OPERA GALA SAT 1 JUNE 2019 - Queensland Symphony Orchestra
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OPERA
GALA
A N I G H T O F O P E R A FAV O U R I T E S
SAT 1 JUNE 2019
CONCERT HALL, QPAC
PROGRAM | OPERA GALA IWELCOME
© Josh Woning
Good evening and welcome to Opera Gala. We are delighted you could join us.
Tonight we’re performing some of the greatest opera moments of all time. This concert
is particularly special for me because I’ve always had a passion for opera. For 20 years I
lived and worked in Germany and had the privilege of performing with some of the finest
orchestras in the world. At the Bavarian State Opera I played over 90 different operas in
around 2,000 performances!
Since joining our violin section in 1999, I’ve also had the pleasure of performing with
Queensland Symphony Orchestra as a tenor from time to time, which has brought me
great joy. As such, I’m particularly looking forward to Rodolfo’s yearning tenor aria from
the Act 1 Finale of Puccini’s La Boheme. And who can deny the power of Bizet’s beloved
CONTENTS
duet for tenor and baritone from The Pearl Fishers?
I’ve always believed that music has the power to move people and transport them into
other dimensions, in a way that nothing else can. This is especially true for opera and I
hope it resonates with your experience this evening.
We hope you enjoy the performance and look forward to seeing you at future concerts.
WELCOME 1 Tim Marchmont
Second Violin
IF YOU'RE NEW TO THE ORCHESTRA 2 IN THIS CONCERT PROGRAM
GLOSSARY OF TERMS 3 Conductor Giovanni Reggioli Verdi Overture to Nabucco
Soprano Natalie Aroyan
4
Verdi 'Va pensiero' Chorus of the Hebrew Slaves
Tenor Kang Wang
LISTENING GUIDE Bass-baritone Jeremy Kleeman
from Nabucco
Chorus Brisbane Chorale Verdi De' miei bollenti spiriti from La Traviata
ARTIST BIOGRAPHIES 18 SAT 1 JUNE 7.30PM
Puccini Vissi d'arte from Tosca
Bizet Au fond du temple saint
from The Pearl Fishers
24
Approx. duration 2hrs
SUPPORTING YOUR ORCHESTRA (including an interval of 20 mins) Puccini Act 1 finale from La Bohème
INTERVAL
Relive Opera Gala on ABC Classic
MUSICIANS AND MANAGEMENT 30 on 6 June 2019 at 1pm (AEDT). Verdi Triumphal March from Aïda
Rossini Come un'ape ne' giorni d'aprile
from La Cenerentola
Puccini Bimba dagli occhi pieni de malia
(Love Duet) from Madama Butterfly
Queensland Symphony Orchestra acknowledges the traditional custodians of Australia.
We acknowledge the cultural diversity of Elders, both past and recent, and the significant contributions Puccini Intermezzo from Manon Lescaut, Act III
that Aboriginal peoples and Torres Strait Islander peoples have made to Queensland and Australia. Verdi 'Vedi, le fosche notturne spoglie'
(Anvil Chorus) from Il Trovatore
To ensure an enjoyable concert experience for everyone, please remember to turn off your mobile phones
and all other electronic devices. Please muffle coughs and refrain from talking during the performance. Verdi Brindisi (Drinking Song) from La Traviata
II PROGRAM | OPERA GALA 1IF YOU'RE NEW TO THE ORCHESTRA GLOSSARY OF TERMS
The following terms appear in bold the first time they appear in the listening guide.
La Scala an opera house in Milan, Italy, regarded as one of the best opera
and ballet theatres in the world, where many of the finest singers
and dancers have appeared.
Libretto the text of a vocal work.
Overture a piece of music usually performed at the beginning of an
opera or play.
Melodrama a dramatic composition that features heightened or
exaggerated emotions.
Verismo a style of opera that was popular in the late 19th century which drew
its themes from everyday life and nature.
Intermezzo a short instrumental piece that connects different sections
of an opera.
WHO SITS WHERE
Orchestras sit in sections based on types of instruments.
There are four main sections in the symphony orchestra:
strings, woodwinds, brass, and percussion, and sometimes a keyboard section.
STRINGS BRASS
These instruments produce sound by bowing or Brass players create sound by vibrating their
plucking stretched strings. lips. When this vibration is pushed through large
First and Second Violins brass tubes, it can create significant noise.
Viola Horn
Cello Trumpet
Double Bass Trombone / Bass Trombone
Harp Tuba/Cimbasso
WOODWIND PERCUSSION
Wind instruments produce sound by being These instruments create sound by being struck.
blown into. Some instruments just make a sound; others
Flute / Piccolo play particular notes.
Clarinet / Bass Clarinet Timpani, Anvil, Bass Drum, Bass Drum with
Oboe / Cor Anglais Attached Cymbals, Chinese Gong, Cymbals,
Bassoon / Contrabassoon Glockenspiel, Gong, Snare Drum, Tam tam,
Triangle
2 PROGRAM | OPERA GALA © Peter Wallis PROGRAM | OPERA GALA 3LISTENING GUIDE
Giuseppe Verdi (1813-1901) Giuseppe Verdi (1813-1901)
Overture to Nabucco De' miei bollenti spiriti from La Traviata
‘Va pensiero’ Chorus of the Hebrew Slaves from Nabucco Verdi’s subjects ranged widely. Nabucco and Aïda are epics. La Traviata (1853) focuses
Following a promising start, Verdi flopped with his second opera and, in mourning for his on the intimate tragedy of Violetta, the courtesan, who must give up Alfredo for the sake
deceased wife and two children, fell into a depression until Merelli, director of La Scala, of his family’s honour. In Act 2, Violetta and Alfredo are happily in love. Alfredo sings ‘De’
urged on him the libretto of Nabucco. According to Verdi he reluctantly took it home, miei bollenti spiriti’ (The fire of my youthful spirits was tempered by the quiet smile of her
but once his eye fell on the page containing the words to the Chorus of the Hebrew love), but when he discovers that Violetta’s maid has been in Paris hocking her mistress’s
Exiles, ‘Va, pensiero’ (Fly thoughts on golden wings), music flowed. Nabucco’s premiere possessions to finance their lifestyle he is remorseful.
in 1842 was Verdi’s first big success, setting him on a path to becoming Italy’s premier
composer during the 19th century. In this concert you will hear the famous chorus, which,
Lunge da lei per me non v'ha There is no pleasure for me when she is
independently of the opera, became a rallying cry for Italian independence. The overture
diletto! far away!
is a medley of melodies that the audience will hear in the subsequent opera.
