Q U E E N S L A N D SY M P H O N Y O R CH E ST R A

CONCERT PROGRAM February - March

CONTENTS FEBRUARY & MARCH

MAESTRO

QSO PLAYS MAHLER 2

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Pre-concert talk at 6.30pm

MUSIC ON SUNDAYS

LOVE, DEATH & HAPPY ENDINGS MAESTRO & MORNING MASTERWORKS

QSO PLAYS ALL MOZART

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Pre-concert talk on Thursday 17 March at 6.30pm

CHORAL SERIES

MOZART REQUIEM BIOGRAPHIES

QSO CELEBRATES

MONTH of GIVING Help us G

Green.

Please take one program between two and keep your program for the month. You can also view and download program notes one week prior to the performance online at qso.com.au

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MAESTRO SAT 27 FEB 7.30PM Concert Hall, QPAC

QSO PLAYS MAHLER 2 Conductor Alondra de la Parra (Music Director designate) Soprano Dominique Fegan Mezzo Soprano Jennifer Johnston (Australian debut) Ensemble-in-Residence The Australian Voices Mahler Symphony No.2 Resurrection Pre-concert talk at 6.30pm Please note: the duration of this piece is approximately 80 minutes, there will be no interval.

#welcomealondra QSO welcomes Alondra de la Parra to Queensland for her first performance as Music Director designate – proudly supported by Timothy Fairfax AC.

QSO proudly welcomes Ensemble-in-Residence 2016.

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Foxtel Arts – proud to be QSO Season 2016 broadcast partner.

PROGRAM NOTES second movement is a short, nostalgic Ländler (a rustic cousin to the waltz) that recalls ‘the image of a long-dead hour of happiness which now enters your soul like a sunbeam that nothing can obscure’.

Gustav Mahler (1860-1911)

Symphony No.2 in C minor, Resurrection Allegro maestoso Andante moderato Scherzo: Calmly flowing Urlicht (Primordial Light). Very solemn, but simple Finale: In the tempo of the Scherzo [– Slowly – Allegro energico – Slowly]

Mahler’s Todtenfeier, a symphonic poem composed in 1888, depicted a hero’s funeral. It became the first movement of his Second Symphony, which remained unfinished until 1894, when, at the funeral of conductor Hans von Bülow, the choir sang a setting of the ‘Resurrection’ Ode by the 18th-century religious poet Friedrich Klopstock. Suddenly, Mahler recalled, ‘Everything was revealed clear and plain to my soul in a flash’. The first movement opens with a dramatic gesture. One striding theme returns in the finale to depict the general resurrection. In the central section, Mahler quotes the Dies iræ plainchant, foretelling the Day of Wrath. The movement, as notable for its delicate effects as for its monumental ones, reflects Mahler’s remark, ‘You are battered to the earth with clubs and lifted to the heights on angels’ wings’. Played ideally after a short pause, the

The Scherzo is based on Mahler’s setting of a folk-poem, ‘St Anthony of Padua’s Sermon to the Fishes’, in which the fish listen intently to the saint’s words, and then, like humans, behave exactly, and as badly, as before. The use of the high-pitched E flat clarinet and certain effects on the bass drum give the movement an edge of hysteria that culminates in a shattering climax. The hero ‘despairs of himself and of God. The world and life become a chaotic nightmare; loathing for all being and becoming seizes him with iron fist and drives him to an outburst of despair’. The fourth movement, Urlicht, offers some comfort for this despair, as the solo voice and velvety brass offer the prospect of reunion with God. The vocal line becomes more ecstatic and chromatic, and the orchestration more inventive and beautiful. But the finale begins with the overpowering ‘outburst of despair’ from the end of the third movement. It then occasionally recalls episodes from earlier movements. Offstage horn calls, described by Mahler as a ‘voice in the wilderness’, adumbrate the theme to which he sets the words ‘Believe, my heart, believe’. Two cataclysmic percussion crescendos lead into a violent, aggressive march, based on the Dies iræ. Here Mahler depicts the moment when: “The earth quakes, the graves burst open, and the dead arise … they all come marching along in a mighty procession: beggars and rich men, common folk and kings, the Church Militant, the Popes.”

PROGRAM February & March 3 Maxim Vengerov Violin

PROGRAM NOTES In the eerie calm that follows, we hear, offstage, the Last Trumpet (represented by brass and timpani), answered by a flute solo commonly known as the Bird of Death. The chorus softly intones Klopstock’s promise of eternal life. The soprano enters with words, added by Mahler, that answer the question of existence posed by the first movement: ‘Believe: You were not born in vain! You did not live or suffer in vain’. Adapted from a note © Gordon Kerry 2003

AUFERSTEHUNG Chorus and Soprano Aufersteh’n, ja aufersteh’n wirst du, Mein Staub, nach kurzer Ruh’! Unsterblich Leben! Unsterblich Leben Wird der dich rief dir geben. Wie der aufzublüh’n wirst du gesä’t! Der Herr der Ernte geht Und sammelt Garben uns ein, die starben! Mezzo Soprano O glaube, mein Herz, o glaube: Es geht dir nichts verloren! Dein ist, Dein, ja Dein, was du gesehnt! Dein, was du geliebt, Was du gestritten! Soprano O glaube: Du wardst nicht umsonst geboren! Hast nicht umsonst gelebt, gelitten!

URLICHT O Röschen rot! Der Mensch liegt in grösster Not! Der Mensch liegt in grösster Pein! Je lieber möcht’ ich im Himmel sein! Da kam ich auf einen breiten Weg; Da kam ein Engelein und wollt’ mich abweisen. Ach nein! Ich liess mich nicht abweisen: Ich bin von Gott und will wieder zu Gott! Der liebe Gott wird mir ein Lichtchen geben, Wird leuchten mir bis in das ewig selig Leben!

PRIMORDIAL LIGHT Little red rose! Humankind lies in greatest need! Humankind lies in greatest pain! How I wish I were in heaven! Then I came upon a broad path; an angel appeared and wanted to turn me away. Ah no! I did not let myself be turned away. I came from God and would return to God! Dear God will give me a little light, will light my way to the eternal, blessed life!

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PROGRAM February & March

Chorus Was entstanden ist, das muss vergehen! Was vergangen, auferstehen! Hör’ auf zu beben! Bereite dich zu leben! Soprano, Mezzo Soprano and Chorus O Schmerz! Du Alldurchdringer! Dir bin ich entrungen! O Tod! Du Allbezwinger! Nun bist du bezwungen! Mit Flügeln, die ich mir errungen, In heissem Liebesstreben Werd’ ich entschweben Zum Licht, zu dem kein Aug’ gedrungen! Mit Flügeln, die ich mir errungen Werde ich entschweben! Sterben werd’ ich, um zu leben! Aufersteh’n, ja aufersteh’n wirst du, Mein Herz, in einem Nu! Was du geschlagen, Zu Gott wird es dich tragen!

