ACKNOWLEDGEMENTOFCOUNTRY
ParttheFirst. ProphecyofChrist’sappearanceonearth.TheNativity.
ParttheSecond. Thedeath,resurrectionandascensionofChrist. ThespreadingoftheGospel. PAUSE
ParttheThird. VictoryoverDeath.
Weacknowledgeandpayrespecttothe GadigalpeopleoftheEoraNation,upon whoseCountrywerehearse,singandwork, andpayourrespectstotheirElderspastand present.Ourvoicesbringtolifethesongsof manyculturesandcountries,fromacrossthe ages,inaspiritofsharing,learningand understanding.Theancientcustomsand culturesofthislandinspireustocreate harmony–inmusicandoursociety.
DeborahCheethamandMatthewDoyle
TarimiNulay–Longtimelivinghere was commissionedforourcentenaryyear (2020)asachoralAcknowledgementof Countrytocommenceourconcerts.
With TarimiNulay,DeborahCheetham (musicandwords)andMatthewDoyle (thetranslationintoGadigal)havecreated aworkthatexploresaprofoundcultural andspiritualreflectionofthelandon whichwesing.
TarimiNulay waspremieredintheDawn Chorusperformanceonthestepsofthe SydneyOperaHouseatthebeginningof 2020andhasbeenheardinperformances wehavegivensincethen.Ithasbeen programmedtobegineachconcertinour 2022seasonandwehopethisspecial piecewillbepartofSydneyPhilharmonia performancesformanyyearstocome.
DeborahCheethamAO –YortaYorta, soprano,composerandeducator–has beenaleaderintheAustralianarts landscapeformorethan25years.In2009 sheestablishedShortBlackOpera,devoted tothedevelopmentofIndigenoussingers. In2010sheproduced PecanSummer, Australia’sfirstIndigenousopera.In2014 shewasnamedanOfficeroftheOrderof Australia,for‘distinguishedservicetothe performingartsasanoperasinger,composer andartisticdirector,tothedevelopmentof Indigenousartists,andtoinnovationin performance’.Hercommissionsincludethe majorchoral-orchestralwork Eumeralla–A WarRequiemforPeace (2019).
IcallittheMessiaheffect!
Afewmonthsago,Isatdownatthepiano withmytattered Messiah scoreandits30 yearsofmarkings,andbegantheprocess ofgettingtheworkbackintomyheadwith thehelpofmytrustymetronome.Tomy surprise,Ijustcouldn’tstopsmiling. Iexperiencedthispalpablesenseof cominghome.
Andaftersuchabigyear,returningtothe concertstage,manyofoursingershave foundasimilarsenseofrelief–andjoy–in comingbacktothiswell-knownworkthat we’veperformedsomanytimesbefore.It’s asifthemusicissayingtous“we’revery closetobeingbacktonormal”.We’reback homeintheSydneyOperaHouse,singing musicwelovewiththemostimportant peopleintheroom,you–ouraudience.
Lookingatitinthegreatercontextofhow thisworkbecametiedtothefateofthe FoundlingHospitalinLondon–aplaceI alwayswalkpastinBloomsburyasakind ofculturalhomagewheneverI’mthere–yourealisethisworkisaboutmorethan thenotesonthepage.Itwasacatalystfor somuchofthegreatchoralrepertoirewe nowperform,butitwasalsoaworkthat helpedpeople.
Aworklike Messiah demonstratesthe powerofmusictobringpeopletogether fromallwalksoflifeandallbeliefsystems tosingasone.AsIwritethis,tearsare wellingupinmyeyesatthethoughtof howmuchthisworkmeanstome,andto oursingersandinstrumentalists.
Thisyear’s Messiah isamilestoneforusin ourlongjourneybackfromthepandemic. It’saworkthathelpsushealandmoveon, ratherthandwellingonwhatwe’veall beenthrough.
Asenseofpossibility.Ofrenewal. Sitbackandbemovedbytheawesome soundofthehumanvoiceandthismost remarkablemusic.
AndifyouloveHandel’s Messiah,come andhearussinghis Samson nextEaster. Youmightjustfindanothergemofthe choralrepertoiretolove!
BrettWeymarkOAM
ArtisticandMusicDirector
THECOMPOSERRICHARDWAGNERONCE
observedthatataperformanceofa HandeloratorioinEngland,everyoneheld theirvocalscore“asoneholdsaprayerbookinchurch”.Certainlybythemid-19th century,performancesof Messiah had assumedthecharacterofadefacto religiousritual,andinkeepingwiththe generalethosoftheVictorianera,such performancesalsoassumedgargantuan proportions:onthecentenaryofthe composer’sdeathin1859,theworkwas performedbyachorusofover2000and anorchestraof460toanaudiencewhich numberedinthetensofthousands.[Our ownchorusof680singersseemsmodest bycomparison!]Nonewouldhavebeen moresurprisedthanthecomposeratthe reveredstatusthat Messiah wouldattain. Whiletherewasneveranydoubtaboutits musicalquality, Messiah’searlyhistorywas bynomeansastoryofeasytriumph.
The1730shadbeenatimeofprofessional turbulenceforHandel.Hisstatusasthe pre-eminentcomposerofoperaforthe Londonstagehadbeenchallengedbya cabalofnoblemenassociatedwiththe PrinceofWales–asmuchforparty politicalasaestheticreasons,andwhilethe detailsareunclearitseemstheremay havebeenaboycottofhisworkinthelast yearsofthedecade.Therewascertainly somekindoffallfromgrace–whetherthe resultofthispoliticsorwhatHandel referredtoenigmaticallyas“afauxpas madebutnotmeant”.Intheevent,the stressalsoaffectedthecomposer’shealth. Hesufferedwhatwasprobablyamild stroke,leadingtoparalysisinhisrightarm. Handelfortunatelymadeafullrecovery, thoughhisenergiesfromnowonwentinto theoratorioratherthantheopera.In1741he wiselytooktheadviceofanacquaintance whosuggestedthat“hewou’ddoverywell tolyquietforayearortwo”.Handeldidn’t
exactly“lyquiet”buthedidacceptthe invitationoftheLordLieutenantofIreland topresentconcertsinDublinbeginningin Novemberofthatyear.
Dublinwas,intheearly18thcentury,one ofthegrandestcitiesinGreatBritainand Ireland;itboastedavibrantintellectuallife, someofthemostbeautifularchitectureand townplanninginthekingdom,andoneof theearliestpurpose-builtmusichallsin Europe.Infact,musicwasnotoneofthe principalentertainmentsofthecity’s exclusivelyProtestantgentryandaristocracy, buttherewasatthistimeamovetoeffect socialimprovementthroughadvocacy groupssuchastheDublinSocietyand throughtheestablishmentofcharitable organisations.Handelhadraisedmoneyfor variouscharitiesinLondon(andwould continuetodoso–mostfamouslyforthe FoundlingHospital)andpartofhismission wastodolikewiseinDublin.Hisnew oratorioraisedtheconsiderablesumof £400forDublinhospitals.And,ashisnoted contemporaryCharlesBurneylaterputit, Messiah “hasfedthehungry,clothedthe naked,fosteredtheorphan,andenriched succeedingmanagersoftheoratorios, morethananysingleproductioninthisor anyothercountry”.