Volaron già tre lune Three months have flown by
Dacchè la mia Violetta since Violetta gave up,
Va, pensiero, sull’ali dorate; Fly, thought, on guilded wings; Agi per me lasciò, dovizie, amori, for me, luxury, loves,
Va, ti posa sui clivi, sui colli, go, settle upon the slopes and hills, E le pompose feste and the pomp of society,
Ove olezzano tepide e molli where, fragrant, soft and mild, blows Ove, agli omaggi avvezza, where, surrounded by adoration,
L’aure dolci del suolo natal! the sweet breeze of our native land! Vedea schiavo ciascun di sua bellezza. she enslaved all with her beauty.
Del Giordano le rive saluta, Greet the banks of the Jordan Ed or contenta in questi ameni luoghi Now happy in this pleasant place,
Di Sionne le torri atterrate. and Zion’s destroyed towers. Tutto scorda per me. she has forgotten everything for me.
Oh, mia patria sì bella e perduta! Oh, my country so lovely and fallen! Qui presso a lei And here, near her,
Oh, membranza sì cara e fatal! Oh, remembrance dear and fateful! Io rinascer mi sento, I feel reborn
Arpa d’or dei fatidici vati, Golden harp of the prophetic seers, E dal soffio d'amor rigenerato and invigorated by the pulse of love.
Perché muta dal salice pendi? why mute on the willow do you hang? Scordo ne' gaudi suoi tutto il passato. I have forgotten, in the joy of being with her,
Le memorie nel petto raccendi, Our memories rekindle in our breast, everything of the past.
Ci favella del tempo che fu! and speak of times now past!
De' miei bollenti spiriti Those bubbling spirits of mine
O simile di Solima ai fati Remember Solima’s fate,
Il giovanile ardore heated with youthful passion
Traggi un suono di crudo lamento, either bring forth a song of painful lament,
Ella temprò col placido she has tempered with the calm
O t’ispiri il Signore un concento or else let the Lord inspire us
Sorriso dell'amor! smile of her love.
Che ne infonda al patire virtù! to bear our sufferings patiently!
Dal dì che disse: vivere Since the time when she said, ‘While I live
ll voglio a te fedel, I will be true to you’,
Dell'universo immemore all the universe is forgotten
ll vivo quasi in ciel. and I live as if in heaven.
4 PROGRAM | OPERA GALA Translation © Symphony Australia 2000 Translation © Symphony Australia PROGRAM | OPERA GALA 5LISTENING GUIDE
Giacomo Puccini (1858-1924) Georges Bizet (1838-1875)
Vissi d'arte from Tosca Au fond du temple saint from The Pearl Fishers
Puccini was Verdi’s ‘heir’ and in fact Verdi heard a draft of Tosca’s libretto, based on Bizet, of the next generation, wrote The Pearl Fishers when he was 25 and this paved the
Sardou’s 1887 play, in Paris in 1894. Puccini had been impressed with Sarah Bernhardt way for his masterpiece, Carmen. Among Pearl Fishers’ highlights is the duet for tenor
in the play’s title role, but in trimming Sardou, he and his librettists came up with three and baritone in the first act. Nadir and Zurga swear that they will be faithful to each
great roles in stark conflict. In Act 2 Tosca offers herself to the brutal police chief, Scarpia, other forever. But their loyalty will be tested by competing love for the priestess, Leïla.
in exchange for her lover Cavaradossi’s life. Tosca senses her degradation. ‘Vissi d’arte’
– ‘I lived for art. Never did I harm a living creature’, she sings of her predicament. Italian NADIR Au fond du temple saint, At the far end of the holy temple,
composers such as Rossini and Verdi aimed to spread their influence to Paris but (TENOR) Paré de fleurs et d’or, adorned with flowers and with gold,
19th-century French opera had its own lineage with composers such as Meyerbeer Une femme apparaît… a woman appears…
and Berlioz. Je crois la voir encor. I can see her, still.
ZURGA Une femme apparaît… A woman appears…
Vissi d’arte, vissi d’amore, I have lived for art; I have lived for love, (BASS-BARITONE) Je crois la voir encor. I can see her, still.
non feci mai male ad anima viva. I have never done harm to a living soul. NADIR La foule prosternée The crowd is bowed,
Con man furtiva In secret La regarde étonnée looking at her with astonishment
quante miserie conobbi aiutai. I have given help to the unfortunate. Et murmure tout bas: and quietly murmuring:
Sempre con fè sincera Always with sincere faith, Voyez, c’est la déesse ‘Look, it is the goddess
la mia preghiera ai tabernacoli salì. have my prayers risen unto the tabernacles. Qui dans l’ombre se dresse ensconced in the shadows
Sempre con fè sincera Always with sincere faith, Et vers nous tend les bras. and holding out her arms to us.
diedi fiori agli altar. have I dedicated flowers of the altars. ZURGA Son voile se soulève; Her veil lifts;
Nell’ora del dolore Now in my hour of grief, O vision, ô rêve! what a vision, what a dream!
perchè, perchè, Signore, why, why, my Lord La foule est à genoux. The crowd is kneeling.
perchè me ne rimuneri così? why do you repay me like this? ENSEMBLE Oui, c’est elle, c’est la déesse, Yes, it is she, it is the goddess,
Diedi gioielli della Madonna al manto, I donated jewels for our Madonna’s mantle, Plus charmante et plus belle; more charming and more beautiful;
e diedi il canto agli astri, I dedicated my song unto the stars, Oui, c’est elle, c’est la déesse, Yes, it is she, it is the goddess,
al ciel, che ne ridean più belli. and to heaven, to make them more beautiful. Qui descend parmi nous. who has come down among us.
Nell’ora del dolor Now in my hour of grief, Son voile se soulève Her veil lifts,
perchè, perchè, Signore, why, why, my Lord, Et la foule est à genoux. and the crowd is kneeling.
ah, perchè me ne rimuneri così? ah, why do you repay me like this? NADIR Mais à travers la foule, But through the crowd
Elle s’ouvre un passage. she makes her way.
ZURGA Son long voile déjà Already, her long veil
Nous cache son visage. conceals her face from us.
NADIR Mon regard, hélas, la cherche en vain. My eyes, alas, seek her in vein.
NADIR & ZURGA Oui, c’est elle, c’est la déesse Yes, it is she, it is the goddess
En ce jour qui vient nous unir who today united us,
Et fidèle à ma promesse, and I shall remain faithful to my promise,
Comme un frère je veux te chérir! I shall cherish you like a brother!
C’est elle, c’est la déesse It is she, it is the goddess,
Qui vient en ce jour nous unir! who has come today to unite us!
Oui, partageons le même sort, Yes, we shall share the same fate,
Soyons unis jusqu’à la mort! remaining united until death!
