adelaide symphony chorus - Adelaide Symphony Orchestra

Adelaide Symphony Orchestra
16 & 17 May, Festival Theatre
ADELAIDE SYMPHONY ORCHESTRA 2014 SE
N
CARMINA BURANA ASO SPECTACULAR
Festival Theatre 16 & 17 May
Nicholas Carter Conductor
Milica Ilic Soprano
Paul McMahon Tenor
Samuel Dundas Baritone
Adelaide Symphony Chorus - Carl Crossin OAM Chorus Director
Young Adelaide Voices - Christie Anderson Artistic Director
Rachmaninov
The Isle of the Dead Symphonic Poem, Op 29
Interval
Orff
Carmina burana
Fortuna Imperatrix Mundi (Fortune, Empress of the World)
Primo Vere (In Spring)
Uf dem anger (In the Meadow)
In Taberna ( In the Tavern)
Cour d’amours (Court of Love)
Blanziflor et Helena (Blancheflour and Helen)
Fortuna Imperatrix Mundi (Fortune, Empress of the World)
This concert runs for approximately 105 minutes including interval.
Friday evening’s concert will be broadcast live on ABC Classic FM.
www.aso.com.au
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nicholas carter conductor
Nicholas Carter is fast establishing a career as
a conductor of exceptional versatility, equally at
home in the concert hall and the opera house,
and fluent in a diverse repertoire. He has been
Resident Conductor of the Hamburg State
Opera since 2011, as well as serving as musical
assistant to Music Director Simone Young. This
engagement followed a three-year association
with the Sydney Symphony, first as Assistant
Conductor, working closely with Vladimir
Ashkenazy and a number of the orchestra’s guest
conductors, and subsequently as Associate
Conductor. Nicholas has recently been appointed
Associate Guest Conductor of the Adelaide
Symphony Orchestra and from August this year
he will take up the post of Kapellmeister at the
Deutsche Oper, Berlin.
In Hamburg, Nicholas has conducted
performances of Barbiere di Siviglia, Die
Zauberflöte, Hänsel und Gretel, and Cleopatra
by Johan Mattheson. The 2013/2014 season sees
him lead performances of Lucia di Lammermoor,
Cosi fan Tutte, L’Orontea (Cesti), as well as
further performances of Die Zauberflöte and
Hänsel und Gretel. Furthermore, as Musical
Assistant to Simone Young, he has been heavily
involved in the preparation of a vast repertoire,
including in the presentation of 10 Wagner
operas, from Rienzi to Parsifal, to celebrate the
bicentenary in 2013 of the composer’s birth.
As guest conductor, Nicholas has conducted the
Staatsorchester Braunschweig, the Louisiana
Philharmonic, the Dalasinfoniettan Sweden and
the Hamburg Philharmonic Orchestra in a Gala
with Diana Damrau as soloist.
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At the invitation of Donald Runnicles, Nicholas
has served as Associate Conductor of the Grand
Teton Music Festival in Wyoming since 2010.
In Australia, Nicholas enjoys collaborating
regularly with many of the country’s finest
orchestras and ensembles, such as the Sydney,
West Australian, Melbourne, Adelaide and
Queensland Symphony Orchestras, Orchestra
Victoria, Melbourne Chamber Orchestra and the
Orchestra of the Australian National Academy of
Music. He has also appeared with the Malaysian,
and New Zealand Symphony Orchestras. In 2011,
Nicholas led a Gala concert with the Sydney
Symphony and Anne Sofie von Otter.
This year Nicholas Carter will return to both the
Adelaide and Melbourne Symphony Orchestras
as well as making his debut for State Opera of
South Australia conducting La Traviata.

What is your personal connection to
Carmina burana?
I have sung countless performances of Carmina
burana over the years, as a boy soprano with the
Melbourne Symphony Orchestra. I can’t wait to
stand out the front this time and direct the ASO,
Adelaide Symphony Chorus and Young Adelaide
Voices in this colossal work by Carl Orff. It’s
a captivating journey for orchestra, choir and
audience alike! I’m looking forward to working with
Sam Dundas who will be our baritone soloist. Sam
and I were inaugural members of the Victorian
Opera Developing Artist Program, and shared
many performances together, most notably in Don
Giovanni. He is an exceptional talent on course for
a huge career!
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milica ilic soprano
Serbian-born Milica Ilic migrated to New Zealand
in 1996. She commenced her musical training
at a young age undertaking singing lessons
with Professor David Griffiths. As a member of
the Young Friends of Opera New Zealand, she
performed as a soloist and in the chorus. Whilst
appearing on the television series Dreams Come
True, Milica met Dame Kiri Te Kanawa, which
subsequently led to her participating in a weekend
workshop hosted by the internationally-renowned
soprano.
Milica completed a Bachelor of Music Degree at
the Queensland Conservatorium Griffith University
(QCGU). She also studied German at the GoetheInstitut in Berlin (2005) and voice with Leandra
Overmann (Professor of Singing at the Academy
of Music in Würzburg in Germany). She has
been the winner of the 2008 Australian National
Eisteddfod, the Dame Joan Sutherland Vocal
Competition (at the youngest recorded age of
19), the Elwyn Barber Memorial Encouragement
Trophy, as well as a two-time winner of both the
Margaret Nixon Vocal Competition and the South
East Queensland Aria and Concerto Competition
(2006 and 2008). She was also a three-time
semi-finalist at the Australian Singing Competition
(2002, 2003 and 2005).
