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An Evening With

Renée Fleming

Master Series ThursdayThursday 3 September at 8pm

Arts Centre Melbourne, Hamer Hall

Saturday Night SymphonySaturday 5 September at 8pm

Arts Centre Melbourne, Hamer Hall

Melbourne Symphony Orchestra and Arts Centre Melbourne present

PRINCIPAL PARTNERVENUE PARTNER

2 MELBOURNE SYMPHONY ORCHESTRA IN CONCERT

What’s On September — November

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SCHEHERAZADEThursday 1 October Friday 2 October Monday 5 OctoberUnder the baton of Jakub Hrůša, the overture to Smetana’s comic opera The Bartered Bride opens a dazzling night of music. Dvořák’s Violin Concerto is followed by Rimsky-Korsakov’s Scheherazade, a vivid orchestral work inspired by the tales of the Arabian Nights.

SIBELIUS’ FINLANDIAThursday 19 November Friday 20 NovemberYan Pascal Tortelier celebrates the 150th anniversary of two Nordic masters. Sibelius’ majestic Finlandia is balanced against Nielsen’s spirited Violin Concerto. Also featured in this program is Sibelius’ Symphony No.5 and tone poem The Swan of Tuonela.

PICTURES AT AN EXHIBITIONFriday 11 SeptemberFeaturing works inspired by art: Reger’s Four Tone Poems after Arnold Böcklin and Mussorgsky’s Pictures at an Exhibition. Liszt’s Piano Concerto No.1 makes for a breathtaking interlude.

TCHAIKOVSKY & GRIEGFriday 13 November Saturday 14 NovemberAsher Fisch conducts three masterworks that defined the Romantic era. Tchaikovsky’s stirring Romeo and Juliet is followed by Grieg’s poignant Piano Concerto, with the high-voltage intensity of Tchaikovsky’s Fourth Symphony.

AN AMERICAN IN PARISFriday 30 OctoberGershwin’s An American in Paris evokes a journey through the bustling streets of the French capital, punctuated by taxi horns and a bluesy trumpet solo. Also featured in this program is Ravel’s Piano Concerto in G and Saint-Saëns’ Symphony No.3 Organ.

MOZART’S SYMPHONY No.40Thursday 17 September Friday 18 September Saturday 19 September Monday 21 SeptemberFeaturing MSO Concertmaster Eoin Andersen, works by Stravinsky are balanced by Mozart’s final Violin Concerto and the unmistakeable melancholic strains of Symphony No.40.

3AN EVENING WITH RENÉE FLEMING

“I cannot imagine a more satisfying calling than my own: beauty, humanity and history every day, combined with the cathartic joy of singing.”

— Renée Fleming

For Renée Fleming, her joy of singing is a gift to the world. It is with particular pleasure that we welcome the great American soprano back to Melbourne in this special concert with the MSO, conducted by her friend and colleague at the Chicago Lyric Opera, MSO’s Chief Conductor Sir Andrew Davis.

The unique operatic force that binds them is certainly evident in tonight’s concert. Fleming sings some of the most glittering arias in the repertoire, including the Jewel Song, from Gounod’s Faust, the beloved ‘O mio babbino caro’, from Puccini’s Gianni Schicchi, and Ravel’s superb Shéhérazade.

I hope you relish every moment.

André Gremillet Managing Director

Arts Centre Melbourne is pleased to be able to join with the Melbourne Symphony Orchestra, our much-loved Hamer Hall resident company, to be able to co-present these exclusive performances featuring world-renowned soprano Renée Fleming.

As always, Arts Centre Melbourne strives to present the best performances with the finest musicians and artists in Hamer Hall and the combination of this wonderful soloist and the musicians of the Melbourne Symphony Orchestra, led by their Chief Conductor Sir Andrew Davis, will be a highlight of this year’s performances in the Hall.

We are especially pleased to be able to welcome Ms Fleming back to perform for Melbourne in a program that encompasses her signature works.

We acknowledge the continued passion and generosity of our Arts Angel donors and the support of the Victorian Government and look forward to future collaborations with the Melbourne Symphony Orchestra and the opportunity to excite our audiences and bring this world-class venue to life.

I hope you enjoy the concert.

Claire Spencer Chief Executive Officer

Welcome to An Evening With Renée Fleming

3


This concert will be bittersweet as we farewell our longest serving violist, Simon Collins, from the MSO after thirty-four years of service, commencing in 1981.