PROGRAM NOTES RESURRECTION Chorus and Soprano You will rise again, rise again, My mortal dust, after a brief rest. Immortal life! the one who called you will give you immortal life. You are sown to flower. The lord of the harvest goes forth And gathers us in sheaves, we who have died. Mezzo Soprano Believe, O my heart, believe: you have lost nothing. All that you longed for is yours, yes, yours: all you loved, all you fought for is yours. Soprano O believe: You were not born in vain! You did not live or suffer in vain. Chorus All that is created must die. All that has died must rise again! Cease your trembling! Prepare to live!

MORE MAHLER! QSO Plays Mahler 4 SAT 16 JUL 7.30PM Conducted by Simone Young PLUS Mahler’s Das Lied von der Erde

KEEN TO SEE ALONDRA AGAIN? QSO Plays Grieg SAT 5 NOV 7.30PM Strauss Till Eulenspiegel Grieg Piano Concerto Respighi Pines of Rome BOOK NOW qso.com.au

Soprano, Mezzo Soprano and Chorus O Pain that pierced me through, I have torn free of you! O Death, the conqueror of all, now you are defeated! On the wings I won in the fierce striving for love I will soar to the light that no eye has seen! On the wings I won I will soar! I will die so I may live! You will rise again, yes, rise again, my heart, in an instant! The blows you have struck will carry you to God!

PROGRAM February & March 5

MUSIC ON SUNDAYS SUN 13 MAR 11.30AM Concert Hall, QPAC

LOVE, DEATH AND HAPPY ENDINGS Conductor/Host Guy Noble Tenor Robert Barbaro Soprano Rebecca Gulinello Baritone Samuel Thomas-Holland

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Natalie Low QSO Violin

PROGRAM NOTES Vincenzo Bellini (1801-1835)

Overture to Norma

Wolfgang Amadeus Mozart (1756-1791)

The Marriage of Figaro Non più andrai Samuel Thomas-Holland

Giuseppe Verdi (1813-1901) La traviata Parigi o cara Robert Barbaro and Rebecca Gulinello Giacomo Puccini (1858-1924) Intermezzo from Suor Angelica

Mozart

Don Giovanni In quali’ eccessi … Mi tradì Rebecca Gulinello

Gaetano Donizetti (1797-1848) The Elixir of Love Una furtiva lagrima Robert Barbaro

Peter Ilyich Tchaikovsky (1840-1893) The Nutcracker Battle In the Pine Forest

Verdi

Rigoletto La donna è mobile Robert Barbaro

Mozart

The Marriage of Figaro Hai già vinta la causa Samuel Thomas-Holland

Pietro Mascagni (1863-1945) Intermezzo from L’amico Fritz Gustave Charpentier (1860-1956)

Louise Depuis le jour Rebecca Gulinello

Richard Wagner (1813-1883)

Liebestod from Tristan und Isolde

Of all the dramatic forms, opera is probably the most nakedly emotional. ‘How could it not be?’ you might ask, when it is drama set to music. An exponent of bel canto (the ‘beautiful singing’ espoused by Italian opera in the early 19th century), Bellini made the voice a genuine window to the soul. With Norma, the Druid priestess doomed by her love for an enemy of her people, Bellini created one of the most challenging soprano roles in the repertoire. The overture is a stirring curtain-raiser but provides a foretaste of Bellini’s melodic appeal. Early operas dealt with titanic struggles between mythical figures. Mozart peopled his operas with characters we can care about. In 1786’s The Marriage of Figaro, the hypocritical, philandering Count gets rival Cherubino out of his way by giving him a commission in his army. The servant Figaro can’t resist teasing Cherubino, ‘Now your days of philandering are over’. Later, Susanna, Figaro’s fiancée, comes up with a way to beat the Count in a legal case by which he hopes to snare Susanna. The Count overhears her plan. ‘You’ve “already won the case”? (Hai già vinta)’ he vents, while admitting he still desires her. The playwright George Bernard Shaw once summarised the emotional content of Verdi operas as: tenor wants soprano but is hindered by baritone. In La traviata (1853) the love between Violetta and Alfredo is impeded by his father, Germont, but it’s Violetta’s illness (tuberculosis) which really thwarts their love no matter how much they may dream of a future in ‘Parigi’. Verdi’s melodramas were succeeded in Italy by ‘verismo’, or realism, of which Puccini was the most famous exponent. Paradoxically, verismo operas often exhibit inflated levels of emotion. In 1918’s Suor Angelica, Angelica learns that the illegitimate child for whom she was banished to a convent has died.

PROGRAM February & March 7

PROGRAM NOTES Poisoning herself, she begs God for forgiveness, and is granted a miraculous deathbed vision of her son. Puccini was particularly gratified when Suor Angelica reduced the nuns at his sister’s convent to tears. In Mozart’s Don Giovanni, Giovanni the libertine is dragged to hell by the statue of a man he murdered. Mozart called this 1787 work an opera buffa (comic opera) but we are in no doubt about the seriousness of Giovanni’s rapacious behaviour. In Act II, Elvira, though still in love with the Don, reflects on the punishment that will befall ‘the wretch who betrayed me’ in a number that beautifully reveals music’s ability to portray conflicting emotions. The Elixir of Love, by another bel canto composer, Donizetti, is an authentically funny opera with a happy ending. Inspired by the tale of Tristan and Isolde, the tenor Nemorino goes to a quack to buy a draft of Isolde’s love potion. It doesn’t work. But when the soprano Adina sees him surrounded by pretty girls she sheds a tear of regret (‘una furtiva lagrima’) – which Nemorino quickly spots. Not only psychologically penetrating, music wonderfully illustrates action. Tchaikovsky, a composer of Russian operas, but better known in the West for his ballets (and symphonies), composed a battle scene for his 1892 ballet, The Nutcracker. It can’t be taken too seriously, though, as it takes place between mice and toys who have come to life on Christmas Eve after the children have gone to bed. Like Don Giovanni, the Duke in Verdi’s Rigoletto (1851) is another libertine who will leave a trail of broken female hears and set loose a train of curses, vengeance, pining and tragedy. In ‘La donna è mobile’, the Duke, a hypocrite, comments on the fickleness of women! 8

