MY FAVOURITE THINGS AN EVENING OF RODGERS AND HAMMERSTEIN T H U R S D AY 1 0 M AY & S AT U R D AY 1 2 M AY, 8 P M C O N C E RT H A L L , S Y D N E Y O P E R A H O U S E
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AN EVENING OF RODGERS & HAMMERSTEIN
MY FAVOURITE THINGS Conductor
Brett Weymark Soloists ano Jacqueline Mabardi Soprano o Ariya Sawadivong Soprano David Corcoran Tenor Michael Lewis Bass Assistant Chorus Masters Anthony Pasquill Elizabeth Scott Sydney Philharmonia Festival Chorus and Orchestra Approximate Durations: • First half 45 minutes • 20 minute interval • Second half 45 minutes The concert ert will conclude c at approximately 10pm
Artistic Director’s Note I grew up listening to the music of Rodgers and Hammerstein so this concert is very special to me. Before I had heard a single bar of Mozart’s Don Giovanni or Bach’s Goldberg Variations, now such important pieces in my life, I could probably recite the entire script of The Sound of Music, The King and I and Oklahoma! Not just because they were compelling stories told by great actors and singers about places in Europe, Asia and America, but because they were available, that is, they had a life outside the theatre on television. The real reason for the longevity and popularity of these works has been the transition from theatre to living room. In the early seventies, commercial stations often played great films at the prime time of Sunday night, and households stopped to watch. Given the subject matter of these works from racism, suicide and war to persecution and even illegal immigration in Flower Drum Song, they are shining examples of what a music drama can be – not just in terms of entertainment but also with regards to content and comment. It is little wonder that these works have become masterpieces, with the National Theatre’s London production of Oklahoma! starring Hugh Jackman a few years ago, and opera companies now presenting works such as The King and I and South Pacific. Even Sir Andrew Lloyd Webber was aware of the potency of these works, devising a reality audition television program in the UK to cast the lead role in The Sound of Music called “How do you solve a problem like Maria?” The endeavor revitalised the West End and encouraged a whole new audience to experience these works live in the theatre. Tonight, to perform these works with a great team of experienced soloists, a large and enthusiastic chorus and a superb symphony orchestra is a highlight of the Sydney Philharmonia calendar. I challenge you to not leave the Concert Hall tonight without having one of these great tunes stuck in your head! These are just a few of our favourite things.
Brett Weymark Artistic and Musical Director
Programme Prologue and The Sound of Music
The Sound of Music
The Sound of Music Main Title
The Sound of Music
Do-Re-Mi
The Sound of Music
June is Bustin’ Out All Over
Carousel
I Enjoy Being a Girl
Flower Drum Song
You are Beautiful
Flower Drum Song
There is Nothing Like a Dame
South Pacific
Keep It Gay
Me and Juliet
People Will Say We’re In Love
Oklahoma!
Soliloquy
Carousel
You’ll Never Walk Alone
Carousel
MY FAVOURITE THINGS Interval
It’s a Grand Night For Singing
State Fair
Happy Talk
South Pacific
I’m Gonna Wash That Man Right Outta My Hair
South Pacific
Some Enchanted Evening
South Pacific
Kansas City
Oklahoma!
Love, Look Away
Flower Drum Song
I Have Dreamed
The King and I
I Whistle A Happy Tune
The King and I
Something Wonderful
The King and I
Climb Ev’ry Mountain
The Sound of Music Rodgers & Hammerstein: My Favourite Things
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Rodgers & Hammerstein and American Musical Theatre Richard Rodgers and Oscar Hammerstein II were already famous names on Broadway when they teamed up in 1943 to write Oklahoma! Rodgers was the music writing half of the successful song writing team of Rodgers and Hart, and Hammerstein had contributed the lyrics to twenty-six operettas including The Desert Song and Rose-Marie. His biggest success was Show Boat (1927), acknowledged now as a masterpiece, and considered to be the first American musical to successfully integrate dramatic plot and music. American music theatre in the first decades of the 20th century fell into two broad categories – operetta and musical comedy. Sentimental European style operettas had quasi-operatic music, with romantic plots usually set in an idealised past time, onedimensional characters, and melodramatic acting. Frivolous musical comedies with farcical plots, comic characters, dancers, and beautifully dressed chorus girls featured popular “hit” songs (the best were by Gershwin, Cole Porter, and Rodgers and Hart). Both operettas and musical comedies were meant to be light entertainment, and for both, the plot existed as a vehicle for the songs. Serious thought-provoking drama belonged on the straight, “legitimate” stage. Rodgers and Hammerstein thought it should be possible to write “a form of musical play…which could attain the heights of grand opera and still 6
Rodgers & Hammerstein: My Favourite Things
Richard Rodgers
Oscar Hammerstein II
keep sufficiently human to be entertaining”.
are played straight rather than operetta fashion…” according to Variety), and while there was humour there were no gags, puns or double entendres. In another departure from the usual Broadway musical comedies, there were no star singers and particularly no star comedian. (Groucho Marx had been suggested for the peddlar Ali Hakim, but was strongly vetoed by Rodgers and Hammerstein!)