Messiah,writtenwithHandel’s characteristichasteduringtheprevious summerinLondon,formedtheclimaxof Handel’sconcertseriesattheNewMusic HallinApril1742.TheDublinaudiences hadenjoyednumerousworksincludinghis OdeforStCecilia’sDay, AcisandGalatea andtheoratorio Esther,andwhen Messiah wasperformedatanopenrehearsalon 9Apriltheresponsewasoverwhelming–somuchsothatladiesoftheaudiencefor theofficialpremierewereaskednotto wearhoopskirts,andgentlementoleave theirswordsathometomakeenoughroom intheauditorium.
Butitwasn’tallplain sailing.Oneprominent Irishchurchmanwas outraged.Herather humourlesslythreatenedtobanthechoristersfromStPatrick’s Cathedral(ofwhichhe wasDean)fromtakingpartinasecular entertainmentbasedonscripture,butwas fortunatelyconvincedotherwise.Hisname wasJonathanSwift.Butanotherclergyman, PatrickDelany(whosewife’sdiariesarean invaluabledocumentofGeorgianlife)was overwhelmed.Handelhadinsistedon usingthesingerSusannahCibber(thenin disgraceoveranadulteryscandal);Delany, onhearinghersing“Hewasdespised”, famouslycriedout,“Woman,forthisbeall thysinsforgiventhee!”
Messiah “hasfedthehungry, clothedthenaked,fosteredthe orphan,andenrichedsucceeding managersoftheoratorios,more thananysingleproductioninthis oranyothercountry.”
CharlesBurneytheOldandNew Testamentsto dramatisethe propheciesofChrist’s incarnationand atoningdeath,his resurrectionand ascentintogloryand finalredemptionofcreation.Thefollowing isasummarybyDavidVickersofJennens’ owndivisionoftheworkintothree‘acts’:
ACTI(i)Isaiah’sprophecyofSalvation; (ii)theprophecyofthecomingofMessiah andthequestion,despiteIsaiah,ofwhat thismayportendfortheWorld;(iii)the prophecyoftheVirginBirth;(iv)the appearanceoftheAngelstotheShepherds; (v)Christ’sredemptivemiraclesonearth.
Handelhadfacedecclesiasticalopposition before,notablywhentheBishopofLondon haddenouncedhis IsraelinEgypt in1738 forsimilarreasons.Infactwhenitcame timefortheLondonpremiereof Messiah, Handelnowhereusedthetitleinthe advancepublicity,preferringtheterm“A SacredOratorio”.Itdidn’thelp: Messiah wasroundlydenouncedassacrilegious andhereticalbythehierarchy,manyof whomwereoffendedbythesightand soundofscriptureoutside‘proper’places ofworship.Oneaskedifsuchaworkwas “anActofReligion…;ifitis,Iaskifthe PlayhouseisafitTempletoperformitin?”
Handelwasamanofthetheatrebuthe wasalsoadevoutChristian–aswashis librettistfor Messiah,CharlesJennens. Jennenshadbeendeniedhisdegreeat Oxfordforrefusingtoacknowledge GeorgeII’sHanoverianfamilyasthe legitimatekingsofEngland,butthe theologyofhislibrettoisnonethelessthat ofanorthodoxProtestant.Jennenstakes judiciouslyselectedpassagesfromboth
ACTII(i)Theredemptivesacrifice,the scourgingandtheagonyonthecross;(ii) Hissacrificialdeath,Hispassagethrough HellandResurrection;(iii)HisAscension; (iv)GoddiscloseshisidentityinHeaven;(v) Whitsun,thegiftoftongues,thebeginning ofevangelism;(vi)theworldanditsrulers rejecttheGospel;(vii)God’striumph.
ACTIII(i)Thepromiseofbodilyresurrection andredemptionfromAdam’sfall;(ii)the DayofJudgementandgeneralResurrection; (iii)thevictoryoverdeathandsin;(iv)the glorificationoftheMessianicvictim.
Suchastructureis,ofcourse,operatic–onecontemporarydescriptionofHandel’s oratoriosnotedhow“theSolemnityof Church-Musickisagreeablyunitedwiththe mostpleasingAirsoftheStage”.Thiswas, aswehaveseen,partofthereasonforthe Church’sinitialmistrustofthework;we mightaddthat,whileHandelgaveup writingoperas,hecontinuedusingopera singersforhisoratoriosandthesewere performedintheatresandeventaverns ratherthanchapelsorchurches.Handel’s musiciscertainlyunapologeticinits
operatictone–somesections,like“For untousachildisborn”,areofcourse recycledfromdecidedlynon-sacred momentsinhisoperas.AndyetJennens’ librettosolvesthesacred/secularproblem brilliantly:Jesushimselfneverspeaks (unlikein,say,Bach’sPassions)andthe prophecies,descriptionsandcommentaries areallinthethirdperson.Thesolosingers representasitweredisembodiedprophetic voices;thechorustakesontherolesof prophet,angelichost,angrymoborthe voicesofvariousapostles.Butthese incarnationsareonlytemporary.Noactoris identifiedwithanysinglecharacter,andthe workthusmaintainsalevelofabstraction whichallowsustoconcentrateonthe unfoldingofthedramathroughtextand music.Byfocussingnot,likeBach,onthe sufferinganddeathofJesussomuchas thecosmicplanforsalvation,Jennens displayswhatRuthSmithcallsa“generous faith”withitsinitialpromiseofcomfort.
Theworkitselfwentthroughseveral incarnations–infactthereisnodefinitive versionasHandelwasobligedtorevise, re-scoreandoccasionallyrecompose dependingontheperformersathis disposal.Afterhisdeaththerewerevarious ‘improvements’madeby,amongothers Mozart,whoaddedpartsforaclassical orchestraincludingclarinetsandbrass,and ofcoursethecastofthousandsatthe1859 performancewerenotevenpretendingto givean‘authentic’reading.Butbythen Messiah wasfirmlyestablishedinAnglophoneculture,havingacquireditsstatusas aquasi-liturgicalwork.Wagner,whotriedto createanationalconsciousnessthrough Germanicmythinhisoperas,onlyscoffed becauseHandelheldapositionthathe covetedhimself.
