ACKNOWLEDGEMENTOFCOUNTRY
DEBORAHCHEETHAMFRAILLONandMATTHEWDOYLE
TarimiNulay–Longtimelivinghere†
MessadaRequiem
BrettWeymark conductor
MaijaKovalevska soprano
DeborahHumble mezzo-soprano
DiegoTorre tenor
DavidGreco bass
FestivalChorus
SydneyPhilharmoniaOrchestra
FionaZiegler concertmaster
Saturday20May2023at2pm
SydneyOperaHouseConcertHall
†Commissionedfor100MinutesofNewAustralianMusic2020
Theperformancewillrunforapproximately 1hourand30minutes,withoutinterval.
Pre-concerttalkbyRossHayesat1:15pminthe NorthernFoyer,supportedby2MBSFineMusic.
SingMahler’sepic‘SymphonyofaThousand’with hundredsofothers,operastarsandTheSydney YouthOrchestraattheSydneyOperaHouse.
PreviousChorusOzparticipants ScantheQRcodeformore informationandtoregister, orvisitbit.ly/ChorusOz23
Verdi’sRequiemisoneofthegreatmusical works.Itwaswrittenbyanartisticgiantat theheightofhiscreativepowers,andit commemoratesagreatItalianfigure.But, aboveall,it’saworkthatneverfailstomove theheartandsoul.Fromdeepexpressions ofgrieftothecatastrophicvisionsoffear andjudgement,therearefewwhodon’t connectinsomewaywiththeuncertainty ofdeathaspresentedbyVerdi.
Butthere’ssomuchmoretothismusic.I thinkofthemadrigal-likesettingofthe Sanctus withmerryangelssingingtoeach otheracrossthevastexpanse.Orthe chant-inspiredsopranoandaltomelodyof the AgnusDei –sosimpleandyetperilous initsexecution.There’sthevisionoflight perpetualinthetranscendent Luxaeterna, givingtheimpressionthatVerdihas inventedthefirstfilmscore.And,inperhaps thework’sgreatestmoment,thelast movementwherealonevoice,thesoprano, begstobesparedonthatfinalday.Verdi writesmusicofsuchvulnerabilityand desperationthatwecan’thelpbutempathise withherplight,orourown.Finally,thiswork isavocalcontestforanyperformer–a high-wiremarathon.
Recently,onleavingarehearsalwithour FestivalChorus,itstruckmethatalife spentconductingVerdi’sRequiemwould notbetoobadacareer.It’saworkthat, ironically,constantlynourishesand,each timeyoureturntoit,revealsmore.
Itfeelswrongtosay“enjoythe performance”.Instead,Iinviteyoutosit back,openup,andallowyourselftobe envelopedinthevisionVerdihasleftforus: oneofsheerterrorbutalsoofgreathope.
BrettWeymarkOAM ArtisticandMusicDirectorIn2023,BrettWeymarkcelebrates20yearsasArtisticandMusicDirectorof SydneyPhilharmoniaChoirs.The2023seasonreflectshighlightsofhis distinguishedcareerandthestrengthsofthechoirsheleads.
WeacknowledgeandpayrespecttotheGadigalpeopleofthe EoraNation,uponwhoseCountrywerehearse,singandwork,and payourrespectstotheirElderspastandpresent.Ourvoicesbring tolifethesongsofmanyculturesandcountries,fromacrossthe ages,inaspiritofsharing,learningandunderstanding.The ancientcustomsandculturesofthislandinspireustocreate harmony–inmusicandinoursociety.
Insettingouttohonour‘theonlygreatItalianleftafterRossini’, VerdicreatedaRequiemMassofuniversalandlastingappeal.
TheRequiemisthesolemnmassforthe dead,heardinRomanCatholicchurchesin commemorationofthefaithfulwhohave died,atfuneralservices,andon anniversariesofthedeathsofparticular persons.Itsnamecomesfromtheopening words,‘Grantthemeternalrest,OLord’.
Thedominanttoneofthetextsadded,in theRequiem,totheOrdinaryofthemassis solemnandmeditative,prayerfuland visionary,asbefitsthesubjectofdeathand eternallife.ButintheSequence,the stanzasofthemedievalpoem Diesirae (DayofWrath),thereisapicturesqueand dramaticvision,aliterarycounterpartofthe ‘Doom’paintingshunginchurchesas remindersoftheDayofJudgement.These wordsofferwonderfulopportunitiesfor dramaticmusicalcomposition.Requiem musichasrangedfromsombreand contemplative(Victoria,Fauré)todramatic andrepresentational(Berlioz).Verdi’s Requiemencompassesbothaspects,the dramaticpredominating,andthe Diesirae isthecoreofhiswork.
ButwhydidVerdiwriteaRequiematall?
