MITTAGONGTHU 24 MAY 7PM

NOWRATUE 22 MAY 8PM

WOLLONGONGWED 23 MAY 8PM

Illawarra & Southern Highlands

Tour

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Eighty years ago, the musicians of the Sydney Symphony Orchestra embarked on their first tour of regional New South Wales, appearing in Wollongong, Katoomba, Orange and Bathurst. Since then, virtually every year has seen the Sydney Symphony Orchestra take to the road, bringing great music to audiences all over the State.

In the past 80 years, we have performed the length and breadth of NSW, from Goulburn to Grafton, Broken Hill to Bowral and beyond. I am thrilled that this year, our 80th anniversary of touring, sees us return to where it all began, Wollongong. And I am delighted that this special celebration sees Sydney Symphony Orchestra visit Nowra and Mittagong for the first time.

Making music accessible underpins everything that we do at the Sydney Symphony Orchestra and I am grateful to the NSW Government through Create NSW, and to the Australia Council for the Arts for their support of our touring program. Thanks also to Rex Regional Express, our Tour Partner.

The program we’ve put together for you tonight features the overture from Smetana’s Bartered Bride, Elgar’s Sea Pictures sung by Shikara Ringdahl, and perhaps one of the most famous pieces of music ever written, Beethoven’s epic Fifth Symphony.

I am particularly pleased that our daytime schools concerts for primary and secondary students feature highlights from the same pieces, a reflection of the value we place on introducing young audiences to the excitement and beauty of orchestral music.

Touring cultivates a spirit of unity in each community we visit and makes us proud to be part of the wonderful State of New South Wales. We hope that our music tonight will speak to you as it speaks to us. It is our great pleasure to be here and to make music for and with your community.

Emma DunchChief Executive Officer Sydney Symphony Orchestra

WELCOMEFrom the CEO

Illawarra and Southern Highlands TourBenjamin Northey conductor Shikara Ringdahl mezzo-soprano Sydney Symphony Orchestra

BEDŘICH SMETANA (1824–1884)

Overture to the opera The Bartered Bride

EDWARD ELGAR (1857–1934)

Sea Pictures, Op.37Sea Slumber-Song In Haven (Capri) Sabbath Morning at Sea Where Corals Lie The Swimmer

Shikara Ringdahl, mezzo-soprano

INTERVAL

LUDWIG VAN BEETHOVEN (1770–1827)

Symphony No.5 in C minor, Op.67Allegro con brio Andante con moto Scherzo and Trio (Allegro) – Allegro

TOUR PARTNER

Estimated timings: 7 minutes, 23 minutes, 20-minute interval, 31 minutes

The concert will conclude at approximately 9.35pm (8.35pm Thursday).

Tuesday 22 May, 8pm Shoalhaven Entertainment Centre

Wednesday 23 May, 8pm Wollongong Town Hall

Thursday 24 May, 7pm Frensham School, Clubbe Hall

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SMETANA Overture to The Bartered Bride

Bedřich Smetana was the ‘father of Bohemian

music’. He wrote mainly operas on national themes

and was a driving force behind the establishment of

a national theatre in Prague. Of the operas only one,

The Bartered Bride, is well-known in English-speaking

countries, but it enjoys genuine popularity.

In the breathless overture to the opera, Smetana

encapsulates the vitality and bustle, as well as the

rustic charm, of a Czech village in festive mood.

This was the first time Czech village life had been

portrayed believably in opera. Although premiered

inauspiciously in the shadow of a looming (though

in the event, short) war with Bismarck’s Prussia, The

Bartered Bride survived the fiasco of its truncated

opening season in the oppressive midsummer heat of

1866 to win the undying affection of the Czech people

(and, subsequently, audiences throughout the world).

Smetana’s comedy is peopled with characters

his audiences would recognise and empathise with,

individuals experiencing the deep human emotions

of hope and fear, venality and cunning, confusion

and despair and, above all, unquenchable young

love. In the ‘all’s fair’ context of love and war, not

even a dubious device by which the happy outcome

turns on a piece of shameless deception can arouse

disquiet. Thus not only the bride is won, but a

questionable cash bonus as well. (The title is literally

‘The Sold Bride’, not ‘bartered’.)

