MITTAGONGTHU 24 MAY 7PM
NOWRATUE 22 MAY 8PM
WOLLONGONGWED 23 MAY 8PM
Illawarra & Southern Highlands
Tour
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Eighty years ago, the musicians of the Sydney Symphony Orchestra embarked on their first tour of regional New South Wales, appearing in Wollongong, Katoomba, Orange and Bathurst. Since then, virtually every year has seen the Sydney Symphony Orchestra take to the road, bringing great music to audiences all over the State.
In the past 80 years, we have performed the length and breadth of NSW, from Goulburn to Grafton, Broken Hill to Bowral and beyond. I am thrilled that this year, our 80th anniversary of touring, sees us return to where it all began, Wollongong. And I am delighted that this special celebration sees Sydney Symphony Orchestra visit Nowra and Mittagong for the first time.
Making music accessible underpins everything that we do at the Sydney Symphony Orchestra and I am grateful to the NSW Government through Create NSW, and to the Australia Council for the Arts for their support of our touring program. Thanks also to Rex Regional Express, our Tour Partner.
The program we’ve put together for you tonight features the overture from Smetana’s Bartered Bride, Elgar’s Sea Pictures sung by Shikara Ringdahl, and perhaps one of the most famous pieces of music ever written, Beethoven’s epic Fifth Symphony.
I am particularly pleased that our daytime schools concerts for primary and secondary students feature highlights from the same pieces, a reflection of the value we place on introducing young audiences to the excitement and beauty of orchestral music.
Touring cultivates a spirit of unity in each community we visit and makes us proud to be part of the wonderful State of New South Wales. We hope that our music tonight will speak to you as it speaks to us. It is our great pleasure to be here and to make music for and with your community.
Emma DunchChief Executive Officer Sydney Symphony Orchestra
WELCOMEFrom the CEO
Illawarra and Southern Highlands TourBenjamin Northey conductor Shikara Ringdahl mezzo-soprano Sydney Symphony Orchestra
BEDŘICH SMETANA (1824–1884)
Overture to the opera The Bartered Bride
EDWARD ELGAR (1857–1934)
Sea Pictures, Op.37Sea Slumber-Song In Haven (Capri) Sabbath Morning at Sea Where Corals Lie The Swimmer
Shikara Ringdahl, mezzo-soprano
INTERVAL
LUDWIG VAN BEETHOVEN (1770–1827)
Symphony No.5 in C minor, Op.67Allegro con brio Andante con moto Scherzo and Trio (Allegro) – Allegro
TOUR PARTNER
Estimated timings: 7 minutes, 23 minutes, 20-minute interval, 31 minutes
The concert will conclude at approximately 9.35pm (8.35pm Thursday).
Tuesday 22 May, 8pm Shoalhaven Entertainment Centre
Wednesday 23 May, 8pm Wollongong Town Hall
Thursday 24 May, 7pm Frensham School, Clubbe Hall
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SMETANA Overture to The Bartered Bride
Bedřich Smetana was the ‘father of Bohemian
music’. He wrote mainly operas on national themes
and was a driving force behind the establishment of
a national theatre in Prague. Of the operas only one,
The Bartered Bride, is well-known in English-speaking
countries, but it enjoys genuine popularity.
In the breathless overture to the opera, Smetana
encapsulates the vitality and bustle, as well as the
rustic charm, of a Czech village in festive mood.
This was the first time Czech village life had been
portrayed believably in opera. Although premiered
inauspiciously in the shadow of a looming (though
in the event, short) war with Bismarck’s Prussia, The
Bartered Bride survived the fiasco of its truncated
opening season in the oppressive midsummer heat of
1866 to win the undying affection of the Czech people
(and, subsequently, audiences throughout the world).
Smetana’s comedy is peopled with characters
his audiences would recognise and empathise with,
individuals experiencing the deep human emotions
of hope and fear, venality and cunning, confusion
and despair and, above all, unquenchable young
love. In the ‘all’s fair’ context of love and war, not
even a dubious device by which the happy outcome
turns on a piece of shameless deception can arouse
disquiet. Thus not only the bride is won, but a
questionable cash bonus as well. (The title is literally
‘The Sold Bride’, not ‘bartered’.)
