HAYDN’S CREATION 15–17 JUNE 2017
CONCERT PROGRAM
ARTISTS
Melbourne Symphony Orchestra Sir Andrew Davis conductor Siobhan Stagg soprano (Gabriel, Eva) Shakira Tsindos mezzo soprano Andrew Staples tenor (Uriel) Neal Davies bass (Raphael, Adam) Melbourne Symphony Orchestra Chorus Warren Trevelyan-Jones guest chorus master REPERTOIRE
Haydn The Creation
Running time: 2 hours including 20-minute interval after Part II In consideration of your fellow patrons, the MSO thanks you for dimming the lighting on your mobile phone.
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MELBOURNE SYMPHONY ORCHESTRA Established in 1906, the Melbourne Symphony Orchestra (MSO) is Australia’s oldest professional orchestra. Chief Conductor Sir Andrew Davis has been at the helm of MSO since 2013. Engaging more than 2.5 million people each year, the MSO reaches a variety of audiences through live performances, recordings, TV and radio broadcasts and live streaming. As a truly global orchestra, the MSO collaborates with guest artists and arts organisations from across the world. Its international audiences include China, where the MSO performed in 2016 and Europe where the MSO toured in 2014. The MSO performs a variety of concerts ranging from core classical performances at its home, Hamer Hall at Arts Centre Melbourne, to its annual free concerts at Melbourne’s largest outdoor venue, the Sidney Myer Music Bowl. The MSO also delivers innovative and engaging programs to audiences of all ages through its Education and Outreach initiatives. The MSO also works with Associate Conductor, Benjamin Northey, and the Melbourne Symphony Orchestra Chorus, as well as with such eminent recent guest conductors as Thomas Ades, John Adams, Tan Dun, Charles Dutoit, Jakub Hrůša, Mark Wigglesworth, Markus Stenz and Simone Young. It has also collaborated with non-classical musicians including Burt Bacharach, Nick Cave, Sting, Tim Minchin, Ben Folds, DJ Jeff Mills and Flight Facilities.
SIR ANDREW DAVIS CONDUCTOR Sir Andrew Davis is Music Director and Principal Conductor of the Lyric Opera of Chicago and Chief Conductor of the Melbourne Symphony Orchestra. In a career spanning over 40 years, he has been the musical and artistic leader at several of the world's most distinguished opera and symphonic institutions, including the BBC Symphony Orchestra (1991-2004), Glyndebourne Festival Opera (19882000), and the Toronto Symphony Orchestra (1975-1988). One of today's most recognised and acclaimed conductors, Sir Andrew has conducted virtually all the world's major orchestras, opera companies, and festivals. Born in 1944 in Hertfordshire, England, Sir Andrew studied at King’s College, Cambridge, where he was an organ scholar before taking up conducting. His wide-ranging repertoire encompasses the Baroque to contemporary, and his vast conducting credits span the symphonic, operatic and choral worlds. In 1992 Maestro Davis was made a Commander of the British Empire, and in 1999 he was made a Knight Bachelor in the New Year Honours List. He has been awarded an honorary doctorate by Knox College in Galesburg, Illinois. Image courtesy Dario Acosta Photography
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SIOBHAN STAGG SOPRANO
ANDREW STAPLES TENOR
With a voice of ‘ravishing tone’ and ‘radiant’ presence (The Age), Siobhan Stagg is establishing a reputation in Europe and Australia as a young singer of enormous potential.
Andrew Staples sang as a chorister in St Paul’s Cathedral before winning a Choral Scholarship to King’s College Cambridge, where he gained a degree in Music.