Oklahoma! opened on Broadway on 31 March 1943. As soon as the curtain rose the audience realised this was not the usual musical comedy. There was no line of high kicking chorus girls in short skirts and ten gallon hats, no wisecracking coarse comedian, no big production number featuring the title song. Instead, there was a lone voice off stage singing what sounded Until Oklahoma!, it had been the practice like a folk song (“Oh, what a beautiful for songs to be delivered directly to the mornin’”) and a woman churning butter. audience, but now it was as though the When the song ended “it produced a sigh characters were unaware that they were no from the entire house that I don’t think I ever longer speaking, but heard in the theater” singing. The songs “No gags. No gals. No chance.” said an opening night were integrated Producer Michael Todd after the opening night observer. “After a into the script: they of Oklahoma! verse like that, sung to advanced the plot a buoyant melody, the and fl eshed out the characters who were banalities of the old musical stage became real, everyday people. The use of recurring intolerable,” said the New York Times musical themes worked as motifs which reviewer. underlined and connected developments in The show’s opening was labelled the plot. unorthodox by the Variety magazine Dance was used in the same way, not just as reviewer because “[chorus] girls do not entertainment but as part of the narrative. come on for 35 minutes”, but it was not only The famous “dream ballet” sequence lasted the lack of girls that was unconventional. for fifteen minutes and used a blend of The plot was no longer just there to raise ballet and modern dance to portray the a laugh, but instead was a strongly written lead female character’s internal struggles in dramatic story which engaged the audience a way which was entirely new for Broadway. and stirred real emotions. Although it According to the choreographer Agnes finishes on a note of optimism, to which de Mille, in Oklahoma! “ballet was so American audiences strongly responded, enmeshed with the characters and the plot Oklahoma! has some dark elements. The development that it could not be deleted.” thinly veiled aggression of the farm hand Judd Fry and his threatening, foreboding For the first time a stage show espoused presence drives the plot. Antipathy the values and culture of American society. between the two main male characters Its representation of an idealised American is resolved by a knife fight and Fry’s death community whose members worked onstage. The acting was naturalistic (“roles together to overcome their differences was Rodgers & Hammerstein: My Favourite Things
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hugely popular with American audiences, coming as it did in the middle of World War II. Oklahoma! ran for five years on Broadway, followed by a national tour which lasted ten years, and gained its creators a Pulitzer Prize.
20th century, writing that Rodgers and Hammerstein “set the standards for the 20th century musical, and this show features their most beautiful score and the most skilful and affecting example of their musical storytelling”.
Photo: The Rodgers & Hammerstein Organisation
Rodgers and Hammerstein followed One of its best known songs, “If I loved Oklahoma! two years later with Carousel, you”, comes close a story about a small “Oklahoma! is about a picnic. to opera in the time criminal who expressive intensity abuses his wife, and Carousel is about life and death.” which is built into the suicides when a Stephen Sondheim musical structure. robbery he attempts Like many of Rodgers and Hammerstein goes wrong. Fifteen years later he returns songs it requires a trained singer with a from beyond the grave to make amends to high level of technical skill to do it justice. his wife and daughter. In 1945, when many Most of the musicals have an anthem-like Americans were grieving losses caused song containing genuine emotion at their by World War II, Carousel’s story was dramatic heart, and the “popular” singers particularly poignant. from the musical comedies could not cope Carousel was Richard Rodgers’ favourite with the demands of songs like “You’ll never of all his musicals, and he commented walk alone” in Carousel, and “The Sound of that “it affects me deeply every time Music” and “Climb every mountain” in The I see it performed”. Time magazine Sound of Music. named Carousel the Best Musical of the
“Do-Re-Mi”. Mary Martin as Maria gives the von Trapp children a music lesson, in a scene from the original 1959 Broadway production of The Sound of Music. 8
Rodgers & Hammerstein: My Favourite Things
Rodgers and Hammerstein wrote five outstandingly successful musicals, all of which had strong storylines and an underlying political message that was dear to Hammerstein – a vision of tolerance and acceptance of difference. South Pacific and The King and I are essentially musical morality plays. South Pacific explores racial prejudice through the experience of two Americans serving overseas in World War II. Its message was summed up in “You’ve got to be carefully taught”, in which the young American Lieutenant Cable complains bitterly that it was American society which taught him to be racist. In rehearsals Rodgers and Hammerstein were urged to drop the song because of fears it might offend, and because of it some cities in the deep South, where segregation was still practised, refused to book the show when South Pacific toured America in the early 1950s.
Photo: The Rodgers & Hammerstein Organisation
Over the next fifteen years Rodgers and Hammerstein created eight more muscials, and for each of them Rodgers aimed to create a distinctive musical soundscape which would evoke its setting, aided by the orchestration which Rodgers paid others to do. The music for South Pacific sounds vaguely Polynesian, while The Sound of Music has a Viennese tinge: the Captain and Maria dance a Ländler (a traditional Austrian dance) and “Edelweiss” could pass for a Tyrolean folk song. “Everything’s up to date in Kansas City” from Oklahoma! has an American brashness and directness, while “The Farmer and the Cowman” and the following dance is hoe-down music. For The King and I (the only Rodgers and Hammerstein show with no American character) Rodgers gave the English governess’ songs a European flavour, contrasted with “Oriental” sounding music for the Asian characters.
Ezio Pinza as Emile de Becque and Mary Martin as Nellie Forbush reunited in the final scene of South Pacific – from the original 1949 Broadway production. Rodgers & Hammerstein: My Favourite Things
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Photo: The Rodgers & Hammerstein Organisation
The King and I
The King and I also explores how individuals – the autocratic King of Siam (now Thailand) and Anna, the “civilised” English governess – attempt to deal with cultural differences. Flower Drum Song, also a hit but less well known now, similarly looked at cultural differences betweenEast and West, although in a more light-hearted way and in a contemporary American setting.
musical, which wove together dialogue, song and dance. They showed that musical works could move and engage audiences, that they could have complex characters and deal with serious issues, while at the same time being commercially viable. They set the model for future generations of music theatre composers. Photo: The Rodgers & Hammerstein Organisation
Mary Martin: “I’m Gonna Wash That Man Right Outta My Hair”
By the time Rodgers and Hammerstein came to write The Sound of Music in 1959 Hammerstein was ill from the cancer that would kill him the next year, and he wrote only the song lyrics and not the libretto. Yet it too had a political aspect, in the way the different characters deal with the Nazi occupation of Austria. The stage show was more pungent and the secondary characters more astringent than in the movie version. Rodgers and Hammerstein were hugely successful in achieving the integrated 10
Rodgers & Hammerstein: My Favourite Things
Rodgers and Hammerstein working on the score of Me and Juliet
From Stage to Screen Although the major Rodgers and Hammerstein musicals have been regularly revived by professional and amateur groups, they have endured as part of popular culture largely because most of them were made into movies. Rodgers and Hammerstein waited until the ten-year national tour of Oklahoma! to finish before agreeing to make a movie of it, in 1955. Both men had had bad experiences with the Hollywood studios in the 1930s, and insisted on retaining artistic control. This was highly unusual for the time, and meant that the studio was unable to dilute the integrity of the stage show by changing the plot or adding in songs by other composers, which had been standard practice. The movie stayed remarkably faithful to the stage version although some changes were made including deleting references to a burlesque show in the lyrics of “Kansas City” so that the film would be passed by the strict Hollywood censors. Oklahoma! won an Academy Award for Best Music and Best Score. The movie version of Carousel was released five months after Oklahoma! Frank Sinatra was originally cast as the main character Billy Bigelow, but he pulled out after one day of filming. Gordon McRae, who had been so right as the genial and decent Curly in Oklahoma! was uncomfortably miscast as the no-good Billy in Carousel, and although the movie was successful at the box office it has not worn as well as the better regarded Oklahoma!
