Handel's Messiah | Concert Program

Handel’s Messiah CONCERT PROGRAM 11–12 DECEMBER 2021 Hamer Hall, Arts Centre Melbourne

Saturday 11 December / 7pm Sunday 12 September / 5pm Arts Centre Melbourne, Hamer Hall Melbourne Symphony Orchestra Graham Abbott conductor Warren Trevelyan-Jones chorus master Samantha Clarke soprano Sally-Anne Russell mezzo soprano Samuel Sakker tenor Pelham Andrews bass MSO Chorus

Program HANDEL Messiah

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Running time: 2 hours 40 minutes, including a 20-minute interval following Part I

Our Artistic Family

Acknowledging Country In the first project of its kind in Australia, the MSO has developed a musical Acknowledgment of Country with music composed by Yorta Yorta composer Deborah Cheetham AO, featuring Indigenous languages from across Victoria. Generously supported

by Helen Macpherson Smith Trust and the Commonwealth Government through the Australian National Commission for UNESCO, the MSO is working in partnership with Short Black Opera and Indigenous language custodians who are generously sharing their cultural knowledge.

The Acknowledgement of Country allows us to pay our respects to the traditional owners of the land on which we perform in the language of that country and in the orchestral language of music.

Australian National Commission for UNESCO United Nations Educational, Scientific and Cultural Organization

About Long Time Living Here In all the world, only Australia can lay claim to the longest continuing cultures and we celebrate this more today than in any other time since our shared history began. We live each day drawing energy from a land which has been nurtured by the traditional owners for more than 2000 generations. When we acknowledge country we pay respect to the land and to the people in equal measure.

As a composer I have specialised in coupling the beauty and diversity of our Indigenous languages with the power and intensity of classical music.

In order to compose the music for this Acknowledgement of Country Project I have had the great privilege of working with no fewer than eleven ancient languages from the state of Victoria, including the language of my late Grandmother, Yorta Yorta woman Frances McGee. I pay my deepest respects to the elders and ancestors who are represented in these songs of acknowledgement and to the language custodians who have shared their knowledge and expertise in providing each text.

I am so proud of the MSO for initiating this landmark project and grateful that they afforded me the opportunity to make this contribution to the ongoing quest of understanding our belonging in this land.

— Deborah Cheetham AO

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Our Artistic Family

Melbourne Symphony Orchestra The Melbourne Symphony Orchestra is a leading cultural figure in the Australian arts landscape, bringing the best in orchestral music and passionate performance to a diverse audience across Victoria, the nation and around the world.

Each year the MSO engages with more than 5 million people through live concerts, TV, radio and online broadcasts, international tours, recordings and education programs.

The MSO is a vital presence, both onstage and in the community, in cultivating classical music in Australia. The nation’s first professional orchestra, the MSO has been the sound of the city of Melbourne since 1906.

The MSO regularly attracts great artists from around the globe including AnneSophie Mutter, Lang Lang, Renée Fleming and Thomas Hampson, while bringing Melbourne’s finest musicians to the world through tours to China, Europe and the United States.

The Melbourne Symphony Orchestra respectfully acknowledges the people of the Eastern Kulin Nations, on whose un‑ceded lands we honour the continuation of the oldest music practice in the world.

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HANDEL’S MESSIAH | 11–12 December

Graham Abbott conductor A graduate of the Sydney Conservatorium, Graham Abbott has been Conductor-inResidence at the Elder Conservatorium of Music, University of Adelaide, Musical Director of Adelaide Chorus, Associate Conductor of the Melbourne Symphony Orchestra, Musical Director of Melbourne Chorale, and Guest Chorus Master for the Royal Scottish National Orchestra.

In a career spanning more than thirty years, Graham has conducted all the major Australian orchestras, opera companies, choral societies and new and contemporary music ensembles.

In 2021, Graham’s engagements included returns to the Melbourne and Adelaide Symphony Orchestras, Bendigo Chamber Music Festival, 4 Winds Festival Bermagui, State Opera South Australia for The Barber of Seville, Auckland Philharmonia Orchestra (Unwrap the Music series), leading Chamber Music Weekends for Hayllar Music Tours, and producing a series of Podcasts for the Melbourne Recital Centre and for Universal Music.

An enthusiast for the music of Handel, he has conducted Messiah with all the major Australian orchestras, in the UK and New Zealand, and given the first Australian performances of works including Athalia, Ariodante, Agrippina and La resurrezione, and the complete Carmelite Music.

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Samantha Clarke

MSO Chorus Master Warren TrevelyanJones is the Head of Music at St James’, King Street in Sydney and is regarded as one of the leading choral conductors and choir trainers in Australia. Warren has had an extensive singing career as a soloist and ensemble singer in Europe, including nine years in the Choir of Westminster Abbey, and regular work with the Gabrieli Consort, Collegium Vocale (Ghent), the Taverner Consort, The Kings Consort, Dunedin Consort, The Sixteen and the Tallis Scholars.

Samantha Clarke is the winner of the 2019 Guildhall Gold Medal and prize winner in the 2019 Grange International Festival Singing Competition. She is a recent graduate of the Guildhall School of Music & Drama Opera School as a Baroness de Turckheim Scholar, Help Musicians, Tait Memorial and Countess of Munster Trust Scholar and studies with Yvonne Kenny.

MSO Chorus Master

Warren is also Director of the Parsons Affayre, Founder and Co-Director of The Consort of Melbourne and, in 2001 with Dr Michael Noone, founded the Gramophone award-winning group Ensemble Plus Ultra. Warren is also a qualified music therapist.

soprano

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Warren Trevelyan-Jones

Samantha is the recipient of numerous awards, including the Leverhulme Royal Northern College of Music Award, the Dame Eva Turner Award and the Michael and Joyce Kennedy Award for the singing of Strauss. Samantha was awarded a 2017 RNCM Gold Medal and the Nora Goodridge Developing Artist Award through the Australian Music Foundation for 2017/18 and 2018/19. Samantha has also taken part in the prestigious Ferrier semi-final in April 2019.

Roles include: Helena A Midsummer Night’s Dream, Fiordiligi Cosi fan tutte, Anne Trulove The Rake’s Progress, Georgiana Georgiana, Anna Gomez The Consul, Theodora Theodora, Donna Elvira Don Giovanni, Pamina Die Zauberflöte, First Lady Die Zauberflöte, Countess Le Nozze di Figaro, Beth Little Women, Tytania A Midsummer Night’s Dream, Marzelline Fidelio, Musetta La Bohème.

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Sally-Anne Russell

Samuel Sakker

Multi-award-winning mezzo soprano Sally-Anne Russell has performed in twenty-five countries. Her discography includes over 40 CDs and DVDs on the ABC Classics, CHANDOS, MOVE, NAXOS and DECCA labels, including her solo aria disc Enchanting with the Adelaide Symphony Orchestra.