Queensland. She also sang the role of Barbarina in
Le nozze di Figaro for Macau International Music
Festival.
In 2010, Milica continued her affiliation with Opera
Queensland as a Young Artist and performed in
their touring production of The Merry Widow.
She also performed in the Opera Gala for the
Queensland Symphony Orchestra and gave a
private recital in the Utzon Room at the Sydney
Opera House. The following year saw many
performances as soloist with the QSO.
In 2012, Milica appeared as Queen of Night in
The Magic Flute for Opera Australia and covered
the title role in their new production of Lucia di
Lammermoor. She also took soprano solos in
several concerts with the QSO and become a
major recording artist with ABC Classics.
In 2013, Milica Ilic appeared as soloist with the
Sydney and Queensland Symphony Orchestras.
Her new EP with mezzo-soprano Victoria
Lambourn – Lakmé – has recently been released
by ABC Classics.
Her performances have included the roles of
Papagena in Die Zauberflöte, Cupid in Semele and
Nannetta in Falstaff (for QCGU). In 2009, Milica
created the role of Emma in the youth opera Dirty
Apple and appeared in La Traviata - both for Opera
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paul mcmahon tenor
Performing regularly as a soloist with symphony
orchestras, chamber music groups and choirs
throughout Australia, New Zealand and Asia,
tenor Paul McMahon is one of Australia’s finest
exponents of baroque and classical repertoire,
particularly the Evangelist role in the Passions of
J. S. Bach.
Career highlights include Bach’s JohannesPassion with the Australian Chamber Orchestra
under Richard Tognetti; Bach’s Matthäus-Passion
under Roy Goodman; Haydn’s Die Schöpfung
under the late Richard Hickox, Mozart’s Mass
in C Minor under Masaaki Suzuki and Mozart’s
Requiem with the Hong Kong Philharmonic
Orchestra under Manfred Honeck. Paul’s recent
collaborations include recitals with the renowned
pianists Bengt Forsberg and Kathryn Stott, the
New Zealand String Quartet and the Australia
Ensemble. Paul has appeared as soloist in the
festivals of Sydney, Melbourne and Brisbane and
has given concerts for broadcast on ABC Classic
FM and the MBS network. He was a member of
The Song Company from 1997 to 2001, touring
regularly with this ensemble throughout Australia,
Asia and Europe.
Paul’s discography includes the solo album of
English, French and Italian lute songs entitled A
Painted Tale; a CD and DVD recording of Handel’s
Messiah; Handel’s Semele; Monteverdi’s L’Orfeo;
Purcell’s The Fairy Queen; Mozart’s Requiem
and Idomeneo, Carl Orff’s Carmina burana and
Fauré’s La naissance de Venus. He is featured on
Swoon - A Visual and Musical Odyssey and The
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Swoon Collection Gold Edition; the Christmas
discs Perfect Day, Silent Night and Glorious
Night; Prayer for Peace; Eternity; Danny Boy, Ye
Banks and Braes, Praise II and the soundtrack
to the Australian feature film The Bank. This
season, Paul has appeared as soloist in Handel’s
Messiah with the Melbourne Symphony Orchestra
and St George’s Cathedral, Perth, Haydn’s
Theresienmesse with the Melbourne Symphony
Orchestra, Mozart’s Requiem with the Auckland
Philharmonic Orchestra, Beethoven’s Symphony
No. 9 with the Adelaide Symphony Orchestra and
Orff’s Carmina burana with the Sydney Symphony.
Paul accepted a Churchill Fellowship in 2002 to
undertake intensive study in baroque repertoire
under the tutelage of Marius van Altena at the
Royal Conservatoire in The Hague, Netherlands.
He holds a Bachelor of Creative Arts degree
from the University of Southern Queensland, a
Graduate Diploma of Music from the Queensland
Conservatorium Griffith University and a Master
of Music (Performance) degree from the Sydney
Conservatorium of Music. Awarded a Griffith
University Postgraduate Research Scholarship,
Paul recently completed his PhD, which examined
the delivery of baroque performance practice
pedagogy in higher education. His academic
research includes publications on works by
Handel and Draghi, vocal pedagogy and historical
performance practice. An experienced teacher
and lecturer, Paul was a member of the academic
staff at the University of Newcastle from 2005–
2012. He is currently a Lecturer in Music at the
Australian National University, Canberra.
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samuel dundas baritone
Samuel Dundas is a graduate of the Melba
Conservatorium of Music and his performance
experience encompasses opera, musical theatre
and concerts. He has sung in concert throughout
Australia and New Zealand, including with the
ASO, MSO, TSO, WASO and the Auckland
Philharmonia, and his concert repertoire includes
Pilatus/Bass soloist in Johannes Passion and
Mozart Requiem.
In 2010 - 2011, he was a member of the Moffatt
Oxenbould Young Artist program at Opera
Australia, during which time his roles included
Doctor/Inquisitor/Judge/Stanislaus in Candide,
Handsome in La Fanciulla del West, Starveling in A
Midsummer Night’s Dream, Ceprano in Rigoletto,
Yamadori in Madama Butterfly, Pish Tush in The
Mikado, Cascada in Merry Widow and Masetto in
Don Giovanni.
