2011 SEASON Favourite fiffiilm soundtracks JAMES MORRISON AT THE MOVIES FRI 18 FEBRUARY 8PM SAT 19 FEBRUARY 8PM KALEIDOSCOPE WELCOME It is my great pleasure to welcome you to the first concert in the Kaleidoscope series for 2011, James Morrison at the Movies, proudly supported by Wilson Parking. We are delighted to have jazzman extraordinaire, James Morrison, join us this evening, leading the orchestra in a tribute to the trumpet in the movies. This concert brings together some of the great musical moments from the silver screen for an evening full of the Kaleidoscope spirit that we’re so proud to support. As manager of the Sydney Opera House Car Park, Wilson Parking is proud of its association as a Silver partner of the Sydney Symphony, and we trust you as our valued patrons will enjoy tonight’s performance. Peter Witts State Manager – NSW Wilson Parking Australia 2011 SEASON KALEIDOSCOPE Friday 18 February | 8pm Saturday 19 February | 8pm Sydney Opera House Concert Hall JAMES MORRISON AT THE MOVIES James Morrison trumpet | Marc Taddei conductor | Emma Pask vocals | The Idea of North James Muller guitar | Phil Stack double bass | Gordon Rytmeister drums Richard Strauss Thus Spake Zarathustra: opening music (as heard in 2001: A Space Odyssey) Meredith Willson Seventy-Six Trombones (from The Music Man) Scott Joplin The Entertainer (from The Sting) Johnny Mandel & Paul Francis Webster The Shadow of Your Smile (from The Sandpiper) with Emma Pask Norman, Conti, McCartney & Barry Themes from 007 – Medley for orchestra James Bond Theme – For Your Eyes Only – Live and Let Die – Goldfinger John Barry Thunderball Charlie Chaplin Smile (from Modern Times) with The Idea of North E.Y. �Yip’ Harburg & Harold Arlen Over the Rainbow (from The Wizard of Oz) Morrison and The Idea of North Bernard Herrmann Taxi Driver – A Night Piece Prelude – Night Prowl – Bloodbath John Williams Main Title Music from Star Wars INTERVAL Irving Berlin Easter Parade Blue Skies A Pretty Girl is Like a Melody (from Blue Skies) Alexander’s Ragtime Band Stephen Sondheim Send in the Clowns (from A Little Night Music) with The Idea of North Thelonius Monk ’Round Midnight Morrison and the band Traditional When the Saints Go Marching In Alan Jay Lerner & Frederick Loewe Wouldn’t It Be Loverly (from My Fair Lady) with Emma Pask Bob Thiele (as George Douglas) & George David Weiss What a Wonderful World (as heard in Good Morning,Vietnam) Jerry Herman Hello, Dolly! SUPPORTING PARTNER Saturday night’s performance will be recorded for later broadcast on ABC Classic FM. Pre-concert talk by John Foster at 7.15pm in the Northern Foyer. Visit sydneysymphony.com/talk-bios for speaker biographies. Approximate durations: 45 minutes, 20-minute interval, 55 minutes The concert will conclude at approximately 10.10pm. For details of arrangements see page 17. WARNER BROS / THE KOBAL COLLECTION Robert Preston leads the great parade in The Music Man INTRODUCTION The Trumpet Goes to the Movies When we invited James Morrison to take us to the movies tonight, we knew he’d be bringing his trumpet along. And that gave us a thematic thread for the program. Think of movies and trumpets at the same time and there’s one figure who springs immediately to mind: �Satchmo’ – the great Louis Armstrong. He got his start in film in the 1930s, played himself opposite Billie Holiday in the 1947 movie New Orleans, and with Danny Kaye he made a hit of �When the Saints Go Marching In’ in The Five Pennies (1959). But his most famous cameos saw him singing �Hello, Dolly!’ to Barbra Streisand in 1969 and performing in duo with Bing Crosby in High Society (1956). Behind the scenes there’s another trumpeter who made an extraordinary contribution to the world of film music: John Barry. Classically trained, he led his own band in the 1950s (The John Barry Seven), and then moved into the world of film and television. He won Oscars for films like Out of Africa and Dances with Wolves, but the scores for which he’s equally famous were never nominated for the big awards. By the time of his death last month, he’d composed for 11 James Bond movies – a record that’s likely to stand for a while yet – and in this concert we pay tribute with some of those memorable themes. But pay attention to any orchestral soundtrack and you’ll soon notice how important the trumpet is. It’s the instrument of fanfares – as John Williams well knows. It gives the sheen to the kind of magical brass writing that begins Richard Strauss’s Thus Spake Zarathustra (and the movie 2001). The trumpet can be edgy, frightening, brazen, proud, rousing…or smooth and lyrical. It can play classical, it can play jazz, it can hold its own in a parade of 76 trombones (actually, that was 110 cornets, but let’s not quibble). And tonight we get to hear this most versatile of instruments in the hands of one of the most versatile of musicians. 7 | Sydney Symphony ABOUT THE MUSIC James Morrison at the Movies MGM / THE KOBAL COLLECTION Bookending tonight’s program are two of the most memorable musical moments in the history of cinema. We begin with the soaring trumpet of Richard Strauss’ paean to man’s potential, Also sprach Zarathustra, and end almost where it all began – with the music of Louis Armstrong, whose horn heralded the dawn of the Jazz Age in the 1920s and the fusion of two art forms that would subsequently portray the human experience with an unprecedented intensity. It’s a testament to Stanley Kubrick’s unique cinematic vision that, even for those who have never seen his 1968 masterpiece 2001: A Space Odyssey, its theme music has come to symbolise humankind’s eternal quest for exploration and appetite for domination. To create the score, Kubrick engaged composer Alex North, with whom he had previously worked on Spartacus (1960). North recorded some 40 minutes’ worth of music which Kubrick ultimately rejected in favour of the classical guide track he’d used while editing the film (North’s discarded score was re-recorded by Jerry Goldsmith in 1993 and the composer’s own original 1968 recordings were released in 2007). North was gutted, but given the non-narrative, highly visual style of the movie, the music chosen by Kubrick undoubtedly lends a sense of timelessness to the now-forty-year-old images of the future. Richard