PROGRAM February & March

A tale set among Protestants and Jews in rural Alsace, L’amico Fritz (1891) is a lesser-known opera by the verismo composer, Mascagni. ‘… Infused with the scent and jubilance of summer,’ said critic Edward Seckerson in 2011. ‘Listening to this delicious score [of which the Intermezzo is a superb example] you wonder how the man who gave us Cavalleria rusticana could ever have been perceived as a “one hit wonder”.’ With Louise (1900), Frenchman Gustave Charpentier went beyond Italian ‘verismo’ to the sort of realism you might find in a Zola novel. But there is poignancy in this tale of love among Paris workers, such as when Louise sings of her happiness ‘since the day’ she surrendered to Julien. Wagner’s Tristan und Isolde of 1865 may be opera’s greatest love story ever told. Spare in action but rich in orchestration, you could describe it as emotion made palpable, even visible, through music. The very title of the last ten minutes – Isolde’s Love-Death – brings together themes from today’s concert as Isolde, unable to unite with her lover Tristan in life, merges with him in death and a surfeit of melody, proving that in opera, music aims to makes emotional processes actual. © Gordon Kalton Williams 2016

JOIN US FOR OUR NEXT MUSIC ON SUNDAYS CONCERT Long Live the Bard – 400 years SUN 5 JUN 11.30AM BOOK NOW qso.com.au

MAESTRO THUR 17 MAR 7.30PM Pre-concert talk at 6.30pm

MORNING MASTERWORKS FRI 18 MAR 11AM Concert Hall, QPAC

QSO PLAYS ALL MOZART Conductor Jessica Cottis Violin Shlomo Mintz Mozart Symphony No.31 Paris Mozart Violin Concerto No.5 Turkish Mozart Violin Concerto No.3 Strasbourg Mozart Symphony No.41 Jupiter* *Only performed on 17 March

The Morning Masterworks series is supported by 4MBS Classic FM. Shlomo Mintz Violin

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PROGRAM NOTES With his mother as chaperone, Wolfgang reached Paris in March 1778 and would spend some months there.

Wolfgang Amadeus Mozart (1756-1791)

Symphony No.31 in D, K297 Paris Allegro assai Andantino Allegro Violin Concerto No.5 in A, K219 Turkish Allegro aperto Adagio Rondo (Tempo di menuetto) Shlomo Mintz, Violin – Interval – Violin Concerto No.3 in G, K216 Strassburg Allegro Adagio Rondeau (Allegro) Shlomo Mintz, Violin Symphony No.41 in C, K551 Jupiter Allegro vivace Andante cantabile Menuetto (Allegretto) – Trio – Menuetto Molto allegro

‘Win fame and make money in Paris, [then] go off to Italy and get commissions for opera.’ Leopold Mozart’s businesslike advice was sent to his son, Wolfgang, who was touring various European courts in the hope of commissions and engagements.

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PROGRAM February & March

The D major symphony, when performed at a Concert spirituel, won the audience’s favour: Mozart wrote to his father that the audience had given it ‘great applause’ just where he had hoped (yes – during the piece!), and that flushed with success he had gone afterward to eat a ‘large ice and say the Rosary, as I had vowed to do’. The symphony, in accordance with Parisian taste, is in three, rather than the more conventional four, movements and displays numerous mannerisms that Mozart knew would draw that applause. (He did however agree to replace the original slow movement.) Sadly, his time in Paris ended tragically with the death of his mother and he was obliged to return to Salzburg. Several years before, Mozart had written five violin concertos. It has been suggested that one Count Czernin, a good amateur, might have commissioned them, and that Antonio Brunetti, a visiting soloist, played some of them. They represent a turningpoint in the development of the concerto. They are related to the conventional serenade – there is even a melody with guitar-like accompaniment in the finale of the G major concerto – but they are the first works of Mozart’s that give the soloist material separate from the orchestra. This is particularly notable in the first entry of the soloist in the A major concerto, whose nickname derives from a passage in the finale. The G major work, too, gets its nickname from a folky interlude in the triple-time finale that Mozart described as like a ‘melodie de Strassbourger’, and its first movement borrows material from an aria in the entertainment Il re pastore (The Shepherd King).

PROGRAM NOTES Both concertos are also significant in having a genuinely slow (Adagio) central movement. It was ultimately to Vienna that Mozart would go to make money and obtain opera commissions. The story of his later years has been encrusted with various myths, and the origin and history of his last three symphonies, Nos 39-41, is mysterious. Times were tough with a war against the Ottomans and the death of the emperor, but it would have been most unlike Mozart to write anything of which there would not be a definite performance. There is no hard evidence, but there exists a copy of a letter from Mozart to a creditor, Puchberg, in which he asks to borrow money, saying that after his subscription concerts ‘next week’ he will be able to pay it back. And Mozart encloses a pair of complimentary tickets. The three symphonies may well have been performed in Mozart’s lifetime. The ‘Jupiter’ nickname comes from the work’s spacious dimensions, and the magisterial demonstration of technique in which it glories.

LOOKING FOR EVEN MORE MOZART? Mozart Requiem THUR 24 MAR 7.30PM Experience one of the greatest masterpieces of all time.

2016 SOLOISTIN-RESIDENCE NIKOLAI DEMIDENKO 20-21 MAY & 14-15 OCT See our 2016 Soloist-in-Residence, one of the finest Beethoven pianists of our time, Nikolai Demidenko. BOOK NOW qso.com.au

© Gordon Kerry 2016

PROGRAM February & March 11

CHORAL SERIES THUR 24 MAR 7.30PM Concert Hall, QPAC

MOZART REQUIEM Conductor Ainārs Rubiķis Soprano Kiandra Howarth Mezzo Soprano Deborah Humble Tenor Kang Wang Bass-Baritone Christopher Richardson Ensemble-in-Residence The Australian Voices Mozart Overture to Die Zauberflöte (The Magic Flute), K.620 Così dunque—Aspri rimorsi atroci, K.432 (421a) Ombra felice—Io ti lascio, K.255 Per pietà, non ricercate, K.420 Vado, ma dove, o dei, K.583 - Interval Requiem, K.626 (completed by Franz Süssmayr)

Foxtel Arts – proud to be QSO Season 2016 broadcast partner. 12

PROGRAM February & March

PROGRAM NOTES

Wolfgang Amadeus Mozart (1756-1791)

Overture to Die Zauberflöte (The Magic Flute), K.620 Così dunque—Aspri rimorsi atroci, K.432 (421a) Christopher Richardson Ombra felice—Io ti lascio, K.255 Deborah Humble Per pietà, non ricercate, K.420 Kang Wang Vado, ma dove, o dei, K.583 Kiandra Howarth – Interval – Requiem, K.626 (completed by Franz Süssmayr)

The last year of Mozart’s life has been the source of much that is fanciful. In July 1791, he had been ‘anonymously’ commissioned to compose a Requiem Mass: the patron was Count Walsegg who (and this was an open secret) was in the habit of commissioning music, copying it out in his own handwriting and claiming it as his own. Mozart started work but then took on several other commissions including two operas, La clemenza di Tito for a coronation in Prague and The Magic Flute for a local suburban theatre in Vienna.