AbridgedfromanotebyGordonKerry©2006
GEORGEFRIDERICHANDEL(1685–1759) travelledextensivelyasayoungman, developingadistinctiveandlivelyhybridof Italian,GermanandFrenchstyles.At25he wasappointedKapellmeistertotheElector ofHanover,butheimmediatelydeferred hisappointmentwithaneight-monthleave ofabsenceinLondon,thehubofthe18thcenturymusicalworld,wherehisopera Rinaldo wasatriumph.Soonafterhis returntoHanover,hewasagaingiven permissiontovisitEngland,thistimewith theinjunctiontoreturn“withinreasonable time”.Intheend,luredbynewmusical opportunitiesinLondon,Handeloutstayed hisleavebutnothiswelcome.Hewasstill inEnglandin1714whenhisHanover employerassumedtheEnglishthroneas GeorgeI.
Handel’syearsinItalyhadconsolidated hisstatusasaforcetobereckonedwithin theoperascene,andthiswashowhe’d madehisnameinLondon.Whenthe EnglishtasteforItalianoperabegantofade heturnedtoanewmedium:theEnglish sacredoratorio.Treatinghisbiblicalthemes withtheunerringdramaticinstincthe’d broughttotheoperastage,hedelighted audienceswithoratoriossuchas Israelin Egypt, Samson and–themostfamousbut notthemosttypical– Messiah.
Tariminulayngalawayura garrabarrabarayayagubarrabugu ngyiningingara ngyiningiberong
PARTTHEFIRST
ProphecyofChrist’sappearanceon earth.TheNativity. Sinfony
OVERTURE(ORCHESTRA)
Comfortye–Ev’ryvalley
ACCOMPAGNATOANDSONG(TENOR)
Comfortye,comfortyemypeople, saithyourGod;speakyecomfortablyto Jerusalem,andcryuntoher,thather warfareisaccomplish’d,thatheriniquityis pardon’d.Thevoiceofhimthatcriethin thewilderness,prepareyethewayofthe Lord,makestraightinthedesertahighway forourGod. Ev’ryvalleyshallbeexalted, andev’rymountainandhillmadelow, thecrookedstraight,and theroughplacesplain. (Isaiah40:1-4)
AndthegloryoftheLord CHORUS
AndthegloryoftheLordshallberevealed, andallfleshshallseeittogether; forthemouthoftheLordhathspokenit. (Isaiah40:5)
Longtimeherelivethepeople dancingandsingingtodayandtomorrow, yourwayofknowing yourwayofbelonging
TranslatedintoGadigalbyMatthewDoyle
ThussaiththeLord–Butwhomayabide
ACCOMPAGNATOANDRECITATIVE(BASS)
ThussaiththeLord,theLordofHosts; Yetoncealittlewhile,andIwillshakethe heav’nsandtheearth;theseaandthedry land;AndIwillshakeallnations;andthe desireofallnationsshallcome.TheLord, whomyouseek,shallsuddenlycometo Histemple,eventheMessengerofthe Covenant,whomyedelightin:behold,He shallcome,saiththeLordofHosts.
ButwhomayabidethedayofHiscoming? andwhoshallstandwhenHeappeareth? ForHeislikearefiner’sfire.
(Haggai2:6-7,Malachi3:1-2)
AndHeshallpurify
CHORUS
AndHeshallpurifythesonsofLevi, thattheymayofferuntotheLordan offeringinrighteousness. (Malachi3:3)
Messiah featurestwokindsofrecitativeor “sungspeech”:an Accompagnato includes written-outaccompanyingpartsforthestrings andismorerhythmicalthanthefreer Recitative,whichisaccompaniedbybasso continuoinstruments(organorharpsichord) improvisingaboveabassline.
Behold,avirginshallconceive–Othouthattellest
Behold,avirginshallconceive,andbeara son,andshallcallHisnameEmmanuel, ‘Godwithus.’
OthouthattellestgoodtidingstoZion, gettheeupintothehighmountain; OthouthattellestgoodtidingstoJerusalem, liftupthyvoicewithstrength; liftitup,benotafraid, sayuntothecitiesofJudah, BeholdyourGod.
OthouthattellestgoodtidingstoZion, arise,shine,forthylightiscome, andthegloryoftheLord isrisenuponthee.
(Isaiah7:14,Matthew1:23;Isaiah40:9,60:1)
Forbehold,darkness– Thepeoplethat walkedindarkness
ACCOMPAGNATOANDSONG(BASS)
Forbehold,darknessshallcovertheearth, andgrossdarknessthepeople:butthe Lordshallariseuponthee,andHisglory shallbeseenuponthee.AndtheGentiles shallcometothylight,andkingstothe brightnessofthyrising.
Thepeoplethatwalkedindarkness haveseenagreatlight; andtheythatdwellinthelandofthe shadowofdeath, uponthemhaththelightshined. (Isaiah60:2-3;Isaiah9:2)
Foruntousachildisborn CHORUS
Foruntousachildisborn, untousasonisgiven; andthegovernmentshallbe uponHisshoulder; andHisnameshallbecalled Wonderful,Counsellor, TheMightyGod, TheEverlastingFather, ThePrinceofPeace. (Isaiah9:6) Pifa
PASTORALSYMPHONY(ORCHESTRA)
Therewereshepherdsabidinginthe field–GlorytoGod
RECITATIVES(SOPRANO)ANDCHORUS
Andtherewereshepherdsabidingin thefield,keepingwatchovertheirflock bynight.
Andlo,theangeloftheLordcameupon them,andthegloryoftheLordshone roundaboutthem,andtheyweresore afraid.
Andtheangelsaiduntothem,Fearnot:for behold,Ibringyougoodtidingsofgreat joy,whichshallbetoallpeople.Forunto youisbornthisday,inthecityofDavid,a Saviour,whichisChristtheLord.
Andsuddenlytherewaswiththeangela multitudeoftheheav’nlyhost,praising God,andsaying... “GlorytoGodinthehighest, andpeaceonearth, goodwilltowardsmen.” (Luke2:8–14)
Rejoicegreatly SONG(SOPRANO)
Rejoicegreatly,OdaughterofZion, shout,OdaughterofJerusalem; beholdthyKingcomethuntothee. HeistherighteousSaviour; AndHeshallspeakpeaceuntotheheathen. (Zechariah9:9-10)
Thenshalltheeyesoftheblind–Heshallfeedhisflock RECITATIVE(ALTO)AND DUET(SOPRANOANDALTO)
Thenshalltheeyesoftheblindbeopen’d, Andtheearsofthedeafunstopped;then shallthelamemanleapasahart,andthe tongueofthedumbshallsing.
