The Golden Age of Broadway – Sydney Philharmonia Choirs 2023

THEGOLDENAGEOF BROADWAY

Songsandchorusesfrom MyFairLady, Annie GetYourGun, Hello,Dolly! andmoreofthe greatBroadwaymusicals

BrettWeymark conductor

VirginiaGay

GeorginaHopson

KanenBreen

AlexanderLewis

SymphonyChorus

SydneyPhilharmoniaOrchestra

JayJames-Moody stagingdirector

Saturday6May2023at7pm

SydneyOperaHouseConcertHall

ThisConcertHallperformancewillbebroadcastlivetoaticketed audienceontheForecourt,aspartofInside/OutattheHouse, celebrating50yearsoftheSydneyOperaHouse.

Theperformancewillrunforapproximately2hoursand10minutes, includinga20-minuteinterval.

SingMahler’sepic‘SymphonyofaThousand’with hundredsofothers,operastarsandTheSydney YouthOrchestraattheSydneyOperaHouse.

Singersofallabilitieswelcome.Joinus! ‘uniquelyjoyousandinspirational’ ‘anannualmomentoftranscendence’

PreviousChorusOzparticipants

ScantheQRcodeformore informationandtoregister, orvisitbit.ly/ChorusOz23

Peoplecometoclassicalmusicandopera frommanyangles.Maybetheywere exposedtoitatschool,ortheyhadanaunt whotookthemtoconcerts.Othersmay discoveritmoreorlessbyaccident.

Growingup,Ihadoneclassicalalbum: theChicagoSymphonyOrchestraplaying popularclassics.Ilovedit,butwhatIloved morewasthebigmoviemusicalsthatwere shownoccasionallyonthetelly.If The SoundofMusic or ChittyChittyBangBang wasonthatevening,everythinginthe householdrevolvedaroundthatbecause wedidn’thavevideocassettes,DVDsor Netflixstreaming.

Youquicklydiscoverthatmostofthese showsbeganlifeonthestageand–given thecloseconnectionbetweenoperetta andtheclassicBroadwaymusicals–opera andclassicalmusicarenotafarleap.

It’sforthisreasonthatI’mdrawntothese wonderfulscores,theirbeautifulmelodies andtimelessstories.They’remasterpieces oforchestration,andtohearthemsungby asymphonicchorusandwonderfulmusic theatrevoicesinaconcertsettingisareal joy.Andmaybe,inthispost-Covidworld, theyprovidejustahintofwhatpost-WWII lifeneeded:aformofescapebutwitha

footverymuchplantedintherealityoflife thatspoketopeopleinaprofoundway.

Thesescoresaresophisticated, memorableandeasilystandalongside someofthebestworksofthe20th century–popularandserious.Forme, puttingthisshowtogetherhasbeenlikea walkdownmemorylane–rediscovering muchofthemusicfrommychildhood beforeMahler,BachandMozarttookover.

BrettWeymarkOAM ArtisticandMusicDirector

In2023,BrettWeymarkcelebrates20yearsasArtisticandMusicDirectorof SydneyPhilharmoniaChoirs.The2023seasonreflectshighlightsofhis distinguishedcareerandthestrengthsofthechoirsheleads.

WeacknowledgeandpayrespecttotheGadigalpeopleofthe EoraNation,uponwhoseCountrywerehearse,singandwork,and payourrespectstotheirElderspastandpresent.Ourvoicesbring tolifethesongsofmanyculturesandcountries,fromacrossthe ages,inaspiritofsharing,learningandunderstanding.The ancientcustomsandculturesofthislandinspireustocreate harmony–inmusicandinoursociety.

PHOTO:KEITHSAUNDERS

TarimiNulay–Longtimelivinghere†

AcknowledgementofCountry

byDeborahCheethamFraillonandMatthewDoyle

It’sToday from Mame (1966)

Musicandlyrics:JerryHerman,Book:JeromeLawrence andRobertEdwinLee

ACockeyedOptimist from SouthPacific (1949)

Music:RichardRodgers,Lyrics:OscarHammersteinII, Book:OscarHammersteinIIandJoshuaLogan

BlueSkies from WhiteChristmas (Broadway2008)

Musicandlyrics:IrvingBerlin.Afterthe1954musicalfilm.

