WEST SIDE STORY · Benjamin Northey conductor West Side Story Music by Leonard Bernstein...

WEST SIDE STORYFilm with Orchestra

MEET THE MUSIC

Thursday 6 November 2014

KALEIDOSCOPE

Friday 7 November 2014

Saturday 8 November 2014

33MM-K S85 West Side Story.indd 1 31/10/14 2:52 PM

IPHIGÉNIE EN TAURIDEBLOOD ON THEIR HANDS

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Discover Elgar’s Sea PicturesELGAR Sea Pictures

Richard Gill conductor Emily Edmonds mezzo-soprano

Tenix Discovery

Tue 4 Nov 6.30pm City Recital Hall, Angel Place

West Side StoryOn Stage and ScreenScreening of the 1961 movie with Bernstein’s score bought to life.

Benjamin Northey conductor

Meet the Music

Thu 6 Nov 6.30pmKaleidoscope

Fri 7 Nov 8pm Sat 8 Nov 8pm

Pre-concert talk by Ilmar Leetberg

Mozart, Schumann & BeethovenMOZART La clemenza di Tito: Overture SCHUMANN Piano Concerto BEETHOVEN Symphony No.1

Roger Benedict conductor Jean-Efflam Bavouzet piano with the 2014 Sydney Symphony Fellows, Fellowship alumni and musicians of the SSO

Tea & Symphony

Fri 14 Nov 11amcomplimentary morning tea from 10am

Jean- Efflam Bavouzet in RecitalBEETHOVEN Sonata in E flat, Op.81a (Les Adieux) Sonata in F, Op.54 Sonata in F minor, Op.57 (Appassionata) B MANTOVANI The Book of JEB AUSTRALIAN PREMIERE

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Mon 17 Nov 7pm City Recital Hall, Angel Place

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APT Master Series

Wed 19 Nov 8pm Fri 21 Nov 8pm Sat 22 Nov 8pm

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Guy Noble conductor

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SSO PRESENTS


West Side Story® AssociatesSM

presents

\

MIRISCH PICTURES Presents “WEST SIDE STORY”

A ROBERT WISE Production

Starring NATALIE WOOD RICHARD BEYMER | RUSS TAMBLYN RITA MORENO | GEORGE CHAKIRIS

Directed by ROBERT WISE and JEROME ROBBINS Screenplay by ERNEST LEHMAN

Associate Producer SAUL CHAPLINChoreography by JEROME ROBBINS

Music by LEONARD BERNSTEIN Lyrics by STEPHEN SONDHEIM

Based upon the stage play produced by ROBERT E GRIFFITH and HAROLD S PRINCE Book by ARTHUR LAURENTS

Play conceived, directed and choreographed by JEROME ROBBINS Film production designed by BORIS LEVEN

Music conducted by JOHNNY GREENPresented by MIRISCH PICTURES, INC.

In association with SEVEN ARTS PRODUCTIONS INC. Filmed in PANAVISION® TECHNICOLOR®

Film screening of West Side Story courtesy of Metro-Goldwyn-Mayer Studios Inc. WEST SIDE STORY © 1961 Metro-Goldwyn-Mayer Studios Inc. All Rights Reserved.

West Side Story 50th Anniversary Blu-ray and Limited Edition Blu-ray Box Set available now.


2014 concert season

MEET THE MUSICTHURSDAY 6 NOVEMBER, 6.30PM

KALEIDOSCOPEFRIDAY 7 NOVEMBER, 8PM

SATURDAY 8 NOVEMBER, 8PM

SYDNEY OPERA HOUSE CONCERT HALL

WEST SIDE STORY: FILM WITH ORCHESTRABenjamin Northey conductor

West Side Story Music by Leonard Bernstein (1918–1990)

The complete score, newly restored for live performance with the 1961 film

Pre-concert talk by Ilmar Leetberg in the Northern Foyer at 5.45pm (Thu) and 7.15pm (Fri, Sat). Visit bit.ly/SSOspeakerbios for more information.

This performance includes a 20-minute interval and will finish at approximately 9.30pm (Thu) and 11pm (Fri, Sat).

The presentation also includes the orchestral underscoring during the Saul Bass-designed End Credits. We ask that, out of respect for the music, the musicians and your fellow audience members, you remain in your seat until the End Credits are completed.

COVER IMAGE: Richard Beymer and Natalie Wood in West Side Story © 1961, Metro-Goldwyn-Mayer Studios Inc. All rights reserved. © AMPAS. Used with permission.

ACT I

1. Overture 2. Prologue 3. Jets Song 4. Something’s Coming 5. Dance at the Gym Blues – Promenade – Mambo – Cha-Cha – Meeting Scene – Jump 6. Maria 7. America 8. Balcony Scene 9. Gee, Officer Krupke 10. Coat Over Shoulder

INTERVAL

ACT II

1 1 . I Feel Pretty 1 2. One Hand, One Heart 1 3. Tonight 14. The Rumble 1 5. Rooftop 16. He Killed Your Brother 1 7. Killer, Killer 18. Somewhere 19. A-Rab Shadows 20. Cool 21. Thanks, Daddy-O 22. A Boy Like That and I Have Love 23. Taunting Scene 24. Finale 25. End Credits


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ABOUT THE FILM

West Side Story

Fifty years after the international release of its beloved screen adaptation, the Sydney Symphony Orchestra is performing West Side Story – composed by Leonard Bernstein and the winner of ten Academy Awards – in its entirety, for the first time.

In 1955, a conducting engagement at the Hollywood Bowl brought 36-year-old composer Leonard Bernstein to Los Angeles. That August, a chance meeting at the Beverly Hills Hotel with playwright Arthur Laurents reignited the two artists’ stalled plan to collaborate on a musical.

Seven years earlier, choreographer-director Jerome Robbins had approached Bernstein with what the composer called in his diary ‘a noble idea: a modern version of Romeo and Juliet set in slums at the coincidence of Easter-Passover celebrations. Feelings run high between Jews and Catholics…Street brawls, double death – it all fits.’ The idea lay dormant until that day in 1955, when an LA newspaper headline about Latino gang problems inspired an exciting new path. With the hiring of 25-year-old composer Stephen Sondheim, who reluctantly signed on to provide lyrics only, the final pieces fell into place.

After two years of rewriting and struggles to raise financing, West Side Story’s 1957 Broadway opening elicited reactions that ranged from passionate raves to stunned walk-outs. The latter were sparked by the musical’s depiction of gang warfare and prejudice, and its near-unprecedented body count for a musical on the Great White Way. The show was largely snubbed at the Tony Awards in favour of a more accessible rival, The Music Man.

Nevertheless, audiences in New York and London (where the show was an instant smash-hit) quickly caught up with the innovations of Robbins’ explosive, character-driven choreography, Laurents’ ingenious transposition of Shakespeare, and the thrilling Bernstein score, with lyrics by Sondheim that included Tonight and Maria. When Jerome Robbins and Robert Wise joined forces to co-direct the 1961 screen version for United Artists, starring box office favourite Natalie Wood and Richard Beymer (The Diary of Anne Frank), the result was one of the decade’s greatest commercial and critical triumphs.

The film’s co-stars, George Chakiris (Bernardo) and Rita Moreno (Anita), took home Academy Awards for Best Supporting Actor and Actress. Their victories were echoed by Oscars for Best Art Direction–Set Decoration, Color;

Pages 6 and 7: Film stills from West Side Story © 1961, Metro-Goldwyn-Mayer Studios Inc. All rights reserved. © AMPAS. Used with permission.

‘…a noble idea: a modern version of Romeo and Juliet…

BERNSTEIN


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Best Cinematography, Color; Best Costume Design, Color (winner Irene Sharaff also worked on the Broadway original); Best Film Editing; Best Music, Scoring of a Musical Picture; Best Sound; Best Director (for both Robbins and Wise, the first time this award was shared); and Best Picture. Jerome Robbins also received an honorary Academy Award ‘for his brilliant achievements in the art of choreography on film’.

Half a century after its original release, West Side Story the motion picture will be presented tonight in a format that brings its own innovations. MGM has created a restored, high-definition print of the film that reveals details unseen since 1961. A new sound technology developed by Paris-based Audionamix and utilised by Chace Audio by Deluxe, one of the film industry’s top restoration companies, has isolated vocal tracks from the feature, using new source-separation technology that separates elements within a monophonic soundtrack.

In the case of West Side Story, Audionamix ‘taught’ its technology to recognise and then remove orchestral elements on the soundtrack while retaining vocals, dialogue and effects. This allows tonight’s conductor Benjamin Northey and the SSO to accompany the vocals in a live performance of the complete Bernstein score.

Although the original musical materials for the movie arrangements were lost, 14 months of research by Eleonor M Sandresky of The Leonard Bernstein Office brought to light a trove of important finds in private collections and library archives around the country. From materials discovered in the papers of orchestrator Sid Ramin, as well as in the archives of conductor-music supervisor Johnny Green, director Robert Wise and producer Walter Mirisch, she was able to assemble a mock-up short score of the complete film. Garth Edwin Sunderland, Senior Music Editor for the Bernstein Office, restored and adapted the orchestration for live performance. At the same time, Sunderland oversaw the creation of a brand new engraving of the entire film score, right down to last-minute modifications made on the scoring stage in 1961.