Since 2005, when Samuel made his operatic
debut with Opera Queensland, he has gone on
to perform with More than Opera, the AYO and
has been involved with Victorian Opera both
as a freelance artist and a member of the Artist
Development program. Roles he has performed
with VO include Guglielmo in Così fan tutte,
Belcore in The Elixir of Love, the Second Soldier in
The Love of the Nightingale, Creon/The Messenger
in Oedipus Rex and Chief Clerk in Metamorphosis,
as well as Schaunard in the Puccini: The Sacred
and Profane gala.
Recently, he performed Priest in The Magic Flute,
Guglielmo in Così fan tutte, Fiorello in The Barber
of Seville, Yamadori in Madama Butterfly for
Opera Australia and the title role in Oz Opera’s
tour of Don Giovanni. Other recent engagements
have included Papageno in The Magic Flute for
Victorian Opera, soloist in Brahms Requiem with
the Melbourne Symphony Orchestra Chorus and
his debut with Sydney Sinfonia in a Discovery
series concert at the City Recital Hall, Sydney.
2009 saw Samuel make his role debut in the
title role in Victorian Opera’s production of Don
Giovanni. Other performances included Harlequin
in Ariadne auf Naxos, also for Victorian Opera;
bass soloist in Fauré Requiem for the Melbourne
Symphony Orchestra; the inaugural concert at
the new Melbourne Recital Centre in Vaughan
Williams Serenade to Music; Opera Australia’s
annual Williamstown concert; and an Opera Gala
concert in Morundah.
Samuel’s 2013 engagements included Marcello in
La Bohème, Morales in Carmen (Handa Opera on
Sydney Harbour), Gaoler in Tosca, Dr Malatesta
in Don Pasquale and Sid in Albert Herring all for
Opera Australia and Brahms German Requiem
with Sydney Philharmonia Choirs. Samuel is also
the winner of the 2013 Lady Fairfax New York
Scholarship.
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adelaide symphony chorus
Incorporating
Elder Conservatorium Chorale & Marryatville High School Choir
Carl Crossin OAM Chorus Director
Aldis Sils Assistant Chorus Director, Conductor, Marryatville High School Choir
Karl Geiger Repetiteur & Assistant Chorus Director
The Adelaide Symphony Chorus was formed in
2000 to perform the large orchestral repertoire
with chorus with the Adelaide Symphony
Orchestra. Since then the Chorus has collaborated
with the Adelaide Symphony Orchestra on many
occasions performing such choral/orchestral
masterpieces as Beethoven’s ‘Choral’ Symphony,
Mahler’s 2nd, 3rd and 8th symphonies, Bernstein’s
Mass, Brahms’ Requiem and Schicksallslied,
Orff’s Carmina burana and Britten’s War Requiem.
Consisting of over 100 selected experienced
choral singers from all over Adelaide, the Chorus
is directed by one of Australia’s leading choir
directors, Carl Crossin, currently Artistic Director
and Conductor of Adelaide Chamber Singers, and
Director of the Elder Conservatorium of Music at
the University of Adelaide.
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The Adelaide Symphony Chorus stands as a
valuable showcase of the city’s strong choral
traditions, a tribute to the many dedicated people
who continually give of their time and effort,
voluntarily, to create this vibrant choral scene.
The core of the Chorus are the members of the
Elder Conservatorium Chorale supplemented with
selected singers, chosen by audition, from the
wider choral community. For this performance of
Carl Orff’s Carmina burana, we also welcome the
singers from the Marryatville High School Choir.
The Adelaide Symphony Chorus is an initiative
of the Adelaide Symphony Orchestra, The
Elder Conservatorium Chorale and the Adelaide
Chamber Singers. Chorus Director, Carl Crossin,
appears courtesy of the Elder Conservatorium of
Music.
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SOPRANOS
ALTOS
TENORS
BASSES
Catherine Bateman
Susan Brooke-Smith
Rachel Bruer-Jones
Jennifer Brunton
Lisa Catinari
Verity Colyer
Alison Day
Megan Fishers
Alison Fleming
Georgina Gold
Cassandra Humble
Grace Joyce
Heather Karmel
Katrina Mackenzie
Nicky Marshal
Margaret May
Alison McDougall
Madeline Mitchell
Katherine Morgan
Siobhan Owen
Phoebe Paine
Deepika Phadke
Courtney Sandford
Kay Thorp
Kiera Turner
Wendy Wakefield
Emma Wu
Dorothy Zweck
Penny Baker
Georgia Balchin
Deborah Baldassi
Paulina Brinkworth
Petrina Byrnes
Alison Campbell
Rachel DeAngelis
Lisa Fechner
Carol Fort
Anna Freer
Ashleigh Geiger
Jodie Grainger
Amelia Holds
Sarah Horne
Yunhe Huang
Thalia Huston
Judy Jaensch
Jennifer Jarman
Charlotte Kelso
Sarah Klein
Stephanie Neale
Sarah O’Brien
Frances Owen
Melinda Pike
Emily Ravenscroft
Katherine Samarzia
Olivia SandersRobinson
Melanie Sandford-
Morgan
Georgia Simmons
Renée Stevens
Imogen Telfer
Deb Tranter
Michelle Zweck
Harrison Atwell
Mitchell Bartel
Joshua Belperio
Gil Costes
Martin Day
Andrew O’connor
Martin Penhale
Jo Pike
Christopher Rawlinson
Mark Sales
Thomas Shepherd
Judy Szekeres
Sean Tanner
Colin Telfer
Chris Tonkin
Matthew Winfield
Graham Yuile
Anthony Zatorski
Ron Abelita
Jason Bensen
Paul Black
Ian Brown
Thomas Bubner
Andrew Chatterton
Peter Deane
Christian Evans
Aidan Foyel
Oliver Grenfell
Scott Gunn
Andrew Heitmann
Macintyre HowieReeves
Ian Li
Julian Opie
Adrian Ozols
Neil Piggott
Mark Roberts
David Rohrsheim
Chris Steketee
Bradley Tucker
ADELAIDE SYMPHONY SPECTACULAR SERIES
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young adelaide voices
Christie Anderson Artistic Director
Karl Geiger Accompanist
Young Adelaide Voices is a unique South
Australian Choir School, catering for young people
aged 5 – 35. This community based, not-forprofit organisation provides a excellent quality
choral education within a friendly and positive
environment. There are 6 choirs in YAV, including
a newly-formed Male Voice Choir. Our Carmina
Chorus is made up of choristers from four YAV
choirs, aged 9 – 14.
Young Adelaide Voices teaches excellence in
singing, performing and musicianship with music
from all genres and eras and concerts for every
choir, young and old! Young choristers grow in
skill and maturity as they progress through the
choirs and they develop in music, confidence
and teamwork. YAV also enjoy a great social
environment as part of their weekly rehearsals
and performances as well as a rehearsal camp
each year and the bonds of music and friendship
reverberate throughout their lives.
The choristers have also represented Australia
in many international festivals and in their
international tour to the USA in 2012, Young
Adelaide Voices won First Prize in all the Youth
Choir sections in the 9th International Golden Gate
Youth Choir Festival in San Francisco plus a Silver
medal in the World Choir Games in Cincinnati.
YAV also represented Australia in the Serenade!
Festival in Washington DC (including workshops
on Australian music) and gave friendship concerts
in Fairfield Connecticut and Hamilton, Ohio.
Previously, Young Adelaide Voices has
represented Australia in the World Festival of
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Children’s Choirs in China and Hong Kong and
the European Youth Choral Festival in Neerpelt,
Belgium. It is in Belgium where they have twice
received Festival honours, 1st Prize cum laude
(2008) and 1st Prize summa cum laude (1996).
They have recorded 10 CDs, the latest We are as
one released in December 2012.
YAV has performed with many other artistic
organisations in addition to the ASO, including the
Band of the SA Police, The Idea of North and the
State Opera of South Australia. They also perform
at other community and professional events,
including the Adelaide Festival Centre’s Something
on Saturday, Tasting Australia, The Cranio-facial
Foundation, primary school tours, the Credit
Union Christmas Pageant , Carols by Candlelight,
the Lord Mayor’s Christmas Reception and the
SA Great Awards. YAV are also recipients of The
Key of the City of Adelaide for their excellent
contribution to music-making in the state.
In Adelaide, Young Adelaide Voices has performed
and collaborated with the Adelaide International
Festival of Arts and the International Fringe
Festival, the Adelaide Symphony Orchestra and the
State Opera of South Australia, where they have
sung in programs as diverse as the Children’s
Chorus in Mahler Symphony No 8 Symphony of a
Thousand (Adelaide Festival 2010), Humperdinck’s
Hansel and Gretel, Leonard Bernstein’s Mass
(Adelaide Festival 2012) and performing the film
score to Peter Jackson’s The Lord of The Rings
– The Fellowship of the Ring with the Adelaide
ADELAIDE SYMPHONY SPECTACULAR SERIES
Symphony Orchestra (2012). In 2013 they were
involved in the Art Gallery of South Australia’s
Start Day children’s programs, performed with
Katie Noonan and Karin Schaupp in Songs of the
Southern Skies for the Adelaide Festival Centre,
OzAsia’s Moon Lantern Festival , and they were
the Children’s Chorus in Britten’s War Requiem
with the Adelaide Symphony Orchestra.
YAV has a composer in residence program and
fully supports the composition of new Australian
choral works for youth choirs of all ages.
Eliza Allan
Olivia Allen
Makayla Anderson
April Bell
Ivy Bell
Rhianna Bell
Danae Bettison
Clara Chiodi-Reveruzzi
Olivia Christie
Julia Culver
Sarah Cusack
Emily Mohan-Ram
Laura Mohan-Ram
Daisy Madigan
Katrina Ogierman
Jack Overall
Chloe Pettit
Ashley Piper
Emily Potter
Martin Quinn
Mia Sander
Jessica Wadsworth
Eleanor Fulton
Tatyana Gooding
Jordan Hall
Crystal Iluno
Lana Kotro
Olivia Lagos
Anton Levings
David Linn
Charlotte Loipersberger
Monique Lymn
Isobel Martin
www.youngadelaidevoices.asn.au
ADELAIDE SYMPHONY SPECTACULAR SERIES
Lauren Ward
Ruby Washington
Jemma Wellens
Ruby Wheaton
Matilda Whittaker
Jessica Williams
Jaci Wilmott
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Adelaide Symphony Orchestra
Principal Guest Conductor
and Artistic Advisor
Arvo Volmer
Artist in Association
Nicholas McGegan
Associate Guest Conductor
Nicholas Carter
Concertmaster
Natsuko Yoshimoto
Musical Chair sponsored by
ASO Chair of the Board Colin
Dunsford AM & Lib Dunsford
VIOLINS
Elizabeth Layton**
(Guest Concertmaster)
Cameron Hill**
(Guest Associate
Concertmaster)
Shirin Lim*
(Principal 1st Violin)
Musical Chair supported by Dr
Georgette Straznicky
Michael Milton**
(Principal 2nd Violin)
Musical Chair supported by
The Friends of the ASO
~
Lachlan Bramble
(Associate Principal
2nd Violin)
Musical Chair supported by
Robert & Deborah Pontifex
Ann Axelby
Erna Berberyan
Minas Berberyan
Musical Chair supported
by Merry Wickes
Gillian Braithwaite
Julia Brittain
Hilary Bruer
Musical Chair supported by
Marion Wells
Jane Collins
Frances Davies
Belinda Gehlert
Alison Heike
Anne Horton
Danielle Jaquillard
Alexis Milton
Jennifer Newman
Julie Newman
Emma Perkins
Musical Chair supported by
Peter & Pamela McKee
Alexander Permezel
Judith Polain
Marie-Louise Slaytor
Kemeri Spurr
VIOLAS
Juris Ezergailis**
Musical Chair supported
in the memory of
Mrs JJ Holden
~
Imants Larsens
Lesley Cockram
Martin Butler
Anna Hansen
Rosi McGowran
Carolyn Mooz
Michael Robertson
Cecily Satchell
Asha Stephenson
CELLOS
Simon Cobcroft**
Ewen Bramble~
Musical Chair supported by
Barbara Mellor
Sarah Denbigh
Christopher Handley
Musical Chair supported by
Johanna and Terry McGuirk
Sherrilyn Handley
Musical Chair supported by
Johanna and Terry McGuirk
Gemma Phillips
David Sharp
Musical Chair supported
by Aileen Connon AM
Cameron Waters
BASSES
David Schilling**
Musical Chair supported by
Mrs Maureen Akkermans
~
Esther Toh
(Guest Associate)
Jacky Chang
Harley Gray
Musical Chair supported
by Bob Croser
Belinda Kendall-Smith
David Phillips
Musical Chair supported in
thanks of David’s father for
improving my sight – Betsy
FLUTES
Julia Grenfell**
Musical Chair supported by
Chris & Julie Michelmore
Rebecca Johnson
PICCOLO
Lisa Gill*
OBOES
Celia Craig**
Musical Chair supported by
Penelope & Geoffrey HackettJones
Renae Stavely
Elizabeth Collins
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ADELAIDE SYMPHONY SPECTACULAR SERIES
COR ANGLAIS
Peter Duggan*
Musical Chair supported by Dr
JB Robinson
CLARINETS
Dean Newcomb**
Musical Chair supported by
the Royal Over-Seas League
SA Inc
Darren Skelton
E FLAT CLARINET
Darren Skelton*
BASS CLARINET
Mitchell Berick*
Musical Chair supported
by Nigel Stevenson &
Glenn Ball
BASSOONS
Mark Gaydon**
Musical Chair supported by
Pamela Yule
Leah Stephenson
Musical Chair supported by
Liz Ampt
CONTRA BASSOON
Jackie Hansen*
Musical Chair supported by
Norman Etherington &
Peggy Brook
HORNS
Sarah Barrett**
(Acting Principal)
Heath Parkinson~
(Guest Associate)
Bryan Griffiths
Philip Paine
Alice Dyer
Anna Handsworth
TRUMPETS
Matt Dempsey**
Musical Chair supported by R &
P Cheesman
~
Robin Finlay
(Guest Associate)
Gregory Frick
David Khafagi
TROMBONES
Cameron Malouf**
Musical Chair supported by
Virginia Weckert & Charles
Melton of
Charles Melton Wines
Ian Denbigh
BASS TROMBONE
Howard Parkinson*
TUBA
Peter Whish-Wilson*
Musical Chair supported by Ollie
Clark AM & Joan Clark
TIMPANI
Robert Hutcheson*
Paul Simpson-Smith
PERCUSSION
Steven Peterka**
Musical Chair supported by The
Friends of the ASO
Gregory Rush
Jamie Adam
Amanda Grigg
Andrew Penrose
Paul Simpson-Smith
HARP
Suzanne Handel*
CELESTE
Katrina Reynolds*
PIANOS
David Barnard**
Jamie Cock*
** denotes Section Leader
* denotes Principal Player
~
denotes Associate Principal
ASO BOARD
Colin Dunsford AM (Chair)
Anthony Steel AM (Deputy Chair)
Jillian Attrill
Col Eardley
Karen Hannon
Chris Michelmore
Michael Morley
Robert Pontifex
Nigel Stevenson
ASO MANAGEMENT
Executive
Vincent Ciccarello - Managing Director
Margie Corston - Assistant to Managing
Director
Artistic
Simon Lord - Director, Artistic Planning
Sophie Emery - Artistic Administrator
Emily Gann - Learning and Engagement
Coordinator
Finance and HR
Bruce Bettcher Business and Finance Manager
Louise Williams Manager, People and Culture
Karin Juhl - Accounts/Box Office
Coordinator
Sarah McBride - Payroll
Emma Wight - Administrative Assistant
Operations
Heikki Mohell - Director of Operations and
Commercial
Karen Frost - Orchestra Manager
Kingsley Schmidtke - Venue/Production
Supervisor
Bruce Stewart - Librarian
David Khafagi - Operations Assistant
Marketing and Development
Paola Niscioli - General Manager, Marketing
and Development
Vicky Lekis - Director of Development
Annika Stennert Marketing Coordinator
Kate Sewell - Publicist
Tom Bastians - Development Assistant
FRIENDS OF THE ASO
EXECUTIVE COMMITTEE
Elizabeth Bowen - President
Alyson Morrison - Past President
Alison Campbell and Michael Critchley Vice Presidents
Honora Griffith - Honorary Secretary
John Gell - Assistant Secretary/
Membership
Judy Birze - Treasurer
ADELAIDE SYMPHONY SPECTACULAR SERIES
15
Sergei Rachmaninov
The Isle of the Dead Symphonic Poem, Op 29
Rachmaninov’s symphonic poem takes its title
from a painting by Swiss artist Arnold Böcklin
(1827-1901), one of a series on the same
subject. It is the only mature work Rachmaninov
admitted was the result of literary or pictorial
stimulus, although it is thought that extramusical stimuli lay behind many of his pieces.