The overture essentially sets the scene of festivity

on the village green. There are three main motifs:

bustling, suspenseful string figures in the opening;

a polka-like subject which foreshadows the brilliant

national dances to come; and a winsome, contrasting

oboe melody. All these will be heard again at the

climax of the second act as the bridal-sale contract is

signed before the outraged village-folk as indignant

witnesses.

Adapted from a note by Anthony Cane © 2005

ELGAR Sea Pictures

Mention the name Edward Elgar, and vocal music

is not likely to be the first thing which springs to

mind. Even in Sea Pictures, a full-scale song cycle

for mezzo-soprano with orchestra, the instrumental

interludes are often so grandly eloquent that the

vocal line seems almost an afterthought. The Norwich

Festival commissioned this song cycle from Elgar for

their 1899 season. The singer was the 26-year-old

contralto Clara Butt – later to become a Dame of the

British Empire, and synonymous with ‘Land of Hope

and Glory’. Already an established performer, her voice

would have been familiar to the composer. She was

especially noted for the strength of her lower register

(‘trombone-like’ was one description), and also for

the clarity of her diction. Elgar was kind and practical,

and here and there wrote in higher optional notes for

ABOUT THE MUSIC

mezzo-sopranos who lacked Dame Clara’s unique

depth!

Sea Pictures was a critical and popular success.

Clara Butt was ‘dressed like a mermaid,’ wrote Elgar to

a friend, and ‘sang really well’. A certain amount of less

favourable criticism was directed towards the poetry.

Elgar did seem to have sentimentally Victorian tastes

when it came to lyrics. Roden Noel was a minor British

poet; Richard Garnett the scholarly Director of the

British Museum Reading Room; Adam Lindsay Gordon

the only Australian – though British-born – to be

remembered with a bust in Poet’s Corner, Westminster

Abbey; Elizabeth Barrett Browning was considered

a little passé even in 1899; and C. Alice Elgar was the

composer’s wife.

Sea Slumber-Song drops us immediately into an

oceanic atmosphere. Elgar’s famously thoughtful

orchestration uses the two-note rocking motif

generations of composers have called upon to set

a watery scene. In this case, it is enhanced by rising

and falling harp phrases, while the softly rumbling

timpani is a clever addition to the seascape.

In Haven (Capri) must surely be one of the

sweetest things in musical history. When Caroline

Alice Roberts first had music lessons with Mr Edward

Elgar, she was 38 and had already published two

novels. In Haven was a literary effort on a much

smaller scale. Elgar set his wife’s poem to music

in 1897 and published it under the title Lute Song,

appropriately enough considering its delicate scoring.

The tenderness of the setting seems to be a musical

reciprocation of the poet’s words.

Sabbath Morning at Sea presents some of the most

typically ‘Elgarian’ textures and motifs. The warmth of

the strings is exploited whenever possible. The brass

instruments have rare moments to blaze out during

brief interludes when there is no risk of, so to speak,

drowning the singer.

Where Corals Lie is the song most often extracted

from the cycle for performance by itself. The off-the-

beat accompaniment and overall simplicity suggest

the uncomplicated pleasure often found in Schubert’s

songs. Tiny solos from various instruments add

textural interest and a certain air of fellowship with

the singer.

The Swimmer has usually been castigated as

the weakest song of the cycle. The poetry is difficult

to set, as its persistent rhymes can run the risk of

sounding like doggerel. Elgar, however, would have

known that in 1870 the poet committed suicide at

Melbourne’s Brighton Beach, so the description of

a swimmer struggling in the stormy water has gained

a darker meaning than is suggested at first glance.

The varying colours demanded of the low-voiced

singer foreshadow the role of the Angel in the Dream

of Gerontius, which was written shortly afterwards.

Abridged from a note by Katherine Kemp

Symphony Australia © 1999

Sea Slumber-Song

Sea-birds are asleep,

The world forgets to weep,

Sea murmurs her soft slumber-song

On the shadowy sand

Of this Elfin land.

‘I, the Mother mild,

Hush thee, O my child,

Forget the voices wild!

Isles in elfin light

Dream, the rocks and caves

Lulled by the whisp’ring waves,

Veil their marbles bright,

Foam glimmers faintly white

Upon the shelly sand

Of this elfin land;

Sea-sound, like violins,

To slumber woos and wins.