HeshallfeedHisflocklikeashepherd: andHeshallgatherthelambswithHisarm, andcarrytheminHisbosom, andgentlyleadthosethatarewithyoung. ComeuntoHimallyethatlabour, comeuntoHim,thatareheavyladen, andHewillgiveyourest. TakeHisyokeuponyou,andlearnofHim; forHeismeekandlowlyofheart: andyeshallfindrestuntoyoursouls. (Isaiah35:5-6;Isaiah40:11,Matthew11:28-29)
Hisyokeiseasy CHORUS
Hisyokeiseasy,Hisburthenislight. (Matthew11:30)
INTERVAL(20minutes)
PARTTHESECOND
Thedeath,resurrectionandascensionof Christ.ThespreadingoftheGospel. BeholdtheLambofGod
CHORUS
BeholdtheLambofGod, thattakethawaythesinoftheworld. (John1:29)
Hewasdespised SONG(ALTO)
Hewasdespisedandrejectedofmen, amanofsorrows,and acquaintedwithgrief. HegaveHisbacktothesmiters, andHischeekstothemthat pluckedoffthehair: HehidnotHisfacefrom shameandspitting. Hewasdespised… (Isaiah53:3,50:6)
SurelyHehathborneourgriefs–Andwithhisstripeswearehealed–Allwe,likesheep
CHORUSES
SurelyHehathborneourgriefs andcarriedoursorrows: Hewaswoundedforourtransgressions, Hewasbruisedforouriniquities; thechastisementofourpeace wasuponHim.
AndwithHisstripeswearehealed. Allwe,likesheep,havegoneastray, wehaveturnedev’ryonetohisownway; andtheLordhathlaidonHim theiniquityofusall. (Isaiah53:4-6)
AlltheythatseeHim–HetrustedinGod ACCOMPAGNATO(TENOR)ANDCHORUS
AlltheythatseeHimlaughHimtoscorn; theyshootouttheirlips,andshaketheir heads,saying: HetrustedinGodthat Hewoulddeliverhim: letHimdeliverHim, ifHedelightinHim. (Psalm22:7-8–BookofCommonPrayer)
ThyrebukehathbrokenHisheart–Beholdandsee –
ACCOMPAGNATOANDSONG(TENOR)
ThyrebukehathbrokenHisheart; Heisfullofheaviness. HelookedforsometohavepityonHim, buttherewasnoman, neitherfoundHeanytocomfortHim.
Behold,andsee, iftherebeanysorrow likeuntoHissorrow!
(Psalm69:20–BCP;Lamentations1:12)
Hewascutoff – ButThoudidstnotleave
ACCOMPAGNATOANDSONG(TENOR)
Hewascutoffoutofthelandoftheliving; forthetransgressionofThypeoplewasHe stricken.
ButThoudidstnotleaveHissoulinHell, nordidstThousufferThyHolyOnetosee corruption. (Isaiah53:8;Psalm16:10)
Liftupyourheads CHORUS
Liftupyourheads,Oyegates, andbeyeliftup,yeeverlastingdoors, andtheKingofGloryshallcomein. WhoisthisKingofGlory?
TheLordstrongandmighty; theLordmightyinbattle, TheLordofHosts: HeistheKingofGlory. (Psalm24:7-10)
Untowhichoftheangels–LetalltheangelsofGod
RECITATIVE(TENOR)ANDCHORUS
UntowhichoftheangelssaidHeatany time,ThouartMySon,thisdayhaveI begottenThee?
LetalltheangelsofGodworshipHim. (Hebrews1:5-6)
Thouartgoneuponhigh SONG(SOPRANO)
Thouartgoneuponhigh; Thouhastledcaptivitycaptive, andreceivedgiftsformen, yea,evenforThineenemies, thattheLordGodmight dwellamongthem. (Psalm68:18)
TheLordgavetheword CHORUS
TheLordgavetheword: greatwasthecompanyofthepreachers. (Psalm68:11–BCP)
Howbeautifularethefeet
SONG(ALTOWITHSOLOVIOLIN)
Howbeautifularethefeetofthem thatpreachthegospelofpeace, andbringgladtidingsofgoodthings. (Romans10:15) Theirsoundisgoneout CHORUS Theirsoundisgoneoutintoalllands, andtheirwordsuntotheendsoftheworld. (Romans10:18)
Whydothenations –
Letusbreaktheirbonds
SONG(BASS)ANDCHORUS
Whydothenationssofuriously ragetogether: whydothepeopleimagineavainthing? Thekingsoftheearthriseup, andtherulerstakecounselstogether againsttheLordandagainstHisanointed.
Letusbreaktheirbondsasunder, andcastawaytheiryokesfromus. (Psalm2:1-3–BCP)
Hethatdwellethinheaven –Thoushaltbreakthem
RECITATIVEANDSONG(TENOR)
Hethatdwellethinheavenshall laughthemtoscorn; theLordshallhavetheminderision.
Thoushaltbreakthemwitharodofiron; Thoushaltdashtheminpieceslikea potter’svessel. (Psalm2:4,9–BCP)
Hallelujah CHORUS Hallelujah, fortheLordGodOmnipotentreigneth, Hallelujah! TheKingdomofthisworld isbecometheKingdomofourLord andofhisChrist; andheshallreignforeverandever, KingofKings, andLordofLords, Hallelujah!
(Revelations19:6,11:15,19:16)
PAUSE(10minutes)
Pleaseremainintheauditorium.
PARTTHETHIRD VictoryoverDeath.
IknowthatmyRedeemerliveth SONG(SOPRANO)
IknowthatmyRedeemerliveth, andthatHeshallstandatthe latterdayupontheearth. Andtho’wormsdestroythisbody, yetinmyfleshshallIseeGod. FornowisChristrisenfromthedead, thefirstfruitsofthemthatsleep. (Job19:25-26;1Corinthians15:20)
Sincebymancamedeath CHORUS
Sincebymancamedeath, bymancamealsothe resurrectionofthedead. ForasinAdamalldie, evensoinChristshallallbemadealive. (1Corinthians15:21-22)
Behold,Itellyouamystery–Thetrumpetshallsound ACCOMPAGNATOANDSONG(BASS)
Behold,Itellyouamystery:weshallnotall sleep,butweshallallbechang’d, inamoment,inthetwinklingofaneye, atthelasttrumpet.
Thetrumpetshallsound, andthedeadshallberais’dincorruptible, andweshallbechang’d. (1Corinthians15:51-52)
Thenshallbebroughttopass–ODeath,whereisthysting?–ButthanksbetoGod
RECITATIVE(ALTO),DUET(ALTOANDTENOR) ANDCHORUS
Thenshallbebroughttopass thesayingthatiswritten; Deathisswallow’dupinvictory. Odeath,whereisthysting? Ograve,whereisthyvictory? Thestingofdeathissin, andthestrengthofsinisthelaw. ButthanksbetoGod, whogivethusthevictory throughourLordJesusChrist. (1Corinthians15:54-57)
IfGodbeforus SONG(SOPRANO)
IfGodbeforus, whocanbeagainstus? Whoshalllayanythingtothecharge ofGod’select?