Siobhan joined the Deutsche Oper Berlin as young artist in 2013/14, debuting as Woglinde in Wagner’s Ring with Sir Simon Rattle. Shortly after, Siobhan played Cordelia (Reimann’s Lear) with Simone Young at the Hamburg State Opera, and sang Dede (Bernstein’s Quiet Place) with Kent Nagano and Sophie (Werther) with Donald Runnicles. In 2015 Siobhan sang Brahms’ Requiem with the Berlin Philharmonic Orchestra and Christian Thielemann, and stepped into the title role of Orpheus for the Royal Opera House. Highlights of 2016 included the BBC Proms (Royal Albert Hall), Roberto Alagna’s Australian tour, Morgana (Alcina) in Geneva, Sophie (Rosenkavalier) and Gilda (Rigoletto) in Berlin.
His engagements include concerts with the Berlin and Vienna Philharmonic Orchestras, the Akademisten Berlin, the Bavarian Radio Symphony, and the Orchestra of the Age of Enlightenment with Sir Simon Rattle; and the Swedish Radio and London Symphony Orchestra with Daniel Harding.
In 2017 Siobhan sings Marguerite (Les Huguenots) in Berlin, Mozart’s Mass in C Minor with Queensland Symphony, Handel’s Ode to St Cecilia’s Day with Auckland Philharmonia and The Creation at the Haydn Festival in Vienna. 4
He made his Royal Opera House debut as Jacquino (Fidelio), returning for Flamand (Capriccio), Tamino (Die Zauberflöte), Artabenes (Arne’s Artaxerxes) and Narraboth (Salome), and sang Belfiore (La Finta Giardiniera) for the National Theatre, Prague and Don Ottavio (Don Giovanni) for the Salzburger Festspiele. In concert he appears with the Swedish Radio Orchestra, the Bavarian Radio Symphony and the Berlin Philharmonic Orchestra with Daniel Harding, the BBC Symphony Orchestra and Semyon Bychkov, the London Symphony Orchestra and Simon Rattle, and returns to the Philadelphia Orchestra with Yannick Nézet-Séguin.
MELBOURNE SYMPHONY ORCHESTRA CHORUS
NEAL DAVIES BASS Winner of the Lieder Prize at the 1991 Cardiff Singer of the World, Neal Davies has since appeared with the Royal Opera, Covent Garden, English National Opera, Scottish Opera and Welsh National Opera. He is a regular guest at the Edinburgh Festival and the BBC Proms, and has taken part in notable recordings of Handel's Messiah, Saul and Theodora for DG Archiv with Paul McCreesh and the Gabrieli Consort. Recent engagements include Handel’s Belshazzar under René Jacobs, Agrippina for the Deutsche Staatsoper, Berlin, Ko-Ko (The Mikado) for the Lyric Opera of Chicago, Handel’s Athalia with Concerto Köln and Bottom (A Midsummer Night’s Dream) for Garsington Opera. With William Christie and Les Arts Florissants, Neal has sung in Theodora (Paris and Salzburg) and in the Aix-en-Provence Festival production of Charpentier’s David et Jonathas (Aix, Edinburgh and New York), and he sang Valens in a tour of Theodora with The English Concert and Harry Bicket. Neal recently sang the Traveller in the Barbican Centre production of Curlew River at St Giles, Cripplegate, which will tour to New York and California this season.