Strauss, drawing by Leonhard Fanto (1919) Keir Dullea in 2001: A Space Odyssey (1968) Underpinning the film’s central idea of man’s evolution is Strauss’s Also sprach Zarathustra, which is heard at the beginning (alignment of the planets and Dawn of Man) and again at the end when Bowman is transformed into the Star Child. The Kyrie from Ligeti’s Requiem was an inspired choice: the unsettling sound of the voices adds an eerie note to the mysterious appearances of the monolith (the significance of which is never explained). And few could forget the graceful revolving of the space station to the strains of The Blue Danube during the spaceship docking 8 | Sydney Symphony UNIVERSAL / THE KOBAL COLLECTION sequence. It wouldn’t be the last time that Kubrick was to eschew a conventional score in favour of works from the classical repertoire: the soundtrack for A Clockwork Orange (1971) featured music by, among others, Beethoven, Elgar and Rossini. Whereas Kubrick was compelled to go back to the future for several of his soundtracks, the makers of The Sting Robert Shaw, Paul Newman and Robert Redford in The Sting. CHAPLIN / UNITED ARTISTS / THE KOBAL COLLECTION (1973) revisited America’s original vernacular music, ragtime, for their tale of two con men getting even in Depression-era Chicago. The film’s score secured an Academy Award for Marvin Hamlisch and brought Scott Joplin to the attention of a whole new generation, many of whom would come to link the movie indelibly with his greatest tune, �The Entertainer’. Throughout the history of cinema, there have been filmmakers whose creative impulse has extended beyond the directorial. Decades before John Carpenter composed the music for his films Halloween (1978) and The Fog (1980), Charlie Chaplin dictated his own tunes to studio musical directors. Chaplin’s sensibilities were firmly rooted in music hall and the melodramatic traditions of the 19th-century Charlie Chaplin and Paulette Goddard walk into the sunset to the strains of �Smile’. 9 | Sydney Symphony INSIGNIA FILMS / THE KOBAL COLLECTION stage, and his preference was for romantic, graceful music that provided a counterpoint to his comedy. Although he played violin, he never learnt how to read music and hummed fragments of melodies that would be transcribed by his arrangers, including David Raksin, who worked on Modern Times (1936). Chaplin could be a demanding taskmaster and during a recording session for Modern Times he incurred the wrath of United Artists’ musical director Alfred Newman, who promptly walked out, vowing never to work with him again. However there is no trace of that conflict in the movie’s famous closing scene, where Chaplin and Paulette Goddard walk into the sunset to the strains of Chaplin’s own composition �Smile’. The final fade-out shot assumed a particularly poignant significance: the silent era had come to a close and Chaplin would never again appear on screen as the Tramp. As movie franchises go, the James Bond series is one of the most successful in screen history. Ian Fleming created Bond at a particular juncture in post-World War II history: Britain had begun to lose its status as an imperial power and the geo-political map was shifting, with Cold War tensions rising. The West was in the grip of an emerging consumer culture and revising its notions of class, race, sex and gender. The films especially, exploited these factors, and added some legendary double entendres for good measure. The Bond films came to be enjoyed on a number of levels, and it was therefore essential that the music reflect this pluralism. John Barry’s diverse musical credentials John Barry OBE (1933–2011) John Barry scored 11 James Bond films and was awarded five Oscars for soundtracks such as Dances with Wolves and Out of Africa. He died last month of a heart attack at the age of 77. 10 | Sydney Symphony DANJAQ/EON/UA / THE KOBAL COLLECTION Sean Connery was 007 in Thunderball MGM / THE KOBAL COLLECTION (classically trained, he played trumpet in the army and with his own John Barry Seven before arranging for television and Adam Faith) perfectly equipped him to mix all of the elements which would make up Bond’s sound-world. His insightful instrumentation blended traditional sweeping orchestral arrangements with synthesizers, cimbalom, exotic percussion, funky Hammond organ lines and jazzy combo setups featuring flute, vibes, and electric guitar. And of course there was the signature punchy brass, born of his admiration for Stan Kenton. Musically, he was of the moment and his scores helped define 1960s cinema and television (The Ipcress File, The Knack...and How to Get It, The Persuaders). His reworking of Monty Norman’s Bond theme resulted in arguably the most instantly recognisable title sequence of all time, and his compositional style complemented Peter Hunt’s quick editing perfectly. Goldfinger (1964) was the first Bond film entirely scored by Barry and the hit theme song sung by Shirley Bassey created a trend for subsequent movies in the series. (Ironically, producer Harry Saltzman hated the song – he considered it vulgar – and only ceded to Cubby Broccoli and director Guy Hamilton because of the tight post-production schedule.) Other composers have had a crack at Bond, including George Martin (Live And Let Die, with a contribution from Paul McCartney and Wings for the theme song) and Bill Conti (For Your Eyes Only). To date, however, Barry has been the most prolific, with twelve Bond scores to his credit. Tonight we also hear the theme from the 1965 Bond outing, Thunderball. As pop and rock music increasingly dominated the airwaves during the 1960s it became common for films to feature hit songs: �Moon River’ (Breakfast at Tiffany’s), �Born Free’, �The Windmills of Your Mind’ (The Thomas Crown Affair) and, winner of the 1965 Academy Award for Best Original Song, �The Shadow of Your Smile’ from The Sandpiper, Vincente Minnelli’s story of a love affair between Richard Burton and Elizabeth Taylor in The Sandpiper 11 | Sydney Symphony LEBRECHT MUSIC & ARTS a free-spirited artist (Elizabeth Taylor) and a schoolmaster (Richard Burton). A wistful trumpet rendition of the Johnny Mandel song accompanied the movie’s dramatic shots of Big Sur and it has since been recorded by scores of artists. The desire of