6 PROGRAM | OPERA GALA Translation © David V. Russell, Symphony Australia 2000 Translation © Symphony Australia PROGRAM | OPERA GALA 7LISTENING GUIDE
Giacomo Puccini (1858-1924) RODOLFO Tanta fretta? Do you have to rush off?
Act 1 finale from La Bohème MIMÌ Sì.
Grazie. Buona sera.
Yes.
Thank you. Good night.
After the melodramas of Verdi, Puccini aimed for ‘verismo’ (realism). His operas took RODOLFO Buona sera. Good night.
place in recognisable social situations, though often with emotion pitched to breaking-
MIMÌ Oh! sventata, sventata! Oh, what an idiot.
point. La Bohème concerns four friends trying to survive poverty in 1830s Paris, having fun La chiave della stanza The key to my room –
as best they can. But one night, while his friends are out, Rodolfo opens the door to Mimì, dove l’ho lasciata? where have I left it?
who has mislaid her apartment keys. Her tiny hand is frozen, an early sign of the disease
RODOLFO Non stia sull’uscio; Don’t stand in the doorway,
that will end the love that blooms that night.
il lume vacilla al vento. the candle’s flickering in the wind.
RODOLFO Non sono in vena. I’m not in the mood. MIMÌ Oh Dio! Oh no!
Chi è la? Who’s there? Torni ad accenderlo. Can you light it again?
MIMÌ Scusi. Excuse me. RODOLFO Oh Dio! Oh dear.
Anche il mio s’è spento! Now mine’s gone out too.
RODOLFO Una donna! A woman!
MIMÌ Ah! e la chiave ove sarà? And where can the key be?
MIMÌ Di grazia, mi s’è spento il lume. Please, my candle’s gone out.
RODOLFO Buio pesto! Pitch dark!
RODOLFO Ecco. Here.
MIMÌ Disgraziata! Unlucky me!
MIMÌ Vorebbe...? Would you...
RODOLFO Ove sarà? Where can it be?
RODOLFO S’accomodi un momento. Come in for a moment.
MIMÌ Importuna è la vicina... You have a nuisance of a neighbour...
MIMÌ Non occorre. There’s no need.
RODOLFO Ma le pare! Not at all!
RODOLFO La prego, entri. Please, come in.
Si sente male? Are you all right? MIMÌ Importuna è la vicina... You have a nuisance of a neighbour...
MIMÌ No...nulla. It’s nothing. RODOLFO Cosa dice, ma le pare! What are you saying, not at all!
RODOLFO Impallidisce! You’ve gone pale! MIMÌ Cherchi. Look for it.
MIMÌ Il respir...quelle scale... Can’t breathe...those stairs... RODOLFO Cerco. I’m looking.
RODOLFO Ed ora come faccio? And now what do I do? MIMÌ Ove sarà? Where can it be?
Così. Che viso d’ammalata! There. She looks so sick! RODOLFO Ah! Ah!
Si sente meglio? Are you feeling better?
MIMÌ L’ha trovata? Have you found it?
MIMÌ Sì. Yes.
RODOLFO No! No.
RODOLFO Qui c’è tanto freddo. It’s so cold here.
Segga vicino al fuoco. Come and sit by the fire. MIMÌ Mi parve... I thought...
Aspetti...un po’ di vino... Wait...some wine... RODOLFO In verità! Honestly!
MIMÌ Grazie. Thank you. MIMÌ Cerca? Are you looking for it?
RODOLFO A lei. Here you are. RODOLFO Cerco! I’m looking.
MIMÌ Poco, poco. Just a little! MIMÌ Ah! Ah!
RODOLFO Così? Like that? RODOLFO Che gelida manina, You little hand is so cold!
MIMÌ Grazie. Thank you. se la lasci riscaldar. let me warm it up for you.
Cercar che giova? What’s the use in looking?
RODOLFO (Che bella bambina!) (What a beautiful girl!) Al buio non si trova. We’ll never find it in the dark.
MIMÌ Ora permetto che accenda il lume. Now, let me light my candle. a per fortuna è una notte di luna, But luckily the moon’s shining tonight,
E tutto passato. I’m better now. e qui la luna l’abbiamo vicina. and here we have the moon as our neighbour.
Aspetti signorina, Wait a little, young lady,
8 PROGRAM | OPERA GALA PROGRAM | OPERA GALA 9LISTENING GUIDE
le dirò con due parole and I’ll quickly tell you ma quando vien lo sgelo but when the ice starts to melt
chi son, chi son e che faccio, come vivo. who I am and what I do, how I live. il primo sole è mio, the first ray of sunshine belongs to me,
Vuole? Shall I? il primo bacio dell’aprile è mio! the first kiss of April is mine!
Chi son? Chi son? Sono un poeta. Who am I? I’m a poet. Germoglia in un vaso una rosa. I have a rose blooming in a vase.
Che cosa faccio? Scrivo. What do I do? I write. Foglia a foglia la spio! I watch it blossom, petal by petal.
E come vivo? Vivo. And how do I live? I live. Così gentil il profumo d’un fior. A flower’s perfume is so lovely.
In povertà mia lieta In my happy poverty Ma i fior ch’io faccio, ahimè! But the flowers that I make, alas,
scialo da gran signore I squander, like a great lord, i fior ch’io faccio non hanno odore! the flowers I make have no fragrance.
rime ed inni d’amore. poems and hymns of love. Altro di me non le saprei narrare: I don’t know what else to say about myself:
Per sogni e per chimere In dreams and fancies sono la sua vicina I’m your neighbour,
e per castelli in aria and castles in the air che la vien fuori d’ora a importunare. bothering you at an inconvenient moment.
l’anima ho milionaria. I’m a millionaire in spirit.
RODOLFO O soave fanciulla, O lovely girl
Talor dal mio forziere Sometimes my strong-box
o dolce viso di mite O sweet, gentle face bathed in the light
ruban tutti i gioielli is robbed of all its jewels
circonfuso alba lunar, of the rising moon,
due ladri gli occhi belli. by two thieves: two beautiful eyes.
in te, ravviso il sogno in you I see the dream
V’entrar con voi pur ora, They came in with you just now,
ch’io vorrei sempre sognar! I would dream forever!
ed i miei sogni usati and my old familiar dreams,
e i bei sogni miei my beautiful dreams MIMÌ Ah! tu sol comandi, amore! Ah! Love, you alone have the power to command!
tosto si dileguar! soon vanished. RODOLFO Fremon già nell’anima Already the uttermost sweetness
Ma il furto non m’accora But the theft hasn’t broken my heart le dolcezze estreme, quivers in my soul,
poichè, poichè v’ha preso stanza because their place has been taken nel bacio freme a amor! love trembles in our kiss!
la dolce speranza! by sweet hope!
