BRISBANE BAROQUE

2015

10 - 18 APRIL

IN ASSOCIATION WITH

OUR PARTNERSGOVERNMENT PARTNERS

PRESENTING PARTNER

PRODUCTION PARTNERS

Over the past decade many Australian cities have laid claim to the title of ‘cultural capital’ but few have demonstrated so convincingly their commitment or right to that designation.

The outstanding exception is Brisbane. Block by block, it has built a shining reputation for daring innovation in all branches of the performing and visual arts.

The refurbishment of the Queensland Art Gallery and Museum, the establishment of the Gallery of Modern Art, the re-ignited Brisbane Festival, the resurgence of the Queensland Symphony Orchestra, the growth of the Conservatorium as part of Griffith University, the renaissance of Queensland Ballet, Queensland Opera and the Lisa Gasteen National Opera School together with the impressive sequence of exclusive attractions at the vibrant Queensland Performing Arts Centre have collectively contributed to a new view of Queensland and its remarkable capital.

Now comes another unique and exciting event, Brisbane Baroque, a celebration of the music of one of the most creatively fertile periods in human history.

It will provide yet another opportunity for Queenslanders and visitors to experience world-class performance while simultaneously providing a showcase for some of the exceptional young artists and musicians emerging from our educational academies. The chance for them to perform in an international event in their home state is invaluable.

Welcome to Brisbane Baroque!

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APROPOS BAROQUE05

Emanating initially from Rome in the early 1600s and encompassing painting, sculpture, architecture, theatre and music, Baroque was the principal style in the European arts of the 17th century and first half of the 18th century. Characterised by restless forms, exaggerated motion and unambiguous detail, it was capable of conveying power, exuberance but above all, drama. Baroque music especially has enjoyed a remarkable revival in the past half-century and continues to delight audiences as extensive research reveals an enormous cache of hitherto forgotten or neglected masterpeices by composers of genius. Throughout the western world hundreds of musicians have turned to the baroque to satisfy an ever-growing audience demand for this opulent and exotic form of artistic expression.

BRISBANE BAROQUE 2015

Luca GIORDANO, Italy 1634 – 1705Il ratto delle Sabine ( The rape of the Sabine women) c.1672-74National Gallery of Australia, CanberraPurchased with the assistance of Philip Bacon AM 2000

HEAVENLY HANDELSTARRING THE QUEENSLAND SYMPHONY ORCHESTRA,SOLOISTS, CHORUS & ORGAN - A SUBLIME MUSICAL FEAST

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HEAVENLY HANDEL

When ABC Classic FM ran a nation-wide poll to establish who is Australia’s favourite baroque composer, it was a no-contest.Handel of course, with his contemporary Bach a close second.We celebrate this genius with a Gala Opening Night Concert – divine orchestral music, mighty choruses, and vocal fireworks.

In formidable combination are the musicians of the Queensland Symphony Orchestra, The Australian Voices under the direction of Gordon Hamilton and three brilliant young Australian singers, all led by British conductor Oliver Gooch, himself fresh from another spectacular Handel tribute in London’s mighty Albert Hall. Our exciting singers are soprano Bryony Dwyer, now a soloist with the Vienna State Opera, mezzo Anna Dowsley, a rising star with Opera Australia and Brisbane tenor Iain Henderson.

The program includes opera arias from Alcina, Ariodante, Atalanta, Rinaldo and Xerxes, from oratorios including Judas Maccabeus and Jeptha, and choruses from Judas Maccabeus and Israel in Egypt as well as Zadok the Priest, the great anthem Handel composed for the coronation of George III in 1727 and sung at the coronation of every British monarch since.

MAX EMANUELCENC

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Max Emanuel Cencic is one of the outstanding countertenors of our times, famed for his performances on international opera stages & concert platforms and for his many recordings of music from Handel to Hasse and Vivaldi.

His remarkable career began at the age of six when appeared on television in his native Croatia singing Der Hölle Rache, the fiendishly difficult aria Mozart wrote for the Queen of the Night in The Magic Flute. This single event brought him instant fame.

In 1987 Max joined the world-famous Vienna Boys’ Choir , featuring as treble soloist on many of their recordings of secular and liturgical music.