For many, orchestral duties alone are more than enough to keep busy but Simon has contributed so much more to the MSO. For over twenty years, he was President of the MSO Players Association and was instrumental in negotiations covering many aspects of the Orchestra’s life, including the design of the Iwaki studio, many industrial agreements and the transfer of the Orchestra

from being a part of the ABC to the independent company it is today. In addition, he was part of the working group that created the Symphony Orchestra Musicians Association and brought it under the umbrella of the Media Entertainment Arts Alliance. For many years, Simon was the President of SOMA and was this year elected to the position of President of MEAA.

Simon is a highly valued member of the Orchestra and will be sorely missed.

Farewell Simon Collins

With a reputation for excellence, versatility and innovation, the Melbourne Symphony Orchestra is Australia’s oldest orchestra, established in 1906. The Orchestra currently performs live to more than 200,000 people annually, in concerts ranging from subscription performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne’s largest outdoor venue, the Sidney Myer Music Bowl.

Sir Andrew Davis gave his inaugural concerts as Chief Conductor of the MSO in April 2013, having made his debut with the Orchestra in 2009. Highlights of his tenure have included collaborations with artists including Bryn Terfel, Emanuel Ax and Truls Mørk, the release of recordings of music by Richard Strauss, Charles Ives, Percy Grainger and Eugene Goossens, a 2014 European Festivals tour, and a multi-year cycle of Mahler’s Symphonies.

The MSO also works each season with Principal Guest Conductor Diego Matheuz, Associate Conductor Benjamin Northey and the Melbourne Symphony Orchestra Chorus. Recent guest conductors to the MSO have included Thomas Adès, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Mark Wigglesworth, Markus Stenz and Simone Young. The Orchestra has also collaborated with non-classical musicians including Burt Bacharach, Ben Folds, Nick Cave, Sting and Tim Minchin.

The MSO reaches an even larger audience through its regular concert broadcasts on ABC Classic FM, also streamed online, and through recordings on Chandos and ABC Classics. The MSO’s Education and Community Engagement initiatives deliver innovative and engaging programs to audiences of all ages, including MSO Learn, an educational iPhone and iPad app designed to teach children about the inner workings of an orchestra.

The Melbourne Symphony Orchestra is funded principally by the Australian Government through the Australia Council, its arts funding and advisory body, and is generously supported by the Victorian Government through Creative Victoria, Department of Economic Development, Jobs, Transport and Resources. The MSO is also funded by the City of Melbourne, its Principal Partner, Emirates, corporate sponsors and individual donors, trusts and foundations.

MELBOURNE SYMPHONY ORCHESTRA


ABOUT THE ARTISTSREPERTOIRE

Melbourne Symphony Orchestra

Sir Andrew Davis conductor

Renée Fleming soprano—R. STRAUSSIntermezzo: Four Symphonic Interludes—RAVELShéhérazade—Interval 20 minutes—CANTELOUBESelections from Chants d’Auvergne—GOUNODFaust: Jewel Song—PONCHIELLILa Gioconda: Dance of the Hours—MASCAGNIL’amico Fritz: ‘Non mi resta che il pianto’ —TOSTIAprile—PUCCINIGianni Schicchi: ‘O mio babbino caro’

This concert has a duration of approximately 2 hours including one 20 minute interval.

Saturday evening’s performance will be recorded for broadcast on ABC Classic FM on Sunday 6 September at 1pm.

Pre-Concert Talks7pm Thursday 3 September Stalls Foyer, Hamer Hall

7pm Saturday 5 September Stalls Foyer, Hamer Hall

MSO Orchestra Librarian Alastair McKean will present a talk on the artists and works featured in the program.

Sir Andrew Davis conductor

Sir Andrew Davis is Music Director and Principal Conductor of the Lyric Opera of Chicago and Chief Conductor of the Melbourne Symphony Orchestra. In a career spanning over 40 years, he has been the musical and artistic leader at several of the world’s most distinguished opera and symphonic institutions, including the BBC Symphony Orchestra (1991-2004), Glyndebourne Festival Opera (1988-2000), and the Toronto Symphony Orchestra (1975-1988). He recently received the honorary title of Conductor Emeritus from the Royal Liverpool Philharmonic Orchestra.

One of today’s most recognised and acclaimed conductors, Sir Andrew has conducted virtually all the world’s major orchestras, opera companies, and festivals. This year he celebrates his 40-year association with the Toronto Symphony, and aside from performances with the Melbourne Symphony, he will conduct the BBC Symphony Orchestra at the Proms, Philharmonia Orchestra at the Three Choirs Festival, and the Scottish Chamber Orchestra at the Edinburgh International Festival.

Born in 1944 in Hertfordshire, England, Sir Andrew studied at King’s College, Cambridge, where he was an organ scholar before taking up conducting. His wide-ranging repertoire encompasses the Baroque to contemporary, and his vast conducting credits span the symphonic, operatic and choral worlds.

