2016

Tristan und Isolde

We are proud to support the Tasmanian Symphony Orchestra

5580 TSO Milton Ad for Program 2015_July.indd 1 17/07/2015 9:43 am

1

We are proud to support the Tasmanian Symphony Orchestra

5580 TSO Milton Ad for Program 2015_July.indd 1 17/07/2015 9:43 am

Marko Letonja Conductor Nina Stemme Isolde Stuart Skelton Tristan Monika Bohinec Brangäne Men of the TSO Chorus

This concert performance of excerpts from Tristan und Isolde will offer each of the three acts of Wagner’s opera in abridged form. In keeping with Wagner’s notion of “endless melody”, each part will be seamless in itself.

Act I (abridged) Duration 48 mins

INTERVAL

Duration 20 mins. Complimentary sparkling wine will be served. The Tasmanian Symphony Orchestra would like to thank TSO Wine Sponsor, Icon Wines, for making this possible.

Act II (abridged) Duration 30 mins

Act III (abridged) Duration 24 mins

This concert will end at approximately 9.45pm.

Performed in German with surtitles.

SATURDAY 19 NOVEMBER 7.30PM FEDERATION CONCERT HALLHOBART

Tasmanian Symphony Orchestra concerts are broadcast and streamed throughout Australia and around the world by ABC Classic FM. We would appreciate your cooperation in keeping coughing to a minimum. Please ensure that your mobile phone is switched off.

Tristan und Isolde

RICHARD WAGNER 1813-1883

2

NINA STEMME

Swedish soprano Nina Stemme is in demand at all the world’s major opera houses. Recent appearances have included Isolde and the title roles in Turandot and Elektra at the Metropolitan Opera, Isolde at the Semperoper Dresden, and Brünnhilde in Francesca Zambello’s Washington National Opera production of Wagner’s Ring cycle. Other roles also include Tosca, Butterfly, Salome, Leonora in The Force of Destiny, Leonore in Fidelio and the Marschallin in Der Rosenkavalier. In 2010 she won a Laurence Olivier award for “Best Interpretation” for her Isolde in Christof Loy’s production of Tristan und Isolde at the Royal Opera, Covent Garden. In 2013 she was named “Best Female Singer” in Opera magazine’s inaugural International Opera Awards. Other awards include the titles of Swedish Court Singer (2006) and Kammersängerin from Vienna State Opera (2012). She has been named “Singer of the Year” twice (2005 and 2012) by German magazine Opernwelt, and been awarded Sweden’s Litteris et Artibus. Nina Stemme’s recordings include an award-winning Fidelio with conductor Claudio Abbado, two recordings of Tristan und Isolde (one with Antonio Pappano, the other with Marek Janowski), Tannhäuser with Marek Janowski, Martinu°’s Greek Passion, Die Walküre with Valery Gergiev, The Flying Dutchman in English, Zemlinsky’s King Kandaules, Vier letzte Lieder, Wesendonck Lieder, and DVDs of Jenu°fa and Aida. Photo credit: Kristian Schuller

MARKO LETONJA

Marko Letonja is Chief Conductor and

Artistic Director of the Tasmanian Symphony

Orchestra and Music Director of the Orchestre

Philharmonique de Strasbourg. Born in

Slovenia, he studied at the Academy of Music

in Ljubljana and the Vienna Academy of

Music. He was Music Director of the Slovenian

Philharmonic Orchestra from 1991 to 2003

and Music Director and Chief Conductor

of both the Symphony Orchestra and the

Opera in Basel from 2003 to 2006. He was

Principal Guest Conductor of Orchestra

Victoria in 2008 and made his debut with

the TSO the following year. He took up the

post of Chief Conductor and Artistic Director

of the Tasmanian Symphony Orchestra at

the start of 2012. He has worked with many

orchestras in Europe including the Munich

Philharmonic, Vienna Symphony, Berlin Radio

Orchestra, Mozarteum Orchestra and the

Orchestra Filarmonica della Scala, Milan. He

has also worked in many renowned opera

houses such as the Vienna State Opera, Berlin

State Opera, La Scala Milan, Semperoper

Dresden, and the Grand Théâtre de Genève.