FollowtheFold from GuysandDolls (1950)

Musicandlyrics:FrankLoesser, I’veNeverBeeninLoveBefore

MyTimeofDay

Book:JoSwerlingandAbeBurrows,afterstories SitDown,You’reRockin’theBoat byDamonRunyon

NewYork,NewYork

from OntheTown (1944)

Music:LeonardBernstein,Lyricsandbook:Betty ComdenandAdolphGreen

CoffeeBreak from HowtoSucceedinBusinessWithout ASecretaryisNotaToy ReallyTrying (1961)

BrotherhoodofMan

MusicandlyricsbyFrankLoesser, Book:AbeBurrows, JackWeinstock,WillieGilbert

WhatGoodWouldtheMoonBe? from StreetScene (1947)

Music:KurtWeill,Lyrics:LangstonHughes, Book:ElmerRice

TheMoonSong(TheManintheMoon) from Mame

MoonshineLullaby

from AnnieGetYourGun (1946)

Musicandlyrics:IrvingBerlin,Book:DorothyFields andHerbertFields

Oklahoma! from Oklahoma! (1943)

Music:RichardRodgers,Lyricsandbook:Oscar HammersteinII

AnotherOp’nin’,AnotherShow from KissMe,Kate (1948)

Musicandlyrics:ColePorter,Book:BellaSpewack andSamuelSpewack

BroadwayBaby from Follies (1971)

Musicandlyrics:StephenSondheim, Book:JamesGoldman

There’sNoBusinessLikeShowBusiness from AnnieGetYourGun

Puttin’ontheRitz from BlueSkies (1946musicalfilm)

Musicandlyrics:IrvingBerlin

RibbonsDownMyBack from Hello,Dolly! (1964)

PutOnYourSundayClothes

Musicandlyrics:JerryHerman, Book:MichaelStewart

ShallWeDance? from TheKingandI (1951)

Music:RichardRodgers,Lyricsandbook:Oscar HammersteinII

Prologue(TheCarouselWaltz) from Carousel (1945)

Music:RichardRodgers,Lyricsandbook:Oscar HammersteinII

ICouldHaveDancedAllNight from MyFairLady (1956)

AscotGavotte

Music:FrederickLoewe,Lyrics&book:AlanJayLerner

BeforetheParadePassesBy from Hello,Dolly!

Bewitched,BotheredandBewildered from PalJoey (1940)

Music:RichardRodgers,Lyrics:LorenzHart, Book:JohnO’Hara

SomeOtherTime from OntheTown

Hello,Dolly! from Hello,Dolly! †Commissionedfor100MinutesofNewAustralianMusic2020

TheGoldenAge ofBroadway

Scintillatinglyrics,infectiousrhythmsandglorioustunes–it’san irresistibleBroadwaytriplethreat!

There’snobetterplaceforapartythan Broadway’sGoldenAge:thosehalcyondays inthemid-20thcenturywhenNewYork’s theatresoverflowedwithtalentandtop notchtunes.Theerawhenthecomposers andlyricistswhoremainhouseholdnames today–RodgersandHammerstein,Lerner andLoewe,FrankLoesser,andLeonard Bernstein–wereattheirpeak,producing showswhoselavishvocalandorchestral writingwenthand-in-handwithsmart, sophisticatedlyrics,terrificstories,andsome ofthebrightestandboldestleadingladies tobefoundonanysortofstage.Consider thisyourinvitationtojointhecelebrations.

Nobodyhostsapartyquitelikethebrassy, bohemianheroineofJerryHerman’s Mame, oneofthosefabulous femmesd’uncertain age whoseemedtodominateBroadwayof thisera.Herfirstsolonumber, “It’sToday”, exemplifiestheundimmable carpediem zestforlifewhichwillseeherthroughwar, widowhoodandfinancialruinwithhigh spiritsthoroughlyintact.

