Handel’s Samson – Sydney Philharmonia Choirs 2023

HANDEL’S SAMSON

ACKNOWLEDGEMENTOFCOUNTRY

DEBORAHCHEETHAMFRAILLONandMATTHEWDOYLE

TarimiNulay–Longtimelivinghere†

GEORGEFRIDERICHANDEL

Samson–AnOratorio

TheWordstakenfromMiltonbyNewburghHamilton

BrettWeymark conductor

AlexanderLewis tenor(Samson)

CelesteLazarenko soprano(IsraeliteWomanandDalila)

RussellHarcourt countertenor(Micah,Samson’sfriend)

ChristopherRichardson bass-baritone(Manoa,Samson’sfather)

AndrewO’Connor bass(Harapha,aPhilistinegiant)

StephanieMooney soprano(AVirgin)

MatthewFlood tenor(Messenger)

SymphonyChorus

SydneyPhilharmoniaOrchestra

Saturday8April2023at1pm

SydneyOperaHouseConcertHall

†Commissionedfor100MinutesofNewAustralianMusic2020

Estimateddurations:90minutes,20-minuteinterval,75minutes Theperformancewillconcludeatapproximately4pm.

Pre-concerttalkbyTomForrester-Patonatnooninthe NorthernFoyer,supportedby2MBSFineMusic

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

Singersofallabilitieswelcome.Joinus! ‘uniquelyjoyousandinspirational’ ‘anannualmomentoftranscendence’

PreviousChorusOzparticipants

ScantheQRcodeformore informationandtoregister, orvisitbit.ly/ChorusOz23

Welcome

OneofmyfirstinvolvementswithSydney PhilharmoniaChoirswassingingthe Messengerinafineperformanceof Samson,manymoonsago.Asayoung undergraduateatSydneyUniversity,Iwas overwhelmedbytheintensepowerof Handel’sdramaticwriting,whichledtome exploremoreofhisoratorioswhilestudying formyMusicdegree.Upuntilthatpoint,I probablyonlyknew Messiah and Israelin Egypt well–butasIstartedtolistento moreandmoreofHandel’svocalmusic(on LPs!),Iwasstruckbynotonlythesheer amountofrepertoirebutthequalityofit.

InthesamewaythatShakespeareexplores theinnerworldofcharactersthroughtext, rhymeandmetre,Handeltraversessimilar territorywithhisincrediblegiftofmelody, harmonyandoverallmusicalarchitecture.

Itisthereforeagreatpleasuretobe bringingoneofmyfavouriteHandel masterpiecesbacktotherepertoireofthe SymphonyChorus–performingit,muchas Handelwouldhavedoneinhisowntime, duringtheLentenseason.It’sa psychologicaldrama–ajourneyfrom darknesstolight–and,muchlikeChrist’s

Passionstory,adiscourseonthenatureof sufferinganditsrelationshipto enlightenmentandredemption.

EnjoyHandel’smagnificent Samson!

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

Handel’sSamson

IfyouknowthestoryofSamson,youprobablyknowtwothings:

1.ThatDelilahseducedhimintorevealingthesecretofhis strength–hislonghair–andthenbetrayedhimtothePhilistines, whocuthishairandblindedhim.2.Later,havingregainedhis strength,hedestroyshisenemiesbybringingdownthetempleof Dagonwitheveryone(andhimself)inside.

Neitherofthesethingshappensonstagein Handel’soratorio.Theseduction,betrayal, shearingandblindingalltakeplacebefore theactionbegins(Previouslyon Samson…). Andwelearnofthedestructionofthe temple,andSamson’sdeath,secondhand whenaMessengerarrivesinActIII.The narrativeinsteadfollowsthelastdayof Samson’slifeinapsychologicaldrama.

Thestoryisbiblical,butHandel’ssource forthetextwasMilton’spoem Samson Agonistes.Milton’smodelwasancient Greektragedy,andsoheincludeswordsfor achorus,providingtheperfectpretextfor Handel’smarvellouschoralwriting.

Samson waspremieredinLondoninthe sameyearas Messiah (1743)and,atfirst,it enjoyedthegreatersuccess–itreceived eightperformancesinitsfirstseason, comparedto Messiah’sthree. Messiah may havesinceovertakenitinpopularity,but Samson remainsoneofHandel’smost admiredandthrillingoratorios.

Samson showsHandelattheheightof hispowers.ItisalsoHandel’slongest oratorio,growinginitsfinalformtoatleast three-and-a-halfhoursofmusicasheadded musictosuitparticularsingers.(Muchcan beexcluded,makingforatighterandmore effectivework.)Itsinitialsuccesswaspartly duetothepopularityofHandel’ssingers. But,aboveall,itwasthesubjectmatterthat appealedto18th-centuryaudiences.

TheBible,Milton,andHandel LikemostHandeloratorios, Samson takesitssubjectfromtheOldTestament. ThesourceoftheSamsonstoryistheBook ofJudges(Chapters13–16)–theepicof theheroofayoungnation,strongagainst Israel’soppressingandoccupying neighbour,thePhilistinepeople.

Samsonperformedamazingfeatsof strengthwithhisbarehands:fightingalion, andcarryingoffthegatesofacity.The storyhastheelementsofasolarmyth: Samson’sstrengthliesinthelocksofhis unshavenhair,asthesun’sisinitsrays, andthename“Samson”isconnectedwith theHebrewwordfor“sun”.

SamsonisaconsecratedmanofGod, whosebirthwasforetoldbyanangel.But heisarough-hewnstone,withanotorious weaknessforPhilistinewomen,andmeets hisnemesisinoneofthese,Dalila,a sensualtemptresswhodoesherpatriotic dutybyusingherwilestogoadSamson intorevealingthesecretofhisstrength. Shornandweak,heisdeliveredtohis enemies,whoblindhimandputhimto workatthemillwithslaves.

Modernfascinationwiththisstoryhas fixedonsexasthesourceofSamson’s downfallandDalilahasinspiredoperatic andcinematicmelodrama.ButforHandel, Samsonhimselfisthecentreofthestory. TheoratorioisnotanarrativeofSamson’s heroicdeeds(althoughitreferstosomeof

these)norofhisinitialtemptation.Insteadit presentsthefinalphaseofthestory:a seriesofconfrontationsbetweentheblind SamsonandhisvisitorsinGaza.Theseare hisfatherManoa,Dalila(ashernameis speltintheoratorio,withtheemphasison thefirstsyllable),andthegiantPhilistine championHarapha.Samson’sstateofmind evolvesfromnear-despairtoresigned acceptanceofGod’swill.

ThelibrettoisbasedonapoembyJohn Milton, SamsonAgonistes (1671).Newburgh Hamilton,whoadaptedit,hadsuggested toHandelthatthispoemwouldmakean idealoratorioonthemodelofHandel’s Saul (1739),orhissettingofDryden’spoem Alexander’sFeast (1736).Miltonhadwritten SamsonAgonistes asatragedy–modelledontheGreektragediesof SophoclesandAeschylus–butone intendedtobereadratherthanactedon thestage.

Miltonpreservestheunitiesoftimeand place,andthisiswhytheonegreataction, Samson’spullingdownofthetemple,isnot shownbuttoldbyamessenger,inavery lengthyrecitative.LiketheGreek tragedians,Miltonincludedachorus,which participatesandcommentsontheaction andonSamson’soutlook.It’sthisextensive partforchorusthatmadeitidealforthe formoforatorioHandelhadevolved.