In 2001, he began singing as a countertenor and international recognition of his outstanding musicianship, dazzling technique and passionate acting came swiftly.

He has toured with Les Arts Florissants, William Christie’s famed early music ensemble, and appeared at the Vienna State Opera, the Teatro Real in Madrid and at other leading opera houses in Lausanne, Moscow, Munich, Hamburg, Dresden, Berlin, Amsterdam, Cologne, Bucharest, Paris, Innsbruck, Lisbon, Geneva, Baden-Baden, Barcelona, Brussels and the famous Royal Theatre at the palace of Versailles.

He has also sung to great acclaim at New York’s Carnegie Hall and London’s Barbican Centre and Wigmore Hall. His discography is equally impressive, some seventeen albums and complete operas for Decca and numerous recordings ofor other other European labels.

Brisbane Baroque is honoured to host the exclusive Australian premiere performance by this international super star.

‘There's no mistaking the greatness of Cencic's voice, with its dark, androgynous tone and its extraordinary liquidity. It enables him to sustain long, exacting lines and to tackle the most formidable coloratura with dexterity and ease. The sheer beauty of his singing was consistently breathtaking and, at times, seemed almost like an end in itself.’ The Guardian, London

SUNDAY 12 APRIL 7:30PMQPAC CONCERT HALL

IN CONCERT WITH CAMERATA OF ST JOHN’S

This initiative is supported by the Queensland Government through Arts Queensland.

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Brilliant young British organist Richard Gowers, who celebrated his twentieth birthday in January this year, was born in Cambridge, England into a family of musicians, composers and organists. He was for five years a chorister in the great Choir of King’s College, Cambridge, and sang the famous solo Once in Royal David’s City in the 2007 broadcast of Nine Lessons and Carols to listeners worldwide.

Richard spent a further five years as a music scholar at Eton College, Windsor, during which time he conducted the college orchestra in a full-scale performance of the Brahms Requiem and performed Ravel’s Piano Concerto. In August 2012 he became the youngest Fellow of the Royal College of Organists, passing the fellowship diploma with a prize for the highest marks in performance. Previous recital venues include St. Paul’s Cathedral, St. Albans Cathedral and St. George’s Chapel, Windsor Castle in England, the National Cathedral in Washington, Trinity Church, Boston, Harvard University and the Nikolaikirche in Leipzig. In 2013 he was the winner of the Northern Ireland International Organ Competition.

Richard spent last year in Germany, where he studied with Stefan Engels at the Mendelssohn Conservatoire, Leipzig and in September 2014 he began a three-year appointment as an organ scholar with the King’s College Choir, while studying for a music degree at Cambridge University.

For Brisbane Baroque he will give four FREE recitals of Bach’s greatest works on the magnificent organ in City Hall.

BACH AN ORGAN ODYSSEY

BACH - THE GREAT ORGAN WORKS

ITHE BEGINNINGSToccata, Adagio & Fugue in C, BWV 564 Vivaldi Concerto in A minor, (arr. Bach), BWV 593 Passacaglia in c minor, BWV 582

IIFantasia in G minor, BWV 542iPrelude in E-flat ‘St Anne’, BWV 552iTrio Sonata in C, BWV 529Trio Sonata in G, BWV 530‘Great’ Fugue in G minor, BWV 542ii

IIIPrelude in E-flat ‘St Anne’, BWV 552iDies sind die heil’gen zehn Gebot BWV 679 Wachet Auf, ruft uns die Stimme BWV 645Allein Gott, BWV 662, 663, 664 Fugue in E-flat ‘St Anne’, BWV 552ii

IVTHE BACH LEGACYBach: Prelude & Fugue in C, BWV 547 Bach: Aus Tiefer Not, BWV 686 Mendelssohn: Sonata in A, Op. 65 No. 3 Schumann: Six Fugues on the name BACH -Lebhaft, Op. 60 No. 5 Reger: Fantasia on BACH - Op. 46 - Karg-Elert Sequenz in c, WoO 12 Wagner: Die Meistersinger von Nürnberg,Prelude (arr. Lemare)

THIS IS A FREE NON-TICKETED EVENT TUESDAY 14 APRIL 1:30PM WEDNESDAY 15 APRIL 1:00PM THURSDAY 16 APRIL 1:00PM FRIDAY 17 APRIL 1:00PMBRISBANE CITY HALL

ABOUTGÖTTINGEN

Göttingen is also famous as home of the annual Handel Festival.