The overture essentially sets the scene of festivity
on the village green. There are three main motifs:
bustling, suspenseful string figures in the opening;
a polka-like subject which foreshadows the brilliant
national dances to come; and a winsome, contrasting
oboe melody. All these will be heard again at the
climax of the second act as the bridal-sale contract is
signed before the outraged village-folk as indignant
witnesses.
Adapted from a note by Anthony Cane © 2005
ELGAR Sea Pictures
Mention the name Edward Elgar, and vocal music
is not likely to be the first thing which springs to
mind. Even in Sea Pictures, a full-scale song cycle
for mezzo-soprano with orchestra, the instrumental
interludes are often so grandly eloquent that the
vocal line seems almost an afterthought. The Norwich
Festival commissioned this song cycle from Elgar for
their 1899 season. The singer was the 26-year-old
contralto Clara Butt – later to become a Dame of the
British Empire, and synonymous with ‘Land of Hope
and Glory’. Already an established performer, her voice
would have been familiar to the composer. She was
especially noted for the strength of her lower register
(‘trombone-like’ was one description), and also for
the clarity of her diction. Elgar was kind and practical,
and here and there wrote in higher optional notes for
ABOUT THE MUSIC
mezzo-sopranos who lacked Dame Clara’s unique
depth!
Sea Pictures was a critical and popular success.
Clara Butt was ‘dressed like a mermaid,’ wrote Elgar to
a friend, and ‘sang really well’. A certain amount of less
favourable criticism was directed towards the poetry.
Elgar did seem to have sentimentally Victorian tastes
when it came to lyrics. Roden Noel was a minor British
poet; Richard Garnett the scholarly Director of the
British Museum Reading Room; Adam Lindsay Gordon
the only Australian – though British-born – to be
remembered with a bust in Poet’s Corner, Westminster
Abbey; Elizabeth Barrett Browning was considered
a little passé even in 1899; and C. Alice Elgar was the
composer’s wife.
Sea Slumber-Song drops us immediately into an
oceanic atmosphere. Elgar’s famously thoughtful
orchestration uses the two-note rocking motif
generations of composers have called upon to set
a watery scene. In this case, it is enhanced by rising
and falling harp phrases, while the softly rumbling
timpani is a clever addition to the seascape.
In Haven (Capri) must surely be one of the
sweetest things in musical history. When Caroline
Alice Roberts first had music lessons with Mr Edward
Elgar, she was 38 and had already published two
novels. In Haven was a literary effort on a much
smaller scale. Elgar set his wife’s poem to music
in 1897 and published it under the title Lute Song,
appropriately enough considering its delicate scoring.
The tenderness of the setting seems to be a musical
reciprocation of the poet’s words.
Sabbath Morning at Sea presents some of the most
typically ‘Elgarian’ textures and motifs. The warmth of
the strings is exploited whenever possible. The brass
instruments have rare moments to blaze out during
brief interludes when there is no risk of, so to speak,
drowning the singer.
Where Corals Lie is the song most often extracted
from the cycle for performance by itself. The off-the-
beat accompaniment and overall simplicity suggest
the uncomplicated pleasure often found in Schubert’s
songs. Tiny solos from various instruments add
textural interest and a certain air of fellowship with
the singer.
The Swimmer has usually been castigated as
the weakest song of the cycle. The poetry is difficult
to set, as its persistent rhymes can run the risk of
sounding like doggerel. Elgar, however, would have
known that in 1870 the poet committed suicide at
Melbourne’s Brighton Beach, so the description of
a swimmer struggling in the stormy water has gained
a darker meaning than is suggested at first glance.
The varying colours demanded of the low-voiced
singer foreshadow the role of the Angel in the Dream
of Gerontius, which was written shortly afterwards.
Abridged from a note by Katherine Kemp
Symphony Australia © 1999
Sea Slumber-Song
Sea-birds are asleep,
The world forgets to weep,
Sea murmurs her soft slumber-song
On the shadowy sand
Of this Elfin land.
‘I, the Mother mild,
Hush thee, O my child,
Forget the voices wild!
Isles in elfin light
Dream, the rocks and caves
Lulled by the whisp’ring waves,
Veil their marbles bright,
Foam glimmers faintly white
Upon the shelly sand
Of this elfin land;
Sea-sound, like violins,
To slumber woos and wins.
I murmur my soft slumber-song,
Leave woes, and wails, and sins,
Ocean’s shadowy might
Breathes good night, good night!’
Roden Noel
In Haven (Capri)
Closely let me hold thy hand,
Storms are sweeping sea and land;
Love alone will stand.
Closely cling, for waves beat fast,
Foam flakes cloud the hurrying blast;
Love alone will last.
Kiss my lips, and softly say:
‘Joy, sea-swept, may fade today,
Love alone will stay.’
C. Alice Elgar
Sabbath Morning at Sea
The ship went on with solemn face:
To meet the darkness on the deep,
The solemn ship went onward.
I bowed down weary in the place;
For parting tears and present sleep
Had weighed mine eyelids downward.
The new sight, the new wondrous sight!
The waters around me, turbulent,
The skies, impassive o’er me,
Calm in a moonless, sunless light,
As glorified by even the intent
Of holding the day glory!
Love me, sweet friends, this sabbath day.
The sea sings round me while ye roll
Afar the hymn unaltered
And kneel, where once I knelt, to pray,
And bless me deeper in your soul
Because your voice has faltered.
And though this sabbath comes to me
Without the stolèd minister,
And chanting congregation,
God’s Spirit shall give comfort.
He who brooded soft on waters drear,
Creator on creation,
He shall assist me to look higher,
Where keep the saints, with harp and song,
An endless sabbath morning,
And, on that sea commixed with fire,
Oft drop their eyelids raised too long
To the full Godhead’s burning.
Elizabeth Barrett Browning
Where Corals Lie
The deeps have music soft and low
When winds awake the airy spry,
It lures me, lures me on to go
And see the land where corals lie.
By mount and mead, by lawn and rill,
When night is deep, and moon is high,
That music seeks and finds me still,
And tells me where the corals lie.
Yes, press my eyelids close, ’tis well;
But far the rapid fancies fly
To rolling worlds of wave and shell,
And all the land where corals lie.
Thy lips are like a sunset glow,
Thy smile is like a morning sky,
Yet leave me, leave me, let me go
And see the land where corals lie.
Richard Garnett
The Swimmer
With short, sharp, violent lights made vivid,
To southward far as the sight can roam,
Only the swirl of the surges livid,
The seas that climb and the surfs that comb.
Only the crag and the cliff to nor’ward,
The rocks receding, and reefs flung forward,
Waifs wrecked seaward and wasted shoreward,
On shallows sheeted with flaming foam.
A grim, grey coast and a seaboard ghastly,
And shores trod seldom by feet of men –
Where the batter’d hull and the broken mast lie,
They have lain embedded these long years ten.
Love! When we wandered here together,
Hand in hand through the sparkling weather,
From the heights and hollows of fern and heather,
God surely loved us a little then.
The skies were fairer and shores were firmer –
The blue sea over the bright sand roll’d,
Babble and prattle, and ripple and murmur,
Sheen of silver and glamour of gold.
So, girt with tempest and wing’d with thunder
And clad with lightning and shod with sleet,
And strong winds treading the swift waves under
The flying rollers with frothy feet.
One gleam like a bloodshot swordblade swims on
The skyline, staining the green gulf crimson,
A death-stroke fiercely dealt by a dim sun
That strikes through his stormy winding sheet.
O brave white horses! you gather and gallop,
The storm sprite loosens the gusty reins;
Now the stoutest ship were the frailest shallop
In your hollow backs, on your high-arched manes.
I would ride as never man has ridden
In your sleepy, swirling surges hidden;
To gulfs foreshadow’d through strifes forbidden,
Where no light wearies and no love wanes.
Adam Lindsay Gordon
BEETHOVEN Symphony No.5
The most famous four notes in all music are just the
beginning. The striking motto that opens Beethoven’s
Fifth Symphony launches a compelling emotional and
musical journey. That journey is a familiar one now –
this is the best-known symphony in the orchestral
repertoire – but at its premiere in 1808 Beethoven’s
contemporaries would have boarded the trusted
vehicle of the Classical symphony only to discover
new and noisy sounds, fresh sights along the way,
and an unexpected destination.