Miltonchosetowrite SamsonAgonistes (“SamsontheChampion”or“Samsonthe Wrestler”)attheendofhisownlife.The poetwasageing,blindandlonely;asa Puritanheregardedthemenbroughtto powerinEnglandbytheRestorationas Philistines.Memorytormentedhimwith guiltoverhisunsatisfactoryfirstmarriage, colouringhischaracterisationofDalila.

Themusicof Samson isthusbasedon wordsbyoneofEngland’sgreatestpoets, filledoutformusicaltreatmentfromother

SamsoncapturedbythePhilistines(1619).Guercino(GiovanniFrancescoBarbieri)

GEORGEFRIDERICHANDEL(1685–1759)

travelledextensivelyasayoungman, developingadistinctiveandlivelyhybridof Italian,GermanandFrenchstyles.At25he wasappointedKapellmeistertotheElector ofHanover,butheimmediatelydeferred hisappointmentwithaneight-monthleave ofabsenceinLondon,thehubofthe18thcenturymusicalworld,wherehisopera Rinaldo wasatriumph.Asecondvisitto Englandwasgrantedwiththeinjunctionto return“withinreasonabletime”,butthe musicalopportunitiesinLondonprovedtoo alluring,andhewasstillinEnglandin1714 whenhisHanoveremployerassumedthe EnglishthroneasGeorgeI.

Handel’syearsinItalyhadmadehima forcetobereckonedwithintheopera scene,andthiswashowhehadmadehis nameinLondon.WhentheEnglishtastefor Italianoperabegantofade,heperfecteda newmusicalmedium:theEnglishsacred oratorio–effectivelyanoperawithoutsets, costumesorstaging,andemphasisingthe roleofthechorusas“crowd”and commentator.Treatinghisbiblicalstories withthesameunerringdramaticinstinct he’dbroughttotheoperatheatre,Handel delightedaudienceswithoratoriossuchas Esther, IsraelinEgypt and–composedin thesameyearas Samson – Messiah.

MiltonpoemsandfromthePsalms. Althoughthistextisoneofthefinest Handeleverset,thementalagonisingof Milton’s Samson poem,moreclosetedin tonethantheheroicnarrativeoftheBook ofJudges,waslesscongenialtohim.To forgeamoresympatheticlibretto,Handel seemstohavedrawnonhisown knowledgeoftheBiblestory.Inparticular, thePhilistines–theirchorusesinventedfor Handelbyhislibrettist–aretreatedmuch morepositivelythaninMilton’spoem.

Handel’sOratorioStyle

Milton’sdidactic SamsonAgonistes preachestemperance,anti-feminism,and–aboveall–submissiontodestinyand resignationtoGod’swill.Someofthese elementsremaininHandel’sadaptation, partlyaccountingfortheoratorio’s popularitywithProtestantEnglishmen, descendantsofthePuritans.Theyhave thoughtof Samson asa sacred piece,but thisismisleading.WhenHandel, depressedbyrepeatedfailures,gaveup writingoperasandturnedtooratorio,heby nomeansgaveupaimingfortheatrical effect.Sothosewhohavefound theologicalsignificanceinthechorus “Fixedinhiseverlastingseat”,withits confrontationofIsraelitesinvoking “Jehovah”andPhilistinestheirGod “Dagon”,havemissedthepoint.AsWinton Dean,theauthorityonHandel’soratorios, haspointedout,thisisreallyapolitical slangingmatch.

Handel’soratoriosmilkstoriesfromthe OldTestamentformaximumdramatic effect. Samson isaseriesofconfrontations withthetitlecharacter.Itsweaknesses, suchastheyare,comefromSamsonbeing apassivesufferer,inthelastphaseofhis life.Hisonegreatacttakesplaceoffstage. WithexaggeratedrespectforMiltonthe librettistincludedtoomuchexplorationof Samson’sstateofmind;cutsinthisare sanctionedbyHandel’sownpracticeinhis performances.

DETAILFROMAPORTRAITOFHANDELATTRIBUTED TOBALTHASARDENNER ©NATIONALPORTRAITGALLERY,LONDON

SAMSON

Milton’smainthemeisSamson’smoral recovery,andhisspiritualprogressfrom darknesstolight.Handelidentifiesfully withthewordsemphasisinglight,with poignantirony.Samson’sgreatcry“Odark, dark,dark,amidtheblazeofnoon”,ahigh spotinEnglishpoetry,iswonderfully musickedinthearioso“TotalEclipse”with itsstrikingunaccompaniedvocalphrases. Samson’sspiritualprogressissymbolised intheariahesingsbeforegoingtohis death.“Thuswhenthesun”,adaptedfrom Milton’spoem“OntheMorningofChrist’s Nativity”,fillsouttheimageryofthesun eclipsed,thenrising.

ItdoesnotsurpriseusthatHandel’s Samsonisatenor–thetenorasherois thestockofRomanticopera.Foraudiences in1743,however,thiswasanovelty,asthe leadingmalepartsinItalianBaroqueopera wereusuallycastratosorwomen entravesti. ThiswasHandel’sfirstgreattenorrole, composedforJohnBeard.

MICAH

Samson’sfriendandconfidantwas inventedbythelibrettisttocarrymuchof Milton’snarrative,alongwiththechorus.As iftomakeupformissingpersonality, HandelgivesMicahsomeespecially beautifulmusic,includingthefamous “Return,OGodofhosts”.

MANOA

Samson’sfather,anotherratherpassive figure,risestogreatheightsinAct3.“How willingmypaternallove"isanexpression, asWintonDeansays,ofthefatherlylove Handelhimselfneverknew.Manoaalso leadsoffthebeautiful‘requiem’forSamson thatfollowstheDeadMarch.

DALILA

Milton’sDalilawassoftenedand humanised,probablyatHandel’srequest, inthisrolecomposedforCatherineClive,a popularsinging-actress.Handel’sisa

seductive,flightyDalila;wecanunderstand Samson’sattraction,andwecanfeelher loveforSamsonissincere.Dalilaandher virginsprovideaninterludeofalmost balleticdelicacyinarathersombrestory. HandelretainsMilton’sdescriptionofher asaserpentandahyena.Thechorus reflects:

TomanGod’suniversallaw Gavepowertokeepthewifeinawe, Thenshallhislifebene’erdismay’d Byfemaleusurpationsway’d.

HARAPHA

ThebraggartbullyisatypeHandel disliked,andhemeansustodislikethis braggartbully,inspiteofthesuperb bravuraof“Honourandarms”,andthe excitingoverlappingentriesofhisduetwith Samson,“Go,baffledcoward,go”.

OTHERS

Thefinalversionof Samson wasfilled outwithextraariasforparticularsingers, PhilistineandIsraelitemenandwomen. Mostofthesearefrequentlyomitted,but oneexceptionistheIsraeliteWomanwho takespartinSamson’srequiem,“Glorious Hero”,andleadsoffthefinalrejoicingof theIsraelitesoverSamson’srevengeonhis tormentorswiththearia“Letthebright Seraphims”,whosealreadygreatfamewas increasedbyitsperformanceataroyal wedding.Thisevocationofrowsofangels bearingflamingtorchescompletesthe imageryoflightthatrunsthroughthe oratorio.

