Great Performers 2014

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GREATPERFORMERS2014 CONCERT SERIES

M E L B O U R N E R E C I T A L C E N T R E P R E S E N T S

With its unique focus on international recitalists, Great Performers offers nine occasions to hear the world’s best musicians in the intimacy of Elisabeth Murdoch Hall. Musicians often remark upon the immediacy and clarity of the sound, and also about the way they feel so close and connected to audiences here. It is this two-way engagement that inspires great performances.

In 2014, we are delighted to welcome back some musicians who have already made big impressions on Melbourne’s music-lovers. Maxim Rysanov

gave superb concerts with the Lithuanian Chamber Orchestra in 2012 and now returns to perform soul-baring viola music by Schumann and Shostakovich. Cellist Alisa Weilerstein astonished us with her searing performance with the Mahler Chamber Orchestra in 2013, and now we’ll hear her solo in powerful works by Kodály and Bach. Nicolas Hodges, too, will be familiar to fans of contemporary piano music, and he’ll win you over with his Beethoven and Debussy in 2014.

Making their debuts are some musicians we’ve wanted to present for several years: violinist Daniel Hope, whose concerts are always treats for the heart and mind; pianists, Jean-Efflam Bavouzet, a master colourist, and the innovative Joanna MacGregor. We’ll introduce the next generation of stars too. Soprano Julia Lezhneva is being compared to Cecilia Bartoli for her flawless technique, dramatic sensibility and stage presence. Karen Gomyo and her Stradivarius have the music-world buzzing, she’s simply one of the most accomplished and elegant violinists around. The piano duo strikes back – this time it’s 20-somethings, Alice Sara Ott and Francesco Tristano – with rafter-shaking virtuoso versions of orchestral

masterpieces including Stravinsky’s Rite of Spring, among others.

Traditional and provocative, operatic and earthy, this is the most colourful, diverse and delightful Great Performers season yet. Purchasing season tickets is the easiest way to support the Centre and save, plus you’ll have access to the best seats in the house.

I look forward to seeing you at these wonderful concerts at Australia’s best place to hear.

Melbourne Recital Centre’s Great Performers has become an essential part of the city’s musical calendar.

WELCOMEM A R Y VA L L E N T I N E , A OC H I E F E X E C U T I V E O F F I C E R , M E L B O U R N E R E C I TA L C E N T R E

Melbourne Recital Centre’s Great Performers has become an essential part of the city’s musical calendar.

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Nine intimate evenings to transcend the everyday. Escape into a kaleidoscope of feeling, colour and sound.

LOOK DEEPER INTO MUSIC

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“A violinist of probing intellect and

commanding style.” N E W Y O R K T I M E S

DANIEL HOPE V I O L I N

7.30PM TUESDAY 11 FEBRUARY

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A Celebration of Joseph Joachim_ A TRIBUTE TO A GREAT VIRTUOSO OF THE PAST FROM ONE OF TODAY’S MOST CELEBRATED VIOLINISTS.

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Daniel Hope’s recitals are adventures in music. Whether exploring familiar territory or embarking on new horizons, Hope takes us on emotionally exhilarating journeys.

One of the most lauded British musicians of his generation, Hope has forged a career which balances popular success and personal expression without compromising the integrity of either. In 2012 he recorded a ‘remixed’ Four Seasons and a CD inspired by the music of the spheres, bringing new music and old to a broader public. Like his mentor, Yehudi Menuhin, Daniel Hope is a communicator who happens to be a virtuoso, and a musician passionately interested in the music of other cultures and other times.

Of all the great violinists of the 19th century, Joseph Joachim (1831-1907) stands apart for the role he played in expanding the repertoire and the expressive richness of his instrument. The dedicatee of the violin concertos of Schumann, Dvo ák, Bruch and Brahms, and advocate of Bach’s and Beethoven’s violin works, Joachim was one of the greatest musical catalysts and collaborators of his era, and not a bad composer himself. Daniel Hope has devised an evening of music inspired by Joachim, including Brahms’s intensely personal sonata and the bracing ardour of a folk-tinged sonata by Joachim’s friend Grieg. Expect full-throated lyricism, virtuoso fire and visionary musicianship to satisfy every red-blooded Romantic.