ItisGodthatjustifieth: Whoishethatcondemneth? ItisChristthatdied,yea, ratherthatisrisenagain; whoisattherighthandofGod, whomakesintercessionforus.
(Romans18:31,33-34)
WorthyistheLamb–Amen CHORUSWITHSOLOISTS
WorthyistheLambthatwasslain, andhathredeemedustoGod byHisblood, toreceivepower,andriches, andwisdom,andstrength, andhonour,andglory,andblessing. Blessingandhonour, gloryandpowerbeuntoHim thatsittethuponthethrone, anduntotheLamb, foreverandever. Amen. (Revelation5:12-13)
LibrettocompiledfromHolyScripture byCharlesJennens(1700–1773)
BrettWeymarkOAMisoneofAustralia’s foremostchoralconductors.Appointed ArtisticandMusicDirectorofSydney PhilharmoniaChoirsin2003,hehas conductedtheChoirsthroughoutAustraliaas wellasinternationally.Hehasalsoconducted theSydney,Adelaide,Queensland,West AustralianandTasmaniansymphony orchestras,OrchestraoftheAntipodes, SydneyYouthOrchestra,NewZealand SymphonyOrchestraandHongKong 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. In2023hecelebrates his20thseasonwithSPC.
BrettWeymarkispassionateaboutsinging andtherolemusicplaysinboththewellbeing ofindividualsandthehealthandvitalityofa community’sculture.Hebelievesmusiccan transformlivesandshouldbeaccessibletoall.
AustraliansopranoLorinaGorecompleted postgraduatevoicestudiesattheAustralian NationalUniversityinCanberraandthe NationalOperaStudioinLondon.Shehas wonnumerousprestigiousoperaawards, includingtwoHelpmannawards,aGreen RoomAward,theDameJoanSutherland/ AOACScholarship,prizesandscholarshipsin the2010OperaAwards,theCoventGarden NationalOperaStudioScholarship,HeraldSunAria(2ndplacein2002and2004),and theAustralianNationalAriaCompetition.
ShejoinedOperaAustraliaasaprincipal artistin2008andhassinceperformedmany roles,includingVioletta(LaTraviata),Marie (Wozzeck),Leïla(ThePearlfishers),Amina(La sonnambula),Musetta(LaBohème)and Roxanain KingRoger,forwhichshewona HelpmannAwardandaGreenRoomAward. Shesubsequentlyreceivedhersecond HelpmannAwardfortheroleofOpheliain BrettDean’s Hamlet attheAdelaideFestival (2018).EarlierthisyearshesangViolettafor OperaQueensland.
Herrecordingsinclude AToasttoMelba and JohannStrauss:WaltzesandArias with theTasmanianSymphonyOrchestraand MarkoLetonja,highlightsfromStrauss’s Der Rosenkavalier withYvonneKenny, Bliss with OperaAustralia,andHandel’s Rodelinda, conductedbyRichardBonynge.
Perth-bornAshlynTymmsisagraduateofthe MelbourneConservatoriumandtheRoyal CollegeofMusic.WhileinLondonshesang Rosimondain Faramondo (LondonHandel Festival)andcreatedtheroleofJudithinthe premiereof TheTwoSisters (TêteàTête). OtherrolesincludetheNewspaperVendorin LesMamellesdeTirésias byPoulenc,Euridice inMonteverdi’s L’Orfeo,Didoin Didoand Aeneas,EurydiceinOffenbach’s Orpheusin theUnderworld andBereniceinRossini’s comicintermezzo L’occasionefailladro (OpportunityMakestheThief).
ShemadeherWestAustralianOperadebut asLapákandMrsPáskováin TheCunning LittleVixen (2018),andsincethenhassung Florain LaTraviata andtheLady-in-Waitingin Verdi’s Macbeth,aswellasappearingin OperaintheQuarryandsingingregionally withthecompanyinThePinnaclesandthe ValleyoftheGiants.HermostrecentWest AustralianOperaappearancesinclude DorabellaintheGlyndebourneFestival productionof Cosìfantutte,Hanselin Hansel andGretel andSantuzzain Cavelleria rusticana;inFebruaryshewillsingCarmen withthecompany.
Recentandfutureconcertengagements includetheMelbourneandWestAustralian symphonyorchestras,FlindersQuartetand theViennaPopsOrchestra.
BrilliantyoungtenorNicholasJoneswona GreenRoomAwardandaHelpmannAward nominationforhisportrayalofDavidin Die MeistersingervonNürnberg forOpera Australia.OtherappearancesforOAhave includedprincipalrolesin Carmen, Ilturcoin Italia, TheNose and TwoWeddings,One Bride,aswellasTaminoandAlmavivainthe touringproductionsof TheMagicFlute and TheBarberofSeville.Morerecently,hesang MichaelDriscollintheworldpremiereof ElenaKats-Chernin’s Whiteley andTonyinthe OAtouringproductionof WestSideStory.
ForStateOperaSouthAustraliahecreated theroleofFishLambinthepremiereof GeorgePalmer’s Cloudstreet,andhasalso performedTom(Christina’sWorld) andHarry (Voss).HesangMaleChorusin TheRapeof Lucretia (VictorianOpera)andwasanoriginal castmemberofDeborahCheetham’s indigenousopera PecanSummer.Hismost recentappearancewithSydneyPhilharmonia ChoirswasinHaydn’s Creation (2018).
Thisyear’sengagementshaveincluded TsarevichGvidon(TheGoldenCockerel)for theAdelaideFestival,Jaquino(Fidelio)with theSydneySymphonyOrchestra,and AlmavivawithOperaAustralia.Nextweekhe willsingHandel’s Messiah withtheAdelaide SymphonyOrchestra.
NicholasJonesisthecurrentrecipientof theDameHeatherBeggMemorialAward.
MorganPearsestudiedattheRoyalCollege ofMusicInternationalOperaSchoolandwas amemberoftheHoustonGrandOperaStudio (2014–15).HemadehisdebutwithEnglish NationalOperasingingFigaroin TheBarber ofSeville,arolehe’ssincesungforNZOpera andStateOperaSouthAustralia.Hisjourney withthecharacterofFigaroalsoincludes The MarriageofFigaro (BadischesStaatstheater Karlsruhe,OpernhausZurich)andCorigliano’s GhostsofVersailles (WolfTrapOpera).
OtheroperahighlightsincludePapageno (TheMagicFlute)andAraspe(Tolomeo)in Karlsruhe,Sid(AlbertHerring)fortheBuxton Festival,Belcore(TheElixirofLove)forNZ Opera,NedKeene(PeterGrimes)withthe AucklandPhilharmonia,Papagenowiththe RussianNationalOrchestraandFarasmene (Radamisto)withPhilharmoniaBaroque.