Postscript

Handel’sidentificationwiththestoryof hisSamsongainedsadironywhenthe composerofanoratorioaboutablindman, basedontheworkofablindpoet,became blindhimself.Nowonderthat,when Samson wasperformedinhislastyears, Handelandhisaudiencescouldnotlisten to“Totaleclipse”withouttears.

DavidGarrett©2023

TheWords

ACKNOWLEDGEMENTOFCOUNTRY CHEETHAMFRAILLON&DOYLE

TarimiNulay–Longtimelivinghere

Tariminulayngalawayura garrabarrabarayayagubarrabugu ngyiningingara ngyiningiberong

TranslatedintoGadigalbyMatthewDoyle

Longtimeherelivethepeople dancingandsingingtodayandtomorrow, yourwayofknowing yourwayofbelonging

WordsbyNewburghHamilton, afterJohnMilton’s SamsonAgonistes

ACTONE

BeforethePrisoninGaza.Samson,the Israelitewarrior,hasbeencapturedand blindedbythePhilistines.Hewasbetrayed byhiswifeDalila,whocutoffhishair,thus deprivinghimofhisstrength.

Symfony(Andante–Allegro)

ORCHESTRA

Scene1

Samson,blindandinchains.Philistine priestsarecelebratingafestivalinhonour oftheirgodDagon.

Recitative SAMSON

Thisday,asolemnfeasttoDagonheld, Relievesmefrommytaskofserviletoil; Unwillinglytheirsuperstitionyields Thisrest,tobreatheheav’n’sair, freshblowing,pureandsweet.

Chorus PHILISTINES

Awakethetrumpet’sloftysound! Thejoyfulsacredfestivalcomesround, WhenDagonkingofalltheearth iscrown’d.

Air

PHILISTINEWOMAN

YemenofGaza,hitherbring

Themerrypipeandpleasingstring, Thesolemnhymn,andcheerfuIsong; BeDagonprais’dbyev’rytongue!

Chorus

PHILISTINES

Awakethetrumpet’sloftysound!

Thejoyfulsacredfestivalcomesround, WhenDagonkingofalltheearthis crown’d.

HANDELSamson

Recitative SAMSON

Whybyanangelwasmybirthforetold?

IfImustdie,betray’dandcaptiv’dthus, thescornandgazeoffoes:O,cruel thought!Mygriefsfindnoredress!They inwardprey,likegangren’dwounds, immedicablegrown.

Scene2

EnterMicah(Samson’sfriend)and Israelites,observingSamson.

Recitative

MICAH(APART)

Ochangebeyondreport,thought,orbelief! See,howhelieswithlanguish’dhead, unpropped!Abandon’d,pastallhope!

Canthisbehe?HeroicSamson?

Whomnostrengthofman,norfuryofthe fiercestbeastcouldquell?

Whotorethelion,astheliontearsthekid?

Ranweaponlessonarmiescladiniron, Uselessthetemper’dsteel,orcoatofmail?

Air MICAH

O,mirrorofourficklestate!

Inbirth,instrength,indeedshowgreat!

Fromhighestgloryfall’nsolow, Sunkinthedeepabyssofwoe!

Recitative

SAMSON(APART)

WhomhaveItocomplainofbutmyself, WhoHeav’n’sgreattrustcouldnot insilencekeep, Butweaklytoawomanmustrevealit!

MICAH(TOSAMSON)

Matchlessinmight!

OnceIsrael’sglory,nowhergrief!

Wecome(thyfriendswellknown) tovisitthee!

SAMSON

Welcome,myfriends!

MICAH

Whichshallwefirstbewail, Thybondage,orlostsight?

SAMSON

Olossofsight,oftheeImostcomplain!

O,worsethanbeggary,oldage,orchains! Myverysoulinrealdarknessdwells!

Air

SAMSON

Totaleclipse!Nosun,nomoon!

Alldarkamidsttheblazeofnoon!

O,gloriouslight!Nocheeringray

Togladmyeyeswithwelcomeday!

Whythusdepriv’dThyprimedecree?

Sun,moon,andstarsaredarktome!

Chorus

ISRAELITES

Ofirstcreatedbeam,andthougreatword! “Lettherebelight!”andlightwasoverall, Oneheav’nlyblazeshoneroundthis earthlyball.

Tothydarkservant,lifebylightafford!

Recitative

SAMSON

Yesee,myfriends,howwoesenclose meround.

ButhadIsight,howcouldIheavemyhead Forshame?

Thus,foraword,ortear,divulge

ToafalsewomanGod’smostsecretgift, Andthenbesung,orproverb’dforafool!

MICAH

Herecomesthyrev’rendsire,oldManoa, Withcarefulsteps,andlocksaswhite asdown.

SAMSON

Alas!Anothergriefthatnameawakes.

Scene3

Samsonisvisitedbyhisfather,Manoa, whoistryingtonegotiatehisrelease.

Recitative MANOA(ENTERING)

BrethrenandmenofDan,say, whereismyson, Samson,fondIsrael’sboast? Informmyage!

MICAH

Assignalnowinlowdejectedstate, Asintheheightofpow’r.–See,wherehelies!

Accompagnato

MANOA

O,miserablechange!Isthistheman, Renown’dafar,thedreadofIsraeI’sfoes? WhowithanangeI’sstrengththeirarmies duell’d,himselfanarmy!–

Nowunequalmatchtoguardhisbreast againstthecoward’sspear!

Recitative MICAH

O,everfailingtrustinmortalstrength! AndO,whatnotdeceivableandvain inman!

Air MANOA

Thygloriousdeedsinspir’dmytongue, Whilstairsofjoyfromthencedidflow. TosorrowsnowItunemysong, Andsetmyharptonotesofwoe.

Recitative SAMSON

JustlytheseevilshavebefalI’nthyson; SoleauthorI,solecause!

Accompagnato SAMSON

Mygriefsforthis

Forbidmineeyestoclose, orthoughtstorest. Butnowthestrifeshallend: meoverthrown, DagonpresumestoenterlistswithGod, Who,thusprovok’d,willnotconnive, butrousehisfurysoon,andhisgreatname assert;Dagonshallstoop, erelongbequitedespoil’d Ofallthoseboastedtrophieswononme.

Air SAMSON

WhydoestheGodoflsraelsleep?

Arisewithdreadfulsound, Andcloudsencompass’dround! Thenshalltheheathenhearthy thunderdeep.

Thetempestofthywrathnowraise, Inwhirlwindsthempursue, Fullfraughtwithvengeancedue, Tillshameandtroubleallthyfoes shallseize!

Recitative MICAH

Thereliesourhope!Trueprophetmay’st thoube, ThatGodmayvindicatehisgloriousname; NorletusdoubtwhetherGodisLord, orDagon.

Chorus ISRAELITES

Thenshalltheyknow,thatHewhosename Jehovahisalone, O’eralltheearthbutOne, WasevertheMostHigh,andstillthesame.

RecitativeandAccompagnato MANOA

Forthee,mydearestson,mustthou meanwhilelie,thusneglected,inthis loathsomeplight?

SAMSON

Itshouldbeso.WhyshouldIlive? Soonshalltheseorbstodouble darknessyield.

Mygenialspiritsdroop,myhopesarefled; Natureinmeseemswearyofherself; Myraceofgloryrun,andraceofshame: Death,invocatedoft,shallendmypains, Andlaymegentlydownwiththemthat rest.

Air MICAH

Thenlongeternityshallgreetyourbliss; Nomoreofearthlyjoys,sofalseandvain!