Since 1919 it has had, as its core event, a new production of one of Handel’s forty-nine operas. In 2014 it was the seldom- heard but strikingly original Faramando, directed by Paul Curran, a graduate of NIDA, the National Insititue of Dramatic Art in Sydney.

In 2006, the festival created its own professional orchestra, the Festspiel Orchester Göttingen (FOG), which focuses on performing baroque music. In addition, the Festival features several performances of the oratorios and chamber music of Handel and his contemporaries. The festival also features open-air classic events, late evening concerts and a host of other performances in especially distinctive surroundings, lectures, film showings and guided tours of the city.

The festival’s roll call of music directors include Fritz Lehmann, SirJohn Eliot Gardiner and Nicholas McGeghan. The current musical director is condutor Laurence Cummings, one of Britain’s most versatile exponents of informed historical performance.

Gottingen is an historic town in the very heart of Germany. Dating from the last years of the twelfth century, it is famous for its university, founded in 1737. Because of an unspoken agreement that neither Oxford and Cambridge would be bombed during World War II, both Göttingen and Heidelberg survived very much intact.

As a university town, it has a particularly youthful feel with most of the inhabitants of the inner city aged between 18 and 30.

Alumni of its university include two German Chancellors, Otto von Bismarck and Gerhard Schröder, and the brothers Grimm.

GÖTTINGEN

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F A R A M O N D O

BRISBANE BAROQUE 2015

BRISBANE BAROQUE AND GÖTTINGEN INTERNATIONAL HANDEL FESTIVAL PRESENT THE AUSTRALIAN PREMIERE OF AN OPERA IN THREE ACTS BY GEORGE FRIDERIC HANDEL TO A TEXT ADAPTED FROM APOSTOLO ZENO’S FARAMONDO

FRIDAY 10 APRIL, THURSDAY 16 APRIL, SATURDAY 18 APRIL 7:30PM SUNDAY 12 APRIL 1:30PMCONSERVATORIUM THEATRE

TOP ROW L - R: Faramondo Jennifer Rivera, Clotilde Anna Devin, Rosimonda Anna Starushkevych, Gustavo Wayne Tigges. BOTTOM ROW L - R: Adolfo Tai Oney, Gernando Christopher Lowrey, Teobaldo Jeremy Kleeman, Childerico Alexandra Oomens

FROM LEFT: Conductor Erin Helyard, Director Paul Curran, Set & Costume Designer Gary McCann

W H O ’ S W H O . . . 19

Clotilde Anna Devin

A B O U T FA R A M O N D O

‘The singing shines in this insightful production of Handel’s opera.’ Financial Times, UK

‘... the cheering was unrestrained.’ Neues Deutschland

‘A strong case for Faramondo in Göttingen’s wacky production’ The Opera Critic

Handel composed forty-nine works for the opera stage before turning his attention to the oratorio form. Faramondo was his thirty-ninth.

Premiered at the King’s Theatre, London, on January 3, 1738 with the great castrato Caffarelli in the title role, it was given eight performances and was not revived until 1976. More recently, this late masterpiece has received a memorable concert performance in Geneva in 2009, recorded for CD, and a fully staged production in Göttingen in 2014.

It is this acclaimed production that comes to Brisbane, re-staged by Glasgow-born, Australian-trained director Paul Curran, that forms the centrepiece of the first-ever Brisbane Baroque festival. The dazzling young international cast includes singers from Ireland, the Ukraine, the United States, Great Britain and the Netherlands.

Perhaps it’s the plot, which as opera plots go is among the most complicated that kept Handel’s late masterpiece Faramondo out of the operatic repertoire for almost three hundred years.

Premiered at a period when Handel was in transition from opera compositions to oratorio, the plot of Faramondo is even more complex than that of Verdi’s Il Trovatore.