TheU.S.NavynurseNellieForbush,from RodgersandHammerstein’s SouthPacific, mightn'thaveMame’sexperienceorsheer chutzpahtodrawon,butshe’sjustas determinedtofindtheglasshalf-full: declaring,inthesweetandsunnynumber “ACockeyedOptimist”: “I'mstucklikea dope/Withathingcalledhope/AndIcan't getitoutofmyheart!” Andthere’soptimism inmorelyricalformtobehadfromIrving

Berlin’s “BlueSkies”.Originallyasurprise interpolationinRodgersandHart’s1926 show Betsy,itbecameafixtureafterBing Crosbysangitasthetitlesongofa1946 musicalfilm,andin2008itreturnedtothe Broadwaystagein WhiteChristmas InspiredbytheProhibition-erashort storiesofDamonRunyon,FrankLoesser’s GuysandDolls depictsaNewYorkCity alivewithillicitgambling,seedynightclubs and…theSalvationArmy.Wemightmeet piousSarahBrownsermonisingin “Follow TheFold”,completewithbrassbandanda congregationalchorus,butloveisn’tfar away:SkyMasterson’s “MyTimeofDay”, apaeantotheweesmallhours,soongives waytotheirduet “I’veNeverBeeninLove Before”,asapairofpolaroppositesadmit theirtruefeelings.Theraucous “SitDown You’reRockin’theBoat”,meanwhile,takes usrightbacktochurch:albeitwithan underworldspin;andspiritsaresimilarly highinwhatmightbeBroadway’sbest evermusicaltributetotheBigApple: “New York,NewYork” fromBernstein’s OnThe Town, adizzying,dance-heavytaleof sailorsonshoreleaveandinlove.

AnotherLoesserhit, HowtoSucceedin BusinessWithoutReallyTrying,depictsa differentsideofNewYork,withitssatireon high-riseofficelife.Theparty’swelland trulyoverassuitedworkersgreetthe morningwith “CoffeeBreak”, alamentwe canallrecognise: “IfIcan'ttake/Mycoffee

break/Somethingwithinmedies”. There’s awince-worthyfamiliarityto “ASecretary isnotaToy” too,Loesser’slovingpastiche ofGilbertandSullivan’spattersongs;and theshowculminatesintheensemble “BrotherhoodofMan”,ahymntocorporate solidaritywithtonguefirmlyincheek.

GoldenAgeBroadwaysharedatleasta strandofDNAwiththeEuropeanoperetta tradition.Thefamilyresemblanceisreadily apparentinRoseMaurrant’swistful cavatina “WhatGoodWouldtheMoon Be” fromWeill’s StreetScene:agenreblurringworkwhichthecomposerhimself classifiedasopera.There’samuchdroller takeonthemoonin “TheMoonSong” from Mame, whosecooingfemalechorus gleefullysendsupthesyrupierMGM musicals,whileIrvingBerlin’s “Moonshine Lullaby”,from AnnieGetYourGun, revels indoublemeaning:themoonmaybeinthe skybutit’sadifferentkindofmoonshine sendingcountryfolktosleep.

Ofcourse,notripoutwestwouldbe completewithouttherousingfinalchorus fromRodgersandHammerstein’s Oklahoma!, oneofthefirsttrue“book

musicals”andcitedbymanyasheralding thedawnofthisfabledGoldenAge.

Broadwayhasalwaysenjoyedsinging aboutitself:showsaboutshowsare everywhereyoulook.Inacrowdedfield, ColePorter’s “AnotherOp’nin’,Another Show” (KissMe,Kate)andIrvingBerlin’s “There’sNoBusinessLikeShowBusiness” (AnnieGetYourGun)surelyrankamong thecatchiest,andmostlyricallydeft,selfreferentialanthemsinthebusiness. Follies, ontheotherhand,isarguablealittlelateto qualify,havingpremieredin1971;butfew showshaveconjureduptheglitz,grime, andgreasepaintoftheZiegfelderamore vividlythanStephenSondheim,innumbers like “BroadwayBaby”, itsjaunty,jazzy styleshotthroughwithahintof desperation.