The final result is a presentation of West Side Story unlike any in the history of this screen musical, celebrating the best in American music and the best of Hollywood filmmaking – two categories in which West Side Story will forever reside.

STEVEN SMITH © 2014

Steven Smith is an Emmy-nominated documentary producer, journalist

and author of the biography A Heart at Fire’s Center: The life and music of

Bernard Herrmann.

Half a century after its original release, West Side Story the motion picture will be presented tonight in a format that brings its own innovations.


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A recorded score can be mixed and finessed as much as necessary; eight screaming trumpets can be turned into a whisper, a lonely solo flute can be made to roar.

West Side Story: Creating the new orchestration and scoreby Garth Edwin Sutherland

West Side Story is the most sophisticated orchestral score ever created for the Broadway stage. Bernstein brought his background as a symphonic conductor and composer to every aspect of his work; this is particularly apparent in his astonishing orchestrations for the show (created with Sid Ramin and Irwin Kostal), which are staggering in their unprecedented detail, complexity and transparency.

Bernstein’s conducting obligations obliged him to turn over to his collaborators the process of adapting the score from stage to screen. When Ramin and Kostal began work on the film, they used the theatrical 28-piece orchestrations as the foundation, expanding them to a sometimes enormous orchestra approaching one hundred musicians, with flourishes that could only exist within the limitless bounty of an MGM recording studio, at some points featuring six saxophones, eight trumpets and, in one particularly thrilling passage, five xylophones, doubled by five pianos!

In adapting the film orchestrations for live performance, the challenge was to find a balance between Bernstein’s original orchestrations and the film’s elaborations upon them. This was necessary for both musical and practical reasons. A recorded score can be mixed and finessed as much as necessary; eight screaming trumpets can be turned into a whisper, a lonely solo flute can be made to roar. But in live performance, what the musicians play is what you are going to hear – there are no tricks that can be played after the fact. Further, it simply isn’t sensible for an orchestra to engage five pianists to play for only 30 seconds (to say nothing of finding space for all those pianos on an already crowded concert stage).

The first step was to go back to the source, the original Broadway score, and begin the process of incorporating the many musical changes that were made for the film – adding five additional minutes of music throughout the Prologue, creating orchestral scores for new underscore and transitional cues, re-ordering numbers (Cool and Gee, Officer Krupke traded places for the film), etc.

I closely studied both orchestrations to determine where the best representation of the music would lie for live performance with the film. Sometimes the best choice was simply the untouched theatrical or film orchestration, but

ABOUT THE MUSIC


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usually it was necessary to create something in between the two. Often this required a mix of creativity and perspiration; you won’t miss those five xylophones and five pianos (here played on three xylophones and one piano), but only because of weeks spent tweaking every detail of just 30 seconds of music. Additionally, many of the dance music percussion cues were improvised by the musicians in the film sessions, as was the stratospheric trumpet solo in Mambo, and it was necessary to transcribe them by ear from the soundtrack.

To further complicate things, no complete full score of the 1961 film has ever been located, and the original parts have been lost. The only beginning-to-end source for the film orchestration was a conductor’s ‘short score’, which condenses all of the information from up to 40 staves of music down to just three or four staves – a feat which is accomplished by omitting most of the information that would be most valuable to reconstructing it in full!

Then there was the laborious process of cross-checking the new score against the original film soundtrack. Many small cuts and changes had been made to the recorded score by the film editors, and these were not reflected in the manuscript musical materials. To ensure that these changes were reflected in the new edition of the film score, it was often necessary to track down one missing quarter-second or added bar in a dense thicket of music, or determine the best way to represent things like impossible fade-outs of music that could not be played at anything but full volume, or to negotiate the cross-fades of overlapping cues.

The last stage of the process was incorporating into the score the information the conductor needs to ensure that the orchestra stays in sync with the film. This is accomplished through several complementary systems. The conductor and musicians have a click track coming through their headphones that gives them the film’s tempo at important moments in the score. Further, the conductor has a series of colour-coded streamers on his video screen that indicate where phrases begin or music ends, warnings to speed up and slow down, and where the click track comes in and out, as well as ‘punches’, flashes of light that reinforce the click and streamers. For this edition, the click, streamers and punches were created by conductor and film music historian David Newman, who conducted the first performances of ‘West Side Story with Live Orchestra’ with the Los Angeles Philharmonic at the Hollywood Bowl in June 2011.

It is always a thrill to work with this music. No matter how

To further complicate things, no complete full score of the 1961 film has ever been located…


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many times I hear it (and after this project I have heard it many, many times), Mambo never ceases to be anything less than thrilling, Somewhere anything other than transporting. Recreating the one hundred minutes of this extremely elaborate film score was a unique challenge and a multi-year process, but it was hugely rewarding. I am grateful to Sid Ramin, for his blessing of this new performing edition, to Peter West for his superlative engraving work on this new edition, to Tom Hooper for his tireless and exacting proofing, and to David Newman for his kind counsel, expertise, and support in tackling the many challenges of recreating this magnificent film score in live performance.

Garth Edwin Sunderland is Senior Music Editor for the Leonard Bernstein

Office, and Music Supervisor and Orchestrator for ‘West Side Story Film

with Live Orchestra’.

AMBERSON HOLDINGS © 2012

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Vanguard style: SSO music ians Emma Sholl and Shefal i Pryor


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Leonard BernsteinComposer, conductor, pianist, teacher, thinker and adventurous spirit, Leonard Bernstein (1918–1990) transformed the way Americans and people everywhere hear and appreciate music. Bernstein’s successes as a composer ranged from the Broadway stage – West Side Story, On the Town, Wonderful Town and Candide – to the concert hall, where his orchestral and choral music continues to thrive.

His major concert works include three symphonies, subtitled Jeremiah (1944), The Age of Anxiety (1949) and Kaddish (1963), as well as Prelude, Fugue and Riffs (1949), Serenade after Plato’s Symposium (1954), Symphonic Dances from West Side Story (1960), Chichester Psalms (1965) and Mass: A Theater Piece for Singers, Players and Dancers (1971). For the theatre he also wrote the one-act opera Trouble in Tahiti in 1952, and its sequel, the three-act opera A Quiet Place, in 1983. He collaborated with choreographer Jerome Robbins on three major ballets – Fancy Free (1944), Facsimile (1946) and Dybbuk (1975) – and received an Academy Award nomination for his score for On the Waterfront (1954).

As a conductor, Bernstein was a dynamic presence on the podiums of the world’s greatest orchestras for almost half a century, building a legacy that endures through a catalogue of more than 500 recordings and filmed performances. He was Music Director of

the New York Philharmonic from 1958 to 1969, and as permanent Laureate Conductor, he made frequent guest appearances with the orchestra. He also enjoyed special relationships with the Israel Philharmonic and Vienna Philharmonic. He won 11 Emmy Awards for his celebrated television work, including the Young People’s Concerts series with the New York Philharmonic. As teacher and performer, he played an active role with the Tanglewood Festival from its founding in 1940 till his death, as well as with the Los Angeles Philharmonic Institute and Pacific Music Festival (both of which he helped found) and the Schleswig-Holstein Music Festival.

Jerome RobbinsThe legacy of Jerome Robbins (1918–1998) encompasses his renowned work as a choreographer of ballets as well as his work as a director and choreographer in theatre, movies and television. His co-direction and choreography of West Side Story won him two Academy Awards, and in 1981 he was a Kennedy Center Honors Recipient, just one of the many awards and honors he received in his lifetime.

Robbins started on Broadway as a chorus dancer before joining the corps de ballet of American Ballet Theatre in 1939, where he went on to dance principal roles in the works of Fokine, Tudor, Massine, Balanchine, Lichine

THE CREATORS


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and de Mille. His first ballet, Fancy Free, was created in 1944 for ABT.

While embarking on his career in the theatre, Robbins simultaneously created ballets for New York City Ballet, which he joined in 1949, and became an Associate Artistic Director with George Balanchine. His Broadway shows included On the Town, Billion Dollar Baby, West Side Story, The King and I, Gypsy, Peter Pan, Call Me Madam and Fiddler on the Roof.

After his Broadway triumph with Fiddler On the Roof in 1964, he continued creating ballets for NYCB, sharing the position of Ballet-Master-in-Chief with Peter Martins until 1989. His vast output of ballets (more than 60!) include Afternoon of a Faun (1953), The Concert (1956), Les Noces (1965), Dances At a Gathering (1969), In the Night (1970), In G Major (1975), Other Dances (1976), Glass Pieces (1983) and Ives Songs (1989), which are in the repertories of New York City Ballet, Paris Opera Ballet and major dance companies throughout the world, including The Australian Ballet. Among his final ballets was West Side Story Suite (1995), premiered by NYCB.

Stephen SondheimStephen Sondheim (born 1930) is unchallenged as one of the great creators of musical theatre in our time. Together, his music and lyrics take audiences into powerful theatrical moments that are both sparkling and dark, brilliant and poignant, sophisticated and toe-tappingly

infectious. Yet his big break, it could be said, was as a lyricist, with his work on West Side Story (1957), followed by Gypsy (1959, with Jule Styne). Later he wrote the lyrics for Do I Hear a Waltz? (1965, with Richard Rodgers) and additional lyrics for Bernstein’s Candide (1973).

