Concert forLife Thedawnofanewera inIndigenoussuicideprevention. Raisingmoneyforsuicideprevention. VerbrugghenHall SydneyConservatoriumofMusic WorldSuicidePreventionDay Tuesday10September2019
Welcome
Weacknowledgeandpayrespecttothe traditionalownersofthelandonwhichwe meet:theGadigalpeopleoftheEoraNation. Itisupontheirancestrallandsthatthe
SydneyConservatoriumandthe UniversityofSydneyarebuilt.
ThankyouforcomingtoVerbrugghenHallthis eveningforthisspecialconcertonWorldSuicide PreventionDay.
OurfirstConcertforLifeattheSydneyTownHall in2015broughtmusiciansfromthreedifferent orchestrastogethertoraisemoneyforsuicide prevention.Iwaspleasedthatinadditiontoraising asignificantamountofmoney,wehelpedraise awarenessoftheurgentworkthatneedstobe donetoreducetheimpactsuicidehason individuals,familiesandthewidercommunity.But whenIsawtheshockingstatisticsonIndigenous suicide,Irealisedthatthishadtobethefocusof attentionforoursecondConcertforLife.The ratesofyouthsuicideareparticularlyconfronting. In1991theIndigenouscomponentofyouth suicideinAustraliawas10percent;by2012it wasastaggering80percent.Evenmore disturbingisthefactthattoday40percentof childdeathsinIndigenouscommunitiesareby suicide.
Allprofitsfromthisconcertwillgotowardthe DrTracyWestermanAboriginalPsychology ScholarshipProgram.Deliveredinpartnership withCurtinUniversityinWesternAustralia,the programaimstotrainmoreIndigenous psychologiststodeliverbest-practicecarein high-riskcommunities.
Inbringingsomanymusicianstogetherto performthisevening,mymessageisapositive one–thatifwereallyworktogetherwecanmake adifference.
Ihopeyouenjoytheperformance.
RogerBenedict concertforlife.com.au
WORLDSUICIDEPREVENTIONDAY
Tuesday10September2019
8.00pm
VerbrugghenHall
SydneyConservatoriumofMusic
Concert forLife
GABRIELFAURÉ
MasquesetBergamasques:Suite
Ouverture
Menuet
Gavotte
Pastorale
FAURÉ
Pavane
FOURSONGS:
DANWALKER
TheEtherofInfinity
KENNETHLAMPL&KIRSTENLAMPL
Memory’sWaveringEcho
RALPHVAUGHANWILLIAMS
SilentNoon
PAULJARMAN
TheWilltoClimb
SydneyChildren’sChoir
SamAllchurch conductor
SallyWhitwell piano
INTERVAL
GEORGEGERSHWIN
RhapsodyinBlue
SimonTedeschi piano
MAURICERAVEL
Pavanepouruneinfantedéfunte
GEORGESBIZET
Carmen:SuiteNo.1
Prélude–
Aragonaise
Intermezzo
Wearedeeplygratefultothemany peoplewhohavedonatedtothis project.Withouttheirgenerositythis concertwouldnotbetakingplace.
Séguedille
LesDragonsd’Alcala
LesToréadors
RogerBenedict conductor
SimonTedeschi piano
OrchestraforLife
MembersoftheSydneySymphonyOrchestra andOperaAustraliaOrchestra
withspecialguests
SydneyChildren’sChoir
DrTracyWesterman AboriginalPsychology ScholarshipProgram
Ihopethisconcertwilltouchyourheart,soul andmind.TheConcertforLifesupportsthe hopesanddreamsofournextgenerationof Indigenouspsychologists.Itwillmakearealand practicaldifferenceforbereavedIndigenous familiescaughtinthegripofgenerationalchild suicidesinawaythathasneverbeenseen before.ItbringsAustralianstogetherforour children;ourcommunityisonlyasstrongasour mostvulnerable.
MyvisionistosupportAboriginal studentswithruralandremote connectionstobecome psychologists,skilledin Indigenous-specificmental health,suicideprevention andinterventionprograms. Toachievethis,Iwantto eliminateoneveryreal barriertoIndigenouspeople studyingatuniversity–the financialbarrier.