producers in the 1960s for movies to have an associated hit song was a catalyst in the break-up of one of the most celebrated collaborations in cinema history: that of Bernard Herrmann and Alfred Hitchcock. Bernard Herrmann (left) on the set of Vertigo with Alfred Hitchcock (1958) COLUMBIA / THE KOBAL COLLECTION Herrmann provided the music for eight of Hitchcock’s films but, during the making of Torn Curtain (1966), studio bosses pressured the director into replacing him with a younger composer who could provide a more contemporary soundtrack and possibly a hit song. Having had a commercial failure with Marnie (1964), Hitchcock was suffering a crisis of confidence and complied. Herrmann subsequently relocated to Britain, where he was later discovered by a new generation of filmmakers, including Brian De Palma, François Truffaut and Martin Scorsese, who invited Herrmann to score his 1976 picture Taxi Driver. Taxi Driver is a portrait of Travis Bickle, an ex-marine and introverted loner who drives a cab around New York City at night to cope with his insomnia. The violence and Robert de Niro in Martin Scorsese’s 1976 film Taxi Driver 12 | Sydney Symphony crime that Bickle witnesses from his cab feed his growing contempt for the world around him (�all the animals come out at night…someday a real rain’ll come and wash all the scum off the streets’). Herrmann’s music is often described as dark and brooding, and the noir-style theme that accompanies the night driving scenes (Prelude) has a menacing undercurrent with a hint of latent violence. In stark contrast is Betsy’s love theme (Blues), a languorous, jazzy number (performed tonight by James Morrison on alto sax). Travis’ tenuous hold on reality finally snaps after he is spurned by Betsy and encounters child prostitute Iris, and the music takes on a martial feel, with snare drum and low discordant winds and muted brass (Night Prowl). When he kills Iris’ pimp and associates, the love theme returns (Bloodbath), but is brutally transformed with blaring brass and thundering timpani. The final movement of the suite (Finale) is a reprise of the love theme; Iris has returned home and Travis is hailed as a hero. But has he fully recovered? As he is driving away from a chance encounter with Betsy, we see his eyes dart up to the rear-view mirror. Perhaps the most celebrated composer/director collaboration is that of John Williams and Steven Spielberg. Willams’ relationship with George Lucas has been almost as fruitful, however, and it’s been said that Williams’ score for Star Wars in 1977 transformed the landscape of LUCASFILM / 20TH CENTURY FOX / THE KOBAL COLLECTION Star Wars brought an epic vision to the science fiction adventure genre and its score transformed the landscape of film music. film music. This is rich imaginative writing that brought the symphony orchestra as a major component back into films, where Williams has kept it at a time when many film composers have resorted to sequencers. We end the first half of tonight’s concert with the only cinematic fanfare to rival Alfred Newman’s Twentieth Century Fox signature theme – the main title music to Star Wars. 13 | Sydney Symphony WARNER BROS / THE KOBAL COLLECTION Al Jolson sings �Blue Skies’ in The Jazz Singer (1927) Carol Channing once said, �American musical comedy is an outgrowth of every immigrant.’ When Al Jolson astonished cinema audiences with his rendition of Irving Berlin’s �Blue Skies’ in The Jazz Singer in 1927, the shtetlto-showbiz storyline reflected the prevailing influences on American popular music during the first decades of the 20th century. Cantor’s son Berlin was born Israel Baline in 1888 in Russia, his family settling in New York’s Lower East Side a few years later. Entirely self-taught as a musician – oddly, he played only on the black keys of the piano and most of his early songs were therefore written in the key of F sharp – he composed almost two dozen Broadway shows between 1914 and 1962. Jerome Kern, when asked to place Berlin in the history of American song, famously said: �Irving Berlin has no place in American music; Irving Berlin is American music.’ Berlin’s first big hit �Alexander’s Ragtime Band’ eased the entry of black musical idioms into American popular song and set the course for the cross-fertilisation that ultimately led to the Great American Songbook. He had a disdain for �political’ music but the 1933 revue As Thousands Cheer, for which he provided the songs, included satirical sketches and �Suppertime’, a song performed by Ethel Waters about a woman whose husband has been lynched – provocative in its day. Also in the revue was �Easter Parade’, which was later sung by Judy Garland in the film of the same name. The fourth Berlin number featured in our concert is �A Pretty Girl Is Like a Melody’, the anthem to which countless celluloid Ziegfeld Follies have paraded. When one listens to the first three notes of �Over the Rainbow’ it’s hard to believe that MGM chief Louis B. Mayer wanted to cut the song from The Wizard of Oz 14 | Sydney Symphony Irving Berlin MGM / THE KOBAL COLLECTION Fred Astaire and Judy Garland make a fine couple of swells in Easter Parade. (1939) because he felt that the placement of a ballad at the beginning of the movie would slow it down. The song’s opening octave leap, followed by a sighing minor chord, so perfectly encapsulates Dorothy’s yearning for a place beyond Kansas that it sets up the entire narrative of the film. The movie’s songs were penned by E.Y. �Yip’ Harburg and Harold Arlen, who, like Irving Berlin, was born the son of a rabbi before heading for Tin Pan Alley, Broadway and Hollywood (via a stint at the Cotton Club in Harlem). Regarded by many as a songwriter’s songwriter, Arlen composed a further two songs that, along with �Over the Rainbow’, would come to be regarded as Judy Garland’s signature tunes: �Get Happy’ and �The Man That Got Away’. The success of Rodgers and Hammerstein’s book musical Oklahoma! during the Second World War triggered an appetite for nostalgia on Broadway and Meredith Willson’s musical The Music Man satisfied this thoroughly with its scenes of small-town Americana. Warner Bros. wanted Frank Sinatra for the 1962 big screen version but Willson and director Morton DaCosta insisted that Robert