Sir Andrew was made a Commander of the British Empire in 1992, and a Knight Bachelor in 1999.

Renée Fleming soprano

Renée Fleming is one of the most acclaimed singers of our time. In 2013, the US President awarded her America’s highest honor for an individual artist, the National Medal of Arts. In 2014 she became the first classical singer ever to perform The Star-Spangled Banner at the Super Bowl. Winner of the 2013 Best Classical Vocal Grammy Award, she has sung at momentous occasions around the world, from the Nobel Peace Prize ceremony to the Diamond Jubilee Concert for Queen Elizabeth II at Buckingham Palace.

Renée has appeared in virtually all of the world’s greatest opera houses and concert halls. Winner of four Grammy Awards, she has recorded a wide range of music, from opera and lieder to jazz and indie rock, as well as film soundtracks including The Lord of the Rings. In 2013, she joined with the John F. Kennedy Center for the Performing Arts to present American Voices, a three-day festival celebrating the best American singing in all genres. The Festival was the subject of a Great Performances documentary on PBS. Known for bringing new audiences to opera and classical music, Renée has sung not only with Luciano Pavarotti and Plácido Domingo but also with Elton John, Lou Reed, Josh Groban, Joan Baez and even the Muppets.

Among her awards are the Fulbright Lifetime Achievement Medal, Sweden’s Polar Prize, Germany’s Cross of the Order of Merit, France’s Chevalier de la Légion d’Honneur, and Honorary Membership in the Royal Academy of Music. In 2010, she was named the first-ever creative consultant at Lyric Opera of Chicago.

www.reneefleming.com

Saturday Night Symphony Series Partner


ABOUT THE MUSIC

Richard Strauss (1864-1949)

Intermezzo: Four Orchestral InterludesTravel Fever and Waltz Scene

Dreaming by the Fireside

At the Card Table

Happy Ending

Throughout her career, Renée Fleming has sung Mozart, Handel, Italian and French repertoire; she has enjoyed Eastern European opera and championed American music. This concert begins with the music of Richard Strauss, whom Fleming considers one of her ‘core composers’.

The 1924 opera Intermezzo dramatised an incident in the composer’s life where a woman he didn’t know wrote to him for some opera tickets. In fact, she had been offered the tickets by a Berlin conductor named Stransky but her flirtatious letter to Kapellmeister Strauss at Joachimthalerstrasse Nr 17 set Strauss’ wife, Pauline, off on divorce proceedings – which were ultimately averted. Strauss decided to use this incident plus another based on Pauline’s real-life flirtation with a younger man to form the cross-currents of an opera he described as ‘a bourgeois comedy with symphonic interludes’.

Though Intermezzo is not as well-known as other Strauss works, a number of commentators have regarded it highly. Its almost-Shavian comedy is achieved with

a novel style of singing built on the conversation-like recitative of Ariadne auf Naxos. But it is the orchestral strand of the score that we are concerned with tonight. As Strauss said himself, it is in the opera’s interludes, some of which form this four-movement suite, that ‘the lyrical element and the account of the characters’ psychological lives are more fully developed’.

Richard Strauss


ABOUT THE MUSIC

ShéhérazadeAsie

La flûte enchantée

L’indifférent

Renée Fleming soprano

It was the legendary manager Matthew Epstein at CAMI (Columbia Artists Management Incorporated) who suggested to Renée Fleming, when the offers started flooding in, that she specialise. But as she says in her autobiography, The Inner Voice, ‘I wasn’t willing to give up the Slavic repertoire, or new music, or my beloved French composers…’ A concert work, French composer Ravel’s lush song-cycle Shéhérazade is one of Fleming’s specialties. Ravel was beguiled by ‘curiosities’, among which were examples of Eastern culture. For years he wanted to write an opera out of the Arabic text The Thousand and One Nights, with its female narrator, Scheherazade. But the opera idea got no further than an overture. About 1903 Ravel’s friend Léon Léclère (known as Tristan Klingsor) wrote a book of verse similarly inspired by the Thousand and One Nights. Ravel set three of Klingsor’s texts.

So concerned was Ravel with the exact matching of music to word, that he got Klingsor to read his text aloud to hear how the words would be declaimed. As a result, much of Ravel’s music seems like

accompanied recitative. His aim was ‘to exalt the inflections of speech to the state of song’. That, and conjure the most beguiling, mysterious world through his characteristically masterful orchestration.