I murmur my soft slumber-song,

Leave woes, and wails, and sins,

Ocean’s shadowy might

Breathes good night, good night!’

Roden Noel

In Haven (Capri)

Closely let me hold thy hand,

Storms are sweeping sea and land;

Love alone will stand.

Closely cling, for waves beat fast,

Foam flakes cloud the hurrying blast;

Love alone will last.

Kiss my lips, and softly say:

‘Joy, sea-swept, may fade today,

Love alone will stay.’

C. Alice Elgar

Sabbath Morning at Sea

The ship went on with solemn face:

To meet the darkness on the deep,

The solemn ship went onward.

I bowed down weary in the place;

For parting tears and present sleep

Had weighed mine eyelids downward.

The new sight, the new wondrous sight!

The waters around me, turbulent,

The skies, impassive o’er me,

Calm in a moonless, sunless light,

As glorified by even the intent

Of holding the day glory!

Love me, sweet friends, this sabbath day.

The sea sings round me while ye roll

Afar the hymn unaltered

And kneel, where once I knelt, to pray,

And bless me deeper in your soul

Because your voice has faltered.

And though this sabbath comes to me

Without the stolèd minister,

And chanting congregation,

God’s Spirit shall give comfort.

He who brooded soft on waters drear,

Creator on creation,

He shall assist me to look higher,

Where keep the saints, with harp and song,

An endless sabbath morning,

And, on that sea commixed with fire,

Oft drop their eyelids raised too long

To the full Godhead’s burning.

Elizabeth Barrett Browning

Where Corals Lie

The deeps have music soft and low

When winds awake the airy spry,

It lures me, lures me on to go

And see the land where corals lie.

By mount and mead, by lawn and rill,

When night is deep, and moon is high,

That music seeks and finds me still,

And tells me where the corals lie.

Yes, press my eyelids close, ’tis well;

But far the rapid fancies fly

To rolling worlds of wave and shell,

And all the land where corals lie.

Thy lips are like a sunset glow,

Thy smile is like a morning sky,

Yet leave me, leave me, let me go

And see the land where corals lie.

Richard Garnett

The Swimmer

With short, sharp, violent lights made vivid,

To southward far as the sight can roam,

Only the swirl of the surges livid,

The seas that climb and the surfs that comb.

Only the crag and the cliff to nor’ward,

The rocks receding, and reefs flung forward,

Waifs wrecked seaward and wasted shoreward,

On shallows sheeted with flaming foam.

A grim, grey coast and a seaboard ghastly,

And shores trod seldom by feet of men –

Where the batter’d hull and the broken mast lie,

They have lain embedded these long years ten.

Love! When we wandered here together,

Hand in hand through the sparkling weather,

From the heights and hollows of fern and heather,

God surely loved us a little then.

The skies were fairer and shores were firmer –

The blue sea over the bright sand roll’d,

Babble and prattle, and ripple and murmur,

Sheen of silver and glamour of gold.

So, girt with tempest and wing’d with thunder

And clad with lightning and shod with sleet,

And strong winds treading the swift waves under

The flying rollers with frothy feet.

One gleam like a bloodshot swordblade swims on

The skyline, staining the green gulf crimson,

A death-stroke fiercely dealt by a dim sun

That strikes through his stormy winding sheet.

O brave white horses! you gather and gallop,

The storm sprite loosens the gusty reins;

Now the stoutest ship were the frailest shallop

In your hollow backs, on your high-arched manes.

I would ride as never man has ridden

In your sleepy, swirling surges hidden;

To gulfs foreshadow’d through strifes forbidden,

Where no light wearies and no love wanes.

Adam Lindsay Gordon

BEETHOVEN Symphony No.5

The most famous four notes in all music are just the

beginning. The striking motto that opens Beethoven’s

Fifth Symphony launches a compelling emotional and

musical journey. That journey is a familiar one now –

this is the best-known symphony in the orchestral

repertoire – but at its premiere in 1808 Beethoven’s

contemporaries would have boarded the trusted

vehicle of the Classical symphony only to discover

new and noisy sounds, fresh sights along the way,

and an unexpected destination.

Even modern listeners can sense the shock value

of this music. The rapid repercussions and dramatic

pauses of the opening theme might be surface

features – musical rhetoric – but, in the words of

musicologist Joseph Kerman, ‘they release primal,

unmediated emotional energies’ that had previously

been buried in the traditional Viennese Classical style.

