CARMINA BURANA 21–24 APRIL 2017
CONCERT PROGRAM
ARTISTS
Melbourne Symphony Orchestra Conductor Long Yu Soprano Eva Kong Tenor John Longmuir Baritone Warwick Fyfe Melbourne Symphony Orchestra Chorus Guest Chorus Master Marilyn Phillips National Boys Choir of Australia National Boys Choir Chorus Master Peter Casey REPERTOIRE
Ravel Daphnis and ChloĂŠ: Suite No.2 INTERVAL
Orff Carmina Burana
Running time 1 hour 50 minutes including 20-minute interval These performances of Carmina Burana by Carl Orff are given by permission of Hal Leonard Australia Pty. Ltd. exclusive agent for Schott Music Ltd of Mainz.
LONG YU CONDUCTOR
EVA KONG SOPRANO
Long Yu is Artistic Director and Chief Conductor of the China Philharmonic, Music Director of the Shanghai Symphony Orchestra and of the Guangzhou Symphony Orchestra, and Principal Guest Conductor of the Hong Kong Philharmonic Orchestra. He is also the founding Artistic Director of the Beijing Music Festival, which will celebrate its twentieth year in 2017.
Born in Korea, Eva attained her Bachelor of Music at Hanyang University, South Korea, continuing her studies at Sydney Conservatorium of Music.
Long Yu conducts leading orchestras and opera companies around the world, including the New York Philharmonic, Chicago Symphony, Philadelphia Orchestra, Orchestre de Paris, Munich Philharmonic, BBC Symphony Orchestra and Tokyo Philharmonic. He has created China’s first orchestral academy in Shanghai - a partnership between the Shanghai Symphony, the Shanghai Conservatory and the New York Philharmonic – and has also launched Youth Music Culture Guangdong, a partnership with Yo-Yo Ma and the Silk Road Ensemble, which will investigate the role of the musician as a cultural citizen. He has recorded for Deutsche Grammophon.
A member of the Moffat Oxenbould Young Artist Program, Eva has been the recipient of many awards including First Prize in the Giacomo Lauri-Volpi International Competition (2002). Eva has performed the roles of Gilda (Rigoletto) for Opera Australia, and Pamina, Gretel, and Amina (La Sonnambula) for Pacific Opera. More recently she received a Helpmann Award Nomination and was a Green Room Award Winner for Best Female in a Supporting Role, for her 2014 appearance as Madam Mao in Victorian Opera’s Nixon in China. In 2016, Eva Kong sang Liù (Turandot) for Handa Opera on Sydney Harbour, Laura (Luisa Miller) and Princess Linetta (The Love for Three Oranges) for Opera Australia. In concert, Eva has sung in Verdi’s Requiem, Mozart’s Great Mass in C Minor and Saint Saëns’ Requiem.
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JOHN LONGMUIR TENOR
WARWICK FYFE BARITONE
Born in Edinburgh, Scotland John Longmuir’s operatic studies took place at the Australian Opera Studio. His awards encompass all of Australia’s major Eisteddfods and competitions, having won the Herald Sun Aria and the inaugural Joan Sutherland and Richard Bonynge Bel Canto award, among others.
Warwick Fyfe is a Helpmann Awardwinning Australian singer and Churchill Fellow. An alumnus of the Victoria College of the Arts, he has since worked with most major Australian and New Zealand opera companies (notably Opera Australia) and with the major Australian orchestras, Auckland Philharmonia, Warsaw Symphony and Singapore Symphony Orchestras.
In 2011, John was invited to join Opera Australia’s young artists program making his debut as Almaviva in The Barber of Seville. Since finishing the program John has sung all the major leggiero repertoire for Opera Australia including Tamino in The Magic Flute. On the concert platform, his appearances have included Rossini’s Stabat mater with the West Australian Symphony Orchestra, Carmina Burana at Tokyo’s New National Theatre, and Fauré’s La Naissance de Vénus at the Konzerthaus Berlin. In 2012 and 2014 he was invited by Richard Bonynge to appear at Grimoaldo in concert performances of Handel’s Rodelinda, the first of which is available as a commercial recording.
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Warwick Fyfe was recently seen in Opera Australia’s Ring Cycle as Alberich, a role for which he won a Helpmann Award after the 2013 production. Other awards include the Bayreuth Scholarship, first prize in the McDonald’s Aria, a Green Room Award and the Dame Mabel Brookes Memorial Fellowship. Since 2014, Warwick has expanded his international freelance career, and he has worked with English Touring Opera, Welsh National Opera, and in concert not only in Australia, but the UK, New Zealand, Singapore and Vietnam. He will perform Alberich on his forthcoming first appearances in Japan.