The first musical to reach the stage for which Sondheim wrote both music and lyrics was A Funny Thing Happened on the Way to the Forum (1962), which remains one of his best-known and most popular creations. This was followed by Anyone can Whistle (1964), Company (1970), Follies (1971), A Little Night Music (1973), The Frogs (1974), Pacific Overtures (1976), Sweeney Todd (1979), Merrily We Roll Along (1981), Sunday in the Park with George (1984), Into the Woods (1987), Assassins (1991), Passion (1994) and Road Show (2008, previously Bounce). Saturday Night (1954), his first professional musical, finally received its New York premiere in 1999.

For film, he composed the score of Stavisky (1974) and co-composed Reds (1981) as well as songs for Dick Tracy (1990). He also wrote the songs for the television production Evening Primrose (1966), co-authored the film The Last of Sheila (1973) and the play Getting Away with Murder (1996), as well as providing incidental music for the plays The Girls of Summer (1956), Invitation to a March (1961), Twigs (1971) and The Enclave (1973). He has also composed new songs for the forthcoming Disney adaptation of Into the Woods.


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Arthur LaurentsArthur Laurents (1917–2011) was the author of musical plays, screenplays, stage plays, novels and radio episodes, in addition to directing for the theatre. His musicals included West Side Story, Gypsy, Anyone Can Whistle, Do I Hear A Waltz?, Hallelujah Baby! (1967 Tony Award for Best Musical) and Nick & Nora; his screenplays The Snake Pit, Rope, Caught, Anastasia, Bonjour Tristesse, The Way We Were, and The Turning Point (Golden Globe Award, Screenwriters Guild Award, Writers Guild of America Award and National Board of Review Best Picture Award). The last two screenplays were also novels. His directing credits included Anyone Can Whistle and three revivals of Gypsy (with Angela Lansbury in 1974, Tyne Daly in 1989 and Patti LuPone in 2007). He was honoured by awards from many organisations, among them the National Institute of Arts and Letters, Writers Guild of America, Antoinette Perry (Tonys), Golden Globe, Drama Desk, National Board of Review and the Sydney Drama Critics. He was a member of the Theatre Hall of Fame, PEN, the Screenwriter’s Guild, the Motion Picture Academy of Arts and Sciences and was an emeritus member of the Council of the Dramatist Guild.

Robert WiseRobert Wise (1914–2005) was one of the very few truly multifaceted film mavericks of the 20th century. At 19 he began his film career in the sound effects and editing departments at RKO, only to land a Best Film Editing Academy Award nomination six years later for his work on Orson Welles’ masterpiece, Citizen Kane (1941). He went on to direct of some of the most innovative – The Day the Earth Stood Still (1951) – and popular – The Sound of Music (1965 – movies of all time. Often described as an auteur working within the confines of major film studios, it was with West Side Story (1961) that Wise saw the crowning achievement of his career. Winning a then record ten Academy Awards for West Side Story (including Best Director and Best Picture in 1962), Robert Wise became ingrained in Hollywood memory for his versatility, fluently applying cross-genre cinematic styles to horror, noir, western, war, science fiction, musical and drama in a career spanning more than 40 films.

Ernest LehmanAs one of the best-known screenwriters in Hollywood, Ernest Lehman (1915–2005) was regarded as the master of adapting and writing scripts. He worked on some of the most successful movie musicals of all time, including The King and I (1956), West Side Story (1961) and The Sound of Music (1965). Having worked with some of the most prominent movie directors of the post-war period –including Alfred Hitchcock and Billy Wilder – he was highly sought-after for his talents in writing stories which were intelligent, memorable and funny in equal measure. Sabrina (1954), Sweet Smell of Success (1957), North by Northwest (1959), Who’s Afraid of Virginia Woolf? (1966) and Black Sunday (1977) are among Lehman’s most well-known scripts, responsible for turning him into one of the greatest talents the movie industry has ever seen. Apart from winning more Best Screenplay Awards from the Writer’s Guild than anyone in the Guild’s history, in 2001 Lehman was the first screenwriter to receive an honorary Oscar for his works.


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Producer: Paul H Epstein for The Leonard Bernstein Office, Inc.

Associate Producer: Eleonor M Sandresky for The Leonard Bernstein Office, Inc.

Production Supervisor: Steven A Linder

Technical Director: Mike Runice

Sound Engineer: Matt Yelton

Music Supervision: Garth Edwin Sunderland

Original Orchestrations: Leonard Bernstein, Sid Ramin and Irwin Kostal

Additional orchestrations: Garth Edwin Sunderland and Peter West

Music Preparation: Peter West

Original manuscript reconstruction: Eleonor M Sandresky

Technical Consultant: Laura Gibson

Soundtrack Adaptation – Chace Audio by Deluxe:

Robert Heiber, Chris Reynolds, Andrew Starbin and Alice Taylor

Sound Separation Technology provided by Audionamix

Click Tracks and Streamers created by: Kristopher Carter and Mako Sujishi

Tour Management/Booking: IMG Artists

With special thanks to: Arthur Laurents and his Estate, Stephen Sondheim, The Robbins Rights Trust,

The Johnny Green Collection at Harvard University, The Sid Ramin Collection at Columbia University,

The Robert Wise Collection at the University of Southern California, Lawrence A Mirisch, David Newman,

Metro-Goldwyn-Mayer Studios Inc., MGM HD, Twentieth Century Fox Home Entertainment LLC, Ken

Hahn and Sync Sound

West Side Story is a registered trademark of The Leonard Bernstein Office, Inc. in the US and other

countries.

PRODUCTION CREDITS

STRAVINSKY’S FIREBIRD“...here the colours of this fantastical dream remained to linger in the imagination.” Sydney Morning Herald, 2008 (concert review)

SYDNEYSYMPHONY.COM CALL (02) 8215 4600 MON–FRI 9AM–5PM

RRP $20 AVAILABLE IN THE CONCERT HALL FOYER AND OTHER RETAILERS

Recent Release


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MORE MUSIC

WEST SIDE STORYTonight’s performance reflects the 50th Anniversary restoration of West Side Story and its score. Available on Blu-ray in a limited edition, the anniversary release of the film also features a wealth of features and extras, including commentary on the songs by Stephen Sondheim, and on the dances by a variety of choreographers and artists.

For the original Broadway cast recording, look for the 2012 digitally remastered release, which fills out the disc with Bernstein and the New York Philharmonic in the Symphonic Dances from West Side Story.SONY 194 841

The same recording is bundled with music from the original motion picture soundtrack in an ‘X2’ release from Sony. The 2CD set provides a perfect opportunity for a connoisseur to compare casts.SONY 750 534

Bernstein always wanted to be taken more seriously as a composer, lamenting that, at times, his creations for Broadway were more highly acclaimed than his various concert works. So perhaps it’s no surprise that in 1984 he embarked on a recording of West Side Story that gave it a de facto operatic treatment with a starry cast headed by Kiri Te Kanawa, José Carreras and Marilyn Horne. Gramophone praised it for ‘an emotional impact closely akin to that of a Puccini opera and an intensity of excitement to match anything from disco to The Rite of Spring’. The recording was controversial on both sides of the musical theatre/opera fence, but its intrinsic quality has ensured it an enduring place in the catalogue, with a new re-issue just earlier this year.DEUTSCHE GRAMMOPHON 479 3433

THEATRICAL BERNSTEINIf you’d like to discover more of Bernstein-in-the-theatre, look for the complete recording of Candide, with a cast that includes Jerry Hadley in the title role, Nicolai Gedda and June Anderson, with the London Symphony Orchestra and Chorus. (This concert performance is also available on DVD.)DEUTSCHE GRAMMOPHON 474 4722

Or look for On the Town – the source of the high-energy number ‘New York, New York’ – with Michael Tilson Thomas conducting the LSO and a cast including Frederica von Stade and Thomas Hampson. DEUTSCHE GRAMMOPHON 479 1111

In a similar spirit is the ballet Fancy Free (which the American Ballet Theatre performed in Brisbane recently). Leonard Slatkin conducts the Saint Louis Symphony in a recording of classic American ballet scores that also includes Billy the Kid, Appalachian Spring and music from Rodeo by Aaron Copland.EMI CLASSICS 48645

Broadcast DiaryNovember–December

Monday 17 November, 7pm JEAN-EFFLAM BAVOUZET IN RECITALBeethoven, B Mantovani, Ravel

Saturday 29 November, 1pm SCULTHORPE’S 70TH BIRTHDAY (1999)Lawrence Foster conductor John Williams guitarSculthorpe, Dvořák

Monday 1 December, 8pm SYMPHONIC FIRSTSDonald Runnicles conductor Yefim Bronfman pianoBrahms, Mahler

Saturday 13 December, 8pm VARIATIONS ON AN ENGLISH THEME (2013)James Gaffigan conductor Vilde Frang violinHaydn, Britten, Brahms

Wednesday 17 December, 8pm ANNE-SOPHIE MUTTER PLAYS MOZARTAnne-Sophie Mutter playing and directing Mozart violin concertos

Saturday 20 December, 1pm VÄNSKÄ CONDUCTS BRAHMSOsmo Vänskä conductor Colin Currie percussionBeethoven, Aho, Brahms

Wednesday 31 December, 8pm ENIGMA VARIATIONSDonald Runnicles conductor Frank Peter Zimmermann violinBritten, Sibelius, Elgar

SYDNEY SYMPHONY ORCHESTRA HOUR

Tuesday 11 November, 6pm

Roger Benedict talks about our Fellowship program, his favourite music and the Tea & Symphony program that he will conduct on 14 November. Hosted by Andrew Bukenya.