Wehopewecancontinuetosupport thisprogramlongafterthelastnotesof tonight’sconcerthavebeenheard.
Youcanreadmoreaboutthe programandmakedonationsat alumniandgive.curtin.edu.au/ westermanscholarship
Togetherwecanmakeadifference.
The DrTracyWestermanAboriginal PsychologyScholarshipProgram directly addressestheneedsofbereavedIndigenous familiesthroughsupportingIndigenous studentsfromremoteandruralareas.These studentswillbementoredandsupportedto taketheirclinicalandculturallyinformedskills backintotheirhigh-riskIndigenous communities.
Wecantogether#BuildAnArmyofIndigenous psychologiststosupportafuturefreeof generationalchildsuicide.
Adj.ProfessorTracyWesterman
AbouttheMusic
GABRIELFAURÉ(1845–1924)
MasquesetBergamasques:Suite Pavane,Op.50
KnowntodaymainlyforhisRequiem, composedwhenhewasorganistofParis’s fashionableMadeleineChurch,Gabriel Fauréwasoneofthemost distinguishedFrenchcomposers ofhistime.Movinginthe artisticsalonsofhighsociety, Fauréonceclaimedtothe PrincessedePolignacthathe had“expandedthebordersof refinement”.Buthismusichas, inadditiontosurfacepolishand elegance,anunderlyingstrength.
Fauréisnotusuallythoughtofas acomposerforthetheatre.(There’sa cartoonshowinghimweavingthescoreofhis onlyopera Pénélope –hehadsolittletimeleft overfromhisdutiesasdirectoroftheParis Conservatoireitseemedtheoperawouldnever befinished!)But,likemostFrenchcomposers, helongedfortheatricalsuccessandappeased this“lyrichunger”bywritingincidentalmusic forplays,includingmusicforthe1898
Londonproductionof Pelléaset
Mélisande
MasquesetBergamasques was commissionedbythePrinceof Monacofollowingthe1913premiere of Pénélope inMonteCarlo.Fauré’s ideawasforalightweight,playful pieceinthestyleofPaulVerlaine’s Fêtesgalantes andthescenario,with its commediadell’arte characters,was littlemorethanapretextformock18thcenturyatmosphere(thinkWatteaupaintings) andbewitchingmusic:
Harlequin,GillesandColumbine,the maskerswhooftenamusedthecourt,in turnamusethemselvesatbeingthe spectatorsofafêtegalanteatCythera; withoutknowingit,thegentlemenand ladieswhoapplaudthemgivethemthe impromptuplayoftheirpettycoquetries andtheirtrivialtalk.
Fourofthemusicalnumbersin Masques… wereexistingsongsbyFauré.Theremaining fourorchestralpieces–composedin1919–makeuptonight’sconcertsuite.
The Ouverture isareworkingofanearlier Intermezzo,wittilydescribedbyReynaldo Hahnas“MozartimitatingFauré”.Thelanguid Menuet comesclosetopasticheof18thcenturymusic.The Gavotte ischaracterisedby opengaietyandstrongrhythms.Themost strikinganddeeplyfeltmovementisthe
Pastorale.Itoriginallycamenearthe beginning,underpinningaconversation betweenthethree commediadell’arte characters,butitdeservestobeheardonits own,foritsdistinctiveharmonicprogressions. ItisFauré’slastorchestralmusic,andhasall thehallmarksofhislatestyle.
Thefinalnumberin Masques… wasthe Pavane,originallycomposedin1887for chorusandorchestrawithatextbyPaul Verlainebutbetterknowninitsinstrumental form.Thepavaneisanolddance,thoughtto haveoriginatedin16th-centurySpainand takenitsnamefromthepeacock(pavo). Certainlyitsceremonialcharacterisperfectly suitedtothepreeninganddisplayofthe dancers.Themusicisbuiltalmostexclusively onasingle,suavemelody.Theshort contrastingmiddlesectioncorrespondstoa lovers’quarrelinVerlaine’stext.