Notthatthewickedstageistheonly reasonfordressingup:there’salsothe smallmatterofromance.Amidthehigh camphijinksofJerryHerman’s HelloDolly, “RibbonsDownMyBack” isasurprisingly still,quasi-classicalsliverofminor-key beauty:astarkcontrastto “PutOnYour SundayClothes”,thepunchyensemble numberwhichprecedesit.Butdon’tforget:

“There’sNoBusinessLikeShowBusiness” becamethesignaturesongofEthelMerman, theoriginalAnnieOakley

KippHamiltonin HowtoSucceed…

ifyou’reblueandyoudon’tknowwhereto goto,IrvingBerlinhastheanswer:the rhymes-within-rhymesof “Puttin’OnThe Ritz” (“Highhatsandarrowcollars,white spatsandlotsofdollars”)remainassharp asanyofFredAstaire’sthree-piecesuits.

Apartyisn’tapartywithoutachanceto dance,andBroadwayhasalwaysbeen happytoprovide.FromRodgersand Hammerstein,there’sapolkaripplingwith romantictensionin “ShallWeDance”,from TheKingandI, andacircus-meets-Strauss waltzinthe Prologuefrom Carousel, while inEdwardianLondon,LernerandLoewe’s MyFairLady servesupboththetightly laced AscotGavotte,inwhicheveryoneis fartooEdwardiantomove,andthegay abandonmentofElizaDoolittle’s exhilarated–andexhilarating– “ICould HaveDancedAllNight”.

“Iunderstand,dear,” ProfessorHiggins’ housekeeperrepliestoherCockney charge: “It'sallbeengrand,dear/Butnow it'stimetosleep.”Alas,she’sright:allgood partiesmustcometoanend.Atleast Broadwaywrapsthemupinstyle,andwith

aneyeonthenextinvitation. “Lifewithout lifehasnoreasonorrhymeleft” singsthe indefatigableDollyLeviin “BeforeThe ParadePassesBy”,determinedtoput griefbehindherandlivelifetothefullest. Thepromiseofnewlove(ormaybenew lust?)smouldersin “Bewitched,Bothered andBewildered” from PalJoey, aneleven o’clocknumberifevertherewasone;and backin OnTheTown, “SomeOtherTime” makesitspeacewithwhatmighthave been.Thisisnotfarewell,but aurevoir: “There'ssomuchmoreembracing/Stillto bedone,buttimeisracing/Ohwell,we'll catchup/Someothertime”.

Holdit:there’stimeforonelasthurrah. Thetitlesongof Hello,Dolly! exemplifies everythingGoldenAgeBroadwaydidbest: fabulousleadingladies,infectiousrhythms, lushorchestrationsandatuneyoucan’t helpbuthumalongwith.Sogoon,then: wewon’tstopyou–thisisaparty,afterall.

SarahNoble©2023

SarahNobleisafreelancewriterandarts administratorbasedinthenorthofEngland. ShewaspreviouslyArtisticAdministratorofthe InternationalOperaAwards.

SYDNEYPHILHARMONIACHOIRS•2023• 10

JulieAndrewscouldhavedancedallnight

CarolChanningcreatedtheroleofDollyLevi, determinedtofindamatchforthemiserly HoraceVandergelder(MiloBoulton)

Aboutthe Artists

OneofAustralia’sforemostchoralconductors, BrettWeymarkOAMiscelebratinghis20th seasonwithSydneyPhilharmoniaChoirs. AppointedArtisticandMusicDirectorin2003, hehasconductedtheChoirsthroughout Australiaaswellasinternationally.Hehas alsoconductedtheSydney,Adelaide, Queensland,WestAustralianandTasmanian symphonyorchestras,Orchestraofthe Antipodes,SydneyYouthOrchestra,New ZealandSymphonyOrchestraandHongKong Philharmonic,aswellasproductionsfor WAAPA,PacificOperaandOzOpera,andhe hasperformedwithOperaAustralia,Pinchgut Opera,AustralianChamberOrchestra,The SongCompanyandMusicaViva.

Hestudiedsingingandconductingatthe UniversityofSydneyandtheSydney ConservatoriumofMusic,continuinghis conductingstudieswithSimonHalsey,Vance George,DanielBarenboimandJohnEliot Gardiner,amongstothers.