South Pacific was filmed in Hawaii. The exotic location should have been perfect for a movie about a remote tropical island but instead it was dull and pedestrian. As one critic said, “everyone seems to be hanging around on beaches waiting for the drama to start.” The use of colour filters to convey mood was supposed to be impressionistic, but the resultant multicoloured faces were laughable even in the 1950s. As a stage show South Pacific was edgy in dealing with its twin themes of racism and sexual exploitation, but the language had to be toned down for the censors, and numerous other changes were made which diluted the impact of the staged version. Like Carousel, South Pacific has not worn well, but when it was released it was the highest grossing of all the Rodgers and Hammerstein filmed musicals until The Sound of Music. The Sound of Music won the Academy Award for Best Picture, Best Director, and Best Score when it was released in 1965. The stage show was another smash hit for Rodgers and Hammerstein, but the extreme worldwide popularity of the movie was and remains a phenomenon. It too was filmed on location, in and around Salzburg, and the exhilarating opening scene (filmed by helicopter) has become one of the iconic moments in movie making. The Sound of Music is the third highest grossing movie of all time and its soundtrack has never gone out of print. Rodgers & Hammerstein: My Favourite Things
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Graphic designers for Sydney Philharmonia Choirs
Print, identity, packaging, web & branding Level 4, 280 George Street, Sydney P 02 9227 9700/F 02 9227 9701 info@eltonward.com.au www.eltonward.com.au
Rodgers & Hammerstein Timeline 1895
Oscar Hammerstein II born
1902
Richard Rodgers born
1919
Rodgers starts writing songs with Lorenz Hart
1920
Hammerstein’s first success on Broadway with Always You
1924
Premiere of Rose-Marie, Hammerstein’s first operetta, a collaboration with Rudolph Friml
1925
Hammerstein works with Jerome Kern on Sunny and with George Gershwin on Song of the Flame. Rodgers and Hart have first major success in musical comedy.
1926
Hammerstein writes The Desert Song with Sigmund Romberg
1927
Hammerstein writes Show Boat with Jerome Kern
1931– Hammerstein works on numerous movie musicals and musical comedies, none 1941 particularly successful 1935– Rodgers and Hart’s most successful musical comedies – Babes in Arms, 1941 The Boys from Syracuse, Pal Joey 1942
Hart debilitated by alcoholism. Rodgers asks Hammerstein to collaborate on a new play, Oklahoma!
MY FAVOURITE THINGS 1943
Premiere of Oklahoma! which would be the biggest hit ever on Broadway
1945
Rodgers and Hammerstein write music for the movie State Fair and their second musical Carousel
1947
Rodgers and Hammerstein write experimental but unsuccessful musical Allegro
1949
South Pacific a critical and popular success
1951
The King and I
1953
Me and Juliet
1955
Pipe Dream. Movie version of Oklahoma!! and Carousel
1956
The King and I is made into a movie
1957
Write score for a live TV musical Cinderella
1958
Premiere of Flower Drum Song. Movie of South Pacific released
1959
Premiere of The Sound of Music
1960
Hammerstein dies. Rodgers continues to write Broadway musicals.
1961
Movie of Flower Drum Song
1965
Movie of The Sound of Music. Rodgers writes Do I hear a waltz? with Stephen Sondheim but there is animosity between them
1979
Rodgers writes I Remember Mama. Dies aged 77 © Program notes and timeline Lynne Murray 2012 Rodgers & Hammerstein: My Favourite Things
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Conductor
Brett Weymark Brett Weymark studied singing at the University of Sydney and conducting at the Sydney Conservatorium of Music under Mats Nilsson, John Hopkins, Henryk Pisarek and Patrick Thomas. He continued his conducting studies in England, Europe and America in the late 1990s. During that period he also performed with Opera Australia, The Song Company and Musica Viva, amongst others, as well as lecturing in the Theatre Department of the University of Western Sydney. He was awarded a Centenary Medal in 2001, for services to choral music. In 2003, Brett Weymark was appointed Musical Director of Sydney Philharmonia Choirs, for whom he has conducted in performances of Bach’s St Matthew and St John Passions and Christmas Oratorio, the Requiems of Mozart, Verdi, Duruflé and Fauré, Orff’s Carmina burana, Handel’s Messiah and Jephthe, Purcell’s Dido and Aeneas, The Tempest, Funeral Music for Queen Mary and Ode to St Cecilia, Tippett’s A Child of Our Time and world premiere performances of works by composers such as Elena Kats-Chernin, Peter Sculthorpe and Andrew Schultz. He has also prepared choruses for such noted international conductors as Sir Charles Mackerras, Zubin Mehta, Edo de Waart, Vladimir Ashkenazy, Charles Dutoit and Sir Simon Rattle. In 2010 Brett Weymark directed the Sydney Philharmonia Choirs in several world premieres to celebrate the choir’s 90th anniversary, toured with the choir to London to appear in the BBC Proms, conducted the Tasmanian Symphony Orchestra and the contemporary Indigenous ensemble Black Arm Band. Under his direction, the choir was awarded an 2010 Helpmann Award for it’s part in Stravinsky’s Oedipus Rex and Symphony of Psalms directed by Peter Sellars and was nominated for a 2010 Limelight Award for his production of Purcell’s King Arthur. In 2011 he opened the Sydney Philharmonia season with Bach’s St John Passion and conducted the Sydney Symphony as part of the 2011 Sydney Festival in Midsummer Shakespeare with Australian actor John Bell and conducted Die Fledermaus for WAAPA. Highlights this year include working with the Tasmanian Symphony Orchestra and Sydney Symphony Orchestra, conducting Don Giovanni, Carmen and The Taming of the Shrew as well as conducting works as varied as Victoria’s Requiem and Britten’s St. Nicolas for Sydney Philharmonia Choirs. 14
Rodgers & Hammerstein: My Favourite Things
Assistant Chorus Master
Anthony Pasquill Born in Royal Leamington Spa, Anthony began his musical training in the choir of Lichfield Cathedral where he has appeared with Dame Kiri Te Kanawa, Michael George and the BBC Philharmonic Orchestra. Before moving to Australia he gained a BMus from Leeds University in clarinet performance and spent a year studying at the University of North Texas. Anthony is currently completing his MMus in conducting at the Sydney Conservatorium and is also Musical Director of Sydney based chamber choir Bel a cappella. 2012 sees him conduct the Australian premieres of Peteris Vasks’ Missa and George Dyson’s Hierusalem with Bel as well as his work with the Sydney Philharmonia Choruses.