In the first song, Asie, the shawm-like oboe solo uses intervals typically associated with Middle Eastern music. When China becomes the focus, Ravel uses pentatonic scales and ‘open’ fifths (much like Puccini in Turandot). In La flûte enchantée the soloist’s voice is complemented by what Katherine Kemp describes as a ‘drowsily beautiful flute solo which drapes itself around the soprano line…’ Ravel apparently said that L’indifférent contained the key to his personality. But does that refer to an ambiguous sexuality, the sense of intangibility? It could be said that Ravel’s Orient is a world of mystery, not documentary reality. He was a great admirer of artifice, after all.

Maurice Ravel (1875-1937)

Maurice Ravel

MELBOURNE SYMPHONY ORCHESTRA IN CONCERT8

ABOUT THE MUSIC

Joseph Canteloube (1879-1957)

Chants d’Auvergne:Malurous qu’o uno fenno

Baïlèro

Renée Fleming soprano—

Although Canteloube studied music in Paris at the Schola Cantorum and wrote original works such as the operas Le mas and Vercingétorix, he became fascinated by the distinctive songs of his home region as time went on.

As he wrote:

The songs of the Auvergne no doubt form the largest, greatest and most varied collection of folk music that exists in France. Like those from other provinces, they fall into just a small number of types: songs based on history or legend; anecdotes; songs about love, marriage, children; work songs; songs of celebration, songs for the open air; dancing songs.

Tonight, we hear just two of the songs from Canteloube’s five- volume collection. ‘Malurous qu’ o uno fenno’ is a lively variation on the ‘can’t live with them/can’t live without them’ theme.

‘Baïlèro’ is supposed to have been noted down by Canteloube in 1900 after he heard the sung-dialogue of a shepherd and shepherdess over a distance of several kilometres.

Promoting her own recording of these songs, Renée Fleming said, ‘My first discovery of them was with Anna Moffo and, you know, the combination of her beautiful sound with this music, I think it was Stokowski [conducting] … I said, “That’s it. I want to be a singer.”’

Charles Gounod (1818-1893)

Faust, Act III: Ah, je ris de me voir [The Jewel Song]


In Germany, Gounod’s Faust is known as Margarete to distinguish it from the national classic, Goethe’s Faust, on whose Part I it is loosely based. But the basic outlines of the old story are familiar. The ageing Dr Faust, unfulfilled by academic achievement, bargains with the devil, Méphistophélès, in exchange for youth. Méphistophélès helps him win the heart of Marguerite who will eventually intercede with heaven on Faust’s behalf.

In Act III, Faust attempts to lure the virtuous Marguerite with a box of jewels. The famous Jewel Song is actually an internal monologue in which Marguerite considers the pros and cons of accepting the offer. Renée Fleming said,‘You have to instil so much variety in it somehow … It has to be non-stop, from-beginning-to-end discovery … in terms of seeing the jewellery and going, “Oh my gosh … Who would think I was …? Is anybody seeing me if I try this on?”’

Joseph Canteloube


ABOUT THE MUSIC

Amilcare Ponchielli (1834-1886)

La gioconda, Act III: Dance of the Hours

—

Out of all Renée Fleming’s Italian repertoire, this concert features verismo (represented by Puccini and Mascagni), if no Verdi. But the Dance of the Hours is by Ponchielli, considered around the 1870s to be Verdi’s worthy rival.

La gioconda was commissioned by the Italian music publisher Ricordi, and the great librettist Arrigo Boito modelled the text on the French grand opera style of Eugène Scribe. The story, set in 17th-century Venice, concerns a woman, Gioconda, who sets aside her own love for Enzo in deference to her rival, Laura, who has saved her mother’s life. But Barnaba the villain, a spy of the Inquisition, is determined to trap them all in his wicked schemes. The ‘Dance of the Hours’ takes place as the tragedy is coming to a head, at an entertainment hosted by Alvise, chief of the Inquisition. Ironically almost, Ponchielli’s dance music has become a light classic.

Pietro Mascagni (1863-1945)

L’amico Fritz, Act III: Non mi resta che il pianto


Pietro Mascagni is best known for a one-act opera which in 1890 won a competition for young composers who had not yet had an opera produced. But apart from Cavalleria rusticana, what else did Mascagni write? L’amico Fritz was considered a fulfilment of Mascagni’s promise when it was produced in 1891.

Even though the setting is once again a rural community (this time in Alsace), this story of the gradual awakening of love is psychologically subtler than the raw emotionalism of Cavalleria rusticana. In Act III, the rabbi and matchmaker David tells his friend Fritz that he has found a husband for his steward’s daughter Suzel and Fritz has suddenly become angry and stormed off, vowing to refuse his blessing. A distraught Suzel arrives and, once alone, pours out her love for Fritz.

