dr Rebecca Chin Mrs Sarah Chissick Mrs Catherine J Clark R A & M J Clarke Mr & Mrs Coates

Coffs Airport Security Car Park Mr B & Mrs M Coles Mrs Joan Connery oam Jen Cornish Mr David Cross Phil Diment am & Bill Zafiropoulos Elizabeth Donati The Dowe Family John Favaloro Malcolm Ellis & Erin O’Neill In memory of Peter Everett Mr Tom Francis Mr John Gaden Vivienne Goldschmidt Clive & Jenny Goodwin Roger Henning Harry & Meg Herbert Sue Hewitt Dorothy Hoddinott ao Mr Joerg Hofmann Mrs Kimberley Holden Mr Gregory Hosking Niki Kallenberger Mrs Margaret Keogh Dr Henry Kilham Chris J Kitching Anna-Lisa Klettenberg Sonia Lal Mr Luigi Lamprati Dr & Mrs Leo Leader Margaret Lederman Erna & Gerry Levy am Sydney & Airdrie Lloyd Mrs A Lohan Mrs Panee Low Dr David Luis Philip & Catherine McClelland Melvyn Madigan Alan & Joy Martin Mrs Toshiko Meric Ms Irene Miller & Ms Kim Harding P J Miller David Mills Kenneth N Mitchell Ms Margaret Moore oam & Dr Paul Hutchins am Chris Morgan-Hunn Mrs Milja Morris

A Nhan Mr Graham North Dr Mike O’Connor am Mr R A Oppen Origin FoundationDr A J Palmer Dr Kevin Pedemont Dr Natalie E Pelham Michael Quailey Renaissance Tours Anna Ro Lesley & Andrew Rosenberg Mrs Pamela Sayers Garry Scarf & Morgie Blaxill Peter & Virginia Shaw Mrs Diane Shteinman am Ms Stephanie Smee Ms Tatiana Sokolova Doug & Judy Sotheren Mrs Judith Southam Mrs Karen Spiegal-Keighley Margaret Suthers Norman & Lydia Taylor Dr Heng Tey & Mrs Cilla Tey Mrs Alma Toohey & Mr Edward Spicer Kevin Troy Gillian Turner & Rob Bishop Prof Gordon E Wall Mrs Margaret Wallis Ronald Walledge Ms Elizabeth Wilkinson Audrey & Michael Wilson A Willmers & R Pal Dr Peter Wong & Mrs Emmy K Wong Geoff Wood & Melissa Waites Glen & Everly Wyss Mrs Robin Yabsley Anonymous (22) List correct as of 1 May 2013

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mailto:philanthropy%40sydneysymphony.com?subject=SSO%20Philanthropy%20Enquiry

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PrinciPal Partner government Partners

The Sydney Symphony is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body

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

Premier Partner

Fine Music 102.5

marketing Partner

gold Partners

regional tour Partners

silver Partners

executive search

THE LEADING SCHOOL FOR TODAY’S MUSIC INDUSTRY

education Partner major Partners

Platinum Partners

Salute revised_01Mar.indd 1 24/04/13 7:27 AM

THE ARTISTS

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PROGRAM

WELCOME

SALUTE

THE ARTISTS

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BEHIND THE SCENES

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WELCOME

PROGRAM CREDITS

Contributors Yvonne Frindle (Sydney Symphony) David Garrett Graeme Skinner Gordon Kalton Williams (Symphony Services International)

Images, graphics and video S Katy Tucker Kai Raisbeck (Sydney Symphony) Nathanael van der Reyden (Sydney Symphony) Lebrecht Music & Arts

Music typesetting Vi King Lim (Symphony Services International)

Artist photographs Dario Acosta (Eric Owens) Rosarii Lynch (John Tessier) Feargal Phillips (Orla Boylan) Keith Saunders (David Robertson)

With special thanks to Alan Ziegler and Neville Dallinger of Playbill Australia, who prepared the original printed program on which it is based.

Musical examples: Taken from Antal Doráti’s recording of The Flying Dutchman with the Orchestra and Chorus of the Royal Opera House Convent Garden and Leonie Rysanek in the role of Senta. DECCA 460 7382 Kindly supplied by Sydney Symphony Silver Partner Universal Music.

http://www.deccaclassics.com/en/cat/single?sort=newest_rec&PRODUCT_NR=4607382&SearchString=dorati+wagner&UNBUYABLE=1&per_page=50&ADD_OTHER=1&flow_per_page=50&presentation=flow

Open Cover: Credit Suisse Les Amis: Intro nav: Synopsis nav: Themes nav: Interview nav: Button 29: Button 30: Enlarge Pyle: Pyle reduce: Red Sails small: Red Sails large: Robertson bio nav: Tucker bio nav: Button 35: Boylan bio nav: Owens bio nav: Daszak bio nav: Tessier bio nav: Russell bio nav: SPC bio nav: SSO bio nav: Button 47: Decca packshot: Prev Page Only: Prev Page: Next Page: Welcome: Program: The Music: The Artists: Behind the Scenes: