Digital Concert Program: Australia: One Land, Many Stories

Concert Program

Australia: One Land, Many Stories

Thursday 19 Jun 2025 6pm
Federation Concert Hall, Nipaluna / Hobart

Storytelling with an

orchestra, from First Nations

voices to bush ballads.

A young girl with a bright smile and wearing a denim jacket is seated in an audience on red cushioned chairs. The blurred background of other attendees highlights her joyful expression, suggesting a lively or engaging event.

The Tasmanian Symphony Orchestra acknowledges the traditional owners and continuing custodians of Lutruwita / Tasmania. We pay respect to the Aboriginal community today, and to its Elders past and present. We recognise a history of truth, which acknowledges the impacts of colonisation upon Aboriginal and Torres Strait Islander people and stand for a future that profoundly respects their stories, culture, language and history.

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About the concert

Works

Welcome to Country Davina Cox

Aaron Wyatt The things which are important don’t always scream the loudest *

Maria Grenfell Rock Hopping *

Beethoven Thunderstorm from Symphony No 6

Bach Keyboard Concerto No 1, Movement 3
Soloist Anna Bosveld, Rising Star Winner 2025

Peter Winkler The Kookaburra who Stole the Moon*

Songs of Australia Folk Medley (Botany Bay, Waltzing Matilda, Click go the Shears)*

*Indicates an Australian composer or music

Want to know more about the extraordinary percussion kit?

When composer Iain Grandage wrote Dances with Devils for percussionist Claire Edwardes, he knew she would be willing to ‘push boundaries’.
Together, Iain and Claire built the tubular bell apparatus that Claire wears on stage during the performance.
Read more here.

Aaron Wyatt. Image credit Jessica Bader Photography.

Concert 101: Learn about the works being performed

For the enjoyment of all in the concert hall, please only watch Concert 101 before or after the performance.

Uncover the stories behind the works.

Seduction. Deception. Downfall.

Don Giovanni, Overture

Composed by Wolfgang Amadeus Mozart (1756–1791)

6 minutes

Mozart’s Overture to Don Giovanni is the dramatic opening to one of his most famous operas, Don Giovanni. First performed in 1787, the opera tells the story of Don Giovanni (also known as Don Juan), a charming and dangerous man who lives for pleasure and leaves chaos behind him. It’s a tale full of humour, romance, danger, and the supernatural – like a mix between James Bond, Phantom of the Opera, and Breaking Bad!

The overture begins with three powerful, slow chords that immediately create a sense of mystery and doom. These chords return at the very end of the opera, when Don Giovanni meets a terrifying fate. After this dark opening, the music suddenly shifts into a fast, lively section full of excitement and energy.

Mozart wrote this overture the night before the opera’s premiere. According to legend, he stayed up all night writing it, and the ink was still wet when it was passed to the musicians. Despite the rush, the overture is a masterclass in musical storytelling.

In concert performances, the overture is often played on its own without going straight into the opera. It still works beautifully, thanks to its dramatic contrasts, vivid character, and the sense that something big is about to unfold. Even if you don’t know the opera, the music takes you on a thrilling ride.

Blicke mir nicht in die Lieder!

Blicke mir nicht in die Lieder!
Meine Augen schlag’ ich nieder,
Wie ertappt auf böser Tat.
Selber darf ich nicht getrauen,
Ihrem Wachsen zuzuschauen.
Deine Neugier ist Verrat!

Bienen, wenn sie Zellen bauen,
Lassen auch nicht zu sich schauen,
Schauen selbst auch nicht zu.
Wenn die reichen Honigwaben
Sie zu Tag gefördert haben,
Dann vor allen nasche du!

Do not look into my songs!

Do not look into my songs!
I lower my gaze,
As if caught in the act.
I dare not even trust myself
To watch them growing.
Your curiosity is treason.

Bees, when they build cells,
Let no one watch either,
And do not even watch themselves.
When the rich honeycombs
Have been brought to daylight,
You shall be the first to taste!

The first movement bursts to life with confident, energetic chords. It’s bright and cheerful, setting the tone for the whole symphony. Listen for the strings driving the rhythm, with violins carrying the main melodies. The oboes and horns add colour and sparkle, giving the music a regal quality. Though simple, there’s a clear sense of contrast between louder, bolder sections and softer moments. It’s an impressive opening that already shows Mozart’s gift for balance and clarity.

Ich atmet’ einen linden Duft

Ich atmet’ einen linden Duft!
Im Zimmer stand
Ein Zweig der Linde,
Ein Angebinde
Von lieber Hand.
Wie lieblich war der Lindenduft!
Wie lieblich ist der Lindenduft!
Das Lindenreis
Brachst du gelinde;
Ich atme leis
Im Duft der Linde
Der Liebe linden Duft.

I breathed a gentle fragrance

I breathed a gentle fragrance!
In the room stood,
A spray of lime,
A gift
From a dear hand.
How lovely the fragrance of lime was!
How lovely the fragrance of lime is!
The spray of lime
Was gently plucked by you;
Softly I breathe
In the fragrance of lime,
The gentle fragrance of love.

This slower movement offers a gentler mood. It’s more intimate and graceful, with a focus on the strings, especially the violins and violas. The winds sit the movement out, giving the music a lighter, more transparent texture. The melody is calm and thoughtful, and there’s a feeling of quiet elegance throughout. Notice how Mozart creates beauty with just a few simple ideas, letting them unfold patiently. It’s a peaceful interlude between the lively outer movements.

Um Mitternacht

Um Mitternacht
Hab’ ich gewacht
Und aufgeblickt zum Himmel;
Kein Stern vom Sterngewimmel
Hat mir gelacht
Um Mitternacht.

Um Mitternacht
Hab’ ich gedacht
Hinaus in dunkle Schranken.
Es hat kein Lichtgedanken
Mir Trost gebracht
Um Mitternacht.

Um Mitternacht
Nahm ich in acht
Die Schläge meines Herzens;
Ein einz’ger Puls des Schmerzes
War angefacht
Um Mitternacht.

Um Mitternacht
Kämpft’ ich die Schlacht,
O Menschheit, deiner Leiden;
Nicht konnt’ ich sie entscheiden
Mit meiner Macht
Um Mitternacht.

Um Mitternacht
Hab’ ich die Macht
In deine Hand gegeben!
Herr! über Tod und Leben
Du hältst die Wacht
Um Mitternacht!

At midnight

At midnight
I kept watch
And looked up to heaven;
Not a star in the galaxy
Smiled on me
At midnight.

At midnight
My thoughts went out
To the dark reaches of space;
No shining thought
Brought me comfort
At midnight.

At midnight
I paid heed
To the beating of my heart;
A single pulse of pain
Was set alight
At midnight.

At midnight
I fought the battle,
O Mankind, of your afflictions;
I could not gain victory
By my own strength
At midnight.

At midnight
I gave my strength
Into Thy hands!
Lord over life and death,
Thou keepest watch
At midnight.

The final movement is fast and playful, full of energy and charm. The strings are again at the forefront, racing along with light, bouncing rhythms. Oboes and horns return to brighten the sound and give it a joyful edge. This movement feels like a musical game, with ideas tossed back and forth between sections. It ends the symphony with a burst of youthful excitement. You can hear the fun Mozart had in writing it, and the promise of what was to come in his future works.

Hauntingly beautiful.

The Swan of Tuonela

Composed by Jean Sibelius (1865 – 1957)

10 minutes

💡 FIRST-TIMER TIP

The names of movements in symphonies often follow traditional conventions that give insight into the character, tempo, and sometimes the form of each section.

These terms not only instruct performers on the tempo and mood of each movement but also guide listeners through the emotional and narrative arc of the symphony. For example, ‘Allegro’ refers to tempo and ‘molto’ translates to very, so: very fast!

Jean Sibelius’ The Swan of Tuonela is one of his most haunting and beautiful pieces. Written in 1895, it’s part of a group of works based on the Kalevala, Finland’s national epic – a collection of ancient stories filled with magic, heroes, and spirits. In this piece, Sibelius paints a musical picture of a mysterious swan gliding across the dark waters of Tuonela, the land of the dead.

This isn’t a dramatic story with action and battles. Instead, it’s quiet, slow, and dreamlike – like the atmosphere of a gothic film or a slow-burn episode from Game of Thrones. The swan, a symbol of beauty and peace, floats through this eerie underworld, untouched by the danger around it. You can almost see the mist and hear the stillness.

Sibelius uses a cor anglais – a cousin of the oboe with a darker, almost melancholic sound (played tonight by TSO’s Principal Cor Anglais, Dinah Woods) – to sing the swan’s lonely melody. This is supported by soft strings and distant brass, creating a sound that’s both calm and unsettling. There’s no big climax, just a slow, steady unfolding. The Swan of Tuonela shows how powerful quiet music can be.

Though it was originally written as part of a larger opera project that never came to life, The Swan of Tuonela has become one of Sibelius’ most loved stand-alone pieces. It’s a short but unforgettable journey into a world that feels ancient, magical, and just a little bit spooky.

Blicke mir nicht in die Lieder!

Blicke mir nicht in die Lieder!
Meine Augen schlag’ ich nieder,
Wie ertappt auf böser Tat.
Selber darf ich nicht getrauen,
Ihrem Wachsen zuzuschauen.
Deine Neugier ist Verrat!

Bienen, wenn sie Zellen bauen,
Lassen auch nicht zu sich schauen,
Schauen selbst auch nicht zu.
Wenn die reichen Honigwaben
Sie zu Tag gefördert haben,
Dann vor allen nasche du!

Do not look into my songs!

Do not look into my songs!
I lower my gaze,
As if caught in the act.
I dare not even trust myself
To watch them growing.
Your curiosity is treason.

Bees, when they build cells,
Let no one watch either,
And do not even watch themselves.
When the rich honeycombs
Have been brought to daylight,
You shall be the first to taste!

The first movement begins with a stately orchestral introduction, setting a noble tone before the cello quietly enters with the main theme. The violin and piano gradually join, creating a flowing dialogue. The cello often leads, with rich, expressive lines, while the violin adds sparkle and the piano brings rhythmic drive and brilliance. Listen for the way these three voices weave together – sometimes in harmony, sometimes in playful contrast. The orchestra supports with warmth and grandeur, making this movement both elegant and expansive.

Ich atmet’ einen linden Duft

I breathed a gentle fragrance

This short, lyrical movement begins with a beautiful, singing melody in the strings, then passes gently to the piano and soloists. It feels almost like a quiet interlude or an intimate moment shared between friends. The piano and strings exchange simple but expressive lines, with each voice given space to shine. The movement is tender and still, with a sense of calm that offers contrast to the outer movements. Listen for the warmth of the cello and the soft replies from the violin and piano, all over a gentle orchestral backdrop.

Um Mitternacht

Um Mitternacht
Hab’ ich gewacht
Und aufgeblickt zum Himmel;
Kein Stern vom Sterngewimmel
Hat mir gelacht
Um Mitternacht.

Um Mitternacht
Hab’ ich gedacht
Hinaus in dunkle Schranken.
Es hat kein Lichtgedanken
Mir Trost gebracht
Um Mitternacht.

Um Mitternacht
Nahm ich in acht
Die Schläge meines Herzens;
Ein einz’ger Puls des Schmerzes
War angefacht
Um Mitternacht.

Um Mitternacht
Kämpft’ ich die Schlacht,
O Menschheit, deiner Leiden;
Nicht konnt’ ich sie entscheiden
Mit meiner Macht
Um Mitternacht.

Um Mitternacht
Hab’ ich die Macht
In deine Hand gegeben!
Herr! über Tod und Leben
Du hältst die Wacht
Um Mitternacht!

At midnight

At midnight
I kept watch
And looked up to heaven;
Not a star in the galaxy
Smiled on me
At midnight.

At midnight
My thoughts went out
To the dark reaches of space;
No shining thought
Brought me comfort
At midnight.

At midnight
I paid heed
To the beating of my heart;
A single pulse of pain
Was set alight
At midnight.

At midnight
I fought the battle,
O Mankind, of your afflictions;
I could not gain victory
By my own strength
At midnight.

At midnight
I gave my strength
Into Thy hands!
Lord over life and death,
Thou keepest watch
At midnight.

The final movement is lively and spirited, with a dance-like rhythm based on the polonaise, a traditional Polish dance. Right away, the soloists leap into a bright and cheerful mood. The cello plays elegant, sweeping lines; the violin adds sparkle and flair; and the piano brings energy and momentum with its quick passagework. The movement is full of charm and character, with catchy rhythms and playful exchanges. Listen for the way the soloists trade phrases and interact with the orchestra – it’s joyful, colourful, and ends the concerto with a burst of triumphant energy.

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Musicians

Aaron Wyatt

Conductor & Composer

Supported by Anonymous

Aaron is a violist, violinist, conductor, composer, programmer, and academic.

Originally from Perth, he spent many years as a regular casual with the West Australian Symphony Orchestra before moving to Melbourne to take up an assistant lecturer position at Monash. A member of the award winning Decibel New Music ensemble, he also develops their animated graphic notation app for the iPad, the Decibel ScorePlayer.

In 2021 he became the first Indigenous Australian to conduct a state symphony orchestra in concert, and has since gone on to have engagements with the Melbourne, Adelaide, Sydney, and West Australian Symphony Orchestras.

Aaron was nominated for a Helpmann Award for his role as musical director of Cat Hope’s opera, Speechless, in the 2019 Perth Festival, and recently conducted the premiere of Gina Williams’ and Guy Ghouse’s Noongar opera, Wundig wer Wilura. As a composer, he has written for Ensemble Offspring, GreyWing Ensemble, Ensemble Dutala, and is currently Artist in Residence with Speak Percussion.

Gina Rose

Presenter

Supported by Anonymous

Gina Rose is a highly accomplished soprano known for her rich tone and mastery of baroque repertoire. A graduate of the Tasmanian Conservatorium of Music, the Australian National Academy of Music, and the University of Tasmania, she holds a Bachelor of Music with Honours, a Graduate Diploma of Music, and a Bachelor of Teaching specialising in Music Education. She is also a Churchill Fellow, having travelled to Hungary, Finland, and the UK to study aural development strategies in vocal performance.

On stage, Gina has performed leading roles in opera including Dido and Belinda (Dido and Aeneas), Angelica (Suor Angelica), and Fiordiligi (Così fan tutte), with appearances for IHOS Opera and Ten Days on the Island. Her extensive oratorio repertoire includes Messiah, Requiems by Mozart, Rutter, and Hidas, Bach’s Magnificat, and Dvořák’s Te Deum. She is also active as a recitalist and has featured in new Australian works and music theatre productions.

Gina is Music Coordinator at Tarremah Steiner School and has taught across all levels from early childhood to tertiary. Beyond her teaching and performing career, she enjoys gardening with her two children and greyhound.

Jonathan Békés

Cello

Supported by Anonymous

Jonathan Békés is one of Australia’s leading cellists and is a renowned solo artist, chamber musician, orchestral musician and educator.

Békés began playing the cello at the age of 10. He studied at the Sydney Conservatorium of Music and the Australian National Academy of Music (ANAM) learning from some of Australia’s leading cellists including Howard Penny, Julian Smiles and Susan Blake.

Currently, Békés is Principal Cello of the Tasmanian Symphony Orchestra, a position that he has held since 2021. He plays regularly with the Australian World Orchestra and the Southern Cross Soloists and has appeared as soloist with the Tasmanian Symphony Orchestra, Willoughby Symphony Orchestra and Sydney Youth Orchestra. As an educator Békés has worked closely with Musica Viva Australia and Australian Youth Orchestra and is a passionate advocate of music for all people in all walks of life.

In his spare time (not much these days), Békés is a keen sportsman and an outdoors enthusiast. He is an overly passionate golfer, crazed squash player and an AFL fanatic. He follows the Sydney Swans and the Hobart Hurricanes and loves to go on hiking adventures across Tasmania with his family.

Anna Bosveld

Piano & Rising Star 2025

Supported by Anonymous

15-year-old pianist Anna Bosveld from Wynyard is TSO’s Rising Star for 2025.

Selected from a strong field of young Tasmanian musicians, Anna impressed the judging panel with her technique, musicality and expressive playing. Anna began piano at age five, introduced by her mum, and now studies with Somerset-based teacher Lyn Loudon. She performs regularly with a local string ensemble and is currently preparing for her Certificate of Performance exam. She hopes to pursue further musical study at the UTAS Conservatorium.

Described by the TSO’s Kim Waldock as a “wunderkind,” Anna is known for her dedication, often starting her practice at 6am. She also enjoys science, maths and the outdoors, and draws strength from her Christian faith.

Anna receives the $2500 Tim Bugg AM Rising Star Award in recognition of her talent and potential.

Tonight’s orchestra

Eivind Aadland Conductor

James Ehnes Violin

Tasmanian Symphony Orchestra

Violin

Emma McGrath Concertmaster

Anne-Marie Johnson Associate Concertmaster

Jennifer Owen Principal Second

Rohana O'Malley Principal First

Miranda Carson

Yue-Hong Cha

Tobias Chisnall

Michael Johnston

Christine Lawson

Elinor Lea

Susanna Low

Phoebe Masel

Christopher Nicholas

Hayato Simpson

💡 FIRST-TIMER TIP

Did you know our Concertmaster plays a violin hand-crafted by one of the finest and most important luthiers (a string-instrument maker) of the nineteenth century, Jean-Baptiste Vuillaume (1798–1875).

He crafted 3000+ instruments in his time and we’re very proud to have a violin made in 1845 on loan from two of our generous Tasmanian patrons.

Viola

Katharine Brockman Guest Principal

Douglas Coghill

Nara Dennis

Anna Larsen Roach

William Newbery

Cello

Jonathan Békés Principal

Ivan James

Nicholas McManus

Martin Penicka

Double Bass

Stuart Thomson Principal

Matthew McGrath

Stuart Riley

Flute

Lily Bryant Guest Principal

Lloyd Hudson Principal Piccolo

Oboe

Rachel Bullen Guest Principal

Dinah Woods Principal Cor Anglais

Clarinet

Andrew Seymour Principal

Eloise Fisher Principal Bass Clarinet

Bassoon

Elise Millman Guest Principal

Melissa Woodroffe Principal Contrabassoon

Horn

Claudia Leggett Principal First

Greg Stephens Principal Third

Jules Evans

Julian Leslie

Trumpet

Fletcher Cox Principal

Mark Bain

Trombone

David Robins Principal

Jackson Bankovic

Bass Trombone

James Littlewood Guest Principal

Tuba

Rachel Kelly * Principal

Timpani

Matthew Goddard Principal

Percussion

Gary Wain Principal

Tracey Patten

Harp

Meriel Owen Guest Principal

Celeste

Jennifer Marten-Smith Guest Principal

Saxophone

Jabra Latham Guest Principal

Benjamin Price Guest Principal

Organ

Nathan Cox Guest Principal

Chorus List

Warren Trevelyan-Jones Chorus Master

Karen Smithies Repetiteur

Soprano

Christine Boyce

Emma Bunzli

Christine Coombe

Felicity Gifford

Yuliana Hammond

Kasia Kozlowska

Bernadette Large

Loretta Lohberger

Sophia Mitchell

Schuya Murray

Shaunagh O’Neill

Joy Tattam

Lesley Wickham

Alto

Claire Blichfeldt

Sally Brown

Carmelita Coen

Beth Coombe

Elizabeth Eden

Ann Godber

Sue Harradence

Caroline Miller

Sally Mollison

Rosemary Rayfuse

Louise Rigozzi

Georgie Stilwell

Meg Tait

Gill von Bertouch

Beth Warren

Tenor

Helen Chick

Phillip Clutterbuck

Michael Kregor

Bill MacDonald

Tony Marshall

Simon Milton

Dianne O’Toole

David Pitt

James Powell-Davie

Alexander Rodrigues

Peter Tattam

Bass

Geoffrey Attwater

John Ballard

Tim Begbie

Peter Cretan

Jack Delaney

Greg Foot

Sam Hindell

Reg Marron

Michael Muldoon

David Ovens

Tony Parker

Grant Taylor

*Correct at time of publishing

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Federation Concert Hall

Our Southern Home

Federation Concert Hall has been our home since 2001. It's distinctive curve, golden Tasmanian timber, contemporary design and deep red seats set the tone for the ultimate concert experience.

In 2020, major acoustical enhancements were made to the hall, amplifying the venue's, and the TSO's, reputation as world-class.

Photo credit: Fin Matson

💡 FIRST-TIMER TIP

A 'movement' is a longer piece of music broken up into bite-size pieces. It makes it easier to perform and provides contrast within the work. Find out more here.

Orchestra performing in Federation Concert Hall.

Getting THere & Accessibility

Everything you need to know about Federation Concert Hall.

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Make it an experience

Hotel Offers from Hadley's Orient Hotel

Nestled among other architectural masterpieces in Hobart's city centre, this heritage-listed hotel plays host to almost two centuries of stories, scandals and secrets. The floor boards whisper of the hotel’s rich and often tumultuous history.

💡 FIRST-TIMER TIP

What are acoustics and how do they affect my concert experience?

Acoustics are the science of sound, or the way a venue can deliver the thunderous feeling of strings and brass, or the ring of the triangle over all the other instruments.

Read more about the acoustics of the Hall here.

Coming up

Karen Gomyo

Sparks will fly, featuring Karen Gomyo.

Delius The Walk to the Paradise Garden
Dvořák Violin Concerto in A minor, Op 53
Robert Schumann Symphony No 1 in B-flat, Op 38, ‘Spring’

A cellist in a vibrant blue patterned shirt plays passionately during a performance, eyes closed and brow furrowed in concentration. He draws the bow across the strings of his wooden cello, with a blurred double bass player visible in the background.

Coming up

Baroque & Roll

Think orchestral music is slow? This concert is a chaotic cacophony of Baroque madness, we think you'll like it.