The ‘Flute’ quickly became a hit (as did ‘Tito’, after Mozart’s death) with its ‘oriental’ setting and Masonic symbolism. This included the use of the number three, heard in the sparkling overture (in E-flat – which has three flats) and the three-fold statement of its opening fanfare. After Mozart's first operatic success in Vienna in 1782 with The Abduction from the Seraglio, he wrote the concert aria Così dunque tradisci … Aspri rimorsi atroci for the bass Ludwig Fischer, who had created the role of Osmin in Seraglio. Divided into the standard accompanied recitative and formal aria, the text is by Metastasio, and its bitter recriminations towards a 'faithless princess' are in turbulent F minor. Mozart's only concert aria for alto, Ombra felice … lo ti lascio, was composed in 1776 for castrato Francesco Fortini, then visiting Salzburg with a touring company. Its text, by Giovanni de Gamerra, is a stoic farewell aria for the legendary Assyrian commander Arsace. Mozart sometimes composed ‘replacement’ arias for particular singers to sing in other composers’ operas. The E-flat major Per pietà, non ricercate, was written in 1783 for a comic opera, by Anfossi, of tested fidelity based on a story from Don Quixote, where tenor Johann Valentin Adamberger starred as a charming young count. Vado, ma dove, whose aria is a gracious minuet also in E-flat, was for soprano Louise Villeneuve to sing in The Good-Natured Curmudgeon by Martín y Soler. After ‘Tito’, the ‘Flute’ and one or two concertos, Mozart returned to the Requiem in what would prove to be his last months, but only in his final illness, possibly hallucinating under the effects of mercury poising, did he say that he was writing it for himself.

PROGRAM February & March 13

PROGRAM NOTES The text of the mass for the dead contains the usual prayers for mercy (Kyrie) and ecstatic praise (Sanctus) as well as specific prayers for the departed. Mozart charts the drama of fear of divine punishment and a yearning for eternal peace in music that reflects both his genius as an operatic composer and his reverence for the church music of Bach. (Mozart, incidentally, had hoped to become director of music at St Stephen’s Cathedral.) When he died, Constanze Mozart approached several composers to complete the orchestration, of which Mozart wrote only the first movement, and (unbeknown to the patron) to finish the ‘Lacrimosa’, which trails off after eight bars, and compose the ‘Sanctus’, ‘Benedictus’ and ‘Agnus dei’. The version commonly performed today is by Mozart’s sometime student Franz Xaver Süssmayr. © Gordon Kerry 2016

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PROGRAM February & March

JOIN THE QSO ON TOUR FOR BBC PROMS AUSTRALIA In April the full Orchestra will travel to Melbourne to star in the inaugural BBC Proms Australia – and music lovers are invited along! Exclusive tour packages are available via Hayllar Music Tours. Details at qso.com.au Supported by

BIOGRAPHIES

Alondra de la Parra

Conductor (QSO Music Director designate) Born in New York City in 1980, de la Parra moved to Mexico with her parents at age two. She began playing the piano at age seven and the cello at 13; and it was then she decided she wanted to become a conductor. She returned to Mexico City and studied composition at the Centre of Research and Musical Studies (CIEM). She moved to New York City at age 19 and attended the Manhattan School of Music where she became recipient of the Presser Scholarship. There, she obtained her BM in piano performance and her Masters degree in Orchestra Conducting, both with the highest honours. In 2004, at age 23, de la Parra founded the Philharmonic Orchestra of the Americas (POA). Her mission was to create an orchestra that would serve as a platform to showcase young performers and composers of the Americas. With POA de la Parra recorded her debut Album Mi Alma Mexicana – the album was amongst the top 10 on the US Billboard Classical Chart and was the first classical recording in more than a decade to earn Platinum Record Status in Mexico in less than two months. She is an avid supporter of education programs across the world and brings to QSO a heightened sense of community engagement and responsibility. Ms de la Parra has been recently appointed as one of the 11 people selected as Patrons of the Arts 2015 by the Cultural Foundation of Montblanc which recognizes the major drivers of the art in specific regions of the

planet; this award will allow her to help young talent to continue their development and showcase their musical artistic potential. She has collaborated with artists including Geoffrey Rush and Robert Redford, filmmaker Michel Gondry, choreographer Christopher Wheeldon and musicians such as Plácido Domingo, Pinchas Zukerman, Joshua Bell, Sarah Chang, Gustavo Santaolalla and Gloria Estefan, among others.

Dominique Fegan Soprano

Dominique appears regularly as the soprano soloist with Underground Opera. She has been a company member of Opera Queensland since 1995 and has performed in over 20 operas in the chorus, as a soloist, an understudy and in small roles. In the UK, Dominique performed the roles of Violetta in La Traviata, the title role in Tosca (Park Opera) and Musetta in La Bohème (Canglelight Opera). In Australia, she sang the role of Annina in a Brisbane Festival performance of La Traviata and performed the role of Carlotta in the Queensland premiere production of The Phantom of the Opera with Savoyards. In 2014, Dominique made her debut with the Queensland Symphony Orchestra in a number of Music on Sunday’s concerts throughout the year.

PROGRAM February & March 15

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Jennifer Johnston Mezzo Soprano

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Jennifer Johnston, named by BBC Music Magazine as "a rising star", and the Financial Times as the "Face to Watch in Opera", is a former BBC New Generation Artist and a graduate of Cambridge University and the Royal College of Music. She has appeared in opera at the Teatro alla Scala, Salzburg Festival, Bayerische Staatsoper, Festival d'Aix en Provence, Opera de Lille, Beijing Festival, Baltic Sea Festival and more. She has performed with many orchestras in repertoire spanning the centuries, from Bach's St Matthew Passion with the Dallas Symphony and Hong Kong Philharmonic Orchestras, Beethoven's Ninth Symphony with the National Youth Orchestra at the BBC Proms, and Mahler's Second Symphony with the São Paulo State Symphony Orchestra. Jennifer's 2015-16 engagements include Leda in Strauss's Die Liebe der Danae at the Salzburg Festival, Jocasta in Stravinsky's Oedipus Rex with the Berlin Philharmonic Orchestra, Mahler's Third Symphony and Dvorak's Stabat Mater with the Cleveland Orchestra and Mozart's Requiem with the Malaysian Philharmonic Orchestra and the BBC National Orchestra of Wales.

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The Australian Voices Ensemble-in-Residence

It is with high artistic energy that The Australian Voices commission and perform the works of Australian composers. Recently The Australian Voices have recorded new works intended for “performance” on YouTube. Hamilton’s composition The 9 Cutest Things That Ever Happened (2013) has been viewed over one million times. In 2014, TAV made international headlines with a video of Rob Davidson’s Not Now, Not Ever! (2014), a musicalisation of Julia Gillard’s ‘misogyny’ speech. Their album for Warner Classics (2012) was observed by Gramophone Magazine to "boast a crisp, resonant delivery of the sonic goods under Hamilton's confident direction". In 2013, TAV released a songbook with Edition Peters. Recently the group has brought their distinct sound to China, the UK, Germany, USA and Palestine. In 2015 they collaborated with Topology in Unrepresentative Swill, a concert inspired by prime-ministerial speeches.