Assistant Chorus Master
Elizabeth Scott Elizabeth Scott graduated from the Sydney Conservatorium of Music in 1995 as a flute major having earned the prestigious Student of the Year Award and the Reuben F. Scarf Scholarship for academic and musical excellence. As the holder of scholarships from the Hungarian Ministry of Education, she then completed post-graduate studies in choral conducting, vocal performance and aural training in Hungary and Germany before returning to Australia in 2004. Elizabeth was the Assistant Chorus Master to Sydney Philharmonia Choirs from 2006 to 2008 and has been the Musical Director of Vox, Sydney Philharmonia’s youth choir since 2008. She is the Associate Conductor of Sydney Chamber Choir and is also in demand as a guest choral director for ensembles including Coro Innominata, Macquarie University Singers, the Conservatorium High School and Orpheus Choral Music. Elizabeth is currently Music Projects Officer at The Arts Unit, a specialist branch of the Department of Education and Training and is the Director of Vocal and Choral Studies at the Conservatorium High School. Since 2007, Elizabeth has been part of Symphony Australia’s Conductor Development Program and in 2008 was awarded the Sydney Choral Symposium Foundation Choral Conducting Scholarship. Elizabeth sings regularly with Cantillation and has performed and recorded with Pinchgut Opera and The Song Company. Rodgers & Hammerstein: My Favourite Things
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Soprano
Jacqueline Mabardi Brisbane-born Jacqueline Mabardi has appeared as soloist at the Shalyapin music festival in Kazan, Russia; Aida at the Helicon Theater Moscow; gala concerts for the opening of the Galina Vischnewskaja Opera Centre, Moscow; Lisa in Pique Dame for the Ravenna festival, Italy; Nedda in Pagliacci in Lithuania and Rosalinde in Die Fledermaus in Germany and Australia. In 2009, Jacqueline Mabardi sang Minnie in a new production of La fanciulla del West for State Opera of South Australia and appeared in Opera Australia’s New Year’s Eve Gala in Sydney. The following year, she sang Minnie as well as the title role in Tosca for Opera Australia. In 2011, Jacqueline appeared as Lady Macbeth in Macbeth, Curly’s Wife in Of Mice and Men and Musetta in La bohème for Opera Australia. She maintains her association with the national company in 2012 by undertaking the title role in Aida for their Sydney Winter Season; she will also appear as Musetta for SOSA.
Soprano
Ariya Sawadivong Brilliant young Thai-American soprano Ariya Sawadivong is in increasing demand for operatic and concert performances around the world. A native of Asheville, North Carolina, Ariya graduated from the prestigious Academy of Vocal Arts (AVA) in Philadelphia where she studied with Ruth Golden. Most recently, Ariya portrayed the role of Mimi in La bohème with Bozeman Opera, Montana. Amongst her frequent appearances on the concert platform, she has sung the soprano solos in Orff’s Carmina Burana with the Bucks County Symphony, and Vivaldi’s Gloria with the Asheville Symphony Orchestra. The recipient of many awards and scholarships, Ariya placed second in the Palm Beach Opera Vocal Competition, received an encouragement award at the Metropolitan Opera National Council Auditions, third in the Mario Lanza Competition in Philadelphia and was a 2007 finalist in the Loren L. Zachary Society National Vocal Competition. In 2011, Ariya joined the principal ensemble of Opera Australia and appeared as soloist with the Queensland Symphony Orchestra. 16
Rodgers & Hammerstein: My Favourite Things
Tenor
David Corcoran David Corcoran completed Psychology at Deakin University before commencing singing studies with John Lander. He then studied a Diploma of Opera at the Sydney Conservatorium of Music with Dr Rowena Cowley. David is the recipient of numerous awards including Opera Foundation Australia’s 2006 Italian Opera Award, and the prestigious 2007 McDonald’s Performing Arts Challenge Operatic Aria Award. In 2009 David became a member of the Moffatt Oxenbould Young Artist Program and is now a Principal tenor with Opera Australia. Roles so far have included Pinkerton (Madama Butterfly), Rodolfo (La bohème), Captain/Hippolytus/Narrator (The Love of the Nightingale), Zinovy Ismailov (Lady Macbeth of Mtsensk), Lover (Il tabarro), Bob Boles (Peter Grimes), David in Brett Dean’s Bliss in Sydney, Melbourne and at the Edinburgh Festival, and concert engagements with the Melbourne Symphony Orchestra and Sydney Philharmonia Choirs. 2012 engagements include Pong (Turandot), Victorian (Die tote Stadt), Narraboth (Salome) and Pinkerton (Madama Butterfly) with OA.