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. The MSO Chorus sings with the finest conductors, including Sir Andrew Davis, Edward Gardner, Mark Wigglesworth, 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, and Pēteris Vasks. Recordings by the MSO Chorus have received critical acclaim. It has performed across Brazil, in Kuala Lumpur with the Malaysian Philharmonic Orchestra, with The Australian Ballet, Sydney Symphony Orchestra, at the AFL Grand Final and at Anzac Day commemorative ceremonies. For these performances of The Creation, the MSO Chorus is led by Warren Trevelyan-Jones, Head of Music at St James’, King Street in Sydney and one of the leading choral conductors and choir trainers in Australia. 5
PROGRAM NOTES
JOSEPH HAYDN (1732–1809) The Creation, Hob. XXI: 2 Text by Gottfried van Swieten, English text revised by Paul McCreesh
Haydn’s The Creation is a masterpiece and a miracle. As a masterwork, few would dispute its qualifications: exquisitely beautiful arias, brilliant use of orchestral colours, and choruses bursting with delight, all on a scale both epic and intimate. What makes it miraculous is that it was created, like the world it describes, from nothing. Haydn in 1797 was an international musical superstar. The composer who for more than a decade had been thrilling Europe with his ground-breaking symphonies and string quartets while confined to his employers’ palace at Eszterháza, in the backwoods of Hungary, had at last appeared in the flesh, with two immensely successful trips to London. Haydn returned from his London seasons a wealthy man. But money was not all he had acquired: he had experienced for the first time the oratorios of Handel – not just the music, but the overwhelming emotional effect of Messiah and Israel in Egypt, performed in Westminster Abbey by more than 1000 musicians, and not for a small circle 6
of connoisseurs, but reaching a vast crowd of ordinary music lovers. Haydn’s tour manager, Johann Salomon, must have seen how impressed the composer was by his Handel experience: just as Haydn was leaving London for the second time, Salomon handed him a libretto that had originally been written for Handel himself. Nobody could remember who had written it, but certainly Handel had never composed any music for it. The subject was the creation of the world. Would Haydn be interested in using it for an oratorio of his own? Haydn most definitely was. But his English wasn’t great, so he turned to his friend Baron Gottfried van Swieten, who created a German version based very closely on the original English (which in turn drew very heavily on the Biblical books of Genesis and the Psalms, and on Milton’s poem Paradise Lost). After Haydn had written the music, van Swieten then translated the text back into English in a version that would fit the same rhythms as the German – making it the first largescale work in music history to be published with a bilingual text. Making ‘singable’ translations is always a difficult task, and van Swieten’s English, though much better than Haydn’s, was by no means perfect, resulting in some very strange turns of phrase (‘ye finny tribes’, for fish, and Adam’s forehead described as ‘the
large and arched front sublime’) and some German word order that doesn’t work in English.* The real challenge of setting the text to music, though, was the subject matter itself – there is basically no story, in any kind of dramatic sense. Perhaps this is why Handel had let this libretto lie: it’s all good news. Three angels, Raphael, Gabriel and Uriel, tell how over the course of six days God creates heaven and earth and all living things – but stopping before Adam and Eve get expelled from Paradise. Nothing goes wrong here, and nobody gets hurt. And this is where Haydn works his miracle: out of a story with no real drama in it, which does nothing but get happier and happier, Haydn creates music that has direction and shape. There is, of course, plenty of scope for musical word painting, and Haydn takes full advantage of every opportunity. We hear the surging of the sea in Raphael’s aria ‘Rolling in foaming billows’ on the Third Day; the powerful strokes of the eagle’s wings and trilling of the nightingale in Gabriel’s aria ‘On mighty pens’ on the Fifth Day; and the ‘sudden leaps’ of the ‘flexible tiger’ in Raphael’s recitative ‘Straight opening her fertile womb’ on the Sixth Day. One of the tools that Haydn (more so than Handel) was able to use was the orchestra itself. Developments in the construction of wind instruments at