GEORGEGERSHWIN(1898–1937) RhapsodyinBlue
GershwinstartedoutonTinPanAlley, churningoutwhathehopedwouldbehit tunes.Hisfirstpublishedsongwas “Whenyouwant’em,youcan’tget ’em,whenyougot’em,youdon’t want’em”(lyricsbyMurray Roth),buthestruckgold–royaltiesof$10,000inthefirst yearalone–with“Swanee”, recordedin1919byAlJolson. Hismelodicgiftsoonsawhim writingforBroadwayand Hollywood,buthealsolongedto beacceptedasa“serious”composer fortheconcerthall,fusingAmerican popularmusicwithclassicalforms.
In1924,PaulWhitemanaskedGershwinto writea“jazzconcerto”foranupcoming concert.Whitemanwastheleaderofanodd ensemble,somewherebetweenanorchestra andajazzband,andtheconcertwascalled “AnExperimentinNewMusic”–achancefor Gershwintopresenthimselfasacomposerof concertmusic.Gershwinwasnervous–not leastbecausethedeadlinewasamonthaway–butWhitemanconvincedhimhehadthetalent andassuredhimhecoulddelegatethe orchestrationtoFerdeGrofé,theband’s arranger.
RhapsodyinBlue isinonecontinuous movement,butitfallsclearlyintothe traditionalfast—slow—faststructureofa classicalpianoconcerto.Itspopularfeel comesfromthecastofitsmelodiesandthe oddbluesinflection.Theopeningclarinetriff–
AbouttheMusic
thatfamousswoopingrunfromlowinthe instrument’sregistertohigh–isprobablythe mostobviousjazzfeature.Gershwinhimself heardthepieceas“asortofmusical kaleidoscopeofAmerica–ofourvastmelting pot,ofourunduplicatednationalpep,ofour blues,ourmetropolitanmadness”.
Thepremierewasagreatsuccess–theaudiencewascaptivatedbythe work’sdistinctlyAmericantoneand Gershwin’sbrilliantperformanceof thesolopart–andthe Rhapsodyin Blue remainsoneofthemost popularofAmericanconcertworks.
MAURICERAVEL(1875–1937)
Pavanepouruneinfantedéfunte
Initsoriginalpianoversion,thisexquisite musicseemssimple–itbecameimmediately popularwithamateursin1899.Butit countsasoneofRavel’smore difficultpieces.Transformingit fororchestrawasawisemove, allowinghimtofullyrealisehis instructionatthetopofthe music:“Verysweet,butwitha fullsound.”
Ravelchosetheeuphonious titleforthismusicbecauseof thepleasurehegotfromthe soundofthewords,ratherthanfor itsmeaning.Sohowtotranslateit? Indeed, should wetranslateit?Perhapsit’s enoughthatthetitle–likethemusic–conveys Ravel’stwinenthusiasmsforstyliseddance formsandthepast.Asastatelyprocessional dancefrom16th-centurySpain,thepavane ticksbothboxes.Anditsintended“infante défunte”emphasisesthelinkswithSpainas wellassuggestingamournfulnostalgia. Significantly,Ravel’smusicallanguageaswell ashischoiceofold-fashionedFrench(“infante défunte”ratherthan“infantemorte”)remind usthatwearenotcontemporariesofthis Spanishinfanta.Inthisregard,perhapsthe truesttranslationis“Pavaneforaninfanta fromlongago”.
GEORGESBIZET(1838–1875)
Carmen:SuiteNo.1
Forhislastopera, Carmen,Bizetchosea disturbinglyrealisticstorybyProsper Merimée.Audienceswereshockedtosee womenfightingandsmoking,notto mentiontheonstagemurderofthe heroine;Carmenranfor45 performances,a succèsde scandale,butwasdeclareda failure.Bizethimselfdiedon thenightofthe33rd performanceandsodidnotlive toseetheoperatakeitsplaceas oneofthemostpopularinthe repertoire,itstitlecharactera universalsymbolofthefemmefatale.