But recent revivals have clearly shown the composer at his inventive best, pouring out a cascade of explosive and expressive arias and the most ravishing music this great genius ever wrote.

Ignoring the historic setting, iretor Paul Curran has provided the work with a modern setting and the feud between two sixteenth century families is given a Mafioso twist. Think Scorsese, de Niro and Pacino.

BRISBANE BAROQUE 2015

Faramando is proudly supported by

UNDER THE ROTUNDA

Brisbane City Ha ll is one of Queensland’s architectural treasuresLike Queensland itself, this great metropolitan landmark has a colourful history. The foundation stone was laid by the then Governor in 1917. This ceremony proved premature, as there were no plans for the building. These emerged two years later, were approved and the Prince of Wales (later King Edward VII who abdicated before the coronation) laid a second foundation stone in 1920. A decade and two million dollars later the doors opened to welcome citizens and visitors, and ever since this splendid building has remained at the very heart of Brisbane’s civic life, the scene of every important ceremonial occasion and an integral part of Brisbane’s community, artistic and social life, hosting hundreds of guests from the Queen to the Rolling Stones.It is fitting, therefore, that this Brisbane icon should play host to no fewer than fourteen different accessible performances in the inaugural Brisbane Baroque festival, four of them free and a further five at the modest ticket price of just five dollars. Brisbane Baroque’s City Hall series offers an opportunity for all music lovers to experience some of the greatest music from one of the supreme eras of human creativity, the age of the Baroque.

BRISBANE BAROQUE 2015

5x5x5@5

CAPRICES FOR CELLO A festival provides the perfect opportunity for musicians to perform and audiences to experience repertoire beyond the conventional or predictable. Which is why brilliant young Australian cellist William Hewer has elected to play the eleven Capricci for solo cello by the prolific composer and virtuoso cellist Joseph Marie Clément Ferdinand dall’Abaco.

BAROQUE BOUQUET Young Launceston-born countertenor Nicholas Tolputt graduated with a Bachelor of Music at the University of Melbourne.

Nicholas was recently awarded the university’s Melba Scholarship, a prize that will enable further study with leading local and overseas teachers. For his Brisbane debut he’s chosen a program of songs and arias by Vivaldi, Handel. Gluck and Purcell.

Nicholas will be accompanied by leading Brisbane organist Christopher Wrench.

Brisbane Baroque is committed to presenting emerging young Australian musicians such as Nicholas.

THEME AND VARIATIONSBoth Beethoven and Brahms took themes by Handel and composed variations on them. Beethoven used the famous melody See the Conqu’ring Hero Comes from Judas Maccabeus, for his set of twelve variations for piano and cello, and later Brahms’ famous set of variations known as The Harmonious Blacksmith were inspired by Handel’s keyboard suite of the same name.

Two brilliant young Brisbane musicians, cellist Katherine Philp and pianist Alex Raineri combine forces to present these musical curiosities in a fascinating program that allows them to further shine, Katherine in Bach’s sonata No. 1 for solo cello and Alex in keyboard sonatas by Domenico Scarlatti.

BAROCCO ITALIANO Since their establishment in 1985, the early music group known as Badinerie Players have performed to great acclaim in Brisbane and South-East Queensland. Their guest list is impressive and includes specialist artists from around Australia and overseas. The Players, four of whom are members of the Queensland Symphony Orchestra, have undertaken numerous direct broadcasts and studio recordings for the ABC and all are professional players and teachers of modern string instruments.

Today, musicians and audiences around the world favour authentic performance of music from the more distant past. Our players have been happy proponents of this approach for some years. ‘Authentic’ is only a label, but the one which best covers all the areas which make for successful presentation of early music.

EXCELSIOR FIREWORKSHandel was King George III’s favourite composer. He provided suitable music for all the important occasions of the Kings’ reign, from his coronation to celebrations of military victories and grand public spectacles.

Perhaps the most famous of all Handel’s royal commissions remains the Music for the Royal Fireworks. Composed as a suite for wind band, it celebrated the end of the War of the Austrian Succession and the signing of the Treaty of Aix-la-Chapelle in 1748, and it was first played to accompany a grand pyrotechnic display in London’s Green Park on April 27, 1749.