Preston 15 | Sydney Symphony WARNER BROS / THE KOBAL COLLECTION As travelling conman Harold Hill in the 1961 film of The Music Man, Robert Preston inspired a whole town to make music. reprise his Tony Award-winning role of con man Harold Hill, who plans to cheat the good folks of River City, Ioway with his �think’ system of learning music. A classically trained flautist who had played in John Philip Sousa’s band before working in radio and film, Willson based the show on reminiscences of his home town of Mason City, Iowa. The big finale number, �Seventy-Six Trombones’, is a Sousa-style march which in the movie was performed by 41 principal actors, 40 dancers, a 150-member boy’s band and 500 extras. Tonight James Morrison and his Quartet perform Thelonius Monk’s standard �’Round Midnight’, however in Bertrand Tavernier’s 1986 movie of the same name it was �played’ by Bobby McFerrin, whose muted trumpet-style vocal stylings appeared over the title sequence. The film features saxophonist Dexter Gordon in the central role of Dale Turner and is based on events in the life of pianist Bud Powell, specifically his later years in Paris and his befriending by French commercial artist Francis Paudras. 16 | Sydney Symphony LORRAINE NEILSON SYMPHONY SERVICES INTERNATIONAL ©2011 Musical Arrangements Richard Strauss (1864–1949) Thus Spake Zarathustra: opening music | Scott Joplin (c.1867/68–1917) arranged Bill Holcombe & Carson Rothrock The Entertainer | Monty Norman, Bill Conti, Paul McCartney & John Barry, arranged Calvin Custer Themes from 007 – Medley for orchestra | John Barry (1933–2011) arranged Nic Raine Thunderball | Charlie Chaplin (1889–1977) arranged James Morrison Smile | E.Y. �Yip’ Harburg (1896–1981) & Harold Arlen (1905–1986) arranged James Morrison Over the Rainbow | Bernard Herrmann (1911–1975) arranged Christopher Palmer Taxi Driver – A Night Piece | John Williams (born 1932) Main Title Music from Star Wars | Meredith Willson (1902–1984) arranged Leroy Anderson Seventy-Six Trombones | Johnny Mandel (born 1925) & Paul Francis Webster (1907–1984) arranged James Morrison, orchestrated Sean O’Boyle The Shadow of Your Smile | Irving Berlin (1888–1989) orchestrated Robert Russell Bennett Easter Parade | Berlin arranged Tommy Tycho Blue Skies | Berlin arranged Judy Bailey A Pretty Girl is Like a Melody | Berlin arranged Judy Bailey Alexander’s Ragtime Band | Stephen Sondheim (born 1930) arranged Naomi Crellin, orchestrated Graeme Lyall Send in the Clowns | Thelonius Monk (1917–1982) arranged James Morrison ’Round Midnight | Traditional, arranged Dan Walker When the Saints Go Marching In | Alan Jay Lerner (1918–1986) & Frederick Loewe (1901–1988) arranged James Morrison, orchestrated Sean O’Boyle Wouldn’t It Be Loverly | Bob Thiele, as George Douglas (1922–1996) & George David Weiss (1921–2010) What a Wonderful World | Jerry Herman (born 1931) Hello, Dolly! 17 | Sydney Symphony 20TH CENTURY-FOX / CHENAULT PRODS. / THE KOBAL COLLECTION In addition to a cameo appearance by Martin Scorsese, the movie includes performances by a who’s who of the jazz world, including Wayne Shorter, Ron Carter, Tony Williams, Freddie Hubbard and Herbie Hancock, who won an Academy Award for the score. In a program celebrating a medium in which the moving image and music are so inextricably intertwined, it is fitting to end with an entertainer who was almost as compelling to watch as to listen to. Louis Armstrong’s birth coincided with the dawn of both jazz and cinema and he went on to appear in dozens of films, mostly as himself. He had a knack for breathing new life into show tunes and making them his own, most memorably with his recordings of Kurt Weill’s �Mack the Knife’ and �Hello, Dolly!’, which knocked The Beatles off the Number 1 spot and landed Armstrong a cameo appearance opposite Barbra Streisand in the 1969 film version of the Jerry Herman musical. James Morrison relives some of Satchmo’s most unforgettable stage and screen moments, including his rousing duet with Danny Kaye (�When the Saints Go Marching In’) from the 1959 film The Five Pennies (based on the life of jazz trumpeter Red Nichols) and the song that resulted in a posthumous hit for Armstrong following the release of Good Morning, Vietnam, �What a Wonderful World’. Louis Armstrong and Barbra Streisand on the set of Hello, Dolly! MORE MUSIC Selected Discography Broadcast Diary THUS SPAKE ZARATHUSTRA Hear Richard Strauss’s complete creation in a performance by the Sydney Symphony with conductor Charles Mackerras. SSO 200705 FEBRUARY–MARCH JOHN BARRY The Ultimate John Barry Experience collects some of his great movie themes and pop songs. EMI RECORDS 5359342 Friday 25 February, 8pm GRIEG’S PEER GYNT Vladimir Ashkenazy conductor John de Lancie narrator BERNARD HERRMANN Esa-Pekka Salonen conducts the Los Angeles Philharmonic in a recording that includes music from North By Northwest, Vertigo, Psycho, Fahrenheit 451 and Taxi Driver. With choir and vocal soloists SONY 92767 Vladimir Ashkenazy conductor Jean-Efflam Bavouzet piano LOUIS ARMSTRONG The Essential Louis Armstrong includes hits such as Ain’t Misbehavin’, On the Sunny Side of the Street, Basin Street Blues, I Got Rhythm, Tea for Two, St Louis Blues and When the Saints Go Marching In as well as Hello, Dolly! and Mack the Knife. NEWSOUND 158992 JAMES MORRISON Three’s Company The latest disc from the James Morrison Trio, with tracks ranging from Bach and Chopin to some of the great standards. Friday 4 March, 8pm MAHLER 6 Liszt, Mahler Monday 21 March, 8pm LOVERS & ENIGMAS (2010) Vladimir Ashkenazy conductor Richard Strauss, Sibelius, Elgar Thursday 24 March, 1.05pm VIVA ESPAÑA (2010) Miguel Harth-Bedoya conductor Slava Grigoryan guitar Turina, Rodrigo, Lovelady, Benzecry, Falla ORiGiN MUSIC (2010) Feels Like Spring A collaboration with the a cappella sensation The Idea of North – a mix of jazz standards, originals and even a pop adaptation. 