HisrepertoireatSPChasincludedBach’s PassionsandChristmasOratorio,theMozart, Verdi,DurufléandFaurérequiems,andOrff’s CarminaBurana.HechampionsAustralian composers,andhaspremieredworksby MatthewHindson,ElenaKats-Chernin,John Peterson,DanielWalker,RosalindPage,Peter Sculthorpe,AndrewSchultzandRoss Edwards.In2011hepremieredhisownwork BrightontoBondi withtheFestivalChorus.He hasalsoconductedmusicaltheatreprograms includingBernstein’s Candide,whichwon

multipleBroadwayWorldSydneyawards. Underhisdirection,SPCreceiveda HelpmannAwardfor OedipusRex and SymphonyofPsalms,directedbyPeter Sellars,andwasnominatedforaLimelight AwardforPurcell’s KingArthur.

HewaschorusmasterfortheAdelaide Festivalproductionsof Saul (2017), Hamlet (2018)and Requiem (2020),andhehas preparedchoirsforCharlesMackerras,Zubin Mehta,EdodeWaart,VladimirAshkenazy andSimonRattle.Hehasrecordedforthe ABCandconductedfilmscoresfor Happy Feet,MadMaxFuryRoad and Australia.

Recentconductinghighlightsinclude SweeneyTodd (WestAustralianOpera), Jandamarra byPaulStanhopeandSteve Hawke(SSO),MichaelTippett’s AChildOf OurTime (AdelaideFestival)and Carousel (StateOperaSouthAustralia).

In2001hewasawardedanAustralian CentenaryMedalandin2021theMedalof theOrderofAustralia.

BrettWeymarkispassionateaboutsinging andtherolemusicplaysinboththewellbeing ofindividualsandthehealthandvitalityofa community’sculture.Hebelievesmusiccan transformlivesandshouldbeaccessibletoall.

BrettWeymark conductor

PHOTO:KEITHSAUNDERS

VirginiaGaygraduatedfromtheWestern AustralianAcademyofPerformingArts,then spentfouryearspretendingtobeanurseon AllSaints, sixmonthspretendingtobeacop on SavageRiver (ABC,Paramount+),andfive yearson Winners&Losers,whereshe pretendedtoknowalotabouthighfinance. Thatlastone,particularly,wasastretch.

ShewonaSydneyTheatreAwardforBest Actressfor CalamityJane,starredinthefilm Judy&Punch whichpremieredatSundance, andwroteanddirectedhershortfilm Paper Cut,whichmadetheTropfestfinals.

In2020shewrotetwonewplays:an adaptationof Cyrano fortheMelbourne TheatreCompany,whichenjoyedasold-out seasonOctober2022, and TheBoomkak Panto,whichwasasmashhitforBelvoirin 2021.Shestarredinbothandalsoco-directed TheBoomkakPanto.

Shehasalsowrittentwosolocabaret shows, SongsToSelf-DestructTo and Dirty PrettySongs,bothofwhichsoldoutatthe AdelaideCabaretFestival,andwhichtoured nationallyandinternationally,mostnotably headliningtheFamousSpiegeltentatthe 2012EdinburghFringe.Shealsohosted culturalphenomenon LaClique inLeicester SquareinChristmas2019.

LastyearsheplayedPuckintheSydney SymphonyOrchestra–Belvoirproductionof AMidsummerNight’sDream,featuring Mendelssohn’sincidentalmusic.

AgraduateoftheQueenslandConservatorium, GeorginaHopsonisbestknownforher performanceasChristineDaaéintheHanda OperaonSydneyHarbourproductionof PhantomoftheOpera.Mostrecently,she playedLoreleiLeein GentlemenPrefer Blondes (HayesTheatreCo.)andstarredin ToBarbarawithLove attheStateTheatre.

HertheatrecreditsincludeLinaLamontin Singin’intheRain (QPAC);MJAlternatein JaggedLittlePill (GWB);EmmaCarewin Jekyll&Hyde andGussieCarnegiein Merrily WeRollAlong (HayesTheatreCo.);Fionain Brigadoon andBillieBendixin NiceWorkIf YouCanGetIt (NeglectedMusical Presentations);ClaudiaNardiin Nine (Squabbalogic);Motherin Ragtime and Oklahoma! (TheProductionCompany); Evita and MyFairLady (OperaAustralia/Gordon FrostOrganisation);and WestSideStory (HandaOperaonSydneyHarbour).Shewas alsocastasLilyin TheSecretGarden (Opera Australia,cancelledduetoCOVID).