Rachmaninov came across the painting in 1906
while living in Dresden, where he had gone to
live in order to have more time for composition
than his commitments as pianist and conductor
allowed him. Böcklin’s painting depicts Charon,
the ferryman of the dead in Greek mythology,
rowing a wrapped corpse across the Underworld
river of Styx. There is some argument as to
whether Böcklin based his setting on the group
of Ponzo islands north of the gulf of Naples, or
Pondikonisi off the coast of Corfu. It is a lonely
island landscape with mournful cypresses
surrounded by high cliffs which becomes the Isle
of the Dead of Böcklin’s imagination.
The mood of this picture stirred Rachmaninov’s
imagination greatly. He was subject to a
persistent melancholia – traceable perhaps to the
psychological collapse which accompanied the
failure of his First Symphony – but we should not
underestimate the 19th century’s fascination with
death and commemoration.
Böcklin said that this painting was meant to
achieve a dream-like quality, an effect of stillness,
and Rachmaninov brilliantly achieves a similar
effect at the beginning of his tone poem; the
16
1873-1943
five-note motif introduced by cellos is suggestive
of a boat slowly plying through waters or waves
lapping at its sides. Sustained brass tones
emerge from this music. By reference to the
painting one can imagine the cliffs looming over
the approaching cargo. There is the occasional
tragic countermelody.
Rachmaninov’s symphonic poem describes a
simple dynamic pattern, building a couple of
times to climaxes, the last perhaps expressive of
the soul’s grief at parting from the world, before
finally subsiding quietly into the irresistible
mood of the opening. One of Rachmaninov’s
most typical features, the quoting of the Dies
irae melody from the Latin Mass for the Dead,
is heard in various guises throughout, never
in full, but perhaps most noticeably after the
main climax, where it is heard above a plodding
funereal accompaniment. What is remarkable,
considering that the Dies irae is never heard
complete, is that the whole of this work is
imbued with the effect of lamentation such that
we could divine the subject matter even without
benefit of title.
G.K. Williams - Symphony Australia © 1997
Rachmaninov completed The Isle of the Dead
in 1908 and premiered it the next year in
Moscow. The Adelaide Symphony Orchestra
first performed the work on 29 June 1973 under
conductor Tibor Paul, and most recently in July
1992 with Muhai Tang.
Duration 20 minutes.
ADELAIDE SYMPHONY SPECTACULAR SERIES
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The ASO receives Commonwealth
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its arts funding and advisory body.
carl orff
1895-1982
Carmina burana
In the 1803 a large collection of medieval poetry
was discovered in the abbey of Benediktbeuern
in Bavaria. Its 320 poems, written on vellum
and richly illustrated with illuminated capital
letters, represent an anthology of styles and
languages: they are mainly written in medieval
Latin, but include texts in Old French and Middle
High German. It seems that it was compiled in
the 13th century for the court of the Bishop of
Seckau in Austria. The Bishop must have been
a worldly churchman as the collection includes
examples of religious and ‘moral’ songs, those
of springtime and love as well as drinking songs.
In the mid-1930s the collection came to the
attention of Carl Orff who later remarked:
“Fortune smiled on me when she put into my
hands a Würzburg secondhand books catalogue,
in which I found a title that exercised on me an
attraction of magical force:
Carmina burana: Latin and German songs and
poems of a 13th-century manuscript from
Benediktbeuern, edited by J.A. Schmeller.”
Orff spoke more truly than he knew: certainly
Carmina burana (‘Songs of Beuern’) would make
his fortune, at least artistically, but the blind
goddess, as celebrated in the first section of
Orff’s piece, is inconstant like the moon. Carmina
18
burana was Orff’s greatest success – he was
only half joking when he wrote to his publisher
‘Everything I have written to date, and which you
have, unfortunately, printed, can be destroyed.
With Carmina burana, my collected works begin.’
But its success put much of his subsequent
achievement in the shade.
Orff was born in 1895 into a military family with
intellectual and artistic interests and studied
music from an early age including, significantly,
research into non-European music. His early
opera Gisei, for instance, is based on Japanese
Nōh drama. In 1917 he enlisted in the German
army, but was wounded and invalided out.
The 1920s saw the gradual development of
the music-education theories for which, apart
from Carmina burana, he is best remembered
today. With Dorotheé Günther he founded the
Güntherschule, where the curriculum centred on
music, gymnastics and dance; out of this evolved
the Orff-Schulwerk, a method of teaching music
through repetition, improvisation and with a
focus on percussion. At this time too he and
Günther made ‘free adaptations’ of operatic
works of Monteverdi, notably Orfeo.