Bass
Michael Lewis Michael Lewis, one of Australia’s most respected singers, is highly regarded for his command of both the operatic and concert repertoire. His debut at the Wexford Festival in 1976 was followed by appearances at the Glyndebourne Festival, Welsh National Opera, Scottish Opera, English National Opera and Opera North. Since this time, Michael has appeared in Europe, America and Australia in a wide range of roles from Mozart to Wagner to 20th Century works. Recent concert highlights include his Concertgebouw debut in Samuel Barber’s Vanessa under Maestro Jaap van Zweden and solo appearances with Sydney Philharmonia and all the major Australian symphony orchestras. For Opera Australia in 2011, he sang Germont (La Traviata), Olivier (Capriccio) and the title role in Macbeth; 2012 brings performances as The Count (Le nozze di Figaro) and Sharpless (Madama Butterfly). Michael Lewis was awarded the Medal of the Order of Australia (OAM) in the Queen’s Birthday Honours List 2008. Rodgers & Hammerstein: My Favourite Thingsl
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Sydney Philharmonia Festival Chorus Artistic and Musical Director Brett Weymark Assistant Chorus Masters Anthony Pasquill, Elizabeth Scott Rehearsal Pianists Josephine Allan, Chris Cartner, Sally Whitwell Soprano Pamela Aked Helen Alajajian Rosemary Atkinson Oon Ja Bae Marion Baer Martha Ban Christine Barnes Claire Bennett Blaine Bester Anne Birt Christine Bishop Georgina Bitcon Jodie Boehme Lea Bouganim Sue Bowring Lynette Boyce Patricia Bradley Juliette Buckingham Erica Buzo Angela Campbell Samantha Cassell Louisa shui-Ching Chan Natalie Christiansen Annette Clark Heather Clemens Jennifer Corney Louise Coster Patricia Cotter Nathalie Crane Shirley Crawford
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Adele Cristaudo Michelle Crook Rouna Daley Helen Dalton Catherine De Luca Mirijana De Vries Robbe Nathalie Deeson Marie Deverill Liz Efinger Soline Epain-Marzac Grace Famularo Sonya Fernandes Heidi Fisse Nancy Flitcroft Susan Freeman Sharon Froome Susan Gandy Ballina Gee Sue Giorgiutti Giulia Giuffre Kathy Gollan Lyudmyla Goncharova Sally Gordon Barbara Gough Dawn Grayce Penelope Greenhalgh Mary Grieve Dallas Griffin Vanessa Hanley
Rodgers & Hammerstein: My Favourite Things
Rachel Harris Angela Hart Emesini Hazelden Barbara Hearne Erika Hobotne Molner Berit Hurst Jennifer Jacobs Sue Justice Prue Kennard Rychelle Kiely Joo Li Kim Margaret Lackenby Susan Landreth Stephanie Lang Hannah Leach Bettina Leate Judy Lee Avril Llewellyn Carolyn Lowry Charlotte Lyons Fonnie Mak Jennifer Manning Helen Maxwell Norma McDonald Maureen McFadyen Jocelyn McFarlane Georgina Melick Angela Melick Karen Miles Elizabeth Millar Bernadette Mitchell
Mary Mortimer Gillian Moynihan Margaret Murphy Helen Murray Joy Nason Elizabeth O’Connor Pauline Paul Janice Peak Fiona Peare Anna Pender Robyn Phillips Therese Pinson Robin Pollock Marisa Pongan Laurel Reynolds Eva Riley Jeanne Robertson Sylvia Romanik Coralee Rose Patricia Row Monique Rueger Elna Schonfeldt Helen Sharp Rayner Soothill Wendy Speight Rosalie Stacey Lena Stalhandske Lesley Suggett Margaret Symes Maralyn Tannous Susan Thomas Clare Tilbury
Alice Tiller Melisa Tonge Lynn Turnbull-Rose Stephanie Vidler Hanna Wagner Tanya Walker Margaret WardHarvey Catherine Wargent Rosalyn Whiley Jacqui Wilkins Nicola Wilson Alison Wood Susie Woodhouse Angeline Zaghloul Lisa Zang
Alto Louise Bain Amanda Baird Sally-Ann Barbera Elizabeth Barraclough Susan Barrett Marsha Beck Gillian Behrens Britta Berger-Meehan Diane Bertelsmeier Jackie Blackledge Robyn Blainey Liz Blyth Kate Bowen-Jones Pam Bray Jane Brodribb Diana Burrell Jacqueline Buswell
Sophie Caldwell Fran Cane Anna Cartwright Rachel Castle Averill Chase Katherine Cheung Judy Christian Tina Claridge Ruth Cleary Jennifer Cook Karen Craigie Kate Crook Fran Cunneen Virginia Davies Diane Deane Helen Dignan Elizabeth Donati Julie Dowsley Catherine Dunn Judy Dunstan Gail Edinborough Sue-Ellen Fairall Sharon Finn Angela Foster Sue Francis Jeanette Freeman Lynne Frolich Eleonore Fuchter Penny Gay Marie Gilbert Robyn Gilbert Rebecca Gladys-Lee Susan Gordon Diana Gray Trudy Grice Andrea Haas
Lesley Halamek Tracy Hall Valerie Hanson Kathryn Harwood Cynthia Haskell Susan Hatherly Patricia Haynes Anne Heritage Margaret Hills Katie Hislop Marijke Hol Alison Horan Adele Hudson Elaine Jackson Diana Jefferies Joan Jones Fiona Joneshart Beverley Jordan Julie Kalitis Sally Kennedy Ana Kharoufeh Saya Koike Serena Kozanic Isabella Laing Veronica Lambert Gillian Lamberti Peita Laufer Kate Lawson Penny Le Couteur Penelope Lee Deborah Lee Heather Lees-Smith Sara Lewis Edda Lewis Belinda Lloyd Madi Maclean
Rosemary Madden Rosalie Marishel Judith Marquardt Valerie Marteau Charlotte Martin Roshana May Susan McCarthy Geanne Merrick Elizabeth Meyer Laura Meyer Ruth Mitchell Ingrid Moller Sam Mosse Gabriele Munro Frances Neilson Anne Nguyen Louise Nicholas Kathleen Oakley Patricia O’Brien Catherine O’Grady Tiffany O’Neill Fiona Ormsby Patricia Payn Helen Pedersen Roisin Pengelly Joanne Perry Dianne Peters Susan Ping Kee Mary-Ann Pontifex Tracey Porter Kristina Proft Marilyn Ramage Penelope Rodger Felicity Saunders Marlyn Sciberras Sandra Scott