DANIEL HOPE violin _ W I T H : Mr Hope's associate artist will be confirmed in late 2013 _ D AT E : TUESDAY 11 FEBRUARY, 7.30PM _ P R O G R A M : A Celebration of Joseph Joachim

BRAHMS Scherzo from the F-A-E Sonata

CLARA SCHUMANN Romanze, Op. 22, No.1

BRAHMS Violin Sonata No.1 in G, Op.78

MENDELSSOHN Two Songs: ‘Auf Flügeln des Gesanges’ and ‘Hexenlied’

JOACHIM Romanze Op.2, No.1

GRIEG Violin Sonata No.3 in C minor, Op.45

_ Individual tickets available from Saturday 30 November 2013: Premium $105 / A $92 / B $75 / C $50/ Concession $50.* Purchase season tickets to save up to 30% on the regular price. *Transaction fee may apply.

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“Julia Lezhneva combines flawless

technique with emotional veracity.”

T H E G U A R D I A N

JU IA EZHNEVA

S O P R A N O

7.30PM WEDNESDAY 19 MARCH

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Baroque. Bel Canto. Bravura._ A THRILLING NEW VOICE IN SPARKLING, SOARING SONG.

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In Italy there’s a word for Julia Lezhneva’s impetuous virtuosity: bravura. It’s bravura which makes audiences gasp with astonished delight when a singer jumps the most difficult technical and musical hurdles.

Such gasps are regularly heard at Lezhneva’s concerts. The 23-year-old soprano has already earned a world-wide reputation for superb performances of the most intricate and dazzling repertoire from the Baroque to the stratospheric vocal acrobatics of bel canto opera. Her astonishing musical maturity saw Lezhneva make her recording debut at 18 with luminary period music conductor Marc Minkowski, and launched a precocious international career. She is a talent in the ascendant.

Lezhneva’s voice and temperament are perfectly suited to the spectacle and emotion of the Baroque masters. Vivaldi, Handel and Porpora use all of the techniques of opera in their sacred music – runs, roulades, trills and exquisite melody – to move and awe the congregation. Mozart’s Exsultate, jubilate is one of the purest expressions of joy in the repertoire. Lezhneva’s emotional intelligence makes her one of the most sought-after Rossini heroines on the scene, revealing the heart beneath the vocal fireworks.

JULIA LEZHNEVA soprano _ W I T H : Michael Antoneko, piano _ D AT E : WEDNESDAY 19 MARCH, 7.30PM _ P R O G R A M : Baroque. Bel Canto. Bravura.

VIVALDI ‘In furore’ from Motet: In furore justissimae irae, RV 626

HANDEL ‘O nox dulcis’ from Motet: Saeviat tellus inter rigores, HWV 240

PORPORA ‘Care Deus cordi amantis’ from Motet: In caelo stelle clare

MOZART ‘Tu virginum corona... Alleluia’ from Motet: Exsultate, jubilate, K.165

ROSSINI ‘La Regata Veneziana’

BELLINI ‘Ma rendi pur contento’

SCHUBERT Impromptu in G-flat, Op.90, No.3

ROSSINI ‘Tanti affeti’ from La Donna del Lago


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“A first-rate artist of real musical command, vitality, brilliance and intensity.” C H I C A G O T R I B U N E

KAREN GOMYO S AVA

GRIGORYAN

V I O L I N

C L A S S I C A L G U I T A R

7.30PM WEDNESDAY 26 MARCH

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The Devil’s Trill_ A DEVILISHLY GOOD DUO PLAY VIRTUOSO SHOWSTOPPERS FROM ROMANTIC ITALY.

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Canadian violinist Karen Gomyo’s gifts have singled her out as an artist to watch, equally capable of dazzling fingerwork as soaring lyricism, “Fueled,” in the words of one critic, “by abundant talent, but not by a vain display of technique.”

Born in Tokyo and raised in Montreal and New York, Gomyo is a born globetrotter, her recent travels taking in the major orchestras of Europe and festivals around the world. On this tour, she makes her Australian debut. Her partner in this recital is Melbourne’s Slava Grigoryan, a musician whose versatility and flair have made him a cross-over star.

The diabolically difficult music of Paganini holds no terrors for Gomyo and Grigoryan. Exploring the great virtuoso’s little-known works for the unusual and gorgeous combination of violin and guitar, they recreate the atmosphere of the plushest and most fashionable salons of 19th century Italy. Of course, the Italian flair for the fantastic goes back to the Baroque of Vivaldi whose

music echoes the ornate splendour of Venice. There’s also a touch of black magic about this music.