ShehasreceivedaSydneyTheatreAward nominationforBestPerformanceina SupportingRole(MerrilyWeRollAlong,2022) aGreenRoomAwardforBestPerformerina LeadRole(Ragtime,2020);theRobGuest EndowmentAward(2017);andtheMatilda AwardforBestEmergingArtist(2015).

HerscreencreditsincludeWendyHoganin theTVminiseries Hoges:ThePaulHogan Story,andappearancesin DoctorDoctor Season5and Bump Season2.

GeorginaHopsonhasbeenaproudMEAA Equitymembersince2017.

VirginiaGay

PHOTO:DANIELSOMMER

GeorginaHopson

PHOTO:KATEWILLIAMS

KanenBreenisoneofAustralia’smost sought-afteroperatictenors,andarenowned concertandcabaretartist.

Hehasbeenlongestablishedasa contractedartistatOperaAustralia,regularly appearinginprincipaltenorrolesinsuch operasas TheMerryWidow, TheMikado, HMSPinafore, TheGondoliers, Falstaff, Die Fledermaus, TheMagicFlute, TheMarriage OfFigaro, TheRake’sProgress, Turandot,The TalesOfHoffmann and AlbertHerring.

HisappearancesforVictorianOpera include ThroughTheLookingGlass, Sweeney Todd, BanquetofSecrets, ’TisPity and The Who’sTommy, and forOperaQueenslandhe hasappearedasNanki-Poo(TheMikado) Nadir(ThePearlfishers), Ramiro (Cenerentola),AndyWarhol(ThePerfect American),rolesin SnowWhite,andSir RichardDauntlessin Ruddigore.

HisregularappearancesforPinchgut Operaincludeanenormouscriticalsuccessin thetitleroleofRameau’s Platée in2021.

OtherrolesincludeRodolfoinBaz Luhrman’s LaBohème onBroadway, Willy Wonka intheGordonFrostproductionof CharlieandtheChocolateFactory and criticallyacclaimedperformancesin The BlackRider forTheMalthouse.HisWitchof EndorintheAdelaideFestivalproductionof Handel’s Saul receivedaHelpmannAward.

KanenBreen’spreviousappearanceswith SydneyPhilharmoniaChoirsinclude Candide and CarminaBurana.

TenorAlexanderLewishasperformedaround theworldinbothoperaandmusicaltheatre. Hisoperaticperformancesinclude:Lacain Jenůfa (SantaFeOpera),CountDaniloin The MerryWidow (OperaAustralia,West AustralianOpera,StateOperaSouth Australia);JohnWormleyin Crossing (The AmericanRepertoryTheatreBoston,Brooklyn AcademyofMusic’sNextWaveFestival),the titlerolein TheNose (OperaAustralia, KomischeOperBerlin,RoyalOperaHouse CoventGarden,MetropolitanOpera), Hoffmannin Lescontesd’Hoffmann and Gritskoin TheFairatSorochyntsi (Komische OperBerlin),Taminoin TheMagicFlute (West AustralianOpera),Flaskin MobyDick (WashingtonNationalOpera),andStBrioche in TheMerryWidow andBorsain Rigoletto (MetropolitanOpera).

HismusicaltheatrecreditsincludeAnatoly intheAustraliantourof Chess,Tonyin West SideStory (HandaOperaonSydneyHarbour, HelpmannAwardNomination),Tatehin Ragtime (TheProductionCompany),George in SundayIntheParkwithGeorge (Victorian OperaCompany),EnochSnowin Carousel (HoustonGrandOpera),Raoul,andPhantom understudy,in ThePhantomoftheOpera (TheReallyUsefulGroup);AnthonyHopein SweeneyTodd (OperaAustralia),Frederick Barrettin Titanic (SeabiscuitProductions),and CandideforSydneyPhilharmoniaChoirs.

