Brett Weymark Video
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2024-05-02
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Kanen Breen Leonard Bernstein Brett Weymark O Connor Connor Aitken Handel Sullivan Stephen Sondheim Sydney Opera House Pacific Opera Sydney Youth Orchestra
Book: www.sydneyoperahouse.com or www.sydneyphilharmonia.com.au/bernstein-candide Saturday 29 September at 8pm Sunday 30 September at 1pm Concert Hall, Sydney Opera House Brett Weymark conductor Mitchell Butel director Caroline O'Connor The Old Lady Alexander Lewis Candide Kanen Breen Maximilian Annie Aitken Cunegonde Phil Scott Pangloss Also featuring Nick Jones, Adam Player and members of Pacific Opera Symphony Chorus Festival Chorus Sydney Youth Orchestra Bernstein’s musical comedy is a wickedly tuneful romp for the best of all possible worlds. Our gormless hero Candide and his fiancée Cunegonde are raised by the philosophical windbag Professor Pangloss to believe that all is for the best in this best of all possible worlds. Disaster, separation, disease, unpleasant journeys and attempted burning at the stake soon follow, until, thoroughly disillusioned, all the characters reunite at home and resolve to make some sense of life. Think of it as the fun-house mirror version of Handel’s Saul, one where tragedy is played as farce – with a happy ending, of course. From its rollicking overture to its string of affectionate parodies of opera, Gilbert and Sullivan, tango and Broadway glitz, Candide is a delight from start to finish – one that might just make you think. While the overture and showpieces like the bravura ‘Glitter and Be Gay’ have become concert-hall fixtures, the complete Candide is rarely mounted. If there’s one thing that drives Bernstein’s work, it’s the belief that while we might be ‘neither pure, nor wise, nor good, we'll do the best we know. Pre-concert talk: Held 45 minutes prior to the performance in the Northern Foyer, presented in association with Fine Music FM and Sydney Opera House. Book by Hugh Wheeler Based on the satire by Voltaire Lyrics by Richard Wilbur With additional lyrics by Stephen Sondheim, John LaTouche, Dorothy Parker, Lilliam Hellman and Leonard Bernstein Orchestration by Leonard Bernstein and Hershy Kay Musical continuity and additional orchestration by John Mauceri
Sir Charles Mackerras Brett Weymark Jose Carbo Sydney Symphony 2007
From 'Symphony of Australia' the concert, Nov 27, 2007 in support of the 80th birthday of the Royal Flying Doctor Service of Australia ( South-Eastern Section). Featuring Sydney Symphony, conducted by Brett Weymark and soloists Renae Martin, Gavin Lockley,Jose Carbo, Damian Humbley and Tiffany Speight. Proudly sponsored by Zip Industries Australia, makers of the famous Hydrotap. www.zipindustries.com
Sydney Philharmonia Choirs Sydney Opera House Bach Brett Weymark Sally Anne Russell Andrew Goodwin Greco Mercy
Saturday 31 March at 1pm Concert Hall, Sydney Opera House JS Bach Mass in B Minor Brett Weymark conductor Janet Todd soprano Sally-Anne Russell mezzo soprano Andrew Goodwin tenor David Greco bass At the pinnacle of Bach’s artistry is one of his greatest choral works, the B Minor Mass. Composed over the course of 16 years, it is a compendium of every aspect of Bach’s genius and a profound testament of his faith. From the choir’s first call for God’s mercy, to its final prayer for peace, the B Minor Mass is trove of musical riches. Weaving together moments of overwhelming majesty with intimate solo arias decorated with intricate instrumental filigree, and outbreaks of dancing joy, the Mass has everything that gives Bach’s music its timeless power. Bach brings the vividly theatrical language of his passions and cantatas to bear on the ritual of the Catholic mass, discovering ecstatic angelic choruses in the Gloria and piercing dissonances in the Crucifixus. Epic in scope, and all-encompassing, the Mass was never performed in its entirety in Bach’s lifetime – it seems he wanted to create the most perfect example of sacred music. It is a cathedral in sound. A performance of the B-minor Mass is always an event. Bach calls for large forces for the vibrant and celebratory colours of the orchestra, including the rare oboe d’amore, horns, trumpets and drums. The vocalists must also be virtuosos: some of Australia’s most accomplished early music specialists join the Philharmonia Symphony Chorus and Chamber Singers to make an overwhelming sound. The Choir’s annual Easter-tide Bach celebrations are becoming an essential annual appointment, ‘bringing new insights to old masterpieces’ (Sydney Morning Herald). Pre-concert talk: Held 45 minutes prior to the performance in the Northern Foyer, presented in association with Fine Music FM and Sydney Opera House. Running time: 2 hours and 35 minutes including a 20 minute interval.
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