Joysthatarepure,sincerelygood, Shalltheno’ertakeyouasaflood: Wheretruthandpeacedoevershine, Withlovethat’sperfectlydivine.

Chorus

ISRAELITES

Thenroundaboutthestarrythrone

OfHimwhoeverrulesalone, Yourheav’nly-guidedsoulshallclimb: Ofallthisearthlygrossnessquit, Withglorycrown’d,foreversit, Andtriumphoverdeath,andthee,OTime!

ACTTWO

Scene1

Samson,Manoa,MicahandIsraelites.

Recitative MANOA

TrustyetinGod!Thyfather’stimelycare Shallprosecutethemeanstofree theehence; Meantime,allhealingwordsfromthesethy friendsadmit.

SAMSON

Myevilshopelessare;onepray’rremains: aspeedydeathtoclosemymiseries!

MICAH

Relievethychampion,imageofthy strength!

andturnhislabourstoapeacefulend. AirandChorus

MICAH

Return,OGodofhosts!Behold Thyservantindistress, Hismightygriefsredress, Norbytheheathenbeittold.

ISRAELITES

Todusthisglorytheywouldtread, Andnumberhimamongstthedead.

Handeloratoriosusetwokindsofrecitativeor “sungspeech”:an Accompagnato includes written-outaccompanyingpartsforthestrings andismorerhythmicalthanthefreer Recitative,whichisaccompaniedbybasso continuoinstruments(organorharpsichord) improvisingaboveabassline.

Scene2

EnterDalila,attendedbyherVirgins.Sheis fullofremorseforherbetrayalofSamson.

Recitative

MICAH

Butwhoisthis,thatsobedeck’dandgay, Comesthiswaysailinglikeastatelyship? ’TisDalila,thywife.

SAMSON

Mywife,mytrait’ress?Lethernotcome nearme!

MICAH

Shestands,andeyestheefix’d,with headdeclin’d.

Likeafairflow’rsurcharg’dwithdew, sheweeps; Herwordsaddress’dtothee,seem tearsdissolv’d, Wettingthebordersofhersilkenveil.

DALILA

Withdoubtfulfeet,andwav’ringresolution, Icome,OSamson!dreadingthy displeasure; Butconjugalaffectionledmeon, Prevailingoverfearandtim’rousdoubt,

SAMSON

Out,thouhyæna!’Twasmalicebrought theehere!

Thesearetheartsofwomenfalselikethee, Tobreakallvows,repent,deceive,submit, Thenwithinstructedskillagaintransgress.

DALILA

Iwouldnotlessenmyoffence; yetbegtoweighitbyitself. Amutualweaknessmutualpardonclaims.

SAMSON

Howcunninglythesorceressdisplays Herowntransgressions,toupbraid memine!

Itomyselfwasfalse,erethoutome; Bitterreproach,buttrue!Thepardon,then, Itomyfollygive,takethoutothine!

Air

DALILA

Withplaintivenotesandam’rousmoan, Thuscoostheturtleleftalone.

Likeme,aversetoeachdelight, Shewearsthetediouswidow’dnight: Butwhenherabsentmatereturns, Withdoubledrapturesthensheburns.

Recitative

SAMSON

Didloveconstrainthee?No,’twas raginglust!Loveseeksforlove,thy treasonsoughtmyhate.Invainyoustrive tocovershamewithshame:Oncejoin’dto me,thoughjudg’dyourcountry’sfoe, Parents,andall,wereinthehusbandlost.

Air

SAMSON

Yourcharmstoruinledtheway, Mysensedeprav’d, Mystrengthenslavd, AsIdidlove,youdidbetray. Howgreatthecurse,howhardmyfate Topasslife’sseawithsuchamate!

Recitative

DALILA

Forgivewhat’sdone,northinkofwhat’s pastcure.Fromforththisprison-house comehometome,wherewithredoubled loveandnursingcare,(tomegladoffice!) myvirginsandmyselfshalltendabout theetoextremestage.

Air,DuetandChorus

DALILA

Myfaithandtruth,OSamson,prove, Buthearme,hearthevoiceoflove!

Withlovenomortalcanbecloy’d, Allhappinessisloveenjoy’d.

AVIRGIN

Herfaithandtruth,OSamson,prove, Buthearher,hearthevoiceoflove!

CHORUSOFVIRGINS

Herfaithandtruth,OSamson,prove Buthearher,hearthevoiceoflove!

Air DALILA

Tofleetingpleasuresmakeyourcourt, Nomomentlose,forlifeisshort!

Thepresentnow’souronlytime

Themissingthatouronlycrime.

Howcharmingisdomesticease!

AthousandwaysI’llstrivetoplease. Lifeisnotlost,thoughlostyoursight; Letothersensestastedelight.

Recitative SAMSON

Ne’erthinkofthat!Iknowthywarbling charms,thytrains,thywiles,andfair enchantedcup.

TheirforceisnulI’d;whereonceIhave beencaught,Ishunthesnare. Thesechains,thisprison-house, Icountthehouseoflibertytothine.

DALILA

Letmeapproach,atleast,andtouch thyhand.

SAMSON

Notforthylife,lestfierceremembrance wakemysuddenragetoteartheelimb fromlimb.

AtdistanceIforgive:departwiththat. Nowtriumphinthyfalsehood;sofarewell!

DALILA

Thouartmoredeaftopray’rsthanwindsor seas.Thyangerragesaneternaltempest. WhyshouldIhumblysueforpeace,thus scorn’d,withinfamyuponmyname denounc’d?

Duet DALILA

Traitortolove!I’llsuenomore Forpardonscorn’d,yourthreatsgiveo’er!

SAMSON

Traitresstolove!I’llhearnomore Thecharmer’svoice,yourartsgiveo’er!

DalilaandherVirginsdepart.

Scene3

Recitative MICAH

She’sgone!Aserpentmanifest,hersting Discover’dintheend.

SAMSON

Solethergo!

Godsentherheretoaggravatemyfolly.

Recitative SAMSON

Favour’dofheavenishe,whofindsone true.Howrarelyfound!–Hiswaytopeace issmooth.

ISRAELITES

TomanGod’suniversallaw Gavepow’rtokeepthewifeinawe. Thusshallhislifebene’erdismay’d, Byfemaleusurpationsway’d.

INTERVAL

Scene4

ThePhilistinegiantHaraphaarrives–boastfulandmocking.

Recitative

MICAH

Nowordsofpeace,novoiceenchanting fear,aroughertongueexpect. Here’sHarapha,Iknowhimbythisstride andhaughtylook.

HARAPHA

Icomenot,Samson,tocondolethychance; IamofGath,mencallmeHarapha; Thouknow’stmenow. Ofthyprodigiousmight MuchhaveIheard,incredibletome! Norlessdispleas’d,thatneverinthefield Wemet,totryeachother’sdeedsof strength.I’dseeifthyappearanceanswers loudreport.

SAMSON

Thewaytoknow,werenottosee, buttaste.

HARAPHA

Ha!Dostthouthenalreadysingleme? Ithoughtthatlabourandthychainshad tam’dthee.Hadfortunebroughtmetothat fieldofdeath,wherethouwrought’st wonderwithanass’sjaw,I’dleftthycarcass wheretheasslaythrown.

SAMSON

Boastnotofwhatthouwould’sthave done,butdo.

HARAPHA

Thehonourcertaintohavewonfromthee Ilose,preventedbythyeyesputout; Tocombatwithablindman,Idisdain.