Sally-Anne’s awards include an ARIA for Pergolesi Stabat Mater with Sara Macliver, and nominations for Young Australian of the Year, Young Achiever of the Year, Green Room and Helpmann Awards.

London-based Australian tenor, Samuel Sakker studied Music at the Queensland Conservatorium and was a Jette Parker Young Artist (2014–16) and then company principal artist (2017) at the Royal Opera House, Covent Garden.

mezzo soprano

She has over 80 operatic roles in her repertoire and enjoys working with all the major opera companies and symphony orchestras in Australia.

International highlights include the Spoleto Festival in Italy, Washington National Opera (DC) and Carmel Bach Festival.

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2021 engagements included Hermia in Britten A Midsummer Night’s Dream, and Mahler Das Lied von der Erde. In 2022, she will appear in Die Walküre, Alcina, Elektra, and Dido and Aeneas, and in concert with Auckland Philharmonia and Sydney Philharmonia.

Sally-Anne is co-artistic director of Albury Chamber Music Festival, and a member of the Kathaumixw Festival International Artistic Council, Canada and the Belvedere International Singing Competition, Vienna.

tenor

His career highlights include: Alfredo La traviata (The Royal Opera, Covent Garden); Florestan Fidelio (Lyric Opera Ireland); Erik Der Fliegende Holländer (Opéra du Rennes & Opéra AngersNantes, Nederlandse Reisopera, Cape Town Opera); Don Josè Carmen (Danish National Opera); Mozart’s Requiem on the Royal Opera Japan Tour with Sir Antonio Pappano and Joyce DiDonato; title role in Lili Boulanger’s Faust et Hélène with Alan Gilbert (Royal Stockholm Philharmonic Orchestra & BBC Symphony Orchestra); Das lied von der Erde (Stadttheater Klagenfurt); James Nolan in the Grammy nominated recording of Doctor Atomic conducted by John Adams (BBC Symphony Orchestra).

In 2021/22, Sakker will perform Macduff Macbeth with The Grange Festival, return to Opera Holland Park as Sergeant Thibault in Delius’ Margot la Rouge, and make his debut as Laca Jenůfa with Opéra de Montréal.

Melbourne Symphony Orchestra Chorus

Pelham Andrews, a leading classical bass singer in Australia and New Zealand, trained in the UK, Germany and Australia, and won the 2005 McDonalds Aria Competition. He has been a principal artist for Opera Australia, State Opera South Australia, Victorian Opera, English National Opera, Auckland Philharmonia, the Adelaide and Queensland Symphony Orchestras, Sydney Philharmonia Choirs, and numerous other ensembles.

His key roles include Timur (Turandot), Sparafucile (Rigoletto), Padre Guardiano (La Forza del Destino), Colline (La Bohème), Mephistopheles (La Damnation de Faust), Lodovico (Otello) and works of Brahms, Fauré, Handel and Verdi.

For more than 50 years the Melbourne Symphony Orchestra Chorus has been the unstinting voice of the Orchestra’s choral repertoire. The MSO Chorus sings with the finest conductors including Sir Andrew Davis, Edward Gardner, Mark Wigglesworth, Bernard Labadie, Vladimir Ashkenazy and Manfred Honeck, and is committed to developing and performing new Australian and international choral repertoire.

bass

In 2021 Pelham Andrews featured as bass soloist in A Child of Our Time (Tippett), and as Snug in A Midsummer Night’s Dream for the Adelaide Festival of Arts, as Basilio (The Barber of Seville) for State Opera South Australia, and bass soloist in Verdi’s Requiem with the Adelaide Youth Orchestra. Other recent performances include The Commendatore in Don Giovanni for the Auckland Philharmonia Orchestra, The Bonze in Madama Butterfly, and the title role in The Mikado and Ben in Madeline Lee for State Opera South Australia.

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Pelham Andrews

Commissions include Brett Dean’s Katz und Spatz, Ross Edwards’ Mountain Chant, and Paul Stanhope’s Exile Lamentations. Recordings by the MSO Chorus have received critical acclaim.

It has performed across Brazil and at the Cultura Inglese Festival in Sao Paolo, with The Australian Ballet, Sydney Symphony Orchestra, at the AFL Grand Final and at Anzac Day commemorative ceremonies.

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HANDEL’S MESSIAH | 11–12 December

Your MSO Jaime Martín

Chief Conductor Designate

Xian Zhang

Principal Guest Conductor

Benjamin Northey Principal Conductor in Residence

Nicholas Bochner

Cybec Assistant Conductor

Sir Andrew Davis Conductor Laureate

Hiroyuki Iwaki †

Conductor Laureate (1974–2006)

FIRST VIOLINS Dale Barltrop

Concertmaster David Li AM and Angela Li#

Sophie Rowell

Concertmaster The Ullmer Family Foundation#

Tair Khisambeev

Assistant Concertmaster Di Jameson#

Peter Edwards

Assistant Principal

Kirsty Bremner Sarah Curro Peter Fellin Deborah Goodall Lorraine Hook Anne-Marie Johnson Kirstin Kenny Eleanor Mancini Mark Mogilevski Michelle Ruffolo Kathryn Taylor

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SECOND VIOLINS

CELLOS

Matthew Tomkins

David Berlin

Robert Macindoe

Rachael Tobin

Monica Curro

Nicholas Bochner

Principal The Gross Foundation# Associate Principal Assistant Principal Danny Gorog and Lindy Susskind#

Mary Allison Isin Cakmakcioglu Tiffany Cheng Freya Franzen Cong Gu Andrew Hall Isy Wasserman Philippa West Patrick Wong Roger Young VIOLAS Christopher Moore Principal Di Jameson#

Christopher Cartlidge Associate Principal

Lauren Brigden Katharine Brockman Anthony Chataway

Principal Hyon Ju Newman# Associate Principal Assistant Principal

Miranda Brockman

Geelong Friends of the MSO#

Rohan de Korte

Andrew Dudgeon AM#

Sarah Morse Angela Sargeant Michelle Wood

Andrew and Judy Rogers#

DOUBLE BASSES Damien Eckersley Benjamin Hanlon Frank Mercurio and Di Jameson#

Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser#

FLUTES Prudence Davis Principal Anonymous#

Dr Elizabeth E Lewis AM#

Wendy Clarke

Gabrielle Halloran Trevor Jones

Sarah Beggs

Anne Neil

#

Fiona Sargeant

Learn more about our musicians on the MSO website.