2735660 Most of James Morrison’s recordings are also available through iTunes. EMMA PASK Some Other Spring (2010) www.emmapask.com This Madness Called Love (2002) with James Morrison, Phil Stack (bass), Craig Simon (drums), David Blenkhorn (guitar), Blaine Whittaker (saxophone) MR 012 Emma (1999) – debut album 2MBS-FM 102.5 SYDNEY SYMPHONY 2010 Tuesday 8 March, 6pm Musicians, staff and guest artists discuss what’s in store in our forthcoming concerts. Webcasts Selected Sydney Symphony concerts are recorded for webcast by BigPond. Visit: bigpondmusic.com/sydneysymphony Sydney Symphony Online Join us on Facebook facebook.com/sydneysymphony Follow us on Twitter twitter.com/sydsymph Have your say Tell us what you thought of the concert sydneysymphony.com/yoursay or email: [email protected] 19 | Sydney Symphony Stay Tuned Sign up to receive our fortnightly e-newsletter sydneysymphony.com/staytuned Visit sydneysymphony.com for concert information, podcasts, and to read the program book in the week of the concert. ABOUT THE ARTISTS Marc Taddei was born in the United States and studied at the Juilliard School before moving to New Zealand. In 2007, following six years as the music director of the Christchurch Symphony Orchestra, he was appointed music director of the Wellington Orchestra. Previous posts have included Principal Guest Conductor for the Christchurch Symphony Orchestra, and Associate Conductor of the Auckland Philharmonia. He has also conducted the New Zealand Symphony Orchestra and productions for Opera New Zealand and the Royal New Zealand Ballet, and has been a frequent guest at the New Zealand International Festival of the Arts. In 2005 he conducted a special televised performance of Vaughan Williams’ Sinfonia antartica, featuring Sir Edmund Hillary as narrator. He has worked with the Oregon Symphony Orchestra, Louisiana Philharmonic, Fort Worth Symphony Orchestra, Eugene Symphony, New Haven Symphony Orchestra, Southwest Florida Symphony, Orchestra Victoria, Chamber Orchestra of Hong Kong, the Silesian State Opera, and the Melbourne, Adelaide, Queensland and Tasmanian symphony orchestras. He has collaborated with artists such as Dame Kiri Te Kanawa, Julian Lloyd Webber, Simon O’Neill, Joanna MacGregor, Joshua Redman, Pedro Carneiro, Diana Krall, Bobby Shew, Art Garfunkel and Kenny Rogers. Marc Taddei’s extensive discography includes British viola concertos with Helen Callus and the NZSO, a Berlioz Harold in Italy/Bartók Viola Concerto release, and View from Olympus, which was named Classical Album of the Year at the 2007 New Zealand Music Awards. He also conducted the soundtracks for Dean Spanley and Under the Mountain. 20 | Sydney Symphony G BECKY NUNES Marc Taddei conductor James Morrison trumpet James Morrison is a virtuoso in the true sense of the word and plays trumpet and many other instruments. He was given his first instrument at the age of seven; at nine he formed his first band; and at 13 he was playing professionally in nightclubs. When he was just 16, he made his US debut at the Monterey Jazz Festival. Following this were performances at the big festivals in Europe, playing with Dizzy Gillespie, Cab Calloway, Woody Shaw, Red Rodney, George Benson, Ray Charles, B.B. King, Ray Brown, Wynton Marsalis and other jazz legends. There were also gigs in the world’s famous jazz clubs – the Blue Note and Village Vanguard in New York, the New Morning in Paris and Ronnie Scott’s in London. He has recorded Jazz Meets the Symphony with the London Symphony Orchestra, and performed concerts at the Royal Albert Hall with the London Philharmonic Orchestra. He has given royal command performances on two occasions for Her Majesty Queen Elizabeth II and played for US Presidents Bush and Clinton at Parliament House in Australia. In 1997, he was awarded the Order of Australia Medal. Concert highlights have included Hollywood Bowl, the Israel National Orchestra and the LA Jazz Festival, and in 2007 he gave the premiere of Lalo Schifrin’s Concerto for Jazz Trumpet and Piano with the Sydney Symphony. His work in the Kaleidoscope series has included tributes to Duke Ellington and Louis Armstrong. James Morrison is deeply involved in education, and is currently designing new instruments with Austrian company Schagerl. www.jamesmorrison.com.au The Idea of North The Idea of North has been mesmerising audiences around the world for more than 16 years with a dextrous and distinctive style. One of Australia’s most acclaimed vocal ensembles, the multi-award-winning group continues to reinvent their often-misrepresented genre, creating a very real freshness and relevance for a cappella singing. These four singers – Sally Cameron, Naomi Crellin, Nick Begbie and Andrew Piper – have studied and worked with some of the truly great singers and arrangers including The New York Voices, Tuck and Patti, Gene Puerling (The Hi-Lo’s, Singers Unlimited), Mark Murphy and Cheryl Bentine (Manhattan Transfer). Their seventh album, Feels Like Spring, is a collaboration with James Morrison and won the 2010 ARIA Award for Best Jazz Album. 21 | Sydney Symphony www.idea.com.au Emma Pask vocals Emma Pask’s talent was spotted by James Morrison when she was just 16, and she has been touring with Morrison ever since. While her voice and style are distinctively her own, her performances are reminiscent of the classic era of jazz, when swing was top of the charts. In 2006, she was invited to perform for Nicole Kidman and Keith Urban’s wedding. Earlier that year, she was awarded the Mo Award for Jazz Vocalist of the Year. She has been a regular guest on national television, and she has sung for VIP audiences including the late Diana, Princess of Wales, Princess Mary of Denmark and the Prime Minister of Australia. She has sung with the Shanghai and West Australian symphony orchestras, Auckland Philharmonic and the BBC Concert Orchestra. She has also performed with Barbara Morrison, Don Burrows and Ed Wilson, and appeared at the Philips International Jazz Festival (Kuala Lumpur), Melbourne’s Myer Music Bowl, in Cape Town with the Darius Brubeck Trio, and in Laos and Singapore with the Emma Pask Quintet. She has recorded with the BBC Big Band and recently released her third album, Some Other Spring. Emma Pask made her Sydney Symphony debut in 2009. www.emmapask.com James Muller guitar Born in Adelaide in 1974, James Muller began teaching himself guitar at the age of 12. At first he was inspired by rock guitar legends of the 60s and 70s; then the harmonic complexities of jazz caught his ear. By the time he burst onto the Sydney scene in 1996, at just 21 years of age, he had already recorded his first independent album No You Don’t. He was soon performing with some of the biggest names in jazz and rock, including James Morrison, Vince Jones, Katie Noonan, Don Burrows, Renee Geyer and Jimmy Barnes, as well as Nigel Kennedy. He has also performed with leading American musicians such as John Scofield, Chad Wackerman (Frank Zappa, Allan Holdsworth), Vinni Colaiuta (Sting, Jeff Beck) and Christian McBride (Pat Metheny). He has since recorded three more albums under his own name and made multiple tours to Europe, Asia and the United States, to critical acclaim. His numerous awards include an ARIA for Best Jazz Album (All Out) and the National Jazz Award at the Wangaratta Jazz Festival in 2000; Mo awards for Best Jazz Instrumentalist and Best Jazz Group in 2001; the APRA award for Most Performed Jazz Work (�Paul Bley’ from Thrum) in 2003; and the 2004 Freedman Fellowship. His albums Thrum and Kaboom were also nominated for ARIA awards. 