Air

HARAPHA

Honourandarmsscornsuchafoe, ThoughIcouldendtheeatablow; Poorvictory,toconquerthee, Orgloryinthyoverthrow!

Vanquishaslavethatishalfslain: SomeanatriumphIdisdain.

Honourandarms…

Recitative

SAMSON

Cam’stthouforthis,vainboaster? Yettakeheed! Myheelsarefetter’d, butmyhandsarefree.

Thoubulkofspiritvoid!Ionceagain, Blindandinchains,provoketheeto thefight!

HARAPHA

ODagon!CanIhearthisinsolence Tomeunus’d,notrend’ringinstantdeath?

Duet

SAMSON

Go,baffledcoward,go, Lestvengeancelaytheelow, Insafetyflymywrathwithspeed!

HARAPHA

PresumenotonthyGod, Whounderfoothastrod

Thystrengthandthee,atgreatestneed.

Recitative MICAH

Herelietheproof;ifDagonbethyGod, Withhighdevotioninvocatehisaid, Hisgloryisconcern’d.Lethimdissolve Thosemagicspellsthatgaveour herostrength; ThenknowwhosegodisGod, Dagon,ofmortalmake, OrthatGreatOnewhomAbra’m’s sonsadore.

Chorus ISRAELITES

Hear,Jacob’sGod,Jehovah,hear! O,saveus,prostrateatthythrone! Israeldependsontheealone, Saveus,andshowthatthouartnear!

Recitative

HARAPHA

Dagon,arise,attendthysacredfeast! Thyhonourcalls,thisdayadmitsnorest.

Chorus PHILISTINES

Tosonganddancewegivetheday, Whichshowsthyuniversalsway. Protectusbythymightyhand. Andsweepthisracefromouttheland!

ChoruswithSoloists

DALILAANDHERVIRGINS,SAMSON,MICAH, MANOA,HARAPHAANDISRAELITES

Fix’dinhiseverlastingseat, Jehovah/GreatDagonrulestheworld instate.

Histhunderroars,heav’nshakes,and earth’saghast, Thestarswithdeepamaze, Remaininstedfastgaze. Jehovah/GreatDagonisofgodsthe firstandlast.

ACTTHREE

Scene1

HaraphachallengesSamsontoshowoff hisstrengthatthefeastofDagon.

Recitative

MICAH

Moretroubleisbehind,forHarapha Comesonamain,speedinhissteps andlook.

SAMSON

Ifearhimnot,norallhisgiantbrood.

HARAPHA

Samson,totheeourlordsthusbidmesay: ThisdaytoDagonwedosacrifice Withtriumph,pomp,andgames; Weknow,thystrengthsurpasseshuman race;comethen,andshowsomepublic prooftogracethissolemnfeast.

SAMSON

IamanHebrew,andourlawforbids Mypresenceattheirvainreligiousrites.

HARAPHA

Thisanswerwilloffend;regardthyself.

SAMSON

Myself,myconscienceandinternalpeace! AmIsobrokewithservitude,toyield Tosuchabsurdcommands,tobetheirfool, AndplaybeforetheirGod?–Iwillnotcome.

HARAPHA

Mymessage,giv’nwithspeed,brooks nodelay.

Air

HARAPHA

Presumingslave,tomovetheirwrath! Formercysue, Orvengeancedue Doomsinonefatalwordthydeath! Consider,ereitbetoolate, Towardth’unerringshaftoffate.

Recitative MICAH

Reflectthen,Samson,mattersnoware strain’duptotheheight,whethertohold, orbreak.He’sgone,whosemalicemay inflamethelords.

SAMSON

ShallIabusethisconsecratedgift Ofstrength,againreturningwithmyhair, Byvauntingitinhonourtotheirgod Andprostitutingholythingstoidols?

MICAH

Howthouwiltherecomeoffsurmountsmy reach;’tisHeav’nalonecansave,bothus andthee.

Chorus ISRAELITES

Withthunderarm’d,greatGod,arise! Help,Lord,orIsrael’schampiondies! Tothyprotectionthisthyservanttake, Andsave,O,saveusforthyservant’ssake!

Withthunderarm’d…

Samsonbeginstofeelhispowersrestored.

RecitativeandAccompagnato

SAMSON

Beofgoodcourage,Ibegintofeel Someinwardmotions,whichdobidmego.

MICAH

Intimethouhastresolv’d,againhecomes.

HARAPHA

Samson,thissecondsummonssendour lords:Hastetheeatonce;orweshall enginesfindtomovethee,thoughthou wertasolidrock.

SAMSON

Vainweretheirartiftried,Iyieldtogo, Notthroughyourstreetsbelikeawild beasttrail’d.

HARAPHA

Youthusmaywinthelordstosetyoufree.

SAMSON

InnothingI’llcomplythat’sscandalous Orsinfulbyourlaw.

Brethren,farewell!

Yourkindattendancenow,Ipray,forbear.

MICAH

Somay’stthouactasservesHisglorybest.

SAMSON

Letbutthatspirit(whichfirstrush’donme InthecampofDan)inspiremeatmyneed: ThenshallImakeJehovah’sgloryknown! Theiridolgodsshallfromhispresencefly, Scatter’dlikesheepbeforetheGodof hosts.

Air SAMSON

Thuswhenthesunfrom’swat’rybed Allcurtain’dwithacloudyred, Pillowshischinuponanorientwave; Thewand’ringshadowsghastlypale, Alltrooptotheirinfernaljail

Eachfetter’dghostslipstohis sev’ralgrave.

Accompagnato MICAH

Withmightendu’dabovethesonsofmen, Swiftasthelightning’sglance Hiserrandexecute, AndspreadHisnameamongstthe heathenround.

AirandChorus MICAH

TheHolyOneofIsraelbethyguide, TheAngelofthybirthstandbythyside!

Tofameimmortalgo, Heav’nbidstheestriketheblow: TheHolyOneofIsraelisthyguide.

ISRAELITES

Tofameimmortalgo

Heav’nbidstheestriketheblow

TheHolyOneofIsraelisthyguide.

Scene2

Micah,Manoa,andChorusofIsraelites.

Recitative MICAH

OldManoawithyouthfulstepsmakeshaste Tofindhisson,orbringussomegladnews.

MANOA

Icome,mybrethren,nottoseekmyson, Whoatthefeastdoesplaybeforethelords; Butgiveyoupartwithme,whathopesI havetoworkhisliberty.

Chorus

PHILISTINES,ATADISTANCE

GreatDagonhassubdu’dourfoe.

Andbroughttheirboastedherolow: Soundouthispow’rinnotesdivine Praisehimwithmirth,highcheerandwine.

Recitative MANOA

Whatnoiseofjoywasthat?Ittorethesky.

MICAH

Theyshoutandsing,toseetheirdreaded foenowcaptive,blind,delightingwithhis strength.

MANOA

Couldmyinheritancebutransomhim, Withoutmypatrimony,havinghim Therichestofmytribe.

MICAH

Sonscaretonurse

Theirparentsinoldage;butyou,–yourson!

Air

MANOA

Howwillingmypaternallove

Theweighttoshareoffilialcare, Andpartofsorrow’sburdenprove! Thoughwand’ringintheshadesofnight, WhilstIhaveeyeshewantsnolight.

Recitative,SymphonyandChorus MICAH

Yourhopesofhisdeliv’ryseemnotvain, InwhichallIsrael’sfriendsparticipate.