Associate Principal

PICCOLO Andrew Macleod Principal

Thomas Hutchinson

Associate Principal

Ann Blackburn

The Rosemary Norman Foundation#

HORNS Nicolas Fleury

Principal Margaret Jackson AC#

Saul Lewis

COR ANGLAIS

Principal Third The Hon Michael Watt QC and Cecilie Hall#

Michael Pisani

Abbey Edlin

CLARINETS

Trinette McClimont Rachel Shaw

Principal

David Thomas

Principal

Philip Arkinstall

Associate Principal

Craig Hill BASS CLARINET Jon Craven Principal

BASSOONS Jack Schiller

Nereda Hanlon and Michael Hanlon AM#

Robert Cossom

Drs Rhyl Wade and Clem Gruen#

HARP Yinuo Mu Principal

Second violin Jenny Khafagi

Owen Morris

Principal

Shane Hooton

Associate Principal

William Evans Rosie Turner

John and Diana Frew#

TROMBONES

Associate Principal

Anonymous#

Natasha Thomas

Mike Szabo

Principal

Anonymous#

TRUMPETS

Richard Shirley

Brock Imison

John Arcaro

GUEST MUSICIANS

Elise Millman

CONTRABASSOON

PERCUSSION

Gary McPherson#

Principal

Dr Martin Tymms and Patricia Nilsson#

TIMPANI

Principal Bass Trombone

TUBA Timothy Buzbee

Principal

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OBOES

Viola Molly Collier-O’Boyle William Clark Cello Elina Faskhitdinova Oboe Rachel Curkpatrick Trumpet Tristan Rebien Joel Walmsley Timpani Scott Weatherson

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MSO Chorus CHORUS MASTER Warren Trevelyan-Jones REPETITEUR Jacob Abela SOPRANO Philippa Allen Emma Anvari Julie Arblaster Carolyn Archibald Carolyn Baker Sheila Baker Aviva Barazani Anne-Marie Brownhill Eva Butcher Jessica Chan Samantha Davies Laura Fahey Susan Fone Camilla Gorman Aurora Harmathy Juliana Hassett Penny Huggett Gina Humphries Leanne Hyndman Tania Jacobs Gwen Kennelly Natasha Lambie Judy Longbottom Tian Nie Caitlin Noble Susie Novella Karin Otto Tiffany Pang Tanja Redl Natalie Reid Jodi Samartgis Jillian Samuels Julienne Seal Lydia Sherren Jemima Sim Elizabeth Tindall

Katy Turbitt Fabienne Vandenburie Julia Wang Jasmine Zuyderwyk ALTO Satu Aho Ruth Anderson Catherine Bickell Cecilia Björkegren Kate Bramley Jane Brodie Alexandra Chubaty Nicola Eveleigh Lisa Faulks Jill Giese Jillian Graham Ros Harbison Jennifer Henry Kristine Hensel Helen Hill Helen MacLean Christina McCowan Rosemary McKelvie Charlotte Midson Stephanie Mitchell Catriona NguyenRobertson Nicole Paterson Natasha Pracejus Alison Ralph Kate Rice Beth Richardson Maya Tanja Rodingen Helen Rommelaar Kerry Roulston Annie Runnalls Lisa Savige Helen Staindl Melvin Tan Libby Timcke Jenny Vallins

TENOR James Allen Adam Birch Olivier Bonnici Kent Borchard Steve Burnett Peter Campbell Keaton Cloherty James Dipnall Simon Gaites Daniel Griffiths Lyndon Horsburgh Wayne Kinrade Michael Mobach Jean-Francois Ravat Colin Schultz BASS Maurice Amor Kevin Barrell Alexandras Bartaska Richard Bolitho Roger Dargaville Ted Davies Andrew Ham Joseph Hie John Hunt Jordan Hyndman Stuart Izon Jordan Janssen Gary Levy Douglas McQueenThomson Vern O’Hara Nick Sharman Matthew Toulmin

GEORGE FRIDERIC HANDEL

(1685–1759) Messiah

A Sacred Oratorio

Words selected from the Holy Bible

by Charles Jennens (1700–1773)

Opera had made Handel famous: since coming to England he had written more than 35 operas (Julius Caesar, Alcina and Rinaldo are probably the best-known today) and made arrangements of over a dozen more. These operas were sung in Italian with plots based largely on history and mythology. The story was told by the soloists in recitatives (music with flexible, speech-like rhythms) and virtuosic arias, and these soloists would often come together as a ‘chorus’ to sing the finale of each act.

Handel had written two oratorios in his 20s during his time in Rome, when opera was temporarily banned by the Pope. But oratorio was a relatively new phenomenon in 1740s England. Bach’s St John and St Matthew Passions, setting to music the scriptural accounts of the crucifixion of Jesus Christ, had been written only about 20 years earlier, and were unknown in England.

Handel’s first English oratorio, Esther (1718), was written at a time when there was no point in writing opera: the Haymarket opera company had been closed and a new company was yet to be established. When Handel advertised the first public performance of Esther, in the King’s Theatre, the audience was reassured that ‘There will be no Action on the Stage, but the House will be fitted up in a decent Manner, for the Audience’: the Bishop of London would not allow the singers of the Chapel Royal choir to act in the opera house,

‘even with books in the children’s hands’.

Handel brought in Italian opera singers for many of the solo roles – one wit reported that they ‘made rare work with the English Tongue…’.

The final shape of Esther owed a great deal to opera. It was in three acts and lasted three hours, and the characters are richly drawn. But Handel also drew on another tradition: his grand and formal Coronation Anthems (such as Zadok the Priest) with their strong chorus writing. The combination was a great success ‘performed six times and very full’; Handel, however, remained committed to his Italian operas, writing only the occasional oratorio over the next nine years.

HANDEL’S MESSIAH | 11–12 December

Program Notes

In 1741, however, things changed dramatically for Handel. The public had grown tired of opera, and his latest offering, Deidamia, had been a box-office failure. Handel never wrote another opera. Instead, he at last turned his attention seriously towards oratorio, and, working at speed as usual, in just over three weeks produced, complete with blots, smudges, passages hastily scratched out and traces of what looks like an upset ink bottle, the score of Messiah.

He broke new ground in the very genre he had created. An oratorio, according to Grassineau’s Musical Dictionary of 1740, was ‘a sort of spiritual opera… the subject thereof is usually taken from the scripture, or is the life and actions of some saint, &c.’ Handel’s previous English oratorios were either stories from the Old Testament (Esther, Deborah, Athalia) or morality play-type conversations between allegorical figures (L’allegro, il penseroso ed il moderato). But Messiah, despite its title, is not a dramatisation of the life of Christ. There are no ‘characters’: nobody sings the ‘role’ of Jesus or Mary or Pilate. Indeed, apart from the angels announcing the birth of

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HANDEL’S MESSIAH | 11–12 December

the Christ-child, almost none of the text actually comes from the gospel accounts of the life of Christ.

The libretto approaches Christ in a round-about way, through Old Testament prophecies, letters written to the early Christian communities some years after the death of Christ, and the apocalyptic visions of St John, author of the Book of Revelation. It is not an attempt to recount the life of Christ: it is a reflection on the significance of Christ’s life and death to the Christian believer, a meditation on the supreme goodness of God in offering to the world his only Son; on the sufferings of this sacrificial victim; and on the hope of salvation for humankind now that the risen Christ stands at the right hand of God. The man who took on the ambitious task of encompassing such profound concepts in words was Charles Jennens.