Rumour had it that both Paganini and Tartini were in league with the Devil. The legend of Giuseppe Tartini’s Sonata in G minor relates that Satan appeared in a dream to perform this eerie piece for the composer, who awoke and transcribed it. Niccolo Paganini’s infernally amazing talent extended from the violin to the guitar and the viola, and his outré appearance and demeanour only increased his marketability. Gomyo performs some of his famous solo Caprices – full of outrageous effects – and with Grigoryan, the elegant and affable duos he composed to beguile both audiences and musicians.

KAREN GOMYO violin SLAVA GRIGORYAN classical guitar _ D AT E : WEDNESDAY 26 MARCH, 7.30PM _ P R O G R A M : The Devil’s Trill

VIVALDI Violin sonata No.2 in A, RV 31

TARTINI Violin sonata in G minor, ‘Devil’s Trill’

PAGANINI Centone di Sonate for violin and guitar, Op.64, No.1

From 24 Caprices for solo violin. Op.1: No.13, No.6, No.24

GIULIANI Rossiniana for solo guitar, Op.119, No.1

PAGANINI Sonata for violin and guitar in A, Op.2, No.1

Romanza from Grand Sonata for violin and guitar, Op.53

The Carnival of Venice, Op.10

_ Individual tickets available from Saturday 30 November 2013: Premium $105 / A $92 / B $75 / C $50/ Concession $50.* Purchase season tickets to save up to 30% on the regular price. *Transaction fee may apply.G

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“Joanna MacGregor is one of contemporary music’s great individualists, a uniquely enlivening presence who slices her way through all the barriers she sees as false and limiting.” T H E I N D E P E N D E N T ( U K )

JOANNA MACGREGOR

P I A N O

7.30PM TUESDAY 1 APRIL

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Musical Toys_

MYSTICISM AND MAGIC AT THE KEYBOARD FROM BACH

AND BIRDS BY ONE OF THE MOST INNOVATIVE MUSICIANS

ON THE SCENE.

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JOANNA MACGREGOR piano _ D AT E : TUESDAY 1 APRIL, 7.30PM _ P R O G R A M : Musical Toys

J.S. BACH The Well-Tempered Keyboard Book I - Selections

SHOSTAKOVICH 24 Preludes and Fugues, Op.87 - Selections

GUBAIDULINA Musical Toys

Works by RAVEL, DAQUIN, COUPERIN, MESSIAEN, BIRTWISTLE and PIAZZOLLA

_ This concert is also part of the 2014 Metropolis New Music Festival


Joanna MacGregor has forged a brilliant career as a provocateuse at the keyboard and as a festival director. The laterally-thinking performer is known for weaving together surprising and apt pieces into fascinating concerts, delivered with passion, intelligence and brilliant technique.

While a champion of living composers, J.S. Bach has been the focus of her recent work: “Of course, Bach is the godfather of everything for me, in the mafia sense as well as anything else,” she says.

Bach’s daring exploration of the 24 major and minor keys is mystical and joyous, fanciful and rigorous, and the cornerstone of the pianist’s art. Inspired by Bach’s example, Shostakovich pushed the genre into the realms of deeply personal emotion, from bleak despair to giddy exuberance and created an unequivocal

20th century masterpiece. In contrast to Shostakovich’s searing intensity, Gubaidulina’s set of miniature Musical Toys is an evocation of childhood wonder: magical but sometimes a little scary. In the same innocent mode, composers have tried to capture the sounds of birds and nature in their music since music began. From the elegant Baroque cuckoos and nightingales of Daquin and Couperin to the wild and strange blackbirds of Messiaen, MacGregor creates an aviary in the concert hall.

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“This amazing young artist looks like giving the viola’s profile a definite boost.” T H E T E L E G R A P H ( U K )

MAXIM RYSANOV

V I O L A

7.30PM TUESDAY 17 JUNE

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The Romantic and Russian Viola_ THE VIOLA’S EXQUISITE CHARACTER SHINES IN POWERFUL WORKS PLAYED BY A MASTER.

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The viola’s eloquent voice is rarely heard on its own, but in Maxim Rysanov’s hands, this most subtle and expressive of instruments takes centre-stage. The award-winning Ukrainian musician took up the viola because there weren’t many players – a strategy which has made him one of the most in-demand musicians in the business.

It helps that he is also a player of the highest calibre, as Melbourne audiences discovered when he appeared with the Lithuanian Chamber Orchestra at the Recital Centre in 2011. Dynamic and charismatic, Rysanov is the best possible advocate for his soulful instrument.