Or che mi conoscete, Now that you know me, MIMÌ Oh! come dolci scendono Oh! how sweetly his flattery
arlate voi, deh! parlate. it’s your turn to speak. Tell me: le sue lusinghe al core. falls upon my heart...
Chi siete? Vi piaccia dir! who are you? Will you tell me? Tu sol comandi, amor! Love, you alone have the power to command!
No, per pietà! (Drawing away from him) No, I beg you!
MIMÌ Sì. Yes.
Mi chiamano Mimì, They call me Mimì RODOLFO Sei mia! Be mine!
ma il mio nome è Lucia. but my name is Lucia. MIMÌ V’aspettan gli amici... Your friends are waiting for you...
La storia mia è breve. There’s not much to tell about me.
RODOLFO Già mi mandi via? Are you sending me away already?
A tela o a seta ricamo I do embroidery on cloth or silk
in casa e fuori. at home and outside. MIMÌ Vorrei dir...ma non oso... I would like to say...but I don’t dare...
Son tranquilla e lieta I am calm and happy
RODOLFO Di’. Tell me!
ed è mio svago far gigli e rose. and I amuse myself by making lilies and roses.
Mi piaccion quelle cose I like things MIMÌ Se venissi con voi? What if I came with you?
che han sì dolce malìa, that have a gentle magic, RODOLFO Che? Mimì! What? Mimì!
che parlano d’amor, di primavere, that speak of love, of spring, Sarebbe così dolce restar qui. It would be so nice to stay here.
che parlano di sogni e di chimere, that speak of dreams and fancies, C’è freddo fuori... It’s cold outside...
quelle cose che han nome poesia. those things they call poetry.
Lei m’intende? Do you understand me? MIMÌ Vi starò vicina! I will stay by your side!
RODOLFO Sì. Yes. RODOLFO E al ritorno? And when we come back?
MIMÌ Mi chiamano Mimì, They call me Mimì, MIMÌ Curioso! Curious, aren’t you?
il perchè non so. I don’t know why. RODOLFO Dammi il braccio, mia piccina. Give me your arm, my little one...
Sola, mi fo il pranzo da me stessa. I eat my dinner alone.
MIMÌ Obbedisco, signor! I obey, sir!
Non vado sempre a messa I don’t often go to mass
ma prego assai il Signor. but I pray to the Lord a great deal. RODOLFO Che m’ami di’. Tell me you love me...
Vivo sola, soletta, I live alone, all alone MIMÌ Io t’amo! I love you!
là in una bianca cameretta: there in a little white room:
guardo sui tetti e in cielo, I look out over the roofs and up at the sky BOTH Amor! Amor! Love! Love!
10 PROGRAM | OPERA GALA Italian libretto: Luigi Illica and Giuseppe Giacosa. Translation © Symphony Australia 2002. PROGRAM | OPERA GALA 11LISTENING GUIDE
Giuseppe Verdi (1813-1901) Gioachino Rossini (1792-1868)
Triumphal March from Aïda Come un'ape ne' giorni d'aprile from La Cenerentola
Nineteenth-century Italian opera was full of conventions. One of these was the second Nineteenth-century Italian composers like Rossini could turn out ‘product’ quickly. Such
act finale at a pivotal point in the story. Throughout his career Verdi amended those was the case with 1817’s La Cenerentola, composed, like 1816’s The Barber of Seville, in
conventions to his advantage and French opera taught him to think big. Writing Aïda for three weeks. Mind you, librettist Jacopo Ferretti proposed some 20 subjects before he
Cairo in the 1870s gave him the chance to write perhaps the most spectacular second act and Rossini dared each other to tackle Cinderella. It’s not the regular Cinderella though.
finale of all time. Radamès’ army returns to Thebes fresh from victory over the Ethiopians There’s no magic. And the prince comes to Cinderella’s house on a quest to find a bride
and the population turns out en masse. Productions often vie with the music to create among the women of his kingdom. Actually, it’s not the prince at first – it’s his valet
awe – even bringing elephants onstage. Dandini in disguise, hamming up the rare opportunity to play aristocrat.
CAVALIERS Scegli la sposa, affrettati: You must choose your bride, soon:
PEOPLE Gloria all’Egitto, ad Iside Glory to Egypt, and to Isis sen vola via l’età; time is slipping away;
Che il sacro suol protegge! who protects that sacred soil! la principesa linea, if not the princely line
Al Re che in Delta regge To the King who rules the delta, se no, s’estinguerà, will cease,
Inni festosi alziam festive hymns let us raise! s’estinguerà, s’estinguerà. will cease, will cease.
Gloria! Gloria! Gloria al Re! Glory! Glory! Glory to the King! DANDINI Come un'ape ne’ giorni d' aprile Like a bee on an April day
va volando leggiera e scherzosa; I fly nimbly and playfully;
WOMEN S’intrecci il loto al lauro Let lotus be entwined with the laurel corre al giglio, poi salta alla rosa chasing the lily, then landing on the rose
Sul crin dei vincitori! upon the conquerors’ brows! dolce un fiore a cercare per sé: searching for the sweetest flower:
Nembo gentil di fiori Let a soft shower of flowers fra le belle m'aggiro e rimiro: between the beauties I roam admiring them:
Stenda sull’armi un vel. spread a veil over the arms. ne ho vedute già tante e poi tante; I have gazed at so many, so many;
Danziam, fanciulle egizie, ma non trovo un giudizio, un sembiante, but I have not found a mind, a face,
Let us dance, Egyptian maidens,
un boccone squisito per me... a delicious titbit fine enough for me...
Le mistiche carole, the mystic dances,
Come d’intorno al sole as around the sun, DANDINI Nulla, nulla, nulla, nulla. It is nothing, nothing, don’t mention it.
Danzano gli astri in ciel! the stars dance in the sky! Vezzosa! Graziosa! Charming! How gracious!
Dico bene? Dico Bene? Did I say the right thing? Am I doing well?
PRIESTS Della vittoria agli arbitri Son tutte papà, son tutte papà. I see they take after their father.
To the supreme arbiters of victory
supremi il guardo ergete; raise your eyes; RAMIRO Bestia! Attento, ti scosta, va là. Fool! Be careful, get away from here.
grazie agli dei rendete give thanks unto the Gods,
DANDINI P Per pietà quelle ciglia abbassate. Have pity, lower your eyes.
Nel fortunato dì. give thanks this happy day. Galoppando sen va la ragione, I’m losing my reason,
e fra i colpi d'un doppio cannone for the blows from each of your glances
PEOPLE Vieni, o guerriero vindice, Come, avenging warrior, spalancata la breccia è di già, have already shattered my defences,
Vieni a gioir con noi; come and rejoice with us. e fra i colpi d’un doppio cannone... for the blows from each of your glances...
sul passo degli eroi In the heroes’ path, Vezzosa! Graziosa! Son tutte papà. Charming! How Gracious! Just like their father.