He had provided words for Handel before: the usual poetic adaptations of biblical stories in Saul and Belshazzar.

He may well also have been responsible for the libretto of Israel in Egypt, which shocked many by quoting the actual words of the holy scriptures, rather than rewriting the story in a more theatrefriendly style. In 1741 he wrote to a friend about ‘another Scripture Collection I have made for [Handel]...I hope he will lay out his whole Genius & Skill upon it, that the Composition may excell all his former Compositions, as the Subject excells every other Subject.’

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It was some two years before Jennens heard the fruits of his labour because Handel, having completed the score, promptly took it to Dublin, for its first performances. Even before he heard the work in London the following year, Jennens wrote, ‘His Messiah has disappointed me, being set in great hast, tho’ he said he would be a year about it, & make it the best of all his Compositions. I shall put no more Sacred Words into his hands, to be thus abus’d.’

Over time, Jennens’ opinion of the work seems to have mellowed – he later conceded that it was ‘in the main, a fine Composition, notwithstanding some weak parts’ – but he seems to have been largely on his own in his unflattering assessment of Handel’s music. The general opinion, both in Dublin and in London, was overwhelmingly positive: ‘Words are wanting to express the exquisite Delight it afforded to the admiring crouded Audience,’ ran the review in the Dublin Journal. ‘The Sublime, the Grand, and the Tender, adapted to the most elevated, majestick and moving Words, conspired to transport and charm the ravished Heart and Ear.’ Some 700 people attended the premiere, on 13 April 1742 in Dublin’s new Music Hall in Fishamble Street: ticket sales had been so successful that the organisers asked the ladies to come without their hooped skirts, and the gentlemen without their swords, to be sure everyone would fit in. It was a charity matinee, for the benefit of the Society for Relieving Prisoners, the Charitable Infirmiary, and the Mercer’s Hospital: Handel and several of the singers donated their fees and some £400 was raised from the event.

There were seven (or perhaps eight) soloists: the Italian soprano Signora Avolio (and possibly a second soprano), three altos (the actress Mrs Cibber and two male altos from the Cathedral), one tenor and two basses. Handel revised his original score to accommodate this collection of soloists: the sequence ‘Then shall the eyes – He shall feed His flock – Come unto Him’, originally written for soprano solo, was transposed down for Mrs Cibber, as was also the aria ‘If God be for us’. Handel also wrote a duet setting of ‘How beautiful are the feet’ for his pair of male altos. In fact, though certain allocations of voice types have become traditional, Handel

Dr Edward Synge, the bishop of Elphin, reported that the Dublin audience ‘seem’d indeed throughly engag’d from one end to the other…’ Clearly, not all the clergy were as scandalised by the idea of ‘God by the most sacred the most merciful Name of Messiah’ being represented on the stage for ‘Diversion’ and ‘Amusement’ – scruples which would result in Messiah being presented in London without its name, advertised simply as ‘A New Sacred Oratorio’.

As in Dublin, the 1743 London performances of Messiah took place in Lent, the season of fasting and self-discipline which precedes the solemn commemoration of Christ’s crucifixion on Good Friday. The Lord Chamberlain’s Office prohibited the performance of operas in London during this period, and even oratorios were only allowed on Wednesdays and Fridays.

(As performances of Messiah spread beyond London, the work came to be associated more with choral festivals and the timing became more flexible.

The tradition of performing Messiah at Christmas seems to have started in Boston in the 19th century.)

The lack of competition from secular entertainments would obviously have made oratorio an attractive financial prospect to Handel, but Messiah quickly attracted a following of its own. Part of the reason seems to have been a strong association with charity.

When Handel started the tradition of an annual Foundling Hospital oratorio performance, it was Messiah that he performed every year. Such was the work’s popularity that from 1753 onwards, Handel also finished his annual Covent Garden season every year with performances of Messiah.

Messiah quickly became known throughout England, starting with Oxford in 1749 and in less than 20 years reaching Salisbury, Bath, Bristol, Gloucester, Cambridge, Liverpool, Birmingham…

In the 1780s there seems to have been a more or less complete performance in Calcutta and at least a part performance in Jamaica. The first complete performance in the US was in 1817.

In Germany, C.P.E. Bach gave a full performance in German in 1775. There were performances in Copenhagen and Stockholm in 1786. Mozart reorchestrated Handel’s original in 1789. In France, the first performance was not until 1873.

HANDEL’S MESSIAH | 11–12 December

himself was extremely flexible. It was also Handel’s practice to perform organ concertos between the three Parts of the oratorio.

In Victorian Britain, carried along by ideals of progress and improvement, choral societies produced ever largerscale performances. At the Great Handel Commemoration Festival of 1859, it was performed by a chorus of 2,765 and an orchestra of 460 to an audience of 81,000 people. But by the 1880s, there were some performances trying to recapture something closer to the original scale of Handel’s performances.

Today it is possible to hear everything from sing-along Messiah with hundreds of choristers to chamber versions with one voice to a part. Not to mention Norman Miller’s soul version with gospel and R&B performers. Or the Carolina Ballet’s dance adaptation. Messiah, it seems, has something for everyone.

Natalie Shea Symphony Australia © 2002 Composed in London during August/September 1741, Messiah was first performed at Neale’s Music Hall, Fishamble Street, Dublin on 13 April 1742. Messiah was first performed by the Melbourne Symphony Orchestra in association with the Melbourne Philharmonic Society on 25 December 1940. Soloists were Thea Philips, Joan Jones, William Herbert and Stanley Clarkson, conducted by Sir Bernard Heinze.

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HANDEL’S MESSIAH | 11–12 December

Libretto PART THE FIRST

Prophecy of Christ’s appearance on earth; the nativity.

Sinfony Comfort ye (Isaiah 40:1-3) Accompagnato: Tenor Ev’ry valley (Isaiah 40:4) Song: Tenor Comfort ye, comfort ye my people, saith your God; speak ye comfortably to Jerusalem, and cry unto her, that her warfare is accomplish’d, that her iniquity is pardon’d.

The voice of him that crieth in the wilderness, prepare ye the way of the Lord, make straight in the desert a highway for our God. Ev’ry valley shall be exalted, and ev’ry mountain and hill made low, the crooked straight, and the rough places plain.

And the glory of the Lord (Isaiah 40:5) Chorus And the glory of the Lord shall be revealed, and all flesh shall see it together; for the mouth of the Lord hath spoken it.

Thus saith the Lord (Haggai 2:6-7; Malachi 3:1) Accompagnato: Bass Thus saith the Lord, the Lord of Hosts; Yet once a little while, and I will shake the heav’ns and the earth; the sea and the dry land; And I will shake all nations; and the desire of all nations shall come.