Fate knocks at the door…

Beethoven is said to have later described the

opening: ‘Thus Fate knocks at the door.’ This story

might be dubious, but it’s completely in character

with Romantic sensibility and lasting perceptions

of the symphony. ‘Beethoven’s music sets in

motion the lever of fear, of horror, of suffering,’

wrote E.T.A. Hoffmann in his famous 1810 review

of the symphony, ‘and wakens just that infinite

longing which is the essence of Romanticism. He is

accordingly a completely Romantic composer…’

But in one respect, the opening of Beethoven’s

Fifth is completely classical. An assertive opening

with all the instruments playing the same notes

was a common way of catching the attention of an

audience – Mozart used the device to great effect

in his Paris Symphony. But where Mozart’s opening

assures the listener of a clear D major, Beethoven

undermines convention with deliberate ambiguity.

Are we in E flat major or C minor? At first there is no

way of knowing. Only when the cellos play the home

note C, seven bars into the music, can we orient

ourselves to Beethoven’s defiant and sometimes

terrifying expression of C minor.

Transforming journey

The choice of key was significant for Beethoven.

He had recently begun using C minor again and

again in music of a heroic or threatening nature:

the Eroica funeral march, the Coriolan Overture, and

now the Fifth Symphony. But the Fifth Symphony

follows an evolutionary and transforming journey –

beginning in one key (C minor) and ending in another

(C major). It is as if the joy and triumph of the finale

can be expressed only against the background of

fear and awe that Beethoven establishes in the first

movement.

More important, Beethoven gave his symphony an

unprecedented sense of unity, and the thing that ties

the music together is that simple opening motif – it

becomes the protagonist, metamorphosing during

the course of the symphony to emerge in a noble and

heroic guise.

Triumph over despair

The expression of triumph over despair through a

transition from minor to major is familiar today

(Beethoven’s Ninth Symphony and subsequent

symphonies by other composers ensure that we

no longer assume a symphony will end in the key

in which it began) but it would have astonished

Beethoven’s contemporaries. The struggle for

supremacy between major and minor begins early

in the symphony, with the ambiguity of the opening

preparing the way for an early appearance of C major

towards the end of the first movement. The Andante

second movement begins in a poised and lyrical

A flat major, only to be interrupted by forceful

C major fanfares with martial trumpets and drums.

The provocative and gloomy third movement scherzo

with its ‘spectral’ double basses returns to the

home key of C minor, but the struggle continues: its

entire central trio section is a good-humoured but

impatient C major.

Beethoven further emphasises the sense of

unity in the Fifth Symphony with a seamless link

between the third movement and the finale. This

stunning transition provides a moment of hushed

suspense with menacing and insistent drum beats

underneath sustained string writing. Beethoven

then releases the accumulated tension in a C major

march, likened by Hoffmann to ‘radiant, blinding

sunlight which suddenly illuminates the dark night’.

But the gloom has not been entirely dispelled and

Beethoven introduces a fragment of the scherzo in

the middle of the finale – a ghost of scherzos past

that must be swept away a second time by

the march theme.

And better noise at that!

It is in the finale that the trombones – taken from the

church and the theatre (think Mozart’s Requiem and

Don Giovanni) – appear in a symphony for the first

time in musical history. Beethoven counted on those

trombones (together with the contrabassoon and

a shrill piccolo) to ‘make more noise than six timpani,

and better noise at that’. The noise, of which the

deaf Beethoven would have heard virtually nothing,

contributes to a resplendent and festive march,

all the more triumphant for the struggle that has

gone before.

Abridged from a note by Yvonne Frindle

©2002/2010

The opening bars of Beethoven’s Fifth Symphony from the composer’s autograph manuscript.

Australian conductor Benjamin Northey is the Chief

Conductor of the Christchurch Symphony Orchestra

and the Associate Conductor of the Melbourne

Symphony Orchestra.

He has previously held the posts of Resident

Guest Conductor of the Australia Pro Arte Chamber

Orchestra (2002 –06) and Principal Conductor of the

Melbourne Chamber Orchestra (2007–10). He also

appears regularly as a guest conductor with all

the major Australian symphony orchestras, Opera

Australia, Victorian Opera and State Opera South

Australia. His international appearances include

concerts with the London Philharmonic Orchestra,

Tokyo Philharmonic Orchestra, Mozarteum Orchestra

Salzburg, Hong Kong Philharmonic Orchestra,

National Symphony Orchestra of Colombia and

Malaysian Philharmonic Orchestra, as well as the

Auckland Philharmonia and the New Zealand and

Christchurch symphony orchestras.