I lauri, i fior versiam! laurels and flowers let us cast! Son tutte papà. Just like their father.
Gloria! Glory! Ma al finir della nostra commedia, But at the end of this comedy,
che tragedia qui mascer dovrà! they will find that the tragedy begins!
CLORINDA & TISBE Ei mi guarda, sospira, delira… He looks at me, longingly, enraptured…
RAMIRO Ah! Perchè qui non viene colei… Ah! Why does she not return…
MAGNIFICENT È già cotto, stracotto, spolpato. He’s already madly in love, well and truly in love.
CHORUS Scegli la sposa, affrettati… You must choose your bride soon…
MAGNIFICENT Si, è già cotto, stracotto, spolpato, Yes, he’s already madly in love, well and truly in love,
l’eccelenza divine maestà… your Excellency will become your Majesty…
12 PROGRAM | OPERA GALA Translation © Symphony Australia PROGRAM | OPERA GALA 13LISTENING GUIDE
Giacomo Puccini (1858-1924) che mai non intesi.
Or son contenta. Or son contenta.
I've never heard in my life before.
I'm happy now, so happy.
Bimba dagli occhi pieni de malia (Love Duet) Vogliatemi bene, un bene piccolino, Love me with a little love,
from Madama Butterfly un bene da bambino a child-like love,
quale a me si conviene. the kind that suits me.
Madama Butterfly figures among Puccini’s attempts at ‘verismo’. There is a degree of Noi siamo gente avvezza Love me, please...
realism in the way Puccini and his librettists portray cultural misunderstandings in this alle piccole cose, We are a people used to small,
1904 story of Pinkerton, commander of the US warship Abraham Lincoln, who has fallen umili e silenziose, modest, quiet things,
in love with 15-year-old Butterfly during a visit to Nagasaki. In Act 1, only the American ad una tenerezza to a tenderness gently caressing,
sfiorante e pur profonda yet vast as the sky
consul Sharpless senses the dangers ahead, but the Act ends with some of the most
come il ciel, come l'onda del mare. and as the waves of the sea.
persuasive love music in the repertoire.
PINKERTON Dammi ch'io baci Give me your dear hands
PINKERTON Bimba dagli occhi pieni di malia Dear child, with eyes full of witchery, le tue mani care, and let me kiss them!
ora sei tutta mia. now you are all mine. mia Butterfly! My Butterfly!
Sei tutta vestita di giglio. You're dressed all in lily-white. Come t'han ben nomata How aptly you were named,
Mi piace la treccia tua bruna I love your dark tresses tenue farfalla... fragile butterfly!
fra candidi veli. amid the white of your veils. BUTTERFLY Dicon ch'oltre mare They say that overseas
BUTTERFLY Somiglio la dea della luna, I am like the moon-goddess, se cade in man dell'uom if it should fall into the hands of man
la piccola dea della luna the little goddess of the moon, ogni farfalla d'uno spillo a butterfly is stuck through
che scende la notte who comes down at night è trafitta with a pin
dal ponte del ciel. from the bridge of heaven. ed in tavola infitta! and fixed to a board!
PINKERTON E affascina i cuori... And captivates all hearts... PINKERTON Un po' di vero c'è: There's some truth in that;
e tu lo sai perché? and do you know why?
BUTTERFLY E li prende, e li avvolge And takes them and folds them Perché non fugga più. So that it shouldn't fly away again.
in un bianco mantel. in a white cloak. Io t'ho ghermita... I've caught you...
E via se li reca And carries them away Ti serro palpitante. Quivering, I press you to me.
negli alti reami. to the higher regions. Sei mia. You're mine.
PINKERTON Ma intanto finor non m'hai detto, But meanwhile, you haven't told me yet, BUTTERFLY Sì, per la vita. Yes, for life.
ancor non m'hai detto che m'ami. you haven't told me you love me.
Le sa quella dea le parole Does that goddess know the words PINKERTON Vieni, vieni... Come along, come...
che appagan gli ardenti desir? that satisfy burning desire? Via dall'anima in pena Cast all sad fears
l'angoscia paurosa. out of your heart!
BUTTERFLY Le sa. Forse dirle non vuole She does. Maybe she's unwilling È notte serena! Guarda: The night is clear! See,all things sleep!
per tema d'averne a morir, to say them for fear of dying of it, dorme ogni cosa! You are mine! Oh, come!
per tema d'averne a morir! for fear of dying of it!
BUTTERFLY Quante stelle! Oh, lovely night! What a lot of stars!
PINKERTON Stolta paura, Foolish fear - Non le vidi mai sì belle! Never have I seen them so beautiful!
l'amor non uccide, love does not kill, Trema, brilla ogni favilla Every spark twinkles and shines
ma dà vita, e sorride but gives life and smiles col baglior d'una pupilla. with the brilliance of an eye.
per gioie celestiali for heavenly joy, Oh! quanti occhi fisi, attenti, Oh! What a lot of eyes fixed and staring,
come ora fa as it does now d'ogni parte a riguardar! looking at us from all sides!
nei tuoi lunghi occhi ovali. in your almond eyes. pei firmamenti, via pei lidi, In the sky, along the shore,
BUTTERFLY Adesso voi siete per me For me you are now via pel mare...ride il ciel! out to sea...the sky is smiling!
l'occhio del firmamento. the eye of heaven. Ah! dolce notte! Oh, lovely night!
E mi piaceste dal primo momento And I liked you from the first moment Tutto estatico d'amor, In a ecstasy of love
che vi ho veduto. I set eyes on you. ride il ciel! the sky is smiling!
Siete alto, forte. You are tall and strong. PINKERTON Ah! Vien, ah vien! Come then, come!
Ridete con modi sì palesi! You laugh out so heartily. Sei mia! You are mine!
E dite cose And you say things
14 PROGRAM | OPERA GALA PROGRAM | OPERA GALA 15LISTENING GUIDE
Giacomo Puccini (1858-1924) Giuseppe Verdi (1813-1901)
Intermezzo from Manon Lescaut, Act III Brindisi (Drinking Song)from La Traviata
Manon Lescaut was Puccini’s first great success. Set in the 18th century, it tells of Manon Besides Act 2 finales, ‘brindisis’, or drinking songs, are conventions of Italian opera. In
who runs off with Des Grieux on her way to the convent and then drops Des Grieux for Act 1 of La Traviata, Violetta celebrates her return to health from a recent illness by
the elderly Geronte. When she abandons Geronte he has her arrested. She is deported to hosting another of her celebrated Paris parties. When Baron Douphol declines to sing a
New Orleans and dies of thirst in the arms of Des Grieux. The famous intermezzo bridges ‘toast’, another guest, Alfredo, takes up the challenge – ‘Let us drink from the joyful cups’.
the period between Manon’s imprisonment and embarkation. Everyone sings happily before the tale turns tragic – setting up great musical irony.