By1874hewasaworld-famousopera composer,freshfromwriting Aida,with masterpiecessuchas Rigoletto, Iltrovatore and Latraviata behindhim.Hehadwritten
nothingforthechurchsincehisearliest youth.Furthermore,Verdi’sattitudetothe ChurchandindeedtotheChristianreligion madehimanunlikelycomposerofchurch music.Hewasstronglyanti-clerical,an attitudehesharedwithmanyfellowItalian nationalistsduringthestrugglesofthe RisorgimentoagainstAustrianrule.The Churchbyandlargesupportedthestatus quo.Verdi’sownhostilitytothepriesthood anditssocialandpoliticalrolewas reinforcedbymemoriesofthehardgrind ofhisboyhoodemploymentasachurch organist,andbythelocalclergy’s disapprovalofhisdefactorelationshipwith GiuseppinaStrepponi(whomheeventually married,in1859).Verdi’sChristianbelief wasatbestfarfromorthodox,tothe exasperationofGiuseppina,whowroteat thetimeoftheRequiem:
Thebrigandpermitshimselftobe,Iwon’t sayanatheist,butcertainlyverylittleofa believer,andthatwithanobstinacyand calmthatmakeonewanttobeathim.
HisRequiem’ssincerityanddeepfeeling suggestthatVerdi,inhisart,fully empathisedwithreligiousemotionsand aspirations,withoutbelievinginthe Church’steachings.Inspiredby contemplationofChristiantextsabout death,Verdi’smusicachievesauniversally compellingexpression.
VerdiwasmovedtocomposehisRequiem bythedeathofAlessandroManzonion 22May1873.Manzoni,authorofthevast historicalnovel Ipromessisposi (The Betrothed),wasItaly’sgreatestwriterofthe Risorgimento–theunificationofItaly.Verdi wrote:‘Nowallisover,andwithhimends thepurest,holiesttitletoourfame.’Verdi vowedatManzoni’sgravesideto commemoratehisheroinagreatmusical work,andwrotetothemayorofMilan offeringtocomposeaRequiemMassfor theanniversaryofManzoni’sdeath.Hewas asgoodashisword,andtheRequiemwas firstperformedintheChurchofSanMarco inMilanon22May1874.
Verdi’sstartingpointwasareworkingof a Liberame,hispartinthe1869projectof aRequiemMassbyleadingItalian composerstocommemoratethedeathof Rossini.VerdiconsideredManzoniand RossinithetwogloriesofItaly.TheRossini projectwascompletedbutnever performed,but,inmemoryofManzoni,‘the onlygreatItalianleftafterRossini’,Verdi gloriouslyfulfilledwhathehadbegun.
ThelanguageofthetheatrewasVerdi’s musicalidiom.IntheRequiem,heusesit, nottodramatiseconflictingcharactersasin anopera,buttoconveytheunityofspiritin prayer.Therearedramaticsurprisesand contrasts,andmelodicrichness,butVerdi hasalsolearntfromchurchmusicofthe past.Hischoralwriting,inparticular,hasa varietyhisoperaticchoruseshardlylead onetoexpect.Themelody,whilerecalling Verdi’soperas,occasionallyblendswith churchplainsong.
Therehasbeencontroversy,especially inNorthernEuropeancountries(andtheir
culturaloffshoots)whetherVerdi’sstyleis appropriateforareligiouswork:isittoo theatrical,toooperatic?Somemusicians havesneeredat‘Verdi’sgreatestopera’; thegeneralpublic,however,haveflocked toheartheworkwheneveritisperformed. SincethisRequiemwasnotintendedfor liturgicaluse,thecontroversyseems pointless,andVerdi’swifeGiuseppinahas saidthelastword:
Theytalkalotaboutthemoreorless religiousspiritofMozart,Cherubiniand others.IsaythatamanlikeVerdimust writelikeVerdi,thatis,accordingtohis ownwayoffeelingandinterpretinghis text.Thereligiousspiritandwayitis givenexpressionmustbearthestampof itsperiodanditsauthor’spersonality.I woulddenytheauthorshipofaMassby Verdithatwasmodelleduponthe mannerofA,BorC.
RequiemaeternamdonaeisDomine: etluxperpetualuceateis.
Tedecethymnus,Deus,inSion, ettibireddeturvotumin
Jerusalem: exaudiorationemmeam, adteomniscaroveniet.
Kyrieeleison, Christeeleison, Kyrieeleison.
Grantthemeternalrest,OLord, andleteverlastinglightshineuponthem. Tothee,OGod,praiseismeetinZion, andprayershallgouptotheein Jerusalem.
Giveeartomysupplication, untotheeshallallfleshcome.
Lord,havemercyuponus. Christ,havemercyuponus. Lord,havemercyuponus.
Mutedcellosareheardfirst,playingalone:adescendingphraseansweredbychorus‘asif somebodywereleaningoveracryptfromwhichcouldbeheardwhisperedvoicesasking forrest’.Stringinstrumentshavethetunewhilethechorusdeclaimsinamonotone. Te decethymnus isaforthrightunaccompaniedchantforchorus.Eachofthesolovoicesin turntakesupthe Kyrie,oneofthegreatestmomentsinallVerdi.
Diesirae,diesilla Solvetsaecluminfavilla, TesteDavidcumSibylla. Quantustremorestfuturus, Quandojudexestventurus, Cunctastrictediscussurus!
Thedayofwrath,thatday shalldissolvetheworldinashes, aswitnessethDavidandtheSibyl. Whattremblingshalltherebe whenthejudgeshallcome whoshallthreshoutallthoroughly!
Verdi’smusicalportrayalofthesewordscouldhardlybemorevivid:startling,powerfuland appropriatelynaïve.Theworldcollapsesanddissolvesindownwardrushesofthestrings. Thenmankindtrembles, sottovoce,inbrokenrhythms.Thissectionreturnslaterinthe Sequence–areminderoftheDayofJudgement,andtoknitthelongmovementtogether.