MELBOURNE SYMPHONY ORCHESTRA CHORUS
NATIONAL BOYS CHOIR OF AUSTRALIA
For more than 50 years the Melbourne Symphony Orchestra Chorus has been the unstinting voice of the Orchestra’s choral repertoire. In 2017 the Chorus joins forces with the Orchestra on more than 20 different occasions to perform some of the most moving and inspiring repertoire from the canon, as well as once again presenting its own a cappella performances.
Founded in 1964 by Kevin Casey, the National Boys Choir of Australia has established itself as one of Australia’s finest treble choirs. The Choir is often called on to sing with the Melbourne Symphony Orchestra, Opera Australia and Victorian Opera. Conductors with whom the Choir has appeared include Oleg Caetani, Philippe Herreweghe, Neeme Järvi, Markus Stenz, and Yan Pascal Tortelier, as well as Australians Graham Abbott and Richard Gill.
The MSO Chorus sings with the finest conductors, including Sir Andrew Davis, Edward Gardner, Mark Wigglesworth, Bernard Labadie, Stephen Layton, Vladimir Ashkenazy, Masaaki Suzuki and Manfred Honeck, and is committed to developing and performing new Australian and international choral repertoire. Commissions include Brett Dean’s Katz und Spatz, Ross Edwards’ Mountain Chant, and Paul Stanhope’s Exile Lamentations, and the Chorus has also premiered works by such composers as James MacMillan, Arvo Pärt, Hans Werner Henze, Alfred Schnittke, Gavin Bryars, and Pēteris Vasks. Recordings by the MSO Chorus for Chandos and ABC Classics have received critical acclaim. It has performed across Brazil and at the Cultura Inglese Festival in Sao Paolo, in Kuala Lumpur with the Malaysian Philharmonic Orchestra, with The Australian Ballet, Sydney Symphony Orchestra, West Australian Symphony Orchestra, Barbra Streisand, at the Melbourne International Arts Festival, the AFL Grand Final, the Sydney Olympic Arts Festival, and Anzac Day commemorative ceremonies.
The Choir’s schedule also includes regular television, recording and major event appearances such as the 2000 Sydney Olympic Games opening ceremony, 2006 Melbourne Commonwealth Games, and Carols by Candlelight at the Myer Music Bowl since 1988. The Choir has toured internationally with destinations including the UK, France, Italy, Germany, Austria, Japan, USA, Taiwan, the Philippines and China, giving performances in venues ranging from Disneyland to St Peter’s in Rome. The Choir is well-known through Qantas’ I Still Call Australia Home campaign.
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PROGRAM NOTES
MAURICE RAVEL (1875–1937) Daphnis et Chloé: Suite No.2 Daybreak Pantomime General Dance (Bacchanale) Melbourne Symphony Orchestra Chorus
The Russian impresario Sergei Diaghilev commissioned many of the orchestral scores which have become modern classics. In 1909, he brought his Ballets Russes to Paris, and commissioned Ravel to write a ballet to a scenario by Michel Fokine based on the tale of Daphnis and Chloé, a romance by the Ancient Greek writer Longus. Ravel lingered over this, one of his greatest and largest scores, and it was not completed until April 1912, shortly before the scheduled first performance date. Diaghilev had wanted a score which would be important but not dominant. Ravel, on the other hand, felt that his score should be supreme. He also had contrasting views of Ancient Greece, saying, ‘My intention was to compose a vast musical fresco, in which I was less concerned with archaism than with reproducing faithfully the Greece of my dreams, which is very similar to that imagined and painted by French artists at the end of the 18th century.’
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Daphnis et Chloé was first presented at the Théâtre du Châtelet on 8 June 1912, with Pierre Monteux conducting, but it was not a success. However its score has become a staple of the concert hall where it is usually heard in the form of two suites, or ‘fragments symphoniques’. The ballet opens with the idyll in which Daphnis and Chloé fall in love. Chloé is abducted by pirates, and three nymphs invoke the god Pan to come to Daphnis’ aid. Now ‘Suite 2’ begins, one of the most graphic portrayals of sunrise in the orchestral literature. Imitation birdsong and the piping of shepherds unite Daphnis with Chloé. In tribute to Pan, Daphnis and Chloé mime Pan’s courtship of Syrinx, accompanied by a florid solo flute (Pantomime). The concluding General Dance represents the joyful celebration of the lovers and shepherds. Adapted from a note by Gordon Kalton Williams Symphony Australia © 1997/2008 The Melbourne Symphony was the first of the Australian state symphony orchestras to perform either of the suites from Daphnis et Chloé, on 4 May 1940 under conductor Antal Dorati. The Orchestra most recently performed Suite 2 in February 2015 with Benjamin Northey.