Subsequently arranged for alternative combinations of instruments, this joyous work has remained a great favourite ever since, both in the concert hall and beyond.

By way of a grand finale to the 5x5x5@5 series the mighty Brisbane Excelsior Brass Band, reigning champions of Australia, rattle the rotunda with a rousing rendition of this all time favourite.

This concert will feature additionally, the outstanding British trumpeter Martin Winter as soloist in Jeremiah Clarke’s famous suite in D, which contains the great trumpet voluntary originally thought to have been composed by Henry Purcell.

Five recitals of Baroque musicFive Australian soloists and ensemblesFive PM Monday to FridayFive dollars a ticket at the door*

Brisbane Baroque showcases the exceptional talents of our young musicians in this casual series of exciting and accessible recitals in the city’s beautiful City Hall.

1. 2. 3. 4. 5.MONDAY 13 APRIL @ 5PM TUESDAY 14 APRIL @ 5PM WEDNESDAY 15 APRIL @ 5PM THURSDAY 16 APRIL @ 5PM FRIDAY 17 APRIL @ 5PM

BRISBANE CITY HALL SERIES

* THIS IS A NON-TICKETED EVENT AND NUMBERS ARE STRICTLY LIMITED. ADMISSION IS ON A FIRST-COME BASIS. DOORS OPEN AT 4:30PM.

MONDAY 13 APRIL @ 8PM

8PM SERIES

TUESDAY 14 APRIL @ 8PM WEDNESDAY 15 APRIL @ 8PM THURSDAY 16 APRIL @ 8PM FRIDAY 17 APRIL @ 8PM

DIDO & AENEASAffectionately dubbed The English Orpheus, Henry Purcell (1659-95) is one of the major musical figures of the early baroque. In his all too short life Purcell wrote in a wide variety of musical forms ranging from miniature pieces for harpsichord to large-scale works for the court and the theatre.

The first known performance of his opera Dido and Aeneas was given around 1688 at a girls’ school in Chelsea, London although there is speculation that it may have been written for an earlier performance at the court of Charles II. After 1705 it disappeared as a staged work, with only sporadic concert performances during the 19th century but in modern times this imperishable work, full of glorious melodies and culminating in Dido’s sublime lament, has become a staple item of repertoire with both professional and amateur opera companies throughout the world.

Brisbane Baroque presents this miniature masterpiece in concertante form, with a cast of fine Australian musicians and emerging young soloists, Brisbane’s Canticum Chamber Choir and Orchestra of the Antipodes. Conducted by Brisbane Baroque’s Music Director, Erin Helyard, Dido and Aeneas will be a highlight of this year’s festival.

1.MONDAY 13 APRIL @ 8PM

LA CACCIA AND THEHUNTING HORNIn its earliest incarnation, the horn was less complex than its modern counterpart. Comprising brass tubes wound around several times and terminating in a slightly flared opening or bell, it was originally played by mounted musicians accompanying a hunt or to summon hounds.

In the 19th century the natural horn was replaced by the valved model known as the French Horn, but in the 20th century of historically informed performances of baroque and classical music has lead to a revival of interest in period instruments such as the natural horn.

Perth-born Darryl Poulsen, is regarded as Australia’s finest player on the natural horn. He is principal horn with the Australian Brandenburg Orchestra and has performed and recorded as both principal and soloist with Joshua Rifkin’s New York Bach Ensemble and Cantus Cöln in Germany.

This distinguished virtuoso is joined by fellow hornist Dorée Dixon and the strings of the Orchestra of the Antipodes in a program of music inspired by la caccia, the hunt.

2.TUESDAY 14 APRIL @ 8PM

RESPLENDENT BRASSThe Baroque was a golden era for brass instruments. Fetes, funerals, triumphal processions and princely ceremonies such as coronations and birthdays demanded their brazen sounds. The trumpet in particular was the royal instrument of the Baroque, representing secular and divine majesty, but horns, cornets and trombones, all in their early form, were required for all manner of compositions ranging from simple fanfares and voluntaries to full orchestral scores.