Rebel Excerpts from Les élémens
Handel Ah! stigie larve, from Orlando
Chindamo Variations on Dido’s Lament (after Purcell)
Rameau Suite from Zoroastre
Handel Alcina: Sta nell’ircana

Find Out More

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Huon Pine Patrons

John Cauchi AM & Catherine Walker Chair Patrons

Anne & Don Challen AM Chair Patrons

Dr Joanna de Burgh

Penny Le Couteur & Greg Dickson

Jane Drexler

Rob & Tricia Greenwell Chair Patrons

David & Catherine Hamilton Chair Patrons

Marie Heitz Chair Patron

In Memory of Ian Hicks Chair Patron

Patricia Leary Chair Patron

Ang Madden Chair Patron

Mountain Air Foundation Chair Patron

R H O'Connor

Andrew Parker & Caroline Sharpen Chair Patrons

TasPlates

Chris & John Sandow Chair Patrons

Dr Peter Stanton Chair Patron

Dr Hilary Wallace Chair Patron

Anonymous (2)

TSO Concertmaster Emma McGrath plays an 1845 Jean-Baptiste Vuillaume violin on loan from two of our generous Tasmanian patrons.

Sassafras Patrons

Cath Adams & Steve Craft Chair Patrons

Damian Bugg AM & Jenny Bugg

David & Elizabeth de Burgh Chair Patrons

Marc & Susan Duldig Chair Patrons

Richard & Harriett England

Emeritus Prof Andrew Glenn & Dr Odile Glenn Chair Patrons

Elizabeth Haworth & John Diment Chair Patrons

Mr Don Kay

Belinda Kendall-White Chair Patron

Suzanne Kirkham

John Langford

Diane Matthews

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Bill Oakley OAM Chair Patron

Jan & Alan Rees Chair Patrons

Dr David & Mrs Glenys Rich Chair Patrons

Dr John & Mrs Barbara Roberts

James and Jacqueline Roberts-Thomson Chair Patrons

Rotary Satellite Club of Sandy Bay, Battery Point

Margaret Sharpen Chair Patron

Dr Di Stow Chair Patron

Michelle Warren

Deirdre & Trevor Wise

Anonymous (3)

Leatherwood Patrons

Andrew Bennett

Suzanne & Martin Betts

Peter Brooks

Elizabeth Bugg

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George & Jan Casimaty

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Prof Stephen Crump

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Roger Fisher

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Giameos Constructions & Developments

Dr Donald Hempton

Peter & Jeanne Hepburn

Janet Holmes à Court AC

Dr David & Donna Humphries

Don & Christine Jeffrey

Prof Matthew Jose

Paavo Jumppanen

Veronica Keach

Judith Ker

Betty Kuhl

Harvey Lennon

David Lloyd

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Dr Katherine Marsden

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Sindi O'Hara & Peter Pickett

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Margaret Sallis

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Jenny Scott

Dick & Sue Shoobridge

Christopher Spiegel

Tony Stacey AM & Mrs Jeanette Stacey

In memory of Jo St Leon

Janet Tomlinson

Rowland Turner

Frances Underwood

John Usher OAM

Hank & Elizabeth van Herk

Kim Waldock

Jacqui Walkden

Dr Michael Wilkinson

Jane Zimmerman

Anonymous (10)

Blackwood Patrons

Simon Allston & Janeil Hall

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Victoria Burley

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Ms Gail Friesen

Furneaux Arts Committee

Ms Keri Handley & Mr Frank Martin

Dr Brita Hansen & Frank Halley

Susie Harrison

Susan Hawick AM

Shirley Honeysett

Peter Hordern

Ross Kelly

Richard & Julia Metcalf

Margret Monks

Gisele O'Byrne AM

Tony Purdon

Rotary Club of Sandy Bay

Dr Tanya Stephens

Priscilla Travers

Jeanette Tremayne

Judith & Rod Tudball

Residents of Vaucluse Gardens

Judith Waldock

Jane Wilcox

Polly Woods

Dr Rosemary Yeoland

Anonymous (9)

Silver Wattle Patrons

Trevor & Barbara Abbott

Michael Alchin

Chris Andrews & Jill-Maree Geeves

Jennifer Andrews

May Backhouse

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Deborah Brook

Dobson Mitchell & Allport Lawyers

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John Heathcote & Mary Feeley

Sharron Hewer

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Anonymous (11)

Government Support

Premier Partners

Partners

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Partners

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