Additionally, he has conducted at the Arena

di Verona. Future engagements include the

Mozarteum Orchestra Salzburg, Berlin Radio

Orchestra, Bavarian State Opera in Munich

and Wagner’s Der Ring des Nibelungen for

the Royal Swedish Opera with Nina Stemme

as Brünnhilde.

3

MONIKA BOHINEC

Slovenian mezzo-soprano Monika Bohinec studied singing at the Mozarteum in Salzburg and at the University of Music and Performing Arts in Vienna. She made her operatic debut in 2006 as Clarissa (The Love for Three Oranges) at the Slovenian National Opera, and from 2009 to 2011 was a member of the National Theatre Mannheim. She is currently an ensemble member of the Vienna State Opera. She has been heard in the roles of Eboli (Don Carlo), Fenena (Nabucco), Suzuki (Madama Butterfly), Marcellina (The Marriage of Figaro), Ulrica (A Masked Ball), Foreign Princess (Rusalka) and First Norn (Götterdämmerung), performing under such conductors as Christian Thielemann, Ádám Fischer, Franz Welser-Möst, Marco Armiliato, Philippe Jordan and Alain Altinoglu. Also in demand as a concert artist, she has appeared in such venues as the Vienna Konzerthaus, Gasteig Munich, Berlin Philharmonie, Amsterdam Concertgebouw, Carnegie Hall and the Salle Pleyel in Paris. Appearances in recent seasons include Magdalena in The Mastersingers of Nuremberg at the 2013 Salzburg Festival, Emilia (Otello) with the Bavarian State Opera, a recital at the Vienna Musikverein, Amneris (Aida) in Munich, and Ortrud (Lohengrin) in concert with the Bamberg Symphony Orchestra at Neuschwanstein Castle. In March 2016 she made her debut in the role of Marina in Boris Godunov at the Wiesbaden State Theatre.

STUART SKELTON

Stuart Skelton was named “Best Male Singer” at the 2014 International Opera Awards and has received two Helpmann Awards. His roles include Wagner’s Tristan Lohengrin, Parsifal, Rienzi, Siegmund and Erik, Strauss’s Kaiser and Bacchus, Janácvek’s Laca, Saint-Saëns’ Samson, Beethoven’s Florestan and Britten’s Peter Grimes. He appears regularly on the leading concert and operatic stages of the world, including Berlin, Hamburg, London, Los Angeles, Madrid, Munich, New York, Paris, San Francisco, Tokyo, Vienna and Sydney, with orchestras including the Berlin Philharmonic, Boston Symphony, Los Angeles Philharmonic, London Symphony, Vienna Philharmonic, and at the BBC Proms and Edinburgh Festival. He has sung with such acclaimed conductors as Vladimir Ashkenazy, Daniel Barenboim, Jirvi Bev lohlávek, James Conlon, Sir Andrew Davis, Christoph von Dohnanyi, Mariss Jansons, Philippe Jordan, James Levine, Fabio Luisi, Lorin Maazel, Sir Charles Mackerras, Sir Simon Rattle, David Robertson, Donald Runnicles, Michael Tilson-Thomas and Simone Young. Recent and upcoming performances include Tristan und Isolde for the Metropolitan Opera, English National Opera and also at the Baden-Baden Festival with the Berlin Philharmonic, Wagner arias with Asher Fisch and WASO, Parsifal Act II with the Melbourne Symphony Orchestra and Simone Young, Lohengrin for Opéra National de Paris, Jenu°fa for the Bavarian State Opera and Das Lied von der Erde with the Cincinnati Symphony Orchestra.