Violists generally have to borrow their repertoire from other instruments, picking the best of the violin and cello works to transcribe. Rysanov has chosen two archetypal Romantic works to demonstrate the viola’s warm and lyrical qualities. Schubert’s compact Sonatina packs a great deal of charming song into just

15 minutes, with more than a nod towards Mozart. The kaleidoscopic drama of Schumann’s A-minor violin sonata translates perfectly to the viola, and to a player ready to investigate the emotional complexities of the piece. What musician could resist the hummable melodies of Prokofiev’s beloved Romeo and Juliet? An inventive arrangement for viola and piano shows off the instrument’s suave brilliance. Shostakovich’s viola sonata is a masterpiece that deserves a wider audience. Completed a month before Shostakovich’s death, the sonata has the serene resignation and simplicity of the last sad words of a troubled life.

MAXIM RYSANOV viola _ W I T H : Ashley Wass, piano _ D AT E : TUESDAY 17 JUNE, 7.30PM _ P R O G R A M : The Romantic and Russian Viola

SCHUBERT (transcribed Rysanov) Sonatina No.3 in G minor, D.408

SCHUMANN (transcribed Katims) Sonata for viola and piano No.1 in A minor, Op.105

PROKOFIEV (transcribed Borisovsky) Three pieces from Romeo & Juliet

SHOSTAKOVICH Sonata for viola and piano, Op.147


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“This was music-making of the highest order.”

L O N D O N E V E N I N G S T A N D A R D ( O T T )

“Tristano’s sound is a supremely confident one, make by an artist who’s not afraid to experiment.” T I M E O U T L O N D O N ( T R I S T A N O )

A ICE SARA OTT

FRANCESCO TRISTANO

P I A N O D U O

7.30PM WEDNESDAY 2 JULY

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The Rite of Spring_ AN ORCHESTRAL SPECTACULAR FOR FOUR HANDS AND TWO DAZZLING TALENTS.

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Individually, Alica Sara Ott and Francesco Tristano are two of their generation’s brightest young stars. Together, they are a pianistic dream team.

At 24, Ott already has major repertoire on record and a busy international schedule, giving performances that critics call ‘elegant’, ‘vibrant’ and ‘superbly accomplished’. Tristano is equally at home with electronic dance music as he is with Bach, with an open-minded approach to music making that has won over fans of techno and classical music alike. The combination of the two promises a meeting of strong minds and spectacular music-making that is already generating buzz.

The music they have chosen is bold and big: orchestral epics rendered on two pianos. Stravinsky’s Rite of Spring was transcribed for piano duo by the composer himself. Heard on keyboards, its primal harmonies and rhythms are all the more sinewy and visceral, the melodies rendered in high definition, and it’s an athletic showpiece for the pianists. Rimsky-Korsakov and Ravel also transcribed some of their signature orchestral works for this intimate medium, allowing audiences a fascinating insight into the inner workings of the music, and giving players repertoire that is as challenging as it is fun.

ALICE SARA OTT & FRANCESCO TRISTANO piano duo _ D AT E : WEDNESDAY 2 JULY, 7.30PM _ P R O G R A M : The Rite of Spring

RIMSKY-KORSAKOV Scheherazade, Op.35: ‘The Kalendar Prince’

STRAVINSKY The Rite of Spring

RAVEL La Valse

TRISTANO New Work


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“Whatever she plays sounds custom-composed for her, as if she has a natural affinity with everything.” N E W Y O R K M A G A Z I N E

7.30PM TUESDAY 8 JULY

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A Cello Alone_ PASSIONATE, DIRECT AND POWERFUL – THE SOLO CELLO OF ALISA WEILERSTEIN.

A ISA WEI ERSTEIN

C E L L O

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Alisa Weilerstein makes an unforgettable impression. The immense, impassioned sound she creates and her body and soul commitment to the music have astonished audiences around the world.

Her recent electrifying performance of the Shostakovich Cello Concerto No.1 with the Mahler Chamber Orchestra left audiences stunned and calling for more.

Still in her early-30s, Weilersten already has a stellar career, been the recipient of the prestigious MacArthur ‘Genius’ fellowship, and recorded the Elgar Cello Concerto under the authoritative baton of Daniel Barenboim, in addition to an intense concert schedule. Perhaps she was born to be a musician? After convincing her parents to buy her a cello at the age of four, she made her public concert debut six months later, her debut with the Cleveland

Orchestra at 13 and her Carnegie Hall debut two years later.