PROGRAM NOTES
CARL ORFF (1895–1982) Carmina Burana: cantiones profanae (worldly songs) Fortuna Imperatrix Mundi I – Primo Vere Uf dem anger II – In Taberna III – Cours d’amours Blanziflor et Helena Fortuna Imperatrix Mundi Eva Kong soprano John Longmuir tenor Warwick Fyfe baritone Melbourne Symphony Orchestra Chorus National Boys Choir of Australia
In 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 including medieval Latin, 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, not atypically, 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 its success put much of his subsequent achievement in the shade. Orff studied music from an early age including, significantly, research into non-European music. Apart from Carmina Burana, he is best remembered today for his musiceducation theories: with Dorothee Günther in 1924 he founded the Güntherschule, where the curriculum centred on music, gymnastics and dance; out of this evolved the OrffSchulwerk, a method of teaching music through repetition, improvisation and with a focus on percussion. His compositions during this time 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 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 7
PROGRAM NOTES
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. 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 texts. 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, forests awaken, and a young person’s thoughts turn to love. But not before a brief spell ‘In the Tavern’, a maledominated environment in which Orff creates a number of memorable characters such 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 ‘Spring’, contrasting delicacy and robust humour before the soaring soprano solo of ‘Dulcissime’ and ecstatic chorus to ‘Blanziflor and Helena’. The ecstasy will, of course,
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be swept away by Fate, so the music returns to ‘O Fortuna’. 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). Abridged from a note by Gordon Kerry © 2006 The first performance of Carmina burana by the Melbourne Symphony Orchestra took place on 20 November 1957 with the Royal Melbourne Philharmonic Society, Stewart Harvey, Halinka de Tarcsynska and Ian Gosdil. The conductor was Kurt Woess. The Orchestra’s most recent performance, under Jakub Hrůša, took place in June 2011 with Hyeseoung Kwon, Paul McMahon, José Carbó, the Concordis Chamber Choir and the MSO Chorus.
MELBOURNE SYMPHONY ORCHESTRA CHORUS GUEST CHORUS MASTER
Marilyn Phillips REPETITEUR
Tom Griffiths Phillipa Safey CHORUS COORDINATOR
Lucien Fischer SOPRANO
Philippa Allen Julie Arblaster Aviva Barazani Eva Butcher Veryan Croggon Emma Di Maggio Jessie Eastwood Catherine Folley Carolyn Francis Camilla Gorman Juliana Hassett Penny Huggett Naomi Hyndman Tania Jacobs Gwen Kennelly Catriona NguyenRobertson Karin Otto Jodie Paxton Natalie Reid Jo Robin Elizabeth Rusli Natalia Salazar Jemima Sim Shu Xian Freja Soininen Chiara Stebbing Elizabeth Tindall Chloe Toh Vanessa Tunggal Eloise Verbeek Tara Zamin ALTO
Aleksandra Acker Satu Aho Ruth Anderson Catherine Bickell
Cecilia Björkegren Kate Bramley Jane Brodie Serena Carmel Alexandra Chubaty Jill Giese Natasha Godfrey Debbie Griffiths Ros Harbison Sue Hawley Kristine Hensel Jade Leigh Helen MacLean Christina McCowan Rosemary McKelvie Siobhan Ormandy Alison Ralph Mair Roberts Kerry Roulston Annie Runnalls Lisa Savige Wilma Smith Libby Timcke Jenny Vallins TENOR
NATIONAL BOYS CHOIR OF AUSTRALIA ARTISTIC DIRECTORS
Peter Casey Philip Carmody Soren Adkin Callum Corbally Joshua Choong Tommy De Simone Lucas D’Costa Simon D’Costa Joshua Doan Xavier Grindlay Enda Han Nathan Magpanty Aidan Maher Hamish McLean Davies Ethan McLeod Matthias Mullins Nhan Nguyen Matthew Risson Alessio Russo Robin Soeradinata Henry Smith Eric Zheng
James Allen Tony Barnett Steve Burnett James Dipnall Lyndon Horsburgh Dominic McKenna Michael Mobach Jean-Francois Ravat Tim Wright BASS
Maurice Amor Richard Bolitho Barry Clarke Peter Clay Phil Elphinstone Gerard Evans Andrew Ham Vern O'Hara Edward Ounapuu Liam Straughan Tom Turnbull Maurice Wan Maciek Zielinski 9
MELBOURNE SYMPHONY ORCHESTRA Mary Allison Isin Cakmakcioglu Freya Franzen
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Dale Barltrop
Cong Gu Andrew Hall