Guy Noble

Conductor/Host Guy Noble is one of Australia’s most versatile conductors and musical entertainers, conducting and presenting concerts with all the major Australian

orchestras and performers such as The Beach Boys, Yvonne Kenny, David Hobson, Ben Folds, Dianne Reeves, Randy Newman, and Clive James. He has cooked live on stage with Maggie Beer and Simon Bryant (The Cook, The Chef and the Orchestra, Adelaide Symphony) appeared as Darth Vader (The Music of John Williams, Sydney Symphony) and might be the only person to have ever sung the Ghostbusters theme live on stage accompanied by The Whitlams (Queensland Symphony Orchestra). Guy is a regular guest presenter on ABC Classic FM, conducted La Bohème throughout Queensland with (Opera Queensland and QSO), hosts and accompanies Great Opera Hits (Opera Australia) writes a column for Limelight Magazine, presents the inflight classical channels on Qantas, Air China, China Airlines and Gulf Air, and is very pleased to be back as host of Music of Sundays.

Jessica Cottis Conductor

Hailed in the UK music press as “the one to watch”, Jessica Cottis is fast gaining an international reputation as one of the most exciting conductors of the younger generation. Recent seasons include guest conducting Mozarteumorchester Salzburg, Scottish Opera, BBC Proms, The Philharmonia, London Philharmonic Orchestra, Orchestra of the Royal Opera House, BBC National Orchestra of Wales, BBC Philharmonic, and New Zealand, Queensland, Adelaide, and BBC Scottish symphony orchestras.

PROGRAM February & March 19

BIOGRAPHIES Cottis’s international career was launched through close working relationships with conductor mentors Vladimir Ashkenazy, Charles Dutoit and Donald Runnicles. From 2009 to 2011, she was Assistant Conductor of the BBC SSO and Fellow in Conducting, Royal Conservatoire of Scotland. In 2012, she was appointed Assistant Conductor of the Sydney Symphony, with her performances widely celebrated: "Jessica Cottis is one of the big hopes for change".

Mintz won several prestigious prizes including the the Diapason D’Or, the Gramophone and the Edison Award. He was Soloist-in-Residence with the Queensland Symphony Orchestra in 2015.

Ainārs Rubiķis Conductor

Shlomo Mintz Violin

Critics, colleagues and audiences regard Shlomo Mintz as one of the foremost violinists of our time, esteemed for his impeccable musicianship, stylistic versatility and commanding technique alike. Born in Moscow in 1957, Mintz immigrated to Israel with his family two years later, where he studied with Ilona Feher. At the age of 14, he made his concert debut with the Israel Philharmonic Orchestra and at 16 he made his debut in Carnegie Hall. Since then he regularly appears with the most celebrated orchestras and conductors on the international music scene. Last season he celebrated his 50th anniversary on stage. Mintz has been a jury member of important international competitions and presides over the Munetsugu Angel Violin Competition (Japan) and the Buenos Aires Violin Competition. He is co-founder of the online Music Academy (shlomo-mintz.com).

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PROGRAM February & March

Ainārs Rubiķis came to international attention as winner of the Third International Gustav Mahler conducting competition in 2010. In 2011, he was announced recipient of the Nestlé and Salzburg Festival Young Conductors Award and subsequently conducted the Gustav Mahler Jugendorchester at the Salzburg Festival. From 2012-14, he served as Musical Director of Novosibirsk State Opera House. Highlights of previous seasons include debuts with BBC Scottish Symphony Orchestra, Danish Chamber, Strasbourg Philharmonic, Tiroler Landestheater Orchester, Samara Symphony and returns to Gulbenkian with Leonskaja, Orchestre Nationale d’Ile de France, Royal Northern Sinfonia and Salzburg Mozartwoche. Opera has included a celebrated new production of Tannhauser in Novosibirsk and debuts with Liceu Barcelona (Carmen) and Oberammergau Festival (Nabucco). The 2015/16 season sees return visits to Poznan Philharmonic, St Petersburg Philharmonic, Orchestre Nationale d’Ile de France and Orquesta de Euskadi with the Malandain Ballet Biarritz. Debuts include with Residentie Orkest and the Bolshoi Theatre with a production of Boris Godunov.

BIOGRAPHIES

Kiandra Howarth

Deborah Humble

Since graduating with from the Queensland Conservatorium in 2010, Kiandra Howarth has sung a variety of major roles throughout Europe, Asia and Australia. For Opera Australia, she has sung Papagena in Die Zauberflöte, Zerlina in Don Giovanni and made her international debut singing Norina in Don Pasquale in Tokyo, Japan. At the Salzburg Festival, she performed Ein Friedensbote in Rienzi under Philippe Jordan and Una voce dal cielo in Don Carlo under Antonio Pappano. For the Royal Opera, Covent Garden, he roles have included Second Flower Maiden in Parsifal, Echo in Ariadne auf Naxos, Giannetta in L’elisir d’amore and Countess Ceprano in Rigoletto; she also made her leading role debut at Covent Garden – as Adina in L’elisir d’amore. In 2016, Kiandra returns to Australia as Lauretta in Gianni Schicchi for West Australian Opera; she also takes the soprano solos in Mozart’s Requiem for Queensland Symphony Orchestra.

Mezzo-Soprano Deborah Humble is one of Australia’s most successful international artists – renowned particularly for her appearances in the operas of Richard Wagner. Her engagements have included those with Edinburgh Festival, Festival d’Aix-en-Provence, Salzburg Easter Festival, Hong Kong Philharmonic Orchestra, Singapore Lyric Opera, Seattle Symphony, Auckland Philharmonia Orchestra, Stuttgart Philharmonic, Hamburg Philharmonic, London Mozart Players, British Youth Opera and the Théâtre du Châtelet in Paris. In 2013/14, she sang Ring Cycles in Hamburg, Halle, Melbourne and Ludwigshafen, sang Catherine in Honegger’s Jean d’Arc du Boucher in Lisbon, Amneris in Aida for Opera Australia, Elijah with the Sydney Symphony, Mahler’s Symphony No.3 with the Queensland Symphony Orchestra and Wesendonck Lieder in New Zealand. In 2015, Deborah Humble appeared in Strauss’ Elektra and Honegger’s Jeanne d’Arc au Boucher in Hamburg, Das Rheingold and Beethoven’s Symphony No.9 in Hong Kong, Siegfried in Boston, Mahler’s Symphony No.8 in Singapore, Bruni’s Symphony No.1 (Ringparabel) in Minsk, Parsifal and Verdi’s Requiem in the UK, Bluebeard’s Castle in Melbourne and Tristan und Isolde in Mexico City.