In2022,hesangintheQueensland SymphonyOrchestra’sMusicalTheatreGala and Messiah (PerthSymphonicChorus).Last monthheappearedforSPCin Samson

AlexanderLewis

PHOTO:AMELIADOWD

KanenBreen

PHOTO:ALEXSMILES

SymphonyChorus

BrettWeymark ArtisticandMusicDirector

TimCunniffe AssistantChorusMasterandPrincipalRehearsalPianist

DavidCatterall RehearsalPianist

SOPRANOS

SaskiaAlbers

ShelleyAndrews

JulieBangura

JacquiBinetsky

GeorginaBitcon

AnneBlake

EmilyBlake

CatherineBryant

NatCrane

VanessaDowning

KarinaFalland

SusanFarrell

Ann-LouiseFelton

RebeccaFitzpatrick

JehaneGhabrial

NatalieGooneratne

CarolineGude

SueJustice

YvetteLeonard

ElenaLucioBello

BernadetteMitchell

SarahMoore

JaneNieminska

DympnaPaterson

KarenPearce

ElsaRapon

GeorgiaRivers

JolandaRotteveel

AllisonRowlands

SarahThompson

JoannaWarren

SaraWatts

XiaLianWilson

ALTOS

LisaAnderson

AmandaBaird

DebraBaker

GillianBehrens

KatieBlake

SusanGandy

PennyGay

KathrynHarwood

MargaretHofman

SarahHowell

ChiWaIp

LindyJefferson

MaggieMcKelvey

ClaraMazzone

MarjO’Callaghan

CatherineO’Grady

NadiaOkumushoglu

JonquilRitter

VirginiaRowlands

JenniSchofield

DebbieScholem

MegShaw

VanessaSouth

TENORS

DanielComarmond

MalcolmDay

RobertElliott

BlakeGarner

StevenHankey

NickHazell

MichaelKertesz

DanielLarratt

AlistairMcDermott

FrankMaio

NicholasTong

GeorgeWatkins

ChristopherWhitfeld

WillWillitts

BASSES

PeterCallaghan

JulianCoghlan

DarylColquhoun

PhilipCrenigan

JamesDevenish

MatthewEllison

RoderickEnriquez

DavidFisher

RobertGreen

DerekHodgkins

PeterHogg

DavidJacobs

JasonJiang

BruceLane

MatthewLubowicz

ChrisMasson

IanPettener

PeterPoole

AllanRedpath

RaymondRoss

MichaelRyan

BenWaters

DavidWood

JonathanWood

SydneyPhilharmoniaOrchestra

FIRSTVIOLINS

MicheleO’Young

Concertmaster

VeroniqueSerret

AdrianBendt

HeatherBurnley

WilliamCarraro

AngelaCassar

SuzanneChaplin

ElizabethGreenhalgh

CatrinaHughes

HeloiseMeisel

AnnaMurakawa

JoanneWaples

SECONDVIOLINS

EmmaHayes

SamanthaBoston

EvelynCirevski

BridgetCrouch

DenisaSmeuKirileanu

NarineMelconian

MichelePayne

MadeleineRetter

JuliaRussoniello

EsmeraldaTintner

VIOLAS

AndrewJezek

LucyCarrigyRyan

RachelDyker

PhoebeGilbert

DariusKaperonis

GeorgiePrice

AnneSweeney

EdaTalu

CELLOS

RowenaMacNeish

JamesBeck

EleanorBetts

PierreEmery

AnitaGluyas

TrishMcMeekin

DOUBLEBASSES

MarkHarris

DavidCooper

WillHansen

JuliaMagri

FLUTES

LamornaNigtingale

RosieGallagher

OBOE

MattBubb

CORANGLAIS

AlexFontaine

CLARINETS

MarkTaylor

CraigDriscoll

BASSCLARINET

PaulCutlan

BASSOONS

VictoriaGrant

HaydenBurge

FRENCHHORNS

RobertJohnson

JamesMcCrow

TRUMPETS

SimonSweeney

CraigMitten

RalphPyl

TROMBONES

NigelCrocker

RosJorgensen

BASSTROMBONE

JustinKearin

TIMPANI

BrianNixon

DRUMS

AlysaPortelli

PERCUSSION

TimBrigden

HARP

OwenTorr

GUITAR&BANJO

DanielMaher

PIANO&CELESTE

TimCunniffe

Bold =Principal

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memoryofBrianDeeson

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DonationstoSydneyPhilharmoniaChoirsarerecognisedfor12monthsfromthedateofdonation. SupporterslistedherearecurrentasatApril2023.Donationsof$500andabovearelistedonourwebsite andinourconcertprogrambooks.