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Since returning to Australia from Europe in 2006, Benjamin Northey has rapidly emerged as one of the nation’s leading musical figures. He has held the post of Associate Conductor of the Melbourne Symphony Orchestra since 2011 and next year he takes up the post of Chief Conductor of the Christchurch Symphony Orchestra.

Benjamin Northey studied with John Hopkins at the University of Melbourne Conservatorium of Music and then with Jorma Panula and Leif Segerstam at the Sibelius Academy in Finland. In 2001 he won the Symphony Australia Young Conductor of the Year Competition. In 2009, he was selected as one of three participants worldwide in the International Conductor’s Academy of the Allianz Cultural Foundation, during which he conducted the Philharmonia Orchestra and London Philharmonic Orchestra and was mentored by Vladimir Jurovsky and Christoph von Dohnányi.

He has conducted the London Philharmonic Orchestra, Mozarteum Orchestra Salzburg, Hong Kong Philharmonic Orchestra, National Symphony Orchestra of Columbia, the New Zealand and Christchurch symphony orchestras, and the Southbank Sinfonia of London.

In Australia, he has made his mark through many critically acclaimed appearances as guest conductor with all the Australian state symphony orchestras, as well as opera productions for the State Opera of South Australia and for Opera Australia, where he has conducted Don Giovannni and Così fan tutte. He has recorded with the Melbourne, Tasmanian, Adelaide and West Australian symphony orchestras, as well as the SSO. His most recent appearances for the SSO were in 2013, when he conducted concerts featuring Dame Edna and concerts with The Whitlams.

Engagement highlights for 2014 have included Carmen (Opera Australia) and Into the Woods (Victorian Opera), and concerts with the Malaysian Philharmonic, NZSO, Auckland Philharmonia, Christchurch Symphony Orchestra and the MSO, QSO, TSO and WASO. Next year he will conduct all the major Australian orchestras, the HKPO and NZSO, and conduct Turandot for Opera Australia.

Benjamin Northey is an Honorary Fellow of the University of Melbourne Conservatorium, where he is also a lecturer in conducting.

Benjamin Northeyconductor

THE ARTIST


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SYDNEY SYMPHONY ORCHESTRA

Founded in 1932 by the Australian Broadcasting Commission, the Sydney Symphony Orchestra 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 SSO also performs in venues throughout Sydney and regional New South Wales. International tours to Europe, Asia and the USA – including three visits to China – have earned the orchestra worldwide recognition for artistic excellence.

The orchestra’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, Zdenĕk Mácal, Stuart Challender, Edo de Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from 2009 to 2013. The orchestra’s history also boasts collaborations with legendary figures

such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

The SSO’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, Lee Bracegirdle, Gordon Kerry, Mary Finsterer, Nigel Westlake and Georges Lentz, and the orchestra’s recordings of music by Brett Dean have been released on both the BIS and SSO Live labels.

Other releases on the SSO Live label, established in 2006, include performances with Alexander Lazarev, Gianluigi Gelmetti, Sir Charles Mackerras, Vladimir Ashkenazy and David Robertson. 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 ABC Classics.

This is the first year of David Robertson’s tenure as Chief Conductor and Artistic Director.

DAVID ROBERTSON Chief Conductor and Artistic Director

PATRON Professor The Hon. Dame Marie Bashir ad cvo


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FIRST VIOLINS Andrew Haveron CONCERTMASTER

Kirsten Williams ASSOCIATE CONCERTMASTER

Fiona Ziegler ASSISTANT CONCERTMASTER

Jenny BoothSophie ColeClaire HerrickNicola LewisEmily LongAlexandra MitchellLéone ZieglerEmma Jardine*Elizabeth Jones*Emily Qin*Martin Silverton*Dene Olding CONCERTMASTER

Sun Yi ASSOCIATE CONCERTMASTER

Lerida Delbridge ASSISTANT CONCERTMASTER

Brielle ClapsonAmber DavisGeorges LentzAlexander Norton

SECOND VIOLINS Marianne Broadfoot Emma Jezek ASSISTANT PRINCIPAL

Emma HayesBenjamin LiNicole MastersPhilippa PaigeBiyana RozenblitAlexandra D’Elia*Rebecca Gill*Vivien Jeffery°Belinda Jezek*Thibaud Pavlovic-Hobba*Kirsty Hilton Marina Marsden Maria DurekShuti HuangStan W KornelMaja Verunica

VIOLASRoger Benedict Sandro CostantinoRosemary CurtinGraham HenningsStuart JohnsonJustine MarsdenFelicity TsaiAmanda VernerLeonid VolovelskyAndrew Jezek*Tobias Breider Anne-Louise Comerford Justin Williams ASSISTANT PRINCIPAL

Jane Hazelwood

CELLOSUmberto ClericiCatherine Hewgill Henry David Varema Timothy NankervisElizabeth NevilleChristopher PidcockAdrian WallisDavid WickhamLeah Lynn ASSISTANT PRINCIPAL

Kristy ConrauFenella Gill

DOUBLE BASSESKees Boersma David CampbellSteven LarsonRichard LynnBenjamin WardJosef Bisits°Alex Henery Neil Brawley PRINCIPAL EMERITUS

David Murray

FLUTES Emma Sholl ASSOCIATE PRINCIPAL

Carolyn HarrisRosamund Plummer PRINCIPAL PICCOLO

Janet Webb

OBOESShefali Pryor David PappAlexandre Oguey Diana Doherty

CLARINETSFrancesco Celata ACTING PRINCIPAL

Craig Wernicke PRINCIPAL BASS CLARINET

Cameron Burgess*Lisa McCowage*Lawrence Dobell Christopher Tingay

BASSOONSMatthew Wilkie Noriko Shimada PRINCIPAL CONTRABASSOON

Melissa Woodroffe*Fiona McNamara

SAXOPHONESNathan Henshaw *Christina Leonard *Nicholas Russoniello *

HORNSRobert Johnson Geoffrey O’Reilly PRINCIPAL 3RD

Euan HarveyRachel SilverMichael Dixon*Ben Jacks Marnie Sebire

TRUMPETSPaul Goodchild Anthony HeinrichsOwen Morris*Simon Sweeney*David Elton

TROMBONESRonald Prussing Nick ByrneChristopher Harris PRINCIPAL BASS TROMBONE

Scott Kinmont

TUBASteve Rossé

TIMPANIRichard Miller PERCUSSIONRebecca Lagos Mark Robinson Timothy ConstablePhilip South*

DRUM KITJamie Castrisos* HARP Louise Johnson

GUITARStephen Lalor* KEYBOARDS Catherine Davis*

BOLD = PRINCIPALITALICS = ASSOCIATE PRINCIPAL

° = CONTRACT MUSICIAN

* = GUEST MUSICIANGREY = PERMANENT MEMBER OF THE SYDNEY SYMPHONY ORCHESTRA NOT APPEARING IN THIS CONCERT

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

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.