Giuseppe Verdi (1813-1901) ALFREDO
(TENOR)
Libiamo, libiamo ne'lieti calici
che la bellezza infiora.
Let's drink, drink from the joyful chalices
since the beautiness is blossoming.
'Vedi, le fosche notturne spoglie' (Anvil Chorus) E la fuggevol ora s'inebrii a voluttà And might the fleeting hour get inebriated at will
from Il Trovatore Libiam ne' dolci fremiti Let's drink among those sweet quivers
che suscita l'amore, that Love makes arise,
For an art form so full of love duets, opera is often about hate. Verdi’s 1853 opera Il
poiché quell'ochio al core onnipotente va. since that eye goes to his almighty heart.
Trovatore centres around Azucena’s revenge against the Count di Luna for burning her
Libiamo, amore, amor fra i calici Let's drink, my love, so that love among the chalices
mother at the stake. In Act 2, after the Anvil Chorus in which her fellow-gypsies celebrate
più caldi baci avrà will get hotter kisses
their daily work, she unwittingly reveals to her son that he is in fact the Count’s brother
whom she abducted, a switch that will have ironic consequences later. CHORUS Ah! Libiam, amor, Ah! Let's drink, so that love,
fra' calici più caldi baci avrà among the chalices, will get hotter kisses
Vedi! le fosche notturne spoglie See how the clouds melt away
VIOLETTA Tra voi tra voi saprò dividere With you, with you, I'll be able to share
de' cieli sveste l'immensa vôlta: from the face of the sky when the sun shines, its
(SOPRANO) il tempo mio giocondo; my cheerful time;
sembra una vedova che alfin si toglie brightness beaming;
Tutto è follia, follia nel mondo Everything is crazy, crazy in the world
i bruni panni ond'era involta. just as a widow, discarding her black robes,
ciò che non è piacer what is not pleasure
All'opra, all'opra! shows all her beauty in brilliance gleaming.
Godiam, fugace e rapido Let's enjoy the pleasures, fleeting and fast
Dagli. So, to work now!
e'il gaudio dell'amore, is the joy in love,
Martella. Lift up your hammers!
e'un fior che nasce e muore, it's a flower that blossoms and dies,
Chi del gitano i giorni abbella? Who turns the Gypsy's day from gloom to
ne più si può goder neither it can be enjoyed longer
brightest sunshine?
Godiamo, c'invita, c'invita un fervido Let's enjoy, it's calling us, it's calling us an ardent
La zingarella! His lovely Gypsy maid!
accento lusinghier. flattering accent.
Versami un tratto; lena e coraggio Fill up the goblets! New strength and courage CHORUS Godiamo, la tazza, la tazza e il cantico, Let's enjoy, the cup and the canticle,
il corpo e l'anima traggon dal bere. flow from lusty wine to soul and body. la notte abbella e il riso; the lovely night and the smiles;
Oh guarda, guarda... del sole un raggio See how the rays of the sun play and sparkle in questo paradiso ne scopra il nuovo dì might the new day find them still in this paradise
brilla più vivido nel tuo bicchiere! and give to our wine gay new splendor.
All'opra, all'opra.. So, to work now! VIOLETTA La vita è nel tripudio Life is in its jubilation
Chi del gitano i giorni abbella? Who turns the Gypsy's day from gloom to ALFREDO Quando non s'ami ancora... When people aren't in love yet...
brightest sunshine?
La zingarella! His lovely Gypsy maid! VIOLETTA Nol dite a chi l'ignora, Don't say it to those who don't know it,
ALFREDO E'il mio destin così... So it's my destiny
ALL Godiamo, la tazza, la tazza e il cantico, Let's enjoy, the cup and the canticle,
la notte abbella e il riso; the lovely night and the smiles;
in questo paradiso ne scopra il nuovo dì. might the new day find them still in this paradise.
16 PROGRAM | OPERA GALA Program Notes © Gordon Kalton Williams 2019 PROGRAM | OPERA GALA 17ARTIST BIOGRAPHIES
Giovanni Reggioli Natalie Aroyan
Conductor Soprano
Maestro Giovanni Reggioli is a critically Also widely respected as a pedagogue, he Armenian-Australian Soprano Natalie On the concert platform, Natalie has
acclaimed opera and orchestral conductor has lectured at The Juilliard School and Aroyan holds a Postgraduate Diploma of performed with the Melbourne Symphony
whose influence extends over five Manhattan School of Music and served as Opera from the Sydney Conservatorium of Orchestra, performing the Letter Scene
continents. Among his many credits are guest coach at the Lisa Gasteen National Music and a double-degree in Business and from Tchaikovsky’s Eugene Onegin and
positions at Teatro alla Scala, Teatro Opera School in Brisbane; the Caramoor I.T. from the Australian Catholic University. the Opera Gala at the Myer Music Bowl,
dell’Opera di Roma, Accademia Giuseppe festival in New York; the Renata Scotto She is a winner of the Opera Foundation Verdi Requiem with the Royal Melbourne
Verdi, Orchestra da Camera Fiorentina, the International Vocal Academy in Florence, New York Competition, Herald Sun Aria, Philharmonic Society in Hamer Hall,
Metropolitan Opera, Washington National Italy; and the Daniel Ferro Vocal Program and the Italian Opera Foundation Award Melbourne and in Sydney Town Hall with
Opera, New York City Opera, Los Angeles in Greve, Italy. Mo. Reggioli has lent his which enabled her to pursue further the Sydney University Graduate Choir.
Chamber Orchestra, Opéra de Québec, talents as a coach and administrator studies at Mannes College, New York and
Orchestre Symphonique de Québec, the to the Young Artist Programs of Teatro the Accademia of Bel Canto, Italy with
National Arts Center Orchestra of Ottawa, alla Scala, the Metropolitan Opera, Mirella Freni.