Tubamirumspargenssonum Persepulcraregionum, Cogetomnesantethronum.
Thetrumpet,scatteringawondroussound throughthetombsofalllands, shalldrivealluntothethrone.
Verdi’suseoftrumpets,nearandfar,soundingtheLastTrumpisprimarilyamusicalrather thanapictorialeffect–thedistantansweringtrumpetsheightenthetensionandvarythe soundofthisexcitinglycumulativepassage.
Cumresurgetcreatura, Judicantiresponsura.
Deathandnatureshallbeastounded whencreationshallriseagain toanswerthejudge.
Notethestupefyingcombination,inthisbasssolo,ofbassdrumwithskinslackenedand pizzicato(plucked)doublebass.
Liberscriptusproferetur, Inquototumcontinetur, Undemundusjudicetur. (Diesirae.)
Judexergocumsedebit, Quidquidlatetapparebit, Nilinultumremanebit.
Diesirae,diesilla…
Awrittenbookshallbebroughtforth inwhichshallbecontainedall forwhichtheworldshallbejudged. (Thedayofwrath.)
Andthereforewhenthejudgeshallsit, whatsoeverishiddenshallbemanifest: andnothingshallremainunavenged.
Thedayofwrath,thatday…
Afterthissoloformezzo-soprano,theorchestraflaresupandthechorusburstsoutwiththe latterpartoftheopening Diesirae.
Quidsummisertuncdicturus, Quempatronumrogaturus, Cumvixjustussitsecurus?
WhatshallIsayinmymisery?
WhomshallIasktobemyadvocate, whenscarcelytherighteousmaybe withoutfear?
Asolobassoonprovidesaflowingbasslinetothistrio.
Rextremendaemajestatis, Quisalvandossalvasgratis, Salvame,fonspietatis.
Kingofawfulmajesty, whofreelysavestheredeemed: saveme,Ofountofpity.
AthunderingaddresstotheDeity,theneachsoloistinturnsingstheferventphrase‘Salva me,fonspietatis’,andthisbuildstoanemotionalclimax.
Recordare,Jesupie, Quodsumcausatuaeviae Nemeperdasilladie. Quaerensme,sedistilassus, Redemisticrucempassus: Tantuslabornonsitcassus.
Justejudexultionis, Donumfacremissionis Antediemrationis.
Remember,mercifulJesus, thatIamthereasonforthyjourney, donotdestroymeonthatday. Seekingmedidstthousitweary, thoudidstredeemme,sufferingtheCross: letnotsuchlabourhavebeeninvain. Ojustjudgeofvengeance, givethegiftofredemption beforethedayofreckoning.
Inthisduetforsopranoandmezzo-soprano,therhythmicfigureinthewoodwindechoes the Salvame oftheprecedingmovement.
Ingemiscotamquamreus: Culparubetvultusmeus: SupplicantiparceDeus.
Igroanasoneguilty; myfaceblushesatmysin. Sparethesupplicant,OGod.
Arecitative-likepassagefortenorsolo,leadingtoalyricalmovement…
QuiMariamabsolvisti, Etlatronemexaudisti, Mihiquoquespemdedisti. Precesmeaenonsuntdignae, Sedtubonusfacbenigne, Neperennicremerigne. Interoveslocumpraesta Etabhaedismesequestra, Statuensinpartedextra.
ThouwhodidstabsolveMary andheartheprayerofthethief, hastgivenmehopetoo. Myprayersarenotworthy, butthou,whoartgood,showmercy, lestIburnineverlastingfire. Givemeaplaceamongthesheep, andseparatemefromthegoats, settingmeontherighthand.
Thesolooboeinthistenorsolosuggeststhepastoralscene,withsheep,goatsand shepherd’spipe.
Confutatismaledictis, Flammisacribusaddictis, Vocamecumbenedictis. Orosupplexetacclinis, Corcontritumquasicinis, Gerecurammeifinis. Diesirae,diesilla…
Whenthedamnedareconfounded andconsignedtosharpflames, callmewiththeblessed.
Ipray,kneelinginsupplication, heartascontriteasashes, takethoumyendingintothycare. Thedayofwrath,thatday…
Thestressinthisbasssoloisfirmlyonprayerandself-abasement.Thevoiceseemstobe closinginEminor,butVerdiresolvesthechordinGminor(thekeyofthe Diesirae asa whole)andtheopeningoutburstisresumed,dyingawayintoBflatminor,a‘dark’key.
Lacrimosadiesilla, Quaresurgetexfavilla, Judicandushomoreus. HuicergoparceDeus. PieJesuDomine, Donaeisrequiem.Amen.
Thatdayisoneofweeping onwhichshallriseagainfromtheashes theguiltyman,tobejudged. Thereforesparethisone,OGod. MercifulLordJesus: Grantthemrest.Amen.
The Lacrimosa issettoawonderfulslowlyswingingmelody.The Amen comeswitha subtleandunexpectedsurprise:achordofGmajorisimposedonthegloomyBflatminor tonality‘likesunlightsuddenlygleamingthroughatearfulsky’.