This opera was first seen in Australia within two years of its Rome premiere, produced at the Princess Theatre, Melbourne on 19 October 1893. Edward Seckerson, reviewing a 2011 performance of the opera, commented, ‘Listening to this delicious score, you wonder how [Mascagni] could ever have been perceived as a one-hit wonder.’

Pietro Mascagni

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ABOUT THE MUSIC

Giacomo Puccini (1858-1924)

Gianni Schicchi: O mio babbino caroRenée Fleming soprano—

Gianni Schicchi, the comic final opera in Il trittico, Puccini’s night of three one-act operas, premiered in 1918. It is inspired by a passage in Dante’s Inferno about a rogue who cheated Dante’s own family out of an inheritance.

In the opera, Schicchi is summoned by relatives of the wealthy Buoso Donati to help them falsify Buoso’s will so that they, rather than the church, will inherit his money. When Schicchi arrives at Buoso’s home he argues with Zita, the head of the Donati family, and refuses to help them. Lauretta, Schicchi’s daughter, is in love with Rinuccio, one of the younger members of the family. Her attempt to change the mind of her ‘beloved father’ is the lyrical highlight of the opera before it turns to farce.

It may seem odd to us these days but in the early years of the 20th century at New York’s Metropolitan Opera, Gianni Schicchi was often given as the curtain-raiser to Richard Strauss’ Salome – Puccini’s comedic realism (or ‘verismo’) versus Strauss’ blood-curdling pre-Expressionist psychodrama. ‘O mio babbino caro’ has appeared on several of Renée Fleming’s albums. Perhaps it is appropriate that this concert should end with a link to Strauss, her ‘core composer’, reminding us of the wide span of her repertoire.

Gordon Kalton Williams © 2015

Paolo Tosti (1846-1916)

Aprile


The great Australian soprano Nellie Melba, born less than four kilometeres from Hamer Hall, knew Tosti and described him as a little man with a great personality, full of funny stories, ‘some of them somewhat too risqué for publication’. Her autobiography, Memories and Melodies, describes a moonlight-silvered night in Venice when she and Tosti took a gondola on the Grand Canal and she began singing ‘something of Tosti’s own composition … I can see, at this moment, the little gondolas drifting in on us from all sides, out of the dark canals, curving round corners with lanterns gleaming faintly. And I can still hear the cries of “Bravo, bravo Tosti!”…’

Having settled in England in 1880, Tosti was appointed singing teacher to the royal family and was later knighted. He was, and still is, best known as a composer of popular songs.

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Sir Andrew Davis Harold Mitchell AC Chief Conductor Chair Diego Matheuz Principal Guest Conductor Benjamin Northey Patricia Riordan Associate Conductor Chair

MELBOURNE SYMPHONY ORCHESTRA

BOARDHarold Mitchell ACChairmanMichael UllmerDeputy ChairAndrew DyerDanny GorogAndré Gremillet Margaret Jackson ACBrett KellyDavid Krasnostein David LiAnn PeacockHelen Silver AOKee Wong

COMPANY SECRETARYOliver Carton

EXECUTIVEAndré GremilletManaging Director Catrin HarrisExecutive Assistant

HUMAN RESOURCESMiranda CrawleyDirector of Human Resources

BUSINESSFrancie DoolanChief Financial OfficerRaelene KingPersonnel ManagerLeonie WoolnoughFinancial ControllerPhil NooneAccountantNathalia Andries Finance OfficerSuzanne Dembo Strategic Communications and Business Processes Manager

ARTISTICRonald VermeulenDirector of Artistic Planning Andrew Pogson Special Projects ManagerLaura HolianArtistic CoordinatorHelena BalazsChorus ManagerStephen McAllanArtist Liaison

EDUCATION AND COMMUNITY ENGAGEMENTBronwyn LobbDirector of Education and Community EngagementLucy BardoelEducation and Community Engagement CoordinatorLucy RashPizzicato Effect Coordinator

OPERATIONSGabrielle Waters Director of OperationsAngela BristowOrchestra ManagerJames FosterOperations ManagerJames PooleProduction CoordinatorAlastair McKeanOrchestra LibrarianKathryn O’BrienAssistant LibrarianMichael StevensAssistant Orchestra ManagerLucy RashOperations Coordinator

MARKETINGAlice WilkinsonDirector of MarketingJennifer PollerMarketing ManagerMegan Sloley Marketing ManagerAli Webb PR ManagerKate EichlerPublicity and Online Engagement CoordinatorKieran Clarke Digital ManagerNina DubeckiFront of House SupervisorJames Rewell Graphic Designer Chloe SchnellMarketing Coordinator Claire HayesTicket and Database ManagerPaul CongdonBox Office SupervisorJennifer BroadhurstTicketing CoordinatorAngela BallinCustomer Service CoordinatorChelsie JonesCustomer Service Officer