MUSICIANS

David RobertsonCHIEF CONDUCTOR AND ARTISTIC DIRECTOR SUPPORTED BY EMIRATES

Dene OldingCONCERTMASTER

Jessica CottisASSISTANT CONDUCTOR SUPPORTED BY PREMIER PARTNER CREDIT SUISSE

Andrew HaveronCONCERTMASTER


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BEHIND THE SCENES

MANAGING DIRECTOR

Rory Jeffes

EXECUTIVE TEAM ASSISTANT

Lisa Davies-Galli

ARTISTIC OPERATIONSDIRECTOR OF ARTISTIC PLANNING

Benjamin Schwartz

ARTISTIC ADMINISTRATION MANAGER

Eleasha Mah

ARTIST LIAISON MANAGER

Ilmar Leetberg

RECORDING ENTERPRISE MANAGER

Philip Powers

LibraryAnna CernikVictoria GrantMary-Ann Mead

LEARNING AND ENGAGEMENTDIRECTOR OF LEARNING AND ENGAGEMENT

Kim Waldock

EMERGING ARTISTS PROGRAM MANAGER

Mark Lawrenson

EDUCATION MANAGER

Rachel McLarin

EDUCATION OFFICER

Amy Walsh

ORCHESTRA MANAGEMENTDIRECTOR OF ORCHESTRA MANAGEMENT

Aernout Kerbert

ORCHESTRA MANAGER

Rachel Whealy

ORCHESTRA COORDINATOR

Georgia Fryer

OPERATIONS MANAGER

Kerry-Anne Cook

PRODUCTION MANAGER

Laura Daniel

STAGE MANAGER

Courtney Wilson

PRODUCTION COORDINATORS

Tim DaymanDave Stabback

SALES AND MARKETINGDIRECTOR OF SALES & MARKETING

Mark J Elliott

MARKETING MANAGER, SUBSCRIPTION SALES

Simon Crossley-Meates

A/ SENIOR SALES & MARKETING MANAGER

Matthew Rive

MARKETING MANAGER, WEB & DIGITAL MEDIA

Eve Le Gall

MARKETING MANAGER, CRM & DATABASE

Matthew Hodge

A/ SALES & MARKETING MANAGER,SINGLE TICKET CAMPAIGNS

Jonathon Symonds

DATABASE ANALYST

David Patrick

SENIOR GRAPHIC DESIGNER

Christie Brewster

GRAPHIC DESIGNER

Tessa Conn

SENIOR ONLINE MARKETING COORDINATOR

Jenny Sargant

MARKETING ASSISTANT

Theres Mayer

Box OfficeMANAGER OF BOX OFFICE SALES & OPERATIONS

Lynn McLaughlin

BOX OFFICE SYSTEMS SUPERVISOR

Jennifer Laing

BOX OFFICE BUSINESS ADMINISTRATOR

John Robertson

CUSTOMER SERVICE REPRESENTATIVES

Karen Wagg – Senior CSR Michael DowlingKatarzyna OstafijczukTim Walsh

PublicationsPUBLICATIONS EDITOR & MUSIC PRESENTATION MANAGER

Yvonne Frindle

EXTERNAL RELATIONSDIRECTOR OF EXTERNAL RELATIONS

Yvonne Zammit

PhilanthropyHEAD OF PHILANTHROPY

Luke Andrew Gay

DEVELOPMENT MANAGER

Amelia Morgan-Hunn

PHILANTHROPY COORDINATOR

Sarah Morrisby

Corporate RelationsBUSINESS DEVELOPMENT MANAGER

Belinda Besson

CORPORATE RELATIONS MANAGER

Janine Harris

CommunicationsPUBLIC RELATIONS MANAGER

Katherine Stevenson

COMMUNICATIONS & MEDIA MANAGER

Bridget Cormack

DIGITAL CONTENT PRODUCER

Kai Raisbeck

SOCIAL MEDIA AND PUBLICITY OFFICER

Caitlin Benetatos

BUSINESS SERVICESDIRECTOR OF FINANCE

John Horn

FINANCE MANAGER

Ruth Tolentino

ACCOUNTANT

Minerva Prescott

ACCOUNTS ASSISTANT

Emma Ferrer

PAYROLL OFFICER

Laura Soutter

PEOPLE AND CULTURE IN-HOUSE COUNSEL

Michel Maree Hryce

SYDNEY SYMPHONY ORCHESTRA STAFF

John C Conde ao ChairmanTerrey Arcus am

Ewen Crouch am

Ross GrantCatherine HewgillJennifer HoyRory JeffesAndrew Kaldor am

David LivingstoneThe Hon. Justice AJ MeagherGoetz Richter

SYDNEY SYMPHONY ORCHESTRA BOARD

SYDNEY SYMPHONY ORCHESTRA COUNCIL

Geoff Ainsworth am

Andrew Andersons ao

Michael Baume ao

Christine BishopIta Buttrose ao obe

Peter CudlippJohn Curtis am

Greg Daniel am

John Della BoscaAlan FangErin FlahertyDr Stephen FreibergDonald Hazelwood ao obe

Dr Michael Joel am

Simon JohnsonYvonne Kenny am

Gary LinnaneAmanda LoveHelen Lynch am

David Maloney am

David Malouf ao

Deborah MarrThe Hon. Justice Jane Mathews ao

Danny MayWendy McCarthy ao

Jane MorschelDr Timothy Pascoe am

Prof. Ron Penny ao

Jerome RowleyPaul Salteri am

Sandra SalteriJuliana SchaefferLeo Schofield am

Fred Stein oam

Gabrielle TrainorJohn van OgtropPeter Weiss ao HonDLittMary WhelanRosemary White


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Through their inspired financial support, Patrons ensure the SSO’s continued success, resilience and growth. Join the SSO Patrons Program today and make a difference.

sydneysymphony.com/patrons (02) 8215 4674 • [email protected]

MAKE A DIFFERENCE

SYDNEY SYMPHONY ORCHESTRA PATRONS

MAESTRO’S CIRCLESUPPORTING THE ARTISTIC VISION OF DAVID ROBERTSON, CHIEF CONDUCTOR AND ARTISTIC DIRECTOR

Peter Weiss ao Founding President & Doris WeissJohn C Conde ao ChairmanBrian AbelGeoff Ainsworth am Tom Breen & Rachael KohnThe Berg Family FoundationAndrew Kaldor am & Renata Kaldor aoVicki Olsson

Roslyn Packer aoDavid RobertsonPenelope Seidler amMr Fred Street am & Mrs Dorothy StreetMr Frank Lowy ac & Mrs Shirley Lowy oam

Brian & Rosemary WhiteRay Wilson oam in memory of the late James Agapitos oam

CHAIR PATRONS

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

02 Umberto Clerici Principal Cello Garry & Shiva Rich Chair

03 Lerida Delbridge Assistant Concertmaster Simon Johnson Chair

04 Lawrence Dobell Principal Clarinet Anne & Terrey Arcus am Chair

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

06 Richard Gill oam Artistic Director, Education Paul Salteri am & Sandra Salteri Chair

07 Jane Hazelwood, Viola Bob & Julie Clampett Chair in memory of Carolyn Clampett

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

09 Robert Johnson Principal Horn James & Leonie Furber Chair

10 Elizabeth Neville Cello Ruth & Bob Magid Chair

11 Shefali Pryor Associate Principal Oboe Mrs Barbara Murphy Chair

12 Emma Sholl Associate Principal Flute Robert & Janet Constable Chair

13 Janet Webb Principal Flute Helen Lynch am & Helen Bauer Chair

14 Kirsten Williams, Associate Concertmaster I Kallinikos Chair

FOR INFORMATION ABOUT THE CHAIR PATRONS PROGRAM,

CALL (02) 8215 4619.

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10 121109

06 0807

13 14

01 04

05

02 03


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PLAYING YOUR PART

The Sydney Symphony Orchestra 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

DIAMOND PATRONS: $30,000+Geoff Ainsworth am

Anne & Terrey Arcus am

Doug & Alison BattersbyThe Berg Family FoundationTom Breen & Rachael KohnMr John C Conde ao

Robert & Janet ConstableThe Estate of Dr Lynn JosephMr Andrew Kaldor am &

Mrs Renata Kaldor ao

In Memory of Matthew KrelMrs Roslyn Packer ao

Ian Potter FoundationPaul Salteri am & Sandra SalteriScully FoundationMrs W SteningMr Fred Street am &

Mrs Dorothy StreetPeter Weiss ao & Doris WeissMr Brian & Mrs Rosemary WhiteKim Williams am & Catherine

Dovey

PLATINUM PATRONS: $20,000–$29,999Brian AbelRobert Albert ao & Elizabeth

AlbertSandra & Neil BurnsJames & Leonie Furber

I KallinikosHelen Lynch am & Helen BauerMrs T Merewether oam

Mrs Barbara MurphyMr B G O’ConorVicki OlssonAndy & Deirdre PlummerDavid RobertsonMrs Penelope Seidler am

G & C Solomon in memory of Joan MacKenzie

Geoff StearnRay Wilson oam in memory of

James Agapitos oam

Anonymous (1)

GOLD PATRONS: $10,000–$19,999Bailey Family FoundationAlan & Christine BishopAudrey BlundenMr Robert BrakspearIan & Jennifer BurtonMr Robert & Mrs L Alison CarrBob & Julie ClampettMichael Crouch ao & Shanny

CrouchThe Hon. Mrs Ashley

Dawson-Damer am

Ian Dickson & Reg HollowayPaul EspieEdward & Diane Federman

Nora GoodridgeMr Ross GrantMr Ervin KatzJames N Kirby FoundationRuth & Bob MagidThe Hon. Justice AJ Meagher &

Mrs Fran MeagherMr John MorschelDrs Keith & Eileen OngGarry & Shiva RichCaroline WilkinsonAnonymous (2)

SILVER PATRONS: $5000–$9,999John Augustus & Kim RyrieStephen J BellDr Hannes & Mrs Barbara

BoshoffMr Alexander & Mrs Vera

BoyarskyPeter Braithwaite & Gary

LinnaneMr David & Mrs Halina BrettEwen Crouch am & Catherine

CrouchIn memory of Dr Lee

MacCormick EdwardsDr Stephen Freiberg & Donald

CampbellDr Colin GoldschmidtThe Greatorex Foundation

Rory & Jane JeffesThe late Mrs Isabelle JosephFrank Lowy am & Shirley

Lowy oam

J A McKernanDavid Maloney am & Erin

FlahertyR & S Maple-BrownJustice Jane Mathews ao

Mora MaxwellWilliam McIlrath Charitable

FoundationJohn & Akky van OgtropSeamus Robert QuickRodney Rosenblum am &

Sylvia RosenblumDr Evelyn RoyalThe late Greta C RyanManfred & Linda SalamonMrs Joyce Sproat &