DomineJesuChriste,Rexgloriae, liberaanimasomniumfidelium defunctorumdepoenisinferni, etdeprofundolacu: liberaeasdeoreleonis, neabsorbeateasTartarus, necadantinobscurum: sedsignifersanctusMichael
OLordJesusChrist,Kingofglory, deliverthesoulsofallthedepartedfaithful fromthetormentsofhell, andfromthedeeppit; deliverthemfromthemouthofthelion; thatHellmaynotswallowthemup, andthattheymaynotfallintodarkness. Butmaytheholystandard-bearerMichael
repraesenteteasinlucemsanctam. QuamolimAbrahaepromisisti etseminiejus.
Hostiasetprecestibi,Domine, laudisofferimus: tususcipeproanimabusillis, quarumhodiememoriamfacimus: faceas,Domine, demortetransireadvitam.
bringthemintotheholylight; whichthoudidstpromiseofoldto Abrahamandhisseed.
Weofferuntothee,OLord, sacrificesandprayersofpraise; dothoureceivethemonbehalfofthose soulswhomwecommemoratethisday. Makethem,OLord, tocrossoverfromdeathtolife.
Noteespecially,inthismovementforthequartetofsoloists,thegreatmomentwhen appearstheArchangelMichael,beareroflight,inalong-heldsopranonote.Verdi’s‘Quam olimAbrahae’isunconventional:mostcomposershavetreatedthesewordsfugally.
Sanctus,sanctus,sanctus, DominusDeusSabaoth!
Plenisuntcoelietterragloriatua. Hosannainexcelsis.
BenedictusquivenitinnomineDomini. Hosannainexcelsis.
Holy,holy,holy, LordGodofHosts.
Heavenandeartharefullofthyglory. Hosannainthehighest. Blessedishethatcomethinthenameof theLord.Hosannainthehighest.
Aftertrumpetcallsthechorus,dividedintotwochoirs,singsthewhole Sanctus, Pleni, Benedictus and Hosanna inoneunbrokendoublefugue.Thisisperhapsthemost unexpectedpartofVerdi’sRequiemandhisoperaaudiencesmusthavebeensurprisedto findhimwritingafugue,albeitajoyous,dance-likeone.
AgnusDei, quitollispeccatamundi, donaeisrequiem; AgnusDei, quitollispeccatamundi, donaeisrequiem.
AgnusDei, quitollispeccatamundi, donaeisrequiemsempiternam.
LambofGod, thattakestawaythesinsoftheworld: grantthemrest.
LambofGod, thattakestawaythesinsoftheworld: grantthemrest.
LambofGod, thattakestawaythesinsoftheworld: grantthemeternalrest.
Thesettingofthe AgnusDei isalsostrikinglyoriginal.Sopranoandmezzo-sopranosing unaccompanied,anoctaveapart,theopeningpetitionofthethreefoldprayer,whichis repeated,stillunharmonised,bychoirandorchestra.Thetwosoloistsbeginthesecond petitionintheminor,toaharmonisedaccompaniment,thechorusrepeatingit–butinthe major.Thesoloists’singingofthethirdpetitionfollowsthesamepattern,beautifully accompaniedbythreeflutes.
Luxaeternaluceateis,Domine, cumsanctistuisinaeternum, quiapiuses.
Requiemaeternamdonaeis,Domine: etluxperpetualuceateis. Cumsanctistuisinaeternum, quiapiuses.
Leteverlastinglightshineonthem, OLord,withthysaintsforever: forthouartmerciful. Grantthemeternalrest,OLord, andleteverlastinglightshineuponthem withthysaintsforever; forthouartmerciful.
ThevarietyofmoodsVerdigivestheprayerforeternalrestrevealhisrangeofinvention andemotion. Luxaeterna takesitstonefromthewords‘quiapiuses’–themercyand lovingkindnessofGod,andthevisionoftheblissofthesaintsinheavenareconveyedin theeasefulwarmthofthetrio,delicately,evenethereallyscored.Therearesubtle reminders,too,ofthesternnessoftheprayerforthedead.
Liberame,Domine,demorteaeterna, indieillatremenda: quandocoelimovendisuntetterra.
Dumvenerisjudicare saeculumperignem.
Tremensfactussumego ettimeo, dumdiscussiovenerit atqueventuraira.
Quandocoelimovendisuntetterra. Diesirae,diesilla, calamitatisetmiseriae, diesmagnaetamaravalde. Requiemaeternamdonaeis,Domine, etluxperpetualuceateis.
Deliverme,OLord,frometernaldeath inthatawfulday whenheavenandearthshallbemoved: whenthoushaltcometojudge theworldbyfire. Iamseizedwithtrembling andIfearthetime
whenthetrialshallapproach, andthewrathtocome; whenheavenandearthshallbemoved. Adayofwrath,thatday ofcalamityandwoe, agreatdayandbitterindeed. Resteternalgrantthem,OLord,and maylightperpetualshineuponthem.
The Liberame bringsbackthedramaticnoteintotheRequiem:declamatoryphrases forthesoprano,thenthe Diesirae breaksbackin,withmetricallydifferentwords andanevenmoreimpressivediminuendothanbefore.Nextcomesthemostmoving stroke:thesingingofthedescendingphrasesthatbegintheRequiem,previouslyfor orchestraalone.Thesopranosoloistcarriesthemelody,subtlyextended.