DEVELOPMENTLeith Brooke Director of DevelopmentJessica Frean MSO Foundation ManagerBen LeeDonor and Government Relations ManagerArturs EzergailisDonor and Patron CoordinatorJudy TurnerMajor Gifts ManagerJustine KnappMajor Gifts CoordinatorMichelle MonaghanCorporate Development Manager

MANAGEMENT

FIRST VIOLINSDale BarltropConcertmasterEoin AndersenConcertmasterSophie Rowell Associate ConcertmasterPeter EdwardsAssistant PrincipalKirsty BremnerMSO Friends ChairSarah CurroPeter FellinDeborah GoodallLorraine HookKirstin KennyJi Won KimEleanor ManciniMark Mogilevski Michelle RuffoloKathryn TaylorJacqueline Edwards* Robert John* Oksana Thompson*

SECOND VIOLINSMatthew TomkinsThe Gross Foundation Principal Second Violin ChairRobert Macindoe Associate PrincipalMonica Curro Assistant PrincipalMary AllisonIsin CakmakciogluFreya Franzen

Cong GuAndrew HallFrancesca HiewRachel Homburg Christine JohnsonIsy WassermanPhilippa WestPatrick WongRoger Young

VIOLASChristopher Moore PrincipalChristopher Cartlidge Acting Associate PrincipalLauren BrigdenKatharine BrockmanSimon CollinsGabrielle HalloranTrevor Jones Fiona Sargeant Cindy WatkinCaleb Wright

CELLOSDavid Berlin MS Newman Family Principal Cello ChairRachael Tobin Associate PrincipalNicholas Bochner Assistant PrincipalMiranda BrockmanRohan de KorteKeith JohnsonSarah Morse

Angela SargeantMichelle Wood

DOUBLE BASSESSteve Reeves PrincipalAndrew Moon Associate PrincipalSylvia Hosking Assistant PrincipalDamien EckersleyBenjamin HanlonSuzanne LeeStephen NewtonYoung-Hee Chan*

FLUTESPrudence Davis Principal Flute Chair - AnonymousWendy Clarke Associate PrincipalSarah Beggs

PICCOLOAndrew Macleod Principal

OBOESJeffrey Crellin PrincipalThomas HutchinsonAssociate PrincipalAnn Blackburn

COR ANGLAISMichael Pisani Principal

CLARINETSDavid Thomas PrincipalPhilip Arkinstall Associate PrincipalCraig Hill

BASS CLARINETJon Craven Principal

BASSOONSJack Schiller PrincipalLyndon Watts*Guest PrincipalElise Millman Associate Principal Natasha ThomasColin Forbes-Abrams*

CONTRABASSOONBrock Imison Principal

HORNS Zora Slokar PrincipalGeoff Lierse Associate PrincipalSaul Lewis Principal Third Jenna BreenAbbey EdlinTrinette McClimont

TRUMPETSGeoffrey Payne Principal

Shane Hooton Associate PrincipalWilliam EvansJulie Payne

TROMBONESBrett Kelly PrincipalKieran Conrau*

BASS TROMBONEMike Szabo Principal

TUBATimothy Buzbee Principal

TIMPANIChristine Turpin Principal

PERCUSSIONRobert Clarke PrincipalJohn ArcaroRobert Cossom

HARPYinuo Mu PrincipalAlannah Guthrie-Jones*

PIANO/CELESTE Louisa Breen*

*Guest musician


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ASSOCIATE PATRONS $2,500+Dandolo PartnersPierce Armstrong Foundation Will and Dorothy Bailey BequestBarbara Bell in memory of Elsa BellPeter Biggs CNZM and Mary BiggsMrs S Bignell

Stephen and Caroline BrainMr John Brockman OAM and Mrs Pat Brockman Leith and Mike Brooke Rhonda Burchmore Bill and Sandra BurdettOliver CartonJohn and Lyn CoppockMiss Ann Darby in memory of Leslie J. Darby Mary and Frederick Davidson AMPeter and Leila DoyleLisa Dwyer and Dr Ian DicksonJane Edmanson OAMDr Helen M FergusonMr Bill FlemingColin Golvan QC and Dr Deborah GolvanSusan and Gary HearstGillian and Michael HundRosemary and James Jacoby John and Joan Jones

Kloeden Foundation Sylvia LavelleAnn and George Littlewood H E McKenzieAllan and Evelyn McLarenDon and Anne MeadowsAnn Peacock with Andrew and Woody KrogerSue and Barry Peake Mrs W Peart Ruth and Ralph Renard Tom and Elizabeth RomanowskiMax and Jill Schultz Diana and Brian Snape AMMr Tam Vu and Dr Cherilyn TillmanWilliam and Jenny UllmerBert and Ila VanrenenBarbara and Donald WeirBrian and Helena WorsfoldAnonymous (12)