Photo credit: Sim Canetty-Clarke

4

The TSO Chorus is an auditioned group of approximately 80 voices. June Tyzack has been Chorusmaster since 2001 and is supported by Assistant Chorusmaster Andrew Bainbridge. Founded in 1992 to present concert performances of opera, the TSO Chorus has since broadened its repertoire to include the requiems of Mozart, Cherubini, Brahms, Verdi, Fauré, and Sculthorpe; masses by Mozart, Haydn, Schubert and Puccini; and symphonies by Beethoven, Mendelssohn, Mahler and Vaughan Williams. Many performances are broadcast on ABC Classic FM. In addition to performing with the TSO and touring regional Tasmania, the TSO Chorus is frequently invited to augment interstate symphonic choirs. Since 2006 the TSO Chorus has performed at the Sydney Opera House, the Adelaide Festival and Perth Concert Hall. In 2012 members of the TSO Chorus made their international debut augmenting the WASO Chorus in performances of Brahms’s Ein Deutsches Requiem in Hong Kong with Jaap van Zweden and the Hong Kong Philharmonic Orchestra. Concerts with the TSO in 2016 have included the Gilbert and Sullivan Spectacular, Haydn’s Creation and, as part of the Festival of Voices, JS Bach’s St Matthew Passion. The TSO Chorus welcomes new members. Interested choristers should contact the Chorus Coordinator on 6232 4421 or go to tsochorus.com.au for more information.

TSO CHORUS

5

Act I.

Tristan’s ship en route from Ireland to Cornwall.

Isolde, an Irish princess, is being escorted against her will to Cornwall to marry King Mark, ruler of a people traditionally hostile to her own. Acting as Mark’s envoy is the young Cornish knight Tristan. Tristan and Isolde have a shared history. Tristan has slain Isolde’s betrothed, Morold, in a skirmish in which he himself has been wounded. Renowned for her healing powers, Isolde has nursed Tristan back to health, oblivious at first to his role in the death of Morold. Upon realising that she has saved the life of the man who killed her fiancé, Isolde swears vengeance but, looking into Tristan’s eyes, cannot bring herself to slay him. A bond forms between the two. Isolde is therefore angry, hurt and humiliated that Tristan is now delivering her as Mark’s bride-to-be. On board the ship, Tristan and Isolde resolve to end their lives by taking poison but Brangäne, Isolde’s maid, substitutes a love philtre. Feverish with desire, Tristan and Isolde arrive in Cornwall oblivious to everything but their intense passion for each other.

Act II.

Mark’s royal castle in Cornwall.

Under the cover of dark, Tristan and Isolde meet outdoors. King Mark and his men are on a night-time hunt but Tristan has given them the slip to make his rendezvous with Isolde. Brangäne keeps watch. In a key episode in the opera, Tristan and Isolde sing of their desire to overcome their physically separate forms and to dissolve one into the other. They yearn for a sublime, metaphysical realm – one which the shadows of night begin to allow – in which love, death, desire and fulfilment roil and surge in never-ending rapture. Day slowly breaks and right at the moment that Brangäne announces, with horror,

that the lovers have been exposed, Mark and his men enter. Mark expresses his disappointment in Tristan, whom he had thought of as his most loyal friend. Swords are drawn and the courtier Melot wounds Tristan grievously.

Act III.

Tristan’s castle in Brittany.

Tristan has been spirited away to his tumble-down castle on the coast of Brittany. A shepherd plays a mournful melody on his pipe. Keeping his eyes trained on the horizon, the shepherd will play a more joyous tune should Isolde’s ship be sighted. Slipping in and out of consciousness and knowing that he is close to death, Tristan sees visions of Isolde in his dreams but awakes to the anguish of her absence. Longing for night – a province that he associates with his beloved – Tristan is delirious with pain, desire and his all-consuming passion for Isolde. Finally, the shepherd pipes a merry tune and Isolde arrives. Tristan struggles to his feet and the couple embrace but Tristan collapses. Staring up at Isolde’s face, Tristan utters a single word, “Isolde!”, before perishing. Isolde falls upon her dead lover. King Mark, who has arrived on a second ship, is grief-stricken at the sight of Tristan’s lifeless body. But Isolde does not see a lifeless body. On the contrary, she sees Tristan smiling and with eyes wide open reaching for the stars. She hears wondrous music emanating from within him. In a state of utter bliss, Isolde, losing consciousness, follows Tristan to the longed-for realm of eternal night.