Ópera de Caracas, Ópera de Colombia, Washington National Opera, and the
the New National Theater of Tokyo, Opera New National Theater of Tokyo. He is A principal artist with Opera Australia,
Australia, Opera Queensland, Orchestra the founder and director of Bel Canto Natalie’s roles include the title role in Aïda,
Victoria, and Queensland Symphony in Tuscany, a summer opera school now Eva (Die Meistersinger), Micaela (Carmen),
Orchestra. Trained in both conducting and in its fourth year of educating the next Annina (La Traviata) and covering Tosca,
piano performance throughout his studies generation of opera singers in the grand as well as appearing at the Opera Gala
at The Juilliard School, Conservatorio Luigi Italian tradition and preparing them for on New Year’s Eve. Further roles include
Cherubini, and Salzburg Mozarteum, Mo. the international stage. He serves as the Mimi (La Bohème), Desdemona (Otello),
Reggioli has collaborated in concert and Master Coach of Teatro Nuovo in New York Amelia Grimaldi (Simon Boccanegra),
recital with such renowned singers as and coaches emerging singers, pianists, High Priestess (Aïda) and covering Luisa
Renata Scotto, Plácido Domingo, Cecilia and conductors at his home studio in Miller, Gutrune in the Melbourne Ring Cycle
Bartoli, Anna Moffo, Carlo Bergonzi, Washington D.C. and Elisabetta (Don Carlos), all for Opera
Denyce Graves, and Samuel Ramey. Australia; Mimi and Marguerite (Faust) for
West Australian Opera and Amelia (Simon
Boccanegra) in her European debut in
Bari, Italy.
18 PROGRAM | OPERA GALA PROGRAM | OPERA GALA 19ARTIST BIOGRAPHIES
Kang Wang Jeremy Kleeman Brisbane Chorale
Tenor Bass-baritone Emily Cox, Music Director
Australian-Chinese tenor Kang Wang A graduate of Victorian Opera’s Developing Justine Favell, accompanist For over two decades the Chorale has
was a finalist in the 2017 Cardiff Singer Artist Program and of Melbourne performed in QPAC’s ‘Spirit of Christmas’
of the World competition and is a recent Conservatorium of Music, Jeremy Kleeman
Roy Wales and concerts. It participates regularly in the
graduate of the Lindemann Young has also been a Melba Opera Trust Scholar, Alan Mackay-Sim, patrons 4MBS Festival of Classics, with recent
Artist Development Program of the and is the recipient of the Dame Heather Brisbane Chorale, a symphonic choir memorable performances of Verdi’s
Metropolitan Opera. During the 2018-19 Begg Award. of over 100 voices, has been under the Requiem, Elgar’s The Dream of Gerontius,
season, Mr. Wang makes numerous house leadership of Emily Cox since 2003. It is Rachmaninov’s The Bells, and Walton’s
and role debuts with Welsh National Recent engagements include appearances Belshazzar’s Feast. The highlight for the
with Victorian Opera as Walter Furst an independent performing organisation,
Opera, The Glimmerglass Festival, Austin enjoying a close relationship with the Chorale in November 2018 was Mahler’s
Lyric Opera, and on the concert stage (William Tell), Albert (The Magic Pudding), monumental 8th Symphony, the pinnacle
Collatinus (The Rape of Lucretia) at the Dark Queensland Conservatorium, Griffith
with the Los Angeles Philharmonic, University, as it has since its formation of the Conservatorium’s 60th Anniversary
Müncher Philharmoniker, and Eugene Mofo festival, Lord Valton (I puritani), Jonas season. Conducted by Johannes
Fogg (Sweeney Todd), Mother (Kurt Weill's in 1983 by Dr Roy Wales, then Director of
Symphony. Recent engagements include the Conservatorium. The Chorale’s history Fritzsch, the performance involved the
performances with the Metropolitan Seven Deadly Sins), and Badger and Parson Conservatorium Symphony Orchestra,
(The Cunning Little Vixen); Toby Raven was written in 2017 by Professor Peter
Opera, Austin Lyric Opera, Opera Roennfeldt, a publication made possible by choristers from 11 choirs, and local and
Queensland, and concerts with the London in Cloudstreet (George Palmer) for State international soloists.
Opera of South Australia; the title role in a Brisbane City Council History Grant.
Philharmonic, Beijing Symphony Orchestra,
American Classical Orchestra, San Antonio The Marriage of Figaro with Opera Australia The Chorale has a reputation for
Symphony, and Queensland Symphony Touring; Familiari III and Tribuno in The outstanding choral performance and
Orchestra. Mr. Wang has appeared at the Coronation of Poppea for Pinchgut Opera; collaborates frequently with major
Kennedy Center (Washington, D.C.), Grand Aeneas in Dido and Aeneas with Ludovico’s orchestras such as Queensland Symphony
Hall of Tchaikovsky Conservatory (Moscow Band; Nielsen Symphony No.3 with Orchestra, Camerata, Brisbane
- Russia), David Geffen Hall (New York), Melbourne Symphony Orchestra; St Matthew Philharmonic Orchestra and Brisbane
Vene Teater (Tallinn, Estonia), and the Passion, St John Passion with Melbourne Symphony Orchestra, as well as choirs
Musique et vin au Clos Vougeot festival Bach Choir, Handel's Susanna for Canberra's and other performance organisations.
in France. Originally from Harbin, China, Handel in the Theatre and Messiah with Its extensive repertoire spans music from
Mr. Wang received an International Artist Melbourne Symphony Orchestra. the baroque to the present day, with
Diploma at the Royal Northern College of Australian and world premières, including
Jeremy’s engagements in 2019 include
Music in Manchester, United Kingdom, and Kats-Chernin’s Symphonia Eluvium, a
recitals for Music Viva, St John Passion at
a Master’s of Music from the Queensland reflection on the 2011 Queensland floods.
Canberra International Music Festival, and
Conservatorium in Australia.
the Opera Gala concert with the Canberra
Kang Wang is supported by Kay Bryan. Symphony Orchestra. He will also feature
in Elliott Gyger's Oscar and Lucinda with
Sydney Chamber Opera, and present a lieder
recital at the Northern Lights Festival in
Trømso, Norway.
20 PROGRAM | OPERA GALA PROGRAM | OPERA GALA 2123
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Ms Marie Isackson
PATRON John and Helen Keep
($100,000 – $249,999) Dr Les and Mrs Pam Masel
Philip Bacon Galleries Desmond B Misso Esq.