PLAYER PATRONS $1,000+Anita and Graham Anderson, Christine and Mark Armour, Arnold Bloch Leibler, Marlyn and Peter Bancroft OAM, Adrienne Basser, Prof Weston Bate and Janice Bate, Timothy and Margaret Best, David and Helen Blackwell, Bill Bowness, Michael F Boyt, M Ward Breheny, Susie Brown, Jill and Christopher Buckley, Dr Lynda Campbell, Sir Roderick Carnegie AC, Andrew and Pamela Crockett, Natasha Davies, Pat and Bruce Davis, Merrowyn Deacon, Sandra Dent, Dominic and Natalie Dirupo, Marie Dowling, John and Anne Duncan, Kay Ehrenberg, Gabrielle Eisen, Vivien and Jack Fajgenbaum, Grant Fisher and Helen Bird, Barry Fradkin OAM and Dr Pam Fradkin, David Gibbs and Susie O’Neill,


THANKS TO OUR WONDERFUL MSO SUPPORTERS

Merwyn and Greta Goldblatt, Dina and Ron Goldschlager, George Golvan QC and Naomi Golvan, Charles and Cornelia Goode, Dr Marged Goode, Louise Gourlay OAM, Ginette and André Gremillet, Max Gulbin, Dr Sandra Hacker AO and Mr Ian Kennedy AM, Jean Hadges, Paula Hansky OAM and Jack Hansky AM, Tilda and Brian Haughney, Henkell Family Fund, Penelope Hughes, Dr Alastair Jackson, Stuart Jennings, George and Grace Kass, Irene Kearsey, Ilma Kelson Music Foundation, Dr Anne Kennedy, Lew Foundation, Norman Lewis in memory of Dr Phyllis Lewis, Dr Anne Lierse, Violet and Jeff Loewenstein, The Hon Ian Macphee AO and Mrs Julie Mcphee, Elizabeth H Loftus, Vivienne Hadj and Rosemary Madden, Dr Julianne Bayliss, In memory of Leigh Masel, John and Margaret Mason, In honour of Norma and Lloyd Rees, Trevor and Moyra McAllister, David Menzies, Ian Morrey, The Novy Family, Laurence O’Keefe and Christopher James, Graham and Christine Peirson, Andrew Penn and Kallie Blauhorn, Kerryn Pratchett, Peter Priest, Jiaxing Qin, Eli Raskin, Peter and Carolyn Rendit, S M Richards AM and M R Richards, Dr Rosemary Ayton and Dr Sam Ricketson, Joan P Robinson, Doug and Elisabeth Scott, Jeffrey Sher, Dr Sam Smorgon AO and Mrs Minnie Smorgon, John So, Dr Norman and Dr Sue Sonenberg, Dr Michael Soon, Pauline Speedy, State Music Camp, Geoff and Judy Steinicke, Mrs Suzy and Dr Mark Suss, Pamela Swansson, Frank Tisher OAM and Dr Miriam Tisher, Margaret Tritsch, Judy Turner and Neil Adam, P & E Turner, Mary Vallentine AO, The Hon. Rosemary Varty, Leon and Sandra Velik, Sue Walker AM, Elaine Walters OAM and Gregory Walters, Edward and Paddy White, Janet Whiting and Phil Lukies, Nic and Ann Willcock, Marian and Terry Wills Cooke, Pamela F Wilson, Joanne Wolff,

Peter and Susan Yates, Mark Young, Panch Das and Laurel Young-Das, YMF Australia Anonymous (17)

THE MAHLER SYNDICATEDavid and Kaye Birks, Jennifer Brukner, Mary and Frederick Davidson AM, Tim and Lyn Edward, John and Diana Frew, Louis Hamon OAM, The Hon Dr Barry Jones AC, Dr Paul Nisselle AM. Maria Solà in memory of Malcolm Douglas. The Hon Michael Watt QC and Cecilie Hall, Anonymous (1)

MSO ROSESFounding Rose: Jennifer BruknerRoses: Mary Barlow, Linda Britten, Wendy Carter, Annette Maluish, Lois McKay, Pat Stragalinos, Jenny Ullmer Rosebuds: Leith Brooke, Lynne Damman, Francie Doolan, Lyn Edward, Elizabeth A Lewis AM, Sophie Rowell, Dr Cherilyn Tillman