MANOA

Iknowyourfriendlyminds,and— ThebackgroundnoiseofPhilistinerevelry isinterruptedbyaSymphonyofHorror andConfusion…

(ORCHESTRA)

MANOA

Heav’n!Whatnoise!

Horriblyloud,unliketheformershout.

CHORUSOFPHILISTINES,ATADISTANCE

Hearus,ourGod!O,hearourcry!

Death,ruin,falI’n,nohelpisnigh, Omercy,Heav’n,wesink,wedie!

Recitative MICAH

Noisecallyouthis?Anuniversalgroan, Asiftheworld’sinhabitationperish’d! Blood,death,andruin,attheirutmost point!

MANOA

Ruinindeed!O,theyhaveslainmyson!

MICAH

Thysonisratherslayingthem;thatcry Fromslaughterofonefoecouldnot ascend.Butsee,myfriends, Onehitherspeeds,anHebrewofourtribe.

Scene3

AnIsraelitemessengerarrives.

Recitative MESSENGER

WhereshallIrun,orwhichwayflythe thoughtsofthismosthorridsight?O countrymen,you’reinthissadeventtoo muchconcern’d!

MICAH

Theaccidentwasloud,welongtoknow fromwhence.

MESSENGER

Letmerecoverbreath;itwillburstforth.

MANOA

Tellusthesum,thecircumstancedefer.

MESSENGER

Gazayetstands,butallhersonsarefalI’n.

MANOA

Sad?nottous!Butnowrelatebywhom.

MESSENGER

BySamsondone.

MANOA

Thesorrowlessensstill, Andnighconvertstojoy.

MESSENGER

OManoa!

InvainIwouldrefrain;theeviltale Toosoonwillrudelypiercethyagedear.

MANOA

Suspenseinnewsistorture,speak themout!

MESSENGER

Thentaketheworstinbrief–Samson isdead.

MANOA

Theworstindeed!Myhopestofreehim henceareblastedall!

Butdeath,whosetsallfree, Hathpaidhisransomnow.

MICAH

Yet,erewegivethereinstogrief,sayfirst Howdiedhe?

Deathtolifeiscrown,orshame.

SamsonbringsdownthePhilistinetemple. BologneseSchool,early18thcentury

MESSENGER

Unwoundedofhisenemieshefell, Atoncehediddestroy,andwasdestroy’d; Theedifice,whereallweremettosee, Upontheirheads,andonhisownhepulI’d!

MANOA

O,lastlyoverstrongagainstthyself! Adreadfulwaythoutook’sttothyrevenge: Glorious,yetdearlybought!

AirandChorus

MICAH

Yesonsoflsrael,nowlament, Yourspearisbroke,yourbow’sunbent. Yourglory’sfled, Amongstthedead

GreatSamsonlies, Forever,ever,clos’dhiseyes!

ISRAELITES

Weep,Israel,weepalouderstrain; Samson,yourstrength,yourhero,isslain!

DeadMarch

ORCHESTRA

EnterIsraeliteswiththebodyofSamson.

ChoruswithSoloists

MANOA

Glorioushero,maythygrave

Peaceandhonoureverhave; Afterallthypainandwoes

Resteternal,sweetrepose!

ISRAELITES

Glorioushero,maythygrave Peaceandhonoureverhave!

ISRAELITEWOMAN

Thevirginstooshallontheirfeastfuldays

Visithistombwithflow’rs,andtherebewail Hislotunfortunateinnuptialchoice.

VIRGINS

Bringthelaurels,bringthebays, Strewhishearse,andstrewtheways!

ISRAELITEWOMAN

Mayev’ryherofalllikethee, Throughsorrowtofelicity!

VIRGINS

Bringthelaurels,bringthebays Strewhishearseandstrewtheways!

ISRAELITES

Glorioushero,maythygrave Peaceandhonoureverhave, Afterallthypainsandwoes, Resteternal,sweetrepose!

Recitative

MANOA

Come,come!Notimeforlamentationnow, Nocauseforgrief; SamsonlikeSamsonfell, Bothlifeanddeathheroic.Tohisfoes Ruinisleft;tohimeternalfame.

AirandChorus

ISRAELITEWOMAN

Letthebrightseraphimsinburningrow, Theirloud,upliftedangeltrumpetsblow. Letthecherubichost,intunefulchoirs, Touchtheirimmortalharpswith goldenwires.

ISRAELITES

Lettheircelestialconcertsallunite, Evertosoundhispraiseinendless blazeoflight.

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

AlexanderLewishasperformedaroundthe worldinbothoperaandmusicaltheatre.His operaticperformancesinclude:Lacain Jenůfa (SantaFeOpera),CountDaniloin TheMerry Widow (OperaAustralia,WestAustralian Opera,StateOperaSouthAustralia);John Wormleyin Crossing (TheAmericanRepertory TheatreBoston,BrooklynAcademyofMusic’s NextWaveFestival),thetitlerolein TheNose (OperaAustralia,KomischeOperBerlin,Royal OperaHouseCoventGarden,Metropolitan Opera),Hoffmannin Lescontesd’Hoffmann andGritskoin TheFairatSorochyntsi (KomischeOperBerlin),Taminoin TheMagic Flute (WestAustralianOpera),Flaskin Moby Dick (WashingtonNationalOpera),andSt Briochein 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).Next monthhewillalsoappearforSPCinThe GoldenAgeofBroadway.

AgraduateofboththeGuildhallSchoolin LondonandtheSydneyConservatorium OperaSchool,CelesteLazarenkohas appearedwithEnglishNationalOpera,Opera North,OpéraAngers-Nantes,OperaAustralia, VictorianOpera,PinchgutOperaandSydney ChamberOpera.Shehasreceivedmany prizesandawards,inAustraliaandabroad, andwasafinalistintheKathleenFerrier CompetitioninLondon.

In2023herengagementsincludeDonna Anna(DonGiovanni)forOperaAustralia,Ilia (Idomeneo)forVictorianOperaand LaVoix humaine forSydneyChamberOpera.

InAustralia,herroleshaveincludedthetitle rolein TheCunningLittleVixen forVictorian Opera,FemaleChorusin TheRapeof Lucretia forSydneyChamberOpera,and Télaïre(Rameau’s CastoretPollux),Medea (Cavalli’s Giasone),andLeonore(André Grétry’s L’Amantjaloux)forPinchgutOpera.In additiontoDonnaAnna,herworkwithOpera AustraliaincludesPaminaandSecondLadyin TheMagicFlute,Susannain TheMarriageof Figaro ontour,Sylvianein TheMerryWidow, KatePinkertonin MadamaButterfly,andthe FijiWomanin Whiteley (Kats-Chernin).

Ontheconcertplatform,shehasappeared withtheQueensland,SydneyandNew Zealandsymphonyorchestras,Australian HaydnEnsemble,SydneyPhilharmonia ChoirsandSydneyUniversityGraduateChoir.

AlexanderLewis tenor

PHOTO:AMELIADOWD

CelesteLazarenko soprano

PHOTO:LOUISDILLONSAVAGE

DONATENOW

Voice.Energy.Joy.Our2023 seasonoffersaudiencesand performersthegiftofmusicinall itsguises–bringingpeople togetherincommunity.

Butboxofficeincomealoneisnot enoughtosustainourefforts.We needyourhelpandeverygiftwe receivemakesarealdifference.