Soprano

Mezzo Soprano

PROGRAM February & March 21

BIOGRAPHIES

Kang Wang

Christopher Richardson

Australian-Chinese tenor, Kang Wang, is in his first year of the Lindemann Young Artist Development Program. Kang Wang was previously a member of the opera studio “OperAvenir” at Theater Basel in Switzerland in the 2014/15 season, during which time he performed Nathanael in Les Contes d’Hoffmann, Notar in Don Pasquale and Male Chorus in The Rape of Lucretia. He performed Don José in La Tragedie de Carmen at IVAI Virginia in June 2014, and sang Nemorino in L’elisir d’amore at the Royal Northern College of Music. At the Queensland Conservatorium he sang Rinuccio in Gianni Schicchi and Tom Rakewell in The Rake’s Progress. Mr. Wang won the People’s Choice Award in the Dame Joan Sutherland National Vocal Award, and as one of five finalists, performed in the final concert of the Australian Singing Competition at the Sydney Opera House. He won the Clonter Opera Prize in the UK in 2014 and was a semi-finalist of the 2011 Hans Gabor Belvedere Singing Competition in Vienna. Kang Wang gained his International Artist Diploma in Opera at Royal Northern College of Music in Manchester, UK, and completed his Master of Music Studies in opera at Queensland Conservatorium Griffith University in Australia under Mr. Joseph Ward OBE.

A graduate of the Tasmanian Conservatorium of Music, Christopher Richardson has studied with Marilyn Smith, Jane Edwards, Glenn Winslade and Sharolyn Kimmorley, and is a graduate of the Lisa Gasteen National Opera School. He has also been the recipient of the Royal Melbourne Philharmonic Aria Award.

Tenor

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PROGRAM February & March

Bass-Baritone

Christopher’s recent performance highlights include soloist with the Melbourne Symphony Orchestra in Beethoven’s Choral Fantasy and Mozart’s Requiem, his debut with Pinchgut Opera as Thoas in Iphigénie en Tauride, the title role in Hercules for Canberra Choral Society, The Creation (Festival of Voices, Hobart), ‘Sing Along Messiah’ (Tasmanian Symphony Orchestra), and Abandon (Handel arr. Crabb) with Opera Queensland and DanceNorth. In 2016, Christopher’s engagements include Messiah (Melbourne Symphony Orchestra), St Matthew Passion with both Tasmanian Symphony and Newcastle University Choir, Bach Magnificat (Auckland Philharmonia Orchestra), Israel in Egypt and a Baroque concert (Sydney Philharmonia Choirs), The Vow (Jeptha) with Canberra Choral Society and Idreno in Haydn’s Armida (Pinchgut Opera).

CHAIR DONORS Chair Donors support an individual musician’s role within the orchestra and gain fulfilment through personal interactions with their chosen musician. CONCERTMASTER

Warwick Adeney Prof. Ian Frazer AC & Mrs Caroline Frazer Barbara Jean Hebden Bequest Cathryn Mittelheuser AM John Story AO & Georgina Story ASSOCIATE CONCERTMASTER

Alan Smith Arthur Waring FIRST VIOLIN

Stephen Phillips Dr Graham & Mrs Kate Row Rebecca Seymour Ashley Harris Brenda Sullivan Heidi and Hans Rademacher Anonymous Stephen Tooke Tony & Patricia Keane SECTION PRINCIPAL SECOND VIOLIN

Wayne Brennan Arthur Waring SECOND VIOLIN

Delia Kinmont Jordan & Pat Pearl Natalie Low Dr Ralph & Mrs Susan Cobcroft Helen Travers Elinor & Tony Travers VIOLA

Charlotte Burbrook de Vere Di Jameson Graham Simpson Alan Galwey SECTION PRINCIPAL CELLO

David Lale Arthur Waring CELLO

Kathryn Close Dr Graham & Mrs Kate Row Andre Duthoit Anne Shipton Matthew Kinmont Dr Julie Beeby

ASSOCIATE PRINCIPAL DOUBLE BASS

Dushan Walkowicz Sophie Galaise

SECTION PRINCIPAL TRUMPET

Sarah Butler Mrs Andrea Kriewaldt

DOUBLE BASS

ASSOCIATE PRINCIPAL TRUMPET

Justin Bullock Michael Kenny & David Gibson

Richard Madden Elinor & Tony Travers TRUMPET

Paul O'Brien Roslyn Carter

Paul Rawson Barry, Brenda, Thomas & Harry Moore

SECTION PRINCIPAL FLUTE

Dr Damien Thomson & Dr Glenise Berry ASSOCIATE PRINCIPAL FLUTE

Hayley Radke Desmond B Misso Esq ASSOCIATE PRINCIPAL OBOE

Sarah Meagher Sarah and Mark Combe OBOE

SECTION PRINCIPAL TROMBONE

Jason Redman Frances & Stephen Maitland OAM RFD ASSOCIATE PRINCIPAL TROMBONE

Dale Truscott Peggy Allen Hayes PRINCIPAL TUBA

Alexa Murray Dr Les & Ms Pam Masel

Thomas Allely Arthur Waring

SECTION PRINCIPAL CLARINET

PRINCIPAL HARP

Irit Silver Arthur Waring

Jill Atkinson Noel & Geraldine Whittaker

CLARINET

PRINCIPAL TIMPANI

Kate Travers Dr Julie Beeby SECTION PRINCIPAL BASSOON

Nicole Tait In memory of Margaret Mittelheuser AM ASSOCIATE PRINCIPAL BASSOON

David Mitchell John & Helen Keep

Tim Corkeron Dr Philip Aitken & Dr Susan Urquhart Peggy Allen Hayes

SECTION PRINCIPAL PERCUSSION

David Montgomery Dr Graham & Mrs Kate Row PERCUSSION

Josh DeMarchi Dr Graham & Mrs Kate Row

SECTION PRINCIPAL FRENCH HORN

Malcolm Stewart Arthur Waring FRENCH HORN

Thank you

Peter Luff Shirley Leuthner Lauren Manuel Gaelle Lindrea

PROGRAM February & March 23

DONORS Queensland Symphony Orchestra is proud to acknowledge the generosity and support of our valued donors. PLATINUM PATRON ($500,000+) Timothy Fairfax AC Tim Fairfax Family Foundation Harold Mitchell AC DIAMOND PATRON ($250,000 - $499,000) The Pidgeon Family T & J St Baker Charitable Trust Arthur Waring PATRON ($100,000 - $249,000) Philip Bacon Galleries Prof. Ian Frazer AC and Mrs Caroline Frazer Barbara Jean Hebden Bequest Jellinbah Group Cathryn Mittelheuser AM John B Reid AO and Lynn Rainbow Reid Dr Peter Sherwood John Story AO and Georgina Story Greg and Jan Wanchap Noel and Geraldine Whittaker MAESTRO ($50,000 - $99,999) Bank of Queensland Page and Marichu Maxson Mrs Beverley June Smith SYMPHONY ($20,000 - $49,999) Dr Philip Aitken and Dr Susan Urquhart Dr Julie Beeby English Family Prize Peggy Allen Hayes Di Jameson Mrs Andrea Kriewaldt Frances and Stephen Maitland OAM RFD Desmond B Misso Esq. In memory of Margaret Mittelheuser AM