the end of the 18th century had made them much more reliable members of the orchestra, and so on the Sixth Day, flute and bassoon together evoke a tranquil scene of cattle grazing on the meadows; trombone and contrabassoon add their earth-shaking resonances to the roar of the ‘tawny lion’; and there is a special magic in Haydn’s use of the low strings to take us down into the ‘watery deep’ on the Fifth Day. The one place in the story where something decisive does happen is right at the beginning, and here Haydn gives us a coup de théâtre which amazed and delighted his audiences to the point where the music couldn’t continue for the thunderous applause. He begins with an extended musical reflection of the chaos before the Creation: harmonies that don’t resolve as we expect, unexpected surges of sound, individual instruments attempting fragments of melodies. And then, when God achieves his first act of creation by calling Light into being, Haydn dazzles our ears with a glorious explosion of sound which is in fact the simplest of musical resources: a simple (though very large) C major chord. The Creation was first performed in April 1798 in Vienna, in a private performance for Haydn’s patron Prince Joseph von Schwarzenberg and his guests; thirty police officers had to be called to hold back the
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PROGRAM NOTES
crowds trying to get in. At the first public performance, in March 1799, the theatre was completely full three hours before the start of the concert. In London the following year, poor Salomon missed out on giving the English premiere performance when a rival impresario managed to get hold of a copy of the score and arrange for copies to be made of parts for 120 performers, all in less than one week – this in the days before photocopiers! In 1802, amidst all this acclaim, Haydn recalled his experience of writing The Creation: ‘Often, when I was struggling with all kinds of obstacles … a secret voice whispered to me: “There are so few happy and contented people in this world; sorrow and grief follow them everywhere; perhaps your labour will become a source from which the careworn … will for a while derive peace and refreshment.”’ May it be so here, and always. Natalie Shea © 2016 The first Melbourne performance of Haydn’s The Creation took place in St Paul’s Cathedral on 1 July 1941 under the direction of Dr A.E. Floyd; the soloists were Thea Philips, William Herbert and Albert Loveless. The Melbourne Symphony Orchestra last performed the work in June 2011 with conductor Bernard Labadie and Lydia Teuscher, Dimity Shepard, Tilman Lichdi, Tim Mirfin and the Melbourne Symphony Orchestra Chorus. * Tonight’s performance features Baron Gottfried van Swieten’s translation, revised by Paul McCreesh in 2009 (so don’t expect to hear any ‘large and arched front sublimes'). This edition is used with kind permission of the Gabrieli Consort and Players.
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MELBOURNE SYMPHONY ORCHESTRA CHORUS GUEST CHORUS MASTER
Warren Trevelyan-Jones REPETITEUR
Tom Griffiths CHORUS COORDINATOR
Lucien Fischer SOPRANO
Philippa Allen Julie Arblaster Aviva Barazani Eva Butcher Stephanie Collins Veryan Croggon Ella Dann-Limon Cassandra Devine Jessie Eastwood Rita Fitzgerald Catherine Folley Susan Fone Camilla Gorman Jillian Graham Juliana Hassett Penny Huggett Jasmine Hulme Naomi Hyndman Tania Jacobs Gwen Kennelly Ruth McIntosh Catriona NguyenRobertson Karin Otto Jodie Paxton Tanja Redl Mhairi Riddet Jo Robin Elizabeth Rusli Jillian Samuels Jemima Sim Shu Xian Lynda Smerdon Freja Soininen Chiara Stebbing Emily Swanson Eloise Verbeek