InSevillethegipsyCarmenisarrestedfor causingadisturbanceamongthewomenat thecigarettefactorywheresheworks.She persuadesDonJosétohelpherescapeandhe fallsforher,abandoningcareeranddutyto followherandabandofsmugglers,onlytobe thrownoverinfavourofthebullfighter Escamillo.Whensherefusestoreturntohim, DonJoséstabsherinafitofpassion.
BizetnevervisitedSpainbut,likesomany Frenchcomposers,hecapturedtheSpanish localcolourinbrilliantmusicfullofdrama andvitality.FollowingBizet’sdeath,hisfriend ErnestGuiraudcompiledtwoconcertsuitesof highlightsfrom Carmen.Thefirstsuite includesthepreludesorentr’actesthatBizet wrotetoprecedeeachofthefouracts.These setthescene,fromtheominoustremolosthat begintheActI Prelude tothevibrant,dancing Aragonaise,whichisheardbeforeActIVas thetownsquarefillswithpeopleanticipating thespectacleofthebullfight.
Theremainingentr’actesareequally atmospheric:inthe Intermezzo (ActIII)aflute andharpcreateawistfulmood,while The DragoonsofAlcala (ActII)hasabrisk, militarycharacterwithsidedrum underpinningsolosforwoodwinds.The Séguedille isadaptedfromthecaptivating ariainwhichCarmensingsherwayoutof prisonbypromisingDonJoséshewilldance theseguidillajustforhim.Thesuiteendswith LesToréadors andtheexhilaratingmarchtune associatedwithDonJosé’srival,Escamillo.
AdaptedfromnotesbyYvonneFrindle(Ravel,Bizet), DavidGarrett(Fauré)andGordonKaltonWilliams (Gershwin)©2019
IMAGES:Fauré(portraitbyJohnSingerSargent,1889); Gershwin(photofrom1935);Ravel(portraitbyAchille Ouvré,1909,sourcegallica.bnf.fr/Bibliothèque nationaledeFrance);Bizet(photoÉtienneCarjat,1875)
TheEtherofInfinity:
The CSIRO inventionofwirelessdatatransfer MUSICANDWORDSBYDANWALKER
Imaginewordsandimagesonhighwaysintheair, Amultitudeofinterwovengossamerin intersectingstreams, Gigabtyesofscrambledinformation flyinformationhighabove, disassembledandassembledallaroundus, allthewhileunseen.
Wewonderatthemarvelofthismodernmiracle, OurAntipodeanconnectivity, Thefontofhumanknowledgeatourfingers, inourgrasp, Coalescingintheetherofinfinity.
Fromradiowaves,wefoundaway, Tounderstandtheirpatterns, Howtheybehave.
Imaginewordsandimagesonhighwaysintheair, Amultitudeofinterwovengossamerin intersectingstreams, Outintotheworldwesendourmessages andthoughts, Andsmileatfacescarriedonthewave, Thetyrannyofdistancecouldnotholdus, buthasitcometosaveus,orenslave?
Memory’sWaveringEcho
MUSICBYKENNETHLAMPL&KIRSTENLAMPL
Shamayimnaasu. BythewordoftheLord, theheavensweremade.Amen.
Amen,Amen,Amen. BidvarYehovah, Shamayimnaasu. Amen,Amen,Amen. EnglishandHebrewwordsafterPsalm33:6
SilentNoon
MUSICBYRALPHVAUGHANWILLIAMS
Yourhandslieopeninthelongfreshgrass,— Thefinger-pointslookthroughlikerosyblooms: Youreyessmilepeace.Thepasturegleams andglooms
’Neathbillowingskiesthatscatterandamass. Allroundournest,farastheeyecanpass, Aregoldenkingcupfieldswithsilveredge Wherethecow-parsleyskirtsthehawthorn-hedge. ’Tisvisiblesilence,stillasthehour-glass.
Deepinthesun-searchedgrowthsthedragon-fly Hangslikeabluethreadloosenedfromthesky:— Sothiswing’dhourisdropttousfromabove. Oh!claspwetoourhearts,fordeathlessdower, Thisclose-companionedinarticulatehour Whentwofoldsilencewasthesongoflove.