Benjamin Northey studied conducting with John

Hopkins at the University of Melbourne, with Leif

Segerstam and Atso Almila at the Sibelius Academy

and with Jorma Panula at the Stockholm Royal

College of Music. With a progressive and diverse

approach to repertoire, he has collaborated with

a broad range of artists including Maxim Vengerov,

Julian Rachlin, Karen Gomyo, Piers Lane, Alban

Gerhardt, Johannes Moser, Amy Dickson, Slava

Grigoryan and Marc-André Hamelin. In 2018 he also

conducts the New Zealand, Melbourne, Christchurch,

Adelaide, Tasmanian and West Australian symphony

orchestras and the Malaysian Philharmonic

Orchestra.

Young Australian mezzo-soprano Shikara Ringdahl

is fast becoming known for the richness of her voice

and her emotionally honest interpretations.

Earlier this year she undertook a five-week

residency with the Meitar Opera Studio, the Young

Artist Program of the Israeli Opera. Last year she

was a finalist in the IFAC Handa Australian Singing

Competition and won several major prizes. She also

received an Encouragement Award from the Joan

Sutherland and Richard Bonynge Bel Canto Award,

and won the 2017 Farleigh Vocal Scholarship.

In addition, since 2016 she has been selected

as a full scholarship participant at the Lisa Gasteen

National Opera School. There she has performed

operatic scenes with the Queensland Symphony

Orchestra, and last year she performed the role of

Larina in a concert presentation of Tchaikovsky’s

opera Eugene Onegin. In 2017 Shikara Ringdahl

performed Mahler’s Kindertotenlieder with the Revival

House Project on a multi-city Australian tour. She 

also sang the alto solo in Handel’s Messiah with the

Queensland Choir as part of their biennial Brisbane

Sings Messiah concert.

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Benjamin Northey conductor Shikara Ringdahl mezzo-soprano

ABOUT THE ARTISTS

SYDNEY SYMPHONY ORCHESTRA

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Founded in 1932 by the ABC, the SSO has evolved into one of the world’s finest orchestras as Sydney has become one of the world’s great cities and is well on its way to becoming the premier orchestra in the Asia Pacific region. Resident at the Sydney Opera House, where it gives more than a hundred performances each year, the orchestra also performs throughout Sydney and NSW. International tours have earned the SSO worldwide recognition for artistic excellence and the SSO Live label captures the orchestra’s performances in recordings.

The orchestra’s first Chief Conductor was Sir Eugene Goossens, appointed in 1947; he was followed by Nicolai Malko, Dean Dixon, Moshe Atzmon, Willem van Otterloo, Louis Frémaux, Sir Charles Mackerras, Zdeněk Mácal, Stuart Challender, Edo

de Waart and Gianluigi Gelmetti. Vladimir Ashkenazy was Principal Conductor from 2009 to 2013 and David Robertson took up the post of Chief Conductor in 2014. The orchestra’s history also boasts collaborations with legendary figures such as George Szell, Sir Thomas Beecham, Otto Klemperer and Igor Stravinsky.

The SSO’s award-winning learning and engagement program is central to its commitment to the future of live symphonic music, and activities such as Playerlink and regional schools concerts expand the orchestra’s reach beyond Sydney to inspire students throughout NSW and Australia. The SSO also promotes the work of Australian composers through performances, recordings and its commissioning program.