The Lord, whom you seek, shall suddenly come to His temple, even the Messenger of the Covenant, whom ye delight in: behold, He shall come, saith the Lord of Hosts.

But who may abide (Malachi 3:2) Song: Mezzo Soprano But who may abide the day of His coming? and who shall stand when He appeareth?

For He is like a refiner’s fire.

And He shall purify (Malachi 3:3) Chorus And He shall purify the sons of Levi, that they may offer unto the Lord an offering in righteousness.

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O thou that tellest good tidings to Zion, get thee up into the high mountain; O thou that tellest good tidings to Jerusalem, lift up thy voice with strength; lift it up, be not afraid, say unto the cities of Judah, Behold your God. O thou that tellest good tidings to Zion, arise, shine, for thy light is come, and the glory of the Lord is risen upon thee.

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Behold, a virgin shall conceive (Isaiah 7:14; Matthew 1:23) Recit.: Mezzo Soprano O thou that tellest (Isaiah 40:9 and 60:1) Song: Mezzo Soprano, and Chorus Behold, a virgin shall conceive, and bear a son, and shall call His name Emmanuel, ’God with us’.

For behold, darkness (Isaiah 60:2-3) Accompagnato: Bass The people that walked in darkness (Isaiah 9:2) Song: Bass For behold, darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and His glory shall be seen upon thee.

And the Gentiles shall come to thy light, and kings to the brightness of thy rising.

The people that walked in darkness have seen a great light; and they that dwell in the land of the shadow of death, upon them hath the light shined.

For unto us a child is born (Isaiah 9:6) Chorus For unto us a child is born, unto us a son is given; and the government shall be upon His shoulder; and His name shall be called Wonderful, Counsellor, The Mighty God, The Everlasting Father, The Prince of Peace.

Pifa (Pastoral Symphony) There were shepherds abiding in the field (Luke 2:8) Recit.: Soprano And lo, the angel of the Lord (Luke 2:9) Accompagnato: Soprano And the angel said unto them (Luke 2:10-11) Recit.: Soprano And suddenly, there was with the angel (Luke 2:13) Accompagnato: Soprano Glory to God (Luke 2:14) Chorus And there were shepherds abiding in the field, keeping watch over their flock by night.

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And lo, the angel of the Lord came upon them, and the glory of the Lord shone round about them, and they were sore afraid.

And the angel said unto them, Fear not: for behold, I bring you good tidings of great joy, which shall be to all people.

For unto you is born this day, in the city of David, a Saviour, which is Christ the Lord.

And suddenly there was with the angel a multitude of the heav’nly host, praising God, and saying… ’Glory to God in the highest, and peace on earth, goodwill towards men.’

Rejoice greatly (Zechariah 9:9-10) Song: Soprano Rejoice greatly, O daughter of Zion, shout, O daughter of Jerusalem; behold thy King cometh unto thee.

He is the righteous Saviour; And He shall speak peace unto the heathen.

Then shall the eyes of the blind (Isaiah 35:5-6) Recit.: Alto He shall feed his flock (Isaiah 40:11; Matthew 11:28-29) Duet: Mezzo Soprano & Soprano Then shall the eyes of the blind be open’d, And the ears of the deaf unstopped; then shall the lame man leap as a hart, and the tongue of the dumb shall sing.

He shall feed His flock like a shepherd: and He shall gather the lambs with His arm, and carry them in His bosom, and gently lead those that are with young.

Come unto Him all ye that labour, come unto Him, that are heavy laden, and He will give you rest.

Take His yoke upon you, and learn of Him; for He is meek and lowly of heart: and ye shall find rest unto your souls.

His yoke is easy (Matthew 11:30) Chorus His yoke is easy, His burthen is light.

INTERVAL

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Behold the Lamb of God (John 1:29) Chorus Behold the Lamb of God, that taketh away the sin of the world.

He was despised (Isaiah 53:3 and 50:6) Song: Mezzo Soprano He was despised and rejected of men, a man of sorrows, and acquainted with grief.

He gave His back to the smiters, and His cheeks to them that plucked off the hair: He hid not His face from shame and spitting.

Surely He hath borne our griefs (Isaiah 53:4-5) Chorus And with His stripes we are healed (Isaiah 53:5) Chorus All we, like sheep (Isaiah 53:6) Chorus

HANDEL’S MESSIAH | 11–12 December

PART THE SECOND

The death, resurrection and ascension of Christ; the spreading of the Gospel.

Surely He hath borne our griefs and carried our sorrows: He was wounded for our transgressions, He was bruised for our iniquities; the chastisement of our peace was upon Him. And with His stripes we are healed.

All we, like sheep, have gone astray, we have turned ev’ry one to his own way; and the Lord hath laid on Him the iniquity of us all.

All they that see Him (Psalm 22:7 – Book of Common Prayer) Accompagnato: Tenor He trusted in God (Psalm 22:8 – BCP) Chorus All they that see Him laugh Him to scorn; they shoot out their lips, and shake their heads, saying: He trusted in God that He would deliver him: let Him deliver Him, if He delight in Him.

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HANDEL’S MESSIAH | 11–12 December

Thy rebuke hath broken His heart (Psalm 69:20 – BCP) Accompagnato: Tenor Behold and see (Lamentations 1:12) Song: Tenor He was cut off (Isaiah 53:8) Accompagnato: Tenor But Thou didst not leave (Psalm 16:10) Song: Tenor Thy rebuke hath broken His heart; He is full of heaviness.

He looked for some to have pity on Him, but there was no man, neither found He any to comfort Him. Behold, and see, if there be any sorrow like unto His sorrow!

He was cut off out of the land of the living; for the transgression of Thy people was He stricken.

But Thou didst not leave His soul in Hell, nor didst Thou suffer Thy Holy One to see corruption.

Lift up your heads (Psalm 24:7-10) Chorus Lift up your heads, O ye gates, and be ye lift up, ye everlasting doors, and the King of Glory shall come in.

Who is this King of Glory?

The Lord strong and mighty; the Lord mighty in battle, The Lord of Hosts: He is the King of Glory.

Unto which of the angels (Hebrews 1:5) Recit.: Tenor Let all the angels of God (Hebrews 1:6) Chorus Unto which of the angels said He at any time, Thou art My Son, this day have I begotten Thee?

Let all the angels of God worship Him. Thou art gone up on high (Psalm 68: 18) Thou art gone up on high; Thou hast led captivity captive, and received gifts for men, yea, even for Thine enemies, that the Lord God might dwell among them.

The Lord gave the word (Psalm 68: 11 – BCP) Chorus The Lord gave the word: great was the company of the preachers.

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Their sound is gone out (Romans 10: 18) Their sound is gone out into all lands, and their words unto the ends of the world.