Sincehislandmarkperformancein2011of Schubert’s Winterreise (thefirstinSydneyin 20years),appearancesinhisnativeAustralia haveincludedApolloin L’Orfeo (Australian BrandenburgOrchestra), Dioclesian (Pinchgut Opera),aswellas NotesfromUnderground andthetitlerolein OwenWingrave (Sydney ChamberOpera).Hehassung Messiah with theWestAustralian,TasmanianandAdelaide symphonyorchestras,andpreviouslywith SydneyPhilharmoniaChoirsin2013.
MorganPearsewontheaudienceprizeat the2020LondonHandelFestivalandhas sinceappearedregularlyattheInnsbruck FestivalforEarlyMusic.
ElizabethScott AssociateMusicDirector
TimCunniffe AssistantChorusMasterandPrincipalRehearsalPianist ClaireHowardRace RehearsalPianist
VeronicaAlfano LucyAndrews ShelleyAndrews JulieBangura EvaBerger NoelleBetterley GeorginaBitcon
NikkiBogard CatherineBryant AnitaBurkart AnneCooke AlexandraCoulton CourtneyCousins PamCunningham RounaDaley MelanieDavid RachelEvans KarinaFalland SusanFarrell RebeccaFitzpatrick JehaneGhabrial JosephineGiles NatalieGooneratne JudithGorry CarolineGude AmandaHamilton LeilaHarris JasminJungo SueJustice LindyMcMahon ClareMacpherson CharlotteMoore GeorgiaMoore JaneNieminska NathalieO’Toole JayneOishi RuthJessica
Ongkowijoyo DympnaPaterson AlexandraPeacock KarenPearce IsabellaRahme
ElsaRapon AllisonRowlands JacquelineRowlands MayaSchwenke OdiliaSugita EvaTarbox KatherineThompson SarahThompson LilyTindale JoannaWarren DorothyWu FionaYoung
ALTOS MeaghanBackhouse DebraBaker GillianBehrens KatieBlake JenniferBradford KateClowes GillianDownesMorgan ClaireDuffy AlisonFeng PennyGay MariamLubanHarb JennyHarry MargaretHofman MadiHolness CharlotteHumphrys JaninaKey GeorgiaLuikens DonnaMcIntosh JaniceMcKeand MaggieMcKelvey AtalyaMasi HannahMason ClaraMazzone AlysonMoore JessMoore MadiMoore PenelopeMorris CatherineO’Grady
InesObermair AnnaPeter HannahRoberts LaraRogerson-Wood VirginiaRowlands DebbieScholem JohannaSegall JanShaw MegShaw MeganSolomon RobynTupman AnnabelWatts MariannaWong
TENORS MatthewAllchurch JoshBorja LangziChiu DanielComarmond MalcolmDay RobertElliott BlakeGarner BryceGonlin BennettHaskew NickHazell TomHazell MichaelKertesz MatthewKoh VincentLo FrankMaio DimitryMoraitis RyanQueenin MartinStebbings MitchellSutton RobertThomson BenThurley NicholasTong AndyWang GeorgeWatkins ChristopherWhitfeld WillWillitts IsaacWong MarkWong
JockBaird PeterCallaghan JulianCoghlan PaulCouvret PhilipCrenigan PhillipCullen RobertCunningham NicholasDavison JamesDevenish RoderickEnriquez DavidFisher TomForrester-Paton ScottHekking DavidJacobs MatthewLubowicz SamuelMorrellFeitelberg FinnianMurphy EricNelson BrendanNicholson MichaelNolan PeterPoole DanielRae AllanRedpath MichaelRyan RobertSherrington PeterTempleton BenWaters DavidWood LachlanWrenford
ElizabethScott AssociateMusicDirector
TimCunniffe AssistantChorusMasterandPrincipalRehearsalPianist SubinPark,EstellaRocheandEstelleShircoreBarker RehearsalPianists
SallyAitken HelenAlajajian RosemaryAtkinson InesBenaventeMolina ClaireBennett HelenBlack BelindaBlekemore SueBowring LynetteBoyce AlisonBradley NolaBrooke SusanBudic SibylleBurkart AlisonButt LesleyCady JanelleCampbell KarenChisholm RosemaryCooper AnnieCorbett Anne-Catherine Cosentino MichelleCrook NarelleCtercteko SanciaDeJersey SilviadePoe-Diestel LisaDeecke NathalieDeeson MonaDeghaim SarahDescher SharonDickson JanetDonaldson SarahDowney EvieDriver ElaineEbsary GlendaEmslie AmberEsposito JenniferFildes
NancyFlitcroft JaneFry WendyGavin JustynaGizowska RuthGolden ValerieGomm JulieGordon SusanGordon MaryGrieve DallasGriffin QirongGuo HrefnaGylfadottir BarbaraHall ReneeHamers RosalieHarrington EmesiniHazelden ClareHinchey MargaretHinchey HannahHow VanessaJacob DianaJefferies MarianJones AnnaJoseph RachelKelly ValerieKingsleyStrack IchikoKitano StefanieKokal LillyKrienbuhl MargaretLackenby MerleLamb RuolanLan AnneLane ElizabethLee JudyLee ChristineLindsay JoannaMccullagh ColleenMcDonald NormaMcDonald
DoreenMacfarlane JenniferMcphee CathyMaher TiyanaMaksimovichbinno
RosalieMangraviti YvonneMartin CeciliaMay JaneMezzina JacquelineMilne JenniferMorganNicholson MaryMortimer SusanMozell SarahMuetterlein MaryO’Connell MonicaO’Connell RobynO’Keefe KathleenOakley LaiaOliveras LesleyOwen JanicePeak FionaPeare AnnaPender VictoriaPirolo JennyPlatt MarisaPongan CelinePozzo MariaPriestley ElizabethPurvis XinYuanQuek MicheleReid LaurelReynolds CarolineRhind SylviaRomanik ElizabethRosa CoraleeRose SianRudge LourdesSanchez
ZoeShacklady JudySnowdon EmiSo AileenSoh JennyStQuintin VictoriaStableforth HelenStead VivienneStrong AbigailStuddert MargaretSymes SuzieTaylor SusanThomas BarbaraThompson MargaretTitterton ChiquitTorrenteBrammall MargaretVaccari SarahvanTreel DanielaVazille DaniellaVerde ElizabethWallace ConnieWan SusanWebster FayeWelborn JodieWhitbread SuzieWoodhouse OliviaWroth AngelineZaghloul AndreaZocco