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PROGRAM February & March

Justice Anthe Philippides Queensland Conservatorium Griffith University Dr Graham and Mrs Kate Row Dr Damien Thomson and Dr Glenise Berry Rodney Wylie Anonymous CONCERTO ($10,000 - $19,999) David and Judith Beal Mrs Roslyn Carter Dr John H. Casey Dr Ralph and Mrs Susan Cobcroft Mrs I.L. Dean Tony Denholder and Scott Gibson Sophie Galaise Dr Edward C. Gray Dr and Mrs W.R. Heaslop Gwenda Heginbothom Ms Marie Isackson John and Helen Keep M. Lejeune Dr Les and Ms Pam Masel In memory of Mr and Mrs J.C. Overell Ian Paterson Mr Jordan and Mrs Pat Pearl Heidi and Hans Rademacher Anne Shipton Elinor and Tony Travers Anonymous SCHERZO ($5,000 - $9,999) Prof. Margaret Barrett Trudy Bennett Mrs Valma Bird Dr John and Mrs Jan Blackford Dr Betty Byrne Henderson AM Mrs Elva Emmerson Alan Galwey Dr Edgar Gold AM, QC and Dr Judith Gold CM Prof. Ian Gough AM and Dr Ruth Gough

Fred and Maria Hansen Ashley Harris Dr Alison Holloway Tony and Patricia Keane Michael Kenny and David Gibson Shirley Leuthner Gaelle Lindrea Barry, Brenda, Thomas and Harry Moore Kathleen Y. Nowik John and Jennifer Stoll Mrs Gwen Warhurst Prof. Hans and Mrs Frederika Westerman Margaret and Robert Williams Helen Zappala Anonymous RONDO ($1,000 - $4,999) Julieanne Alroe Jill Atkinson Emeritus Professor Cora V. Baldock Dr Geoffrey Barnes and in memory of Mrs Elizabeth Barnes Professors Catherin Bull AM and Dennis Gibson AO M. Burke Peter and Tricia Callaghan Mrs J. A. Cassidy Drew and Christine Castley Greg and Jacinta Chalmers Cherrill and David Charlton Ian and Penny Charlton Robert Cleland Sarah and Mark Combe Roger Cragg Julie Crozier and Peter Hopson Ms D.K. Cunningham Dr Beverley Czerwonka-Ledez Justice Martin Daubney Laurie James Deane Ralph Doherty In memory of Mrs Marjorie Douglas

Garth and Floranne Everson Dr Bertram and Mrs Judith Frost C.M. and I.G. Furnival Graeme and Jan George Hans Gottlieb Lea and John Greenaway Yvonne Hansen Madeleine Harasty David Hardidge Harp Society of Queensland Inc Lisa Harris Chip Hedges Pty Ltd Ted and Frances Henzell Patrick and Enid Hill Prof. Ken Ho and Dr Tessa Ho Jenny Hodgson Sylvia Hodgson Lynette Hunter Sandra Jeffries and Brian Cook John and Wendy Jewell Anna Jones Ainslie Just Dr Colin and Mrs Noela Kratzing Sabina Langenhan Dr Frank Leschhorn Rachel Leung Lynne and Franciose Lip Prof. Andrew and Mrs Kate Lister Jim and Maxine MacMillan Belinda McKay and Cynthia Parrill Annalisa and Tony Meikle In memory of Jolanta Metter G.D. Moffett B and D Moore Martin Moynihan AO QC and Marg O’Donnell AO

Howard and Katherine Munro John and Robyn Murray Ron and Marise Nilsson Charles and Brenda Pywell Dr Phelim Reilly Mr Dennis Rhind In memory of Pat Riches Joan Ross Chris and Judith Schull Bernard and Margaret Spilsbury M.A. Stevenson Barb and Dan Styles Katherine Trent and Paul Reed William Turnbull H.R. Venton Tanya Viano I.S and H. Wilkey Jeanette Woodyatt Anonymous (46) VARIATIONS ($500 - $999) Don Barrett William and Erica Batt Manus Boyce Mrs Verna Cafferky Alison G. Cameron Constantine Carides Elene Carides W.R. and H. Castles Dr Alice Cavanagh Francis N. Clark Terry and Jane Daubney Dr C. Davison R.R & B.A Garnett Shirley Heeney Richard Hodgson Jacobitz Family Miss Dulcie Little

The Honourable Justice J.A. Logan, RFD In memory of Mr David Morwood T. and M.M. Parkes Martin and Margot Quinn Mr Rolf and Mrs Christel Schafer Smith Family Judith Smith and Family Dr B. Srinivasan Pat Stevens Anonymous (34) JOHN FARNSWORTH HALL CIRCLE Named in honour of the first Chief Conductor of QSO (1947-1954) Roberta Bourne Henry All enquiries, please call Gaelle Lindrea on (07) 3833 5050 Instruments on loan QSO thanks the National Instrument Bank and The NFA Anthony Camden Fund for their generous loan of fine instruments to the recitalists of our English Family Prize for Young Instrumentalists.

Thank you

Please contact Gaelle Lindrea on 07 3833 5050, or you can donate online at qso.com.au/donatenow All donations over $2 are tax deductible ABN 97 094 916 444 For a list of Building for the Future donors go to qso.com.au/giving/ourdonors

PROGRAM February & March 25

Proudly supporting Queensland Symphony Orchestra. To find out how we can help your business, call us today on 13 10 12.