ItishardtobelieveVerdiconceivedthismarvellousrecapitulationbefore composingtherestoftheRequiem.Itsgreateffectcomeshavingheardthewhole work.MorelikelyVerdiintendedtousethe Liberame he’dcomposedfortheRossini
EngravingofManzoni’sfuneralprocession, publishedin Illustrazionepopolare (1873)
Requiem,founditunsatisfactoryand revisedittothisgreateffect.Thequick fuguethatfollowshasbeenregrettedby somecritics,whowishtheRequiemended withthesoaringendingoftheprayer.But theconclusionisverytelling–thesoprano re-enteringinlargephrases(withan augmentationofthefuguetheme)thenthe muttered,fearfulprayerfordeliverance, andtheCmajorchordfromtheorchestra seemingtoaffirmthattheprayeris granted.
DavidGarrett©1997/2023
GIUSEPPEVERDI(1813–1901)iseasilythe mostimportantItaliancomposerofthe19th century,aswellasoneofthegreatestofall operacomposers.Whenhecomposedhis Requiemin1874tocommemoratethe deathofAlessandroManzoni,Verdiwas alreadyworld-famousforoperassuchas Rigoletto, Latraviata, Aida and Iltrovatore. Hiskeenmelodicsenseandanunerring instinctforcharacteranddramaledhimto movebeyondtheconventionsofbelcanto opera,insistingthatmusicservethewords andthedrama,andofhisnearly30operas, manyarerepertoirestaplestoday.
Asmanandmusician,Verdibecamea symbolofItaly’sstruggleforindependence, and‘Vapensiero’,theChorusofHebrew Slavesfromhisopera Nabucco,becamea virtualnationalanthem;itwasinturnsung bymournersasVerdi’sownfuneralcortège passedthroughthestreetsofMilan.
FollowingtheEurope-widesuccessof hisMessadaRequiem,Verdiappearedto haveretiredfromcomposition.Buthewas tosurprisetheworld,aftermanyyears,with twooperasbasedonShakespeare: Otello, composedtheyearafterthisportraitby Boldini,then Falstaff,premieredwhenhe was80yearsold.
It’sajoytopresentthegiftofmusicyou experiencewithustoday.Our2023 seasonoffersjoyandenergyfor performersandaudiencesalike,bringing peopletogetherincommunity. Astheendofthefinancialyear approaches,pleaseconsidermakinga tax-deductiblegifttoSydney PhilharmoniaChoirs.Boxofficeincome alonecannotsustainourefforts,and yoursupportiscrucialtoourfuture. Everygiftofanysizemakesadifference.
sydneyphilharmonia.com.au/donate orcall(02)82746200
Alldona�onsover$2are fullytax-deduc�ble.
PHOTO:KEITHSAUNDERS
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.
MaijaKovalevskaisaLatviansopranowho studiedformanyyearsunderMirellaFreni. Mostrecently,shehassungMimì(Labohème) inSydney,MelbourneandforSemperoper Dresden,Maddalena(AndreaChénier)and thetitlerolein Tosca fortheSiguldaFestival, Verdi’sRequieminLondonandMelbourne, andMahler’sFourthSymphonyinCanada. OtherrecentappearancesincludeAliceFord in Falstaff atHamburgStateOpera,and Beethoven’sNinthSymphonyforthe MelbourneSymphonyOrchestra.
ShemadeherMetropolitanOperadebutas Mimì,laterreturningasEuridiceinGluck’s OrfeoedEuridice;herWienerStaatsoper debutwasasTatyanain EugeneOnegin, followedbyappearancesasMimì,Micaelain Carmen,theCountessin LenozzediFigaro, Violettain Latraviata andAmeliain Simon Boccanegra.ShehassungMicaelaandMimì fortheRoyalOperaHouse,CoventGarden andLiù(inanewproductionof Turandot)at LaScalaMilan,aswellasTchaikovsky’s Iolanta forSemperoperDresden,andher performanceasTeresain BenvenutoCellini at theSalzburgFestivalwasfilmedfor commercialrelease.InDecembershewill singGutruneinOperaAustralia’sproduction of DerRingdesNibelungen.
Mezzo-sopranoDeborahHumbleisoneof Australia’smostsuccessfulinternational artists.AsaprincipalwithHamburgState Opera,shesangZenobia(Radamisto),Page (Salome),Bradamante(Alcina),Olga(Eugene Onegin),Hänsel(HänselundGretel)andErda andWaltrautein DerRingdesNibelungen.
Herinternationalengagementsinclude appearanceswiththeEdinburghFestival, Festivald’Aix-en-Provence,SalzburgEaster Festival,HongKongPhilharmonicOrchestra, SingaporeLyricOpera,SeattleSymphony, AucklandPhilharmoniaOrchestra,Stuttgart Philharmonic,HamburgPhilharmonicandthe ThéâtreduChâteletinParis–performing worksasdiverseasHandel’s Messiah and Verdi’sRequiem.
Mostrecently,shehasappearedinStrauss’s Elektra andHonegger’s Jeanned’Arcau bûcher inHamburg; DasRheingold, Siegfried andBeethoven’sNinthSymphonyinHong Kong; Siegfried inBoston;Mahler’sEighth SymphonyinSingapore; TristanundIsolde in MexicoCity; DerfliegendeHolländer inLille; PeterGrimes fortheSydneySymphony Orchestra;andGloriaBruni’sSymphonyNo.1 (Ringparabel) inMinsk.Lastyear,shesang Clytemnestrain Elektra forVictorianOpera andappearedasasoloistwiththeSydney, QueenslandandNewZealandsymphony orchestras.Thisyear,shesingsFrickaand WaltrauteinOperaAustralia’sproductionof DerRingdesNibelungen andClaironin Capriccio forVictorianOpera.