FOUNDATIONS AND TRUSTSThe Annie Danks TrustCollier Charitable FundCreative Partnerships AustraliaCrown Resorts Foundation and the Packer Family FoundationThe Cybec FoundationThe Harold Mitchell FoundationHelen Macpherson Smith TrustIvor Ronald Evans Foundation, managed by Equity Trustees Limited and Mr Russell BrownLinnell/Hughes Trust, managed by PerpetualThe Marian and EH Flack TrustThe Perpetual Foundation – Alan (AGL) Shaw Endowment, managed by PerpetualThe Pratt FoundationThe Robert Salzer FoundationThe Schapper Family FoundationThe Scobie and Claire Mackinnon Trust

CONDUCTOR’S CIRCLEJenny Anderson,G C Bawden and L de Kievit,Lesley Bawden,Joyce Bown,Mrs Jenny Brukner and the late Mr John Brukner,Ken Bullen,Luci and Ron Chambers,Sandra Dent,Lyn Edward,Alan Egan JP,Gunta Eglite,Louis Hamon OAM,Carol Hay,Tony Howe,Audrey M Jenkins,John and Joan Jones,George and Grace Kass,Mrs Sylvia Lavelle,Pauline and David Lawton,Lorraine Meldrum,Cameron Mowat,Laurence O’Keefe and Christopher James,Rosia Pasteur,Elizabeth Proust AO,Penny Rawlins,Joan P Robinson,Neil Roussac,Anne Roussac-Hoyne,Jennifer Shepherd,Drs Gabriela and George Stephenson,Pamela Swansson,Lillian Tarry,Dr Cherilyn Tillman,Mr and Mrs R P Trebilcock,Michael Ullmer,Ila Vanrenen,Mr Tam Vu,Marian and Terry Wills Cooke,Mark Young, Anonymous (21)

THE MSO GRATEFULLY ACKNOWLEDGES THE SUPPORT RECEIVED FROM THE ESTATES OF:The MSO gratefully acknowledges the support received from the Estates of:, Angela Beagley, Gwen Hunt, Pauline Marie Johnston, C P Kemp, Peter Forbes MacLaren, Prof Andrew McCredie, Miss Sheila Scotter AM MBE, Molly Stephens, Jean Tweedie, Herta and Fred B Vogel, Dorothy Wood,

HONORARY APPOINTMENTSMrs Elizabeth Chernov Education and Community Engagement PatronSir Elton John CBE Life MemberThe Honourable Alan Goldberg AO QC Life MemberGeoffrey Rush AC Ambassador

GOVERNMENT PARTNERS

SUPPORTING PARTNERS

ASSOCIATE PARTNERS

Golden Age Group Kabo Lawyers Linda Britten

Naomi Milgrom Foundation PwC

UAG + SJB Universal

Feature Alpha Investment (a unit of the Tong Eng Group)

Future Kids

MEDIA PARTNER

PRINCIPAL PARTNER

MAESTRO PARTNERS

3L Alliance Elenberg Fraser

Fed Square Flowers Vasette

OFFICIAL CAR PARTNER

VENUE PARTNER


ARTS CENTRE MELBOURNE

ARTS CENTRE MELBOURNEPO Box 7585St Kilda RoadMelbourne Vic 8004Telephone: (03) 9281 8000Facsimile: (03) 9281 8282Website: artscentremelbourne.com.au

VICTORIAN ARTS CENTRE TRUSTMr Tom Harley (President) Mr Sandy Clark Mr Julian Clarke AM Mr Jim Cousins AO Ms Dana Hlavacek Ms Catherine McClements Mr Ian Roberts Ms Helen Silver AO Mr Graham Smorgon AM

EXECUTIVE GROUPMs Claire Spencer, Chief Executive Officer Ms Jodie Bennett, Chief Operating Officer Ms Sarah Hunt, Executive, Development and Audience Engagement Ms Melanie Smith, Executive, Performing Arts

Arts Centre Melbourne extends heartfelt thanks to our Arts Angels, whose generosity, loyalty and commitment ensure as many Victorians as possible can experience the joy of the performing arts here in Melbourne.

Renée Fleming appears by arrangement with IMG Artists, www.imgartists.com +1 212 994 3500

Ms. Fleming is an exclusive recording artist for Decca and Mercury Records (UK)

Ms. Fleming’s jewelry is by Ann Ziff for Tamsen Z

For your information The management reserves the right to add, withdraw or substitute artists and to vary the program as necessary.The Trust reserves the right of refusing admission. Recording devices, cameras and mobile telephones must not be operated during the performance. In the interests of public health, Arts Centre Melbourne is a smoke-free area.

Pick up a 2016 brochure from the MSO representative at interval or view the season online at mso.com.au/2016

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