©2016 National Australia Bank Limited ABN 12 004 044 937 AFSL and Australian Credit Licence 230686 A122460-0116

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PROGRAM February & March

PROGRAM February & March 27

QUEENSLAND SYMPHONY ORCHESTRA CELLO

PATRON

VIOLIN 1

His Excellency the

Linda Carello

David Lale~

Honourable Paul de

Lynn Cole

Kathryn Close 

David Mitchell>>

Jersey AC, Governor

Priscilla Hocking

Andre Duthoit

Evan Lewis

of Queensland

Ann Holtzapffel

Matthew Jones

Stephen Phillips

Matthew Kinmont

Rebecca Seymour

Kaja Skorka

Joan Shih

Craig Allister Young

MUSIC DIRECTOR DESIGNATE Alondra de la Parra

Brenda Sullivan

CONDUCTOR LAUREATE

Stephen Tooke

Johannes Fritzsch

Brynley White

ASSISTANT CONDUCTOR

VIOLIN 2

Natalia Raspopova

Gail Aitken~

CONDUCTOR EMERITUS

Jane Burroughs

Werner Andreas Albert SOLOIST-IN-RESIDENCE Nikolai Demidenko

Wayne Brennan~ Faina Dobrenko Simon Dobrenko

CONCERTMASTER

Dushan Walkowicz

Paul O’Brien Ken Poggioli FLUTE Hayley Radke>>

Kate Lawson* OBOE

Warwick Adeney

Harold Wilson

Huw Jones~

ASSOCIATE

VIOLA

Alexa Murray

Charlotte Burbrook de Vere

COR ANGLAIS

CONCERTMASTER Alan Smith

Sarah Meagher>>

Bernard Hoey

Vivienne Brooke*

Kirsten Hulin-Bobart

CLARINET Irit Silver~

Jann Keir-Haantera Helen Poggioli Graham Simpson Nicholas Tomkin

FRENCH HORN

Malcolm Stewart~ =

Justin Bullock

PICCOLO

Yoko Okayasu~

Claire Ramuscak*

Anne Buchanan

Natalie Low Helen Travers

CONTRABASSOON

DOUBLE BASS

Delia Kinmont Tim Marchmont

BASSOON Nicole Tait~

Peter Luff>> Ian O’Brien* Vivienne Collier-Vickers Lauren Manuel TRUMPET

Sarah Butler~ Richard Madden>> Paul Rawson TROMBONE

Jason Redman~ Dale Truscott>> BASS TROMBONE Tom Coyle* TUBA Thomas Allely* HARP Jill Atkinson*

Brian Catchlove+

TIMPANI

Kate Travers

Tim Corkeron*

BASS CLARINET

PERCUSSION

Nicholas Harmsen*

David Montgomery~ Josh DeMarchi>>

~ =

>> +

* ^

Section Principal Acting Section Principal Associate Principal Acting Associate Principal Principal  Acting Principal

QSO's Music Director designate is proudly supported by Timothy Fairfax AC. The Soloist-in-Residence program is supported by the T & J St Baker Charitable Trust. The Assistant Conductor program is supported through the Johannes Fritzsch Fund and Symphony Services International.

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PROGRAM February & March

BOARD OF DIRECTORS Greg Wanchap Chairman Margaret Barrett Tony Denholder Tony Keane John Keep Page Maxson James Morrison AM Rod Pilbeam MANAGEMENT Sophie Galaise Chief Executive Officer Ros Atkinson Executive Assistant to CEO Richard Wenn Director – Artistic Planning Michael Sterzinger Artistic Administration Manager Nadia Myers Assistant Artistic Administrator/ Library and Operations Assistant Fiona Lale Artist Liaison Matthew Farrell Director – Community Engagement and Commercial Projects Nina Logan Orchestra Manager Helen Davies Operations Assistant Judy Wood Orchestra Librarian/ WHS Coordinator Peter Laughton Operations and Projects Manager Vince Scuderi Production Coordinator John Nolan Community Engagement Officer Pam Lowry Education Liaison Officer Karen Soennichsen Director – Marketing Sarah Perrott Marketing Manager Zoe White Digital Marketing Specialist Miranda Cass Marketing Coordinator David Martin Director – Corporate Development & Sales Katya Melendez Corporate Relationships Manager Emma Rule Ticketing Services Manager Eric Yates Ticketing Services Officer Gaelle Lindrea Director – Philanthropy Phil Petch Philanthropy Services Officer Robert Miller Director – Human Resources Debbie Draper Chief Financial Officer Sue Schiappadori Accountant Amy Herbohn Finance Officer

QUEENSLAND PERFORMING ARTS CENTRE PO Box 3567, South Bank, Queensland 4101 T (07) 3840 7444 W qpac.com.au CHAIR Chris Freeman AM DEPUTY CHAIR Rhonda White AO TRUST MEMBERS Kylie Blucher Simon Gallaher Sophie Mitchell Mick Power AM EXECUTIVE STAFF Chief Executive: John Kotzas Executive Director – Programming: Ross Cunningham Executive Director – Marketing and Communications: Roxanne Hopkins Executive Director – Development: Megan Kair Executive Director – Corporate Services: Kieron Roost Executive Director – Patron Services: Jackie Branch ACKNOWLEDGEMENT The Queensland Performing Arts Trust is a statutory body of the State of Queensland and is partially funded by the Queensland Government The Honourable Annastacia Palaszczuk MP, Premier and Minister for the Arts Director-General, Department of the Premier and Cabinet: David Stewart Patrons are advised that the Performing Arts Centre has EMERGENCY EVACUATION PROCEDURES, a FIRE ALARM system and EXIT passageways. In case of an alert, patrons should remain calm, look for the closest EXIT sign in GREEN, listen to and comply with directions given by the inhouse trained attendants and move in an orderly fashion to the open spaces outside the Centre.

PROGRAM February & March 29

“ONE OF THE WORLD’S GREATEST TENORS” - NEW YORK CLASSICAL REVIEW

SPECIAL GUEST ARTIST

SIOBHAN STAGG CONDUCTOR

STEFANO MICELI ORCHESTRA

QUEENSLAND SYMPHONY ORCHESTRA

BRISBANE CONVENTION & EXHIBITION CENTRE SAT 30 JULY, 7.30PM Presented by SkyHigh & Queensland Symphony Orchestra, in partnership with BCEC

BOOK NOW AT QTIX ALAGNA.COM.AU

LANG LANG 14 JUNE 2016 7.30pm

Concert Hall, QPAC Photo credit Xun Chi

One night only

HURRY SELLING FAST!

BOOK NOW qso.com.au

In association with

VISIT US ONLINE www.sirromet.com CELLAR DOOR

850 Mt Cotton Road Mt Cotton QLD Open 7 Days from 9am to 4.30pm

IN-STORE Available at selected stores

PARTNERS Government partners

Premier partners

Community Engagement

Major partners

Gold partners

Industry collaborators

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PROGRAM February & March

Premier partners Arts Leadership

qso.com.au Keep visiting for in-depth info about repertoire and guest artists, audio, video links and upcoming news. Sign up for our Tune-in eNews. Queensland Symphony Orchestra @QSOrchestra @QSOrchestra

Queensland Symphony Orchestra GPO Box 9994 BRISBANE QLD 4001 Cnr Grey and Russell Street, South Brisbane 07 3833 5000 [email protected]

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PROGRAM February & March