SYNOPSIS

6

Tristan und Isolde

Drama in three acts

In the popular imagination, Wagner’s operas are thought to exemplify grand opera at its grandest. “Wagnerian”, after all, is commonly understood to mean “hefty”, “colossal” and “excessive”. (When John Worthing, in The Importance of Being Earnest, informs us that his Aunt Augusta, also known as Lady Bracknell, rings the doorbell in a “Wagnerian manner”, we are left in no doubt as to the woman’s disposition and demeanour, even though she is yet to make her entrance on stage.) It is surprising, therefore, to discover that the instrumental forces required for Tristan und Isolde are not massive. They stretch the normal composition of the 47-piece Tasmanian Symphony Orchestra, but not by much. An additional musician is required for most of the woodwind and brass parts, and the strings need to be topped up to balance the increased number of wind and brass players, but, unlike The Ring of the Nibelung, Tristan calls for only one harp (not six), and there is no bass trumpet, contrabass trombone or cow horn; there are no anvils and no Wagner tubas.

Indeed, Wagner was motivated in part to compose Tristan und Isolde because the Ring was taxing him artistically (it was still far from finished when he put it aside to embark upon Tristan) and he realised that the enormous demands of the Ring were going to make it almost impossible to stage. Additionally, Wagner had financial worries. Given that the Ring was not going to be finished anytime soon, Wagner needed to get something smaller up and running and he saw Tristan as the solution. Luckily for him, he had a music publishing firm, Breitkopf & Härtel, interested in buying it. Amazingly, Wagner drafted and completed Tristan one act at a time. That is to say, he completed Act I and sent it to the printers before he even started to draft Act II. All up, Tristan was written in the space of

only two years – between August 1857 and August 1859. The Ring, by contrast, would occupy Wagner on and off for 26 years.

But despite the relatively modest size of the orchestra, the compact dramatis personae and the straightforward staging requirements (no underwater scenes, Valkyries on horseback or fire-breathing dragons), Tristan proved to be tremendously daunting to opera companies on account of its almost insurmountable musical challenges. Putting aside for a moment the substantial demands Tristan places upon its singers, the opera was uncharted territory for orchestral players. Tristan’s fluid phrasing and rhythms, chromatic melodic lines, mercurial harmonies, unconventional chord progressions and liberally applied dissonances perplexed conductors and bamboozled instrumentalists. Even as adventurous a composer as Hector Berlioz, who was also one of the most accomplished conductors of the age, confessed that he could make no sense at all of the Prelude to Act I of Tristan, despite having studied the score closely and heard it in performance. Giuseppe Verdi famously remarked that he stood in “wonder and terror” before Tristan. Viennese critic Eduard Hanslick wrote that, “if all other composers were to write in the style of Tristan und Isolde, we listeners should inevitably wind up in the madhouse.” During the composition of Tristan, Wagner himself wrote in a letter, “this Tristan is going to be something terrible! ...only mediocre performances can save me! Completely good ones would make the people crazy…”

Given the shock that Tristan presented to orchestral musicians in Wagner’s day, we can appreciate how difficult it was to coach singers in the two principal roles (never mind the smaller parts) who, after all, had to memorise their parts – and Wagner’s words are almost as challenging as his notes – in addition to acting them out. Tristan, like

RICHARD WAGNER (1813-1883)

7

Wagner’s other mature works, is not a “number opera”; by and large, it does not fall into discrete sections (or “numbers”) which means that the vocal parts are enmeshed within the “endless melody” of the orchestral writing, and singers therefore have to be attuned to the shape, nuances and complexities of the orchestral score. Moreover, the singers have to have the stamina to maintain full vocal strength right to the end. Tristan’s most punishing and exposed music comes in Act III, and Isolde’s voice needs to be radiant and robust for her so-called “Liebestod” (Love-death) in the opera’s closing minutes.

WAGNER FOUND AN ANALOGUE FOR THE LOVERS’ CONDITION IN WHAT HAS BEEN DUBBED THE “TRISTAN CHORD”, A DISSONANT AGGREGATION OF NOTES ANNOUNCED IN THE FIRST FEW SECONDS OF THE PRELUDE TO ACT I.