Orff’s own compositions during the 1920s show
an increasing interest in the use of percussion
often with piano (a ‘clean’ sound derived in part
from that of Stravinsky’s Les Noces), harmony
which is essentially diatonic but which avoids the
ADELAIDE SYMPHONY SPECTACULAR SERIES
goal-directed feel of traditional tonal music, and
rhythm characterised (again, after Stravinsky) by
the use of repeated figurations. These musical
techniques reached their first realisation in
1931’s Catulli Carmina, settings of one of the
great Roman poets. Carmina burana followed
a few years later, and was first performed
in Frankfurt in 1937. It made an immediate
impact. Richard Strauss wrote some years later
praising Orff’s ‘purity of style and unaffected
musical language, free from any posing and any
digressions to left or right’.
1937 was of course a time when Hitler and
the Nazis were doing their utmost to win the
hearts and minds of Germany partly, as Richard
Taruskin has noted, by launching a propaganda
offensive against the Christian churches and
playing up the pagan roots of Aryan culture. Orff
was never a member of the Nazi party, nor, so
far as we know, were any of his close friends,
and there is no evidence that he cultivated a Nazi
aesthetic in his music. In fact the New Yorker
critic Alex Ross argues that precisely because
Orff’s music lends itself so well to advertising is
evidence that it contains no ideological message.
But the fact remains that such an approachable,
stirring and overwhelming piece as Carmina
burana comes perilously close to the kind of
music favoured by the regime; the cheerfully
hedonistic poetry (‘I am the Abbot of Cockaigne’)
similarly reflects the growing anti-clericalism in
1930s Germany. Orff moreover profited from the
official ban on Jewish music when he accepted
a commission to write music for A Midsummer
Night’s Dream to replace Mendelssohn’s score,
but this may have been genuinely naive, like his
setting of words by left-wing writers like Brecht.
For this reason we need to take with a grain
of salt Orff’s assertion that the work never
got a good review in Nazi Germany. It was
indeed savaged in one party newspaper for its
unintelligible language (that is, Latin) and its
‘jazz influences’, but as Taruskin has pointed
out, other critics praised the work in language
redolent of much Nazi propaganda, noting its
‘radiant strength-filled life-joy’ and its mixture of
‘storminess’ and ‘discipline’. Orff never joined
the party, nor did he repudiate it; Carmina burana
continued to be heard even when Orff’s teaching
methods were considered suspect. Only after the
war did he attempt to paint himself as a member
of the White Rose resistance group, a claim
which has been seriously called into question.
Wherever it has been performed, Carmina
burana retains its ability to evoke what Alex Ross
calls ‘primitive, unreflective enthusiasm’. And
that’s partly because of the nature and subject
matter of the texts. Orff described the effect of
reading the collection:
“On opening it I immediately found, on the front
page, the long-famous picture of ‘Fortune and
her wheel’ and under it the lines O fortuna/velut
luna/statu variabilis … Picture and words seized
hold of me … a new work, a stage work with
singing and dancing choruses, simply following
the illustrations and texts, at once came into my
mind.”
The ‘O Fortuna’ chorus bookends the whole
work with its mighty choral and orchestral
forces and implacable rhythms. The body of the
work, which uses 23 of the published poems,
is divided into three main sections. The first,
‘Springtime’ and ‘On the Meadow’, uses the
conventional genres of pastoral poetry: spring
returns, the sun warms the earth, the forests
awaken, and a young person’s thoughts turn to
love. But not before a brief spell ‘In the Tavern’,
a male-dominated environment in which Orff
creates a number of memorable characters such
ADELAIDE SYMPHONY SPECTACULAR SERIES
19
as the Abbot of Cockaigne whose constituents
(all the world) are drinkers. None is more
memorable though, if only musically, than the
Roasting Swan, a high tenor whose lament is
for the loss of his whiteness as much as for his
imminent consumption. Finally ‘The Court of
Love’ takes up the erotic threads of ‘Springtime’,
contrasting delicacy and robust humour before
the soaring soprano solo of ‘Dulcissime’ and
ecstatic chorus to ‘Blanziflor and Helena’. The
ecstasy will, of course, be swept away by Fate,
so the music returns to the opening hymn to
Fortune. As Michael Steinberg has noted, one
wouldn’t guess from the music that the last line
of the poetry is ‘mecum omnes plangite’ (come,
weep with me).
The Adelaide Symphony Orchestra first
performed Carmina burana on 9 October 1959
under conductor Norman Chinner, and most
recently in October 2006 under Arvo Volmer, with
soloists Sara Macliver, David Hamilton and José
Carbó.
Duration 65 minutes.
Gordon Kerry © 2006
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ADELAIDE SYMPHONY SPECTACULAR SERIES
“With
Beethoven
you never stop
learning.”
Claudio Abbado, conductor with a
lifetime dedicated to music
s
u
a
H
n
n’s Ope
e
v
o
h
t
e
Be
COME & PLAY
BEETHOVEN
Saturday 13 September
10am - 12.30pm
Adelaide Town Hall
Nicholas McGegan Conductor
Here is your chance to join
the Orchestra! Spend the
morning rehearsing Beethoven’s
extraordinary Symphony No 5
led by our wonderful Beethoven
Festival conductor.
Belinda Kendall-Smith, Bass
Join us! Apply to take part at
www.aso.com.au/learning.