Rodgers & Hammerstein: My Favourite Things
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Sandra Simpson Daphne Sivasubramniam Deborah Smith Megan Solomon Lindy Stuart Carmel Summers Lauren Tan Kerstin ThornSeshold Susan Tooker Stephanie Trimas Lindy van Camp Sheila van Holst Kay Vernon Kylie Watt Jeanette Webb Barbara Webb Barbara Weissflog Christina Wilcox Anne Wilcox Alyson Wills Rhian Windridge Susan Wittenoom Louisa Wright Susan Wright Roswitha Wulff Chari Xuereb Noriko Yamanaka Yoshika Yamanaka
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Tenor
Bass
Mark Ashdown Andrew Birt Paul Boswell Simon Cadwallader Michael Darmody Nigel Davies Jenny Edwards Kate Foot Cecil Grivas Steven Hankey Bronwyn Harvey Len Hutton LaToya Johnson Alistair Johnston Ron Kelly Ayse Kiran Patrick Leonard Vincent Lo Jeffrey Mellefont John O’Brien Tim O’Reilly James Pannowitz Alun Probert Ronald Proft Ken Ryan Barbara Sinclair Clive Sinclair-Smith Robert Smith Paul Soper Rhonda Stapleton Margaret Tye Margaretha Wienekamp
John Baird Bryan Banston Victor Batorijis Simon Boileau Ronald Brown Kyle Buchanan Sam Burrell Myron Byrne Gordon Cheng Daryl Colquhoun Stefan Couani Donald Denoon Leo Dent Graham Dick Gregory Don Bill Dowsley Peter Durie Tom Forrester-Paton Jordan French Paul Goyen Nigel Griffiths John Hardy David Hazelden John Hyde David Jacobs Ian Jurd Robert Mann David McDonald Frank Monagle Denis Moore Rick Musial Eric Nelson
Rodgers & Hammerstein: My Favourite Things
John Pender Phillip Perry Alister Robinson Andrew Rodger Devlyn Song Russell Stapleton Warren Stoyles Tony Thompson Nicholas Tong Michael Walpole David Wood
Sydney Philharmonia Orchestra Concertmaster Alice Evans Violin 1
Double Bass
Horn
Harp
Alice Evans* Heather Burnley Caron Chan Dominique Guerbois Victoria JaconoGilmorovic Belinda Jezek Michele O’Young Heloise Pyne
Brett Berthold* Helen Cosgrove Oliver Simpson
James McCrow* Brendan Parravicini Julia Zeltzer
Leigha Dark*
Flute
Trumpet
James Fortune* Alexandra Castle Christine Draeger*
Brian Evans* Justin Lingaard Melanie McLaughlin
Oboe
Trombone
Huw Jones* Matthew Bubb Alexander Fontaine
Nigel Crocker* Ros Jorgensen Brett Page*
Clarinet
Tuba
Ian Sykes* Lisa McCowage Craig O’Driscoll*
Matthew Walmsley* y*
Violin 2 Myee Clohessy* Angela Cassar Dominique Gallery Jono Hendl Narina Melconian Esmerelda Tintner Jo Toouli
Viola Yvette Goodchild* Faith Austin Valmai Coggins Laura McCrow Georgina Price
Percussion Richard Gleeson*
Kit James Castisos
Keyboard Sally Whitwell*
* Denotes Section Leader
Bassoon Tony Grim* Victoria Grant
Cello Jo Constantino* e Kahn Clare ris Lo ock c ha hard ardt rd dt Chris Lockhardt ron on nwy wyn Why wyn yatt Bronwyn Whyatt
Rodgers Rodger & Hamme Hammerstein: merst me rstein ein: i My Fa Favourite Things
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Sydney Philharmonia exists to champion the soul stirring power of the human voice and to enrich the lives of performers and the wider community through compelling and passionate performances of choral music.
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Handel: Messiah
About Sydney Philharmonia Choirs Sydney Philharmonia Choirs Formed in 1920, Sydney Philharmonia Choirs is Australia’s leading choral organisation. The principal choirs Chamber Singers, Symphony Chorus and youth choir VOX have a reputation both nationally and internationally for inspired performances of grand symphonic choral works. Each year our diverse repertoire spans early a cappella works to challenging contemporary music. As well as appearing often with the Sydney Symphony, Sydney Philharmonia Choirs presents an impressive annual concert series that regularly meets with critical acclaim. ‘The Philharmonia Choirs captured the extremity of range and colour and achieved a thrilling sound in the outer movements.’ John Adams Harmonium, The Sydney Morning Herald Our yearly programs give audiences the opportunity to experience the incomparable beauty and exciting precision of trained voices in renowned sacred and secular masterpieces. SPC has also premiered several Australiancommissioned works for chorus and orchestra, including Peter Sculthorpe’s To Music. Striving to make the joy of choral singing accessible to everyone, SPC supports several massed choir programs; Festival Chorus, the Massed Choir in Handel’s Messiah at Christmas and the popular open training program Chorus Oz. In 2012 SPC has launched Sound Developments, a six-week course aimed at building sight-reading and vocal skills. The course will be run twice this year, in May–June and Aug–Sept. We regularly encourage singers to audition for our choirs, details of which can be found on our website. To find out more information about our courses and how to audition, please call us on 02 9251 2024 or visit our website: www.sydneyphilharmonia.com.au Handel: Messiah
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Highlights from Bizet’s immortal
A big and bold performance with over 700 musicians. Register to participate on www.sydneyphilharmonia.com.au/chorusoz or see below for booking details.