Mrs Janet CookeMr John Symond am

David Tudehope & Liz DibbsMr Robert & Mrs Rosemary

WalshWestpac GroupMichael & Mary Whelan TrustIn memory of Geoff WhiteJune & Alan Woods Family

BequestAnonymous (2)

PRESTO PATRONS: $2,500–$4,999Mr Henri W Aram oam

Ian BradyMr Mark BryantDr Rebecca ChinDr Diana Choquette &

Mr Robert MillinerMr B & Mrs M ColesMr Howard ConnorsGreta DavisFirehold Pty LtdWarren GreenAnthony GreggAnn HobanIrwin Imhof in memory of

Herta ImhofMr John Lam-Po-TangJames & Elsie MooreDarrol Norman & Sandra

HortonMs Jackie O’BrienDr Agnes E SinclairTony StrachanYim Family Foundation

VIVACE PATRONS: $1,000–$2,499Mrs Lenore AdamsonMrs Antoinette AlbertRae & David AllenAndrew Andersons ao

Mr Matthew AndrewsThe Hon Justice Michael BallDavid BarnesMr Garry BessonAllan & Julie BlighJan BowenLenore P BuckleMargaret BulmerIn memory of RW BurleyMrs Rhonda CaddyMrs Stella ChenMs Suzanne CollinsJoan Connery oam &

Maxwell Connery oam

Debby Cramer & Bill CaukillMr John Cunningham scm &

Mrs Margaret CunninghamLisa & Miro DavisElizabeth DonatiColin Draper & Mary Jane

BrodribbProf. & Mrs John EdmondsMalcolm Ellis & Erin O’NeillMrs Margaret Epps

Professor Michael Field am

Mr Tom FrancisMr Matt GarrettVivienne Goldschmidt &

Owen JonesMrs Fay GrearIn Memory of Angelica GreenAkiko GregoryMr & Mrs Harold & Althea

HallidayJanette HamiltonAngus HoldenDr & Mrs Michael HunterMichael & Anna JoelMrs W G KeighleyDr Andrew KennedyAron KleinlehrerProf. Andrew Korda am &

Ms Susan PearsonMr Justin LamMr Peter Lazar am

Professor Winston LiauwAirdrie LloydPeter Lowry oam & Dr Carolyn

Lowry oam

Kevin & Deirdre McCannIan & Pam McGawMacquarie Group FoundationBarbara MaidmentJohn Mar

Renee MarkovicHenry & Ursula MooserMilja & David MorrisMrs J MulveneyDr Mike O’Connor am

Mr & Mrs OrtisMr Andrew C PattersonDr Natalie E PelhamAlmut PiattiIn memory of Sandra Paul

PottingerDr Raffi QasabianMichael QuaileyMr Patrick Quinn-GrahamErnest & Judith RapeeKenneth R ReedPatricia H Reid Endowment

Pty LtdDr Marilyn RichardsonLesley & Andrew RosenbergIn memory of H St P ScarlettMr Samuel F ShefferDavid & Alison ShilligtonDavid Smithers am & Isabel

SmithersDr Judy SoperMrs Judith SouthamMs Barbara SpencerMrs Elizabeth SquairCatherine Stephen


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PLAYING YOUR PART

TO FIND OUT MORE ABOUT BECOMING A

SYDNEY SYMPHONY ORCHESTRA PATRON, PLEASE

CONTACT THE PHILANTHROPY OFFICE ON (02) 8215 4674

OR EMAIL [email protected]

n n n n n n n n n n

The Hon. Brian Sully qc

Mrs Margaret SwansonThe Taplin FamilyKevin TroyJohn E TuckeyJudge Robyn TupmanDr Alla WaldmanMiss Sherry WangWestpac Banking CorporationHenry & Ruth WeinbergThe Hon. Justice A G WhealyDr Richard T WhiteMrs Leonore WhyteA Willmers & R PalDr Edward J WillsProf. Neville Wills & Ian

FenwickeAnn & Brooks C Wilson am

Dr Richard WingDr Peter Wong & Mrs Emmy K

WongGeoff Wood & Melissa WaitesSir Robert WoodsMr & Mrs Lindsay WoolveridgeIn memory of Lorna WrightDr John YuAnonymous (15)

ALLEGRO PATRONS: $500–$999Ms Jenny AllumMr Peter J ArmstrongGarry & Tricia AshMr & Mrs George BallDr Lilon BandlerBarlow Cleaning Pty LtdMichael Baume ao & Toni BaumeBeauty Point Retirement ResortMr Michael BeckDr Andrew BellRichard & Margaret BellMrs Jan BiberMinnie BiggsG D BoltonMr Colin G Booth

Dr Margaret BoothIn memory of Jillian BowersMrs R D Bridges obe

R D & L M BroadfootDr Peter BroughtonDr David BryantArnaldo BuchDr Miles BurgessPat & Jenny BurnettEric & Rosemary CampbellMr JC Campbell qc &

Mrs CampbellBarrie CarterMr Jonathan ChissickMrs Sandra ClarkIn memory of Beth HarpleyMr Phillip CornwellDom Cottam & Kanako ImamuraDr Peter CraswellMr David CrossPhil Diment am & Bill ZafiropoulosDr David DixonSusan DoenauMrs Jane DrexlerDr Nita DurhamJohn FavaloroMrs Lesley FinnMs Julie Flynn & Mr Trevor CookMrs Paula FlynnMr John GadenClive & Jenny GoodwinRuth GrahameMr Robert GreenRichard Griffin am

Dr Jan GroseBenjamin Hasic & Belinda DavieMr Robert HavardMrs Joan HenleyRoger HenningSue HewittIn memory of Emil HiltonDorothy Hoddinott ao

Mr Kevin Holland & Mrs Roslyn Andrews

Bill & Pam Hughes

Ms Cynthia KayeMrs Margaret KeoghDr Henry KilhamDr Joyce KirkChris J KitchingMrs Patricia KleinhansAnna-Lisa KlettenbergSonia LalL M B LampratiElaine M LangshawDr Leo & Mrs Shirley LeaderMargaret LedermanMrs Erna LevyMrs A LohanMr Gabriel LopataPanee LowDr David LuisMelvyn MadiganMs Jolanta MasojadaHelen & Phil MeddingsI MerrickLouise MillerPatricia MillerKenneth Newton MitchellHelen MorganChris Morgan-HunnMr Graham NorthE J NuffieldMr Sead NurkicDr A J PalmerDr Kevin PedemontDr John PittMrs Greeba PritchardThe Hon. Dr Rodney Purvis am

& Mrs Marian PurvisMiss Julie Radosavljevic

Renaissance Tours Anna RoMr David RobinsonAgnes RossMrs Christine Rowell-Miller Mr Kenneth RyanGarry Scarf & Morgie BlaxillPeter & Virginia ShawV ShoreMrs Diane Shteinman am

Victoria SmythDoug & Judy SotherenColin SpencerJames & Alice SpigelmanAshley & Aveen StephensonMargaret & William SuthersDr & Mrs H K TeyDr Jenepher ThomasMr Michael ThompsonMs Rhonda TingAlma TooheyMrs M TurkingtonGillian Turner & Rob BishopMr Robert VeelRonald WalledgeIn memory of Denis WallisIn memoriam JBL WattMiss Roslyn WheelerThe Wilkinson FamilyAudrey & Michael WilsonYetty WindtDr Richard WingateMr Evan WongMrs Robin YabsleyAnonymous (45)

SYDNEY SYMPHONY ORCHESTRA VANGUARDA MEMBERSHIP PROGRAM FOR A DYNAMIC GROUP OF GEN X & Y SSO FANS AND FUTURE PHILANTHROPISTS

COLLECTIVEMr Justin Di Lollo ChairBelinda BentleyAmelia Morgan-HunnSeamus Robert QuickJonathan PeaseShefali PryorCamille Thioulouse

FOUNDING PATRONSSeamus Robert QuickTaine Moufarrige

MEMBERSJames ArmstrongJoan BallantineJames BaudzusAndrew BaxterAnthony BeresfordDavid BluffPeter BraithwaiteBlake Briggs

Andrea BrownMelanie BrownProf. Attila BrungsIan BurtonJennifer BurtonPaul ColganRobbie CranfieldJuliet CurtinRosalind DesaillyAlastair FurnivalAlexandra GibsonSam GiddingsMarina GoJeremy GoffHilary GoodsonTony GriersonLouise HaggertyRose HercegFrancis HicksPeter HowardJennifer Hoy

Katie HryceThe Hon. Virginia JudgeJonathan KennedyAernout KerbertPatrick KokAlisa LaiTristan LandersJessye LinGary LinnaneGabriel LopataRobert McGroryDavid McKeanNick NichlesKate O’ReillyPeter O’SullivanLaurisa PoulosMichael RadovnikovicSudeep RaoMichael ReedePaul ReidyChris Robertson

Dr Benjamin RobinsonAlvaro Rodas FernandezJacqueline RowlandsProf. Anthony Michael

SchembriBenjamin SchwartzCaroline SharpenKatherine ShawCeclilia StornioloRandal TameSandra TangIan TaylorMichael TidballMark TimminsMichael TuffyKim WaldockJon WilkieYvonne Zammit