Weilerstein has performed with Australian orchestras several times, but this is your first chance to hear her solo. Bach’s C-major cello suite demonstrates Weilerstein’s gift for shaping a single line into a thing of dancing grace, while Kodály’s richly-textured masterpiece gives the cellist scope to showcase her intensity, virtuosity and expressive gifts.

ALISA WEILERSTEIN cello _ D AT E : TUESDAY 8 JULY, 7.30PM _ P R O G R A M : A Cello Alone

BRITTEN Tema Sacher

GOLIJOV Omaramor

BACH Cello Suite No.3 in C, BWV 1009

KODÁLY Sonata for Solo Cello, Op.8


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“Hodges’ recitals always boldly go where few other pianists dare with an energy that sometimes defies belief.” T H E G U A R D I A N

NICO AS HODGES P I A N O

7.30PM WEDNESDAY 27 AUGUST

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Debussy: The 12 Études_ A UNIQUE COMMUNICATOR PLAYS RHAPSODIC AND RADICAL BEETHOVEN AND DEBUSSY.

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Debussy said that his twelve studies were only for pianists with ‘remarkable hands’. Fortunately, Nicolas Hodges possesses them. These late masterpieces are a distillation of Debussy’s revolutionary techniques, demanding that pianists transcend their instrument and themselves to create unimagined sonorities.

They are also examples of Debussy’s sly wit and pop-cultural interests: full of waltzes, jazz, Spanish guitars and parody. In short, they're the perfect vehicles for pianist like Hodges, whose own wide-ranging tastes encompass everything from Beethoven to brand new works, often in the same concert.

Hodges has stunned audiences with his skill and his ability to communicate in the most challenging of new music and his insights into the core piano repertoire. He works regularly with luminary living composers such as Thomas Adès (whose

piano concerto he premiered with the Melbourne Symphony Orchestra in 2011) and celebrated orchestras and conductors. Common to all his performances is a desire to cross centuries and continents to illuminate old and new repertoire with surprising juxtapositions demonstrating even more surprising parities.

In this case, it is the late works of Beethoven and Debussy. The late sonatas of Beethoven are a radical redefinition of the form: freewheeling, philosophical and sublime, they are endlessly fascinating musical mazes. In the second movement of the Op.111 sonata Beethoven transcends time

itself, with a set of celestial variations that resound into infinity. Beethoven regarded his sketch-like Six Bagatelles, Op.126 as the best he had written, and there are tantalising hints of his most innovative works. Hiding behind the deadpan facade of Debussy’s Études are worlds of colour and invention as imaginative as anything he ever wrote, so that even as pianists are perfecting their octaves, they are learning how to dream.

NICOLAS HODGES piano _ D AT E : WEDNESDAY 27 AUGUST, 7.30PM _ P R O G R A M : Debussy: The 12 Études

BEETHOVEN Six Bagatelles, Op.126

BEETHOVEN Piano sonata in C minor, No.32, Op.111

DEBUSSY Études, Books I & II


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“The sound of the Bavouzet fingers is distinctive. It is searching, penetrating, imaginatively fired, and endlessly curious in its exploration of any composer’s unique sound palette and language.” T H E T I M E S ( U K )

JEAN-EFF AM BAVOUZET P I A N O

7.30PM TUESDAY 25 NOVEMBER

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Ref lections_ BAVOUZET’S PLAYING PUTS POETRY IN EMOTION.

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Colour and emotion are Jean-Efflam’s speciality. As one of the world’s great exponents of the exquisitely sensitive music of the Impressionists he is a true poet of the piano, and it is this reflective, lyrical quality that also makes him an ideal interpreter of the music of Beethoven.

Since being discovered by conductor Georg Solti in the 1990s, Bavouzet has been taking the long route to international recognition, building a reputation based on glowing reviews, a catalogue of award-winning recordings and word of mouth rather than marketing hype. He now routinely fills halls in Europe and America with the most demanding of pianophiles.

Beethoven has been at the centre of Bavouzet’s recent work and we’ll hear a handful of idiosyncratic middle-period sonatas. Filled with quirky minuets and waltzes, surprising turns of phrase and pungent harmonies, these sonatas were composed as Beethoven reinvented the symphony with

his Fifth, and a similar manic energy animates them. ‘Les Adieux’, the best-known of the four, opens with a distant, melancholy horn-call to start a story of tragic departure, tense absence and excited return. Of the music of Bruno Mantovani, Bavouzet says: “It’s like Haydn or Stravinsky in that gives me the impression of being cleverer when I listen to it. But it also reaches my heart.” The jazz-inflected Le Livre de Jeb was composed especially for J-E.B. Ravel’s Miroirs are five scenes painted by a master of light and shade, with unexpected depths below a glittering surface to be illuminated by Bavouzet’s art.