BorninMexicoCity,DiegoTorrewasaDomingoThorntonYoungArtistatLosAngelesOpera, wherehemadehiscompanydebutasDon Joséinperformancesof Carmen.Aleading tenoratOperaAustraliaformanyyears,his mostcelebratedrolesincludeRadames (Aida),Turiddu(Cavalleriarusticana),Canio (Pagliacci),Calaf(Turandot),Cavaradossi (Tosca),Pinkerton(MadamaButterfly),Edgardo (LuciadiLammermoor),Rodolfo(Labohème), Gustavus(Unballoinmaschera),theDuke (Rigoletto),Rodolfo(LuisaMiller),Gabriele Adorno(SimonBoccanegra),andthetitlerole in DonCarlo.
ForOperaAustraliain2021and2022,he sangCavaradossi,DonJosé(Carmen), Foresto(Attila),Faust(Mefistofele),Eléazar (LaJuive)andthetitlerolein Ernani; healso appearedassoloistwiththeQueensland SymphonyOrchestra.In2023,hereturnsto OAasRadamesandPinkerton.
Recentinternationalengagementshave includedDickJohnson(LafanciulladelWest) inMexicoCity,CanioforGrandThéâtrede Genève,andCalafandManrico(Iltrovatore) forTeatroRegiodiTorino.HesangCalafin Oslo,CavaradossiinChinaandSaarbrücken, Corrado(Ilcorsaro)inParma,andTuriddu, CanioandCavaradossiinGenoa.
InJunehereturnstoSydneyPhilharmonia ChoirsforMahler’sEighthSymphony.
Internationallyregardedforhisinterpretations ofSchubertLiederandtheworksofJ.S.Bach, baritoneDavidGrecohassungonsomeofthe fineststagesacrossEuropeandhasappeared asaprincipalinoperafestivalssuchas Festivald’Aix-en-ProvenceandGlyndebourne. HeregularlyappearswithleadingAustralian ensemblessuchasPinchgutOpera, AustralianBrandenburgOrchestra,Australian ChamberOrchestra,SydneyPhilharmonia ChoirsandtheSydney,Melbourne,Adelaide andWesternAustraliasymphonyorchestras. Hehasappearedasaprincipalartistwith OperaAustralia,andhisperformancesas SenecainPinchgut’s CoronationofPoppea andMomusin Platée receivedcriticalacclaim. Hehasanimpressivecatalogueofsolo recordingsandisanactiveresearcherinto thehistoricalperformancepracticeof19thcenturyvocalmusic,recentlyreceivinghis doctoratefromMelbourneUniversity.Thisled tothefirstAustralianrecordings,with fortepianistErinHelyard,ofhistorically informedperformancesofSchubert’ssong cycles Winterreise and DieschöneMüllerin (ABCClassic),thelatterreceivinganARIA nominationforBestClassicalAlbum(2020). TheywillrecordSchubert’s Schwanengesang laterthisyear.
BrettWeymark ArtisticandMusicDirector
ElizabethScott AssociateMusicDirector
TimCunniffe AssistantChorusMasterandPrincipalRehearsalPianist
BladeFuller RehearsalConductor
EstelleRoche,DanielGuo,StephenWalter RehearsalPianists
OonJaBae
DimitraBarlas
InesBenaventeMolina
ClaireBennett
AnneBirt
ChristineBishop
HelenBlack
SueBowring
JaneBroughton
SusanBudic
AlisonButt
LesleyCady
RebekahCalverley
JanetCao
LindyChapman
AnnetteClark
RosemaryCooper
AnnieCorbett
AnneCatherine Cosentino
MichelleCrook
HelenDalton
SanciaDeJersey
NathalieDeeson
DiviyaDevani
AmberEsposito
KathyEsson
KylieFell
AngelaFitzgerald
NancyFlitcroft
JaneFry
HeleneGalettis
JustynaGizowska
RoslynGonczi
SusanGordon
KarinaGough
DallasGriffin
BarbaraHall
EmesiniHazelden
AmyHiguerey
Madriz
NicoleHodgson
RoseJiang
MarianJones
PrueKennard
ValerieKingsleyStrack
LillyKrienbuhl
MargaretLackenby
SusanLandreth
StephanieLang
HannahLeach
ElizabethLee
JudyLee
MargaretLee
VivianLewin
MaggieLin
AnnaLo
CarolynLowry
ClaudineMcAloon
JoannaMcCullagh
AlisonMcDonald
JanetteMcDonnell
RebeccaMaddox
JenniferManning
JolantaMasojada
AngelaMelick
GeorginaMelick
JuliaMenemencioglu
KarenMiles
GeorgiaMoore
LillianMora
JenniferMorganNicholson
MaryMortimer
SarahMuetterlein
HelenMurray
SusanNicholas
RinintaNugroho
RobynO’Keefe
KathleenOakley
KarinOlah
JanicePeak
FionaPeare
TheresePinson
LaurelReynolds
GeorgiaRivers
SylviaRomanik
ElizabethRosa
CoraleeRose
WendyRussell