SUNDAY 10 JUNE 6PM · SYDNEY OPERA HOUSE CONDUCTOR Brett Weymark SOLOISTS Cassandra Seidemann, Bradley Daley, Andrew Jones, Gennadi Dubinsky BOOKINGS 02 9250 7777/ 02 9251 3115 Online: sydneyphilharmonia.com.au sydneyoperahouse.com TICKETS $50/$45 Concession (plus booking fees)
Sydney Philharmonia Choirs – Who We Are General Manager Atul Joshi
Operations Manager Mariese Shallard
Artistic & Musical Director Brett Weymark
Choir Manager Mark Robinson
Musical Director: VOX Elizabeth Scott
Development Manager Lisa Parragi
Assistant Chorus Master Anthony Pasquill
Administration Assistant Thomas Chiu
Accounts Robert Gu Paula McCormack Intern Simone Georgi
Sydney Philharmonia Choirs Pier 4, Hickson Road, Millers Point NSW 2000 t (02) 9251 2024 f (02) 9251 2117 w www.sydneyphilharmonia.com.au e-news ‘Voicemail’ Sign up to receive our quarterly e-newsletter sydneyphilharmonia.com.au/voicemail
Donors A special thank you to all of our generous donors who make our work possible. $50 000+ Mr Robert Albert AO RFD RD
$10 000+ Anonymous x 2 Ars Musica Foundation Hunter Hall International Limited The Ian Potter Foundation Estate of Ruth Jurd Mr John Lamble AO Macquarie Group Foundation The Pratt Foundation
$1000–$9999 Anonymous x 4 Mr Michael Ahrens Mr David & Mrs Isabel Argyle Ms Nanette Borrie Mr & Mrs David & Halina Brett Mr J.D.O. Burns Prof. Edmund Campion Mr Philip Crenigan Mr Michael Crouch AO Ms Rouna Daley Mr Chum Darvall Mr Ian Davies Mr Malcolm Day Ms Ruth Edenborough Mr Paul Green
Mr Cecil Grivas Ms Tracy Hall Mr Peter Hall Mr & Mrs John Harry Ms Vesna Hatezic Ms Susan Hatherly Ms Despina Kallinikos Mrs W.G. Keighley Mr Francois Kunc SC & Ms Felicity Rourke Mr Adam Liberman Mr Frank Maio Ms Mary Mortimer & Donald Denoon Mr Brian Nebenzahl AO RFD & Mrs Jocelyn Nebenzahl Dr Zula Nittim Ms Lindsey PagetCooke Patricia H. Reid Endowment Pty. Ltd. Mr Michael Ryan Mr Robert Thomson Mr Nicholas Tong Judge Robyn Tupman Ms Sara Watts Mr Anthony Whelan Ms Jacqui Wilkins
$500–$999 Anonymous Mr Matthew Allchurch Mr Malcolm Alder Mr Phillip Bell
Mr Simon Boileau Ms Gae Bristow Mrs Ursula Burgoyne Ms Rachel Castle Dr Michael Clark Mr Robert Clark Mr Julian Coghlan Mr Philip Crenigan Mr Malcom Day Ms Ernestine de Vries Ms Elizabeth Donati Mrs Liz Efinger Mr Denys Gillespie Mr Paul Goyen Mr Robert Green Mr Warren Green Ms Sara Howell Mrs Christine Kenworthy Dr Veronica Lambert Mr Peter Leonard Ms Alison McIntyre Ms Rhondda McMurray Mr Chris Moore Mr Frank Nicholas Ms Dympna Paterson Mr Peter Poole Ms Beverley Price Mr David Randall Dr Agnes Sinclair Ms Megan Solomon Mrs Rayner Soothill Mrs Vanessa South Ms Sheryl Taylor
Mr & Mrs Larry Turner Ms Maree Tyrell Justice Anthony Whealy Mr Robert Williams Mr David Wood Mr Doug Wood Sydney Philharmonia Coffee Club (Phoebe Ferguson & helpers)
$2–$499 Anonymous x 15 Mrs Margaret Ahrens Mr Garth Alperstein Dr David Atmore Ms Susan Baglin Ms Annette Bain Ms Amanda Jane Baird Mr John Baird Mr Martin Baird Mr Michael Barbour Mrs Nan Barnes Dr Helen Bashir Dr Nicholas Bassal Ms Jane Batts Mr Brian Beech Mr Philip R. Bell Ms Sandra Bell Mrs Elke Benson Mr Martin Bibby Mr Andrei Binetski Mrs Jacqui Binetski Ms Georgina Bitcon
Ms Anne Blake Ms Ruth Blunt Ms Jodie Boehme Ms Bettina Boss Ms Elizabeth Bradhurst Mr & Mrs Francis Brady Mrs Rosemary Brady Ms Anne Britt Mr Malcolm Broun Mr Geoff Brown Mr Neil Buchanan Mrs Mary Burchell Ms Claire BurrellMcDonald Dr Elizabeth Burcher Ms Anne P. Byrne Mr Peter Callaghan Dr Dianne Campbell Ms Jessica Carolan Mr Edwin Carter Mrs Elizabeth Cartmer Mrs Stella Chen Rev Peter Christie Mr Michael Clark Ms Kate Clowes Mr Milton Cohen Miss Margaret Coleman Mr Darryl Colquhoun Miss Pat Conder Ms Anne Cooke Mrs Mavis Cooney Mr John Coorey Mr Paul Couvret Mr William Cowie Mrs Lynne Crocker Ms June Cunningham Mr Anthony Darcy Miss Rosalyn Davis Dr Richard Day Ms Silvie De Poe-Distel
Mr & Mrs Brian & Natalie Deeson Ms Catherine de Luca Ms Diana Delley Mrs Dorothy Devery Ms Vanessa Downing Dr Janet Duggin Mr Peter Durie Mrs Caroline Earls Ms Rachel Eddowes Ms Helen Enright Ms Soline EpainMarzac Mr John Erikkson Ms Elizabeth Evatt Ms Enid Eyles Miss Bernice Fahey Miss Lynette Falconer Ms Jan Fawke Ms Ilona Ferguson Mrs Beverley Firth Ms Sylvia Florin Mr Christopher Foskey Ms Angela Foster Ms Jean Fotheringham Ms Nadia Fried Mr Alan Garner Ms Penny Gay Ms Linda Gerryts Ms Joan Gillespie Ms Jemma Golding Ms Edith Gray Mr Luke Greenacre Ms Penelope Greenhalgh Ms Julie Grieg Mrs Madeleine Gross Ms Claudia Gschwind Mr Paul Gunning Mr David Gyger