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SALUTE

The Sydney Symphony Orchestra is assisted by the

Commonwealth Government through the Australia Council,

its arts funding and advisory body

GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is

assisted by the NSW Government

through Arts NSW

PRINCIPAL PARTNER

EDUCATION PARTNERPLATINUM PARTNER

MAJOR PARTNERS

GOLD PARTNERS

REGIONAL TOUR PARTNER MARKETING PARTNERVANGUARD PARTNER

PREMIER PARTNER

SILVER PARTNERS

s i n f i n i m u s i c . c o m

UNIVERSAL MUSIC AUSTRALIA

Salute 2014_FOUR-2A_23Jul.indd 1 23/07/14 9:03 AM33MM-K S85 West Side Story.indd 26 31/10/14 2:53 PM

SALUTE

The Sydney Symphony Orchestra is assisted by the

Commonwealth Government through the Australia Council,

its arts funding and advisory body

GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is

assisted by the NSW Government

through Arts NSW

PRINCIPAL PARTNER

EDUCATION PARTNERPLATINUM PARTNER

MAJOR PARTNERS

GOLD PARTNERS

REGIONAL TOUR PARTNER MARKETING PARTNERVANGUARD PARTNER

PREMIER PARTNER

SILVER PARTNERS

s i n f i n i m u s i c . c o m

UNIVERSAL MUSIC AUSTRALIA

Salute 2014_FOUR-2A_23Jul.indd 1 23/07/14 9:03 AM

❝You have to be truthful to yourself, and truthful to your section.

❞Lerida is often pinching

herself at her luck in securing a job with the SSO, not least because her husband, violist Justin Williams, also works with us. For both of them to gain jobs in the same orchestra ‘wasn’t easy’, says Lerida.

Both had previously held jobs in Melbourne, as well as being founding members of the Tinalley String Quartet. ‘But we’re loving exploring Sydney together now. It’s a very outward looking city, with so many international visitors. Melbourne has a real cultural pride, but I think that means it rests on its laurels a bit.’ Regular swims at Bondi and Balmoral are a particular highlight of Lerida’s new Sydney life, as exercise is really important to her. ‘I think musicians often really underestimate how much exercise can help with playing. I want to be able to fill my days with playing violin for as long as I possibly can, so it’s really important to keep myself fit and healthy.’

Lerida Delbridge’s Assistant Concertmaster Chair is supported by Simon Johnson.

Assistant Concertmaster Lerida Delbridge has been a presence in the Sydney Symphony Orchestra for a while now, though you’ve probably never been formally introduced. The process of securing a position with the orchestra involves an initial audition and then a trial period, during which a musician is not yet a fully confirmed member of the orchestra. These probation periods are a chance for the orchestra to get to know better an individual’s playing style, their personality, and the way they affect the dynamic in a

section (interpersonal, that is, not forte or piano).

‘It’s not something you’re really aware of, but it does feel like there’s a little “cloud” floating above you,’ says Lerida. She tried not to think about it too much. ‘If you let your concerns get out of control, then you don’t play your best. Your best chance at showing what you can do is to carry on as though everything is completely normal. You have to be truthful to yourself, and truthful to your section, so that they can see the real you.’

WELCOME LERIDAOne of the newer faces in the SSO, Assistant Concertmaster Lerida Delbridge is revelling in her new Sydney life

ORCHESTRA NEWS | OCTOBER–NOVEMBER 2014

SSO Bravo! #8 2014 Insert.indd 1 21/10/14 2:46 PM33MM-K S85 West Side Story.indd 27 31/10/14 2:53 PM

Playerlink, our annual three-day pop-up music camp for regional school-aged musicians, was held this year in Bathurst, hosted by the Mitchell Conservatorium and St Stanislaus’ College. Sixty-nine students – some from as far away as Lismore – joined 13 SSO musicians to form an 82-piece symphony orchestra, conducted by Daniel Carter. Students studied orchestral parts in sectional groups, focusing on aspects of posture, intonation, articulation, ensemble playing and interpretation. Everyone then came together to rehearse as a whole orchestra, finishing with a free family-style presentation and workshop.

From my front row seat, I noticed that the harpist seemed to have special shoes on…I assume for the pedals? It got me thinking – are there other instruments that require special concert clothing? Dee McIntyre, by email

Well spotted Dee! Our harpist Louise Johnson does indeed wear special soft-soled shoes when she plays. She says this helps her to feel the pedals easily, and to move silently between them for particularly tricky pedalling passages, like in Wagner’s Magic Fire Music.

The percussion players also

give careful thought to what they wear on stage. Principal Percussion Rebecca Lagos always wears pants on stage. ‘It’s easier to set up gear in pants, and definitely easier to play timpani than in a skirt.’ Full length or flowing sleeves can be hazardous too. ‘The back end of sticks can catch in the cuffs,’ she says.

‘Buttons and belts can be a problem for cymbals and other instruments that make a noise if you accidentally touch them!’ Rebecca continues, ‘and men’s ties can get caught in a cymbal crash!’

And other sections? ‘One thing flute players wear at their

peril are lacy concoctions,’ says Rosamund Plummer, Principal Piccolo. ‘Lace can catch keys and all the other fiddly bits that stick out of a flute when we rest the flute on our laps in the bars rest. If we’re not careful, the flute gets tangled in the material and you can’t get the instrument to your face in time!’Have a question about music, instruments or the inner workings of an orchestra? ‘Ask a Musician’ at [email protected] or by writing to Bravo! Reply Paid 4338, Sydney NSW 2001.

Ask a Musician

Partnership HighlightCulinary concertos

Elgar for mains, and then an arrangement of Ravel’s Tombeau de Couperin to accompany a sweet, light and ethereal dessert. A delicious evening all round!

Rob Stewart, CEO of Credit Suisse Australia, chef Peter Gilmore, and Roger Benedict, Artistic Director of the SSO Fellowship program

Hearts, minds, music and food combined for a recent evening hosted by renowned chef Peter Gilmore and Roger Benedict, Artistic Director of our Fellowship program. Between them, Peter and Roger crafted a five-course degustation menu that was carefully paired with a program of chamber music. ‘Actually, we decided early on that it would be better that I didn’t create the menu,’ joked Roger, ‘and that Peter didn’t choose the music.’

Guests of our Premier Partner, Credit Suisse, were held spellbound by our Fellows and several SSO musicians in a

program that ranged from Prokofiev to Elgar. In selecting the music, Roger took inspiration from three perspectives common to both music and food: colour, texture and mood.

‘The entrée was a startlingly vivid combination of beetroot and goat’s cheese, frozen in liquid nitrogen. I chose the Prokofiev Quintet for oboe, clarinet, violin, viola and double bass to accompany, because it’s full of bright and arresting colours.’

SSO Bravo! #8 2014 Insert.indd 2 20/10/14 7:18 AM33MM-K S85 West Side Story.indd 28 31/10/14 2:53 PM

Playerlink, our annual three-day pop-up music camp for regional school-aged musicians, was held this year in Bathurst, hosted by the Mitchell Conservatorium and St Stanislaus’ College. Sixty-nine students – some from as far away as Lismore – joined 13 SSO musicians to form an 82-piece symphony orchestra, conducted by Daniel Carter. Students studied orchestral parts in sectional groups, focusing on aspects of posture, intonation, articulation, ensemble playing and interpretation. Everyone then came together to rehearse as a whole orchestra, finishing with a free family-style presentation and workshop.

From my front row seat, I noticed that the harpist seemed to have special shoes on…I assume for the pedals? It got me thinking – are there other instruments that require special concert clothing? Dee McIntyre, by email

Well spotted Dee! Our harpist Louise Johnson does indeed wear special soft-soled shoes when she plays. She says this helps her to feel the pedals easily, and to move silently between them for particularly tricky pedalling passages, like in Wagner’s Magic Fire Music.

The percussion players also

give careful thought to what they wear on stage. Principal Percussion Rebecca Lagos always wears pants on stage. ‘It’s easier to set up gear in pants, and definitely easier to play timpani than in a skirt.’ Full length or flowing sleeves can be hazardous too. ‘The back end of sticks can catch in the cuffs,’ she says.

‘Buttons and belts can be a problem for cymbals and other instruments that make a noise if you accidentally touch them!’ Rebecca continues, ‘and men’s ties can get caught in a cymbal crash!’

And other sections? ‘One thing flute players wear at their

peril are lacy concoctions,’ says Rosamund Plummer, Principal Piccolo. ‘Lace can catch keys and all the other fiddly bits that stick out of a flute when we rest the flute on our laps in the bars rest. If we’re not careful, the flute gets tangled in the material and you can’t get the instrument to your face in time!’Have a question about music, instruments or the inner workings of an orchestra? ‘Ask a Musician’ at [email protected] or by writing to Bravo! Reply Paid 4338, Sydney NSW 2001.

Ask a Musician

Partnership HighlightCulinary concertos

Elgar for mains, and then an arrangement of Ravel’s Tombeau de Couperin to accompany a sweet, light and ethereal dessert. A delicious evening all round!