ChikaSakono
EmiSo
VivienneStrong
AbigailStuddert
MargaretSymes
SabineThode
RobynThomas
SusanThomas
MargaretTitterton
SarahvanTreel
SarahTurchini
CatherineWargent
SusanWebster
AlisonWood
SuzieWoodhouse
OliviaWroth
EllenWu
AngelineZaghloul
LisaZang
MinZhu
CatherineAbadie
GinaAgresti
LeonieAitken
SarahAlder
MeredithAsh
JulieAttwood
SuzanneAvis
Meaghan Backhouse
LynBaker
NadjaBalemans
Sally-AnnBarbera
SusanBarrett
JulieBartholomew
KarenBattersby
JenniBeaumontHunt
CarolineBessemer
JackieBlackledge
RobynBlainey
NoraBodkin
CharlotteBonser
PamBray
RuthBrian
AngelaBrothers
LindaBuckley
JacquelineBuswell
GabrielleCannon
AverillChase
JoyceCheam
TinaClaridge
LeanneClark
SusanClift
RosanneClough
JaneConnolly
PatriciaCorey
MaryCostello
ColletteDavies
VirginiaDavies
JulieDawson
JanDilworth
AnneDineen
KateDingle
ElizabethDooley
JudyDunstan
GailEdinborough
CatherineErrey
Sue-EllenFairall
SuzieFerrie
JenniferFildes
BarbaraFleming
VanessaFone
AngelaFoster
HelenFreame
KatieFrench
JudithFritsche
SusanGandy
NataliaGorkavenko
AlisonGould
EmmaGrahame
DianaGray
RegGraycar
JaneGreaves
VirginiaGreene
JudithHadley
AmyHan
KarenHartas
LucyHatcher
JoHealy-North
CeciliaHannah
Hibbert
MargaretHills
KatieHislop
JaneHogan
SheilavanHolst
Pellekaan
AlisonHoran
MarieHotschilt
AdeleHudson
MarianneHulsbosch
LouiseImray
NaomiJones
FionaJoneshart
BeverleyJordan
SusanKaim
JulieKalitis
Khatereh
Karimi-nejad
SaraKlug
AnneKricker
DoreenLaforest
VeronicaLambert
JudithLawry
GillianLee
HeavenLee
PenelopeLee
HeatherLees-Smith
FleurLendering
KathyLeviton
LynneMcEachern
SophieMackay
WendyMcLeod
JillMcSweeney
JessicaMalfitana
ValerieMarteau
KayleneMattner
RoshanaMay
AgnesMichelet
EvaMillares
RuthMitchell
JessMoore
LizMoore
SariMunro
CathyMurcutt
UlrikaNilsson
Everingham
MonicaO’Connell
NicoleOldfield
CaeciliaParkins
CathrynPetrie
SusanPingKee
JaniePocklington
LisaPolsek
WinonaPoon
WendyPritchard
LindaPrud’Homme
AliceRoberts
PenelopeRodger
TracieRoe
TanyaRosen
KirsteenRuncie
SuzieSarlas
FelicitySaunders
MarlynSciberras
MaiteSerra
HelenSharp
EmilySinnott
DeborahSmith
JoannaSutherland
LaniSutherland
ElizabethTalbert
JeanTaylor
ElizabethTerrell
BronwynThomas
SusanTooker
SusanTwiney
AngelaVeerhuis
KayVernon
AntheaVescio
HangVietVu
VeronikaWarren
KylieWatt
CatherineWebb
JeanetteWebb
Chiara
Wikramanayake
SarahWilliams
PrueWinkler
ClaudiaWinters
SusanWittenoom
MariannaWong
GillianWood
KarinaWoodward
ChariXuereb
OliviaYan
YenevitZambrano
JuliaZwirko
MarkAshdown
ChristopherBarrett
JamesBlomfield
ColinBodkin
LutherCanute
LangziChiu
OlivierChretien
DanielComarmond
MaxwellConnery
IanConnolly
CliveCooper
ErwinD’Souza
KevinDeSouza
NickiElkin
AdamHeeley
AlistairJohnston
JamesKehoe
MichaelKertesz
AyseKiran
MaryLafferty
OscarLey
PaulLong
LizLynch
EllenMcArthur
IanMarshall
AndrewMorris
LouiseNicholas
TimothyO’Reilly
MargaretOlive
ChristinnePatton
LeanneRuggero
AnggiSimorangkir
MarcusSommerville
RhondaStapleton
CaralynTaylor
BenThurley
JudyTonkin
NatalieVaughan
EnderAkalp
JockBaird
PhillipBelling
AnthonyCheshire
JimClarke
PaulCollins
StefanCouani
JonD’Astoli
JohnDeath
AndrewFalson
GrahamGeorgeson
JohnGolding
WarrenGough
PaulGoyen
HaroldGraycar
RobertGroves
PawanHarpalani
AlexHenry
GrahamHuddy
DavidJacques
DavidLeonard
BrianLobb
DannyMay
TimMiles
FrankMonagle
LouisMonney
AlanMorrison
ColinNicholson
BernardO’Connor
KelvinOlive
AndrewRodger
GeoffreySamuel
JohnShipway
RickSondalini
JonathanSpinks
RussellStapleton
AndrewStark
AlanTaylor
NicholasTurner
MichaelWalpole
BenWaters
HaroldWerksman
AlastairWilson
PatrickYeung
FIRSTVIOLINS
FionaZiegler Concertmaster
MatthewBruce
AdrianBendt
SamanthaBoston
AngelaCassar
ElizabethGreenhalgh
BridgitteHolden