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Eoin Andersen
Francesca Hiew
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Anonymous#
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#
Andrew and Judy Rogers
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Michael Aquilina
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David Berlin
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# Position supported by * Guest Musician † On exchange from West German Radio Symphony ‡ Courtesy of Orchestra Victoria § Courtesy of Qatar Philharmonic Orchestra Δ Courtesy of Malaysian Philharmonic Orchestra 11
SUPPORTERS MSO PATRON The Honourable Linda Dessau AC Governor of Victoria
ARTIST CHAIR BENEFACTORS Anonymous Principal Flute Chair Di Jameson Principal Viola Chair Joy Selby Smith Orchestral Leadership Chair The Gross Foundation Principal Second Violin Chair The Newman Family Foundation Principal Cello Chair The Ullmer Family Foundation Associate Concertmaster Chair The Cybec Foundation Cybec Assistant Conductor Chair
PROGRAM BENEFACTORS The Cybec Young Composer in Residence Made possible by the Cybec Foundation Meet The Orchestra Made possible by The Ullmer Family Foundation East Meets West Supported by the Li Family Trust The Pizzicato Effect (Anonymous) Collier Charitable Fund The Marian and E.H. Flack Trust Schapper Family Foundation Supported by the Hume City Council’s Community Grants Program MSO Education Supported by Mrs Margaret Ross AM and Dr Ian Ross 12
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PLAYER PATRONS $1,000+ Christa Abdallah Dr Sally Adams Mary Armour Arnold Bloch Leibler Philip Bacon AM Marlyn and Peter Bancroft OAM Adrienne Basser Prof Weston Bate and Janice Bate David Blackwell Anne Bowden Michael F Boyt The Late Mr John Brockman OAM and Mrs Pat Brockman Dr John Brookes Suzie and Harvey Brown Jill and Christopher Buckley Bill and Sandra Burdett Lynne Burgess Peter Caldwell Joe Cordone Andrew and Pamela Crockett Pat and Bruce Davis Wendy Dimmick Marie Dowling John and Anne Duncan Ruth Eggleston Kay Ehrenberg Jaan Enden Amy & Simon Feiglin Grant Fisher and Helen Bird Barry Fradkin OAM and Dr Pam Fradkin Applebay Pty Ltd David Frenkiel and Esther Frenkiel OAM David Gibbs and Susie O'Neill Merwyn and Greta Goldblatt George Golvan QC and Naomi Golvan Dr Marged Goode Max Gulbin
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SUPPORTERS THE MAHLER SYNDICATE David and Kaye Birks Mary and Frederick Davidson AM Tim and Lyn Edward John and Diana Frew Francis and Robyn Hofmann The Hon Dr Barry Jones AC Dr Paul Nisselle AM Maria Solà The Hon Michael Watt QC and Cecilie Hall
TRUSTS AND FOUNDATIONS Alan (AGL) Shaw Endwoment, managed by Perpetual Collier Charitable Fund Crown Resorts Foundation and the Packer Family Foundation The Cybec Foundation The Marian and E.H. Flack Trust Gandel Philanthropy The Harold Mitchell Foundation Ken & Asle Chilton Trust, managed by Perpetual Linnell/Hughes Trust, managed by Perpetual The Pratt Foundation
CONDUCTOR’S CIRCLE Current Conductor’s Circle Members Jenny Anderson David Angelovich G C Bawden and L de Kievit Lesley Bawden Joyce Bown Mrs Jenny Brukner and the late Mr John Brukner Ken Bullen Luci and Ron Chambers Beryl Dean
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Sandra Dent Lyn Edward Alan Egan JP Gunta Eglite Marguerite GarnonWilliams Louis Hamon OAM Carol Hay Tony Howe Laurence O'Keefe and Christopher James Audrey M Jenkins John and Joan Jones George and Grace Kass Mrs Sylvia Lavelle Pauline and David Lawton Cameron Mowat Rosia Pasteur Elizabeth Proust AO Penny Rawlins Joan P Robinson Neil Roussac Anne Roussac-Hoyne Ann and Andrew Serpell Jennifer Shepherd Profs. Gabriela and George Stephenson Pamela Swansson Lillian Tarry Dr Cherilyn Tillman Mr and Mrs R P Trebilcock Michael Ullmer Ila Vanrenen The Hon. Rosemary Varty Mr Tam Vu Marian and Terry Wills Cooke Mark Young Anonymous (23)
The MSO gratefully acknowledges the support received from the Estates of: Angela Beagley Gwen Hunt Pauline Marie Johnston C P Kemp Peter Forbes MacLaren Lorraine Maxine Meldrum Prof Andrew McCredie Miss Sheila Scotter AM MBE Molly Stephens Jean Tweedie Herta and Fred B Vogel Dorothy Wood
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