In view of these challenges, far more time elapsed in bringing Tristan to the stage than in actually writing it. Early attempts to interest Paris and Karlsruhe in giving the première came to nothing and the Vienna Court Opera abandoned Tristan in 1863 after a phenomenal number of rehearsals – nearly 80! One of the founding deeds of Ludwig II, King of Bavaria, in becoming Wagner’s patron in 1864, was to sponsor the first production of Tristan, which took place in Munich in 1865. Tristan had to wait a further nine years before it was performed again, this time in Weimar. It finally made it to Bayreuth in 1886, three years after Wagner’s death. On the subject of death, it should be pointed out that the singer who created the role of Tristan, Ludwig Schnorr von Carolsfeld, died scarcely a month after the opera’s inaugural season in Munich. He was aged 29. His widow, Malvina Schnorr von Carolsfeld, who created the role of Isolde, blamed her husband’s premature demise on the stress and strain of learning and performing Tristan.

Any discussion of Tristan und Isolde is bound to mention two figures: Mathilde Wesendonck and Arthur Schopenhauer. And rightly so. Mathilde Wesendonck and

Wagner were engaged in a passionate (but probably non-physical) relationship in the 1850s. Like Isolde, Mathilde was someone else’s bride – she was the wife of Otto Wesendonck, one of Wagner’s patrons – and Wagner was himself married, albeit unhappily, to his first wife, Minna Planer. Fifteen year’s Wagner’s junior and a beauty besides, Mathilde Wesendonck was someone with whom Wagner felt both an intellectual and an emotional connection. He set five of her poems to music, the so-called Wesendonck Lieder, two of which introduce themes that were later worked out extensively in Tristan. Soon after making the acquaintance of Mathilde Wesendonck, Wagner came to know the writings of pessimistic philosopher Arthur Schopenhauer. If Wagner at first intended Tristan to be a celebration of the ecstasy of love, he modified this substantially once he fell under the spell of Schopenhauer, who argued that human existence consists of an endless cycle of pain and misery which can only be overcome by renouncing the will to live. Love is not exempt from this agonising cycle. So while Tristan and Isolde experience an intense passion, they also suffer the anguish of striving for the unattainable – the desire to meld one into the other, to transcend material existence, to exist on a plane outside the phenomenal world.

Wagner found an analogue for the lovers’ condition in what has been dubbed the “Tristan chord”, a dissonant aggregation of notes announced in the first few seconds of the Prelude to Act I and quoted countless times throughout the opera. Just as the lovers cannot find serenity, so too the unsteady “Tristan chord” cannot find rest. That is until the great climax of Isolde’s closing scene when, with death drawing ever closer, the orchestra comes crashing down on a transcendentally beautiful B-major chord. Resolution finally arrives but the price is annihilation.

Robert Gibson © 2016

Composed 1857-59. Premièred Royal Court and National Theatre, Munich, 10 June 1865. First Australian performance, Her Majesty’s Theatre, Melbourne, 14 June 1912.

8

A revolutionary, not just in music, Wagner participated in the Dresden Uprising of May 1849. He printed posters supporting the insurrection and most likely assisted in the preparation of hand grenades. The revolt was put down in less than a week and a warrant was issued for Wagner’s arrest, but he escaped Saxony and sought asylum in Switzerland.

It was in Zurich (top right) that Wagner set to work on Tristan und Isolde in August 1857, completing Act I the following April. Wagner’s close emotional attachment to Mathilde Wesendonck, the wife of a benefactor, Otto Wesendonck, helped precipitate a crisis in Wagner’s marriage and he left Zurich for Italy in August 1858.

Wagner moved into the lodgings of Karl Ritter, son of another benefactor, Julie

Ritter, at the Palazzo Giustiniani in Venice. It was there that he completed Act II of Tristan, in March 1859. Given that Wagner was a person of interest to the authorities, he was anxious about the political situation in Austrian-controlled Venice and left the city less than a week after finishing Act II.