As their contribution to the inaugural Brisbane Baroque, the virtuoso brass players of the Queensland Symphony Orchestra combine forces with organist Christopher Wrench in a program of masterpieces including works by Claudio Monteverdi, Giovanni Gabrieli and Henry Purcell.

3.WEDNESDAY 15 APRIL @ 8PM

CELESTIAL CANTATASThe cantata, from the Italian word cantare meaning to sing, was one of the hallmark musical forms of the baroque. From the cantata da camera written for private performance in intimate spaces, to the cantata da chiesa designed to accompany church services, the form offered vast scope for soloists and choirs to demonstrate their techniques and capacity for expression.

Who better to interpret a selection of baroque cantatas for soprano and strings than Sara Macliver, Australia’s favourite soprano, whose pure, soaring sound has often been described as angelic, heavenly and celestial.

Appearing with the strings of the Orchestra of the Antipodes, Sara has chosen her favourite French and Italian cantatas for this exceptional recital.

4.THURSDAY 16 APRIL @ 8PM

BACHSACRED AND SECULAROf Bach’s cantata BWV 78, that great interpreter of his works Sir John Eliot Gardiner writes: “[It] opens with an immense choral lament ‘... a musical frieze on a par with the exordia of both his Passions for scale, intensity and power of expression …not in one’s wildest dreams then could one imagine a more abrupt sequel to this noble opening chorus than the delicious, almost frivolous duet that follows.”

In this beautiful cantata, one of the just under two hundred that Bach wrote, the listener experiences two facets of the composer’s complex personality, grave and playful.

And in the delightful, witty cantata that follows, BWV 211, dubbed the Coffee Cantata, the composer, tongue firmly in cheek, satirises the craze for coffee consumption that possessed Leipzig (and indeed most of Europe) in the early decades of the 18th century, an obsession with clear parallels in contemporary Australia.

These two contrasting works, performed by the Orchestra of the Antipodes, guest soloists and members of Canticum Chamber Choir, conducted by Emily Cox and Erin Helyard respectively, demonstrate Bach’s boundless capacity for musical invention.

5.FRIDAY 17 APRIL @ 8PM

BRISBANE CITY HALL

SERIES

26JULIA FREDERSDORFF (BAROQUE VIOLIN)DONALD NICOLSON (BAROQUE ORGAN & HARPSICHORD) LAURA VAUGHAN (VIOLA DA GAMBA AND LIRONE)

Written in Salzburg circa I670 by Heinrich Ignaz Franz Biber, the Rosary Sonatas are among the most extraordinary works in the violin repertoire.

Scordatura, or unconventional tuning of an instrument’s strings, was common enough during the Baroque era, but Biber’s cycle of fifteen pieces for violin and continuo explores the technique exhaustively – every single sonata uses a different tuning. That complexity generates spiritual intensity and presents the player with a fearsome challenge, which may be the reason these sonatas are so rarely heard live.

Each sonata represents one of the mysteries of the Catholic rosary, which are divided into five Joyful Mysteries (the Annunciation, for example), five Sorrowful Mysteries (concluding with Christ’s crucifixion), and five Glorious Mysteries (centered on the Resurrection and on Mary’s Assumption).

Some of the sonatas have three movements, often with two slow, quasi-improvisatory movements surrounding a central “Aria” or piece in dance rhythm. Others are series of dances, and a few are long single movements approaching the elaborate architecture of the Chaconne from the Bach Partita No.2 for solo violin. Some of the tunings are downright outlandish – as the music reaches its spiritual climax in the Resurrection sonata Biber, specifies that the violin be played with its two central strings crossed, perhaps to symbolize the meeting of heaven and earth.

Lovers of virtuoso playing and of music that evokes deep spirituality should not miss this sublime experience.