ALTO
BASS
Catherine Bickell Cecilia Bjรถrkegren Kate Bramley Jane Brodie Elize Brozgul Alexandra Chubaty Katharine Daley Jill Giese Natasha Godfrey Debbie Griffiths Ros Harbison Sue Hawley Jennifer Henry Kristine Hensel Rebecca Kmit Jade Leigh Alto Helen MacLean Christina McCowan Rosemary McKelvie Siobhan Ormandy Alison Ralph Mair Roberts Helen Rommelaar Kerry Roulston Annie Runnalls Rosemary Saunders Lisa Savige Wilma Smith Libby Timcke Emma Warburton
Maurice Amor Richard Bolitho Ted Davies Phil Elphinstone Gerard Evans Andrew Ham Andrew Hibbard Jordan Janssen Gary Levy Vern O'Hara Edward Ounapuu Liam Straughan Tom Turnbull Maciek Zielinski
TENOR
James Allen Steve Burnett Peter Campbell Enzhi Chen Peter Clay John Cleghorn Geoffrey Collins Lyndon Horsburgh Wayne Kinrade Jessop Maticevski Shumack Dominic McKenna Michael Mobach Jean-Francois Ravat Daniel Riley Tim Wright 9
MELBOURNE SYMPHONY ORCHESTRA Sir Andrew Davis Chief Conductor
SECOND VIOLINS
CELLOS
Benjamin Northey Associate Conductor
Matthew Tomkins
Principal The Gross Foundation#
David Berlin
Robert Macindoe
Rachael Tobin
Associate Principal
Associate Principal
Monica Curro
Nicholas Bochner
Hiroyuki Iwaki Conductor Laureate (1974-2006) FIRST VIOLINS
Dale Barltrop Concertmaster
Eoin Andersen Concertmaster
Sophie Rowell
Associate Concertmaster The Ullmer Family Foundation#
John Marcus Principal
Peter Edwards
Assistant Principal
Kirsty Bremner Sarah Curro
Michael Aquilina#
Peter Fellin Deborah Goodall Lorraine Hook Kirstin Kenny Ji Won Kim Eleanor Mancini
David and Helen Moses#
Mark Mogilevski Michelle Ruffolo Kathryn Taylor Michael Aquilina#
Oksana Thompson*
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Assistant Principal Danny Gorog and Lindy Susskind#
Mary Allison Isin Cakmakcioglu Freya Franzen Anonymous#
Cong Gu Andrew Hall
Andrew and Judy Rogers#
Francesca Hiew Tam Vu, Peter and Lyndsey Hawkins#
Rachel Homburg Isy Wasserman Philippa West Patrick Wong Roger Young Aaron Barnden* Amy Brookman* VIOLAS
Christopher Moore Principal Di Jameson#
Fiona Sargeant
Principal MS Newman Family#
Assistant Principal
Miranda Brockman Geelong Friends of the MSO#
Rohan de Korte Keith Johnson Sarah Morse Angela Sargeant Michelle Wood
Andrew and Theresa Dyer# DOUBLE BASSES
Steve Reeves Principal
Andrew Moon
Associate Principal
Sylvia Hosking
Assistant Principal
Damien Eckersley Benjamin Hanlon Suzanne Lee Stephen Newton Sophie Galaise and Clarence Fraser#
Stuart Riley*
Associate Principal
FLUTES
Lauren Brigden Katharine Brockman Christopher Cartlidge Anthony Chataway Gabrielle Halloran Trevor Jones Cindy Watkin Elizabeth Woolnough Caleb Wright Gaëlle Bayet† Ceridwen Davies*
Prudence Davis Principal Anonymous#
Wendy Clarke
Associate Principal
Sarah Beggs PICCOLO
Andrew Macleod Principal
OBOES
TRUMPETS
MSO BOARD
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Ann Blackburn
William Evans Joshua Rogan*
Sophie Galaise
Principal
Associate Principal
COR ANGLAIS
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Principal
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Principal TUBA
Company Secretary
Brett Kelly Richard Shirley
Principal
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Philip Arkinstall
Mike Szabo
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Craig Hill BASS CLARINET
Jon Craven Principal
BASSOONS
Jack Schiller
Timothy Buzbee TIMPANI
Brent Miller* PERCUSSION
Elise Millman
Robert Clarke
Natasha Thomas CONTRABASSOON
Brock Imison Principal HORNS
Saul Lewis
Principal Third
Jenna Breen Abbey Edlin
Oliver Carton
Principal
Principal
Associate Principal
Board Members
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TROMBONES Principal
CLARINETS
Michael Ullmer
Principal
John Arcaro Robert Cossom HARP
Yinuo Mu Principal