22 | Sydney Symphony www.jamesmuller.com Phil Stack double bass Born in 1977, Phil Stack moved from Dubbo to Sydney in 1996 to study double bass with Craig Scott, Mike Nock and Judy Bailey at the Conservatorium of Music, graduating with an Associate Diploma in Jazz Studies. Already active on the local scene, he won the James Morrison Scholarship in 1997 and began making tours with James Morrison that same year. These include five tours of Europe, performing at some of the top festivals such as the Espoo international jazz festival in Finland and the Ardrià Festival in Italy. With Morrison he was a guest of the Munich Symphony Orchestra in 2002, and they have also toured with the Salzburg classical brass ensemble, performing both duo and with the ensemble in concert halls across Slovenia, Switzerland, Italy and Austria, including the Salzburg Mozarteum. Phil Stack is a founding member of multi-platinum rock/ pop group Thirsty Merc, which has recorded three albums and tours extensively. He has also performed with the Adelaide, Melbourne and Sydney symphony orchestras, as a soloist in Lalo Shifrin’s Jazz Meets the Symphony, and with Dale Barlow, Tommy Emmanuel, the James Muller Trio, Lior, Katie Noonan, You Am I, Mark Murphy and Branford Marsalis. In 2008 he took first place in the National Jazz Awards. Gordon Rytmeister drums Born in Sydney in 1968, Gordon Rytmeister began playing drums at age 13. His initial inspiration came from the raw rock of bands such as Led Zeppelin and Deep Purple, but he quickly developed an interest in jazz. He studied at the Sydney Conservatorium, during which time he began playing in Mike Nock’s band and later joined The Don Burrows Quartet. Since then, he has worked with the cream of Australia’s jazz, pop, rock and country artists, and many international acts. These include Lalo Schifrin, James Morrison, Bob Mintzer, Leo Sayer, Bob James, Tom Jones, Bob Florence, The Commodores, Bob Geldof, Barry Harris, Nat Adderley, Maria Schneider, Lee Konitz, Glenn Shorrock (from Little River Band), Tina Arena, The Sydney All Star Big Band, Roger Frampton, Bobby Shew, Anthony Warlow, Russell Watson, Rob McConnell, Don Rader, Dale Barlow, Eartha Kitt and Jimmy Barnes. Gordon Rytmeister is the resident drummer on Australian Idol and in the 1990s he played five nights a week on Tonight Live with Steve Vizard. He co-led the instrumental fusion band GLUE from the mid-1990s. He can be heard on many movie soundtracks, albums, and television themes, and recorded Anthony Callea’s �The Prayer’. He has conducted many educational clinics, workshops and master classes throughout the world, and from 1996 to 2002 he taught in the Jazz Course at the Sydney Conservatorium. www.gordonrytmeister.com Principal Conductor and Artistic Advisor © KEITH SAUNDERS Vladimir Ashkenazy © KEITH SAUNDERS © KEITH SAUNDERS MUSICIANS Michael Dauth Dene Olding Concertmaster Concertmaster Performing in this concert… FIRST VIOLINS VIOLAS OBOES TROMBONES Dene Olding Roger Benedict Anne-Louise Comerford Robyn Brookfield Jane Hazelwood Stuart Johnson Justine Marsden Felicity Tsai Leonid Volovelsky Jacqueline Cronin# Tara Houghton†David Wicks# Shefali Pryor Alexandre Oguey Ronald Prussing Scott Kinmont Christopher Harris Concertmaster Kirsten Williams Associate Concertmaster Fiona Ziegler Assistant Concertmaster Jennifer Booth Marianne Broadfoot Brielle Clapson Sophie Cole Amber Davis Nicole Masters Alexandra Mitchell Léone Ziegler Freya Franzen†Claire Herrick* Martin Silverton* SECOND VIOLINS Jennifer Hoy A/Assistant Principal Susan Dobbie Principal Emeritus Maria Durek Emma Hayes Shuti Huang Stan W Kornel Benjamin Li Emily Long Philippa Paige Biyana Rozenblit Maja Verunica Katherine Lukey# CELLOS Catherine Hewgill Fenella Gill Timothy Nankervis Adrian Wallis David Wickham Adam Szabo†Rachael Tobin# Paul Stender* DOUBLE BASSES Kees Boersma Neil Brawley Principal Emeritus David Campbell Steven Larson Richard Lynn David Murray FLUTES Principal Cor Anglais Principal Bass Trombone CLARINETS Francesco Celata Christopher Tingay Craig Wernicke TUBA Principal Bass Clarinet TIMPANI BASSOONS Matthew Wilkie Roger Brooke Melissa Woodroffe†SAXOPHONES Martin Kay* Dan Waples* Tim Clarkson* James Ryan* Steve Rossé Mark Robinson Assistant Principal PERCUSSION Rebecca Lagos Colin Piper Brian Nixon* Philip South* HARP Louise Johnson HORNS KEYBOARD Ben Jacks Geoffrey O’Reilly Josephine Allan# Principal 3rd Lee Bracegirdle Marnie Sebire Katy Grisdale†ORGAN TRUMPETS * = Guest Musician # = Contract Musician †= Sydney Symphony Fellow Daniel Mendelow John Foster Anthony Heinrichs David Drury* Emma Sholl Carolyn Harris Rosamund Plummer Principal Piccolo 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 If you don’t have access to the internet, ask one of our customer service representatives for a copy of our Musicians flyer. 24 | Sydney Symphony THE SYDNEY SYMPHONY © KEITH SAUNDERS Vladimir Ashkenazy PRINCIPAL CONDUCTOR AND ARTISTIC ADVISOR PATRON Her Excellency Professor Marie Bashir AC CVO Founded in 1932 by the Australian Broadcasting Corporation, 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 a tour of European summer festivals, including the BBC Proms and the Edinburgh Festival. 