Pleaseconsideratax-deductible donationtoSydneyPhilharmonia Choirstoday.

sydneyphilharmonia.com.au/donate orcall(02)82746200

RussellHarcourtisagraduateoftheSydney ConservatoriumandtheRoyalAcademyof MusicinLondon,wherehefurtheredhis studieswithYvonneKenny,wasanAssociate oftheJetteParkerArtistsProgrammeatthe RoyalOperaHouseCoventGarden,studied part-timeattheNationalOperaStudio,and becameanalumnusoftheBrittenPears YoungArtistProgramme.Heisnowamember oftheSydneyConservatorium’svocalfaculty.

Hisrecentandupcomingengagements includeAndronico(Giustino)forPinchgut Opera,Ruggiero(Alcina)withNationalOpera Canberra,thetitleroleinHandel’s Oreste for theRoyalOperaHouse,atWilton’sMusicHall, Evanco(Rodrigo)forGöttingenInternational HandelFestival,Roberto(Griselda)forIrish NationalOpera,JohnAdams’ Gospel AccordingtotheOtherMary atBonnOpera; Bach’sB-minorMasswithFlorilegium; Pisandro(ReturnofUlysses)forIfordArts Festival;Narciso(Agrippina)forEnglish TouringOpera;Nerone(Agrippina)for BrisbaneBaroque(receivingaHelpmann Awardnomination);andAndronico(Bajazet), Megabise(Artaxerxes)andCorrado(Griselda) forPinchgutOpera.Hehasalsosung Messiah withtheNewZealandSymphony OrchestraandperformedwiththeAustralian BrandenburgOrchestraandBachAkademie Australia.LastyearheappearedwithSydney PhilharmoniaChoirsinHandel’sCoronation AnthemsandHaydn’s NelsonMass.

RussellHarcourt countertenor

ChristopherRichardsonisagraduateofthe TasmanianConservatoriumofMusic,andthe recipientoftheRoyalMelbournePhilharmonic AriaAwardandtheFrancesMacEachron AwardattheOratorioSocietyofNewYork’s SoloCompetitionatCarnegieHall.

HehasappearedwithPinchgutOpera, OperaQueensland,HandelintheTheatre, Canberra,AucklandPhilharmoniaOrchestra, SydneyPhilharmoniaChoirs,Perth SymphonicChorus,RoyalMelbourne PhilharmonicSociety,FestivalofVoices Hobart,CanberraChoralSociety,theAllegri Ensemble,Hobart,andtheMelbourne, Sydney,QueenslandandTasmanian symphonyorchestras.

Hismostrecentperformancesinclude Brahms’s AGermanRequiem asguestsoloist withTheSongCompany,Beethoven’sNinth SymphonywiththeAdelaideSymphony Orchestra,and Messiah atStAndrew’s Cathedral,SydneyandwiththeMelbourne SymphonyOrchestraconductedbyAndrew Davis.LastyearhesangHaydn’s Nelson Mass andHandel’sCoronationAnthemswith SydneyPhilharmoniaChoirs.

HehasalsobeeninvitedtoappearinThe EnchantedIsland(10DaysontheIsland Festival,Tasmania),TheGeniusofJ.S.Bach (MelbourneRecitalCentre);Beethoven’sMass inC(VictoriaChorale),andFauré’sRequiem (PerthSymphonicChorus).Hefeaturesonthe CDofCalvinBowmansongs, RealandRight andTrue

Asaperformerandeducator,Perth-born AndrewO’Connorisversedinawidevariety ofstylesandgenres.Formorethanadecade, hehasdevelopedabusyfreelancecareer encompassingopera,concertperformances, vocalchambermusic,andtheclassroom.

Heperformsregularlyasasoloistandin ensemble,appearingwithmanyofAustralia’s finestmusicorganisations.HeisaLayClerk withStMary’sCathedralChoirinSydney,was anAssociateArtistwithPacificOperain2019, andwasthewinneroftheRoyalMelbourne PhilharmonicAriaCompetition2020.In2015–2019hewasacorememberofTheSong Company,andin2021becameafounding memberofAVÉ,theAustralianVocal Ensemble.Lastyearhemadehisinternational debutwithTheVOCES8Foundation.

Notable2023engagementsincludethe rolesofPolimanteandErastoinLegrenzi’s Giustino andBuxtehude’s MembraJesu Nostri forPinchgutOpera;arangeoffestival, touring,education,andrecordingprojectsfor AVE;Bach’s StJohnPassion withthe CanberraSymphonyOrchestra;Songsof RosaMysticawithTheSongCompany;and projectswithBachAkademieAustralia, MoorambillaVoicesandmore.

ChristopherRichardson bass-baritone

PHOTO:DANIELSOMMER

AndrewO’Connor bass

PHOTO:JAREDLIEBOWITZ

StephanieMooneystudiedpianoattheRoyal IrishAcademyofMusicandisalsoagraduate oftheUniversityCollegeCorkwithadegree inArtsandMusic,majoringinvoice.Shehas performedasasoloistthroughoutIreland, includingsingingasSiébelinGounod’s Faust andFlorainBritten’s TurnoftheScrew.After arrivinginSydney,shecontinuedhervocal studieswithAndrewDaltonandStephen Yalouris.Forseveralyears,shehasperformed theIrishNationalAnthemfortheannualSt Patrick’sDayFestivalinHydePark.Shehas sunginthechorusforBeethoven’s Fidelio (TheVerySmallOperaCompany)andin JohannStrauss’s DieFledermaus (Opera Bites).Shehasalsoperformedwiththe MosmanMusicalSociety.

StephanieMooneyhasbeenamemberof SydneyPhilharmoniaChoirs’Chamber Singerssince2019.

MatthewFloodtrainedwithHartleyNewnham andVivienHamiltonwhilestudyingArtsand LawattheUniversityofMelbourne.Heisan experiencedchoralsingerandsoloist, currentlysingingwiththeSydney PhilharmoniaChamberSingersandthe SydneyChamberChoir.

From2019to2022,hesangwiththe WASOChorus,wherehewasthetenorsoloist intheirconcertinPerth’sStMary’sCathedral andtheKalbarriSkywalkin2021and2022. PreviouslyhesangintheUnitedKingdom withtheLondonSymphonyChorus(2009–2019)andtheNewLondonChamberChoir (2002–2008).Highlightsduringthistime includedconcertsintheSallePleyelandthe PhilharmoniedeParis,theLincolnCentrein NewYork,theAmsterdamConcertgebouw andtheBarbicanCentreandRoyalAlbertHall inLondon.Hefoundedthe acappella sextet Pablo,recordinganeponymousCDwith MoveRecords,andappearingatvenuesand festivalsincludingtheApolloBayMusic FestivalinVictoria.

HehasalsosungwiththeOrmondCollege ChoirinMelbourne(1993–1998)andthe Troubadours,anearlymusicoctet(1996–1998).AsprincipaltenoratScotsChurch, Melbourne,hesangthetenorsolosinBach’s MagnificatandHandel’s Messiah.Thisishis SydneyOperaHousedebut.