Wordsfrom TheHouseofLife by DanteGabrielRossetti(1828–1882)
TheWilltoClimb
MUSICANDWORDSBYPAULJARMAN
Ihavethisadventureinme. [Breathein,breatheout.Higher.]
Thewilltoclimb!
Iwalkintothepagesofhistory. Myjourneyhasjustbegun!
Reachup,lookout,there’saworldaroundme! Standup,speakout,farhorizonsreachme. ByenduranceI’llshine. Myheroeswillguideme. Iwillconquermyfears. Thedawnisathand.
Ihavethewilltoclimb. Allthemountainsarecalling. I’llrisetomydreamswithcourageathand.
OnStageTonight
RogerBenedict conductor
RogerisChiefConductoratthe SydneyConservatoriumandArtistic DirectoroftheSydneySymphony FellowshipProgram.From 1991to2000hewas principalviolaofthe Philharmonia Orchestrain London, subsequently takingupthesame positioninthe SydneySymphony Orchestra.
Afrequentguest conductorwiththe SSO,Rogerhas conductedtheorchestrain subscriptionconcertsatthe SydneyOperaHouseandCityRecital Hall.Hehasalsoappearedwith orchestrasincludingtheAdelaide SymphonyOrchestra,Auckland PhilharmoniaandSouthbank Sinfonia.Adevotedorchestral trainer,hehascoachedtheEuropean UnionYouthOrchestrasince2000 andisaconductoroftheAustralian YouthOrchestraandNationalYouth Orchestra(UK)programs.
Asaviolasoloisthehasappeared withthePhilharmoniaOrchestra, RoyalPhilharmonicOrchestra,Royal LiverpoolPhilharmonicOrchestra andUlsterOrchestra,aswellasthe Sydney,CanberraandNewZealand symphonyorchestrasandOrchestra EnsembleKanazawa(Japan).In additiontoarecordingofVaughan Williams’ FlosCampi withtheSSO (2011),hehasreleasedthreesolo albumsontheMelbalabelandone onABCClassics.
SimonTedeschi piano
SimonTedeschiisoneofAustralia’s mostrenownedpianists,arecipientof prizesincludingSymphonyAustralia’s YoungPerformeroftheYear, firstprizeintheRoyal OverseasLeague Competition(UK)and aCentenaryof FederationMedal. Hehasperformedin theworld’smajor concerthallsand forworldleaders includingformerUS PresidentGeorgeW Bush,VladimirPutin, NelsonMandelaandthe DalaiLama.
Sincemakinghisdebutatthe SydneyOperaHouseattheageofnine, hehasperformedasasoloistwithall themajorAustralianorchestras. Recenthighlightsinclude performancesofRachmaninoff’s fourthconcertowiththeSydney SymphonyOrchestraandtheGrieg concertowiththeAdelaideSymphony Orchestra,threetourstoChinawith theSydneyOperaHouseshowMeeting Mozart,tourstotheUnitedArab EmiratesincludingtheAbuDhabi InternationalArtsFestival,and nationaltourswithAustraliantheatre iconJohnBell.
Simon’srecordingsinclude Mussorgsky’sPicturesatan Exhibition, GershwinandMe, Gershwin:TakeTwo and TenderEarth, aswellasconcertosbyGrieg, TchaikovskyandMozart.Hismost recentalbum, AWinter’sTale with violistRogerBenedict,wasreleased lastyear.
SamAllchurch conductor
RecognisedasoneofAustralia’smost excitingyoungchoralconductors,Sam Allchurchisestablishingareputation forartisticexcellence.He beganhislifeinchoral musicasachoristerof theSydneyChildren’s ChoirandGondwana Voices,underthe directionofArtistic DirectorLyn WilliamsAM.Heis nowtheAssociate ArtisticDirectorof GondwanaChoirs, directingtheYoung Men’sChoirandplaying akeyroleinthe organisation’sartisticplanning. WorkingcloselywithLyn,hehasalso preparedthetrebleensemblesofthe SydneyChildren’sChoirfor performanceswiththeSydney SymphonyOrchestraandOpera Australia.