Even modern listeners can sense the shock value
of this music. The rapid repercussions and dramatic
pauses of the opening theme might be surface
features – musical rhetoric – but, in the words of
musicologist Joseph Kerman, ‘they release primal,
unmediated emotional energies’ that had previously
been buried in the traditional Viennese Classical style.
Fate knocks at the door…
Beethoven is said to have later described the
opening: ‘Thus Fate knocks at the door.’ This story
might be dubious, but it’s completely in character
with Romantic sensibility and lasting perceptions
of the symphony. ‘Beethoven’s music sets in
motion the lever of fear, of horror, of suffering,’
wrote E.T.A. Hoffmann in his famous 1810 review
of the symphony, ‘and wakens just that infinite
longing which is the essence of Romanticism. He is
accordingly a completely Romantic composer…’
But in one respect, the opening of Beethoven’s
Fifth is completely classical. An assertive opening
with all the instruments playing the same notes
was a common way of catching the attention of an
audience – Mozart used the device to great effect
in his Paris Symphony. But where Mozart’s opening
assures the listener of a clear D major, Beethoven
undermines convention with deliberate ambiguity.
Are we in E flat major or C minor? At first there is no
way of knowing. Only when the cellos play the home
note C, seven bars into the music, can we orient
ourselves to Beethoven’s defiant and sometimes
terrifying expression of C minor.
Transforming journey
The choice of key was significant for Beethoven.
He had recently begun using C minor again and
again in music of a heroic or threatening nature:
the Eroica funeral march, the Coriolan Overture, and
now the Fifth Symphony. But the Fifth Symphony
follows an evolutionary and transforming journey –
beginning in one key (C minor) and ending in another
(C major). It is as if the joy and triumph of the finale
can be expressed only against the background of
fear and awe that Beethoven establishes in the first
movement.
More important, Beethoven gave his symphony an
unprecedented sense of unity, and the thing that ties
the music together is that simple opening motif – it
becomes the protagonist, metamorphosing during
the course of the symphony to emerge in a noble and
heroic guise.
Triumph over despair
The expression of triumph over despair through a
transition from minor to major is familiar today
(Beethoven’s Ninth Symphony and subsequent
symphonies by other composers ensure that we
no longer assume a symphony will end in the key
in which it began) but it would have astonished
Beethoven’s contemporaries. The struggle for
supremacy between major and minor begins early
in the symphony, with the ambiguity of the opening
preparing the way for an early appearance of C major
towards the end of the first movement. The Andante
second movement begins in a poised and lyrical
A flat major, only to be interrupted by forceful
C major fanfares with martial trumpets and drums.
The provocative and gloomy third movement scherzo
with its ‘spectral’ double basses returns to the
home key of C minor, but the struggle continues: its
entire central trio section is a good-humoured but
impatient C major.
Beethoven further emphasises the sense of
unity in the Fifth Symphony with a seamless link
between the third movement and the finale. This
stunning transition provides a moment of hushed
suspense with menacing and insistent drum beats
underneath sustained string writing. Beethoven
then releases the accumulated tension in a C major
march, likened by Hoffmann to ‘radiant, blinding
sunlight which suddenly illuminates the dark night’.
But the gloom has not been entirely dispelled and
Beethoven introduces a fragment of the scherzo in
the middle of the finale – a ghost of scherzos past
that must be swept away a second time by
the march theme.
And better noise at that!
It is in the finale that the trombones – taken from the
church and the theatre (think Mozart’s Requiem and
Don Giovanni) – appear in a symphony for the first
time in musical history. Beethoven counted on those
trombones (together with the contrabassoon and
a shrill piccolo) to ‘make more noise than six timpani,
and better noise at that’. The noise, of which the
deaf Beethoven would have heard virtually nothing,
contributes to a resplendent and festive march,
all the more triumphant for the struggle that has
gone before.
Abridged from a note by Yvonne Frindle
©2002/2010
The opening bars of Beethoven’s Fifth Symphony from the composer’s autograph manuscript.
Australian conductor Benjamin Northey is the Chief
Conductor of the Christchurch Symphony Orchestra
and the Associate Conductor of the Melbourne
Symphony Orchestra.