DAVID ROBERTSON The Lowy Chair of Chief Conductor and Artistic Director Patron PROFESSOR THE HON. DAME MARIE BASHIR ad cvo

FIRST VIOLINS

Lerida Delbridge Assistant Concertmaster

Jenny Booth

Sophie Cole

Emily Long

Alexander Norton

Anna Skálová

Tobias Aan†

Sercan Danis°

Lachlan O’Donnell°

Emily Qin°

SECOND VIOLINS

Kirsty Hilton Principal

Emma Jezek Assistant Principal

Alice Bartsch

Victoria Bihun

Rebecca Gill

Emma Hayes

Monique Irik

Rollin Zhao†

VIOLAS

Roger Benedict Principal

Sandro Costantino

Jane Hazelwood

Graham Hennings

Amanda Verner

Justin Julian†

CELLOSLeah Lynn Assistant Principal

Kristy Conrau

Christopher Pidcock

David Wickham

Daniel Pini†

DOUBLE BASSES

Steven Larson

Jaan Pallandi

Andrew Meisel°

FLUTES

Lisa Osmialowski°Associate Principal

Rachel Howie†

Kate Proctor*

OBOES

Alexandre Oguey Principal Cor Anglais

Eve Osborn†

CLARINETS

Francesco Celata A/ Principal

Magdalenna Krstevska†

BASSOONS

Todd Gibson-Cornish Principal

Melissa Woodroffe°

Alison Wormell†

HORNS

Euan Harvey

Marnie Sebire

Aidan Gabriels†

Jenny McLeod-Sneyd*

TRUMPETS

Anthony Heinrichs

Jenna Smith†

TROMBONES

Scott Kinmont Associate Principal

Christopher Harris Principal Bass Trombone

Amanda Tillett†

TUBA

Perry Hoogendijk°

TIMPANI

Brian Nixon°

PERCUSSION

Timothy Constable

Sami Butler†

HARP

Emily Granger*

° = CONTRACT MUSICIAN

* = GUEST MUSICIAN

† = SSO FELLOW

Perry Hoogendijk (tuba) is on exchange from the Royal Concertgebouw Orchestra.

Visit www.sydneysymphony.com/SSO_musicians for the full roster with biographies and photographs.

The Musicians

The men’s tails are hand tailored by Sydney’s leading bespoke tailors, G.A. Zink & Sons.

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The SSO is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body

The SSO is assisted by the NSW Government through Arts NSW

Watch us on YouTube:youtube.com/ sydneysymphony

Join us on Facebook:facebook.com/sydneysymphony

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PRINCIPAL PARTNER

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GOVERNMENT PARTNERS

Signup for Stay Tuned, oure-newsletter, for news andspecial offers.

The SSO is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body

The SSO is assisted by the NSW Government through Arts NSW

Watch us on YouTube:youtube.com/ sydneysymphony

Join us on Facebook:facebook.com/sydneysymphony

Follow us on Twitter:twitter.com/sydsymph

Download our mobile app:sydneysymphony.com/ mobile_app

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SALUTE

The Sydney Symphony Orchestra applauds the leadership role our Regional Touring Partners play and their commitment to excellence, innovation and creativity.

PRINCIPAL PARTNER

PREMIER PARTNER

SSO ONLINE

GOVERNMENT PARTNERS

Signup for Stay Tuned, oure-newsletter, for news andspecial offers.

The SSO is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body

The SSO is assisted by the NSW Government through Arts NSW

Watch us on YouTube:youtube.com/ sydneysymphony

Join us on Facebook:facebook.com/sydneysymphony

Follow us on Twitter:twitter.com/sydsymph

Download our mobile app:sydneysymphony.com/ mobile_app

View our photos on instagram: instagram.com/sydneysymphonyorchestra

REGIONAL TOURING PARTNEREDUCATION PARTNER

PRINCIPAL PARTNER GOVERNMENT PARTNERS

The Sydney Symphony Orchestra is

assisted by the NSW Government through

Arts NSW.

The Sydney Symphony Orchestra is assisted

by the Commonwealth Government through

the Australia Council, its arts funding and

advisory body.

REGIONAL TOURING PARTNERS

SALUTE

The Sydney Symphony Orchestra applauds the leadership role our Regional Touring Partners play and their commitment to excellence, innovation and creativity.

PRINCIPAL PARTNER

PREMIER PARTNER

SSO ONLINE

GOVERNMENT PARTNERS

Signup for Stay Tuned, oure-newsletter, for news andspecial offers.

The SSO is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body

The SSO is assisted by the NSW Government through Arts NSW

Watch us on YouTube:youtube.com/ sydneysymphony

Join us on Facebook:facebook.com/sydneysymphony

Follow us on Twitter:twitter.com/sydsymph

Download our mobile app:sydneysymphony.com/ mobile_app

View our photos on instagram: instagram.com/sydneysymphonyorchestra

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