FORTEPIANO**
Anthony Abouhamad
Nereda Hanlon and Michael Hanlon AM#
# Position supported by
Trinette McClimont
†On exchange from West German Radio Symphony
* Guest Musician
** Fortepiano after Stein by D. Jacques Way 1986. Supplied by Carey Beebe Harpsichords & prepared by David Macfarlane. 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
MSO Audience Access Crown Resorts Foundation Packer Family Foundation MSO International Touring Supported by Harold Mitchell AC Satan Jawa Australia Indonesia Institute (DFAT) MSO Regional Touring Creative Victoria Cybec 21st Century Australian Composers Program The Cybec Foundation
CHAIRMAN’S CIRCLE $100,000+ Marc Besen AC and Eva Besen AO The Gross Foundation◊ David and Angela Li MS Newman Family Foundation◊ Joy Selby Smith Ullmer Family Foundation◊ Anonymous (1)
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Jennifer Gorog Louis Hamon OAM Nereda Hanlon and Michael Hanlon AM ◊ Hans and Petra Henkell Francis and Robyn Hofmann Hartmut and Ruth Hofmann Jack Hogan Doug Hooley Jenny and Peter Hordern Dr Alastair Jackson Suzanne Kirkham Dr Elizabeth A Lewis AM Peter Lovell Lesley McMullin Foundation Mr and Mrs D R Meagher David and Helen Moses ◊ Dr Paul Nisselle AM Ken Ong, in memory of Lin Ong Bruce Parncutt and Robin Campbell Jim and Fran Pfeiffer Pzena Investment Charitable Fund Andrew and Judy Rogers ◊ Max and Jill Schultz Stephen Shanasy HMA Foundation D & CS Kipen on behalf of Israel Kipen Mr Tam Vu and Dr Cherilyn Tillman ◊ The Hon. Michael Watt QC and Cecilie Hall Lyn Williams AM Anonymous (1)
ASSOCIATE PATRONS $2,500+ Dandolo Partners Barbara Bell, in memory of Elsa Bell Bill Bowness Oliver Carton John and Lyn Coppock Miss Ann Darby, in memory of Leslie J. Darby Natasha Davies, for the Trikojus Education Fund Merrowyn Deacon
Beryl Dean Sandra Dent Peter and Leila Doyle Lisa Dwyer and Dr Ian Dickson Jane Edmanson OAM Tim and Lyn Edward Dr Helen M Ferguson Mr Peter Gallagher and Dr Karen Morley Dina and Ron Goldschlager Colin Golvan QC and Dr Deborah Golvan Louise Gourlay OAM Peter and Lyndsey Hawkins â—Š Susan and Gary Hearst Colin Heggen, in memory of Marjorie Drysdale Heggen Rosemary and James Jacoby Jenkins Family Foundation C W Johnston Family John Jones George and Grace Kass Irene Kearsey and M J Ridley Kloeden Foundation Bryan Lawrence Ann and George Littlewood H E McKenzie Allan and Evelyn McLaren Don and Anne Meadows Marie Morton FRSA Annabel and Rupert Myer AO Ann Peacock with Andrew and Woody Kroger Sue and Barry Peake Mrs W Peart Graham and Christine Peirson Ruth and Ralph Renard S M Richards AM and M R Richards Tom and Elizabeth Romanowski Jeffrey Sher QC and Diana Sher OAM Diana and Brian Snape AM
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Christopher James Alan and Dorothy Pattison Margaret Plant Kerryn Pratchett Peter Priest Eli Raskin Bobbie Renard Peter and Carolyn Rendit Dr Rosemary Ayton and Dr Sam Ricketson Joan P Robinson Cathy and Peter Rogers Doug and Elisabeth Scott Martin and Susan Shirley Dr Sam Smorgon AO and Mrs Minnie Smorgon John So Dr Michael Soon Jennifer Steinicke Dr Peter Strickland Pamela Swansson Jenny Tatchell Frank Tisher OAM and Dr Miriam Tisher P and E Turner The Hon. Rosemary Varty Leon and Sandra Velik Sue Walker AM Elaine Walters OAM and Gregory Walters Edward and Paddy White Nic and Ann Willcock Marian and Terry Wills Cooke Lorraine Woolley Panch Das and Laurel Young-Das Anonymous (19)
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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 Scobie and Claire Mackinnon Trust 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
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Luci and Ron Chambers Beryl Dean 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
HONORARY APPOINTMENTS Ambassador Geoffrey Rush AC Life Members Sir Elton John CBE Ila Vanrenen The Late John Brockman AO The Late Alan Goldberg AO QC
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