Wagner returned to Switzerland, settling in Lucerne (top left), where he completed Act III, in August 1859. Amazingly, Wagner composed Tristan und Isolde in the space of two very unsettled years. But his days as a political fugitive were soon to come to an end. He was allowed to return to all parts of Germany, with the exception of Saxony, in 1860, and was granted a full amnesty in 1862. Tristan und Isolde was premièred in Munich in 1865.

A TALE OF THREE CITIES

9

Marko LetonjaChief Conductor & Artistic DirectorVIOLINEmma McGrath ConcertmasterElinor Lea Associate ConcertmasterLucy Carrig-Jones Principal SecondJennifer Owen Principal FirstVictoria BihunMiranda CarsonMargaret ConnollyFrances DaviesEdwina GeorgeMichael JohnstonJi Won KimChristine LawsonSusanna LowMonica NaselowSusannah NgJennen Ngiau-KengChristopher NicholasHayato SimpsonVIOLA Stefanie Farrands*Douglas CoghillAnna Larsen RoachRodney McDonaldWilliam NewberyDavid WicksCELLO Sue-Ellen Paulsen*William HewerIvan JamesMartin PenickaSophie RadkeBrett RutherfordDOUBLE BASS Stuart Thomson*Aurora HenrichMatthew McGrathJames MenziesFLUTE Douglas Mackie*Katie ZagorskiLloyd Hudson Piccolo

Tasmanian Symphony Orchestra

TSO ChorusJune Tyzack ChorusmasterKaren Smithies RépétiteurJennifer Marten-Smith Répétiteur and language coach

TENORPeter BallSimon BeswickBeth CoombeSally CrosbyHilary FawcettPeter FawcettMichael KregorTony MarshallCaroline MillerSimon MiltonDavid PittJames Powell-DaviesPeter TattamAndrew TullochGill von BertouchBeth Warren

BASSJohn Ballard Luke BombardieriPeter CretanGreg FootPeter HepburnSam HindellDuncan HowReg MarronMichael Muldoon Darcy O’MalleyTony ParkerPaul RadfordPhilip SabineDick ShoobridgeAnthony SprentGrant Taylor

OBOEDavid Nuttall*Stephanie DixonDinah Woods Cor Anglais

CLARINETAndrew Seymour*Robert SchubertChris Waller Bass Clarinet

BASSOON Tahnee van Herk*Roger BrookeGlenn Prohasky Contrabassoon

HORN Carla Blackwood# Principal FirstGreg Stephens# Principal ThirdJules EvansRoger JacksonWendy Page

TRUMPET Yoram Levy*Mark BainChristopher Perrin

TROMBONE Jonathon Ramsay*David Robins

BASS TROMBONERobert Clark*

TUBATim Jones*

TIMPANIMatthew Goddard*

PERCUSSION Gary Wain*Steve MarskellTracey Patten

HARPBronwyn Wallis#

*principal player #guest principal

Surtitles by Antony Ernst © Symphony Services International. Surtitles amended and edited by June Tyzack. Surtitles operated by Marie Keane. Cover image: Tristan and Isolde VII by Slevin Aaron.

10

Patrons and supportersTSO PATRONSTSO Patrons are generous supporters whose donations to the TSO Fund underpin the financial viability of the Tasmanian Symphony Orchestra by supporting the TSO’s day-to-day operations. These activities range from educating the next generation of Tasmanian school students and providing training for Australia’s best young composers and conductors, to outreach programs, touring regional centres and taking the orchestra abroad. Patron level gifts to the TSO Fund start at $1,000 and are tax deductible. Patrons are invited to join the Conductor’s Circle.

CONDUCTOR’S CIRCLEThe Conductor’s Circle is a group of like-minded music lovers who share a special relationship with the TSO. Members enjoy a deeper connection with the orchestra, including opportunities to discover its inner-workings, including invitations to behind-the-scenes events. If you would like to talk about any aspect of philanthropy, please contact Jessica Armson, Philanthropy Coordinator, on 03 6232 4405 or email armsonj@tso.com.au.