Rob Stewart, CEO of Credit Suisse Australia, chef Peter Gilmore, and Roger Benedict, Artistic Director of the SSO Fellowship program

Hearts, minds, music and food combined for a recent evening hosted by renowned chef Peter Gilmore and Roger Benedict, Artistic Director of our Fellowship program. Between them, Peter and Roger crafted a five-course degustation menu that was carefully paired with a program of chamber music. ‘Actually, we decided early on that it would be better that I didn’t create the menu,’ joked Roger, ‘and that Peter didn’t choose the music.’

Guests of our Premier Partner, Credit Suisse, were held spellbound by our Fellows and several SSO musicians in a

program that ranged from Prokofiev to Elgar. In selecting the music, Roger took inspiration from three perspectives common to both music and food: colour, texture and mood.

‘The entrée was a startlingly vivid combination of beetroot and goat’s cheese, frozen in liquid nitrogen. I chose the Prokofiev Quintet for oboe, clarinet, violin, viola and double bass to accompany, because it’s full of bright and arresting colours.’

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The ScoreStructured ProcrastinationYou’ve probably heard the story of how it took Brahms more than 14 years to write his first symphony. So what was he doing in the meantime? It was a classic case of what John Perry calls ‘structured procrastination’. (Google it, it’s an entertaining read for when you’re meant to be doing something else…)

A symphony appeared on Brahms’s to do list soon after his mentor Robert Schumann wrote an influential article hailing him as a second Beethoven. The praise was welcome; the inevitable pressure much less so. Everyone expected Brahms to write a symphony. Instead he spent nearly two decades composing plenty for orchestra but no symphonies.

Around 1855, for example, he began a symphony in D minor. This was his first attempt at an orchestral work. Three years later it was finished: we know it as his First Piano Concerto, which begins our Symphonic Firsts program. (The First Symphony was begun for real in 1862.)

Mahler had a different problem, also known to procrastinators and perfectionists: he was perpetually editing. His First Symphony went from idea to (first) premiere in a mere five years. But a second version was premiered four years later, and by the time the symphony was published in 1899 he’d revised it still further, including dropping a whole movement.

You can hear both these ‘first attempts’ at symphonic writing at the end of November in concerts conducted by Donald Runnicles, with pianist Yefim Bronfman.

Symphonic FirstsThursday Afternoon Symphony 27 November, 1.30pmEmirates Metro Series 28 November, 8pmGreat Classics 29 November, 2pmMondays @ 7 1 December, 7pm

We don’t often hear all of the Schumann symphonies, as they aren’t as powerful or grand as many of the Romantic symphonies, but their lyrical strength and delicacy will be interesting to listen to, under the baton of our still-new chief.

@sebasu102I’d have to say the boldest programming decision for 2015, from my point of view, is the continuing staging of large-scale late Romantic opera – and so, after a superlative Elektra, and a thrilling Flying Dutchman (that I was lucky enough to sing in!), the thought of Tristan with a powerhouse Brewer and scintillating Skelton really, really excites me!

In terms of high-profile returns, two wonderfully talented violinists stand out – of course, Anne-Sophie Mutter – who’s probably the most famous violinist in the world today – playing central, but slightly less well-known repertoire (yay!),

and one of my all-time favourites, Gil Shaham. I have Shaham to thank for introducing me to the Barber and Korngold concerti two decades ago.

Another favourite program would have to be Sculthorpe, Sibelius 2 and the Walton Violin Concerto – heartfelt, exultant and spiky. I’m not kidding when I say I’m regretting having to miss most of the SSO season due to my plans to live and work overseas next year... I may have to make a few sneaky return visits at judicious times!

There’s so much to rave about in our 2015 season. But rather than hear it from us, we thought you might enjoy some other perspectives on what’s coming up. So, like the Andrew L Urban of the classical world, your editor took to the social media ‘streets’ to find out what a couple of our most avid concert-going Twitter fans were looking forward to in the coming season.

@prestontowers

Yuja Wang’s recital is the one I am most looking forward to in the year – her YouTube videos are fantastic and are a great way of introducing new people to the piano repertoire. The pieces on her program also bring a fresh breeze into the concert hall – it’s always fun to listen to the slightly unhinged music of Scriabin’s later years.

I’m a bit of a fan of Charles Dutoit’s conducting, so his concert

of French works, including Berlioz’ Te Deum should be a cracker – it’s not often that we get a chance to hear much non-Fantastique Berlioz!

And lastly, the Schumann cycle conducted by David Robertson.

Artistic Focus

IN ANTICIPATION…

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Gil Shaham

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EDITOR Genevieve Huppert sydneysymphony.com/bravo

AN INSPIRING PATRONWe are delighted to announce that Dame Marie Bashir, who has been the SSO Patron as part of her responsibilities as Governor of NSW, has graciously agreed to remain in this role. Given her longstanding affection for the orchestra and her outstanding contribution to the arts, it is wonderful that we retain such an extraordinary and inspirational figure as SSO Patron.

SOMETHING TO SING ABOUTWe were the delighted recipients of two ARIA gongs recently. Compassion – a collaboration between Lior, Nigel Westlake and the SSO – was awarded the ARIA for Best Classical Album, while Gurrumul – His Life and Music won Best Original Soundtrack/Cast/Show Album. Huge congratulations to our fellow musicians Lior, Nigel and Geoffrey Gurrumul Yunupingu – it was a privilege to work with you!

HEARTFELT THANKSOn Wednesday 5 November the SSO will host the inaugural Stuart Challender Legacy Society Luncheon. This is an opportunity to show our gratitude to donors who have included the SSO in their estate plans, and to celebrate their vision and foresight in helping to secure a bright future for the orchestra.

MUSICAL WORKOUTThe Sinfonietta Project is a national composition project for high school students. Students submit work based on a model or given focus, and the most outstanding students are invited to Sydney to work with Richard Gill and the SSO Fellows.

This year, ten students from Tasmania, Victoria, the ACT and NSW were selected to come to the Sydney Opera House to workshop their compositions with Richard Gill and the Fellows. During the Sinfonietta residency, the students met composer Brett Dean, and attended an SSO rehearsal and the Dramatic Trumpet concert.

A SPECIAL LADYOur Associate Concertmaster and all-round beautiful person Kirsten Williams has received the 2014 Volunteer of the Year award at The Children’s Hospital at Westmead. Kirsten regularly plays her violin for the sick babies in their neonatal ward. Congratulations Kirsten!

2014 FELLOWS FINALEThe 2014 Fellows will finish the year on a mysterious note with a program that, says Roger Benedict, echoes Roald Dahl’s Tales of the Unexpected. On the program: a chamber arrangement of The Sorcerer’s Apprentice by Dukas, the suite from Stravinsky’s Soldier’s Tale and an arrangement of Mussorgsky’s Pictures at an Exhibition. Come and enjoy some rich musical storytelling on Saturday 29 November at 7.30pm in the Sydney Opera House Utzon Room.

CODA

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

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

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

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Executive ManagementChief Executive Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Louise Herron am

Chief Operating Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Claire SpencerDirector, Programming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jonathan BielskiDirector, Theatre & Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .David ClaringboldDirector, Building Development & Maintenance . . . . . . . . . . .Greg McTaggartDirector, Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Anna ReidDirector, External Relations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Brook Turner

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All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specified on the title page of this publication 1/221014 — 31MM/TH/TS — S78/80

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SSO Bravo! #8 2014 Insert.indd 4 17/10/14 1:24 PM

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

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

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

Sydney Opera House TrustMr John Symond am [Chair]Ms Catherine Brenner, The Hon Helen Coonan, Ms Brenna Hobson, Mr Chris Knoblanche, Mr Peter Mason am, Ms Jillian Segal am, Mr Robert Wannan, Mr Phillip Wolanski am

Executive ManagementChief Executive Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Louise Herron am

Chief Operating Officer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Claire SpencerDirector, Programming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Jonathan BielskiDirector, Theatre & Events . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .David ClaringboldDirector, Building Development & Maintenance . . . . . . . . . . .Greg McTaggartDirector, Marketing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Anna ReidDirector, External Relations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .Brook Turner

SYDNEY OPERA HOUSE Administration (02) 9250 7111 Bennelong Point Box Office (02) 9250 7777 GPO Box 4274 Facsimile (02) 9250 7666 Sydney NSW 2001 Website sydneyoperahouse.com

PAPER PARTNER

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

All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. By arrangement with the Sydney Symphony, this publication is offered free of charge to its patrons subject to the condition that it shall not, by way of trade or otherwise, be sold, hired out or otherwise circulated without the publisher’s consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover than that in which it was published, or distributed at any other event than specified on the title page of this publication 17429 — 1/061114 — 33MM/K S85/87

This is a PLAYBILL / SHOWBILL publication. Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064

Head Office: Suite A, Level 1, Building 16, Fox Studios Australia, Park Road North, Moore Park NSW 2021 PO Box 410, Paddington NSW 2021Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 E-mail: [email protected] Website: www.playbill.com.auChairman Brian Nebenzahl OAM RFD Managing Director Michael Nebenzahl Editorial Director Jocelyn Nebenzahl Manager—Production—Classical Music Alan ZieglerOperating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin

Playbill runs its own printery where we print all our theatre programs. We also print a variety of jobs from flyers to posters to brochures. Contact us at [email protected] for a quote on your printing work.


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WEST SIDE STORY · Benjamin Northey conductor West Side Story Music by Leonard Bernstein...

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