Di Jameson CP Morris
Cathryn Mittelheuser AM Heidi Rademacher and in memory of
John B Reid AO and Lynn Rainbow Reid Hans Rademacher
Mrs Beverley June Smith Anne Shipton
John Story AO and Georgina Story Stack Family Foundation
Greg and Jan Wanchap Dr Damien Thomson and Dr Glenise Berry
Noel and Geraldine Whittaker Elinor and Tony Travers
Rodney Wylie
Anonymous
MAESTRO ($50,000 – $99,999)
L ATIN AMERICA
Dr John H. Casey CONCERTO
Peggy Allen Hayes ($10,000 – $19,999)
Mrs Andrea Kriewaldt John and Janet Allan
Frances and Stephen Maitland OAM RFD Prof. Margaret Barrett
In memory of Mr and Mrs J.C. Overell Joseph and Veronika Butta
GALA
Justice Anthe Philippides Dr Betty Byrne Henderson AM
Dr Graham and Mrs Kate Row Sarah and Mark Combe
Dr James R Conner
Mrs Ruth Cox
Mrs Elva Emmerson
Alan Galwey
Queensland Symphony Orchestra is Ian and Cass George
proud to acknowledge the generosity Dr Edgar Gold AM, QC and Dr Judith Gold CM
and support of our valued donors. Malcolm and Andrea Hall-Brown
Dr and Mrs W.R. Heaslop
(Donor lists correct as at May 2019.) Tony and Patricia Keane ALONDR A HOSTS MEXICO VS BR A ZIL
Dr Colin and Mrs Noela Kratzing
Michael Kenny and David Gibson
Shirley Leuthner
Morgans Foundation SAT 17 AUG 7.30PM Conductor Alondra de la Parra
Ian Paterson C O N C E R T H A L L , Q PA C Guitar Yamandu Costa
In memory of Pat Riches
Neil W Root and Trevor J Rowsell
Alan Symons & in memory of Bruce Short,
Kevin Woodhouse & Graham Webster
Dr Geoffrey Trim
Prof. Hans Westerman and
in memory of Mrs Frederika Westerman
Margaret and Robert Williams
Anonymous (2)
28 29PATRON VIOLIN 1 CELLO BASSOON BOARD OF DIRECTORS QUEENSLAND PERFORMING ARTS CENTRE
His Excellency Linda Carello David Lale ~ Nicole Tait~ Chris Freeman AM Chair
Rod Pilbeam Deputy Chair PO Box 3567, South Bank, Queensland 4101
the Honourable Shane Chen Hyung Suk Bae >> David Mitchell>>
Prof Margaret Barrett T: (07) 3840 7444 W: qpac.com.au
Paul de Jersey AC, Lynn Cole Kathryn Close Evan Lewis
Mary Jane Bellotti CHAIR
Governor Ann Holtzapffel Andre Duthoit
CONTRABASSOON Emma Covacevich Professor Peter Coaldrake AO
of Queensland Rebecca Seymour Matthew Jones
Claire Ramuscak* Tony Denholder
Joan Shih Matthew Kinmont Simon Gallaher DEPUTY CHAIR
MUSIC DIRECTOR
Brenda Sullivan Kaja Skorka FRENCH HORN Tony Keane Leigh Tabrett PSM
Alondra de la Parra
Stephen Tooke Craig Allister Young Malcolm Stewart ~ John Keep
TRUST MEMBERS
ARTIST-IN-RESIDENCE Brynley White Alex Miller >> Cat Matson
DOUBLE BASS Dare Power
Paul Lewis Ian O’Brien * Susan Rix AM
VIOLIN 2 Phoebe Russell ~
Vivienne Collier- MANAGEMENT Leanne de Souza
CONDUCTOR LAUREATE Gail Aitken ~ Dušan Walkowicz >> Craig Whitehead Chief Executive
Vickers
Johannes Fritzsch Wayne Brennan ~ Anne Buchanan Ros Atkinson Executive Assistant to Chief CHIEF EXECUTIVE
Lauren Manuel
Katie Betts Justin Bullock Executive and Board Chair John Kotzas
CONDUCTOR EMERITUS
Jane Burroughs Paul O’Brien TRUMPET Deb Houlahan Chief Operating Officer and
Werner Andreas Albert ACKNOWLEDGMENT
Faina Dobrenko Ken Poggioli Sarah Butler~ Company Secretary
The Queensland Performing Arts Trust is a
Simon Dobrenko Richard Madden>> Amy Herbohn Financial Controller
FLUTE statutory body of the State of Queensland and is
Tim Marchmont Barb Harding General Finance Coordinator
Paul Rawson partially funded by the Queensland Government
Alison Mitchell ~ Shelley Adams Human Resources Advisor
CONCERTMASTER Delia Kinmont
Hayley Radke>> TROMBONE The Honourable Leeanne Enoch MP, Minister for
Warwick Adeney Natalie Low Timothy Matthies Director - Artistic Planning
Nicholas Thin Jason Redman~ Michael Sterzinger Manager - Artistic Administration
Environment and the Great Barrier Reef, Minister for
PICCOLO
ASSOCIATE Science and Minister for the Arts
Helen Travers Kate Lawson* BASS TROMBONE Murray Walker Program Coordinator - Artistic
CONCERTMASTER Harold Wilson Planning Director-General, Department of Environment and
Tom Coyle*
Alan Smith OBOE Fiona Lale Artist Liaison Science: Jamie Merrick
VIOLA Huw Jones~ TUBA Judy Wood Community Engagement Manager
Imants Larsens ~ Pam Lowry Education Officer QPAC respectfully acknowledges the Traditional
Sarah Meagher>> Thomas Allely*
Yoko Okayasu >> Matthew Farrell Director – Orchestra Owners of the Lands across Queensland and pays
Alexa Murray
HARP Management respect to their ancestors who came before them and
Charlotte Burbrook de Vere
COR ANGLAIS Nina Logan Orchestra Manager to Elders past, present and emerging.
Nicole Greentree Jill Atkinson*
Vivienne Brooke* Peter Laughton Operations and Projects Manager
Bernard Hoey Patrons are advised that the Performing Arts Centre
TIMPANI Vince Scuderi Production Coordinator
Kirsten Hulin-Bobart has EMERGENCY EVACUATION PROCEDURES, a FIRE
CLARINET Tim Corkeron* Nadia Myers Orchestra Librarian
Jann Keir-Haantera ALARM system and EXIT passageways. In case of
Irit Silver~ an alert, patrons should remain calm, look for the
Graham Simpson PERCUSSION Katya Melendez Manager - Development
Brian Catchlove+ closest EXIT sign in GREEN, listen to and comply with
Nicholas Tomkin David Carolyn Bowes Manager - Corporate Partnerships
Kate Travers Karen Towers Development Coordinator directions given by the inhouse trained attendants and
Montgomery~ move in an orderly fashion to the open spaces outside
BASS CLARINET Matthew Hodge Director - Sales and Marketing
Josh DeMarchi>> the Centre.
Renée Jones Manager - Marketing
Nicholas Harmsen*
Rachel Churchland Coordinator - Digital Marketing
Celia Casey Coordinator - Marketing
and Publications
~ Section Principal Queensland Symphony Orchestra Music Director is proudly supported by Tim Fairfax AC. Michael Hyde Senior Manager - Sales
= Acting Section Principal The Artist-in-Residence program is supported by The University of Queensland.
Emma Rule Manager - Ticketing Services
>> Associate Principal
+ Acting Associate Principal
Mike Ruston Coordinator - Ticketing Services
* Principal
^ Acting Principal
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