TSO IMPRESARIO PATRONS

GIFTS OF $50,000+John and Marilyn CanterfordThe late Dr Louise CrossleyMike and Carole Ralston

TSO MAESTRO PATRONS

GIFTS OF $20,000+Patricia LearyDr John Roberts and Mrs Barbara Roberts

TSO CHAIR PATRONS

$5,000+ ANNUAL DONATIONCHIEF CONDUCTOR AND ARTISTIC DIRECTORAnonymous

ASSOCIATE CONCERTMASTER RH O’Connor

PRINCIPAL SECOND VIOLIN Dr Joanna de Burgh

PRINCIPAL FIRST VIOLIN Lisa Roberts

TUTTI VIOLINJanet Holmes à Court AC

TUTTI VIOLINBruce Neill and Penny Clive

TUTTI VIOLINWarwick Rule

PRINCIPAL VIOLA John and Jo Strutt

PRINCIPAL CELLO Richard and Gill Ireland

TUTTI CELLOSue and Ron Wooller

PRINCIPAL DOUBLE BASS Patricia Leary

PRINCIPAL FLUTE Ian Hicks

FLUTE/PICCOLODavid McEwan AM and Mrs Jennifer McEwanPRINCIPAL OBOE David Rich and Mrs Glenys Rich

PRINCIPAL CLARINET Dr Peter Stanton

CLARINET/BASS CLARINET Tim and Louise Mooney

PRINCIPAL BASSOON Julia Farrell

BASSOON/CONTRABASSOON Alan and Hilary Wallace

PRINCIPAL HORN Mr Kenneth von Bibra AM and Mrs Berta von Bibra OAM

PRINCIPAL TRUMPET Chris and John Sandow

PRINCIPAL TROMBONE Andrew Tulloch

PRINCIPAL TIMPANI John and Marilyn Canterford

PRINCIPAL PERCUSSION Helen Rule

CHORUSMASTERMichelle Warren

DAVE AND ANNICK CHAMBER MUSIC FUND

TSO PATRONS

$1,000+ ANNUAL DONATION Yvonne and Keith Adkins Peter and Ruth AlthausWendy Ashley Sylvia BarrettJane and Rex Bean Hans Bosman and Sue MaddenAileen Buchan Anne CarmichaelGeorge and Jan CasimatyAnne Challen and Don Challen AM

Ian Chambers and Kathryn Arneman Dr Alastair Christie Peter Cochrane Dr Stephanie Cooper Nicholas and Janet CretanPeter and Catherine Cretan Dr David Davey and Dr Annick Ansselin John Dickens and Dr Ian Payne Professor David Elliott The late Mr Hansjuergen Enz Garry Forward and Penney FurmageEmeritus Professor AR and Dr OF Glenn Dr Duncan GrantJoan GreenRob and Tricia Greenwell Patricia Haley Barbara Harling Brian and Jacky Hartnett Dr Geoffrey Haward AM and Mrs Phyllis Haward Robyn and John HawkinsDr Don Hempton and Mrs Jasmine Hempton

11

Peter and Jeanne Hepburn Nicholas Heyward and Allanah DopsonDarrell Jones and James Mainwaring Veronica Keach Dr Mary-Anne KeadyThe late Doone Kennedy AO Colin Kent and Deanne Cooper Judith Ker-StoutMarko LetonjaLinda and Martin LutherDavid McEwan AM and Mrs Jennifer McEwanDr Alex McLaren and Netta McLarenMacquarie AccountingCaryl McQuestinAlison MalcolmKatherine MarsdenMichael Mellor and Elaine Soutar Christine Milne Muriel Morillon and Michael AllottLeon and Susan MorrellJill MureKatherine Olejniczak Simon Overland and Barbara HingstonKim Paterson and Helen PrestonJohn and Marilyn PugsleyJan and Alan ReesPatricia H Reid Mr and Mrs S Roberts Kay RoddaBrian Shearer Dr Tony Sprent AM Tony Stacey AM and Mrs Jeanette Stacey Dr Jane Tolman Alan Trethewey and Jean Trethewey OAM