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SydneyPhilharmoniaChoirs

SydneyPhilharmoniaChoirspresentstheart ofchoralsingingatthehigheststandard,and developsthetalentsofthosewithapassion forsinging,inSydneyandbeyond.Founded in1920,ithasbecomeAustralia’sfinestchoral organisationandisaResidentCompanyof theSydneyOperaHouse.

LedbyArtisticandMusicDirectorBrett WeymarkOAMandAssociateMusicDirector DrElizabethScott,SydneyPhilharmonia Choirscomprisesthreeauditionedandthree communitychoirsthatperformrepertoire fromchoralclassicstomusicaltheatreand commissionsbyAustraliancomposers.SPC presentsitsownannualconcertseasonas wellascollaboratingwithleadingconductors, soloistsandorchestrasinAustraliaand overseas.In2002,SPCwasthefirst AustralianchoirtosingattheBBCProms (Mahler’sSymphonyNo.8underSirSimon Rattle),returningagainin2010tocelebrate its90thanniversary.TheChoirsperformin theSydneySymphonyOrchestra’sseason everyyear,astheyhavedoneformorethan 80years.SPCalsopresentscommunity singingeventsthroughouttheyear–Chorus Oz(theannualBigSing),BigHeartSingatthe SydneyOperaHouseandchoralworkshops throughoutSydneyandNSW.

2020wasSydneyPhilharmoniaChoirs’ centenaryandsawtherealisationofthe100 MinutesofNewAustralianMusicproject, featuringcommissionedworksbycomposers includingElenaKats-Chernin,Deborah CheethamFraillonandBrettDean.In2022 theChoirstookpartinthereopeningofthe SydneyOperaHouseConcertHall, performingMahler’s Resurrection Symphony withtheSydneySymphonyOrchestra,andin 2023,BrettWeymarkcelebrateshis20th anniversaryasArtisticDirector.

VICE-REGALPATRONS

TheHon.MargaretBeazley ACKC,Governor ofNewSouthWalesandMrDennisWilson

VICEPATRONS

Prof.theHon.DameMarieBashir ADCVO

LaurisElms AMOBEDMus(Syd)

AMBASSADORFORSINGING

YvonneKenny AM

BOARD

JacquiWilkins Chair

TraceyJordan President

AndreaHoole Treasurer

IanBennett,KatieBlake, BillNapier,GeorgiaRivers

STAFF

FionaHulton ExecutiveDirector

BrettWeymarkOAM Artistic&MusicDirector

DrElizabethScott AssociateMusicDirector

TimCunniffe AssistantChorusMaster& PrincipalRehearsalPianist

MarkRobinson ArtisticOperationsManager

HeatherCarr,MelPenicka-Smith,EvaTarbox, KirstyWalker ChoirSupport&Administrators

SusanGandy OrchestraCoordinator

SimonCrossley-Meates MarketingManager

NaomiHamer Office&BoxOfficeAdministrator

SarahHowell PhilanthropyAssociate

JohnLiebmann FinanceManager

PROGRAMCREDITS

YvonneFrindle EditorandDesign

ToneBullen,Smörgåsbord CoverArtwork

ImmijNSW Printer

sydney.philharmonia sydneyphilharmonia sydneyphilharmonia1

Wharf4/5,15HicksonRoad,DawesPoint|(02)82746200|hello@sydneyphilharmonia.com.au sydneyphilharmonia.com.au

VERDI’SREQUIEM

Immerseyourselfintheoperaticdrama andawesomesplendourofVerdi’smass forthedead.

Saturday20May|2PM

ChorusOz 2023 MAHLER8

Experiencethewallofsoundwhen hundredsofsingersandinstrumentalists cometogetherforMahler’sepicEighth Symphony.

Sunday11June|5PM