Applications close 1 August 2014
Part of the SA Power Networks
Learning Program
musical chair sponsored players
We thank the following Musical Chair donors, and the fabulous musicians they support. For more
information about this individual and rewarding program, please contact Vicky Lekis, Director of
Development on (08) 8233 6260 or [email protected]
Concertmaster
Natsuko Yoshimoto
Associate Concertmaster
Ike See
Musical Chair sponsored by ASO
Chair of the Board
Colin Dunsford AM &
Lib Dunsford
Musical Chair supported
in memory of Maria &
Johann Baska
Principal 1st Violin
Shirin Lim
Principal 2nd Violin
Michael Milton
Musical Chair supported by
Dr Georgette Straznicky
Musical Chair supported by
The Friends of the ASO
Associate Principal 2nd Violin
Lachlan Bramble
Violin
Hilary Bruer
Musical Chair supported by
Robert & Deborah Pontifex
Musical Chair supported
by Marion Wells
Violin
Minas Berberyan
Violin
Emma Perkins
Musical Chair supported
by Merry Wickes
Musical Chair supported by
Peter & Pamela McKee
Principal Viola
Juris Ezergailis
Musical Chair supported
in the memory of
Mrs JJ Holden
Associate Principal Cello
Ewen Bramble
Musical Chair supported
by Barbara Mellor
Cello
Sarah Denbigh
Cello
Chris Handley
Musical Chair supported by
an anonymous donor
Musical Chair supported by
Johanna and Terry McGuirk
Cello
Sherrilyn Handley
Cello
David Sharp
Musical Chair supported
Johanna and Terry McGuirk
Musical Chair supported
by Aileen Connon AM
Principal Bass
David Shilling
Bass
Harley Gray
Musical Chair supported
by Mrs Maureen Akkermans
Musical Chair supported
by Bob Croser
Bass
David Phillips
Musical Chair supported in
thanks of David’s father for
improving my sight – Betsy
Principal Piccolo
Julia Grenfell
Musical Chair supported by
Chris & Julie Michelmore
Principal Cor Anglais
Peter Duggan
Principal Flute
Geoffrey Collins
Musical Chair supported
by Pauline Menz
Principal Oboe
Celia Craig
Musical Chair sponsored by
Penelope & Geoffrey
Hackett-Jones
Principal Clarinet
Dean Newcomb
Musical Chair supported
by Dr JB Robinson
Musical Chair supported by
Royal Over-Seas League
SA Inc
Principal Bass Clarinet
Mitchell Berick
Principal Bassoon
Mark Gaydon
Musical Chair supported
by Nigel Stevenson &
Glenn Ball
Bassoon
Leah Stephenson
Musical Chair supported
by Liz Ampt
Principal Trumpet
Matt Dempsey
Musical Chair supported
by R & P Cheesman
Principal Tuba
Peter Whish-Wilson
Musical Chair supported by Ollie
Clark AM & Joan Clark
Principal Percussion
Steven Peterka
Musical Chair supported
by The Friends of the ASO
Musical Chair supported by
Pamela Yule
Principal Contra Bassoon
Jackie Hansen
Musical Chair supported
by Norman Etherington &
Peggy Brock
Associate Principal Trumpet
Martin Phillipson
Musical Chair supported by
Rick Allert AO
Principal Trombone
Cameron Malouf
Musical Chair supported
Virginia Weckert & Charles
Melton of Charles Melton Wines
Violin
Janet Anderson
Musical Chair supported by...
Is this you?
our inspirational donors
A sincere thank you to all our donors who contributed in the past 12 months.
All gifts are very important to us and help to sustain and expand the ASO.
Your donation makes a difference.
Diamond Patron ($25,000+)
Friends of the Adelaide Symphony Orchestra
Mr & Mrs Anthony & Margaret Gerard
Ms Merry Wickes
Plus one anonymous donor
Platinum Patron ($10,000 - $24,999)
Dr Aileen F Connon AM
Rymill House Foundation
Plus two anonymous donors
Gold Patron ($5,000 - $9,999)
Richard Hugh Allert AO
Mr & Mrs Keith & Sue Langley & the Macquarie Group Foundation
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Silver Patron ($2,500 - $4,999)
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Robert & Deborah Pontifex
Legh & Helen Davis
Royal Overseas League South Australia Incorporated
Mr Colin Dunsford AM & Mrs Lib Dunsford
Mr Nigel Stevenson & Mr Glenn Ball
Mr Donald Scott George
Dr Georgette Straznicky
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Virginia Weckert & Charles Melton of Charles Melton Wines
Geoffrey & Penelope Hackett-Jones
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24
Plus three anonymous donors
ADELAIDE SYMPHONY SPECTACULAR SERIES
Maestro Patron
($1,000 - $2,499)
ASO as winner of Adelaide
Critics Circle ACColade
Mr Neil Arnold
Prof Andrew &
Mrs Elizabeth Bersten
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Peter & Helen - Bilpin NSW
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Chris Steele-Scott OAM
Ms Guila Tiver
Dr D R & Mrs L A Turner
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Plus nine anonymous donors
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($500 - $999)
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Mr & Mrs David &
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Dr E Atkinson & Mr J Hardy
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Mr & Mrs G & L Jaunay
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Lodge Thespian, No. 195 Inc
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Plus eight anonymous donors
Tutti Patron
($250 - $499)
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The ASO also thanks the 654
patrons who gave other amounts in
the last 12 months.
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Whennot
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helping deliver popular community events
helping
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Not
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in 2013,towe
backed
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we’re a company with energy.
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