SamwasappointedDirectorof MusicofChristChurchStLaurencein 2018,andMusicDirectorofthe SydneyChamberChoirin2019.Heis alsofrequentlyinvitedtoconductCity RecitalHall’sFlashMobChoir,has conductedtheCombinedSchools MusicFestival(2017)andKangaroo ValleyChoralWorkshops(2017,2018), andin2016wasActingDirectorof MusicatTrinityCollegeMelbourne. Heholdsamusicdegreefromthe UniversityofMelbourneanda master’sdegreeinChoralStudies fromtheUniversityofCambridge,for whichhereceivedascholarshipfrom theBillandMelindaGates Foundation.
Adj.ProfessorTracyWesterman speaker
AdjunctProfessorTracyWesterman isatrailblazerinAboriginalmental healthandlastyearshewasnamed AustralianoftheYear(WA), inductedintotheWA Women’sHallofFame andawardeda Lifetime Achievement Award,Curtin University, amongstmany otheraccolades. SheholdsaPost GraduateDiplomain Psychology,aMaster’s degreeinClinical PsychologyandaDoctorof Philosophy(ClinicalPsychology). Herworkhasachievednationaland internationalrecognition,frequently citedasbestpractice,andsheisa sought-afterkeynotespeaker worldwide.
AproudNjamalwoman,Adj.Prof. Westermangrewupintheremote PilbaratownofTomPrice, completinghighschoolandmanyof heruniversitysubjectsviadistance education.Earlyinher undergraduatestudiesshebecame determinedtodevelopspecialist, evidence-basedpracticesthatare moreappropriatetothecultural needsandcircumstancesof Indigenouspeople,especiallythose livinginruralandremoteareas.She developedsevenunique psychologicalteststoidentifythose atmostriskofmentalillnessand suicide,andhastrainedmorethan 25,000cliniciansinthesetoolsand approaches,enablingthemtoreach manythousandsmoreAboriginal peopleatrisk.Sheisisnowa recognisedleaderinAboriginal mentalhealth,culturalcompetence andsuicideprevention.
PHOTOS:BENEDICT(BENSYMONS);TEDESCHI(COLEBENNETTS);ALLCHURCH(BRIDGETELLIOT)
OrchestraforLife
FIRSTVIOLINS
FionaZiegler Concertmaster
KirstyHilton
SophieCole
LéoneZiegler
GeorgesLentz
AlexanderNorton
SercanDanis°
BenTjoa†
JessicaOddie†
TimYu‡
SECONDVIOLINS
MarinaMarsden
RebeccaGill
EmmaHayes
TobiasAan†
RiikkaSintonen
NicoleMasters
LeridaDelbridge
KellyTang†
BrianHong‡
VIOLAS
VirginiaComerford*
RosemaryCurtin
SandroCostantino
JaneHazelwood
JustinWilliams
BethCondon†
CELLOS
AdrianWallis
DanielYeadon**
DavidWickham
RowenaMcNeish
EszterMikes-Liu*
DOUBLEBASSES
BrettBerthold*
DavidCampbell
DavidBarlow†
FLUTES
JoshuaBatty
CarolynHarris
OBOES
ShefaliPrior
EveOsborn†
CLARINETS
FrancescoCelata
JamesJulian†
ChristopherTingay
BASSOONS
MatthewWilkie
NorikoShimada
HORNS
RobertJohnson
JennyMcLeod-Sneyd°
KatyGrisdale†
StefanGrant‡
TRUMPETS
PaulGoodchild
DanHenderson†
DavidJohnson†
TROMBONES
GregoryvanderStruik*
DaleVail†
ColinBurrows°
TUBA
ScottFrankcombe°
TIMPANI
DavidClarence*
PERCUSSION
ShaunTrubiano*
AdamCooper-Stanbury†
BlakeRoden‡
SalinaMyat‡
HARP
NatalieWong°
Pastandpresentmusiciansofthe
SydneySymphonyOrchestraare joinedbymusiciansfrom:
*OperaAustraliaOrchestra
**AustralianChamberOrchestra
†2019SSOFellows&Fellowshipalumni
‡SydneyConservatoriumofMusic and °specialguests
ORCHESTRAFORLIFE2015
SydneyChildren’sChoir
SydneyChildren’sChoir
KealaBurns
MajaChesterman
LeahColleran
AbigailConnolly
StellaConstable
EmmaCorcoran
AliceDawson-Damer
AnnikaDeitz
LynWilliams AM ArtisticDirector
SamAllchurch AssociateArtisticDirector
SallyWhitwell PrincipalPianist
TheSydneyChildren’sChoirproudly representsSydneyasthemostprestigious andwell-knownvocalprogramforyoung singersofschoolage.Foundedasasingle ensemblebyLynWilliams AM in1989,it nowincludesapproximately500young peopleinavarietyofperformingchoirs andtrainingensembles.Theyareinstantly recognisedfortheircrystalclearsoundand knownfortheirprecisionanddiscipline, developedthroughregulartraining,anda courageousandcompellingperformance style.