Mr Matthew Gyton Mrs Kathleen P. Hamilton Ms Steven Hankey Mrs Christine Harcourt Ms Matilda Hartwell Ms Kathryn Harwood Mr Ken Healey Ms Deborah Henville Miss Karen Henwood Ms Jude Holdsworth Mr Colin Hopkins Ms Sally Hopkins Ms Patricia Howes Mr Keith Hughes Mrs Beth Hunwick Mr David Jacobs Mr Alistair Johnston Mrs Eva Johnstone Mrs Merle Jones Ms Sue Justice Mr Keith Keen Ms Christine Kenworthy Ms Tamsin Khan Mrs Gertrude Koenig Mr Nicholas Korner Mrs Lily Krienbuhl Ms Christine Lacey Ms Margaret Lackenby Mrs Julie Laforest Ms Roslyn Laird Ms Penny Le Couteur Ms Bettina Leate Mr Graham Lewarne Mrs Jean Long Ms Robin Low Mrs Carolyn Lowry OAM Ms Rosalie LundConlon Ms Lyanne MacFarlane
Mrs Jane Macgowan Mrs Elizabeth Mackinnon Ms Linde Macpherson Mr Des Madden Ms Rosemary Madden Mr Frank Maio Makinson & d’Apice Prof. & Mrs Bruce Mansfield Mr Ken Martin Mrs Patricia Martin Ms Suzanne Mathews Mr Tim Matthies Mr Michael & Jim McAlary Ms Judith McDonald Mr Kenneth McDonald Mrs Margaret McDonald Mr Duncan McKay Ms Maggie McKelvey Mrs Jenny McNaughton Ms Susan Melick Mr David Miller AM Miss Lyn Milton Mr John Mitchell Mr Brian Moloney Ms Penelope Morris Ms Helen Murray Ms Patricia Murphy Ms Sarah Myerson Ms Susan Nicholas Dr Janet Ninio Mr Graham North Ms Susie North Dr Edward Nuffield Ms Kathleen Oakley Ms Patricia O’Brien Ms Pat O’Dea Mr Rina Pacca
Ms Sarah Parker Ms Dympna Paterson Dr Helen Pedersen Ms Anna Pender Mrs Dagmar Pidd Mr Nigel Poole Mr Peter Poole Mrs Ruth M. Proctor Ms Caroline Pugh Mr Chris Raper Ms Jennifer Raper Ms Ruth Redgrave Ms Kate Reid Mrs Sandra Robberds Ms Virginia Roberton Mr Keith Roberts Ms Susie Roberts Mrs Jeanne Robertson Ms Annette Rooney Mr David Ross Ms Catherine Rowe Dr Helen Roxburgh Mrs Pam Ryan Ms Yumi Sakai-Harmelin Mr & Mrs Ian Sappay Ms Amanda Savage Dr Ian Seppelt Ms Margaret Shaw Dr Arabella Smith Mr Herbert Smith Dr William E. Smith Mr David Snedden Mrs Rayner Soothill Dr Catherine Storey Ms Leona Sweeney Mrs Margaret Symes Dr Joan Symington Mr James Tait Ms Ling Tay
Dr David Teo Ms Helen Thompson Mrs Susan Tooker Ms Laurel Tsang Mr Nicholas Turner Mrs Mary Turner Ms Patricia Vejarano Ms Kay Vernon Mr James Vincent Mr Anthony Wadey Mrs Flora Walker Dr Michael Walpole Mr Alex Walter Mrs Judith Wand Ms Sue Warth Miss Nicola WarwickMayo Mrs Elizabeth Webby Mrs Barbara Weissflog Ms Kerry Wells Mrs Barbara Wigg Ms Michelle Williams Dr Peter Williams Ms Angela Williamson Ms Alyson Wills Ms Michelle Willis Mr E.A. Winckler Ms Josepine Wiseman Mr Richard Wittenoom Mr Alban Wong-tooYuen Mrs Monica Wood Ms Jocelyn Woodhouse Mr Richard Woods Mr & Mrs J. Young Mrs Marilyn Young Mrs Ellen Yule
Support Sydney Philharmonia Choirs The Power of Singing Sydney Philharmonia Choirs has championed the exhilarating power of the human voice in Australia for almost 100 years. This makes us Australia’s oldest performing arts organisation and one of the oldest community participation groups. Over that time, we have impacted on and empowered tens of thousands of Australians through the communal activity of singing together and have kept a strong choral tradition alive for new generations. We are looking towards our 100th anniversary in 2020, and need your support to enable us to really celebrate our centenary through an expanded range of activities, commissions, and performances which are beyond our usual scale and scope. To realise this vision, and to ensure that our traditions exist for the next hundred years, we need your help in assisting young people to be the future singers, composers, conductors and audiences of tomorrow. Don’t hesitate to contact us directly for further information or to discuss your interest in supporting the work that we do now or in the future. Your donation to Sydney Philharmonia Choirs will help guarantee that great choral music remains at the heart of cultural life in Sydney and Australia. Contact Lisa Parragi Sydney Philharmonia Choirs Pier 4 Hickson Road MILLERS POINT NSW 2000 Phone: 02 9251 2024 Email: lisa@sydneyphilharmonia.com.au www.sydneyphilharmonia.com.au
Patrons & Board Patron Her Excellency Professor Marie Bashir AC CVO Governor of NSW Vice Patrons Lauris Elms AM OBE Hon D. Mus (Syd) Sir David Wilcocks CBE MC Board Craig Pudig (Chairman) Sara Watts (President) Vesna Hatezic (Vice-President) Andrea Hoole (Treasurer) Malcolm Alder Ian Davies Ruth Edenborough Hannah Mason Sheryl Taylor Jacqui Wilkins
Supported by Sydney Philharmonia Choirs gratefully acknowledges financial assistance and support from: The NSW Government throungh the Department of Trade & Investment Arts NSW
Sydney Philharmonia Choirs also thanks the following for their generous co-operation and assistance:
Catherine Wilson and Ascham School
Sydney Philharmonia Ltd. Pier 4 Hickson Road, Millers Point NSW 2000 Phone (02) 9251 2024 Fax (02) 9251 2117 www.sydneyphilharmonia.com.au
Sydney Opera House SYDNEY OPERA HOUSE TRUST
Mr Kim Williams AM [Chair]
EXECUTIVE MANAGEMENT
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