He has previously held the posts of Resident
Guest Conductor of the Australia Pro Arte Chamber
Orchestra (2002 –06) and Principal Conductor of the
Melbourne Chamber Orchestra (2007–10). He also
appears regularly as a guest conductor with all
the major Australian symphony orchestras, Opera
Australia, Victorian Opera and State Opera South
Australia. His international appearances include
concerts with the London Philharmonic Orchestra,
Tokyo Philharmonic Orchestra, Mozarteum Orchestra
Salzburg, Hong Kong Philharmonic Orchestra,
National Symphony Orchestra of Colombia and
Malaysian Philharmonic Orchestra, as well as the
Auckland Philharmonia and the New Zealand and
Christchurch symphony orchestras.
Benjamin Northey studied conducting with John
Hopkins at the University of Melbourne, with Leif
Segerstam and Atso Almila at the Sibelius Academy
and with Jorma Panula at the Stockholm Royal
College of Music. With a progressive and diverse
approach to repertoire, he has collaborated with
a broad range of artists including Maxim Vengerov,
Julian Rachlin, Karen Gomyo, Piers Lane, Alban
Gerhardt, Johannes Moser, Amy Dickson, Slava
Grigoryan and Marc-André Hamelin. In 2018 he also
conducts the New Zealand, Melbourne, Christchurch,
Adelaide, Tasmanian and West Australian symphony
orchestras and the Malaysian Philharmonic
Orchestra.
Young Australian mezzo-soprano Shikara Ringdahl
is fast becoming known for the richness of her voice
and her emotionally honest interpretations.
Earlier this year she undertook a five-week
residency with the Meitar Opera Studio, the Young
Artist Program of the Israeli Opera. Last year she
was a finalist in the IFAC Handa Australian Singing
Competition and won several major prizes. She also
received an Encouragement Award from the Joan
Sutherland and Richard Bonynge Bel Canto Award,
and won the 2017 Farleigh Vocal Scholarship.
In addition, since 2016 she has been selected
as a full scholarship participant at the Lisa Gasteen
National Opera School. There she has performed
operatic scenes with the Queensland Symphony
Orchestra, and last year she performed the role of
Larina in a concert presentation of Tchaikovsky’s
opera Eugene Onegin. In 2017 Shikara Ringdahl
performed Mahler’s Kindertotenlieder with the Revival
House Project on a multi-city Australian tour. She
also sang the alto solo in Handel’s Messiah with the
Queensland Choir as part of their biennial Brisbane
Sings Messiah concert.
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Benjamin Northey conductor Shikara Ringdahl mezzo-soprano
ABOUT THE ARTISTS
SYDNEY SYMPHONY ORCHESTRA
KE
ITH
SA
UN
DE
RS
Founded in 1932 by the ABC, the SSO has evolved into one of the world’s finest orchestras as Sydney has become one of the world’s great cities and is well on its way to becoming the premier orchestra in the Asia Pacific region. Resident at the Sydney Opera House, where it gives more than a hundred performances each year, the orchestra also performs throughout Sydney and NSW. International tours have earned the SSO worldwide recognition for artistic excellence and the SSO Live label captures the orchestra’s performances in recordings.
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, Zdeněk Mácal, Stuart Challender, Edo
de Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from 2009 to 2013 and David Robertson took up the post of Chief Conductor in 2014. The orchestra’s history also boasts collaborations with legendary figures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.
The SSO’s award-winning learning and engagement program is central to its commitment to the future of live symphonic music, and activities such as Playerlink and regional schools concerts expand the orchestra’s reach beyond Sydney to inspire students throughout NSW and Australia. The SSO also promotes the work of Australian composers through performances, recordings and its commissioning program.