Why do the nations (Psalm 2:1-2 – BCP) Song: Bass Let us break their bonds (Psalm 2:3) Chorus He that dwelleth in heaven (Psalm 2:4 – BCP) Recit.: Tenor Thou shalt break them (Psalm 2:9) Song: Tenor Why do the nations so furiously rage together: why do the people imagine a vain thing?

The kings of the earth rise up, and the rulers take counsel together against the Lord and against His anointed.

HANDEL’S MESSIAH | 11–12 December

How beautiful are the feet (Romans 10: 15) How beautiful are the feet of them that preach the gospel of peace, and bring glad tidings of good things.

Let us break their bonds asunder, and cast away their yokes from us.

He that dwelleth in heaven shall laugh them to scorn; the Lord shall have them in derision.

Thou shalt break them with a rod of iron; Thou shalt dash them in pieces like a potter’s vessel.

Hallelujah (Revelation 19:6; 11:15; 19:16) Chorus Hallelujah, for the Lord God Omnipotent reigneth, Hallelujah!

The Kingdom of this world is become the Kingdom of our Lord and of His Christ; and He shall reign forever and ever, King of Kings, and Lord of Lords, Hallelujah!

There will be a short pause between Parts II and III, during which patrons are asked to remain in the auditorium.

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HANDEL’S MESSIAH | 11–12 December

PART THE THIRD

Victory over Death.

I know that my Redeemer liveth (Job 19:25-26; 1 Corinthians 15:20) Song: Soprano I know that my Redeemer liveth, and that He shall stand at the latter day upon the earth.

And tho’ worms destroy this body, yet in my flesh shall I see God. For now is Christ risen from the dead, the first fruits of them that sleep.

Since by man came death (1 Corinthians 15:21-22) Chorus Since by man came death, by man came also the resurrection of the dead.

For as in Adam all die, even so in Christ shall all be made alive.

Behold, I tell you a mystery (1 Corinthians 15:51-52) Accompagnato: Bass The trumpet shall sound (1 Corinthians 15:52) Song: Bass Behold, I tell you a mystery: We shall not all sleep, but we shall all be chang’d, in a moment, in the twinkling of an eye, at the last trumpet.

The trumpet shall sound, and the dead shall be rais’d incorruptible, and we shall be chang’d.

For this corruptible must put on incorruption, and this mortal must put on immortality.

Then shall be brought to pass (1 Corinthians 15: 54) Recit.: Mezzo Soprano O Death, where is thy sting? (1 Corinthians 15:55-57) Duet: Mezzo Soprano & Tenor But thanks be to God (1 Corinthians 15: 55-57) Chorus Then shall be brought to pass the saying that is written; Death is swallow’d up in victory.

O death, where is thy sting?

O grave, where is thy victory?

The sting of death is sin, and the strength of sin is the law.

But thanks be to God, who giveth us the victory through our Lord Jesus Christ.

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Worthy is the Lamb (Revelation 5:12-13) Chorus Worthy is the Lamb that was slain, and hath redeemed us to God by His blood, to receive power, and riches, and wisdom, and strength, and honour, and glory, and blessing.

Blessing and honour, glory and power be unto Him that sitteth upon the throne, and unto the Lamb, for ever and ever.

Amen.

HANDEL’S MESSIAH | 11–12 December

If God be for us (Romans 18: 31, 33-34) Song: Soprano or Mezzo Soprano If God be for us, who can be against us?

Who shall lay anything to the charge of God’s elect?

It is God that justifieth: Who is he that condemneth?

It is Christ that died, yea, rather that is risen again; who is at the right hand of God, who makes intercession for us.

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Supporters

Supporters MSO PATRON The Honourable Linda Dessau AC, Governor of Victoria

CHAIRMAN’S CIRCLE Dr Marc Besen AC and the late Dr Eva Besen AO Gandel Philanthropy The Gross Foundation Di Jameson Harold Mitchell Foundation Hyon Ju Newman Lady Potter AC CMRI The Cybec Foundation The Pratt Foundation Elizabeth Proust AO and Brian Lawrence The Ullmer Family Foundation

ARTIST CHAIR BENEFACTORS Chief Conductor Jaime Martín Dr Marc Besen AC and the late Dr Eva Besen AO Cybec Assistant Conductor Chair Nicholas Bochner The Cybec Foundation Concertmaster Chair Sophie Rowell The Ullmer Family Foundation Concertmaster Chair Dale Barltrop David Li AM and Angela Li Assistant Concertmaster Tair Khisambeev Di Jameson Young Composer in Residence Matthew Laing The Cybec Foundation

PROGRAM BENEFACTORS Cybec 21st Century Australian Composers Program The Cybec Foundation Digital Transformation Perpetual Foundation – Alan (AGL) Shaw Endowment, Telematics Trust, The Ian Potter Foundation, The Margaret Lawrence Bequest – Managed by Perpetual 24

◊ Denotes Adopt a Musician supporter

East meets West The Li Family Trust Melbourne Music Summit Erica Foundation Pty Ltd MSO Live Online Crown Resorts Foundation, Packer Family Foundation MSO Capacity Building Di Jameson (Senior Manager, Philanthropy and External Affairs), The Alison Puzey Charitable Fund as part of Equity Trustees Sector Capacity Building Fund supporting Musicians’ iPads MSO Education Margaret Ross AM and Dr Ian Ross MSO For Schools Crown Resorts Foundation, Packer Family Foundation, The Department of Education and Training, Victoria, through the Strategic Partnerships Program and the Victorian Challenge and Enrichment Series (VCES) MSO Regional Touring Creative Victoria, Freemasons Foundation Victoria, Robert Salzer Foundation, Sir Andrew & Lady Fairley Foundation, The Ray & Joyce Uebergang Foundation The Pizzicato Effect Flora & Frank Leith Charitable Trust, The Marian and E.H. Flack Trust, Scobie and Claire Mackinnon Trust, Jenny Anderson, Australian Decorative And Fine Arts Society, Barbara Bell in memory of Elsa Bell, Janet H Bell, Richard and Janet Chauvel, Caroline Davies, Alex and Liz Furman, Robert and Janet Green, Jean Hadges, Hilary Hall in memory of Wilma Collie, Rosemary Jacoby in memory of James Jacoby, Jenkins Family Foundation, Jeanette King, Christopher and Anna Long, H E McKenzie, Shirley McKenzie, Marjorie McPherson, Kerryn Pratchett, Opalgate Foundation, Joanne Soso, Margaret Ross AM and Dr Ian Ross, Jenny Tatchell, Anonymous Sidney Myer Free Concerts Supported by the Sidney Myer MSO Trust Fund and the University of Melbourne

PRINCIPAL PATRONS $5,000+

Dr Marc Besen AC and the late Dr Eva Besen AO The Gross Foundation◊ Di Jameson◊ David Li AM and Angela Li◊ The Pratt Foundation The Ullmer Family Foundation◊ Anonymous (1)◊