JEAN-EFFLAM BAVOUZET piano _ D AT E : TUESDAY 25 NOVEMBER, 7.30PM _ P R O G R A M : Reflections

BEETHOVEN Four Great Piano Sonatas:

No.22 in F, Op.54

No.24 in F-sharp, Op.78 ‘À Thérèse’

No.25 in G, Op.79

No.26 in E-flat, Op.81a ‘Les Adieux’

BRUNO MANTOVANI Le Livre de Jeb

RAVEL Miroirs


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KATHRYN FAGG, CHAIRPETER BARTLETTTOMMAS BONVINOSTEPHEN CARPENTERDES CLARKJOE CORPONIMARGARET FARREN-PRICEJOHN HIGGS

JULIE KANTOR

_ F O U N D I N G B E N F A C T O R S :

THE KANTOR FAMILYTHE CALVERT-JONES FAMILYLYN WILLIAMS AMHELEN MACPHERSON SMITH TRUSTROBERT SALZER FOUNDATIONTHE HUGH WILLIAMSON FOUNDATION

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G R E A T P E R F O R M E R S

GREAT PERFORMERS PACKAGES

RENEW & WIN A GREAT PRIZE4

_ Renew or purchase your season tickets by 29 November 2013 to be entered into the draw to win a BeoPlay A8 from our friends at Bang & Olufsen so that you can enjoy great performances at home.

YOUR ONE-PIECE STEREO WITH AirPlay

BeoPlay A8 is a spellbinding one-piece stereo system with powerful acoustics. Consider BeoPlay A8 your sound hub that unfolds your full digital music collection with clarity and power. You can stream your music wirelessly using AirPlay or dock your iPhone, iPad or iPod for easy playback and charging.

CONVENIENCE COMES OPTIMISED

BeoPlay A8 can be mounted on the wall or placed on a shelf or table. Wherever this sound system is placed – in a corner or in the centre of the room – you can enjoy optimised sound reproduction that adjusts perfectly to the unit’s position.

MAKE A STATEMENT

This stereo system is the complete package of striking design with adaptable style options. BeoPlay A8 is available in black and white, with changeable fabric speaker covers in black, white, red, yellow, orange and silver. So you can make it speak for you.

In 2014, you can save on tickets and have the f lexibility of a choose-your-own Season Ticket Package. Purchase all nine concerts to enjoy the greatest saving and additional benefits, or purchase a Six-Concert or Four-Concert Package to personalise your experience.

GREAT BENEFITS

_ The more you purchase the more you save: up to 30% on the regular ticket price. Save 10% on additional tickets for Great Performers concerts._ Full pack subscribers recieve one complimentary ticket per year for you to introduce a friend to Great Performers. 1

_ Sit in the same seats for all your concerts, the best seats in the house._ Full-pack purchasers can renew their seats year after year._ Plans changed? Exchange your tickets for another Great Performers recital. We’ll waive the exchange fee.2

_ Subscribe by 29 November 2013 and receive a free Melbourne Recital Centre Annual Membership, to unlock further benefits and discounts.3

_ Priority access to other Great Performers and select Melbourne Recital Centre events._ Join us for free pre-concert talks 45 minutes before each performance.

1. Best available, subject to availability; 2. Only valid for four- and six-packs; 3. Free Melbourne Recital Centre Annual Membership offer valid until 29 November 2013. Limit of one Annual Membership per household. Your Membership pack will be fulfilled separately to your Season Tickets. Membership is not exchangeable, transferable or redeemable for cash. If you are already a Member, an additional year will be added to your existing Membership. 4. BeoPlay A8 Draw Terms and Conditions: Renew your existing or purchase new Melbourne Recital Centre Great Performers season ticket package(s) by 29 November 2013 to be entered into the draw to win a BeoPlay A8 stereo system, RRP $1490. The draw will be conducted on Friday 6 December at Melbourne Recital Centre, 31 Sturt Street, Southbank, Victoria, 3006. Winner will be notified on Monday 9 December by phone/email.

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LEVEL TWO: CIRCLE

LEVEL ONE: STALLS

STAGE

PREMIUM

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SEATING KEY:

ELISABETH MURDOCH HALL

Documents

Great Performers 2014