Philip and Frances TyrellFrances Underwood John Upcher Catherine Walker PSM and John Cauchi SC

Michelle WarrenHugh WellsMichael WilkinsonSusan Williams Geoff Willis AM and Vicki Willis J ZimmermanAnonymous x 15

TSO FOUNDATIONThe TSO Foundation supports the orchestra’s medium to long term financial needs. A donation or a gift in your will to the TSO Foundation endowment fund, whether large or small, ensures the TSO will carry on sharing the experience of live orchestral music with the Tasmanian community for generations to come.

SCULTHORPE SOCIETYBy letting us know of your intention to leave a gift to the TSO Foundation in your will, you will be invited to join the Sculthorpe Society where you can connect and get to know fellow bequesters. Once a year you and a guest will be invited to a birthday celebration in honour of our namesake Peter Sculthorpe, followed by tickets to an afternoon concert. TSO Foundation members are invited to join the Conductor’s Circle.Gifts to the TSO Foundation are tax deductible. The TSO is grateful for the generous support from the following Foundation Members.

FOUNDATION LIFE BENEFACTORS – FUTURE GIFTS OF $100,000 +Mrs Honey Bacon John and Marilyn CanterfordDr Don Hempton and Mrs Jasmine Hempton Patricia Leary Linda and Martin Luther Mike and Carole Ralston Anonymous

FOUNDATION BENEFACTORS – GIFTS OF $60,000 +Dawn AlbertAMEC Minproc LtdJennifer and George Ettershank Colin Jackson OAM and Mrs Dianne JacksonRH O’ConnorDr Peter StantonSusan WilliamsGeoff Willis AM and Vicki WillisAnonymous

FOUNDATION FELLOWS – GIFTS OF $10,000 +

Dennis and Ilona BewsherDiane MatthewsEstate of Stanley Raymond MerrettDr John Roberts and Mrs Barbara RobertsDick and Sue ShoobridgeJoy Selby SmithJoy SmithJohn UpcherAlan and Hilary WallaceMichelle WarrenSue and Ron WoollerAnonymous

FOUNDATION SUPPORTERS – GIFTS OF $1,000 – $9,999

Joan and Barry ChapmanGladys DodsonJames FinlayGarry Forward and Penney FurmageJoan GreenLisa HarrisPeter and Jeanne Hepburn Ian HicksVeronica KeachColin Kent and Deanne CooperRobert KunsTony MacCormickAlison MalcolmGeorge and Joan MastermanDirk MeureLeon and Susan MorrellJan and Alan ReesKay RoddaBarbara RuschanowMike and Jo ScottBrian ShearerHelen and Merv SimmonsTony Stacey AM and Mrs Jeanette Stacey Estate of Josephine UpcherEstate of Margaret WadeEstate of Professor George Wade and Margaret WadeDeirdre WiseJane WynterAnonymous x 8

SUPPORT THE TSO INTO THE FUTURE – THE TSO FOUNDATION

12

GOVERNMENT SUPPORT

PREMIER PARTNERS

PRINCIPAL PARTNER

MAJOR PARTNERS

The Tasmanian Symphony Orchestra is assisted by the Australian Government through the Australia Council, its arts funding and advisory body, and through Arts Tasmania by the Minister for the Arts, and the Tasmanian Icon Program.

LEADERSHIP PARTNERS

Partners

FOR INFORMATION ON TSO PARTNER OPPORTUNITIES, PLEASE CONTACT ED BENYON ON 03 6232 4430 OR EMAIL BENYONE@TSO.COM.AU.

MEDIA SUPPORTER

PARTNERS

SUPPORTING PARTNERS

WINE PARTNER

The Tasmanian Symphony Orchestra’s 2017 season offers a vibrant collection of performances, each bringing its own mood and emotion.

We invite you to experience this exceptional program for yourself.

TSO.COM.AU | 1800 001 190

A T R U LY V I B R A N T S E A S O N

Principal Partner

I N F O R M A T I O N A N D T I C K E T S