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, Zdenek Mácal, Stuart Challender, Edo de Waart and, most recently, Gianluigi Gelmetti. The orchestra’s history also boasts collaborations with legendary figures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky. 25 | Sydney Symphony The Sydney Symphony’s award-winning education program is central to its commitment to the future of live symphonic music, developing audiences and engaging the participation of young people. The Sydney Symphony promotes the work of Australian composers through performances, recordings and its commissioning program. Recent premieres have included major works by Ross Edwards, Liza Lim, Lee Bracegirdle 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. Currently the orchestra is recording the complete Mahler symphonies. The Sydney Symphony has also released recordings with Ashkenazy of Rachmaninoff and Elgar orchestral works on the Exton/Triton labels, and numerous recordings on the ABC Classics label. This is the third year of Ashkenazy’s tenure as Principal Conductor and Artistic Advisor. SALUTE PRINCIPAL PARTNER GOVERNMENT PARTNERS The Sydney Symphony is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body PREMIER PARTNER PLATINUM PARTNERS MAJOR PARTNERS GOLD PARTNERS SILVER PARTNERS REGIONAL TOUR PARTNERS BRONZE PARTNER MARKETING PARTNER Emanate 2MBS 102.5 Sydney’s Fine Music Station 26 | Sydney Symphony The Sydney Symphony is assisted by the NSW Government through Arts NSW PLAYING YOUR PART The Sydney Symphony gratefully acknowledges the music lovers who donate to the Orchestra each year. Each gift plays an important part in ensuring our continued artistic excellence and helping to sustain important education and regional touring programs. Please visit sydneysymphony.com/patrons for a list of all our donors, including those who give between $100 and $499. PLATINUM PATRONS $20,000+ Brian Abel Geoff & Vicki Ainsworth Robert Albert AO & Elizabeth Albert Tom Breen & Rachael Kohn Sandra & Neil Burns Ian & Jennifer Burton Mr John C Conde AO Robert & Janet Constable The Hon. Ashley Dawson-Damer In memory of Hetty & Egon Gordon The Hansen Family Ms Rose Herceg James N. Kirby Foundation Mr Andrew Kaldor & Mrs Renata Kaldor AO D & I Kallinikos Justice Jane Mathews AO Mrs Roslyn Packer AO Greg & Kerry Paramor & Equity Real Estate Partners Dr John Roarty in memory of Mrs June Roarty Paul & Sandra Salteri Mrs Penelope Seidler AM Mrs W Stening Mr Fred Street AM & Mrs Dorothy Street In memory of D M Thew Mr Peter Weiss AM & Mrs Doris Weiss Westfield Group Ray Wilson OAM in memory of James Agapitos OAM Mr Brian and Mrs Rosemary White June & Alan Woods Family Bequest Anonymous (1) GOLD PATRONS $10,000–$19,999 Alan & Christine Bishop Bob & Julie Clampett The Estate of Ruth M Davidson Penny Edwards Paul R. Espie Dr Bruno & Mrs Rhonda Giuffre Mr David Greatorex AO & Mrs Deirdre Greatorex Mrs Joan MacKenzie Ruth & Bob Magid Tony & Fran Meagher Mrs T Merewether oam Mr B G O’Conor Mrs Joyce Sproat & Mrs Janet Cooke Ms Caroline Wilkinson Anonymous (1) SILVER PATRONS $5,000–$9,999 Mr and Mrs Mark Bethwaite Jan Bowen Mr Donald Campbell & Dr Stephen Freiberg Mr Robert & Mrs L Alison Carr Mrs Gretchen M Dechert 27 | Sydney Symphony Ian Dickson & Reg Holloway James & Leonie Furber Mr James Graham AM & Mrs Helen Graham Stephen Johns & Michele Bender Judges of the Supreme Court of NSW Mr Ervin Katz Gary Linnane William McIlrath Charitable Foundation Eva & Timothy Pascoe David & Isabel Smithers Mrs Hedy Switzer Ian & Wendy Thompson Michael & Mary Whelan Trust Jill Wran Anonymous (1) BRONZE PATRONS $2,500–$4,999 Stephen J Bell Mr David & Mrs Halina Brett Lenore P Buckle Kylie Green Janette Hamilton Ann Hoban Paul & Susan Hotz Irwin Imhof in memory of Herta Imhof Mr Justin Lam R & S Maple-Brown Mora Maxwell Judith McKernan Justice Geoffrey Palmer James & Elsie Moore Bruce & Joy Reid Foundation Mary Rossi Travel Georges & Marliese Teitler Gabrielle Trainor J F & A van Ogtrop Geoff Wood & Melissa Waites Anonymous (1) BRONZE PATRONS $1,000–$2,499 Charles & Renee Abrams Mr Henri W Aram OAM Terrey Arcus am & Anne Arcus Claire Armstrong & John Sharpe Dr Francis J Augustus Richard Banks Doug & Alison Battersby David Barnes Phil & Elese Bennett Colin Draper & Mary Jane Brodribb M Bulmer Pat & Jenny Burnett Debby Cramer & Bill Caukill Ewen & Catherine Crouch Mr John Cunningham SCM & Mrs Margaret Cunningham Lisa & Miro Davis John Favaloro Mr Ian Fenwicke & Prof Neville Wills Firehold Pty Ltd Anthony Gregg & Deanne Whittleston Akiko Gregory In memory of Oscar Grynberg Mrs E Herrman Mrs Jennifer Hershon Barbara & John Hirst Bill & Pam Hughes The Hon. David Hunt AO QC & Mrs Margaret Hunt Dr & Mrs Michael Hunter The Hon. Paul Keating Anna-Lisa Klettenberg In Memory of Bernard M H Khaw Jeannette King Wendy Lapointe Macquarie Group Foundation Melvyn Madigan Mr Robert & Mrs Renee Markovic Kevin & Deidre McCann Matthew McInnes Mrs Barbara McNulty OBE Harry M. Miller, Lauren Miller Cilento & Josh Cilento Nola Nettheim Mr R A Oppen Mr Robert Orrell Mr & Mrs Ortis Maria Page Piatti Holdings Pty Ltd Adrian & Dairneen Pilton Robin Potter Mr & Ms Stephen Proud Miss Rosemary Pryor Dr Raffi Qasabian Ernest & Judith Rapee Patricia H Reid Mr M D Salamon John Saunders Juliana Schaeffer Caroline Sharpen Mr & Mrs Jean-Marie Simart Catherine Stephen Mildred Teitler Andrew & Isolde Tornya Gerry & Carolyn Travers John E Tuckey Mrs M Turkington The Hon. Justice A G Whealy Dr Richard Wingate Mr R R Woodward Anonymous (12) BRONZE PATRONS $500–$999 Mr C R Adamson Ms Baiba B. Berzins & Dr Peter Loveday Mrs Jan Biber Dr & Mrs Hannes Boshoff Dr Miles Burgess Ita Buttrose AO OBE Stephen Byrne & Susie Gleeson Hon. Justice J C & Mrs Campbell Mrs Catherine J Clark Joan Connery OAM & Maxwell Connery OAM Mr Charles Curran AC & Mrs Eva Curran Matthew Delasey Greg Earl & Debbie Cameron Robert Gelling Dr & Mrs C Goldschmidt Mr Robert Green Mr Richard Griffin am Jules & Tanya Hall Mr Hugh Hallard Dr Heng & Mrs Cilla Tey Roger Henning Rev Harry & Mrs Meg Herbert Michelle Hilton-Vernon Mr Joerg Hofmann Dominique Hogan-Doran Mr Brian Horsfield Greta James Iven & Sylvia Klineberg Dr & Mrs Leo Leader Margaret Lederman Martine Letts Erna & Gerry Levy AM Dr Winston Liauw Sydney & Airdrie Lloyd Carolyn & Peter Lowry OAM Dr David Luis Mrs M MacRae OAM Mrs Silvana Mantellato Geoff & Jane McClellan Ian & Pam McGraw Mrs