BY HEINRICH IGNAZ FRANZ BIBERT H E R O S A R Y S O N AT A S

BRISBANE BAROQUE 2015

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TUESDAY 14 APRIL 11:00AM (UNTIL APPROX 3:30PM)SAINT MARY’S CHURCH, 455 MAIN STREET, KANGAROO POINT PLEASE NOTE: THIS PERFORMANCE IS IN TWO PARTS, WITH LUNCH AND REFRESHMENTS SERVED IN BETWEEN

MAX EMANUEL CENCv

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IN CONVERSATION WITH LEO SCHOFIELD AMSuddenly there is a new voice type to set alongside the traditional categories of soprano, mezzo, contralto, tenor, baritone and bass.Welcome to the age of the countertenors, exceptional male singers who, bypassing the unattractive option of surgery, have trained their voices to evoke the sound of the composers of the late seventeenth and early eighteenth centuries envisaged.

When the revival of interest in music of the baroque era gathered pace, stage directors and record producers were faced with a challenge - should they choose a male or a female. In the early years of the 20th century, roles written for the castrati were initially given to mezzos. Then, as directors and audiences began embracing the notion of the guy who could sing high, the countertenor became the preferred casting choice.

Max Emanuel Cencic was one of the celebrated countertenors who blazed the trail for the hundreds of aspiring singers who have followed in their footsteps, gathering an international army of admirers and winning audiences worldwide.

He describes this personal journey in conversation with Brisbane Baroque’s Artistic Director Leo Schofield.

MONDAY 13 APRIL 12:00PMQPAC CONCERT HALL

THIS IS A FREE, NON-TICKETED EVENT

FESTIVAL ARTISTS

Oliver Gooch Mark Gaal Louise Dorsman Bronywn Douglas

Anna Dowsley Bronwyn Dwyer David Greco Will Hewer

Iain Henderson Elizabeth Lewis Sara Macliver Katherine Philp

Nick Raineri Nicholas Tolputt Darryl Poulsen The Badinerie Players

BRISBANEBAROQUE.COM.AU

F E S T I V A L P L A N N E R

BRISBANE BAROQUE 2015

CONSERVATORIUMTHEATRE

QPACCONCERT HALL

Friday 10 April 7:00pm Faramondo 1

Saturday 11 April 2:00pm Heavenly Handel with the Queensland Symphony Orchestra 7:30pm Heavenly Handel with the Queensland Symphony Orchestra

Sunday 12 April 1:30pm Faramondo 2 7:30pm Max Emanuel Cencic with Camerata of St John’s

Monday 13 April 12:00pm In Conversation with Max Emanuel Cencic and Leo Schofield 5:00pm Caprices for Cello 8:00pm Dido and Aeneas

Tuesday 14 April 11:00am The Rosary Sonatas 1:30pm Bach - An Organ Odyssey 1 5:00pm Baroque Bouquet 8:00pm La Caccia and the Hunting Horn

Wednesday 15 April 1:00pm Bach - An Organ Odyssey 2 5:00pm Theme and Variations 8:00pm Resplendent Brass

Thursday 16 April 1:00pm Bach - An Organ Odyssey 3 5:00pm Barocco Italiano 7:00pm Faramondo 3 8:00pm Celestial Cantatas

Friday 17 April 1:00pm Bach - An Organ Odyssey 4 5:00pm Excelsior Fireworks 8:00pm Bach - Sacred and Secular

Saturday 18 April 7:00pm Faramondo 4

TICKETS Faramondo

Premium $150.00 A Reserve $130.00 B Reserve $95.00

Heavenly Handel

Premium $140.00 A Reserve $125.00 B Reserve $95.00

Max Emanuel Cencic with Camerata of St. John’s

Premium $140.00 A Reserve $125.00 B Reserve $95.00

Under the Rotunda Series

5x5x5@5 $5 cash at door only

Recitals@8pm Adult $65 Concession $55

The Rosary Sonatas

Adult $70 Concession $65 (Includes lunch)

An Organ Odyssey

All Organ Odyssey concerts are free entry

SALESAll tickets with the exception of 5x5x5@5 can be bought online via www.brisbanebaroque.com.au or qtix.com.au. To buy tickets by telephone please call Qtix on 136 246. To buy tickets in person please visit the QPAC Box Office.

Every effort has been made to ensure the contents of this brochure are correct at the time of printing. Brisbane Baroque reserves the right to alter the program, dates, times, and ticket prices where and when necessary and without notice.

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