DAVID ROBERTSON The Lowy Chair of Chief Conductor and Artistic Director Patron PROFESSOR THE HON. DAME MARIE BASHIR ad cvo
FIRST VIOLINS
Lerida Delbridge Assistant Concertmaster
Jenny Booth
Sophie Cole
Emily Long
Alexander Norton
Anna Skálová
Tobias Aan†
Sercan Danis°
Lachlan O’Donnell°
Emily Qin°
SECOND VIOLINS
Kirsty Hilton Principal
Emma Jezek Assistant Principal
Alice Bartsch
Victoria Bihun
Rebecca Gill
Emma Hayes
Monique Irik
Rollin Zhao†
VIOLAS
Roger Benedict Principal
Sandro Costantino
Jane Hazelwood
Graham Hennings
Amanda Verner
Justin Julian†
CELLOSLeah Lynn Assistant Principal
Kristy Conrau
Christopher Pidcock
David Wickham
Daniel Pini†
DOUBLE BASSES
Steven Larson
Jaan Pallandi
Andrew Meisel°
FLUTES
Lisa Osmialowski°Associate Principal
Rachel Howie†
Kate Proctor*
OBOES
Alexandre Oguey Principal Cor Anglais
Eve Osborn†
CLARINETS
Francesco Celata A/ Principal
Magdalenna Krstevska†
BASSOONS
Todd Gibson-Cornish Principal
Melissa Woodroffe°
Alison Wormell†
HORNS
Euan Harvey
Marnie Sebire
Aidan Gabriels†
Jenny McLeod-Sneyd*
TRUMPETS
Anthony Heinrichs
Jenna Smith†
TROMBONES
Scott Kinmont Associate Principal
Christopher Harris Principal Bass Trombone
Amanda Tillett†
TUBA
Perry Hoogendijk°
TIMPANI
Brian Nixon°
PERCUSSION
Timothy Constable
Sami Butler†
HARP
Emily Granger*
° = CONTRACT MUSICIAN
* = GUEST MUSICIAN
† = SSO FELLOW
Perry Hoogendijk (tuba) is on exchange from the Royal Concertgebouw Orchestra.
Visit www.sydneysymphony.com/SSO_musicians for the full roster with biographies and photographs.
The Musicians
The men’s tails are hand tailored by Sydney’s leading bespoke tailors, G.A. Zink & Sons.
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The SSO is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body
The SSO is assisted by the NSW Government through Arts NSW
Watch us on YouTube:youtube.com/ sydneysymphony
Join us on Facebook:facebook.com/sydneysymphony
Follow us on Twitter:twitter.com/sydsymph
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TOUR VENUES
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GOVERNMENT PARTNERS
Signup for Stay Tuned, oure-newsletter, for news andspecial offers.
The SSO is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body
The SSO is assisted by the NSW Government through Arts NSW
Watch us on YouTube:youtube.com/ sydneysymphony
Join us on Facebook:facebook.com/sydneysymphony
Follow us on Twitter:twitter.com/sydsymph
Download our mobile app:sydneysymphony.com/ mobile_app
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SALUTE
The Sydney Symphony Orchestra applauds the leadership role our Regional Touring Partners play and their commitment to excellence, innovation and creativity.
PRINCIPAL PARTNER
PREMIER PARTNER
SSO ONLINE
GOVERNMENT PARTNERS
Signup for Stay Tuned, oure-newsletter, for news andspecial offers.
The SSO is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body
The SSO is assisted by the NSW Government through Arts NSW
Watch us on YouTube:youtube.com/ sydneysymphony
Join us on Facebook:facebook.com/sydneysymphony
Follow us on Twitter:twitter.com/sydsymph
Download our mobile app:sydneysymphony.com/ mobile_app
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PRINCIPAL PARTNER GOVERNMENT PARTNERS
The Sydney Symphony Orchestra is
assisted by the NSW Government through
Arts NSW.
The Sydney Symphony Orchestra is assisted
by the Commonwealth Government through
the Australia Council, its arts funding and
advisory body.
REGIONAL TOURING PARTNERS
SALUTE
The Sydney Symphony Orchestra applauds the leadership role our Regional Touring Partners play and their commitment to excellence, innovation and creativity.
PRINCIPAL PARTNER
PREMIER PARTNER
SSO ONLINE
GOVERNMENT PARTNERS
Signup for Stay Tuned, oure-newsletter, for news andspecial offers.
The SSO is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body
The SSO is assisted by the NSW Government through Arts NSW
Watch us on YouTube:youtube.com/ sydneysymphony
Join us on Facebook:facebook.com/sydneysymphony
Follow us on Twitter:twitter.com/sydsymph
Download our mobile app:sydneysymphony.com/ mobile_app
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