Adrienne Basser Barbara Bell, in memory of Elsa Bell Dr Shirley Chu John and Lyn Coppock Ann Darby, in memory of Leslie J. Darby Wendy Dimmick Andrew Dudgeon AM◊ Bill Fleming John and Diana Frew◊ Susan Fry and Don Fry AO Sophie Galaise and Clarence Fraser◊ Geelong Friends of the MSO◊ Colin Golvan AM QC and Dr Deborah Golvan Jennifer Gorog Dr Rhyl Wade and Dr Clem Gruen Hilary Hall, in memory of Wilma Collie Louis J Hamon OAM Hartmut and Ruth Hofmann Doug Hooley Jenny and Peter Hordern Dr Alastair Jackson AM Suzanne Kirkham Dr Jerry Koliha and Marlene Krelle Dr Elizabeth A Lewis AM◊ Dr Caroline Liow LRR Family Trust The Mercer Family Foundation Gary McPherson◊ Anne Neil◊ Dr Paul Nisselle AM Ken Ong Bruce Parncutt AO Dr Rosemary Ayton and Dr Sam Ricketson Andrew and Judy Rogers◊ The Rosemary Norman Foundation◊ Helen Silver AO and Harrison Young Anita Simon Dr Michael Soon The Hon Michael Watt QC and Cecilie Hall◊ Lyn Williams AM Anonymous (3)

VIRTUOSO PATRONS $50,000+ Margaret Jackson AC◊ Annette Maluish Hyon-Ju Newman◊ Elizabeth Proust AO and Brian Lawrence

IMPRESARIO PATRONS $20,000+ Harold Bentley The Hogan Family Foundation David Krasnostein AM and Pat Stragalinos The Marian & E.H. Flack Trust Lady Primrose Potter AC CMRI Anonymous (1)

MAESTRO PATRONS $10,000+ Christine and Mark Armour Margaret Billson and the late Ted Billson Krystyna Campbell-Pretty AM Danny Gorog and Lindy Susskind◊ Robert and Jan Green Nereda Hanlon and Michael Hanlon AM◊ Rosemary Jacoby, in memory of James Jacoby Peter Lovell Paul Noonan Opalgate Foundation Ian and Jeannie Paterson Glenn Sedgwick◊ Gai and David Taylor Athalie Williams and Tim Danielson Anonymous (1)◊

Supporters

PLATINUM PATRONS $100,000+

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Supporters 26

ASSOCIATE PATRONS $2,500+ Mary Armour Sue and Barry Peake Anne Bowden Julia and Jim Breen Alan and Dr Jennifer Breschkin Patricia Brockman Dr John Brookes Stuart Brown Jill and Christopher Buckley Lynne Burgess Oliver Carton Richard and Janet Chauvel Breen Creighton and Elsbeth Hadenfeldt Leo de Lange Sandra Dent Douglas J Savige Barry Fradkin OAM and Dr Pam Fradkin Alex and Liz Furman Kim and Robert Gearon Goldschlager Family Charitable Foundation Merv Keehn and Sue Harlow Susan and Gary Hearst John Jones The Ilma Kelson Music Foundation Ann Lahore Lesley McMullin Foundation Andrew Lockwood The Cuming Bequest Margaret and John Mason OAM H E McKenzie Dr Isabel McLean Douglas and Rosemary Meagher Ian Merrylees Wayne and Penny Morgan Patricia Nilsson◊ Alan and Dorothy Pattison Barrie and Heather Pover Tom and Elizabeth Romanowski Lady Marigold Southey AC Steinicke Family Peter J Stirling ◊ Denotes Adopt a Musician supporter

Jenny Tatchell Clayton and Christina Thomas Jessica Thomson-Robbins Nic and Ann Willcock Lorraine Woolley Anonymous (3)◊

PLAYER PATRONS $1,000+ David and Cindy Abbey Dr Sally Adams Australian Decorative & Fine Arts Society Geoffrey and Vivienne Baker Marlyn Bancroft and Peter Bancroft OAM Janet H Bell Joyce Bown The Brett Young Family Patricia Brockman Robert and Jill Brook Nigel Broughton and Sheena Broughton Suzie Brown OAM and the late Harvey Brown Ronald and Kate Burnstein Dr Lynda Campbell Dr Sang and Candace Chung Kaye Cleary Michael Craig Andrew Crockett AM and Pamela Crockett Panch Das and Laurel Young-Das Caroline Davies Merrowyn Deacon Rick and Sue Deering John and Anne Duncan Elaine Walters OAM Grant Fisher and Helen Bird Alex Forrest Applebay Pty Ltd David Frenkiel and Esther Frenkiel OAM Simon Gaites Anthony Garvey and Estelle O’Callaghan David Gibbs and Susie O’Neill Sonia Gilderdale Janette Gill Dr Marged Goode Catherine Gray

Alan Poynter in memory of Muriel Poynter Peter Priest Professor Charles Qin and Kate Ritchie Eli Raskin James Ring Dr Peter Rogers and Cathy Rogers OAM Dr Ronald and Elizabeth Rosanove Margaret Ross AM and Dr Ian Ross Marie Rowland Jan Ryan Dr Paul Schneider and Dr Margarita Silva-Schneider Elisabeth and Doug Scott Sparky Foundation Jeffrey Sher QC and Diana Sher OAM Martin and Susan Shirley P Shore Hon Jim Short and Jan Rothwell Short John E Smith Dr Norman and Dr Sue Sonenberg Barry Spanger Dr Vaughan Speck Stephen and Caroline Brain Dr Joel Symons and Liora Symons Russell Taylor and Tara Obeyesekere Christina Turner Ann and Larry Turner The Hon Rosemary Varty Leon and Sandra Velik P J Warr in memory of Peter Gates The Reverend Noel Whale Edward and Paddy White Deborah Whithear Marian Wills Cooke and Terry Wills Cooke OAM Richard Withers Anonymous (15)

Supporters

Chris Grikscheit and Christine Mullen Margie and Marshall Grosby Jennifer Gross Dr Sandra Hacker AO and Mr Ian Kennedy AM Jean Hadges Tilda and the late Brian Haughney Peter and Lyndsey Hawkins David H Hennell Anthony and Karen Ho Katherine Horwood Penelope Hughes Basil and Rita Jenkins John Kaufman Irene Kearsey & Michael Ridley Drs Bruce and Natalie Kellett Dr Anne Kennedy John Keys Professor David Knowles and Dr Anne McLachlan Graham and Jo Kraehe Janet and Ross Lapworth Bryan Lawrence Peter Lawrence Dr Susan Linton Elizabeth H Loftus Chris and Anna Long Shane Mackinlay Wayne McDonald and Kay Schroer Margaret Mcgrath Nigel and Debbie McGuckian Shirley A McKenzie John and Rosemary McLeod Don and Anne Meadows Dr Eric Meadows Sylvia Miller Dr Anthony and Dr Anna Morton David O’Connell Timothy O’Connell Brendan O’Donnell Laurence O’Keefe and Christopher James Roger Parker Alan and Dorothy Pattison Ian Penboss Adriana and Sienna Pesavento