The SydneyChildren’sChoir isourmost seniortreblechoirandismadeupofgirls andunchangedboysvoicesaged12–17. The YoungMen’sChoir isanensemblefor boyswithchangedandchangingvoices.
AsmaraDowney-Twiss
DashelEck
IsabelleEpps
AdrianEscudero-Genc
IrisFarrer
AstridGirdis
FrankieGlover
GemmaGolding
LaraGoodman
StephanieGough
BethanyHopkins
AthenaJiang
AsherJoyce
HayleyKepert
EleanorLabi
SophiaLauber
SiennaLangenheim
MiaMead
StellaMilton
LilyMullen
WilsonNguyen
SophieOates
JacintaRees
CarmelaReznik
PoppyRohanna
PaulRowan
RubyScott-Wishart
LucySheller
MarieSikiotis
ElsaSusnjara
BenSweeney
EvaTarbox
JeddaThorley
JasperTops
AnnabelTwomey
AnnaTyquin
GabrielleUtian
VeronicaVella
GeorgiaVincent
HannaWallace
YvonneWang
ChelseaWilson
LaraWinsbury
LottiWonhas
YoungMen’sChoir
JaredAtherton
JamesBrew
JoelBrookes
GabrielDillon
LachlanDonlevy
DanieleJJEliezer
LiamGreen
EzraHersch
GabrielKam
JonathonKelley
RyanKumulia
RichardLiu
JudeMacarthur
CalebMcKay
MarcusOgden
ChristopherPaoloni
AndrewSmallbone
EtienneRoumanoff
SebastianTan
AsherTarbox
LeoTarbox
SebastianWright
PHOTO:LYNWILLIAMS
Concert forLife 2019
ACKNOWLEDGEMENTS
Theorganiserswouldliketoexpresstheirthanks toallthosewhohavehelpedmakethisevening asuccess:
CreativePartnershipsAustralia–AustralianCulturalFund ProfessorAnnaReid, HeadofSchoolandDeanofthe
SydneyConservatoriumofMusic
SydneySymphonyOrchestra–EmmaDunch,CEO
OperaAustralia–RoryJeffes,CEO
SydneyChildren’sChoir–BernieHeard,ExecutiveDirector
ORGANISINGCOMMITTEE
LizBenedict
RogerBenedict
JennyCampbell
PaulKenny
GavinPartridge
RuthSugden
PRODUCTION
StageManagers:TomWestley andThomasWade
OrchestraManager:RachelMcLarin
VenueManager:JanMarshall
PianoTechnician:DavidKinney
Design:GrahamJohnsonand OliverDevaris(ext77.co)
Publicist:RobbiJames
Website:RomanBenedict
Programeditor&design:YvonneFrindle
Printer:SnapPrint&Design,Chatswood
Jawun–KarynBaylis,CEO andRoseManzini
RossIronsTransport
SymphonyServicesInternational Cellarmasters–winesponsor
JacquiSmith
FelicityKnibbs
AdamCooper-Stanbury
DavidGarrett
GordonKaltonWilliams