MeredithAsh NicolaAtmore SuzanneAvis MargaretBaker NadjaBalemans LaimaBarkus PenelopeBecchio MarshaBeck JackieBenson KarenBiden LizBlackford RobynBlainey RosanaBlowes NoraBodkin CharlotteBonser PamBray CindyBroadbent MarilynBroadbridge EmilyBrodie AngelaBrothers LyndaCabeldu JaneCameron GabrielleCannon SimoneCarson AverillChase FionaClark MeredithCohen JaneConnolly SianCook PatriciaCorey PatriciaCotter JennyCotterill FranCunneen MarieDaniels KatrinaDarnbrough ColletteDavies JewelDavies VirginiaDavies JulieDawson AlteouiseDevaughn ElizabethDooley
UrsulaDubosarsky JudyDunstan GailEdinborough KarenEdwards JuliaElmes Sue-EllenFairall VanessaFone CatherineFox KatieFrench JessicaFryer SallyGarth RobynGilbert DianaGray JaneGreaves ChrisHall KarenHartas LucyHatcher AnkeHelmkeHenken CeciliaHannah Hibbert KatieHislop MarijkeHol AlisonHoran StacyHost MarieHotschilt AndreaHoward PatriciaHoyle MarianneHulsbosch LouiseImray ElaineJackson JaneJames NaomiJones FionaJoneshart BeverleyJordan SusanKaim KateKaszonyi AliceKillen AnastasiaKlose SaraKlug ClaudiaKochMcQuillan
AnneKricker TatjanaKroll DoreenLaforest VeronicaLambert SariLamsa SusanLasker JudithLawry PennyLeCouteur HeavenLee PenelopeLee HeatherLees-Smith IrisLeung JanetLeung KathyLeviton EddaLewis SaraLewis LeolaLiu AnneLucas MadiMaclean WendyMcLeod ValerieMarteau BarbaraMckinnel AngelaMiller RuthMitchell LizMoore GabrieleMunro SariMunro KerryMurphy JayamalaNaidoo RebeccaNash SylvieNolf TomohaOgawa Nadezda Okumushoglu NicoleOldfield FabienneOvadia NicolePanetta JoannePerry SallyPierce MarilynPiras RachelPodger WendyPritchard
MarilynRamage PaulineRamsay JoRhodes StefanieRizel PenelopeRodger JennyRodway EstherRoorda NataliaRoorda JudithRosonakis CatherineRugg LeanneRuggero KirsteenRuncie SarahSandstad JoanScott HeidiSeemann MaiteSerra LianaSpucys JulieAnneStevens TamiraStevensen JoannaSutherland LaniSutherland ElizabethTalbert BirgitTauber SusanTavener JeanTaylor KathyTaylor BronwynThomas SusanTooker SusanTwiney CarinVanHeumen SheilavanHolst Pellekaan CorneliaVanderbent BronwynVost GeorginaWaite JulieWalker KylieWatt BronwynWells WendyWhite AnneWilcox ChristinaWilcox CarysWilliams
AmandaWilson
ClaudiaWinters
SusanWittenoom IsabelWong GillianWood AnnieWoods LouisaWright SusanWright RoswithaWulff ChariXuereb OliviaYan JoanneYang BridgetYasukawa RuthYoung
TENORS
TedAvery Sally-AnnBarbera MariusBarnsley ChristopherBarrett JamesBlomfield ColinBodkin Hoa-anBratland JohnCarey OlivierChretien MaxwellConnery IanConnolly ErwinD’Souza KevinDeSouza SylvianeDiaz DianaDunlop NickiElkin SonjaGrgurevic SarahHamilton
AngelaHart AlistairJohnston AyseKiran MaryLafferty DanielLarratt SimoneLaunt-Peters PeterLaverick ShashiLaverick
IwanLesmana PaulLong EllenMcArthur WarrenMcHattan SophieMackay LisaMacqueen PeterMacqueen IanMarshall AinsleyMartin JeffreyMellefont ArnoldMetcalf AndrewMorris TimothyO’Reilly MargaretOlive ChristinnePatton LenPower FélicitéRoss KenRyan RhondaStapleton CaralynTaylor MingUrwin NatalieVaughan JohnWatson TerryWoronov TachiYasukawa PeterYoung JuliaZwirko
PeterBarber DerrickBeech PhillipBelling AndrewBirley LachlanBoeree FedericoCastellucchio AnthonyCheshire JohnClancy PhilCohen PaulCollins StefanCouani MikeDunkley MarkEngland ScottErichsen MarkEvans AndrewFalson JimFleming MatthewGarth GrahamGeorgeson BartGitmans JohnGolding WarrenGough PaulGoyen HaroldGraycar RobertGroves DavidHardy AlexHenry GrahamHuddy Pariyawit Jatukannyaprateep DanielKhong FuzzKitto PeterMackey JamesMiddlewood TimMiles RichardMillard FrankMonagle LouisMonney ScotMorris AlanMorrison KelvinOlive
MichaelPain AlexanderPeters JamesReynolds AndrewRodger DavidRoss DanielSchiavone RickSondalini HunterSouthwick JonathanSpinks RussellStapleton AndrewStark AlanTaylor NicholasTurner AlanWallace MichaelWalpole JonathanWassell TonyWhite GeoffYoung WellerZheng
SarahPenicka-Smith ArtisticDirectorandPrincipalConductor
PhilipEamesandPeterEllis ChorusMasters
JaneAndino,PhilipEamesandCallumTolhurst-Close RehearsalPianists
JenniferBaker
CatrionaChampion
JosephineChan
MariaCostello
TamaraCraig
KlaraDeWit
SusanForss-Clarke
HadassaGitau
LynHiggs
DeborahHowitt
IonaMathias NicoleSenior KarlaStewart-Sykes
LynnTaye IngridTurner NaomiVonSenff
MelBester
GraceBondoc ClareBrown
SarahEl-Khansa SallyGlass DanicaGluvakov BelindaHuang
JaneJamieson
LaimaKarklins RoshiMelvin NancyNicholls RinaPinto HelenYiu FionaYue
RichardHeagrenGibbs IanJenson
JoshuaLenehan PronyMelvin GabrielNewman SpencerThew
SteveBarnett
DonChurch
PhilipGerber
IvarsKarklins GeoffKerr KrisMorgan MichaelWest DominicWong
Western Sydney. Choral. Excellence River City Voices is Parramatta’s flagship symphonic choir, led by Artistic Director and Principal Conductor, Dr Sarah Penicka-Smith.
Can’t get enough Messiah? RCV presents SLAM MESSIAH Friday 16th December, 7:30pm Riverside Theatres. Slam poets take on this iconic work in a brave new interpretation!