MatthewFlood tenor

StephanieMooney soprano

SymphonyChorus

BrettWeymark ArtisticandMusicDirector

ElizabethScott AssociateMusicDirector

TimCunniffe AssistantChorusMasterandPrincipalRehearsalPianist

SOPRANOS

SaskiaAlbers

VeronicaAlfano

JulieBangura

GeorginaBitcon

AnneBlake

OlgaBodrova

CatherineBryant

AnneCooke

NatCrane

PamCunningham

RounaDaley

VanessaDowning

RachelEvans

SusanFarrell

Ann-LouiseFelton

RebeccaFitzpatrick

JehaneGhabrial

JudithGorry

HelenHuang

SueJustice

YvetteLeonard

LindyMcMahon

BernadetteMitchell

StephanieMormanis

MerrylNeille

RuthJessica

Ongkowijoyo

NathalieO’Toole

DympnaPaterson

AlexandraPeacock

JolandaRotteveel

AllisonRowlands

JoannaWarren

GenniWetherell

ALTOS

LeonieAitken

LisaAnderson

Meaghan Backhouse

DebraBaker

JenniferBradford

GraceChen

GillianDownesMorgan

JulieDowsley

ClaireDuffy

JanFawke

SusanGandy

PennyGay

JenniferGillman

JennyHarry

KathrynHarwood

MargaretHofman

KirstiHorst

JaniceMcKeand

ClaraMazzone

AlysonMoore

PenelopeMorris

PepeNewton

WendyNg

MarjO’Callaghan

NadiaOkumushoglu

JonquilRitter

VirginiaRowlands

JenniSchofield

JanShaw

MegShaw

MariannaWong

TENORS

DanielComarmond

MalcolmDay

RobertElliott

BlakeGarner

TonyGreen

NickHazell

MichaelKertesz

JamesLane

KevinLee

NicholasTong

GeorgeWatkins

ChristopherWhitfeld

WillWillitts

IsaacWong

MarkWong

BASSES

JockBaird

PeterCallaghan

JulianCoghlan

PaulCouvret

PhilipCrenigan

RobertCunningham

JamesDevenish

MatthewEllison

DavidFisher

TomForrester-Paton

RobertGreen

DerekHodgkins

PeterHogg

DavidJacobs

MarkMcGoldrick

BrendanNicholson

IanPettener

PeterPoole

RaymondRoss

MichaelRyan

PeterTempleton

BenWaters

ArthurWinckler

JonathanWood

SydneyPhilharmoniaOrchestra

FIRSTVIOLINS

FionaZiegler Concertmaster

MicheleO’Young

MatthewBruce

KarinaHollands

MoniqueIrik

WendyKong

JuliaRussoniello

JamesTarbotton

SECONDVIOLINS

LéoneZiegler

SamanthaBoston

MegCohen

BridgetCrouch

EmmaHayes

HeloiseMeisel

NarineMelconian

DenisaSmeuKirileanu

VIOLAS

NicoleForsyth

DariusKaperonis

SuzieKim

GeorginaPrice

MarietteReefman

CecileRoss

CELLOS

AntheaCottee

AnitaGluyas

RosemaryQuinn

AnnikaStagg

DOUBLEBASSES

HelenCosgrove

WillHansen

FLUTES

RosamundPlummer

JessicaLee

OBOES

AlexFontaine

MadeleineRandall

BASSOONS

VictoriaGrant

HaydenBurge

FRENCHHORNS

MichaelDixon

AnnalisaSolinas

TRUMPETS

LeanneSullivan

AlexBieri

TIMPANI

BrianNixon

HARPSICHORD

NathanCox

ORGAN

DavidDrury

Bold =Principal

ContinuoorganbyHenkKlop,Garderen,TheNetherlands,2003 ItalianharpsichordafterGrimaldibyCareyBeebe,Sydney,1990 EarlykeyboardssuppliedandpreparedbyCareyBeebe

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

MeaganFitzpatrick ChoirsManager

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

OurSupporters

SydneyPhilharmoniaChoirsgratefullyacknowledgethevision, commitmentandgenerosityofoursupporters.

$40,000+ Anonymous(1)

$10,000–$39,000

RobertAlbert AO and LibbyAlbert

JusticeFrançoisKuncand

FelicityRourke

Anonymous(1)

$5,000–$9,999

StephenandJenniferCook

RuthEdenborough

DianeHill

DrDavidandSarahHowell

IphygeniaKallinikos

JohnLambleFoundation

MacphersonFamily

JacquelineRowlands

Anonymous(3)

$2,500–$4,999

LynetteBaker

SusanBarrett

ChristineBishop

NathalieDeeson–in

memoryofBrianDeeson

WarrenGreen

R&JPerryFamilyFoundation

SydneyPhilharmoniaChoirs

SupperClub

JeanTaylor

CENTENARY CIRCLE

RobertAlbert AO and LibbyAlbert

Prof.theHon.DameMarie

Bashir ADCVO

IanandClaireBennett

ChristineBishop

KatieBlakeand

MichaelJackson

DavidandHalinaBrett

OlivierChretien

NathalieDeeson

RuthEdenborough

Prof.JennyEdwards

DavidandSueEllyard

KateFoot

DrCarolynLowry OAM and PeterLowry OAM

PeterandLisaMacqueen

ThelateDrJohnO’Brien

ThelateRosalindStrongAM

andthelateAntonyStrong

KayVernon

SaraWatts

AnthonyandAnnieWhealy

JacquiWilkins

Anonymous(1)

$1,000–$2,499

JockBaird–inmemoriam

AnnetteMcClure

JamesandAriellaCox

RounaDaley

JulieandBillDowsley

Prof.JennyEdwards

FionaJoneshart

LillyKrienbuhl

DrVeronicaLambert

MandDLangford

RachelMaiden–inmemory ofTonyMaiden

JolantaMasojada

HelenMeddings

JeffreyMellefont

InmemoryofHelen

Pedersen

GeorgiaRivers

FélicitéRoss

JoannaSutherland

KayVernon

SaraWatts

MariannaWong

Anonymous(1)

Pleaseconsidermakingatax-deductibledonationtoSydneyPhilharmoniaChoirs. Yourgift,ofanysize,wouldmakeavitalcontributiontoensuringourfuture.

sydneyphilharmonia.com.au/donate

DonationstoSydneyPhilharmoniaChoirsarerecognisedfor12monthsfromthedateofdonation. SupporterslistedherearecurrentasatMarch2023.Donationsof$500andabovearelistedonour websiteandinourconcertprogrambooks.

$500–$999 TelAsiado

CaroleBailey

CABessemer

SueBowring

JulianCoghlanand

AndreaBeattie

IanConnolly

PatriciaCurotta

JamesDevenish

JaneDiamond

RobertGreen

VesnaHatezic

ShirleyHofman

DavidJacobs

MaggieMcKelvey

JeffreyMellefont

BernadetteMitchell

RobertMitchell

ChrisMoore

DimitryMoraitisand

PeterMorgan

MaryMortimerand

DonaldDenoon

WilliamNapier

AnnaPender

ValerieRendle

JonquilRitter

PaulRoper

MegShaw

ErnestinedeVries

Anonymous(2)

Wealsothankour donorswhocontribute upto$500.Everygift makesadifferenceto whatweareableto achieve.

Thankyou

Weapplaudthegenerousinvolvementof ourpartnersinsupportingSydney PhilharmoniaChoirs.

THEGOLDENAGEOF BROADWAY

Alltheclassicfavouritesinadazzling tributetothegreatBroadwaymusicals.

Saturday6May|7pm

VERDI’SREQUIEM

Immerseyourselfintheoperaticdrama andawesomesplendourofVerdi’smass forthedead.

Saturday20May|2pm