OVERTURE PATRONS $500+* Margaret Abbey PSM Mario M Anders Jenny Anderson Silvia Andrini Liz and Charles Baré Miriam Bass

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Supporters

Chris Baudinette Heather and David Baxter Sascha O. Becker Peter Berry and Amanda Quirk Dr William Birch AM Allen and Kathryn Bloom Graham and Mary Ann Bone Anita and Norman Bye Pamela M Carder Kate Cherry Charmaine Collins Geoffrey Constable Alex Coppe Marjorie Cornelius Dr Sheryl Coughlin and Paul Coughlin Gregory Crew Dr Daryl Daley and Nola Daley Carol des Cognets Nada Dickinson Bruce Dudon David and Dr Elizabeth Ebert Cynthia Edgell Alisa Fiddes Melissa and Aran Fitzgerald Brian Florence Sandra Gillett and Jeremy Wilkins David and Geraldine Glenny Hugo and Diane Goetze Pauline Goodison Louise Gourlay OAM Cindy Goy Christine Grenda Jason Grollo Dawn Hales Cathy Henry Clive and Joyce Hollands Natasha Holmes

Roderick Home Rob Jackson Shyama Jayaswal Richard Jefferies Sandy Jenkins Xiaoxiao Jia Sue Johnston Huw Jones Fiona Keenan Phillip Kidd Belinda and Malcolm King Conrad O’Donohue and Rosemary Kiss Tim Knaggs David Kneipp Jane Kunstler Elizabeth-Anne Lane Paschalina Leach Jane Leitinger Dr Jenny Lewis Janice Mayfield Dr Anne McDougall Dr Alan Meads and Sandra Boon Jennifer and Andreas Meister Marie Misiurak Ann Moore Kevin Morrish Joan Mullumby Adrian and Louise Nelson Tania Nesbit Michael Noble Rosemary O’Collins Phil Parker Sarah Patterson Pauline and David Lawton Wilma Plozza-Green Kerryn Pratchett Akshay Rao

* The MSO has introduced a new tier to its annual Patron Program in recognition of the donors who supported the Orchestra during 2020, many for the first time.

Moving forward, donors who make an annual gift of $500–$999 to the MSO will now be publicly recognised as an Overture Patron. For more information, please contact Donor Liaison, Keith Clancy on (03) 8646 1109 or clancyk@mso.com.au 28

CONDUCTOR’S CIRCLE Jenny Anderson David Angelovich G C Bawden and L de Kievit Lesley Bawden Joyce Bown Mrs Jenny Bruckner and the late Mr John Bruckner Ken Bullen Peter A Caldwell Luci and Ron Chambers Beryl Dean Sandra Dent Alan Egan JP Gunta Eglite Marguerite Garnon-Williams Drs L C Gruen and R W Wade Louis J Hamon AOM

Carol Hay Graham Hogarth Rod Home Tony Howe Lindsay and Michael Jacombs Laurence O’Keefe and Christopher James John Jones Grace Kass and the late George Kass Sylvia Lavelle Pauline and David Lawton Cameron Mowat Ruth Muir David Orr Matthew O’Sullivan Rosia Pasteur Penny Rawlins Joan P Robinson Anne Roussac-Hoyne and Neil Roussac Michael Ryan and Wendy Mead Andrew Serpell Jennifer Shepherd Suzette Sherazee Dr Gabriela and Dr George Stephenson Pamela Swansson Lillian Tarry Tam Vu and Dr Cherilyn Tillman Mr and Mrs R P Trebilcock Peter and Elisabeth Turner Michael Ulmer AO The Hon. Rosemary Varty Marian and Terry Wills Cooke OAM Mark Young Anonymous (19) The MSO gratefully acknowledges the support of the following Estates: Norma Ruth Atwell Angela Beagley Christine Mary Bridgart The Cuming Bequest Margaret Davies Neilma Gantner The Hon Dr Alan Goldberg AO QC Enid Florence Hookey Gwen Hunt

Supporters

Professor John Rickard Liliane Rusek and Alexander Ushakoff Viorica Samson Carolyn Sanders Dr Nora Scheinkestel Dr Peter Seligman David Sherwood Dr Frank and Valerie Silberberg Matt Sinclair Olga Skibina Brian Snape AM and the late Diana Snape Colin and Mary Squires Ruth Stringer Anthony Summers Allan and Margaret Tempest Reverend Angela Thomas Brett Thomas Amanda Watson Michael Webber and Ruth Fincher Angela Westacott Barry and Julie Wilkins Fiona Woodard Dr Kelly Wright and Dr Heathcote Wright Dr Susan Yell Anonymous (34)

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Supporters

Family and Friends of James Jacoby Audrey Jenkins Joan Jones Pauline Marie Johnston C P Kemp Peter Forbes MacLaren Joan Winsome Maslen Lorraine Maxine Meldrum Prof Andrew McCredie Jean Moore Maxwell Schultz Miss Sheila Scotter AM MBE Marion A I H M Spence Molly Stephens Halinka Tarczynska-Fiddian Jennifer May Teague Albert Henry Ullin Jean Tweedie Herta and Fred B Vogel Dorothy Wood

MSO BOARD Chairman David Li AM Deputy Co-Chair Di Jameson Helen Silver AO Managing Director Sophie Galaise Board Directors Shane Buggle Andrew Dudgeon AM Danny Gorog Lorraine Hook Margaret Jackson AC David Krasnostein AM Gary McPherson Hyon-Ju Newman Glenn Sedgwick Company Secretary Oliver Carton

HONORARY APPOINTMENTS Life Members Dr Marc Besen AC John Gandel AC and Pauline Gandel AC Sir Elton John CBE Harold Mitchell AC Lady Potter AC CMRI Jeanne Pratt AC Artistic Ambassadors Tan Dun Lu Siqing MSO Ambassador Geoffrey Rush AC The MSO honours the memory of Life Members Dr Eva Besen AO John Brockman OAM The Honourable Alan Goldberg AO QC Roger Riordan AM Ila Vanrenen

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The MSO relies on your ongoing philanthropic support to sustain our artists, and support access, education, community engagement and more. We invite our supporters to get close to the MSO through a range of special events.

The MSO welcomes your support at any level. Donations of $2 and over are tax deductible, and supporters are recognised as follows: $500+ (Overture) $1,000+ (Player) $2,500+ (Associate) $5,000+ (Principal) $10,000+ (Maestro) $20,000+ (Impresario) $50,000+ (Virtuoso) $100,000+ (Platinum)

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