DavidFrancis SectionalLeader
JackMaoandDavidVance RehearsalPianists
SOPRANOS
ClareBallard
JoanBourne
AllisonCook
WendyCook
SuzannedeVive
MatildaDickson
AmandaFloyd
LeisaFloyd
JenniferHarris
EvelynHarrison
AlexandraIlievski
CatherineMacPhail
GillianMeers
PenelopeMurphy
RowenaRussell LouiseSaint-John
MargaretShaw
BirgittaSmith
TianyaoSun
JulieWatts
KateWilmot
ALTOS
AnnaBaxter-Rose
JudithBurns
NancieClisby
ElizabethFarrar
SueGeenty DespinaHaise AlisonHaynes
ChristineHiggins YumikoHoriguchi SusannahHutchings
MelindaJames
SarahKinstead
EmmaMedwell
RhiannonMorgan
AnnikaOakley
AnnaSmith
TamaraVincent
SoniaWestwood NualaWilliams
SueWoodland
KarinaWoodward MargueriteZind
TENORS
AllisonEdwards JaneMcCammon ConnieNielsen
EdwardPrescott
IanRienits
GeoffRiethmuller
EdwardWiech
BASSES
LuisGarcia
MarkGearon
LindsayHodda
MartinLander KatrinaLove PaulSpencer RayVincent HamiltonWearing
FionaZiegler Concertmaster
MicheleO’Young SamanthaBoston BridgetCrouch MarianaGreen
AntheaHetherington RebeccaIrwin MatejaPrimorac JuliaRussoniello VanessaTammetta
EmmaHayes
AngelaCassar EvelynCirevski AnthonyDonovan ElizabethGreenhalgh KarinaHollands DenisaSmeuKirileanu NarineMelconian EsmereldaTintner JoanneWaples
VIOLAS
AndrewJezek
RachelDyker
CharlotteFetherston NicoleForsyth RobertHarris
DariusKaperonis
SuzieKim GeorginaPrice
AnthonyAlbrecht JamesBeck ChristopherBennett AnitaGluyas MargieIddison RosemaryQuinn
DOUBLEBASSES
DoritHerskovits DavidCooper MarkHarris TheoSmall
OBOES MatthewBubb FrankGiraldo
BASSOONS VictoriaGrant BrighdieChambers
TRUMPETS RainerSaville DanHenderson
TIMPANI ChironMeller
HARPSICHORD
NathanCox
ORGAN DavidDrury
Bold =Principal
ContinuoorganbyHenkKlop,Garderen,TheNetherlands,2003 FlemishdoubleharpsichordbyCareyBeebe,Sydney,1989 EarlykeyboardspreparedforperformancebyCareyBeebe andJoannaButler
SydneyPhilharmoniaChoirsgratefully acknowledgethevision,commitment andgenerosityofoursupporters.
$40,000+ Anonymous(1) $10,000–$39,000 RobertAlbert AO and LibbyAlbert JusticeFrançoisKuncand FelicityRourke Anonymous(1)
$5,000–$9,999
StephenandJenniferCook RuthEdenborough DrDavidandSarahHowell JohnLamble AO JacquelineRowlands Anonymous(1) $2,500–$4,999 LynBaker SusanBarrett ChristineBishop NathalieDeeson–in memoryofBrianDeeson Prof.JennyEdwards WarrenGreen R&JPerryFamilyFoundation JeanTaylor Anonymous(1)
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 DrJohnO’Brien RosalindStrong AM and AntonyStrong KayVernon SaraWatts AnthonyandAnnieWhealy JacquiWilkins CathyandJonWilliamson Anonymous(1)
$1,000–$2,499 TelAsiado JockBaird–inmemoryof AnnetteMcClure KatieBlake SueBowring PatriciaBradley JamesCox RounaDaley JulieandBillDowsley VesnaHatezic FionaJoneshart IphygeniaKallinikos LillyKrienbuhl DrVeronicaLambert MandDLangford
RachelMaiden–inmemory ofTonyMaiden JolantaMasojada HelenMeddings JeffreyMellefont InmemoryofHelen Pedersen BeverleyPrice
SydneyPhilharmoniaChoirs SupperClub FélicitéRoss JudgeRobynTupman KayVernon SaraWatts MariannaWong Anonymous(1)
Pleaseconsidermakingatax-deductible donationtoSydneyPhilharmoniaChoirs. Yourgift,ofanysize,wouldmakeavital contributiontoensuringourfuture. sydneyphilharmonia.com.au/donate
Weapplaudthegenerousinvolvement ofourpartnersinsupporting SydneyPhilharmoniaChoirs.
$500–$999
CaroleBailey
CABessemer
JulianCoghlanand AndreaBeattie
IanConnolly
PatriciaCurotta JaneDiamond
RobertGreen
ShirleyHofman DavidJacobs MaggieMcKelvey
BernadetteMitchell
RobertMitchell ChrisMoore
DimitryMoraitisand PeterMorgan
MaryMortimerand DonaldDenoon WilliamNapier AnnaPender
ValerieRendle GeorgiaRivers PaulRoper MegShaw
ErnestinedeVries
Anonymous(1)
Wealsothankourdonorswho contributeupto$500.Every giftmakesadifferencetowhat weareabletoachieve.
DonationstoSydneyPhilharmonia Choirsarerecognisedfor12 monthsfromthedateofdonation. Supporterslistedherearecurrent asatNovember2022.Donations of$500andabovearelistedon ourwebsiteandinourconcert programbooks.
SydneyPhilharmoniaChoirspresentstheart ofchoralsingingatthehigheststandard,and developsthetalentsofthosewithapassion forsinging,inSydneyandbeyond.Founded in1920,ithasbecomeAustralia’sfinestchoral organisationandisaResidentCompanyof theSydneyOperaHouse.
LedbyArtisticandMusicDirectorBrett WeymarkOAMsince2003,SydneyPhilharmonia Choirscomprisesthreeauditionedandthree communitychoirsthatperformrepertoire fromchoralclassicstomusicaltheatreand commissionsbyAustraliancomposers.SPC presentsitsownannualconcertseasonand collaborateswithleadingconductors,soloists andorchestrasinAustraliaandoverseas.In 2002,SPCwasthefirstAustralianchoirtosing attheBBCProms(Mahler’sSymphonyNo.8 underSimonRattle),returningagainin2010 tocelebrateits90thanniversary.Thechoirs
performintheSydneySymphonyOrchestra’s seasoneveryyearastheyhavedoneformore than80years.SPCalsopresentsaseriesof communitysingingeventsthroughoutthe year–ChorusOz(theannualBigSing), PopUpSingandsingingworkshopsthroughout SydneyandNSW.
In2020,SydneyPhilharmoniaChoirs celebrateditscentenary.Despiterestrictions onliveperformancesthatyear,itpressed aheadwithacommissioningproject–100 MinutesofNewAustralianMusic–featuring newworksbycomposersElenaKats-Chernin andDeborahCheetham,amongothers.2021 sawacautiousbutboldreturntolivechoral performancesandthelaunchofthe2022 seasonwithconcertsintheSydneyTown Hall,StAndrew’sCathedralandthenewly renovatedSydneyOperaHouseConcertHall.
STAFF
FionaHulton