TracyLynch
JamesTarbotton
SECONDVIOLINS
MicheleO’Young
SuzanneChaplin
EvelynCirevski
DenisaSmeuKirileanu
NarineMelconian
MichelePayne
MatejaPrimorac
IsabelTzorbatzaki
VIOLAS
JamesEccles
PhoebeGilbert
TaraHashambhoy
DariusKaperonis
SuzieKim
GeorgiePrice
AnneSweeney
Bold =Principal
CELLOS
AntheaCottee
JamesBeck
PierreEmery
AnitaGluyas
TrishMcMeekin
RosemaryQuin
DOUBLEBASSES
DavidCooper
LillianBennett
MarkHarris
JuliaMagri
FLUTES
RosamundPlummer
EmiliaAntcliff
AlyseFaith
OBOES
MatthewBubb
AlexFontaine
CLARINETS
AndrewDoyle
AlishaCoward
BASSOONS
VictoriaGrant
TigerChou
JamieDodd
FRENCHHORNS
RobertJohnson
JamesMcCrow
MilenBoubbov Principal3rd
GergelyMaleusz
TRUMPETS
FletcherCox
MatthewCarter
DominicLonghurst
SimonSweeney
OFFSTAGETRUMPETS
SophieSpencer
KendalCuneo
BruceHellmers
FreyaMcGrath
TROMBONES
NigelCrocker
RosJorgensen
JustinKearin PrincipalBass
TUBA
JamesBarrow
TIMPANI ChironMeller
PERCUSSION
RichardGleeson
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.
VICE-REGALPATRONS
TheHon.MargaretBeazley ACKC,Governor ofNewSouthWalesandMrDennisWilson
VICEPATRONS
Prof.theHon.DameMarieBashir ADCVO
LaurisElms AMOBEDMus(Syd)
AMBASSADORFORSINGING
YvonneKenny AM
BOARD
JacquiWilkins Chair
TraceyJordan President
AndreaHoole Treasurer
IanBennett,KatieBlake, BillNapier,GeorgiaRivers
STAFF
FionaHulton ExecutiveDirector
BrettWeymarkOAM Artistic&MusicDirector
DrElizabethScott AssociateMusicDirector
TimCunniffe AssistantChorusMaster& PrincipalRehearsalPianist
MarkRobinson ArtisticOperationsManager
HeatherCarr,MelPenicka-Smith,EvaTarbox, KirstyWalker ChoirSupport&Administrators
SusanGandy OrchestraCoordinator
SimonCrossley-Meates MarketingManager
NaomiHamer Office&BoxOfficeAdministrator
SarahHowell PhilanthropyAssociate
JohnLiebmann FinanceManager
PROGRAMCREDITS
YvonneFrindle EditorandDesign
ToneBullen,Smörgåsbord CoverArtwork
ImmijNSW Printer
sydney.philharmonia sydneyphilharmonia sydneyphilharmonia1
2020wasSydneyPhilharmoniaChoirs’ centenaryandsawtherealisationofthe100 MinutesofNewAustralianMusicproject, featuringcommissionedworksbycomposers includingElenaKats-Chernin,Deborah CheethamFraillonandBrettDean.In2022 theChoirstookpartinthereopeningofthe SydneyOperaHouseConcertHall, performingMahler’s Resurrection Symphony withtheSydneySymphonyOrchestra,andin 2023,BrettWeymarkcelebrateshis20th anniversaryasArtisticDirector. Wharf4/5,15HicksonRoad,DawesPoint|(02)82746200|hello@sydneyphilharmonia.com.au sydneyphilharmonia.com.au
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
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
AnnaLo
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. SupporterslistedherearecurrentasatMay2023.Donationsof$500andabovearelistedonour websiteandinourconcertprogrambooks.
CaroleBailey
CABessemer
SueBowring
JulianCoghlanand
AndreaBeattie
IanConnolly
PatriciaCurotta
JamesDevenish
JaneDiamond
RobertGreen
VesnaHatezic
ShirleyHofman
FionaHulton
DavidJacobs
MaggieMcKelvey
JeffreyMellefont
BernadetteMitchell
RobertMitchell
ChrisMoore
DimitryMoraitisand
PeterMorgan
MaryMortimerand
DonaldDenoon
WilliamNapier
AnnaPender
ValerieRendle
JonquilRitter
PaulRoper
MegShaw
ErnestinedeVries Anonymous(2)
Wealsothankourdonors whocontributeupto $500.Everygiftmakesa differencetowhatweare abletoachieve.
Weapplaudthegenerousinvolvementof ourpartnersinsupportingSydney PhilharmoniaChoirs.
ChorusOz 2023
Experiencethewallofsoundwhen hundredsofsingersandinstrumentalists cometogetherforMahler’sepicEighth Symphony.
Sunday11June|5PM
HearCarlOrff’sthrillingchoral masterpiecewith HumanWaves, anewworkbyElenaKats-Cherninand librettistTamara-AnnaCislowska.
Saturday9September|2PM