Inara Merrick Kenneth N Mitchell Helen Morgan Mrs Margaret Newton Sandy Nightingale Mr Graham North Dr M C O’Connor AM Mrs Rachel O’Conor A Willmers & R Pal Dr A J Palmer Mr Andrew C. Patterson Dr Kevin Pedemont Lois & Ken Rae Pamela Rogers Dr Mark & Mrs Gillian Selikowitz Mrs Diane Shteinman AM Robyn Smiles Rev Doug & Mrs Judith Sotheren John & Alix Sullivan Mr D M Swan Ms Wendy Thompson Prof Gordon E Wall Ronald Walledge David & Katrina Williams Audrey & Michael Wilson Mr Robert Woods Mr & Mrs Glenn Wyss Anonymous (11) To find out more about becoming a Sydney Symphony Patron please contact the Philanthropy Office on (02) 8215 4625 or email [email protected] MAESTRO’S CIRCLE Andrew Kaldor & Renata Kaldor AO Roslyn Packer AO Penelope Seidler AM Mr Fred Street AM & Mrs Dorothy Street Westfield Group Ray Wilson OAM in memory of the late James Agapitos OAM Peter Weiss AM – Founding President & Doris Weiss John C Conde AO – Chairman Geoff & Vicki Ainsworth Tom Breen & Rachael Kohn The Hon. Ashley Dawson-Damer In memory of Hetty & Egon Gordon SYDNEY SYMPHONY LEADERSHIP ENSEMBLE David Livingstone, CEO Credit Suisse, Australia Alan Fang, Chairman, Tianda Group Macquarie Group Foundation John Morschel, Chairman, ANZ DIRECTORS’ CHAIRS © KEITH SAUNDERS © KEITH SAUNDERS 04 08 09 05 © KEITH SAUNDERS 07 06 03 © KEITH SAUNDERS 02 © KEITH SAUNDERS © JEFF BUSBY 01 01 Richard Gill OAM Artistic Director Education Sandra and Paul Salteri Chair 04 Nick Byrne Trombone RogenSi Chair 07 Paul Goodchild Associate Principal Trumpet The Hansen Family Chair 02 Ronald Prussing Principal Trombone Industry & Investment NSW Chair 05 Diana Doherty Principal Oboe Andrew Kaldor and Renata Kaldor AO Chair 08 Catherine Hewgill Principal Cello Tony and Fran Meagher Chair 03 Jane Hazelwood Viola Veolia Environmental Services Chair 06 Shefali Pryor Associate Principal Oboe Rose Herceg & Neil Lawrence Chair 09 Emma Sholl Associate Principal Flute Robert and Janet Constable Chair For information about the Directors’ Chairs program, please call (02) 8215 4619. 28 | Sydney Symphony BEHIND THE SCENES Sydney Symphony Board CHAIRMAN John C Conde AO Terrey Arcus AM Ewen Crouch Ross Grant Jennifer Hoy Rory Jeffes Andrew Kaldor Irene Lee David Livingstone Goetz Richter David Smithers AM Gabrielle Trainor Sydney Symphony Council Geoff Ainsworth Andrew Andersons AO Michael Baume AO* Christine Bishop Ita Buttrose AO OBE Peter Cudlipp John Curtis AM Greg Daniel AM John Della Bosca Alan Fang Erin Flaherty Dr Stephen Freiberg Donald Hazelwood AO OBE* Dr Michael Joel AM Simon Johnson Yvonne Kenny AM Gary Linnane Amanda Love Helen Lynch AM Ian Macdonald* Joan MacKenzie David Maloney David Malouf AO Julie Manfredi-Hughes Deborah Marr The Hon. Justice Jane Mathews AO* Danny May Wendy McCarthy AO Jane Morschel Greg Paramor Dr Timothy Pascoe AM Prof. Ron Penny AO Jerome Rowley Paul Salteri Sandra Salteri Juliana Schaeffer Leo Schofield AM Fred Stein OAM Ivan Ungar John van Ogtrop* Peter Weiss AM Anthony Whelan MBE Rosemary White * Regional Touring Committee member EVERYONE HAS A STORY FAB19523_Bio Landscape Strip Ad_FA.indd 1 1/02/11 5:02 PM Sydney Symphony Staff MANAGING DIRECTOR Rory Jeffes EXECUTIVE TEAM ASSISTANT Lisa Davies-Galli ARTISTIC OPERATIONS DIRECTOR OF ARTISTIC PLANNING Peter Czornyj Artistic Administration ARTISTIC ADMINISTRATION MANAGER Elaine Armstrong ARTIST LIAISON MANAGER Ilmar Leetberg RECORDING PRODUCTION MANAGER Philip Powers Education Programs DEVELOPMENT ORCHESTRA MANAGEMENT MARKETING & MEDIA SERVICES COORDINATOR DIRECTOR OF ORCHESTRA MANAGEMENT Alison Martin Aernout Kerbert Julia Owens GRAPHIC DESIGNER DEPUTY ORCHESTRA MANAGER CORPORATE RELATIONS EXECUTIVE Christie Brewster Lisa Mullineux DATA ANALYST ORCHESTRAL COORDINATOR Stephen Attfield Varsha Karnik Georgia Stamatopoulos HEAD OF PHILANTHROPY & PUBLIC AFFAIRS Box Office OPERATIONS MANAGER Caroline Sharpen MANAGER OF BOX OFFICE SALES & OPERATIONS TECHNICAL MANAGER Leann Meiers CORPORATE RELATIONS EXECUTIVE PHILANTHROPY & PUBLIC AFFAIRS EXECUTIVE Kylie Anania DEVELOPMENT COORDINATOR Amelia Morgan-Hunn SALES AND MARKETING EDUCATION MANAGER DIRECTOR OF SALES & MARKETING Kim Waldock Mark J Elliott ARTIST DEVELOPMENT MANAGER SENIOR MARKETING MANAGER, SINGLE SALES Bernie Heard Penny Evans EDUCATION ASSISTANT MARKETING MANAGER, SUBSCRIPTION SALES Rachel McLarin ONLINE MANAGER Eve Le Gall HEAD OF CORPORATE RELATIONS Lynn McLaughlin Derek Coutts MANAGER OF BOX OFFICE OPERATIONS PRODUCTION COORDINATOR Natasha Purkiss MANAGER OF SALES & SERVICE Mark Barnes STAGE MANAGER BUSINESS SERVICES COMMUNICATIONS HEAD OF COMMUNICATIONS PUBLICIST LIBRARIAN Anna Cernik Matthew Rive LIBRARY ASSISTANT MARKETING MANAGER, BUSINESS RESOURCES LIBRARY ASSISTANT Katherine Stevenson SYDNEY OPERA HOUSE TRUST Mr Kim Williams AM (Chair) Ms Catherine Brenner, Rev Dr Arthur Bridge AM, Mr Wesley Enoch, Ms Renata Kaldor AO, Mr Robert Leece AM RFD, Ms Sue Nattrass AO, Dr Thomas Parry AM, Mr Leo Schofield AM, Mr Evan Williams AM EXECUTIVE MANAGEMENT Mr Richard Evans Chief Executive Officer Mr David Antaw Chief Operating Officer Mr Jonathan Bielski Executive Producer, SOH Presents Ms Victoria Doidge Director, Marketing Communications & Customer Services Mr Greg McTaggart Director, Building Development & Maintenance Ms Julia Pucci Director, Venue Partners & Safety Ms Claire Spencer Chief Financial Officer SYDNEY OPERA HOUSE Bennelong Point GPO Box 4274, Sydney NSW 2001 Administration (02) 9250 7111 Box Office (02) 9250 7777 Facsimile (02) 9250 7666 Website sydneyoperahouse.com John Horn FINANCE MANAGER Ruth Tolentino ASSISTANT ACCOUNTANT Minerva Prescott Li Li PAYROLL OFFICER Publications Usef Hoosney PUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER HUMAN RESOURCES Yvonne Frindle Clocktower Square, Argyle Street, The Rocks NSW 2000 GPO Box 4972, Sydney NSW 2001 Telephone (02) 8215 4644 Box Office (02) 8215 4600 Facsimile (02) 8215 4646 www.sydneysymphony.com Please address all correspondence to the Publications Editor: Email [email protected] DIRECTOR OF FINANCE ACCOUNTS ASSISTANT HUMAN RESOURCES MANAGER Anna Kearsley Mary-Ann Mead All rights reserved, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage or retrieval system, without permission in writing. 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